Three Pound Brain

No bells, just whistling in the dark…

Month: May, 2015

More Disney than Disney World: Semiotics as Theoretical Make-believe (II)

by rsbakker

III: The Gilded Stage

We are one species among 8.7 million, organisms embedded in environments that will select us the way they have our ancestors for 3.8 billion years running. Though we are (as a matter of empirical fact) continuous with our environments, the information driving our environmental behaviour is highly selective. The selectivity of our environmental sensitivities means that we are encapsulated, both in terms of the information available to our brain, and in terms of the information available for consciousness. Encapsulation simply follows from the finite, bounded nature of cognition. Human cognition is the product of ancestral human environments, a collection of good enough fixes for whatever problems those environments regularly posed. Given the biological cost of cognition, we should expect that our brains have evolved to derive as much information as possible from whatever signals available, to continually jump to reproductively advantageous conclusions. We should expect to be insensitive to the vast majority of information in our environments, to neglect everything save information that had managed to get our ancestors born.

As it turns out, shrewd guesswork carried the cognitive day. The correlate of encapsulated information access, in other words, is heuristic cognitive processing, a tendency to always see more than there really is.

So consider the streetscape from above once again:

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This looks like a streetscape only because the information provided generally cues the existence of hidden dimensions, which in this case simply do not exist. Since the cuing is always automatic and implicit, you just are looking down a street. Change your angle of access and the illusion of hidden dimensions—which is to say, reality—abruptly evaporates. The impossible New York skyline is revealed as counterfeit.

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Let’s call a stage any environment that reliably cues the cognition of alternate environments. On this definition, a stage could be the apparatus of a trapdoor spider, say, or a nest parasitized by a cuckoo, or a painting, or an epic poem, or yes, Disney World—any environment that reliably triggers the cognition of some environment other than the environment actually confronting some organism.

As the inclusion of the spider and the cuckoo should suggest, a stage is a biological phenomenon, the result of some organism cognizing one environment as another environment. Stages, in other words, are not semantic. It is simply the case that beetles sensing environments absent spiders will blunder into trapdoor spiders. It’s simply the case that some birds, sensing chicks, will feed those chicks, even if one of them happens to be a cuckoo. It is simply the case that various organisms exploit the cognitive insensitivities of various other organisms. One need not ascribe anything so arcane as ‘false beliefs’ to birds and beetles to make sense of their exploitation. All they need do is function in a way typically cued by one family of (often happy) environments in a different (often disastrous) environment.

Stages are rife throughout the natural world simply because biological cognition is so expensive. All cognition can be exploited because all cognition is bounded, dependant on taking innumerable factors for granted. Probabilistic guesses have to be made always and everywhere, such are the exigencies of survival and reproduction. Competing species need only happen upon ways to trigger those guesses in environments reproductively advantageous to them, and selection will pace out a new niche, a position in what might be called manipulation space.

The difficulty with qualifying a stage as a biological phenomenon, however, is that I included intentional artifacts such as narratives, paintings, and amusement parks as examples of stages above. The problem with this is that no one knows how to reconcile the biological with the intentional, how to fit meaning into the machinery of life.

And yet, as easy as it is to anthropomorphize the cuckoo’s ‘treachery’ or the trapdoor spider’s ‘cunning’—to infuse our biological examples with meaning—it seems equally easy to ‘zombify’ narrative or painting or Disney World. Hearing the Iliad, for instance, is a prodigious example of staging, insofar as it involves the serial cognition of alternate environments via auditory cues embedded in an actual, but largely neglected, environment. One can easily look at the famed cave paintings of Chauvet, say, as a manipulation of visual cues that automatically triggers the cognition of absent things, in this case, horses:

chauvet horses

But if narrative and painting are stages so far as ‘cognizing alternate environments’ goes, the differences between things like the Iliad or Chauvet and things like trapdoor spiders and cuckoos are nothing less than astonishing. For one, the narrative and pictorial cuing of alternative environments is only partial; the ‘alternate environment’ is entertained as opposed to experienced. For another, the staging involved in the former is communicative, whereas the staging involved in the latter is not. Narratives and paintings mean things, they possess ‘symbolic significance,’ or ‘representational content,’ whereas the predatory and parasitic stages you find in the natural world do not. And since meaning resists biological explanation, this strongly suggests that communicative staging resists biological explanation.

