Paul P. Mealing

Check out my book, ELVENE. Available as e-book and as paperback (print on demand, POD). Also this promotional Q&A on-line.

Saturday, 11 May 2013

Analogy; the unique cognitive mechanism for learning


Douglas Hofstadter and Emmanuel Sander have recently co-authored a book, Surfaces and Essences: Analogy as the fuel and fire of thinking (no, I haven’t read it). Hofstadter famously won a Pulitzer Prize in 1979 for Godel Escher Bach, which I reviewed in February 2009, and is professor of cognitive and computer science at Indiana University, Bloomington, while Sander is professor of psychology at the University of Paris.

They’ve summarised their philosophy and insights in a 4 page article in last week’s New Scientist (4 May 2013, pp. 30-33) titled The forgotten fuel of our minds. Basically, they claim that analogy is the fundamental engine behind our supra-natural cognitive abilities (relative to other species) and their argument resonates with views I’ve expressed numerous times myself. But they go further and claim that we use analogies all the time, without thinking, in our everyday social interactions and activities.

Personally, I think there are 2 aspects to this, so I will discuss them separately before bringing them together. To take the last point first, in psychology one learns about ‘schemas’ and ‘scripts’, and I think they’re very relevant to this topic. To quote from Vaughan and Hogg (professor of psychology, University of Auckland and professor of psychology, University of Queensland, respectively) in their Introduction to Social Psychology, a schema is a ‘Cognitive structure that represents knowledge about a concept or type of stimulus, including its attributes and the relations among those attributes’ (Fiske and Taylor, 1991) and a script is ‘A schema about an event.’

Effectively, a schema is what we bring to every new interaction that we experience and, not surprisingly, it is based on what we’ve experienced before. We even have a schema for the self, which we continually evaluate and revise dependent on feedback from others and our sense of purpose, not to mention consequential achievements and failures. A ‘script’ is the schema we have for interactions with others and examples include how we behave in a restaurant or in a work place or in the home. The relevance to Hofstadter’s and Sander’s article is that they explain these same psychological phenomena as analogies, and they also make the point that they are dependent on past experiences.

I’ve made the point in other posts, that we only learn new knowledge when we can integrate it into existing knowledge. A good example is when we look up a word in a dictionary – it will only make sense to us if it’s explained using words we already know. Mathematics is another good example because it’s clearly a cumulative epistemological endeavour. One can’t learn anything about calculus if one doesn’t know algebra. This is why the gap between what one is expected to know and what one can acquire gets more impossible in esoteric subjects if one fails to grasp basic concepts. This fundamental cognitive ability, that we use everyday, is something that other species don’t seem to possess. To give a more prosaic example, we all enjoy stories, be it in books or on stage or in movies or TV. A story requires us to continually integrate new knowledge into existing knowledge and yet we do it with little conscious effort. We can even drop it and pick it up later with surprising efficacy.

And this is why analogy is the method of choice when it comes to explaining something new. We all do it and we all expect it. When someone is explaining something - not unlike what I’m doing now - we want examples and analogies, and, when it comes to esoteric topics (like calculus) I do my best to deliver. In other words, analogy allows us to explain (and understand) something new based on something we already know. And this is the relationship with schemas and scripts, because we axiomatically use existing schemas and scripts when we are confronted with a new experience, modifying them to suit as we proceed and learn.

But there is another aspect to analogy, which is not discussed explicitly by Hofstadter and Sander in their article, and that is metaphor (though they use metaphors as examples while still calling them analogies). Metaphor is undoubtedly a uniquely human cognitive trait. And metaphor is analogy in compact form. It’s also one of the things that separates us from AI, thus far. In my own speculative fiction, I’ve played with this idea by creating an exceptional AI, then tripping ‘him’ up (yes, I gave him a gender) using metaphor as cliche.

To be fair to Hofstadter and Sander, there is much more to their discourse than I’ve alluded to above.

Thursday, 2 May 2013

Ashamed to be Australian


This is an eye-opening documentary that the Australian government is doing it’s best to keep out-of-sight, out-of-mind. It’s criminal in anyone’s language: the detention of refugees off-shore with little or no recourse to legal representation.

The story reveals hidden-camera footage as well as interviews with people who spent time there and were distressed at what they observed. As one young Salvation Army volunteer observes, the government has spent millions of dollars to punish and hide these people from public view – the detainees know this themselves.

The proclaimed objective, according to the government, is that the detention is a deterrent to other people seeking asylum, yet, as the programme reveals, there is no evidence to support this. The more likely objective is purely political, as the major parties are in a psychological-power struggle to prove who is the most ruthless and hard-minded (i.e. immoral) in dealing with asylum seekers. It’s all about winning the xenophobic vote in the next election.

These detention centres are mental illness factories, as 2010 Australian of the year,  Professor Patrick Mcgorry, so aptly described them. That was under a Liberal government but the Labor government has proven that its policies are just as criminal and arguably less humane.

Addendum: Getup have a petition to close Manus Island detention centre. Thanks to Kay Hart for sending it to me.

Tuesday, 23 April 2013

In memory of Chrissy Amphlett: 1959 - 2013



And Chrissey's wicked sense of humour, on the same show (host is the incomparable Julia Zemiro). This may offend some people but I find it hilarious, and yes, it was broadcast on free-to-air TV on a Saturday night.


Monday, 22 April 2013

Scientology – a 20th century science fiction religion


I’ve just read 2 books: Beyond Belief; My Secret Life Inside Scientology and My Harrowing Escape, by the current leader’s niece, Jenna Miscavige Hill (co-written with Lisa Pulitzer); and Going Clear; Scientology, Hollywood & the Prison of Belief by Pulitzer Prize winning author, Lawrence Wright. I bought both these books after reading reviews in Rupert Murdoch’s paper, The Weekend Australian Review (Rupert’s Australian publications are a lot more left-leaning than his American counterparts I suspect). Previously, I had just finished reading a Scottish crime thriller, but both of these books were a lot harder to put down.

I should disclose that I had my own brush with Scientology a few years before Jenna Miscavige Hill was born, when I was around 30 (sometime between 1978 and 1983) when I was solicited in a Sydney street, along with a friend, and invited to take part in a ‘session’, but I’ll talk about that later.

There are many different ways one can define religion – to me it’s part of a personal internal journey: very introspective, self-examining and impossible to share. But the public face of religion(s) is often something different: judgemental, proselytising and mentally claustrophobic. I suspect that many followers of Scientology see themselves in the first category, but the institution itself falls squarely into the second.

Religion, in the context of historical Western civilization, has been predominantly about mind control, and it was largely successful up until the Enlightenment, when novels, new scientific discoveries (in all fields) and Western philosophy all made inroads into the educated Western psyche. In the 20th Century, mind control appeared to be the principal political tool of totalitarian regimes like the former USSR and China. It’s not something one would expect to find in an American institution, especially one tied to the celebration of celebrity, but that’s exactly what Scientology is if one believes the accounts revealed in these 2 books.

I defy any normal sane person to read Micavige Hill’s book without getting angry. I imagine a lot of high-level people with the Scientology Church would also get angry, but for different reasons. Of all the events that she recounts from when she signed her ‘billion year contract’ at the age of 7 (she tried to run away a year later) to when she finally left under enormous duress as a married adult (after threatening to jump off a 5 storey ledge), what made me most angry was something that was at once petty and unbelievably controlling and intrusive. As a teen she received letters sent by her estranged mother, but she could read them only after they were already opened and she was never allowed to keep them. At the age of 10 she had to fill out a form so she could visit her parents for her 10th birthday. Yet this is nothing compared to the alleged abuses by the organisation that Lawrence Wright documents in his carefully researched and fully referenced book.

Stalin was infamous for creating a culture where people reported on their neighbours thus creating fear and mistrust in everyday interactions. China had a similar policy under Mao and during the cultural revolution families were split up and sent to opposite sides of the country. According to Miscavige Hill, both these policies were adopted by Scientology, as it happened to her own family. According to her, all her friends were estranged from her, especially in her teens, and the Church even attempted to separate her from her recently wedded husband (also a ‘Sea Org’ member in the organisation) which culminated in her threatening suicide and eventually leaving, totally disillusioned with her lifetime religion but with her marriage intact.

The Catholic Church has the confessional and Scientology has ‘auditing’ and ‘sec-check’, both using their famous ‘E-Meter’. In the comprehensive glossary at the back of her book, Miscavige Hill defines ‘Sec Check’ as “A confessional given while on the E-Meter. Sec-checks can take anywhere from three weeks to a year or longer.” But unlike the Catholic Church confessions, the Scientology equivalent are not confidential, according to those who claim to have been blackmailed by them, but are according to the Church. According to Scientology’s doctrine the e-meter never lies so people being audited, including Miscavige Hill, quickly learn to confess what the auditor wants to hear so they can get it over with. Later, if they try and leave the Church, as she did, these confessions can be held over them to stop them publicly denouncing the Church. Some of these confessions are of a highly personal nature, like the intimate details of sexual relations.

Naturally, the Church denies any of these allegations, along with the practice of ‘disconnection’ (denying access to family members) and child labour, which Miscavige Hill experienced first hand from the age of 7. Allegations of basic human rights abuse are predominant in both books, yet all legal proceedings against the Church seem to eventually be settled out of court (according to Wright’s account).

Miscavige Hill also provides insight into the conditioning of both receiving and giving instructions without question. In principle, this is one of the biggest philosophical issues I have with a number of religious educations, including my own, whereby one doesn’t question or one is discouraged from thinking for oneself. Part of an education I believe, should be the opposite: to be exposed to a variety of cultural ideas and to be encouraged to argue and discuss beliefs. Teenagers are at an age where they tend to do this anyway, as I did. