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  • OK, so

  • the last time we were here we got maybe a third of the way through this story

  • the story of Pinokio and the transformation of a marionette into something hypothetically real

  • I'm gonna backtrack a few slides and it'll get us into it again

  • so you remember that the blue fairy, so I would say that the benevolent element of mother nature

  • in the schemata that we are going to use to investigate mythology

  • was more or less allowed her entrance because Gepetto was a good guy and he wished for the right thing

  • and so in some sense... here's a way of thinking about that... you know

  • genetic / environmental studies on children's temperament have revealed something quite interesting

  • which is that the shared environment that children have within a family

  • so that would be what's the same about your environment and your brother's environment, the same

  • doesn't have that much effect on your temperament or his temperament

  • 'cause the presumption always was that within a family there is a shared environment, right?

  • and something was common about the environment to every child within that environment

  • but there isn't much of a shared environmental effect on temperament

  • so then you can say, well that makes it appear as though isn't that relevant in relationship to the development of temperament

  • but you could also suggest something else

  • you could suggest that if parenting is occurring properly, the effect of the shared environment should be very close to zero

  • and the reason for that is that you establish an individual relationship with each child

  • and the environment is actually a microenvironment that's composed of your observations of this child and that specific child's interaction with you

  • like to some degree, if there is a shared environment, that means that you're forcing the same principles on every child

  • so my suspicions are, although I don't know this, and the research hasn't been done

  • that in bad families there's a shared environmental effect, but in good families that minimizes

  • so that lets the child's biological predisposition, roughly, manifest itself with support and in some positive manner

  • well, I don't want to extend the analogy too far, but you can imagine

  • that, and this is what this film proposes, if you aim properly in relationship to your child

  • what you're trying to do is to establish an individual relationship and to allow them to move towards

  • whatever their particular expression of individuality happens to be

  • and that's... that would be the same as allowing nature to take its course in some sense

  • at least nature in its positive guise, and that's exactly what happens here

  • the other thing that happens, of course, is that the cricket, for reasons that aren't clear, precisely

  • is knighted by the blue fairy and serves as Pinokio's conscience

  • although he isn't very good at it, which is a very peculiar thing, and quite a marked point that the film is making

  • that that conscience actually has something to learn, too

  • and there's actually a Freudian element to that, you know, because Freud thought of the superego

  • as the internalization, roughly speaking, of the father,

  • and it could be very severe, the superego, so like a really strict father, really tyrannical father inside your head

  • although I think it's better to think about the superego as the internalized representation of society at large

  • mediated to some degree through your parents, 'cause it's not as if your father, even assuming he's tyrannical

  • is the inventor of all those tyrannical rules, he's the propagator of them

  • but he's actually a proxy voice, even if it's just for the harsh side of society, he's the proxy voice for society

  • and because we're social creatures, the utility of having an internal social voice to guide you

  • although, again, you seem to be able to follow it or not follow it, which I also find spectacularly interesting

  • because, obviously if it was an unerring guide, you could just follow it

  • and if it was an unerring guide, you wouldn't need free will either, because you could just act out the dictates of this internal representation

  • that isn't what you do

  • so anyways, the proposition here is that the conscience exists, but it's a relatively flawed entity

  • it needs to be modified as well by nature

  • which is quite interesting, 'cause the blue fairy knights him, 'cause you also might think of the conscience as only something that's socially constructed

  • right, which is the more typical viewpoint, but I don't buy that for a second

  • because I believe firmly, and I believe the Piagetian interpretation of child development

  • more or less bears this out, is that there are parameters within which conscience has to operate

  • and it's sort of like this, it's like, it's the same parameters that govern fair play, we'll say that

  • and so you can say there's fair play within a game, and there's fair play across sets of games

  • and the set of games is pretty much indistinguishable from the actual environment

  • if you think all the things you do as nested games, at some point the spread of that is large enough so that it encompasses everything you do

  • which includes the environment, and so I believe that you're adapted to the set of all possible games, roughly speaking

  • all possible playable games, something like that

  • and that you know the rules for that, which is why, we talked about this a little bit, why you're so good at identifying cheaters

  • we have a module for that, according to the evolutionary psychologists

  • and not only you identify them, but you remember them, it really sticks in your mind

  • and there's other evidence, too, one piece of evidence that I love, well, there's a couple

  • one I would derive from Frans de Waal, who's a famous primatologis, and he studied the prototype morality that emerges in chimpanzees

  • and it's very much nested in their dominance structures

  • you know, because you could think of morality in some sense as the understanding of the rules by which the dominance hierarchy operates, right

  • and so you could say, well, the biggest, ugliest, meanest chimp...

  • and the male dominance hierarchies in chimps seem to be the predominant ones, although the females also have a dominance hierarchy

  • it's not quite so clear in bonobos, which seem to be more female-dominated

  • but in any case, the primary chimp dominance structure is male

  • and you could think, well it's like the caveman chimp who's biggest and toughest who necessarily rules, and who rules longest

  • but that isn't what de Waal found; see, the problem with being... mean, lets say

  • and not negotiating your social landscape, and not trading reciprocal favors

  • is that no matter how powerful you are as an individual, two individuals three quarters your power could do you in

  • and that happens with the chimps fairly regularly; if the guy on top is too tyrannical

  • and doesn't make social connections, then weaker chimps, males, make good social connections

  • and when he's not in such good shape, they take him down, and viciously too

  • de Waal has documented some unbelievably horrendous acts of, let's call it, regicide

  • among the chimpanzee troupes that he studied, mostly in the Arnhem zoo

  • the big troupe there, that's been there a long time

  • but he's very interested in prototypical morality, and here's some other examples of prototypical morality

  • emerging among animals, there's many of them, but one is

  • you know, if two wolves have a dominance dispute, again that would be more likely among the male wolves

  • but it doesn't really matter, they basically display their size, and they growl ferociously

  • and they puff up their hair so they look bigger, and you can see cats do that when they go into fight or flight

  • not only do they puff up, including their tail, but they stand sideways

  • and the reason they do that is because they look bigger

  • right, 'cause they're trying to put up the most intimidating possible front

  • so anyways, if two wolves are going at it, what they're really trying to do is to size each other up

  • and they're trying to scare each other into backing off, fundamentally

  • because, see, the worst-case scenario is like, you're wolf number one, and I'm wolf number two

  • and we tear each other to shreds, but I win, but I'm so damaged after that wolf number three comes in and takes me out

  • so, like, there's a big cost to be paid even for victory in a dominance dispute, if it degenerates into violence

  • and animals, and human beings, but animals in particular, have evolved very, very specific mechanisms

  • to escalate dominance disputes towards violence step by step

  • so that they don't... so that the victor doesn't risk incapacitating himself by winning

  • so what happens with the wolves is that, you know, they growl at each other and posture display, and maybe they even snap at each other

  • but the probability that they're gonna get into a full-fledged fight is pretty low

  • and what happens is, one of the wolves backs off, and flips over and shows his neck

  • and that basically means: "all right, tear it out," and the other wolf says:

  • though of course he doesn't, "well, you're kind of an idiot, and you're not that strong, but we might need you to take down a moose in the future

  • and, you know, despite your patheticness, I won't tear out your throat"

  • and then they've established their dominance position, and then, from then on, at least for some substantial period of time

  • the subordinate wolf gives way to the dominant wolf

  • but at least the subordinate wolf is alive, and, you know, he might be dominant over other wolves

  • and so, everyone in the whole hierarchy has sorted that out either through mock combat or through combat itself

  • and, you know, the low-ranking members aren't in the best possible position, but at least they're not getting their heads torn off every second of their existence

  • so there's even some utility in the stability of the dominance hierarchy for the low-ranking members

  • 'cause at least they're not getting pounded, getting threatened, which is way better

  • I mean it's not good, but it's way better than actual combat

  • and then there's the example of rats, which I love, this is Jaak Panksepp's work

  • and he wrote a book called affective neuroscience, which I highly, highly recommend

  • I have a list of readings, recommended readings on my website

  • it's a brilliant book, and he's a brilliant psychologist, really, one of the top psychologists as far as I'm concerned

  • both theoretically and experimentally, a real genius, he's the guy who discovered that rats laugh when you tickle them

  • they laugh ultrasonically, so you can't actually hear them, but if you record it and slow it down

  • then you can hear them giggling away when you tickle them with an erase, which is sort of like their mother's tongue

  • it's often what lab people use as a substitute for the licking of the little rat by the mother

  • so, and he discovered the paly circuit in mammals, which is like a major deal, right

  • he should get a Nobel prize for that, that's a big deal to discover an entire motivational circuit

  • whose existence no one had really predicted, you know, apart from the fact that obviously mammals play

  • and even lizards maybe, some of them are social lizards, seem to play

  • so, anyhow, what Panksepp observed, and I think this is a brilliant piece of science

  • is that, first of all, juvenile male rats in particular like to rough and tubmle play

  • like to wrestle, and they actually pin each other like little kids do, or like adult wrestlers do

  • they pin their shoulders down, and that basically means you win, and so, OK, so that's pretty cool

  • but what's even cooler, I think, well there's three things, one is:

  • the rats will work for an opportunity to get into an arena where they know that play might occur

  • and so that's one of the scientific ways of testing an animal's motivation, right

  • so imagine you have a starving rat and it knows that it's got food down in the end of a corridoor

  • you can put a little spring on its tail and measure how hard it pulls, and that gives you and idication of its motivational force

  • now, imagine the starving rat that's trying to get to some food, and you have a little spring on its tail, and you waft in some cat odor

  • so now that rat is starving and wants to get out of there, he's going to pull even farther towards the food

  • so getting away plus getting forward are separate motivational systems, and if you can add them together it's real potent

  • and part of the reason why in the future authoring exercise that you guys are gonna do as the class progresses

  • you're asked to outline the place you'd like to end up, which is your desired future

  • and also the place that you could end up if you let everything fall apart

  • so that your anxiety chases you and your approach systems pull you forward

  • you're maximally motivated then, and it's important, because otherwise you can be afraid of pursuing the things you wanna pursue

  • right, and that's very common, and so then the fear inhibits you as the promise pulls you forward

  • but it makes you weak, because you're afraid; you wanna get your fear behind you, pushing you

  • and so what you wanna be is more afraid of not pursuing your goals than you are of pursuing them

  • it's very, very helpful; and lots of times in life, and this is something really worth knowing

  • you know, and this is one of the advantages to being an autonomous adult

  • you don't get to pick the best thing, you get to pick your poison

  • you have two bad choices, and you get to pick which one you're willing to suffer through

  • and every choice has a bit of that element in it, and so, if you know that it's really freeing

  • because otherwise you torture yourself by thinking: "well, maybe there's a good solution to this, compared to the bad solution"

  • it's like, no, no, sometime's there's just risky solution 1, and risky solution 2

  • and sometimes both of them are really bad, but you at least get to pick which one you're willing to suffer through

  • and that's... that actually makes quite a bit of difference, because you're also facing it voluntarily then

  • instead of it chasing you, and that is an entirely different psychophysiological response

  • challenge vs threat, it's not the same, even if the magnitude of the problem is the same

  • and so putting yourself in a challenging, let's call it, mindframe, you can't just do that by magic

  • putting yourself in a challenging mindframe is much easier on you psychophysiologically

  • 'cause you don't produce... you don't go into the generalized stress response to the same degree

  • and you're activating your exploratory and seeking systems, which are dopaminergically mediated, and that involve positive emotion

  • so if you can face something voluntarily, rather than having it chase you, it's way better for you psychophysiologically

  • so, that's partly why, well, it's worthwhile to go find the dragon in its lair instead of waiting for it to come and eat you

  • so, and especially if you also add the idea that if you go find the dragon in its lair

  • you might find it when it's a baby, instead of a full-fledged bloody monster that is definitely gonna take you down

  • and so that's part of the reason why... well there's a whole bunch of things that emerge out of that observation

  • like: don't avoid small problems that you know are there

  • face them, because they'll grow into big problems all by themselves

  • and you can think about... imagine the tax department sends you a notification, you owe them, like, 300 dollars

  • well it's, you know, that's annoying, maybe you don't even wanna open the letter

  • or maybe if you do, you just put it on the shelf, but that damn thing doesn't just sit there like a piece of paper on the shelf

  • right, you ignore that for 5 or 6 years, it's gonna become attached to all sorts of horrible things

  • and if you ignore it long enough... you get the idea, it's gonna turn into something that's completely unlike the little piece of paper that it's written on

  • and many, many problems in life are like that, you'll see that they pop their ugly little head up, and you know

  • and you might wanna turn away, you might not want to think about it

  • which is the easiest way of turning away, right, you just don't attend to it

  • it's not like you repress it or anything like that, you just fail to attend to it

  • and that's a... really, as a long-term strategy it's dismal

  • it's also something, I think, that's more characteristic of people who are high in neuroticism and high in agreeableness

  • 'cause agreeable people don't like conflict

  • and people who are high in neuroticism, or high in negative emotion, are hit harder per unit of uncertainty or threat

  • and so, you know, and that's partly why in psychotherapy a lot of times the people you see need assertiveness training

  • so that would be the opposite of agreeableness, or they need help to get their anxiety and emotional pain under control

  • those are not the only reasons, there's antisocial behavior, but you can't fix that in therapy in all likelyhood

  • there's alcoholism, there's lotsa, lotsa other reasons, but those are two major reasons

  • so anyways, there is a... that was all to telly you that... oh yes, back to the rats

  • so okay, the rats are pulling on... you can measure rat motivation by how hard they pull on the spring, let's say

  • and they're more motivated if they're running away and they're running towards, but let's go back to play

  • so, you can take juvenile rats who haven't been able to play for a while, maybe they've been isolated

  • or maybe they just haven't been able to engage in physical activity, like many schoolchildren that you might be thinking about

  • neither allowed to play nor engage in physical activity, and there's a reason I'm telling you that

  • so anyways, you get one of these little rats, and you can measure how hard he'll pull to go out and play

  • or how many buttons he'll push, you know, and that gives you an indication of his motivation

  • so anyways, you can see that the play-deprived juvenile rat will fight harder to play than a non-play deprived juvenile rat

  • and so you can infer that the rat wants to go play

  • and, you know, you do that... you do the same measurement with everyone around you

  • if they wanna do something, you're gonna poke and prod at them to see what sort of things they're willing to overcome

  • in order to go and do that, you'll object even if you don't really object

  • it's like... it's a measurement device, and if they're willing to overcome a bunch of your objections

  • then you think: "oh, well, maybe they really want to"

  • and that's another thing to really know: if there's something you want, you need about five arguments about why you want it

  • because the probability that the person who's opposing you will have five arguments about why you should't have it is very low

  • they just won't have thought it through enough; so the other thing that happens in the future authoring exercise

  • is that you're asked to articulate the reasons for all the goals that come out of your vision of the future

  • so you're asked like: "why would it be good for you? why would it be good for your family? why would it be good for broader society?"