But let’s press on, daring theorists that we are, and see how far our ‘zombie stage’ can take us. The fact is, the ‘manipulation space’ intrinsic to bounded cognition affords opportunities as well as threats. In the case of Chauvet, for instance, you can almost feel the wonder of those first artists discovering the relations between technique and visual effect, ways to trick the eye into seeing what was not there there. Various patterns of visual information cue cognitive machinery adapted to solve environments absent those environments. Flat surfaces become windows.

Let’s divvy things up differently, look at cognition and metacognition in terms of multiple channels of information availability versus cognitive capacity. On this account, staging need not be complete: as with Chauvet, the cognition of alternate environments can be partial, localized within the present environment. And as with Chauvet, this embedded staging can be instrumentalized, exploited for various kinds of effects. Just how the cave paintings at Chauvet were used will always be a matter of archaeological speculation, but this in itself tells us something important about the kind of stage we’re now talking about: namely, their specificity. We share the same basic cognitive mechanisms as the original creators and consumers of the Horses, for instance, but we share nothing of their individual histories. This means the stage we step onto encountering them is bound to differ, perhaps radically, from the stage they stepped onto encountering them in the Upper Paleolithic. Since no individuals share precisely the same history, this means that all embedded stages are unique in some respect.

The potential evolutionary value of embedded stages, the kind of ‘cognitive double-vision’ peculiar to humans, seems relatively clear. If you can draw a horse you can show a fellow hunter what to look for, what direction to approach it, where to strike with a spear, how to carve the joints for efficient transportation, and so on. Embedding, in other words, allows organisms to communicate cognitive relationships to actual environments by cuing the cognition of that environment absent that environment. Embedding also allows organisms to communicate cognitive relationships to nonexistent environments as well. If you can draw a cave bear, you can just as easily deceive as teach a potential competitor. And lastly, embedding allows organisms to game their own cognitive systems. By experimenting with patterns of visual information, they can trigger a wide variety of different responses, triggering wonder, lust, fear, amusement, and so on. The cave paintings at Chauvet include what is perhaps the oldest example of pictorial ‘porn’ (in this case, a vulva formed by a bull overlapping a lion) for a reason.

chauvet vulva

Humans, you could say, are the staging animal, the animal capable of reorganizing and coordinating their cognitive comportments via the manipulation of available information into cues, those patterns prone to trigger various heuristic systems ‘out of school.’ Research into episodic memory reveals an intimate relation between the constructive (as opposed to veridical) nature of episodic memory and the ability to imagine future environments. Apparently the brain does not so much record events as it ransacks them, extracting information strategic to solving future environments. Nothing demonstrates the profound degree to which the brain is invested in strategic staging as the default or task-negative network. Whenever we find ourselves disengaged from some ongoing task, our brains, far from slowing down, switch modes and begin processing alternate, typically social, environments. We ‘daydream,’ or ‘ruminate,’ or ‘fantasize,’ activities almost as metabolically expensive as performing focussed tasks. The resting brain is a staging brain—a story-telling brain. It has literally evolved to cue and manipulate its own cognitive systems, to ‘entertain’ alternate environments, laying down priors in the absence of genuine experience to better manage surprise.

Language looms large over all this, of course, as the staging device par excellence. Language allows us to ‘paint a picture,’ or cue various cognitive systems, at any time. Via language, multiple humans can coordinate their behaviours to provide a single solution; they can engage their environments at ever more strategic joints, intervene in ways that reliably generate advantageous outcomes. Via language, environmental comportments can be compared, tested as embedded stages, which is to say, on the biological cheap. And the list goes on. The upshot is that language, like cave paintings, puts human cognition at the disposal of human cognition

And—here’s the thing—while remaining utterly blind to the structure and dynamics of human cognition.

The reason for this is simple: the biological complexity required to cognize environments is simply too great to be cognized as environmental. We see the ash and pigment smeared across the stone, we experience (the illusion of) horses, and we have no access whatsoever to the machinery in between. Or to phrase it in zombie terms, humans access environmental information, ash and pigment, which cues cognitive comportments to different environmental information, horses, in the absence of any cognitive comportment to this process. In fact, all we see are horses, effortlessly and automatically; it actually requires effort to see the ash and pigment! The activated environment crowds the actual environment from the focus to the fringe. The machinery that makes all this possible doesn’t so much as dimple the margin. We neglect it. And accordingly, what inklings we have strike us as all there is.

