unsettling North America at the Smithsonian

With an insightful display of different viewpoints, the Smithsonian’s exhibition, Jamestown, Québec, Santa Fe: Three North American Beginnings, explores settlement and unsettlement.  An opening theme of the exhibition is “unsettling the continent.”  Text on a large sign-barrier at the beginning of the exhibition presents in three languages this one text:

Societies of indigenous peoples inhabited the North American continent for thousands of years. In the 1500s, limited contacts with European explorers, traders, and fishermen introduced deadly germs and disrupted established alliances, rivalries, and ways of life. Soon, however, European efforts to create permanent settlements would introduce more devastating disease and challenges on an earth-shaking scale.

One of the diseases that Europeans carry is a strain of fanaticism that makes them prone to bizarre delusions.  According to Wikipedia, which may be more credible than the Smithsonian, 18 European attempts at colonizing North America failed prior to the founding of Jamestown. Why did these Europeans again and again voyage to bring disease and earth-shaking challenges to North America?  Of the 104 European colonists who landed in Jamestown in April, 1607, only 38 survived through January, 1608.  Why didn’t the rest just return home and stay there?  Instead, hundreds more arrived, and hundreds more died during the “starving time” in the winter of 1609-1610.  Fanaticism along with delusions must have driven those early settlers.

Maybe it’s their religion.  The curators of this exhibition hold positions roughly analogous to those of high-ranking clerics in seventeenth-century Europe.  A large sign in the exhibition declares in three languages:

Europeans believed in an orthodox theology, whether Catholic or Protestant.  English, French, and Spanish settlements each established a state church and prosecuted dissenters from what they considered “the one, true faith.”

Indigenous peoples were more tolerant of new beliefs and ways of connecting with the divine.  Yet Powhatan, Algonquin, Huron, and Pueblo peoples all encountered newcomers who expected them to abandon their religious beliefs and embrace European ones.

“Europeans believed in an orthodox theology, whether Catholic or Protestant.” Do most ordinary persons actually believe this?  The Orthodox in eastern Europe, who understand themselves to be neither Catholic nor Protestant, believe in Orthodox Christian theology.  Jews and Muslims living in Europe have probably believed that their faith is true, and other faiths, false.  Perhaps that makes Jews and Muslims living in Europe orthodox, but they’re neither Catholic, Protestant, nor Orthodox.

Europe was fertile ground for new, competing religious ideas and organizations.  For example, among Christians living in England in the seventeenth century were Protestant Episcopals (who divided into High-Church Anglicans versus Latitudinarians), underground atheists and underground Roman Catholics, Lutherans of various reform orientations, Presbyterians, Calvinists, Baptists and Anabaptists, Pietists of various sorts, Quakers, and Puritans, among others.  Looking back about 2500 years, the tribal religions in Northern Europe and the gods of the Greeks were altogether different forms of religion.  It’s highly unlikely that peoples living in North America prior to European settlements had as much spiritual innovation and re-organization as did peoples living in Europe.  That’s because the sort of social elaboration, stratification, and competition that led to the Smithsonian Institution and its exhibition of seventeenth-century North American history fosters religious innovation.

At the exhibition exit is a large standing sign-board.  It’s titled, “The Year is 1700: Where Does Everything Stand?”  It declares:

There is not yet a nation called Canada or a country called the United States.

Settlement is taking place not only from east to west but begins at many points and moves in many directions.  Unsettlement — the loss of population and disruption of Native societies — may be the key characteristic of the era.  Still, Native peoples outnumber European colonists at least nine to one.

As  yet, neither Spain, France, nor England dominates.  Native nations and European ones will continue to contend with one another, some for domination, others for survival.

Leaving the exhibition, persons living here, now, in both Europe and North America, should worry about their future.

From Greece to today, what a long strange trip it's been.

