Interesting article for the question about most visited places in Travel - http://www.afghanscene.com/may-2013-issue-may-2013-issue/10384-the-25-least-visited-countries-in-the-world?
Media - Good article for freedom of the press question - http://www.theatlantic.com/international/archive/2012/02/us-press-freedom-fell-27-places-last-year-to-47th-in-the-world/252391/
Business and Finance - Great talk about austerity. Scottish accent, swearing and economics! - http://www.youtube.com/watch?feature=player_embedded&v=JQuHSQXxsjM#!
Relationships - Good ideas for the monogamy question - http://www.nytimes.com/2013/06/16/books/review/what-do-women-want-by-daniel-bergner.html?pagewanted=all&_r=1
Hey gang. I've tried to make the changes we talked about the other day plus I've made a few other little ones so please have a look again. I've also changed the settings so that anyone can now comment and there shouldn't be a verification, so please comment away. The deadline for submitting questions to my superiors is June 7th, so no changes can be made after that time. I'd like another Business question and think Ethics as well as Arts and Culture still need a little work.
Lifestyle
1. How does consumerism influence family life?
2. Why is consumerism so important for a country's economy?
3. What do you think about shopping on Black Friday?
4. What are some interesting subcultures that you know?
5. What is the role of the media in the increased popularity of vampirism?
6. Why do people become hoarders?
7. Should local authorities help hoarders and what could be done?
Travel & Tourism
1. Why do you think people decide to spend their holidays in strange and unconventional places?
2. What are the most frequently visited places/countries and why? What are the trends?
3. What are the advantages of traveling?
4. In what way has the development of technology transformed tourism?
5. What are the reasons to travel?
6. What are the differences between 'glamping' and camping?
7. Why do people take pictures during their holidays?
Technology
1. How has technology changed society? Has it made our lives better and/or easier?
2. Does technology help to prevent crimes or the other way round, does it encourage criminals to commit crimes?
3. What are some different kinds of cyber crimes?
4. Why do people become body hackers?
5. What kind of computer hackers are there and what are the differences?
6. How can people protect themselves from becoming victims of cybercrime?
7. Is 'sextortion' an inevitable result of technological advancement?
Media
1. Why did the "Golden Eagle Kid" video become so successful?
2. Does the freedom of the press and media really exist?
3. How important is television in your life? What kind of TV programs do you watch (if any)?
4. Explain the term "honey trap".
5. Can the Internet fully compete with television?
6. What was meant by Chris Bauer when he referred to the democratization of the news?
7. Why has it been said that TV is a social killer?
Business & Finance
1. Is income inequality only a problem for the 99%
2. Describe how the level of inequality in the US has evolved over the past century.
3. Should the super rich be taxed at a higher rate than the poor? Justify your choice.
4. What is meant by the term fiat currency and what gives it value?
5. What are some of the causes of the current financial crisis?
6. What is a Ponzi scheme and how does it compare to the financial system?
7. Is it true that nobody could have predicted the financial crisis?
Politics & Society
1.Would you ever take part in a protest?
2. Is protesting an effective way of expressing dissatisfaction with the government?
3. How do you feel about the techniques used by the police during the UK tuition protests and the sentencing of the rioters after the UK riots?
4. Is violence as a part of protests ever justified?
5. What's the difference between riots and protests?
6. What options do people in non-democratic states have to express their dissatisfaction?
7. What was the trigger for student protests in Quebec and what do you think would happen if it happened in Poland?
Relationships
1. Are polyamorous relationships possible to maintain over the long term?
2. Is it possible to claim that monogamy is superior to polygamy or vice versa?
3. Why do people become involved in polyamorous relationships?
4. What benefits of monogamy and polygamy can you think of?
5. Why would someone want to have a long term relationship with a death-row convict?
6. Could you present some of the possible societal and personal benefits derived from intercultural relationships?
7. What kind of problems resulting from intercultural marriage can you think of?
Ethics
1. Who or what was responsible for the financial crisis?
2. Explain the term 'revolving door'. Give some examples.
3. Why do rich people quite often get away with criminal and/or unethical behavior?
4. Are rich people less ethical than the rest of society?
5. Where do people get their notions of right and wrong from?
6. What is meant by the term 'moral hazard'?
7. Should employers employ family members in their company?
Arts & Culture
1. To what extent should art represent reality?
2. Should art be funded with public money?
3. Should art which is controversial or offensive be censored?
4. What was the purpose of the film 'Exit Through the Gift Shop' in your view?
5. Was the Thierry character real? What was Banksy trying to satirise through his character?
6. Is there such a thing as good or bad art? Who is able to decide this?
7. Is graffiti vandalism or art?
Sunday, May 26, 2013
Saturday, May 18, 2013
Arts and Culture Presentation
Hey everyone. Don't get too excited, but here's the final article of the year for the last presentation of the year! See you next week!
http://www.vice.com/read/i-went-to-art-basel-to-try-and-get-art
Here's another I found about graffiti, just extra - http://www.bbc.co.uk/news/magazine-22551669
I Went to Art Basel and Tried to "Get" Art
A while ago, I wrote a thing about how I don't "get" art. In the piece, I dared to suggest that maybe it was silly that a neon sign that says "my cunt is wet with fear" is worth $100,000. It got read by a lot of people, many of whom disagreed with me and got very very angry. After reading people's feedback, I thought maybe I had been a little harsh, and decided to give art ONE MORE CHANCE.
So I headed to Art Basel in Miami. In case you don't keep up with #art, Art Basel is the world's largest art fair. A bunch of galleries from all around the world gather in a big exhibition center in Miami and show off their bestest bits of art (pictured above), and have some parties and stuff.
Bleugh. I dunno, if anything, going to Basel has made me hate art even more. Because the fact that it was a trade show just underlined how much money was going into the whole thing. Every time I saw some stuff that I liked or that I thought was funny, I would think about the money and time that went into it, and just get bummed out.
http://www.vice.com/read/i-went-to-art-basel-to-try-and-get-art
Here's another I found about graffiti, just extra - http://www.bbc.co.uk/news/magazine-22551669
I Went to Art Basel and Tried to "Get" Art
A while ago, I wrote a thing about how I don't "get" art. In the piece, I dared to suggest that maybe it was silly that a neon sign that says "my cunt is wet with fear" is worth $100,000. It got read by a lot of people, many of whom disagreed with me and got very very angry. After reading people's feedback, I thought maybe I had been a little harsh, and decided to give art ONE MORE CHANCE.
So I headed to Art Basel in Miami. In case you don't keep up with #art, Art Basel is the world's largest art fair. A bunch of galleries from all around the world gather in a big exhibition center in Miami and show off their bestest bits of art (pictured above), and have some parties and stuff.
First thing I noticed while walking around the main exhibition was the
INSANE amount of canvases-painted-one-color that were on display.
I mean, I get it. It's "making us question what art REALLY is" or some shit. Which I guess would have been kinda interesting
the first time someone did it 100 years ago. But do we really need to
keep doing it? It's been pretty well established what art is by now.
What I don't get, is who the fuck is buying this stuff? Is this really
worth $20,000? I know that nothing is worth what you pay for it, that's
just how the world works. Like, the computer I'm typing this on probably
cost the manufacturer about 1/50th of what I paid for it. But come the
fuck on, man. A black square? That costs as much as an entire
third-world school?
I know the term "laughing all the way to the bank" is overused, but I
find it hard you wouldn't at least chuckle while driving to Chase if you
were the guy who just made a year's rent by painting a $30 canvas
black.
And how does an artist even decide this is what they're gonna do with
their life? It's like when people become an acoustic singer/songwriter.
There is not one single thing that you can add to that world, so why
bother?
I guess it's probably "Blair Witch syndrome"—where someone
sees another person making a ton of money doing something that they
themselves could have done and it makes them temporarily lose their
mind.
Maybe that's just what the entire art world is. Like how the tech world
is made up almost completely of people who wish they could have been
Mark Zuckerberg, the art world is people who are bummed they didn't
think of someone else's obvious idea first.
Like how Tracey Emin made a bunch of money writing completely asinine statements in neon lighting,
and now there's an entire artistic movement of it. Like what you see
above. Which are just four examples of about 1000000 I saw at Basel of
people taking nominally profound statements and then turning them into
art 3D objects to be sold for more than I make in a year.
Weirdly, Pharrell is taken seriously by people in Miami. I saw him at a
bunch of shows, and he wasn't laughed out of the building a single
time. He even did a talk about design which, unfortunately, I missed, as
I'm sure it would have been fucking GOLD. Apparently Kanye showed up
and they had a debate about modern aesthetics, hahahahaha. This is the
same guy who once asked everyone to start calling him "Skateboard P,"
right? The one who was "rhymin' on the top of a cop car"? I didn't
imagine that? And people are paying to hear him give his opinions on
design now? Got it.
They don't have the accompanying literature that explains what the art
"means" at most of the exhibits, which is a shame as, TBH, I was pretty
bored most of the time I was there, and reading people waffle on about
what art means is what can really take a piece of art from Snoozetown to
the Land of LOL.
For instance, this piece was a woman laying in a dark room while some
stupid song about Megaupload played, which the accompanying text
described as a "monolithic structure" that was "representative of an
archaic relic from pre-Internet times" and "literally (and
metaphorically) trapping her in the physical world... the only possible
mode of transcendence from this uncomfortable reality is offered by the
artist herself... singing instructions on 'how to upload your soul to
the internet.'"
Which elevates it from "some woman lying on the ground surrounded by a
bunch of shit" to "some woman taking several days out of her life to lie
in a gallery and try to make some non-point about the internet
AHHAHAHAHAHAHAHAHAHA."
