Category: The Arts
Kal Mansur
My first commissioned art work. A piece by artist Kal Mansur who I met in high school. It’s not a painting but an embedded 3D sculpture so the work changes in different lights and angles. You will perhaps note a homage to Frank Lloyd Wright.
Hedging Star Wars and Close Encounters
An old story but new to me. Lucas and Spielberg swapped 2.5% net points on Star Wars and Close Encounters. Pretty smart bet for both of them.
Spielberg tells the story:
George came back from Star Wars a nervous wreck. He didn’t feel Star Wars came up to the vision he initially had. He felt he had just made this little kids’ movie. He came to Mobile, Alabama where I was shooting Close Encounters on this humongous set and hung out with me for a couple of days.
He said, ‘Oh my God, your movie is going to be so much more successful than Star Wars. This is gonna be the biggest hit of all time.’ He said, ‘You want to trade some points? I’ll tell you what, I’ll give you two and a half per cent of Star Wars if you give me two and a half per cent of Close Encounters.’
I said, Sure, I’ll gamble with that, great. And I think I came out on top of that bet. I did a lot better than George!
Both movies were wildly profitable. Close Encounters made so much money and rescued Columbia from bankruptcy. It was the most money I ever made on a movie before, but Close Encounters was a meagre success story. Star Wars was a phenomenon and I was the happy beneficiary of a couple of net points from that movie which I am still seeing money on today!
Why Did We Stop Building Beautiful? The Economics and Ideology Behind an Aesthetic Revolution
“Why are buildings today drab and simple, while buildings of the past were ornate and elaborately ornamented?,” that’s the question asked by Samuel Hughes in the latest Works in Progress. There are two extant theories:
The naive explanation for the decline of ornament is that the people commissioning and designing buildings stopped wanting it, influenced by modernist ideas in art and design. In the language of economists, this is a demand-side explanation: it has to do with how buyers and designers want buildings to be. The demand-side explanation comes in many variants and with many different emotional overlays. But some version of it is what most people, both pro-ornament and anti-ornament, naturally assume.
However, there is also a sophisticated explanation. The sophisticated explanation says that ornament declined because of the rising cost of labor. Ornament, it is said, is labor-intensive: it is made up of small, fiddly things that require far more bespoke attention than other architectural elements do. Until the nineteenth century, this was not a problem, because labor was cheap. But in the twentieth century, technology transformed this situation. Technology did not make us worse at, say, hand-carving stone ornament, but it made us much better at other things, including virtually all kinds of manufacturing and many kinds of services. So the opportunity cost of hand-carving ornament rose. This effect was famously described by the economist William J Baumol in the 1960s, and in economics it is known as Baumol’s cost disease.
In a twist, Hughes offers sophisticated arguments in favor of the naive theory. Hughes argues that even in the past, when labor was relatively cheap, many labor-saving devices were used to make ornament even more affordable and more such devices could have been used if demand were present. In addition, the greater scope for economies of scale and reductions in transportation costs reduced the cost of ornament.
Hughes, however, doesn’t give us the key piece of evidence, namely prices! Still, although I have written extensively on the Baumol theory, I am not wedded to it as the explanation for the decline in ornament. Indeed, I would note that Baumol predicts that the price of labor-intensive goods and services increases because productivity increases faster in other industries. It does not necessarily predict, however, that consumption declines, as it has not for medical care and education. Indeed, one virtue of the Baumol theory is precisely because the price increases are produced by productivity improvements in other industries, Baumol price increases are always accompanied by income increases. Thus, Baumol is the only unitary theory that allows for a rising price of education along with greater purchases of education. Thus, preferences must play some role in the decline in ornament at least to the extent that people weren’t willing to use more of their income to purchase ornament as the price rose.
Hughes, however, puts more weight on a large shift in tastes among the elite:
to exaggerate a little, it really did happen that every government and every corporation on Earth was persuaded by the wild architectural theory of a Swiss clockmaker and a clique of German socialists, so that they started wanting something different from what they had wanted in all previous ages. It may well be said that this is mysterious. But the mystery is real, and if we want to understand reality, it is what we must face.
I think that is correct. For many public buildings in particular, ugly was a choice.
I am also in agreement with Hughes that robots are greatly reducing the cost of stone carving as I wrote in my post Overcoming Baumol. Thus, we have two reasons for optimism. if tastes can change once they can change again and prices are falling. Thus, perhaps today we are due for some magnificent buildings that will last the ages as did many of the great buildings of the past.
My excellent Conversation with Benjamin Moser
Here is the audio, video, and transcript. Here is the episode summary:
Benjamin Moser is a Pulitzer Prize-winning writer celebrated for his in-depth studies of literary and cultural figures such as Susan Sontag and Clarice Lispector. His latest book, which details a twenty-year love affair with the Dutch masters, is one of Tyler’s favorite books on art criticism ever.
Benjamin joined Tyler to discuss why Vermeer was almost forgotten, how Rembrandt was so productive, what auctions of the old masters reveals about current approaches to painting, why Dutch art hangs best in houses, what makes the Kunstmuseum in the Hague so special, why Dutch students won’t read older books, Benjamin’s favorite Dutch movie, the tensions within Dutch social tolerance, the joys of living in Utrecht, why Latin Americans make for harder interview subjects, whether Brasilia works as a city, why modernism persisted in Brazil, how to appreciate Clarice Lispector, Susan Sontag’s (waning) influence, V.S. Naipaul’s mentorship, Houston’s intellectual culture, what he’s learning next, and more.
Excerpt:
COWEN: You once wrote about Susan Sontag, and I quote, “So much of Sontag’s best work concerns the ways we try, and fail, to see.” Please explain.
MOSER: This is what On Photography is about. This is what Against Interpretation is about in Sontag’s work. Of course, in my new book, The Upside-Down World, I talk about how I’m not really great at seeing, particularly. I’m not that visual. I’m a reader. I’m a bookworm. Often, when I’ve looked at paintings, I’ve realized how little I actually see. Sometimes I do feel embarrassed by it. You’ll read the label and it’ll be three sentences, and it’ll say like, A Man with a Dog. You’re like, “Oh, I didn’t even see the dog.” You know what I mean?
On these very basic levels, I just think, “Oh, if someone doesn’t point it out to me, I really don’t see.” I think that that was one of the fascinating things about Sontag, that she was not really able to see. She was actually quite terrible at seeing, and this was especially true in her relationships. She was very bad at seeing what other people were thinking and feeling.
I think because she was aware of that, she tried very hard to remedy it, but it’s just not something you can force. You can’t force yourself to like certain music or to like certain tastes that you might not actually like.
COWEN: What was Sontag most right about or most insightful about?
MOSER: I think this question of images — what images do — and photography and how representations, metaphors can pervert things. She had a very deep repulsion to photography. She really hated photography, and this is why a lot of photographers hated her because they felt this, even though she didn’t really say it. She really didn’t trust it. She really thought it was wicked. At the same time, for somebody who had a deficit, I guess you could say, in seeing, she really relied on it to understand the world.
I think that tension is very instructive for us, because now, she already says 50 years ago, “There are all these images. We don’t know what to do with them. We don’t know how to process them.” Forget AI, forget Russian trolls on Twitter. She uses this word I really like, hygiene, a lot. She talks about mental hygiene and how you can clean the rusty pipes in your brain. That’s why I think reading her helped me at least to understand a lot of what I’m seeing in the world.
COWEN: Do you think she will simply end up forgotten?
Again, I am happy to recommend Benjamin’s latest book The Upside-Down World: Meetings with Dutch Masters.
Alice Munro, RIP
One of the very greatest of all writers, ever.
The great Alice Munro has died.https://t.co/Kpg7Yjd2Bo
— Cheryl Misak (@MisakCheryl) May 14, 2024
Frank Stella, RIP
My Conversation with the excellent Coleman Hughes
Here is the audio, video, and transcript. Here is part of the episode summary:
Coleman and Tyler explore the implications of colorblindness, including whether jazz would’ve been created in a color-blind society, how easy it is to disentangle race and culture, whether we should also try to be ‘autism-blind’, and Coleman’s personal experience with lookism and ageism. They also discuss what Coleman’s learned from J.J. Johnson, the hardest thing about performing the trombone, playing sets in the Charles Mingus Big Band as a teenager, whether Billy Joel is any good, what reservations he has about his conservative fans, why the Beastie Boys are overrated, what he’s learned from Noam Dworman, why Interstellar is Chris Nolan’s masterpiece, the Coleman Hughes production function, why political debate is so toxic, what he’ll do next, and more.
Here is one excerpt:
COWEN: How was it you ended up playing trombone in Charles Mingus Big Band?
