something about the film "Blade Runner"

1982's "Blade Runner" is a noir-ish, dystopian, science fiction film directed by Ridley Scott and starring Harrison Ford and Rutger Hauer. In 2019 powerful corporations have manufactured genetically engineered organic robots called replicants to do dangerous and menial work on off-world colonies. Replicants are almost indistinguishable from humans, but they are engineered to live short lives--a few years, max.

When some replicants rebel on one of the colonies, they are banned from Earth; any of them discovered back on Earth are hunted down and "retired" by special operatives known as Blade Runners. The film tells the story of a group of recently escaped replicants hiding in Los Angeles, and the veteran Blade Runner, Rick Deckard (Harrison Ford), hired to hunt them down.

The Tyrell Corporation is a major producer of replicants. Their slogan, "More Human Than Human," encapsulates the philosophical, physiological, and moral dilemma posed by the film: What does it mean to be human?

The slogan "More Human Than Human" doesn't merely pitch the advanced abilities of the intelligent, physically gifted replicants. It seems to differentiate and dehumanize replicants. It focuses on their otherness, and encapsulates it in the word more. But is there a difference? Can one human be more human than another?

Roy, played by Rutger Hauer, represents the newest, most advanced model of replicant. As the film's action rises, Roy breaks into the the penthouse occupied by the CEO of the Tyrell Corporation and demands more life from his maker. His manner is sinister, but his needs are all too human. At the end of the film, as his life runs out, Roy, resigned to his inevitable death, delivers a monologue regretting how his memories are about to be lost forever.

The film leads us to conclude that our protagonist, Deckard, is nothing more than a murderer. Does he share this view of himself? In the version of the film with voice-overs, he only refers to himself as a killer.
  

Notes: 

• The screenplay is loosely based on a Philip K. Dick novel.
• Drawing distinctions between peoples helps justify killing.

 

about "Believing Is Seeing" by Errol Morris

In Believing Is Seeing, Errol Morris investigates our relationship with photos--how we view them and what they mean to us. He uses several well-known photographs to flesh out some solid insights. One of the first insights is that we tend to look for motivations in a picture. What was the photographer trying to say? What is the guilt or innocence of the person in the picture? But Morris dismisses such attempts to infer anything beyond what the picture shows. Photos, he says, merely record data. But because we privilege vision, we imagine that photos provide a door to the truth. And in our imagining, we make false inferences and draw hasty, faulty conclusions.

Morris also questions and ultimately dismisses the idea that posed photos cannot serve as documentation and are inauthentic; the fact that something is always excluded from view (intentionally or not) while other things are included means that all pictures are posed to some degree. (This vein of discussion mirrors parts of modern rhetorical theory.)

Most of Believing Is Seeing is a super interesting read. My only complaint is that Morris strayed too far into the weeds in the last section when he forensically examines a set of documentary photos and their related documentation from public works projects of the Depression. 


Note:
The book's full title is Believing Is Seeing: Observations On the Mysteries of Photography.

about no authority

Maybe you heard that the Sandy Hook Elementary School shooting sparked a national conversation on gun ownership. Or maybe you heard that George Zimmerman's jury trial for killing Trayvon Martin prompted a national conversation on race. Or, with young Americans Bradley Manning and Edward Snowden being accused of espionage, perhaps you heard that we're conversating nationally about privacy and surveillance, or about freedom and safety. Amid any controversy now, pundits and the public readily declare or call for a national conversation about the issue.

What's more, these "national conversations" are often fueled by "competing narratives" of rhetors who, in the public debate, project certain "optics". We hear this kind of language in political news coverage more and more--language that implies open questions with no shared sense of answers, truths, or appeals to objectivity. This talk signals a shift or further slide in our worldview toward a wider, freer recognition of relativism and subjectivity as opposed to a shared sense of culture and identity. The news has never been totally neutral as it is vulnerable to a number of institutional biases (visual bias, narrative bias, fairness bias, etc.), but now it seems to be inching even further away from its attempt to describe one reality.

