Educators From France

"Both the Clinton and the Obama administrations frequently went along with the market liberalization launched under Reagan and both Bush presidencies. At times they even outdid them."

"The main lesson for Europe and the world is clear: as a matter of urgency, globalization must be fundamentally re-oriented. The main challenges of our times are the rise in inequality and global warming. We must therefore implement international treaties enabling us to respond to these challenges and to promote a model for fair and sustainable development. Agreements of a new type can, if necessary, include measures aimed at facilitating these exchanges. But the question of liberalizing trade should no longer be the main focus. Trade must once again become a means in the service of higher ends. It never should have become anything other than that."

"There should be no more signing of international agreements that reduce customs duties and other commercial barriers without including quantified and binding measures to combat fiscal and climate dumping in those same treaties."

"Let it be said at once: Trump’s victory is primarily due to the explosion in economic and geographic inequality in the United States over several decades and the inability of successive governments to deal with this."

"Capital is defined as the sum total of nonhuman assets that can be owned and exchanged on some market."

"National income is defined as the sum of all income available to the residents of a given country in a given year, regardless of the legal classification of that income."

"I can now present the first fundamental law of capitalism, which links the capital stock to the flow of income from capital. The capital/income ratio β is related in a simple way to the share of income from capital in national income, denoted α. The formula is"

"Economists are all too often preoccupied with petty mathematical problems of interest only to themselves. This obsession with mathematics is an easy way of acquiring the appearance of scientificity without having to answer the far more complex questions posed by the world we live in."

"Democracy will never be supplanted by a republic of experts – and that is a very good thing."

"To put it bluntly, the discipline of economics has yet to get over its childish passion for mathematics."

"Broadly speaking, the rise of the supermanager is largely an Anglo-Saxon phenomenon."

"The distribution of wealth is one of today’s most widely discussed and controversial issues. But what do we really know about its evolution over the long term? Do the dynamics of private capital accumulation inevitably lead to the concentration of wealth in ever fewer hands, as Karl Marx believed in the nineteenth century? Or do the balancing forces of growth, competition, and technological progress lead in later stages of development to reduced inequality and greater harmony among the classes, as Simon Kuznets thought in the twentieth century? What do we really know about how wealth and income have evolved since the eighteenth century, and what lessons can we derive from that knowledge for the century now under way?"

"We know something about billionaire consumption, but it is hard to measure some of it. Some billionaires are consuming politicians, others consume reporters, and some consume academics."

"Modern economic growth and the diffusion of knowledge have made it possible to avoid the Marxist apocalypse but have not modified the deep structures of capital and inequality—or in any case not as much as one might have imagined in the optimistic decades following World War II."

"In many ways, the US led the world toward the development of progressive taxation and the reduction of inequality at the global level during the first half of the 20th century... Unfortunately, one century later, in 2019, the rise of inequality creates new threats to liberal democracies. It is time to take a new step and to develop new policy instruments, in line with the challenges raised by global wealth trends."

"When the rate of return on capital exceeds the rate of growth of output and income, as it did in the nineteenth century and seems quite likely to do again in the twenty-first, capitalism automatically generates arbitrary and unsustainable inequalities that radically undermine the meritocratic values on which democratic societies are based."

"I am trying to put the distributional question and the study of long-run trends back at the heart of economic analysis. In that sense, I am pursuing a tradition which was pioneered by the economists of the 19th century, including David Ricardo and Karl Marx. One key difference is that I have a lot more historical data. With the help of , , Facundo Alvaredo, Gilles Postel-Vinay, Jean-Laurent Rosenthal, Gabriel Zucman and many other scholars, we have been able to collect a unique set of data covering three centuries and over 20 countries. This is by far the most extensive database available in regard to the historical evolution of income and wealth. This book proposes an interpretative synthesis based upon this collective data collection project."

"How do wealth- and capital-output ratios evolve in the long run, and why? Until recently it was difficult to properly address this question, for one simple reason: national accounts were mostly about flows, not stocks. Economists had at their disposal a large body of historical series on flows of output, income and consumption – but limited data on stocks of assets and liabilities. When needed, for example for growth accounting exercises, estimates of capital stocks were typically obtained by cumulating past flows of saving and investment. This is fine for some purposes, but severely limits the set of questions one can ask."

