In just 4 years, over half of Syria’s population of 22m has been killed, displaced or fled the country.
Tweet here, by Paul Kirby.
In just 4 years, over half of Syria’s population of 22m has been killed, displaced or fled the country.
Tweet here, by Paul Kirby.
Hovertext: There's a lot of networking to be done on the Dark Side.
Imagine if I wrote a post that just served up a list like this:
The people who deserve to be raised in status:
Norman Borlaug, Jon Huntsman, female Catholics from Croatia, Scottie Pippen, Yoko Ono, Gordon Tullock, Uber drivers, and Arnold Schoenberg,
The people who deserve to be lowered in status:
Donald Trump, Harper Lee, inhabitants of the province Presidente Hayes, in Paraguay, doctors, Jacques Derrida, Indira Gandhi, and Art Garfunkel
You might get a kick out of it the first time, but quickly you would grow tired of the lack of substance and indeed the sheer prejudice of the exercise.
Yet, ultimately, the topic so appeals to you all. So much of debate, including political and economic debate, is about which groups and individuals deserve higher or lower status. It’s pretty easy — too easy in fact — to dissect most Paul Krugman blog posts along these lines. It’s also why a lot of blog posts about foreign countries don’t generate visceral reactions, unless of course it is the Greeks and the Germans, or some other set of stand-ins for disputes closer to home (or maybe that is your home). Chinese goings on are especially tough to parse into comparable American disputes over the status of one group vs. another.
I hypothesize that an MR blog post attracts more comments when it a) has implications for who should be raised and lowered in status, and b) has some framework in place which allows you to make analytical points, but points which ultimately translate into a conclusion about a).
Posts about immigration, the minimum wage, Greece and Germany, the worthiness of entrepreneurs vs. workers, and the rankings of different schools of thought or economists all seem to fit this bill.
Sometimes I am tempted to simply serve up the list and skip the analytics.
Addendum: Arnold Kling comments.
Hovertext: In fairness, my entire existence is an affectation.
Arresting the central bank’s governor. Emptying its vaults. Appealing to Moscow for help.
These were the elements of a covert plan to return Greece to the drachma hatched by members of the Left Platform faction of Greece’s governing Syriza party.
That is from the FT, and there is more:
The plan demonstrates the apparently ruthless determination of Syriza’s far leftists to pursue their political aims — but also their lack of awareness of the workings of the eurozone financial system.
For one thing, the vaults at the Nomismatokopeion currently hold only about €10bn of cash — enough to keep the country afloat for only a few weeks but not the estimated six to eight months required to prepare, test and launch a new currency.
The Syriza government would have quickly found the country’s stash of banknotes unusable. Nor would they be able to print more €10 and €20 banknotes: From the moment the government took over the mint, the European Central Bank would declare Greek euros as counterfeit, “putting anyone who tried to buy something with them at risk of being arrested for forgery,” said a senior central bank official.
“The consequences would be disastrous. Greece would be isolated from the international financial system with its banks unable to function and its euros worthless,” the official added.
For all the flaws of the euro, the case for it has never been made more effectively.
Hovertext: This comic is an allegory for, of course, the 1896 presidential elections.
Former convicts Roby So and Carlos Cervantes pick up inmates on the day they get released from prison to help ease their reentry into society.
Tags: Carlos Cervantes prisons Roby So
By now, Carlos and Roby -- officially, A.R.C.'s Ride Home Program -- have done about three dozen pickups, either together or individually, waking up long before dawn and driving for hours toward prison towns deep in the desert or up the coast. Then they spend all day with the guy (so far they've picked up only men), taking him to eat, buying him some clothes, advising him, swapping stories, dialing his family on their cellphones or astonishing him by magically calling up Facebook pictures of nieces and nephews he's never met -- or just sitting quietly, to let him depressurize. The conversation with those shellshocked total strangers doesn't always flow, Roby told me. It helps to have a wingman.
"The first day is everything," Carlos says -- a barrage of insignificant-seeming experiences with potentially big consequences. Consider, for example, a friend of his and Roby's: Julio Acosta, who was paroled in 2013 after 23 years inside. Acosta describes stopping for breakfast near the prison that first morning as if it were a horrifying fever dream: He kept looking around the restaurant for a sniper, as in the chow hall in prison, and couldn't stop gawking at the metal knives and forks, "like an Aztec looking at Cortez's helmet," he says. It wasn't until he got up from the booth and walked to the men's room, and a man came out the door and said, "How you doin'?" and Acosta said, "Fine," that Acosta began to feel, even slightly, like a legitimate part of the environment around him. He'd accomplished something. He'd made a treacherous trip across an International House of Pancakes. He'd peed.