Jamestown, Québec, Santa Fe: Three North American Beginnings is on display at the Smithsonian’s International Gallery, Ripley Center, through Nov. 1, 2009.  The Virginia Historical Society and the Smithsonian’s National Museum of American History co-organized the exhibition.  The sculpture pictured above is Ron Mueck’s “Untitled (Big Man),” 2000.  It is in Strange Bodies: Figurative Works from the Hirshhorn Collection, on display at the Hirshhorn though the fall, 2009.

the power of W.S. Merwin's words

W.S. Merwin this year won his second Pulitzer Prize for poetry.  He has had an extraordinarily distinguished poetic career.  In 1952, his first book of poetry was selected for the prestigious Yale Younger Poets series.  He subsequently wrote much more poetry and translations and engaged in some political protests.  He won his first Pulitzer Prize for poetry in 1971. Through his influence and his longevity, he has played an enormous role in shaping the Yale Younger Poets series and late-twentieth-century American poetry.

Merwin read his poetry at the Folger Library on October 15, 1997.  As an economist and a skeptic,  I didn’t buy one of his books before the reading.  Instead, I borrowed one from my local public library.  I took this library book with me to Merwin’s reading  so I could read some of Merwin’s poems on my metro ride there.

I enjoyed Merwin’s reading at the Folger.  I decided that I liked his poetry.  Remembering the thrill of discovering as a boy Ernest Hemingway’s signature in my local public library’s copy of The Sun Also Rises, I brought my library book up to Merwin to sign.  When I presented my library book, he looked at me suspiciously and severely.  He signed the book, and wrote on the bottom of the title page:

a dark shadow will follow anyone who steals this book from the library where it belongs

Yesterday, I checked my public library.  Merwin’s poetry book is still there!  In the nearly twelve years since I borrowed that book, it has been borrowed by about 1.2 persons per year, or a total of 14 borrowers. None of them stole the book from the library.  Perhaps that’s just because most persons in most circumstances don’t steal.  Maybe Merwin’s book curse scared away potential thieves.  Or perhaps Merwin’s book wasn’t stolen because few persons are interested in it.  I credit the book’s enduring presence in the library to the power of Merwin’s words.

Merwin's book curse

the effects of new advertising media

New advertising media have had remarkably little effect on aggregate advertising expenditure. In 1919, total U.S. advertising expenditure was 2.5% of U.S. GDP. The corresponding figure in 2007 was 2.0% of GDP. Advertising spending as a share of GDP is cyclical, and in 2000 the advertising share reached 2.5% of GDP. But from 1919 to 2007, the advertising-to-GDP ratio shows no overall trend.

Advertising-to-sales ratios for major advertisers confirm the relative constancy of advertising spending over nearly a century.  In 1917, a survey of 90 national advertisers found an average advertising-to-sales ratio of 5.2%.  Other firm-level data from this period also support about a 5% advertising-to-sales ratio among major advertisers.  In 2002, among 50 leading national advertisers, the average advertising-to-sales ratio was 5.9%.[1]  Major advertisers allocated about the same share of sales revenue to advertising about 1917 and 2002.

From 1919 to 2007, the media distribution of advertising spending changed greatly.  In 1919, newspaper and periodical received 60% of total advertising spending, and radio, television, and the Internet did not exist as advertising media.  In 2007, newspapers and periodicals received 21% of total advertising spending, and radio, television, and the Internet received 40%.[2]  The development of new media did not increase advertising spending, but merely redistributed it.

The relative constancy of aggregate advertising expenditure increases the threat of new advertising media to current advertising media.  An important new advertising medium may be networked electronic books that make possible inserting timely advertisements in books. Information about the book a person is reading is highly valuable for providing useful ads to that person.  Google’s recent announcement that it will soon sell electronic books probably isn’t just a new venture into e-commerce.  It also makes sense as positioning for competition in a potential new advertising medium.

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Notes:

[1] L.D.H. Weld, “The Economics of Advertising,” Printers’ Ink, v. 54, no. 2 (July 11, 1918) pp. 99-100 cites two studies of advertising-to-sales ratios.  One, described in Printers’ Ink, Oct. 19, 1916, “found in an investigation made in 1916 that the average advertising expense of fifty-one national advertisers was 5.67 per cent of sales.” See Hurd advertising expenditure survey, 1916.  Another study, made at Yale, “yielded an average of 5.2 per cent as the average advertising expense of ninety national advertisers.”  Weld included a sub-sample categorization of average advertising-to-sales by firm type.  Martin, Mac, Advertising Campaigns (New York: Alexander Hamilton Institute, 1919) pp. 116-7, lists advertising-to-sales ratios for 35 major national advertisers about 1915. The average advertising-to-sales for these firms is 3.9%.  The 2002 advertising-to-sales figures are calculated from the first 50 advertisers listed in the 2003 Ad Age 100 Leading National Advertisers. See the supporting spreadsheet for the advertising-to-sales data (xls file here).

