Archive for the ‘Media’ Category

Long again this time and a bit contentious. Sorry for trying your patience.

Having watched a few hundred Joe Rogan webcasts by now (previous blog on this topic here), I am pretty well acquainted with guests and ideas that cycle through periodically. This is not a criticism as I’m aware I recycle my own ideas here, which is more nearly thematic than simply repetitive. Among all the MMA folks and comedians, Rogan features people — mostly academics — who might be called thought leaders. A group of them has even been dubbed the “intellectual dark web.” I dunno who coined the phrase or established its membership, but the names might include, in no particular order, Jordan Peterson, Bret Weinstein, Eric Weinstein, Douglas Murray, Sam Harris, Jonathan Haidt, Gad Saad, Camille Paglia, Dave Ruben, Christina Hoff Sommers, and Lawrence Krauss. I doubt any of them would have been considered cool kids in high school, and it’s unclear whether they’re any cooler now that they’ve all achieved some level of Internet fame on top of other public exposure. Only a couple seem especially concerned with being thought cool now (names withheld), though the chase for clicks, views, likes, and Patreon support is fairly upfront. That they can usually sit down and have meaningful conversations without rancor (admirably facilitated by Joe Rogan up until one of his own oxen is gored, less admirably by Dave Ruben) about free speech, Postmodernism, social justice warriors, politics, or the latest meme means that the cliquishness of high school has relaxed considerably.

I’m pleased (I guess) that today’s public intellectuals have found an online medium to develop. Lots of imitators are out there putting up their own YouTube channels to proselytize their own opinions. However, I still prefer to get deeper understanding from books (and to a lesser degree, blogs and articles online), which are far better at delivering thoughtful analysis. The conversational style of the webcast is relentlessly up-to-date and entertaining enough but relies too heavily on charisma. And besides, so many of these folks are such fast talkers, often talking over each other to win imaginary debate points or just dominate the conversational space, that they frustrate and bewilder more than they communicate or convince.



Fully a decade ago, I analyzed with more length than I usually allow myself an article from The New Yorker that examined how media trends were pushing away from literacy (the typographic mind) toward listening and viewing (orality) as primary modes of information gathering and entertainment. The trend was already underway with the advent of radio, cinema, and television, which moved the relatively private experience of silent reading to a public or communal realm as people shared experiences around emerging media. The article took particular aim at TV. In the intervening decade, media continue to contrive new paths of distribution, moving activity back to private information environments via the smart phone and earbuds. The rise of the webcast (still called podcast by some, though that’s an anachronism), which may include a video feed or display a static image over discussion and/or lecture, and streaming services are good examples. Neither has fully displaced traditional media just yet, but the ongoing shift in financial models is a definite harbinger of relentless change.

This comes up again because, interestingly, The New Yorker included with an article I popped open on the Web an audio file of the very same article read by someone not the author. The audio was 40 minutes, whereas the article may have taken me 15 to 20 minutes had I read it. For undisclosed reasons, I listened to the audio. Not at all surprisingly, I found it odd and troublesome. Firstly, though the content was nominally investigative journalism (buttressed by commentary), hearing it read to me made it feel like, well, storytime, meaning it was fiction. Secondly, since my eyes weren’t occupied with reading, they sought other things to do and thus fragmented my attention.

No doubt The New Yorker is pandering to folks who would probably not be readers but might well become listeners. In doing so, it’s essentially conceding the fight, admitting that the effort to read is easily eclipsed by the effortlessness of listening. As alternative and unequal modes of transmitting the content of the article, however, it strikes me as an initiative hatched not by writers and editors capable of critical thought and addressing a similarly enabled readership but by a combination of sales and marketing personnel attempting to capture a widening demographic of listeners (read: nonreaders). Navigating to the article might be a modest extra complication, but if a link to the audio file can be tweeted out (I don’t actually know if that’s possible), then I guess the text isn’t truly necessary.

Here part of what I wrote a decade ago:

If the waning of the typographic mind proceeds, I anticipate that the abstract reasoning and critical thinking skills that are the legacy of Enlightenment Man will be lost except to a few initiates who protect the flame. And with so many other threats cropping up before us, the prospect of a roiling mass of all-but-in-name barbarians ruled by a narrow class of oligarchs does indeed spell the total loss of democracy.

