Saturday, October 12, 2013

The Forest Mafia


When the balding Australian first stepped off the riverboat and into the isolated pocket of northeastern Peru's Amazon jungle in 2010, he had what seemed like a noble, if quixotic, business plan.

An ambitious real estate developer, David Nilsson hoped to ink joint venture agreements with the regional government of Loreto province and the leaders of the indigenous Matses community to preserve vast thickets of the tribe's remote rainforest. Under a global carbon-trading program, he wished to sell shares of the forest's carbon credits to businesses that hope to mitigate, or offset, their air pollution.

Located a six-day ride from the frontier city of Iquitos, the jungle’s vegetation, soils, and looming trees store an immense amount of carbon dioxide—roughly one ton, the equivalent of one UN-backed carbon credit, per tree.

In an ideal scenario, this is how it's supposed to work: A community in a developing country works with an NGO or developer to design a plan to protect a large swathe of forest and thus prevent the release of the harmful chemical compound into the atmosphere, in accordance with the United Nations’ program called REDD (Reducing Emissions from Deforestation and forest Degradation). Then, it can get the emissions reductions certified by a third-party auditor and sell the resulting carbon credits to corporations in developed countries interested in reducing their own carbon footprints. (Deforestation accounts for roughly 17 percent of all global greenhouse gas emissions.) (...)

Though Nilsson's cons were extreme, international law enforcement authorities and environmental advocates say that the carbon markets are extremely vulnerable to financial fraudsters like him, especially when it comes to forest projects. Their shell games can also be hard to spot. As William Magrath, the World Bank's lead natural resource economist for rural development in Asia, once put it in a pun in a memo to his colleagues: "It's a jungle out there." In a meeting he attended with Interpol officials a few years ago, Magrath recalled, one man leaned back in his chair and called carbon "a con man's dream." The product is invisible, poorly understood, and regulation is extremely limited.

Despite the risks, carbon is the "world's fastest growing commodities market" valued at about $176 billion in 2011, according to the World Bank. The European Union Emission Trading Scheme (EU ETS), the highest volume compliance market, accounts for $148 billion of that. Countries in Europe legally require top polluters to remain under certain government-issued emissions allowances, but companies who emit less can trade those credits to those who need more. Beyond those allowances, companies can purchase carbon credits, or offsets, which are linked to emissions reductions projects, like factory retrofits or other energy efficiency projects. If the U.S. decided to establish its own cap-and-trade market, the value of the trades could reach as high as $2 to $3 trillion. Credits from forest projects, like Nilsson's would have been, have not yet been approved for the compliance markets, but they are actively sold on a second kind of market for voluntary buyers interested in offsets.

by Ryan Jacobs, Atlantic |  Read more:
Image: Rebecca Spooner/Survival International

Rat.
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Eric Bowman
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Thoughts on Digital Streaming and Creativity

There are a number of ways to stream music online: Pandora is like a radio station that plays stuff you like but doesn't take requests; YouTube plays individual songs that folks and corporations have uploaded and Spotify is a music library that plays whatever you want (if they have it), whenever you want it. Some of these services only work when you're online, but some, like Spotify, allow you to download your playlist songs and carry them around. For many music listeners, the choice is obvious – why would you ever buy a CD or pay for a download when you can stream your favourite albums and artists either for free, or for a nominal monthly charge?

Not surprisingly, streaming looks to be the future of music consumption – it already is the future in Scandinavia, where Spotify (the largest streaming service) started, and in Spain. Other countries are following close behind. Spotify is the second largest source of digital music revenue for labels in Europe, according to the International Federation of the Phonographic Industry (IFPI). Significantly, that's income for labels, not artists. There are other streaming services, too – Deezer, Google Play, Apple and Jimmy Iovine of Interscope has one coming called Daisy – though my guess is that, as with most web-based businesses, only one will be left standing in the end. There aren't two Facebooks or Amazons. Domination and monopoly is the name of the game in the web marketplace.

