Archive for the 'Culture' Category

The origins of ideology

With the US Federal Government looking like it might go into a shutdown over budget negotiations (as I type, Intrade puts the chance at 40%), you can expect to see more articles around like this one from the Economist’s Democracy in America.  Here’s the gist of what they’re saying:

As Steve Benen points out, it definitely isn’t (or isn’t just) a function of Democratic legislators’ lack of determination. It’s partly a function of the fact that, as recentNBC/Wall Street JournalPew, and Gallup polls show, Democratic voters want their leaders to compromise, while Republican voters don’t. Jonathan Chait argues that what we have here is a structural issue that forces Democratic politicians to be wimpy:

Most people have the default assumption that the two parties are essentially mirror images of each other. But there are a lot of asymmetries between the Democratic and Republican parties that result in non-parallel behavior. The Republicans have a fairly unified economic base consisting of business and high-income individuals, whereas Democrats balance between business, labor, and environmental groups. The Republican Party reflects the ideology of movement conservatism, while the Democratic Party is a balance between progressives and moderates.

The upshot is that the Democratic Party is far more dependent upon the votes of moderates, who think of themselves in non-ideological terms and want their leaders to compromise and act pragmatically. The reason you see greater levels of partisan discipline and simple will to power in the GOP is that it has a coherent voting base willing to supportaggressive, partisan behavior and Democrats don’t. This isn’t to say Democrats are always wimps, but wimpiness is much more of a default setting for Democrats.

The article then goes on to discuss the psychological origins of ideological allegiance.  The upshot is that certain people have certain preferences and the political parties are representations of those groups of people.  There’s an implied assumption that all of this is exogenous to the system at large; that there’s nothing you can do about it, you just need to take it as given in your deliberations.

For anybody interested in this stuff, I strongly encourage you read Steve Waldman’s opposing view:  ”Endogenize Ideology“. Here is his basic point, from quotes arranged in a different order to that in which he provides them:

Many [people] treat ideology or “political constraints” as given, and perform the exercise that economists perform reflexively, starting with their first grad school exam: constrained optimization. Constrained optimization is a mechanical procedure. The outcome is fully determined by the objective function and the constraints.

However …

That’s the wrong approach, I think. Rather than treating ideology as fixed and given, we should treat it as dynamic, as a consequence rather than a constraint of policy choices.

Ultimately, he argues, in a world of hard-nosed ideologues versus constraint-respecting policy wonks …

Rather than two optimizers, one of which has strictly less information than the other, in the real world we’ve seen two satisficers, one of which has adopted the strategy of optimizing subject to fixed constraints and the other of which has neglected pursuit of optimal present policy in favor of action intended to reshape the constraint set. A priori, we would not be able state with certainty which of the satisficers would outperform the other. If the constraint set were, in fact, strongly resistant to change Team Obama’s strategy would dominate. But if the constraint set is malleable (and constraints frequently bind), then Team Bush outperforms.

Just to really kick it home, he pulls out this quote from Karl Rove:

[Probably Karl Rove, talking to Ron Suskind] said that guys like me were ”in what we call the reality-based community,” which he defined as people who ”believe that solutions emerge from your judicious study of discernible reality.” I nodded and murmured something about enlightenment principles and empiricism. He cut me off. ”That’s not the way the world really works anymore,” he continued. ”We’re an empire now, and when we act, we create our own reality. And while you’re studying that reality — judiciously, as you will — we’ll act again, creating other new realities, which you can study too, and that’s how things will sort out. We’re history’s actors . . . and you, all of you, will be left to just study what we do.”

A cool idea: the book tuner

I’ve just come across The Book Tuner (Twtter feed), which tries to match books with the perfect musical accompaniment when reading them.

It’s still pretty new and there aren’t many pairings lined-up yet, but here’s their latest suggestion:

The bio on the first page of Steven Amsterdam’s Things We Didn’t See Coming gives you a taste of the paucity of detail that lies ahead: ‘Steven Amsterdam is a writer living in Melbourne’. Further in, Amsterdam carries you on an episodic journey, starting with a father and son camping out on the eve of the then-impending Y2K global disaster. Each story revisits the son at various points throughout his life, in a parallel future to our own, a world seemingly ravaged by floods, disease and anarchy. This unnamed main character must negotiate chaotic and emotionally charged scenes of barricades, checkpoints, communes and rescue teams.

