Category Archives: Internet & Media
In or around June 1995 human character changed again. Or rather, it began to undergo a metamorphosis that is still not complete, but is profound — and troubling, not least because it is hardly noted. When I think about, say, 1995, or whenever the last moment was before most of us were on the internet and had mobile phones, it seems like a hundred years ago.
. . . Previous technologies have expanded communication. But the last round may be contracting it. The eloquence of letters has turned into the unnuanced spareness of texts; the intimacy of phone conversations has turned into the missed signals of mobile phone chat. I think of that lost world, the way we lived before these new networking technologies, as having two poles: solitude and communion. The new chatter puts us somewhere in between, assuaging fears of being alone without risking real connection. It is a shallow between two deep zones, a safe spot between the dangers of contact with ourselves, with others.
I live in the heart of it, and it’s normal to walk through a crowd — on a train, or a group of young people waiting to eat in a restaurant — in which everyone is staring at the tiny screens in their hands. It seems less likely that each of the kids waiting for the table for eight has an urgent matter at hand than that this is the habitual orientation of their consciousness. At times I feel as though I’m in a bad science fiction movie where everyone takes orders from tiny boxes that link them to alien overlords. Which is what corporations are anyway, and mobile phones decoupled from corporations are not exactly common.
. . . A short story that comes back to me over and over again is Kurt Vonnegut’s ‘Harrison Bergeron’, or one small bit of it. Since all men and women aren’t exactly created equal, in this dystopian bit of science fiction a future America makes them equal by force: ballerinas wear weights so they won’t be more graceful than anyone else, and really smart people wear earpieces that produce bursts of noise every few minutes to interrupt their thought processes. They are ‘required by law to wear it at all times. It was tuned to a government transmitter. Every twenty seconds or so, the transmitter would send out some sharp noise to keep people like George from taking unfair advantage of their brains.’ For the smartest person in Vonnegut’s story, the radio transmitter isn’t enough: ‘Instead of a little ear radio for a mental handicap, he wore a tremendous pair of earphones, and spectacles with thick wavy lenses. The spectacles were intended to make him not only half blind, but to give him whanging headaches besides.’
We have all signed up to wear those earpieces, a future form of new media that will chop our consciousnesses into small dice. Google has made real the interruptors that Vonnegut thought of as a fantasy evil for his dystopian 2081.
MORE: “Diary: In the Day of the Postman“
A living person is forgiven everything, except for being present among the dying ones of this world. “Oh, holiest sacrifice of the (children) of the unique one.”
— Louis Cattiaux
It is odd to step out of my personal reality and into a fantasy world much more mundane than the mere act of making coffee in the morning at the Liminal Analytics Georgia offices. But so it was last week as I entered the neo-Babylonian hotel complex that hosts Dragon Con in downtown Atlanta each year. “There are no real freaks* here,” I murmured to my traveling companion at the convention, Dr. Tim Brigham, a professor of experimental psychology at Georgia Perimeter College, as we looked around at the nervous faces of conference attendees who were dressed as their favorite characters (or as those most convenient to their sense of outward escape). “Maybe once it gets dark, we’ll get some spirited folks in here,” I opined aloud as the agitated buzz of students, executives, and average Americans bent on an escapist weekend began getting on my nerves, making me wish I could leave for a nice, normal afternoon at a local Botanica to study the beautiful skeletal visage of la niña bonita, Santa Muerte.
Upwards of 60,000 people converged on Atlanta this year to attend one of the largest fantasy, science fiction, comic, and gaming conventions in the world. I mused and milled among the Dragon Con attendees with Dr. Brigham as we awaited an opportunity to see how the realms of anomalous science might fare in such a heady environment. The convention played host to two well-stocked tracks of paranormal and skeptical speakers, and so it seemed a perfect opportunity to understand how the ideas that Dr. Brigham and I are used to experiencing through laboratory work, statistical analysis, and philosophical discourse play out in the public domain. And play they did, to the abrasive tune of crass commercialization and the repetitious mantra “I am here to escape.”
Having spent time with some of the world’s leading parapsychologists, I’ve often been confused as to how the skeptical subculture can exist in such seeming disconnect with everything that I’ve encountered during my reading, travels, and conversations. Dragon Con provided me with an unpalatable answer by revealing the illusory landscape of fantasy and fandom that the skeptics inhabit, far afield from those liminal, but legitimate, climates where anomalistic science holds proper court. If this is what the skeptics consider a reasonable place to air their ideas, then I’m not surprised that they express such dismay at the state of anomalistic science. I’ve never seen even one of these people at any of the serious parapsychological events that I’ve attended or hosted, and nothing I’ve attended or hosted has ever been so fraught with fiction as this Dragon Con convention. Yet here among the cosplay and comic books were such leading lights of the skeptical subculture as Michael Shermer, Ben Radford, Michael Stackpole, and Massimo Pigliucci.
Without going to Dragon Con, you can get a sense of where many popular skeptics are coming from in the fact that Ben Radford is a staff writer for Discovery News, a subsidiary of Discovery Communications, the company that has received attention recently for its decision to run television specials claiming the existence of living megalodon sharks (which have been extinct for upwards of 2 million years) and mermaids (which have probably never existed). The cognitive dissonance that’s palpable in this promotion of pulp fiction as fact by what purports to be a leading science education platform fact gives writers like Radford the leeway to make strange claims, such as his contention that the legendary Stanford Research Institute (SRI) Remote Viewing project returned no valid results. At Dragon Con I was unable to find anyone who had even heard of SRI, let alone who had looked at the research itself, and so skeptics like Radford, when pitted against a paranormal panel track stocked with ghost hunters, professional psychic mediums, a demonologist, and some UFO experts, were able to weave their web of rationalized irrationality with ease.Read the rest of this entry
There simply are no words. And I mean that literally, as you’re about to see.
When I learned recently of the imminent release of a new film by director Godfrey Reggio, he of Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi fame, I was fairly stunned. Then the sensation was augmented when I watched the trailers. As I explained here three months ago, Koyaanisqatsi literally changed my life, and more than one person contacted me after I published that post to let me know they feel the very same way.
And now comes Visitors. Like Reggio’s first three films, this one features an original musical score by Philip Glass. Like Naqoyqatsi, it features visual design by filmmaker Jon Kane. It will premier at the Toronto International Film Festival on September 8, and will be presented there by Steven Soderbergh.
Here is the just-released teaser trailer, followed by an earlier trailer (from 2011) that was released when the project was being developed under the alternate title The Holy See. Even though they’re similar, be sure to watch the second one to its conclusion, which offers a striking “payoff.”
Here’s the film’s official description:
Thirty years after Koyaanisqatsi, Godfrey Reggio — with the support of Philip Glass and Jon Kane — once again leapfrogs over earthbound filmmakers and creates another stunning, wordless portrait of modern life. Presented by Steven Soderbergh in stunning B&W 4K, Visitors reveals humanity’s trancelike relationship with technology, which, when commandeered by extreme emotional states, produces massive effects far beyond the human species. The film is visceral, offering the audience an experience beyond information about the moment in which we live. Comprised of only 74 shots, Visitors takes viewers on a journey to the moon and back to confront them with themselves.
For what it’s worth, I predict a positively mythic impact.