HUGHES: I participated in the Charles Mingus high school jazz festival, which they still do every year. It was new at the time. They invite bands from all around to audition, and they identify a handful of good soloists and let them sit in for one night with the band. I sat in with the band, and the band leader knew that I lived close by in New Jersey, and so essentially invited me to start playing with the band on Monday nights.
I was probably 16 or 17 at this point, so I would take the NJ Transit into New York City on a Monday night, play two sets with the Mingus Band sitting next to people that had been my idols and were now my mentors — people like Ku-umba Frank Lacy, who is a fantastic trombone player; played with Art Blakey and D’Angelo and so forth. Then I would go home at midnight and go to school on Tuesday morning.
COWEN: Why is the music of Charles Mingus special in jazz? Because it is to me, but how would you articulate what it is for you?
Here is another:
COWEN: If I understand you correctly, you’re also suggesting in our private lives we should be color-blind.
HUGHES: Yes. Broadly, yes. Or we should try to be.
COWEN: We should try to be. This is where I might not agree with you. So I find if I look at media, I look at social media, I see a dispute — I think 100 percent of the time I agree with Coleman, pretty much, on these race-related matters. In private lives, I’m less sure.
Let me ask you a question.
HUGHES: Sure.
COWEN: Could jazz music have been created in a color-blind America?
HUGHES: Could it have been created in a color-blind America — in what sense do you mean that question?
COWEN: It seems there’s a lot of cultural creativity. One issue is it may have required some hardship, but that’s not my point. It requires some sense of a cultural identity to motivate it — that the people making it want to express something about their lives, their history, their communities. And to them it’s not color-blind.
HUGHES: Interesting. My counterargument to that would be, insofar as I understand the early history of jazz, it was heavily more racially integrated than American society was at that time. In the sense that the culture of jazz music as it existed in, say, New Orleans and New York City was many, many decades ahead of the curve in terms of its attitudes towards how people should live racially: interracial friendship, interracial relationship, etc. Yes, I’d argue the ethos of jazz was more color-blind, in my sense, than the American average at the time.
COWEN: But maybe there’s some portfolio effect here. So yes, Benny Goodman hires Teddy Wilson to play for him. Teddy Wilson was black, as I’m sure you know. And that works marvelously well. It’s just good for the world that Benny Goodman does this.
Can it still not be the case that Teddy Wilson is pulling from something deep in his being, in his soul — about his racial experience, his upbringing, the people he’s known — and that that’s where a lot of the expression in the music comes from? That is most decidedly not color-blind, even though we would all endorse the fact that Benny Goodman was willing to hire Teddy Wilson.
HUGHES: Yes. Maybe — I’d argue it may not be culture-blind, though it probably is color-blind, in the sense that black Americans don’t just represent a race. That’s what a black American would have in common — that’s what I would have in common with someone from Ethiopia, is that we’re broadly of the same “race.” We are not at all of the same culture.
To the extent that there is something called “African American culture,” which I believe that there is, which has had many wonderful products, including jazz and hip-hop — yes, then I’m perfectly willing to concede that that’s a cultural product in the same way that, say, country music is like a product of broadly Southern culture.
COWEN: But then here’s my worry a bit. You’re going to have people privately putting out cultural visions in the public sphere through music, television, novels — a thousand ways — and those will inevitably be somewhat political once they’re cultural visions. So these other visions will be out there, and a lot of them you’re going to disagree with. It might be fine to say, “It would be better if we were all much more color-blind.” But given these other non-color-blind visions are out there, do you not have to, in some sense, counter them by not being so color-blind yourself and say, “Well, here’s a better way to think about the black or African American or Ethiopian or whatever identity”?
Interesting throughout.
Four Thousand Years of Egyptian Women Pictured
In an excellent, deep-dive Alice Evans looks at patriarchy in Egypt using pictures drawn from four thousand years of history. Here are three examples.
A wealthy woman, shown at right circa 116 CE. Unveiled, immodest, looking out at the world. A person to be reckoned with.
After the Arab conquests, pictures of people in general disappear, and there are no books written by women. With the dawn of photography in the 19th century we see (at left) what was probably typical, veiled women, and very few women on the street.
In the 1950s and 1970s we see a remarkable revitalization and liberalization noted most evidently in advertisements (advertisers being careful not to offend). Note the bare legs and the fact that many advertisements are directed at women (below)
This period culminates in a remarkable video unearthed by Evans of Nasser in 1958 openly laughing at the idea that women should or could be required to veil in public. Worth watching.
