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  • So I am going to briefly review some of what I told you last time,

  • and then I am going to walk through as I mentioned, I am going to walk through

  • the Disney movie film Pinnochio and which I presume most of you have seen

  • How many of you have seen it?

  • Yeah, OK, that's, that's...so as I think I mentioned that is something in of itself right?

  • I mean the fact that you have all seen it means that it's an

  • production of cultural significance, and because it's such a strange artifact

  • That's one way of looking at it, it might be worth

  • trying to take it apart to understand why it is, for example, that you even understand it.

  • and so,

  • I offered you the proposition last week that we

  • view the world as essentially through a narrative lens

  • and I believe that we view the world through a narrative lens

  • because the fundamental problem that we have to solve

  • as living creatures is how we should act in the world.

  • and,

  • that means,

  • how we should act to maintain ourselves

  • but also how we need to act in relationship to other people

  • and in relationship to the broader world in order to maintain our self across time.

  • so that's a complicated problem, right, it's not just how you survive

  • it's how you survive now and next week, and next month, and next year

  • and 50 years from now and maybe your, your descendants as well

  • if the culture is going to stabilize

  • and then not only you across all those time frames but you and everyone else across all those time frames

  • It's a viciously difficult problem

  • and so, I would say that we have evolved mechanisms to solve that

  • I think that is self-evident in some sense because for example one of the mechanisms that

  • animals have evolved to deal with the problem of social being

  • even if they are not particularly social animals

  • is the dominance hierarchy, right, or you could call it hierarchy of authority or power, because

  • I think that considering human

  • structures, social structures as mere power

  • structures is a terrible mistake, it's a terrible oversimplification

  • because power is no means the only, like force is what I mean

  • force is not a stable way of solving the problem of how to live together across time

  • the question is what is the stable way of solving how to live together

  • across time, and the really is the question and it's part of the question that

  • I am trying to answer

  • partly because it's a perennial problem, right, we face the problem of

  • how to organize ourselves in small social units

  • without undue conflict and then we face the larger problem

  • of how to organize ourselves into large social units without undue conflict and that conflict can be

  • absolutely devastating, and, and frequently is

  • so,

  • so then I would also say that the first way of solving this problem isn't conscious

  • you see, not at all

  • and, you know

  • you may know, and you may not know that there are

  • there are different forms of memory

  • right

  • really technically different forms of memory, so for example

  • there is short term working memory

  • which is the memory that you use to hold things like telephone numbers in your active imagination

  • it decays very rapidly, it's only 4 to 7 bits

  • which is why

  • well it's why phone numbers are, were at least

  • 7 digits long, you know, you can kind of

  • manage that as a loop that, and then there is

  • episodic memory, and that has two elements one is semantic and the other is episodic

  • it's, what's the name of that

  • mmm, someone said something...

  • [Student] Procedural?

  • Yes well there is procedural memory and then there is another

  • the kind of memory that you use to represent your

  • experiences to yourself, so let's say it is image laden and the other one is semantic

  • and semantic is your memory for facts and those are quite different, so for example

  • procedural memory

  • that is how you ride a bike, that is how you play the piano

  • that's how you play jazz music if you are in a combo

  • it's, it's the memory, it's a funny kind of memory because it is built right into you, you know, I mean

  • so is, so is, the kind of memory that you use to represent your own life, but it is much more malleable is some sense

  • so, what that means is that in your procedures

  • there is information that you don't know about, it's patterned information that you don't know about

  • part of that is how to act

  • you know, like, when you walk into a social gathering

  • you don't really think through how you are going to act

  • you know how to act, and if someone asks you

  • exactly what it is that you are doing and why, you could formulate a story about it

  • but the probability that, that it's the existence of that story that enabled you to act that way is zero, because

  • you have to react way faster than that, and so, you know have social knowledge

  • built into your nervous system because you have practiced being a social being for a very long period of time

  • and of course, then that social being has been shaped forever really, it's the right way of thinking about it

  • Now, we know that animals organized themselves into hierarchies

  • and we will say of dominance, because it is more true the farther back you go in time

  • at least since the time of the crustaceans, you know , when we split from out common ancestor 300 million years ago, and so

  • and it's true for social animals and non-social animals so

  • even animals that don't live together in groups

  • have to organize themselves into a hierarchy

  • in the space they inhabit, songbirds are a good example and they have dominance disputes all the time

  • partly that's, you can hear them having their little dominance disputes in the spring when they are singing because basically what they are singing is

  • I am pretty damn healthy and I am ready to go and if you are another bird like me you had better steer clear of this tree!

  • and, the dominance songbirds

  • you know, they don't live together, crows are social but don't most songbirds aren't

  • the dominance songbirds get the best nest

  • and the best nest is the one that doesn't get rained on

  • it's not to windy and it is close to food sources, and

  • you know, so they have the healthiest chicks and they attract the best mates, and

  • like it is really important where you are positioned in the hierarchy even if you are not

  • like a flock or a herd creature, now, we are more like herd creatures so it's even more

  • it's even more relevant to us , but there is just no escaping

  • a hierarchical arrangement in social being

  • that is social being

  • and, and, and it is evolutionary ancient beyond conception so

  • 300 million years ago there weren't trees, you know I mean, so the dominance hierarchy is older than trees

  • so that is really something to think about and then, you know, when you are thinking about the reality that shaped us

  • say, from an evolutionary perspective but also from a cultural perspective

  • what you have to understand is that that the things that have shaped us most are the things that have been around the longest, and so you could say

  • those are the most real things

  • and you can't even see some of them, it's not like you can come in here and, well it's not exactly true

  • you can't come in here and see the multiple dominance hierarchies that are at work

  • You can in a way, because,

  • the chairs are set up to face this way and I am facing that way and

  • that gives you some clues about the social order here and you take the cues instantly, right

  • you come down, you sit in the chairs, you organize yourselves according to mutual expectation and that's part of your procedural knowledge

  • about how to behave as a social creature

  • now,

  • that knowledge is really really deep and a lot of it is coded in your behaviour

  • now, and in other peoples behaviour as well

  • and that's, you know. that's the expectations you have of other people and of yourself, and a lot of those are implicit right,

  • so,

  • when we are interacting there's, there is a very large number of things that you just don't get to do

  • and you know that too, and you won't do them, and that way we can act as if we understand each other

  • even though we don't, because you are really complicated

  • and I am really complicated and there is lots of situations where we might really be in conflict

  • but because we share a map of the culture, the cultural expectations

  • it makes part of our, it's built right into our perception

  • you will act out that set of expectations and so will I

  • and if neither of us can do that, even if one of us can't we are going to stay, we are either going immediately

  • devolve into conflict or we are going to avoid each other like the plague

  • and that's exactly the right thing to do,

  • and so, one of the really useful things to understand , and this took me a long time to formulate properly, you know,

  • you hear the terror management theorists for example and they have this idea that

  • your, your meaning representation, the story you tell about the world

  • regulates your death anxiety, it's something like that

  • but that is not right, I mean it is close to right and it is a smart idea

  • it came from Ernest Becker by the way who wrote a book called "The Denial of Death", which is actually quite a good book even though it is wrong

  • you know, sometimes a book can be very useful

  • it can be usefully wrong, and Becker's book is usefully wrong

  • because he thought that

  • it's the internal representation of your belief system

  • that regulates your anxiety and that anxiety is fundamentally

  • in the final analysis anxiety about death, it's like well, OK, fine, it is a reasonable

  • proposition, but that isn't how it works, you see,

  • it isn't my beliefs that right now that are regulating my emotion

  • It is the fact that I'm acting out those beliefs, which include implicit perceptions, I'm acting them out

  • and so are you

  • and so, what you're doing and what I expect, more accurately, what you're doing and what I want you to do

  • and the way I want you to react to me, that's working!

  • so it's the match between my belief system and the way that everyone else is acting that is regulating my emotions

  • it's not the belief system

  • it's mediated by the social culture and you see if you understand this then

  • you understand more particularly why people

  • are willing to fight to the bitter end to protect their culture

  • it's not a psychological structure that they are protecting

  • it's a psychological structure and sociological structure, simultaneously

  • so the social contract is

  • you have a set of expectations and I have a set of expectations

  • they are actually desires, they are not merely expectations because as

  • living creatures we are desirous, we don't just expect

  • and so you desire an outcome and I desire an outcome

  • and we agree to act in accordance with that

  • that's the social contract

  • and so people don't like having that disrupted

  • well it isn't because it psychologically destabilizes them, although it does

  • it's because it actually destabilizes them

  • right, if all of a sudden we can't occupy the same

  • specified domain of territory it isn't only that we are thrown into psychological disarray, although we will be

  • it's that we will start fighting with each other, like, and that can kill you

  • it's no joke, it kills people a lot, like it happens

  • it can happen very easily that a cohesive social group can fragment along some fracture line

  • of identity let's say, and all hell breaks loose

  • and you know, that's what the Tutsi's and the Hutu in the, in the, in Rwanda

  • and those things can get out of control just so fast it's just unbelievable and so

  • and that wasn't, death anxiety, that was death, that's a whole different thing

  • and that's the other thing that terror management people don't exactly get, it's like

  • it isn't just that your culture and cultural beliefs protect you from anxiety

  • and say anxiety about death even, it's that they actually protect you from death!

  • as well as protecting you from death anxiety, I mean look

  • It's warm in here

  • it's cold outside

  • the fact that the culture is intact means that you are not outside freezing

  • that's a hell of a lot more fundamental in some sense than mere anxiety, although

  • I am not trying to underplay the role of anxiety that's a major issue, but

  • there is something that is a lot more fundamental at stake that mere psychology

  • so it's the match between your map of the world and other peoples actions that regulates your emotions

  • and, and it regulates it completely, because

  • you know if someone in here starting acting seriously deranged

  • like brandished a pistol, let's say

  • all of a sudden you would not be in the same place

  • at all

  • not a bit

  • and so what would happen, well

  • chaos would happen

  • and chaos isn't just that you would get anxious, that's not a good enough explanation

  • what would happen is a lot more complex than that, what happens in some sense is that your body

  • and it does this, it does this, what would happen is that you would react the same way that a rat reacts to a cat

  • it's exactly that, it's exactly that, you would respond as if

  • a terrible predator had emerged in your midst

  • And so, What is that reaction? Well it's not just anxiety

  • because, when you encounter a predator

  • anxiety isn't the only thing that is useful, that would just make you freeze, that could be the worst thing you could do

  • freeze and well you are a pretty easy target

  • so you have to be prepared for a lot broader range of responses that mere, mere

  • mere, petrification

  • like how about a little aggression

  • that might be helpful, you don't know it also might get you killed but,

  • but maybe you could take the guy down and maybe that's a good idea

  • you know and, and maybe you have to run, so that's disinhibited as well

  • and maybe you have to think really quickly

  • and reflexively, so that happens, that's actively disinhibited I would say as well, it's like

  • your whole being thrown into intense concentration on the moment

  • and you are burning up physiological resources like mad, and so what will happen after something like that

  • if you don't develop outright post-traumatic stress disorder, which some of you would

  • is that, you'd, assuming that the situation was brought under control

  • you would walk out of here shaking with your heart rate at like 170, and it would take you like

  • well it might take you the rest of your life

  • and maybe you would never recover, but you could be bloody well be sure that it would take you the rest of the day

  • that's for sure!

  • and so

  • it's no joke when someone steps outside the confines of the social contract

  • right, and that is kind of, there is a philosopher named Hobbes

  • who I suppose in some sense was a centrally conservative philosopher as oppose to Rousseau

  • who is kind of his exact opposite

  • Rousseau believed that people were basically good

  • in their natural state, so he believed that nature was basically good

  • and he believed that culture was what corrupted people

  • and so

  • Hobbes believed exactly the opposite, he believed that in the state of nature, let's say

  • every person was at every other persons throat

  • and the only thing that prevented continual chaos was the imposition of a

  • of a collective agreement that would be the social contract

  • that essentially governed how people would interact and that would keep that underlying chaos

  • at bay

  • and you know

  • my contention is is that Hobbes was correct and Rousseau was correct, and

  • and I think that if you add Rousseau and Hobbes together you get a total picture of the world and that's really

  • I think the picture of the world that I am trying to relate to you, it's both at once, it's like

  • well, you can't just attribute human

  • malevolence and unpredictability to society

  • it's a non starter

  • it's like, people built society so all you are doing is pushing the problem back, it's like

  • where did it come from

  • well, the society, the society before

  • well then, the one before that, it's like well

  • you got to tangle up the individual in there at some point, right, because people created society

  • and so,

  • you can't just blame human irrationality and malevolence on society

  • well and also, it's, it's ungrateful for God's sake, it's like

  • society obviously also makes you peaceful, part of the reason you are peaceful right now, all of you is because

  • well, you are not that hungry,

  • you are certainly not starving to death, you would be a very, very different person if you were starving right now

  • you know, or if you were enraged or if you were panicking or if you were terrified

  • because your future was radically uncertain, I mean you are not just

  • any of those people right now, you're

  • satiated, and I mean that technically, you're satisfied

  • none of your biological systems except perhaps curiousity

  • which is a rather pleasant emotion

  • are activated in the least

  • and, you know, because of that you all think that you are in control of yourself

  • but don't be thinking that, that's just not right

  • you mean, if you look at how the brain is structured, for example

  • the hypothalamus which is a really important part of the brain, it basically

  • it basically establishes the framework of reference and the actions

  • the framework of reference within which and the actions you take

  • in order to fulfill basic biological needs

  • so the hypothalamus makes you thirsty, and the hypothalamus makes you hungry

  • and it makes you sexually aroused

  • and it puts you into a state of defensive aggression, and

  • it actually also makes you explore

  • and be curious and all of that's hypothalamic, it is an amazing structure

  • and then

  • and it's really small and it's right at the base of the brain

  • and you could imagine it as something that has tremendously powerful

  • projections upward throughout the rest of the brain into the

  • emotional systems and the cortical systems and all of that, like

  • tree trunk sized connections, you know, metaphorically speaking and then

  • the cortex has these little vine-like tendrils going down

  • to regulate the hypothalamus

  • you know, and when push comes to shove

  • man, the hypothalamus, that thing wins!

