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Deciding Whether or Not to Tell a Story

2011 December 22

When I was an undergraduate, I took a class called “Truth and Beauty” with the poet Ann Lauterbach. It was basically a class on reading and writing essays, but I took it because I was a philosophy major and I thought it would be about aesthetics, i.e. about whether judgments about beauty can be true or false. Every week we’d read a collection of essays and we would turn in a response essay of our own. We also met with Ann regularly to discuss our work, which was great because she had the kind of presence that made one-on-one encounters particularly powerful and instructive, like academic therapy.

During one of our sessions, I remember bemoaning the fact that my essays were all so analytical. I had read some of her poetry and I yearned for the kind of imaginative approach to language that I thought she had. (I really had no idea about poetry.) I can’t remember her exact response, but it was something like this:

Everybody has their own way of thinking, their own voice. You shouldn’t try to change the way you think, but rather work on improving it.

At the time, I found that inspiring. Here was a brilliant poet giving me permission (nay, charging me with the duty!) to dig deeper into the habits of thought and writing that were most comfortable for me. It was liberating. I’ve since come to realize that my style of thinking is much less strictly analytical and much more about exploring questions and the various possible ways of answering them. (Those links point to a couple of posts addressing different approaches to power and freedom.) But I’m glad I took Ann’s advice, because look where it got me: I got a PhD in philosophy, and I get to teach my favorite texts and questions for a living!

Now, here’s the question: why did I tell you that story?

Notice how my story works: it puts some pretty banal clichés into the mouth of a famous poet, but all she said was “be yourself.” I start by establishing her authority and gravitas, I introduce a problem via a distinction with an implicit hierarchy (analytic versus imaginative), and then the authority figure in my story teaches me a lesson that reverses the hierarchy: it’s okay to be analytic and nerdy! Then I pretend like this simple lesson is what got me to where I am today. Yay poets! Yay philosophy nerds!

But wait! Maybe my story is deceptive. Maybe, as Tyler Cowen said in his recent TEDx talk, stories have a tendency to paper over the messiness of real life:

Narratives tend to be too simple. The point of a narrative is to strip [detail] way, not just into 18 minutes, but most narratives you could present in a sentence or two. So when you strip away detail, you tend to tell stories in terms of good vs. evil, whether it’s a story about your own life or a story about politics. Now, some things actually are good vs. evil. We all know this, right? But I think, as a general rule, we’re too inclined to tell the good vs. evil story. As a simple rule of thumb, just imagine every time you’re telling a good vs. evil story, you’re basically lowering your IQ by ten points or more. If you just adopt that as a kind of inner mental habit, it’s, in my view, one way to get a lot smarter pretty quickly. You don’t have to read any books. Just imagine yourself pressing a button every time you tell the good vs. evil story, and by pressing that button you’re lowering your IQ by ten points or more.

Oh shit! Did I just make myself and my readers dumber? Did my little “A Man Learns a Lesson”-style story just get us all stoned on narrative inanities?

Cowen goes on to qualify this:

we use stories to make sense of what we’ve done, to give meaning to our lives, to establish connections with other people. None of this will go away, should go away, or can go away.

But, he explains, we should worry about stories more, and embrace the messiness of life more. But I wonder if he’s right? After all, Lauterbach told me I shouldn’t try to change the way I think, but rather get really good at the modes of thinking that I already prefer. Surely the same thing is true for people who love stories and think primarily in terms of stories?

So, here’s how I think about this question: Should we listen to Cowen or to Lauterbach? Why?

It seems to me that we should be suspicious of stories if we think that letting reality be messy is good for thinking clearly. The problem there is that we’re only likely to think that if we’ve had good experiences with other forms of analysis: plotting data or formalizing syllogisms. In that case, we’ll hear Cowen’s comments like I heard Lauterbach’s: “Be yourself! Those story-tellers are phonies, anyway.”

On the other hand, we might also want to dig deeper into stories and develop our critical thinking skills from within the narrative form: when is a story too neat? When is a narrator’s omniscience really pandering to the reader? What are the other stories we can tell about authors, about cultures, and about narrative manipulation that might help us to avoid the traps that narratives set for us? If we’ve already got a pretty good sense of the structure of stories, the kinds of things that narratives do and can do, we might prefer to dig deeper and hone this method. But still, the message is Lauterbach’s: “Don’t kick the poets out of the city! Poets can be wise, too!”

