Saturday, 26 March 2016

Depression without sadness

A few weeks ago I was sitting at my desk at the end of the working day, sorting CVs for a job opening. I had just returned from the classroom - cover for an absent tutor - but it had otherwise been a very normal day. A few minutes into this routine task, I noticed that something was wrong. No matter how hard I focused on the paper copies, I could not find any of the required information, nor at times could I even remember what it was that I should be looking for. As I flicked backwards and forwards through the pages, it was as if I was not in my own head looking out, but looking in and seeing only my own inevitable failure to carry out this routine task. I persisted, redoubling my efforts to attend to what was in front of my eyes, refusing to acknowledge the growing realisation that something was very wrong. But my awareness of the outside world only grew thinner and thinner, as more and more I turned inward.

It was then that the blackness came. A literal blackness swallowed up my vision. There was a sense too of numbness across my forehead and crown as if my head was being smothered and bound in bandages. I leaned forward and stooped over the desk, making myself hunched and smaller. If a colleague had entered my office at that moment, they may well have mistook my posture as a need to protect myself. But in reality, I was being folded up and inward, drawn down into a void.

I have suffered from bouts of depression for years. Hitherto they have always been characterised by a sense of worthlessness. They have almost without exception lasted no longer than a week and there has always been a trigger - a broken heart, a regret, or a series of setbacks that had brought me to question my identity and sense of efficacy. But now it seems my symptoms have evolved. In fact, this nightmare episode at my desk was preceded by at least a month of other symptoms, so unprecedented, that I had a great deal of difficulty recognising that I was sliding into a major depressive episode.

Four weeks previously I noticed that I was having difficulty concentrating and was uncharacteristically forgetful. Frequently I would move around the house on chores and forget what it was that I was supposed to be doing. I had difficulty taking in information while reading, and then one evening in the pub while in the middle of an anecdote, I could not recall the name of the colleague with whom I have shared an office for a year, and who was sitting opposite me at the time. At the same time I became aware that my head was extremely foggy. The kind of sensation that plagues you when you wake up stale and drowsy after a dissatisfying daytime nap, only ever-present, from the moment I got up, till the instant I closed my eyes. By this time I was also physically very tired, and sleeping ten, sometimes twelve hours a night to compensate. But no matter how much I slept, I could not feel refreshed. All this caused me to worry of course, and I feared I might have a serious neurological problem. And who wouldn't? Not only were these symptoms physical and cognitive, there was absolutely no emotional dimension. No sadness. No sense of worthlessness. No trigger. Nothing that would mark this out as the depression with which I had long been familiar.

I made a doctor's appointment, but the earliest they could see me was late in the following week. I accepted this, since, despite my symptoms, I could still function. That weekend while out for a walk in a local park, I began to feel dissociation. If you have never experienced this, it is difficult to explain but it was as if a connection between my mind and my body had been severed. When my body moved off, I often had the sensation that I was leaving my mind somewhere behind, which made me feel slightly dizzy and disorientated. My limbs too felt as if they had been clumsily stitched on to my torso and seemed somehow to ring with an unpleasant nervous sensation, as if butterflies were flying around inside them. The more I attended to these sensations to scrutinise and control them, the worse they seemed to get, until at times I felt that I was going to have a seizure, collapse and lose control completely right there in the park. I walked slowly home, choosing to feel numb rather than the anxiety of attending to these desperate symptoms. The prospect of losing control of my body completely and doing who knows what right there in the street seemed very real. Only by sleeping could I find some respite.

The next day I awoke with this realisation: if I were to continue to monitor my symptoms in detail, to fear for their origin in terms of a serious neurological condition, I would, in all likelihood, get caught in a vicious spiral of anxiety and dissociation until I lost touch with reality completely. However frightening these symptoms were, more unacceptable to me was the thought that fear itself could take me over. Such are the insights you gain when you are stripped of all that is adventitious by the vicissitudes of extreme adversity. And how quickly we tend to forget this hard won knowledge; for I had been here before. Once in my twenties when an eating disorder halted progress on my PhD, and once again a decade later when my marriage failed. Both times I was brought low by the sense of loss, only to realise that the only truth that endures is the reality of your own self, and the environment of which you are now a part. All other actors, goals, beliefs, assets and achievements are transient, and to cleave to them is like trying to grasp water as it flows through your hand. 