Are we getting perilously close that this dystopia? Maybe not, since it appears that many of those in high office and leadership positions labor under their own failures/inabilities to read at all critically and so execute their responsibilities with about the same credibility as hearsay. Even The New Yorker is no longer protecting the flame.

I recall Nathaniel Hawthorne’s short story The Celestial Railroad railing against the steam engine, an infernal machine, that disrupts society (agrarian at that time). It’s a metaphor for industrialization. The newest infernal machine (many candidates have appeared since Hawthorne’s time only to be supplanted by the next) is undoubtedly the smart phone. Its disruption of healthy formation of identity among teenagers has already been well researched and documented. Is it ironic that as an object of our own creation, it’s coming after our minds?

Be forewarned: this is long and self-indulgent. Kinda threw everything and the kitchen sink at it.

In the August 2017 issue of Harper’s Magazine, Walter Kirn’s “Easy Chair” column called “Apocalypse Always” revealed his brief, boyhood fascination with dystopian fiction. This genre has been around for a very long time, to which the Cassandra myth attests. Kirn’s column is more concerned with “high mid-twentieth-century dystopian fiction,” which in his view is now classic and canonical, an entire generation of Baby Boomers having been educated in such patterned thought. A new wave of dystopian fiction appeared in the 1990s and yet another more recently in the form of Young Adult novels (and films) that arguably serve better as triumphal coming-of-age stories albeit under dystopian circumstances. Kirn observes a perennial theme present in the genre: the twins disappearances of freedom and information:

In the classic dystopias, which concern themselves with the lack of freedom and not with surplus freedom run amok (the current and unforeseen predicament of many), society is superbly well organized, resembling a kind of hive or factory. People are sorted, classified, and ranked, their individuality suppressed through goon squads, potent narcotics, or breeding programs. Quite often, they wear uniforms, and express themselves, or fail to, in ritual utterance and gestures.

Whether Americans in 2018 resemble hollowed-out zombies suffering under either boot-heel or soft-serve oppression is a good question. Some would argue just that in homage to classic dystopias. Kirn suggests briefly that we might instead suffer from runaway anarchy, where too much freedom and licentiousness have led instead to a chaotic and disorganized society populated by citizens who can neither govern nor restrain themselves.

Disappearance of information might be understood in at least three familiar aspects of narrative framing: what happened to get us to this point (past as exposition, sometimes only hinted at), what the hell? is going on (present as conflict and action), and how is gets fixed (future as resolution and denouement). Strict control over information exercised by classic dystopian despots doesn’t track to conditions under which we now find ourselves, where more disorganized, fraudulent, and degraded information than ever is available alongside small caches of wisdom and understanding buried somewhere in the heap and discoverable only with the benefit of critical thinking flatly lost on at least a couple generations of miseducated graduates. However, a coherent narrative of who and what we are and what realistic prospects the future may hold has not emerged since the stifling version of the 1950s nuclear family and middle class consumer contentment. Kirn makes this comparison directly, where classic dystopian fiction

focus[es] on bureaucracy, coercion, propaganda, and depersonalization, overstates both the prowess of the hierarchs and the submissiveness of the masses, whom it still thinks of as the masses. It does not contemplate Trump-style charlatanism at the top, or a narcissistic populace that prizes attention over privacy. The threats to individualism are paramount; the scourge of surplus individualism, with everyone playing his own dunce king and slurping up resources until he bursts, goes unexplored.

Kirn’s further observations are worth a look. Go read for yourself.


Fan Service

Posted: December 27, 2017 in Artistry, Cinema, Culture, Idle Nonsense, Media, Taste

Having just seen the latest installment of the supermegahit Star Wars franchise, my thinking drifted ineluctably to the issue of fan service. There is probably no greater example of the public claiming ownership of popular culture than with Star Wars, which has been a uniquely American phenomenon for 40 years and risen to the level of a new mythology. Never mind that it was invented out of whole cloth. (Some argue that the major religions are also invented, but that’s a different subject of debate.) Other invented, segmented mythologies include Rowling’s Harry Potter series (books before movies), Tolkien’s Lord of the Rings (books before movies), Martin’s Game of Thrones (books before TV show), and Wagner’s Ring of the Nibelung (operas). It’s little surprise (to me, at least) that the new American mythology stems from cinema rather than literature or music.