  • so that gives you three levels of argumentation right there

  • and if you have it articulated down into detail, and it's related to other important goals

  • they you're a hell of a thing to argue with, because people just aren't that deep

  • by which I mean that they just don't have that many levels of explanation or objection

  • and it's also really useful in relationship to your own mind, because if you want to do something that's difficult

  • and that requires energy, a lot of different subsystems in your mind are gonna throw up objections

  • it's like, "well, maybe that isn't what you should be doing right now, maybe you should be doing the dishes

  • or vacuuming, or watching TV, or looking at YouTube"

  • if you're really sneaky, when you're trying to do something hard, what your brain does

  • is give you something else hard to do that 's not quite as hard, so that you can feel justified in not doing the thing you're supposed to

  • 'cause you're doing somethig else useful, and if you give in to that temptation, which you often will

  • then it wins, and because it wins, it gets a little dopamine kick, and it grows stronger

  • anything you let win the internal argument, grows

  • and anything you let be defeated, shrinks

  • 'cause it's punished, it doesn't get to have its way

  • so that's another thing really to remember, don't practice what you do not wanna become

  • and because those are... they're neurological circuits, you build those thing in there man, and they're not going anywhere

  • you can build another little machine to inhibit them, that's the best you can do

  • once they're in there, you can't get them out, so... and then the one's you built to inhibit can be taken out by stress

  • and the old habits will come back up, so you gotta be careful what you say and what you do

  • because you build yourself that way; so anyways, back to the rats

  • okay, so the little rat gets to go out there and play, now imagine one little rat is paired with another rat

  • but the other little rat is 10% bigger, 10% in juvenile rats is enough to attain permanent dominance

  • so the 10% bigger rat will win the first wrestling, and so that's what happens

  • and then... so the little rat gets pinned, and maybe they play a bit, and then they're done with it

  • and so you separate them, then you let them play again, and the next time what happens

  • is that the subordinate rat does the invitation to play

  • and that's like, you know, like a dog does when he wants to play

  • you can recognize that, it kind of splays its feet apart, and looks up and looks interested

  • and then it sort of dances around; you can do it with any kid that has a clue, you know

  • that hasn't been destroyed by adults, if your little 3-year-old, or 4-year-olds are better for this

  • if you go like this, like, they know exactly what's gonna happen, you know, they're ready to dart back and forth

  • and they'll usually smile, and kids love rough and tumble play, which is now basically illegal in all daycare

  • seriously, it's seriously is, kids need it so desperately, 'cause it teaches them the limits of their body

  • and your body, and it teaches them what's painful and what isn't

  • and it teaches them the dance of play, and without that they're just little disembodied blobs

  • like, they have no finesse, that's what you're checking out when you dance with someone, you know

  • you're seeing if they have that fluency and facility for mutual reciprocal action

  • embodied in them; and if they're kinda like this, you know, and don't have any sense of rhythm and don't pay any attention to you

  • and all of that, you have reason to question whether they actually inhabit their body

  • and whether they can engage in a mutual interaction, physical interaction that's going to be reciprocal and mutually satisfying

  • it's really important to check out; and a lot of that rough and tubmle play, even interactions between a child and its mother

  • if you have a happy mother and a happy infant, and you videotape them, and you speed up the video tape, you'll see that they're dancing

  • so one responds, then the other responds, then the other responds, it might be just with eye gaze, and movement, and all of that

  • but there's a dynamic interplay, which you don't see with depressed mothers and their infants

  • so, okay, so back to play, so the little rat, who is the subordinate one, he has to do the invitation

  • and then the big rat can agree to play, 'cause he's in the dominant position

  • but if you pair them repeatedly, and this is really worth thinking about

  • because, you see, morality emerges out of repeated interactions

  • because, you might say, if you only interact with someone once, you might as well just take advantage of them and run off

  • that's what a psychopath does, by the way, and there is room in the environmental niche for psychopaths

  • but they have to keep moving around, 'cause otherwise people figure out who they are

  • so they just move around, and they can take advantage of one person, you know, maybe five times, or ten times, or something

  • and then the reputation spreads, and they gotta get the hell out of there

  • but... so it's not a good long-term strategy, unless you can't think of a better one

  • so anyways, if you repeatedly pair these rats, unless the big rat lets the little rat win at least 30% of the time

  • the little rat will not ask the big rat to play

  • and that is... it's a staggering discovery, it's a staggering discovery

  • because you've got the emergence there of an implicit morality, essentially

  • that's even incarnated in rats, that emerges across multiple play sessions

  • it's like, yes, exaclty, that's exactly what Piaget said about the emergence of morality

  • it's exactly the same idea, at the rat level, so it's a massively...

  • and the fact that there's a circuit, a separate neurophysiological circuit

  • that's actually specialized for that sort of thing is also a big deal

  • now the other thing Panksepp figured out is that if you deprive juvenile rats of the opportunity to engage in rough and tumble play

  • their prefrontal cortexes don't develop properly

  • and they become impulsive and restless, and then you can fix them with methylphenidate or ritalin

  • and those are the drugs that are used to fix hyperactive kids, most of who are male

  • and that's because, well, really, you're gonna take your six-year-old, your five-year-old

  • you're gonna put them in a desk, you're gonna get them to sit there for six hours, that's your plan, right?

  • that's a stupid plan; and they're denied the opportunity to engage in play

  • and that means that their ability to become social is being impaired

  • it may cause neurological impairment, that's what the rat evidence suggests

  • and then you suppress that with amphetamines, 'cause amphetamines actually activate the play circuit

  • they activate a different circuit, which will suppress the play circuit

  • so it's very, very... it's not very wise, and I'm not gonna go off on that tangent

  • because I could tell you why the school systems were set up that way, which I probably will at some point

  • because it's quite and interesting story in and of itself, and it's the reason all you guys are sitting in desks right now

  • somebody laughingly referred to this once as grade 15, that was pretty funny, given the look of the bloody place, you know

  • hideous... okay

  • so, now, this is an interesting thig, so you got the emergence of morality in, say chimps

  • you got the emergence of morality in wolves, you got the emergence of morality in rats

  • and the morality governs sequential interactions or group interactions, they have to repeat

  • because, because it's an emerging property of social or repetitive interactions

  • that's why, you can't just localize it in one instance, it's repeated

  • and there's been computer simulations of this

  • they help you figure out how you might attain victory across games, across time

  • maybe you need a strategy, and there's a very simple strategy, which, I believe is called "modified tit for tat"

  • so if you're nice to me, I'm nice back, and if you do something bad to me, I do something bad back

  • but imagine you run that out in sequences of behavior, and see who does with what strategy across time

  • or an alternative strategy... [?] here's the best strategy: I trust you, you trust me, we start interacting

  • you screw up, I whack you, and then I forgive you, and we start again

  • that's modified tit for tat, and so...

  • it's a very simple algorithm; no one has come up with a better algorithm in a computerized simulation of game space than that particular strategy

  • so it's like: trust but don't be a pushover, if someone violates the rules, you gotta nail them

  • but then you don't hold a grudge, you open the door to further interactions

  • so, pretty smart, pretty smart

  • and, okay, so anyways... so what this means, 'cause rats can't talk, and wolves can't talk, and chimpanzees can't talk

  • and what that means, just as Piaget suggested, was that the morality, the development of the morality

  • precedes the development of the linguistic ability to describe the rules for the morality

  • he said exactly the same thing about kids, right, is that they learn to play games before they know what the rules are to the games

  • and so, you see that when you're playing peek-a-boo with a kid, they can pick that up really young

  • they get that right away, and there's... you can play with kids almost immediately after they're born, if you play simple enough games

  • so they've got that deep, and they're unbelievably playful

  • so, they've got that circuitry ready to go right off the bat, and it's one of the things that makes kids so much fun

  • because they just like to play all the time, and so if you... if the play circuit in you hasn't died

  • which is a bad thing, then you can use that a lot with your kids, and it's one of the things that helps you love them

  • so that's a good thing, so, okay

  • so, the point is that the damn morality emerges before the representation of the morality

  • it's a big deal to know that, and that it emerges as a consequence of repeated social interaction

  • so it's not a top-down thing, it's a bottom-up thing

  • now, Piaget says: well, it's not just bottom-up, because what happens with human beings is that they learn to play the games...

  • one of his experiments was: watch seven-year-olds, I think that's the right age, play marbles

  • and then he noticed that they can play with each other, and that they can follow the rules

  • but that if you take the individual seven-year-old out of the game, and you say: what are the rules?

  • they give incoherent and incomplete explanations of the rules

  • so what that means is they don't really represent the rules, but they can act them out

  • and have a partial representation of what they're acting out

  • now, when they get older, the rule representation starts to fall into alignment with the actual rules of the game

  • and you can imagine that's why [?], because when they're playing something like marbles, they're gonna have discussions like: you're cheating

  • or: you're not allowed to do that, 'cause they're always gonna be pushing the envelope a little bit

  • and then the group is gonna render a judgment on whether or not that's appropriate

  • and out of that the rules are going emerge, but they're not rules to begin with, they're patterns of behavior

  • it's not the same thing as a rule, a rule describes a pattern of behavior

  • but a pattern of behavior is a pattern of behavior, it's something that's acted out

  • so, there's the individual within the group and then the interactions of the individuals within the group produce a hierarchical arrangement

  • or multiple hierarchical arrangements, those are games, roughly speaking, or stories

  • nested iside an overarching story, which is the fundamental culture

  • right, and that's nested within a whole bunch of competing cultures that have some commonalities

  • or they would just be at war all the time, which, you know, to some degree they are

  • so, okay, now, you see that... back to the movie, you see that happening in the movie

  • I mean it's very, very quick, but the blue fairy turns the bug into the conscience

  • and then the bug tries to explain to Pinokio what the rules of morality are

  • but the thing is the bug doesn't know, because he's just a bug, and you know, he's just not omniscient, so

  • the best he can do is to come up with, like, a propagandistic semantic, verbal representation

  • that's internally contradictory, and when he tells Pinokio, Pinokio has no idea what he's talking about

  • and neither does the bug, that's the thing; and so...

  • so what happens is this, the cricket says: well Pinok, maybe you and I had better have a little heart-to-heart talk

  • and the puppet says: why? and the cricket says: well, you wanna be a real boy, don't you?

  • alright, sit down son, now you see the world as full of temptations

  • - temptations? - yes, temptations, they're the wrong things that seem right at the time

  • but even though the right things may seem wrong sometimes, sometimes the wrong things may be right at the wrong time

  • or vice versa, understand? - no!

  • no, and neither did the cricket, and that's actually very nicely done in that piece of the movie

  • because you just wanna slap him as soon as he starts talking like that

  • because he gets up on his little matchbox and lectures, and he's dull and tyrannical, both at the same time

  • and so there's nothing genuine about what he's saying, he's imitating something that isn't him

  • so he's really acting like a puppet at that point, too, and it doesn't work at all

  • and so Pinokio says: I'm going to try to be a good boy; and the cricket says: well that's the spirit, son

  • and then away they go, so...

  • alright, so then we're at the next day, 'cause this all happens in one night

  • we're at the next day, and you know, it's a nice day, and there's these birds flying around

  • that's actually, that's a bit of foreshadowing there, you know

  • so, um, you have to remember, when you watch something like this movie

  • not a single bit of it is random or accidental, none of it

  • because, you know, they had to draw I don't remember how many frames per second these things are

  • thirty, maybe, if it's high-quality animation; so someone had to paint thirty pictures to get a second of this

  • you're not doing that accidentally, it's really expensive, and everyone has to agree on exactly what's going to happen

  • and you might say: well, do the people who are doing this consciously know what they're doing?

  • and the answer to that is: well, sort of, just like you do, it's yes, they know, and no, they don't

  • and they know because they're really smart and gifted, and all that, but they don't know, because it's not all articulated

  • plus they're working in a group, so they know and don't know, just like you do when you're watching it

  • and so... and when you do anything else...

  • now, they're also guided by what you might call... they're guided by their unconscious

  • in the Freudian, and in the cognitive way, partly because

  • your unconscious value structures determine the direction and content of your perceptions

  • so it's built right into the way you move your eyes, 'cause you tend to look at things you value

  • right, or at things you're afraid of, like you look at things with valence

  • and part of the decision about what has value is dependent on the implicit structure of your moral system

  • because morality is about what's good, and what isn't

  • and that's been partly a conscious construction of you, but it's partly partly something you've been...

  • you've picked up by interacting with people like mad since you were born

  • you don't know all the rules anymore than the damn cricked did

  • you just don't, and you can't, 'cause you're too complicated, but you act them out

  • and then you also have representations of how people act, in your imagination

  • that's what a dream is, that's what a fantasy is, that's what that little movie that plays inside your head when you remember what you did is

  • and you only remember the gist, you know, so even the imagistic representation of your behavior in your past, which is basically your episodic memory

  • it's already selecting, and molding, and turning it into a relatable story

  • it can't help but do that, it's the only way you can represent it

  • and so you don't know how you do that or why you do that, but part of it's governed by this implicit morality

  • it's part of your procedural memory, part of the way you act, part of the way you move your eyes, and listen to things, and focus on them

  • that's all been instantiated inside of you because of your biology, but also this immense social project

  • that you're continually engaged in

  • and so, that informs what you remember, it informs what you imagine, it informs what we collectively imagine

  • it informs what we can collectively understand

  • and partly what you're doing while you become conscious of yourself is to map the implicit structures that already constitute you

  • from society into explicit representation

  • that's what self-understanding means; and you know, when you have that moment of insight about something you've done

  • it's like you're watching this repetitive behavior that you've manifested, probably that got you in trouble

  • you know, it's your characteristic way of falling accidentally into chaos

  • and you talk about it, your problems, you talk about them with your friends, you talk about them

  • and maybe you have dreams about them, and you're trying to relate them

  • and you have memories about them that you can't get rid of, 'cause they're negatively toned

  • so you talk about them, and then someone comes up with a little statement that links them together causally

  • and you thing: aha! that's what I'm doing; and then maybe you can stop doing it

  • or at least maybe then you can thing of some strategies for not doing it anymore

  • but it's not like you know, it's like you're acting it out, you know it that way

  • but until the representation matches that pattern, that click of insight doesn't occur

  • and that's like a revelation, it's a really good way of thinking about it

  • because the knowledge is there in its implicit form, and all of a sudden, bang! it's been made explicit

  • as a fantasy maybe, or also as a set of semantic statements

  • you know, maybe you have a crush on someone and you don't notice it

  • and maybe you find yourself having a fantasy about them, you think: oh! that means something!

