We aren’t helpless. All of what’s against us is part of what Naomi Klein calls ‘The Shock Doctrine’, and others call ‘Flooding The Zone’. The object is to bombard people with a sense of constant crisis, so that we become numbed, disoriented, confused and discouraged, and ultimately we loose focus and give in to despair.
A counter to this is embracing a wider vision, one that no longer perceives the world as if our particular national perspective is the only lens available. The world is changing rapidly and far too quickly for anyone to exert enduring dominance and control. We are watching the diminishing of outmoded institutions like the nation state and moving gradually (and painfully) toward a different alignment of the global order. Rather than hurling bombs and nukes back and forth, the economic and political universe, under the pressures of climate change and new technologies is rapidly reorganizing itself.
Resistance to the domination of any religion, ideology, or so-called ‘superpower’ is arising everywhere. In every nation and in every person, all of the old boundaries and alliances are being daily challenged.
We don’t have to be overwhelmed. The whole world is rapidly being forced awake. We must become attuned and direct our attention toward helpful and healing efforts going on in the world. Human beings are endlessly creative. Although we often struggle to open our vision to new worlds and a new order, we’ve never failed to see our way through.
We are no longer isolated. No one is. The world is one interwoven economic organism. Like the Internet, a vast and excellent living protoplasm, woven in networks, designed to reorganize and reroute itself around anything that blocks its way, anything that wounds or damages. Designed to defy apocalypse and to survive.
It has started. We’ve been attacked from within. Blood will be shed. Blood must be shed. That’s the price…the sacrifice. It will be the young on the streets and the old in their homes. The center will not hold, because we all dwell in the periphery. A new center will arise in each of us. The center and the whole will be the same.
‘Essential’, ‘Unforgettable’, ‘Body Horror Classic’, ‘Feminist Cult Classic’, ‘Dark Comedy’, are some of the quotes being thrown around about ‘The Substance’, a new film by Coralie Fargeat, starring Demi Moore. The best description I’ve seen is the line in the teaser from New York Magazine, “An enraged scream in cinematic form”. Having been released during the season of America’s self immolating election, ‘The Substance’ is a testament to society’s desire to go backwards into thin fantasy worlds created to protect us from looking at ourselves.
The film is relentless and brutal and without compromise. Many viewers may be repulsed, or even traumatized, although I question if anything on the screen matches the daily horror displayed on the evening news. The film juxtaposes the sleazy spectacle of Donald Trump style beauty pageants with explosions of rage that reminded me of the movie ‘Carrie’, as well as the tortured physical metaphors often portrayed in the films of David Cronenberg.
Blending horror and comedy in a surrealistic mix of ‘pumped up’ visual extremes we see in television commercials and popular magazines, ‘The Substance’ pushes up against cinema’s most powerful operatic limits. The intent is to forcibly shock the viewer awake. Its images are grotesque and direct, and anyone not altered in their presence is either unconscious or braindead.
In the face of extremes of hate and violence pushed by those who wish to rule and profit, the floodgates of truly political art have opened in the mainstream. Films like ‘Barbie’, ‘Women Talking’ and ‘Poor Things’ speak directly to the atrocities of female oppression. ‘The Substance’ is one of those, and it isn’t trying to be reasonable or gentle in a world where the spectacle of politics has taken us to the edges of absolute chaos.
During the drawn out, horrifying and over-the top final cataclysm in ‘The Substance’ there’s a close up shot of a terrified little girl covered in blood. She’s been dressed up to echo the exotic sexual fantasies paraded before her on the stage, and her face displays the full horror children witness everyday in a world trapped in its fantasies and dominated by its own irrational fears.
I just finished the remarkable new book by Nancy Pelosi, The Art Of Power. It was on the one hand an inspiring first hand account of indomitable courage and determination in the face of difficult odds and a history of the major political struggles I’ve witnessed since 1987. On the other hand it’s an account of a time of civility in politics and government that has frayed and all but collapsed since the rise of Trump.
I feel both pessimistic and useless in the face of what’s coming. I now find myself reading books about the lead up to wars; Eric Larson’s The Demon of Unrest, about the five months preceding the first American Civil War, and The Proud Tower, by Barbara’s Tuchman, about Europe and America before World War One. Each marked the necessary transition from one state of civilization to the next. I find that reading history helps me out of a state of helpless depression, perhaps it helps me to accept that what’s likely to happen has happened before.
