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April 28 2010

Do Our Financial Models Still Work?

[via Mark Thoma's permalink in the title line you'll find the video with the discussion panel - oanth]

Do Our Financial Models Still Work?

  • Aaron Brown, Risk Manager, AQR Capital Management; Author, The Poker Face of Wall Street and A World of Chance
  • Colin Camerer, Robert Kirby Professor of Behavioral Finance and Economics, California Institute of Technology
  • Stacy-Marie Ishmael, Reporter, Financial Times
  • Myron Scholes, Nobel Laureate, 1997; Chairman, Platinum Grove Asset Management
  • Bruce Tuckman, Director of Financial Markets Research, Center for Financial Stability

Moderator: Glenn Yago, Executive Director, Financial Research, Milken Institute

Update: See also:

What's Wrong with Risk Models, by John Cassidy: First up, sincere apologies to the organizers and attendees of the Milken Global Forum, in Los Angeles, where I was due to appear this afternoon at a session about economic models of risk. I was looking forward to engaging the other panelists, who included Nobel laureate Myron Scholes, of “Black Scholes” fame; Colin Camerer, a Cal-Tech behavioral economist I’ve written about in the past; and Aaron Brown, a former Wall Street risk modeler. Unfortunately, my early morning flight from Ottawa, Canada, where I had another speaking engagement last night, was canceled...

Anyway, here is roughly what I would have said ...

Reposted from02myEcon-01 02myEcon-01

April 25 2010

L'histoire de l'art depuis Walter Benjamin - Introduction | Georges Didi-Huberman - Hors-série


Car elle offre la signature d’une vitale exigence à l’égard de toute théorie et de toute histoire des arts. L’exigence de penser au-delà des oppositions canoniques formant le cadre d’intelligibilité de l’histoire de l’art comme discipline humaniste, par exemple l’opposition entre forme et matière, entre forme et contenu ou entre « grande » et « petite » forme. Penser au-delà : faire irradier, en quelque sorte, l’historicité des œuvres, des images, dans les deux sens qu’il nomme la Vorgeschichte et la Nachgeschichte, dans son livre sur le drame baroque allemand. Façon d’affirmer, après Warburg, que l’histoire de l’art est une histoire de survivances (et pas seulement de traditions)… si l’on n’oublie pas cette clause capitale, dialectique, que toute image, fût-elle mnémonique ou réminiscente, est douée d’une « actualité intégrale de tous côtés ouverte », comme Benjamin l’écrit en 1940 dans les Paralipomènes de ses thèses sur le concept d’histoire. Et si l’on n’oublie pas que l’« actualité des survivances » ouvre elle-même l’histoire de l’art à quelque chose de fondamental que Benjamin nomme une histoire de prophéties (politiques notamment).

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Reposted bySchrammelhammelMrCoffeinmybetterworldkonikonikonikonikoniambassadorofdumbgroeschtlNaitliszpikkumyygittimmoejeschge

April 19 2010

Chosen links - 20100419

Chosen tag & links on/via oanth - 20100419
>> tag_itec | >> PICOL

X========== posted the day(s) before ==========X

>> tag_srcript
>> rp10 | >> dctp_tv
oanth - CEST 01:30 20100420 -
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