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Plane

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Niceblog
« on: July 06, 2011, 09:59:24 AM »
Good essays that explain life in terms of cartoons.

http://www.weeklystorybook.com/.a/6a0105369e6edf970b014e8953640e970d-800wi

06/23/2011
Chariots of the Clods
 
http://www.comicstripoftheday.com/
Today's Bug had me right at the first panel. You don't get a lot of space to introduce a topic in a comic strip. This is subtle, yet effective. The jack-in-the-box makes it.

But the insanity of that abrupt intro masks the fact that the strip makes a profound historical argument: Whatever happened to Occam's Razor? Why do we twist ourselves into such pretzels trying to come up with explanations to avoid the simplest -- and thus the most likely -- explanations, which is that ancient people might have been more intelligent and talented than we like to think they were?

Which comes bundled with the accompanying thought that maybe we're not as smart as we think we are.

No serious historian -- no serious thinker -- believes the pyramids were built by aliens. But, for all that we've been talking this week about how much kids don't know about history, it turns out there's a lot we do know about history that doesn't make any sense and that turns out not to be true.

Some of it is merely a case of elevating urban legends to the level of purported history. Somehow, odd stories that crop up here and there get snatched up and put into popular histories, whereupon they become Fact.

For instance, you can read about the French Revolution and that the king was captured attempting to escape France dressed as a woman. But you can read the same thing about Jefferson Davis in some popular histories of the Civil War. And, if you were to gather up all the defeated leaders who were allegedly caught fleeing in drag, you'd have assembled a large tableau of ugly, cowardly women with Adam's apples.

The stories can't all be true.

And, legends aside, there are things about the past that we think we know because we have accepted historical explanations that sound logical but don't stand up to much scrutiny.

It turns out that, if you ask the obvious questions, you'll find that the answers are there, hidden in serious histories that nobody bothers to read.

Example: We were all taught in school that Coronado came to America and traveled around the Southwest looking for El Dorado. Some of his horses wandered off, bred in the wild, and formed the foundation of the wild horse population of the western plains. The Indians captured and tamed these horses and learned to ride them, and this allowed them to hunt buffalo more efficiently.

We were all taught that, and we all accepted it, but hang on a second:

1. How many horses did Coronado lose? How many did he have with him in the first place? And were they horses or were they rabbits that, in the course of a century or two, they were able to spread all the way to the Northern Plains in such prodigious numbers?

2. Why would the Indians of the Northern Plains, far from any contact with Coronado, look at these animals and think, "I'll bet we could ride those!" Wouldn't they be more likely to think, "I'll bet we could eat those!"

If you look into real historical accounts, you'll find that large numbers of horses were sent out onto the plains by the padres at the missions, along with herds of cattle to be watched over by the vaqueros, enslaved natives who, though trained, dressed, re-named and baptized, were in many cases not all that far from their tribal roots.

So here are these two or three vaqueros sitting out there in the middle of nowhere, with a string of horses and a herd of cattle, and up comes a hunting party of non-enslaved natives, who start asking questions about these amazing animals they've got. A little trading and training and swapping follows, and the vaqueros' new buddies go away with a few horses and with the knowledge of how it all works.

And they swap with other nations up and down the country, and, meanwhile, horses are wandering away from all those rancheros in far larger numbers than Coronado could have released in his brief foray around the Southwest.

The next thing you know, horses are so well-established among the Indians that Lewis and Clark head west confident they can simply trade for them once they reach the Mandan country.

And, in fact, not so far from Mandan country, the Nez Perce have established a selective breeding system complete with a registry that goes back multiple generations and have even created a whole new breed of horse, the appaloosa.

This is the opposite of the "Chariots of the Gods" explanation. This is the "It Just Happened" explanation, and it's equally condescending.

Fact is, none of it "just happened." Aliens from Europe did bring the horses in the first place, and passed along the knowledge of how to ride them, but then the Indians figured out selective breeding on their own. Which isn't all that surprising if you go back another thousand years and look into the sophisticated hybridization that had been going on with corn in the Mississippi valley.

Which brings us to the final panel of "Bug," and these bits of historical insight:

1. "Brown" and "stupid" are not the same thing.

2. "Pre-industrial" and "stupid" are not the same thing.

3. Occam's Razor is still pretty sharp.

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kimba1

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Re: Niceblog
« Reply #1 on: July 06, 2011, 11:49:39 AM »
hey!

