Politics and Higher Education (Fishes and Bicycles)

Fenster writes:

The American Way of Higher Education is a lot more about letting a hundred flowers bloom than the heavy hand of central government.  Certainly we are a lot more freewheeling than China, where the government and the party play a leading role.  But our system is more open than many others in the Western world, too.

The federal government is good at giving money.  It has funded sponsored research, essentially creating the modern research university since World War II.  And it provides financial aid to students.  Yes, it uses its role as subsidy provider to gain leverage over certain desired policy outcomes, and it can do so in ham-handed ways.  But the government itself does not itself determine institutional strategic directions, curricular decisions or whether a new entity may commence operations.  There are no real federal universities.

The direct regulation that takes place, such as it is, happens via semi-autonomous accreditation agencies, a positive review from which is necessary for any entity to get federal financial aid and which most reputable institutions desire just for the brand value.  These agencies are much more captive of the industry than they are the government.

But while the American Way is generally comfortable with a hundred flowers, there is always a cry for someone to do something when things are not going well, and that usually implies a buck stopping somewhere.  Under our system, that duty often falls to the President, as Symbolist-in-Chief.  That symbolic role has been much on display in the Obama administration.

As the bearer of a hope and change message, Obama has had bad timing from the outset, and higher education is no exception.  The go-go years of growth in higher education are behind us.  Where does that leave hope and change?

Costs and prices are going up, unsustainably.  The institutions themselves have proven incapable of doing much about it, partly because of the Pournelle’s Iron Law of Bureaucracy and partly for good, capitalist market-related reasons: parents don’t want to pay more but they know junior loves the rock-climbing wall, the rock-climbing program and the pretty rock-climbing residence life staffers.

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Obama’s first round of action was somewhat chiding in tone.  Look, he lectured, you guys need to constrain costs and prove you are good at what you do.  So we propose metrics that will tell us who is doing what we want to have done at the federal level, and we will direct the money accordingly.

That went over like a lead balloon, for both good and bad reasons.  Bad reason: the institutions resist change.  Good reason: any metric likely to be used would likely result in a misallocation of resources (for instance, away from institutions working with problem students) and would bring the federal government more into a direct regulatory role.  I am with the institutions in being suspicious of that.

Now, as Obama struggles to keep his footing in an increasingly tough second turn, I think he’s figured out that he should stick to symbolism.  Real change is hard, as he is finding out on Obamacare.  The higher education system, like the health care system, is complex, and trying to push either sector with a one dimensional prod is hubris–it’s like trying to herd elephants with a boiled noodle.

So what do do?  You do what Obama did yesterday. You call leaders to the White House and ask them to increase “access”.  That’s a magic word that all can like.

Gone are the ambitions for a federal government stepping in to control a sector out of control.  That is replaced with pledges from college leaders that they will do a better job with “access”.

What does this mean?  Take Tufts.  According the Boston Globe:

In one of the more unusual initiatives, Tufts University said it would launch a program to help high school seniors take a year off to do community service before enrolling.

Crucially, Tufts said it would provide enough financial aid to make the “gap year,” already popular among affluent young people, affordable for all students, regardless of their ability to pay.

A gap year?  That’s a classic in the Stuff White People Like genre.  Google “gap year” and you will find only a little bit on things like working on a fishing boat, and even that is pretty white and privileged when you get right down to who would actually work on a fishing boat during a gap year.  Mostly you find an elite-focused industry devoted to taking junior away for a “broadening experience”, allowing him to beef up his holistic bona fides on the way to Tufts admission.  These often serve as a means by which white suburban kids flesh out the required diversity side of an otherwise diversity-starved academic resume.  The image below from Adventures Cross Country, a gap year program.

gap

Perhaps Tufts will find that subsidizing this side of things will make it more diverse and increase access.  Perhaps not.  We report you decide.

Elsewhere, with the other colleges in attendance, it was a pledge of doing more for 10 students here and 15 there.  Nothing wrong with this, mind you.  But it is pretty thin gruel for a big press hoo-hah.  And of course it has nothing to do with how the conversation started: how the heck to do something about changing the nature of the beast in more fundamental ways.

My own view: the feds should own up to the fact that as regards direct action they are holding that boiled noodle.  Rather than engage in an Obamacare equivalent for the higher education sector, the feds ought to find a better way.  That starts with acknowledging that they don’t hold the center of power, and that the fight that is taking place is occurring in the real world beyond them.  They might need to take sides in that fight.

That could start with pressure on the accreditation agencies to move away from their role as protectors of institutions and to think harder about what students and employers need.

There is no reason for colleges to have a monopoly on credentialing.  Let them teach, let others teach, and let students learn where they will.  But let’s have someone find a way to formally recognize skills-based approaches, wherever gotten, that are not required to have the form of a Bachelor’s Degree from College X.

