Quotulatiousness

August 20, 2012

Punks as snobs

Filed under: Europe, Law, Media, Religion, Russia — Tags: , , , — Nicholas @ 09:06

Always willing to explore the contrarian position, Brendan O’Neill explains why Pussy Riot’s legal issues have gotten so much attention in the west:

Pussy Riot’s closing statements in their trial for blasphemy confirmed that they have not only inherited the original punk movement’s thrashing guitars and in-yer-face sensibility; they have also effusively embraced its art-school snobbishness.

Punk, in its original incarnation, was always as much a screech of rage against the “sheeple” as it was a two-fingered salute to the powers-that-be. Think Johnny Rotten wailing “They made you a moron!” in the Sex Pistols’ “God Save the Queen”. “Don’t be told what you want / Don’t be told what you need”, sang Rotten, expressing the core belief of punk — that the vast bulk of the masses, effectively everyone except the punks, had been moulded into a moron by the man.

The same snobbish thinking animates Pussy Riot today. In her closing statement, Nadezhda Tolokonnikova bemoaned the “enforced civic passivity of the bulk of the population” in Russia. She said the Russian regime “easily manipulates public opinion” — which sounds like an attack on the regime but it is also a sly salvo against the Russian masses, who must have minds like putty if they can be so easily manipulated. In contrast to this civil slavishness, Pussy Riot are all about “authentic genuineness and simplicity”, said Tolokonnikova.

[. . .]

Now we can see why Pussy Riot are so popular among many liberal opinion-formers here in the West — it is because both share a view of the little people as less culturally sophisticated and more easily forced into conformism than the commenting, bohemian, punkish sets. But of course, making snobbish statements and singing rubbish songs should not be a crime. Pussy Riot should be freed from prison immediately and allowed to continue expressing their loathing of Putin’s regime and their disgust with the Russian masses.

The butterflies of doom

Filed under: Environment, Media, Science, USA — Tags: , , , — Nicholas @ 08:57

In The Register, Lewis Page tries to round up the varied results of some recent biodiversity/climate change reports:

A volley of studies into the likely effects of climate change on various animal species — and thus on biodiversity worldwide — have come out in the last few days. The headliner, examining butterflies in Massachusetts, seems to indicate that rising temperatures are having powerful ecological effects: but another pair of studies showed that other factors may be more powerful than warming, and yet another appears to indicate that dangers are being overblown.

[. . .]

“For most butterfly species, climate change seems to be a stronger change-agent than habitat loss. Protecting habitat remains a key management strategy, and that may help some butterfly species. However, for many others, habitat protection will not mitigate the impacts of warming,” comments study author and Harvard postdoc Greg Breed.

Open and shut, then — the warming seen from the 1980s to the turn of the century has already seriously affected butterflies, and projected future warming will surely mean more serious consequences. Many people, indeed, have not hesitated to link recent severe weather events in the States to global warming — despite a refutation of this idea from no less a body than the IPCC. But as it is well known to all followers of pop-science coverage that just one butterfly beating — or not beating — its wings can have major effects on the weather in the northeastern United States, it seems only reasonable to suggest that the invading Zabulon Skippers, apparently wafted into Massachusetts by global warming, are responsible for recent storms, floods, heatwaves etc.

[. . .]

Or, in summary, scientists don’t really know what will happen to any given species in future.

“Taken together, these two studies indicate that many species have been responding to recent climate change, yet the complexities of a species’ ecological needs and their responses to habitat modification by humans can result in unanticipated responses,” says Steven Beissinger, professor at UC Berkeley and senior boffin on both studies. “This makes it very challenging for scientists to project how species will respond to future climate change.”

Yet another recent study announced in the past week goes still further, suggesting that the danger to Earth’s biodiversity posed by rising temperatures has been exaggerated.