Yesterday I saw Coppola’s new and perhaps final film, Megalopolis, which is a rather surrealistic fable depicting the conflict between creativity and stagnation in a world of decadence and decline. It ends in a rather fanciful and/or hopeful conclusion, where creativity and progress apparently triumphs over our clinging to the past.
I was reminded of the film that has had a strong impact on me this year. Civil War depicts in realistic and down to earth terms a likely scenario should the USA descend once again into bloody conflict. In interviews, both the director and the actress Kirsten Dunst refer to Lee Miller, upon which her character is based, and the subject of the newly released Kate Winslet film, Lee She was a World War Two photographer who bore witness to some of the worst atrocities of that conflict.
I’ve come to believe that the likelihood of an election without violence and a peaceful transition of power is unlikely, no matter who wins, and the only thing you or I can do to alter events is to choose not to participate in the violence in word or deed. We must refuse to spread the hatred and fear being directed by so-called leaders, against the poor, the weak and the ‘others’ in order to advance a bid for supremacy and power. We must recognize the seeds of fascism that are being encouraged everyday, and deny them from taking root within us.
I’ll be driving up to Denver to take a flight to Cleveland to visit family on October 24th and will return to Santa Fe the day before the election. I wonder whether this trip will mark a rise or fall of the world we’ve known. Right now I’m not betting either way.
It’s interesting that two of the most prominent films in the same year carry themes as ‘similar as ‘Barbie’ and ‘Poor Things’, while offering radically different and original approaches. Both are comedic fairytales that confront our common fantasies about female autonomy, while being directed toward different audiences and leaving us in different places.
Both films center on the theme of following a single character from a more or less one-dimensional state to the development of a self possessed personality. Both Bella and Barbie begin their journeys by learning how to walk. By the end one has achieved a state of dominance and autonomy, while the other is left more or less still at the beginning of the path.
‘Poor Things’ centers itself in the remarkable performances of its cast. (I was thrilled to see Hanna Schygulla as the elderly dowager that Bella encounters on the ship. I confess that she was my greatest screen crush in my younger years, and I’d recognize her smile anywhere.) This film dwells in an imaginary Victorian dreamworld, while dealing more forthrightly with intimate issues of control through sexual dominance and submission. The denouement is definitive and satisfying, while being entirely fanciful.
The central characters in ‘Barbie’ are actually the contemporary images and fantasies to which we’re exposed in consumer culture. Every scene saturates us with references to movies and television and advertising. Homages abound, from old MGM musicals to ‘The Matrix’. We move back and forth from imaginary ‘Barbieland’ to corporate and middle class Los Angeles, ensuring that even the most obtuse viewer is aware that it’s our own world being challenged. At the end of this movie the central character has only begun to face the real world, and we the audience are left exactly where we are.
It’s an opportunity to watch two stylistically different and excellent films approaching similar themes in the same year. ‘Poor Things’ reminds me of Terry Gillian’s ‘Brazil’, while ‘Barbie’ dwells more in the realm of Jean Luc Godard (if he were capable of doing a popular musical comedy).
In the afternoons, following a day grappling with my high school insecurities, I’d stroll down the street from school to visit my friend Bill Halas at his home. Sometimes I’d bike over there in the evenings. Bill’s mother accepted me as an addition to a household that once included a husband and five older siblings. She and Bill, the latecomer, were both avid cooks and gardeners and active readers, sharing sophisticated tastes in music and art. Bill’s father passed away when he was very young, and when I met him his older siblings had long departed the household. Having an extraordinarily precocious and active mind his life had taken a rather solitary trajectory, his mother being the most reliable companion and sometimes his intellectual adversary. My own teenaged life was made unusual by the experience of being recruited for a special government program that took poor kids with high IQ’s out of their normal milieu and sent them to spend the summer living on college campuses. Our friendship flourished. Together we navigated the complexities of a rapidly changing world in the late 60’s, our bond growing from a shared sense of alienation and a drive for mutual discovery.
We met amidst a shifting cultural landscape with war, race riots, and assassinations unfolding in real time on our television screens. Popular culture was shifting radically from the segregated milieu of radio and the movies. Grasping for alternatives, we immersed ourselves in diverse music genres, from jazz to classical to experimental, and engaged in earnest discussions on philosophy and politics. We wandered the city smoking cigarettes rolled with pipe tobacco. We agreed and disagreed on everything. Sometimes we took his mother’s little Honda on road trips across the northern Ohio countryside, making up poetry inspired by highway signs (‘Pass With Care’).