The question of signification is as old as philosophy: how the hell do nonexistent horses leap from patterns of light or sound? Until recently, all attempts to answer this question relied on observations regarding environmental cues, the resulting experience, and the environment cued. The sign, the soul, and the signified anchored our every speculative analysis simply because, short baffling instances of neuropathology, the machinery responsible never showed its hand.

Our cognitive comportment to signification, in other words, looked like:

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Which is to say, a stage.

Because we’re quite literally ‘hardwired’ into this position, we have no way of intuiting the radically impoverished (because specialized) nature of the information made available. We cannot trudge on the perpendicular to see what the stage looks like from different angles—we cannot alter our existing cognitive comportments. Thus, what might be called the semiotic stage strikes us as the environment, or anything but a stage. So profound is the illusion that the typical indicators of informatic insufficiency, the inability to leverage systematically effective behaviour, the inability to command consensus, are habitually overlooked by everyone save the ‘folk’ (ironically enough). Sign, soul, and signified could only take us so far. Despite millennia of philosophical and psychological speculation, despite all the myriad regimentations of syntax and semantics, language remains a mystery. Controversy reigns—which is to say, we as yet lack any decisive scientific account of language.

But then science has only begun the long trudge on the perpendicular. The project of accessing and interpreting the vast amounts of information neglected by the semiotic stage is just getting underway.

Since all the various competing semiotic theories are based on functions posited absent any substantial reference to the information neglected, the temptation is to assume that those functions operate autonomously, somehow ‘supervene’ upon the higher dimensional story coming out cognitive neuroscience. This has a number of happy dialectical consequences beyond simply proofing domains against cognitive scientific encroachments. Theoretical constraints can even be mapped backward, with the assumption that neuroscience will vindicate semiotic functions, or that semiotic functions actually help clarify neuroscience. Far from accepting any cognitive scientific constraints, they can assert that at least one of their multiple stabs in the dark pierces the mystery of language in the heart, and is thus implicitly presupposed in all communicative acts. Heady stuff.

Semiotics, in other words, would have you believe that either this

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is New York City as we know it, and will be vindicated by the long cognitive neuroscientific trudge on the perpendicular, or that it’s a special kind of New York City, one possessing no perpendicular to trudge—not unlike, surprise-surprise, assumptions regarding the first-person or intentionality in general.

On this account, the functions posited are sometimes predictive, sometimes not, and even when they are predictive (as opposed to merely philosophical), they are clearly heuristic, low-dimensional ways of tracking extremely complicated systems. As such, there’s no reason to think them inexplicably—magically—‘autonomous,’ and good reason to suppose why it might seem that way. Sign, soul, and signified, the blinkered channels that have traditionally informed our understanding of language, appear inviolable precisely because they are blinkered—since we cognize via those channels, the limits of those channels cannot be cognized: the invisibility of the perpendicular becomes its impossibility.

These are precisely the kinds of errors we should expect speaking animals to make in the infancy of their linguistic self-understanding. You might even say that humans were doomed to run afoul ‘theoretical hyperrealities’ like semiotics, discursive Disney Worlds…

Except that in Disney World, of course, the stages are advertised as stages, not inescapable or fundamental environments. Aside from policy level stuff, I have no idea how Disney World or Disney corporation systematically contributes to the subversion of social justice, and neither, I would submit, does any semiotician living. But I do think I know how to fit Disney into a far larger, and far more disturbing set of trends that have seized society more generally. To see this, we have to leave semiotics behind…

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More Disney than Disney World: Semiotics as Theoretical Make-believe

by rsbakker

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I: SORCERERS OF THE MAGIC KINGDOM (a.k.a. THE SEMIOTICIAN)

Ask a humanities scholar their opinion of Disney and they will almost certainly give you some version of Louis Marin’s famous “degenerate utopia.”

And perhaps they should. Far from a harmless amusement park, Disney World is a vast commercial enterprise, one possessing, as all corporations must, a predatory market agenda. Disney also happens to be in the meaning business, selling numerous forms of access to their propriety content, to their worlds. Disney (much like myself) is in the alternate reality game. Given their commercial imperatives, their alternate realities primarily appeal to children, who, branded at so young an age, continue to fetishize their products well into adulthood. This generational turnover, combined with the acquisition of more and more properties, assures Disney’s growing cultural dominance. And their messaging is obviously, even painfully, ideological, both escapist and socially conservative, designed to systematically neglect all forms of impersonal conflict.