  • and so, you know you get people now and then

  • who have a hypothalamic dysfunction and one of them produces a condition called

  • I can't remember it, it's not dypsomania

  • although it's like that, it doesn't matter

  • it produces uncontrollable thirst

  • and so what will happen is that people that have this hypothalamic problem

  • will drown themselves by drinking water, which you can do by the way

  • and so they just cannot get enough water

  • and there is not stopping them, right

  • no more that there would be stopping you if you were suffering from raging thirst, it's like

  • it's a happy day when the hypothalamus is not telling you what to do

  • and you know you live in such a civilized state that most of the time

  • roughly speaking, you are tranquil and satisfied and

  • more or less you can imagine yourself as a peaceful

  • you know, productive, well meaning

  • entity

  • but don't be thinking that's you would be if you were put in the right situation

  • because that's just not right at all

  • so,

  • you know lots of times soldiers develop post-traumatic stress disorder because they go out on the battlefield

  • they are kind of naive, they are young guys you know and...

  • It is actually is worse if they are not that bright it turns out because having a lower IQ

  • is one of the things that predisposes you to post-traumatic stress disorder, but anyways

  • they go out on the battlefield and they see what they are capable of under battlefield conditions, and like

  • you know, we have been fighting wars for a very long time

  • millions of years, you know chimps basically have wars with other chimps

  • the troupes right, because the juveniles will patrol the

  • perimeter of their territory and if they find other chimps from other troupes that they outnumber

  • they will tear them to pieces

  • like and chimps are really strong, and so, when I say they'll tear them to pieces I mean that literally you know

  • hey tear them to pieces

  • and Jane Goodall discovered that originally in the 1970's, she didn't even report it for a while because

  • she was so shocked, you know

  • she kind of assumed like most followers of Rousseau that the human proclivity for warfare was

  • that was something that was uniquely human

  • you know, it had something to do with our

  • our unique self-consciousness or our intelligence or something like that

  • she had no idea that it was rooted

  • that deeply

  • you know, we split from chimps about 6, 7 million years ago something like that, and so

  • we were patrolling territory, we were gang members

  • 7 million years ago, and, you know

  • that's a minimum estimation because of course that ancestor

  • shaded back, maybe, 20 million years into

  • entities that were roughly primate like

  • and so, territoriality and the proclivity to defend territory is so deeply embedded in us

  • it's like,

  • the control center for our whole brain

  • and so, there isn't anything more important to us I would say than maintaining

  • the

  • match between

  • what we want to have happen and what other people are doing

  • in response to our actions, like that's that, that's what we want

  • and as long match is maintained

  • then our emotional systems, and I would say that anxiety is probably primary in that regard

  • our emotional systems remain

  • inhibited

  • they're on

  • they're ready

  • like a nuclear reactor rod are on

  • and the rest of the brain dampens them down but

  • it's like, you don't want them to take time to start up, man you want them to be on at a tenth of a seconds notice when it's necessary

  • and so, you know that's kind of why, well if you look at a wild animal

  • it's like, its alert

  • you know, it's ready to dart this way or that way, especially a pray animal

  • instantaneously and it has reflexes

  • built into it as you do

  • that will respond way before you're conscious

  • So, for example

  • if you happened to be walking down a trail and you detect something snake like in the periphery, you will leap away

  • before even know that you leapt

  • and that's because it takes a fair bit of time to actually see a snake

  • by which I mean, form a conscious representation of the snake

  • you know, and maybe it takes a 1/4 of a second or something like that

  • or even longer

  • but it doesn't matter, maybe it takes a tenth

  • a twentieth of a second, a tenth of a second but the thing about the damn snake is that it's way faster than that

  • it's really fast that thing and it co-evolved with primates by the way

  • and so it can nail you way faster that you can look at it so, you have

  • your eyes map snake like objects right onto your reflexes so that

  • the eyes go, the eyes make you jump

  • and then they see after that, yeah well now you can see that's no problem

  • so

  • alright

  • alright

  • now what I would say that what we do is that we live in a shared story

  • and the story is a way of looking at the world and it's a way of acting in the world at the same time

  • and that story has to operate within narrow parameters

  • and this is something that is extraordinarily important to understand

  • because, and this is something I think that Piaget figured out, Jean Piaget

  • figured out, better that anyone else, I think that he really got this right and

  • by the way, one of the things that Piaget was trying to do

  • you never hear about how strange these great thinkers are

  • Piaget was a very strange guy and he was a

  • he was a hyper-genius, he was offered the

  • curatorship of a bloody museum when he was 10 years old, you know, because he wrote this little paper

  • on mollusks which apparently was very good and

  • so they offered him the curatorship of a museum and his parents wrote back and said, "Well you know,

  • no, probably not because he is actually ten."

  • and so that was Piaget, man, the guy was a genius

  • and, you know, he was actually motivated by the desire to reconcile science and religion

  • that was actually was his entire

  • motivation for what did, you never hear that but that is the case

  • and so,

  • Piaget was very interested in how

  • you produce structures that enable you to regulate yourself

  • because you are kind of like a

  • a colony of strange sub-animals that have to figure out how to get along

  • so that you can sort of be one thing

  • you kind of learn that, I would say between the ages of 2 and 4

  • as you are being socialized, you know how erratic 2 years old's are, I mean they are a blast and

  • and it's part because they are erratic, it's like

  • they are unbelievably happy and then they are unbelievably hungry and then they really hot

  • and then they are really upset and crying, you know and then they are really scared, it's like

  • and all of that's just untrammeled so it's really fun to be around them, especially when they are happy, because they are just so happy

  • that it's just, you know

  • you don't ever get to be that happy

  • and so, it's nice to be around a 2 year old because you can kind of

  • feel that again, you know, and a lot of, one of the horrible things about being a parent is that you spend

  • a tremendous amount of your time

  • making your child less happy

  • and the reason for that is that positive emotion is very impulsive

  • you know, because everybody says well you should be happy, it's like

  • well, no, when you are happy you are actually quite stupid

  • and so, because happiness makes you impulsive,

  • happiness makes, happiness says, "Hey, everything is really good right now, get what you can while the getting is good!"

  • and so,

  • as a, like if you are hyper-optimistic, manic we'll say

  • It's like every stock investment looks like a really good stock investment

  • and it's like, you go out and spend all your money because

  • look it, there's those wonderful things everywhere and you could do so great things with then, and then

  • you know, you spend all your money

  • and then, you crash and think, oh God, my life is over, you know because I just, I just

  • spent all my money on all this useless stuff and it's all under the grip of impulsive positive emotion

  • you know and so.

  • when you're telling your kids to be quiet and settle down

  • it isn't because they're making a lot of noise being in pain

  • it's because they are running around like wild baboons having a blast! And

  • disrupting things like mad, you know and so, well kids, have to settle down, you know like,

  • "Quit having so much fun!"

  • and it's kind of awful that you do that but

  • but you do

  • and that's because

  • the emotions and motivations have to be brought into

  • like a relationship with one another within the person

  • so that, you know

  • one thing I remember with my son who was quite

  • he is quite disagreeable by temperament

  • which is actually a good thing as far as I am concerned although it brings its own challenges

  • and so with my daughter when she was misbehaving, she was pretty agreeable

  • and uh,

  • you know, if she was misbehaving I could basically just look at her

  • and she would just quit, you know, but my son, it was like

  • that was just nothing, you're looking at me, it's like, no that's just not going to go anywhere man

  • so then I would like tell him to stop, and

  • that really wasn't having much of an effect either

  • he would just sort of maybe laugh or run away

  • or whatever, he was a tough little rat, and

  • you know, what I would do with him, is that he would

  • be doing something and I would interfere and he would get upset, and you know

  • angry, and so then I would get him to sit on the steps and I told him, this was when he was about two

  • I said, look, you are going to sit on the steps, that's time out, you're going to sit of the steps

  • until you've got control of yourself, and you can come back and be

  • and play the family game again

  • I basically said, be a civilized human being and they you are welcome again

  • and so he would sit on the steps, it was so interesting to watch because

  • he was just enraged, he would sit there

  • like have you every seen a two year old have a temper tantrum?

  • It's really quite the bloody phenomena

  • if you ever saw an adult do that, you would like, you would call 911

  • right away, it's like oh my God! and I have seen adults do that, you know because

  • people, say, with borderline personality disorder will have temper tantrums and it's like

  • man, you want to about 30 feet away from that person, that's for sure, it's really, but

  • in kids, it's like

  • well first of all they are only this long, so how much trouble can they really cause

  • but it's like, you know they're just completely gone, they are like

  • on the floor, their face is red, they are just furious, like way more furious than you ever get

  • if you are even vaguely socialized

  • they are just outraged and they are kicking and hitting the ground and like, it's like a little

  • epileptic fit of anger you know , they are completely controlled by their rage and

  • we took care of one kid for a while who

  • he was actually a pushover, that kid, you could get him to behave by

  • you know, kind of shaking your finger at him, but, his mother thought he was really tough

  • because he had her fooled, he had her figured out

  • and one of the things he would do is have temper tantrums and during the temper tantrum

  • he would hold his bloody breath until he turned blue!

  • it's like try that, like you know as, that's your homework

  • go home and, go home and have a temper tantrum and while you are doing it hold your breath

  • until you actually turn blue

  • it's like, you won't be able to do it

  • you don't have the willpower of a two year old

  • that's for sure, that little varmint, man he would just have a fit

  • then he would hold his breath and then he would turn blue, it was like, Wow! that's, that's amazing

  • and we would just let him do it, and you know

  • he would turn blue and everybody would be gone and he would come out if it, you know, and

  • it didn't work, so he just quit doing it, I think he did it like twice, and then he figured out, oh well,

  • that's a lot of work for very little outcome, and you know it's not like two year old's are stupid, they're

  • they're not stupid, but they are probably smarter you

  • but they are not civilized, by any stretch of the imagination, and so, anyways back to my son

  • I would put him on the steps and he'd be like "RRRRRR!", just like enraged!

  • and, and trying to get himself together, you know

  • and I'd wait a few, like I had a strict rule which was

  • as soon as you are done

  • you're welcome again

  • so, it's completely under your control, you

  • you can get yourself calmed down, you come and talk to me again

  • if you are calm enough so I like you

  • then you are welcome back in the family, no grudge, nothing

  • and so, it's harder that you think, like people think that they like their kids, like don't be thinking that

  • they are hard to like, they are little monsters, and they are very very pushy and provocative

  • and so lots of their parents do not like their children

  • and they do terrible things to them their whole life

  • so, it's no joke, and uh,

  • it's very common and, you know, that was Freud's observation, fundamental observation, that

  • a lot of psychopathology is rooted in the family and you can be sure of that

  • you know and, when you hear about some mother who's done something terrible to her child, which happens reasonably frequently

  • you know perfectly well that

  • she has very terrible capacity to discipline, the child has just provoked her

  • and provoked her and provoked her and provoked her and provoked her

  • it just happens to be a day where

  • her new boyfriend left, and she is quite hungover and she got fired, and it's like

  • that's the wrong day to provoke her

  • and then she does something that is not good!

  • And you read about it and you think, "Well how could that happen? How could anyone do that?" Well

  • that's how they do it

  • and so, kids they are very provocative, just like little chimps

  • chimps will

  • the adolescents will, like throw little pebbles and sticks at the sleeping larger males

  • and bug them

  • and that teasing, which it is, that teasing

  • turns into full fledged dominance challenge behaviour once the adolescent males get big enough to do it

  • and so when you are being provoked by a child, which

  • they provoke you all the time, they are trying to figure out well just,

  • "Where are you exactly, what happens if I do this? What happens if I do this?" You know and

  • how else are they going to figure it out?

  • Anyways, he would sit on the steps and just

  • he is just enraged and trying to control himself and I would watch that and then you know I'd

  • come back after about two minutes or whatever and he would still be "RRRRRRR!"

  • and I would say, well, you know, have you got yourself under control

  • are you ready to get of the steps? And he would go "NOOOO! NOT YET!"

  • and then, you know, he would get himself under control

  • and then he would come back, and you know, he'd be contrite

  • and then I would like him right away, you know

  • you got to watch that, you know because, you don't like being dominated by a two year old, no one does

  • and so if the child hasn't

  • mastered himself and started to act in accordance with the prevailing social norms

  • you won't like them, well you think, "Yeah I will because I am a good person.", It's like, no you won't

  • and no you are not a good person so don't be thinking about that at all, it's just not true

  • so

  • when he was contrite then he'd come and then, you know, we would just go on like nothing had happened

  • because that is what you want to do, right as soon as you get compliance

  • especially if the compliance is in the best interests of the child

  • you want to reward it instantly, right, that's the right thing to do

  • because so then

  • and

  • you could just see him gaining control over himself, and so what was really was happening is

  • His, in his mind, in his brain we'll say there was a war between the psyche, the ego that was starting

  • to become integrated, you know and starting to become a continuous person, an identity

  • and it is fragile in two year old's and it can be disrupted all the time, and it is, that's why they are so

  • hyper-emotional, it's fragile that little ego

  • and it doesn't have a lot of power

  • and so what you want to do is reward it when it wins!

  • You know, when it, he gets control over the underlying motivations you want to say

  • Hey, good work, man! Good work, kid!

  • You did it, you know, you got yourself under control, way to be! And the kid is really happy about that because

  • it's actually not that much fun to have a temper tantrum

  • It's exhausting, you know, it takes you over

  • Question?

  • [Student] Could you give an example of what you would reward him with?

  • [JBP] Oh, just a pat on the head or, you know, "That's good!" kind words you know or whatever

  • [Student] Notice it.

  • [JBP] Yeah, notice it pay attention, that's it, that's it, pay attention and that's a great

  • it's a great thing to know with people, like in your relationships

  • here is the key to a good relationship, it's not the only one but

  • Watch your person

  • carefully, carefully, carefully and whenever they do something that you would like them to do more of

  • tell them that that was really good and, mean it, and it's not manipulative, because if it's manipulative it won't work

  • It's like you have to say, "Wow! I am so glad you did that!" And you have to be precise

  • Here is what you just did that I though was great!

  • and then "Oh boy, that's so nice that you noticed, I can't believe that noticed" It's like

  • you know, you do that twenty times and the person will be

  • like the rat that's just pushing the lever for cocaine, you know

  • so but no, I'm serious, Skinner established this, B.F. Skinner noticed this a long time ago

  • Reward is intensely, useful in terms of modifying behaviour, but the problem is, is that

  • it's really hard to notice when things are going right.