August 19, 2012

Dave Weigel’s “Who’s Who” of prog rock

Filed under: History, Media — Tags: , , , — Nicholas @ 20:04

Should you be interested enough to try delving deeper into that place on the music map marked as “Prog rock: Here be demons”, you could do worse than this list from Slate,

The end of the world is nigh

Filed under: Books, Environment, Media, Randomness — Tags: , , , — Nicholas @ 00:07

Sell all your posessions! Live for the now! Repent your sins! Or, as Matt Ridley suggests, keep calm and carry on:

This is the question posed by the website 2012apocalypse.net. “super volcanos? pestilence and disease? asteroids? comets? antichrist? global warming? nuclear war?” the site’s authors are impressively open-minded about the cause of the catastrophe that is coming at 11:11 pm on December 21 this year. but they have no doubt it will happen. after all, not only does the Mayan Long Count calendar end that day, but “the sun will be aligned with the center of the Milky Way for the first time in about 26,000 years.”

When the sun rises on December 22, as it surely will, do not expect apologies or even a rethink. No matter how often apocalyptic predictions fail to come true, another one soon arrives. And the prophets of apocalypse always draw a following — from the 100,000 Millerites who took to the hills in 1843, awaiting the end of the world, to the thousands who believed in Harold Camping, the Christian radio broadcaster who forecast the final rapture in both 1994 and 2011.

Religious zealots hardly have a monopoly on apocalyptic thinking. Consider some of the environmental cataclysms that so many experts promised were inevitable. Best-selling economist Robert Heilbroner in 1974: “The outlook for man, I believe, is painful, difficult, perhaps desperate, and the hope that can be held out for his future prospects seem to be very slim indeed.” Or best-selling ecologist Paul Ehrlich in 1968: “The battle to feed all of humanity is over. In the 1970s [“and 1980s” was added in a later edition] the world will undergo famines — hundreds of millions of people are going to starve to death in spite of any crash programs embarked on now … nothing can prevent a substantial increase in the world death rate.” Or Jimmy Carter in a televised speech in 1977: “We could use up all of the proven reserves of oil in the entire world by the end of the next decade.”

Predictions of global famine and the end of oil in the 1970s proved just as wrong as end-of-the-world forecasts from millennialist priests. Yet there is no sign that experts are becoming more cautious about apocalyptic promises. If anything, the rhetoric has ramped up in recent years. Echoing the Mayan calendar folk, the Bulletin of the Atomic Scientists moved its Doomsday Clock one minute closer to midnight at the start of 2012, commenting: “The global community may be near a point of no return in efforts to prevent catastrophe from changes in Earth’s atmosphere.”

August 18, 2012

The road to publishing Orwell’s works

Filed under: Books, Britain, History, Media — Tags: — Nicholas @ 00:07

The notion of putting out a complete set of the works of George Orwell formed in the early 1980s. It was, as Peter Davison relates, a very long, troubled process:

For many years I taught scholarly editing and edited the work of Shakespeare and his colleagues (in particular 1 and 2 Henry IV, in Penguin editions still in print after some 45 years) — oh, and, for a New York publisher in 1971 a critical edition of music-hall songs. Out of the blue in July 1982 I was telephoned and asked if I would edit a de luxe edition of Orwell’s nine books. That meant closely comparing over fifty texts and manuscripts in twelve months. The intention was to publish this edition in 1984 — a new but intriguing kind of anniversary celebration. The concept of a de luxe edition of Down and Out in Paris and London and The Road to Wigan Pier has never ceased to amuse me but owing to the disastrous delays in getting even the first three books into print (they saw the light of day only in 1986 and had immediately to be pulped because the printer had used the uncorrected version of my text) that embarrassing description was quickly dropped. Two examples, both, fortunately, just caught in time, might well illustrate the kind of errors introduced by the printer. The title of Orwell’s last novel appeared as:

Nineteen 48pt
Eighty-Four

’48pt’ was, of course, the type-size for the title-page. And that famous formula, 2 + 2 = 5 appeared as 2r 29 5-

[. . .]

Obviously an edition of this extent takes time to produce, especially if the editor has also simultaneously to earn a living outside academe without benefit of grants and fellowships, but even then it might be asked why the 21 volumes took seventeen years to get into print. First, the edition was abandoned by its publishers — Secker & Warburg in London and by Harcourt, Brace Jovanovich in New York — no fewer than six times. For example, after being abandoned in summer 1986 it was again abandoned three years later — without it having been resuscitated in between. Perhaps foolishly, but in the end fortunately, we ignored ‘abandonments’ and simply kept at it, seeking, editing and annotating material.

