Friday 23 September 2011

Happiness Part One


A potentially subliminal nod to the release of von Trier's new film about being depressed and welcoming the end of the world, I've decided to tackle that elusive thing Americans aggressively pursue as part of their constitutional rights (even if it is seemingly reserved for "job creators"): Happiness.

My axe to grind on this topic initially relates to a combination of both the increased interest in happiness research within my field, and the almost fetishistic uptake it has seen within both the corporate and political worlds:




Not that the uptake of positive reinforcement and nurturing "belief in the job" isn't fruitless in promoting job satisfaction:





And, to give further balance, I'm certainly not here to say that the move towards "purpose motives" in industry isn't a vast improvement over traditional, cold financial incentives*.

What I am going to say about happiness (and its measurement), is hopefully more nuanced.


SOME INITIAL CONTEXT


Whatever personal, idiosyncratic definition one may give Happiness, this tends to encapsulate some vague, abstract feeling of how much we've bridged the gap between the goals we set ourselves, the standards presented to us, and what we've actually achieved, as well as a bunch of other shit (citation needed). Because of this lack of parsimony, subjective measures don't seem to be able to pin down what Happiness really is:
When asking research participants to report on their happiness, researchers usually provide at best a vague frame (‘In general…’). Judgements are still relative, and people presumably make a comparison between what they believe about themselves and what they believe about other people who are in their immediate vicinity or who are otherwise relevant. This may explain a pervasive finding, that most people rate themselves as somewhat above the midpoint of a happiness scale, whether they are multimillionaires in the United States (Diener et al., 1985) or homeless prostitutes in Calcutta (Biswas-Diener & Diener, 2001). These findings are usually presented as showing that ‘most people are happy’, but another way to describe them is to say that ‘most people judge themselves to be happier than they think other people are’ (cf. Diener & Diener, 1998).
However, said subjective measures apparently correspond well with behavioural measures and third-person reports. The trend towards above-the-midpoint scores may therefore reveal the unscientifically broad operational definition of happiness more than anything else.


BUT WAIT


To combat this rigourless vaguery, there has been a recent move towards more "objective" approaches, such as measuring the neuroscientific and evolutionary basis of happiness.

In addition, there is now a distinction between hedonic and eudaimonic well-being, the former primarily referring to fleeting, visceral pleasures:



and the latter referring to, well, some kind of suburban middle-class conception of a successful, meaningful life, whose emotional benefits keep us feeling safe and smug long after the middle-age realisation that the finality of death renders these achievements null and void has set in:



Obviously I'm exaggerating by saying that eudaimonic well-being (so scientific sounding!) is a wholly White Anglo-Saxon Protestant concept, but just look at the definition given by UPenn's Authentic Happiness research centre:
"Eudaimonic pleasure...pursuing personal growth, development of their potential, achieving personal excellence, and contributing to the lives of others"
It sounds a little like a quote from a book by infamous life-coach Anthony Robbins:


*taps mic* *coughs nervously* "That handsome devil might just awaken my giant within, janowadameen?"


A lot of this renewed interest in happiness research is partly due to the work of Martin Seligman, an American researcher and author of many self-help books.

The seed was truly sewn a couple decades before Seligman however by that eternal idealist and grand-daddy of positive psychology, Abraham Maslow:

Italic
Look at the winsome git


You'll notice at the top of the hierarchy is the somewhat indefinable final stage of "being awesome", Self-Actualisation. This is variously defined as realising one's true potential, becoming more than what one is... basically not wholly unlike the masculine platitudes of Rudyard Kipling's If---.

And sure enough, both Seligman and Maslow are big figures, not just in positive psychology but even mental health. Seligman's concept of Learned Helpessness has been applied to models of depression within a behavioural psychology context, i.e. we face the world as autonomous rational individuals seeking to assert our agency, then seemingly insurmountable obstacles are gradually put in our way, and finally we are slowly beaten into despondency and hopelessness by life's cruel happy slapping.

Similarly Maslow's hierarchy of needs feeds into models of Recovery and Well-being in mental health. I recently went for a volunteer training day at Oxfordshire Mind and the organisers actually wrote out the hierarchy of needs on a white board to illustrate their view of Well-being...