The amounts these services pay per stream is miniscule – their idea being that if enough people use the service those tiny grains of sand will pile up. Domination and ubiquity are therefore to be encouraged. We should readjust our values because in the web-based world we are told that monopoly is good for us. The major record labels usually siphon off most of this income, and then they dribble about 15-20% of what's left down to their artists. Indie labels are often a lot fairer – sometimes sharing the income 50/50. Damon Krukowski (Galaxie 500, Damon & Naomi) has published abysmal data on payouts from Pandora and Spotify for his song "Tugboat" and Lowery even wrote a piece entitled "My Song Got Played on Pandora 1 Million Times and All I Got Was $16.89, Less Than What I Make from a Single T-shirt Sale!" For a band of four people that makes a 15% royalty from Spotify streams, it would take 236,549,020 streams for each person to earn a minimum wage of $15,080 (£9,435) a year. For perspective, Daft Punk's song of the summer, "Get Lucky", reached 104,760,000 Spotify streams by the end of August: the two Daft Punk guys stand to make somewhere around $13,000 each. Not bad, but remember this is just one song from a lengthy recording that took a lot of time and money to develop. That won't pay their bills if it's their principal source of income. And what happens to the bands who don't have massive international summer hits? (...)

Is there a fair solution? And does it matter? Historically, musicians who weren't among the top pop stars were never well-paid – isn't that just the way it goes if you decide to make music your calling? Like writers and fine artists, most of them will never make a living doing exclusively what they love doing? Is this griping equivalent to Metallica's complaint about Napster – viewed by many as the moaning of a bunch of fat cats who were out of touch? Were recording artists simply spoiled for a few decades and now those days are gone? Even Wagner was always in debt and slept with rich women to get funding – so nothing's new, right? I know quite a few fine artists who teach – presumably to make ends meet and to allow them the freedom to do what they want. But I don't see hordes of band-members getting comfy spots in universities anytime soon.

The larger question is that if free or cheap streaming becomes the way we consume all (recorded) music and indeed a huge percentage of other creative content – TV, movies, games, art, porn – then perhaps we might stop for a moment and consider the effect these services and this technology will have, before "selling off" all our cultural assets the way the big record companies did. If, for instance, the future of the movie business comes to rely on the income from Netflix's $8-a-month-streaming-service as a way to fund all films and TV production, then things will change very quickly. As with music, that model doesn't seem sustainable if it becomes the dominant form of consumption.

by David Byrne, Guardian |  Read more:
Image: via

Paid Apps Aren't Dead, But They Are on Life Support

For iOS app producer David Barnard, making money from paid applications in Apple's App Store is becoming more difficult. Barnard is the founder of Contrast (previously App Cubby), which makes apps such as Launch Center Pro [iTunes link] and Perfect Weather [iTunes link].

Perfect Weather, Contrast's latest app, was timed around the release of iOS 7. The app was featured in a number of iOS 7 app lists (including ours) and managed to reach #6 on the Paid Apps rank in the U.S. App Store, quite a feat in the competitive world of app rankings.

When it came to revenues for the app, however, Barnard was shocked. Perfect Weather launched at $2.99, the same price as his last app, Launch Center Pro. Both apps managed to hit #6 on the paid apps chart in the U.S. Perfect Weather got an added bump by being featured in iTunes's "Designed for iOS 7" section.

Yet when it came time to compare numbers for first day sales, it turns out that Launch Center Pro grossed four timeswhat Perfect Weather grossed in the U.S. App Store.

Hitting the paid app charts, in other words, doesn't mean what it used to.

Barnard isn't alone. Mashable has spoken with half a dozen high-profile iOS developers who have all reported seeing lower sales from their paid applications — regardless of how well the app ranks on the charts.

Some, including Tapity's Jeremy Olson, are going as far as saying that paid apps (as opposed to free apps that generate revenue through in-app purchase) are dead.

Barnard, who often writes about his experiences in the indie app development space on his blog, isn't ready to go that far. But he does see that the market surrounding paid apps is shifting.