The declaration that we're having a national conversation waylays news coverage of polarizing issues. Having a national conversation about an issue defuses and mutes the controversy by invoking the illusion of thoughtful, productive dialog held around America's dinner tables and water coolers. The declaration that we're engaged in conversation substitutes for real dialog or conflict resolution. We talk about problems; we do not solve them. We air grievances and arguments, but all for naught because the discussion and coverage of it simply exhaust themselves, and we're left with nothing but the next thing to talk about.

Using the word narratives invokes the idea of a story, a version of events. This is obviously wholly different from the truth. The reader can decide to accept it or reject it. There are dominant narratives and prevailing narratives, but no truth.

Another new term in political news coverage is the word optics. Optics refers to the perspective of the viewer, how things look, and the first surface-level impression a given issue or person(s) makes on the news consumer. A check for patterns is basic first-level analysis. This is something people with a even a passing interest in a given object do anyway, without the help of experts. At best, what is seen is equal parts wall and window, a distraction and glimpse inside. Here, the truth is traded for appearances. The truth or reality is a nonconcern. The impression is stated, and its ephemerality and inconclusiveness is informally recognized and sanctioned.

If this argument is valid, and if it signals anything, it would signal the further disintegration of shared sense of culture and identity.

Notes:
Or maybe this has always been the case.

Update:
Some historians say that, in the Progressive Era, journalism could unite public opinion which would push Congress to pass legislation fixing some problem. This is precisely what a national conversation prevents.

about calling bullshit

The Wall Street Journal calls bullshit on Malcolm Gladwell. He's a salesman in that fraudulent industry that markets threadbare insights.

Gladwell isn't even a provocateur. He's a selective aggregator of statistics that yield him spurious conclusions.

I don't believe it

about "I Wear The Black Hat" by Chuck Klosterman

I Wear the Black Hat bounces around the topic of villainy with a collection of deftly written essays by American writer and essayist Chuck Klosterman. The reading flies by thanks to Klosterman's fresh prose. He's at his best when musing over the finer points of individuals and pop culture references; one of the best passages in I Wear the Black Hat finds Klosterman articulating the nuances of his (and many others') intolerance for the classic rock band The Eagles.

But, unfortunately, Klosterman too easily gives in to the temptation to sound profound, and the result is a handful of hasty generalizations; a prime example from this book is when he attempts to extrapolate a larger cultural lesson from the decline of 1980's flash-in-the-pan comedian Andrew Dice Clay.* This kind of fallacy is pervasive in the pop culture-centric variety of writing commonly found in sources like The New Yorker, Gawker, and Deadspin among others. Nevertheless, I Wear the Black Hat is an overall agreeable read by an astute observer and talented writer.


Notes:
* There have been so, so many Andrew Dice Clays--performers and artists who seem to suddenly appear but then disappear--that putting any single one of them under a microscope should attract a good measure of skepticism. In the case of the "Diceman," maybe interest in him waned simply because he only had one joke.

that another year is gone

I didn't realize what day it was until getting to work and seeing the date on the morning's first email. That was it. The rest of the day passed unnoticed.

but not now

something about Michel Foucault, "The Government of Self and Others"

These lectures, delivered by Foucault at the Collège de France in 1982 and 1983, meditate on the concept of truth-telling known as parresia. The bulk of these lectures have Foucault tracing the use, exercise, and implications of parresia through ancient Greek texts.

Foucault starts, however, in the Enlightenment.

What is Enlightenment? Kant asked, and Foucault restates the question: What is this present?* Foucault finds here not only the beginning of contemporary philosophy but the seed of his own brand of inquiry: a discursive practice of philosophy that collides with its own present reality. The speaker--first, Kant, now, Foucault--is no longer speaking as a member of a philosophical tradition or community, but as a part of the present. And, ever since, philosophy has continued questioning its own present reality.

