Thursday, August 6, 2020

WSJ: What the Numbers Say About Gender Differences

 


Data on abilities reveal a great deal of overlap for men and women

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In 2005 Lawrence Summers, then the president of Harvard, caused an uproar by appearing to suggest that the lack of women professors in math and science might arise from biological differences. Fifteen years on, a gender imbalance in these fields persists and the arguments rage on. I believe math can help us to progress.

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The discipline of math involves, among other things, ironing out ambiguities and providing clear definitions for comparisons. Men and women are not homogenous groups of people who all behave in the same way, so we need ways to understand whole sets of data. 

Averages are one well-known way; we can compare how men and women do at something “on average.” There are different types of averages: The mean is where we add up all results and divide by the total number of people, and the median is the 50th percentile that tells us that half the people rank above it and half rank below. For example, the mean height of men in the U.S. is 5 feet 9 inches, and for women it is 5 inches less, but plenty of women are taller than plenty of men. Averages don’t tell us much about differences among entire sets of data because they neglect how widely the data are spread.

That spread of data can be studied via the standard deviation, which is calculated from the distance that each data point ranges from the mean. For a standard bell curve, a distance of “one standard deviation” on either side of the mean always comprises a fixed proportion of the results, around 70%. 

Average marathon times for men and women differ by about 30 minutes. That sounds like a lot, but the fastest women run marathons twice as fast as the average men.

The standard deviation for height is around 2.5 inches, so the mean heights of men and women are about two standard deviations apart. Thus, around 95% of women are shorter than the average for men, but there is still a noticeable overlap. For data sets that differ by one standard deviation or less, there is more substantial overlap. 

Average marathon times for men and women differ by about 30 minutes, for instance. That sounds like a lot, but is only half the standard deviation of one hour—and the fastest women run marathons twice as fast as average men.

Height and running times are particularly easy to measure, but men and women have also been compared in broader areas of behavior, such as mathematical skills, aggression and self-esteem. 

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In 2005, Jane Shibley Hyde collated a large collection of meta-analyses of these differences. In her book “Inferior,” Angela Saini sums up the results: “In every case, except for throwing distance and vertical jumping, females are less than one standard deviation apart from males. On many measures, they are less than a tenth of a standard deviation apart, which is indistinguishable in everyday life.” For example, “mathematics problem solving” was found to be better in men by just 0.08 standard deviations; interestingly, women were found to out-perform men at “mathematics concepts” by 0.03 standard deviations. Men showed more self-esteem by a range of 0.04 to 0.21 standard deviations, increasing through adolescence; they were found more likely to make “intrusive interruptions” by 0.33 standard deviations.

The differences may be interesting, but they are also very small. The differences within each gender are greater than the differences between genders, so gender is not a good predictor of these behaviors.

Such comparisons are blurred, of course, by issues beyond the reach of mathematics. Many of the behaviors studied are much harder to define and measure than height or marathon times and involve some mix of biological and sociological influences. But it is logically flawed to infer a biological difference from a statistical difference. Mathematics provides us with powerful tools, but we have to know their uses and limits. 

—Dr. Cheng’s new book, “X+Y: A Mathematician’s Manifesto for Rethinking Gender,” will be published Aug. 25 by Basic Books.

https://www.wsj.com/articles/what-the-numbers-say-about-gender-differences-11596752225


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EVERYDAY MATH

When a mathematician tries to sew a dress, the concept of positive and negative curvature can help—up to a point.

To understand everything from cancer risk to tax rates, we need to cultivate statistical literacy.

In principle, math should be able to tell us whether it will rain tomorrow—but in practice, things get complicated quickly.

When does C9F equal 3,231? When you’re using hexadecimal, one of the alternative number systems that make computers possible.

Arithmetic progressions, like the candles of Hanukkah or the gifts of ‘The Twelve Days of Christmas,’ can be powerful tools in number theory

The right equations can help solve congestion by treating cars on a road like fluid in a pipe

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Monday, August 3, 2020

SFO: Tosca

The title character in Puccini’s “Tosca” is as thoroughly theatrical a figure as the world of opera has to offer. She’s a singer and actress led into the world of political intrigue by the power of love, and she never stops seeing her predicament through the lens of art.

One of the great aspects of soprano Lianna Haroutounian’s phenomenal San Francisco Opera debut on Thursday night was the way she turned her musical gifts to the service of that conception. You could listen to her singing Puccini’s music all night long, and marvel at the beauty, precision and power that she packed into every measure of the performance.

But Haroutounian’s Tosca, unveiled at the War Memorial Opera House in the course of a traditional but largely effective revival, was more than just a virtuoso display of vocal prowess. It was a dramatic depiction of a woman for whom that artistry was essential to her very character.

