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Jeffrey A. Miron is a senior lecturer and the Director of Undergraduate Studies in the Department of Economics at Harvard University and is a senior fellow at the Cato Institute. Miron is the author of Libertarianism, from A to Z. This piece reflects the author??s personal views and not those of Harvard University or its Department of Economics...
Models, by design, are simplifications with clearly false assumptions. But the success of models lies in their ability to rationalize and often rightly predict the behavior of more complex real systems. Confused applications of the uncertainty principle notwithstanding, the author??s disdain for the “data-heavy, model-driven graduate student” is unjustified. Perhaps in his next piece, Mr. Barbieri can suggest an alternative to restrictive modeling in understanding and predicting phenomena...
That Goldstein is much more at home in the academic realm than in the religious gradually becomes clear. For all her novel’s ambition to portray and explain the modern religious experience, it is unable to shake sufficiently free of its author??s initial presumptions. Like many new atheist tracts, “36 Arguments for the Existence of God” paints the religion-and-reason question in Manichean terms. This sort of framing can highlight sharp distinctions in philosophies, but doesn’t begin to approach the varieties of religious experience?...
...usually given to the artist’s family or friends—as is the case with Kubrick, whose son-in-law, Philip Hobbs, is pursuing the production of “Lunatic.” Though such people seem more likely than others to know the author??s wishes, too frequently they don’t seem to care. Allowing the director’s relatives to make decisions about the cast and crew is a crapshoot in terms of quality. Shared genes do not endow one with any sort of authority about a director?...
...short story offers inherent advantages over the novel, stemming simply from the length, which imposes a certain focus and brevity on the author??s prose. The writer can simply offer an evocative scene, without the pressure of maintaining plot momentum and design over the course of a full-length novel. Perhaps the greatest strength of the form is that the story relies so heavily on what is left unsaid. Every gesture, every phrase, every detail in a great story takes on additional significance since it both signals the literal action and evokes everything that is left...