Prog rock today: looking back on the future

Filed under: History, Media — Tags: , , , , — Nicholas @ 00:05

The final installment of Dave Weigel’s history of prog rock at Slate:

This is what fascinates me about prog. The music is relentlessly futurist, with no nostalgia for anything in rock. Was there excess? I think we’ve answered that — there was horrible excess, and some of it involved the lead singer from the Who singing atop a giant rubber penis. In the U.K., the music press turned on prog, and turned viciously. Same thing in the States. “If you can’t have real quality,” wrote Lester Bangs of ELP, “why not go for quantity on a Byzantine scale, why not be pompous if you’re successful at it?” Bangs, played by Philip Seymour Hoffman, made it into Cameron Crowe’s ‘70s nostalgia film Almost Famous. ELP did not.

[. . .]

Pop’s move away from prog didn’t happen that quickly. It was slow and tortured and involved a ton of moving parts breaking around the same time. In the United States, where most of this music ended up being sold, progressive rock radio slowly, slowly was assimilated into the Borg of commercial networking. “The reason free-form, underground progressive ended up becoming unpopular is it was the ultimate ‘active’ format,” says Donna Halper. “It was aimed at music freaks who adored everything about the newest groups and didn’t ever wanna hear a hit. OK, fine, that makes up about 6 percent of your audience. But the mass audience wanted a middle ground.” A&R men stopped looking for “progressive” acts. Sire stopped promoting Renaissance and started schlepping the Ramones. “You’d put an album out, but they were expecting to sell so many thousand,” says Davy O’List. “I don’t think it hurt the live concert attendances, but it hurt overall.”

Culturally and lyrically, prog began as anti-“establishment” music. But compositionally, it rewarded long listens and worship of virtuosity. Punk deconstructed that. [. . .]

Prog, went the thinking, was an affront against sincerity. If you gussied a song up with strings, surely you were covering for a lack of feeling. That point was made countless times, usually in the same terms with which Bangs dismissed ELP. The originators of prog were trying to make simple pop songs irrelevant. The music that replaced prog copied that reaction — what had gone before was corrupt, and had to be destroyed.

That sensibility lasted longer than most medieval land wars. The occasional mainstream defender of prog always, always started in defense mode. In June, this year, Ted Leo published a confessional in Spin all about his love for Rush. It was packaged as a “confessional” because Rush were proggy, and you couldn’t endorse prog qua prog.

[. . .]

Rush, who came late to the prog wave (1974), have trimmed back the pretention while flaunting the virtuosity. As a reward, they can still play stadiums, in basically any country. They just happen to be the most sellable artists in a niche genre. Virtuoso metal and math rock, bands like Mastodon and Protest the Hero, have nestled into the same place. That’s one fractal of modern-day prog.

August 17, 2012

Even Guardianistas are puzzled by Assange’s Ecuador gambit

Filed under: Europe, Law, Liberty, Media — Tags: , , , , — Nicholas @ 09:10

There are few newspapers who have been as supportive of Julian Assange in his legal plight than the Guardian. When even Guardian columns find it difficult to figure out why he turned to Ecuador, we’ve moved into a different universe:

Julian Assange’s circus has pulled off another breathtaking stunt: he has won political asylum in Ecuador. Assange’s flight from Sweden, a decent democracy with a largely excellent justice system, takes ever more absurd forms. After the decision of Ecuador’s foreign minister, Ricardo Patiño, the Swedish Twitterverse filled with mocking jokes.

Assange has few fans left here. On the contrary, his unholy alliance with Ecuador’s political leadership casts a shadow over what was, despite everything, his real achievement: to reveal shattering news through the revolutionary medium of WikiLeaks.

Patiño praised Assange as a fighter for free expression, and explained that they had to protect his human rights. But Ecuador is a country with a dreadful record when it comes to freedom of expression and of the press. Inconvenient journalists are put on trial. Private media companies may not operate freely.

