Astral Codex Ten Podcast

Last year I wrote a piece on artistic taste, which got many good responses from (eg) Ozy, Frank Lantz, and Sympathetic Opposition. I tastelessly forgot to respond to them until now, but I appreciate how they forced me to refine my thinking. In particular, they helped me realize that "taste" and "good art" are hard to talk about, because the discussions conflate many different things: 1: Sensory Delight. Ode To Joy makes the listener feel joyful. Michelangelo's David fills the viewer with awe at the human figure. The great cathedrals are impressive buildings, in a way that hits you like a punch to the gut. These judgments are preconscious, widespread, and don't necessarily require artistic sophistication. 2: Novelty and Innovation: Someone gets credit for doing art in a way that has never been done before. The early Impressionists invented a new way of looking at the world and explored all of its little corners. A modern Impressionist painter may be able to match their technical skill, but not their novelty; therefore, the modern would be a mere curiosity while the originals were great artists. For a modern person to be a great artist, they would have to explore entirely new media - hence the surprising and transgressive nature of modern art. 3: Paying Attention / Pattern Language: Tasteful people, viewing art over the generations and paying deep attention to it, have developed a sense of balance, composition, contrast, and what should and shouldn't be done. We can debate how predetermined the exact grammar of this language was a priori, but for better or worse people are sensitized to it and will judge works with it in mind. A good work of art should either conform to this language, or defy it deliberately and thoughtfully (that is, in a way that transcends it rather than ignores it). Along with these three big ones, here are smaller ones that might or might not be combinations or subvarieties of these: 4: Context And Discussion: Some great art raises questions, and subsequent great art proposes answers, or variations on the questions, or further elucidates the subject. The great artists of any given time are in conversation with their peers and the great artists of all past ages; new art can be judged on whether it shows awareness of, and contributes to, this conversation. Other forms of context are more personal - is a book about human evil more aesthetic if its author survived the Holocaust? 5: Literal Ability To Understand A Work: You can't fully appreciate Animal Farm unless you know the history of Soviet communism and recognize the book as an allegory for that history. If someone who knew nothing about this liked it as a cute story about talking animals, their appreciation would be different from (inferior to?) that of more knowledgeable people. 6: Changing Fashions: In 1940, Beaux-Arts and Frank Lloyd Wright were the heights of American architecture. By 1950, nobody who was anybody was doing Beaux-Arts or Prairie; it was all International Style. One could very charitably attribute this to the novelty-seeking drive above; but it's implausible that Prairie style architecture was novel and beloved in 1940, a few houses completely exhausted its potential, but the explosion of International Style buildings didn't restore the balance such that the low-hanging-fruit level level was lower in Prairie style again. More likely this was just a fashion effect where Prairie style was cool in 1940, then uncool in 1950. 7: Political And Ideological Point-Making: Great art may convey some truth about the world. This could be a purely aesthetic truth. But in the case of Uncle Tom's Cabin, the truth was "slavery is bad". Other truths are conveyed symbolically (for example, cathedrals being shaped like crosses) or through design choices (for example, the austerity of Bauhaus architecture making it more suitable for socialist housing). 8: Ability To Profoundly Affect Or Transform You: Maybe this one is emergent from some combination of sensory delight, novelty and point-making. But some people say they come away from art transformed, in a way which is neither just sensory delight nor just political ideology. Philosophers have argued for millennia about exactly what way this is, but hopefully we've all had this experience and can accept an extensional definition. These people enumerated these things to defend taste. I will instead take the bold stand that conflating many different things is bad: it frees people from thinking too hard about any particular one of them, or the ways they interact. Here are my arguments for deliberately ignoring about half of these. https://www.astralcodexten.com/p/contra-everyone-on-taste

As a blogger, I hear about lots of projects to "solve debate", or "disagree better", or "map arguments". Often these are ACX grant applications. I always turn them down. They're well-intentioned, sophisticated, and doomed. I appreciate that Internet arguments usually don't go well, that there are lots of ways to improve them, and that this is a worthy cause. But I've also seen a dozen projects of this sort fail. Here's why I think yours will too: "Debate" almost never corresponds to mappable arguments. The simplest "solve debate" proposal is the argument map. Some technology helps people decompose arguments into premises and conclusions, then lets skeptics point out where the premises are wrong, or where the conclusion doesn't follow from the premise. But almost no real argument works that way. https://www.astralcodexten.com/p/your-attempt-to-solve-debate-will