This was a Monday morning three weeks after I first noticed something was wrong. My usual routine would have seen me filling the half hour before leaving the house, drinking coffee, eating breakfast, listening to the news, reading the news and responding to work emails and private messages, all at the same time. Instead I lay on my sofa, gazed out of the window and tried simply to be mindful of the only truth that endures, the reality of my own self pressing into the sofa, filling a space inside the four walls as sounds from the surrounding streets, telephone wires bouncing in the breeze, and birds winging and swooping across the sky marked the progress of the present through time.

I had short-circuited my anxiety for now, and at my desk, I was calmer. My symptoms were still in evidence, but I no longer made them my focus. Instead, I simply accepted that I was operating at a deficit, and focused on getting that morning's tasks done as best I could. Also, mid-morning, I decided that I would message a list of my symptoms to a friend who suffers from major depressive episodes. I had spent some time researching my symptoms on line and knew that there was at least a chance that they were a modified expression of my existing depression, however incredible this felt to me. 

She responded almost immediately. Almost all the symptoms I listed she confirmed as characteristic of major depressive episodes as she experiences them. It is odd to hear this, but I felt, if not joyful, then certainly relieved to hear this. The brain fog, dissociation, fatigue and momentary disorientation continued throughout the week, but for the most part, I was stable and coping. 

Mornings that week always began the same way, by greeting the brain fog with a sense of disappointment that there had been no overnight change, by getting ready for work, then settling down on the sofa for half an hour of mindfulness before I left the house. I also began to notice a new and particularly debilitating symptom. Perhaps one of the cruellest symptoms of depression, as I experience it, is the dissociation, not from your own self, but from others. If you have never experienced this then you need to imagine an utter inability to connect. You find yourself in the company of others, watching them laugh or listening to them tell a story, you are aware of their facial expressions, their mood, you are aware that you should be responding in some way, and you do. You smile, you laugh, you add another comment. But all this is mechanical. As if scripted in a language that you can speak but not understand. There is no depth, no meaning no involvement with any of these behaviours with the result that your are utterly alone together. Most times you can just about bear this by ignoring it and inserting as much artificial energy between you and the world of others as you can muster. But sometimes your energy collapses, or you simply run out of motivation. Or again, the conversation disintegrates into a series of contingent stills, which, like a film advanced frame by frame, may reveal a hideous grimace in the midst of an unguarded fit of laughter. It is at these times that company becomes a form of torture. You lose your place in the script completely, and are left exposed with no way of concealing the shame of your own anxiety, despair and loneliness.

Elsewhere in this blog I have written of the joy I experience when connecting with another mind, and of the role creative language use plays in revitalising our jaded perspective of the world. For me the simplest yet greatest of pleasures is finding just the right language and mode of delivery to drop curiosities, insights and startling moments of beauty into the ears of others. This is doubtless why I became a teacher. But all throughout that week, my time in the classroom was a real source of anxiety. I had to take great care to build up enough energy before entering to last me through the 90 mins. And even though I delivered all my lesson aims, and the students enjoyed their lessons, for me it was a disappointing and exhausting performance.

Somehow the week passed, and I made it late on Friday evening to the doctor's. In the UK, a standard appointment lasts 10 minutes - precious little time for you to explain the complexities of your mental health problem, let alone for the GP to listen, explore and diagnose your complaint. But by this point in the week, I was already 90 percent sure I was suffering from depression. The doctor's confirmation again came as a relief, as was his recommendation that I deal with it through therapy alone. Now that I knew what it was, I felt sure that I could beat this depression, or more precisely, that I only had to hunker down long enough and my mood would suddenly lift, as it had so many times before. Before leaving his office, and already when he had warned me twice that we would have to bring the consultation to a close, I asked him: how was it possible to have depression without sadness? He could not answer.

The weekend passed in close company, which helped to calm me. I spoke about my mood often and felt no pressure to follow the empty ritual of normal relations. Sunday evening, however, was much worse, since I became aware of another disturbing deficit which undid many of my gains.