ME ME ME


What becomes evident is that throughout the literature and theories regarding happiness and well-being there lies the ever-present assumption that the self is the ultimate locus of all development and pleasure (even if helping others is valued as a self-actualising trait).

Where's the sense of community people? As George Costanza put it:




Not that I'm terribly self-sacrificing myself... But I certainly have a healthy aversion towards embracing the radical individualism that emerged in the West during the latter half of the 20th century.

Of course, individualism, particularly the concept of rational autonomy, is an older concept derived primarily from the Enlightenment philosophers (such as Kant), but it arguably found its scientific justification and mass adoption in the form of Nobel Prize winning Mathematician John Nash's Game Theory.

You remember who John Nash is right? Lovingly played by Mr. Rufty Tufty man Rusty Crowe in A Beautiful Mind? Yeah, apparently John Nash was kind of a dick in real life, and crucially a paranoid schizophrenic...

Adam Curtis' documentary The Trap tells his story beautifully; how Nash came up with an equation proving that given the option to keep what you have or to opt-in and run the risk of betrayal, the only rational solution is to be selfish.

This is best illustrated by the prisonner's dilemma:





Nash called it the "Fuck You, Buddy" game. Can you see why?

His paranoid self-interest proved enormously fashionable at a time when it really felt as though two world super-powers could blow each other up at any moment.

His work has had a profound effect on the Western world, along with Ayn Rand's philosophical justification of selfishness, giving impetus to the gradual domination of neorealism in international relations theory, neoliberalism in economic policy, and libertarianism in political philosophy.

Crucially for my story however, game theory has also had a huge influence on cognitive behavioural psychology in terms of what we think motivates us, what the targets of therapy are, and of course, what we think makes us happy...

i.e. rational incentives.

The prisoner's dilemma and its variants are still used to this day in many fields including evolutionary psychology and behavioural economics. I actually once asked my undergraduate tutor, an evolutionary psychologist, what he thought the point of art was, and he said "just to show off, nothing more". Indeed, truly a fundamentalist believer in autonomous, rational SELF-INTEREST:


"The point is ladies and gentlemen that greed, for lack of a better word, is good"


Of course, I do realise the irony in that I began this long ramble explaining how happiness research has actually begun to lead us away from the cold financial incentives of yester-year's yuppies towards the more holistic, positive reinforcement motivators of today's behavioural economists, but nonetheless the focus on the self as an autonomous willful being trying to achieve its full potential still shines through:


Note that Bradley Cooper is fairly WASPy looking...


So what does this mean? That happiness is being Barney Stinson?




Well, not quite. What it means is that we've defined Happiness through the prism of Western liberal individualism, divorced from any political or economic context and thus rendering Happiness frustratingly dependent on the choices we make and not much else.

You see, we live in a "Post-ideological age" (or The End of History, if your name is Francis Fukuyama), whereby all other systems of government have failed and liberal capitalism is now the default background, a rational structuring of society that is pragmatic and objective, and thus requires no ideology. And since capitalism offers a level playing field, what is life and well-being but a series of rational choices that we must bear responsibility for?

Now, yes, this isn't true, and yes, we live in an apparently free society, and really our choices are undermined by economic and social inequalities, so that in effect our choices amount to superficial distinctions between market led options. But, going beyond this Marxist cliche, we are also presented with the pain of being burdened with an excess of choice whilst feeling that we don't have the proper knowledge to make the right ones:

In the "Marxist" version of this theme, the multiplicity of choices with which the market bombards us only serves to obfuscate the absence of any really radical choice concerning the fundamental structure of our society. There is, however, a feature conspicuously missing from this series: namely, the injunction to choose when we lack the basic cognitive coordinates needed to make a rational choice. As Leonardo Padura puts it: "It is horrific not to know the past and yet be able to impact on the future" ; being compelled to make decisions in a situation which remains opaque is our basic condition. We know the standard situation of the forced choice in which I am free to choose on condition that I make the right choice, so that the only thing left for me to do is make the empty gesture of pretending to accomplish freely what expert knowledge has imposed upon me. But what if, on the contrary, the choice really is free and, for this very reason, is experienced as even more frustrating? We thus find ourselves constantly in the position of having to decide about matters that will fundamentally affect our lives, but without a proper foundation in knowledge. To quote John Gray again: "we have been thrown into a time in which
everything is provisional. New technologies alter our lives daily. The traditions of the past cannot be retrieved. At the same time we have little idea of what the future will bring. We are forced to live as if we were free" - Zizek, First as Tragedy, Then as Farce