I think we can all agree on this much. But the humanities scholar typically has something more in mind, a proclivity to interpret Disney and its constituents in semiotic terms, as a ‘veil of signs,’ a consciousness constructing apparatus designed to conceal and legitimize existing power inequities. For them, Disney is not simply apologetic as opposed to critical, it also plays the more sinister role of engendering and reinforcing hyperreality, the seamless integration of simulation and reality into disempowering perspectives on the world.

So as Baudrillard claims in Simulacra and Simulations:

The Disneyland imaginary is neither true nor false: it is a deterrence machine set up in order to rejuvenate in reverse the fiction of the real. Whence the debility, the infantile degeneration of this imaginary. It is meant to be an infantile world, in order to make us believe that the adults are elsewhere, in the ‘real’ world, and to conceal the fact that the real childishness is everywhere, particularly among those adults who go there to act the child in order to foster illusions of their real childishness.

Baudrillard sees the lesson as an associative one, a matter of training. The more we lard reality with our representations, Baudrillard believes, the greater the violence done. So for him the great sin of Disneyland lay not so much in reinforcing ideological derangements via simulation, but in completing the illusion of an ideologically deranged world. It is the lie within the lie, he would have us believe, that makes the second lie so difficult to see through. The sin here is innocence, the kind of belief that falls out of cognitive incapacity. Why do kids believe in magic? Arguably, because they don’t know any better. By providing adults a venue for their children to believe, Disney has also provided them evidence of their own adulthood. Seeing through Disney’s simulations generates the sense of seeing through all illusions, and therefore, seeing the real.

Disney, in other words, facilitates ‘hyperreality’—a semiotic form of cognitive closure—by rendering consumers blind to their blindness. Disney, on the semiotic account, is an ideological neglect machine. Its primary social function is to provide cognitive anaesthesia to the masses, to keep them as docile and distracted as possible. Let’s call this the ‘Disney function,’ or Df. For humanities scholars, as a rule, Df amounts to the production of hyperreality, the politically pernicious conflation of simulation and reality.

In what follows, I hope to demonstrate what might seem a preposterous figure/field inversion. What I want to argue is that the semiotician has Df all wrong—Disney is actually a far more complicated beast—and that the production of hyperreality, if anything, belongs to his or her own interpretative practice. My claim, in other words, is that the ‘politically pernicious conflation of simulation and reality’ far better describes the social function of semiotics than it does Disney.

Semiotics, I want to suggest, has managed to gull intellectuals into actively alienating the very culture they would reform, leading to the degeneration of social criticism into various forms of moral entertainment, a way for jargon-defined ingroups to transform interpretative expertise into demonstrations of manifest moral superiority. Piety, in effect. Semiotics, the study of signs in life, allows the humanities scholar to sit in judgment not just of books, but of text,* which is to say, the entire world of meaning. It constitutes what might be called an ideological Disney World, only one that, unlike the real Disney World, cannot be distinguished from the real.

I know from experience the kind of incredulity these kinds of claim provoke from the semiotically minded. The illusion, as I know first-hand, is that complete. So let me invoke, for the benefit of those smirking down at these words, the same critical thinking mantra you train into your students, and remind you that all institutions are self-regarding, all institutions cultivate congratulatory myths, and to suggest that the notion of some institution set apart, some specialized cabal possessing practices inoculated against the universal human assumption of moral superiority, is implausible through and through. Or at least worth suspicion.

You are almost certainly deluded in some respect. What follows merely illustrates how. Nothing magical protects you from running afoul your cognitive shortcomings the same as the rest of humanity. As such, it really could be the case that you are the more egregious sorcerer, and that your world-view is the real ‘magic kingdom.’ If this idea truly is as preposterous as it feels, then you should have little difficulty understanding it on its own terms, and dismantling it accordingly.