In his reflections on the Enlightenment, Kant speculated that the human race was making progress. He figured that popular support abroad for the ideals propelling the French Revolution symbolized this progress. Man was leaving an era in which he was unwilling to use his reason. Now, he would reason; and, once free to exercise his reason, he could be obedient. More freedom of thought, more obedience. And this obedience requires a kind of self-governance that Foucault interrogates in much of his work.

After a brief visit with the Enlightenment, Foucault starts to dwell in the ancient texts, starting with the myth of Ion and rounding the final corner with Plato's Phaedrus. In these stories he identifies the roles and implications of courage, politics, rhetoric, and philsosophy in the practice and concept of truth-telling known as parresia.

To my mind, this was so far the least compelling of these newly published Foucault lectures. But my mind is somewhere else now, maybe.

Notes:
* Prior to the Enlightenment, people spoke of the present in terms of periods of prosperity or decadence.

Constitution of the United States

what Big Daddy said

 
"Truth is dreams that don't come true, and nobody prints your name in the paper 'til you die."

   -Cat on a Hot Tin Roof

Suicidal Tendencies, "Institutionalized"

about the book "Suite française" by Irène Némirovsky

Suite française pushes us gently, more or less, into Occupied France, 1940. We shuffle around with members of the upper, middle, and lower classes trying to escape and then settle under the Germans.

This book--alternatively titled Dolce and Captivité--is an incomplete draft of two parts of a war-time epic that the author, Irène Némirovsky, wanted to write. She would never finish.

Born in 1903 in the Russian Empire, Némirovsky fled the Russian Revolution in 1917 and eventually settled in Paris, France. She soon began writing, published a couple books, and achieved wide recognition as an author. But her Jewish ancestry remained an issue--enough so that French citizenship was denied the Némirovskys in 1938. Némirovsky, born Russian-Jewish,  converted to Catholicism in 1939; with the pressure on, she wrote for Candide and Gringoire, two magazines with antisemitic tendencies.

Nevertheless, by 1940, Némirovsky's books could no longer be published under the spreading occupation. She fled with her husband and two daughters to Burgundy; but in July 1942, Némirovsky, then 39, was arrested by French police under German authority. She ended up in Auschwitz and died a month later of typhus. Later that year, her husband, Michel Epstein, was gassed at Auschwitz.

So, given this backstory, the flaws in the draft Suite française are unimportant. I enjoyed most the domestic drama between a formidable woman named Madame Angellier, a young maiden, Lucile, and Bruno, a German soldier bunking with the women. This is the most developed thread of multiple story lines that Némirovsky never got to tie together. Lucile and the soldier kindle a romance that disgusts Madame Angellier, a proud woman already embittered by loss of family and national pride. In the final pages, the soldier bids the women adieu as he and the other occupying German soldiers are called away to the horrible war on the Eastern Front. Lucile makes her last pathetic request of the soldier:

"... I'm asking you, if you have any feelings for me, to be as careful as possible with your life."
"Because it is precious to you?" he asked nervously.
"Yes, Because it is precious to me."

And Suite française's narration considers,

How many Germans in the village--in cafés, in the comfortable houses they had occupied--were now writing to their wives, their fiancée's, leaving behind their worldly possessions, as if they were about to die?

In two appendices full of the author's notes and letters from various others in her life at the time, Némirovsky reveals herself to be a very complicated person, veering between philosophical musings, harsh political judgements, vain self-assessments, and composed fear. Némirovsky perhaps intended to indict the French for their lack of answers to the occupation, but what I read is far less localized, and quietly emotes on several universal themes. This is a worthy read.

about a passing

Leaving for the day, I looked out the revolving door and noticed the airy drizzle. These were the raindrops swelling up in the heat of your breath, suffocating me on the walk out from the suspended life of a day at the office.

another word about "Fear and Tembling" by Søren Kierkegaard

Abraham's trek to the lonely height of Mount Moriah took three days; for three days an ass jostled there, carrying Abraham and his long-wished for, unconditionally loved son. The journey would end in the father's sacrificing Isaac. What if Abraham had resigned himself to the loss, to living the rest of his life having used his own hands to saw through Isaac's throat? And, worse still, what if, having accepted and prepared himself to perform that horrific act, what if God called it off, and let Abraham keep Isaac?