I was the idealist and Bill was the purist, who took everything down to its roots. When I first met him he was experimenting with hydroponics. When he became interested in weaving he built his own loom and wove his own cloth and made his own hats. When he took up photography he began by studying its history, then building his own pinhole camera. Finally, he took up his brother’s old Nikon and developed the photos in his dad’s basement darkroom. My own nature was less grounded, tending toward the pursuit of imaginative utopian speculation and obscure strains of idealistic thinking. I felt compelled to understand the whole of everything, and very path I took led me down side roads, making it difficult to pursue a single course or become a model student.
Bill’s political awareness was way ahead of my own. He travelled to Chicago with his brother in 1968 to demonstrate at the Democratic convention and brought back photos and first hand accounts from the fringes of the police riot that we’d all watched on television. Later in our high school career we conspired with like minded friends to create an alternative journal that we mimeographed at the local anti-war office. We passed out leaflets and marched in circles chanting slogans in downtown Cleveland and attended meetings of a small radical organization led by a retired teacher and veteran of the Lincoln Brigade who fought in the Spanish Civil War.
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Our friendship endured beyond high school as we pursued separate paths in college, delving into alternative communities and exploring the back-to-the-land movement. Bill’s quest for self-sufficiency and my search for spiritual revelation led us on distinct journeys. During those years in the early seventies everything everywhere was in flux and was being questioned, and for both of us the quest took us out of the proscribed path of college and career.
After we’d both left school we got together for a road trip east, tracking down old classmates and exploring alternative possibilities. We proceeded to Boston, where we met a friend of Bill on a sidewalk near Harvard Square. A large expansive figure closely resembling the British actor Peter Ustinov (with a beard), he sold carnations on the street, playing a concertina and disarming prospective customers with a performance that came right out of magical fairytales. We spent that evening at his lodgings in the attic of an unheated and condemned three story house in Roxbury. The next morning we crawled out of our sleeping bags to get breakfast at a nearby cafe. Our appetite for squalor satiated, we made our way out of the city and headed back to the Midwest.
Eventually, after making a long pilgrimage to the West I moved to Denver. Occasionally, while visiting my family back east I’d get together with Bill and he’d demonstrate for me whatever new endeavor had absorbed his interest. Over time these became increasingly esoteric even for my taste, involving dowsing and ley lines evidence for antedeluvian alien carvings left behind in rocks and boulders. He poured over old maps illustrating the mysterious energetic pathways determining the placing of streets and structures in small towns all over Ohio.
Our contacts dwindled over the years, and the last I heard from Bill was through letters filled with further interpretations of ancient artifacts and faces found in the rocks. I’d heard he was in contact with the Edgar Cayce people in Virginia and intended to build his own private settlement on a plot of land that his brother owned in Vermont. After at a year of hearing nothing I found out from his mother that he’d fallen out of communication with everyone. In a last message to his older brother, Bill had mentioned spotting a brown bear on the plot of land. After months of trying to track down his whereabouts the family concluded that he’d disappeared without a trace. For the sake of closure they accepted that he’d probably been eaten by the bear.
I don’t know what really happened to Bill Halas. All I’m sure of is that
All I know is that we shared a moment in time, embarking on uncompromising journeys, determined to face the mysteries of the world, whether in the rocks, the forest, or the primal currents beneath.”
I just imbibed two healthy pints of Scotch Ale, a small handful of psychedelic mushrooms and a chunk of potent marijuana brownie…while printing 32 greeting cards so that I can replenish my rack at the grocery store and contribute to my gasoline fund for future trips into the present.
I’m hoping that some combination of the above will somehow blast me out of a sense of helplessness in the face of all the craziness and suffering, although I know it’s not really my responsibility and that I’ve done my part to advance this whole contraption…
I’ve been watching VICE NEWS documentaries looking into the darkest corners of the world, watching ‘Severance’ and ‘The Man Who Fell To Earth’, reading a Jonathan Franzen novel about a Christian youth group and reliving so many moments in the deep past in order to write about them, and writing about them, and wondering if this voluntary isolation from all the world matters anything at all.
Listen to the sound of tree limbs clashing deep in the primeval forest. ‘Klick!’ – It’s Doctor Strange on the offense, striving – ‘Klack!’ – to drive off the nefarious mystical spell castings of Baron von Mordo. My brother and me among the giant virgin pines in a Pennsylvania forest in 1963, acting out our favorite comic book fantasies as our parents set up our overnight camp. In those days we played at adventure and wandered magical worlds that are always open to imaginative travelers and children. Our family roamed the highways from Cleveland and the Midwest, circling the Great Lakes into Canada and driving south to Florida and east to Maine and the coast and along Appalachian ridges. We stopped at ocean beaches, floated in ‘glass bottom boats’ among the Everglades, gazed across rural landscapes from high mountain perches, peered up at the tall canyons of Manhattan and took in the futuristic wonders of the New York World’s Fair in 1965.