Hovertext: The early human gets to keep its job!
Sci-Fi-O-Rama proudly present a very special feature on Chris Foss, as profiled by Jeff Love, owner and admin of the sublime Sci-Fi art blog Ski-ffy.
Born in 1946 in Guernsey, Channel Islands, Chris Foss is a British illustrator and a powerhouse of science fiction design and invention. His work is a celebration of future machinery, impossibly sized constructions exist on a planetary scale; a showcase of hardware so large that the human figure is dwarfed by comparison.
Arriving in the SF illustration field in the early 1970s, he is a cult figure, influential and universally admired. For British SF and SF art, his work can be seen as a catalyst; his prolific output was used abundantly in the UK paperback market, particularly by publishing houses like Panther, Coronet (Hodder & Stoughton) and Granada. Foss’ iconic paintings adorned the covers of American classics; E. E. Smith’s Lensman and Family d’Alembert series, reprints of the works of Asimov, James Blish and Philip K. Dick. These colourful scenes of gargantuan spacecraft, space-scenes and enormous robots not only influenced an entire school of imitators, but instilled a love of future-tech amongst several generations of science fiction fans.
His early life encouraged an interest in art, his endeavours with pencil won him a scholarship to a public school in Dorset. Exploration of the surrounding area yielded numerous influences; elements of post-war, semi-derelict, bombed-out buildings and shipyards can be seen in numerous examples of later work.
As a young man during the 1960s – by way of compromise – he found himself studying architecture at Cambridge University. His parents (both teachers) disapproved of his wishes to become a commercial artist. Finding architecture too drab a subject, Foss was reportedly something of an absentee student and by his second year he found himself providing strips of erotic artwork to Bob Guccione’s (later to publish OMNI) Penthouse magazine. The former being so impressed with the young artist that he put him on retainer to illustrate a Barbarella style strip.
Though he found steady work working for an architectural sculptor, the following years were not easy. After a few false starts whilst working various jobs to support himself, Foss career finally began to grow following an introduction to a design agency. Though he produced cover art for miscellaneous non-SF titles at first, this also included interior illustrations; careful line drawings for Alex Comfort’s The Joy Of Sex (1972) that showcased his talent as a varied and capable draughtsman. Meanwhile his reputation for skilfully depicting starships and future themes become so, that authors such as Isaac Asimov and Arthur C. Clarke would specifically ask for his work to be used on the covers of their novels.
As Foss’ name and portfolio grew, Hollywood called. Conceptual work followed for the planet Krypton (Richard Donner’s Superman – 1978) and early designs of the Leviathan and Nostromo spacecraft (Ridley Scott’s Alien – 1978) but perhaps most famous are his contributions to Alejandro Jodorowsky’s unrealised 1975 film adaptation of Frank Herbert’s Science Fiction classic Dune.
It is as a cover artist, however, that Foss is best-known. His arrival and rise in popularity initiated something of a renaissance amongst publishing houses and art editors. Previously (particularly in the UK), paperback covers – more often than not – were one of two ways: utilizing (or re-using) artwork previously found on the covers of American novels, nebulous, bland patterns or photography that suggested space as a theme, but depicted very little. There were exceptions of course, but Foss’ creations surely motivated on two fronts: in the eyes of the book buying public, as well as that of the publishers and art editors who had on their hands a skilful demonstration of the importance of jacket design, proof – if any were needed – that books can sell solely on the merit of the cover.
A new wave of artists soon followed in his footsteps as publishers sought artwork similar in tone and execution, similarly talented, wielding airbrushes. Not to diminish their talents: Tim White, Chris Moore, Peter Jones and Angus McKie’s early works often bear more than a passing resemblance, each frequently mistaken for the other, though each developed into their own, individual and recognizable artists in their own right. However, unlike the majority of his contemporaries, Foss is not a fan of SF, and as such did not read the books his was commissioned to illustrate jackets for. Scenes are rendered entirely from the imagination and as such do not illustrate scenes found inside novels. In this sense they can be seen as vague, or meaningless abstraction – but serve the purpose of creating interest in the books they appear on very well. The attraction is the technology; art for art’s sake.