  • maybe you don't want to know that that's what you want, but the fantasy will tell you

  • and one of the things Jung suggested, and this is sort of out of the freudian tradition of free association

  • is: watch yourself, watch your fantasies, because they're always happening, and they'll tell you something

  • and so, one of the things I do when I'm interacting with my clients is we'll have a discussion, and then their eyes will drift a little bit

  • and I'll know that something's flitted through their mind, you know

  • and that means we've touched on something that has a multiplicity of elements

  • and so I'll stop and say: look, I noticed that you... maybe you teared up, that's another thing to really watch

  • or maybe you laughed, or you drifted at least, it's like... it's because some other thought has entered your field of consciousness

  • and if you can get the person to grab those thoughts, to notice them

  • then you can often figure out the avenues along which that particular conversation might unfold

  • that's a complex, that's a Jungian complex or a psychoanalytic complex

  • it's like, there's an emotional core that produces a whole range of associated ideas

  • and that thing's got a life, it's like a micropersonality, and it might have resentment in it, might have anger

  • it's often negative emotion-tinged, because negative emotion-tinged episodes are still problems

  • and they will emerge automatically, 'cause you're threat detection systems force them onto your consciousness, essentially

  • so you watch, and when you drift... you'll drift, and the fantasy is partly a representation of of the problem space

  • you know, that happens when you wake up at three in the morning and you're worried about things

  • right, 'cause actually what happens is you wake up during threat processing

  • and if you're depressed, actually that gets so intense, you can't sleep, so then you just lay there all night, worrying

  • not fun, and those are fantasies about the negative elements of your past, present and future

  • and the fantasies can also breed solutions, and that's partly why Freud regarded dreams as wish-fulfillments

  • it's partly... and he wasn't... that was where he stopped; it's not correct

  • it's partially correct, it's like the fantasy will provide you with a problem and a potential solution

  • but they're more like problem-identification mechanisms, the fantasies, with the possibility of a solution built in

  • and so, a way of thinking about that is that you can generate potential futures

  • so they're like each segregateable environments, according to the rules of your fantasy

  • then you can generate little avatars of yourself that inhabit each of those little universes, and you can run them as simulations

  • and then you can watch what happens in the simulation, and if it's a catastrophy, then you don't have to act it out

  • and that's exactly, not exactly, that's akin to what you're doing when you go watch a movie

  • except that is much more coherent and well thought-through, than just a dream, which is often quite fragmentary

  • that's partly 'cause the dream is willing to sacrifice coherence to play with category structures

  • you know, and that's why in dreams things can change one thing into another really weirdly

  • or scenes can change from one scene into another without a logic, the logic gets loosened

  • so that the expanse of your thinking can widen

  • and it's dangerous to do that, and that's partly why you do it while you're asleep and paralyzed

  • you know, you don't run around and act out your pseudopodal fantasies, where you're stretching yourself out into the world

  • there's no risk, exactly, although it can be bad enough so you'll wake up in terror

  • but that's better than being in a crocodile's mouth by a large margin

  • anyways, back to these birds, these are used later in the movie as manifestations of the Holy Spirit, roughly speaking

  • and of course that's a standard Christian symbol, although, as I mentioned

  • the dove often represents the Holy Spirit, and we'll talk about that later

  • but this movie has very strong pagan elements in it, as I mentioned before

  • as opposed to strictly Christian symbolism

  • but that's foreshadowing, and what it foreshadows is that, well, a new day has dawned

  • it's the emergence of new consciousness, and everything last night went well, really well

  • everything in the... let's call it the unconscious, say, after time stops, that all went well, and so the new day is full of promise

  • and so, the birds are singing, and the sun is shining, and, like, hurray

  • this is the next scene, right, so it sets the tenor for that scene just like the introductory song does

  • so anyways, then you see all these kids playing and enthusiastic, so they're off to school

  • which is presented in a positive light, and so that's where you get socialized

  • so Pinokio's ready to go beyond the boundaries of the familial home

  • and he's ready because his father prepared him, and his mother prepared him

  • and so he goes off, and he's not going off alone, he's going with his conscience

  • you can think about it, again, as the internalized representation of nature and society

  • and so he's not going out there alone, even though he's not very good at it

  • he's pretty excited about it, and so is Gepetto; see, Gepetto isn't standing there paralyzed with terror

  • and the kid isn't phobic of the outside world, and so he's treating it as an adventure

  • even though, well, it's an adventure, but adventures can be dangerous

  • you can imagine a kid, especially one who's, like, high in neuroticism, who hasn't been encouraged sufficiently to overcome that, let's say

  • their primary idea might be: well, what if the other kids don't like me

  • that's a big one; what if the teachers don't like me, what if the other kids won't play with me

  • it's like, yeah, what if, that's rough, man, and if you're not a playful kid, it could easily be the case

  • so... but that's not Pinokio, he's like, spinning out, ready to go

  • and so... good, good, he's got... naive, but enthusiastic, ok, well at least that gets the ball rolling

  • now, you've got these two evil creatures here, the fox and the cat

  • I think this one's based on one of the Marx brothers, actually, Harpo Marx, who, I believe, never said anything

  • but, be that as it may, they're these ne'er-do-well characters, the fox in particular

  • now fox is standard trickster animal, right, it's a... classic animal, maybe because it's good at hiding, and it's good at hunting

  • I don't know exactly why, but coyotes are like that, too

  • they're classic trickster animals, he's kinda like Wile E. Coyote, in fact

  • you know, the Warner Brothers character who's genius at large, and whose arrogance continually gets him wallopped

  • and this character has a lot of features like that, but he feigns being an English gentleman of the 1890s

  • and pretends to be educated, and has a kinda high-blown way of talking, and he's a fraud through and through

  • and he's got this sidekick who's barely there at all, and he doesn't treat him that well

  • but he's got someone to lord it over, so that keeps his dominance hierarchy thing going well

  • and the fact that he's like a second-rate companion, well, he never really notices that

  • although he'll treat him contemptuously whenever he gets a chance

  • so anyways, they're walking down the street, and the fox is bragging away about some crooked thing that he's done

  • how he pulled the wool over someone's eyes, and he confuses that with wisdom and intelligence

  • and one of the things that you see, this is worth knowing too, because

  • if you're preyed upon by a psychopath, which you will be to some degree at some point in your life

  • the psychopath, who will be narcissistic, will presume that you're stupid

  • and that you deserve to be taken advantage of, because you're naive and stupid, so it's actually a good thing that he's doing it

  • and his proof... and I'm saying "he," because there are more male psychopaths

  • the proof that you're stupid and naive is that he can take advantage of you

  • and so, like, if you were wiser, you'd be a, you know, you'd know his tricks

  • then it wouldn't be morally necessary for him to show you just exactly who knows what about what

  • and so, the psychopath will use his ability to fool you as proof of his own grandiose omnipotence, omniscience, and narcissism

  • and the problem with that is that you can be fooled by a psychopath, and virtually anybody can

  • so that Robert Hare, for example, who's studied psychopaths for a long time

  • and interviewed a lot of them, like hundreds of them, and videotaped many of the interviews

  • he said when he was talking to the psychopath he always believed what they were saying

  • and then he's watch the video afterwards, and see where the conversation went off the rails

  • but, you know, the proclivity to be polite in a conversation is very strong

  • and if you're polite, you don't object to the way that the person unfolds their strategy, you know

  • and psychopaths are pretty good at figuring out how to manipulate, obviously, how to manipulate people

  • and the probability that you will be immune to that is extraordinarily low

  • go watch Paul Bernardo being interviewed by policemen on the Youtube

  • that's bloody... that's enlightening, man, Paul Bernardo, he's like the CEO of a meeting in that video

  • he gives the cops hell, he gives the lawyers hell, he protests his innocence, he basically tells them that they're rude and untrustworthy

  • because they don't trust him, because he did a few little things seventeen years ago

  • and he gets away with the few little things, right, I mean he killed a bunch of people, including the sister of his girlfriend at the time

  • and you know, he was a repeat sexual offender, and murderer

  • but he basically goes: you know, that's a long time ago, it's like, we're past that, aren't we?

  • I mean, I'm having a discussion with you, I'm trying to help you solve some crimes, which, by the way, I committed, but we won't bring that up

  • you know, and you're accusing me of being a liar, you're not playing fair, what's up with you?

  • and then when they answer, he looks at his fingernails, which is, like, that's a lovely little manipulative thing

  • 'cause it basically means: whatever happens to be under my fingernail at the moment is much higher priority than your foolish story

  • and you watch, you'll see people do that to you, and then you get a little insight into what they're up to

  • he's very good at that; or he looks outside, or he just looks at his hands, or he looks out the window

  • immediately dismissive in his nonverbal behavior, it's brilliant

  • the courts were forced to release that, by the way, look it up, Paul Bernardo on Youtube

  • wow, it's jus mind-boggling, he's so good at what he does

  • and he's good-looking, and he's charismatic, and, you know, he can really pull it off

  • and you can't tell what's happening with the cops and the lawyers, whether they're just letting him play his routine to get some information from him

  • or whether he's actually setting them back on his heels, and I suspect it's a bit of both

  • but it's a masterful performance; if you didn't know who he was, and you were watching it without the audio

  • you'd think he's the CEO of some company giving his employees hell for not being up to scratch

  • that's all his body language, his eye contact, everything, just speaks that, it's amazing

  • so anyways, you got these two-bit hoods here, who think they're really something

  • and they also think they're tough and dangerous, and they're not, they're just, you know, cowardly corner dwellers

  • and they confuse their unwillingness to abide by reasonable rules with an indication of their heroic courage

  • which is something else that low-rent hoods like to do, you know

  • and it's partly because lots of people who just attend to the law do do that because they're cowardly

  • which is a Nietzschean observation, are you good? or are you just afraid?

  • let's start with afraid first, before we proceed to good, and that the reason you follow the rules is that you're afraid of getting caught

  • yeah, well, you know those kids who... often university kids who are in a hockey riot

  • and breaking windows, and stealing things, you know, they get nailed for it, and afterwards they're really blown away by their own behavior

  • it's like, well, they're in that camp, they think they are good people, but they're not, they're just never anywhere where you could be bad

  • and as soon as you put them somewhere, where they could be bad, it's like, out it comes, just like that

  • and that's really worth thinking about, 'cause most of you, many of you, but not all of you, I suspect

  • have never really been somewhere that you could be really bad and get away with it

  • and so you might think, well, you wouldn't do it, but people do it, all the time

  • so anyways, they're talking about some exploits, and

  • then they see that this character named Stomboli, he has a puppet show, right

  • and he's kind of a wheeler-dealer too

  • remember, I showed you that mas that was glaring at Pinokio when he got his voice?

  • it's like, Stromboli is one of his manifestations, the fox here is another one of his manifestations

  • all the negative characters throughout the movie are manifestations of the same thing

  • it's partly the adversarial individual, and it's partly the tyrrannical aspect of society

  • it's the negative masculine, that's one way of thinking about it

  • so, and you know, when men go bad, they often go bad by being antisocial and tyrrannical

  • there's way more antisocial men than there antisocial women, which is why there's twenty times as many men in jail as there are women

  • so each gender, let's say each sex has it's own characteristic pathologies

  • and there are some antisocial women, you know, and there are some high-neuroticism guys

  • or some guys who are really agreeable as well, but they're rare

  • so anyways, he sees this poster advertising Stromboli's puppet show

  • so Stromboli's a puppet master; now that's really worth thinking about, because that's an archetypal theme

  • or it's at least attached to an archetypal theme: something's behind the scenes, pulling the strings

  • and everyone always wonders what that is, what's actually going on; what's actually going on with Trump?

  • who's actually in control? is it Putin? I mean that's the fantasies of the left, it's Putin

  • it's like, well, the question always is, what's going on behind the scene

  • right, and the question is... that's the case certainly on the political landscape, business landscape, interpersonal relations

  • what are you really up to, everyone's always wondering that, right, it's why they're watching you eyes

  • 'cause your eyes point at things, and they can infer what you're interested in, and what you're up to by looking at what you look at

  • and that's why your eyes have whites, it's so that we can see where you're pointing them, 'cause gorillas don't

  • and so what that means, roughly speaking, is that all of your ancestors whose eyes couldn't be reliably tracked

  • were either killed or didn't mate, it's a big deal for us to see where people's eyes are pointed

  • and so we're always watching each other's eyes, constantly; what are you up to, what are you up to?

  • what are you looking at? what do you want? I wanna know, because if I know what you want, I can predict how you're gonna behave

  • and that also means I can cooperate with you, or I can compete with you, or I can lie to you

  • but all the information is in the eyes, surrounded by the facial display, right, 'cause that's also an indication of motivation and emotion

  • our eyes are so good at that, that for you guys sitting there in the back, I can tell if you're looking at my eyes or at my chin

  • and the deviation in your eyes is so tiny, that it's a kind of miracle that we're capable of making that perceptual observation

  • it's really important to us, so and we have really good eyes, so that's another thing about us

  • so anyways, what's going on behind the scenes? well, if you look at Stromboli, you might be thinking:

  • it's not clear he's someone you'd want to have pulling your strings

  • there's a little bit of, forced ethusiasm, let's say, there, and he's just not a very savory looking character

  • so anyways, the fox knows him, and they start talking about Stromboli, that old joker

  • how they could possibly involve him in some sort of scam, because he's back in town

  • and then they see the puppet, and the fox does his equivalent of thinking

  • which is, you know, pretty sad and nasty, but that's what he does

  • and then they see this puppet with no strings, and they think: hey man

  • a puppet master would pay a lot for something that is capable of semi-autonomous movement like that

  • it would be kind of a miracle; and so they decide that they would take him to Stromboli

  • and so they grab him, and, hah, he's got an apple to take to the teacher, which, I think it's the cat, promptly eats

  • and the fox acts out this false enthusiasm about what Pinokio is up to, and pretends that he's his friend

  • which is of course what your typical pedophile will do, and so this is in the same kind of category

  • and it truly is; one of the things that's interesting to know about pedophiles is that they're predatory, right

  • and so they don't go after kids that are assertive and likely to be noisy

  • they watch, and they watch to see if they can find a kid who's defeated, and...