Abraham would be forced to live with the child he had already sought to kill.

The amazing thing--where faith is found--is not in the fact that Abraham was willing to sacrifice his son; no, it was Abraham's knowing that he would not lose Isaac, no matter what happened on Moriah.

Through faith I don't renounce anything, on the contrary in faith I receive everything ... It takes a purely human courage to renounce the whole of temporality in order to win eternity ... Through faith Abraham did not renounce his claim on Isaac, through his faith he received Isaac.

Pictures of him as a boy

For leaking classified US government information to the website Wikileaks, on July 30, 2013, Army Private First Class Bradley Manning was convicted of 17 charges, including five counts of espionage and theft. On the heels of this verdict, The New York Times published an article titled "Loner Sought a Refuge, and Ended Up in War". Here, Manning is described as a lifelong outcast. The article further reveals that it was not his crimes that he was being tried for, but his identity:

As prosecutors accused Private Manning of being a self-promoting “anarchist” who was nothing like the tortured man of principle portrayed by his lawyers, supporters around the world celebrated him as a martyr for free speech. But the heated language on both sides tended to overshadow the human story at the center of the case.

The article does the sense-making for us. In its narrative, Manning's online connections--first with Wikileaks founder, Julian Assange, then with computer hacker Adrian Lamo--that led to this conviction follow a pattern, and add the apparently unfortunate conclusion to his coherent life's story. However, contrary to what the article says, it is precisely the human story that has been at the center of the case and the center of media coverage from day one: international outlaw, Julian Assange; guilty martyr, Bradley Manning; narcissistic fugitive, Edward Snowden--these are the characters, and they are the story.

a month late about the NRA response to the Newtown massacre

A week after 20 children and six adult staff members were murdered during a mass shooting at Sandy Hook Elementary School in Connecticut, US, the NRA's Executive VP and CEO, Wayne LaPierre, read a public statement representing the NRA's response. The NRA called for installing armed security at schools, reasoning that banks, courthouses, office buildings, etc., all have armed security. The NRA's statement went on to at least partially attribute the appearance of escalating public violence to video games and movies.

In the wake LaPierre's reading, one line from the statement came to represent the whole of it:

The only way to stop a monster from killing our kids is to be personally involved and invested in a plan of absolute protection. The only thing that stops a bad guy with a gun is a good guy with a gun. Would you rather have your 911 call bring a good guy with a gun from a mile away ... or a minute away?

Critics and detractors panned the statement, calling it paranoid and delusional. Politically, it had its strengths and weaknesses. But the takeway statement--that only a good guy with a gun can stop a bad guy with a gun--that part is special.

This line is special because it harmonizes the interests of the NRA's individual members with those of gun manufacturers and sellers. See, gun manufacturers and sellers accept bad guys' money as surely as they accept good guys'. In their ideal scenario, everyone is armed. Good guys have a gun; bad guys have a gun. And the industry has the cash.

Meanwhile, the NRA's individual members all imagine they are good guys--good guys armed for the benefit of all the would-be victims out there.

about Søren Kierkegaard's "Either/Or"

This review is incomplete. In fact, this isn't properly a review of Either/Or at all. I struggled to stay interested, and by the latter third of this collection of essays, I was barely even skimming the text.

My edition is abridged, and the editor's preface reasons that passages in the original complete text could (read: should) have been edited out in the first place. After having pushed through a majority of these pages, I can understand the temptation to trim a text in hopes of avoiding the kind of wheel-spinning that can mar an otherwise valuable work.

Now, Either/Or.

Kierkegaard wrote and published Either/Or using pseudonyms. He even fronted the text with an editor's preface that gives a fictional account of the book's contents--various writings roughly divided into an aesthetically-oriented first half, followed by an ethically, duty-oriented second.