In this post, Lauterbach is going to stay the hero. But Cowen is a smart guy, and he tries to inoculate himself against this kind of criticism in the section on cognitive biases. Basically, he reminds us that people tend to misuse their knowledge of psychology through a kind of motivated reasoning that reproduces their earlier, ignorant biases but now with supposed expert certification. In this, as in most things “a little learning is a dangerous thing.” (But isn’t that what TED is for?) Then he reminds us of the epistemic portfolio theory, which holds that we’ll tend to balance our subjects of agnosticism, unpopular beliefs, and dogmatism in a rough equilibrium, so we ought to beware of the ways we abjure narratives in only some parts of our lives. (This is pretty much like ending his whole talk with the prankster’s “NOT!” Silly rationalists: truth-tracking and reason-responsiveness are myths we tell to children to hide the messy emotional facts of the matter.)

The passage in his talk where he typologizes the various narratives we’ll tell about the talk is also pretty funny: “I used to think too much in terms of stories, but then I heard Tyler Cowen, and now I think less in terms of stories!” Yay economists! They’re smart and have all the bases covered. Hey wait: do you think that’s why he told us that story?

More on Havel: Keane’s Biography, Žižek’s Review

2011 December 20

John Keane imagined Havel’s funeral in 1999:

Prague would double in size. As he lay in state in the old Castle of the Bohemian kings above the city, a queue some miles long would spring up. Mourners would wait all day, and all night, to see his body for the last time. The day of the funeral would be a public holiday. Hundreds of thousands of people, dressed in black and clutching flowers, would be seen lining the route taken by the cortège on the way to his final resting place. Huge black banners would fly from every office; his photograph, draped in black, would crowd every shop and news—stand and public place. Shared feelings of embarrassment would hold words back. Half-buried or forgotten anxieties about death would collectively resurface; fantasies of personal immortality would temporarily weaken. Around the graveside a forest of microphones, tripods, cameras, pads and pens would suddenly spring up. Obituaries, many of them written long ago and updated several times already, would appear in all four corners of the earth. Millions of words would he uttered. Many hundreds of different and conflicting points would be made. The words of the dead man (as Auden said) would be modified in the guts of the living. It would be said that he was a good man, a great man, a hero of the century. Harry S. Truman’s remark that a statesman is a dead politician would be confirmed. Loud sounds of grinding axes would also be heard.

In his LRB review of Keane’s book, Žižek writes:

The source of Havel’s tragedy, however, is not the tension between the public figure and the ‘real person’, not even his gradual loss of charisma in recent years. Such things characterise every successful political career (with the exception of those touched by the grace of premature demise). Keane writes that Havel’s life resembles a ‘classical political tragedy’ because it has been ‘clamped by moments of … triumph spoiled by defeat’, and notes that ‘most of the citizens in President Havel’s republic think less of him than they did a year ago.’ The crucial issue, however, is the tension between his two public images: that of heroic dissident who, in the oppressive and cynical universe of Late Socialism, practised and wrote about ‘living in truth’, and that of Post-Modern President who (not unlike Al Gore) indulges in New Age ruminations that aim to legitimise Nato military interventions. How do we get from the lone, fragile dissident with a crumpled jacket and uncompromising ethics, who opposes the all-mighty totalitarian power, to the President who babbles about the anthropic principle and the end of the Cartesian paradigm, reminds us that human rights are conferred on us by the Creator, and is applauded in the US Congress for his defence of Western values? Is this depressing spectacle the necessary outcome, the ‘truth’, of Havel the heroic dissident? To put it in Hegel’s terms: how does the ethically impeccable ‘noble consciousness’ imperceptibly pass into the servile ‘base consciousness’?

Žižek notes that Havel’s support for the NATO campaign is rooted in falsehood masquerading as truth:

The predominant form of today’s ‘politically correct’ moralism, on the other hand, is that of Nietzschean ressentiment and envy: it is the fake gesture of disavowed politics, the assuming of a ‘moral’, depoliticised position in order to make a stronger political case. This is a perverted version of Havel’s ‘power of the powerless’: powerlessness can be manipulated as a stratagem in order to gain more power, in exactly the same way that today, in order for one’s voice to gain authority, one has to legitimise oneself as being some kind of (potential or actual) victim of power.

