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The Renaissance We Owe Ourselves

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There are periods in history when culture seems to move with the force of weather—fronts of ideas rolling in, colliding, breaking apart, leaving behind new landscapes. The twentieth century was one of those meteorological eras. Modernism fractured the old world; jazz rewired rhythm; cinema taught us to dream in images; rock and hip‑hop remixed rebellion; digital art dissolved the boundaries of medium altogether. Each decade felt like a new continent had risen from the sea. Today, the horizon looks different. We live in an age of astonishing creative abundance—more books, more films, more songs, more images than any human could hope to absorb in a lifetime. And yet, strangely, much of it feels familiar, as if we are walking through a museum where the paintings keep rearranging themselves but never quite change. Novels echo the emotional scaffolding of earlier classics. Films recycle the same arcs, the same reversals, the same lines of dialogue that once felt clever and now feel like déj...
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Rethinking Copyright in the Age of Algorithmic Creativity

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Copyright law was built for a world that no longer exists. When the first modern copyright statutes emerged in the eighteenth and nineteenth centuries, creative production was slow, scarce, and largely controlled by professional gatekeepers. Books required printing presses. Paintings took months to complete. Music circulated through physical scores and performances. In that environment, it made sense for originality to be judged by human experts—art historians, lawyers, and judges—who could manually compare works and decide whether one meaningfully borrowed from another. But today, this human-centered system is buckling under the weight of digital abundance. Millions of images, songs, and designs circulate daily, and the institutions meant to protect creators can no longer keep pace. The result is a copyright regime that is both overburdened and unevenly enforced. Large corporations can marshal legal teams to defend their claims; independent artists often cannot. Determining whether a ...
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The Case for a National Mission

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Every human enterprise — a family, a company, a country — runs on some shared sense of purpose. When that purpose is obvious, no one needs to talk about it. When it isn’t, people start holding meetings. Anyone who has endured a corporate “mission‑statement rollout” knows the dread of that moment: the sudden realization that the organization has forgotten what it’s for and is now trying to remember by committee. A country is, in the end, a very large group of people attempting to move in roughly the same direction. It needs a reason to do so that’s bigger than paperwork or habit. When that reason is strong, disagreements behave themselves; they stay in the background, like the hum of a refrigerator. When the reason fades, the hum becomes the whole soundtrack. The result isn’t necessarily hatred — more often it’s a kind of national restlessness, a search for meaning that leaves people unusually susceptible to cynicism, tribalism, or the comforting simplicity of blaming one another. F...
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