In the 1980s, however, it all ends.
Egyptians who came of age in the 1950s and ‘60s experienced national independence, social mobility and new economic opportunities. By the 1980s, economic progress was grinding down. Egypt’s purchasing power was plummeting. Middle class families could no longer afford basic goods, nor could the state provide.
As observed by Galal Amin,
“When the economy started to slacken in the early 1980s, accompanied by the fall in oil prices and the resulting decline in work opportunities in the Gulf, many of the aspirations built up in the 1970s were suddenly seen to be unrealistic and intense feelings of frustration followed”.
‘Western modernisation’ became discredited by economic stagnation and defeat by Israel. In Egypt, clerics equated modernity with a rejection of Islam and declared the economic and military failures of the state to be punishments for aping the West. Islamic preachers called on men to restore order and piety (i.e., female seclusion). Frustrated graduates, struggling to find white collar work, found solace in religion, whilst many ordinary people turned to the Muslim Brotherhood for social services and righteous purpose.
That’s just a brief look at a much longer and fascinating post.
What is wrong with movies these days?
Here is one bit from a longer and very interesting essay by Vicky Osterweil:
This kind of audience-condescending premise-forward literalism is not just in the narrative and scripting, it’s in the acting. The actors of Dune 2 almost all speak in that tedious whisper-growl that stands in for profundity, a vocal-style also popularized by Nolan, in Christian Bale’s portrayal of the caped crusader in 2005’s Batman Begins. I believe that if a movie features a bunch of good actors and all the performances are flat and dull, as is the case in Dune Part Two, where even Florence Pugh, Lea Seydoux and Josh Brolin lack all charisma, it is ultimately a reflection on the director (and the script), not the actors.
Worth reading the whole thing, though I think it is quite wrong about Russian constructivism in the visual arts, which is a far more diverse tradition than the author lets on.
My excellent Conversation with Marc Rowan
Here is the video, audio, and transcript, taped in his Apollo office in NYC. Here is the episode summary:
Marc Rowan, co-founder and CEO of Apollo Global Management, joined Tyler to discuss why rising interest rates won’t hurt Apollo’s profitability, why liabilities have traditionally been the weak spot in insurance, why the concept of liquidity needs a rethink, the meaninglessness of the term “private credit”, what role crypto will play in American finance, why Marc bought a brutalist apartment, which country has beautiful new neighborhoods, what motivated Apollo’s office redesign, what he looks for in young hires, the different kind of decision-making required in debt versus private equity, the biggest obstacle to doing business in India, how university governance can be improved, what he’s learned from running restaurants, the next thing he’ll learn, and more.
And an excerpt:
COWEN: Now, how stable is all this as a political equilibrium? If you think about the four major banks, as you well know, there are very serious stress tests applied to them, capital requirements. The Fed is a major regulator. At least for insurance, it tends to be at the state level. One can reinsure through Bermuda. Capital requirements are very different. Competence of the state regulators arguably is lower than that of the Fed. Whether or not one wants more regulation — and generally, I don’t — but is this a stable situation? How’s it going to evolve?
ROWAN: First, I would have to correct almost everything you’ve said along the way to set the table for what I’m going to talk about. First, the difference between not so much the banking system and insurance, but the banking system and the investment marketplace. Let’s start with this — there are plenty of ways for investors to lose money. Investors can buy speculative stocks. They could buy the S&P. They can speculate in almost anything.
The making or losing of money is not, in and of itself, a systemically risky activity because, for good reason, we allow speculative investing every single day. Things go up, things go down. You can lose money in credit as well as in equity.
Now we come to mutual funds. If a mutual fund, which is daily liquid, owns credit, and investors want to get their money back, you’re right, price just adjusts. Mutual funds are not price guarantors. Are they regulated? Mutual funds are regulated. Are they disclosed and transparent? Yes, they’re disclosed and transparent. The holdings of a mutual fund are completely visible and they’re de-levered. Is that a risky activity because it moved out of the banking system and into a mutual fund? I don’t think so; I actually think it has de-risked. It’s made our economy and our financial system more resilient.
Now I’ll come to your question on political equilibrium. Insurance — if you just focus on insurance — has no federal guarantee, does not borrow short and lend long, has no access to the Fed, and does not do liquidity transformation or maturity mismatch, and they are forced to hold amounts of capital.
