topic: economics

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when ideas become the foundation for social value claims, discussions become evidence of value. note the urge to 'render' permanent a diffuse ephemeral conversation, thus making it easier demonstrate the 'influence' (and thus value) of that idea.

a.k.a. all your conversations are belong to us.

imagine doing this in real life: "can you come over here and talk in my notebook, please?"

From Grant McCracken’s blog piece entitled “Why there will always be an anthropology”

In the Wall Street Journal today, the book review opens this way.

Consider Linda, a 31-year-old woman, single and bright.  As a student, she was deeply concerned with discrimination and social justice and also participated in antinuclear protests.  Which is more probable?  (a) Linda is today a bank teller; (b) Linda is a bank teller and active in the feminist movement.

[Psychologists Daniel Kahneman and Amos Tversky determined] that most respondents picked "b," even though this was the narrower choice and hence the less likely one. 

Shaywitz, the reviewer, says that Kahneman and colleagues have

reshap[ed] the study of economics by challenging the assumption that a person, when faced with a choice, can be counted on to make a rational decision.

I would argue that "b" is the rational decision.  It shows us the respondent working with what he knows.  We have given him a little information and he is working this information into an intelligent choice. 

That's a completely ridiculous conclusion to draw from the experiment - even statistically. You could replace 'bank teller' with 'bartender' or 'lawyer' and the result would be the same. Having primed somebody with the suggestion that Linda is socially conscious, it is actually more likely for them to think that she's active in the feminist movement than that she's a bank teller or school bus driver, because, statistically, someone likely to be be concerned with discrimination is also likely to be concerned with feminism. (This is the 'prior information' that steve postrel talks about).

Consider this re-wording of the question:

"Li Shen is 19 and earns passing grades in college. As a child, he used to draw with crayons, and played with his classmates. Which is more probable? (a) Li is studying law; (b) Li is studying law and has friends"

This is a question that is disconnected from the premise supplied (okay, that is debatable, but it is still a tenuous connection). Given that the intent of the experiment is to determine whether people will pick the more probable (read larger) set of two, it must be demonstrable that (a) the conclusion does not follow from the premise; and (b) that one of the sets is larger than the other (presumably there are law students somewhere without any friends - but this requires interpretation). Any other experimental design induces interpretation on the behalf of the subject. Let's try again:

"Which is more probable? (a) Li is studying law; (b) Li is studying law and has brown hair"

Better. But completely pointless. In fact, the experiment could have been written with the choices like this:

"Which is more probable? (a) Linda is active in the feminist movement and a bank teller; (b) Linda is a bank teller"

or even:

"Which is more probable? (a) Linda is active in the feminist movement; (b) Linda is active in the feminist movement and has red hair"

I'm willing to bet that with the last formulation, the subjects would have picked option (a) - the correct, 'rational' answer. One does not have to resort to a discussion of the context of definitions to see that this is an experiment that proves absolutely nothing.

Do Kahneman & Tversky have any excuse for having wasted perfectly good grant money on such a badly designed experiment?

From Tune Your World: 1,000 True Fans to Launch Calabash's Music Microfunding Platform!

What's the solution for how to survive as a struggling musician in the 21rst Century?

According to Wired Magazine editor Kevin Kelly's article, 1,000 True Fans,  an artist needs to find only 1,000 core fans -- defined as those who will buy everything produced by the artist. If each 'True Fan' is willing to give up a day's wage ($100)  each year to support the artist, then an artist can earn $100,000 per year.

It's a simple formula for artist success and it is exactly the path that Calabash is currently developing to allow fans to microfund working musicians. Calabash is changing the way the world finances music by applying the principles of microfinancing to the music industry.

This is impressive - crossover from international development ideas to music. The important idea here, and the difference between something like emusic/magnatune is that instead of framing the buyer's contribution to the artist as a percentage of the sale price, which makes understanding one's total contribution difficult (what's 1385 x 0.75 x 65c in dollars?) this system foregrounds the total contribution one makes and connects it with the artists total income. The system appears to be currently designed in the style of Wikipedia-style "fund drives", with a chart tracking the current contributions vs the overall goal.

What is interesting about this is that it is easier for someone to make a value estimation on an artists' music and pay appropriately, but also to know how well (or badly) a favourite artist is doing, and pitch in appropriately. If I find my favourite Garifuna musician is  barely scraping by at $35,000 a year, I'll put more of my music budget towards him than, say, Bjork. Not only is this more power to the artists, this is also more power to the people.

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