The Information Sage

Tuesday, June 21st, 2011

Joshua Yaffa of The Washington Monthly calls Edward Tufte The Information Sage:

Tufte was born in 1942 in Kansas City, Missouri. His mother graduated high school at the age of thirteen, and four years later she became the first female reporter at the Omaha World-Herald. His father was an engineer, and Tufte remembers his parents’ marriage as the first sign that “words and numbers belong together.”

He studied statistics at Stanford and then went on to get a doctorate in political science at Yale. In 1967, he took a job teaching at Princeton. While there, Tufte was asked to give a course on statistics to a group of visiting journalists and, in looking for examples to include in the course packet, quickly became dissatisfied with the available primers on how to represent data. They were either too shallow and unserious or hopelessly arcane. He began to write up some ideas of his own.

A few years later, Tufte moved to Yale. He became friendly with Inge Druckrey, a German-born designer and teacher who had studied in the 1960s at the Basel School of Design in Switzerland, then an incubator for modernist style. The two would talk about design theory, and Tufte would visit Druckrey’s classes to critique student work. Before long, the two began dating.

Soon, Tufte’s notes on information design had grown into a book-length manuscript. He showed it around to publishers, who insisted on redesigning many pages in the book, and imagined it as a niche title, only worth printing a couple thousand copies. Frustrated, Tufte took out a second mortgage on his home at 18 percent interest to print the book himself. He spent most of the next summer with a book designer named Howard Gralla. The two of them sat side by side in Gralla’s apartment, eating bagels and rearranging text so words and images would be woven together on the page. “Self-publishing,” Tufte told me, “allowed for an incredible, bizarre fussiness.”

The Visual Display of Quantitative Information came out in April 1983. To save costs, Tufte told the printer to bind only half of the initial print run of 5,000 copies. The book is now in its twentieth printing, and is one of the most successful self-published books of all time.

Extract Embedded Media From Office Documents by Changing the Extension

Monday, June 20th, 2011

I didn’t realize that you can extract embedded images from Office documents by changing the extension from .docx (or whatever) to .zip — all the images appear in the archive’s media folder.

The Cognitive-Visual Strategies of Top Athletes

Monday, June 20th, 2011

A regular reader of the Freakonomics blog sent in a collection of stories on the cognitive-visual strategies of top athletes:

“A different sense knocks into me when the ball is in the air,” [top NBA rebounder Kevin] Love says. “I know where it will hit and where it will land. I’m playing percentages, but it’s not a guessing game. Most of the time I’m right.”[…]The more accurate representation of Love’s prowess is his rebounding rate, the percentage of rebounds he snags when on the floor. Love’s was 24.6% through Sunday, the highest since Dennis Rodman‘s 25.6% in 1996–97.

[Minnesota Twins’ Torii] Hunter kneels during batting practice, and as each ball flies overhead, he tries to visualize where it will land. “If I’m right,” Hunter says, “I’m ready.”

Giambi said he had always been able to memorize a pitcher’s movements. In an interview, he casually mentioned the way Josh Towers, a Toronto Blue Jays pitcher, threw his curveball. Then Giambi moved his hand to other angles, showing how pitchers can telegraph location.? “I get on deck and I start looking at guys’ release points,” Giambi said. “You can pick things up from the side. I can tell you without even looking at the catcher, from his release point, if that’s a ball or a strike.”

Dr. Vickers says the best goalies and tennis players she’s studied have two skills. First, they use the quiet-eye technique to take a clear snapshot of an approaching object and then, while it approaches them, will instantly compare it to a vast library of memories drawn from years of practice and observation. By matching that object with others, they can make a perfect calculation of where it will go and how to put themselves in position to make the play — even if they aren’t looking at the ball.

Gretzky’s genius at that moment lay in seeing a scoring possibility where no one had seen one before. “People talk about skating, puck-handling, and shooting,” Gretzky told an interviewer some years later, “but the whole sport is angles and caroms, forgetting the straight direction the puck is going, calculating where it will be diverted, factoring in all the interruptions.

How Hitler Could Have Won

Monday, June 20th, 2011

Timothy Snyder, author of Bloodlands, which I’ve been meaning to read, reviews Andrew Roberts’ The Storm of War, which describes How Hitler Could Have Won — largely by doing things he would never do:

Hitler, he says, should have begun the war three years later than he did, in 1942 rather than 1939. He should not have allowed the British to escape at Dunkirk as France fell. He should have arranged for the Japanese to help in the invasion of the Soviet Union. Once on Soviet territory German forces should have recruited the non-Russian populations rather than repressing them, and returned farmland to peasants rather than exploiting their labor and taking their food. In September 1941, Army Group Center of the Wehrmacht should have pushed forward to Moscow rather than detouring to Kiev. Army Group South should have fought a war of maneuver rather than concentrating on Stalingrad.