President Rafael Correa is patently unable to tolerate any truths that he does not own. Reporters Without Borders has strongly and often criticised the way that media freedoms are limited in Ecuador. Assange is a plaything for the president’s megalomania.

Prog rock still has those who poke fun… via @daveweigel

Filed under: History, Humour, Media — Tags: , , , — Nicholas @ 00:13

Although I’ve been happily linking to the prog rock series of articles at Slate, not everyone thinks that progressive rock is great. Here’s an “ad” put together by @SlateV for prog’s greatest hits (H/T to Dave Weigel himself):

And here’s James Lileks from a few years back:

It’s obvious from Note One that everyone involved in the effort had so much THC in their system you could dry-cure their phlegm and get a buzz off the resin, but instead of having the loose happy ho-di-hi-dee-ho cheer of a Cab Calloway reefer number, the songs are soaked with Art and Importance and Meaning. You can imagine the band members sitting down to hash out (sorry) the overarching themes of the album, how it should like start with Total Chaos man because those are the times in which we live with like war from the sky, okay, and then we’ll have flutes because flutes are peaceful like doves and my old lady can play that part because she like studied flute, man, in high school. The lyrics are all the same: AND THE KING OF QUEENS SAID TO THE EARTH THE HEIROPHANT SHALL NOW GIVE BIRTH / THE HOODED PRIESTS IN CHAMBERED LAIRS LEERED DOWN UPON THE LADIES FAIR / NEWWWW DAAAAY DAWNNNING!

Weigel’s prog rock series: the excess goes critical

Filed under: Britain, History, Media — Tags: , , — Nicholas @ 00:04

Part four of Dave Weigel’s look at the rise and fall of progressive rock:

The order, Rick Wakeman remembers, was for chicken vindaloo, rice pilau, six papadums, bhindi bhaji, Bombay aloo, and a stuffed paratha. This was November 1973 and Yes had sold out the Manchester Free Trade Hall for a performance of Tales From Topographic Oceans. The album consisted of four songs that rolled gently together, over four sides of vinyl, for 83 minutes. “There were a couple of pieces where I hadn’t got much to do,” Wakeman would recall, “and it was all a bit dull.

During every show, a keyboard tech reclined underneath Wakeman’s Hammond organ, ready to fix broken hammers or ribbons and to “continually hand me my alcoholic beverages.” That night in Manchester, the tech asked the bored Wakeman what he wanted to eat after the show. Wakeman, the lone carnivore in Yes, ordered the curry. “Half the audience were in narcotic rapture on some far-off planet,” Wakeman wrote in his 2007 memoir, “and the other half were asleep, bored shitless.”

Wakeman kept on at the keyboards, adding gossamer organ melodies and ambient passages to the songs. And then, around 30 minutes later, his tech started handing up “little foil trays” of curry, and Wakeman began placing them on top of his keyboards. “I still didn’t have a lot to do,” he wrote, “so I thought I might as well tuck in.” The food was obscured by the instrument stacks, further obscured by Wakeman’s cape, but the aroma danced over to Yes’s lead singer, Jon Anderson. He took a good look at the culinary insult. Shrug. Papadum in hand, he returned to his microphone to sing his next part.

Tales From Topographic Oceans just might be the recorded ur-text of prog rock excess. No band had ever tried to fill each side of two LPs with long, multisection suites. Yes did it, and voila — a No. 1 album. They went on tour with a sci-fi lullaby backdrop, designed by their three-time album cover artist Roger Dean. He had seen the sort of enormous venues they’d booked, realized how hard it now was for faraway audiences to see the band, and so voila — phantasmagoric eye candy. Their set began with 82 minutes of new music before they played an old familiar tune. They played in their biggest-ever concert halls, and they sold them out.

But as the tour went on, Yes dropped the third section of the album from the show, then the second. Soon, Wakeman vented to reporters about the band’s screw-up. “Tales From Topographic Oceans is like a woman’s padded bra,” he told one interviewer. “The cover looks good but when you peel off the padding there’s not a lot there.” Yes had gotten too damn silly. The music had collapsed in on itself.