"The overall importance of capital today, as noted, is not very different from what it was in the eighteenth century. Only its form has changed: capital was once mainly land but is now industrial, financial, and real estate. We also know that the concentration of wealth remains high, although it is noticeably less extreme than it was a century ago. The poorest half of the population still owns nothing, but there is now a patrimonial middle class that owns between a middle and a third of total wealth, and the wealthiest ten percent now own only-two thirds of what there is to own rather than nine-tenths."

"Whenever the rate of return on capital is significantly and durably higher than the growth rate of the economy, it is all but inevitable that inheritance (of fortunes accumulated in the past) predominates over saving (wealth accumulated in the present). ... The inequality r > g in one sense implies that the past tends to devour the future: wealth originating in the past automatically grows more rapidly, even without labor, than wealth stemming from work, which can be saved. Almost inevitably, this tends to give lasting disproportionate importance to inequalities created in the past, and therefore to inheritance."

"We could not do it in the way he meant. But from the Rue Lamarck to the Rue Ravignan, the attempt [prétention] to imitate an orb on a vertical plane, or to indicate by a horizontal straight line the circular hole of a vase placed at the height of the eyes was considered as the artifice of an illusionistic trickery that belonged to another age."

"For the image possesses qualities which, under certain circumstances, can make it much more interesting than the object which inspired it. The portrait of a commonplace person can astound us with an air of distinction, reminding us that the best portrait is that which resembles the painter, not the model."

"I had measured the difference that separated art prior to 1900 from the art which I felt was being born. I knew that all instruction was at an end. The age of personal expression had finally begun. The value of an artist was no longer to be judged by the finish of his execution, or by the analogies his work suggested with such-and-such an archetype. It would be judged – exclusively – by what distinguished this artist from all the others. The age of the master and pupil was finally over; I could see about me only a handful of creators and whole colonies of monkeys. But I could not ask Gleizes to see it that way. Happily, nothing of his social or mystical opinions remained when he was engaged in the work of painting. The work of reconciling an oval and a lozenge, a yellow and a blue, prevailed and saved him."

"We could not think of going back to the symbolic measures of the ancients and the primitives. Such cheap magician's tricks did not appeal to us."

"Cubism was born."

"Albert Gleizes did not know Montmartre, had never seen anything of Picasso or Juan Gris, never heard Maurice Princet construct an infinite number of different spaces for the use of painters, but he described to me the absurdity of the museums in which mournful, extravagantly three dimensional crowds threaten to crush the visitor by jumping out of their frames."

"Art belongs to the domain of the unreal and it is only when people try to make a reality of it that it falls apart."

""What madman, or what clever-dick with the instincts of a counterfeiter was the first to paint a sphere in trompe l'oeil on a surface that is vertical and rigorously flat! And that's what they teach at the Beaux-Arts [academy]! How could such idiocies ever have survived the verdict of Pascal?" [quote of Albert Gleizes ]. That was how, in 1906, Albert Gleizes was feeling his way towards Cubism and condemned in advance those who never saw anything in it other than a shibboleth [mot d'ordre]. It was still nothing more than a need he felt, the need not for an intellectual art but for an art that would be something other than a systematic absurdity. Quite clearly nature and the painting make up two different worlds which have nothing in common, and what is quite in its place in the one cannot also be in its place in the other."

"Nearly conscious in someone like Michelangelo, or Paolo Uccello, quite intuitive in painters such as Ingres, or Corot, it works on the basis of numbers which belong to the painting itself, not to whatever it represents."

"But we cannot enjoy in isolation; we wish to dazzle others with that which we daily snatch from the world of sense, and in return we wish others to show us their trophies. From a reciprocity of concessions arise those mixed images, which we hasten to confront with artistic creations in order to compute what they contain of the objective; that is of the purely conventional."

"This science gave me a taste for the arts. It is Number that gives value to sounds and silences, lights and shadows, forms and spaces. Michelangelo and Bach seemed to me like divine mathematicians [calculateurs]. Already I felt that only mathematics enables works that can last. Whether as a result of patient study, or of a stormy [fulgurante] intuition, number alone can reduce all our diversities of feeling to the strict unity of a mass, a fresco, or a sculpted head."

"I learned that Cézanne's success was not preventing the Neo-Impressionists from getting support. My knowledge of their technique was entirely literary."

"The excuse that the painters were documenting reality was becoming ridiculous. Photographers and film makers went far beyond them. Already it could be said that a good portrait led one to think about the painter not the model."

