The Ritual of Embarrassment – Sunday Vid

April 8th, 2012   by   Andrew

Part of the series God: From Magic to Motivation

Shannon got me the movie Finding Joe.

According to the director, Patrick Takaya Solomon, (there is a cute, metaphorical picture of him on the webpage) the movie was just over 5 hours long at one point in production. Much too big for general release. These days, who has the attention span for something that long?

Patrick Takaya Solomon (aside: look at that name. Isn’t that a great example of the world we live in?) made a decision to focus on the message rather than the messenger. Most of the biographical parts about Joseph Campbell were cut.

The movie is a light, creative introduction to the Hero’s Journey. It explores not only how important stories are to us, but how stories affect us in ways we are not always conscious of.

At one point in the film, the interviews start to converge on discussions about embarrassment. One person even goes so far as to suggest that at least once every seven days or so, each of us should find something to do that might be embarrassing.


This once-a-week ritual of embarrassment tackles head-on one of the most debilitating problems people seem to share – the fear of looking strange in front of others.


I don’t think the movie is trying to say “Do something shameful every week.” Shame and embarrassment are quite different, and work quite differently. This is more about experiencing something new, or practicing courage in the face of social fears and personal phobias. Do something because it is more important than what people might think of you for doing such a thing.

There is an emerging spirituality that I think tries to embrace this kind of thinking as a new ideal. To use Taleb’s quote again (from the beginning of this series), it is a “shared, emotional-aesthetic commitment”.

I realize now that much of my own writing on this site is embarrassing. I’m deliberately trying to find things that are more important than what people  might think.

Here’s a teaser for the film:

What do you think?

Would this be a good ritual to practice?

Is it too costly?

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Images from the movie


Sunday Videos on Anti-Fragility

March 11th, 2012   by   Andrew

I’m wandering away from my usual TED picks. Please bear with me. The video below still fits with the themes of this series, God: from Magic to Motivation

Have you ever received a package marked FRAGILE or HANDLE WITH CARE?

How did it make you behave?

Now, imagine getting a package that had a different label:

PLEASE MISHANDLE

Imagine something that adapts or flourishes when bumped around; it gets better through facing changes.

Nassim Taleb’s ideas on economics has a lesson that goes beyond our management of money – don’t use your worldview as a Procrustean Bed. How you face up to or deal with what you don’t know will almost always be more important than what you believe you know for sure.

(Audio isn’t great, but the video is worth it. Taleb is talking mostly about economics, but the lesson is still so blatant for how we think about every aspect of our lives. For me, anyway…)

Taleb uses examples from nature as anti-fragile environments. When left to develop without outside influence, natural environments can handle shocks or build resilient “hierarchies”. I’m worried there are too many examples now of how outside influences can expose and exploit the fragilities in natural systems. I look forward to reading Taleb’s next book.

What do you think?

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Hero’s Journey vs. Procrustean Bed – a great post from a blogger that understands the difference between guide and doctrine. Instead of top-down normative thinking, play with bottom-up descriptive. The journey starts with each and every one of us as individuals, having to take individual, personal steps.

Not exactly related, but I saw these videos this week from Gotye. I’ve read Taleb doesn’t watch videos. That in itself fascinates me. I think the videos say something about the fragility of childhood and the brittleness of civilization. But, there is an anti-fragility in our ability to play with ideas. A modern, pop aesthetic is used to say things just as compelling as our ancient myths.


Qualia Soup Confirms the Hero’s Journey

August 10th, 2011   by   Andrew

Zippy at our less reflective blog site, omglols, got excited about a recent video from Qualia Soup. He has posted some screenshots that highlight some research from Nicholas Epley. The studies seem to confirm the“my God” theology we play with around here and begins to explain why conservatives tend to have conservative gods, progressives tend to have progressive gods, and atheists tend to have anti-supernatural non-gods.

But maybe the video reveals something even more intriguing. Qualia Soup also confirms the essential nature of the hero’s attitude:

(Full video post on omglols)

What do you think?



The Greatest Story Always Told

July 13th, 2011   by   Andrew

Chapter 1 in the series Myths and Dragons

In February of this year, Saigon released “The Greatest Story Never Told”. Saigon spent some time in prison for shooting at someone in a bar. He has referred to the album as a kind of testament to his redemption. The Background section on the wiki page reveals a few intriguing parallels to many redemption stories.