  • that's good enough, who's defeated, and who's gonna need a friend, and who's not going to object

  • and so when they check out... these are the ones who do the stranger abductions, which are, by the way, extraordinarily rare

  • they look for a victim type, they look for a kid who's gonna be easy to take down

  • and so, you know, that's one thing you don't want... so you might think, well...

  • one of the things that was really big, it's probably even worse now, when I was a parent of young children

  • was to teach your kids how to be afraid of strangers, it's like, uh, no, wrong, that is not what you teach them

  • because all you do is teach them then to be timid and fearful, and the real predatory types, they're pretty much thrilled about that

  • 'cause you'll also make them sheltered and naive

  • you make your kids courageous, and you get their damn eyes open, and that's the best thing you can do against people who are truly dangerous

  • so, none of that terrifying... it's not a good idea

  • anyways, the fox befriends the puppet, and then they come up with this evil scheme to get him off to Stromboli, the puppet master

  • and away they go, and they sing a little song about being an actor, "an actor's life for me"

  • this took me along time to figure out, I thought: they're taking Pinokio away to be an actor

  • now why in the world are actors getting such a rough time in this movie?

  • it's like, it's a Hollywood movie, you know, it's acting, obviously, the voiceovers and all of that are acting

  • it's... why is this thing about being an actor? and then I thought: oh, I get it, I see what's going on

  • they sing to Pinokio about the delights of unearned celebrity

  • so he doesn't have to go and get an education, he doesn't have to take the difficult route

  • he can take the easy way to dominance... to success, to dominance success

  • he can circumvent all the hard work and go right to the top, you know, and when you think about phenomena like the Kardashian family

  • and how popular they are, part of that is this desire that people have for unearned celebrity

  • because you can ge to the top without any sacrifices and without any work, and if you're really cynical

  • you know, you think that the people at the top are just there by accident anyways, and it might as well be you

  • of course, there's a lot of naivety in that as well, and a fair bit of, you know... a fair lack of wisdom and all of that

  • but the actor idea here is that you can pretend to be something you're not

  • and that that's the proper route of anyone wise to success, it's the ultimate in cynicism

  • and it's a nihilistic perspective as well, and that's how they entrap him

  • they say: look, why are you bothering to go to school? that's gonna take 18 years

  • with all of your talents you could just go on the stage, your name will be up in lights, you'll be at the top in no time

  • and what does the puppet know? plust he does have some talents, he is, after all, a semi-autonomous puppet

  • now, he doesn't exactly know how special that makes him, but the fox can obviously see something in him

  • and he's good at playing that naivety off, and then offering these false promises

  • but, see, the thing is... one of the things that Carl Jung said, that I thought was really interesting

  • when he was talking about the Edipal situation in families, I never forgot this

  • so the Edipal situation, roughly speaking, is when - I'll lay out the classic story -

  • is when a child is seriously overprotected, usually a male child by his mother

  • now, the reverse can be the case, and it can be a female child by the mother, and all of that

  • but I'll just talk about the classic case to begin with

  • now, what Freud observed was that there were usually not very good boundaries in families like that

  • and so, the relationship between the husband and the wife was either strained or nonexistent

  • and the wife would often turn to the child to be what she isn't getting from the husband

  • and so, there's a great South Park episode about this, a wonderful South Park episode

  • where... I don't remember that horrible little guy [student: Cartman] yeah, that's him

  • his mother brings in the dog whisperer to train him, and it's a brilliant episode

  • if you want to learn about the freudian edipal situation, you watch that, you've got it down cold

  • because she brings in this expert, who then she wants to have an affair with, so that's a boundary issue

  • and he basically separates her son from him [sic], and imposes the same discipline on him, that he would impose on a bad dog

  • although he also trains the dog's owners all the time, because maybe it's not the dog, maybe it's the owner

  • there's a horse whisperer movie, too, about the original horse whisperer that does a beautiful job of laying that out, too

  • 'cause he's very good at fixing problem horses, and unbelivably good at diagnosing psychopathology on the part of the owner

  • he's got a gift for it, but...

  • anyways, what happens in the South Park episode is that the dog whisperer gets Cartman straightened out

  • and he starts, like, dressing properly, and doing his homework, and...

  • and the mother is pursuing an affair with the dog whisperer, but he's professional

  • he keeps his distance, he keeps boundaries around him

  • and then he leaves, and then the first thing that she does when he leaves

  • is bribe Cartman, basically, out of doing his homework, so that he can accompany her to, I don't know, a fast food restaurant or something like that

  • and so, the reason she does that is 'cause she's lonesome, and doesn't have anybody else around

  • and, you know, maybe she's also deeply, deeply, deeply terrified that if she helps that boy grow up, he will leave

  • and she'll have nothing

  • you know, and so, mothers who don't have something, say, outside their infants

  • not merely their children, are more likely to fall into that, and it's no wonder

  • you know, you gotta think that through; and lots of women, most women, really fall in love with their babies

  • and so, even if they start growing into larger children that can be threatening

  • because when the child... when the infant turns into a toddler, the infant is dead

  • the toddler is there now; and you can radically interfere with that process, that happens all the time

  • that's the classic Freudian oedipal nightmare

  • and that episode is brilliant, it's bloody brilliant, it just nails it

  • some of you've been in my personality class and watched "Crumb", the documentary "Crumb"

  • and that's another staggering exposition of exactly that kind of pathology

  • anyways, one of the things Jung pointed out...

  • so I knew this guys once, who had a mother who basically was trying that trick

  • and she was very smart, and had lots of tricks up her sleeves, and there was just no way he was gonna go for it

  • he rebelled at every possible moment, and he basically became, I would say, somewhat hypermasculine in response

  • which is an interesting lesson with regards to the hypermasculinity that boys often develop when they're raised by single mothers

  • 'cause they tend to go one of two ways

  • and he just fought her at every step of the way, and it didn't happen

  • but one of the things Jung said, which I loved, and you can really see this in the "Crumb" documentary

  • is that the oedipal mother basically entices the child, she says: look

  • here's the deal, you don't have to do anything, but you don't get to leave

  • and if you don't leave, and you don't to these difficult things, then I'll take care of you

  • and the child has a choice, all the way along there, I mean, obviously he's outclassed in some sense, but it's not as obvious as you'd think

  • little kids are tough, and they make decisions all the time

  • and so Jung thought about it more as a conspiracy than as something imposed on the child by the mother

  • and I really like that, it's actually a conspiracy between mother, father, and child, actually

  • and I think that's a good way of looking at it, even though it's really rough, 'cause

  • well, should you hold the child responsible? well, yes, but judiciously, and not completely

  • 'cause then if you deal with someone like that as an adult, and they're trying to escape from it

  • you have to go all the way back and figure out how the hell it happened

  • they have to figure out where they opened the door, like inviting a vampire in

  • 'cause they can't come in unless you invite them in, so don't invite them in

  • 'cause once they're in they're really hard to get rid of, and they'll take all your blood

  • so that's a cautionary tale

  • so anyways, Pinokio doesn't know any better, and he's got the egotism of youth

  • he's offered the easy way to success, which is exactly what the fox tells him, and off they go to see Stromboli

  • so this is this song, I'm not gonna read it all

  • it's great to be a celebrity, an actor's life for me

  • you sleep till after two you promenade a big cigar you tour the world in a private car

  • you dine on chicken and caviar an actor's life for me!

  • it's all this idea of wealth and public exposure

  • and zero attention whatsoever to anything regarding responsibility or discipline or learning

  • and so it's a dual attraction, right, you get everything you want, and you don't have to do anything

  • geez, what a deal; and so that's what the actor represents, it's a liar, fundamentally

  • it's someone who's acting out a deception, they're a persona in the Jungian sense

  • so the persona is the mask you wear in public that you might even think you are. but you're not

  • it's this mask, and that's the actor, that's the persona

  • so the fox and the cat are inviting the puppet to only become a persona

  • see, for Jung, you start as a persona, and then, when you start to investigate the parts of you that don't really fit in that persona

  • and that would be the shadow, then you start understanding who you really are

  • and that's shocking, because the persona contains everything, roughly speaking, that you think is good

  • and maybe even that your immediate culture thinks is good

  • and then the shadow contains everything's that's not part of that

  • and some of that's really bad, but some of it is good disguised as bad

  • and you can't break out of the persona and transcend it until you incorporate a lot of what's in the shadow

  • and so, for example, it you're and extrordinarily compassionate person, let's say 98th percentile

  • you're going to be sacrificing yourself to other people all the time

  • and there are people who will find that extraordinarily endearing

  • and it will be, under some circumstances, but the problem is that you will sacrifice yourself

  • and that's a really bad attitude to have, for example, towards adult males

  • it's a great thing for infants, but for adult males it is *the* wrong approach

  • you will get taken advantage of continually by people who are looking for someone like you, until you grow some teeth

  • and you'll think: no, no, that's the opposite of compassion, being able to bite hard is the opposite of compassion

  • which it is; and so you'll have that pushed into the predator category

  • "I'm not doing that, I'm not getting angry, I don't like conflict"

  • until you bring that out of the depths and put it on, so you can use it, you're gonna be in trouble

  • and that's kinda Nietzsche's idea of the revaluation of good and evil

  • you have a sense of what's good, and a sense of what isn't with your conscience, but it's not very smart

  • it's got things in the wrong boxes, even nature itself

  • a lot of the things that you accept as untrammeled goods, like compassion, let's say

  • have a very dark side, first of all, and second, are not enough to get you through life

  • you need the opposite virtues, too, and so you have to develop them

  • you get outside the persona to do that

  • but anyways, Pinokio's invited to be a false persona to take the gains of celebrity

  • without having to do anything to be educated, he's just gonna go right to the top from right where he is

  • and you know, people are kinda fascinated by that idea, that's why you watch America's Got Talent

  • or the X-Factor, which shows I actually love, by the way

  • you never see narcissism in its purer forms than you see it when you watch people who display an absolute lack of talent

  • and become homicidal when someone dares point it out

  • accusatory and homicidal, instantly, it's really something

  • and then, now and then, you do see one of these people who's so introverted, and so out of society

  • and have this unbelievable gift, which is also something really remarkable to see

  • and it's no wonder these things are so popular, they're psychologically extraordinarily interesting

  • so that's the actor, first of Pinokio's temptations, and of course it's the first one, because he's entering the social world

  • and the temptation in the social world is to be exactly what other people want you to be

  • and the thing that's cool about that is that is what you should be doing

  • when you go out in your peers, you should be not subjugating your individuality to your peers, 'cause that's not exactly right

  • that's kinda based on an inhibition model, you've got aggression, you've got bad habits, they have to be inhibited

  • you learn that by interacting with your peers; it's not the right model, that's a Freudian model

  • Piaget was correct about that, he basically pointed out that what should happen is

  • let's say, with your aggression, and hopefully you have some, is that it gets socialized

  • you learn how to play games, but you don't drop your drive to win, you integrate that in the games

  • you try to win, you try to play hard, but if you're defeated or you hit something negative, you don't respond negatively

  • and you can keep that all bounded within being a good player, a fair player

  • and that means what's happened is you learned how to play a game or a set of games

  • that also includes the darker parts of you, and they actually become part of your force of character

  • it's way better if you can pull that off, and that's what you definitely wanna do as an adult

  • all you people are gonna have to learn to negotiate on your own behalf, and that's really hard

  • it means that you have to know what you want, you have to be able to communicate it, and you have to be able to say "no"

  • and to say "no" you have to be built on a solid foundation, you have to have options

  • so you gotta remember that as you go through your life

  • if you don't have options, you can't negotiate with someone, and if you're not willing to use them, they win, period

  • because if you're asking your boss for more money, say, the answer is no

  • because he doesn't have any spare money lying around that he can just give to you, and lots of other people are asking

  • so some of that zero-sum stuff, not all of it, because often you cooperate with people, and the whole pot can grow

  • but some of it's zero-sum, and so you better have a case made

  • "here's how much money I should have, here's why, here's the benefit to you if you do it

  • here's the consequences if you don't, they're actually real, they will cost you, and I will do them"

  • then you can negotiate, and you don't do that rudely, but those arguments, you better have them in order

  • for example, if you're gonna negotiate for a raise or a status shift

  • you better have your resume at hand, all polished up, and know where else you're gonna look for a job, and you better be able to get one

  • 'cause otherwise you're weak, and you will not win the negotiation

  • and if you're too agreeable, so your conflict-avoidant, you will make less money across time

  • that's already been well established, and that's because you don't have teeth, not enough

  • and so, in the little micro-contest that you're going to have every day

  • you're going to incrementally lose to people who are more aggressive

  • who have bigger teeth, and that's what happens, so don't let that happen

  • you place yourselves so you can negotiate, 'cause otherwise you're just a facade

  • and in a real battle a facade is just torn down right away

  • well, the cricket, he's supposed to be helping the puppet out, but he overslept

  • that's just another indication that he's not everything he could be yet, and that's really...

  • that took me a long time to puzzle out with regards to interpreting this movie

  • I could not figure out, I told you this, if the bug is the person who opens the hero narrative

  • and who can guide the transformations of time and who has the same initials as Jesus Chris

  • and is knighted by nature herself, why is he such an idiot?