August 16, 2012

QotD: Old wines

Filed under: Media, Quotations, Wine — Tags: — Nicholas @ 09:05

Some people poo-poo the idea of old wines because they lack the fresh fruit they expect to have in their wines. I for one embrace older wines, if for nothing else you’re tasting a piece of history. Hopefully by now you’ve seen the movie Sideways think back, to Maya and Miles sitting on her porch talking about old wines: “I like to think about the life of wine … How it’s a living thing. I like to think about what was going on the year the grapes were growing; how the sun was shining; if it rained. I like to think about all the people who tended and picked the grapes. And if it’s an old wine, how many of them must be dead by now. I like how wine continues to evolve, like if I opened a bottle of wine today it would taste different than if I’d opened it on any other day, because a bottle of wine is actually alive. And it’s constantly evolving and gaining complexity. That is, until it peaks … And then it begins its steady, inevitable decline.”

One of the oldest wines I can remember drinking was a 1970 Chateau Haut Bailly … it sticks in my mind cause it has special meaning in a couple of ways. It was the first time I had tried a wine from the year of my birth, and two I had it on the occasion of my engagement when my family had gathered around for a dinner to celebrate. I thought there was no better time to show off something old from a great Bordeaux vintage. Most dismissed the brownish liquid in their glass and turned their nose up at the interesting, and admittedly, odd smells emanating from the glass; but I relished in it and more people should learn and understand that if you spent X number of years cooped up in a bottle (in this case some 38 years +) you’d be a little crabby when you emerged too; but with a little time and a little air I’m sure you’d come around — start feeling like a more mature version of your old self … the same can be said for wine.

Michael Pinkus, “Tasting Old Wines from the Chateau”, Ontario Wine Review, 2012-08-16

Weigel’s prog rock series: the excess creeps in

Filed under: Britain, History, Media — Tags: , , — Nicholas @ 08:32

The third entry in Dave Weigel’s excellent and informative history of progressive rock:

With more gigs came more pomp. Ian Dove, one of the New York Times’ rock writers, approached ELP’s December 1973 Garden shows the way a reporter might write about a fully loaded nuclear submarine. The gear — tell us about this gear. ELP had arrived in Manhattan, Dove wrote, with “over 200 separate items of equipment, valued by customs at just over $100,000.”

Among them:

  • “Thirteen keyboard units” for Keith Emerson, including a “brand new prototype Moog synthesizer.”
  • A $5,000 Persian rug, “for bass player Greg Lake to stand on while playing.”
  • A drum kit as complex as a painting by H.R. Giger — he’d designed the nightmare cover to ELP’s most recent album, Brain Salad Surgery — crafted in stainless steel, topped off by an “old church bell from the Stepney district of London,” surrounded by Chinese gongs. If a stage was equipped right, the kit could rotate 360 degrees while Carl Palmer pounded out the solos in “Tarkus.” Cost: $25,000.

Band members got a little tired of talking about all this. Lake showed up for a Rolling Stone interview in cheap jeans and pronounced touring “incredibly tiring.” The excess was the sacrifice the band made for you, the fan. “It is very hard to get something across to 10,000 people with just a piano, a bass, and a set of drums,” Emerson told the Times. “It works fine in smaller places and the recording studio. I always compose on the piano. But in the large arenas where we have to play, everything gets lost.”

Where we have to play — a magnificent early example of the humblebrag.

George Orwell, “the moral compass of the 20th century”

Filed under: Books, Britain, History, Media, WW2 — Tags: , , , — Nicholas @ 08:15

A review of Diaries by George Orwell in the Wilson Quarterly:

The early entries cover Orwell’s days as a tramp, a period that provided material for Down and Out in Paris and London (1933), and his subsequent investigation of poverty in the industrial north of England, from which he drew for The Road to Wigan Pier (1937). This volume’s lacuna is Orwell’s experience fighting the fascists during the Spanish Civil War. Plainclothes policemen in Barcelona seized the one or two diaries that recorded those events, and delivered the work to the Soviets. Though the writings likely remain in the archives of the former KGB, Orwell transformed them into literature as well, with the extraordinary memoir Homage to Catalonia (1938).