Humblebrag

Sunday, June 19th, 2011

I started to notice the rise of the @humblebrag recently, but I didn’t realize it had its own Twitter feed:

For instance, after he won his Academy Award for “Toy Story 3,” the director Lee Unkrich tweeted: “Just in case you think all this has gone to my head, within 36 hours of winning the Oscar, I was back home plunging a clogged toilet.” That ended up on Humblebrag.

There’s a “false humility” to these Tweets, said Mr. Wittels, that “allows the offender to boast his ‘achievements’ without any sense of shame or guilt.”

Naturally, committing a humble brag is a particularly Hollywood kind of offense. Many of the people Mr. Wittels re-tweets are known personalities, and now people email to alert him about them from all around the world. But there are also regular civilians who humble brag. A gentleman in San Diego with the handle TotesMcGotes who works in real estate recently tweeted, “I just realized I’ve only showered in ONE of my FIVE showers since I’ve moved in here. This must change.”
[...]
There is the “It’s not a brag because I am just complaining” humble brag. Tila Tequila once tweeted: “I hate my lambo! Police is ALWAYS pulling me over just cuz its a lambo so they always think I’m speeding but I’m not!! Then they let me go!”

Then there is the “This isn’t a brag because I am being self-deprecating” humble brag. Nolan Gould, the kid from “Modern Family,” tweeted: “I just had my first screaming girl encounter. She probably had me confused with someone else.”

Really it’s a gut feeling. If I read it and feel this vague sense of annoyance by it, it counts.
[...]
Actor LeVar Burton had my all time favorite. The tweet was “It’s a good night for natural light in LA” and then he posted a picture of his fireplace, but on the mantle above it were like 20 Emmy awards. A masterpiece! He did a follow-up one three days after Christmas where he tweeted “Stockings still hung…” and attached a picture of his family’s stockings all hung on his Emmys. That guy really seems to want us to know he won a bunch of Emmys for “Reading Rainbow.”

You find the same thing on Facebook, of course — fewer celebrities, I suppose, and a lot more references to people’s kids.

Let Kids Play With Fire

Sunday, June 19th, 2011

Gever Tulley, co-author of Fifty Dangerous Things (You Should Let Your Children Do) thinks we should let kids play with fire, climb trees, tinker with tools, etc., in order to develop competence:

We recognize competent people by their behavior when presented with a problem; they tend to assess and then act, formulating a plan and adapting it to the situation as it unfolds. They have a kind of confidence that comes from knowing that things can be figured out, whether they are broken appliances, local water shortages in a remote location, or difficult social situations.

This kind of competence only comes from practice. Persistence and resilience only come from having been given the chance to work though difficult problems. Tinkering is a way of understanding difficult problems, of wrapping our heads around them and quantifying the unknowns.

He plans on taking his Tinkering School camps to the next level, by opening a K-12 school in San Francisco called Brightworks:

The entire curriculum is based on something called the Brightworks arc. Each phase of this arc is about two weeks long, so there are no classroom periods, no tests, but it’s a very rigorous pedagogy nonetheless. We focus on depth, not breadth. But in a K-12 program, you experience 60 to 80 of these arcs, so we pick up the breadth over time.

The arc starts out with a phase of exploration, which is a curated experience where we bring in passionate experts related to a specific topic. For example, wind: We bring in people who have devoted their lives to working with wind—meteorologists, artists, wind-power generation people. Then we proceed through other phases — expression and exposition — in which the kids decide on an audacious end product, embark on the process of doing it, and share it with the school. The process is to get them used to the idea that when you have a great idea, you take your best guess about what and how long you need to do it, and you undertake it. In doing so, you learn how to get better at it.

The Secret of Dads’ Success

Sunday, June 19th, 2011

The Wall Street Journal presents a rather ambivalent piece on the secret of dads’ success, contrasting parenting styles between dads and moms:

Temper Tantrums

Dads: Tend to correct the child with a few blunt, directive words and a glare. They also may distract the child with a joke, which helps kids develop resiliency.

