Deep Thoughts

Metaphors, Interfaces, and Thought Processes (rerun)

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Writing in today’s WSJ, Peggy Noonan says: “This year I am seeing something, especially among the young of politics and journalism.  They have received most of what they know about political history through screens  They’re college graduates…they’re bright and ambitious, but they have seen the movie and not read the book….They learned through sensation, not through books, which demand something deeper from your brain.  Reading forces you to imagine, question, ponder, reflect…Watching a movie about the Cuban Missile Crisis shows you a drama.  Reading about it shows you a dilemma.”

The article reminded me of Neal Stephenson’s book and of this post, which I originally ran in late 2007.

My post today is inspired by  In the Beginning was the Command Line, by Neal Stephenson, a strange little book that will probably be found in the “computers” section of your local bookstore. While the book does deal with human interfaces to computer systems, its deeper subject is the impact of  media  and  metaphors  on thought processes and on work.

Stephenson contrasts the  explicit word-based interface  with the  graphical or sensorial interface. The first (which I’ll call the textual interface) can be found in a basic UNIX system or in an old-style PC DOS system or timesharing terminal. The second (the sensorial interface) can be found in Windows and Mac systems and in their respective application programs.

As a very different example of a sensorial interface, Stephenson uses something he saw at Disney Worlda hypothetical stone-by-stone reconstruction of a ruin in the jungles of India. It is supposed to have been built by a local rajah in the sixteenth century, but since fallen into disrepair.

The place looks more like what I have just described than any actual building you might find in India. All the stones in the broken walls are weathered as if monsoon rains had been trickling down them for centuries, the paint on the gorgeous murals is flaked and faded just so, and Bengal tigers loll among stumps of broken columns. Where modern repairs have been made to the ancient structure, they’ve been done, not as Disney’s engineers would do them, but as thrifty Indian janitors wouldwith hunks of bamboo and rust-spotted hunks of rebar.

In one place, you walk along a stone wall and view some panels of art that tell a story.

…a broad jagged crack runs across a panel or two, but the story is still readable: first, primordial chaos leads to a flourishing of many animal species. Next, we see the Tree of Life surrounded by diverse animals…an obvious allusion (or, in showbiz lingo, a tie-in) to the gigantic Tree of Life that dominates the center of Disney’s Animal Kingdom…But it’s rendered in historically correct style and could probably fool anyone who didn’t have a PhD in Indian art history.

The next panel shows a mustachioed H. sapiens chopping down the Tree of Life with a scimitar, and the animals fleeing every which way. The one after that shows the misguided human getting walloped by a tidal wave, part of a latter-day Deluge presumably brought on by his stupidity.

The final panel, then, portrays the Sapling of Life beginning to grow back, but now man has ditched the edged weapon and joined the other animals in standing around to adore and praise it.

Clearly, this exhibit communicates a specific worldview, and it strongly implies that this worldview is consistent with traditional Indian religion and culture. Most viewers will assume the connection without doing further research as to its correctness or lack thereof.

I’d observe that as a general matter, the sensorial interface is less open to challenge than the textual interface. It doesn’t arguedoesn’t present you with a chain of facts and logic that let you sit back and say, “Hey, wait a minuteI’m not so sure about that.” It just sucks you into its own point of view.

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Seth Barrett Tillman: “Weighing” Good & Evil, and What We “Forgive” in History

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Seth follows up his post on Ireland and World War II.

Seth’s central point:

I do not suggest that Sakharov, Longstreet, or Rommel were evil men, but they did serve bad causes. I do not say that the good they did (or attempted to do) during their lives is made void by the bad. But I do say it is wrong to suggest that the bad is outweighed by the good. Cf. Edmund Burke, Reflections on the Revolution in France (1790) (“I do not say [God forbid], I do not say that the virtues of such men were to be taken as a balance to their crimes; but they were some corrective to their effects.” (language in square brackets is Burke’s)). Such a moral quantification of right and wrong is not possible by mere mortals, and those who attempt such a calculus only callous our consciences.

The notion of weighing, as Seth cites it, is a metaphor that deserves more scrutiny than it gets from many of the people who casually use it. It begs the question of who has standing to do the weighing. I don’t think it’s human beings, certainly not the humans alive today who didn’t themselves pay much of the price of, in this case, Ireland’s WW2 neutrality. The people who paid aren’t around to speak for themselves. It’s hubris for us to make moral calculations, to weigh, to forgive, in their names. Better to say, so-and-so did these good things and these bad things, and leave it at that.

(See the previous Chicago Boyz post here.)

Seth Barrett Tillman: The European Parliament’s 2016 Sakharov Prize for Freedom of Thought

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Excerpt:

I suspect there is no General James Longstreet Prize, and if someone asked me if such a prize should be created, I would say “no”.
 