  • Right, because you are kind of primed to notice when things are going wrong, and so you use

  • threat and punishment more often as

  • agents of shaping the people that you are around because, you know, when everything is going right

  • what are you going to say, everything is going right

  • it turns to zero, you just assume it

  • and that's, that's not good

  • that's not good, you want to pay attention and if your person, your children, your wife

  • whoever, your mother

  • your sister

  • if you want them to

  • if you want to rectify your relationships with them, and I am not saying to do this in a manipulative way, it won't work

  • but if they do something that's promoting harmony and peace and goodwill, it's like

  • attend to it, tell them that you noticed, it's like

  • so useful and you have to get rid of grudges and your resentment to do that

  • right, because you don't want to, you are kind of mad at your sister

  • and then you know, she does something good, you think there is no goddamn way I am going to reward her for that

  • so you ignore her when she does something good, it's like

  • that's brilliant that is, because then you just punished her for doing what you want

  • and people do that with their kids all the time

  • you know, because they let the kids dominate them, then they get resentful

  • then the kid will run up to them to show them something that's kind of spectacular and they'll

  • they are not happy, they'll like, "Oh yeah, that's, I'm working."

  • You know, little kids

  • all sad about that and he has just learned something

  • so and it's not perhaps what you want him to learn

  • and so you have to keep your relationship with your children pristine

  • and that means that you can't

  • hold a grudge or resent them and that means that you have to help them learn how to behave

  • so that you like them

  • and that way, if you like them

  • and you are kind of sensible, and maybe your partner also likes them, so, you know, you have got a consensus going there

  • there is a reasonable possibility that other people will actually like them too

  • including other children and then the world open up to them

  • you know, then you'll bring them to peoples houses and the people will actually smile at them

  • and give them a pat on the head instead of thinking, "Oh my God that brats coming to visit again

  • I wonder what he will break this time."

  • You know and that's just a horrible thing for your child to experience repetitively

  • in situation after situation

  • all they learn is that adults have a false smile but they are really lying all the time

  • God!

  • It's like a bit of hell and there's a lot of children who are trapped in that, it's really awful to see

  • I can see kids like that when I walk down the street, you know, it's like

  • they are little doomed things and they're, they are, you know, they are screwed in 15 different ways and there is no way out of it

  • It's really awful

  • so,

  • I would not recommend that you do that

  • It's better to notice that you are a bit of a monster

  • or a lot of a monster

  • and notice that

  • you are much happier with the people around you when they behave in accordance with

  • reasonable social norms and then you actually feel genuinely connected to them

  • you want to work on their behalf so that everything works out

  • but if you think that you are a good person and that you would never do anything that was

  • harmful to your children then you can just forget about that because you will never take it seriously enough to actually learn

  • so,

  • alright, so anyways we live inside this story as far as I can tell

  • and

  • you know we kind of put the story together inside us to begin with

  • and that happens between 2 and 4 when you are

  • integrating those motivations and emotions into a relatively functional unity

  • right, and that does happen between 2 and 4

  • if you don't have your kids socialized by the time they are 4, you might as well just forget it

  • and I know that sounds terribly pessimistic and all of that but I know the literature on

  • trying to rectify antisocial behaviour in children, and after the age of 4 it's virtually impossible no matter what you do.

  • and the reason for that is that

  • kids who are still acting like two year old's when they are four

  • you know, they are twice as old, eh, as a two year old

  • that's a lot of difference, like a four year old is an adult as far as a two year old is concerned

  • and so if the four year old is still acting like a two year old, that's really not good!

  • and other four year old's will come up and, you know

  • do a little play invitation, like a dog, and you know, the kid, the two year old four year old has no idea how to react to that and so the more mature kid thinks

  • "Oh, well..

  • how about I play with you?" [motions to another student]

  • and then that kid is isolated

  • from the peers and after four you mostly socialized by your peers

  • and so you just fall farther and farther and farther behind

  • you are more and more alienated, you are more bitter and angry and no wonder

  • and it's just not, you can't rectify it

  • so,

  • so,

  • so that's useful to know, it's like your job from two to four

  • is to turn your child, help turn your child into a functional unity, and by three they should be

  • functional enough as a unity

  • within themselves so that they can concentrate on a voluntary goal

  • for some reasonable length of time

  • which is also why it's useful to let them spend some time alone, so that they can learn to amuse themselves

  • because if they can't amuse themselves they are not going to play with other kids

  • and then by three

  • they are sorted together enough so if another three year old comes along

  • they can at least play in parallel

  • and may also start, maybe able to start playing

  • a cooperative game

  • and so, that's often a fantasy game, you know, pretend

  • and so what the kids will do, sometimes they mediate it verbally

  • but sometimes it's more acted out

  • it's a combination of the two

  • they will assign each other roles

  • they will do this with you too, well let's have a tea party

  • well, what does that mean?

  • well it means let's sit down and act out the act of sharing food

  • and see if we can get that right

  • that's what the kids saying we will have a little tea party

  • you know, it's very important, because human beings share food, like this is a major thing to get right, man.

  • And so, the kid will say well you be the Mom and I will be the Dad and, you know,

  • we will make little fort and that will be our house and we will go in there and run our roles and

  • you know, we are acting out

  • we are acting out family

  • and if we are both reasonably civilized as three year old's we can concentrate on that goal

  • we can establish that little fictional world

  • we can

  • negotiate a mutual goal

  • and then we can run the simulation and that is what kids are doing when they are pretending

  • it's bloody brilliant, that's play man, it's like

  • It's brilliant!

  • It's absolutely unbelievable because

  • you know, if you are going to play Mom, let's say

  • It isn't like you

  • it isn't exactly like you imitate your Mom because imitation would be

  • you know how annoying it is when someone copies you

  • so, you know

  • you are sitting like that and then

  • and I do the same thing, that's really annoying and that isn't what kids do

  • they don't

  • act out the precise actions that they have seen the target of their fantasy

  • display, they're way more sophisticated than that, they watch

  • they're mother, let's say, like hawks

  • and then they start to extract out the regularities in their behaviour, which is Mom behaviour, let's say

  • that's what makes you Mom

  • whatever that is, and then

  • so it's like they look at you across time and they extract out the regularity that makes you Mother

  • and then they try to embody that regularity in their pretend play and then they sort of encapsulate or

  • incorporate the spirit of being a mother, or being a father or whatever

  • or an animal because they'll play at that

  • and so that is what they are doing, they are using their body as, and their mind as dramatic forums

  • it's really amazing, you know it's so sophisticated

  • and no other animal does that as far as we know

  • and it's the platform on which language is based, first of all we imitate

  • and language is imitation, right, because we use the same words, right, so it's imitation

  • it's a big deal so you can act out someone else

  • and then you can conceptualize them in fantasy and it is only way after that that you

  • could maybe articulate it, what does it mean to be a mother

  • so I could have you write an essay about that

  • well you would have to think about it right?

  • you wouldn't just automatically know, but if someone hands you a baby, you know, you are not completely

  • socially blind, you roughly know what to do after you are done with your initial nervousness

  • you roughly know what to do

  • don't drop it, that's a good rule you have probably figured that one out at least

  • you know, don't yell at it, don't startle it, give it a little pat maybe, try hugging it

  • maybe you go like this, you know, you make eyes at it, you know what to do!

  • It's built into you, you know, it's built into you, but

  • that doesn't mean you could lay it out as a series of rules about how to be a mother

  • it's like you could right a whole damn book about that, so

  • alright, so anyways, you live in this story

  • and first of all you get your own story together

  • and that's by integrating your motivations and emotions together

  • under social influence

  • you know,

  • Piaget kind of states that

  • before the age of three kids can't really play

  • they are egocentric, and it's not exactly right because

  • you are actually playing with you mother

  • from the time you are born, so even with breast feeding that's a social interaction and

  • it's a complex cooperative endeavour and it's often hard for a mother and the infant

  • to get that right

  • because it's complicated and it requires a lot of social interaction, like the child has to learn not to bite for example

  • you know and a mother has to learn not to be too nervous and

  • and there is a lot of social bonding, it's a really complicated social interaction

  • so the child, the infant even at the earliest stages

  • is already engaged in a complex social dynamic

  • that is essentially play oriented

  • but it's you know pretty primordial , it has to do mostly with the mouth, and

  • a child's mouth and tongue are already hardwired at birth so

  • you child is most, this is a Freudian observation as well, your child is almost all

  • mouth and tongue when it's born, the rest of it's body, well you watch infants , it's like

  • even when they are

  • How old?

  • Seven months? Six months? Four months? I can't even remember now, you know, they will move their arm and they kind of go like this

  • it's like they have no fine control, they're

  • it's more like they have

  • you know clubs on the ends of sticks, it's like that

  • their nervous system isn't

  • thoroughly myleinated, then don't have control over themseleves

  • but their mouth and tongue are already wired up

  • and so, otherwise they wouldn't be able to swallow or nurse, so

  • the oral element is extraordinarily important for a young child

  • that's why kids put everything in their mouth

  • you know, even when they are a bit older it's like they see with their tongue

  • which of course everyone can do

  • you know if you put a block in your mouth you can tell that it's a cube, you can tell that it is a cube without looking

  • so you can with your tongue, you can see with your hands, you can even see to some degree with your ears

  • anyways,

  • so they're a social interaction right from the beginning, but for the point of simplification

  • you might say well first the child

  • organizes

  • themselves into a functional unity under the

  • pressure of social dynamics

  • and then they get unified enough so that they can attain unity with another child by

  • setting up a fictional world

  • and cooperating and competing within that, because that's quite interesting to because

  • you know, people often

  • juxtapose cooperation and competition as if they are opposites

  • but they are not opposites at all

  • another Piagetian observation

  • so you say, "Well is hockey a competitive game?"

  • and people would say, "Well yeah!" but then you think, really!

  • Really! No one brings a basketball

  • Right?

  • So, we are going to play by the rules

  • That's cooperation, well are teams competing against each other

  • Well yes! But they agreed to compete within a particular landscape

  • and they all cooperate to maintain that landscape, and so

  • you do the same thing when you are playing Monopoly

  • It's like you are trying to win but at the same time you are cooperating

  • That's what, that's society man! That's society right there!

  • You are cooperating

  • That's the big enclosure, and within that there are regulated competitions

  • But, to separate those artificially and say one is competition and the other is cooperation is just

  • It's just not. just not very smart, it's not observant, that's not how it workd

  • and games are intensely cooperative even if they are intensely competitive, I mean

  • the hockey teams are playing in the same game, that's the cooperation, then each team

  • there is competition within the team to be the best player, let's say, but everyone wants that

  • because everyone wants good players to emerge, but still cooperate like mad with your team mates and if you don't pass

  • and you know, play like a reasonable person then, they're going to not be happy with you

  • and so,

  • even within that competition, cooperation is regulating the interactions and then you can think

  • this is a really good thing to think too, it's like

  • People often say to their kids,

  • doesn't matter whether you win or lose, it's how you play the game.

  • and the kid of course has no idea what that means, it's like what do you mean, I am trying to win

  • and the parents says, "No, no, it matters how you play"

  • and the kid pushes them and the parents really can't come up with a good explanation of why that is the case

  • They might say, "Well other kids won't play with you"

  • There you go!

  • Because you could say,

  • this is something to think about, so

  • there is a game

  • and there is a victory within the game

  • but then there is the set of all games

  • and there is victory across the set of all games

  • and the victory that you attain across the set of all games

  • isn't winning all the games

  • it's being invited to play all the games

  • and so if you play fair

  • then you are playing a meta-game

  • and the meta-game is how to win across the set of all games

  • and so if you teach your child how to behave properly then they always get invited to play

  • and that makes them winners

  • and that's that!

  • and so if you understand that you understand something

  • phenomenally important about the emergence of morality

  • you know because people, moral relativist in particular think that morality is relative

  • and of course human beings are diverse, just like languages are diverse

  • and there is more than one playable game but there is not really more than one playable meta-game

  • it's like you are either the kind of person that other people want to play with

  • or you are not.

  • and it you are not the kind of person that people want to play with then you are a loser

  • it's as simple as that, and that's

  • true of all cultures, they might be playing different individual games

  • within their culture and undoubtedly they are, but

  • the set of all games that they play is still common across cultures, that's part of what makes us human

  • and then you could say as well

  • we are actually evolved to detect people who are good at playing the set of all possible games

  • and we actually know that, that's not theoretical, we know for example

  • some things are easy to remember and some things are to remember, you know

  • Here is something that is easy to remember, you play with someone and they cheat

  • Man, you will remember that, that's like in your mind, that's not going anywhere

  • and so great are detecting cheaters and you remember

  • and that's because you can't trust a cheater and you shouldn't invite a cheater to play a game with you because they might cheat!

  • and so, that's part of the innate morality system, you remember cheaters because they good at playing the meta-game

  • and of course you're evolved

  • of course you are adapted to the meta-game because

  • you are the product of this immense evolutionary history right and

  • whoever your ancestors were

  • which is an unbroken string of successful reproducers going back 3.5 billion years

  • you think about that, every single one of your ancestors

  • successfully reproduced, it's mind boggling that you chances against that

  • are so, it's billions to one and here you are the line of

  • 3.5 billion years of success, the whole world was trying to kill you, that whole time and here you are, it's like, and but

  • you know, you are still only going to last about 80 years

  • so,

  • but that, you know, is still, you know good for you, so anyways

  • there were lots of games that your ancestors were playing across that immense span of time

  • many, many you know, lizard games and tree dweller games

  • and crustacean games, you know the huge set of games

  • and you are adapted to win across those games, all of them

  • and that's built into you, man, that's your central human nature, that's what makes you social

  • and it's not some mere cultural construct

  • quite the contrary, it's so deeply embedded in you, it's what you are

  • Alright, so well

  • this is a story, it's a game too, that's another way of thinking about it, you know, that's a Monopoly game, well

  • what's the frame

  • well that's the rules of the game

  • and are they, why do you accept them

  • Well, it's kind of arbitrary right, it's like

  • that happens to be the rules, hockey has different rules

  • basketball has different rules, but what they share is that they have rules

  • OK, so there is a frame, that's the rules, and then within the frame there is a goal

  • and the goal is whatever the rules dictate, you know there is usually

  • It's usually the construction of a heirarchy

  • of success within a frame

  • and so that's what you play, and so you play Monopoly, and it's like, we'll accept the rules

  • that's the social contract and then we will each try to win

  • and that will be fun!

  • We find that amusing, and if you lose, what do you say?

  • Well, you say there is always another game

  • and so that's great,, so

  • if you have that attitude and you play fair, then it doesn't matter whether you win or lose

  • although you still want to try to win because otherwise you are not a good player

  • but you accept defeat gracefully because

  • you can play again!

