By Patrick Appel
Democracy in America addresses Rep. Barton's latest buffoonery:
By Patrick Appel
Democracy in America addresses Rep. Barton's latest buffoonery:
by Richard Florida
Yesterday, we looked at the effects of class on economic growth. Today, we turn to the relationship between class and innovation.
It's a well-established truism that innovation drives economic growth and development. Nations and regions around the world go to great measures to stimulate innovation in their attempts to create the "next Silicon Valley" which will generate new technologies, improve economic growth, and lift their living standards.
To examine the relationship between class and innovation, Charlotta Mellander used data on patents by country available from the World Intellectual Property Organization. Despite some limitations, patents are the best-available measure of innovation.
The relationships between class and innovation are, if anything, even stronger than between class and economic activity.
The first graph shows the close relationship between innovation and the creative class. The larger the percentage of the creative class in a country, the higher its level of innovation.
The working class and innovation – not so much. Countries with a large working class have much lower levels of innovation.
Source of all graphics: Martin Prosperity Institute
by Chris Bodenner
A reader writes:
I have had a bit of a rough week, haven't smiled or laughed nearly as much as I usually do, but that changed when I saw video of Harry Reid maintaining that you can't put accused terrorists in prison without releasing them. I laughed so hard my cheeks hurt afterward and my patient husband had to put up with me backing up the Tivo several times just to see it again and again.
I am in awe over the scaredy-cat crap coming out of our senators' mouths (with the excellent exception of Dick Durbin). What is wrong with these people? They act like the detainees have crazy superpowers, like they are going to transform into a millimeter-high insect and crawl out under the cell door into the shoe of a correctional officer and then ESCAPE.
by Patrick Appel
A reader writes:
by Patrick Appel
A reader writes:
"These are the times that try men's souls" is essentially a traditional poetic line. It scans. As in, it's iambic. "These," "the," and "that" also act as an assonant triangle, creating balance, room, and rhythm in the sentence. And rhythm, or poetic meter, is about the interplay between what's strong (stressed) and what's weak (unstressed). The sentence alludes to strength and weakness — the soul is tried, not overcome, by the force of the times — and requires this syntactic manifestation in order to be something really special.
"Times like these try men's souls" doesn't scan iambic. Every word is a stressed syllable, which creates a sprint effect, one that hurries past the burden, the struggle, the rumination of the sentiment. The sentence has no syntactic relationship to its content. That's why you're just not feeling it. And that, dear Strunk & White (& Sullivan) readers, is the operative buried treasure in great poetry — and great prose.
Another reader adds:
It's a trivial observation, but the rhythm is different.
You can divide "These are the times that try men's souls" into two parts. "These are the times" is said more quickly than "that try men's souls." The most dramatic pat of the phrase is highlighted by the slowness. Another way of putting it is that the way the phrase sounds fits the meaning. And it's got 8 beats, which is a good number of beats to have. When you've got 8 beats, you don't feel like you're missing something.
"Times like these try men's souls" is like two triplets. It's not interesting, it's six beats long, (two are missing!) and it's monotonous. It doesn't stress the important part — the trying of men's souls. It's all the same — click clack clack, click clack clack. A lame, tinny waltz.
by Richard Florida
The New York Times asks artists how the recession is affecting their lives and work (h/t: Alison Kemper). Money quote:
" I love it. The only thing that makes me sad is that I can't make a living right now."
While the responses comprise a small, ad hoc sample, my read is that the artists in major centers like NYC and San Francisco seem more upbeat than those in harder-hit Rustbelt communities.
New Hampshire legislators have voted down their marriage equality bill because of religious liberty clauses inserted by the governor:
Now the bill goes to committee to try to resolve differences. Andrew's endorsement of the religious liberty compromise is here.
by Richard Florida
Stephen Walt spells out the advantages of tolerance, openness, and cosmopolitanism from the realist respective (thanks to Jon Rauch for the pointer). He goes to great pains to point out that he is talking about cosmopolitan openness not just ethnic assimilation.
[T]he pressures of international competition give an advantage to any society that can "cream" some of the smartest and/or hardest working people from all over the world. How? By making that society an attractive place to live and work, mostly by creating an atmosphere of equality and toleration…
And note that this argument isn't just about ethnic assimilation. In effect, what I'm suggesting is that from a realist perspective, there is a strong case for "small-l" liberal toleration. All else equal, societies that establish strong norms and institutions that protect individual rights and freedoms (including those governing sexual preference, I might add) will become attractive destinations for a wider array of potential citizens than societies that try to maintain a high degree of uniformity. And when you can choose from a bigger talent pool, over time you're going to do better.
by Chris Bodenner
“For this video, I pulled out every time lapse, stop motion and live action camera trick that I could think of.”
Death Cab for Cutie – Little Bribes from Ross Ching on Vimeo.