I have played the guitar on and off for decades, and in the early part of this year, I had taken it up again with renewed conviction. More specifically, I had spent most evenings in January learning classic blues solos, playing them over and over again until the phrasing was fast and smooth. At the same time, I was meeting every week or so with a group of friends who also sing and play guitar to develop a set list of songs. On Sunday evening, my friends arrived for a rehearsal, and I noticed that I was feeling very anxious. We began to play, but my concentration was so poor I could not remember the chords or the changes. And even when I had them written in front of me, I could barely process them quick enough to keep up with the song. Also, like the social ritual of conversation, the structure of the music seemed arbitrary. Whereas I would normally lose myself in the flow of the music, now I was locked out, spasmodically adding staccato and forced notes to a sequence of steps that refused to cohere together into a whole. But most worryingly, my fingers, which just a few weeks previous had moved so fast and with such control over the fretboard, were now clumsy, cold and weak. Again, my body felt as if it no longer belonged to me, as if some vital internal connection had been severed.

I went to bed that evening slightly embarrassed and utterly dejected, and woke up with extremely thick brain fog, which lasted all day. Looking back on my motor problems of the previous evening, I once again could not shake the sensation that there was something neurologically wrong with me. This gloom-laden thought came back to me again and again. After all, how is it possible to have depression without sadness?

In the afternoon, I was called upon to teach a class unexpectedly, which evidently used up all my resources, because it was when I returned to my desk to sort come CVs for a job opening that I was suddenly swallowed up by darkness.

Hunched over my desk, I fought against it the only way I could, by focusing on the reality of my own self, and the environment of which I was then a part - the only truth that endures. Going under, I forced myself to attend to my body, my breath, the sensation of my elbows resting on the table, the strands of hair beneath my fingertips, and soon enough I saw again the light from the window opposite.


To be continued.










Tuesday, 8 December 2015

Black Dog - A poem

Black dog
Lost in a lust to hurt
You bore me
Even as you tear
Red-eyed at scars
Already sated
Lost in a lust to hurt
You bore me


Laughing lion
Radiant, indifferent
Myth of my making
Shake your mane
And yawn
Let the world shudder and hum
Radiant and indifferent
Myth of my making

Thursday, 30 July 2015

Rhetoric, Memory and Cliche

We once had to think carefully about where to place our feet when we first learned to walk, once struggled to tie our shoe laces, and once gazed in amazement at such a thing as a £10 note. However, with time we have become so habitualised to all of these experiences that we are hardly aware of them any more. After all, our attention is finite, and there are so many other things in our busy lives to attend to that as a species, we have evolved to ignore that which we have long since learned.

The same is true for language, hence the phenomenon of cliché. Clichés are usually elaborate rhetorical figures that were once startling and new. However, through long years of use  they have become flat, cheap and meaningless, Where once they aroused our curiosity, now they deaden our senses and limit the extent that we can get involved in a text or a speech. When we hear last but not least, two sides to every coin, at the end of the day, we get the clear impression that the speaker is simply parroting something that they have picked up from their surroundings and is not truly involved with the message they wish to convey. So why should we be?

By contrast, when we come across a novel scheme or trope our interest is awakened and our attention piqued, since it presents a pattern with which we are not yet familiar. At the same time, we experience a sense of pleasure and wonder as we enjoy its effects. This is the process which Russian art critic Viktor Schklovsky called ostranie or "defamiliarisation".

This sense of intellectual pleasure is very motivating and if we have enough leisure, we may pause long enough to interrogate the figure in an attempt to understand how it achieves this effect upon is. So we analyse form and meaning, comparing and contrasting it with other language items that we are familiar with.

This in turn leads to increased levels of cognitive processing.  The more we interrogate the figure, the more connections we make and the more firmly the words and the message becomes lodged in our mind.

This is what cognitive psychologists Fergus Craik and Robert Lockhart called a depth of processing model of memory (1972). Interestingly, according to their schema, tropes provoke the deepest levels of processing since they primarily involve us in semantic operations as opposed to formal or phonetic ones.



Craik and Lockhart's Depth of Process Model of Linguistic Memory (1972)

I hope now I have convinced you of the benefits of using schemes and tropes. However, just as every coin has two sides (sorry!) I need to include here a word of warning...