Moms: Tend to get more upset or overwhelmed. They’ll try to reason with the child, explaining why the behavior is inappropriate and what to do instead. This can teach children to express their feelings in words and talk through solutions.

Minor Injuries

Dads: Tend to distract the child by directing her attention to another activity or carrying her to another part of the playground. This can help kids develop the resiliency needed to shake off small setbacks and move on.

Moms: Tend to comfort and soothe the child and encourage her to talk about what she is feeling. This can help a child feel secure and safe and express emotions in words.

Frustration With Toys

Dads: Tend to avoid intervening, while encouraging the child to stick with it. This can help the child develop the skills to solve problems independently.

Moms: Tend quietly to re-arrange the toy so the child can put it together more easily and enjoy feeling successful. This can help develop self confidence.

Playtime

Dads: Interactions are more rambunctious and physical. Dads are more likely to startle babies, laugh, play physical games such as tossing them in the air, and spark peaks of emotion or excitement. This is believed to help kids develop self-regulatory skills.

Moms: Tend to interact face-to-face with babies, babbling back and forth, responding to subtle shifts in facial expressions and touching the baby affectionately. This is believed to teach children to read facial expressions, use words to communicate and to enjoy close, intimate contact.

Cities from Scratch

Saturday, June 18th, 2011

Brandon Fuller and Paul Romer discuss the history of building cities from scratch:

In 1091, Count Roger of Sicily raided the island of Malta, then under the control of the Fatimid caliphate, and secured the release of Christian captives there. Rather than observing the customs of conquest and forcibly resettling the prisoners, he let them choose between returning to their homes (many were Greek) and taking up residence in Sicily. There, he promised, they would be free to work their land as tenants, unchained from the burdens typical of medieval enserfment, such as servile dues and obligatory labor in the lord’s demesne.

Roger’s effort to attract, rather than enserf, new residents was unusually progressive for the time, but historian Richard Bartlett claims that it became common as western Europe expanded during the High Middle Ages. By offering people rights and opportunities, nobles could quickly attract voluntary migrants to new settlements, raising the productivity of their land and earning commensurately higher rents. Migrants who chose to move to the new settlements could improve their status, gaining improved legal rights, hereditary tenure as rent payers, and temporary exemptions from rents and military duty while they cleared land and built houses.

A related start-up dynamic played a role in colonial America several centuries later. To settle a debt, King Charles II gave William Penn dominion over Pennsylvania, a territory named for Penn’s father. The younger Penn was free to write the territory’s charter — its constitution — and to experiment with the very ideas that made him unpopular in his rigidly Anglican homeland. Penn’s charter provided one of the first legal guarantees of freedom of religion and was also the first constitution to allow for an amendment process. Because people valued religious freedom, the new charter attracted many new residents, and the city of Philadelphia grew rapidly.

Similarly, nineteenth-century settlements on the American frontier lured residents by experimenting with new rights and economic opportunities — particularly for free women, who secured a number of rights before their counterparts back east did. These included jury participation, the pursuit of higher education, and the ownership and management of property.

John Carter as Star Wars Rip-Off?

Friday, June 17th, 2011

Geoff Boucher of the LA Times demonstrates his own geek cred while interviewing Andrew Stanton on his upcoming John Carter film:

This source material has such history and such a legacy, but all of that is lost on most people today. You’re not going to have a chance — at least not with the movie posters or television commercials — to really communicate the fact that this is the Rosetta stone for decades of off-world fantasies like “Star Wars” and “Avatar.”

In the story, John Carter is a Civil War veteran who finds himself mysteriously transported to Mars, where due to the gravity he is able to leap tall buildings in a single bound, so to speak, a conceit that would pop up in the 1930s in Superman. A battered, hardened solider, he learns of the alien culture and falls in love with a brightly hued princess, not unlike “Avatar.” In the Burroughs tales, leaders are called Jeddak, there are beasts called Banths, there’s a warrior rank of padwar — all of those seem to echo in the Lucas universe, as do key concepts and themes. Does any of that present a problem? Does it box you in or create the risk that “John Carter” will feel derivative to audiences that don’t know or don’t care about the chronology of the heritage?

How to Build Your Own Hobbit House

Friday, June 17th, 2011

Brian “Ziggy” Liloia is a 26-year-old member of the Dancing Rabbit Ecovillage — which is probably all you need to know to draw some strong conclusions about him.