  • and so, and you will win some and you will lose some and that's not so bad, you know and

  • even if you lose, well maybe you learned something, and

  • and you're doing a lot more than one thing while you are playing Monopoly, you know, you are having a conversation and

  • learning how to interact with people, and learning how to regulate your emotions and so

  • even if you lose if you have any sense you win

  • and if your kids have any sense they know that

  • and so, that way you buffer then against defeat, it's like yeah, yeah, you know

  • next time

  • it's OK

  • You should try but it is OK

  • and, and that's

  • useful information for people to know

  • so,

  • alright, so you are always in one of these little frameworks and there is just no getting out of it, so

  • and that's because, you know at any given moment

  • this is like field theory, there used to be psychological theories that talked about the field of human experiance

  • something like that, and this is kind of what that is, this is a field and

  • basically what happens is that you parse out a little part of the world

  • say

  • and

  • an amount that you can handle

  • so let's say it has some duration , you are not aiming at something 50 years in the future

  • it's because how the hell are you going to to that?

  • there are too many variables, you know

  • so, your aiming at some handleable amount of time

  • and you posit a goal in there and you plot your route and then,

  • that tells you what is up

  • and tells you what is down, because up moves you towards the goal and down moves you away from the goal and

  • that's sets up your motivation framework so that

  • you have something worth attaining, you know that's a really interesting thing to know too, it's like

  • Why have a goal?

  • Well it's easy, no goal, no positive emotion.

  • Because you experience positive emotion by noticing that you are moving towards a goal

  • and so if you don't have a goal

  • well you can't have any positive emotion! So,

  • you better have a goal, and so you might say well what should the goal be?

  • Well we could start by saying, well, any goal is better than none.

  • And then we might say well it should be a goal that other people

  • will let you pursue, because otherwise it's going to be kind of difficult

  • and maybe they will be even happy to help you pursue it, that would even be better

  • and maybe it's a goal that would enable you to learn how to pursue other goals

  • while you pursue that goal, boy, that would really be good,

  • And so, you can see that your goal was parameterized

  • but that doesn't mean that any old goal works, it means there's some goals that work nicely

  • and some not so nicely, there are playable games and non-playable games, that's a good way of thinking about it

  • and you want to have a playable game, and there is a lot of them

  • lawyer, plumber, you know

  • actor, whatever, they are playable games

  • and it's not obvious which one is better but

  • it's certainly obvious which ones are sustainable and which ones are worse

  • and so they're is a set of playable games and you need to extract from that set of playable games

  • a game that suits you.

  • and that would be partly due to your temperament, you know, because extroverted people want to play an extroverted game

  • highly neurotic people want to play a safe game

  • agreeable people want to play generous game and

  • disagreeable people want to play a game that highly competitive so they can win, and

  • you know, fine!

  • but they're all

  • within the realm of playable games

  • and that means they are socially acceptable as well

  • and so, that means, it isn't just

  • arbitrary , it isn't just relative

  • what you decide to do, it is heavily parameterized, there is only

  • there is a set of playable games, and it's large, the set is large but

  • there are commonalities within it, and that's why there are commonalties

  • that is why morality has a common basis

  • fundamentally, and so that's partly what we are trying to investigate, it's like

  • what's up, what is up mean?

  • what does it mean, is there such a thing, now

  • one thing to remember is that

  • if you don't erect a hierarchical structure with something to aim at

  • you got no positive motivation

  • because, you experience positive motivation in relationship to a goal, not from attaining the goal

  • that's satisfaction, besides it's fleeting

  • you know perfectly well, you graduate from university, poof! Next day you have a problem

  • which is what do you do next, and that's a tough problem

  • it's not like you solved your problems by winning that game

  • you just introduced the problem of having to introduce another game!

  • so it's unreliable as a source of positive emotion, but what's reliable is, you set a goal.

  • and you try to attain it

  • and then that gives your life, literally

  • provides your life with meaning

  • that's what meaning is, now it's more than that, but that's what it is

  • and so then you might ask yourself, well

  • What's a really good goal?

  • Well, that's what we are trying to figure out, what's a really good goal? And now,

  • OK, so you got that, so now I am going to walk through, at least partly through

  • we will see how far we get, I am going to walk through Pinocchio with you because that is what the movie is about, and

  • it's a

  • it's hard to say how it come about, like it was written, the story, by a guy named

  • Collodi, [spells it]

  • it's quite a bit different, the story, that story, the written one from the Disney version

  • the Disney version was a product of the collaboration of

  • geniuses of animation, essentially, so they were artistic geniuses

  • great at capturing motion and emotion and all of that

  • they were stellar at that

  • and imaginative, tremendously imaginative, but collectively imaginative

  • and so they put together a collective product

  • and you might say well how did they do that exactly, it's like well

  • they were good storytellers, and what does that mean, well

  • it means you know the story that works and the story that doesn't

  • and maybe partly what you do is you kind of think out a story, and you think, well what is this happened?

  • Well, maybe this should happen? Oh! That's the thing! That would work!

  • It's like a little flash of inspiration, right it's like

  • you got a piece of the puzzle that fits, you think, That will work there!

  • and then you talk to the other people and you generate ideas and someone says, What if?

  • What if they do this? And then everyone goes, No, no that's just not believable, no ones going to buy that.

  • and someone else has a little revelation, they say, Well, you know, it makes some sense somehow if,

  • if they do this! And then everybody goes, Oh yeah! That really

  • that really works!

  • It's like, why?

  • Why? why?

  • Well you don't know, you don't know why it works

  • but it works because

  • It works because it's the right story

  • and so what does that mean?

  • well it's kind of associated with this meta-game idea

  • you know, there is a story that you should be acting out that works across games

  • and you have an inkling of it, you have notion of it, you have a vague apprehension of it

  • it's sort of built into you, that's an archetype, that's an archetype

  • and so when you read a story that works you are just entranced by it, and you all know that

  • You go to a movie and it's a great movie and you are just blown away, you know it's

  • a movie can pull you in

  • and turn you into one of the screen characters and, like, run you through a huge set of emotions.

  • I saw this movie once about

  • South America, it started with this guy running out of a subway, naked, and he didn't know where he was

  • and it turned out that he had been

  • absconded by

  • the totalitarian death squads and he couldn't remember anything about himself, and

  • he went back to his village and

  • basically what happened was that, he ended up back in the totalitarian

  • death grip.

  • and it showed how the fascist state

  • had saturated the village completely, and,

  • so it was a tragedy and you could see with every action that

  • this amnestic guy as he recreated himself and remembered his identity

  • was going to travel down exactly the same road because nothing had changed

  • and by the time, I wish, I have looked what that movie was for years, I've never been able to find it again

  • but, when the movie was over every single person in the theater was crying

  • and not just a little bit, they were just out of it, it was brilliant

  • terrifying movie

  • and that meant that was something right about it, man

  • and it got people, and you you might say

  • you know you have dim apprehensions about the world

  • and some of those are instinctual, and some of those are a consequence of your

  • of your experience, and it's like

  • the pieces are fragmented, but, if you get away from them, a long ways, you can see how they fit together

  • but they are fragmented and then you go see a story and those pieces go

  • click, click, click, click

  • and then you think, Wow! That's what, that's how that works out, that's what that means

  • and that produces that overwhelming emotion, and then, and that partly how you make yourself

  • transparent to yourself

  • You go and experience a story and watch a story and you tell a story and you start to find out who you are by doing that

  • My nephew, had a dream at one point

  • someone made a little animated thing out of it and put it on the Internet which is quite cool

  • So anyways, he was having night terrors and he ran around like a little knight

  • you know, k-n-i-g-h-t, knight and he had a little

  • you know, armor and a sword and he would run around the house

  • with a little knight hat on, being a knight

  • and he was only like four or something and he had watched a lot of Disney movies

  • a lot of movies, so he kind of got the knight idea, it was

  • He was acting that out and he was having terrors at night, right

  • and so he would go to bed with his little knight hat and his sword and he would put them on his bed, and then

  • at night he would wake up screaming, and that happened for a very long time, and so

  • when I went to visit, you know, I found out that this was happening and

  • he had night terror, so the kid wakes up with night terrors

  • screaming but can't remember anything generally speaking, so

  • anyways, this was happening and so

  • it happened one day and I was sitting with him and his family at the breakfast table and I,

  • said, "Did you have a dream?" and he said "Oh yes, I had a dream"

  • I said, "Well, what was your dream?"

  • and he said,

  • "Well I was out in this field, I was surrounded by the dwarves and they came up to my knees and

  • they were, they didn't have any arms they had big feet

  • and they were covered with hair and there was a cross shaved at the top of their head and they were all greasy and they had huge beaks

  • and every where I went they jumped at me with their beaks

  • and there was lots of them!"

  • and every body was very quiet after he said this because it was like

  • Oh, that's why you were screaming at night, it's like yeah, OK!

  • and so

  • so then he said

  • "But at the background there was a dragon, and the dragon would

  • blow out smoke and fire and then it would turn into these dwarves!"

  • so it's like, man, that kid had a problem, right, it was like

  • Well, what are you going to do, fight off a dwarf, who cares! Puff!

  • Ten more, that's life man, that's life!

  • Really!

  • That's the Hydra

  • you cut off one head and seven more grow, that's life, snakes everywhere

  • and you get rid of one and there will be more

  • and so, he figured that out!

  • It's a hell of an existential shock when you are four

  • and so he is like, he is a knight, he's thinking, what do I do about these dwarves

  • well their are too many of them, but there is a dragon

  • well so I said, "Well, what could you do about that?"

  • Right, loaded question, it implies that you could do something about that!

  • Well he kind of knew that, which he was running around like a knight

  • and he kind of figured that out

  • and he said, "Well I'll get my dad,

  • and I jump up on the dragon and I poke out both of his eyes with my sword and then I go right down its stomach

  • to the place where the fire came out, the firebox, and then I'd carve a piece of the firebox out and make a shield,

  • and that would be the end of that!" And I thought,

  • Wow! Good work kid! Like

  • you really got it, right, it's the central human story.

  • There's the terrible unknown, right, fire breathing

  • generating trouble

  • and what do you do, you confront that, you confront that

  • and by confronting it you get stronger, that's the shield, and that's

  • that's what a human being is

  • and that's right, it's exactly right

  • and that was the end of his night terrors, by the way

  • which seems to good to be true, but it is actually true

  • because I followed up with his mother for a long time, and that was that!

  • He catalyzed that part of his identity

  • he adopted the role of the mythological hero

  • and that's what he needed to do, because, like there was a dragon and a bunch of dwarves

  • like what the hell are you going to do about that? Run? That's not going to help.

  • You know, if you run in a dream like that

  • the dwarves multiply and the get bigger and you get smaller as you run

  • It's like, that no a good, that is not a good solution

  • and people do that in their life all the time, and so the dwarves get bigger until they are giants

  • and they get smaller until there is nothing left of them, and then

  • then there is no recovery, that is not good

  • Now, OK, so now I also proposed to you that there is a symbolic structure to the world

  • It's a meta-structure I would say, I think these categories are truly real

  • and their basically this! There's

  • unexplored territory and explored territory

  • and there is you!

  • and unexplored territory is the source of great riches and probably will kill you and

  • explored territory is you culture and it crunches you into submission and conformity

  • and turns you into a civilized being, and

  • you are stuck with both of those and then there is you, you know you are kind of admirable and cool and you do a lot of

  • decent wonderful amazing things and there are things about you that are just horrible

  • and you know about them, and you are stuck with them and that's the world

  • and that's the the landscape of the world and what you will see

  • if you pay attention is that people who are ideologues like Rousseau or say, like Hobbes

  • but it doesn't matter, ideologues will tell you part of that story

  • so environmentalists for example will say

  • Nature, that's pristine beauty

  • natural harmony

  • French landscape

  • it's a paradise especially if there are no people, it's a paradise

  • and then, culture is a rapacious monster

  • and human beings driving that culture against nature are

  • monsters of a sort that, and perhaps there should be fewer of then, it's like, yeah, yeah that's all true

  • it's exactly dead on, right on, exactly right

  • Was that movie called Avatar?

  • Yes, that's James Cameron's movie right?

  • That's that story, yeah, and

  • Hey, it's a good story

  • It's even a mythological story but it is only half the story

  • The other story you could think about it as a frontier myth, that's Star Trek

  • or Star Wars for that matter, mostly Star Trek, it's like

  • but we will put it into the context of the frontier myth, the myth that drew settlers into America, say. It's, well

  • there is a wild savage landscape out there that can be conquered by and settled and stabilized by civilization

  • and it will be the heroic pioneer who does it

  • It's exactly the opposite story of the environmental story, which is why I think that the environmental story emerged. It was

  • you know the frontier story

  • had a lack in it, it missed half of the world

  • and so the other story had to come up and it did

  • and if you take both of those stories, even though they are exactly the opposite to one another

  • if you know both those stories, then you know the whole story

  • and it's really weird, you know, because one of the propositions of formal logic

  • is, it's a fundamental proposition is that something can't be itself and it's opposite at the same time, it's like

  • that's true for some sorts of things, it's true for logical claims

  • but it is completely wrong in this particular situation because things are, what they are and their opposites at the same time

  • and that makes it very very difficult to

  • that's why a dragon hoards gold, it's like

  • What's up with that?

  • Well it will eat you!

  • And it will, but it has gold!

  • So what do you do about that? Because it's paradoxical demands

  • well, what you want to do is face the dragon and get the damn gold, that's what you want to do

  • well

  • you have to be a paradoxical being even to do that, so, in "The Hobbit"

  • for example, when, what's his name

  • Frodo, right? It's not, it's Bilbo in "The Hobbit"

  • You know he is kind of this little underdeveloped

  • over protected Shire dweller, and,

  • he is called on a great adventure

  • to go and find the dragon, and he has to become a thief

  • in order to manage it

  • Well that's pretty weird, you know, it's like, it's because

  • as a good citizen he is just not enough to conquer a dragon

  • He also has to become a bad citizen in some sense, he has to incorporate the part of himself that is monstrous

  • let's say, and develop that and hone it

  • and that's to say that, if you are harmless you are not virtuous

  • you are just harmless

  • you are like a rabbit

  • a rabbit isn't virtuous, it's just can't do anything except get eaten

  • it's not virtuous

  • If you are a monster, and you don't act monstrously

  • then you are virtuous, but you also have to be a monster

  • Well you see this all the time, Harry Potter is like that too, it's like he is flawed

  • he's hurt, he has go evil in him, he can talk to snakes, man

  • He breaks rules all the time

  • All the time, he is not obedient at all, but, you know, he has a good reason for breaking the rules

  • and if he couldn't break the rules

  • him and his little clique of rule breaking troublemakers, if they didn't break the rules

  • they wouldn't attain the highest goal

  • so it is very peculiar, but it's very, it's a very very very very common mythological notion

  • You know, the hero has to be

  • the hero has to be a monster

  • but a controlled monster, Batman is like that, you know, I mean it's everywhere, it's the story you always hear

  • [Student] Is this where morals become ethics?