  • it's a very difficult thing to figure out, but the idea that the conscience isn't omniscient

  • even though it has that voice of, let's say, common sense

  • and that fits very nicely in with the Freudian idea of the superego, again, because the superego can be flawed

  • it can be too harsh, it can not be properly developed

  • you see that often with people who are orderly, so they're high in conscientiousness, conscientiousness fragments into industriousness and orderliness

  • orderly people like willpower, they're very judgmental, and they like things to be exactly where they're supposed to be

  • but they're also very self-punitive; conservatives are much more likely to be orderly, by the way

  • it's one of the best predictors of conservatism; low openness is the best predictor, but right after that is high orderliness

  • and it's associated with disgust sensitivity, which is really an amazing thing, we'll talk about that later

  • anyways, the cricket, he falls down his first day on the job

  • he's not as conscientious a conscience as he should be

  • so he's feeling pretty stupid, he's got his little millionaire clothes on, but he's really not living up to them

  • he does catch up to the fox and the puppet, however, and tries to dissuade Pinokio from going down this road

  • and of course, the cat, well, you can see what the cat's doing there, he's got a big hammer

  • big mallet, and he's... it also shows you just exactly how much of a clue he has

  • he's gonna wallop the bug who's sitting on the fox's hat, which I think he actually does

  • then the fox can't get out of his hat, and has to talk through his hat, which basically he's doing all the time anyways

  • so, this I really like, you see on the left here that the cricket is speaking inside this flower

  • and like I said, there's nothing accidental in these representations

  • these are artists who were coming up with these compositions, and their fantasy has a structure

  • so the cricket is speaking out of this flower that has, well, you could think about it as... it has a sexualized element

  • so you could think about that as a phallic part, and that part of the feminine part of it, they are flowers, after all

  • they are the sex organs of plants, and that's very much the same over here, this is the yoni and lingam

  • this is from Hindu culture, and you see there's a snake wrapped around that, so that's masculine and feminine

  • with a snake wrapped around it, and that's a holy representation, a sacred representation

  • and it represents the deepst reality, that's one way of thinking about it

  • like chaos and order, surrounded by the snake, it's exactly the same idea

  • so the cricket speaks out of that; well we already know that, 'cause it is the conscience

  • and he's been awakened in part by Gepetto and the good father, and awakened in part by the good fairy and nature

  • so he speaks with those voices, and he's also a manifestation of the underlying chaos itself

  • because nature and culture spring out of chaos

  • I already showed you that schematic representation

  • I'll just end this scene, and then we'll have a 15-minute break, okay?

  • anyways, the cricket tires to make a case for why Pinokio shouldn't go off to be a celebrity

  • but, you know, it's a hard case to make, because the fox is very manipulative, and Pinokio is naive

  • and it sounds like a good offer, and also the fox is actually quite forceful, he basically takes him by the hand

  • so the temptation is, and this is something else I like about the movie

  • you can't just say: "well, the puppet gets what he deserves"

  • 'cause he's little and naive, and what he's facing is really malevolent, truly malevolent

  • and physically overpowering, and so the movie does a nice job of not minimizing the threat that's posed by this particular temptation

  • and that's part of what makes it art

  • so we'll stop there, we'll have a break for 15 minutes, and then we'll start with the stage

  • alright, so here we are, at the big event, and Pinokio is off to be a celebrity

  • and the cricket is watching, and Pinokio basically...

  • well, he's got some natural talent, because he's a puppet, but he doesn't have strings

  • he goes on stage with strings, and then he drops his strings, and the whole crowd is amazed

  • and the crowd should be amazed when that happens; you can imagine when a kid goes to school

  • and shows some independence, that that's actually gonna... people are gonna notice that

  • his peers are gonna notice that, the teachers are gonna notice that

  • maybe it's too much independence even, but it's still a... it is a remarkable thing, too

  • it's so interesting, you can see marked signs of independence in children, well, right from the time they're born, basically

  • because one of the things that's really funny about the infants, is when they're crying, you always think:

  • "oh, the baby's sad", it's like, no, a lot of the time that baby is angry

  • and the way that we know that is because you can do facial expression coding on infants, just like on adults

  • and you can tell what emotion they're expressing, and very frequently...

  • like when a kid starts to recognize his mom explicitly

  • 'cause he or she knows the smell right away, pretty much, and the sound of the voice, but visually

  • if someone comes in and it isn't who the baby wants, so generally it isn't mom

  • the baby will start to cry, but it's not 'cause the baby's sad, generally, it's because it's angry that mom didn't show up

  • and that's an early sign of will, it's like this kid wants things

  • and it's perfectly willing to tell you about

  • and of course a two-year-old who's having a temper tantrum is in some sense doing the same thing

  • it's poorly integrated will and independence, obviously, but it certainly runs contrary to what you want

  • you don't want your two-year-old having a temper tantrum in the middle of the toy store

  • it's extraordinarily embarrassing for you and... well, for you, but it's also embarrassing for the two-year-old

  • this is one of the reasons I think that that sort of thing should be carefully socialized rapidly

  • because it's actually humiliating for the kid, 'cause other people don't like that

  • and they're very judgmental about it, they won't say anything, usually, but sometimes they will

  • but they're not happy about the fact that that's happening, and they will judge the child negatively

  • so you don't want your child to be behaving in a way in public that makes other people think badly of them

  • it's really, really not good, and so part of your job as a parent is to not expose your child to that sort of experience

  • especially not repeatedly, it's really hard on them

  • or they get narcissistic, which is also rally hard on them

  • it just takes a lot longer to manifest itself

  • so anyways, he's off on stage and Stromboli introduces him and talks about how wonderful this is going to be

  • and Pinokio comes out on stage with the strings on, and drops them

  • and then he falls down the steps and puts his nose into a hole, makes a fool out of himself

  • and that's the first time Stromboli shows his true character, 'cause he just really yells and screams at him

  • and he has his back to the audience, Stromboli, while he's doing this, so he's not noticing how the audience is reacting

  • typical tyrannical parent, right, who's not noticing that society is reacting a different way than him

  • he's not happy about it, and Pinokio of course is dazed and feels like a fool, and he is a fool

  • so that's appropriate; but then Stromboli hears the crowd laughing, and as soon as he turns around he's all smiles again

  • so that's the first time you get insight into what sort of puppet master he is

  • he's there to please the crowd and that's all, and he's there to look good in public, but fundamentally he's a tyrant

  • and I guess that's the problem with false celebrity, that the negative spirit of the crowd becomes your master

  • because to be a celebrity, you have to be a crowd pleaser, and if you're pleasing the kind of crowd who likes a celebrity like you

  • which is... and there's not much reason for that, then it's not exactly like you're appealing to the proper side of the crowd

  • and you've become its puppet one way or another, and maybe it's rewarding you with wealth, perhaps

  • and with attention, but fundamentally it's not something I would recommend

  • if you want to stay reasonably psychologically healthy for any reasonable amount of time; you're gonna sell yourself out

  • and I don't mean that in any casual way, you know

  • all right, so anyways, Stromboli changes from the tyrant to the good father in half a second

  • he gives Pinokio a pat on the head despite the fact that he's made a mistake, looks all kind

  • and the show continues; now, the cricket is not very happy about this

  • he's sitting in the stage, watching, he's very angry and, let's say, disgusted by what's happening

  • partly because Pinokio is making a fool of himself; now that's an interesting thing

  • human beings blush, in fact, if I remember correctly, the name Adam, you know, like Adam and Eve

  • is related to the capacity to blush; now that comes from something I read a long time ago, and that might be wrong

  • but Adam does manifest shame in the sight of God, so there is a relationship there

  • but anyways, people do make foold of themselves for public display

  • and you can tell you've done that in some sense, not always, if you blush

  • because you've either said something you shoulnd't've and you realize that

  • which is more like you've tried to be funny and gone a little bit too far, and sometimes that can be really funny

  • or you've said something you know to be false, manipulative, deceitful, beneath you

  • any of those things, and you'll have an automatic response to it, you'll be ashamed and blush

  • one theory about that is you can trust people who blush, because you know that their conscience will betray them

  • and so that even if they are lying, they tell you; it's an interesting theory

  • because blush is definitely... like it's a facial display, it's right out there, where people can see it

  • you know, maybe that's true, maybe it isn't, but it's kind of an interesting idea

  • anyways, the cricket is not happy with what's going on, he's not happy about Stromboli

  • and he's not happy about the willingness of Pinokio to make a fool of himself to support this false celebrity

  • I actually think that's why celebrity types like that often get narcissistic and arrogant

  • it's because they aren't paying attention really to what's happening inside them, they drown it out

  • because the glory and the money, and all that is so attractive and enticing

  • they refuse to notice what price they're paying for it

  • and they magnify up their grandiosity and their arrogance to keep that stuff all under control

  • and then of course they get surrounded by sycophants, which is a really bad thing

  • they get surrounded by people who will tell them exactly what they wanna hear

  • and that's really bad if what you wanna hear from other people is not good for you

  • to surround yourself with people who won't offer you genuine criticism, or even genuine reward, it's the same thing

  • you want from me that I differentially reward and punish you in approximately the way that the good part of the crowd will

  • that's what you want from all your friends

  • because then your interactions with them can generalize out to the broader community in a productive way

  • and so a good friend... your friends tend to be on the supportive side, and perhaps that's appropriate

  • assuming there's reciprocity; but a good friend will also tell you when one way or another

  • when your behavior is starting to tilt in a direction that's going to make you unpopular with them

  • and likely unpopular with other people; and that's the prime job of a parent, in my estimation

  • like: "don't do that, other people will hurt you if you do that

  • by exclusion, by threat, by failure to offer you an opportunity, bad things will happen to you"

  • so you can't do that; and then you're a representative of the social situation

  • which is exactly what you should be, not a friend

  • or at least not precisely a friend, that doesn't make you an enemy, it makes you better than a friend

  • so Pinokio's on stage making a fool out of himself, and then he gets all tangled up in other puppets' strings

  • that's what happens to him, and then it all ends rather badly with everything being a tangled mess on stage

  • but it also turns out to be rather funny; it's funny, 'cause he's surrounded by angry Russians

  • you could kind of view that as a potential lesson, that if you're a puppet on a stage, and you mess around too much

  • you just might get tangled up with a bunch of angry Russians, these are Cossacks, that's exactly what happens

  • of course, no, that's not what's happening here, but it's still funny

  • so Stromboli is not happy with the tangled mess, but then the crowd reacts very positively

  • and that confuses the conscience, because he thinks: "well, look, this is horrible, this guy's a tyrant, Pinokio's making a fool of himself

  • everything turns into a tangled mess, but the crowd goes crazy"

  • being a fool, that can be entertaining, right?

  • so it's hard to tell when a crowd, especially at a spectacle, 'cause this crowd is at a spectacle

  • you just don't know exactly why it is that they're responding positively, but you've definitely given them what they want

  • you can see this look on Stromboli's face, it's like this false false kindness and generosity, public facing

  • anyways, the conscience is very confused, and I really think this is an important thing

  • 'cause I've often thought... I spent a lot of time thinking about Hitler, and I was thinking:

  • how do you get into a state like that? and you think: he's a dictator, and he led his people down a bad path

  • that's not right, that is not what happened; they had a conspiracy together, and went down a bad path

  • think about it this way: if one person thinks something about you, it's like whatever, right?

  • but if 5 people tell you that, then to start not taking that seriously is kind of narcissistic

  • and if it isn't 5, let's say it's 15 people tell you the same thing or act the same way towards you

  • it's like probably you should clue in; well, what if you're a politician

  • and you're trying out a bunch of different ideas, and you're good at interacting with a crowd

  • you're charismatic, you watch the crowd, but you're not necessarily all that articulate

  • you don't have your values all straightened out, but you're kinda angry, too

  • and maybe that's 'cause you spent a bunch of time in World War I in the trenches, which was like no joke

  • and all your friends got blown up; and then you were unemployed

  • and then you tried to be an artist, and that didn't work out, even though you were moderately talented

  • and then maybe the economy fell apart completely on you, hyperinflation

  • and then maybe there was a communist menace coming in from the east, and there genuinely was

  • so you're not the world's happiest clam at that point, and you're talking to people who aren't that happy either

  • 'cause they were also badly defeated in World War I, and they had a terrible treaty they had to sign, and they lost part of their territory

  • and so the crowd's not happy, and neither are you, and there's reason for it; and so you start talking to them

  • and you don't know what you're upset about, and neither does the crowd

  • so you start to articulate some things about why you might be upset, and some of them fall flat

  • but you're paying attention to the crowd, so you stop saying those things

  • and some of the things make the crowd really wake up and listen, and so you start saying more of those things

  • it's an unconscious dialectic between you and the crowd; it's mediated by consciousness

  • but it's not like you're sitting there, saying, although you might be: "I'm gonna tell this crowd more of what it wants to hear"

  • it's more sophisticated than that; and so you do that a thousand times, and you do that to ever-increasing crowds

  • and the crowd really starts to go mad, and they basically tell you that you're the savior of the nation

  • how many bloody people have to tell you that before you start to believe it?

  • I would say, with a typical person, a hundred would do it

  • that'll get you going, man, if a hundred people tell you specifically why you're special, you're gonna be thinkin'...

  • even if you're humble to begin with, you're gonna be thinking: "geez, there's gotta be something to this, man"

  • but if it's a million people, and they're roaring their approval, well...

  • and then when it's a whole nation, good luck withstanding that

  • there's just not a chance, how are you going to withstand that?

  • now, you could be like Ghandi, and you could've taken that into account beforehand, because he did

  • he read Tolstoy, by the way, he was a student of Tolstoy, and that's very interesting

  • because Tolstoy developed the techniques of non-violence that Ghandi used; and Tolstoy was also a deeply religious writer

  • apart from his novels, which are not, I wouldn't say, really in the religious category, although they're profound

  • Tolstoy stressed humility with non-violence, he really stressed it, and that's what Ghandi took to heart

  • so he lived a very, very, very simple, bare-bones, ascetic life

  • and that was to kinda see if he could keep his damn ego tapped down while the groundswell was building behind him

  • you know, and he dressed really simply, and he didn't own much, and he ate very simply

  • and he just tried to stay away from the whole materialistic success element

  • that would be an element of what would turn him into an actor, and also inflate his ego

  • he seemed to do that pretty well, he certainly...

  • well, he led a non-violent revolution that resulted in the independence of India

  • it also produced a terrible civil war in the separation of the Muslim Indians from the Hindu Indians

  • but I don't think you can precisely lay that at the feet of Ghandi

  • but what I'm saying is that you have to be an extraordinary person, you have to be extraordinarily wise

  • and you have to take ridiculous precautions if you're gonna put yourself in the public sphere like that

  • and expose yourself to that kind of adulation without becoming a puppet of the crowd

  • and that's what happened to Hitler; I mean it's not like he wasn't also a conscious manipulator

  • and surrounded himself by people who were propagandists, and all of that

  • so there was a conscious element, but... you gotta think these things through, and see how that dialectic develops

  • he learned how to appeal to the darkest fantasies of the crowd, he was really, really good at it

  • and that was a dialectic process, right, the crowd told him what they wanted to hear...