Growing up in the shadow of World War, I remember military aircraft flying in formation over the neighborhood when I was very young. Every Sunday we drove past an enormous parking lot filled with surplus tanks parked in the General Motors lot on our way to church. The weeks were punctuated by air raid sirens and school was interrupted by ‘duck and cover’ drills designed to stimulate the vivid nightmares of those of us who could contemplate the final fate of humankind.
An older boy who lived down the block kept pigeons in a coop on his upstairs back porch. The pigeons would circle over our houses every day. We kept a turtle in the back yard that our grandparents brought back from the road on one of their exotic yearly trips to California. This was before the Interstates were built, and the turtles were found crossing the two lane highways that made America interesting. In the winter the turtle would dig a hole in its little enclosure in which to hibernate. Every spring we anxiously awaited the resurfacing, coaxing the displaced beast with offerings of earthworms. Sometimes the turtle wouldn’t appear and that year our grandparents would bring us another.
My mother told me stories late in life about my very early childhood as an infant caught in the midst of a rivalry for attention between her and my grandmother, her mother-in-law. I carry almost no conscious recollections from those very early days when my parents shared a house with my grandparents. I have one dim memory of being pushed in a baby carriage by a very nice young woman who was my babysitter. She died of leukemia when still a teenager. Perhaps this was my first taste of grief. It could be that my mother only told me these stories in dreams. Maybe I’ve mixed up her stories with those of other relatives who are long gone.
The house I remember growing up in was located in an older part of town across the street from my great grandmother’s large corner dwelling. I spent hours upstairs in her kitchen, drinking coffee tempered with evaporated milk, listening to her tales of coming to America from the old country with her brothers early in the century. They opened a butcher shop in the neighborhood, when that part of the city was still mostly rural, the streets mostly dirt, yet to be covered in red bricks and later with asphalt when I was a teenager. There was still a butcher shop on the corner downstairs in the front of the large house, run by another family at the time. The large back yard was full of fruit trees and flower beds that my family would help her maintain. Just outside of the second story kitchen windows was a cherry tree that became the centerpiece of every summer when we climbed and picked the ripe and sour cherries. My younger brother fell from it one year and broke his leg, spending the remainder of that summer as an invalid perched in a bed that was set in our narrow downstairs dining room.
When I’ve gone back recently to visit the old neighborhood our old house still stands, in the very center of the block, slightly raised above the neighbors, and incredibly small. It’s hard to believe that four kids and two adults occupied that space for so many years, while my mother dreamed of the suburbs and argued with my father, who always hesitated, not one to take chances risks. Only after I had moved on into my independent life and my father died of lung cancer did my mother finally make the move that she dreamed of.
An Oldsmobile Vista Cruiser careens through the night along the rural roads of northern Ohio carrying three boys, almost men, probably stoned or drunk on something, composing poems out of the romantic words on road signs; “Pass With Care”, “Soft Shoulders”, “Narrow Curves.” The car was borrowed from someone’s parents. With the windows wide open and the moist breezes of northern forests wafting over us, we exulted in our futures and the promising scents of freedom and all things that grow.
I left home with a cloth sleeping bag slung by a rope over my shoulders, on my back my uncle’s old Korean War rucksack, the ‘Whole Earth Catalog’ and an ‘Oxford Annotated Bible’ from my college years, a change of clothes and a few sandwiches and provisions stuffed inside. I’d spent three and a half years at a prestigious institution (Case Western Reserve University), learning much and experiencing much during years of upheaval (1968-1972) and finally left after my number came up late in the lottery for the draft. The experiences I had were mostly outside of classes that were interesting but appeared rather irrelevant at the time.
I said farewell to my mother (my father was at work) and walked down to the embankment alongside the brand new interstate. (As a teenager I’d watched it tear through my neighborhood several years before. We’d watched the bulldozers turn my best friend’s house into a pile of broken pieces, set fires to excavated piles of discarded brush, fought snow battles in abandoned dwellings, stalked and vandalized the huge road builders in the middle of the night.) I put out my thumb and was subsequently propelled across the whole wide land, to Colorado and California and up the West Coast through to Oregon and Washington to Canada, across the Rockies and the great wide flat northern plains and along the pebble beaches of Lake Michigan and back toward Cleveland. (My dad drove out from Cleveland to meet me and we had a glass of wine together in Ann Arbor. Between that meeting and my later departure toward the beaches of Florida I felt our connection deepen as we had grown beyond our frequent ideological conflicts over the war and he had come to acknowledge me as an adult.) I was young during my travels and learned very little, but I took it all in with a feeling of constant awe, collecting inside of me a map of memories, of North America and so many of the people that drift within it.
After all of these travels and all of these adventures, where have I arrived? Who and what am I exactly? Where do I live in relation to the boundaries between order and chaos? Am I descended from the sweet young boy that I see in an old picture feeding the gentle deer at a petting zoo? Am I the instigator of plots to vandalize the enormous machines that cut their way through my neighborhood to build the Interstate? Am I the respectful Zen practitioner bowing before his teacher, or the smartass student telling the President of the University approaching a student occupied ROTC building that I was a ‘gargoyle’ guarding the doors? Do I prefer to wander along the edges of civilization where artists and pirates, nomads, shamans and assassins are created?
I passionately defend what I believe in but hold all beliefs lightly. I welcome the challenge of argument. I’ve always been a terrible student, unable to stick with a specific teacher or any specialized program for very long. My mind is both expansive and contrarian, drawn to whatever knowledge threatens to challenge the prevailing view. Learning for me is a labor to fit what is novel into the larger pattern of what is known. Having found an accommodation between them my intellect has to move on. I’m open to all possibilities and apply equal amounts of skepticism and belief to anything that opens the doors to new encounters. I absolutely won’t tolerate the tunnel vision that substitutes repetitive memes of ideology for actual thinking and I avoid such as I would a reeking mound of decaying garbage.
I’ve been called ‘narcissistic.’ Perhaps anyone who parades their thoughts in public is a bit narcissistic, presuming to believe that anyone else would be interested in them. In a world of so much diversity and argument one has to be a bit narcissistic in order to call attention to oneself.
I’ve also been accused of being terribly judgmental and even intolerant. I believe that the good of the whole transcends the good of the few, but that the few have the absolute right to speak and I have the absolute right not to listen. I can’t decide for others the difference between right and wrong, true and false, sense and nonsense, but I reserve the right to exclude from my presence those who insist on unquestionable absolutes.
Also true is that I possess an undercurrent of terrible anger, passed down to me through generations of injustice, unkindness and the undercurrents of loving abuse. My primary struggle in this life is against being governed by the rage, instead using it as a barometer that fuels a kind of hypersensitivity and compulsion to expose the undercurrents of lies and tension encountered in the environment around me. This has lead to the most profound progress and the deepest damages in my life. It’s a catalyst that moves me from states of stasis to states of movement and change. For those around me and the collectives and organizations in which I participate it uncovers the cauldron, and my passion provides some of the fire and the heat.
My most influential teachers have been the cities I’ve lived in. Cleveland taught me that I could swim against the strongest tides of family, of religious and societal expectations, of powerful and destructive establishments, of accepted reality itself. In Cleveland I first walked through the doors of perception to glimpse the hidden schematics of the brain and its relation to the universe. Denver taught me about the irrefutable strength of collective will and how it can be activated, directed and abused by effective and charismatic voices. In Denver I learned about the secrets of leadership and it’s ability to channel the collective will. Since coming to Santa Fe I’ve learned to approach the world with a larger degree of skepticism and to examine every belief carefully before confusing it with ‘truth’.
In Santa Fe I’ve lived for 35 years, longer than anywhere else. Here all the previous lessons and teachings have coalesced, as I’ve been brought repeatedly face to face with myself and my shadows. Through two marriages, the raising of a child, my interaction with organizational structures both large and small, and in my most recent confrontations with cancer, disunity and extended solitude, I’ve come to view myself more clearly in all of my urgent creative and destructive glory. In the process I’ve gained and lost friends, loved and tormented myself and others, tasted the mechanics and powers of leadership and the dynamics of failure, and come to understand and accept the role I’m here to play.
Through all of this I’ve learned the deepest lesson of real magic; that it’s primary fuel is the human will. How, like the mysterious force of gravity it can bend and reshape the contours of the universe in strange and subtle ways. I’ve arrived after all these years at the boundaries of a world of perception that my comic book hero would find familiar.