There is no Rommel Prize, and if someone asked if such a prize should be created, I would say “no”. (And—just to be clear—I am not comparing Longstreet and the Confederacy to Rommel and Nazi Germany.)
 
There is a Sakharov Prize, and if someone had asked me prior to its creation whether it should be created, I hope I would have had the moral clarity to say “no”. There were and there are other people in Europe and elsewhere who this prize could have been named for: persons who were not quite so morally ambiguous. E.g., Average people—people who were not heroic or even particularly bright. Perhaps it could have been called the Ivan Denisovich Prize. It speaks volumes about the modern European zeitgeist that a major prize is named for Sakharov, but the founders of NATO—which protected Europe from Sakharov’s warheads—remain largely unknown. It goes without saying that the American taxpayer who paid for Europe’s defence (and who continues to do so) is entirely lost from sight. Europe’s cosmopolitan transnational elites much prefer believing that the years of peace and plenty were their creation, as opposed to their being the beneficiary of American good will beyond their control.

Seth’s argument is well worth reading in full.

There is no such thing as immigration

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Immigration is like darkness. It is the absence of something, not something in and of itself. It is a partial restoration of the state of nature.

The natural state of man is that we move as we please. We stop people from moving as they or we please for various reasons. These stopping points are generally, but not exclusively called borders. Borders are not permanent. They can be moved, erased, reconstituted again. As any observer of Europe will note it can happen quickly and pretty often. Borders do not have to be impermeable. They can have exceptions to the rules. When people are peacefully allowed to cross borders permanently according to the will of the people controlling the border as an exception to the general rule of no crossings, it’s called immigration. Since most borders are controlled by more than one group, the exiting group often calls it a different term than the entry group.

You cannot create a proper system of exceptions to a rule without understanding why the rule exists. But ask people who have strong opinions on immigration why borders exist and more times than not, they haven’t considered the question at all. You could intuit why we have borders by the exceptions but almost nobody does, not even immigration restrictionists. We’re all playing the old game of blind men feeling the elephant and having opinions as to what it is.

Faustian Ambition (rerun)

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A post on  ambition  at another blog (in 2010)  , which included a range of quotations on the subject, inspired me to think that I might be able to write an interesting essay on the topic  of ambition in Goethe’s  Faust. This post is a stab at such an essay.

The word “Faustian” is frequently used in books, articles, blog posts, etc on all sorts of topics. I think the image that most people have of Faust is of a man who sold his soul to the devil in exchange for dangerous knowledge: sort of a mad-scientist type. This may be true of earlier versions of the Faust legend, but I think it’s a misreading (or more likely a non-reading) of Goethe’s definitive version.

Faust, at the time when the devil first appears to him, has devoted his entire life to the pursuit of knowledgein many different scholarly disciplinesand is totally frustrated and in despair about the whole thing. It is precisely the desire to do something other than to pursue abstract knowledge that leads him to engage in his fateful bargain with Mephistopheles.

If it’s not the pursuit of abstract knowledge, then what ambition drives Faust to sell his soul? C S Lewis suggests that his motivations are entirely practical: he wants “gold and guns and girls.” This is partly true, but is by no means the whole story.

Certainly, Faust does like girls. Very early in the play, he encounters a young woman who strikes his fancy:

FAUST: My fair young lady, may I make free
To offer you my arm and company?
GRETCHEN: I’m neither fair nor lady, pray
Can unescorted find my way
FAUST: God, what a lovely child! I swear
I’ve never seen the like of her
She is so dutiful and pure
Yet not without a pert allure
Her rosy lip, her cheek aglow
I never shall forget, I know
Her glance’s timid downward dart
Is graven deeply in my heart!
But how she was so short with me
That was consummate ecstasy!

Immediately following this meeting, Faust demands Mephisto’s magical assistance in the seduction of Gretchen. It’s noteworthy that he insists on this help despite the facts that (a)he brags to the devil that he is perfectly capable of seducing a girl like Gretchen on his own, without any diabolical assistance, and (b)a big part of Gretchen’s appeal is clearly that she seems so difficult to wina difficulty that will be short-circuited by Mephisto’s help.

Mephisto, of course, complies with Faust’s demand…this devil honors his contracts…and Faust’s seduction of Gretchen leads directly to the deaths of her mother, her child by Faust, her brother, and to Gretchen’s own execution.

Diabolical magic also allows Faust to meet Helen of Troy (time and space are quite fluid in this play) whom he marries and impregnates, resulting in the birth of their child Euphorion.

So, per Lewis, yes, Faust is definitely motivated by the pursuit of women. But this is only a small part of the complex structure of ambition that Goethe has given his protagonist.

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