Saturday, November 10, 2012

Creating Order, or Working in Order?

Poets and other writers of literature fancy themselves the creators of order, imposing their own order on the chaos of language (a  belief which perhaps goes a long way toward explaining why so many writers support leaders who promise they can impose order on the chaos of society).

However, writers are wrong to think this. First, language is not chaos. The language they use evolved in a spontaneous order. That language follows the rules of grammar and syntax -- a deep grammar which is instinctual and, thus, genetically inherited; an evolving surface grammar and syntax which evolves more quickly in the linguistic order.

Further, the cultural context the writer is working in is also a spontaneous order. They were born into this evolving order, which they can affect through their actions, but cannot design. This cultural context affects the content of their works.

And of course, literary artists are all working within the literary order. They have to participate in the literary order first as readers, then as writers. They write in dialogue with the other writers of that order. Here, too, there is no utter chaos, but a complex, evolving order.

Does this mean there is no heroic literary genius? That Goethe is merely a social contruct? Or at best a marionette suspended between the strings of his genes/instincts and social order into which he was born? Hardly. Yes, our genes and instincts influence our actions. The actions of our neurons, through, create our minds, which in turn affect our neural activity. Yes, our various social orders influence our actions, and with our neurons, co-creates our minds. But this mind is, in this suspension, nevertheless free. It plays in the rules provided it, which it provides to itself from its genes and neural architecture and which it co-creates in its actions in the social environment, but the presence of rules hardly eliminates freedom or the emergence of individual differences. Good rules create more degrees of freedom. However, bad rules have the opposite effect.

What is a good rule? What is a bad rule? Consider the rules of sonnet writing. They are good rules because they can and do result in innumerable truly new poems, truly new expressions. But suppose that I created rules for poetry that stated that what specific word had to be used at the end of each line, what the topic necessarily had to be, what each noun had to be, what each verb had to be, etc. How many different kinds of poems could be written? Very few. Such would constitute bad rules.

The same applies to society. General rules generate freedom; specific rules are oppressive. The same is true in poetry as in society.

Thursday, October 25, 2012

Affecting Popular Culture

Culture has a significant impact on the spontaneous orders, including attitudes toward them.

The popular T.V. show Big Bang Theory, for example, has fostered a boom in students majoring in math and physics in college. This is no small thing. That will affect the scientific order and the technological order directly, and the market economy through the technological order, creating waves through the catallaxy.

We can write white papers, or even popular nonfiction pieces to reach general audiences, but in doing so we will mostly be preaching to the choir.

But when we write screenplays and teleplays, when we write plays and novels, when we write short stories and even poetry, then we reach a wider audience. Then we really change minds.

If we want to really effect change in culture, we need the economics equivalent to Big Bang Theory. We need the popular sitcom Spontaneous Orders, with an Austrian-school economist, a neoclassical economist, and a Keynesian, with their friend who is a business owner. Admittedly, that's a little explicitly like Big Bang Theory, but I think you get my meaning.

Friday, October 12, 2012

Libertarian Literature

There is a new page listing libertarian fiction at Thinking Machine Blog. But why stop at libertarian fiction? Why not libertarian poetry, libertarian plays, libertarian movies? As far as poetry, there are the works of Frederick Turner, including his two epic poems. And then there is my own poetry on

Tuesday, September 25, 2012

Rent-Seeking in Shakespeare

At The Freeman, Sarah Skwire has a piece on Shakespeare's Henry V and rent-seeking. It is a lovely beginning, but the theme definitely needs to be developed -- especially through the entirety of the "Henriad."

Sunday, September 16, 2012

Constrained and Unconstrained Poets

The economic way of thinking begins with understanding that human choice is all walks of life is always exercised against a background of constraints.

The reality of choice within constraints implies that we face trade-offs in making decisions.

Peter Boettke, Living Economics, pg. 22
F. A. Hayek argues that there are two kinds of individualism, one which embraces the "constrained vision" and the other which embraces the "unconstrained vision." The former Hayek identifies with the "tragic sense of life."

If we look at poetry, we can see these two visions at play in formalist poetry vs. "free verse" poetry (which I will, for simplicity's sake, use to mean any and all kinds of "unconstrained" poetry, including dadais and surrealist poetry, among others).

Formalist poets understand that constraints are not necessarily restricting, but are a necessary condition for freedom. The world is full of constraints, and interesting rules/constraints can create new possibilities you may not have thought of had you been writing a free verse poem. A sonnet thus makes one more entrepreneurial, because you have to be alert to new possibilities, because you have constraints in what you can say next (or, in revision, perhaps what you said before). In formalist peotry there are a number of constraints that force you to make choices -- many more choices than you have to make in free verse, for example.

Free verse poets believe constraints restrict their freedom. Free verse poetry and many of the experiments of literary modernism and postmodernism were attempts at shedding constraints -- and are in fact an attempt to deny the existence and validity of constraints. Surrealism attempts to deny the validity of making a decision -- or at least, conscious decisions -- and therefore atttempts to create an "act" without decision, direction/goal, or structure. The surrealist artists all considered themselves to be the artistic expression of Marxism. And Marxism is, of course, the height of the unconstrained vision of man.