Of greatest interest are entries from the periods of Orwell’s life that he did not turn directly into books. His World War II diaries are the highlight. Although all of the entries feature Orwell’s direct prose style, there are occasional hints of the novelist at work: “Characteristic war-time sound, in winter: the musical tinkle of raindrops on your tin hat.” And there are ominous passages that reveal his unusually clear view of the awful century unfolding, such as this one from June 1940 that prefigured his 1945 novel Animal Farm:

Where I feel that people like us understand the situation better than so-called experts is not in any power to foretell specific events, but in the power to grasp what kind of world we are living in. At any rate I have known since about 1931 . . . that the future must be catastrophic. I could not say exactly what wars and revolutions would happen, but they never surprised me when they came. Since 1934 I have known war between England and Germany was coming, and since 1936 I have known it with complete certainty. . . . Similarly such horrors as the Russian purges never surprised me, because I had always felt that — not exactly that, but something like that — was implicit in Bolshevik rule. I could feel it in their literature.

August 15, 2012

Dave Weigel on the rise of prog rock

Filed under: Britain, History, Media — Tags: , , — Nicholas @ 10:44

The second installment in Dave Weigel’s informative history of progressive rock:

That keyboardists were suddenly rock gods represented the sea change that progressive music brought to the rock ‘n’ roll scene of the 1970s. The pop song was out. The prog epic was in. We laugh now at the foolhardiness of these 20-minute rock operas, but at the time they felt revolutionary — like the future of music, arrived all at once in the form of a wall of keyboards and a Moog organ. Small A&R teams went on treasure digs for progressive music. Labels like Charisma, Immediate, Harvest, and Sire signed bands that never intended to record three-minute singles. And the labels could sign them because the tours and the LPs sold. Rick Wakeman could write a thematic micro-opera about the Knights of the Round Table, and sell 10 million copies. In 14 months, Jethro Tull recorded not one but two albums that consisted of single, 40-minute songs. And they both went platinum.

Who was listening to this music? Hippies. Teenagers. Fans who were sure there was something more out there. People who wanted to drop acid and have their pupils bombarded by lasers. Arty types who wanted to find meaning in music, and who — rather than searching for it in short pop songs based on American blues — found it in the quirky Britishness of prog, equal parts twee and subversive.

The musicians, and the audiences, had grown up with rock. They took it seriously. But they didn’t feel constrained. They were more interested in personalizing or stretching the forms passed down to them. Everybody loved the Beatles, but they loved them best when they got weird. “The Beatles,” said guitarist and producer Robert Fripp, “achieve probably better than anyone the ability to make you tap your foot first time round, dig the words sixth time round, and get into the guitar slowly panning the twentieth time.”

This was supposed to be rebellious music. The Louis XVI of the time was the standard pop song structure — creative kryptonite. In a 1974 feature on Yes for Let It Rock magazine, David Laing explained that the “basic impetus was a justified discontent with the limitations of the pre-Pepper pop approach — the glorification of image, the three-minute single, the pressure towards repetition of the already successful formula.” Rejecting the three-minute single in favor of the suite meant rejecting the “establishment” in every way. “It was felt after Sgt. Pepper anybody could do anything in music,” said Yes/King Crimson drummer Bill Bruford in a 1994 interview. “It seemed the wilder the idea musically the better.”

The birth of Prog Rock

Filed under: History, Media — Tags: , , — Nicholas @ 00:14

Shameful confession time: I’m a long-time fan of prog rock. I suspect I’m not completely alone, as Dave Weigel wouldn’t have put this article together if there weren’t more than a tiny number of us fans still alive:

By 1967, Emerson was touring with the Jimi Hendrix Experience and Pink Floyd, and composing the first long classical-rock symphony. By 1970, he was one-third of a super-group that could sell out Madison Square Garden and summon 350,000 people to the Ontario (California) Speedway, possibly the biggest single concert of the 1970s.