"Last year the strategy was to build up to a big launch, spike high in the charts, and make most of your money in the first month or so," Barnard told Mashable. "That's exactly what happened with Launch Center Pro. Launch Center Pro made as much in its first month as it did in its subsequent 10 months."

Are users spending less money on applications? According to the latest statistics from analytics companies such as App Annie and Distimo, app revenues for Apple's App Store and Google Play continue to be on the rise.

So what's going on? Chalk it up to a shift in consumer behavior, thanks in part to the rise of in-app purchases in games and other applications.

by Christina Warren, Mashable |  Read more:
Image: Christina Ascani

How Spike Jonze Made the Weirdest, Most Timely Romance of the Year

The woman seems like she must be beautiful, although you can’t see her face. In the photograph, she stands with her back turned, gazing into the woods on a sunny day in late fall or early winter, her dark-blonde hair brushing her shoulders, almost tangibly present but at the same time unreachable. She’s real, but only in her world, not yours.

The print, by the artist Todd Hido, hangs on a wall near a giant rectangular dining-and-conference table in the loft where Spike Jonze lives and works when he’s in New York. Several years ago, Jonze saw it in a gallery and felt stirred by what he calls “the beautiful mysteriousness of it. And also, you know, the memory of it.”

Around a corner from where we’re standing, a bedroom glows behind a wall of curtained glass, but the flow of Jonze’s sunsplashed Lower East Side living space allows him to pad barefoot from where he writes to where he plays music to where he has meetings to where he eats to where he hangs out. Jonze grew up on the East Coast but has recently spent much of his time in Los Angeles, and the loft feels capacious enough to accommodate his many selves—one can imagine the skateboard brat of the eighties heel-flipping across the floor while the ­subversive-music-video prodigy of the nineties blasts the Beastie Boys and the still precocious but mature film artist of the last ten years shuts out the noise and works alone at his desk. His home is large enough to accommodate a crowd, but it’s designed for a party of one. Specifically, for a grown-up who wants room to think.

“It feels like a memory,” he says, raising his fingers toward the photograph. “The mood of a day without the specifics. A memory of this girl, in this beautiful, funny forest.” (...)

The movie that grew from that gesture will have its world premiere as the closing-night attraction of the New York Film Festival on October 12 and will open in New York on December 18. Her is not about the woman in the photo so much as it is about the man longing, perhaps hopelessly, to connect with that woman. It may be the most personal film yet from a director who has long juggled so many personae that his actual identity remains deliberately elusive, even after twenty years in the spotlight. The film, a wistful adult romantic drama set in a near-future L.A., is the first Jonze has written on his own as well as directed. Like his other work, it is searching, disarmingly sincere, and melancholy in surprising places. Her springs from a notion that could be played as rimshot contemporary satire: A sensitive, lonely guy (Joaquin Phoenix) coming off a rough divorce falls head over heels for a woman who’s literally custom-made for him—the artificially sentient female voice of his new computer operating system. But just as he did in Being John Malkovich and Adaptation, Jonze uses the gimmick to unlock a door to unsmirky human feeling. The result is not just a cautionary meditation on romance and technology but a subtle exploration of the weirdness, delusiveness, and one-­sidedness of love. For all his imaginative conceits, Jonze is, in his way, a realist; he’s less interested in playing with the technologically extraordinary than he is in demonstrating the ways in which it can burrow into our most private selves. (...)

Jonze wrote Her almost three years ago over a long New York winter. He worked from dozens of pages of his own notes, as well as the memory of a brief interaction he had with an artificial-intelligence computer program a decade ago in which “for the first 30 seconds, I had that buzz, like, It’s responding to me! Then it quickly fell apart and you realize, Here are the tricks, here’s how this works. But what if I could sustain that forever? What would that be like? I wanted to take that idea as far as I could possibly imagine and feel.”

by Mark Harris, Vulture |  Read more:
Image: Brigitte Lacombe

Friday, October 11, 2013


Hidehiko Gotou - woodblock
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Bruce CohenUntitled (Interior with blue windows and yellow tulips), 1987
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Networking into the Abyss

For ten days each March, Austin, Texas, becomes suffused with an ambient hucksterism. It creeps into the city like a low-lying fog, concentrating in the downtown area, where numbing displays of corporate extravagance and desperate marketing stunts become the order of the day. Occasionally, this hucksterism condenses into one insufferable person, who comes to symbolize all that is wrong with South by Southwest Interactive, the tech-themed portion of the rapidly metastasizing SXSW festival—and, by extension, the vacuous blather of the technology industry itself.