I really feel like I missed out on so much hilarious shit due to the
absence of explanations. There was so so so much stuff there that I
would love to hear someone attempt to justify. Like this: a plastic
child's head, with underwear on it, smoking a cigarette, on a MacBook.
Speaking of, do you think artists think of a point they want to make
and then make an art piece around that? Or do you think they do it in
reverse? Like this one, which is a misshapen plate that says "mother
fucker" on it—the artist's reasoning for it was this:
"Rainer Ganahl introduces his personal view on one of the most
renowned artist of the 20th century, Lucio Fontana. The famous sliced
open canvases, although bearing traces of obvious violence, are
nonetheless serving an idealistic quest. But Rainer Ganahl only keeps
the regressive and sadistic aspect of the gesture. Through Ganahl's raw
and dirty style, Fontana's works now appear outrageous."
Do you think he actually woke up one day thinking all that stuff, and
then set out to find a way of communicating that message to the world?
Or do you think it's like my high school design projects where I'd be
like, "I wanna make a pencil holder with Marvin the Martian on it," and
then would have to retroactively make a whole project around it acting
like I developed it n' stuff?
It's like with mediums and psychics. I can never tell if they know
they're lying, or if they're mentally ill and actually believe what
they're saying to people. If artists are in on the joke and know they're
full of shit and what they're doing is totally fucking ridiculous, then
that's kind of amazing.
Like, if the guy who made this was stoned with his buddies one day and
went "you think I could get away with it if I just made a wall mounted
vagina and charged like, ten grand? That would be so sick"? He would be
my hero.
"HAHAHAHA you're never gonna fucking believe this, but you know
that canvas I did, the one with the shitty little spraypainted squiggle
on it? Some idiot bought it! Drinks are on me!"
It costs 50 grand for an exhibition space here, apparently. Fifty
grand! Can you imagine how embarrassing it would have to be to sit there
all day if you were a gallerist and this was the art you were showing?
Just in case it's unclear, this is a couple of empty banana boxes, and
some spotlights, and it was the ENTIRE body of work that some gallery
from Zurich was displaying.
And that's just 50 grand to exhibit, that doesn't take into account how
much it must have cost them to fly the installation and staff over from
Zurich. And then you have to sit in front of this piece of shit all day
for a week while people come over and look at it knowing that they know
you paid thousands to be there? Brutal.
Bleugh. I dunno, if anything, going to Basel has made me hate art even more. Because the fact that it was a trade show just underlined how much money was going into the whole thing. Every time I saw some stuff that I liked or that I thought was funny, I would think about the money and time that went into it, and just get bummed out.
The other thing that people at Art Basel do is throw big, exclusive
partes so that art people can hang out with other art people.
Presumably, most people reading this will never get invited to one, so let me talk you through it:
It starts with a line. Which is much like the line at a regular
club/party, except that it's guest list-based, and everyone in it thinks
they are the most important person in the world. This was taken at some
party I went to that Demi Moore and Martha Stewart were at. We had to
line up for 30 minutes or so, and people LOST THEIR FUCKING MINDS. I
heard one girl compare her situation to Auschwitz, and another was
repeatedly screaming that she would sue the hotel if she got bitten by
any bugs. Eventually people just decided to Braveheart it and
charge in by any means possible, like these old-timers who are
scrambling through the fucking wilderness like they're running away from
Predator.
I really hope I'm not climbing through bushes because I feel too
entitled to have to wait ten minutes when I'm this guy's age :(
Inside is a lot like a regular party, except the music is really quiet,
the drinks are free, and people don't appear to be having fun.
There are also lots of people there who are famous that you won't
recognize. Like these two. Lots of people were asking to take their
photo, so I assume they're "somebodies." Can someone lemme know who they
are in the comments? I'm assuming by their clothes/skin color, that
they're both real housewives of Miami.
Unrelated, but I was at some barbeque that Chanel was throwing (lol)
and found out the next day that Lenny Kravitz had been there. I am so so
so bummed I didn't realize he was there at the time. I feel like Jon
Snow after he was on that plane with Idi Amin.
I could've just walked up to Lenny and murdered him right there in the
party, and the world wouldn't have had to see him tweet another picture
of himself wearing a leather jacket with no shirt underneath (come the
fuck on, Lenny, if it's cold enough for a leather jacket, it's cold
enough for a shirt, too).
Sorry everyone!
There were also lots of people at the parties who looked like this.
When I asked this girl for a photo, she didn't say a word, just did a
subtle nod while blue-steeling, posed like this, then walked away
looking like she was about to burst into tears.
When did really, really serious people co-opt dressing goofy? How're
you gonna turn up to a party dressed like fun-time chemo-Barbie and then
act like everyone in the room just killed your puppy? She should be
arrested and charged for false advertising.
This guy, too. He's dressed like a one-man party, but it would be
physically impossible for him to have a more self-serious facial
expression. Can you imagine if an old lady had to sit next to this guy
on a bus? She would think he was a blast, start a conversation, and then
he'd end up getting all mad at her about Rihanna ruining sea-punk on
SNL. Can someone fun please take back dressing whacky from these
assholes?
And that's pretty much Art Basel in a nutshell. Apparently it generates one billion dollars for the city of Miami. Huh.
To conclude:
Sunday, May 12, 2013
Final Exam Questions Updated
Hey everyone. I've received a couple of suggestions and put the options that have been made so far. Pleas have a look at the lifestyle, media, and relationship topics and continue to make suggestions in the comment section. Additionally, the ethics questions need a lot of work and we need to start to make questions for arts and culture. You can choose from these plus from next weeks class:
Hey, here's the list for final exam questions up to now. I've marked a couple of places where changes still need to be made plus we still to make questions for arts & culture, please feel free to comment below or bring ideas to class. Before that though, I've been asked for a class list by the exam committee, please ensure your name is below and is spelt correctly (feel free to add Polish signs:
Martyna Grygier
Magdalena Wolanska
Krysia Kulak
Marta Makos
Magda Lytka
Dominika Konicka
Justyna Zaleska
Joanna Cieslak
Aleksandra Sznabel
Izabela Michniewska
Patryk Stefanowicz
Juliusz Dereszewicz
Marcin Kowal
Joanna Gil
1.Would you ever take part in a
protest?
- To what extent should art represent reality?
- Should art be funded with public money?
- Should art which is controversial or offensive be censored?
- What was the purpose of the film Exit Through the Gift Shop in your view?
- Was the Thierry character real? What was Banksy trying to satirise through his character?
- Is there such a thing as good or bad art? Who is able to decide this?
- Are illegal forms of art such as graffiti and street art genuinely art?
Hey, here's the list for final exam questions up to now. I've marked a couple of places where changes still need to be made plus we still to make questions for arts & culture, please feel free to comment below or bring ideas to class. Before that though, I've been asked for a class list by the exam committee, please ensure your name is below and is spelt correctly (feel free to add Polish signs:
Martyna Grygier
Magdalena Wolanska
Krysia Kulak
Marta Makos
Magda Lytka
Dominika Konicka
Justyna Zaleska
Joanna Cieslak
Aleksandra Sznabel
Izabela Michniewska
Patryk Stefanowicz
Juliusz Dereszewicz
Marcin Kowal
Joanna Gil
Lifestyle
1. How does consumerism influence
family life?
2. Why is consumerism so important for a country's economy?
3. What do you think about shopping on Black Friday?
4. What are the techniques used by companies to encourage people to buy their products?
(or: Do you think that such phenomena as hoarding, vampirism etc. could have occurred 70 years ago? Why? Why not?" ?
5. What are some interesting subcultures you know?
6. What is the role of the media in the increased popularity of vampirism?
7. Why do people become hoarders?
8. Should local authorities help hoarders and what could be done?
2. Why is consumerism so important for a country's economy?
3. What do you think about shopping on Black Friday?
4. What are the techniques used by companies to encourage people to buy their products?
(or: Do you think that such phenomena as hoarding, vampirism etc. could have occurred 70 years ago? Why? Why not?" ?
5. What are some interesting subcultures you know?
6. What is the role of the media in the increased popularity of vampirism?
7. Why do people become hoarders?
8. Should local authorities help hoarders and what could be done?
Travel & Tourism
1. Why do you think people decide to
spend their holidays in very strange and
unconventional places?
unconventional places?
2. What are the most frequently visited places/countries and why? What are the trends?
3. What are the advantages of traveling?
4. In what way has the development of technology transformed tourism?
5. What are the reasons to travel?
6. What are the differences between 'glamping' and camping?
7. Why do people take pictures during their holidays?
6. What are the differences between 'glamping' and camping?
7. Why do people take pictures during their holidays?
Technology.
1. How has technology changed society?
Has it made our lives easier and better?
2. Does technology help to prevent
crimes or the other way round, does it encourage criminals to commit
crimes?
3. What kinds of cyber crimes do you know?
4. Why do people become body hackers?
5. What kind of computer hackers are there and what are the differences?
6. Can you think of any ways of preventing people from committing cyber crimes? How can people protect themselves from becoming victims of it?
7. Is 'sextortion' an immediate effect of technological advancement?
Media -
1. Why did the "Golden Eagle Kid"
video become so successful?
2. How can the mass media be useful in spreading propaganda?
(or: "Are any circumstances in which mass media censorship can be justified? Does the freedom of media still exist?")
3. How important is television in your life? What kind of TV programs do
you watch (if any)
4. Does televisiom generally have a positive or negative influence?
(or: Explain the term 'Honey Trap')
5. Can the Internet fully compete with television?
5. Can the Internet fully compete with television?
6. How can the television bring people together?
(or: What was meant by Chris Bauer when he referred to the democratization of the news?)
7. Why has it been said that TV is a social killer? How can watching TV be
addicitve?