  • [JBP] Meaning? You have to be more precise.

  • [Student] I feel like, because every one is moral, but, in order to become ethics you have to refine the morals, you have to kind of go into....

  • [JBP] Well that's a good question, you know, because one question is

  • you know you are kind of implicitly moral in so far as you are socialized

  • but that is sort of procedural, it's just built into you

  • this is different, this is also becoming conscious of it

  • and expanding out your personality into dimensions that it wouldn't normally occupy, so

  • this happens to people all the time

  • So, for example, lots of my clients, my clinical clients are too agreeable

  • and, they are generally women because women are more agreeable than men

  • but not always, because I have had agreeable men as clients as well

  • and what happens is, they're resentful and they don't how to stand up for themselves and it's because they're

  • very compassionate by nature, and so, if you entering into a negotiation with them, they will let you win

  • Well that's not so good, because you need to win to,

  • Especially if you are in an organisation of adults

  • where there is a struggle, right,

  • When you have kids you can let them win

  • especially infants, like you have to let them win and that's partly

  • why compassion is so necessary, but as a

  • basis for negotiation between adults, it's like

  • Sorry, it's insufficient, you have to be a bit of a monster so that you can say no.

  • And so a lot of what you do in psychotherapy

  • is treat peoples anxiety and depression, that's a huge chunk of it

  • help them straighten out the way they think, that's a huge chunk of it, but another chuck of it is

  • well let's toughen you up, you know, let's put you in a position where you can bargain, let's teach you how to

  • assert yourself and stand up for yourself, and that's assertiveness training and it's a huge chunk of psychotherapy

  • and you need to learn it, because

  • part of how you regulate your interactions with other people is to negotiate

  • and you cannot negotiate unless you can say no

  • you can't do it

  • and it cause conflict to say no, and if you don't like conflict

  • which is basically the definition of being agreeable

  • then you cannot tolerate the conflict and so then you can't negotiate on your own behalf

  • and so then you keep losing!

  • And you are bullied, and you know

  • it's not good, then you get resentful and

  • and it's really not good, so you have to

  • develop your inner monster a little bit

  • and, and then that makes you a better person, not a worse person

  • It's weird!

  • It's weird, but,

  • but that's just how it is.

  • Outside of that

  • diagram is chaos itself and that's the chaos from which things emerge, now,

  • I can't tell you much about that yet because it's do damn complicated

  • but I think the best way to think about chaos is as potential

  • That's one way of thinking about it. It's also that place you end up when you don't know what to do.

  • It's the source of all things, but it is also the terrible predator, the terrible eternal predator that lurks beyond the explored domain.

  • It's a winged dragon

  • and it's winged, who knows why, matter and spirit, that's partly what it is

  • and I will explain that later

  • It's also potentially the predatory beast that's been after us for, forever

  • And the winged predator that picked us off from the sky, so

  • primates for example, monkeys have

  • some monkeys have three specialized alarm crys, one is for snakes, and that usually means

  • Hit the trees! And then one is for leopards, and that means, hit the trees and go out on a skinny branch

  • because the leopard can't get to you

  • and then there is one for like birds of pray which means hide somewhere on the ground so that you don't get picked off, and it's like, well

  • That's what that is, that's what that is

  • and that's chaos

  • and it's expanded into much more than that

  • and then I showed you, I don't remember if I showed you this, but, this is a symbolic representation of

  • Mother Nature, Father Culture and the suffering of the individual, but it is all, that's all positive

  • There's no negative elements there

  • but, that's OK

  • that's a partial representation and those things are sacred in some sense because

  • they are representative of an ultimate

  • reality, of an ultimate reality, the sacrificial individual here, the suffering individual, well that's pretty straight forward, it's like

  • that's what, that's life

  • that's suffering, that's life

  • that's what happens to the individual, so, and everyone is looking at that.

  • It has power that idea

  • Well it's because, you know

  • culture supports the suffering individual, and culture is nested inside benevolent nature and that's

  • part of the story of the world,

  • and it's the part of the story we are trying to figure out and make articulate, we have been doing that

  • for thousands of years, trying to make this story articulate

  • and it's not yet articulated, it's only, we are only getting it, we are getting it

  • and we basically do that now with movies and stories and fiction and that sort of thing

  • We still don't have it articulated

  • I think Jung went close, came closer than anyone else

  • Jung and Erich Neumann who was one of his students

  • came closer than anyone else ever has to actually articulating that, and that's what Jung was trying to do

  • Is to take all these images, archetypal images

  • Instinctual images and say, well, what do they mean? What do they mean? What do they mean?

  • And he got a long ways on that, although his writing is quite obscure, and it's obscure because

  • How the hell are you going to explain an image like that, without being obscure? It's like

  • it's insanely complicated, and it's not linear

  • It's not a linear thing, that's why it's in a picture

  • Because a picture presents everything at once

  • and you want to take that apart linearly. Jesus! It's just, it's just impossible.

  • But we have been struggling to do that, really we have been struggling

  • From the time that we became self-conscious

  • You know, what is the world about? How should we live in it?

  • Well that's a partial answer, and it's a culture bound answer, obviously

  • But you see archetypal representations like this in many cultures, so for example

  • the image of the Virgin and Child, that way predates Christianity

  • like the Egyptians, that was Isis and Horus, that goes back, hoh, we have no idea how far

  • thousands and thousands of years before the emergence of Judaism and Christianity

  • Way back before that, and no doubt

  • back into prehistory itself! Because

  • a culture that doesn't hold

  • the mother and child as sacred, dies!

  • Obviously!

  • Because, obviously!

  • So, it has to be held, it has to be held as something

  • that you revere, which at least means that, you don't kill mothers and children, it at least means that!

  • And that's an instinct, you know,, it's an instinct, it violates you to to that and thank God!

  • Alright,

  • Let's take 15 minutes

  • So,

  • I told you about this a little bit last week, but, you know, one of the motivations I had for

  • thinking about the things that I have thought through

  • the motivation I had for thinking them through was because

  • Well, I

  • It seemed self-evident to me, let's say

  • and I think that it was partly from reading Jung, but that just helped me clarify it, was that

  • You know it was sort of Jung's contention that

  • We had an organic development of a metaphysical ethic

  • that was embedded in, in religious tradition

  • and that basically unfolded let's say in the West until about 1600, 1500, something like that, and then

  • science emerged and we got unbelievably technologically powerful

  • using a certain view of the world

  • you know, we are so technologically powerful

  • but, we are still not very wise

  • and that just seem to me to be a bad combination

  • and, I thought about that a lot, it's like, OK, how do you handle the combination of

  • exceptional technological power and

  • and an impaired ethic, let's say

  • something like that, underdeveloped ethic or one in even which you have no faith, because

  • you know, it seems, the foundational elements of it are irrational, they're in mythology

  • they're in religion, they don't fit well with the scientific world view

  • How do you rectify that problem? And

  • Well that's a tough problem, you know, it's a crazy problem

  • and certainly it was the problem that Jung was trying to address, there is no doubt about it

  • Along with that went an associated problem which was, you know, what happened in the 20th century

  • which was so awful

  • and in so many places, it was just so unbelievably brutal and terrible and it was perpetrated by

  • millions of people, and they were individual people and they weren't that much different from normal people

  • and in fact they were normal people. So,

  • the other thing that struck me was that it would be better if that sort of thing didn't happen anymore

  • and so I was trying to figure what the hell could possibly be done about that, and

  • you know, part of Jung's contention was, well you had to understand yourself as a monster if you were ever going to

  • maintain some control over the fact that you are in fact a monster and that that could come forth if the situation is correct

  • Ok, that seems reasonable, and so,

  • Well it seemed to me that , you know, people had to become wiser

  • and, of course, that's a very difficult things to figure out, because you could even question

  • whether there is such a thing as wisdom, you know, and

  • and then I thought well that's what the universities are supposed to do, especially the humanities mostly, in particular

  • it is supposed to make you wise, that's what it's for

  • and it's a doing a terrible job of that in my estimation

  • it's more decimating people as far as I can tell, and undermining whatever ethic that they have

  • rather than making people wise

  • and,

  • but I think that we have to become wise, I don't think that there is a choice, I think it's a matter of survival, and

  • it's more than that, because if you're wise in your own life, you are going to have a way better life

  • like incomparably better because you are going to

  • sleep soundly with a good conscience at night, and you know people say that's worth more than money

  • that's worth more than money. I know lots of people who have lots of money and let me tell you

  • money protects you, you are as well as protected from the world by money right now as you ever will be for the rest of your life

  • because most of life's fundamental problems can't be solved with money!

  • you know, like, rich people get divorced, they have affairs, their children get sick

  • they have all the problem you have, and that's partly because you are already rich

  • And so,

  • you might think that if you had a bunch more money things would be better

  • but it's just not true, in fact in some ways they might be worse

  • because money can open up

  • can open up the possibility of all sorts of temptations to you that you just can't afford at the moment

  • So, well so, economics, we have already solved that problem fundamentally

  • and we are rapidly solving it everywhere in the world, right.

  • The world economy is growing so damn fast that you can't even imagine how you could possibly make it grow any faster

  • It's crazy, we have lifted hundreds of millions of people out of poverty in the last 15 years, you know

  • The U.N. set a goal, by 2015, I think it was to cut poverty by half

  • if I remember correctly, and they reached it two years early, you know, it's like

  • It's unbelievable! So,

  • Well, so then I started to

  • try to understand what it might be to

  • to live and really what I was looking for, and was not so much to live a life that was wise

  • but at least to live a life that wasn't pathologically unwise

  • you know, I thought of

  • the sorts of things that people were doing to one another in the

  • Auschwitz camps, and in the Gulag Archipelago and all of that

  • horror that was perpetrated on

  • on people as definitely unwise, whatever else you might say about it,

  • it was unwise, so then I though maybe there is a way to figure out how you could not do that!

  • And so, that's

  • and I think that that's,

  • my sense is that when you come to university to learn how to be a civilized person

  • which is what is supposed to happen at university

  • otherwise it is just a trade school, and you might as well go to trade school as far as I am concerned if you want

  • to learn, something that will get you a job, it's like, it's a lot

  • faster, and it's more certain and it's useful

  • if you are not taught to be a citizen at university, then

  • Why bother with it?

  • So, well so that's what we are trying to figure out!

  • and, and that's part of that

  • cloud of mythological fantasy that surrounds our culture, that's

  • it's part of its deep history that we are trying to,

  • you know, if you grapple with the humanities and with art and all of that

  • that you are trying, you are trying to master and incorporate and,

  • pull in to you so that you're situated properly in history, and

  • and you are not just floating in the void of, you know, this

  • tiny individuality that is divorced from everything else, you are weak in that circumstance

  • Alright, so

  • that's more of an explanation of why I try to puzzle through these things, and try to puzzle through them with you

  • So anyways, we talked about this song last week, and

  • you know, I made a hypothesis to you, we'll go through this quickly

  • It's doggerel, it's not great poetry but it is irrelevant

  • It was a very popular son, it's quite beautiful

  • In the movie it actually sung by like a heavenly choir, that's what it sounds like, so

  • Its got this cathedral, you can imagine people singing it in a cathedral essentially,

  • and so that's not accidental, it's purposeful

  • you know, it partakes of that

  • what would you call it, it partakes of that esthetic, that's. that's it

  • So the film makers are, are

  • implying that

  • what is about to be shown to you has this

  • divine element, essentially and that that's signified by the choir of voices that sings this song

  • and the song says, fundamentally something like this

  • is that if you lift up our eyes above the temporal, into the transcendent, and so that's

  • what exists in the heavenly world, in the stars

  • if you pick an ultimate goal, if you pick the right ultimate goal

  • then,

  • and anyone can do this, that's the other thing it's democratic

  • it's anyone can do this, so that's the second proposition, "It doesn't matter who you are"

  • You can do this.

  • And so, I think that's a reflection of the idea of the divinity of the individual, it's like

  • there is something about each individual that's valuable, regardless of their idiosyncrasies , and

  • and so they have this potential that they can manifest, and how you manifest it? Well,

  • you pick the right goal, and, what's the right goal, well it's high

  • it's elevated, it's above the mundane

  • Now what does that mean? Well you don't really know, you don't really know? That's why it is signified by a star, and

  • the star is something that glimmers in the night, right

  • so it's a source of light in the darkness

  • And so, there is a metaphor in there, obviously, there is a metaphor there.

  • And, the star is the star that that's the star of Hollywood

  • you know, the person that you emulate, that's part of it because an ideal

  • is, it's going to be a human ideal of some sort that you are going to be aiming at

  • and so the ideal human being is the star that you are aiming at, maybe it's something like that.

  • If that's what you are aiming at, well you might say, well, "What should you aim at in life?" And one answer is, well,

  • Why don't you aim at being

  • whatever you could be that would be the best!

  • Now, you don't know what that is, exactly, because how do you know

  • you know, what, you could think "Well that would be really good if I could have it" And then you could say, "Well,

  • can I think of anything better than that?" and if the answer is no, then well, why not go for that?

  • You know, well you might say, "Well, it's too ambitious, it takes too much responsibility."

  • It's like, yeah yeah, those are definitely problems and,

  • one of the things that I have figured out over the years is that if you offered the person the opportunity, you know

  • because people say, "Well, life doesn't really have any ultimate meaning". It's like

  • yeah, OK, fine, let's say that it has an ultimate meaning

  • but that in order to

  • experience that ultimate meaning you have to take on ultimate responsibility for what you do.

  • That's a heavy price to pay to have a meaningful life.

  • You know, and you might say "Well, there's no damn way I going to do that, I'll just go for the, you know, pointless,

  • I'll go for the trivial pointless perspective, which is kind of hard on me existentially, but it frees me up, I can do whatever the hell I want,

  • moment to moment, I don't have any ultimate responsibility."

  • and so then, you think "That's kind of a good deal". And then, but that raises this weird spectre

  • of doubt, which is, well, when you hear people talk about the ultimate futility of life

  • is it because life is ultimately futile, or is it because they have decided that

  • they would just as soon not adopt the responsibility, and they use that real decision, which is to not adopt the responsibility

  • they rationalize that by proposing that life is ultimately meaningful (sic), meaningless

  • and like, you know I kind of buy that, I really do think that's what is going on.

