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An interesting Japanese hairstyle: Ripe Tomato.
Pavlovian reactions aren’t just for dogs and learn about taste aversion, or why you should nail the dinner you’re cooking for your date.
Pavlovian reactions aren’t just for dogs and learn about taste aversion, or why you should nail the dinner you’re cooking for your date.
The missing link between economics and morality
The missing link between economics and morality
Paul Krugman, definitely not a supporter of austerity economics, explains why austerity, although repeatedly criticised by economists, stuck for so long before policymakers realised it wasn’t working too well:
Part of the answer surely lies in the widespread desire to see economics as a morality play, to make it a tale of excess and its consequences. We lived beyond our means, the story goes, and now we’re paying the inevitable price. Economists can explain ad nauseam that this is wrong, that the reason we have mass unemployment isn’t that we spent too much in the past but that we’re spending too little now, and that this problem can and should be solved. No matter; many people have a visceral sense that we sinned and must seek redemption through suffering — and neither economic argument nor the observation that the people now suffering aren’t at all the same people who sinned during the bubble years makes much of a dent.
Another reason is that apparently, people from different backgrounds wish different things from economic policies. And the American 1% are imposing a not so democratic position on the way the economy is to be conducted:
What, after all, do people want from economic policy? The answer, it turns out, is that it depends on which people you ask — a point documented in a recent research paper by the political scientists Benjamin Page, Larry Bartels and Jason Seawright. The paper compares the policy preferences of ordinary Americans with those of the very wealthy, and the results are eye-opening.
Thus, the average American is somewhat worried about budget deficits, which is no surprise given the constant barrage of deficit scare stories in the news media, but the wealthy, by a large majority, regard deficits as the most important problem we face. And how should the budget deficit be brought down? The wealthy favor cutting federal spending on health care and Social Security — that is, “entitlements” — while the public at large actually wants to see spending on those programs rise.
You get the idea: The austerity agenda looks a lot like a simple expression of upper-class preferences, wrapped in a facade of academic rigor. What the top 1 percent wants becomes what economic science says we must do.
Check this FT article rounding up experiences of 6 countries which tried austerity.
The missing link between economics and morality
Paul Krugman, definitely not a supporter of austerity economics, explains why austerity, although repeatedly criticised by economists, stuck for so long before policymakers realised it wasn’t working too well:
Part of the answer surely lies in the widespread desire to see economics as a morality play, to make it a tale of excess and its consequences. We lived beyond our means, the story goes, and now we’re paying the inevitable price. Economists can explain ad nauseam that this is wrong, that the reason we have mass unemployment isn’t that we spent too much in the past but that we’re spending too little now, and that this problem can and should be solved. No matter; many people have a visceral sense that we sinned and must seek redemption through suffering — and neither economic argument nor the observation that the people now suffering aren’t at all the same people who sinned during the bubble years makes much of a dent.
Another reason is that apparently, people from different backgrounds wish different things from economic policies. And the American 1% are imposing a not so democratic position on the way the economy is to be conducted:
What, after all, do people want from economic policy? The answer, it turns out, is that it depends on which people you ask — a point documented in a recent research paper by the political scientists Benjamin Page, Larry Bartels and Jason Seawright. The paper compares the policy preferences of ordinary Americans with those of the very wealthy, and the results are eye-opening.
Thus, the average American is somewhat worried about budget deficits, which is no surprise given the constant barrage of deficit scare stories in the news media, but the wealthy, by a large majority, regard deficits as the most important problem we face. And how should the budget deficit be brought down? The wealthy favor cutting federal spending on health care and Social Security — that is, “entitlements” — while the public at large actually wants to see spending on those programs rise.
You get the idea: The austerity agenda looks a lot like a simple expression of upper-class preferences, wrapped in a facade of academic rigor. What the top 1 percent wants becomes what economic science says we must do.
Check this FT article rounding up experiences of 6 countries which tried austerity.