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II: INVESTIGATING THE CRIME SCENE

Sign and signified, simulation and simulated, appearance and reality: these dichotomies provide the implicit conceptual keel for all ideologically motivated semiotic readings of culture. This instantly transforms Disney, a global industrial enterprise devoted to the production of alternate realities, into a paradigmatic case. The Walt Disney Corporation, as fairly every child in the world knows, is in the simulation business. Of course, this alone does not make Disney ‘bad.’ As an expert interpreter of signs and simulations, the semiotician has no problem with deviations from reality in general, only those deviations prone to facilitate particular vested interests. This is the sense in which the semiotic project is continuous with the Enlightenment project more generally. It presumes that knowledge sets us free. Semioticians hold that some appearances—typically those canonized as ‘art’—actually provide knowledge of the real, whereas other appearances serve only to obscure the real, and so disempower those who run afoul them.

The sin of the Walt Disney Corporation, then, isn’t that it sells simulations, it’s that it sells disempowering simulations. The problem that Disney poses the semiotician, however, is that it sells simulations as simulations, not simulations as reality. The problem, in other words, is that Disney complicates their foundational dichotomy, and in ways that are not immediately clear.

You see microcosms of this complication everywhere you go in Disney World, especially where construction or any other ‘illusion dispelling’ activities are involved. Sights such as this:

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where pre-existing views are laminated across tarps meant to conceal some machination that Disney would rather not have you see, struck me as particularly bizarre. Who is being fooled here? My five year old even asked why they would bother painting trees rather than planting them. Who knows, I told her. Maybe they were planting trees. Maybe they were building trees such as this:

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Everywhere you go you stumble across premeditated visual obstructions, or the famous, omnipresent gates labelled ‘CAST MEMBERS ONLY.’ Everywhere you go, in other words, you are confronted with obvious evidence of staging, or what might be called premeditated information environments. As any magician knows, the only way to astound the audience is to meticulously control the information they do and do not have available. So long as absolute control remains technically infeasible, they often fudge, relying on the audience’s desire to be astounded to grease the wheels of their machinations.

One finds Disney’s commitment to the staging credo tacked here and there across the very walls raised to enforce it:

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Walt Disney was committed to the notion of environmental immersion, with the construction of ‘stages’ that were good enough, given various technical and economic limitations, to kindle wonder in children and generosity in their parents. Almost nobody is fooled outright, least of all the children. But most everyone is fooled enough. And this is the only thing that matters, when any showman tallies their receipts at the end of the day: staging sufficiency, not perfection. The visibility of artifice will be forgiven, even revelled in, so long as the trick manages to carry the day…

No one knows this better than the cartoonist.

The ‘Disney imaginary,’ as Baudrillard calls it, is first and foremost a money making machine. For parents of limited means, the mechanical regularity with which Disney has you reaching for your wallet is proof positive that you are plugged into some kind of vast economic machine. And making money, it turns out, doesn’t require believing, it requires believing enough—which is to say, make-believe. Disney World can revel in its artificiality because artificiality, far from threatening the primary function of the system, actually facilitates it. Children want cartoons; they genuinely prefer low-dimensional distortions of reality over reality. Disney is where cartoons become flesh and blood, where high dimension replicas of low-dimension constructs are staged as the higher dimensional truth of those constructs. You stand in line to have your picture taken with a phoney Tinkerbell that you say is real to play this extraordinary game of make-believe with your children.

To the extent that make-believe is celebrated, the illusion is celebrated as benign deception. You walk into streets like this:

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that become this:

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as you trudge from the perpendicular. The staged nature of the stage is itself staged within the stage as something staged. This is the structure of the Indiana Jones Stunt Spectacular, for instance, where the audience is actually transformed into a performer on a stage staged as a stage (a movie shoot). At every turn, in fact, families are confronted with this continual underdetermination of the boundaries between ‘real’ and not ‘real.’ We watched a cartoon Crush (the surfer turtle from Finding Nemo) do an audience interaction comedy routine (we nearly pissed ourselves). We had a bug jump out of the screen and spray us with acid (water) beneath that big ass tree above (we laughed and screamed). We were skunked twice. The list goes on and on.

All these ‘attractions’ both celebrate and exploit the narrative instinct to believe, the willingness to overlook all the discrepancies between the fantastic and the real. No one is drugged and plugged into the Disney Matrix against their will; people pay, people who generally make far less than tenured academics, to play make-believe with their children.

So what are we to make of this peculiar articulation of simulations and realities? What does it tell us about Df?

