Books – Page 129 – artdiamondblog.com

“Being Able to Work on a Great Project”

(p. 133) Recruiting was brisk; the magnet for talent was not the pay, generally mediocre, but rather the allure of taking part in the first fully computer-animated feature film. “Disney gave us a very modest budget [$17.5 million] for Toy Story,” Guggenheim said. “Although that budget went up progressively over time, it didn’t afford for very high salaries, unfortunately. We tried to make the other working conditions better. Just the enthusiasm of being able to work on a great project is as often as not what attracts artists and animators.”

Source:
Price, David A. The Pixar Touch: The Making of a Company. New York: Alfred A. Knopf, 2008.
(Note: italics and brackets in original.)
(Note: my strong impression is that the pagination is the same for the 2008 hardback and the 2009 paperback editions, except for part of the epilogue, which is revised and expanded in the paperback. I believe the passage above has the same page number in both editions.)

Faraday and Einstein Were Visual and Physical Thinkers, Not Mathematicians

Source of book image: http://www.rsc.org/images/Faraday_Chemical_History-of-a-Candle_180_tcm18-210390.jpg

(p. C6) Michael Faraday is one of the most beguiling and lovable figures in the history of science. Though he could not understand a single equation, he deduced the essential structure of the laws of electromagnetism through visualization and physical intuition. (James Clerk Maxwell would later give them mathematical form.) Albert Einstein kept a picture of Faraday over his desk, for Einstein also thought of himself primarily as a visual and physical thinker, not an abstract mathematician.
. . .
Faraday’s text is still charming and rich, a judgment that few popular works on science could sustain after so many years. Though he addresses himself to an “auditory of juveniles,” he calls for his audience to follow a close chain of reasoning presented through a series of experiments and deductions.
. . .
. . . : “In every one of us there is a living process of combustion going on very similar to that of a candle,” as Faraday illustrates in his experiments.
In his closing, he turns from our metabolic resemblance to a candle to his deeper wish that “you may, like it, shine as lights to those about you.”

For the full review, see:
PETER PESIC. “BOOKSHELF; Keeper of the Flame.” The Wall Street Journal (Sat., January 7, 2012): C6.
(Note: ellipses added.)

Book under review:
Faraday, Michael. The Chemical History of a Candle. Oxford, UK: Oxford University Press 2011.

In History, Documenting Your Sources Matters More than Your Credentials

George Dyson. Source of photo: online version of the NYT interview quoted and cited below.

(p. D11) BELLINGHAM, Wash. — More than most of us, the science historian George Dyson spends his days thinking about technologies, old and very new.
. . .
Though this 58-year-old author’s works are centered on technology, they often have an autobiographical subtext. Freeman Dyson, the physicist and mathematician who was a protagonist of Project Orion, is his father. Esther Dyson, the Internet philosopher and high-tech investor, is his sister. We spoke for three hours at his cottage here, and later by telephone. A condensed and edited version of the conversations follows.
. . .
. . . today you make your living as a historian of science and technology. How does a high school dropout get to do that?
Hey, this is America. You can do what you want! I love this idea that someone who didn’t finish high school can write books that get taken seriously. History is one of the only fields where contributions by amateurs are taken seriously, providing you follow the rules and document your sources. In history, it’s what you write, not what your credentials are.

For the full interview, see:
CLAUDIA DREIFUS, interviewer. “Looking Backward to Put New Technologies in Focus.” The New York Times (Tues., December 6, 2011): D11.
(Note: question bolded in original; ellipses added.)
(Note: the online version of the interview is dated December 5, 2011.)

Dyson’s most recent book is:
Dyson, George. Turing’s Cathedral: The Origins of the Digital Universe. New York: Pantheon Books, 2012.

“No Street Protester Has Yet Endowed a University Department”

Source of book image: online version of the WSJ review quoted and cited below.