Anyway, he talks about building a house out of cob:

Thankfully, there are no building codes or zoning laws in this very rural part of Missouri, so I did not have to finagle with local bureaucracy in order to build my home. Not all are as fortunate, I realize.

There is something very primal about building with cob. You take your shoes off, pile up a bunch of sand and wet clay, and stomp it together with your bare feet to make a sticky, pliable, sculptural building material. It takes no heavy machinery, and the ingredients are completely natural, local. It’s been practiced all over the world (in slightly different forms) for thousands of years.

I love the sculptural qualities of cob: you are not confined to squares, and you can embellish along the way as your wall goes up. For me, the process of building a wall and seeing the progress is intensely satisfying, and addictive. In addition to all of this, cob is extremely accessible: anyone can learn how to do it in a day. I chose cob for all of these reasons, plus it’s incredibly cheap. I have spent less than $4000 on building materials for my house and improvements. I spent another $1000 on labor.The walls for my 200 square foot home cost less than $500 in materials. The clay came straight from our land. Straw came from the fields of local farmers.

Really, though, cob building is just a lot of fun, especially with the help of other people.

Sounds wonderful, right?

Well, the biggest lesson of this past winter has been that cob really isn’t that appropriate for this cold Missouri climate. Cob is not an insulative material, and despite the tiny size of my home (which I thought would be more to my advantage than has actually been the case), it is not the most efficient home to heat, because the walls become very cold when they are constantly exposed to winter temperatures. Not only that, there are condensation problems when warm air comes into contact with a cold cob wall. Ideally, I would have only built cob in conjunction with insulation. In fact, my partner April and I have decided to build a second house, converting the current cob house into a three seasons dwelling, so that we can try to build a more efficient, winter-appropriate house, with highly insulative walls, that will not have the same moisture problems. I still love my house, though, despite some of these problems that have popped up.

The Guardian visits some other dirty hippies in their “sustainable” homes — which happen to be on public lands:

Shot by Fascist Sniper

Friday, June 17th, 2011

The whole experience of being hit by a bullet is very interesting, George Orwell reported  in 1937, and worth describing in detail:

It was at the corner of the parapet, at five o’clock in the morning. This was always a dangerous time, because we had the dawn at our backs, and if you stuck your head above the parapet it was clearly outlined against the sky. I was talking to the sentries preparatory to changing the guard. Suddenly, in the very middle of saying something, I felt — it is very hard to describe what I felt, though I remember it with the utmost vividness.

Roughly speaking it was the sensation of being at the center of an explosion. There seemed to be a loud bang and a blinding flash of light all around me, and I felt a tremendous shock — no pain, only a violent shock, such as you get from an electric terminal; with it a sense of utter weakness, a feeling of being stricken and shriveled up to nothing. The sandbags in front of me receded into immense distance. I fancy you would feel much the same if you were struck by lightning. I knew immediately that I was hit, but because of the seeming bang and flash I thought it was a rifle nearby that had gone off accidentally and shot me. All this happened in a space of time much less than a second. The next moment my knees crumpled up and I was falling, my head hitting the ground with a violent bang which, to my relief, did not hurt. I had a numb, dazed feeling, a consciousness of being very badly hurt, but no pain in the ordinary sense.

The American sentry I had been talking to had started forward. ‘Gosh! Are you hit!’ People gathered round. There was the usual fuss — ‘Lift him up! Where’s he hit? Get his shirt open!’ etc., etc. The American called for a knife to cut my shirt open. I knew that there was one in my pocket and tried to get it open, but discovered that my right arm was paralyzed. Not being in pain, I felt a vague satisfaction. This ought to please my wife, I thought; she had always wanted me to be wounded, which would save me from being killed when the great battle came. It was only now that it occurred to me to wonder where I was hit, and how badly; I could feel nothing, but I was conscious that the bullet had struck me somewhere in the front of my body. When I tried to speak I found that I had no voice, only a faint squeak, but at the second attempt I managed to ask where I was hit. In the throat, they said, Harry Webb, our stretcher-bearer, had brought a bandage and one of the little bottles they gave us for field-dressings. As they lifted me up a lot of blood poured out of my mouth, and I heard a Spaniard behind me say that the bullet had gone clear through my neck. I felt the alcohol, which at ordinary times would sting like the devil, splash on the wound as a pleasant coolness.