[2] The figures for the media distribution of advertising expenditure are calculated from the Coen Advertising Expenditure Dataset.

Understanding Medea through ancient Greek epigrams

To many traditional video programmers, new services like Hulu and YouTube are chaotic and unprofessional.  Hulu allows viewers to see what they want, when they want to see it.  YouTube allows viewers to become creators, who can project their own video in the place of highly artful work.  Services like Hulu and YouTube threaten to destroy media as we know it.

Some classical epigrams foster understanding of traditional mass media:

This is a sketch of Medea.  Observe how she lifts one eye in anger,
and softens the other with pity for her children.[1]

The first sentence provides objective information.  It indicates a famous, unfinished painting located in Rome about 2000 years ago. The second sentence imposes the narrative of Euripides’ play Medea to guide what the viewer sees in the painting.

The painter, Timomachus, did not depict Medea’s ultimate choice of action:

Timomachus’ art mingled Medea’s love with her jealousy
as her children are dragged to their fate.
Just then she consented to the sword but now refuses,
wishing to save her children and also to slay them.

Timomachus made the painting with great skill. It was a recognized masterpiece [2]:

Look here at a child-killer in portrait; see here a masterpiece,
Timomachus’ Medea shaped with his hand.
A sword in hand, great wrath, a wild eye are there,
and tears falling for most pitiable children.
He poured it all together, uniting into one even the unmixable,
yet spared to redden any hand with blood.

But the painting’s high artistic status did not prevent viewers from bloodily re-imagining it:

Who, lawless Media, wrote your rage into the image?
Who made you barbarian even in replica?
Always you thirst for your children’s blood. Do you claim
some other lover or winning rival as excuse?
Be gone, you who murder children, even in print. Even the stylus
perceives your jealous urge to fulfill your desires.

A twittering swallow shows a much different model of communication:

How, twittering swallow, did you dare to make as nurse
for your children the Media who takes vengeance
at the cost of her offspring? Her bloodshot eyes flash
murderous fire, and her jaws drip white foam.
Still wet with blood is her sword. Flee the destructive mother,
still murdering her children even in print.

The twittering swallow is totally misunderstood within the narrative imposed on the painting. To the twitterer, the painting simply is present as a material and institutional reality that means nothing.[3] The swallow has neither reason nor feasible opportunity to flee.

Mass media has been a bloody business from the beginning.  Perhaps a recognition and reversal will follow this:

The reason all three networks have taken a controlling interest in Hulu is because they are going to build it up and then kill it!  Brilliant!  Eat your young.  Who said there wasn’t a place for cannibalization?

Never underestimate the tragic effects of anger at threats to deeply valued, immaterial status.

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Read more:

Notes:

[1] These and the other quoted epigrams above are translations that I have adapted mainly from Gutzwiller (2004), but also with some contribution from the translations in Gurd (2007).  The epigrams are from the Greek Anthology.

[2] Gutzwiller (2004) p. 344, notes that Julius Caesar purchased a Medea and an Ajax by Timomachus for 80 talents.  That’s a huge amount of money, roughly equivalent to $1.6 million in U.S. dollars in 2004. Both paintings were placed in the Roman temple of Venus Genetrix, which was dedicated in 46 BGC.  The painting of Medea was destroyed by fire in 80 GC.  See Gurd (2007) pp. 308-9, which incorrectly reports the price of the paintings.

[3]  The epigram imagines a swallow that has made a nest about the painting. Drawing upon Hans Ulrich Gumbrecht’s work on presence, Gurd (2007) provides an insightful analysis of the painting’s presence in the epigrams.

References:

Gurd, Sean Alexander (2007).  “Meaning and Material Presence: Four Epigrams on Timomachus’s Unfinished Medea.” Transactions of the American Philological Association 137, pp. 305-331.

Gutzwiller, Kathryn (2004).  “Seeing Thought: Timomachus’ Medea and Ecphrastic Epigram.” American Journal of Philology 124, pp. 339-386.