Foss’ legacy is a body of work that informs us that in regards to fantastical spacecraft, elegance in appearance is not strictly necessary. Spacefaring vehicles could be as floating cathedrals, organic, asymmetrical leviathans as large as the imagination might allow. His visualisations of space hardware show incredible attention to detail: behemoths with scale reinforced by scatterings of pinpricks of light. Rejecting the needle-pointed, aerodynamic and militaristic rocket shapes established by pulp heroes, he opted instead for enormous and colourful industrial vessels, floating relics rendered with a weight of authenticity; free from the restrictions of mass in a vacuum.
Foss’ vessels may be enormous, but space is always bigger.
Many, many Thanks to Jeff Love for this bloody brilliant article! be sure to check out his blog http://ski-ffy.blogspot.co.uk
To read up more about Foss please check the following articles:
And finally If your interested in the very latest from Chris Foss himself check his site: chrisfossart.com
For male musicians across all genres, accidental death (including all vehicular incidents and accidental overdose) accounted for almost 20% of all deaths. But accidental death for rock musicians was higher than this (24.4%) and for metal musicians higher still (36.2%).
Suicide accounted for almost 7% of all deaths in the total sample. However, for punk musicians, suicide accounted for 11% of deaths; for metal musicians, a staggering 19.3%. At just 0.9%, gospel musicians had the lowest suicide rate of all the genres studied.
Murder accounted for 6.0% of deaths across the sample, but was the cause of 51% of deaths in rap musicians and 51.5% of deaths for hip hop musicians, to date.
Beware selection, because of course most rap musicians aren’t dead yet. This problem will be more extreme, the younger is the genre. Another selection effect may be that getting killed, or dying in an unusual way, contributes to your fame.
Steven Quartz writes:
…our current Gilded Age has been greeted with relative complacency. Despite soaring inequality, worsened by the Great Recession, and recent grumbling about the 1 percent, Americans remain fairly happy. All of the wage gains since the downturn ended in 2009 have essentially gone to the top 1 percent, yet the proportion of Americans who say they are “thriving” has actually increased. So-called happiness inequality — the proportion of Americans who are either especially miserable or especially joyful — hit a 40-year low in 2010 by some measures. Men have historically been less happy than women, but that gap has disappeared. Whites have historically been happier than nonwhites, but that gap has narrowed, too.
In fact, American happiness has not only stayed steady, but converged, since wages began stagnating in the mid-1970s. This is puzzling. It does not conform with economic theories that compare happiness to envy, and emphasize the impact of relative income for happiness — how we compare with the Joneses.
Here is part of the answer, consistent with what I argued in my book What Price Fame?:
…social status, which was once hierarchical and zero-sum, has become more fragmented, pluralistic and subjective. The relationship between relative income and relative status, which used to be straightforward, has gotten much more complex.
…A new generation of ethnographers has discovered an explosion of consumer lifestyles and product diversification in recent decades. From evangelical Christian Harley-Davidson owners, who huddle together around a motorcycle’s radio listening to a service on Sunday mornings, to lifestyles organized around musical tastes, from the solidarity of punk rockers to yoga gatherings, from meditation retreats to book clubs, we use products to create and experience community. These communities often represent a consumer micro-culture, a “brand community,” or tribe, with its own values and norms about status.
Note that the closing bit of this piece is…this: “Money may not buy happiness in the long run, but consumer choice has gone a long way in keeping most Americans reasonably content, even if they shouldn’t be.”
Hovertext: We're all doing relatively terrible. Thanks to the Information Age, we never forget!
Hovertext: In Robot romantic comedies, everyone finds their perfect mate with no difficulty. The humor comes from imagining doing that without a digital brain.
This is so accurate....
Here is my annual rundown of the top MR posts of 2014 as measured by page views, tweets and shares.
1. Ferguson and the Debtor’s Prison–I’d been tracking the issue of predatory fining since my post on debtor’s prisons in 2012 so when the larger background of Ferguson came to light I was able to provide a new take on a timely topic, the blogging sweet spot.
2. Tyler’s post on Tirole’s win of the Nobel prize offered an authoritative overview of Tirole’s work just when people wanted it. Tyler’s summary, “many of his papers show “it’s complicated,” became the consensus.
3. Why I am not Persuaded by Thomas Piketty’s Argument, Tyler’s post which links to his longer review of the most talked about economics book of the year. Other Piketty posts were also highly linked including Tyler’s discussion of Rognlie and Piketty and my two posts, Piketty v. Solow and The Piketty Bubble?. Less linked but one of my personal favorites was Two Surefire Solutions to Inequality.
4. Tesla versus the Rent Seekers–a review of franchise theory applied to the timely issue of regulatory restrictions on Tesla, plus good guys and bad guys!
