Love of All Wisdom

This weekend I went to New York City with friends so they could attend a bridal shower. I love New York – but I’m also wary of it. Happiness researcher Christopher Peterson ran an online happiness questionnaire and analyzed the results by zip code – and found that the most miserable zip codes of all were found in midtown Manhattan. Peterson himself cautions that this is not a controlled or rigorous experiment, and even if it were, it would still be measuring happiness by the questionable measure of self-report.

Still, in many respects these results are exactly what I would expect. I found this happiness data from Penelope Trunk, who nails the problem with living in New York exactly. If you are (like me) the kind of person who loves city life, then in New York you really do have the best of everything, at least on this continent and in some cases anywhere: the best food, the best entertainment, the best shopping for almost any goods you could want, the best access to transportation, the best art. But that’s exactly the problem. On one hand, you’re competing with everyone else to have access to the best of everything, so everything is very expensive, so you have to work much harder to make more money. (A little like Dr. Seuss’s Solla Sollew, where they have no troubles except for the fact that you can’t actually live there.) On the other hand, and more insidiously, if you live in New York, it’s probably because you are the kind of person who tries to have access to the best of everything.
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Sunday’s post, on modernism and the change in values from “old-fashioned” to “old-school,” might help explain a question that I and others have pondered here: why do human beings so often prefer what is old? Stephen Walker noted the point in his comment on Yavanayāna Buddhism: people often seem unwilling to credit themselves with innovations, to accept that their ideas are new. Rather they present themselves as defending old ideas when they come up with new ones. (In his The Sociology of Philosophies, Randall Collins suggests that this is a typical pattern in human thought (especially in Japan, but elsewhere as well): “innovation through conservatism.” A while back I asked a similar question about authenticity: why do we privilege authenticity so much, when its distinguishing feature would seem to be the absence of choice?

Maybe we can start to see an answer now that we’ve had a chance to look back on the alternative. The twentieth century, in many ways, was the century of modernism – the rejection of the past as a guide to living. As I noted last time, modernism brought us Pruitt-Igoe, the grand and innovative housing project that was dynamited as unlivable. But more than that, I think, it brought us Communism, the form of government practised in the Soviet Union, China and their allies in the mid-twentieth century. (continue reading…)

Among my peers in their twenties and thirties, the word “old-fashioned” seems, well, old-fashioned (unless, tellingly, it’s referring to the cocktail). I rarely hear it anymore. More commonly, to describe something that seems to belong to an earlier time – a rotary-dial telephone, a tabletop Ms. Pac-Man game, a handlebar moustache – the word of choice is “old-school.” As far as I know, this term has its current provenance from hip-hop music, referring to older works from the 1980s, before the genre became completely mainstream. Urban Dictionary, the anarchic oracle of contemporary slang, identifies “old school” as “Anything that is from an earlier era and looked upon with high regard or respect…. Typically, they are highly regarded and sometimes the very thing that started it all.” Compare a definition of “old-fashioned” from Apple’s dictionary widget: “(of a person or their views) favoring traditional and usually restrictive styles, ideas or customs: she’s stuffy and old-fashioned.”

This change in usage can’t be a coincidence. I think of a twentysomething friend of mine whose father is a modernist architect, a devotee of the International Style. He builds the kind of buildings that only architects can love, eminently functional buildings that appear to most people (including his daughter) as merely ugly: what Jane Jacobs famously called a Great Blight of Dullness. When I visit their house, I see at a picture of him on the wall from the 1970s: a dashing, handsome young man, decked out resplendently in the fashions of the age. Once upon a time, it was the trend to be modern. (continue reading…)