  • So,

  • but maybe not

  • but it could be that if you want to have an ultimately meaningful life that you have to adopt ultimate responsibility

  • Makes sense, and what might that mean?

  • Well one thing it might mean is that

  • And I do think it means this, is that

  • I think that it was Alexander Pope, but I might be wrong about that who said, "Nothing human is foreign to me"

  • [transcibers note] Publius Terentius Afer, Terence, "I am a man: nothing human is foreign to me."

  • and that's a hell of a statement, right, because if you think about all the things that human beings are capable of

  • and they are capable of some

  • like if you really want to know what people are capable of, you should read about Unit 731

  • but I would not recommend it, because if you read it, you will never forget it, and you will be sorry that you read it

  • but, you'll know

  • Anyways, to say that human is foreign to you, that's a hell of a thing to say, because

  • that means that what other people have done, you could do

  • and that also means you need to take responsibility for that

  • that's no joke, you know, it's a big deal to do that in even a trivial manner

  • Anyways, so the idea is you can elevate, if you elevate you viewpoint to some transcendent

  • ethic, that you want what is ultimately good, you really want that, whatever that is!

  • You don't know, that's what you are aiming at

  • Well then it says this strange thing, well what you want will all of a sudden come to you

  • well that's a proposition, and it's the proposition that basically played out in the movie.

  • It's a hypothesis, the hypothesis is, the best way to orient yourself

  • in life is to orient yourself towards the highest good that you are capable of imagining

  • and then aim at that, and then things will work the best way they can for you.

  • And I think, I believe that that is correct, it's my observation of life

  • has lead me to see that that seems to be correct

  • So for example,

  • you don't get something that you don't aim at,

  • that just doesn't work out, and so lots of people aim at nothing and that's what they get.

  • So, if you aim at something you have a reasonable crack at getting it, you know

  • you tend to change what you are aiming at along the way because like what do you know, you know

  • You aim there, you are wrong but you get a little closer, and then you aim there and you are still wrong,

  • you get a little closer and you aim there, and, you know

  • As you move towards what you are aiming at, you are characterization of what to aim at becomes more and more sophisticated

  • And so it doesn't really matter if you are wrong to begin with, as long as you are smart enough to learn on the way

  • and as long as you specify a goal, so specify a vague one

  • "I want things to be the best they could be, and I am willing to learn what best means as I go along"

  • Ok, ok, so fine, and then you get

  • what you truly need we'll say, well maybe not

  • [reading] "Know that if your heart is in your dream"

  • What does that mean?

  • Well, that to me reflects this idea of a kind of integrated viewpoint.

  • One of the things Jung proposed, was that as you

  • integrate yourself psychologically what happens is that

  • Your rationality integrates with you emotions

  • they stop being opposed forces, like the Enlightenment ideas that rationality and

  • and desire are opposites and enemies in a sense

  • The Jungian notion, and the psychoanalytic notion I would say, in general

  • and the humanist notion even, perhaps, is that no, that's not right

  • what you want to do is you want to integrate your rationality with your emotions and your motivations

  • They're not separable, even technically,

  • they have to work together, and that all has to be integrated with you body

  • not only do you have to take your

  • heart into account and notice what is is that you want and don't want

  • but you also have to embody that, you have to act that out in the world

  • So, fine, that's what that means, and if you do that then

  • Well then your horizons will open up, and

  • I also believe that's true, you know, I have known people in my life who are insanely successful, like

  • insanely successful

  • and those people are, like they're

  • They're pretty damn together, man, you know, like they are tough, smart

  • strategic, generous, you know they are always giving people opportunities, honest

  • like, they have got it all

  • and you know, and sometimes, now I am not saying that everyone who is wildly successful

  • Is wildly successful because they have got themselves together, but

  • you know, because there are people who are crooks and, you know there are people who gain status

  • one way or another by nefarious means

  • but that's a lot more unstable than you might think

  • and I can't say exactly if that, if you pursue that route

  • you are going to pay for it, you will have your money or whatever it is but

  • it's not going to do much good for you, so,

  • And so it does seem to me that people that have integrated themselves, and that

  • and that are pursuing a noble goal, a high goal, who

  • actually are able to do remarkable things, and remarkable things can be done at every level

  • you know, it isn't like you have to change the world

  • as a whole, it could be that you do something remarkable within your family

  • you know, that can be tremendously admirable, you know, someones got to take care of a family member if they are sick

  • you know, there are heroic acts that you can undertake in the local environment

  • and maybe that will go unheralded let's say, but

  • that doesn't mean that it isn't remarkable, I mean

  • I have met people who are so damaged

  • you just can't imagine it, and yet

  • Well one person I met when I was in Montreal

  • was this women, and she was just ruined, man,

  • she looked like a street person, and she was so shy, she couldn't even look at you, like

  • she basically looked at the ground because it was like there was light emanating from everyone else

  • and she was way too timid and humble to even to bear it.

  • And you know, partly what I was doing was trying to get her to straighten up and not look so street personish

  • because it wasn't going very well for her in social interactions, you know

  • but it turned out that isn't what she came to the behavioural therapy unit for

  • and she had her aunt, I think she lived with her aunt who was like, schizophrenic and then

  • her aunt's boyfriend was an alcoholic who like went on long harangues about the devil, and it's like, really, man,

  • and she wasn't bright this women, she really wasn't and

  • You know she really didn't have a job and it was just like, it was just not good in every way

  • and then she also had this unbelievable humility and

  • But then it turned out what she wanted, I just couldn't bloody well believe this that

  • she had this dog and she used to walk it around, she took care of the dog, and, you know, that was a good thing, and

  • and she had actually been an inpatient at the Douglas hospital, which is where I was working, and

  • they're were inpatients in the Douglas hospital, and this was back in the 80's, and

  • those people were, like she was like Superwomen compared to the inpatients at the Douglas hospital

  • those people looked like they were from a Hieronymus Bosch painting

  • because they had deinstitutionalized everyone that could possibly be deinstitutionalized

  • and so the only people that were left were people who couldn't be deinstitutionalized

  • and so those were the people who were in the psyche wards for like 30 years, and

  • all of the hospitals were connected by tunnels underground and the patients used to hang out

  • down there by the Coke machine and so forth and one day I took my brother down there, he was visiting, and

  • like it was just like, he just turned white, you know, because it was just...

  • really, I don't know if you know Hieronymus Bosch, he is a very interesting painter to say the least, but

  • that's what it was like, and so

  • So here was here idea! She had come to the behavioural therapy unit because she had been

  • she had been in the inpatient ward for a while, and she met some of these ruined people

  • and she tried to get the hospital, she thought

  • "While I am walking my dog, you know, well maybe I could take one of these patients out for a walk"

  • you know, and she had been talking to the hospital administrators trying to get her,

  • allow her to go, you know, take out one of these patients and go for a walk with her dog.

  • and basically she had come to the behaviour therapy unit because that's what she wanted to do, it's like

  • Man, that person, she just blew me away, like, it's like

  • I just couldn't believe it, like, she had nothing going for her

  • like nothing

  • and yet, she wanted to, you know help some people that were worse off, and like

  • there just weren't that many people that were worse off than her

  • Mind boggling, mind boggling!

  • I never forgot it.

  • and it really, really blew me away

  • you know there are opportunities for elevating your sights

  • within your realm of capability wherever you happen to be, and

  • and that's interesting, it's strange that that is the case

  • [reading] "She brings those who love", that's what that's should say, " the sweet fulfillment of their longing"

  • "Like a bolt out of the blue, Fate" characterized here as feminine

  • and that's what happens in the movie, the movie has got a Christian underbelly, like

  • it's quite pronounced but it's really a pagan movie in many ways, so for example

  • there is no blue fairy

  • and the reason I am speaking of Christianity of course is because this movie was

  • created in a culture where Christianity was still reasonably intact

  • and of course it was fully informed by that, but

  • the underlying mythos is not precisely Christian even though it is informed by Christian imagery

  • There is this old idea, I think it's an Gnostic idea that

  • the wisdom of God is feminine, something like that, an anima, which means soul is feminine

  • and so there is an idea like that lurking here

  • and anyways, that's fate, and that's the blue fairy in this particular movie, you know she comes down from this star, which is

  • kind of makes her a avatar of God, that's the idea

  • and she's the transformative agent, she's really Mother Nature

  • you know in her positive guise, and

  • that's why she can animate

  • to animate something means to infuse it with soul, that's what it means

  • and she animates Pinocchio, right, she is the force that frees him from his strings

  • and so that's her, Fate,

  • [reading] "Like a bolt out of the blue, Fate steps in and sees you through"

  • Well what that means, it means something like

  • It means something like this, is that

  • if you orient properly in the world, and we will say that you do that by trying to attain

  • the ultimate goal whatever that happens to be, then it is as if the world is on your side

  • and, and,

  • and things go well for you and I also believe that that is true because

  • certainly one of the things that more or less self evident is that generally speaking, if you tell the truth

  • things go a lot better for you, and, the reason for that is, well, heh

  • you want to be, do you want to have reality opposed to you?

  • Or do you want to have reality backing you up? It's like it's a pretty straight forward question

  • If you are truthful to the degree that you can be truthful, then reality is on your side

  • That's a good thing because there is a lot of it and there isn't much of you

  • Whereas if you take a deceitful approach to things, well, then you're challenging reality

  • It's like, good luck with that, man!

  • It's like you are holding a plastic ruler in front your face and bending it, you know, and at some point

  • you are going to let go and it's going to, all that force that you have

  • stored up, and it's going to snap back and nail you and that happens

  • Like, I have just never seen anyone, in my clinical practice, ever get away with anything

  • Nothing!

  • And it's not surprising, it's like, if you are going to mess with the structure of reality

  • Like it's going to mess back, and it does, and it might not happen for years, and you might not even notice the connection

  • I mean part of what you do in psychotherapy, is actually

  • make those connections, it's like why did this horrible thing happen to me

  • Well,

  • Who knows?

  • It's like let's take it apart, well who knows how far back we have to go

  • It might even have things to do not even with you, it might have things to do with the errors in parents relationship

  • Like,

  • you just can't mess with the structure of reality, it

  • It stays warped until you straighten it out, and

  • it's not good.

  • So, so there and injunction here which is that, you know, if you follow this path, you

  • pick a high goal and, and you put your heart in it, you know you commit to it

  • believe in it, believe means to love, believe and belove, it's the same thing, it's means to act out

  • and that's what the belief means, like we think that belief means to accept a set of propositions as true

  • Well that is one form of belief, but

  • that's more like factual knowledge, right, belief is more like you decide that you are going to act something out

  • you make a decision and then you act it out and that is a reflection of you belief

  • You know, you are staking yourself on something, do you know?

  • Well no! Because you can't, you can't know, you are bounded by ignorance, you can make your best guess and move forward

  • and you can do that with commitment, but you have to believe in order to do that

  • I guess that's why it's a wish

  • Ok, so fine

  • Well then we have Jiminy Cricket, Southern U.S. slang for Jesus Christ, by the way and the initial overlap isn't

  • a fluke, I mean I am sure that the animators thought that that was funny, and of course it is funny and it

  • you know in the Lion King, you know that, that baboon

  • whose the shaman, basically, well to begin with he was kind of just a comic relief character, like a fool, you know, but

  • One of the things that Jung mentioned about the fool is that, the fool tends to turn into the saviour and it's an archetypal reality

  • Bugs Bunny is sort of like that, you know, he is a trickster

  • and, as the movie developed the character of the fool baboon took on the full fledged

  • you know , shaman priest element, and

  • and, you know, OK, Jiminy Cricket he is this little cricket and,

  • and he turns out to be the conscience which is pretty damn weird, it's like a bug is your conscience

  • and the bug is J.C. and, that a very strange juxtaposition of ideas, conscience, insect

  • saviour, it's like what's up with that

  • and so, well, what bugs you, that's part of it

  • Well, your conscience certainly bugs you

  • and you should pay attention to it's, it's just niggling little annoying thing that you can't

  • quite, you can override it, right, obviously

  • but, it's this, well, he says when he talks to Pinocchio later, it's that still small voice, you know

  • and, I have asked people before, like in my personality class, like

  • because conscience is a weird thing, and it

  • and like , if I said to you

  • if you are about to do something that you know you shouldn't do.

  • Do you have a voice in your head that tells you that you shouldn't do it? So how many people have had that experience?

  • OK, OK, good, now so other people have a feeling instead of a voice, and so, is there anybody here

  • who's willing to admit it, who has neither the feeling, neither the voice?

  • OK, so, you know it's a very understudied phenomena in psychology, this conscience,

  • I mean people can be conscientious,

  • and maybe those are people who listen to their conscience more

  • I don't know, but nobody has ever investigated it, and

  • the fact that do this little voice, whatever it is inside your head, it's like, what the hell is up with that?

  • You know, it doesn't tell you what you want to hear.

  • At least as far as I can tell, now you could say, "Well that's the internal representation of society operating within you."

  • That would be a Freudian view, that's the superego

  • and certainly there is something to that

  • but,

  • I don't think that it is necessary to presume that that's all there is to it and even if it is

  • you still wouldn't have the voice, if you didn't have the biological potential

  • to have that voice embed itself in you.

  • So even if it is socioculturally constructed, which it is in part,

  • It's like language, it's like your language is socioculturally constructed but the reason you can speak

  • is because human beings can speak and if you have a conscience, it's because human beings have a conscience,

  • and the contents of that conscience might differ, but the fact that it exists

  • seem to me to be

  • universal. OK, well, so that's the conscience

  • and,

  • that's Jiminy Cricket

  • and then the cricket opens this book, then you look at the book

  • and you think, "Well what kind of book is that?"

  • Well it's got a spot light on it,

  • so, it's being highlighted, this is an important book, and what kind of book is it?

  • Well, it's leather bound, it has a lock on it, you know, it's not some cheap book, it's kind of like a

  • you might think about it , it looks like something from an old library, or maybe it looks biblical

  • Whatever! It's a major league book, and this bug is the introduction to the book

  • So does that mean your conscience is the introduction to the book?

  • Well?

  • Maybe that is what it means, it's certainly what's being played out in the movie.

  • Well then, the cricket opens the book and so then what do you see? Well, what does that look like?

  • What does it look like? What does it remind you of?

  • OK, so that's the Van Gogh painting.

  • It's the Nativity scene.

  • It's the Christmas star!

  • And you know that because what's going to happen? Well the hero is going to be born

  • That's what happens and so a star signifies that

  • Why does a star signify the birth of an infant? Let's say.

  • Well because there is something miraculous about the birth of an infant, and

  • why would the infant be a saviour? Which is the Christian notion, say.