7. Why has it been said that TV is a social killer? How can watching TV be
addicitve?
I think there are too many TV
questions here and that we need a question or two from the obligatory
set material. Please choose 1 or 2 to remove and a couple from below
to add:
1.
Explain the term ‘Honey Trap’.
2.
What arguments does Louise Mensch give to support the idea that
publishing the photos was in the public interest?
3.
How does John Prescott argue the opposite point?
4.Explain
Jeremy Hunt’s description of Rupert Murdoch as a ‘Marmite
proprietor’?
5.
Does Hunt believe the photos should have been published?
6.
Why was it so important for Rupert Murdoch to publish the pictures?
7.
How has the digitalisation and globalisation of the media rendered
regulatory frameworks obsolete?
8.
What is the ‘grey market’? Give examples of news stories where
the ‘grey market’ has operated?
9.
What does the author mean by the ‘democratisation’ of news?
10.
What is the underlying thesis of the article?
Business & Finance
1. Is income inequality only a problem
for the 99%
2. Describe how the level of
inequality in the US has evolved over the past century.
3. Should the super rich be taxed at a higher rate than the poor? Justify your choice.
4. What is meant by the term fiat currency and what gives it value?
5. What are some of the causes of the current financial crisis?
6. Describe the origins of the crisis in Cyprus and its consequences
3. Should the super rich be taxed at a higher rate than the poor? Justify your choice.
4. What is meant by the term fiat currency and what gives it value?
5. What are some of the causes of the current financial crisis?
6. Describe the origins of the crisis in Cyprus and its consequences
Politics & Society
2. Is protesting an effective way
of expressing dissatisfaction with the government?
3. How do you feel about the techniques used by the police during the UK tuition protests and the sentencing of the rioters in the UK riots?
4. Is violence, as a part of protests ever justified?
5. What's the difference between riots and protests?
6. What options do people in non-democratic states have to express their dissatisfaction?
7. What was the trigger for student protests in Quebec and what do you think would happen it happened in Poland?
8. Why does it seem western
governments have been seemingly less enthusiastic about intervening
in Syria than they were in Libya?
Relationships – There are too many similar question here. Which should be removed/reworded? 1. Are polyamorous relationships long-standing? 2. What are the legal obstacles to polyamory? 3. Polygamy vs monogamy – which is better? Why? 4. Why do people start polyamory relationships? 5. What benefits of monogamy/polygamy can you think of? 6. Would you date a convict? Why? Why not? 7. Why would people want to have a long-standing relationship with a death-row convict? 8. Is it possible to have a satisfying relationship with a convict? 9. Could you present possible societal and personal benefits from dating person from a different culture? 10. What kind of problems in intercultural marriage can you think of?
The suggestion has been made to remove questions 2, 6 and 8
Ethics
- Definitely still needs work
- Who is responsible for the financial crisis?
- Explain the term 'revolving door'. Give some examples.
- Why do rich people quite often get away with punishment?
- Are rich people less ethical?
- How does a person get their notions of right and wrong?
- What is meant by the term 'moral hazard'?
- What is TARP? Describe its consequences.
- Should employers employ the family members in their company?
Arts
& Culture –
- To what extent should art represent reality?
- Should art be funded with public money?
- Should art which is controversial or offensive be censored?
- What was the purpose of the film Exit Through the Gift Shop in your view?
- Was the Thierry character real? What was Banksy trying to satirise through his character?
- Is there such a thing as good or bad art? Who is able to decide this?
- Are illegal forms of art such as graffiti and street art genuinely art?
Arts and Culture extra
Hey guys, no article for next week as there will be a movie. However, here's something for you to look at; it's just the names of the art work we looked at last week along with a description of each of the art movements (not in order) plus the set questions we looked at. See you Thursday.
Should art serve a social purpose?
Should art be funded with public money?
Should art which is controversial or offensive be censored?
- Claude Monet, Impression, soleil levant (Impression, Sunrise), (1872), Impressionism
- A Russian advertising construction, date unknown, Constructivism
- Banksy, Art Attack ( Street-Art mural at West Bank Barrier Israel), (2005), Post-Modernism
- Max Ernst, The Elephant Celebes, (1921), Surrealism
- Pablo Picasso, Three Musicians (1921), Cubism
- George Bellows, Dempsey and Firpo, (1924), Figurative Art
- Edvard Munch, The Scream, (1893), Expressionism
- Jean-Baptiste Siméon Chardin, Woman Cleaning Turnips, (ca.1738), Realism
- “Its typical trait is to present the world in an utterly subjective perspective, radically distorting it for emotional effect, to evoke moods or ideas. Its artists sought to express the meaning of being alive and emotional experience rather than physical reality.”
- “It involves the belief that many, if not all, apparent realities are only social constructs, as they are subject to change inherent to time and place. It emphasizes the role of language, power relations, and motivations; in particular it attacks the use of sharp classifications such as male versus female, straight versus gay, white versus black, and imperial versus colonial.”
- “It rejected the idea of autonomous art in favour of art as a practice directed towards social purposes. It lasted as an active force lasted until around 1934, having a great deal of effect on developments in the art of the Weimar Republic and elsewhere, before being replaced by Socialist Realism.”
- “In its artworks, objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.”
- “Characteristics of its paintings include relatively small, thin, yet visible brush strokes, open composition, emphasis on the accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, the inclusion of movement as a crucial element of human perception and experience, and unusual visual angles”
- “It describes artwork—particularly paintings and sculptures—which are clearly derived from real object sources, and are therefore by definition representational.”
- “It believed in the ideology of objective reality and revolted against the exaggerated emotionalism of the Romantic Movement. Truth and accuracy became the goals of many of its exponents”
- “Its works feature the element of surprise, unexpected juxtapositions and non sequitur”.According to your ranking, what are your favourite/least favourite types of art? Why do you think this is so?
Should art serve a social purpose?
Should art be funded with public money?
Should art which is controversial or offensive be censored?
Tuesday, May 7, 2013
Arts & Culture
Hey guys, hope you had a great Majowka. On to the final topic, everyone's (un)favorite, arts and culture. Here's your article for this week:
http://www.bbc.co.uk/news/magazine-17872666
If you want to see more work, here's a site for some of Crabapple's stuff - http://www.vice.com/read/sevilles-squatters-no-light-no-water-no-fear and another article about her - http://www.newrepublic.com/article/112903/molly-crabapple-and-occupy-wall-street-protest-art#
If you're bored, yiou can always learn something about your country by checking out my last blog post, Thatcher's Poland on the right side. Laters
I am with The Illuminators - a group of performance artists whose art is to shine revolutionary logos onto buildings in support of the Occupy Wall Street protest, including one that has become iconic - the 99% logo, known to protesters as "the bat signal".
In the van is not just a projector and a laptop, but also posters, a mobile library, and a whole vat of hot chocolate. The woman controlling the projector is a union organiser. The man vee-jaying the video is - well, a vee-jay (video jockey) in real life, but for corporates, fashion shows and the like.
And Mark Read, the driver and instigator, is a college lecturer in media studies.
"The bat signal is really simple. It's big and it reads as a bat signal - it's culturally legible," he says. It's a call to arms and a call for aid, but instead of a super-hero millionaire psychopath, like Bruce Wayne, it's ourselves - it's the 99% coming to save itself. We are our own superhero," he explains.
When Read and his collaborators shone the famous 99% logo onto the Verizon building, as protesters occupied Brooklyn Bridge in November 2011, one art critic called it "the most emblematic artwork" of the year, "the artistic gesture that stood for its rebel aspirations and its thwarted dreams".
Tonight they have a smaller scale work in hand. They get to Bedford, do a double sweep of the area as the cops move them on a few times, then unleash the full experience of Occupy projections, subversive Disney movies from the 1930s, hot chocolate, techno music and free books.
They get a good reception: Brooklyn is home to many of the "Gwaf" generation - "graduates without a future".
In the months since it was cleared from Zuccotti Park, the Occupy movement has been doing lots of culturally centred guerrilla actions around New York and other cities. So much so that it is fair to say that among youth, organised labour and some minority communities there is a bit of an Occupy zeitgeist going on.
"It's been interesting," says Read. "A lot of the work coming out of Occupy is not concerned with how it will be perceived by a buying public. It's not designed to be bought, but shared - it's designed to be made available as widely as possible.
"It's attracted an audience, and wherever you get an audience you get art critics. The art itself is super 'copyleft' - people are putting out their work as posters."
Molly Crabapple is one of those who have contributed to the poster art. During the protest her acrylic paint and canvas strewn apartment, a few streets away from Zuccotti, became an impromptu salon for the graphic novelists, painters, illustrators and graphic designers who clustered around Occupy.
"I think what Occupy did to my generation is it took us outside of ourselves. Outside of the gallery system, outside this very arid, self-referential way of working and it made us engage with real people, and the outside world.
"With my work for Occupy I am not just producing a cool, pretty image that decorates things, I am producing a functional and persuasive piece of work that's going to be pasted on buildings and held up by demonstrators."
When I try to do a piece to camera in the deserted, windswept concrete of Zuccotti not even my BBC press pass entitles me to stand in this quasi-public space.
But the protesters have been sneakily busting back into the space under the cover of Zoe Beloff's performance project "Days of the Commune". This involves getting protesters and ordinary New Yorkers to rehearse, in full costume, a play by Brecht about the 1871 seizure of Paris by the working class.
Beloff, an experienced concept artist who will bring the work to galleries in Edinburgh (Talbot Rice Arts Centre) and Blackpool later this year, was mesmerised by the Occupy protest in Zuccotti Park:
"At first I just went down there and drew, documentary drawings. And I would observe and I began to think about the time when documentary drawing was socially relevant: as when Manet drew the dead revolutionaries after the Paris Commune.