(p. A13) Over the next three decades, Breasted would excavate a series of sites in Egypt, the Sudan and the Near East. He would also develop an important ability to identify rich and influential benefactors and to gain their confidence without resorting to sycophancy. . . . Notable among the Maecenas figures he cultivated was John D. Rockefeller.

Rockefeller had been an early patron of the University of Chicago; he might have done something for Near Eastern studies in any case, but it is clear that without Breasted’s energy and enthusiasm, Rockefeller’s scholarly philanthropy would never have taken the course it did. Eventually, he provided the funding for an entire Oriental Institute in 1931. (The OI, as it is affectionately known, had existed from 1919 but essentially as a concept between academic committees.) Together with its Egyptian offshoot, Chicago House, the OI is perhaps the leading center of Egyptology and Assyriology in the world. At the moment, on both sides of the Atlantic, we are hearing a lot about the evils of bankers and capitalism, but as far as I know no street protester has yet endowed a university department.

For the full review, see:
JOHN RAY. “BOOKSHELF; From Illinois To Mesopotamia; Excavating sites in Egypt and the Near East, writing groundbreaking books and developing a talent for courting wealthy donors.” The Wall Street Journal (Thurs., February 23, 2012): A13.
(Note: ellipsis added.)

Book under review:
Abt, Jeffrey. American Egyptologist: The Life of James Henry Breasted and the Creation of His Oriental Institute. Chicago: University of Chicago Press, 2012.

Lasseter’s Epiphany: “This Is What Walt Was Waiting For”

(p. 52) In a trailer on the Disney lot, Lasseter huddled with Rees and Kroyer to look at the first computer-generated scene to come in–a race among drivers in virtual motorcycles known as light cycles. The scene had no character animation and its graphics were rudimentary, but it brought Lasseter an epiphany. The dimensionality of the scene was something he had never witnessed before. If this technology could be melded with Disney animation, he thought, he would have the makings of a revolution. Until then, three-dimensional effects in animation had required difficult, costly sessions with the multistory “multiplane” camera, practical for only a few key sequences in a film, if that. The computers could even move the audience’s point of view around a scene like a Steadicam. The possibilities seemed infinite.
“I couldn’t believe what I was seeing,” he said later. “Walt Disney, all his career, all his life, was striving to get more dimension in his (p. 53) animation . . . and I was standing there, looking at it, going, ‘This is what Walt was waiting for.'”
He was not able to interest the animation executives in it; they did not care to hear about new technology unless it made animation faster or cheaper.

Source:
Price, David A. The Pixar Touch: The Making of a Company. New York: Alfred A. Knopf, 2008.
(Note: ellipsis in original.)
(Note: my strong impression is that the pagination is the same for the 2008 hardback and the 2009 paperback editions, except for part of the epilogue, which is revised and expanded in the paperback. I believe the passage above has the same page number in both editions.)

“The Astaires’ Defiant New World Optimism”

Source of book image:
http://ecx.images-amazon.com/images/I/513pEMI-LeL._.jpg

(p. C6) The Astaire universe was made of crazy joy, that guiltless worldview unique to the art of the American 1920s. The Astaires’ trademarked exit was the gleefully mischievous “runaround,” in which they trotted about the stage in ever increasing circles as if joined at the hip, expanding their geometry till they reached the wings and vanished. It was goofy and expert at once, a way of defining musical comedy as the state of being young, cute and in love with life.
. . .
“For all their jazz-fueled modernity,” Ms. Riley writes of the Astaires’ London réclame, they were “anti-modernist.” This pair was more than sunshine. The sheer zest with which they frisked through a show ran “counter to High Modernism’s pervasive sense of the instability of the self and the universe.” This was the time, Ms. Riley notes, of “The Waste Land,” “Ulysses,” “Vile Bodies.” Art was in despair. But the Astaires’ “defiant New World optimism” proved a remedy: meeting cute, assuming disguises and high-hatting the blues with fascinating rhythm. It’s a very American notion: that a strong foundation in popular art creates a positive worldview in general. Call it the audacity of charm.
. . .
They don’t make shows that way anymore, and Ms. Riley’s book is thus a resuscitation of a naive but perhaps more authentically native showbiz, an art of natural forces. “The Astaires” is a salute to an America at ease with itself and doing something wonderful in the song-and-dance line that seemed, for a time, like the hottest thing in the culture.