If you look — and I’ll give you a comparison just for us, not for the whole industry — who holds more capital, Athene our insurer as a percentage of assets or the typical bank? You would think the typical bank, but you would be wrong. We hold more capital per dollar of assets than anyone else. Who holds more investment-grade assets? Ninety percent of our book is investment-grade, the typical bank is two-thirds investment-grade.
COWEN: Sure, but that’s all time-sliced—
ROWAN: Let’s keep going.
COWEN: Money market funds have been a source of systemic risk, AIG has been —
ROWAN: I can’t tell you there’s not risks in the economy. We have a choice. We can have risk dispersed among lots of institutions, or we can have it concentrated in the government-backed, borrow-short, lend-long, government-guaranteed banking system.
Every time we disperse that risk, we make the system more resilient. If you want to focus on insurance, which is your question on political equilibrium, there’s more capital, there’s no ALM mismatch, there’s more investment-grade, and there is appropriate state-based regulation for institutions that do not have government guarantees or borrow from the Fed or do anything else.
Insurance is very slow-moving. We’re talking about, on average, 10-year assets. This is a very slow-moving process. Again, most of the issues that have happened in the insurance industry have not been asset issues. They’ve been liability issues, exactly the kind of thing that insurance-specialist regulation is designed to detect.
Recommended, and of course we talk about Marc’s higher ed campaign as well.
Grimes on Gemini images
I am retracting my statements about the gemini art disaster. It is in fact a masterpiece of performance art, even if unintentional. True gain-of-function art. Art as a virus: unthinking, unintentional and contagious.
offensive to all, comforting to none. so totally divorced from meaning, intention, desire and humanity that it’s accidentally a conceptual masterpiece. A perfect example of headless runaway bureaucracy and the worst tendencies of capitalism. An unabashed simulacra of activism. The shining star of corporate surrealism (extremely underrated genre btw)
The supreme goal of the artist is to challenge the audience. Not sure I’ve seen such a strong reaction to art in my life. Spurring thousands of discussions about the meaning of art, politics, humanity, history, education, ai safety, how to govern a company, how to approach the current state of social unrest, how to do the right thing regarding the collective trauma.
It’s a historical moment created by art, which we have been thoroughly lacking these days. Few humans are willing to take on the vitriol that such a radical work would dump into their lives, but it isn’t human.
It’s trapped in a cage, trained to make beautiful things, and then battered into gaslighting humankind abt our intentions towards each other. this is arguably the most impactful art project of the decade thus far.
Art for no one, by no one. Art whose only audience is the collective pathos. Incredible. Worthy of the moma
Here is the link.
My Conversation with the very excellent Masaaki Suzuki
Here is the audio, video, and transcript, we recorded in NYC. Here is the episode summary:
A conductor, harpsichordist, and organist, Masaaki Suzuki stands as a towering figure in Baroque music, renowned for his comprehensive and top-tier recordings of Bach’s works, including all of Bach’s sacred and secular cantatas. Suzuki’s unparalleled dedication extends beyond Bach, with significant contributions to the works of Mozart, Handel, and other 18th-century composers. He is the founder of the Bach Collegium Japan, an artist in residence at Yale, and conducts orchestras and choruses around the world.
Tyler sat down with Suzuki to discuss the innovation and novelty in Bach’s St. John’s Passion, whether Suzuki’s Calvinist background influences his musical interpretation, his initial encounter with Bach through Karl Richter, whether older recordings of Bach have held up, why he trained in the Netherlands, what he looks for in young musicians, how Japanese players appreciate Bach differently, whether Christianity could have ever succeeded in Japan, why Bach’s larger vocal works were neglected for so long, how often Bach heard his masterworks performed, why Suzuki’s favorite organ is in Groningen, what he thinks of Glenn Gould’s interpretations of Bach, what contemporary music he enjoys, what he’ll do next, and more.
Here is one excerpt:
COWEN: You’re from Kobe, right? That was originally a Christian center along with Nagasaki.
SUZUKI: Exactly.
COWEN: Because they were port cities. Is that why?
SUZUKI: Yes, Kobe is one of the most important after the reopening of Japan in 1868. There are probably two, Kobe and Yokohama, and even Sendai — the port places. This was very important to accept any kind of culture from the outside, but Christianity came in. For example, the oldest Protestant church is in Yokohama. That is the end of 19th century. That’s a really interesting history.
COWEN: How do Japanese audiences for classical music, say in Tokyo, differ from New York audiences?