And by 1977, Keith Emerson was, to critics and a new generation of fans, the wince-inducing icon of progressive rock. Prog. And prog, thanks to the heroic efforts of the culture-gatekeepers, was deader than Elvis locked in King Tut’s sarcophagus and spit out of an airlock.

You can’t completely kill an art form. Even if a musical genre becomes despised, it endures — on master tapes, on cut-out LPs, on Spotify or MP3-trade fora. Simon Reynolds describes how the “massive, super-available archive” gifted to us by the Internet allows anyone to rediscover anything, and pop music to gnaw its own tail. Hip-hop artists, our cultural magpies, comb through prog’s greatest hits to sample its stranger riffs and lost organ bleats. Modern, prog-influenced acts like Dream Theater and Porcupine Tree can sell out midsized venues.

But if ever a form of popular music dropped dead suddenly, it was prog. Progressive rock essentially disappeared, and has remained in obscurity for 35 years, ridiculed by rock snobs, ignored by fans, its most famous artists — Yes, King Crimson, ELP, Jethro Tull — catchphrases for pretentious excess.

August 14, 2012

Anecdotes are not data: Demise of Guys based on anecdotal evidence

Filed under: Media, Randomness — Tags: , , , , — Nicholas @ 09:15

Jacob Sullum on the recent ebook The Demise of Guys: Why Boys Are Struggling and What We Can Do About It, by Philip G. Zimbardo and Nikita Duncan.

Zimbardo’s thesis is that “boys are struggling” in school and in love because they play video games too much and watch too much porn. But he and his co-author, a recent University of Colorado graduate named Nikita Duncan, never establish that boys are struggling any more nowadays than they were when porn was harder to find and video games were limited to variations on Pong. The data they cite mostly show that girls are doing better than boys, not that boys are doing worse than they did before xvideos.com and Grand Theft Auto. Such an association would by no means be conclusive, but it’s the least you’d expect from a respected social scientist like Zimbardo, who oversaw the famous Stanford “prison experiment” that we all read about in Psych 101.

[. . .]

One source of evidence that Zimbardo and Duncan rely on heavily, an eight-question survey of people who watched Zimbardo’s TED talk online, is so dubious that anyone with a bachelor’s degree in psychology (such as Duncan), let alone a Ph.D. (such as Zimbardo), should be embarrassed to cite it without a litany of caveats. The most important one: It seems probable that people who are attracted to Zimbardo’s talk, watch it all the way through, and then take the time to fill out his online survey are especially likely to agree with his thesis and especially likely to report problems related to electronic diversions. This is not just a nonrepresentative sample; it’s a sample bound to confirm what Zimbardo thinks he already knows. “We wanted our personal views to be challenged or validated by others interested in the topic,” the authors claim. Mostly validated, to judge by their survey design.

[. . .]

Other sources of evidence cited by Zimbardo and Duncan are so weak that they have the paradoxical effect of undermining their argument rather than reinforcing it. How do Zimbardo and Duncan know about “the sense of total entitlement that some middle-aged guys feel within their relationships”? Because “a highly educated female colleague alerted us” to this “new phenomenon.” How do they know that “one consequence of teenage boys watching many hours of Internet pornography…is they are beginning to treat their girlfriends like sex objects”? Because of a theory propounded by Daily Mail columnist Penny Marshall. How do they know that “men are as good as their women require them to be”? Because that’s what “one 27-year-old guy we interviewed” said.

Even when more rigorous research is available, Zimbardo and Duncan do not necessarily bother to look it up. How do they know that teenagers “who spend their nights playing video games or texting their friends instead of sleeping are putting themselves at greater risk for gaining unhealthy amounts of weight and becoming obese”? Because an NPR correspondent said so. Likewise, the authors get their information about the drawbacks of the No Child Left Behind Act from a gloss of a RAND Corporation study in a San Francisco Chronicle editorial. This is the level of documentation you’d expect from a mediocre high school student, not a college graduate, let alone a tenured social scientist at a leading university.

« Newer Posts — Older Posts »

Powered by WordPress