"Let the picture imitate nothing; let it nakedly present its raison d'être. We should indeed be ungrateful were we to deplore the absence of all those things flowers, or landscape, or faces whose mere reflection it might have been. Nevertheless, let us admit that the reminiscence of natural forms cannot be absolutely banished; not yet, at all events. An art cannot be raised to the level of a pure effusion at the first step."

"Unless we are to condemn all modern painting, we must regard cubism as legitimate, for it continues modern methods, and we should see in it the only conception of pictorial art now possible. In other words, at this moment cubism is painting."

"I sought refuge in my schoolbooks, among the flowers of Greek poetry, or the magical figures of geometry."

"The house was filled with the piano and violin. I turned towards the art of painting."

"My conviction was justified: art, that which lasts, is based on mathematics."

"Often we were joined by Maurice Princet. Although very young, he held an important post in an insurance company which he owed to his knowledge of mathematics. But outside his profession it was as an artist that he thought of mathematics, as a specialist in aesthetics that he evoked continuities in n dimensions. He liked to interest painters in the new visions of space that had been opened up by Victor Schlegel and several others. He succeeded. After having heard him by chance, Henri Matisse was caught reading an essay on hyperspace. Oh! it was only a potboiler [un ouvrage de vulgarisation]! but at least that shows that for the great 'fauve' the days of the painter who knows nothing, who runs towards a pretty subject with his beard blowing in the wind, was passed."

"As for Picasso, the specialist was amazed by the rapidity of his understanding. The tradition he came from had prepared him better than ours for a problem to do with structure. And Berthe Weil was right when she treated those who compared him/confused him with, a Steinlen or a Lautrec as idiots. He had already rejected them in their own century, a century we had no intention of prolonging. Whether or not the Universe was endowed with another dimension, art was going to move into a different field."

"I wanted an art that was faithful to itself [loyal] and would have nothing to do with the business of creating illusions. I dreamed of painting glasses from which no-one would ever think of drinking, beaches that would be quite unsuitable for bathing, nudes who would be definitively chaste. I wanted an art which in the first place would appear as a representation of the impossible."

"It should be said that such an art would be neither more false nor more true than classical art."

"If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidean mathematicians; we should have to study, at some length, certain of Riemann's theorems."

"To understand Paul Cézanne is to foresee Cubism. Henceforth we are justified in saying that between this school and previous manifestations there is only a difference of intensity, and that in order to assure ourselves of this we have only to study the methods of this realism, which, departing from the superficial reality of Courbet, plunges with Cézanne into profound reality, growing luminous as it forces the unknowable to retreat."

"Whether it is Juan Gris taking objects apart, Picasso replacing them with objects of his own invention, or another who replaces conical perspective by a system based on the relations between perpendiculars, all that only goes to show that Cubism was not at all born out of an authoritative theory [mot d'ordre]; that it only marked among a few painters the will to be finished with an art that never ought to have survived the condemnation pronounced upon it by Pascal."

"In fact it is a stupidity, Maurice Princet told me in the presence of Juan Gris, to claim to be able to bring together in a single system of relations, colour, which is a sensation that only needs to be received, and form which is an organisation that has to be understood (14); and, introducing us to the non-Euclidean geometries, he urged us to create a geometry for painters."

"It used to be said of a woman: why she's a Velázquez infanta! Now it is said: she's a Renoir blonde! I have no doubt that, in the future, it will be proclaimed: she's as exuberant as a Delaunay, as noble as a Le Fauconnier, as beautiful as a Braque or Picasso."

"Some maintain that such a tendency distorts the curve of tradition. Do they derive their arguments from the future or the past? The future does not belong to them, as far as we are aware, and one be singularly ingenuous to seek to measure that which exists by that which exists no longer."

"We do not mechanically connect the sensation of white with the idea of light, any more than we connect the sensation of black with the idea of darkness. We admit that a black jewel, even if of a dead black, may be more luminous than the white or pink satin of its case. Loving light, we refuse to measure it, and we avoid the geometrical ideas of the focus and the ray, which imply the repetition-contrary to the principle of variety which guides us-of bright planes and sombre intervals in a given direction. Loving colour, we refuse to limit it, and subdued or dazzling, fresh or muddy, we accept all the possibilities contained between the two extreme points of the spectrum, between the cold and the warm tone."

"So, music does not attempt to imitate Nature's sounds, but it does interpet and embody emotions awakened by Nature through a convention of its own, in a way to be aesthetically pleasing. In some such way, we, taking our hint from Nature, construct decoratively pleasing harmonies and symphonies of color expression of our sentiments."