The word trope comes from the ancient Greek word for turn or twist. In a sense, schemes and tropes are ways that you can twist language out of shape to make something startling and new.

In this way, experimenting with schemes and tropes is a creative act, just like connecting and combining ideas.

When you think about it, it is very easy to connect and combine images together to make something new – for example, we can picture a dragon with a chicken’s head, a car which looks like a cloud, or a gun that shoots butterflies.

However it is much more difficult to find a context in which these creations would be meaningful. To do this, we would have to tell a convincing story of how the dragon came to have a chicken’s head, or elaborate what applications these innovative cars and guns might have... Not easy tasks I am sure you will agree!

What is true for connecting and combining ideas, is also true for rhetorical figures: it is easy to use schemes and tropes to twist language out of shape, but much more difficult to come up with specific schemes and tropes that are not simply gimmicks but which add meaning and value to a text or utterance.

Saturday, 14 March 2015

In the Greek Orthodox Church in York during Lent - A poem

Outside, the dewy stones 
blacken patches of grass where crocus peek
A Norman tower, a Gothic arch; 
an oaken door, riveted and hinged
keeps England out.

Inside the sudden walls recede.
Long golden faces
infinitely gentle, infinitely sad
stare down 
from nothing, frozen 
in the glow of beeswax candles

Everywhere
the heady, resinous scent of cedar
holds everything in place
wedding wood to light to life
with every breath

I sit and wait 
and listen
as an old robed man
I've never met
chants verses 
I cannot quite understand

And I wonder
what mystery is this 
that draws me faithless
to this nowhere space
where I feel
at home?

Thursday, 19 February 2015

Identifying politically motivated language

Labelling and masking

Some years ago, reporters used the term female circumcision to describe a horrific medical procedure which teenage girls in West Africa were forced to undergo. When the media began reporting on the victims of this procedure, pressure groups insisted that they use the term genital mutilation instead. Why?

And why did 1970s President Jimmy Carter refer to the failed mission to rescue American hostages in Iran, as an incomplete success

We always have a choice over which words we use to describe a person, practice or thing; often the choice as to which words we do use comes down to how we feel about it. Linguists call this extra meaning in words “connotation” and talk about words carrying a “positive” or “negative” connotation. Writer and speech makers can exploit this property of words to mask their own weaknesses as well as label their opponents as weak themselves.

If you were leader of the “men are wonderful” party, what column would you choose to describe businesswomen? Can you think of any more word pairs you would use? Let’s get some pairs for the “women are wonderful” party describing football fans – positive and negative.


Independent
Distant
Determined
Stubborn
Assertive
Pushy
Sociable
Mouthy
Quick-tempered
Moody

Metaphorical transformation


Edward Bernays (1891 – 1995) is known as the father of modern marketing. The nephew of psychologist Sigmund Freud, Bernays revolutionised marketing by selling people what they wanted, not just what they needed. Before Bernays, most adverts focused on the practical advantages of owning the product, i.e. our motorcycle is reliable, cheap and easy to drive. Nowadays motorcycle adverts are full of middle-aged men escaping from the routine of family life, driving off into a desert sunset to the slogan: we sell freedom. The question is: “Does a middle-aged man want or need a motorcycle?” What do you think? Also, why is a motorcycle a metaphor for freedom?



Bernays’ greatest success was a campaign to break the taboo against women smoking in public. In the early twentieth century, smoking was seen as an inappropriate habit for women. However, in 1929 Bernays shattered this image when he re-marketed cigarettes as “torches of freedom”. To launch the campaign, he hired suffragettes  to march down 5th Avenue, New York on Easter Sunday, smoking and calling: “Women! Light another torch of freedom! Fight another sex taboo!” The result was dramatic. In 1923 women only purchased 5% of cigarettes sold, in 1929 it increased to 12%, in 1935 the percentage of cigarettes purchased by women was 18.1%.


Metaphor is a powerful tool for advertisers and newspaper writers because it highlights one set of characteristics while hiding another. For example, we do not think of cigarettes as being addictive or carcinogenic when we call them ‘torches of freedom’. Can you think of any more examples in which products are sold through metaphor? Which set of characteristics are being highlighted and which hidden?