Hence we feel the need to turn to "wise" gurus that can help us make better choices and assert our finely crafted "selves" onto the world. Here's a delightful quote (conveniently found in the Wikipedia page for Self-Help):

The conservative turn of the neoliberal decades also meant a decline in traditional political activism, and increasing "social isolation; Twelve-Step recovery groups were one context in which individuals sought a sense of community...yet another symptom of the psychologizing of the personal"[15] to more radical critics. Indeed, "some social theorist[sic] have argued that the late-20th century preoccupation with the self serves as a tool of social control: soothing political unrest...[for] one's own pursuit of self-invention."

D'ya geddit? Basically, by abstracting psychological and personal problems from their socio-political context and re-situating them within the self, the burdern falls to the individual to take responsibility for their lack of agency and happiness. This is then propped up by a self-perpetuating industry of self-help books, support groups, and New Age spirituality workshops emphasising self-development and healing. Just look at the current Conservative Government's attempts to take the nation's temperature by measuring Happiness...



But hey, who am I to judge. I believe in positivistic, evidence-based approaches to the study of human behaviour. Surely in principle there's nothing wrong with wanting to measure what makes people happy, and then trying to encourage an evidence-based approach to policy-making that maximises a country's happiness?

Perhaps we can simply, through the application of scientific methods, find the neural and genetic signatures of happiness and organise our society around that to create an objective social morality that would be one-size-fits-all. At least, this is what atheist extraordinaire Sam Harris believes. Brave New World anyone?

If you've actually made it this far, I salute you. This is probably too much for anyone on the internets to ever read, so I'll break here and rejoin this topic in PART DEUX!


*Incidentally, while the business and political world are slowly waking up to the possibility that rational, financial motives don't necessarily predict performance, Psychiatry is becoming keen to adopt Contingency Management, which is literally a way of saying "Operant Conditioning" without having to say "Operant Conditioning", and means that patients may soon find themselves being paid to take their meds...
This strategic re-naming reminds of the fascinating documentary on Edward Bernays (you can find it here), where it was claimed that Public Relations was originally going to be called Propaganda, but apparently the term had been "ruined by the Germans during the war"...

Thursday 22 September 2011

The Story of Film

Gif courtesy of hipster nonsense If We Don't, Remember Me (incidentally, the title is a quote from Kiss Me Deadly)

Hey Blogloteers,

Check out the first three episodes of The Story of Film: An Odyssey on More 4 while it's still available (although I imagine bit torrent will follow shortly...).

It's an adaptation/elaboration of Mark Cousins's awesome book The Story of Film that does a good job of telling said story in a non-academic but nonetheless rigorous manner.

Linearly enough for a true cinephile, he begins with Fred Ott's 1894 Kinetoscopic peep-show First Sneeze (literally, a man sneezing into the camera. 'Twas a time of simple pleasures):


And culminates more or less with Alexander Sokurov's 2002 one-take digital film A Russian Ark:


At least that's what he does in the book anyhow. The TV mini-series is more poetic, lyrical, political, and ultimately moving. The degree to which one might be moved by his narration is somewhat dependent on how you feel about Mark Cousins's voice, which is a love it or hate it kinda voice. An illustration by Adam & Joe:



The book has been my personal cine-bible over the past few years and so it's exciting to see filmed interviews with cinematic legends as well as choice cuts of seminal film history underlining the theories I've already digested.

Having watched a couple episodes however, I'm slightly disappointed to see Cousins's typically understated prose be translated to screen using heavy-handed symbolism. He paints Hollywood as a red bauble, a shiny fantasy that reflects what we want to see of ourselves, and then has a shot of said bauble literally smashing on the ground in slow-motion, a shot repeated several times throughout the series. He also tantalisingly proclaims Ozu, the japanese auteur, to be "possibly the greatest director in the world". Don't get me wrong, I like 'im:


And I do agree that Hollywood has become a big, sweaty, coke-fuelled whore, plopping illegitimate cash-cow dumpster babies out of its morally bankrupt snatch with wanton abandon, but in the book he expressed a much more nuanced sentiment, stating the he just wanted to give a voice to seldom seen films from World Cinema, and not simply to show that Hollywood was trash and that we underestimate the contribution of India, Iran, China etc...