Given the general public’s deep knowledge of the Star Wars canon, it’s inevitable that some portion of the each installment of the franchise must cite and rhyme recognizable plots, dialogue, and thematic elements, which is roughly analogous to one’s favorite band playing its hits rather than offering newly composed music at every concert. With James Bond (probably the first movie franchise, though book series written by Sir Arthur Conan Doyle and Agathe Christie long ago established the model for recurring characters), story elements were formalized rather early in its history and form the foundation of each later story. Some regard the so-called formula as a straitjacket, whereas others derive considerable enjoyment out of familiar elements. So, too, with Star Wars. The light sabers, the spaceships, the light and dark sides of the force, the plucky rebels, the storm troopers, the disfigured villains, and the reluctant hero all make their appearances and reappearances in different guises. What surprised me most about The Last Jedi is how frequently and skillfully fan service was handled, typically undercutting each bit to simultaneously satisfy and taunt viewers. Some indignant fanboys (and -girls) have actually petitioned to have The Last Jedi struck from the Star Wars canon for defying franchise conventions so flagrantly.

New media have enabled regular folks to indulge their pet theories of the Star Wars universe in public fora, and accordingly, no shortage of overexcited analysis exists regarding plots, family relationships, cat-and-mouse strategics, and of course, possible stories to be told in an ever-expanding cinematic universe promising new films with nauseating regularity for the foreseeable future, or at least so long as the intellectual property owners can wring giant profits out of the series. This is what cinematic storytelling has become: setting up a series and wringing every last bit of value out of it before leaving it fallow and untended for a decade or more and then rebooting the entire stinking mess. The familiar criticism is Hollywood Out of Ideas, which often rings true except when one considers that only a few basic narrative structures exist in the first place. All the different manifestations are merely variations upon familiar themes, another form of fan service.

I watched a documentary on Netflix called Jim & Andy (2017) that provides a glimpse behind the scenes of the making of Man on the Moon (1999) where Jim Carrey portrays Andy Kaufman. It’s a familiar story of art imitating life (or is it life imitating art?) as Carrey goes method and essentially channels Kaufman and Kaufman’s alter ego Tony Clifton. A whole gaggle of actors played earlier incarnations of themselves in Man on the Moon and appeared as themselves (without artifice) in Jim & Andy, adding another weird dimension to the goings on. Actors losing themselves in roles and undermining their sense of self is hardly novel. Regular people lose themselves in their jobs, hobbies, media hype, glare of celebrity, etc. all the time. From an only slightly broader perspective, we’re all merely actors playing roles, shifting subtly or dramatically based on context. Shakespeare observed it centuries ago. However, the documentary points to a deeper sense of unreality precisely because Kaufman’s principal shtick was to push discomfiting jokes/performances beyond the breaking point, never dropping the act to let his audience in on the joke or provide closure. It’s a manifestation of what I call the Disorientation Protocol.


I revisit my old blog posts when I see some reader activity in the WordPress backstage and was curious to recall a long quote of Iain McGilchrist summarizing arguments put forth by Anthony Giddens in his book Modernity and Self-identity (1991). Giddens had presaged recent cultural developments, namely, the radicalization of nativists, supremacists, Social Justice Warriors (SJWs), and others distorted by absorbed in identity politics. So I traipsed off to the Chicago Public Library (CPL) and sought out the book to read. Regrettably, CPL didn’t have a copy, so I settled on a slightly earlier book, The Consequences of Modernity (1990), which is based on a series of lectures delivered at Stanford University in 1988.