  • and the crowd's a mob at that point, so I don't have to take responsibility

  • for the fact that I'm screaming my approval when I'm surrounded by a million people

  • so I can scream my approval for whatever I want, for whatever dark, revengeful fantasy might be playing out in my imagination

  • because I'm not gonna be held accountable for it

  • anyways, the cricket's confused, and it's no wonder, it's like the public has rendered its judgment

  • and the judgment is positive; so when I wrote the book on which this course is based

  • I was thinking: "how am I gonna judge success?" and I thought: "well, there's sort of four... there's a two by two matrix of success"

  • you could say: it's a great book, no one reads it; that happens, what do you do about that?

  • Nietzsche sold virtually nothing in his life time, and you know that's happened to lots of artists

  • then: it's a terrible book, and everyone loves it; that happens too

  • and then: it's a great book, and everyone loves it; and then: it's a terrible book, and everyone hates it

  • that's probably a better category, actually, than "it's a terrible book and everyone loves it"

  • I mean, you wouldn't pick "a terrible book that everyone hates" if you had a choice

  • but at least the quality and the response match, at least it's truthful, like: "great book, good response"

  • but the problem with those four categories is you can't really tell which category your production falls into

  • because how do you know?

  • I think you should assume "horrible book, bad response," because that's the most likely

  • of all four of those categories, that's the most likely to be true, purely on actuarial grounds, let's say

  • so, all right, so anyways, the cricket wanders away, because he obviously...

  • not only was he late for work that day, but he turned out to be wrong about everything

  • so he lets Pinokio go off on his adventure; and Stromboli puts him in this little touring wagon

  • and away they go; and the cricket thinks: "well, the consciensce isn't needed anymore on this journey towards unearned celebrity"

  • well, meanwhile, back at the ranch, as they say, the puppet is supposed to come home after school

  • but he doesn't, he doesn't show up

  • and the kitten, and the fish, and Gepetto are all waiting there for him, ready to eat

  • but he doesn't show up

  • and so Gepetto goes out into the rain to look for him

  • and he can't find him; and then we see the inside of the traveling show cart

  • and Stromboli is having a snack, and counting all the money that he's made from tonight's performance

  • and hypothetically dividing it out with the puppet, so we've got this little stack of gold, and some of it's false

  • somebody paid with a... looks like a little washer, mechanical washer, and it's bent

  • and so he curses about that for a while, even though, it's interesting, eh, because he's made all this money

  • he's been really successful, but this one little error is enough to enrage him, which is very ungrateful and tyrannical

  • look, you got a hundred gold pieces, someone's slipped you a fake one

  • you could've had 101, it's still a pretty good day, all things considered

  • you know, you gotta make a bit of allowance for error, which is something a tyrant does not do

  • and that's perfect, because if you don't make allowance for error at all, then people are always guilty of something

  • and if you're a tyrant, that's exactly what you want; and people *are* always guilty of something

  • so the tyrant who is willing to exploit that is always on solid ground

  • anyways, he doesn't share with Pinokio

  • and he puts him in a bird cage, a jail, and he also shows him this other puppet that has an axe through him

  • that was the previous puppet, who didn't precisely perform as he was supposed to

  • so there's a big threat there, it's like: "you stay in that jail, you do exactly what I want

  • or it's off to the wood pile for you, to be burned"

  • well, that's just worth thinking about, 'cause that's kind of what happens with tyrants

  • and literally, not just metaphorically

  • so the cricket is basically wondering what in the world he should do

  • and then the cart rolls by, and he gets an inking or hears, I don't quite remember this

  • that Pinokio is in there, and might be in trouble, or he thinks that up, I'm sorry, I can't remember that

  • but he ends up inside the cart, he finds that traveling cart, and he goes inside

  • and then he tries to pick the lock, 'cause he's a bug, he can climb inside

  • he tries to pick the lock, he tries to get Pinokio out of the jail that he sort of collaborated himself into

  • it's interesting, because if you read, for example, if you read Solzhenitsyn's Gulag Archipelago

  • which I would highly recommend, one of the things you find is that if you were arrested by the KGB

  • the secret police in the Soviet Union, and you were hauled off to a... like a tribunal, before a judge

  • they wanted you to admit that you were guilty, you had to, they'd torture you until you confessed

  • or you could just confess, and I always found that so mysterious

  • they kick down your door, they know perfectly well that they haven't got anymore on you than they've got on anyone else

  • and yet you have to go through the damn trial, and you have to admit that they're right

  • why do they even bother with that? why don't they just throw your sorry ass into the camp?

  • which is essentially what's gonna happen anyway; why do they need your collaboration?

  • you know, I never quite figured that out, I think it's partly because they're not willing to let you stand in opposition to the rules

  • because the mere fact that you'll do that means that you exist as something that is allowed to exist outside the rules

  • and they're not having any of that, so that's part of it

  • but there's more to it, there's more to it than that, it's like the drama of collaboration

  • one of the things I learned about societies like the Soviet Union, and this is true of all tyrannical societies

  • is that the idea that that's top-down, and that people are just following orders, they're good people, but they're just following orders

  • you can forget about that, that's a stupid theory

  • when a society becomes tyrannical like that, the tyranny exists at every single level of the society

  • you tyrannize your own conscience; so let's say you're a true believer in Marxist utopia, let's say

  • or a national socialist Third Reich, that's gonna last a thousand years and be racially pure, and you really believe that

  • and that's supposed to be a perfect state, and that's already been delivered to you

  • so what that means is that insofar as you're a true believer, your own suffering becomes heretical

  • because to the degree that you're suffering, you're living proof of the fact that the system is not delivering what it promised to deliver

  • and so you have to suppress that, you have to become your own tyrant, you can't admit that anything's gone wrong

  • and of course you can't talk about it to your family, because one out of three of them are government informers

  • just like one out of three of everyone, and you're certainly not going to mention it in the workplace

  • because unless you're a devout communist party member, you're not going anywhere

  • and if any of your ancestors were land owners or bourgeoisie, you're done, you're done

  • class guilt, man, you're not going anywhere

  • and then every single level of the bureaucracy is exactly the same as that, and on the top there's a tyrant

  • but the tyrant is everywhere, everywhere from the peak to the soul

  • it's all tyranny, and everyone participates in that by lying about everything

  • and that's why you see what happens next in the movie

  • Pinokio's in jail, and he's there because he was naive, and he allowed himself to be enticed

  • and because he did something that would've run contrary to his conscience; but the movie does not put up straw men

  • the poor damn puppet got tangled into this, his conscience wasn't even around, so you have to have some sympathy for him

  • but it doesn't matter, it doesn't matter

  • because he ends up in jail and he can't get out, and the fact that in some ways it wasn't his fault

  • doesn't change the fact that he's in jail, and he can't get out

  • and then his...

  • I was watching Louis CK the other night, and he was talking about children lying

  • he was talking about his 9-year-old daughter lying, and he said: "it's no wonder children lie

  • no wonder it's impossible for you to stop them

  • because you're talking to someone whose head would scrape the roof, they weigh three times as much as you

  • and they're capable of force, and they're intimidating; and they say to you something like:

  • "did you take that last cookie after I told you not to?"

  • and you're thinking: "oh no, I took the cookie, what am I gonna do?"

  • and then you get a genius idea in your head; smarter children learn to lie earlier

  • children with high IQs learn to lie younger; and CK says:

  • "well, it's like you've just been handed a magic get out of jail free card

  • you can just say: "no, I didn't take that cookie"; and worse than that, it works in every single situation

  • if you get away with it; and now you're supposed to learn not to do that

  • well, great, that's the thing about comedians, they tell you the underlying truth, which is why people think they're so funny

  • like the jester at the king's court, he's the only one who's allowed to tell the king the truth, 'cause he's beneath contempt

  • that's what comedians do

  • so what happens is Pinokio is not very happy about this, it's really breaking him up

  • and the blue fairy appears again from the star, same way

  • so what this means is, and I think this is right, this is something Jung talked about, it's also extraordinarily brilliant

  • he said that it's one thing to break a rule when you don't really know the rule

  • for whatever reason you seem to get a bit of a free pass for that

  • but if then you know the rule, and then you break it anyway, you get hit a lot harder

  • and I know that's true, and I even think I figured out why it was true at one point, but I can't remember at the moment

  • but there's something about... it's like the severity of the moral error isn't quite as massive if you're genuinely ingorant and unconscious about the rule

  • and maybe it's because you're not violating your own belief system as much when you engage in the misactivity

  • it's something like that

  • so Pinokio is in there, and he's partly at fault, at least because he's naive

  • and he's very desperate about it; but it's also because his conscience isn't functioning very well

  • so he has his reasons, and so whatever, the blue fairy shows up again, mother nature steps in

  • to aid him; and that is true, I would say, it's not like you get walloped

  • or killed every time you make a mistake, which is kinda interesting

  • and especially that's the case with kids, we have more leeway for them

  • whether nature does, that's a different issue, but I would say yes, because kids are really cute

  • and they're appealing, and they're naive, and they're kind of helpless, they have those motions even

  • that indicate helplessness, and that's associated with a natural apprehension of cuteness

  • cuteness is basically: big eyes, small nose, symmetrical features, baby-like features

  • helpless movements; that elicits sympathy and compassion, and it does it cross-species

  • and so does the cry; my roommate when I was in college had a niece who was quite young, about a year and a half old, I think

  • and we had a cat, a wild cat, it was a really fighty cat, partly because of me, because I would always play with it

  • and I let it fight with me quite a lot, so it was a fighty cat

  • that little girl would come over, and you know, maybe she'd cry, and that cat was there right now, trying to figure out what was wrong

  • the cat would use its claws on me, but it would never use its claws on the little kid

  • and I thought, that's an indication of that cross-species cuteness

  • you're all attracted to that, more or less, and the more maternal you are, the more you're attracted to such things

  • but you know, you see something on YouTube, and you go "aww", and "that's so cute"

  • yeah, it is, it appeals to exactly this concomitation [sic][possibly meant combination] of infantile features

  • and it brings out compassion unless you're psychopathic, so it's a good thing

  • but it can be manipulated, that's for sure, women actually manipulate it with makeup

  • which is quite sneaky, and good of them

  • anyways, the Blue Fairy shows up, so that's nature, so what I'm saying is nature will cut kids a break

  • if you think of nature in the guise of their mother, for example, but even the biology of other people

  • 'cause we're wired to accept behavior from children that we wouldn't accept from other people

  • so nature will forgive; so she shows up in her heavenly guise, and says:

  • "what's going on?" and Pinokio, again because he's naive, but also because he's not good

  • he's not evil either, he's neither or both, depends on how you look at it

  • he also has no idea how smart he is, and how smart he isn't, or how smart the person he's talking to is

  • and instead of admitting what he's done, he lies about it, and that's interesting

  • because it does suggest that he understands at some level that he set himself up for this

  • because he could have just told the truth, "this horrible fox kidnapped me, and sold me to this slave holder"

  • which is true, it's a lot more true than the story he tells, he tells a story about some monster

  • a fictional monster; he could have told even three quarters of the truth and had it work, but he doesn't

  • he just obscures the story entirely; and this is the part of the movie that people remember

  • and I edited this out for years when I was talking about this movie, I forgot why it was so significant

  • his nose grows, and it grows to ridiculous length

  • and why is that?

  • I think it was Mark Twain, Samuel Clemens, who said:

  • "one of the advantages to telling the truth is that you don't have to remember what you said"

  • and that, God, that's worth listening to, because...

  • there's a bunch of things that I learned as a clinician

  • and one of them is... 'cause you're often in really weird situations if you're a clinician

  • 'cause things happen that don't happen normally, and you don't know what to do

  • so what I've learned is I just say what's happening, whatever it is

  • regardless of what it is, I'll just try to describe it as accurately as I can

  • and don't worry in some sense about the consequences

  • I'm not going to go out of my way to cause trouble, but if you're in a really...

  • and I'm telling you, this could save your life at times, especially if you're dealing with someone's who's paranoid

  • who's really paranoid; you do not lie to someone who's paranoid and violent

  • because as soon as you lie you're aligned with the forces that are persecuting him

  • and they're gonna be watching, because paranoia makes people hyper-vigilant, like they're on amphetamines

  • in fact, you can make people paranoid by giving them enough amphetamines

  • and you can make paranoid people more paranoid by giving them amphetamines

  • so they're hyper-vigilant, because they feel that everything is predatory, and against them

  • and so they're watching you like you would not believe, way more than you're watching them

  • and if you flicker a lie while you're talking to them, and they're really on the edge

  • you're done; so it's one thing to know if you're ever in a really bad situation

  • and you don't know what to do: you tell the truth, minimally, don't disclose too much, that's just another lie

  • you tell the truth minimally and carefully, and hopefully

  • and you might get out of it, you might get out of it

  • but if you falsify it, look the hell out

  • so the truth is a real mechanism of protection in dangerous situations

  • if someone's trying to intimidate you, and you think they might be violent, and they ask you if you're afraid

  • then you tell them that you're terrified and that you hope things will go okay

  • or you say... I'll give you an example

  • one time I was in an airport, and we're in this lineup to fly back to Canada that said "international flights"

  • it's a long lineup, like 50 people, I got about 3 [people] from the front, there's still like 40 people behind me

  • and the guy behind the counter decided that he was just gonna shut down the line

  • and we could all go to this other line, which was like 300 people long, and I suggested that he not do that

  • because we'd been standing there for half and hour, and that he could just deal with the 20 of us that were left

  • and have a clue; and he called the sheriff, right away

  • and this was down in Florida, and it wasn't that long after 9/11

  • and so these guys came up, and they were armed, and they came, and looked at me

  • because of course he told them that I was causing trouble, which I wasn't, I was just trying to not...