This is ultimately a tiny niggle though, and my wife and I have been utterly won over by his beguiling mixture of archive footage and his own static wide shots of intriguing and cinematic real-life landscapes from around the world. It's also one of the most relaxing documentaries I've seen in a while, and the relentless superimposition of one exquisite film clip after another is utterly hypnotic, like a glossy photo-book of sleeping cats.

Aaah, lovely...


Monday 12 September 2011

Mark Kermode will be pleased

What will Hollywood do once Top Gun is re-released fully converted to 3D, as there'll no longer be any point to making films after the arrival of cinema's apotheosis? What do you mean it's a jingoistic, crypto-fascist, vapid cheesefest with homoerotic undertones!

Lulz aside, doesn't it just smack f desparation, after the lacklustre performance of 3D this Summer (more people went to see the major tentpole blockbusters in 2D than 3D) that they're now turning to apparently classic films in the hope of bolstering its dwindling popularity?
More on the topic in general here.

Not that I'm personally against 3D. I actually find that 3D works well for me, although my wife says it blurs and darkens the screen for her, which sounds like she might just be wearing her sunglasses... (I've included this "joke" to check if she actually reads this, how sad).

The sublime Coraline made excellent use of 3D for the Vertigo-ish pathway-to-another-dimension sequences, Avatar was an enjoyable spectacle, and, I'm ashamed to admit it, but I rather liked the cash cow/kids film Bolt in 3D.

Also, it's worth noting that not one but two aging German art-house auteurs (Wim Wenders and Werner Herzog) elected to shoot documentaries in 3D, although I'm not sure how much they did for 3D's profile overall (General Public: - German art-house docs in 3D? Yes please! Ooh, the encounters with ecstatic truth within nature jump off the screen right out at you!).

Both Cave of Forgotten Dreams and Pina are great and looked as though they made good use of the technology. I say looked, because the only cinemas playing these two films near me lacked the apparatus!

It's also important to remember that a run of big 3D tentpole flicks are just around the corner (Spielberg's Tintin, Scorcese's Hugo, and lest we forget, Jackson's The Hobbit), which I believe are all being shot in 3D as opposed to being converted in post-prod, which is considered a no-no by 3D enthusiasts (like James Cameron). In fairness, I can usually tell the difference between the two and find post-prod conversion to be fairly crap.

Either way, they still need to sort out the ridiculous over-pricing of 3D tickets. They actually increased the price of 3D tickets after its apparent "popularity" last year; the people responsible may very well now be licking their wounds and considering a lowering of prices in order to protect their investments....

In the end, I don't really care what happens to 3D, I just thought it was funny that Goose's death will now be enjoyed in three dimensions.

Here's a blog post on why 3D is scientifically stupid.

As Walter Murch puts it:



So: dark, small, stroby, headache inducing,
alienating. And expensive. The question is: how long will it take people to
realize and get fed up?

Friday 9 September 2011

Raul Ruiz 25 July 1941 – 19 August 2011


So I'm a little late to this news, but it seems a genuinely talented artist died last month (not the strong guy from Police Academy), and yet the cast of Jersey Shore continue stealing oxygen!? God is such a fickle Freddy.

The artist in question was Raul Ruiz, an exiled Chilean director and polymath who made witty, dream-like films that threw narrative to the wind and leisurely investigated memory, identity, and how much a film audience could put up with. Apparently even the French New Wave thought he was too whimsically elliptical for their taste...

In all honesty, film buff that I am, I had never heard of him until I read about his death in Sight & Sound.

Check out their wonderful obituary here.

And David Bordwell's here.

To rectify this grievous lapse in my filmic knowledge, I have decided to watch Mysteries of Lisbon


It's not quite his last film, but according to Sight & Sound:


Mysteries nevertheless stands as a perfect closing testament – a stately meditation on fate, memory and the possibility that our lives may be bewitching labyrinths of fact and fabulation.


I like Alain Resnais, similarly known for his frustratingly oblique approach to narrative and endless meditations on the fallibility of memory, so I'm thinking Mysteries will be good.