Klick! Klack!>
In these days there’s a growing atmosphere that breeds bad mojo – bad magic born out of magical thinking, along with an army of con artists who thrive on fear and fantasy. It feels increasingly like the universe of Doctor Strange, where delusions and demonic forces constantly seek to break through and disrupt all sense of order, enslaving the populace to chaotic forces by encouraging their worst tendencies. In the process those whose greed for power compels them to pull the strings strive to gather more influence to themselves, using the maze of politics to entrap our best collective intentions.
I’ve long observed that the rules of our politics are almost identical to those of magic, both being forms of a somewhat occult practice of weaving spells of language intended to influence and manipulate perception and reality. The tools and technologies are the same, revolving around the language of signs and symbols, fueled by elements of human desire, collective will and the necessity of belief. Neither practice is inherently good or evil, although both magic and politics are concerned with an accumulation of power, and there are inherent dangers in such pursuit. The division between our intentions toward compassionate and self serving ends can become very cloudy when certain rules and cautions aren’t respected.
When battling demons or conjuring new possibilities it’s important to remember that no matter what we do or what we intend, the rule is that any consequences, intended or not, will inevitably come back to us. (This is the rule of karma.) It’s also important to realize that those around us, even our ‘enemies’, are mirrors, and we must strive to show them the same compassion we have for ourselves. It’s most important when exercising power to stay awake, to remember where we are and what is our intention. Aside from these three, all other rules are subject to change at any time and it’s a wild and utterly changeable reality out there.
Ultimately the barriers to our imagination and our creativity will continue to be thrown open. The more they open the faster we must collectively adapt to the changes entailed by new technologies and new ways of thinking and perceiving. I’m optimistic that we will ultimately succeed and survive, only because we always have up to this point.
Meanwhile we drift, moving across worlds of fantasy through the outer space of our imaginations, with David Bowie’s song ‘Life On Mars’ rising behind us, the cold star-flecked blue screen backgrounds making us feel contained within a dark velvet sparkling blanket of the infinite. We travel through imaginary light-years, our sense of security wrapped and belted within capsuled contraptions, religions, ideologies and conspiracy theories, breathing through failing apparatus, imagining new colors and new planets in the dark. At this point we require more than a destination. We need redemption and forgiveness for one another. I know there’s better light far ahead, but I don’t know what remains to be seen. When truth has been abandoned to illusion its anyone’s guess what will survive when daylight comes.
Evolution never passes at a familiarly comfortable rate. The entire world can leap forward in an instant, or else changes take decades and centuries longer than human memory can track. If my great grandmother, who told me stories over the kitchen table, were transported to the present a good part of her sensory apparatus would no doubt go into shock, able only to process small quantities of totally unfamiliar data at a time.
Evolution doesn’t stop for us or for any other part of this ever changing universe, or for anything on this infinitesimal pebble we call the earth. Energy becomes matter, matter becomes atoms and atoms molecules. Molecules evolve to become the elements and elements combine to become life. Life goes through billions of years of creation and extinction, followed by resurrection, and so it goes, over and again. Evolution in matter becomes evolution in biology, plants and creatures emerge out of the earth and perish in amazing spectacles of life, struggling through extremes of hot and cold and countless changes.
Various proposals have been made for the start date of a geological epoch called the Anthropocene, which marks the significant impact of human culture on geologic ecosystems. Some proposals date this as far back as 12 – 16,000 years and the birth of agriculture, and others to the rise of the industrial revolution in the last century. I believe both of these views to be extremely short sighted.
About six million years ago, at the end of the Miocene, heading toward the ice ages, appear the hominins, our most ancient biological tribe, largely defined by the length of our legs being greater than that of our arms as we began to walk upright. While the biosphere was coming to resemble what exists today our ancestors struggled to come to terms with their expanding brains until, age after age, we arrived in our present form of homo sapien around 315,000 years ago, and evolution at long last crossed a critical threshold. While biological evolution proceeded in obscure niches and mostly through extinction, life entered a new phase, one that can no longer be adequately comprehended outside of the mental space of the self-reflective human mind.
Human beings have taken evolution in a new direction, possibly beginning with the emergence of the first tribes and the creation of the first cultural artifacts. When we began to shape the objects around us to reflect the images that appeared in our minds, we moved beyond the instinctive collectivity of the insect colony, the herd and the protective hunting community and began to consciously and deliberately reshape the world around us in our own image. Human evolution can’t be understood in strictly biological terms, for it occurs within the complex interface between the self-conscious individual and the ever changing forms of the collective. Humans are artisans of culture.
