Showing posts with label macarthur genius awards. Show all posts
Showing posts with label macarthur genius awards. Show all posts

18 April 2021

Chasing The Over-a-Hundred Prize


The problem in deciding whether a scientific result or a new innovation is a "breakthrough," that is, the opposite of noise, is that one needs to see all aspects of the idea—and there is always some opacity that time, and only time, can dissipate. ...

Likewise, seemingly uninteresting results that go unnoticed, can, years later, turn out to be breakthroughs.

So time can act as a cleanser of noise by confining to its dustbins all these overhyped works. Some organizations even turn such scientific production into a cheap spectator sport, with ranking of the "ten hottest papers" in, say, rectal oncology or some such sub-sub-specialty.

If we replace scientific results with scientists, we often get the same neomaniac hype. There is a disease to grant a prize for a promising scientist "under forty," a disease that is infecting economics, mathematics, finance, etc. Mathematics is a bit special because the value of its results can be immediately seen—so I skip the criticism. Of the fields I am familiar with, such as literature, finance, and economics, I can pretty much ascertain that the prizes given to those under forty are the best reverse indicator of value... The worst effect of these prizes is penalizing those who don't get them and debasing the field by turning it into an athletic competition.

Should we have a prize, it should be for "over a hundred": it took close to one hundred and forty years to validate the contribution of one Jules Regnault, who discovered optionality and mapped it mathematically—along with what we dubbed the philosopher's stone. His work stayed obscure all this time."

N.N. Taleb
Antifragile (2012)
pp. 329-330

These prizes have their counterparts in the music world, and there too they are well-known as strong "reverse indicators of value," at least to everyone outside the immediate social orbit of the committee and the recipients. A certain amount of focus on the under-forties arises from a good-faith response to a good-faith criticism: lifetime achievement awards are obscene when the elderly achiever really could have used that money to stay afloat during their starving-artist years. This, together with the realization that many small grants to individual artists would do more good than a few massive grants to superstars and large organizations, has (re)shaped the landscape somewhat for the better. I suspect there are good intentions behind this; yet NNT's observations here supply the necessary damned if you do caveats. Radical postmodernists get the most attention for rejecting the cleansing effect of time, for junking the Thirty Year Rule that historians formerly observed, etc., and yet functionally the bourgeois mainstream has also rejected these things, much more quietly but with equal thoroughness and equally strident rationalizations. In one respect it is obvious that people need the money more when they are younger. The problem, though, is that it is not so easy to see the future. To attempt to do so is a fragilista maneuver through and through.

In borrowing this Talebism, I am certainly wary of embracing Taleb's peculiar brand of Darwinism. He is not the least bit convincing when he claims, after all else he has written here and prior, to be content with merely passing on his genes and riding off into the Darwinian sunset. Clearly he lives to read, argue, eat and drink, put mice down people's shirts, and so on. (How I wish I'd had this last idea when I was sitting in Dr. Damschroder's theory classes!) I'm not in favor of a full Hunger Games approach to artisthood. The point, rather, that Taleb's arguments reveal, and which is in my experience simply not yet acknowledged in artists' circles, is that the fragilizing effects of awards are even worse than the trappings of a pure survival competition. They compound "cumulative advantage," lead to "Matthew effects," and claim to see the future. They "penaliz[e] those who don't get them and debas[e] the field by turning it into an athletic competition." I'm sure we will continue to have them even so. We all might as well apply just in case. But please don't believe anything anyone involved says about the recipients or the process, and please don't believe that competitions and awards are about supporting the next generation's finest practitioners. They cannot be about that. The list of Pulitzer winners speaks for itself here.

Synchronically, lifetime achievement awards are indefensible; diachronically they are the only defensible kind of award in fields that are, for our purposes here, the opposite of math, where the value of results is very rarely immediately seen, indeed where this value is all but guaranteed to change, and where this guarantee in and of itself does not need to be elevated to a risk by our having previously bet against it. Of course we can collectively decide to redefine value as strictly limited to that which can be immediately seen. It may seem like this has already happened; but watch those pomos carefully, especially when they don't know they are being watched, and you will find all the evidence you'll ever need that this presentism is no more a part of who they really are than their mismatched tube socks.

06 October 2013

Selling Vijay Iyer

Iyer is feeling the blogospheric heat after receiving a MacArthur "Genius" award, and while no one could possibly claim to be surprised by his selection (frankly, that should include himself), I have to confess that it indeed disappoints me in that Regina Carter sort of way. Kurt Rosenwinkel's scathing evaluation of Iyer's playing ("No touch, no tone, no melody, nothing exceptional in any way") is a bit too harsh; I would simply say that for Iyer, the piano is a noise-maker, a keyboard that he plays like a drum set. It's an eminently valid approach to music-making, but a strange choice of instrument for the purpose, and as a result, his music has always struck me as tone-deaf in a not-so-constructive way. I've been over this with friends and in the end we have had to agree to disagree. Some people sincerely dig it in direct proportion to the hype; for better or worse, I am not one of them.

As for whether Iyer is a "genius," I'm open to both earnest and cynical interpretations to that effect, both entirely unrelated to his piano playing. Even so, Rosenwinkel's larger point that Iyer's success "reflects a snowball effect of the power of the critics and the industry to select their darling and push that person to the Nth degree" deserves to be taken seriously. In this case, though, Kurt could actually have gone further: Iyer is nothing less than this industry's perfect storm, neither white nor black, and a loudly self-proclaimed autodidact who nonetheless holds a PhD from a world-renowned university. Under those circumstances, someone would actually have to have it out for him just to stop all the accolades from pouring in; indeed, he himself had to walk back the Huffington Post after a headline lauding him as "America's Greatest Living Jazz Pianist" appeared in the wake of his MacArthur. Not that anyone's feeling sorry for him right now, but his fitness for visibility is clearly a burden on as well as a vehicle for his music. Most of us are still working towards our breakthrough, and one hopes none of this gets in his way.

Catch my references and read the whole story here and here.

For a work of proto-genius, check out the track "Habeas Corpus" on the record "Blood Sutra."