This month, rationalist institution Lighthaven is running their second Inkhaven, a bootcamp for aspiring bloggers. Participants have to publish a post a day, or they get kicked out. You can read their posts here. I'm too old to manage that pace, but agreed to participate as an advisor. Then I missed the first half of the month because I was on a trip. As compensation, here are fifteen pieces of writing advice for the fifteen days I was absent. 1: Against microdishonesty Sasha Chapin has a piece If You Have Writer's Block, Maybe Stop Lying To Yourself. Maybe lying gives Sasha writer's block, but for my last set of mentees it more often just made things sound awkward and unclear. The English language hates the slightest whiff of dishonesty, even levels so small you wouldn't naturally notice them yourself. It punishes you by making your writing worse. I remember asking one of my mentees to take out a tangential paragraph that didn't really connect to the rest of the argument. They refused, and awkwardly admitted that it was the one thing they really wanted to say with the essay. They'd written the essay about something else, because the other thing was more presentable. Then they'd smuggled their actual point in as a payload. Clever plan, but your readers will notice. There are countless reasons to lie when you're writing. Maybe you thought of a really clever introduction, but the thing it introduces is 5% different from the thing you really want to say, so you need to be a little vague and smush them together. Maybe you have a really great perspective on something which is almost like the topic du jour, and you need to make it sound like it's exactly the topic du jour to get it published. Maybe you can rebut 99 out of 100 arguments for some stupid evil position that you want to debunk, but it would be embarrassing to leave one hanging, so you smudge it together into the other 99 arguments. English will punish you for all these things. Sometimes there's no better solution and you have to settle, but your readers will notice. https://www.astralcodexten.com/p/half-a-month-of-consolation-writing

Last Friday, Secretary of War Pete Hegseth declared AI company Anthropic a "supply chain risk", the first time this designation has ever been applied to a US company. The trigger for the move was Anthropic's refusal to allow the Department of War to use their AIs for mass surveillance and autonomous weapons. A few hours later, Hegseth and Sam Altman declared an agreement-in-principle for OpenAI's models to be used in the niche vacated by Anthropic. Altman stated that he had received guarantees that OpenAI's models wouldn't be used for mass surveillance or autonomous weapons either, but given Hegseth's unwillingness to concede these points with Anthropic, observers speculated that the safeguards in Altman's contract must be weaker or, in a worst-case scenario, completely toothless. The debate centers on the Department of War's demand that AIs be permitted for "all lawful use". Anthropic worried that mass surveillance and autonomous weaponry would de facto fall in this category; Hegseth and Altman have tried to reassure the public that they won't, and the parts of their agreement that have leaked to the public cite the statutes that Altman expects to constrain this category. Altman's initial statement seemed to suggest additional prohibitions, but on a closer read, provide little tangible evidence of meaningful further restrictions. Some alert ACX readers1 have done a deep dive into national security law to try to untangle the situation. Their conclusion mirrors that of Anthropic and the majority of Twitter commenters: this is not enough. Current laws against domestic mass surveillance and autonomous weapons have wide loopholes in practice. Further, many of the rules which do exist can be changed by the Department of War at any time. Although OpenAI's national security lead said that "we intended [the phrase 'all lawful use'] to mean [according to the law] at the time the contract is signed', this is not how contract law usually works, and not how the provision is likely to be enforced2. Therefore, these guarantees are not helpful. To learn more about the details, let's look at the law: https://www.astralcodexten.com/p/all-lawful-use-much-more-than-you