In 1965 a movie came out called, “The Greatest Story Ever Told.” A child is born in a humble stable of a small town from a backwater province in a vast empire. The child grows and becomes a passionate teacher and guide, wanting to effect social change in his people. He challenges some of the traditions in place and is brought before the legal system of the province. The hero dies by crucifixion on top of a hill.

Christians know this story quite well. It’s the story they base their lives on, the story that is supposed to be their guide, their map, in navigating through life. And the pride they take in that story can be seen by the title. I mean, it’s a pretty bold statement, right? The Greatest Story Ever Told.

It can be kind of surprising how familiar this sort of story can be, regardless of what culture you grow up in. The setting, the events, and the characters may take different forms, depending on which culture is telling the story, but the story seems to go the same way each time. A humble beginning and a series of challenges lead the hero to a dramatic moment where a treasure is won that can change the lives of people forever.

Every story is part of something even bigger than one culture. Each story is a telling of the Greatest Story that’s Always Told.

What’s the Greatest Story Always Told?

Great stories tend to either be based on common experiences or on their ability to make what happens in the story feel like a common experience for the readers. Great stories draw on things with emotional significance for people or produce emotional significance for the readers. And great stories create those moments where the reader is sharing the events with the characters, involved and part of the story as much as reading it.

Long before Saigon, and long before the movie, and long before the events that inspired that particular telling of that version of the story, there were tens of thousands of years of storytelling. In those long years, people may not have had our culture or education system, but they certainly had time. And in those long thousands of years certain patterns emerged. Quests. Romances. The challenge of understanding nature. The challenge of understanding social culture. The challenge of bringing new information or innovation to use. The challenge of facing change.

There’s a saying that if you chain enough monkeys to enough typewriters, they could produce a masterpiece even just by chance.

Our ancestors didn’t have typewriters. But they were apes, they had good enough memories to hold and share their stories, and they had a mythological consciousness that could comprehend, on some level, the vast importance of the patterns emerging in those stories. But maybe most important of all, they had time.

Our literary history is almost literally the story of chaining so many apes to the memory-recording-and-processing-machines that are our brains, letting trial-and-error run its course, and then waiting while time churned out those masterpieces and changed how we viewed our lives in the world.

Mythology and storytelling have had one crushing advantage above all other forms of expression.

Time.

Now strangely, over those vast stretches of years, there is a common thread of experience that we can all share, with our ancestors, with our neighbors, with everyone on this story-filled planet. And it’s starting to look like we even share it with some other animals, too.

What’s The Most Common Experience We Share?

Some might say death. It’s certainly something we all must encounter, but there is something even more common. Behind our emotions like love and fear there is something even more common to us all.

What do you do when faced with uncertainty? How do you act when you don’t know what to do? What is your attitude towards new information, or something that you cannot yet comprehend?

Change. And what to do when faced with the something you don’t know. Experiencing the unknown is more common than death and is the instigator of the whole spectrum of emotions.

Somehow, those apes, chained through time and working steadily away at their masterpieces, recognized that the right attitude while facing change could make the difference between a hero and a loser, between a family’s growth or falling apart, between a community’s survival or destruction.

Creation stories, hero stories, epic quests, battles between gods, all say something more than what’s found on the surface if you’re willing to explore. Behind each word there are a thousand thousand apes with a thousand thousand moments of deliberation. And quite possibly, there are millions of voices bringing that story to you. It isn’t just a matter of standing on the shoulders of giants. You are standing on the shoulders of every conscious creature that has called this world home.

The Greatest Story Always Told, as this proud title suggests, holds a great pattern that addresses the process of change. Some stories may use all the elements of that great pattern. Some might not. And some stories might even reverse or modify the steps. Story can be a dangerous shape-shifting beast, but ironically it can be understood and even mastered if you serve it well.

The Greatest Story Always Told is the Hero’s Journey. It’s a map on how to live in each moment, and can be used as a complete and workable moral system on its own.

There are three main parts of the Hero’s Journey, and they can be further broken down into smaller steps. These are guidelines and labels, but not hard and fast rules.

If we help people face change and adopt the hero’s attitude – respect and responsibility towards what is already known, humility and curiosity to the unknown, appreciation towards the mentor, willingness to take on trialsconfidence once skilled qualification has been achieved, and voluntary distribution of gifts – then we would be giving people the tools and the process needed to transform their own lives and communities.

The Greatest Story Always Told earns its bold title because it’s about you, every single time it is told, and it holds the key to the treasure that can be your life. But you have to take part in it and choose wisely, each step of the way.

