In this episode, the lead singer and song writer of the band Weezer explains how one of their songs came together. What struck me about this episode was how this writer creates the lyrics to his songs. There is no overarching story he is trying to tell. He has a running list of ideas for lines on a spread sheet from various sources and then uses those random lines to create songs. He looks for words and lines with the proper inflection and sound quality to decide which lines to include in his song.
From the podcast:
“It sounds like something happened in my life, and then I observed it, and then I wrote a song about it. It’s coherent. There’s a beginning middle and an end. And that’s totally not the case at all. Each line is from a completely different place and I just reassembled them in some order that suggests a story that never happened. It’s a crazy way to write.”
This raises some interesting questions about the importance of the intent of an artist. If the artist himself says there is no meaningful story he is telling, does that mean that a listener cannot find meaning in them? Does revealing this story undermine the value of the artwork being created?
“Back in 1995, Claude Steele published a study that showed that negative stereotypes could have a detrimental effect on students’ academic performance. But the big surprise was that he could make that effect disappear with just a few simple changes in language. We were completely enamored with this research when we first heard about it, but in the current roil of replications and self-examination in the field of social psychology, we have to wonder whether we can still cling to the hopes of our earlier selves, or if we might have to grow up just a little bit.”
This podcast examines the nature of scientific knowledge and how it is produced. What is “good science” and how is it undermined by incentives and the process itself?
“Academic research stands accused of turning a blind eye to dodgy data, failing to reconcile contradictory findings and valuing money over knowledge. We examine the criticisms, which go the very heart of our pursuit of knowledge.”
“Most of us would sacrifice one person to save five. It’s a pretty straightforward bit of moral math. But if we have to actually kill that person ourselves, the math gets fuzzy.
“That’s the lesson of the classic Trolley Problem, a moral puzzle that fried our brains in an episode we did about 11 years ago. Luckily, the Trolley Problem has always been little more than a thought experiment, mostly confined to conversations at a certain kind of cocktail party. That is until now. New technologies are forcing that moral quandry out of our philosophy departments and onto our streets. So today we revisit the Trolley Problem and wonder how a two-ton hunk of speeding metal will make moral calculations about life and death that we can’t even figure out ourselves.”
“There are 7,000 languages spoken on Earth. What are the costs — and benefits — of our modern-day Tower of Babel?”
“Nosek recently lead a project in which 270 scientists sought to replicate 100 different studies in psychology, all published in 2008 — 97 of which claimed to have found significant results — and in the end, two-thirds failed to replicate. Clearly, some sort of course correction is in order.”
Writing history is an act of interpretation based on the past. Creating art about history further separates past events from the final work.
What happens when an artwork tells a story that distorts an actual event? What if that “distorted” artwork communicates a historical “truth”?
Below is a famous image from a civil rights protest in Birmingham. The image tells a powerful story. It turns out that the actual events leading up to the image and the people involved tell a much different story than one we would infer simply by looking at the image.
There is a sculpture, based on the above image, that tells an even more dramatic story pictured below. What does it mean if the artwork, though powerful, does not accurately tell the actual story of the events it is depicting? What if it tells the truth of the brutality of the crackdown on the civil rights movement through inaccurately depicting an event? What does all this say about the power of artwork? The connection between history and art?
Below is a link to Malcolm Gladwell’s podcast that discusses these issues and is where I found this story.
I found another blog post discussing these issues in greater detail. Really interesting discussion as well in the comments section.
When the Truth Gets in the Way of the Story You Want to Tell
“Put simply, we don’t like complicated stories. We like our stories cleaned up and sanitized and well tailored for public consumption. We like heroic knights vs. evil villains. We like incorrigible racists and bigots vs. tolerant human rights champions. We like credulous believers vs. rational freethinkers. We like medieval jihadis vs. freedom fighters. We like damned vs. saved. We like lazy welfare sponges vs. hardworking taxpayers. We like sinners and saints and darkness and light and red and blue and black and white. And if reality doesn’t serve up the story that we want? If the truth turns out to be a bit blurrier and more inconvenient than we’d prefer? Well, we’ll just tell the story how we want to.”