They laid me down again while somebody fetched a stretcher. As soon as I knew that the bullet had gone clean through my neck I took it for granted I was done for. I had never heard of a man an animal getting a bullet through the middle of the neck and surviving it. The blood was dribbling out of the corner of my mouth. ‘The artery’s gone,’ I thought. I wondered how long you last when your carotid artery is cut; not many minutes, presumably. Everything was very blurry. There must have been about two minutes during which I assumed I was killed. And that too was interesting — I mean it is interesting to know what your thoughts would be at such a time.

My first thought, conventionally enough, was for my wife. My second was violent resentment at having to leave this world which, when all is said and done, suits me so well. I had time to feel this very vividly. The stupid mischance infuriated me. The meaninglessness of it! To be bumped off, not even in battle, but in this stale corner of the trenches, thanks to a moment’s carelessness! I thought, too, of the man who had shot me — wondered what he was like, whether he was a Spaniard or foreigner, whether he knew he had got me, and so forth. I could not feel any resentment against him. I reflected that as he was a Fascist I would have killed him if I could, but that if he had been taken prisioner and brought before me at this moment I would merely have congratulated him on his good shooting. It may be, though, that if you were really dying your thoughts would be quite different.

They had just got me on to the stretcher when my paralyzed right arm came to life and began hurting damnably. At the time I imagined that I must have broken it in falling; but the pain reassured me, for I knew that your sensations do not become more acute when you are dying. I began to feel more normal and to be sorry for the four poor devils who were sweating and slithering with the stretcher on their shoulders. It was a mile and a half to the ambulance, and vile going, over lumpy, slippery tracks. I knew what a sweat it was, having helped to carry a wounded man down a day or two earlier. The leaves of the silver poplars which, in places, finger our trenches brushed against my face; I thought what a good thing it was to be alive in a world where silver poplars grow. But all the while the pain in my arm was diabolical, making me swear and then try not to swear, because every time I breathed too hard the blood bubbled out of my mouth.

Japanese craft beer

Friday, June 17th, 2011

Before 1994, microbreweries were illegal in Japan, but now the Japanese craft-beer scene is growing:

Big Japanese beers are similar to American macrobrews, with all the flavor and aroma of air, liberally substituting rice or corn for malted barley to keep cost (and flavor) low.

But the Japanese brewers who have taken up the challenge to offer something else are a bit different than their American counterparts. American craft beer has roots in home brewing. Scratch the surface of many successful American craft brewers, and you’ll uncover early horror stories of batches lost to infection and weeks of work and money literally gone down the drain.

But in Japan, most craft beer is made by sake brewers, with full command of sanitation, fermentation, bottling, and aging. They needed only to master malted barley, hops, and different yeasts, so the learning curve wasn’t as steep for them. And the sake breweries’ traditional emphasis on craftsmanship and quality ingredients served them well in the specialty beer world.

Fables Creator Bill Willingham

Thursday, June 16th, 2011

Fables creator Bill Willingham does not draw his popular comic, he merely writes it, but that’s how he started out in the business:

I’ve wanted to write any sort of stories, prose, comics, plays, movies, or what have you, for as long as I can remember. To my regret, I started late though, assuming I could never make it as a real writer. I only finally started writing the comics I was drawing, because I quickly grew tired of some of the less than stellar scripts I was getting. Drawing a page of comics is so difficult, even more so when one has to do it day in and day out, that the effort should never be wasted on a bad script, so I became a writer as a kind of self-preservation. Later, as my confidence grew, along with my ambitions, I wanted to try ever more writing, and more types of writing, and here we are.

Honestly I didn’t recognize or remember his name from his earlier work:

With my Elementals series, I was one of the lesser known pioneers (at the same time as Frank Miller with Daredevil and then Dark Knight, and Alan Moore with Marvelman and then Watchmen) of serious, realistic takes on superheroes. As much as I like some of what I did back then, I’ve come to a complete turnaround on my philosophy of what makes a good superhero story. The more we tried to explain how this seemingly impossible thing works, to ground it more in reality, the more power we leached out of the concept. I now feel that superheroes should be treated more like fairytales and less like science fiction.

In fact, I should have known him from his even earlier work as an illustrator:

Willingham got his start in the late 1970s to early 1980s as a staff artist for TSR, Inc., where he illustrated a number of their role-playing game products. He was the cover artist for the AD&D Player Character Record Sheets, Against the Giants, Secret of Bone Hill, the Gamma World book Legion of Gold, and provided the back cover for In the Dungeons of the Slave Lords. He was an interior artist on White Plume Mountain, Slave Pits of the Undercity, Ghost Tower of Inverness, Secret of the Slavers Stockade, Secret of Bone Hill, Palace of the Silver Princess, Isle of Dread, In the Dungeons of the Slave Lords, the original Fiend Folio, Descent into the Depths of the Earth, Assault on the Aerie of the Slave Lords, Against the Giants, Queen of the Spiders, Realms of Horror, and the second and third editions of Top Secret.