At this year’s SXSWi, I met several such types. At a bar called Javelina, I ran into a twenty-five-year-old employee of a social media startup, backed by Marc Andreessen’s high-flying venture capital firm. We were both attending yet another party hosted by yet another tech firm. When I told her I was a journalist, she showed her disgust by pantomiming a hand job. Why, she asked me, speech slurred almost beyond intelligibility, do we need journalism when we have social media?

I met another person at an otherwise anodyne dinner for Israeli startups, where a dozen or so entrepreneurs presented their companies to potential investors and partners, along with a few journalists. To protect the guilty, I’ll call him Brian. In his late twenties and hailing from South Florida, Brian had the kind of hazy résumé that defines a number of unaffiliated SXSW participants. (While many SXSWi attendees, buoyed by expense accounts, are sent by their employers, 37 percent paid full freight this year.) He was some sort of entrepreneur or consultant, or a serial entrepreneur, someone who had helped launch others’ startups and was now working on his own.

I learned this in fragments. When Brian first sat down at our table, gulping from what would be one of at least five glasses of red wine, I asked him what he did.

“What do I do? I do many things,” he said, before flashing a wide smile, pleased with himself.

“I prefer to ask people what they’re passionate about,” he said. “What are you passionate about?”

It was a line he used on anyone who had the ill fortune to approach our table. He delivered it—and a windy, opaque explanation of the community-building website he was developing—with the stilted pacing of someone trying to make a much-practiced speech seem off the cuff.

By the end of the evening, I still had little idea what Brian’s company did, though it sounded like some version of Facebook’s Pages feature. He hadn’t honed the sort of logline that is de rigueur at SXSW: “It’s like Twitter but for videos”; “It’s Tumblr meets Airbnb—but for business”; “It’s a place where people can meet and exchange career advice.” Like LinkedIn? “Yeah, but better.”

I never learned what he was passionate about. None of us could stomach flipping the question around, as he clearly wanted us to. Finally, he stood up and reached out to shake hands.

“Follow me on Twitter,” he said. “I’ll follow you back.”

He stumbled to the door. I saw him enter the hallway and spin around, confused. A fleeting look of sadness appeared on his face, before he found the stairs and was gone. That evening, as I unloaded the day’s haul of business cards out of my pocket and left them on a table, likely never to be examined again, I imagined Brian doing the same. Perhaps he called his wife and told her he had made some important contacts. More likely, he passed out with his shoes on.

In fairness, many of the people I met in Austin were nothing like this. From the Belgian startup founder working on a new kind of courier service to the average attendee in the convention center elevator, SXSWers were often friendly and solicitous—a style of self-presentation entirely consistent with the festival’s networking ethos. But these aren’t the encounters that stick. And the attitudes reflected above—the condescension and privilege, the irrational self-belief and contempt for opposing views—indicate something wrong at the heart of the tech industry’s preeminent festival of ideas. More broadly, they’re part of a rotten culture that garishly celebrates itself while remaining divorced from the concerns of its customers. During SXSW, Austin becomes a money-soaked mélange of hyper-consumerism and techno-utopianism. In the bazaar of terminally bad ideas—amid the panels on DJ epistemology, the hackathons, and the Spotify parties—it was completely unexceptional, say, for a VP from Demand Media, the notorious content farm, to be preaching from his designated panel (which was, of course, called “Perfection: Algorithms to Optimize Human Existence”) that ubiquitous sensors “will usher in a new golden age of humanity.” (The event’s Twitter hashtag provided its own unwitting miniaturist commentary on the self-regarding folly of it all: #perfect.)