For the full review, see:
Kathleen Riley. “BOOKSHELF; Sibling Revelry.” The Wall Street Journal (Sat., March 3, 2012): C6.
(Note: ellipses added.)

The book under review is:
Riley, Kathleen. The Astaires: Fred & Adele. New York: Oxford University Press, USA, 2012.

Upper Class “Have Lost the Confidence to Preach What They Practice”

Source of book image:
http://4.bp.blogspot.com/-K9jKNHD0vwE/Tzn4yKgEtII/AAAAAAAAC8Q/2wZqk1Hl1V4/s1600/murray-coming-apart.jpg

(p. 9) The problem, Murray argues, is not that members of the new upper class eat French cheese or vote for Barack Obama. It is that they have lost the confidence to preach what they practice, adopting instead a creed of “ecumenical niceness.” They work, marry and raise children, but they refuse to insist that the rest of the country do so, too. “The belief that being a good American involved behaving in certain kinds of ways, and that the nation itself relied upon a certain kind of people in order to succeed, had begun to fade and has not revived,” Murray writes.

For the full review, see:
NICHOLAS CONFESSORE. “Tramps Like Them; Charles Murray Argues that the White Working Class Is No Longer a Virtuous Silent Majority.” The New York Times Book Review (Sun., February 12, 2012): 9.
(Note: the online version of the review has the date February 10, 2012 and has the title “Tramps Like Them; Charles Murray Examines the White Working Class in ‘Coming Apart’.”)

“Innovation and Invention Don’t Grow Out of the Government’s Orders”

“”You can have democracy no matter what level of development. Just look at the Arab Spring.”- Zhou Youguang” Source of caption and photo: online version of the NYT article quoted and cited below.

(p. A5) BEIJING. EVEN at 106 years old, Zhou Youguang is the kind of creative thinker that Chinese leaders regularly command the government to cultivate in their bid to raise their nation from the world’s factory floor.
So it is curious that he embodies a contradiction at the heart of their premise: the notion that free thinkers are to be venerated unless and until they challenge the legitimacy of the ruling Communist Party.
Mr. Zhou is the inventor of Pinyin, the Romanized spelling system that linked China’s ancient written language to the modern age and helped China all but stamp out illiteracy. He was one of the leaders of the Chinese translation of the Encyclopaedia Britannica in the 1980s. He has written about 40 books, the most recent published last year.
. . .
His blog entries range from the modernization of Confucianism to Silk Road history and China’s new middle class. Computer screens hurt his eyes, but he devours foreign newspapers and magazines. A well-known Chinese artist nicknamed him “Trendy Old Guy.”
. . .
THE decade-long Cultural Revolution that began in 1966 wiped out Mr. Zhou’s lingering belief in communism. He was publicly humiliated and sent to toil for two years in the wilderness.
. . .
About Mao, he said in an interview: “I deny he did any good.” About the 1989 Tiananmen Square massacre: “I am sure one day justice will be done.” About popular support for the Communist Party: “The people have no freedom to express themselves, so we cannot know.”
As for fostering creativity in the Communist system, Mr. Zhou had this to say, in a 2010 book of essays: “Inventions are flowers that grow out of the soil of freedom. Innovation and invention don’t grow out of the government’s orders.”
No sooner had the first batch of copies been printed than the book was banned in China.

For the full story, see:
SHARON LaFRANIERE. “THE SATURDAY PROFILE; A Chinese Voice of Dissent That Took Its Time.” The New York Times (Sat., March 3, 2012): A5.
(Note: ellipses added.)
(Note: the online version of the article has the date March 2, 2012.)