Posted in Education, Uncategorized | Tagged , , , | 4 Comments

Then and Now: Courthouse Edition

Blowhard, Esq. writes:

County_Courthouse_ca1900

stanleymosk

Posted in Architecture | Tagged , , | 2 Comments

A Typical Routine Day

Fabrizio del Wrongo writes:

bond

It was the beginning of a typical routine day for Bond. It was only two or three times a year that an assignment came along requiring his particular abilities. For the rest of the year he had the duties of an easy-going senior civil servant — elastic office hours from around ten to six; lunch, generally in the canteen; evenings spent playing cards in the company of a few close friends, or at Crockford’s; or making love, with rather cold passion, to one of three similarly disposed married women; week-ends playing golf for high stakes at one of the clubs near London.

He took no holidays, but was generally given a fortnight’s leave at the end of each assignment — in addition to any sick-leave that might be necessary. He earned £1500 a year, the salary of a Principal Officer in the Civil Service, and he had a thousand a year free of tax of his own. When he was on a job he could spend as much as he liked, so for the other months of the year he could live very well on his £2000 a year net.

He had a small but comfortable flat off the Kings Road, an elderly Scottish housekeeper — a treasure called May — and a 1930 4 1/2-litre Bentley coupé, supercharged, which he kept expertly tuned so that he could do a hundred when he wanted to.

On these things he spent all his money and it was his ambition to have as little as possible in his banking account when he was killed, as, when he was depressed, he knew he would be, before the statutory age of forty-five.

— Ian Fleming

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Posted in Books Publishing and Writing, The Good Life | Tagged , , | 2 Comments

A Photo 4 the Day

Fenster writes:

新娘是不高興,因為有在沙灘上沒有空間。, or “The Bride is Unhappy Because There is No Space on the Beach”.

xingdao bride

Posted in Photography | 5 Comments

The Fog

Fenster writes:

Yesterday a morning fog rolled into New York City.  The HuffPost published some nice photos from the air showing a clear and bright sky with the Brooklyn and Manhattan Bridges poking  through clouds.

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Down at ground level it was a different story.  8 AM in Brooklyn Heights seemed like it could be 3 AM.  Looking towards the East River it was grayer than a bad day in Beijing, and that’s saying a lot.  Looking east, though, you got the slightly Magritte-ish view of dark night on the streets, complete with headlights from a lone approaching car, with a nearby apartment tower bathed in morning sunlight.

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Art Du Jour

Blowhard, Esq. writes:

huntersinthesnowPieter Bruegel the Elder, “The Hunters in the Snow,” 1565.

Click on the image to enlarge.

Posted in Art | Tagged , , | 3 Comments

Linkage

Eddie Pensier writes:

  • The “worth” of a man, explained.
  • How to make snake oil palatable to the masses? Chucking in the word “quantum” helps.
  • A registered sex offender tells his story.
  • Los Angeles Opera’s 2014-15 season will include three operas featuring Beaumarchais’ Figaro: Rossini’s Il Barbiere di Siviglia, Mozart’s Le Nozze di Figaro, and John Corigliano’s The Ghosts of Versailles.  All are worth seeing if you never have, but only one has instrumentation calling for a synthesizer and 50 kazoos.
  • Ken White of Popehat reminds us of the two things to do when talking to the police:

–Shut up

–oh you dumb son of a bitch will you for the love of God shut up

  • The debacle surrounding the University of South Australia’s Male Studies course that will never be, from the irreplaceable JudgyBitch.
  • Prick With A Fork goes on a righteous tear about alcohol service laws and prohibitionist culture.
  • A romantic remake of 1984 starring Kristen Stewart? Please, just shoot me now.
Pierre-Augustin Caron de Beaumarchais (1732-1799), author of the Figaro trilogy of plays

Pierre-Augustin Caron de Beaumarchais (1732-1799), author of the Figaro trilogy of plays

Posted in Linkathons | 8 Comments

Cocktails Du Jour (Limoncello Edition)

Eddie Pensier writes:

I have not, as I threatened, gotten around to making my own limoncello. On the other hand, I have been drinking quite a lot of it. I’ve acquired two brands: the Italian Limoncello di Capri and the Australian boutique/artisanal/(insert currently trendy word for “small” here) Ambra. They’re not too terribly different, although if pressed I’d say the Capri is more lemon-juicy and the Ambra is more lemon-zesty.

Lemon-lover that I am, I was at first pouring my ‘cello over an ice cube straight out of the freezer. But soon my insatiable tinkering instinct took over and I started making cocktails with it. It’s quite the nice little mixer, as it happens.

Expect further refinements at a later date, but for now, these two cocktails will refresh delightfully (especially in hot weather).

The ‘Cello Concerto

1 oz. limoncello

1/2 oz. ginger cordial

soda water

a few gratings of fresh ginger

Shake the limoncello, ginger and cordial in a cocktail shaker with ice. Strain into a glass and top with soda. (If you don’t have ginger cordial, or know what it is, here’s a recipe for ginger syrup which is similar. If you really can’t be bothered, replace the cordial and soda with bottled ginger ale. Not as good, but perfectly drinkable.)

