It comes from when Jewish immigrants confront and come into close conflict and contact with majority white culture. So, in other words, the Warren Court picks the wrong research.
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There are all kinds of problems caused by segregation. This happens to be not one of them. So why does the Warren Court do that? It personalizes the struggle. By personalizing the struggle, what the Warren Court is trying to do is to manufacture an argument against segregation that will be acceptable to white people, particularly Southern white people. He wants a nine-nothing majority on the court. Do you agree with that, take issue with it? I never heard of that. Sometimes they lose me. We are economists. And many of those are Ivy League schools. COWEN: 10x and not lower tuition.
They are interested in sustaining a certain brand equity. And they see expanding the size of their schools as diluting their brand equity in exactly the same manner as Louis Vuitton does. Louis Vuitton is not going to open a Louis Vuitton store across the street right in that building over there, next to the Starbucks. Surely, I should see the art. I am, as an American taxpayer, subsidizing this institution and yet. When was the last time they brought in a busload of high school students to Dumbarton Oaks to walk them through the Pre-Columbian art collection? Has it ever happened?
And that raises the question of what are they really trying to maximize? Totally under-theorized. And he starts the Rosenwald Fund, and what does the Rosenwald Fund do? And he decides what he wants to do is to go throughout the South, and build public schools throughout the South in African-American communities.
If you look at the list of things that made a tangible difference in the South in the first half of the 20th century, Rosenwald schools is way up there. And why did he get way up there? Because he went to zero, right? If he set up an endowment to fund the building of schools for African-Americans in the South, we would still be building schools for African-Americans in the South.
It would be a year-long project. Instead of running through a billion dollars, you would run through 5 percent of a billion dollars every year.
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So, the very fact that you set up an endowment means that you have decided before you start to minimize your impact. Why would you not spend your money? You are the board; you and your mother. This is such a great question. Can I start at the beginning? I would establish a set of baseline criteria for admissions, and then I would have a lottery after that. I want that kid. One of my oldest friends is a professor at Harvard, Terry Martin. Huge fan of yours, by the way, Tyler.
I say that because it seems crazy to have to put academics in the kind of professional firmament, it seems crazy to have them losing ground to other professions when you would think that the importance in a modern society of having world-class faculty would be greater.
LETTERS TO MALCOLM: CHIEFLY ON PRAYER
Let me ask you two or three questions on that. My friend David Epstein, who wrote The Sports Gene , is really, really interesting on this subject, with respect to sports, and points out that what really makes for successful, elite athletes is a broad early base.
The last thing you want to do is to overspecialize too soon with a kid, for a number of reasons. One is the phenomenon of baseball pitchers having all kinds of arm problems in their teens, a product of kids simply pitching too much, too soon. But you can generalize from that: We think that an awful lot of injuries that elite athletes are suffering in their late adolescence are due to the fact that they have been doing the same repetitive motions from an early age. We think that burnout is also a function of this. But there also is a very interesting argument beyond those to say that there is a body of skills that you only learn if you have a broad early base.
So the basketball analogy would be Hakeem Olajuwon being a soccer player, or Steve Nash being a soccer player, or in tennis, [Roger] Federer being a soccer player. The kids who are the great runners in their early teens, and I was one of them, are not the ones who end up being the world-class athletes. I was, at the age of 13, the fastest miler for my age in Canada. By 21, I was useless and washed up and no longer. He went on to be essentially world class, right on the fringes of world class. I used to kill him. I mean it was just not even close.
This other guy, well he should take up. He ended up running for meters.
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GLADWELL: Well, you should delay specialization as long as possible because prediction is poor, and burnout is as big an issue as poor prediction, early prediction. And I would avoid, I think. I thought about this the other day. I live most of the time upstate in New York, very close to Bard [College].
And I go work out at the Bard gym and I was watching. Is it 2,? Some tiny number. And I was watching the Bard lacrosse team work out. Now think about that in every different thing. In a school that small, with the exception of the things at which they are. And that is a massively underrated thing. And people constantly are confusing these two things and thinking that in exclusivity and in elite status is opportunity. If you want your year-old to explore the world, send your year-old to a place where the world can be explored.
The world cannot be explored at a super-elite university. So why would you artificially put yourself in a situation where you feel so dumb that you stop doing the very thing that you went to school to do? That is bananas. It was too hard to get in. They were brilliant people. So what did I do? I wrote for my pathetic joke of a. We put out this joke thing every couple weeks, and it was insanely fun. I could do whatever I wanted, nobody cared. We made up all kinds of crazy.