It's four... hours long... but... I'm sure I'll like it...



Thursday 8 September 2011

[Square brackets are great]

If you love Youtube user-made trailers for existing films, then we probably can never be friends.

- Is what I would normally say, but then I found Kees van Dijkhuizen's Youtube channel (Thank you Slash Film).

Trailers, both user-generated and official, are often just choice cuts from the movie set to thumpy music with broad appeal, simultaneously undermining and exploiting the glossy cinematography from said flick...

This man however understands how to edit footage and splice in music that both reflects and compliments the films and director he's paying homage to:



Jolly well done Sir.

Aussies, Psychos, and Adam & Joes Cont.


Damn, clearly my prescience is an untapped supernatural resource and I should become a financial speculator, where I'd probably end up contributing to the next market bubble in Asia or ruin some third world country that the IMF will then bleed for loan repayments over the next 30 years...

No sooner than one of my inchoate rambles hits the interwebs on the topic of Psychopathy, BBC Horizon does a special on what makes us good or evil, and how Professor James Fallon (picture above) found out he fit the profile for a psychopath, and decided to research why it is he hasn't so far turned any women into lampshades.

Check it out here.


Wednesday 7 September 2011

Just had to



Doesn't it just lift your spirits?? I mean, obviously the universe is still a meaningless chaos of howling despair, but hey, there's momentary relief.

Aussies, Psychos, and Adam & Joes




This is a million times better than any of the film-based re-appropriation memes out there. It's also probably the only truly successful meme using footage of Tom Cruise that doesn't make fun of his Thetan obssession, but rather his trademark po-faced intensity:



Speaking of which, apparently Christian Bale took inspiration from Tom for one of his finest roles. Can you guess which one? No, not Velvet Goldmine:


It was, in fact, AMERICAN PSYCHO. Quote:
And then one day he called me and he had been watching Tom Cruise on David Letterman, and he just had this very intense friendliness with nothing behind the eyes, and he was really taken with this energy


Seriously, it's just a matter of time before these guys appear on-screen together and have a psycho-off


I find it wonderfully perceptive of Christian Bale to have picked up on the idea of "superficial friendliness, but nothing behind the eyes". This is a common description used for genuine psychopathy, a subject I could never tire from studying. The awesome Jon Ronson's new book sees his customary humanistic approach applied to the weird and terrifying world of psychopaths:





Psychopathy is considered a dangerous personality disorder, and while my jaded friends who've worked at Broadmoor may scoff, I do still find it shocking on some level that instead of serving the sentence one is given for a corresponding crime, claim to be coo-coo and you could end up in an institution for the rest of your life. This is because while a transient psychotic episode may (rarely) lead an individual to commit a violent crime, a personality disorder obeys the three P's:

Persistent – consistent and inflexible pattern of coping over time

Pervasive – can be seen across different situations such as work, family and social relationships, and not just specific to offending

Problematic – has negative impact for themselves and/or others

What that means is that you ain't gon' change, son. Which means that nobody knows what to do with you, which means that only "preventative measures" can be taken as a viable solution for your care i.e. the most fun you'll ever have from now on is brewing prison wine (I don't know if they do this in Broadmoor, it just seemed like a good moment to reference an excellent blog).

What's mildly chilling is that the Biomedical model of mental illness (i.e. all things CBT and prescription meds related) has gradually adopted this same approach to illnesses well beyond the scope of personality disorder.

I'm fairly new to clinical research in mental health, having come from an Experimental Psychology background (which is NOT the same thing), but I still find it shocking to think that a major assumption within current approaches to mental illness is that underlying all disorders are stable, enduring traits that cannot be changed. These underlying "vulnerabilities", may then create a higher predisposition towards developing affective or psychotic disorders.

This stems from personality research, which is somewhat poo-pooed in Experimental Psychology, but has become a dominant feature of modern Psychiatry, and purports that concepts such as the Big Five are stable over time and predictive of all kinds of social outcomes, despite mixed evidence here and there...

Modern evidence-based therapies thus concentrate not on changing the person, but rather helping them come to terms with who they are (or what they have, depending on your narrative), and learning to accept themselves while adopt compensatory behaviours that will hopefully limit their suffering and that of those around them. I acknowledge that CBT is designed to change cognitions, but this is not the same as striving towards changing fundamental aspects of the self (a dangerous term that no self-respecting psychologist would use for fear of ridicule by the empirical community, but that psychoanalysts bandy about willy-nilly).