Noticeably absent from the novel is any description of the events that have left the world in this state. Without a Hollywood-style visual of towering tsunamis or flaming meteors, readers are free to project their own fears and anxieties about worst-case scenarios into the blank spaces. This has the unsettling effect of personalising the story, forming an instant bond between us and the anonymous son, so that we see and assess his actions as our own. Thankfully, despite the dystopian surroundings and grimness of the survivalists, Amsterdam shows us that there’s still room for hope and compassion in whatever future awaits us.

DJ Shadow’s 1996 debut release Endtroducing holds the Guinness World Record for the first ‘completely sampled album’. As later mash-up masters like Girl Talk have shown, when you rely completely on other people’s material, the skill comes from the way you mix the samples together. With Endtroducing, Shadow’s skill manifests in a spookily atmospheric composition.

The album creates the same vague sense of discomfort as Things We Didn’t See Coming. You know that something bad is happening, but you can’t quite see what’s around the corner: it’s dark, and you’re frightened. Hints are occasionally given: in ‘Stem/Long Stem’, a suitably haunting piano refrain is interspersed with the ramblings of a man terrified the police might hold him indefinitely for traffic offences (and what’s to stop them?). ‘Midnight in a Perfect World’ is another moody masterpiece – like the spaces between Amsterdam’s words, DJ Shadow allows breathing room in his songs for your own thoughts (dark or otherwise) to flourish. They make perfect companions as you settle in with your wind-up torch, tinned pineapple and sleeping bag for the long nuclear winter.

Lost

The last 20 minutes of the last episode of the last season were the only 20 minutes I watched.

Conclusion: Americans are so f’ing religious.

The last 20 minutes of the last episode of the last season were the only
20 minutes I watched.

Conclusion:  Americans are so f'ing religious.

High Fidelity, Empire Records

I watched High Fidelity [IMDB, Wikipedia] for the first time over the weekend.  It’s okay.  It’s pretty clear that anyone that liked Empire Records [IMDB, Wikipedia] when they were 20 years old would love High Fidelity when they’re 25.

Mikhail Bulgakov: The Master and Margarita

On the advice of a friend, I’ve started another step in my meandering through the Russian classics.  In particular, I have started to read Mikahil Bulgakov‘s The Master and Margarita.

I picked up the 2007 Penguin Classics version (ISBN978-0-140-45546-5) from the ever-fantastic Foyles (I swear, Foyles alone is reason enough to live in London).  It has a helpful cronology of major events in Russian history from the Russo-Turkish war (1871-8) to Nazi Germany’s invasion of the U.S.S.R. (1941), and a series of notes on obscure references throughout the text.

I’m only two chapters in, so far, but it already seems fantastic.

Avatar

The visual detail is incredible.  It is a must-see in 3D.  It was designed for 3D.

The broad plot ideas are nothing special, particularly if you’ve read much sci fi or fantasy, but that’s okay.  The moral theme (humans in general and corporations in particular are evil, tree hugging Gaia worship is cool) is rammed down your throat too much — I would have liked to see something a little more Alien-and-The-Abyss-meet-your-classic-dragon-fantasy-novel and a little less Princess-Mononoke-and-Pocahontas-read-the-Green-Left-Weekly — but, as my brother points out, it’s not a film written for me, but for it’s target audience, who apparantly like broad brush strokes and simplistic themes.

Even so, I would have liked some proper character development and better acting.  The bad guy is cartoonish.  The corporate stooge is simpering and never displays any of the internal conflict the role clearly calls for.  This standard of visual detail will soon enough be the new normal and once that happens, nobody will remember Avatar, which is a shame.

Mike Russell has written a review that I generally agree with, here (lots of spoilers).

Sir Ian McKellen is awesome

Just awesome.

“L’Heure espagnole” and “Gianni Schicchi”

Last night Dani and I went to the Royal Opera thanks to the glories of Student Standby tickets:  £10 each!

It’s luck of the draw for where you end up sitting.  Last night we were in the nose-bleeds, but at the ROH, even there you get a perfect view and no acoustic trade-off that my untrained ears can notice.  We’ve previously managed to get seats that would ordinarily cost hundreds of pounds.

The Royal Opera - L'Heure espagnole

We saw two one-act comedic operettasRavel‘s L’Heure espagnole (the poor-quality photo above is from that – Look!  Giant breasts at the opera!) and Puccini‘s Gianni Schicchi.  Freakin’ hilarious.