Abstracting (or euphemism)

The French philosopher Jean-Paul Sartre once wrote: "Evil is the product of man's ability to make abstract that which is concrete”. Sartre was writing at a time when the world had just learned the horrors of the Nazi’s campaign to murder European Jews. And what did the Nazis call this campaign? Not murder but The Final Solution, a term so abstract and far removed from the reality of gassing naked men, women and children to death that we can speak it without making the connection. 

Some words are more abstract than others. Animal is a higher-level abstraction than dog, which is a higher-level abstraction than labrador, which is a higher-level abstraction than my pet Rex. If we were to make an abstraction ladder, animal would be at the top and my pet Rex and perhaps even a photo would be at the bottom. The higher the level of abstraction, the farther we are from the real-life experience.

Bravery is an abstract concept. Can you make a ladder connecting it to a concrete real world action? Can you make the following more acceptable by creating an abstract ladder in the opposite direction?

a broken leg a lost mobile phone a failed history exam


Misleading 

This technique is commonly seen on packaging and labelling of food products in the supermarket. Here are some examples.


Company/Product
What they claim:
What they don’t mention:
Tetra Pak, a company which manufactures milk cartons
milk cartons are “easily recyclable”
few recycling programmes
accept milk cartons
Breakfast Cereal
product “provides 25% of the daily-recommended amount of protein if taken with a glass of milk”
all or almost all of the
protein is provided by the milk, not by the breakfast cereal

Lemonade
“authentic taste of lemons”
has no lemon juice, pulp or peel in it whatsoever
Healthy Choice yoghurt

“low in fat”
high in sugar and therefore fattening

Examples like these prompted American Secretary of Health Dr. Louis W. Sullivan to claim that consumers need to be “linguists, scientists and mind readers to understand the many labels they see”. Indeed, deceptive food labelling is so extensive that many governments have made it law that companies print nutrition tables on most food packaging giving a detailed breakdown of how much fat, sugar, calories, etc. the product contains. 

Can you think of any more examples of misleading packaging from your home culture?


Covert evaluations

Covert means ‘hidden’, and this strategy is a way that writers can give you a hidden evaluation of a situation while pretending to give you the facts. For example, when a writer says that “an accurate assessment of the situation was made by the Pentagon” or that “businesses gave the president  trustworthy advice on the state of the economy” he or she is making judgments for you, telling you that an assessment is accurate or suggesting that businesses know what is best for the economy. There are always those in the media who are ready to give us the right view, the correct opinion, trustworthy advice or reliable information. Beware of such language. It indicates people are less interested in reporting what happened than in having you think as they do.

Many so-called “attitude adverbs” can also be used to make covert value judgements. What extra meaning do the attitude adverbs in bold add to each sentence? What questions would you like to ask the author to find out more about his or her opinions in each case?

1. As Sullivan rightly noted, it would have been a mistake to limit the freedom of the press following 9/11.
2. The American government has regrettably decided to limit trade with Russia.
3. The United Kingdom Independence Party has said that they will hopefully pull the UK out of Europe if they are elected.
4. Despite the recent rumours of heated arguments between the Prime Minister and the Foreign Secretary, the Labour party are apparently united in their aim to continue the war in Iraq. 


Vague language

Monica Lewinsky
In 1998, American president Bill Clinton was accused of having an affair with White House intern, Monica Lewinsky. When confronted with the accusation Lewinsky denied it swearing: “I have never had a sexual relationship with the president”. Clinton then swore that what she said was “absolutely true”. Later, she admitted to having oral sex with the president, and Clinton responded by saying that he “did have a relationship with Miss Lewinsky that was not appropriate”. It looked for a while that Clinton might have to resign, but in his defence he argued that there is a difference between having a sexual relationship and engaging in sexual acts. Later, in his address to the people on August 17, 1998, he claimed that his previous “answers were legally accurate,” and he admitted only that he had “misled people.” 

Donald Rumsfeld
As a former lawyer, Clinton knew that his initial use of the term sexual relationship was vague enough to ensure that if the real truth ever came out, he would be able to make this important distinction. Another famous example of how vague language has been exploited by politicians comes from US Secretary of State during the Iraq invasion, Donald Rumsfeld. When asked the question: “Why have American troops failed to find any evidence of weapons of mass destruction in Iraq?” Rumsfeld famously answered:



Reports that say something hasn't happened are always interesting to me, because as we know, there are known knowns; there are things that we know that we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns, the ones we don't know we don't know. 