I always thought the boston tea party was alittle far fetch. guys dress as indians somehow able to steal a high value british product. meaning they killed the guards and took what they want is more realistic. I don`t don`t what kind of guard they used but if it was a british soldier it`s doubtful they were asleep.

Xavier_Onassis

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Re: Niceblog
« Reply #2 on: July 06, 2011, 12:03:04 PM »
The people who took part in the Boston Tea Party dressed as Indians fooled almost no one. The Indian costumes were probably useful in providing initial XIX century "shock and awe". Indian attacks were about as frightening an occurrence as was available in America. I don't think many, if any British troops were killed. And they did not steal the tea, at least most of it, they dumped it in the water, rendering it useless. Perhaps a few fish got a high from the caffeine.

The British parked the tea ships in the harbor, blocking entry to other ships and thereby preventing commerce as an incentive to Boston to pay the tax (which was minimal) and clear the harbor. It is unclear that the ships were guarded, and certainly not heavily guarded. The purpose was to get the ships out of the harbor and to allow other ships to dock, as commerce was stymied for as long as the tea ships were there.
 
The taxes on the tea were minimal, and tea smuggled from Dutch ships provided competition.
"Time flies like an arrow; fruit flies like a banana."

Plane

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Re: Niceblog
« Reply #3 on: July 07, 2011, 11:16:54 PM »
http://www.gocomics.com/bliss/2011/06/22



Quote
Harry Bliss, in his eponymous cartoon, touches a nerve.

A good friend moved to Japan to teach at a university there. He said that most Japanese colleges don't really do a lot of actual instructing so much as they provide a venue for students to meet each other, make contacts and prepare for life after college.

Which I guess is why Japanese grade schools and high schools need to provide so much instructional depth.

But there is an element of that in all universities, and always has been. If you read "Tom Brown at Oxford" (1861) or "Stover at Yale," (1911) or "This Side of Paradise" (1920), the theme of privilege versus merit runs through them, with the "moral" being that there are some deserving people there but the majority are simply playing around while waiting to step into whatever sinecure has been prepared for them.

"Oh, father and mother pay all the bills,
And we have all the fun.
That's the way we do in college life.
Hooray!" -- Stover at Yale

That Wikipedia article on "This Side of Paradise" even includes a reaction from the president of Princeton, Fitzgerald's not-quite-alma-mater: "I cannot bear to think that our young men are merely living four years in a country club and spending their lives wholly in a spirit of calculation and snobbishness."

Well, it may have hurt his feelings, but there it was.

Somewhere between Dink Stover and Amory Blaine, my grandfather graduated from the University of Wisconsin. In much later years, I asked him what his father, a Danish immigrant who worked on the loading dock at an iron mine on the Upper Peninsula, thought of his going to college.

"He thought it was a waste of time," he told me, "because he had no contacts to help me once I got out."

A degree in mining engineering, of course, translates into work with more ease than does one in English or history, and my great-grandfather lived long enough to see his son the manager of a mine, though he didn't get to see that the elevator continued to ascend well after that.

Still, I think the old man was pretty perceptive, and I'm quite sure it wasn't because he had grown up reading novels on the topic.

When it comes to MFA programs, I'm not sure where realism, pragmatism and cynicism overlap.

I know, for instance, that, if you take an MFA, whether in graphic arts or in writing, you will have a couple of years of hanging out with people who share your interests, in a place where you will be exposed to visitors who, if they take an interest in you, can advance your work.

But I also know that moving to Portland, Oregon, for a couple of years seems to provide many of those elements, as well, and the coffee is likely to be better.

And yet another thing I know is that too much input, from instructors or from peers, can lead to a kind of homogenization of style. Are you learning to express yourself, or are you learning a type of mimicry that those who pay for your art have chosen to reward? (And which were you looking for?)

A lot of contemporary fiction seems to have been created on the assembly lines at Iowa and Stanford. While not quite as stylistically monotone as the tiresome personal essays on NPR, there are still too many marks of the Writers Workshop on the novels that emerge from these places. "Good literature," for all the bowing and scraping with which it is discussed, can be just as formulaic as detective novels, bodice rippers or any other genre.