Straight away, the introduction provides a passage that goes to the heart of matters with which I’ve been preoccupied:

Today, in the late twentieth century, it is argued by many, we stand at the opening of a new era … which is taking us beyond modernity itself. A dazzling variety of terms has been suggested to refer to this transition, a few of which refer positively to the emergence of a new type of social system (such as the “information society” or the “consumer society”) but most of which suggest rather than a preceding state of affairs is drawing to a close … Some of the debates about these matters concentrate mainly upon institutional transformations, particularly those which propose that we are moving from a system based upon the manufacture of material goods to one concerned more centrally with information. More commonly, however, those controversies are focused largely upon issues of philosophy and epistemology. This is the characteristic outlook, for example, of the the author who has been primarily responsible for popularising the notion of post-modernity, Jean-François Lyotard. As he represents it, post-modernity refers to a shift away from attempts to ground epistemology and from from faith in humanly engineered progress. The condition of post-modernity is distinguished by an evaporating of the “grand narrative” — the overarching “story line” by means of which we are placed in history as being having a definite past and a predictable future. The post-modern outlook sees a plurality of heterogeneous claims to knowledge, in which science does not have a privileged place. [pp. 1–2, emphasis added]

That’s a lot to unpack all at once, but the fascinating thing is that notions now manifesting darkly in the marketplace of ideas were already in the air in the late 1980s. Significantly, this was several years still before the Internet brought the so-called Information Highway to computer users, before the cell phone and smart phone were developed, and before social media displaced traditional media (TV was only 30–40 years old but had previously transformed our information environment) as the principal way people gather news. I suspect that Giddens has more recent work that accounts for the catalyzing effect of the digital era (including mobile media) on culture, but for the moment, I’m interested in the book in hand.

Regular readers of this blog (I know of one or two) already know my armchair social criticism directed to our developing epistemological crisis (challenges to authority and expertise, psychotic knowledge, fake news, alternative facts, dissolving reality, and science denial) as well as the Transhumanist fantasy of becoming pure thought (once we evolve beyond our bodies). Until that’s accomplished with imagined technology, we increasingly live in our heads, in the abstract, disoriented and adrift on a bewildering sea of competing narratives. Moreover, I’ve stated repeatedly that highly mutable story (or narrative) underlie human cognition and consciousness, making most of us easy marks for charismatic thought leaders storytellers. Giddens was there nearly 30 years ago with these same ideas, though his terms differ.

Giddens dispels the idea of post-modernity and insists that, from a sociological perspective, the current period is better described as high modernism. This reminds me of Oswald Spengler and my abandoned book blogging of The Decline of the West. It’s unimportant to me who got it more correct but note that the term Postmodernism has been adopted widely despite its inaccuracy (at least according to Giddens). As I get further into the book, I’ll have plenty more to say.

This is the inverse of a prior post called “Truth Based on Fiction.”

Telling stories about ourselves is one of the most basic of human attributes stretching across oral and recorded history. We continue today to memorialize events in short, compact tellings, frequently movies depicting real-life events. I caught two such films recently: Truth (about what came to be known as Rathergate) and Snowden (about whistle-blower Edward Snowden).

Although Dan Rather is the famous figure associated with Truth, the story focuses more on his producer Mary Mapes and the group decisions leading to airing of a controversial news report about George W. Bush’s time in the Air National Guard. The film is a dramatization, not a documentary, and so is free to present the story with its own perspective and some embellishment. Since I’m not a news junkie, my memory of the events in 2004 surrounding the controversy are not especially well informed, and I didn’t mind the potential for the movie’s version of events to color my thinking. About some controversies and conspiracies, I feel no particular demand to adopt a strong position. The actors did well enough, but I felt Robert Redford was poorly cast as Dan Rather. Redford is too famous in his own right to succeed as a character actor playing a real-life person.

Debate over the patriotism or treason of Edward Snowden’s actions continues to swirl, but the film covers the issues pretty well, from his discovery of an intelligence services surveillance dragnet (in violation of the 4th Amendment to the U.S. Constitution) to his eventual disclosure of same to a few well-respected journalists. The film’s director and joint screenwriter, Oliver Stone, has made a career out of fiction based on truth, dramatizing many signal events from the nation’s history, repackaging them as entertainment in the process. I’m wary of his interpretations of history when presented in cinematic form, less so his alternative history lessons given as documentary. Unlike Truth, however, I have clear ideas in my mind regarding Snowden the man and Snowden the movie, so from a different standpoint, was again unconcerned about potential bias. Joseph Gordon-Levitt does well enough as the titular character, though he doesn’t project nearly the same insight and keen intelligence as Snowden himself does. I suspect the documentary Citizen Four (which I’ve not yet seen) featuring Snowden doing his own talking is a far better telling of the same episode of history.