Here's my understanding of the situation: Anthropic signed a contract with the Pentagon last summer. It originally said the Pentagon had to follow Anthropic's Usage Policy like everyone else. In January, the Pentagon attempted to renegotiate, asking to ditch the Usage Policy and instead have Anthropic's AIs available for "all lawful purposes"1. Anthropic demurred, asking for a guarantee that their AIs would not be used for mass surveillance of American citizens or no-human-in-the-loop killbots. The Pentagon refused the guarantees, demanding that Anthropic accept the renegotiation unconditionally and threatening "consequences" if they refused. These consequences are generally understood to be some mix of : canceling the contract using the Defense Production Act, a law which lets the Pentagon force companies to do things, to force Anthropic to agree. the nuclear option, designating Anthropic a "supply chain risk". This would ban US companies that use Anthropic products from doing business with the military2. Since many companies do some business with the government, this would lock them out of large parts of the corporate world and be potentially fatal to their business3. The "supply chain risk" designation has previously only been used for foreign companies like Huawei that we think are using their connections to spy on or implant malware in American infrastructure. Using it as a bargaining chip to threaten a domestic company in contract negotiations is unprecedented. https://www.astralcodexten.com/p/the-pentagon-threatens-anthropic

It's that time again. Even numbered years are book reviews, odd-numbered years are non-book reviews, so you're limited to books for now. Write a review of a book. There's no official word count requirement, but previous finalists and winners were often between 2,000 and 10,000 words. There's no official recommended style, but check the style of last time's finalists and winners or my ACX book reviews (1, 2, 3) if you need inspiration. Please limit yourself to one entry per person or team. Then send me your review through this Google Form. The form will ask for your name, email, the title of the book, and a link to a Google Doc. The Google Doc should have your review exactly as you want me to post it if you're a finalist. Don't include your name or any hint about your identity in the Google Doc itself, only in the form. I want to make this contest as blinded as possible, so I'm going to hide that column in the form immediately and try to judge your docs on their merit. (does this mean you can't say something like "This book about war reminded me of my own experiences as a soldier" because that gives a hint about your identity? My rule of thumb is that if I don't know who you are, and the average ACX reader doesn't know who you are, you're fine. I just want to prevent my friends or Internet semi-famous people from getting an advantage. If you're in one of those categories and think your personal experience would give it away, please don't write about your personal experience.) Please make sure the Google Doc is unlocked and I can read it. By default, nobody can read Google Docs except the original author. You'll have to go to Share, then on the bottom of the popup click on "Restricted" and change to "Anyone with the link". If you send me a document I can't read, I will probably disqualify you, sorry. Readers will vote for the ~10 finalists this spring, I'll post one finalist per week through the summer, and then readers will vote for winners in late summer/early fall. First prize will get at least $2,500, second prize at least $1,000, third prize at least $500; I might increase these numbers later on. All winners and finalists will get free publicity (including links to any other works they want me to link to), free ACX subscriptions, and sidebar links to their blog. And all winners will get the right to pitch me new articles if they want (sample posts by Lars, Brandon, Daniel, etc). In past years, most reviews have been nonfiction on technical topics. Depending on whether that's still true, I might do some mild affirmative action for reviews in nontraditional categories - fiction, poetry, and books from before 1900 are the ones I can think of right now, but feel free to try other nontraditional books. I won't be redistributing more than 25% of finalist slots this way. Your due date is May 20th. Good luck! If you have any questions, ask them in the comments. And remember, the form for submitting entries is here. https://www.astralcodexten.com/p/book-review-contest-rules-2026

Last year, the US may have recorded the lowest murder rate in its 250 year history. Other crimes have poorer historical data, but are at least at ~50 year lows. This post will do two things: Establish that our best data show crime rates are historically low Argue that this is a real effect, not just reporting bias (people report fewer crimes to police) or an artifact of better medical care (victims are more likely to survive, so murders get downgraded to assaults) https://www.astralcodexten.com/p/record-low-crime-rates-are-real-not

The European discourse can be - for lack of a better term - America-brained. We hear stories of Black Lives Matter marches in countries without significant black populations, or defendants demanding their First Amendment rights in countries without constitutions. Why shouldn't the opposite phenomenon exist? Europe is more populous than the US, and looms large in the American imagination. Why shouldn't we find ourselves accidentally absorbing European ideas that don't make sense in the American context? https://www.astralcodexten.com/p/political-backflow-from-europe