What do you think this means? If you had been at this press conference, how would you have reacted?


Tuesday, 28 October 2014

Homeric Values

The poet Homer is said to have lived during the eighth century BC just after the Dark Age. To him we attribute two great epic poems, the Iliad and the Odyssey, which helped shape the Greek identity. For centuries, Greek youngsters grew up reciting the Homeric epics and admiring the Homeric heroes, who strove for honour and faced suffering and death with courage.

For centuries in the West, it was believed that Homer was a great poet, and that his epic tales were just that: stories with no basis in historical fact. However, at the end of the nineteenth century, archaeologists began to uncover evidence that the civilisations Homer described might actually have existed. In 1868 a German archaeologist named Heinrich Schliemann claimed to have found the ancient city of Troy, location for the Iliad, on a hilltop on the Turkish coast near Istanbul. Later, he uncovered a vast walled city, a palace and a wealth of treasures at another site in the south of Greece which he claimed was the palace of Agamemnon, leader of the Greek army in the Iliad.

The significance of Schliemann’s discoveries, though undeniably dramatic, have yet fully to be explored by modern scholars, and there is no final decision on whether Homer was poet or historian. For the ancient Greeks, however, the answer would have been clear: Homer was both an individual speaking to them about their great and glorious past while simultaneously revealing their deepest thoughts, feelings, and conflicts in a few brilliant lines. For this reason, Homer's poetry became not simply a treasury of ancient history but also a vital source of moral instruction for the Greeks. Achilles and Odysseus, the two heroes of the two epics, became the great role models in traditional Greek thinking about how one should live one's life.

Homer’s Humanity
As an account of war, much of the Iliad is devoted to descriptions of combat. However, interspersed between these scenes of action and drama, Homer includes scenes of simple domesticity which serve to remind us of our shared human values. One of the most famous takes place as Trojan warrior Hector and Greek warrior Achilles prepare to do hand-to-hand combat outside the city walls. Hector is well aware that the time has come for him to fight and die and Homer includes a long scene in which Hector says a final farewell to his wife and child. Another scene takes place during a large scale battle between the Greek and Trojan armies in which two opposing soldiers discover that their grandfathers enjoyed a friendship. Laying down their weapons, they each swear to continue their ancestors’ bond.

Such depictions of humanity are typical of Homer’s style, which often lingers on the simple, sensual pleasures of being human. As one commentator observes: “Just how much of this poem is taken up with eating, drinking, storytelling, listening to music, intimate conversations, warm beds, perfumed baths, dancing, beautiful architecture and silverware—all the sensuous detail that transforms everyday events into something joyful and worthwhile.”

Strife and Conflict
As the Iliad begins, the Greeks have just destroyed a town allied to Troy. Achilles has taken a woman, Briseis as his lover but his commander Agamemnon claims her for his own. Angry with his commander, Achilles refuses to fight. It may seem odd to devote the opening scene of an epic account of war to what amounts to a petty argument, but strife and conflict are central to the Greek worldview world and play a symbolic role at the heart of the Iliad itself.

Achilles' life begins with an unsuccessful attempt to avoid strife. His parents, the goddess Thetis and the mortal Peleus, invite all the gods to their wedding except Eris, the goddess of strife. Eris, however, like the evil witch in fairy tales, attends anyway and throws out a golden apple marked, "For the Fairest." The introduction of the apple has the desired effect and the three major goddesses, Aphrodite, Hera and Athena argue over who should be allowed to keep it. In the end, they consult future prince of Troy, Paris, who at this early stage is a lowly shepherd boy. Each goddess offers him a bribe to win his favour, and in the end Paris is won over by Aphrodite’s promise to give him the most beautiful woman in the world. Unfortunately, the woman in question, Helen, is already married to Menelaus, King of the Greek city of Sparta. In helping Paris to steal Helen away from the Greeks, one can argue that it was Aphrodite who started the Trojan war. However, it was Eris the goddess of strife who originally set the story in motion.