In the end, I had a way better experience than I would have had if I was at the highly competitive newspaper. By virtue of being this lame, forgotten thing, I got to do more fun stuff and have a much better time than I would have at the proper newspaper. This drives me. It would take them some time to learn, but it would turn poor shooters into somewhat better shooters, and that would be worth a lot in terms of performance. Now, you were yourself a teacher in some way, in the broad sense.
So what is it that we other teachers are doing wrong? What are you not doing enough of? Well, I suppose I could expand on this notion that, to encourage experimentation and open opportunities, one must also be much more tolerant of mediocrity. The notion that there can be something lovely in mediocrity is, to borrow one of your favorite phrases and now mine, is under-theorized.
What is it that long-distance runners are not doing correctly? What is their equivalent with the underhanded free throw? The most interesting thing happening, to me, in distance running right now is the rise of Japan as a distance-running power. So, your notion of whether Japan is a distance-running power depends on how you choose to define distance-running power.
All that says is. And which is the best ketchup? Has to be. William F. Buckley is my childhood. I was obsessed with him. I wadded up my philosophical hen scratchings along with the myopic paradigm of my graduate professors and threw them into the trash can. I took a deep breath, stood up and transferred my damp clothes to the dryers, fed in quarters, and started them spinning.
I sat back down with a clean sheet of paper. So, with the dryers flopping the damp clothing around, buttons clicking and scraping against the windows, I began my first poetic text in fourteen years, shocked that so much water had passed under the bridge. At the top of the page I wrote, Sierra Before the Storm. With the writing of this text see page 16 , I began to reconsider a rationale for artistic activity that focuses on and explores the potential synergy in the spaces between cultural media disciplines.
I eventually began to call the finished products of my exploration mindscapes. Just so that I would not overlook or forget their valid and unspoken reservations, I established a production standard for all of these symbiotic creations. The rule states that the various component expressions of a mindscape should be able to stand alone, without the support of the other components.
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In other words, the visual, the concurrent text, the music, and any other work included should all be cut from the same quality of fabric. The process of assembling various kinds of mindscapes into book form has created new potentials. The first inkling that a coffee table book of collected relief etchings and their concurrent texts might be the most suitable vehicle for this new kind of experience occurred to me in the spring of I decided that it was time to work some of my newer texts into a form of oral drama.
We laid down a series of recitations and song tracks. After I left, he added reverb, equalization, and musical accompaniment. About three months later, he handed me a tape of our collaboration. For a first try, the effect was marvelous.
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I was hooked on the idea of taking my words into the audio realm. In the spring of I was finally able to get back into a sound studio, where I could further explore images and words in a sound medium. I can create audio- worlds in my small studio at home that would have required a very large sound stage when I first began writing. I took this makeshift rig and went on an extensive road trip throughout the Southwest.
The idea was to gather CD quality sounds in those places where I was inspired to draw each of the images in this book. I likened myself to a Navajo sand painter gathering colors to use in a painting ceremony. Against these audio stage sets, I could perform the oral drama for each text. I began composing the music for this project in , and by , I had completed more than enough music to use as introductions and segues for the audio landscapes.
Not only has this project given me the chance to create works that are customarily segregated art forms, but also it has necessitated that I fuse them into one tangible platform.
In that process of fusion, every Roadsongs monograph becomes a conceptual art vehicle--another work of art. For this reason, every example in the first edition is hand-signed and serially numbered, like the relief etchings that sparked this long creative progression. The book was designed so that you could go into the quiet of your own listening environment, sit back in comfort, put the CDs on the player, look at an image and let the audio landscapes, the music, the narration, and the drama, transport you beyond the borders of my imagery into places that exist only within your mind.
With this book and your imagination, the moving synergy of the mindscape can open the door to an experience that at once is both shared and uniquely private. I hope that your experience of this art may at some point parallel my own. This true sharing of experience may only happen occasionally. I have had complete strangers who, after viewing one of my images, came up and told me the very thoughts I was thinking while in the heat of creating it.
I have seen deep emotion in the faces of my viewers in public places where such overt displays would normally be embarrassing. For example, James Watt created the modern steam engine, which doubled the efficiency of previous engines. But when other people tweaked the steam engine, efficiency improved fourfold. Samuel Crompton invented the spinning mule to speed up the process of producing cotton. But other men tweaked the design to truly automate and perfect Crompton's original invention. But Jobs' question for perfection could also lead him down a limited path.
As Isaacson's bio recounts, Jobs criticized colleague and competitor Bill Gates for being unimaginative and ripping off other people's ideas, one reason "why he's more comfortable now in philanthropy than technology. Philanthropy on the scale that Gates practices it represents imagination at its grandest.
In contrast, Jobs' vision, brilliant and perfect as it was, was narrow. He was a tweaker to the last, endlessly refining the same territory he had claimed as a young man. Be respectful, keep it civil and stay on topic.