"I'd been, in my work, thinking about ideas of a utopian
society abstractly and then suddenly it was - my god - it's just
happening a few blocks from my house: I'd better get down there."
The work itself is more than just a play, for Beloff. It is about drawing out the parallels between the Commune "the first occupation of a city by its poor" and what the rebels at Zuccotti were trying to do.
It is not just in the visual arts that stuff is happening around Occupy. The protest movement has been a golden age for the various oppositional blogs and online magazines: n+1, founded in 2004, took up the various themes of Occupy early: student revolt; social injustice etc.
Another, The New Inquiry, grew out of an unofficial "salon" and illegal bookshop in a Manhattan apartment. Its founder, Rachel Rosenfelt, tells me she started it because she spotted a "surplus population" of talented young writers and artists left directionless after the economic crisis of 2009 ripped the heart out of the media business in New York.
"A year earlier we'd have been written off as hipsters, but nobody calls us that. What Occupy has done is created a spectacle of that youthful population: a spectacle of the simmering complaint that exists among that generation.
"It recognises there are in fact political stakes to our culture and our art - it's not about would-be academics and novelists daydreaming and writing for a small specialised group, it has made central to the cultural discussion the possibility of action."
Though TNI is not a magazine "about" Occupy, its writers and its subject matter clearly speak to an Occupy zeitgeist. But is it too early to identify an Occupy "movement" in art and wider culture?
It is certainly very clear what the artists involved are challenging: the world of the multi-millionaire concept artist, whose work is executed by what Crabapple calls "minions"; the white-walled gallery - with its air of non-committal, its preference for meaningless gesture, its reliance on interpretation by the viewer, and its extreme focus on commercialisation.
"Occupy signals the limitations of what we've come to call Contemporary Art. Because the art of Occupy doesn't really work as Contemporary Art. It's bad art if you judge it in Contemporary Art terms because it's not open to interpretation.
"It uncritically uses the language of advertising to communicate: it goes where Contemporary Art can't go - because the latter is useless in situations of political urgency."
If there is an Occupy cultural zeitgeist what are its characteristics? Here's a speculative list:
Crabapple, whose work commands serious money now, recently used
a web site called Kickstarter to "crowdsource" the funding for her
paintings. She raised $64,000 from people who will not get the actual work, but who will get various souvenirs or sketches associated with it.
The money will support her while she does the work, but the actual paintings will sell at commercial prices:
"I thought that creating work that could only be bought by really rich people was silly. I started thinking of how I could break up the components so that people who were not that wealthy could participate in it."
These common themes - rejection of commercialism, a return to unironic figurative painting, a focus on mass, collaborative subversion of mainstream imagery and above all art with a social purpose - would be evidence of the beginnings of a new style under any circumstance.
But these themes coincide with a revolutionary new thought among art theorists - that the era of "contemporary art" as a whole may be over.
Kulendran Thomas tells me that if Lehman Brothers announced the death of neo-liberal economics, and the decline of the West, it would be logical for there now to be the death of an art that celebrated the freemarket age and the dominance of America:
Next year will see the anniversary of a landmark in the birth of American modern art: The Armory Exhibition of 1913 introduced the United States to Cubism, Expressionism, Fauvism and the whole shebang of modernism in one, massive slamdunk.
By contrast, postmodern or "contemporary" art emerged - and modernism died - through a more protracted process.
If theorists like Kulendran Thomas are right then a significant event is happening: a new period of post-contemporary art may be opening up, with its early signals to be found in the graffiti, the graphic novels, light shows, street theatre, posters and figurative paintings associated with the Occupy movement.
Like modernism it has started with the sudden import to America of a meme of revolt from outside - though in this case from Tahrir, Syntagma and Trafalgar squares, rather than from the bohemian salons of Europe.
It is the art of outsiders: often craftspeople in the new workshops of the 21st Centuries - ad agencies, light-show technicians, graphic novel imprints, interior design groups. Its funding models - at least in this stage - are anti-commercial: much of it is in fact done "off the side of a desk" by people trying to hold down real-world jobs. And its aim, like Occupy, is to change American politics.
"There's a global uprising for democracy going on," says Read, "and these artists are trying to champion that movement".
http://www.bbc.co.uk/news/magazine-17872666
If you want to see more work, here's a site for some of Crabapple's stuff - http://www.vice.com/read/sevilles-squatters-no-light-no-water-no-fear and another article about her - http://www.newrepublic.com/article/112903/molly-crabapple-and-occupy-wall-street-protest-art#
If you're bored, yiou can always learn something about your country by checking out my last blog post, Thatcher's Poland on the right side. Laters
Does Occupy signal the death of contemporary art?
There
has been so much art centred around the Occupy protests that it is
beginning to feel like a new artistic movement. What defines it, and
could it supplant the world of the galleries?
We get in the van and speed along to Bed-Stuy.
It is the New York equivalent of London's Shoreditch or Berlin's
Prenzlauer Berg, a hipster sub-metropolis, but with cuter beards.I am with The Illuminators - a group of performance artists whose art is to shine revolutionary logos onto buildings in support of the Occupy Wall Street protest, including one that has become iconic - the 99% logo, known to protesters as "the bat signal".
In the van is not just a projector and a laptop, but also posters, a mobile library, and a whole vat of hot chocolate. The woman controlling the projector is a union organiser. The man vee-jaying the video is - well, a vee-jay (video jockey) in real life, but for corporates, fashion shows and the like.
"The bat signal is really simple. It's big and it reads as a bat signal - it's culturally legible," he says. It's a call to arms and a call for aid, but instead of a super-hero millionaire psychopath, like Bruce Wayne, it's ourselves - it's the 99% coming to save itself. We are our own superhero," he explains.
When Read and his collaborators shone the famous 99% logo onto the Verizon building, as protesters occupied Brooklyn Bridge in November 2011, one art critic called it "the most emblematic artwork" of the year, "the artistic gesture that stood for its rebel aspirations and its thwarted dreams".
Tonight they have a smaller scale work in hand. They get to Bedford, do a double sweep of the area as the cops move them on a few times, then unleash the full experience of Occupy projections, subversive Disney movies from the 1930s, hot chocolate, techno music and free books.
They get a good reception: Brooklyn is home to many of the "Gwaf" generation - "graduates without a future".
In the months since it was cleared from Zuccotti Park, the Occupy movement has been doing lots of culturally centred guerrilla actions around New York and other cities. So much so that it is fair to say that among youth, organised labour and some minority communities there is a bit of an Occupy zeitgeist going on.
Occupy Wall Street began in Zuccotti Park, in New York's financial district, in September 2011
Which is why I am here. There has been so much art centred
around the Occupy experience that it is, even this early, possible to
ask whether we are seeing the emergence of an Occupy "style" - a
tangible artistic movement in response to this major political event in
American life that could upset the world of the white-walled galleries."It's been interesting," says Read. "A lot of the work coming out of Occupy is not concerned with how it will be perceived by a buying public. It's not designed to be bought, but shared - it's designed to be made available as widely as possible.
"It's attracted an audience, and wherever you get an audience you get art critics. The art itself is super 'copyleft' - people are putting out their work as posters."
Molly Crabapple is one of those who have contributed to the poster art. During the protest her acrylic paint and canvas strewn apartment, a few streets away from Zuccotti, became an impromptu salon for the graphic novelists, painters, illustrators and graphic designers who clustered around Occupy.
Now she is hard at work on a major series of paintings on themes of protest and rebellion, entitled Shell Game.
The most complete of the works shows a Vampire Squid, depicting Goldman
Sachs, surrounded by a crowd of little fat-cat capitalists doing
various unspeakable things in the style of a Bosch or Breugel painting.
"I started out just doing graphics - I drew this picture of
an octopus with 'Fight the Vampire Squid' on its belly - and put it
online and people used it as protest signs all over the country,"
Crabapple says. "I think what Occupy did to my generation is it took us outside of ourselves. Outside of the gallery system, outside this very arid, self-referential way of working and it made us engage with real people, and the outside world.
"With my work for Occupy I am not just producing a cool, pretty image that decorates things, I am producing a functional and persuasive piece of work that's going to be pasted on buildings and held up by demonstrators."
When I try to do a piece to camera in the deserted, windswept concrete of Zuccotti not even my BBC press pass entitles me to stand in this quasi-public space.
But the protesters have been sneakily busting back into the space under the cover of Zoe Beloff's performance project "Days of the Commune". This involves getting protesters and ordinary New Yorkers to rehearse, in full costume, a play by Brecht about the 1871 seizure of Paris by the working class.
Beloff, an experienced concept artist who will bring the work to galleries in Edinburgh (Talbot Rice Arts Centre) and Blackpool later this year, was mesmerised by the Occupy protest in Zuccotti Park:
"At first I just went down there and drew, documentary drawings. And I would observe and I began to think about the time when documentary drawing was socially relevant: as when Manet drew the dead revolutionaries after the Paris Commune.
The work itself is more than just a play, for Beloff. It is about drawing out the parallels between the Commune "the first occupation of a city by its poor" and what the rebels at Zuccotti were trying to do.
It is not just in the visual arts that stuff is happening around Occupy. The protest movement has been a golden age for the various oppositional blogs and online magazines: n+1, founded in 2004, took up the various themes of Occupy early: student revolt; social injustice etc.
Another, The New Inquiry, grew out of an unofficial "salon" and illegal bookshop in a Manhattan apartment. Its founder, Rachel Rosenfelt, tells me she started it because she spotted a "surplus population" of talented young writers and artists left directionless after the economic crisis of 2009 ripped the heart out of the media business in New York.