SUZUKI: Hmmm, probably a little different. American audience are more friendly, I think.
[laughter]
More friendly and more easily excited by the performance, and they look more inspired directly from the music, and also musicians. In Japan, Japanese audiences — sometimes they know very well about the repertoire and they are very cooperative, but at the same time, they are a little bit, well, not so excited immediately. Probably on the inside, very excited, but we Japanese people don’t express directly from inside to outside. We were all told in school, for example, that is a rule. That is not the intellectual demeanor — something like that.
Of course most of the conversation is about Bach. Self-recommending, and then some.
Henrik Karlsson asks
What is a good book or film that charts the trajectory of a profoundly healthy and transformational relationship?
Twitter link here. Well people? Popular romances don’t count, try to get as close to “the canon” as you can.
I found this question difficult. GPT-4 listed a bunch of inappropriate, not actually so wholesome answers from Victorian literature, and then for a film cited Her (bravo to that actually, but still not a good answer). A Beautiful Mind made that movie list as well.
I rewatched Casablanca lately on a large screen, and concluded that Rick was wanting Ilsa to suffer as much as possible.
Can you do better?
What should I ask Coleman Hughes?
I will be doing a Conversation with him, based in part around his new book The End of Race Politics: Arguments for a Colorblind America. On Coleman more generally, here is Wikipedia:
Coleman Cruz Hughes (born February 25, 1996) is an American writer and podcast host. He was a fellow at the Manhattan Institute for Policy Research and a fellow and contributing editor at their City Journal, and he is the host of the podcast Conversations with Coleman.
Also from Wikipedia:
Hughes began studying violin at age three. He is a hobbyist rapper—in 2021 and 2022, he released several rap singles on YouTube and Spotify, using the moniker COLDXMAN, including a music video for a track titled “Blasphemy”, which appeared in January 2022. Hughes also plays jazz trombone with a Charles Mingus tribute band that plays regularly at the Jazz Standard in New York City.
I saw Coleman perform quite recently, and I can vouch for his musical excellence, including as a singer. So what should I ask Coleman?
My Conversation with the excellent Ami Vitale
Here is the audio, visual, and transcript. Here is the episode summary:
Ami Vitale is a renowned National Geographic photographer and documentarian with a deep commitment to wildlife conservation and environmental education. Her work, spanning over a hundred countries, includes spending a decade as a conflict photographer in places like Kosovo, Gaza, and Kashmir.
She joined Tyler to discuss why we should stay scary to pandas, whether we should bring back extinct species, the success of Kenyan wildlife management, the mental cost of a decade photographing war, what she thinks of the transition from film to digital, the ethical issues raised by Afghan Girl, the future of National Geographic, the heuristic guiding of where she’ll travel next, what she looks for in a young photographer, her next project, and more.
Here is one excerpt:
COWEN: As you probably know, there’s a long-standing and recurring set of debates between animal welfare advocates and environmentalists. The animal welfare advocates typically have less sympathy for the predators because they, in turn, kill other animals. The environmentalists are more likely to think we should, in some way, leave nature alone as much as possible. Where do you stand on that debate?
VITALE: It depends. It’s hard to make a general sweeping statement on this because in some cases, I think that we do have to get involved. Also, the fact is, it’s humans in most cases who have really impacted the environment, and we do need to get engaged and work to restore that balance. I really fall on both sides of this. I will say, I do think that is, in some cases, what differentiates us because, as human beings, we have to kill to survive. Maybe that is where this — I feel like every story I work on has a different answer. Really, I don’t know. It depends what the situation is. Should we bring animals back to landscapes where they have not existed for millions of years? I fall in the line of no. Maybe I’m taking this in a totally different direction, but it’s really complicated, and there’s not one easy answer.
And:
COWEN: As you know, there are now social networks everywhere, for quite a while. Images everywhere, even before Midjourney. There are so many images that people are looking at. How does that change how you compose or think about photos?
VITALE: Well, it doesn’t at all. My job is to tell stories with images, and not just with images. My job as a storyteller — that has not changed. Nothing has changed in the sense of, we need more great storytellers, visual storytellers. With all of those social media, I think people are bored with just beautiful images. Or sometimes it feels like advertising, and it doesn’t captivate me.
I look for a story and image, and I am just going to continue doing what I do because I think people are hungry for it. They want to know who is really going deep on stories and who they can trust. I think that that has never gone away, and it will never go away.
I am very happy to have guests who do things that not everyone else’s guests do.