For the Greeks, to live in the real world was to accept the inevitability of strife and conflict: to try to avoid strife was to avoid life itself. It should therefore come as no surprise that although the Iliad begins 10 years after the abduction of Helen, it nevertheless begins with another argument.

Arête, or Human Excellence
In ancient and classical Greece, a hero was something quite specific. The interest for these heroes was not the common man, but themselves. They lived for a single moment to prove their status, an instant where they could stand out from the rest. The word for this moment, in Greek, is arête, and it is perhaps the strongest and clearest value of Homeric Greek culture. Translated as "virtue" the word actually means something closer to "being the best you can be", or "reaching your highest human potential". It also has strong associations with effectiveness, or getting the job done. As Homer shows us through the two contrasting heroes of Achilles and Odysseus, intelligence and cunning as much as strength, bravery can be effective means of meeting with success. The importance of arête implies that the Greeks saw their universe as one in which human actions are of extreme importance – that the world is a place of conflict and difficulty, and human value and meaning are measured against how effective each individual is in the world.




Saturday, 8 March 2014

Oh, deliver us from the virulent, pathogenicity of cliche: In praise of "Synecdoche, New York"

Last nite I had the pleasure of watching 'Synecdoche, New York' at the Univeristy of York's World Cinema Society. While I can appreciate it won't be everyone's cup of tea, it did get me reflecting on some fairly big questions about the function of abstract or surreal art.




I would stick my neck on the line and say this is primarily a self-referential flick in the sense that it takes for its subject matter the making of a piece of theatre. As such it enters into the deeper questions of the status and function of the dramatic mode.

Watching this film feels like you are swimming in a dream. Why the surrealism?

There is a qualitative difference between the randomness say of the numbers which follow the decimal point in the mathematical constant 'pi' and the theatre of the surreal. That difference is the presence of intention, a fundamentally human category. There is a pure green painting in Leeds Art Gallery that you cannot stop looking at, precisely because it has not been made by painters and decorators but by an artist of sufficient worth that their work is hung in a public space. In this way, all art is framed in that we come to it with certain fundamental assumptions, chief among which are its origin in complex human intentions and its wider social and economic value. Standing in front of the Victorian moonscapes of that same gallery, these categories are  effaced in the illusion of reality. Which explains both the origin and the function of abstract or surreal art: it arises from the need to bring to the fore these assumptions and encourage that mood of contemplation necessary to explore them.

Why the theme of doubleness?

All representational art seeks to perform the mimetic function, and in this sense is grounded in observation of the world. However, it is difficult truly to "see" when you have looked at the same thing day in day out for 37 years. As creatures of habit, our neurological hardware is so set up that the processing of repetitive and familiar stimuli migrates from the neo- to the sub-cortex, disappearing from the radar of consciousness. While this might make us very efficient machines, capable of multi-tasking without distraction, we lose a great deal in terms of the sensation of a life lived. As William Blake reminds us, we humans are perhaps at our happiest when we pause long enough to re-kindle that quality of fascination that characterised our first encounters with the world:

To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of your hand,
And eternity in an hour.
(William Blake, "Auguries of Innocence", c. 1803)

There is then the very real danger that art will fail to move us. Indeed, what is a cliche but a story told once to often?

How to regain this sensation of a life lived? Well, in his essay 'Art as Technique' (1925), Soviet literary critic Viktor Shklovsky called this dulling of the senses 'habitualisation' and describes it as if it were a ravenous monster "devouring work, clothes, furniture, one's wife" and even "the fear of war". For Shklovsky, the redeeming power of art was that it allowed one to "recover the sensation of life" by imparting "the sensation of things as they are perceived and not as they are known". "Art exists to make one feel things, to make the stone stony".

Shklovsky's great theoretical contribution to art criticism was the concept of "defamiliarisation", or the representation of a slightly warped reality for the purpose of effecting us with that sensation of fascination and curiosity for a life lived. Whether the post-impressionistic brush strokes of van Gogh, Stravinsky's dissonant textures of sound, or a movie representing reality at one step removed: all these forms of art exist to deliver us from the virulent, pathogenicity of cliche and into the arms of an intimate, authentic and reactive proximity to the world.