The aesthetic portion is a collection of essays largely about artistic appreciation, love, and boredom. It's also largely consumed with melancholy. Kierkegaard's fictional authors discuss real works of art, and focus on the abstract, lending otherworldly qualities to the finer arts. Early on, there is some discussion that reminds me of Plato's forms--things themselves and ideas of things.

The "Shadowgraphs" essay has some of the more interesting content in this half. Here is a striking, although very historically-situated passage:

The point in reflective sorrow is that the sorrow is constantly in search of its object; the searching is the unrest of sorrow and its life. But this searching is a constant fluctuation, and if the outer were at every moment a perfect reflection of the inner, to represent reflective sorrow would require an entire series of pictures and no one picture would require genuine artistic value, since it would not be beautiful but true. We would have to look at the pictures as we do at the second hand of the watch; the works themselves are invisible, but the inner movement constantly expresses itself in the constant change of the outer. But this change cannot be represented in art, yet it is the whole point.

And, soon after, Kierkegaard's fictional author compares the pain of broken engagements to that of a broken marriage; this comparison is especially meaningful coming from Kierkegaard because, prior to Either/Or's publishing, he broke off an engagement and was much scandalized for it publicly, and much tormented by it privately. He reasoned in his journals that he broke the engagement because he did not have faith, supposedly. In Either/Or, he writes:

What must evoke reflective sorrow even more ... is the fact that it is only an engagement that has been broken off. An engagement is a possibility, not something actual, yet just because it is only a possibility, it might seem that the effect of its being broken off would be less, that it is much easier to withstand this blow. And sometimes that may well be true. On the other hand, the fact that it is only a possibility that is destroyed tempts reflection much more to the fore. When something actual is brought to an end, generally the break is far more radical, every nerve is cut asunder and in itself the fracture, regarded as such, remains complete. When a possibility is broken off, the instantaneous pain may not be as great, but then it leaves one or another small ligament whole an unharmed, which becomes a constant source of continued suffering. The destroyed possibility appears transfigured in a higher possibility, while the temptation to conjure up such a new possibility is less when it is something actual that is broken off, because actuality is higher than possibility.

Then the book continues with exercises in art appreciation. The focus on seen and unseen aspects of art continue, as the speaker strives to see real works as higher representations. Obviously, Kierkegaard does not regard the aesthetic as the equivalent of hedonism.

The second half (maybe less than half) of the book focuses on ethical considerations and a sense of duty. I didn't necessarily see these halves as being in direct tension. But my attention started to wane. So much so that I won't continue here. I'll have to revisit this later.

Did you know: O.J. Simpson played for the 49ers, 1978-79

After he was injured in 1977, the Bills traded O.J. Simpson to the San Francisco 49ers for a second-round draft pick. He retired in 1979.

about Cormac McCarthy's "The Road"

We join a father and son journeying down a desolate but dangerous road cut through postapocalyptic America. They, suffering, were just trying to get to the end. I felt the same, reading this story in Cormac McCarthy's The Road.

We're the good guys, the father says. But in time the boy begins to doubt, then grows wholly disbelieving. Through his seared-in allegiance to his son's preservation, the man abandons his capacity to trust, and so loses his humanity.

After figuring this out, the boy sees that, though he is his father's burden, he is the one shouldering the world. His humanity still budding, the boy worries for each damned soul they pass.

Having reached the coast and been turned back around, The Road finally concludes with father-protector dying, and son taking the hand of a stranger; whether this show of desperate hope and resigned trust will be rewarded is unknown.

Cormac McCarthy links hope and trust; and those, with youth. So what does this futuristic tale, published in 2006, say about our fate?

Unlike Cormac McCarthy's one-dimensional dustbin of days, our terrain grows more and more complicated, but also more open, with more people connected and more isolated and stratified at the same time. And here, again, we see that caution and the drive for self-preservation is as indispensable as the capacity for hope and trust. But, moreover, in Cormac McCarthy's world, both persist with us until our dying day. Cynical, pointless doom.

I appreciated that McCarthy's sparse prose reflected the desolate world he created, but I never got into this, and did not enjoy it in any sense.