  • let, what would you say, an arrogant bureaucratic scumrat [sic] take advantage of me

  • which is not the same as causing trouble; as soon as the cops came up, I said: "look

  • I'm going to do exactly what you tell me to do right now, and I'm not gonna cause any trouble

  • but I would like you to hear what actually happened," that's a good example of a situation like that

  • if someone's got you, no bravado, it's a very bad idea

  • and I was going to do exactly what they told me, because they didn't know who I was

  • and I didn't know what they had been told

  • anyhow, the problem with lying is that it's a hydra, and kids find out this very early

  • 'cause you tell one lie, and what happens is it has one of the consequences you'd expect, maybe you get away with it

  • but it has 3 or 4 others that you don't expect, and it's like it grows some complexity

  • and then you have to tack a lie on each of those little complexity outcrops, and then they grow three more complexities

  • and soon this little lie turns into a great big ball of lies, and at some point it becomes painfully evident to everyone

  • and by that time you're in such... you see this with politicians, like that guy who was sexting

  • Anthony Weiner, and perfect name for him, man, it's so funny

  • I shouldn't make that comment 'cause it's so obvious, but it's still funny

  • but that's exactly what happened to him, it wasn't even so much the event

  • because people are stupid, they make mistakes, and actually the public is somewhat forgiving

  • if you say: "yeah, geez, I'm a real moron, like really, seriously, how could I do that? but I did

  • I'll try not to do it again"; but what happens with politicians is... and I'm not speaking specifically of politicians

  • they'll make an error and it gets exposed, and then they'll make three others, trying to cover it up

  • it happened with Nixon, for example, and then the whole thing turns into a complete scandal

  • and maybe they could've got out of it at the beginning by just telling the truth

  • "yes, I'm an idiot, I'll try not to do it again"

  • that isn't what happens in this case, and Pinokio grows this elaborate series of lies

  • and the fairy is willing to be a little generous to him, because he's little and cute, and he's still a puppet

  • and she tells him not to do that

  • and that she's gonna give him a pass this time, but that she isn't gonna be able to intervene on his behalf again

  • and that's partly... one of the things that's quite interesting about people who have Rousseauian ideas about children

  • so: children are all good, and they get corrupted by society, which is half true

  • because they're also not good, and they get shaped and disciplined by society

  • but the Rousseauian types often are very interesting when their kids hit teenage years

  • or when they're judging, say, criminal teenagers

  • it's like the child is perfect until they hit like 11, then they turn into a teenager, and the they're like thugs

  • so they go from good to thug in one move; and you often see that in families, too

  • that have treated especially their daughters like a princess, and then they hit puberty

  • and the parents who have princessed them to death have no idea what to do with them

  • so then they become demonized, so the overly good child turn into the overly wicket teenager

  • and sometimes they'll act that out, too, one of the things I've seen with girls who are held in princess esteem when they're little

  • and their parents have to tight [sic] a grip on them, and too much of a demand for good behavior

  • is they'll find some nasty character associate with, who will tear them out of the family, bikers are really good for that sort of thing

  • and especially if you have some vengeful thoughts towards your parents, a nice biker is your perfect solution to that problem

  • okay, we'll go through this scene, and then I think we'll call it a day

  • so now Pinokio's gone free, he's been reunited with his conscience, he's learned a couple of lessons

  • 1. don't be an actor, 2. and don't lie, and those things are quite similar

  • and especially once you're caught in your actor trap, don't lie to get out, 'cause that will just make it worse

  • so that's the first of his trials, his moral trials on the road to becoming real

  • now here we're at a different place, we're at this... I think it's called the Red Lobster Inn

  • and it's a shadowy place, kind of cave-like, it's an underground entrance to somewhere that's not good

  • and it's a foggy night, and you can't really see, so everything's murky and gloomy there

  • inside we see the coachman and the fox and the cat

  • and the coachman's a bad guy, he's that mask that we saw first of all

  • he's the archetype of that mask that was judgmental about Pinokio having a voice

  • one of the things Jung said about the shadow, and this is, I would say, one of the primary impediments to enlightenment

  • is that if you start looking at your motives for misbehaving, and I mean by that something very specific

  • I don't mean that you're misbehaving by someone else's standards, I don't mean that

  • I mean: when you know by your own standards that you're doing something that devious or malevolent or underhanded

  • you know it, and you still do it, so it's your own judgment you're bringing to bear on yourself

  • if you look at why you're doing that, the longer you look at it, the deeper a hole you dig

  • this is the motif of Dante's Inferno, fundamentally

  • Dante's Inferno is a story about, I can't remember his name, unfortunately; might be Dante, in fact

  • I don't remember; he's led into hell by Virgil, who is an ancient philosopher, thinker [he was a poet]

  • and hell has levels, so the outer level is... and this is a christianised version of hell, because there's hells of all sorts

  • but this is a christianised version; on the outermost levels of hell, which is sort of like normal life

  • are the ancient philosophers, and they're still in hell, because they weren't christian

  • but it's like cheap motel hell instead of the full pit thing

  • so then Dante goes deeper and deeper into hell, until he gets right to the bottom of it

  • it's been a while since I read it, but if I remember correctly, Satan himself is encased in ice at the bottom of hell

  • surrounded by people who betray others; so Dante's notion was that worst of all possible violations of moral behavior

  • was betrayal, they're in the deepest levels hell, and I really like that idea, I think it's true

  • because if you trust me, then you're manifesting the necessary courage that puts someone through life

  • if you're smart, you don't trust me 'cause you're naive, you trust me knowing that I'm full of snakes, and so are you

  • but maybe we can cooperate, and move things along nicely

  • we can reduce each other to our word, and we can cooperate

  • but you're awake, and then I betray that, then I'm undermining your necessary faith in life and humanity

  • and you can really hurt someone that way; sometimes it's self-betrayal

  • but you can really do someone in, you can really traumatize them, so that they can't recover

  • so it's a really terrible thing to do to someone, and maybe it's the worst thing, and that was Dante's idea

  • and it's tied in... that makes very interesting reading, if you read it at the same time as Milton's Paradise Lost

  • because those metaphysical explorations, this is what they are, they're metaphysical explorations of the terrible places you can end up

  • and that people do end up, and also a metaphysical explanation of what spirit takes you there

  • 'cause you might ask: "well, why do you betray someone?" and that is a deep question

  • so you'll have your specific reasons, but under that there'll be some other reasons

  • and under that there'll be some other reasons, and under that there'll be some other reasons

  • and if you all the way to the bottom, you come up with the ultimate reasons why you betrayed someone

  • and when you look at that, that will not be pretty

  • that's when your proclivity for evil, let's say, unites with the general human proclivity for evil

  • and you discover just exactly what you're capable of

  • Jung's notion was that that was a full encounter with the shadow, which is I suppose partly what this course is about

  • because one of the things I believe I told you at the beginning was that I was going to try and help you understand

  • how it might be that you could be an Auschwitz guard

  • and to really understand that, that's a horrifying thing to understand

  • but I'll tell you, if you wanna grow some teeth, that's a really good thing to understand

  • so we were talking about your capacity to negotiate before, if you aren't a monster, you cannot negotiate

  • but if you've got that under control, then you don't have to be a monster

  • it's really paradoxical, so if you're just naive, well, you end up in jail, and a marionette master has control over you

  • that's not helpful, so that's not good, that just means you're useless, and you can be manipulated

  • you won't go out of your way to be malevolent, but it's mostly because you just don't have the skills

  • the organizational skills, or even the depth to do that; you're good because you're harmless, that's not good

  • that's easily manipulated, so you think, well, how do you get out of that?

  • partly, you watch people, because you know what they're like, because you know what you're like

  • but you also know what you could do, and would do if you were pushed

  • you don't have to show much of that when you're negotiating with someone for them to take you really seriously

  • it's a strange thing; but one of the things Jung pointed out, too, was that what you most need to know will be found where you least want to look

  • and that's 'cause you haven't already looked there

  • it's a little different for everyone, right, 'cause your particular place you don't wanna look isn't gonna be the same as your place

  • but you're gonna have a place you don't wanna look, and what you haven't discovered, that's where it is

  • that's partly going to be discovered by you looking at what you're capable of, what you're truly capable of

  • people, especially on the compassionate end, think: "I could never be brutal like that"

  • and that could be true, but you can kill people with compassion, no problem, that's the Freudian oedipal situation

  • so think about working in a nursing home, there's actually a rule of thumb, which I also use

  • to guide my interactions with children, and also with my clients, and I would say with people in general

  • *do not do anything for anyone that they can't do themselves,* you just steal it from them

  • so imagine you're working with really elderly people, they have Alzheimer's, it's really easy to do things for them

  • because, well, "easy", 'cause it's really a hard job, but it might be easier to do something for them than to let them struggle through it

  • but you just speed their demise by taking away the last vestiges of their independence

  • you do the same thing with kids, it's like: "struggle through it, man"; did you ever see "My Left Foot?"

  • that's a great movie, it's about this author whose name escapes me at the moment, brilliant movie

  • the person who played the part, Daniel Day-Lewis, I think he won an Academy Award for it

  • it's about this author in Ireland, I think he had cerebral palsy, and he could really do was use his left foot

  • that was it, the rest of him was pretty spastic and not controllable

  • but he was there, he was very intelligent, he was with it, and his dad would not help him

  • he had to drag himself um the damn stairs with his left foot, he just would not help him

  • and what happened was, he learned how to live, he could function

  • the book and the movie is called "My Left Foot", and it does a lovely job of laying that out

  • but you have to be one hard-hearted son of a bitch to let your son crawl up the stairs with his left foot over and over

  • think about that; but what's the alternative? if he would have been... and of course he lays this out in the book

  • if he would have been catered to, he would have ended up just like you'd expect someone who was always catered to

  • so it's a very nice lesson in the triumph of fostering independence over too casual compassion

  • that's what I would say; so you look at the Coachman here, kind of looks like a demented Santa Claus

  • doesn't have a beard, but... it's a nice touch on the animators' part, he's even got a pipe and the red suit

  • and so he's listening to the fox and the cat brag about how much money they made selling Pinokio to the Puppet Master

  • and how evil and terrible they are, they're bragging away, and he's the real thing, eh

  • he's the real thing, and he can see through their little petty, narcissistic, grandiose tales of quasi-criminality

  • and has nothing but contempt for, and you can see that in his facial expression, it's like he's sitting back a bit, thinking:

  • "keep talking, bucko, pretty soon I'm gonna have you right where I want you"

  • the fox and the cat are drinking beer and smoking cigarettes, and talking about how evil they are

  • and bragging about how they got one over on like a four-year-old; real impressive, guys, real impressive

  • and the Coachman is thinking up his own nefarious schemes right now, what he might do with that puppet if he got his hands on him

  • so that's when he reveals himself, so what you see... the filmmakers just do it for a second

  • and that's an archetypal trip, you've got the fox and the cat, they're sort of petty examples of criminality and evil

  • and then you've got the coachman, and he's the real thing, but he's not really showing anybody who he is

  • and then in one scene in the bar he lets his guard down, and he lets them see what he's really like

  • and so you see this: all teeth and predatory eyes and glee all at the same time

  • that's a bad combination, "I'm going to eat you, and it's going to make me very happy"

  • that's insanity, you do not wanna see that look on someone's face

  • so that's the look; and the fox is traumatized by that

  • he thinks he's a bad guy, and he's not, he's just... he just can't be a good guy

  • he hasn't got the talent to be a bad guy; and then he's talking to the coachman and bragging

  • and the Coachman's had enough of it, he shows his real face, and it's like that's not good, the Fox gets a real glimpse into hell

  • and that just terrifies him; and the other thing the Coachman does is revel his plans

  • and his plans are to kidnap Pinokio along with a bunch of other boys, and to take them to this place called Pleasure Island

  • and the Fox knows what's going on there, it's the foreshadowing of the next stage of the adventure

  • after the Fox and the Cat are terrified, the Coachman, who takes you along with him

  • has a little chat with them, and they describe exactly what they're going to do next

  • and the Fox and the Cat know perfectly well that they're over their head

  • but at this point in their misadventures there's no pulling back

  • and I think we'll stop there, even though it's a little early, because that was a lot of material, and this is a really good place to stop

  • I'd be happy to take some questions if you guys have some questions

  • we could take questions for like 10 minutes, and then we'll call it a day

  • and you can ask me a question about anything you want

  • [student] this goes back to the beginning of the lecture, but how does morality go from

  • [student] who's stronger and who's weaker to what's good and what isn't?

  • we'll, I think it depends to some degree on what you mean by stronger

  • so physical strength is one element, if you look at mythological heroes...

  • imagine that the stories of heroes are fragmented elements of the archetype

  • and so one kind of archetypal hero, obviously, is someone who's physically strong

  • there's a great movie that you could watch about this, it's called Hitman Hart

  • it's one of the best documentaries I've ever seen, and it's about this guy named Brett Hart

  • and Brett Hart was for a while the most famous Canadian on the planet

  • and he was a World Wide Wrestling Foundation? what do the call it? WWF?

  • [WWE - World Wrestling Entertainment] yeah, he was their lead good guy

  • ... I love the documentary, 'cause when I was a little kid, like 4 or 5, I used to to watch his father, whose name was Stu Hart

  • who ran this channel, this wrestling confederation in Alberta

  • and Stu Hart had I think 8 boys, and he trained all of then to be pro wrestlers

  • and part of the movie is extraordinarily funny, 'cause Stu Hart is in it, and he's really old

  • he's like 85, and he's just barely... can you imagine he was like a pro wrestler for 40 years? every joint is broken

  • and he's still big, but he's just barely moving, and this kid and another kid come over

  • and Stu is telling the story about how he used to take his boys into the basement and toughen them up

  • I think Brett called that the journey to pain or something like that

  • his father would take all these kids down there and wrestle with them, and push them right to the edge of their pain tolerance, constantly

  • and anyways, they grew up tough, there's no doubt about that, and all his daughters married pro wrestlers, too

  • and I think he has 7 daughters, so he's quite the character

  • anyways, these two kids, they're late adolescents, early adulthood, come over

  • and one of them is pretty damn cocky, and he's listening to Stu, and he says something smart

  • like "well, you know, you were pretty tough in the old days, eh?"

  • and Stu looks at him and says: "why don't you come down to the basement with me?"

  • and he says: "look, I don't wanna hurt you, old man"; so the filmmakers follow them into the basement

  • and they're kinda standing there, that old guy grabs him in a headlock, he's like a snake, eh?

  • he's got him in a headlock so fast, the kid doesn't what to do, and then...