"A year earlier we'd have been written off as hipsters, but nobody calls us that. What Occupy has done is created a spectacle of that youthful population: a spectacle of the simmering complaint that exists among that generation.
"It recognises there are in fact political stakes to our culture and our art - it's not about would-be academics and novelists daydreaming and writing for a small specialised group, it has made central to the cultural discussion the possibility of action."
Though TNI is not a magazine "about" Occupy, its writers and its subject matter clearly speak to an Occupy zeitgeist. But is it too early to identify an Occupy "movement" in art and wider culture?
It is certainly very clear what the artists involved are challenging: the world of the multi-millionaire concept artist, whose work is executed by what Crabapple calls "minions"; the white-walled gallery - with its air of non-committal, its preference for meaningless gesture, its reliance on interpretation by the viewer, and its extreme focus on commercialisation.
Zuccotti Park was cleared of the protest camp in November 2011, but the movement has continued
Christopher Kulendran Thomas, an artist and curator whose work spans London and New York, says:"Occupy signals the limitations of what we've come to call Contemporary Art. Because the art of Occupy doesn't really work as Contemporary Art. It's bad art if you judge it in Contemporary Art terms because it's not open to interpretation.
"It uncritically uses the language of advertising to communicate: it goes where Contemporary Art can't go - because the latter is useless in situations of political urgency."
If there is an Occupy cultural zeitgeist what are its characteristics? Here's a speculative list:
- It is highly figurative (Crabapple points out that she and others come from the illustration craft, not fine art postgrad schools)
- There is an emphasis on typography
- Posters with artistic rather than strictly graphic design values are the norm
- The default "genre" is the graphic novel, with heavy influences of graffiti and graffiti art (Banksy, though a generation ahead of them, is one of the few mainstream artists they revere)
- And whereas for example "Pop Art" would subvert cultural icons as an act by the artist (think Warhol, Marilyn, Campbell's soup), here the subversion is done knowingly as a shared act between the artist and a mass audience that understands the concept of subverting icons as a normal cultural practice
The money will support her while she does the work, but the actual paintings will sell at commercial prices:
"I thought that creating work that could only be bought by really rich people was silly. I started thinking of how I could break up the components so that people who were not that wealthy could participate in it."
These common themes - rejection of commercialism, a return to unironic figurative painting, a focus on mass, collaborative subversion of mainstream imagery and above all art with a social purpose - would be evidence of the beginnings of a new style under any circumstance.
But these themes coincide with a revolutionary new thought among art theorists - that the era of "contemporary art" as a whole may be over.
Kulendran Thomas tells me that if Lehman Brothers announced the death of neo-liberal economics, and the decline of the West, it would be logical for there now to be the death of an art that celebrated the freemarket age and the dominance of America:
"Contemporary Art faces a
potentially terminal crisis. Contemporary Art has sold itself as a
non-specific, expanding, universal non-genre, much as neo-liberalism
passed itself off as the natural state of things. The realisation that
Contemporary Art is in fact a time-limited historical period, that can
end, is a radical moment. But it's an idea that's gathering momentum."
"I can't see what will emerge afterwards, anymore than I can
see what the world economy might look like after Western dominance, but
Occupy art can be seen as foreshadowing what replaces Contemporary Art."Next year will see the anniversary of a landmark in the birth of American modern art: The Armory Exhibition of 1913 introduced the United States to Cubism, Expressionism, Fauvism and the whole shebang of modernism in one, massive slamdunk.
By contrast, postmodern or "contemporary" art emerged - and modernism died - through a more protracted process.
If theorists like Kulendran Thomas are right then a significant event is happening: a new period of post-contemporary art may be opening up, with its early signals to be found in the graffiti, the graphic novels, light shows, street theatre, posters and figurative paintings associated with the Occupy movement.
Like modernism it has started with the sudden import to America of a meme of revolt from outside - though in this case from Tahrir, Syntagma and Trafalgar squares, rather than from the bohemian salons of Europe.
It is the art of outsiders: often craftspeople in the new workshops of the 21st Centuries - ad agencies, light-show technicians, graphic novel imprints, interior design groups. Its funding models - at least in this stage - are anti-commercial: much of it is in fact done "off the side of a desk" by people trying to hold down real-world jobs. And its aim, like Occupy, is to change American politics.
"There's a global uprising for democracy going on," says Read, "and these artists are trying to champion that movement".
Tuesday, April 23, 2013
Ethics Presentation
Hey. Here's the link and the article for Thursday's presentation. See you then:
http://opinionator.blogs.nytimes.com/2013/01/07/favoritism-is-good/
Oh and BTW, if you haven't had enough of economics and ethics, I found this interesting (to me at least!) article this morning - http://www.macrobusiness.com.au/2013/04/economists-afraid-of-ethics/
Of the columns I have written that have been negatively received, none has been greeted with more outrage than last March’s “Two Cheers for Double Standards.”
The case for a single standard is familiar and easy to make. If you’re
in a position either to dispense rewards (a promotion, a bonus, an
appointment) or level sanctions, you should do so impartially; that is,
without being influenced in your decision by family membership,
friendship, religious affiliation, ethnic solidarity or any of the other
considerations that can skew judgment. When a comrade and someone in
the other camp engage in the same behavior, your praise or blame
should be independent of the personal feelings you may have for either.
Don’t give your friends a pass you wouldn’t give to your enemies.
Don’t give your brother the job if someone else not related to you at
all is more qualified.
This single-standard standard — employ a calculus of merit rather than a calculus of consanguinity — asks you to regard ideological/political differences as articles of clothing; they are cosmetic rather than essential; the person is what he is apart from them and it is the person, rather than the accidents of birth or belief or nationality, who merits your respect.
In contrast, the double-standard standard says that it’s not only O.K. but positively good to favor those on your side, members of your tribe. These are the people who look out for you, who have your back, who share your history, who stand for the same things you do. Why would you not prefer them to strangers? In this way of thinking, personhood is not what remains after race, gender, ethnicity and filial relationships have been discounted; rather, personhood is the sum of all these, and it makes no sense to disregard everything that connects you to someone and to treat him or her as if the two of you had never met.
Favoritism – giving more than an even break to your own kind — is not a distortion of judgment, but the basis of judgment. And being impartial to those who are a part of you — through blood or creed or association or profession (think of the thin blue line) — is not to be virtuous, but to be ungrateful and disloyal, more concerned with hewing to some abstract principle of respect for all than with discharging the obligations that come along with your most intimate relations. The particularism that in the one vision is an impediment to right action is, in the other, the key to right action.
I have been making arguments like this since 1979, when I inveighed
against “blind submission,” the policy of erasing from submissions for
publication all the identifying marks that tell the editors of a
journal exactly who has produced the essay they are judging — what
position he holds, what graduate program he attended, what mentors
fashioned him, what school of thought he belongs to, what work he has
produced, what influence he has exerted on the field. The idea is that
after knowledge of these things has been put behind a veil (much like
John Rawls’s “veil of ignorance”), the editors will be able to make
their decisions on the basis of “intrinsic merit” — a merit that can
display itself, shine through, without being obscured by the
distractions of a professional résumé.
I contended that there was no such thing as intrinsic merit and that merit could be calculated only in relation to those factors the policy of blind submission forbids us from considering. The “pure” or cleansed judgment the policy supposedly fosters, I wrote, “is never available,” not because editors cannot distance themselves from the biases attendant upon their professional histories — biases that incline them to value submissions congenial to their scholarly convictions, much as an employer might value the job application of a relative — but because without those biases, “there would be nothing either to see or to say.”
Over the years I have made essentially the same argument in a variety of contexts — when I wrote against interdisciplinarity and for disciplinary narrowness, against openness of mind and for a mind closed to error, against objectivity and for discrimination, against meritocracy and for nepotism, against formal neutrality and for affirmative action, against independent voters and for partisan zeal, against a politics that is not a respecter of persons and for what I called “rational identity politics,” against wind turbines and for Nimby (Not in My Backyard), against a worship of free speech and for the deployment of censorship (not, it should go without saying, a principled censorship, but a censorship tied to my judgment of the harms produced by some forms of speech).
Now, when I make these arguments, there is a book I can refer to in the hope that its author might become the target of the brickbats usually hurled at me. The author is Stephen T. Asma, and the book is titled “Against Fairness.” Asma is a professor of philosophy and his thesis is that “in the background of our usual thinking about fairness is the assumption of the equality of all mankind — of egalitarianism,” the idea that all persons, not just the persons you feel close to, are worthy of respect. Egalitarians believe that “tribal thinking is uncivilized because it draws its circles of respect narrowly, while ‘higher civilizations’ include the whole human species in their circle of respect.”
There is a history and a teleology here: once human beings lived in a Hobbesian state of nature intent only on satisfying their own desires and, perhaps, the desires of their nearest and dearest; only later did they mature and “slowly learn to care for others” until at the highest reaches of understanding they learn to care for everyone. (Richard Rorty used to say that what we need to do is expand our sense of “us.”)
Favoritism in this story is something we outgrow. Asma tells another story (backed up by studies of biological and psychological development): favoritism is something we grow with; it may begin in the private sphere, but “favoritism can segue into the wider public sphere and do much good there as well.” Asma finds an example in the civil rights heroes who are usually, he observes, celebrated as “fairness fighters,” that is, as persons who oppose discrimination as an abstraction and fight for a principle, not for a particular local outcome. No, says Asma, “Rosa Parks and Susan B. Anthony were not fighting for the equality of all people per se, but for the inclusion of their in-groups.”
So what has been characterized as the struggle to end favoritism and replace it with a universal brotherhood is in fact an effect of favoritism: “Some serious allegiance to one’s tribe … is how anything gets done at the social level — including civil rights,” Asma writes. Although diversity is the banner under which our modern moral crusaders often march, no one has ever fought for diversity, for universal, undiscriminating inclusion; rather, everyone fights for the inclusion of one’s own kind.
Seeing everyone as an “idealized equal” — not as a particularized being, but as an abstract autonomous agent indistinguishable in essence from all other agents – may be the imperative of a philosophical line stretching from Kant to Rawls, but it is not an imperative that does the work of the world. That work is done, according to Asma, by locally situated persons who act not out of a concern for all humanity but out of a concern for that portion of humanity with which they identify: “Do many Jewish people privilege their tribe over the interests of non-Jews? Of course, they do, and why shouldn’t they?”
The answer to that question is the content of the tradition Asma argues against, the liberal secular tradition that stipulates “fairness between autonomous individual agents” (agents who know nothing of one another) as “the defining feature of our morality.” Against this tradition, which has had its run for over 200 years, Asma poses a morality found in “other cultures, immigrant groups and … rural cultures in the United States.”
In that morality — the morality of favoritism — fairness and rights are less important than “loyalty and patriotism, sacred/profane issues of purity, temperance [and] obedience to authority.” Those who subscribe to that morality or, rather, live it out, perform acts of generosity and caring for which they need give no impartial justification. “They bring you soup when you’re sick; they watch your kids in an emergency; they open professional doors for you; they rearrange their schedules for you; they protect you; they fight for you; they favor you.”
Sounds good.
http://opinionator.blogs.nytimes.com/2013/01/07/favoritism-is-good/
Oh and BTW, if you haven't had enough of economics and ethics, I found this interesting (to me at least!) article this morning - http://www.macrobusiness.com.au/2013/04/economists-afraid-of-ethics/
Favoritism Is Good
By STANLEY FISH
Stanley Fish on education, law and society.
This single-standard standard — employ a calculus of merit rather than a calculus of consanguinity — asks you to regard ideological/political differences as articles of clothing; they are cosmetic rather than essential; the person is what he is apart from them and it is the person, rather than the accidents of birth or belief or nationality, who merits your respect.
In contrast, the double-standard standard says that it’s not only O.K. but positively good to favor those on your side, members of your tribe. These are the people who look out for you, who have your back, who share your history, who stand for the same things you do. Why would you not prefer them to strangers? In this way of thinking, personhood is not what remains after race, gender, ethnicity and filial relationships have been discounted; rather, personhood is the sum of all these, and it makes no sense to disregard everything that connects you to someone and to treat him or her as if the two of you had never met.
Favoritism – giving more than an even break to your own kind — is not a distortion of judgment, but the basis of judgment. And being impartial to those who are a part of you — through blood or creed or association or profession (think of the thin blue line) — is not to be virtuous, but to be ungrateful and disloyal, more concerned with hewing to some abstract principle of respect for all than with discharging the obligations that come along with your most intimate relations. The particularism that in the one vision is an impediment to right action is, in the other, the key to right action.
I contended that there was no such thing as intrinsic merit and that merit could be calculated only in relation to those factors the policy of blind submission forbids us from considering. The “pure” or cleansed judgment the policy supposedly fosters, I wrote, “is never available,” not because editors cannot distance themselves from the biases attendant upon their professional histories — biases that incline them to value submissions congenial to their scholarly convictions, much as an employer might value the job application of a relative — but because without those biases, “there would be nothing either to see or to say.”
Over the years I have made essentially the same argument in a variety of contexts — when I wrote against interdisciplinarity and for disciplinary narrowness, against openness of mind and for a mind closed to error, against objectivity and for discrimination, against meritocracy and for nepotism, against formal neutrality and for affirmative action, against independent voters and for partisan zeal, against a politics that is not a respecter of persons and for what I called “rational identity politics,” against wind turbines and for Nimby (Not in My Backyard), against a worship of free speech and for the deployment of censorship (not, it should go without saying, a principled censorship, but a censorship tied to my judgment of the harms produced by some forms of speech).
Now, when I make these arguments, there is a book I can refer to in the hope that its author might become the target of the brickbats usually hurled at me. The author is Stephen T. Asma, and the book is titled “Against Fairness.” Asma is a professor of philosophy and his thesis is that “in the background of our usual thinking about fairness is the assumption of the equality of all mankind — of egalitarianism,” the idea that all persons, not just the persons you feel close to, are worthy of respect. Egalitarians believe that “tribal thinking is uncivilized because it draws its circles of respect narrowly, while ‘higher civilizations’ include the whole human species in their circle of respect.”
There is a history and a teleology here: once human beings lived in a Hobbesian state of nature intent only on satisfying their own desires and, perhaps, the desires of their nearest and dearest; only later did they mature and “slowly learn to care for others” until at the highest reaches of understanding they learn to care for everyone. (Richard Rorty used to say that what we need to do is expand our sense of “us.”)
Favoritism in this story is something we outgrow. Asma tells another story (backed up by studies of biological and psychological development): favoritism is something we grow with; it may begin in the private sphere, but “favoritism can segue into the wider public sphere and do much good there as well.” Asma finds an example in the civil rights heroes who are usually, he observes, celebrated as “fairness fighters,” that is, as persons who oppose discrimination as an abstraction and fight for a principle, not for a particular local outcome. No, says Asma, “Rosa Parks and Susan B. Anthony were not fighting for the equality of all people per se, but for the inclusion of their in-groups.”
So what has been characterized as the struggle to end favoritism and replace it with a universal brotherhood is in fact an effect of favoritism: “Some serious allegiance to one’s tribe … is how anything gets done at the social level — including civil rights,” Asma writes. Although diversity is the banner under which our modern moral crusaders often march, no one has ever fought for diversity, for universal, undiscriminating inclusion; rather, everyone fights for the inclusion of one’s own kind.
Seeing everyone as an “idealized equal” — not as a particularized being, but as an abstract autonomous agent indistinguishable in essence from all other agents – may be the imperative of a philosophical line stretching from Kant to Rawls, but it is not an imperative that does the work of the world. That work is done, according to Asma, by locally situated persons who act not out of a concern for all humanity but out of a concern for that portion of humanity with which they identify: “Do many Jewish people privilege their tribe over the interests of non-Jews? Of course, they do, and why shouldn’t they?”
The answer to that question is the content of the tradition Asma argues against, the liberal secular tradition that stipulates “fairness between autonomous individual agents” (agents who know nothing of one another) as “the defining feature of our morality.” Against this tradition, which has had its run for over 200 years, Asma poses a morality found in “other cultures, immigrant groups and … rural cultures in the United States.”
In that morality — the morality of favoritism — fairness and rights are less important than “loyalty and patriotism, sacred/profane issues of purity, temperance [and] obedience to authority.” Those who subscribe to that morality or, rather, live it out, perform acts of generosity and caring for which they need give no impartial justification. “They bring you soup when you’re sick; they watch your kids in an emergency; they open professional doors for you; they rearrange their schedules for you; they protect you; they fight for you; they favor you.”
Sounds good.
Sunday, April 14, 2013
Ethics II
Hey everyone. Thanks to everyone for trying to follow last weeks flustered class; hopefully we won't have any unexpected visitors joining us this week. Another ethics class so here's your article:
http://healthland.time.com/2012/02/28/why-the-rich-are-less-ethical-they-see-greed-as-good/
Hopefully having the word ethical in the title will help everyone see how it related to ethics!
Not required, but I'd really like you to take a look at this too - http://www.nytimes.com/2012/03/14/opinion/why-i-am-leaving-goldman-sachs.html?_r=2&pagewanted=all (If you do then you should see this funny parody - http://www.thedailymash.co.uk/news/society/why-i-am-leaving-the-empire-by-darth-vader-201203145007)
See you Thursday. Lots of extra reading if you want http://www.scientificamerican.com/article.cfm?id=how-wealth-reduces-compassion ; http://www.guardian.co.uk/commentisfree/2012/jun/30/fintan-otoole-banking-decency-corrupt-system ; plus an extra from Plato himself http://classics.mit.edu/Plato/republic.3.ii.html
While stereotypes suggest that poor people are more likely to lie and steal, new research finds that it’s actually the wealthy who tend to behave unethically. In a series of experiments — involving everything from dangerous driving to lying in job negotiations and cheating to get a prize — researchers found that, across the board, richer people behaved worse. But, rather than class itself, the authors suggest that it’s views about greed that may largely explain the difference.
In the first two experiments, University of California, Berkeley, psychologists positioned observers at San Francisco intersections to watch for drivers who didn’t wait their turn at lights or yield for pedestrians. The researchers noted the make, age and appearance of cars — a marker for the drivers’ socioeconomic status — as well as the drivers’ gender and approximate age.
If you ever thought that the guy driving a late-model Mercedes is more of a jerk than the one behind the wheel of a battered Honda, you’d be right. Even after controlling for factors like traffic density and the driver’s gender and perceived age (younger men tend to drive faster and often rudely), drivers of the newest, most high-status cars were much more likely to cut other drivers off.
“The drivers of the most expensive vehicles were four times more likely to cut off drivers of lower status vehicles,” says Paul Piff, a doctoral student at Berkeley and lead author of the study published in the Proceedings of the National Academy of Sciences.
Drivers in fancy cars were also three times more likely than those in beaters to threaten pedestrians by failing to yield when the walkers had the right of way at a crosswalk. So much for the theory that owners of expensive cars try to protect their vehicles from being sullied by common blood!
In five further experiments, researchers looked at moral behavior in more controlled lab settings. The experiments were designed to determine what made people lapse into bad behavior, and how difficult it would be to change it. The results offer some hope in an otherwise bleak picture.