The semiotic pessimist, like Baudrillard, would say that Disney is subverting your ability to reliably distinguish the real from the not real, rendering you a willing consumer of a fictional reality filled with fictional wars. Umberto Eco, on the other hand, suggests the problem is one of conditioning consumer desire. By celebrating the unreality of the real, Disney is telling “us that faked nature corresponds much more to our daydream demands” (Travels in Hyperreality, 44). Disney, on his account, whets the wrong appetite. For both, Disney is both instrumental to and symptomatic of our ideological captivity.

The optimist, on the other hand, would say they’re illuminating the contingency of the real (a.k.a. the ‘power of imagination’), training the young to never quite believe their eyes. On this view, Disney is both instrumental to and symptomatic of our semantic creativity (even as it ruthlessly polices its own intellectual properties). According to the apocryphal quote often attributed to Walt Disney, “If you can dream it, you can do it.”

This is the interpretative antinomy that hounds all semiotic readings of the ‘Disney function.’ The problem, put simply, is that interpretations falling out of the semiotic focus on sign and signified, simulation and simulated, cannot decisively resolve whether self-conscious simulation a la Disney serves, in balance, more to subvert or to conserve prevailing social inequities.

All such high altitude interpretation of social phenomena is bound to be underdetermined, of course, simply because the systems involved are far, far, too complicated. Ironically, the theorist has to make due with cartoons, which is to say skewed idealizations of the phenomena involved, and simply hope that something of the offending dynamic shines through. But what I would like to suggest is that semiotic cartoons are particularly problematic in this regard, particularly apt to systematically distort the phenomena they claim to explicate, while—quite unlike Disney’s representations—concealing their cartoonishness.

To understand how and why this is the case, we need to consider the kinds of information the ‘semiotic stage’ is prone to neglect…

 

Updated Updates…

by rsbakker

My Posthuman Aesthetics Research Group talk has been pushed back to June 2nd. I blame it on administrative dyslexia and bad feet, which is to say… me. So, apologies all, and a heartfelt thanks to Johannes Poulsen and comrades for hitting the reset button.

Updates…

by rsbakker

Regarding the vanishing American e-books, my agent tells me that Overlook has recently switched distributors, and that the kerfuffle will be sorted out shortly. If you decide to pass this along, please take the opportunity to shame those who illegally download. I’m hanging on by my fingernails, here, and yet the majority of hits I get whenever I do my weekly vanity Google are for links to illegal downloads of my books. I increasingly meet fools who seem to think they’re ‘sticking it to the man’ by illegally downloading, when in fact, what they’re doing is driving commercially borderline artists–that is, those artists dedicated to sticking it to the man–to the food bank.

As for pub dates, still no word from either Overlook (who will also be handling the Canadian edition) or Orbit. Sorry guys.

Also, I’ll be in Denmark to give a seminar entitled, “Writing After the Death of Meaning,” for the Posthuman Aesthetics Research Group (a seriously cool handle!) at Aarhus University on the thirteenth of this month. I realized writing this that I had simply assumed it wasn’t open to the public, but when I reviewed my correspondence, I couldn’t discover any reason for assuming this short its billing as a ‘seminar.’ I’ve emailed my host asking for clarification, just in case any of you happen to be twiddling your thumbs in Denmark next Wednesday.

Le Cirque de le Fou

by rsbakker

Crusty

There’s nothing better than a blog to confront you with the urge to police appearances. Given the focus on hypocrisy at Three Pound Brain, I restrict myself to blocking only those comments that seemed engineered to provoke fear. But as a commenter on other blogs, I’ve had numerous comments barred on the basis of what was pretty clearly argumentative merit. I remember on Only Requires Hate, I asked Benjanun Sriduangkaew what criteria she used to distinguish spurious charges of misogyny from serious ones, a comment that never made the light of day. I’ve also seen questions I had answered rewritten in a way that made my answers look ridiculous. I’ve even had the experience of entire debates suddenly vanishing in the aether!

Clowns don’t like having their make-up pointed out to them–at least not by a clown as big as me! This seems to be particularly the case among those invested in the academic humanities. At least these are the forums the least inclined to let my questions past moderation.

This, combined with the problems arising from the vicissitudes of the web, convinced me way back to use Word documents to create a record I could go back to if I needed to.