The Hero’s Journey

For reference, here is a short description of the parts of the Hero’s Journey. The choices at each ‘stage’ will be looked at more closely in the post “The Structure of Behavior”. [If you have questions, suggestions, ideas or possible edits to give, please leave a comment below.]

1. Departure From Home
Separation from the known, experiencing an anomaly or something not comprehended, stepping into the unknown

Home Culture What is known and predictable. Characters and culture are introduced, things go as expected.
Call to Adventure A problem, challenge, or anomaly appears. Something threatens the home culture and isn’t fully understood.
Refusal of the Call Usually an emotional response to the call. The hero ignores the problem or finds reasons to not address the call.
Meeting a Mentor A guide or some form of help appears. It is often unexpected. or only partially understood.
Crossing the Threshold Full commitment to addressing the unknown, often taking the form of a first obstacle to face or act upon.

2. Initiation
The world changes. A mental journey merges with a physical journey in order to develop consciousness, awareness of self, awareness of purpose, and spiritual awakening.

Tests, Allies, Enemies The hero undergoes trials and is found vulnerable, but also possessing unexpected strengths.
The hero may find an ideal companion that encourages or helps with going further. Someone sees value in the potential change and in the hero.
The hero might find a distraction or block in the journey. Someone or something wishes to halt change.
Viewing the Whole Picture The hero is able to go beyond his/her own initial ignorance and sees the ultimate trial or sacrifice.
The Ultimate Treasure or Ultimate Challenge The hero can come out of the darkest moments transformed. The hero is the wielder of new insight, but there has been a price to pay, emotionally or physically

3. Return
After sacrificing the old self, the hero has found an enlightened state, and must choose  -  bring the new gifts back to the old known world, or remain suspended in a perpetual state of challenge and change.

Refusal of the Return A moment of choice between escaping from or staying in the realm of enlightened change. The hero is often alone or isolated at this point.
The Chase and Rescue Some peril still remains because this is the realm of the unknown, and so escape can be treacherous or filled with trials. The hero may even need help from someone else as a reminder of the interdependence involved in social living.
Crossing the Threshold Back to the known world once again, only it is now (or still) in jeopardy of collapse. The hero uses the new insights or hard-won gifts (a weapon or elixir or new information or new attitude) in a final challenge of application which re-orders the old world, making it stronger, more complex or new once again.
Master of Two Worlds Home becomes a state of being, and the hero becomes comfortable, living in the moment and able to face both known and unknown.
Hero no longer fears change due to possessing the ability and good attitude towards both the known world and the unknown world.
Hero may even voluntarily enter death for something that is more important than his own survival.



Metaphor: An Inconvenient Tool, A Renewable Truth

April 14th, 2011   by   Andrew

The following is from a paper called “Complexity Management Theory”. Thanks goes out to David Chapman for the link to the paper. In some respects, the paper is a 30-page reduction of Jordan Peterson’s ideas. I encourage everyone to read it. Below are four quotes that summarize what I’m trying to say about metaphor, and they say it better than I could hope to (emphasis in the text is from me).

Our ancestors understood metaphorically at least five thousand years ago that the process of creative courageous encounter with the unknown comprised the central process underlying successful human adaptation, and that this process stood as the veritable precondition for the existence and maintenance of all good things. Such understanding, however, was implicit and low-resolution – at best, procedural, embodied, encoded in ritual and drama – and not something elaborated to the point we would consider explicit or semantic understanding today. We are constantly tempted to regard such understanding as superstitious, because of its continuing lack of explicitness, and to presume that our current modes of apprehension have rendered traditional beliefs superfluous. This attitude is predicated (1) on failure to recognize that empirical enquiry cannot provide a complete world description, because of the intractable problems of action, value and consciousness and (2) on an ignorance with regard to the content and meaning of pre-empirical or pre-experimental belief that is so complete, profound and unfathomable that its scope can barely be communicated.

And,

The “kinship of the creative hero with deity” constitutes a phenomenon of tremendous import, as of yet radically uncomprehended: consciousness plays a world-constructing role, in a manner that is neither epiphenomenal nor trivial. It is for this fundamentally non-metaphysical reason that the individual cannot be sacrificed to the exigencies of social and political convenience, as those who live in western democracies have painfully come to realize: the “world-constructing capacity” of the individual must be respected and honored as something sovereign, lest the forces of chaos or complexity re-attain the upper hand, or the state rigidify and doom itself. The truly healthy individual comes to identify, over time, with the adaptive social structure generated by past heroes, by incorporating the hierarchical organization of that social structure into the self – but does not sacrifice his or her capacity for individual creativity, which is an “eternal and immortal” extra-social force, while so doing. This means not so much that the individual is protected against death-anxiety by the fact of culture as that the individual is provided with a dual means of coping with vulnerable mortality in a meaningful and functional manner – first, as a consequence of his identity with social order and, second, as a consequence of his ability to voluntarily face chaos, complexity and anomaly, recast the protective strictures of tradition, and prevail.