In one study, participants reported their own socioeconomic status and then read descriptions of people stealing or benefiting from things to which they were not entitled. When asked how likely they would be to engage in similar behavior, the richest of 105 undergraduates were more likely admit that they would do so, compared with those from middle-class or lower-class backgrounds. Of course, this finding could simply reflect the fact that the rich are more likely to get away with such things — and therefore may feel more comfortable admitting it — so the researchers also studied actual behavior.
In the next experiment, researchers asked 129 students to compare themselves with those who were either far richer or far poorer than they were. Previous studies have found that this manipulation influences people’s perceptions of class and their own behavior, with those primed to feel wealthy behaving less generously and becoming less sensitive to the emotions of others, regardless of their actual socioeconomic class.
The participants were then offered candy from a jar that they were told would otherwise be given to children in another lab. Those primed to feel rich took more candy than those who were made to feel disadvantaged. Fortunately, there were no children actually waiting for the sweets.
But why would people who feel socially elevated behave less ethically? The next set of experiments sought to examine this question, finding a connection between wealth and positive perceptions of greed. Among adults who were recruited online for one such experiment, those who were wealthier were more likely to lie in a simulated job interview scenario. The participants — acting as managers — were told that their hypothetical applicants would be willing to take a lower salary in exchange for job security. The applicants wanted a two-year contract position, but the managers knew that the available job would last only six months before being eliminated — and that they could get a bonus for negotiating a lower salary. People of high social class were more likely to lie to the job seekers, researchers found.
The reason for this was not necessarily their class, but the fact they agreed with Wall Street‘s Gordon Gekko that greed is good. When the researchers examined the connection between beliefs about greed and unethical behavior, they found that class was no longer a significant variable. In other words, rich people tended to take advantage of others primarily because they saw selfish and greedy behavior as acceptable, not just because they had more money or higher social status.
To confirm this, another experiment examined whether a person’s attitudes about greed or his class status would predict cheating on a dice game. Researchers recruited 195 adults on Craigslist, queried them about their backgrounds and greedy attitudes, and then had them play a computerized dice game in which higher rolled scores meant a higher chance of winning $50. Unbeknownst to them, the computer always generated the same score: 12. People who believed greed was good were more likely to cheat and report inflated scores of 15 or higher.
Then, in a final study in which the researchers primed participants by having them talk about either the benefits of greed or something neutral (what they did that day), they found that poor participants were just as likely as rich ones — if they were primed to think greed was good — to support bribery or to cheat unsuspecting customers. In the neutral prime, rich participants were more likely to support unethical behavior.
Fortunately, people can also be easily primed to behave more generously. In an earlier study, Piff and his colleagues found that rich people were less likely to help a person who entered the lab in distress — except when they’d just watched a video about child poverty. “We’re not arguing that rich people are bad at all, but that psychological features of wealth have these natural effects,” says Piff. “There are simple things you can adjust, which suggest that rich people are fairly sensitive and just need little reminders.”
He notes that billionaire Warren Buffett made a similar point in a New York Times op-ed last year, calling for higher taxes on the wealthiest. “I know well many of the mega-rich and, by and large, they are very decent people,” Buffett wrote. “Most wouldn’t mind being told to pay more in taxes as well, particularly when so many of their fellow citizens are truly suffering.”
In a comment for WebMD, George Mason University professor of education Martin Ford praised Piff’s study. “It is particularly compelling when the same basic phenomenon is demonstrated using a wide variety of experimental methods,” he said.
The findings got me thinking that if we are concerned about negative media content harming the moral development of children, we might want to place positive depictions of greed near or even above sex and violence on the list of exposures that are unsuitable for youth.
That question spurred Paul Piff, a Ph.D. candidate in
psychology at the University of California, Berkeley, to explore
whether higher social class is linked to higher ideals, he said
in a telephone interview.
The answer Piff found after conducting seven different experiments is: no. The pursuit of self-interest is a “fundamental motive among society’s elite, and the increased want associated with greater wealth and status can promote wrongdoing,” Piff and his colleagues wrote yesterday in the Proceedings of the National Academy of Sciences.
The “upper class,” as defined by the study, were more likely to break the law while driving, take candy from children, lie in negotiation, cheat to raise their odds of winning a prize and endorse unethical behavior at work, the research found. The solution, Piff said, is to find a way to increase empathy among wealthier people.
“It’s not that the rich are innately bad, but as you rise in the ranks -- whether as a person or a nonhuman primate -- you become more self-focused,” Piff said. “You can change that by reminding upper-class people of the needs of others. That may not be their default, but have them do it is sufficient to increase their patterns of altruistic behavior.”
That theory will be the basis of his next study. Piff is curious to know how to change patterns of greed and selfishness when they emerge.
“It might be as simple as not only stressing individual performance, but the value of cooperation and improving the welfare of others,” he said. “That goes a long way.”
In the research reported yesterday, the experiments suggest at least some wealthier people “perceive greed as positive and beneficial,” probably as a result of education, personal independence and the resources they have to deal with potentially negative consequences, the authors wrote.
While the tests measured only “minor infractions,” that factor made the results “even more surprising,” Piff said.
One experiment invited 195 adults recruited using Craigslist to play a game in which a computer “rolled dice” for a chance to win a $50 gift certificate. The numbers each participant rolled were the same; anyone self-reporting a total higher than 12 was lying about their score. Those in wealthier groups were found to be more likely to fib, Piff said.
Poorer participants may be less likely to cheat because they must rely more on their community to get by, and thus are more likely adhere to community standards, Piff said. By comparison, “upper-class individuals are more self-focused, they privilege themselves over others, and they engage in self- interested patterns of behavior,” he said.
In the traffic tests, about one-third of drivers in higher- status cars cut off other drivers at an intersection watched by the researchers, about double those in less costly cars. Additionally, almost half of the more expensive cars didn’t yield when a pedestrian entered the crosswalk while all of the lowest-status cars let the pedestrian cross. These experiments involved 426 vehicles.
“Support for free-market capitalism will collapse if those who do well don’t do good,” said Arthur Caplan, director of the Center for Bioethics at the University of Pennsylvania. “Rapacious, intolerant, nonempathetic capitalism that says lie, cheat, steal, it’s only the bottom line that matters -- aside from being morally repugnant, it’s got a dim future.”
The car test complicates the results because having a flashy car doesn’t necessarily mean the driver is wealthy, said McGinley, who studies positive social behavior. In the experiment involving candy, the participants were told they could have it even though children were waiting for it. They may have felt they were doing nothing wrong, she said.
In the candy test, 129 undergraduates were manipulated to view themselves as wealthy or poor. They were then presented with a jar of individually wrapped candy, which researchers said would go to children in a nearby lab, though the participants could take some if they wanted. The undergraduates believing themselves to be upper income took more than those believing themselves to be low income, the study found.
Erik Gordon, a business professor at the University of Michigan in Ann Arbor, wasn’t surprised by the results, he said.
Gordon, though, thinks the research has its limits. It isn’t as much about wealth, he said, as it is about greed, a behavior that can be changed.
The very wealthy, who “tend to drive 8-year-old cars” and “don’t wear logos,” may offer a very different profile, he said, suggesting that the group targeted by Piff’s experiments with cars are more likely the “nouveau riche.”
To be sure, Piff and his colleagues said there are exceptions to the associations they found, pointing to Warren Buffett, chairman and chief executive officer of Berkshire Hathaway Inc., who has pledged the majority of his holdings to the Bill & Melinda Gates Foundation and other charities.
Less wealthy individuals also can behave badly, they wrote, noting the relationship between poverty and violent crime in previous research.
The study urged further research to determine the “boundaries” of bad behavior spurred by greed. Adam Smith, the 18th century author of “The Wealth of Nations,” may provide an example, as his first book, “The Theory of Moral Sentiments,” was about ethics.
“A long time ago, you couldn’t leave the university without having a course in ethics,” Caplan said. “One of the things college should do is provide you with the moral framework to operate in a capitalist society. When people ask about the value of philosophy, I point them there.”
Hopefully having the word ethical in the title will help everyone see how it related to ethics!
Not required, but I'd really like you to take a look at this too - http://www.nytimes.com/2012/03/14/opinion/why-i-am-leaving-goldman-sachs.html?_r=2&pagewanted=all (If you do then you should see this funny parody - http://www.thedailymash.co.uk/news/society/why-i-am-leaving-the-empire-by-darth-vader-201203145007)
See you Thursday. Lots of extra reading if you want http://www.scientificamerican.com/article.cfm?id=how-wealth-reduces-compassion ; http://www.guardian.co.uk/commentisfree/2012/jun/30/fintan-otoole-banking-decency-corrupt-system ; plus an extra from Plato himself http://classics.mit.edu/Plato/republic.3.ii.html
Why the Rich Are Less Ethical: They See Greed as Good
While stereotypes suggest that poor people are more likely to lie and steal, new research finds that it’s actually the wealthy who tend to behave unethically. In a series of experiments — involving everything from dangerous driving to lying in job negotiations and cheating to get a prize — researchers found that, across the board, richer people behaved worse. But, rather than class itself, the authors suggest that it’s views about greed that may largely explain the difference.
In the first two experiments, University of California, Berkeley, psychologists positioned observers at San Francisco intersections to watch for drivers who didn’t wait their turn at lights or yield for pedestrians. The researchers noted the make, age and appearance of cars — a marker for the drivers’ socioeconomic status — as well as the drivers’ gender and approximate age.
If you ever thought that the guy driving a late-model Mercedes is more of a jerk than the one behind the wheel of a battered Honda, you’d be right. Even after controlling for factors like traffic density and the driver’s gender and perceived age (younger men tend to drive faster and often rudely), drivers of the newest, most high-status cars were much more likely to cut other drivers off.