by Jacob Silverman, Baffler |  Read more:
Image: Michael Duffy

Thursday, October 10, 2013


Max Ernst, The World of the Naive, 1965 
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the inspiration that remains from yesterday (by serap günay). Source, Flickr.
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Death of a Salesman

Once called the “friend of every insomniac in Southern California,” Cal Worthington haunted the nether regions of broadcast programming for more than sixty years. Judging by the frequency of his appearances, their consistency, and their longevity, Worthington might have been the biggest television star in the history of the West. That makes him as much a deity as anything California culture has seen in its short history. But he wasn’t an actor or a journalist or a politician. His church was a chain of car dealerships and his prophesies a series of madcap advertisements. For better or worse, everyone who lived in Southern California had to reckon with him.

Worthington’s long-running series of self-produced spots never deviated from a formula. The slender cowboy—six foot four in beaver-skin Stetsons and a custom Nudie suit—always preceded his hyperactive sales pitch with a gambol through the lot of his Dodge dealership, accompanied by an escalating succession of exotic animals. Originally it was an ape, then a tiger, an elephant, a black bear, and, finally, Shamu, the killer whale from SeaWorld—each of which was invariably introduced as Cal’s dog, Spot. Not once did he appear with a canine. The banjo-propelled jingle (set to the tune of “If You’re Happy and You Know It”) exhorted listeners to “Go see Cal, go see Cal, go see Cal,” a catchphrase that became the basis for the most infamous mondegreen in Golden State history. To this day, Pussycow remains a nostalgic code word exchanged among Californians who came of age in the era before emissions standards.

Worthington himself became a figurehead for the omnipresence of advertising in modern life; for some, he personified the new, invasive capitalism of the television era. The ads always began with the same hasty introduction—“Here’s Cal Worthington and his dog Spot!”—as though he was always there, hiding behind the curtain of commercial breaks, waiting to ambush us and sell, sell, sell. When Worthington died last month, at ninety-two, it wasn’t shocking because it was sudden but rather because, for the great majority of Californians, Worthington wasn’t someone who appeared on television—he was a character who seemed to live inside television. (...)

In one of his infamous columns for the Los Angeles Free Press, Charles Bukowski pined for his hometown while on a trip to Utah. “No transport, no racetrack, no beer, no Cal Worthington,” he griped. “The general calm madness of Hollywood and Los Angeles will have to wait.” Around the same time, Frank Zappa skewered Worthington in his fifteen-minute rock opera, “Billy the Mountain.” He later said in an interview, “People in fifty years’ time should have documentation of monsters like Cal Worthington.”

A monster? Worthington’s commercials were incessant, but they weren’t insidious and ruthless in the manner of contemporary corporations. “My dog Spot” wasn’t the result of computer-generated market research. Worthington was an improviser who kept a running notepad of ideas on him at all times (presumably it contained a long list of animals), and he broke all of the New York advertising industry’s imperious dictums. His commercials repudiated well-groomed tacticians like David Ogilvy, who once wrote, “It pays to give a product a high class image instead of a bargain basement image. Also you can get more for it.” All told, Worthington sold half a million autos with his personal vision of Western absurdism. Could an Ogilvy idea have done better?

by Sam Sweet, Paris Review |  Read more:
Image: uncredited

The 9 Kinds of Physics Seminar

[ed. As a recent attendee at one of my son's Physics seminars at the University of British Columbia, I'd suggest one other graph: Clueless Parent, Filled with Pride.] 

As a public service, I hereby present my findings on physics seminars in convenient graph form. In each case, you will see the Understanding of an Audience Member (assumed to be a run-of-the-mill PhD physicist) graphed as a function of Time Elapsed during the seminar. All talks are normalized to be of length 1 hour, although this might not be the case in reality.


The “Typical” starts innocently enough: there are a few slides introducing the topic, and the speaker will talk clearly and generally about a field of physics you’re not really familiar with. Somewhere around the 15 minute mark, though, the wheels will come off the bus. Without you realizing it, the speaker will have crossed an invisible threshold and you will lose the thread entirely. Your understanding by the end of the talk will rarely ever recover past 10%.