Mismeasure Indeed

Thursday, June 16th, 2011

When I read The Bell Curve years ago, I was surprised by just how little it resembled any description of it that I’d read or heard. The book barely touches on race — unlike the reviews — and instead emphasizes how our more meritocratic modern society is in fact more stratified than it used to be, because the “cognitive elite” go to school together, then go to grad school together, then work together, and rarely spend any time with the not-so-elite. Their children live even more cloistered lives, living in suburbs with like-minded families and going to “public” schools with similarly elite kids, and so on.

Since many of the negative reviews of the book mentioned Stephen Gould’s The Mismeasure of Man, I picked up a copy — and was thoroughly unimpressed. If this is held up as a high-quality counter-argument…

Anyway, it looks like Gould’s book was even worse than my first impression:

And so we come to a paper in PLoS Biology, The Mismeasure of Science: Stephen Jay Gould versus Samuel George Morton on Skulls and Bias. Now, let me make one thing clear: the authors are not racists. They make that clear repeatedly; they abhor racism. But they also abhor falsity. They find that Stephen Jay Gould’s claim that Samuel Morton’s cranial measurements of 19th century skulls were influence by his bias due to his belief in the superiority of the white race is false. Why? While Gould reanalyzed the data, the authors measured the original skulls (or more precisely, half of the original skulls). Here’s the abstract:

Stephen Jay Gould, the prominent evolutionary biologist and science historian, argued that “unconscious manipulation of data may be a scientific norm” because “scientists are human beings rooted in cultural contexts, not automatons directed toward external truth”…a view now popular in social studies of science…In support of his argument Gould presented the case of Samuel George Morton, a 19th-century physician and physical anthropologist famous for his measurements of human skulls. Morton was considered the objectivist of his era, but Gould reanalyzed Morton’s data and in his prize-winning book The Mismeasure of Man…argued that Morton skewed his data to fit his preconceptions about human variation. Morton is now viewed as a canonical example of scientific misconduct. But did Morton really fudge his data? Are studies of human variation inevitably biased, as per Gould, or are objective accounts attainable, as Morton attempted? We investigated these questions by remeasuring Morton’s skulls and reexamining both Morton’s and Gould’s analyses. Our results resolve this historical controversy, demonstrating that Morton did not manipulate data to support his preconceptions, contra Gould. In fact, the Morton case provides an example of how the scientific method can shield results from cultural biases.

In their measurements they found that there were errors in Morton’s methods: but they were not systematically biased in the direction which his preference for white racial superiority would have led him to. On the contrary, if anything his errors went in the other direction. The prose in the paper is pretty straightforward, eminently polite, and charitable to Gould in light of the fact that he is no longer with us and able to respond forcefully.

Failing Politically, Intellectually, and Economically

Thursday, June 16th, 2011

Paleoconservatives William S. Lind and William S. Piper want to believe that the progressive Establishment is failing politically, intellectually, and economically — if not theatrically:

Politically, the Establishment — which includes most members of both parties and almost all office-holders — cannot come to grips with America’s decline. It can act only within a narrow range, limited by controlling interests at court that feed off the country’s decay. Its range of action is too narrow to conceive and implement policies that might reverse decline.

Intellectually, the Establishment has been reduced to parroting the shibboleths of political correctness. Anyone with a contrary idea is not incorrect for this or that reason; he is a “thisist” or a “thatist.” When the only remaining intellectual prop of a ruling caste is name-calling, it is bankrupt.

Economically, the Establishment stands for globalism, which averages the once prosperous economies of the West with those of the rest of the world. They come up, but we go down. And as the middle class in Western countries finds itself impoverished, its wrath is turning against those who stole its bread.

Only theatrically does the Establishment appear yet unchallengeable. At most junctures in history, this would not have counted for much. Today, when many people’s lives revolve around being entertained, it counts for a great deal. By offering entertainment that appeals to the worst elements in human nature, the Establishment has given itself a lock on popular culture. To be viable, a competitor would have to raise the level of public taste, a task the education Establishment guarantees will prove impossible.

(Hat tip to Samuel Lenser.)