So, for your benefit and mine, here’s a transcript of how the comment thread to Shaun Duke’s response to “Hugos Weaving” (which proved to be a record-breaking post) should read:

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BAKKER: So you agree that genre both reaches out and connects. But you trust that ‘literature’ does as well, even though you have no evidence of this. Like Beale, you have a pretty optimistic impression of yourself and your impact and the institutions you identify with. You find the bureaucracies problematic (like Beale), but you have no doubt the value system is sound (again like Beale). You accost your audiences with a wide variety of interpretative tactics (like Beale), and even though they all serve your personal political agenda (again, like Beale), you think that diversity counts for something (again, like Beale). You think your own pedagogic activity in no way contributes to your society’s social ills (like Beale), that you are doing your bit to make the world a better place (again, like Beale).

So what is the difference between you and Beale? Pragmatically, at least, you both look quite similar. What makes the ‘critical thinking’ you teach truly critical, as opposed to his faux critical thinking? Where and how does your institution criticize and revise its own values? Does it take care to hire genuine critics such as myself, or does it write them off (the way all institutions do) as outgroup bozos, as one of ‘them’?

More importantly, what science do you and your colleagues use to back up your account of ‘critical thinking’? Or are you all just winging it?

Your department doesn’t sound much different than mine, 20 years back, except that genre is perhaps accorded a more prominent role (you have to get those butts in seats, now, for funding). The only difference I can see is that you genuinely believe in it, take genuine pride in belonging to such a distinguished and enlightened order… the way any ingroup soldier should. But if you and your institution is so successful, how do you explain the phenomena of conservative creep? Even conservative commentators are astounded how the Great Recession actually seems to have served right wing interests.

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DUKE: This is the point where we part company. I am happy to have a discussion with you about my perspectives of academia, even if you disagree. I’m even happy to defend what I do and its value. But I will not participate in a discussion with someone who makes a disingenuous (and fallacious) comparison between myself and a someone like Beale. The comparison, however rhetorical, is offensive and, frankly, unnecessarily rude.

Have a good day.

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[excised]

BAKKER: Perfect! This is what the science shows us: ‘critical’ always almost means ‘critical of the other.’ Researchers have found this dynamic in babies, believe it or not. We can call ourselves ‘critical thinkers,’ but really this is just cover for using the exact same socio-cognitive toolbox as those we impugn. Group identification, as you’ve shown us once again, is primary among those tools. By pointing out the parallels between you and Beale, I identified you with him, and this triggers some very basic intuitions, those tasked with policing group boundaries and individual identities. You feel ‘disgusted,’ or ‘indignant.’

Again, like Beale.

Don’t you see Shaun? The point isn’t to bait or troll you. The point is to show you the universality of the moral cognitive mechanisms at work in all such confrontations between groups of humans. Beale isn’t some odious, alien invader, he is our most tragic, lamentable SELF. Bigotry is a bullet we can only dodge by BITING. Of course you’re a bigot, as am I. Of course you write off others, other views, without understanding them in the least. Of course you essentialize, naturalize. Of course you spend your days passing judgement for the entertainment of others and yourself. Of course you are anything but a ‘critical thinker.’

You’re human. Nothing magical distinguishes you from Beale.

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Shaun does not want to be an ingroup clown. No one reading this wants to be an ingroup clown. It is troubling, to say the least, that the role deliberative cognition plays in moral problem-solving is almost entirely strategic. But it is a fact, one that explains the endless mire surrounding ethical issues. Pretending will not make it otherwise.

If Shaun knew anything scientific about critical thinking, he would have recognized what he was doing, he would have acknowledged the numerous ways groupishness necessarily drives his discourse. But he doesn’t. Since teaching critical thinking stands high among his group’s mythic values, interlocutors such as myself put him into a jam. If he doesn’t actually know anything about critical thinking, then odds are he’s simply in the indoctrination business (just as his outgroup competitors claim). The longer he engages someone just as clownish, but a little more in the scientific know, the more apparent this becomes. The easiest way to prevent contradiction is to shut down contrary voices. The best way to shut down contrary voices, is to claim moral indignation.

Demonizing Beale is the easy road. The uncritical, self-congratulatory one. You kick him off your porch, tell him to throw his own party. Then you spend the afternoon laughing him off with your friends, those little orgies of pious self-congratulation that we all know so well. You smile, teeth gleaming, convinced that justice has been done and the party saved. Meanwhile the bass booms ever louder across the street. More and more cars line up.

But that’s okay, because life is easier among good-looking friends who find you good-looking as well.