Marginal Revolution: Why do people ask questions at public events?

It matters a great deal if people have to write out questions in advance, or during the talk, and a moderator then reads out the question. That mechanism improves question quality and cuts down on the first three motives cited. Yet it is rarely used. In part we wish to experience the contrast between the speaker and the erratic questioners and the resulting drama.

I like the second commenter’s suggestion: “Take multiple questions at once. The moderator will take say three questions from three audience members before giving the presenter a chance to answer them one-by-one.”

Marginal Revolution: Why do people ask questions at public events?

Being foreign: The others | The Economist

An American child psychologist, Alison Gopnik, when reaching for an analogy to illuminate the world as experienced by a baby, compared it to Paris as experienced for the first time by an adult American: a pageant of novelty, colour, excitement. Reverse the analogy and you see that living in a foreign country can evoke many of the emotions of childhood: novelty, surprise, anxiety, relief, powerlessness, frustration, irresponsibility. It may be this sense of a return to childhood, consciously or not, that gives the pleasure of foreignness its edge of embarrassment.

(via).
Being foreign: The others | The Economist

Why you’ve never really heard the “Moonlight” Sonata. – By Jan Swafford – Slate Magazine

The audio examples are really fascinating. (via).

When composers wrote for these instruments they sometimes loved them and sometimes chafed at their limitations, but in any case they wrote for those sounds, that touch, those bells and whistles. From old instruments, performers on modern pianos can get important insights into the sound image that Mozart, Schubert, et al., were aiming for. But music from the 18th and 19th centuries doesn’t just sound different now than on the original instruments; some of it can’t even be played as written on modern pianos.

Why you’ve never really heard the “Moonlight” Sonata. – By Jan Swafford – Slate Magazine

The Hungry Metropolis – Saveur.com

I’m to make my first trip to Los Angeles in just a couple weeks. I will bring my elastic pants.

Manhattan may boast the highest concentration of high-end restaurants in the world, and Singapore hawker centers may pack more joy into each square inch, but Los Angeles is the best place in the world to eat at the moment, a frieze of fine dining overlaying a huge patchwork of immigrant communities big enough and self-sustaining enough to produce exactly the food that they want to eat.

The Hungry Metropolis – Saveur.com

Baffler – A Cottage for Sale

A piece about painter Thomas Kinkade and the California real estate market.

We have to accept that the violent orange glow that emanates from the interior of nearly every house in a Kinkade painting merely indicates that the house is warm and inviting, not burning to the ground. […] He says that as the son of a single mother who worked late, he often came home to a house that was dark and cold, especially in winter. The “Kinkade glow” represents what he wished was there instead. He tells the story more than once, which raises a question or two: Didn’t he maybe just want to burn the place down? Is his art really a form of arson?

Baffler – A Cottage for Sale

The Cocktail Renaissance

You should be able to anticipate your first drink after the day’s work and use it to refresh your spirit and relax your mind. It should awaken senses dulled at the office and by the speed and distances of contemporary life. It should move you from the determined needs of a workday to a thoughtful consideration of the better and more charming aspects of living and talking and reading. Anticipation should not be underrated as an aspect of any aesthetic experience.

And also: “Drinks that don’t taste of alcohol were developed for coeds and the saps who try to get them drunk.”

The Cocktail Renaissance

Tasting wine blind | Analysis & Opinion | Reuters

“The kind of wines one loves in blind tastings are not necessarily the kind of wines one actually likes to drink in real life.” See also: Pepsi vs. Coke. I’m wondering how this would apply in a museum, perhaps. Maybe what you like to gawk at for a few moments in a gallery is different from what you’d want in your living room. Is there psychological concept for liking different things depending on the length of exposure?

Tasting wine blind | Analysis & Opinion | Reuters