He concludes:

This, then, is Havel’s tragedy: his authentic ethical stance has become a moralising idiom cynically appropriated by the knaves of capitalism. His heroic insistence on doing the impossible (opposing the seemingly invincible Communist regime) has ended up serving those who ‘realistically’ argue that any real change in today’s world is impossible. This reversal is not a betrayal of his original ethical stance, but is inherent in it. The ultimate lesson of Havel’s tragedy is thus a cruel, but inexorable one: the direct ethical foundation of politics sooner or later turns into its own comic caricature, adopting the very cynicism it originally opposed.

Václav Havel: To the Castle and Back

2011 December 19

Peter Levine’s post on Havel’s 1992 speech in Poland reminded me that I had planned to do some writing about Havel before he died. The New York Times titled his obituary “A Melding of the Artist’s Politics and the Politician’s Art,” and yet it focuses only on his writing career and offers not a single observation about his practice of “the Politician’s Art.” Given the outpouring of vitriol against Christopher Hitchens, perhaps you’ll excuse me if I spend a moment criticizing rather than praising the Czech Republic’s former president.

The line in Havel’s 1992 “Advent Speech” that has always troubled me is this one:

What was essential was something different: the courage to confront evil together and in solidarity, the will to come to an agreement and to cooperate, the willingness to place the common and general interest over any personal or group interests, the feeling of common responsibility for the world and the willingness personally to stand behind one’s own deeds. Truth and certain elementary values such as respect for human rights, civil society, the indivisibility of freedom, the rule of law these were notions that bound us together and made it worth our while to enter again and again into an unequal struggle with the powers that be.

There’s something poetically seductive about his call to “confront evil together and in solidarity,” to be bound only by “Truth and certain elementary values.” Yet I’ve always thought that his promise that the dissidents would overcome ideological and technological politics was an empty one.  I think that Havel’s life gives us some insight into why this promise remained unfulfilled and unfulfillable, “easy to say but difficult to do.” In short: his politics was rooted in the sense that the spiritual dimension that “transcends“ politics, but this really means it runs away from politics.

Indeed, this was the subject of his later book, To the Castle and Back, where he tried to explain how he had approached politics during his presidency:

Politics—as an area of activity that demands general support—requires, more than anything else, that people understand it, that they grasp what the purpose of it is in any given moment, how what follows comes out of what went before, and why everything has the kind tempo that it has. But as I’ve already suggested, politics, by its very nature, resists that kind of understanding. It’s true that here and there a policy may succeed or fail, and everyone recognizes that at once. But for the most part that’s nor how it works. Politics is more of a strange, never-ending process with no clear turning points and no unambiguous and immediately recognizable outcomes. It seems to me particularly important, therefore, that politicians have an elementary dramatic instinct, that is, a sense of how to make distinctions between various acts or events, how to order them, stack them up, give them a meaningful sequence, gradation, or structure.

Just think about what this means: “It’s true that here and there a policy may succeed or fail.” This is a romantic sense of the political world: policies are stage-dressing for the operatic play of great personages in the public sphere. Can you blame the Czech media for deeming Havel a dreamer? He never really succeeded in giving his policies “a meaningful sequence, gradation, or structure.” Certainly we need dreamers in the world, but I’m reminded of Zizek’s line:

There is no ethnic cleansing without poetry. Why? Because we live in an era that perceives itself as post-ideological. Given that great public causes no longer have the force to mobilise people for mass violence, a larger sacred cause is needed, one that makes petty individual concerns about killing seem trivial.

Havel’s poetry never inspired genocide, it’s true. But his spiritual approach failed to prevent ethnic cleansing just when it was needed most: the 1992 dissolution of the political union between Czechs and Slovaks.

As I said, “transcending” politics is really a kind of “flight from politics,” and the “Velvet Divorce” is just one more piece of evidence in favor of that claim. Havel resigned rather than oversee the dissolution, so he certainly stuck to his principles, though I’m not sure this is quite the same thing as “confronting evil.” (It seems more like what Arendt called “inner emigration.”) But the seeds for the dissolution were sown before the fateful election in 1992: dissolution was fueled by heavy nationalism and anti-Semitic rhetoric against pro-federation politicians.

None of this was Havel’s fault, exactly, but this was a moment that called for a poet to “sing the nation-state” rather than a politician to try to lead it. What’s worse: it was the end of transfer payments to Slovakia that allowed the Czech Republic to enjoy a decade of unalloyed growth:

The end of the so-called penezovod (“money pipeline”) — regular transfer of subsidies to Slovakia — meant further fiscal saving amounting to 7 percent of the national budget (25 billion koruna, close to $1 billion).

As a result, while the Czech Republic traded on its highly-educated workforce and Prague tourist attractions, across the newly-minted border, Slovakia was not so lucky:

Unemployment has climbed to 15.1 percent, even though virtually no restructuring or privatization of industry has taken place under the leadership of Prime Minister Vladimir Meciar. Inflation stands at 22 percent and is forecast to grow. The gross domestic product of Slovakia last year declined by 3.5 percent from the 1992 level.

That, I think, is the real legacy of successful dreamers: their dreams always come at someone else’s expense. “Here and there” Havel’s ineffectual policies “succeeded or failed.” But mostly, they failed. When they needed the artist, Czechoslovakia got an artless politican. When they needed the politician, they got the artist’s principles.

As a playwright, Havel certainly had a sense of the dramatic, and I think he was on to something when he insisted that bureaucracy and administrative efficiency threaten to render the political boringly inaccessible:

A basic danger facing politics in the modern world is that it will appear to be hopelessly boring, a gray, dull, daily administrative grind, enlivened occasionally by a scandal or pseudo-scandal that is forgotten as soon as it’s over; in other words, something that has no point, and thus no thinking behind it. Naturally,  it’s in the general interest to confront this danger.

But I can’t say that Havel’s failures give me much hope for a new era of dramatic “nonpolitical politics.” Havel got lots of mileage out of paradoxical rhetoric, but I don’t think he got much good policy out of it, precisely because “politics… requires that people understand it, that they grasp what the purpose of it is in any given moment.” Havel’s plays were absurdist dramas that successfully undermined the legitimacy of totalitarianism, but he never learned how to “transcend” irony and absurdity. He never developed a sincere political project that could make this absurd world a little bit more habitable.

If anything, Havel gives us a clue to the lengths we will go to dramatize political events, to identify and reify one great personage to take responsibility for the efforts of millions. I’m sorry he died, but I wish the remembrances were as mixed and honest as they have been for Hitchens: the continuation of these great conversations seems a better memorial than stick-figure heroism.

Did the Bipartisan Campaign Reform Act “Bend the Cost Curve” on Campaign Spending?

2011 December 17

Apparently, it did!

On Thursday, I produced a graph and some older papers in economics that made the case that there is a pretty clear trend in campaign spending that was completely unaffected by the 2002 BCRA. However, I’m a philosopher, not an econometrician, so I left off the most important part: comparing growth in campaign spending to growth in inflation and GDP. The numbers I used were absolute totals, and there didn’t seem to have been any effect from the BCRA or Citizens United. Today I sat down to expand on the earlier point, and produced the following chart:

This graph tells a different story than the last one: we can see a clear “bend” after 2002, and another after 2008. Thus, it’s plausible to suppose that BCRA did bend the cost curve: we spent less of our GDP on elections while its important provisions were in effect.

My point yesterday was to offer some predictions and beliefs about the effects of BCRA that militated in favor of overturning it. I maintain that norms are engaged in a reflective equilibrium with our beliefs about the facts of the matter, and that sometimes inaccurate predictions can masquerade as principles. I still think this is true, and I’d only expand that claim: visual representations of facts can and do make arguments. Thursday I made a bad graph, and thus a bad argument. Today I retract it.

These new facts must still be interpreted in light of principles: perhaps the effect size is too small to justify the criminalization of partisan political speech. Perhaps the Rent Seeking Model still applies, and politicians were able to extract fewer rents from businesses during the reign of BCRA. (Perhaps, too, we owe it to shareholders to protect them from the unwanted expenditures of the companies they own.) For now I just want to point out that this does give us evidence against the “no effect” hypothesis.

Democratic Facts and Norms: Testable Hypotheses about Citizens United

2011 December 15
by Joshua Miller

So I’ve just completed grading 55 papers on Citizens United v FEC, and though I’d kind of like to reflect on it a bit, I’m also finding that grading has totally exhausted my interest in the legal questions. (But seriously: the personhood question is a red herring!) Maybe later this week I’ll post the best arguments I culled from the lot. Instead, I’ve been thinking about some of the contested facts that ground our judgments about Citizens United. After reading so much about it, it’s become clear that there are frequently empirically-testable claims underwriting judgments about that case, and that these claims can be converted into predictions that are going to be verified or falsified over the next few years. These aren’t values questions, themselves, but frequently I’ve found that my judgments on the legal questions are in part generated by my differing beliefs about the particular likelihoods behind these predictions. Consider the following hypotheses as predictions that can be tested.