The Pink Pucker

1 oz. limoncello

1 oz. cranberry juice

a few squeezes of fresh lime

soda water

Combine in the customary manner. Doubling of quantities is acceptable and encouraged.

cellococktails

Posted in The Good Life | Tagged , | 2 Comments

“Edouard et Caroline”

Fabrizio del Wrongo writes:

edcar

Directed by Jacques Becker in 1951, this concise, smartly worked-out marital farce is a cynical companion piece to Becker’s earlier “Antoine et Antoinette.” When Daniel Gelin’s Edouard allows his wife Caroline to talk him into giving a piano recital for her rich uncle, he knows he’s in for trouble. But he doesn’t anticipate the chain of disasters that follows in the wake of his slapping Caroline in the heat of an argument. Caroline immediately goes on the warpath, disrupting the party and resuming a flirtation with her dandy cousin. Edouard would talk to her, apologize to her, explain his feelings to her — if only he could catch up with her. Where love is concerned, he’s hopelessly outclassed.

There’s a Guitry-like blockiness to the scenario, which often feels like something developed for the theater. Becker’s style, though, derives from the movies. It’s especially reminiscent of silent comedy, particularly the work of filmmakers like Buster Keaton, Harold Lloyd, and Leo McCarey, men who knew how to amplify gags into complex narrative streams. Most of the action in “Edouard et Caroline” is organized around physical bits of business — the reworking of a gown, characters dressing and undressing, Edouard trying to focus on the piano. These Becker and his actors complicate and expand upon, revealing the movie’s characters in the process. (For Becker, the smallest actions reveal character. Everyone remembers the bit in “Touchez Pas au Grisbi” wherein Jean Gabin, while hiding from his enemies, coolly smears pâté onto a cracker.) To this end, the picture proceeds in something close to real-time, and the actors are often framed by plenty of space. Their actions are thus connected to their settings, their contexts. It’s a marvelously controlled movie: no shot feels out of place, no cut ill-judged.

As written by Becker and Annette Wademant (the latter went on to contribute to Ophuls’ great  “Madame De…”), the movie captures something essential about the nature of male-female relationships. Caroline creates crises, hoping to jolt Edouard out of complacency, and Edouard does what he can to bring order to the chaos engendered by her scheming — though, more often than not, his bungling only worsens the situation. (It takes a boorish American to finally set Edouard straight regarding women.)

As Caroline, Anne Vernon is whipsmart and devilish; when Edouard slaps her she responds to his hasty apology with a flurry of overhand blows, then bites the air, snapping like an over-teased spaniel. Years later Vernon would bring a similar tartness to her role as Catherine Deneuve’s mother in “The Umbrellas of Cherbourg.” She’s a delightful actress. Naturally, all ends well. The movie concludes with  a tonic variant of the conclusion of “The Awful Truth.” The couple’s reconciliation is the kind of happy accident that results from careful, if unadmitted, planning.

Related

  • Though “Edouard et Caroline” is not available in the States on DVD, Criterion has released Becker’s “Le Trou,” “Touchez Pas au Grisbi,” and “Casque d’Or.” I especially love the first two.
  • A recent re-release of Becker’s “Antoine et Antoinette” met with rave reviews.
  • Becker’s son Jean directed one of the most idiosyncratic (and sexiest) French films of the ’80s, “One Deadly Summer.” I know Paleo Retiree is a big fan. Available on DVD here.
Posted in Movies, Performers | Tagged , , , , , , , , | 2 Comments

“Romulus, My Father”

Eddie Pensier writes:

The debut directorial effort by actor Richard Roxburgh, Romulus, My Father (2007) is a grave and beautiful, if flawed, movie based on a real-life memoir.

Romulus Gaita (Eric Bana) is a Yugoslav immigrant to 1960 Australia with a hardworking ethic that he passes on to his son Raimond (the luminously gifted Kodi Smit-McPhee). Unfortunately both of them are in thrall to Rai’s beautiful mother Christina (Franka Potente), who today would probably be diagnosed with bipolar disorder. She drops in at the Gaita homestead in rural Victoria at odd intervals for days or weeks at a time, then leaves, to the disappointment of Rai–who craves affection–and Romulus–who loves her despite her issues. After she has a daughter by her new lover Mitru (Russell Dykstra), she plummets into glassy-eyed depression. When she attempts suicide by sleeping-pill overdose, Romulus returns to the home and tells Rai (who has been sleeping on the porch waiting for news), “She’s going to be okay”, and the looks they exchange at that point tells us they both aren’t sure if that’s a blessing or a curse.

Smit-McPhee is just sensational as Rai, who idealizes his parents but is forced to face their human frailties. Bana has few lines but brilliantly communicates the stoic anguish of Romulus, whose new life in a new land isn’t working out how he’d hoped (the eventual toll it takes is shocking to watch). Franka Potente does a good job in making us understand how the monstrously narcissistic Christina could ensnare her men with alluring charm, then alienate them with reckless self-destruction.

romulus1

Roxburgh and his cinematographer Geoffrey Simpson put some gorgeous images on the screen. It took me a while though, to decide whether the visual palette of bleached-out tans and ivories was soothing and serene or merely boring. (I still can’t pick.) The occasionally stuttering, fragmented pace of the storytelling doesn’t help either. Still, this is a worthy movie with some amazing performances. Seek it out for an interesting, if depressing, diversion.

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Posted in Movies | Tagged , , , , , | 3 Comments