“The drivers of the most expensive vehicles were four times more likely to cut off drivers of lower status vehicles,” says Paul Piff, a doctoral student at Berkeley and lead author of the study published in the Proceedings of the National Academy of Sciences.
Drivers in fancy cars were also three times more likely than those in beaters to threaten pedestrians by failing to yield when the walkers had the right of way at a crosswalk. So much for the theory that owners of expensive cars try to protect their vehicles from being sullied by common blood!
In five further experiments, researchers looked at moral behavior in more controlled lab settings. The experiments were designed to determine what made people lapse into bad behavior, and how difficult it would be to change it. The results offer some hope in an otherwise bleak picture.
In one study, participants reported their own socioeconomic status and then read descriptions of people stealing or benefiting from things to which they were not entitled. When asked how likely they would be to engage in similar behavior, the richest of 105 undergraduates were more likely admit that they would do so, compared with those from middle-class or lower-class backgrounds. Of course, this finding could simply reflect the fact that the rich are more likely to get away with such things — and therefore may feel more comfortable admitting it — so the researchers also studied actual behavior.
In the next experiment, researchers asked 129 students to compare themselves with those who were either far richer or far poorer than they were. Previous studies have found that this manipulation influences people’s perceptions of class and their own behavior, with those primed to feel wealthy behaving less generously and becoming less sensitive to the emotions of others, regardless of their actual socioeconomic class.
The participants were then offered candy from a jar that they were told would otherwise be given to children in another lab. Those primed to feel rich took more candy than those who were made to feel disadvantaged. Fortunately, there were no children actually waiting for the sweets.
But why would people who feel socially elevated behave less ethically? The next set of experiments sought to examine this question, finding a connection between wealth and positive perceptions of greed. Among adults who were recruited online for one such experiment, those who were wealthier were more likely to lie in a simulated job interview scenario. The participants — acting as managers — were told that their hypothetical applicants would be willing to take a lower salary in exchange for job security. The applicants wanted a two-year contract position, but the managers knew that the available job would last only six months before being eliminated — and that they could get a bonus for negotiating a lower salary. People of high social class were more likely to lie to the job seekers, researchers found.
The reason for this was not necessarily their class, but the fact they agreed with Wall Street‘s Gordon Gekko that greed is good. When the researchers examined the connection between beliefs about greed and unethical behavior, they found that class was no longer a significant variable. In other words, rich people tended to take advantage of others primarily because they saw selfish and greedy behavior as acceptable, not just because they had more money or higher social status.
To confirm this, another experiment examined whether a person’s attitudes about greed or his class status would predict cheating on a dice game. Researchers recruited 195 adults on Craigslist, queried them about their backgrounds and greedy attitudes, and then had them play a computerized dice game in which higher rolled scores meant a higher chance of winning $50. Unbeknownst to them, the computer always generated the same score: 12. People who believed greed was good were more likely to cheat and report inflated scores of 15 or higher.
Then, in a final study in which the researchers primed participants by having them talk about either the benefits of greed or something neutral (what they did that day), they found that poor participants were just as likely as rich ones — if they were primed to think greed was good — to support bribery or to cheat unsuspecting customers. In the neutral prime, rich participants were more likely to support unethical behavior.
Fortunately, people can also be easily primed to behave more generously. In an earlier study, Piff and his colleagues found that rich people were less likely to help a person who entered the lab in distress — except when they’d just watched a video about child poverty. “We’re not arguing that rich people are bad at all, but that psychological features of wealth have these natural effects,” says Piff. “There are simple things you can adjust, which suggest that rich people are fairly sensitive and just need little reminders.”
He notes that billionaire Warren Buffett made a similar point in a New York Times op-ed last year, calling for higher taxes on the wealthiest. “I know well many of the mega-rich and, by and large, they are very decent people,” Buffett wrote. “Most wouldn’t mind being told to pay more in taxes as well, particularly when so many of their fellow citizens are truly suffering.”
In a comment for WebMD, George Mason University professor of education Martin Ford praised Piff’s study. “It is particularly compelling when the same basic phenomenon is demonstrated using a wide variety of experimental methods,” he said.
The findings got me thinking that if we are concerned about negative media content harming the moral development of children, we might want to place positive depictions of greed near or even above sex and violence on the list of exposures that are unsuitable for youth.
Self-Interest Spurs Society’s ‘Elite’ to Lie, Cheat on Tasks, Study Finds
By Elizabeth Lopatto -
Feb 28, 2012 6:01 AM GMT+0100
The answer Piff found after conducting seven different experiments is: no. The pursuit of self-interest is a “fundamental motive among society’s elite, and the increased want associated with greater wealth and status can promote wrongdoing,” Piff and his colleagues wrote yesterday in the Proceedings of the National Academy of Sciences.
The “upper class,” as defined by the study, were more likely to break the law while driving, take candy from children, lie in negotiation, cheat to raise their odds of winning a prize and endorse unethical behavior at work, the research found. The solution, Piff said, is to find a way to increase empathy among wealthier people.
“It’s not that the rich are innately bad, but as you rise in the ranks -- whether as a person or a nonhuman primate -- you become more self-focused,” Piff said. “You can change that by reminding upper-class people of the needs of others. That may not be their default, but have them do it is sufficient to increase their patterns of altruistic behavior.”
That theory will be the basis of his next study. Piff is curious to know how to change patterns of greed and selfishness when they emerge.
Ethics Courses
Previous research has shown that students who take economics classes are more likely to describe greed as good. Pairing ethics courses with economics may be beneficial, Piff said.“It might be as simple as not only stressing individual performance, but the value of cooperation and improving the welfare of others,” he said. “That goes a long way.”
In the research reported yesterday, the experiments suggest at least some wealthier people “perceive greed as positive and beneficial,” probably as a result of education, personal independence and the resources they have to deal with potentially negative consequences, the authors wrote.
While the tests measured only “minor infractions,” that factor made the results “even more surprising,” Piff said.
One experiment invited 195 adults recruited using Craigslist to play a game in which a computer “rolled dice” for a chance to win a $50 gift certificate. The numbers each participant rolled were the same; anyone self-reporting a total higher than 12 was lying about their score. Those in wealthier groups were found to be more likely to fib, Piff said.
Risks of Cheating
“A $50 prize is a measly sum to people who make $250,000 a year,” he said in a telephone interview. “So why are they more inclined to cheat? For a person with lower socioeconomic status, that $50 would get you more, and the risks are small.”Poorer participants may be less likely to cheat because they must rely more on their community to get by, and thus are more likely adhere to community standards, Piff said. By comparison, “upper-class individuals are more self-focused, they privilege themselves over others, and they engage in self- interested patterns of behavior,” he said.
In the traffic tests, about one-third of drivers in higher- status cars cut off other drivers at an intersection watched by the researchers, about double those in less costly cars. Additionally, almost half of the more expensive cars didn’t yield when a pedestrian entered the crosswalk while all of the lowest-status cars let the pedestrian cross. These experiments involved 426 vehicles.
Employment Test
Another test asked 108 adults found through Amazon.com Inc.’s (AMZN) work-recruiting website Mechanical Turk to assume the role of an employer negotiating a salary with someone seeking long-term employment. They were told several things about the job, including that it would soon be eliminated. Upper-class individuals were more likely not to mention to the job-seeker the temporary nature of the position, the research found.“Support for free-market capitalism will collapse if those who do well don’t do good,” said Arthur Caplan, director of the Center for Bioethics at the University of Pennsylvania. “Rapacious, intolerant, nonempathetic capitalism that says lie, cheat, steal, it’s only the bottom line that matters -- aside from being morally repugnant, it’s got a dim future.”
Study Design Criticized
Meredith McGinley, an assistant professor at Chatham University in Pittsburgh who wasn’t involved in the study, was critical of how some of the experiments were designed.The car test complicates the results because having a flashy car doesn’t necessarily mean the driver is wealthy, said McGinley, who studies positive social behavior. In the experiment involving candy, the participants were told they could have it even though children were waiting for it. They may have felt they were doing nothing wrong, she said.
In the candy test, 129 undergraduates were manipulated to view themselves as wealthy or poor. They were then presented with a jar of individually wrapped candy, which researchers said would go to children in a nearby lab, though the participants could take some if they wanted. The undergraduates believing themselves to be upper income took more than those believing themselves to be low income, the study found.
Erik Gordon, a business professor at the University of Michigan in Ann Arbor, wasn’t surprised by the results, he said.
Greed ‘on Upswing’
“Greed has been on the upswing for 20 years,” Gordon said in a telephone interview. “Wealth or power that comes with high socioeconomic status means you are indeed enabled to ignore other people and might think that rules that apply to other people don’t apply to you.”Gordon, though, thinks the research has its limits. It isn’t as much about wealth, he said, as it is about greed, a behavior that can be changed.
The very wealthy, who “tend to drive 8-year-old cars” and “don’t wear logos,” may offer a very different profile, he said, suggesting that the group targeted by Piff’s experiments with cars are more likely the “nouveau riche.”
To be sure, Piff and his colleagues said there are exceptions to the associations they found, pointing to Warren Buffett, chairman and chief executive officer of Berkshire Hathaway Inc., who has pledged the majority of his holdings to the Bill & Melinda Gates Foundation and other charities.
Less wealthy individuals also can behave badly, they wrote, noting the relationship between poverty and violent crime in previous research.
The study urged further research to determine the “boundaries” of bad behavior spurred by greed. Adam Smith, the 18th century author of “The Wealth of Nations,” may provide an example, as his first book, “The Theory of Moral Sentiments,” was about ethics.
“A long time ago, you couldn’t leave the university without having a course in ethics,” Caplan said. “One of the things college should do is provide you with the moral framework to operate in a capitalist society. When people ask about the value of philosophy, I point them there.”
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