The “Ideal” is what physicists strive for in a seminar talk. You have to start off easy, and only gradually ramp up the difficulty level. Never let any PhD in the audience fall below 50%. You do want their understanding to fall below 100%, though, since that makes you look smarter and justifies the work you’ve done. It’s always good to end with a few easy slides, bringing the audience up to 80%, say, since this tricks the audience into thinking they’ve learned something.

by Matthew Rave, Many Worlds Theory |  Read more:
Images: Matthew Rave

Leo?
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DP 170 by kirstyhall on Flickr
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T-Mobile to Make It Cheaper to Make Calls While Abroad

[ed. This is welcome news. I was in Vancouver, Canada recently and didn't realize I still had my phone on and got hit with roaming charges. Called T-Mobile (my carrier) and they helped me dismiss most (not all) of them.] 

Cellphone plans are a little like languages: they don’t always translate well in foreign countries.

Often, travelers have to pay an extra $100 to their provider to get any cell service abroad. Or they must sign up for a short-term plan with a carrier in the country they are visiting.

T-Mobile US, one of the largest phone carriers in the United States, wants to change that. The company on Wednesday said it was eliminating the charges that a customer normally paid to use their phone number and data service in a foreign country, called roaming fees.

John Legere, T-Mobile’s chief executive, said in an interview that travelers had long been shocked by exorbitant cellphone bills after they traveled, so many people now just leave their phones off.

He said the point of the change was to help the people who would pay $100 for service abroad. But it was also to help “the people who fear turning their phone on.”

T-Mobile customers will be automatically enrolled in the free-roaming agreement on Oct. 31. Those who subscribe to the company’s plan, called Simple Choice, can take their smartphone to a foreign country and pay 20 cents a minute for voice calls. Text messages and data will be unlimited.

The free roaming benefit will apply to about 100 countries, including France, Spain, China, Japan and Russia.

by Brian X. Chen, NY Times |  Read more:
Image: Mary Altaffer/Associated Press

Wednesday, October 9, 2013

Understanding the Debt Ceiling


[ed. A good explanation of the ongoing (and self-manufactured) political crisis involving the impending 'debt ceiling'. I wonder (after all the Wall Street bailouts) if people aren't just too enured or cynical about the Too Big to Fail concept to see the danger in a U.S. default. See also: Understanding the Game Being Played in Washington, and The Most Likely Debt Ceiling Outcome.]
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Tuesday, October 8, 2013


Prada Spring-Summer 2011
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Academy Fight Song

Go back to the beginning, back to the days when people first understood a character-building college diploma to be the ticket to middle-class success. We would forge a model republic of citizen-students, who would redeem the merit badges of academic achievement for spots in the upper reaches of corporate capitalism. The totems of the modern American striver were to be the University Credential and the Corner Office, and prosperity would reward the ablest.

And so the story remains today, despite everything that has happened in the realms of the corporation and the university. We might worry from time to time about the liberal professors who infest the academy, but school is still where you go to “write your destiny,” to use President Obama’s 2010 description of education generally. Go to college, or else your destiny will be written by someone else. The bachelor’s degree that universities issue is a “credential” that’s “a prerequisite for 21st century jobs,” says the White House website. Obama himself equates education with upward mobility—more schooling equals more success—as well as with national greatness. “The kinds of opportunities that are open to you will be determined by how far you go in school,” he declared a few years ago.

In other words, the farther you go in school, the farther you’ll go in life. And at a time when other countries are competing with us like never before, when students around the world are working harder than ever, and doing better than ever, your success in school will also help determine America’s success in the twenty-first century.

This is commonplace and unremarkable to the point of being utterly hackneyed. Everyone says this. It is obvious. Thomas Friedman, the New York Times foreign affairs columnist who has refashioned himself into the Lord Protector of Learning in recent years, says the same thing, constantly: you’d better have the schooling and the skills that the entrepreneurial class demands if you want to make even a minimal living. The higher education mantra is possibly the greatest cliché in American public life. (...)