  • Well because that's the infant is, potentially

  • Every infant.

  • and so that's how you should act about them

  • and you know one of the things that really is interesting about having little kids

  • And I loved having little kids, is that,

  • You have this opportunity, to have this pristine relationship with someone, like

  • Like a relationship you have never had with anyone, because the kid really

  • is just there to love you

  • If you don't screw it up, you've got that

  • and then you can keep that going, you know, and you can try keep that relationship

  • like, pristine, and that's so fun, it's so fun to try to do that, it's

  • It's really,

  • it's amazing, it's an amazing thing, and

  • you know kids get a bad rap in our society, but

  • it's an amazing thing to have little kids

  • and they are remarkable and they give you back far more than they require from you, and

  • partly because they treat you like, you're

  • valuable beyond belief, that's what the kid think about you, it's like

  • That's pretty good.

  • So, yeah, it's like something divine is going to happen and so, OK fine, you know, fair enough!

  • Well there is the star signifying that, and that's associated with in some way with this star that you are supposed to wish upon

  • Well that's kind of odd, there's this

  • There is this relationship that is implicit, the star that signifies the birth of the hero is the same star that you wish upon

  • Well,

  • perhaps the star that you are wishing upon is the wish that the hero will be born in your soul

  • It's something like that, you are aiming at an ideal, it's the ideal you, whatever that would be, well?

  • You can certainly figure out what it isn't.

  • That's where you start, as far as I can tell

  • You know what you shouldn't be doing,

  • and you could at least stop doing those things, and then see what happens, you know

  • If you ask yourself, it's a meditative exercise, you know

  • And you do this with the autobiography to some degree, it's like, OK

  • Sit down for ten minutes and have a little dialogue with yourself

  • Like you actually wanted to know the answer, you know

  • So, you ask!

  • "Well I am probably doing something stupid that if I could quit doing my life would be better, that I could quit doing, that I would quit doing."

  • And maybe it's not a very big thing, because you are not very disciplined, but maybe there is something?

  • Ask yourself that question, man, you will have an answer in no time flat.

  • Like, "I should stop doing this, well yeah, yeah, I know, and I could, and I won't, or maybe I would but if I did, I know my life would be better"

  • It's like, you could figure that out immediately, and if you do that a hundred times

  • Well, you will be in way better shape. So if you don't know what

  • to do that is good, you could at least figure out what you shouldn't do that's just moronically

  • you know, pathetic, and you can be sure you're doing at least a dozen of thoee things at least

  • You know, procrastinating or, you know

  • you know, that's what the conscience tells you, and if you ask it, it will just tell you why you are, you know, are stupid and insufficient.

  • And so, who wants to hear that? But

  • but, maybe you could do something about it.

  • Ok, so the cricket comes into the village there and he sees this little house, and

  • there is a little fire in it, and so, it's kind of got, it's a welcoming place, it's a light in the darkness

  • this house, just like the star, and so, he hops towards it, and then he ends up inside it, and

  • you know, there is a nice fire, you get to see the inside, and

  • the inside is cozy, you know, it's welcoming, and then when you look around you see that everything is kind of

  • in it's place, it's not hyper-organized or any thing like that, it's

  • it's friendly and welcoming and it's, there is a lot of wood and there is a nice fire and

  • then there are toys everywhere, and they are well constructed, so you know that whoever lives there likes children

  • and so, if someone likes children, well, someone that doesn't like children, it's like, you should run away from them very rapidly

  • but if they like children, well then that's a good sign that, you know

  • Jesus, they are a least human, it's a start you know, and then these things are all

  • high quality, they are made very well, and, then there's, and he is looking around to see all of this and there's

  • there's toys and clocks, and they are all hand made, and

  • so he is sort of infers that maybe there is a wood carver who lives there, and

  • a wood carver is someone who can build things, and

  • and it you build things that work and that are beautiful, that's a kind of truth, right? It's like

  • it's built right into the object, that's what quality is, quality is the building into an object of truth

  • the thing works, it does what it is supposed to, it has integrity, and so

  • you see that everywhere in here, and

  • So you are getting the sense of, that the film makers are setting the stage

  • and so,

  • well so they set the stage by showing you the stage and the cricket tells you what he sees, and he's

  • pretty happy to be there, because

  • and this is also someone who is concerned about time, right, because there are a lot of clocks, there are a lot of clocks

  • And so, time turns out to be an important sub-element of this story

  • And then he sees the puppet, he's a marionette, and so, what's a marionette?

  • Well a marionette, and he's sitting on the shelf.

  • A marionette is something that is quasi-animated, because it can move

  • It doesn't really have a soul, but sort of acts like it has a soul

  • In the sense of anima and soul and animated, and,

  • but a marionette is something that is being

  • manipulated by something else behind the scenes

  • Right, it doesn't have it's own volition

  • It's dependent on the will of something behind the scenes

  • And so, there is a strong implication that whatever this thing is, it's half formed

  • and that it's, being manipulated by unseen forces behind

  • unseen forces

  • behind the facade

  • Well that is a Freudian idea, that's you, that's all of you, you know, you're pulled hither and fro

  • by unconscious forces, and some of those are biological

  • and some of them are cultural, you know, and you think about people who are swept

  • up in great ideological movements, like the communists or the fascists, those people are marionettes

  • That's exactly what they are, they all say the same thing, they all mouth the same words

  • they all act the same way, and something is behind it

  • and the question is, what?

  • Well that is the question and that's partly what this movie tries to figure out. So,

  • you see this marionette, he's a half formed wooden headed puppet

  • and he has a little bit of potential, you know, and the cricket goes up and interacts with him

  • and sees that he is made out of pretty good wood, and makes a little joke about having a wooden head

  • and you know, that's kind of obvious what that means, and

  • you notice that the cricket is dressed like a tramp

  • and when you first saw him, he wasn't, he was dressed like a 1920's millionaire

  • So, but here he is a tramp, and this is so interesting, it's like

  • So this bug, that's a messiah, that's the introduction to the book

  • that's the conscience, is also a tramp with no home, it's like, what does that mean?

  • And it took me a long time to sort that out, and it's like

  • He has been everywhere, this tramp he has been everywhere, and

  • and he know, he's traveled the world, and, but he doesn't have a place, he doesn't have a home

  • He hasn't made a relationship with anything real yet, he is kind of a potential

  • And this is one of the things that is really interesting about this movie because

  • if you think about the cricket as a fragment of the hero

  • and say, a reflection of the saviour, which is his relationship with J.C., of course

  • and the person who introduces the book

  • then the story gets strange, because

  • if it was merely a representation of the perfect person, the archetype of the hero

  • then the conscience would know everything, right?

  • And it would just tell the puppet what to do, and that would be the end of it

  • But that's a dull story, it's like, perfect conscience comes along, puppet does everything it says

  • Bingo! Perfection.

  • But that isn't what happens, there is this weird idea that this thing that has got all these attributes

  • Needs a home, and has to enter into a learning relationship with the thing that it's trying to transform

  • It's so sophisticated, because I could say, "You should do what your conscience tells you."

  • It's like, well maybe not, maybe that's not exactly how it works

  • maybe your conscience isn't omniscient and omnipotent, maybe it's not God, right?

  • It's a guide, but it's maybe smarter than you sometimes

  • Maybe because it's society in your head

  • and obviously it's smarter than you sometimes because it tells you not to do something and you go do it and then

  • You get into trouble and you think, "Well if I would have just listened."

  • but you don't, and that is interesting too, it's something that you don't have to listen to

  • which is, seems to be associated with free will, it's weird, if your conscience knows what to do

  • why aren't you just a deterministic puppet of your conscience

  • Christ! That would work a lot better, you wouldn't have to torture yourself, and you wouldn't make any mistakes, so

  • why the separation?

  • Well maybe it's because the conscience is generic

  • and so it has to be taught, it has to learn too, and so what you do is you have a dialogue with your conscience

  • it's something like that, and you expose yourself, to more and more of the world, and

  • you get wiser and your conscience gets wiser and you mature together

  • and that's what happens in this story because the cricket starts out as a, this tramp

  • you know, that is smarter than the puppet, but not as smart as he thinks he is, that's for sure

  • and, when he first starts to operate as a conscience he is a completely useless at it, he babbles of a lot of cliches

  • about morality and then, he's late the first day for his job, and

  • he's just not very good at it, and so

  • there is this weird idea that the conscience which is part of which puts you towards redemption

  • is something that you actually have to interact with

  • over the course of your life in order for it to develop as you develop

  • and, so then I would also say that the cricket represents at least in part what Jung described as the self

  • which is like the potential

  • fully developed human being that sort of exists within you as a possibility, but it has to be

  • It has to be manifested in the actual conditions of your life

  • and the conscience has to learn how to position itself here and now

  • and it's got generic advice, and that's not good enough

  • and so that's why the cricket is looking for a home, and so, he needs a home.

  • Even though he is all these other things we already says he was, he has to find a specific home before he can become

  • who he could be

  • Well so, then Geppeto shows up, and he is kindly old guy, which is pretty much exactly what you would expect, and

  • you know, he's a careful craftsman and he likes kittens, and you know, that's always a good thing

  • and he has some fish, and you know he's

  • good at making things, and he has got a sense of humour and he is kind of playful and so he is the good father

  • fundamentally, he's the wise king, he's the positive archetype of the masculine, and that's what he is

  • and so he is culture in it's positive manifestation, and he gives rise to this creation which is his puppet

  • which is what culture does, because you are a puppet of your culture, a marionette of your culture

  • and so maybe you could be more than that

  • and that's the other thing that is strange about this movie and it's strange about the mythological way of looking at the world

  • because scientifically

  • deterministically, there is nature and there is culture

  • and you are the deterministic product of the interaction between nauture and culture

  • there is nothing else to you than that, that's that!

  • But the mythological world doesn't say that, it says something different

  • It says that there is nature and culture, and then there is you!

  • And the you that's in there has choices and a destiny

  • and that you actually affect the interplay of nature and culture in determining your own character

  • and it insists upon that, the oldest stories we have, there is always the hero and the archetypal mother and the archetypal father

  • there is always those three things, there is never just two

  • So, from the narrative perspective, there is always implication that there is something autonomous about

  • the hero of the story, and, you know, you can't account for that, we don't have a good way accounting that

  • for that from a scientific perspective, I was having a discussion with Sam Harris the other day which,

  • was very

  • what would you say, he said we got wrapped around an axle, which is pretty much, Sam Harris is one of the four famous, you know

  • atheists along with Christopher Hitchens and Richard Dawkins and Dan Dennet, yeah

  • and so we were having a discussion and, he is a determinist just right down to the bottom

  • it's like you are determined, you are determined, there is no free will

  • You're a deterministic machine and, you know, if you are a coherent scientist and you are

  • a Newtonian, roughly speaking, you don't really have much choice other than to think that way, but that isn't how it seems to people!

  • And we don't treat each other that way, and our entire legal system is predicated

  • on the idea that you do in fact have free will!

  • So, well, can we account for it? Well no, and do we have a scientific model for it? No.

  • But then I would also say that we do not have a scientific model for consciousness, we don't know a damn thing about conciousness

  • Which is why Dan Dennet's book, which was called "Consciousness Explained"

  • was referred to by its critics as "Consciousness Explained Away"

  • Which is exactly right as far as I am concerned, because he took a mechanistic approach and

  • I just don't think you get to do that, because

  • there is something really weird about consciousness, I mean

  • the phenomanologists like Heidegger, who tried to radically transform Western philosophy, right from the bottom up

  • He basically said, "Well, you know, you can treat the world as if consciousness is primary and that

  • human experience is reality, that's reality

  • and that it down't exist independently of consciousness in any explicable way"

  • It's like, well, what's out there if there is nothing to experience it.

  • Well everything at once, it is something like that, it's not really comprehensible, as

  • without a subject, the subject defines it and makes it real. Now you don't have to believe that but

  • at least I am telling you that there are thoroughly coherent philosophical positions that make that case

  • very strongly, and that allow consciousness to exist as a phenomena and to take it seriously, and

  • you certainly act like you take it seriously, you act like there is a you and you make choices and

  • you certainly treat other people that way

  • deterministic or not, you are still going to get angry when, you know, rude to you, and

  • you are going to act as if they had some choice in the matter.

  • Now maybe that's an illusion, possibly, but maybe it's not. And I would say the oldest stories that we have

  • always include that as not only the a fundamental element, but even as the fundemental element

  • So, well so, you can think about that how ever you want, but

  • Anyways, so Geppetto, comes along and he is going to finish off the puppet

  • And so what does he do to finish off the puppet, he gives it a voice!

  • He gives it a mouth! Well that's really really interesting, so

  • In Genesis, in Genesis

  • this is a very very complex idea, and it took people thousands of years to figure this idea out

  • and it's something like this, so

  • At the beginning of everything there was chaos, and that was like potential, it was something like potential

  • the potential for being, and God who is God the Father in the Genesis account

  • uses a faculty that he has, which is the word, to call being from chaos.

  • And that's the creation of being, right, it's the manifestation order from chaos

  • and it's the word, the Logos, that, it's the Logos that's the tool that God uses to do that and that Logos

  • in Christianity is associated with Christ, which is a very weird thing, but the reason for that is that

  • there is an idea that the divine element of the individual

  • is the thing that uses language, communicative language to call the world into being

  • And that is what we do, as far we can tell, you make a decision, you think it through, you talk it over with your friends

  • you plot a course and the world manifests itself in relationship to you choice

  • and it's for that reason, and it is for that reason that in Genesis and many other accounts

  • that Logos capacity is identified with human beings, it's like you have a small bit of that in you

  • whatever that means and you participate in the process of

  • continually generating order out of chaos, and sometimes the reverse, you mediate between them

  • And so, that in our, in Western culture, and it is certainly the case in other cultures as well, that

  • that's why you have rights! Fundamentally, that's why the law has to respect you

  • is because you have got this spark of divinity in you, that's transcendent, that nobody gets to transgress against

  • And you say, "Well, do you believe that?" It's like, well, you act like you believe it!

  • You treat other people like you believe it, or they are not very happy with you

  • So, it depends on what you mean, by believe, well you act it out. Well, do you accept it as a proposition? Well,

  • I don't care if you accept it as a proposition frankly, because I think the best indicator of what you believe

  • is how you act, not what you say.

  • Because what do you know about what you know, hardly anything.