5. How much have whites benefited from slavery and its legacy–an excellent post from Tyler full of meaty economics and its consequences. Much to think about in this post. Read it (again).
7. The SAT, Test Prep, Income and Race–some facts about SAT Test Prep that run contrary to conventional wisdom.
8. Average Stock Returns Aren’t Average–“Lady luck is a bitch, she takes from the many and gives to the few. Here is the histogram of payoffs.”
9. Tyler’s picks for Best non fiction books of 2014.
10. A simple rule for making every restaurant meal better. Tyler’s post. Disputed but clearly correct.
Some other 2014 posts worth revisiting; Tyler on Modeling Vladimir Putin, What should a Bayesian infer from the Antikythera Mechanism?, and network neutrality and me on Inequality and Masters of Money.
Many posts from previous years continue to attract attention including my post from 2012, Firefighters don’t fight fires, which some newspapers covered again this year and Tyler’s 2013 post How and why Bitcoin will plummet in price which certainly hasn’t been falsified!
The picks for the finest magazine covers of the year are starting to trickle out. Coverjunkie is running a reader poll to pick the most creative cover of 2014. Folio didn't pick individual covers but honored publications that consistently delivered memorable covers throughout the year; no surprise that The New York Times Magazine and Bloomberg Businessweek were at the top of the heap.
See also the best book covers of 2014.Tags: best of best of 2014 design lists magazines
He walked into my office and threw the manuscript on my desk with a thud.
“It’s called Thankful For Zombies. A zombie story where…”
“Nope,” I said.
His face deflated like a balloon. “But I didn’t even…”
“Zombies are overdone,” I said.
“But this is a zombie story with a twist!”
“Zombie stories with twists are super overdone.”
“But this is a story about an extended family who get together for Thanksgiving dinner, only to be interrupted by a zombie apocalypse. It’s a Thanksgiving story about zombies. You have to admit that the combination of zombies and Thanksgiving has never…”
“Done,” I said.
“Wait, really? The family starts out estranged and suspicious of each other, but then when they all have to work together to…”
“Done,” I said.
“How could that have been done?”
“Listen. I know you won’t believe me, but for the past ten years or so, the best literary minds of our generation have been working on creating zombie stories just different enough from every other zombie story around to get published. First the clever and interesting twists got explored. Then the mediocre and boring twists. Then the absurd and idiotic twists. Finally the genre got entirely mined out. There is now a New York Times bestselling book about zombies invading Jane Austen’s Pride and Prejudice. If your idea isn’t weirder than that, it’s been done. And that’s the logical ‘if’. If your idea is weirder than that, it has also been done.”
“I will get Thankful for Zombies published,” he said.
“You won’t,” I advised him.
“I just have to think of an original angle.”
“You really won’t,” I told him.
“The zombies are the good guys,” he proposed.
“The zombies are smarter than humans.”
“In the end, we ourselves are the zombies.”
“A human girl falls in love with a zombie.”
“Okay, fine. Toss the Thanksgiving angle. There’s got to be some zombie plot that will be fresh and new.”
“I promise you, there’s not.”
“Zombies in space.”
“Zombies from space.”
“Zombies are space.”
“Zombies in Victorian England.”
“Zombies in Edwardian England.”
“Zombies in Shakespearean England.”
“Shakespeare was a zombie, and all of his plays are just the word BRAAAAAAIIINS repeated over and over again.”
“Done, for some reason.”
“A young zombie comes of age.”
“A middle-aged zombie wonders if her single-minded focus on career success has prevented her from becoming the kind of zombie she wanted to be when she was younger.”
“An elderly zombie contemplates death.”
“Zombies are already dead.”
“Then I can…”
“…and yet it’s still been done.”
“A zombie in the Vietnam War.”
“A hippie zombie at Woodstock.”
“Strong female zombies.”
“A gay zombie struggling to fit into a homophobic zombie society.”
“Come on, this is the 21st century. Done like ten times. One of them won the Booker.”
“An immigrant zombie comes to America, with nothing but the decaying shirt on his back, knowing only a single word of English.”
“All zombies only know a single word of English. Also, done.”
“Zombie Henry VIII.”
“But what if it was told from the perspective of Anne Boleyn?”
“Zombie Leonardo da Vinci.”
“Done. By three guys named Matt, Luke, and John.”
“Done. As is the author, if you get my drift.”
“A parody subverting zombie stories.”
“A parody subverting zombie stories lampshading how overdone they are.”
“Super duper done.”