So what does this mean for each of us?

The individual must be willing to voluntarily face the consequences of the errors of the past, to mine the information embedded in the territory whose existence is revealed by those errors, and to reconstruct society and self, in consequence.

And what does this mean for our implicitly accepted views of the world?

Religious stories, occupying the necessarily metaphorical space at the base of our cultures of belief, provide the foundation for the dogmatic concepts and action patterns that structure our social interactions, and stabilize the territories that we all share. But this is not all protection against death anxiety. Much of it establishes the necessary “arbitrary” groundwork for shared social being, in the absence of real certainty, and instead of constant interpersonal conflict. More importantly, however, functional religious systems ensure that our shared beliefs are predicated on a concept of the individual that makes respect for the capacity of courageous, creative individual action in the face of complexity the most fundamental and ineradicable of values. This predication makes faith in belief as a state something necessarily subordinate to faith in courageous action as a process. This faith in process is a position that the totalitarian, who desires above all to be finally right, cannot tolerate, and attempts constantly to undermine and destroy. This faith in process is also a final answer, not to the problem of death, which cannot be solved, but to the more fundamental problem of complexity, and attendant vulnerability. Creative exploratory action in the face of anomaly and chaos generates, sustains and renews the world.

I’m not sure where to go next. I think I might do a series on mythology.

What do you think of all this?



The Transformation Movement

May 19th, 2010   by   Andrew

While doing some good ol’ fashioned surfing, I recently came across the World Transformation Movement. Have you heard of this group?

The founding members seem to be from Australia. And I have not watched all the videos or made a real considered effort of analysis or anything like that. But at the same time, their brief description of the Human Condition did intrigue me. (The second video on site. Their videos are a bit lengthy and drawn, so you can scan through the introductory video and not miss much.)

When it comes to worldviews, I like to use four words as kind of helpers. Generally speaking, worldviews come with these four things: symbol, story, ritual and community. Each part is important in the sense that the individual can use each to relate to the larger society or group or even the world, but also the world uses each of these four things to relate to the individual. Relationships go two ways. Sometimes. With any luck…

Anyway, the Transformation Movement has developed a new worldview. All I’ve seen so far is what I think could be put under the story category. They are trying to remove the idea from our psyche that we are eternally bad. Instead, we are made up of a kind of duality that can be understood with the light of science and the guru of nature.

For the complete description, please go to the website and make up your own mind. But in it’s simplest form, here is their story and message:

Genes can orientate but are ignorant of nerves’ need to understand.

Yep. That’s it. Nothing to do really with good or evil, or soul management.

Jeremy Griffith, the main writer for the movement, does have an extended analogy to explain further this story, or our Human Condition. He uses the migration patterns of storks to illustrate the genetic orientation we have as living things (which was neat for me because Shannon did a Happy News story about a couple of storks in love a little while ago). But, a conscious brain is essentially unsatisfied with the genetic routines in place and seeks new paths, new curiosities, and better understandings.

Like I said, I haven’t examined all of their material or measured their evidence in the balances yet. I will say this, however; Jeremy Griffith, as their spokesperson, does not come across as a natural-born public speaker. This isn’t a slick, greasy-smooth delivery or pitch at all. This guy hasn’t been to the Seminary of Sales, if you read me.

It’s funny, but for some reason I tend to take people more seriously when they are uncomfortable or when they stumble on words. That’s just me though. I’ve been hoodwinked by all sorts of shams all the same…

In first impressions, my mind went immediately to ideas of hero mythology and Joseph Campbell during the explanations on how our conscious nervous system seeks out new understandings and new paths. So in many many ways, this is not the creation of a new story at all. It is framing some of the old ideas within a few biological terms and a modern understanding.

The Movement does not seem too concerned with the spiritual side of humanity, but it does seem to want to address the emotional side of humanity. And so I do reserve the right to change my impressions after I see the rest of their story, of course. I really don’t like the use of the word “orientate“. I admit it –  I’m prejudice against that word. What kind of a word is “orientate” anyway?

Please, by all means explore for yourself and then tell me what you think.

Do we need a new story?

And does this satisfy our needs?

Is it just too dangerous to see things under new lights?