The Supreme Court’s decision in Citizens United will…

  • …massively increase the amount of spending on elections (Massive Increase Hypothesis)
  • …have no effect on the levels of campaign spending  on elections (No Effect Hypothesis)

What reasons do we have to believe that “massive increase” predictions are more likely than “no effect” predictions? 2010 was a more expensive election than 2006, but that doesn’t necessarily prove that the decision caused the increase in spending.  2006 was more expensive than 2002, too. Here’s how the total spending trends look (in billions):

The law overturned by Citizens United, the Bipartisan Campaign Reform Act, was passed in 2002 but the limits didn’t effect the 2002 elections. A small piece of it was overturned in 2003 in Wisconsin Right to Life v. the FECCitizens United was decided by in January 2010, in time to effect the midterms. Here’s the data… 1998: $1.61 billion, 2000: $3.1 billion, 2002: At least $2.376 billion (source), 2004: $4.14 billion, 2006: $2.85 billion, 2008: $5.3 billion , 2010: $3.7 billion (source), 2012 prediction: $7 billion (source) These numbers are not inflation-adjusted.

Back in 1973, Gordon Tullock argued that the value of campaign contributions did not reflect the potential benefits of regulatory capture. In a recent paper, “Why is there so little money in US politics?” Ansolabehere, Figueiredo, and Snyder argue that campaign spending has tracked GDP for more than a century. So increases in campaign spending over the last decade, both before and after Citizens United, may simply track the economy as a whole.

If that trend continues, then we might want to accept an alternative model:

  • Campaign contributions are rents extracted from businesses by politicians, especially incumbents and front-runners. (Rent Seeking Model)

Why should we believe this? Well, the traditional liberal model of political capture assumes that politicians are primarily motivated by the money they can receive from businesses for beneficial regulation. The problem is that on many regulatory questions, there are competing economic interests, and politicians can only preserve the benefits of “selling out” so long as they keep their seats. Thus, it is much more likely that a politician will choose positions amenable to her constituents, especially if there are campaign contributions available for proponents on both sides. (More complicated “lean towards the green” models allow politicians to take up political causes on which their constituents are indifferent, however: for instance, interest groups spent millions of dollars trying to sway votes on debit card swipe fees at the beginning of 2011, while most voters worried about other matters.) What do businesses get for their campaign contributions? Not much it seems:

Overall, PAC contributions show relatively few effects on voting behavior. In three out of four instances, campaign contributions had no statistically significant effects on legislation or had the “wrong” sign—suggesting that more contributions lead to less support. (Ansolabehere 2003, pg. 114)

Even worse, money spent on elections has been shown to be tremendously inefficient: several different analyses of House races have shown that there is less than 1% effect on the vote per $100,000 spent. (Here’s one from Stephen Levitt, which also argues against public financing.) These findings are consistent with normative judgments like the concern that “money buys access” or that these trends undermine “democratic integrity” by their sheer size.

  • …reduce the transparency of campaign spending.
  • …have no effect on the transparency of campaign spending.
  • …increase the transparency of campaign spending.

While it seems tremendously unlikely that anything that the Supreme Court has done will lead to a decrease in domestic investment, legalizing political spending seems like it might make spending more transparent if a lot of previous spending was illegal and thus secretive. The new information on Super PACs is going to be an interesting test of this question.

  • shift campaign spending from direct candidate donations to indirect issue and advocacy advertisements.

Whether or not campaign contributions continue to hug the ratio-to-GDP trend-line, the most likely effect of Citizens United will be to shift funding away from the direct control of candidates advocating for themselves. I think we already saw this in 2010, and the alternative seems less likely.

I’d also like to propose some more general hypotheses for testing:

  • Does increased campaign spending increase interest in political campaigns?
  • Does increased campaign spending overemphasize a citizens’ role as voter, and in so doing crowd out other kinds of citizenship?
  • Does increased campaign spending exacerbate partisanship or increase negative advertising?