Stanford neuroscientist Daniel Abrams determined that when different people listened to the same piece of music–in this case a little known symphony–their brains reflected similar patterns of activity. And those similarities were observed not just in areas of the brain linked with sound processing, but also in regions responsible for attention, memory and movement.
Everything is connected.
Stanford neuroscientist Daniel Abrams determined that when different people listened to the same piece of music–in this case a little known symphony–their brains reflected similar patterns of activity. And those similarities were observed not just in areas of the brain linked with sound processing, but also in regions responsible for attention, memory and movement.
Everything is connected.
Historical figures as they would be today. There is also Admiral Nelson, Shakespeare, Elizabeth I and Marie-Antoinette.
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Historical figures as they would be today. There is also Admiral Nelson, Shakespeare, Elizabeth I and Marie-Antoinette.
What is decision fatigue?
Some fascinating new research in social psychology is being conducted. We have apparently discovered a new phenomenon called decision fatigue which basically reduces your capacity to make decisions throughout the day. It’s as if we had a decision capital every day (or every X time span) and it is drained by making decisions:
Decision fatigue helps explain why ordinarily sensible people get angry at colleagues and families, splurge on clothes, buy junk food at the supermarket and can’t resist the dealer’s offer to rustproof their new car. No matter how rational and high-minded you try to be, you can’t make decision after decision without paying a biological price. It’s different from ordinary physical fatigue — you’re not consciously aware of being tired — but you’re low on mental energy. The more choices you make throughout the day, the harder each one becomes for your brain, and eventually it looks for shortcuts, usually in either of two very different ways. One shortcut is to become reckless: to act impulsively instead of expending the energy to first think through the consequences. (Sure, tweet that photo! What could go wrong?) The other shortcut is the ultimate energy saver: do nothing. Instead of agonizing over decisions, avoid any choice. Ducking a decision often creates bigger problems in the long run, but for the moment, it eases the mental strain. You start to resist any change, any potentially risky move — like releasing a prisoner who might commit a crime. So the fatigued judge on a parole board takes the easy way out, and the prisoner keeps doing time.
What is decision fatigue?
Some fascinating new research in social psychology is being conducted. We have apparently discovered a new phenomenon called decision fatigue which basically reduces your capacity to make decisions throughout the day. It’s as if we had a decision capital every day (or every X time span) and it is drained by making decisions:
Decision fatigue helps explain why ordinarily sensible people get angry at colleagues and families, splurge on clothes, buy junk food at the supermarket and can’t resist the dealer’s offer to rustproof their new car. No matter how rational and high-minded you try to be, you can’t make decision after decision without paying a biological price. It’s different from ordinary physical fatigue — you’re not consciously aware of being tired — but you’re low on mental energy. The more choices you make throughout the day, the harder each one becomes for your brain, and eventually it looks for shortcuts, usually in either of two very different ways. One shortcut is to become reckless: to act impulsively instead of expending the energy to first think through the consequences. (Sure, tweet that photo! What could go wrong?) The other shortcut is the ultimate energy saver: do nothing. Instead of agonizing over decisions, avoid any choice. Ducking a decision often creates bigger problems in the long run, but for the moment, it eases the mental strain. You start to resist any change, any potentially risky move — like releasing a prisoner who might commit a crime. So the fatigued judge on a parole board takes the easy way out, and the prisoner keeps doing time.
11 ways to be unremarkably average.
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11 ways to be unremarkably average.
But before we talk about movies we should talk about art in general, if that’s possible. Given all the incredible suffering in the world I wonder, what is art for, really? If the collected works of Shakespeare can’t prevent genocide then really, what is it for? Shouldn’t we be spending the time and resources alleviating suffering and helping other people instead of going to the movies and plays and art installations? When we did Ocean’s Thirteen the casino set used $60,000 of electricity every week. How do you justify that? Do you justify that by saying, the people who could’ve had that electricity are going to watch the movie for two hours and be entertained - except they probably can’t, because they don’t have any electricity, because we used it. Then I think, what about all the resources spent on all the pieces of entertainment? What about the carbon footprint of getting me here? Then I think, why are you even thinking that way and worrying about how many miles per gallon my car gets, when we have NASCAR, and monster truck pulls on TV? So what I finally decided was, art is simply inevitable. It was on the wall of a cave in France 30,000 years ago, and it’s because we are a species that’s driven by narrative. Art is storytelling, and we need to tell stories to pass along ideas and information, and to try and make sense out of all this chaos. And sometimes when you get a really good artist and a compelling story, you can almost achieve that thing that’s impossible which is entering the consciousness of another human being - literally seeing the world the way they see it. Then, if you have a really good piece of art and a really good artist, you are altered in some way, and so the experience is transformative and in the minute you’re experiencing that piece of art, you’re not alone. You’re connected to the arts. So I feel like that can’t be too bad.
