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The Renaissance We Owe Ourselves

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There are moments in history when culture shifts so dramatically that people can feel it happening around them. New ideas arrive, collide with older ones, and leave behind a different landscape. The twentieth century was filled with these moments. Modernism challenged inherited assumptions. Jazz transformed musical language. Film reshaped storytelling. Rock, hip-hop, and electronic music expanded the possibilities of sound and identity. By the end of the century, digital tools had begun changing what art itself could be. Today, the picture is different. We have access to an extraordinary amount of creative work. Millions of books, films, songs, photographs, and illustrations are available almost instantly. Yet for all this abundance, much of contemporary culture feels familiar. Stories often follow well-worn emotional paths. Films revisit established formulas. Popular music returns to the same images and themes. Even when the surface changes, the underlying structures frequently remain...
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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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