I can't find a good reference that discusses these various points directly, thus undermining my argument, but this article certainly broaches the topic indirectly in that it is now apparently hard to distinguish between mental illness and personality disorder in the current approach to mental health.


Obviously I'm massively generalising and what I'm saying is coming from someone who would very much like to enter the world of Psychiatry and become a practising clinician, so feel free to disregard/assassinate with logic.

It's also weird to think that a single academic's personality checklist has utterly dominated the field of psychopathy research for over 20 years.
In fact, as with many such things in academia, sadly, attempts to move the field forward are not always met with open arms.

Poorly referenced diatribes aside, I think I've gone quite off-track given that this all started with a funny video of someone doing an Aussie stereotype.

The video was actually made by Adam Buxton, one half of my fave comedy duo Adam and Joe, who sadly have ended their run of excellent podcasts (but have not been thrown in the bin/trash and forgotten about!).


No one understands our beardy man-love

Incidentally, the other, taller half of the duo, Joe Cornish, recently released his debut film Attack the Block, which I thought was very confidently directed and highly entertaining. I wonder whether the DVD release will suffer due to the recent London riots...(see my last post).

Ok, I've run out of steam, so I'll end by giving my Song Of the Day here.

Tuesday 6 September 2011

Ziz la France! Riots & Choice (or lackthereof)




I know it's too late to comment on the London riots, as the Summer is over and people have moved on to more pressing issues (Cher's transgender son Chaz Bono is going to be on Dancing With the Stars! zOMG!), but I thought I'd still put my thoughts out there, or rather those of notoriously handsome continental philosopher Slavoj Zizek:





The George Clooney of Slovenia



Cheap cracks at his appearance aside, he's a genuinely engaging presence during talks, where he's never above telling a few filthy jokes, and his many, many books are extremely well written and intuitively engaging, if you like Marxist-Lacanin-Hegelian dialectical analysis...

I'm providing links here to two excerpts of a commentary he made on the subject of the Paris riots from 2005; I think they're still very relevant and it's fucking depressing how little anybody has learned from recent episodes of civil unrest throughout the world.

  • Read the first two paragraphs of the first page here. Quote:
The first conclusion to be drawn is thus that both conservative and liberal reactions to the unrests clearly fail. The conservatives emphasize the Clash of Civilizations and, predictably, Law and Order: immigrants should not abuse our hospitality, they are our guests, so they should respect our customs, our society has the right to safeguard its unique culture and way of life; plus there is no excuse for crimes and violent behavior, what the young immigrants need is not more social help, but discipline and hard work... Leftist liberals, no less predictably, stuck to their old mantra about neglected social programs and integration-efforts which are depriving the younger generation of immigrants of any clear economic and social prospect, thus leaving them violent outbursts as they only way to articulate their dissatisfaction... As Stalin would have put it, it is meaningless to debate which reaction is worse: they are BOTH worse, inclusive of the warning, formulated by both sides, about the real danger of these outbursts residing in the easily predictable racist REACTION of the French populist crowd to them.
  • Then read the whole of this. Quote:
The recent outbursts in Paris bear witness to the same Wall in Europe itself. The thing to resist, when we are faced with shocking reports and images of cars burning in Paris suburbs, is the "hermeneutic temptation": the search for some deeper meaning or message hidden in these outbursts. What is most difficult to accept is precisely their utmost meaninglessness: more than a form of protest, they are a passage à l'acte which bears witness not only to the impotence of the perpetrators, but, even more, to the lack of what Fredric Jameson called "cognitive mapping", to their inability to locate the experience of their situation into a meaningful Whole. The true question is thus: which are the roots of this disorientation?