In Act 1, when Tosca throws a little jealous tantrum at her lover, the painter Cavaradossi, the effect is always a simultaneous combination of staginess and genuine emotion. But the fearless energy of Haroutounian’s delivery — the way she tossed off peals of impeccably shaped notes without seeming to worry about where they would land — fused those two qualities seamlessly.

And in Act 3, when Tosca recounts the climactic conclusion of Act 2 — in which she plunged a dagger into the heart of the evil police chief Baron Scarpia — Haroutounian’s narrative was at once gripping and artistic, vaulting to a perfectly placed and sustained high C at the mention of the blade. You just knew that Tosca would never tell a story like this without one eye on her audience.

Haroutounian was able to pull off this integration of performer and character largely because her vocal endowments are so prodigious. The voice rings out powerfully, and yet there’s a sheathed quality to it that encompasses even the most piercing high notes in a wealth of color.

(Charles Kruger)

(****1/2)

Lianna Haroutounian as Tosca. Photo Credit: Cory Weaver.
Lianna Haroutounian as Tosca. Photo Credit: Cory Weaver.
This reviewer is a voting associate member of the San Francisco Bay Area Theatre Critics Circle (SFBATCC)
This reviewer is a voting associate member of the San Francisco Bay Area Theatre Critics Circle (SFBATCC)

(“Tosca” plays at the War Memorial Opera House on Nov 1st, 4th and 8th, 2014.) 

Taking her bow after the opening night performance of “Tosca” at San Francisco Opera, Lianna Haroutounian was radiant. She had just pulled off the double triumph of playing Tosca on stage for the first time and making her San Francisco Opera debut. It was a stellar occasion and the thunderous applause and shouts of brava that greeted her after the final curtain were well earned. This production of Tosca is richly satisfying, and Haroutounian owns it utterly.

This is a conservative yet polished production, intended as a recreation of Armando Agnini’s production that was the first opera performed at the War Memorial Opera House in 1932. Director Jose Maria Condemi has staged it twice previously.

Far from seeming old fashioned or clunky, it is fresh, straightforward and emotionally powerful. The sets are lovely in the old tradition, beautifully crafted and convincingly realistic, particularly the final moments staged on a rooftop overlooking Rome. The costumes are scrumptious, the lighting grandly theatrical, especially the starry night ironically giving rise to a beautiful sunrise, even as the story ends in inevitable tragedy.

Lianna Haroutounian as Tosca and Brian Jagde as Cavaradossi. Photo Credit: Corey Weaver.
Lianna Haroutounian as Tosca and Brian Jagde as Cavaradossi. Photo Credit: Corey Weaver.

All of which is lovely, but unimportant if the singing and acting do not also succeed. But there is nothing to worry about on that score. The performances, from leads to supernumeraries are elegantly acted, in a straightforward, realistic style unencumbered by melodramatic stereotyping. Lianna Haroutounian and Brian Jagde set the tone as the lovers, the passionate diva Floria Tosca and the flamboyant artist and revolutionary sympathizer Mario Cavaradossi. Both are superb actors, who relate beautifully to one another always in close connection, even when singing out towards the audience. Their performance of the magnificent duet, “Amaro sol per te” is about as good as Puccini gets, and that’s mighty good. And Haroutounian’s rendering of the opera’s most famous aria, Tosca’s lament for and defense of a life given to art, “Vissi d’Arte“, deserved the shouts of brava she received on opening night, as it was not only flawlessly sung but deeply felt.

Mark Delavan as Scarpia and Lianna Haroutounian as Tosca.
Mark Delavan as Scarpia and Lianna Haroutounian as Tosca.

Mark Delevan’s Baron Scarpia is a fully realized, complex characterization rather than a cardboard villain. His rendition of “Va, Tosca” that accompanies the Te Deum at the close of Act I is very chilling.

Most importantly, this Tosca succeeds in transcending melodrama to move the audience to tears in its final moments. The close of the tragedy is rendered with dignity, authenticity and true emotion, unalloyed with schmaltz. As it should be.

Admirers of Puccini will recall that “Tosca” is a “through composed” work, in which all of the elements — arias, recitatives and choruses — are woven into a single musical whole. Conductor Riccardo Frizza and Chrous Director Ian Robertson communicate this wholeness with impressive clarity. And Jose Condemi’s staging contributes to the effect, with continuous movement used to create ever changing stage pictures that eloquently support the story. His handling of the chorus, who are constantly moving about, with and behind the main action, lends a realistic touch that is most admirable.

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