  • And so, actions speak louder than words and if you want to be treated properly by someone is that you want to treat them

  • You want them to treat you as a valuable autonomous entity, that's what you want

  • And, so maybe you're not that, maybe you are a deterministic puppet

  • and what this strange movie suggests is that you are a kind of deterministic puppet but you don't have to be

  • Alright,

  • well the mouth goes on, and then Geppetto is happy about that and then they have a little dance, you know, they

  • They turn the music on and all these little music boxes, and

  • they all play together and it's like

  • harmony of some sort has been established, because that's what the music represents, and

  • there are layers of reality that are communicating with one another because that's what the music represents and then they have a little dance

  • and the idea is that, well it's a good thing to let this puppet have it's own voice

  • Well that's an interesting idea because what the hell does it know, it's a wooden headed marionette

  • Why the hell would you want something like that to talk?

  • Well it's the same question you have in relationship to you children

  • It's like what do they know, they are two, or three, you know, they don't know anything

  • Well so should you just tyrannize them, and make them do everything that you want, or are you going to let them have a bit of a voice?

  • And the question is whether you want them to be a puppet, or not.

  • And if you don't want them to be a puppet, if you want them to grow up autonomous, then then you let them have a voice.

  • And you facilitate the development of that voice, and so

  • and that's, and that's what you do if you don't want a marionette

  • So, and Geppetto doesn't want a marionette, so he gives the puppet a voice, even though he knows it's just a puppet

  • and that it doesn't know anything

  • And then, this is fantastic, the cricket is sitting up there watching that, he is pretty happy with it

  • that's the first little scene you see there, and he is sitting by this other thing that is just not happy at all

  • And that's the terrible father, and you see it's a character that repeats throughout the

  • entire movie, you see manifestations of the tyrannical father continually through the movie

  • in different characters, it's like he is played out by different roles

  • And so, first of all the cricket is so thrilled about this, and then he looks at the frowning king there

  • Who is not happy that the puppet has been given a voice, he is a tyrant, right, he is the representation of a tyrant

  • and a tyrant does not want you to have a voice

  • And so, the cricket looks at him and says

  • "Well, you can't please everybody all the time"

  • and it's just a tiny little fragment of a joke, you know, but it's. There is this old idea

  • I think that it comes from Chekov, and the idea is that, if you set a play up, and there is a gun, a rifle

  • or a pistol on a table in the first act, it had better been used by the third act or it shouldn't have been there at all

  • And the idea is, you don't put anything in you play that's random, you never do that, it' like

  • because this isn't life, this isn't life this is a work of art and everything

  • is connected and it is there by intent

  • And so, this isn't accidental that this little king character doesn't like what is going on, or that he shows up.

  • So anyways, all the clocks go off and the music boxes go, and the have a little dance and everybody is happy about it

  • And then, Geppetto notices what time it is, and there is a tremendous emphasis on time in this part of the movie

  • Because there are all these clocks going off, and they are all telling him what time it is, like 30 clocks go off, and then he takes

  • watch out that and notices what time it is, it's like the idea that there is something about time

  • going on, is like whacked at you, you know dozens of times, so that you get it

  • And it's a little joke that he pulls out his watch and he figures out that it is time from bed

  • Well, so now we are making the transition between the conscious world and the unconscious world

  • OK, so there is an intimation in the movie that everything that happens now is in the unconscious world

  • and the way you know that is that, it's strange, because the movie moves in and out this underworld

  • but at the very end when Pinocchio is transformed into a real boy

  • the last thing that Geppetto does is, I think that it's Geppetto, hit one of the pendulums and start all the clocks again

  • So it's as if, what happens from here onwards is part of a dream

  • Now it's murky because, Pinocchio goes to school, and you know, there is the next day and all of that, but

  • and so those are sort of realistic elements, but then there is the whole going down into the ocean

  • to find the whale thing that seems completely dreamlike

  • But there is an intimation that we are in a different kind of world, and so

  • They all go to sleep, including the cricket.

  • And so, then Geppetto notices the star!

  • And, because he is a good guy he makes a wish on the star and we have already

  • explained why you might wish on a star, and what that might mean, and he makes a very interesting wish.

  • It's not a self-serving wish, in fact it's quite the contrary, he doesn't wish that Pinocchio is an obediant son.

  • He doesn't wish that he produced someone who will work for him.

  • He doesn't wish any of that, he wishes for what a good father would wish.

  • Which is that the creation that he has brought forth

  • would develop it's capacity for autonomy.

  • He wants him to become real, he wants him to become an actual living creature and not and not a wooden headed marionette

  • And so you would say that is what your father should wish for you, you know, and I have clients

  • frequently whose father's weren't like that at all, they were tyrannical or they were negelectful or

  • or the punished the person every time they did something good, that's a real fun game.

  • They competed with them and undermined them at every opportunity, they didn't want to produce someone strong and autonomous

  • They wanted to

  • give birth to a slave and then diminish it as much as possible

  • And so, that's bad, it's not good, and so Geppetto is not like that, so he says, "Well, I am going to wish for

  • something completely unreasonable", which is part of that ideal idea, right?

  • And the unreasonable thing is that this puppet

  • could become

  • real! Could actually take on it's autonomy and move forward. And so that's what he wishes.

  • And then they go to sleep

  • And then the cricket starts to become driven mad by the noises of the clock, so it's like he is going into this state of hyper-alertness

  • And the clocks are clanging at him and Geppetto is snoring and

  • he can even hear the little grains of sand falling out of the hourglass, he is becoming hyper-alert

  • And then he yells, "Stop!", and all the clocks stop

  • Which is a pretty good trick for a cricket, you know, he is the master of time but also we are in a place where time has

  • come to a stop, we are outside of time.

  • And one of the things that Freud pointed out about dreams is that, dreams are kind of outside of time.

  • Now, here is what that means, is first of all they draw on eternal themes, that's part of it

  • but you know, you must had had this experience, Freud noted this carefully in the "Interpretation of Dreams" where

  • you know you are sleeping and the alarm will go off, and the alarm noise is incorporated into the dream

  • and it's like, the dream has been going on for an hour in subjective time, and you wake up and you realize that it is the alarm clock

  • It's like, and there is no reason why your dream time should be the same as real time because it is all going on in your imagination, but

  • It's amazing in some sense, how much can happen in such a short period of time in your imagination, and so

  • it's outside of time, the world of fantasy is in some sense outside of time, and so, the cricket

  • tells time to stop, and it does.

  • And then, the star, enlarges

  • and it turns into this blue fairy, whose got a celestial gown covered with stars

  • and who has got wings, so she is some kind of ethereal being and, like, you don't have a problem with that

  • in the movie, it's like, "Yeah, sure, I mean you know, it's a fairy that came from a star, that makes perfect sense.", which of course it's makes no sense

  • whatsoever

  • right, it makes no sense, but you are willing to go along with it because,

  • on the one hand it makes no sense, and on the other hand it makes perfect sense

  • It's like the fairy godmother idea, it's like, "Yeah, yeah fairy godmother, no problem, we got that."

  • And the idea there is that well, Nature comes to your aid, it's something like that,

  • It's the benevolent force of Nature is on you side, now, not obviously, only on your side

  • because it opposes you as well, but

  • And there is your own mother as well, who is also Nature whose on your side, and so

  • but there is an idea here and the idea is that if the father gets the wish right

  • the aim right for the child

  • then Nature will cooperate

  • Right, and that is true, I believe that that's true, is that

  • if you set up your relationship, your cultural relationship with your child properly

  • then they are far more likely to flourish, and so, you get the magic of Nature on your side, by

  • establishing the proper aim. And so that's what happens, Geppetto says, well this is what I am aiming at

  • and because he is aiming at it, and because it is in the realm of possibility, maybe Nature comes to his service, and

  • that is how it works, that's exactly how it works because when you aim at something

  • then, you muster your biological forces towards that goal, and, if the goal is

  • feasible, and attainable, then you will cooperate with yourself

  • And so that's quite cool, Carl Rogers would call that

  • What's the word for that?

  • I think he called it genuineness which is kind of weak

  • but I think that is still what he called it, he sort of meant that, that's sort of what happens when your

  • goals and your physiological and biological being are alined well, and you're

  • and you can communicate both, you are not full of internal contradictions

  • And so, your conscious aims and your biological possibilities are manifesting themselves in the same direction

  • and so, that would be good!

  • So anyways, the fairy shows up and she is quite sexually attractive, she is quite provocative

  • and she charms the cricket

  • who gets all, blushes and like, is all, you know embarrased and

  • overwhelmed by this like figure of celestial beauty and decides to cooperate, the conscience decides to cooperate

  • and gets some responsibility, and so

  • the fairy allows the puppet to move without strings

  • So that's kind of interesting, it's the intervention of Nature. Culture focuses the aim,

  • and then it's the intervention of Nature that produces the autonomy

  • and that seems to be right, I mean even though it's not that understandable, it seems to be right.

  • And then, so, she

  • takes the strings off Pinocchio, and you might say well that's partly because your child is not

  • certainly not just a creature of culture, by no means, your child has a temperament, you'll see that right away

  • and that temperament will unfold

  • and hopefully it will unfold in a cultural context that's amenable to it, and that the combination of those two produce something new.

  • He can talk,

  • he can walk

  • and so the good fairy basically tells him that

  • he has got a bit of autonomy and now it is up to him to

  • like clue in a bit, and act properly, and learn the difference between good and evil, and to speak truthfully and all of that, it's a bit

  • propagandistic that part of the movie, I would say, but it doesn't really matter it is kind of the inculcation of conventional morality

  • and, there's a fair bit to it, especially that he is supposed to tell the truth

  • and, you know, he says he will, and the cricket is listening, and then

  • the puppet asks, "Well what does conscience mean?" because the fairy says always let your conscience be your guide

  • and he says, "Well what does conscience mean?" and the bug, whose like all puffed up because he wants to impress the fairy

  • pops down and gets on his little matchbox and gives this like horrible little lecture about

  • how to behave properly, that's just like ideological chatter, you can hardly even stand listening to it, and

  • it's supposed to be like that, it's generic moral advice that anyone could give

  • that is kind of dull and also puffed up and grandiose, he's just not very good at it

  • So that's why he is on his little matchbox there, with his chest puffed out, and so

  • he says, "That's just the trouble with the world today." [sarcastic falsetto]

  • and I think that's his opening line, you know

  • He's diagnosing the whole world, and, you know, the fairy, she thinks he is kind of funny because he is

  • And you know , it's sort of, there is a real interesting thing here going on because he's male, and he's

  • he's all puffed up with his knowledge, which is completely shallow and, he is put in contact with this like celestial feminine ideal

  • and he just turns into a complete moron, and that's exactly what happens to men, it happens to them all the time

  • So, anyways, she decides to give him a chance and turns him into this conscience, and all of a sudden

  • he's this 1920's millionaire, so he's, he has been ennobled, but then she tells him, that, you know

  • he has to journey along with Pinocchio in order for things to go properly, and he promises that he'll be a good conscience and do it

  • and he already thinks that he can do it,

  • and that's why he is on the matchbox, podium, you know, espousing his morality, but

  • the reality turns out to be much more complex

  • So!

  • The bug has a little talk with the cricket [sic], the bug has a little talk with the puppet

  • the bug tries to tell Pinocchio explicitly what it means to be good.

  • And, he gets completely tangles up in the explanation because what the hell does he know

  • and the puppet doesn't understand anything says anyways, so there is message there, and the message is

  • the kind of knowledge that the conscience and the puppet are supposed to co-create,

  • is not something that you can articulate easily as a table of rules, it's not like that

  • because life is too complicated, to just have five rules that you live by and that will solve every problem

  • partly because the rules will conflict, that's a huge part of the problem, right

  • One moral guideline contradicts another in a situation, it's like you don't know what to do

  • So anyways they decide that they're...

  • They decide that they are just going to...

  • He says, Pinocchio says, "Well, I will be a god boy." and the cricket says, "Well that's the spirit!", and then, well then

  • Geppetto gets wind of it, and they have a little, like, horror episode

  • and then, he finds out that the puppet can...

  • he is autonomous and they have a little party, which tells you,

  • exactly what Geppetto is up to, is, the autonomy emerges and he is happy about it it

  • So it's stamping home the notion that Geppetto is, in fact, a good guy and that is, in fact, what he wants

  • So, it's like, the encouragement of your father is the precondition for the emergence of your individuality

  • And it also allows the feminine to play a role, both as Nature and perhaps as mother

  • and so, the combination of those two things produces the autonomous individual, it's like that seems perfectly reasonable

  • So, off they go to sleep, the next day they wake up

  • and it's a new day, and Pinocchio is off to school, and that's a good thing too, because

  • Geppetto isn't, and he is really excited about it, and so what that means is that

  • He's been parented properly, he is going to go out in the world of his peers, which is where he belongs

  • and Geppetto isn't to worried about it, in fact, he is pushing him out the door, you know

  • It's like, go, you can do it, this is the next thing!

  • The kid isn't cowering in the corner and cowering in terror, with the parents freaking out about all the things that are going to go wrong, it's...

  • There is some faith in his ability, so

  • he sees all the kids wandering by and Geppetto dresses him up, and sends him off to school.

  • And so, and so that's good, that's a happy family story, it's like, Mom and Dad got together, they decided that the

  • kid was going to, you know, be competent and autonomous and ready to face the world, and so

  • out he goes, and so he's like five years old at this point and that is where we get

  • that's were we are at

  • in the story.

  • And I think that that is a good place to stop, because the next thing that happens is,

  • anomaly essentially, Pinocchio goes off to be a good boy

  • but it turns out that is a hell of a lot more complicated than he might think because

  • there are actually, complications in the world, but also malevolence

  • Right, the desire for things not to go right, there are people who are not oriented towards

  • the ideal, in any way at all, and Pinocchio is young and naive,

  • and so he has no defense what whatsoever against this malevolance, and that's, you know

  • That's not unexpected, and it also turns out that the conscience, the cricket, who is still not very clued in, oversleeps

  • And so he's just not there at a critical moment

  • But I think that we will pick that up next week, because this is a good point in the plot to stop

  • The child has entered the broader world and has to cope with it

  • And so, he's prepared because he had a wonderful father and he had a magical mother

  • and so he is prepared as you can be, he is even not completely a marionette anymore

  • but, now it's up to him, that's the thing, now it's up to him, his parents have done basically what they could

  • And that's really about right, you know

  • It's wise, I would say, psychologically

  • Alright, so, that's that!

So I am going to briefly review some of what I told you last time,

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2017年意義地圖02:牽牛花與個人(第一部分)。 (2017 Maps of Meaning 02: Marionettes & Individuals (Part 1))

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    林宜悉 發佈於 2021 年 01 月 14 日
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