“Hmmmm.” He thinks for a second. “Hold on, I’m remembering something from my college math class that might work here. You take all the zombie novels ever written, and you put them in some well-ordering, for example from first to last published. Then you make a new novel, consisting of the first page of the first novel, the second page of the second novel, and so on. But you change each page just a little bit. Since we know the first page of the new novel is different from the first page of the first novel, and the second page of the new novel is different from the second page of the second novel, by extension we know that there is at least one page on which the new novel is different from each zombie novel currently in existence. That means that the new story is provably original.”
“I don’t think you understand; it’s mathematically impossible for…”
“No, I mean there’s a story about a zombie doing that.”
“Oh.” He furrowed his brow. “A zombie superhero.”
“Done. I think now you’re just trolling me.”
“Motorcycle gangs of zombies.”
“A zombie story that’s a metaphor for how…”
“I didn’t finish!”
“You didn’t have to.”
“A zombie gets cancer.”
“A zombie gets depression.”
“A zombie tries to write zombie fiction.”
“A zombie tries to write zombie fiction about a zombie trying to write zombie fiction.”
“A zombie tries to…”
“It’s done all the way down.”
“Young free-spirited zombies trying to see America.”
“A story that starts off as being about a fantasy society of knights and damsels, but at the very end it’s revealed everyone is a zombie.”
“A story that starts off as being about a young woman’s struggle to succeed in 1980s Wall Street, but at the very end it’s revealed everyone is a zombie.”
“A story that starts off as being a paleontology textbook about the fauna of the Lower Cretaceous, but at the very end it’s revealed everyone is a zombie.”
“Twist zombie endings are done.”
“A zombie…a zombie riding a giant purple emu through 17th century Ireland teams up with the pre-ghost of Thomas Jefferson to investigate a crime in which time-traveling flamboyantly gay sapient hippos have murdered the Secret Protestant Pope in order to initiate the Jain apocalypse, with liberal quotations from and allusions to the works of Edgar Allen Poe Thomas Pynchon and the medieval Rolandic cycle, and also the whole thing is a metaphor for Republican resistance to climate change legislation.”
I thought for a moment. “Okay,” I said. “That particular plot has not, technically, been done. But no one would read it.”
“They will,” he said.
“You’d be wasting your time to write it.”
“I’m writing it,” he said.
“Suit yourself. Put it on my desk when you’re finished, and I’ll take a look at it. But your chances aren’t good.”
“I don’t care,” he said, and left.
I sighed, finished up my last couple of pieces of paperwork, and shambled home from the office. On the way out, I ate my secretary’s brain.
In 2006, the year after the storm, wage and salary income for the average Katrina victim in our sample is roughly $2,200 lower than their matched counterparts. Remarkably, the earnings gap is erased the following year, and by 2008, the hurricane victims actually have higher wage income and total income than control households.
That is from a new NBER working paper by Tatyana Deryugina, Laura Kawano, and Steven Levitt. I agree with this claim:
…strong ties to a place, especially a place with limited economic opportunities such as New Orleans, have adverse economic consequences. When forced by an exogenous shock to migrate, people are able to choose from a wide range of possible locations to move to, and they seem to choose places that offer them better economic opportunities.
You will find an ungated version here.
A Colorado man, from Fruitvale (I am not making this up), was arrested for pointing a banana at the police. What makes this actually scary is the language of the police report:
The officers wrote in the police report they feared for their safety despite observing the supposed weapon was yellow.
“I immediately ducked in my patrol car and accelerated continuing northbound, fearing that it was a weapon,” Officer Joshua Bunch wrote in the report, according to the newspaper. “Based on training and experience, I have seen handguns in many shapes and colors and perceived this to be a handgun.”
The man was fortunate that he was only arrested. Had he been wielding a pointed stick he would surely have been shot.
Consider GiveDirectly this holiday season for your charitable giving. As you may recall, GiveDirectly was started by four economists and it gives money directly to the very poor in Kenya and Uganda. GiveDirectly is a top-rated charity by GiveWell. The founders are committed to providing independent, randomized controlled trials of its process. One RCT has already been conducted with positive results and 3 others are under way. GiveDirectly publicizes the trials of its process before the results are produced. Impressive–the drug companies had to be forced to do this. Check out their website, they even provides real-time performance data. Here’s a bit more on their process.
Huh. Someone built a working particle accelerator out of Lego bricks. Ok, it doesn't accelerate protons, but it does spin a small Lego ball around the ring much faster than I would have guessed.
Update: I stand corrected, the Lego particle accelerator does indeed accelerate protons, just a lot of them very slowly, accompanied by all manner of other particles.Tags: Legos video