What’s become evident in our time is the pervasive effect of our evolutionary process on the atmospheric and geologic environment that surrounds us. It’s becoming obvious that human culture is now the dominant influence in the ecosphere, as our collective decision making largely determines what will perish and what will survive on our world. We are the caretakers and the destroyers. The dialogue between the individual and the collective has come to fully govern the dialogue between human civilization and the natural world. In the end, nature itself becomes, in effect, a human artifact.
Evolution is generally depicted in visual models as a vertical structure, where simplicity advances through complexity, leading to ‘higher’ developments along a continuum of molecules, organisms, species, etc. The focus of evolutionary theory in biology is on the structure and development viewed through the lens of individual organisms or species. Human evolution is no longer determined by individual divergence and biological mutation, but by collective structures and behaviors in which the uniqueness of the individual can’t be separated from the circumstances and influences of the social construct of which they are a part. The visual depiction of this structure could be more appropriately horizontal, characterized by recurring themes that arise periodically along a timeline, then disappear, only to arise again and again amid novel historical contexts, their ‘permanent’ influence determined by the qualities of the interchange and the impressions left in a particular time and place.
There is a quality of ‘eternal return’ in the unfolding of human societies. It’s as if the species is on a quest to replicate externally hidden structures already present in human consciousness in order to perfect them within the contexts of ever new levels of social organization. In light of this I recommend pulling back from the insanities of the present to take a long view toward the possible future.
It’s like a noose, and it tightens, defining who it is that I think I am, and who I think that others are.
More and more is excluded as the circle draws in, draws closer, becomes more defined.
What is inside the circle becomes frozen as what is outside is excluded.
What is lost, what can no longer find an entrance, is compassion.
Without compassion I sit in my circle of pain, disappointment, anger, and watch as the light in the world fades.
The others are like distant candles, allowed to grow faint, to waver, and soon they are extinguished.
I am alone. I can no longer serve this world that is drowning in pain. The pain has become my own.
My words having turned to dust, I look out at the devastation helplessly.
Turning within (there is nowhere else to turn),I find beneath the ice and ashes a light that endures.
The subtle glow that remains, no matter how tight the noose, how deep the darkness, responds to my attention.
I give to the light, my eyes, my breath, my senses, my thoughts, and it begins to grow, turning the ice to flame and the ashes to earth.
The circle is never broken. It grows wider, bringing more of the world inside itself.
Like a starved vessel the circle fills with long abandoned hopes, forgiveness, atonement.
Soon perhaps I will be a able to look upon my enemies, those who out of fear have sealed themselves away, and feel something beyond my own fear, my own hatred and defensiveness.
Perhaps the biggest miracle is to witness a change within my own circle of attention, from contempt to compassion.
Adam Curtis considers his films to be strictly journalism.
Having unlimited access to the vast archives of the BBC library, Curtis snips and cuts the myriad fragments of visual history to arrange them around themes guided by his own narrative and analysis. To relegate these works to the narrow field of conventional reporting would be to entirely miss their import and effect. The subjects of his films dive deeply into the wilderness of inherent contradictions between reality and the artificial reproductions of reality, between fact and imagination, between linear narrative and memory, and the many ways we rearrange our perceptions of reality to serve our own agendas. His most recent work, the six part series titled Can’t Get You Out Of My Head focuses on the dialectic between historical and psychological forces that drive individuals into increased feelings of isolation and helplessness and the barriers to effective collective action.
The emotional power of well selected images poised in sharp juxtaposition has been explored as long ago as in the montage techniques pioneered by early filmmakers like Sergei Eisenstein. The use of montage takes us out of the illusory realms of objectivity and well into the territory of ideological expression. Directors like Jean Luc Godard and the ‘underground’ filmmakers of the sixties made radical use of the technique to purposely challenge the conventions of narrative film. While their work was perceived at the time as radical, our immersion in the frenetic medium of television makes them appear prophetic. The rapid disorienting shift between scenarios, the intrusion of seemingly unrelated sequences in commercials and the use of sound as compliment and contrast has increased our ability to shift attention rapidly from one image to another without loosing the narrative thread. Adam Curtis takes advantage of the growing sophistication of our visual language while pushing the form further with each successive work, encouraging us to take larger leaps along with him.