Of course, not all constraints are the same. There are natural and imposed constraints. There are internally imposed and externally imposed constraints. There are predictable and unpredictable constraints. Formalist poetry embraces a combination of natural (rhythms and rhymes) and imposed (this or that particular rhyme scheme or rhythm), internally imposed (by our choices) and externally imposed (by our traditions, within which we necessarily work), and predictable (in a heroic couplet the last word of the second line necessarily rhymes with the first) and unpredictable (having to rhyme may send the writer into a different direction than (s)he first thought the poem was going). But note that the formalist poet is making use of both simultaneously, and is not using one at the expense of the other.

Many of the experiments with modernism and postmodernism insisted that they were rejecting the artificiality of formalism and embracing a more "natural" kind fo poetry. The surrealists thought they were being natural, unpredictable, and internal, for example. There was an assumption that nature was chaotic/unpredictable -- and that man imposed order from the outside. Self-organization theory helps us to see that a kind of predictable-unpredictable, internal-external natural order can exist. Thus, a good formalist poem is much more like a self-organizing natural system than is a surrealist poem. Neither is more natural than the other, but the former embraces more aspects of reality than does the latter .

On the other hand, one can go in the other direction and have externally imposed, predictable art -- but this is propaganda and/or is a product of censorship. In the visual arts, Futurism tried to embrace the completely "imposed"/non-natural. Language, being a spontaneous order itself, always necessarily embodies both elements, making a purely "unnatural" poetry all but impossible -- except perhaps in various Dadaist experiments.

This suggests, then, that the kinds of poetry flourishing at a given time are likely to reflect the way the poets understand the world - as being naturally constrained or naturally unconstrained. Does this mean there are more formalist poets with the tragic view of life? Perhaps. One would expect to see this in the world views they express in their art, regardless of explicit political statements. The same would, perhaps, be true of "unconstrained" poets as well.

Sunday, September 9, 2012

Who Would Miss It?

Should government fund the arts? To do so would seem to imply that someone in government is capable of deciding what constitutes art good enough to fund. And if someone in government can decide that, they can decide if art is bad too. Given the amount of money spent by Americans on art voluntariy, it's perhaps not necessary. Usually what it means when someone wants the government to support "the arts" is that they want government to support "their arts." And given the tiny amount the U.S. government spends on the arts, who would miss it?

Friday, August 31, 2012

The Invisible Order

If you're literary and your writing needs some order, there's always The Invisible Order for libertarian editorial solutions.

Wednesday, August 8, 2012

Civilization, Capital, and the Moral Order in The Road

There is an excellent piece at mises.org on The Apocalyptic Vision of The Road, which reviews Cormac McCarthy's book The Road. Ben O'Neill analyzes the disappearance of the moral order and the varieties of capital in the novel.

Cormac McCarthy is also the author of All the Pretty Horses, Blood Meridian, and several other novels. He is also a trustee and writer-in-residence at the Santa Fe Institute, an important center for the study of complexity, and which has been one of the main drivers in the push for complexity economics, of which Austrian economics is a long-time contributor. So it should perhaps not surprise anyone that one can find good economics in his novels. Just be ready for a very dark read.

Thursday, August 2, 2012

Elaine Scarry on the Literary Order and the Moral Order

Elaine Scarry on how the literary order affects and contributes to the formation of the moral order. The more literate we became, the more moral people became. How does this happen? Scarry suggests it comes about because of literature's
invitation to empathy, its reliance on deliberative thought, and its beauty.
She argues that Medieval literature gave rise to new institutions -- and as any Austrian economist will tell you, institutions matter for what kind of spontaneous orders will emerge.

The entire essay is very intersting and very thought-provoking.
________________
Update: PJ Manney makes this argument too, in 2006, in Empathy in the Time of Technology: How Storytelling is the Key to Empathy. HT: PJ Manney

Call for Papers

January 1, 2013 will see the release of the inaugural issue of "Developments in Spontaneous Orders: A Journal of Diversity, Globalization, and Entrepreneurship," a peer-reviewed journal of the EDGE Center, a social science research center at UT-Dallas.

We are seeking papers for our inaugural issue on our journal's theme(s):
  • Spontaneous Orders
  • Entrepreneurship
  • Diversity
  • Globalization
  • Science and Technology
We encourage all scholars interested in exploring how the above themes can help us better understand our social world to consider submitting original academic papers. Acceptable papers can range from case studies to theoretical explorations.

Since this is an online journal, we are accepting papers year-round. Papers will be published two at a time throughout the year, with each issue consisting of a year's worth of papers. To have a paper considered for publication on the release date, please submit by Oct. 1, 2012

Manuscripts should be sent as Microsoft Word attachments via email to zatavu1@aol.com. Manuscripts submitted to this journal should not have been published elsewhere and should not simultaneously be submitted to another journal.

Please be sure that the first page of your manuscript contains the title of the article, the names and affiliations of all authors, any notes or acknowledgments, as well as, the complete mailing addresses of all authors. The second page should contain no author information as well as an abstract of no more than 150 words and 5 to 7 keywords.

Manuscripts should be Times New Roman 12 font. We are an interdisciplinary journal, and the writing must be intelligible to the professional reader who is not a specialist in any particular field. Manuscripts that do not conform to these requirements and the following manuscript format may be returned to the author prior to review for correction.

Papers should be between 8,000 and 11,000 words in length. The entire manuscript should be double spaced.

I encouarge everyone to spread the word and to freely repost this call for papers.
 
Troy Camplin, Ph.D.
Senior Fellow, EDGE Center
Editor, Developments in Spontaneous Orders: A Journal of Diversity, Globalization, and Entrepreneurship
zatavu1@aol.com