  • Stu, he knows how to put a headlock on someone; he's flexing his forearm, which is still not so bad a forearm

  • and this guy's face is just... it's like he's stepped in a bear trap, plus he's absolutely shocked that this old guy got him

  • so he's kind of gasping, and Stu says something like:

  • "you watch, if I flex this muscle just right, you can see this vein on his forehead start to pop out"

  • it's extraordinarily funny [Peterson misremembered the scene in some key points, watch it for yourself]

  • anyways, Brett Hart plays out the good guy archetype, and Brett's...

  • he's a solid guy, but I would say he's not particularly sophisticated, and I'm not being cruel about that

  • I mean he had a great career, and he's tough as a boot, so good for him

  • but he plays out this good guy archetype and he gets tangled up in it

  • now, I don't remember your damn question, but I am trying to answer it, tell me the question again

  • [student] so I was wondering how in morality you go from to who's strongest and who's weakest to what's good and what's bad

  • oh yes, exactly; one of the things I really liked about this movie was it showed me why people watch wrestling

  • and I couldn't... because certainly they're not appealing...

  • and I'm not being... there are different strata of conception of abstraction that any entertainment process has to appeal to

  • and most people don't go to movies, and that actually... it really is because movies operate at a level of sophistication that is too high for many people

  • just like novels, hardly anyone reads; 15% of the population, might be 20%, cannot read well enough to follow written instructions

  • and there are people, maybe it's 15% of the population or 10%, who have never finished a book, never

  • and it is that high; but the archetype still needs to manifest itself on different levels

  • and so it manifests itself in wrestling; but even there, where it is physical force, it's not just physical force

  • it's a drama between good and evil, and you can see this so clearly in the Brett Hart documentary

  • 'cause he's the good guy; the bad guys are really over-the-top bad, it's a real drama

  • it's good versus evil in the ring every time, and hopefully good wins, but good often gets...

  • maybe the bad wrestler brings two of his friends in, and they bring in chairs, and they bash the hell out of the good guy

  • and the whole audience is just outraged by this, and the documentary does a lovely job of showing that

  • so even at the level of physical combat, let's say, you can't reduce what's good to what's strong

  • it's just one element of it; better to be strong than to be weak

  • and so you can have strong hero, because it's better to be strong than to be weak

  • but it's better to be strong and kind than to be strong

  • and it's better to be strong and kind and wise than to be strong and kind

  • and that's true not only in human beings, but it's even true, let's say, at the wolf or chimpanzee level

  • because one of the things you see with the chimp dominance hierarchies, and I think I mentioned this before

  • is if the leader, the dominant male, is really good at fostering social relations and being reciprocal in acts like grooming

  • and also paying attention to the females and their offspring, his dynasty will be much more stable

  • and so, strong might be good for one battle, it might be good for two battles, but for 50 battles it's not optimized

  • especially because no matter how strong you are, someone can take you out

  • so what happens is the idea of what's ideal becomes increasingly complex across time, multifaceted

  • and so: strength, wisdom, intelligence, vision, all these things are amalgamated into a single being

  • and we'll talk a lot about that, because I wanna show you how that happened in Mesopotamia

  • because that's one of the first places where we have documentation about how that ideal emerged

  • they had a god called Marduk, and Marduk had 50 names

  • and as far as I can tell, the reason for that was that Marduk was an amalgam of the tribal deities of at least 50 tribes

  • and when the tribes were brought together, and civilized, each of their gods, who were ideals-

  • had to be amalgamated into something that was a single dramatized representation of value

  • or there was no way that all those people could have lived together

  • their different value structures would have fragmented them, and they would have stayed in a state of war

  • so the question is... it's the question you're asking: if it's not strength, then what is it?

  • well, strength is an element, but the Egyptians figured out that it was vision, it was actually the capacity to pay attention

  • that was paramount, and the Mesopotamians had that figured out more or less too

  • because their god Marduk had eyes all the way around his head, he could see everywhere

  • so seeing was a critical element of what should be on top, and the other thing for the Mesopotamians was the ability to speak

  • so by the time of Mesopotamia people had already dramatized the idea

  • that cardinal human attributes are vision and the ability to speak

  • and the ability to speak the truth, too, not just speak

  • other questions?

  • [student] so, I wasn't really aware of what you just said that most people don't watch movies

  • [student] because I've probably watched [unintelligible] so is that why we sort of consider... 'cause we were talking about celebrity career

  • [student] that different levels of abstraction of celebrity are respected more? like reality TV probably lower than ... Cumberbatch, than like a theater actor, then like a novelist

  • [Peterson] sure, yes, that's exactly why, because, you see

  • the less sophisticated the genre, the more the genre is like real life

  • and the more sophisticated it is, the more it has abstracted out across instances of real life the fundamental lessons

  • and that's what makes something profound and deep, it's abstracted from multiple sources

  • and it applies across multiple dimensions; 'cause that's what you want, and here is why

  • fundamentally, you have a problem, but that's not the problem, the problem is that there are problems

  • so the problem is a metaproblem: there are problems

  • you need a solution to that, that's not a solution to a problem, that's a metasolution to the class of problems

  • right, and that's what people have been trying to figure out ever since we were able to actually figure things out

  • it's not: "how do you solve a problem", it's: "how do you act so that you solve the problem of problems"

  • and that's basically the complexity of life and the fact that you're mortal and vulnerable

  • [student] so then a follow-up question, from your book you have this sort of strata

  • from play all the way up to religion and beyond that, sort of looking back retroactively with philosophy and rationality

  • [muted]

  • well that's a good one, because I would say [muted]

  • if you really wanna think this through, the best way to do that is to read Nietzsche and Dostoevsky at the same time

  • now, I'm sure there's other ways of doing this; but Nietzsche was actually quite heavily influenced by Dostoevsky

  • more than people knew, although their thought runs very parallel

  • Dostoevsky is like the ultimate dramatist, he embodies his ideas, and he has them act out in a dramatic space

  • it's literary; whereas Nietzsche has taken that up one level of abstraction, to the semantic

  • he says: "well, here's what's going on" in an articulated way, but he doesn't embody it in a story

  • and you might say: "well, that's higher", but it's only higher in a way

  • it's more abstract in that it's more like words

  • whereas what Dostoevsky does is half words and half images

  • because when you read a novel what happens is that... people say, postmodernists say: "where the hell is the meaning in that novel?"

  • it's not in the word, it's not in the phrase, it's not in the sentence, it's not in the paragraph, where do you localize the meaning?

  • great question, their answer sucks, bu the question's great

  • but what happens partly when you're reading a book, a novel, is that the words trigger representations in your imagination

  • a lot of what you extract the information from is actually your imagistic representation of the words

  • and that imagistic representation is richer than the words, because it's informed by all of your knowledge about people

  • you know this happens, because you go to a movie, like the Harry Potter movies, and you say: "that's not how I imagined it"

  • the probability that there'll be a 1:1 correspondence between your internal representation of the book

  • and the movie is 0; and usually the movie is less rich than the book

  • I love movies, and they have their own place, that's for sure, but...

  • well, miniseries, the series now are more approaching the complexity and depth of literature

  • because they can extend across 20 hours, they don't have to compress a 12-hour reading experience into 2 hours of action

  • what I was trying to do with that hierarchy was to show how the knowledge moved

  • first of all it's kind of implicit in your biology, and then it's distributed into society

  • and then by imitating society you make it part of your procedures, and then you watch your own procedures

  • and start to build a representation of them, and then you can articulate that representation

  • and it's a bootstrapping process, too, because once you've made the representation, that can affect the way you behave

  • so they start to loop; so here's one idea, imagine that there's a type of male who tends to win dominance hierarchy contests

  • and to emerge at the top, well that's the case, and that's why you're the way you are

  • so what's happened among human beings, this is so cool

  • is that human females are choosy maters, so about twice as many men fail in their reproductive efforts as females fail

  • but the men who succeed are more successful; so women are on average more successful

  • and men are on average more failures and more successful

  • and I'm talking strictly about reproduction here, although it generalizes to other areas, but I'm talking about reproduction

  • so how does it work, exactly? well, the women have a real problem with mate selection

  • who the hell are you gonna have as a mate? it's too complex to work out, so women in their genius don't

  • they let the men compete, and then they peel from the top

  • acting out the assumption that the man who wins is the best man, and it's a good assumption

  • because if you have a bunch of men competing, especially if they're competing across competitions

  • and someone pops up at the top, you can think: "well, they may not be worth much,

  • but they're better than anyone else at whatever it is that they're doing"

  • and that makes men at the top of dominance hierarchies very attractive to women

  • an then the women accelerate that, so you can imagine they're more likely to reproduce

  • so what happens is the proclivity to emerge at the top of the set of dominance hierarchies

  • becomes inbuilt into the biology across time, and the women exaggerate that by differentially allowing the men to reproduce

  • and that's also why they're mother nature, they really are mother nature, it's not just a metaphor

  • then the representation and the biology start to tangle together

  • and that's like, well, that's the difference between a meme and an archetype, a meme is this idea that propagates itself

  • but an archetype is an idea that has propagated itself across such a massivespan of time that it's actually shaped the course of evolution itself

  • and men, I can tell you already... it isn't necessarily that you even have to compete with other men

  • in order to see who wins; as soon as you admire someone, and that'll happen unconsciously, you won't be able to stop yourself

  • you've already elevated them in the dominance hierarchy contest, the act of admiration is your recognition

  • that you've met someone who's better at whatever it is that happens to be driving your admiration than you are

  • and that's partly the manifestation of just the idea as the, what would you say, as the representation of the ideal

  • kids do that all the time, they hero worship other kids, usually like a 4-year old will latch on to a 6-year old

  • who he or she will just follow everywhere, and do exactly what they do

  • why? because that person represents to that child their next ideal, their conceptualization of the place forward

  • any other questions? or should we maybe call it a day?

  • [student] you said when the guy was smiling the thing was predatory glee

  • [student] which is insanity, how do you define insanity in this context?

  • well, let's call it what you don't wanna encounter alone in an alley at midnight

  • and leave it at that, that is what I mean in this context, that's exactly what I mean

  • and then not only is the person there waiting for you, but they're looking forward to whatever might happen

  • [student] sure, I just mean in a psychological context, using that word has all kind of connotations

  • [student] I was making sure I wasn't interpreting it in a wrong way

  • no, well the movie provides the frame for the interpretation in this particular situation

  • so he's the thing that hauls naive young boys off to their doom; OK, so that's bounded

  • yes [student] could you elaborate on... you mentioned the process where people do the thing that's less hard but still hard?

  • [student] facing the shadow [peterson] that's actually a really productive way of procrastinating, although it comes with its own problems of rationalization

  • [student] that reinforces certain circuits ... [inaudible] bring up inhibitory circuits, and I was wondering if you can elaborate

  • well, I've derived that partly from my study of addiction and also from my study of recovery from post-traumatic stress disorder

  • but let's talk about addiction, so there's a series of actions that occur before you take your cocaine

  • some of those are local, they are the things that happen immediately before, and some of those are distal

  • they're farther back in the chain of events; and when you have a hit of cocaine, it produces a dopaminergic burst

  • and that feels really good, but it also makes the circuits that were immediately active before that grow

  • that's what reinforcement is, and then the growth is proportionate, not linearly

  • but it's proportionate to how long before that event occurred, the closer it is, the stronger they're gonna get

  • but even the ones that are somewhat distal get some reinforcement

  • because you might say: "well, what did you do before you found your latest fix?"

  • and the answer is: "how long before?"; well, the closer, the more reward

  • what happens then is that if you take that person out of the normal environment and you put them into a treatment center

  • they're off they're physical addiction, which is a weird thing in the case of cocaine, but...

  • like not that long, a week will do it, two weeks for sure, even heroin, and alcohol for sure

  • if you can get them through the seizure part without dying; and so they're done, they're not physiologically dependent anymore

  • but you let that person go, and the first thing that happens is his old friend who is always doing drugs with shows up

  • and bang! he's craving like mad, and that's because that thing in there is not dead at all

  • and it's activated by the cue, and it's a circuit... it's not, it's a personality

  • it only wants one thing, it wants cocaine, it's gonna suppress any non-related thoughts

  • and it'll use lies, that's no problem, especially if lies have been reinforced, which they certainly have

  • "where are you off to, son?" you know, you'll have a lie for that, and then 10 minutes later you have your drug

  • that little lie has just grown; or maybe you think... you try to quit, you think: "to hell with it!"

  • and every time, 10 minutes before you take your drug, you think "to hell with it", and you do that a 1000 times

  • well, believe me, that "to hell with it" circuit, that sucker is strong, it's alive

  • and it's not like it just disappears, it can't, it's you, it's grown in there

  • now, you can build another circuit to shut it down, and you can help it decompose across time by not giving it what it wants

  • but you're gonna have to not give it what it wants in all of the multiple contexts that you've already associated with the drug

  • some of you have probably smoked, and then tried to quit smoking, and what you see is

  • you get a craving when you have a cup of coffee or when you finish dinner, when you're done having a phone call

  • when you first get up in the morning, or whenever you regularly had the drug, whatever you had the drug in relationship to

  • even complex things, like ending a conversation will produce a cue of craving

  • then that can extinguish over time if you punish it by either punishing it or not letting it get what it wants

  • but a lot you have to build another circuit to just shut it down

  • and then that circuit's kinda fragile and stress can often disrupt it

  • [student] that can be mediated by [?] people read about quitting smoking or things like ibogaine

  • oh sure, well, ibogaine's a whole different thing, because it seems to have a direct physiological effect

  • but the addiction has a cognitive component, it's full of thoughts and desires and wants

  • you know, you may have to rebuild your whole personality in order to get that thing cornered

  • religious conversion, for example, is a really effective treatment for alcoholism

  • that's partly why alcoholics anonymous works for the people for whom it does work

  • but religious conversion, which is total personality conversion, is actually one of the few things that we know of that's an effective treatment for alcoholism

  • we don't know how to induce it, although that's not exactly true either

  • because the early work with LSD... LSD was quite promising as a treatment for alcohol addiction

  • and there's recent work with psylocybin showing that if people have a mystical experience when given psylocybin

  • their success rate of quitting smoking is about 80%

  • which is way higher than any pharmacological intervention for smoking has ever been

  • alright, we should probably call it a day, we'll see you in a week

OK, so

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2017年意義地圖03:牽牛花與個人(第二部分)。 (2017 Maps of Meaning 03: Marionettes and Individuals (Part 2))

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    林宜悉 發佈於 2021 年 01 月 14 日
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