(My favorite film makers of the sixties were the French New Wave’director Jean Luc Goddard and the English director, Nicholas Roeg. Being a contrarian by nature I was always thrilled at the premier of a Godard film on my college campus and particularly pleased when a third to half of the audience walked out in bewilderment or disgust. This I deemed an indication of the film’s success. Both Godard and Roeg used techniques of radical montage to pit direct and sometimes disjointed, emotionally charged images against the linear revelations of plot. Godard went the farthest, often rejecting the very structure of ‘beginning, middle and end’ in films like 2 Or 3 Things I Know About Her, Sympathy For The Devil and See You At Mao. Nicholas Roeg managed to corral these techniques into challenging narratives interrupted by out of synch and out of time sequences taking the viewer out of the linear present into realms of memory, imagination and pure emotion. His use of popular musical icons as actors in films like Performance and The Man Who Fell To Earth became immensely popular with the psychedelic generation.
At least since 1992 with Pandora’s Box, followed by the more ambitious Century Of The Self and into the present Adam Curtis has employed montage with increasing ambition to deliver films that offer historical analysis along with imagery that comes across with devastating emotional impact. To Curtis the purpose of journalism is not merely to report, but to explain. His method is to distill and arrange out of the many sounds and images of a given historical period a presentation of coherent themes that persuade the viewer that his interpretation matches the reality. Journalism in this sense is the art of persuasion.
Human beings are addicted to narrative. If presented with a random set of images our minds will eventually assemble them into stories. If we stare at a wall long enough our minds will weave narratives out of the imperfections in the paint. This is a key to the methods of psychological testing that is critiqued in much of Curtis’ work. Ironically perhaps, it’s the key to his own art and his approach to journalism. When the reporter in a war zone decides to point the lens of their camera they are continually selecting the elements of their own narrative. When Adam Curtis wades through the BBC archives the images he selects are made to fit the preconceived patterns of a story he wishes to tell.
Episode four of his most recent work is titled ‘But what if the people are stupid.’ It’s primary theme is how our disillusionment with institutions born out of the emphasis on individualism in the sixties and seventies morphed into a retreat into nationalism in the eighties and nineties. Curtis pulls together accounts that range widely across the period, from the unsuccessful coup of the Gang Of Four in China to the somewhat tragic life of a transexual pioneer in England, the rise of Al Queda in Iraq, disappointment in the wake of the Live Aid effort and events that led to the crushing of protests in Tiananmen Square. All of these events are bracketed by accounts of psychological experiments carried on by Daniel Kahneman in the seventies leading to the thesis that people’s choices aren’t made primarily on a rational basis but are determined by their previous experiences and how they effect the deeper, mostly subconscious structures in the brain. By focusing on the personal dilemmas and contradictions faced by particular individuals against a backdrop of massive social movements Curtis dramatizes a specific and worldwide shift in our collective experience serving to frustrate our ability to organize coherent resistance to the growing power of elites. This sets us up for the next episode, ‘The Lordly Ones’, which explores the comforting national myths we construct to justify the blunders and atrocities carried out to maintain the rule of dominant capitalist elites over the rest of the world.
On the surface Curtis’ approach resembles that of an historian or archaeologist as much as that of a journalist. All are storytellers and agents of artifice, weaving our perceptions into coherent streams of interpretation and all deal with data fragments from moments gone by. The stories Adam Curtis chooses to tell center on the influence that modern psychology has had on the manipulative techniques of advertising, the growth and dominance of consumerism, and most importantly the isolation of the individual in the shadow of the capitalist state, rendering concepts such as personal freedom and choice almost entirely irrelevant.
We’ve become helpless as collective societies to effectively act to change our circumstances. Instead, our every activity is measured, tabulated and arranged in predictive models that serve to anticipate and then to manipulate our behaviors. Human behavior has been programmed into machinery that uses algorithms to further the power and wealth of economic elites. Only by breaking free of the conceptual prison of the techno-capitalist state can we even begin to imagine a future that meets actual human needs.
Perhaps we expect that journalism and documentary gives us a more accurate glimpse of the real and the true. What we should have learned in an age of propaganda, ‘fake news’ and the Internet is that in the selection and manipulation of images just about any version of ‘reality’ can be made to appear as truth. In the view of Adam Curtis the true value of journalism is to ‘make sense’ of the world in new and original ways that evolve continually with our continual appetite for the new. This is the only way that we can cast off the oppressive chains of the past. We might do well to make his revolution our own.
Thoughtmaybe.com for access to a full catalogue of Adam Curtis Documentaries and many other worthwhile films.
An outstanding interview with Adam Curtis at: Jacobin.com
Arclist 