Read the piece, you’ll like it.
But before we talk about movies we should talk about art in general, if that’s possible. Given all the incredible suffering in the world I wonder, what is art for, really? If the collected works of Shakespeare can’t prevent genocide then really, what is it for? Shouldn’t we be spending the time and resources alleviating suffering and helping other people instead of going to the movies and plays and art installations? When we did Ocean’s Thirteen the casino set used $60,000 of electricity every week. How do you justify that? Do you justify that by saying, the people who could’ve had that electricity are going to watch the movie for two hours and be entertained - except they probably can’t, because they don’t have any electricity, because we used it. Then I think, what about all the resources spent on all the pieces of entertainment? What about the carbon footprint of getting me here? Then I think, why are you even thinking that way and worrying about how many miles per gallon my car gets, when we have NASCAR, and monster truck pulls on TV? So what I finally decided was, art is simply inevitable. It was on the wall of a cave in France 30,000 years ago, and it’s because we are a species that’s driven by narrative. Art is storytelling, and we need to tell stories to pass along ideas and information, and to try and make sense out of all this chaos. And sometimes when you get a really good artist and a compelling story, you can almost achieve that thing that’s impossible which is entering the consciousness of another human being - literally seeing the world the way they see it. Then, if you have a really good piece of art and a really good artist, you are altered in some way, and so the experience is transformative and in the minute you’re experiencing that piece of art, you’re not alone. You’re connected to the arts. So I feel like that can’t be too bad.
Read the piece, you’ll like it.
The CIA, propaganda and abstract expressionism
The CIA, propaganda and abstract expressionism
Kottke:
The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.
The next key step came in 1950, when the International Organisations Division (IOD) was set up under Tom Braden. It was this office which subsidised the animated version of George Orwell’s Animal Farm, which sponsored American jazz artists, opera recitals, the Boston Symphony Orchestra’s international touring programme. Its agents were placed in the film industry, in publishing houses, even as travel writers for the celebrated Fodor guides. And, we now know, it promoted America’s anarchic avant-garde movement, Abstract Expressionism.
The CIA, propaganda and abstract expressionism
Kottke:
The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.
The next key step came in 1950, when the International Organisations Division (IOD) was set up under Tom Braden. It was this office which subsidised the animated version of George Orwell’s Animal Farm, which sponsored American jazz artists, opera recitals, the Boston Symphony Orchestra’s international touring programme. Its agents were placed in the film industry, in publishing houses, even as travel writers for the celebrated Fodor guides. And, we now know, it promoted America’s anarchic avant-garde movement, Abstract Expressionism.
Happy End is a project by photographer Dietmar Eckell which documents airplane crashes where everyone survived.
Get the book there.
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Happy End is a project by photographer Dietmar Eckell which documents airplane crashes where everyone survived.
Get the book there.
Does a complex world need simpler rules?
Does a complex world need simpler rules?
Rory Sutherland:
Absolute rules (if X, then Y) work with the grain of human nature. We feel far more guilt running a red light than breaking a speed limit. Notice that almost all religious laws are absolute: no food is half kosher; it is or it isn’t. No Old Testament prophet proposed something as daft as the French 35-hour ‘working-time directive’: they invented the Sabbath instead.
Interesting point of view. The problem indeed stems from the difficulty to agree on absolute rules. That’s why we compromise.