“Crises Are an Inevitable Concomitant of Risk”

(p. 11) Some economic risks are worth taking, and crises are an inevitable concomitant of risk. Crises, like firm failures, can be seen as a manifestation of the Schumpeterian process of creative destruction. The role for economic analysis is to ensure that the creation dominates and that the destruction is not too costly.

Source:
Eichengreen, Barry. Capital Flows and Crises. Cambridge, MA: The MIT Press, 2003.

“Amazed by the Short-Term Psychology in the Market”

(p. A1) Even after European leaders appeared to have averted a chaotic default by Greece with an eleventh-hour deal for aid, worries persist that a debt disaster on the Continent has merely been delayed.

The tortured process that culminated in that latest bailout has exposed the severe limitations of Europe’s approach to the crisis. Many fear that policy makers simply don’t have the right tools to deal with other troubled countries like Italy, Spain, Ireland and Portugal, a situation that could weigh on the markets and the broader economy.
“I don’t want to be a Cassandra, but the idea that it’s over is an illusion,” said Kenneth S. Rogoff, a professor of economics at Harvard and co-author of “This Time Is Different: Eight Centuries of Financial Folly.” “I am amazed by the short-term psychology in the market.”
. . .
(p. B3) “I don’t think we’re anywhere near the endgame,” Professor Rogoff of Harvard said.

For the full commentary, see:
PETER EAVIS. ” NEWS ANALYSIS; For Greece, a Bailout; for Europe, Perhaps Just an Illusion.” The New York Times (Weds., February 22, 2012): A1 & B3 (sic).
(Note: ellipsis added.)
(Note: the online version of the commentary is dated February 21, 2012.)

Rogoff and Reinhart’s thought-provoking and much-praised book is:
Reinhart, Carmen M., and Kenneth Rogoff. This Time Is Different: Eight Centuries of Financial Folly. Princeton, NJ: Princeton University Press, 2009.

Freedom Grew from the Greek Agora

Source of book image: http://images.borders.com.au/images/bau/97801997/9780199747405/0/0/plain/a-culture-of-freedom-ancient-greece-and-the-origins-of-europe.jpg

(p. C9) A city’s central space reveals much about the society that built it. In the middle of the typical Greek city-state, or polis, stood neither a palace nor a temple–the dominant centering structures of Asian and Egyptian cities–but an open public square, an agora, useful for gatherings and the conduct of business. When Cyrus the Great, founder of the Achaemenid Persian Empire, first encountered Greeks on his western boundaries, he sneered at the race of shopkeepers who hung about the agora cheating one another all day. Yet that same race would later defeat his descendants, Darius and Xerxes, in two of the most consequential battles the Western world has seen, at Marathon in 490 B.C. and at Salamis 10 years later.
. . .
Mr. Meier’s approach runs counter to a tendency in recent classical scholarship to trace Greek ideas to non-Greek sources or to seek common ground on which East and West once met. The polis itself has been claimed in the past few decades as a Near Eastern, or Phoenician, invention; Carthage too, it seems, had an agora at its hub. But Mr. Meier takes pains to dismiss this claim. Relying on expertise amassed in his long academic career, he reasserts the uniqueness of Greek political evolution, the mysterious and somewhat miraculous process that culminates, at the end of this account, in the emergence of Athenian democracy.
. . .
After surveying the crucial reforms of the Athenian leader Cleisthenes, the foundation stones of the world’s first democratic constitution, Mr. Meier asks: “Was it just a matter of time before the Attic citizenry was reorganized–so that Cleisthenes did something that would have happened sooner or later anyway? Or were Cleisthenes’ achievements beyond the scope of men less able and daring?”

For the full review, see:
JAMES ROMM. “The Greeks’ Daring Experiment.” The Wall Street Journal (Sat., FEBRUARY 11, 2012): C9.
(Note: ellipses added.)

The book under review is:
Meier, Christian. A Culture of Freedom: Ancient Greece and the Origins of Europe. Oxford, UK: Oxford University Press, 2011.