What I've been reading, featuring mechanism design and social justice; and "Go Tell It on the Mountain" by James Baldwin

The titular “normative gap” refers to the inexactness with which the mechanism designed by consulting economists actually applies their favored theory of justice, which Hitzig identifies as Arneson’s ‘equal opportunity for welfare’ principle, a more complex normative framework than the notion of simple efficiency upon which microeconomic theory usually hangs its hat. More precisely, Hitzig argues that the deferred acceptance algorithm ultimately advanced by the consultants could not be described as an application of a particular matching theory, but rather as the imposition of a setting that coerces real-life people to role-play as the highly idealized agents the setting demands by assumption. Hitzig describes this as an enactment (as opposed to an application) arising from two idealizing assumptions: strict compliance (e.g. applicants are forced to disclose strict preferences they may not have) and favorable circumstances (e.g. applicants are forced to communicate complete preferences even if they do not have equal access to information on all schools). The language of coercion I use here derives from the implied consequence of non-participation being total exclusion from the BPS. Further, those excluded from the idealized system are typically also excluded from the welfare calculus.

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What I've been reading, featuring les gilets jaunes, notes on trap music, and the revelation that was "Spider-Man: Into the Spider-Verse"

  • Notes on trap music by a Harvard professor of English and African-American Studies. I’m not convinced of all points, but don’t know enough to disagree. Quick selling point: it pairs quotes from WEB Du Bois with 21 Savage, Young Thug with bell hooks. It compares “Mask Off” to “A Raisin in the Sun”, Migos to Napoleon. Archive of the author’s cultural writing here (h/t Junho)

“Trap is a form of soft power that takes the resources of the black underclass (raw talent, charisma, endurance, persistence, improvisation, dexterity, adaptability, beauty) and uses them to change the attitudes, behaviors, and preferences of others, usually by making them admit they desire and admire those same things and will pay good money to share vicariously in even a collateral showering from below. This allows the trap artist to transition from an environment where raw hard power dominates and life is nasty, brutal, and short to the world of celebrity, the Valhalla of excess, lucre, influence, fame — the only transparently and sincerely valued site of belonging in our culture. It doesn’t hurt, of course, that insofar as you’re interested in having a good time, there’s probably never been a sound so perfectly suited to having every kind of fun disallowed in conservative America.”

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