The coming of “academic capitalism” has been anticipated and praised for years; today it is here. Colleges and universities clamor greedily these days for pharmaceutical patents and ownership chunks of high-tech startups; they boast of being “entrepreneurial”; they have rationalized and outsourced countless aspects of their operations in the search for cash; they fight their workers nearly as ferociously as a nineteenth-century railroad baron; and the richest among them have turned their endowments into in-house hedge funds.

Now, consider the seventeen-year-old customer against whom this predatory institution squares off. He comes loping to the bargaining table armed with about the same amount of guile that, a few years earlier, he brought to Santa’s lap in the happy holiday shopping center. You can be sure that he knows all about the imperative of achieving his dreams, and the status that will surely flow from the beloved institution. Either he goes to college like the rest of his friends, or he goes to work.

He knows enough about the world to predict the kind of work he’ll get with only a high school diploma in his pocket, but of the ways of the University he knows precious little. He is the opposite of a savvy consumer. And yet here he comes nevertheless, armed with the ability to pay virtually any price his dream school demands that he pay. All he needs to do is sign a student loan application, binding himself forever and inescapably with a financial instrument that he only dimly understands and that, thanks to the optimism of adolescence, he has not yet learned to fear.

The disaster that the university has proceeded to inflict on the youth of America, I submit, is the direct and inescapable outcome of this grim equation. Yes, in certain reaches of the system the variables are different and the yield isn’t quite as dreadful as in others. But by and large, once all the factors I have described were in place, it was a matter of simple math. Grant to an industry control over access to the good things in life; insist that it transform itself into a throat-cutting, market-minded mercenary; get thought leaders to declare it to be the answer to every problem; mute any reservations the nation might have about it—and, lastly, send it your unsuspecting kids, armed with a blank check drawn on their own futures.

Was it not inevitable? Put these four pieces together, and of course attendance costs will ascend at a head-swimming clip, reaching $60,000 a year now at some private schools. Of course young people will be saddled with life-crushing amounts of debt; of course the university will use its knowledge of them—their list of college choices, their campus visits, their hopes for the future—to extract every last possible dollar from the teenage mark and her family. It is lambs trotting blithely to the slaughter. It is the utterly predictable fruits of our simultaneous love affairs with College and the Market. It is the same lesson taught us by so many other disastrous privatizations: in our passion for entrepreneurship and meritocracy, we forgot that maybe the market wasn’t the solution to all things.

An Accounting of Sorts

An educational publisher wrote to me a few months back; they wanted to reprint an essay of mine that they had seen on the Internet, where it is available for free. The textbook in which they wanted to include it, they said, would be “inexpensively priced,” and authors were therefore being asked to keep their reprint fees to a minimum. The low, low price that students were to pay for this textbook: $75.95. “Approximately.”

I was astounded, but it took just a few minutes of research to realize that $76 was, in fact, altruistic by the standards of this industry. Paying $250 for a textbook is more like it nowadays; according to one economist, textbook prices have increased 812 percent over the past thirty-five years, outstripping not only inflation (by a mile) but every other commodity—home prices, health care—that we usually consider to be spiraling out of control.

The explanation is simple. The textbook publishers use every trick known to the marketing mind to obsolete their products year after year, thus closing off the possibility of second-hand sales. What’s more, textbook publishing is a highly concentrated industry—an oligopoly—which means they can drive prices pretty much as high as they feel like driving them. Meanwhile, the professors who assign the textbooks and who might do something about the problem don’t have to pay for them.

Actually, that explanation isn’t simple enough. The truth is that rip-offs like this abound in academia—that virtually every aspect of the higher-ed dream has been colonized by monopolies, cartels, and other unrestrained predators—that the charmingly naive American student is in fact a cash cow, and everyone has got a scheme for slicing off a porterhouse or two.

by Thomas Frank, The Baffler |  Read more:
Image: Spencer Walts