Social theorists like to repeat that today's society is thoroughly "reflexive": there is no Nature or Tradition that would provide the firm foundation on which one can rely, even our innermost impetuses (sexual orientation) are more and more experienced as something to be chosen. How to feed and educate a child, how to proceed in sexual seduction, how and what to eat, how to relax and amuse oneself, all these spheres are more and more "colonized" by reflexivity, experienced as something to be learned and decided upon. However, the ultimate deadlock of the risk society resides in the gap between knowledge and decision: there is no one who "really knows" what to do, the situation is radically "undecidable", but we nonetheless HAVE TO DECIDE. The problem is thus not that of the forced choice (I am free to choose - on condition that I make the right choice), but the opposite one: the choice is effectively free and, for this very reason, is experienced as utterly more frustrating.

Admittedly, I doubt any of the philosophical jargon used will enter into the House of Commons: "I urge the Prime Minister to resist the Hermeneutic temptation!", "Would the right honourable gentleman please look beyond subjective violence!".

Speaking of which, did you see the so-called riot debates in August? It's basically a real-life version of the generic Tough on Crime speech Carcetti makes at the end of season 3 of The Wire, performed by a less charismatic actor.

What's so terrible is that famously, while the Bunny Colvin character emphasises that using war-like language in political discourse effectively makes it a drug WAR, Carcetti's tough-sounding speech had a lot of viewers utterly won over (possibly in part 'cos Aiden Gillen is a sexy man).

Speaking of discourse and how it's used to fuck things upinfluence people, as an academic nothing pisses me off more than when ideological agendas are legitimised using psuedo-scientific academic jargon, lending their argument the air of objectivity.

A recent article in the Guardian raised this point by condeming one of its own articles (!) for using the outdated social psychology term de-individuation, implying a mindless rabble bent on destruction. Sure enough, a nice article in Scientific American points out that

"group identity is a precondition for a riot: people will only riot when they think their actions are aligned with the worldview of the group as a whole".

The Guardian more or less reflects this point, indicating that ignoring the group identity of the rioters obscures the very real social ills underlying the outbursts.

But here the Guardian is guilty once more of employing research findings to push an ideological agenda, as by imbuing the rioters with minds capable of identifying with a group united by socio-economic deprivation this too obscures the tragic fact that these social ills are expressed precisely in the absolute mindlessness of their acts, lacking the intellectual and educational tools to articulate their frustrations in a meaningful manner.

As Zizek explains in the article I linked to earlier,

"if the commonplace that "we live in a post-ideological era" has any sense, it is here"".

Without understanding the ideological mechanisms that make their oppression possible, they are reduced to desperate and ultimately self-destructive outbursts of violence, which inevitably lead to popular backlashes in the press (and legal system!) confirming their status as barbaric enemies of society, like a tragic self-perpetuating, self-fulfilling prophecy.

And don't get me started on liberals defending the rioters' faux jamaican as legitimate expression. Yes, I know that language is a moveable feast, and yes, I understand that it's supposed to be the "patois of the streets" (here's a great post about the non-existence of Jafaican), especially after seeing the wonderful street argot represented in The Wire, but I must point out again that this obscures the fact that many of these kids are so educationally impoverished that they don't just speak a different language, they don't have much of a language at all. Many are utterly incapable of expressing a single coherent, meaningful idea because they literally lack the words with which to do so.

While we're on the topic, I fucking hate it when people try to expurgate their middle-class guilt by painting council-estates with subtle palettes to show the quiet beauty and dignity of the lost teenage souls that populate these cryptic wastelands... (I'm thinking Andrea Arnold). We know the people live there are human and have souls, but it is fucking miserable living in a council estate, and saying that it isn't shit to live there is some bizarre form of reverse-snobbery. There, I said it.

References worth checking out in relation to all of this nonsense:




First




Welcome bloglodytes, above is a video that I hope will sum up what this blog is about. It's a regurgitated mixture of extraneous art, trash, film, science, philosophy, politics, and shitty metaphors, haphazardly crammed on a large conveyor belt and painfully squeezed through the filter of my sieve-like mind.
It's an attempt to put down the kinds of inchoate ramblings I usually have around friends or to myself when no one's around, but with references, links, and embedded videos.

Incidentally, the above short was made by the same plucky Noo Yawk hipster duo Henry Joost and Ariel Schulman, them what done Catfish. For anyone who saw that film, *SPOILER SPOILER SPOILER*, what did you think of it? Assuming it isn't real, which I kinda think Kevin Smith did ("Tokin'" too much of the ol' reefer eh Kev*? *See recent Smodcast for in-joke) there are two possibilities.
One is that the bored frumpy housewife hoaxster behind it all is real, and a narrative was constructed around that to make the film more "filmic". The other is that the whole thing is fake, as the title might cleverly suggest, and given that the poster is basically a picture of a red herring:


If it's the former, and this poor woman is real, then the film is massively exploitative, as despite patronisingly empathetic scenes at the end of the film, the film is constructed as a kind of horror mind-fuck, with Angela as the she-witch psycho at its centre. If it's the latter, then there's also a slight exploitation of Freaks style subliminal fear, in that the central reveal of the film comes with a disturbing look into the day-to-day life of Angela caring for her severely disabled children. Either way, the whole thing stinks of film-school-grad post-ironic meta nonsense.



I mean look at the smug cunts.



These gripes notwithstanding, they've made a wonderful short about a genuine artist (don't be fooled by the micro machines, this man's legit).

So what's the blog title about, I hear the voices in my head cry, in amongst the ever-repeating commands to kill. Maybe you don't care, in fact my wife doesn't seem to give much of a shit, so perhaps it should remain a mystery.

As I assign no value to building mystique, I'll tell you right away that it's in reference to Stanley Kubrick's unique approach to film narrative:

"[Stanley] had a contempt for narrative, I was hooked on narrative. But he said to me: forget it, all you need for a movie is 6 or 8 non-submersible units."

Brian Aldiss

*******

Non-submersible units are fundamental story pieces, the irreducible core of a narrative when all the non essential "padding" has been stripped away. According to Brian Aldiss, Kubrick's collaborator on the scipt for AI, "One of the many sensible and perceptive comments he made over the years was that a movie consists of, at most, say 60 scenes, whereas a book can have countless scenes. So, he said, it's very difficult to boil down a novel to make a film, as he found with The Shining. Much easier to take a short story and turn that into a major movie. 'All you need is six non-submersible units. Forget about the connections for the moment [...] once you've heard this, you see how 2001 was constructed."

Following on from Aldiss' last remark, here is a breakdown of 2001 into its 7 non-submersible parts.

1/ The monolith visits humankind in its infancy

2/ An early man discovers technology (Moon Watcher smashes the bones)

3/ The monolith is excavated on the moon by astronauts and sends a message to Jupiter

4/ Humankind send a manned mission to Jupiter to investigate

5/ Advanced technology (Hal) endangers the mission crew

6/ Technology is defeated and the surviving cremember rendezvous with the aliens

7/ The Starchild is born

RM

Aldiss quotes from Paul Joyce's "The Last Movie" and John Baxter's biography page: 356.


Tru dat, truuu dat...


But, alas, I'm not clever enough to have discovered this on my own, oh no, I'm regurgitating an idea someone else had as always. I actually heard about it at a recent screening of Kill List, when, during the Q&A, director Ben Wheately explained that before he even thought of a structure for the film, he simply wrote down ideas based on nightmarish images that had haunted him (they literally could not be repressively submerged away from conscious awareness!). I'd never been to a Q&A screening before, and I were all proper dead excited and such (read last bit in giddy northern tones):


Look it! Blurry photo of vaguely famous people!


By the way, if you haven't seen Kill List, GO SEE THAT FUCKING MOVIE NOW! WHAT ARE YOU DOING YOU MISERABLE SHIT, GO NOW!

I can't recommend the film enough, and the less you know about it the better (I may do a spoiler filled review in a future post).


Coming back to non-submersible units, I find it interesting that Kubrick felt that all you needed were 6 to 8 units to construct a narrative around, as famously Miller (1956) gave the world his Magic Number Seven, Plus or Minus Two, which essentially purports that Working Memory can only hold on to around seven chunks (or units!) of cognitive information. Of course it turns out to be complete bollocks and is a wonderful example of how a single scientific article can be misinterpreted and have a huge cultural impact. It's even commonly thought that the reason Tetris is such an enduringly popular game is because it contains no more than seven Tetrominoes, complementing our natural capacity limit for Working Memory.

Unfortunately, most studies find that Working Memory depressingly holds around three to five chunks of information at best. Don't despair entirely though, as a single chunk could simply be a number or could refer to an entire concept.

Fittingly, I think I've covered around five topics, which is plenty for an initial post.


So, you know, g'bye.