And then there is this factor: The vast majority of people who get MFAs in acting don't become professional actors. But you can't put on very many plays -- aside from "Zoo Story" and "Waiting for Godot" -- much less staff your program, if you only admit the two or three students who will actually follow through when it's over. The defense is that you can't tell who falls into that select group until they go through the program, but, still ...

I have no idea how any of this translates when it comes to MFAs in the graphic arts, but I'd be a little surprised if things were much different over there.

Maybe Harry Bliss is just a wise-ass, and maybe I'm just bitter. But I laughed at the cartoon.

There was a time, however, when my attempts at novel-writing were frustrated and I thought about getting an MFA. There weren't so many of them in those days, but I began the process of applying to a new program at San Diego State, until a friend asked this question:

"If 'MA' stands for 'More Academia,' what does 'MFA' stand for?"


Xavier_Onassis

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Re: Niceblog
« Reply #4 on: July 08, 2011, 03:06:45 PM »
I LIKE the personal essays on NPR.

MFA stands for Master of Fine Arts, of course. Most people who get this degree teach art. It will get you as far in most universities as a Master of Art in Art History, AND you can call yourself and artist.

I know several art teachers who have done really creative paintings, certainly as good as some of those who get $100,000 for their work. The difference seems to be that they are just not connected.

Higher education in the US used to be like in Great Britain. Only the elite attended, everyone passed and most simply went into some family business.

Andrew Carnegie, a Scot who detested the British ruling class, changed this by establishing accreditation bodies and standards based on merit, rather than ancestry, as the Germans had done.

Carnegie was for the advancement of the common man, since he was one himself, and came to the US after realizing that he would never succeed in the UK because of the rigid caste structure there.

After Carnegie, universities improved greatly in the US, and degrees came to mean that the graduate had a minimum level of education.

"Time flies like an arrow; fruit flies like a banana."

kimba1

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Re: Niceblog
« Reply #5 on: July 08, 2011, 03:23:17 PM »
I still remember the uproar universities had after WW2 because of the GI bill allow qualified veteran to attend any school they wanted and the schools predicted allowing the low class men will stir chaos. but the reverse happened and those men actually up the standards abit

Xavier_Onassis

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Re: Niceblog
« Reply #6 on: July 08, 2011, 04:39:53 PM »
The vets were older, on average, and certainly more experienced than the 18 year old that made up the Freshman classes.
 previously. The GI Bill was a great idea.

What is a less than great idea are all the unaccredited, expensive for-profit diploma mills that are luring veterans into degrees that are worthless or that they cannot finish because of the huge cost.
"Time flies like an arrow; fruit flies like a banana."

Plane

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Re: Niceblog
« Reply #7 on: August 06, 2011, 01:52:06 AM »

On Freelancing
Quote
I remember the feeling back in 1987, when I put aside several years of four-digit freelancing income and took a job as a reporter at a newspaper, and, not only was I making enough to live on, but every two weeks, I got a check. I didn't have to send out invoices, I didn't have to remind anyone, I didn't get told some fairy tale about their billing cycle. I got a check. And, two weeks, later, I got another one and it was just the same size as the one before and the one that came two weeks after that was the same size, too.

Which I guess you might not appreciate if you didn't know that, in January, 1987, I had $3,000 in gross income as a freelancer. In February, 1987, I had $150 in gross income as a freelancer. And it wasn't because January was three days longer, either.

When I started getting regular checks in June of that year, it was a welcome change, because, while it would be several years before I grossed three grand a month as a newsroom hack, I never had to look at $150 again and wonder what hole that was supposed to plug.

And I only had to apply for the job once. That's the difference: As a freelancer, you have to apply for the job all over again every freaking day. It's exhausting, and you have to really want it, because if you put that kind of relentless effort into selling cars or real estate, you'd make one helluva lot more money.

As an actress friend once told me, "A lot of people want it, but not many people have to have it. You have to have to have it."

The idea that good work will find a market is nonsense. We have no idea how much good work is sitting in attics and basements, or being carted away to the dump along with some dead guy's underwear and old umbrellas. And it's easy to look at the stuff that is successful and say, "I could do that," or even, "My stuff is better than that."

But you have to have to have it, and not many people have to have it.

Vincent Van Gogh died penniless. Thomas Kinkade lives like a king.

The ideal would be to paint like Van Gogh and market like Kinkade.

Or to be retired and live near a bar.

 

http://www.comicstripoftheday.com/