In contrast, I have assiduously avoided several other recent films based on actual events. United 93, World Trade Center, and Deepwater Horizon spring to mind, but there are many others. The wounds and controversies stemming from those real-life events still smart too much for me to consider exposing myself to propaganda historical fictions. Perhaps in a few decades, after living memory of such events has faded or disappeared entirely, such stories can be told effectively, though probably not accurately. A useful comparison might be any one of several films called The Alamo.

Back in undergraduate college, when just starting on my music education degree, I received an assignment where students were asked to formulate a philosophy of education. My thinking then was influenced by a curious textbook I picked up: A Philosophy of Music Education by Bennett Reimer. Of course, it was the wrong time for an undergraduate to perform this exercise, as we had neither maturity nor understanding equal to the task. However, in my naïvté, my answer was all about learning/teaching an aesthetic education — one that focused on appreciating beauty in music and the fine arts. This requires the cultivation of taste, which used to be commonplace among the educated but is now anathema. Money is the preeminent value now. Moreover, anything that smacks of cultural programming and thought control is now repudiated reflexively, though such projects are nonetheless undertaken continuously and surreptitiously through a variety of mechanisms. As a result, the typical American’s sense of what is beautiful and admirable is stunted. Further, knowledge of the historical context in which the fine arts exist is largely absent. (Children are ahistorical in this same way.) Accordingly, many Americans are coarse philistines whose tastes rarely extend beyond those acquired naturally during adolescence (including both biophilia and biophobia), thus the immense popularity of comic book movies, rock and roll music, and all manner of electronica.

When operating with a limited imagination and undeveloped ability to perceive and discern (and disapprove), one is a sitting duck for what ought to be totally unconvincing displays of empty technical prowess. Mere mechanism (spectacle) then possesses the power to transfix and amaze credulous audiences. Thus, the ear-splitting volume of amplified instruments substitutes for true emotional energy produced in exceptional live performance, ubiquitous CGI imagery (vistas and character movements, e.g., fight skills, that simply don’t exist in reality) in cinema produces wonderment, and especially, blinking lights and animated GIFs deliver the equivalent of a sugar hit (cookies, ice cream, soda) when they’re really placebos or toxins. Like hypnosis, the placebo effect is real and pronounced for those unusually susceptible to induction. Sitting ducks.

Having given the fine arts (including their historical contexts) a great deal of my academic attention and acquired an aesthetic education, my response to the video below fell well short of the blasé relativism most exhibit; I actively dislike it. (more…)

I have just one previous blog post referencing Daniel Siegel’s book Mind and threatened to put the book aside owing to how badly it’s written. I haven’t yet turned in my library copy and have made only modest additional progress reading the book. However, Siegel came up over at How to Save the World, where at least one commentator was quite enthusiastic about Siegel’s work. In my comment there, I mentioned the book only to suggest that his appreciation of the relational nature of the mind (and cognition) reinforces my long-held intuition that the self doesn’t exist in an idealized vacuum, capable of modeling and eventually downloading to a computer or some other Transhumanist nonsense, but is instead situated as much between us as within us. So despite Siegel’s clumsy writing, this worthwhile concept deserves support.

Siegel goes on to wonder (without saying he believes it to be true — a disingenuous gambit) that perhaps there exists an information field, not unlike the magnetic field or portions of the light spectrum, that affects us yet falls outside the scope of our direct perception or awareness. Credulous readers might leap to the conclusion that the storied collective consciousness is real. Some fairly trippy theories of consciousness propose that the mind is actually more like an antenna receiving signals from some noncorporeal realm (e.g., a quantum dimension) we cannot identify yet tap into constantly, measuring against and aligning with the wider milieu in which we function. Even without expertise in zoology, one must admit that humans are social creatures operating at various levels of hierarchy including individual, family, clan, pack, tribe, nation-state, etc. We’re less like mindless drones in a hive (well, some of us) and more like voluntary and involuntary members of gangs or communities formed along various familial, ethnic, regional, national, language group, and ideological lines. Unlike Siegel, I’m perfectly content with existing terminology and feel no compulsion to coin new lingo or adopt unwieldy acronyms to mark my territory.

What Siegel hasn’t offered is an observation on how our reliance on and indebtedness to the public sphere (via socialization) have changed with time as our mode of social organization has morphed from a predominantly localized, agrarian existence prior to the 20th century to a networked, high-density, information-saturated urban and suburban existence in the 21st century. The public sphere was always out there, of course, especially as embodied in books, periodicals, pamphlets, and broadsides (if one was literate and had reliable access to them), but the unparalleled access we now enjoy through various electronic devices has not only reoriented but disoriented us. Formerly slow, isolated information flow has become a veritable torrent or deluge. It’s not called the Information Age fer nuthin’. Furthermore, the bar to publication  — or insertion into the public sphere — has been lowered to practical nonexistence as the democratization of production has placed the tools of widely distributed exposure into the hands of everyone with a blog (like mine) or Facebook/Instagram/Twitter/Pinterest/LinkedIn account. As a result, a deep erosion of authority has occurred, since any yahoo can promulgate the most reckless, uninformed (and disinformed) opinions. The public’s attention riveted on celebrity gossip and House of Cards-style political wrangling, false narratives, fake news, alternative facts, and disinformation also make navigating the public sphere with much integrity impossible for most. For instance, the MSN and alternative media alike are busy selling a bizarre pageant of Russian collusion and interference with recent U.S. elections as though the U.S. were somehow innocent of even worse meddling abroad. Moreover, it’s naïve to think that the public sphere in the U.S. isn’t already completely contaminated from within by hucksters, corporations (including news media), and government entities with agendas ranging from mere profit seeking to nefarious deployment and consolidation of state power. For example, the oil and tobacco industries and the Bush Administration all succeeded in suppressing truth and selling rank lies that have landed us in various morasses from which there appears to be no escape.

If one recognizes his or her vulnerability to the depredations of info scammers of all types and wishes to protect oneself, there are two competing strategies: insulation and inoculation. Insulation means avoiding exposure, typically by virtue of mind-cleansing behaviors, whereas inoculation means seeking exposure in small, harmless doses so that one can handle a larger infectious attack. It’s a medical metaphor that springs from meme theory, where ideas propagate like viruses, hence, the notion of a meme “going viral.” Neither approach is foolproof. Insulation means plugging one’s ears or burying one’s head in the sand at some level. Inoculation risks spreading the infection. If one regards education as an inoculation of sorts, seeking more information of the right types from authoritative sources should provide means to combat the noise in the information signals received. However, as much as I love the idea of an educated, informed public, I’ve never regarded education as a panacea. It’s probably a precondition for sound thinking, but higher education in particular has sent an entire generation scrambling down the path of identity politics, which sounds like good ideas but leads inevitably to corruption via abstraction. That’s all wishful thinking, though; the public sphere we actually witness has gone haywire, a condition of late modernism and late-stage capitalism that has no known antidote. Enjoy the ride!

I pull in my share of information about current events and geopolitics despite a practiced inattention to mainstream media and its noisome nonsense. (See here for another who turned off the MSM.) I read or heard somewhere (can’t remember where) that most news outlets and indeed most other media, to drive traffic, now function as outrage engines, generating no small amount of righteousness, indignation, anger, and frustration at all the things so egregiously wrong in our neighborhoods, communities, regions, and across the world. These are all negative emotions, though legitimate responses to various scourges plaguing us currently, many of which are self-inflicted. It’s enough aggregate awfulness to draw people into the street again in principled protest, dissent, and resistance; it’s not yet enough to effect change. Alan Jacobs comments about outrage engines, noting that sharing via retweets is not the same as caring. In the Age of Irony, a decontextualized “yo, check this out!” is nearly as likely to be interpreted as support rather than condemnation (or mere gawking for entertainment value). Moreover, pointing, linking, and retweeting are each costless versions of virtue signaling. True virtue makes no object of publicity.

So where do I get my outrage quotient satisfied? Here is a modest linkfest, in no particular order, of sites not already on my blogroll. I don’t habituate these sites daily, but I drop in, often skimming, enough to keep abreast of themes and events of importance. (more…)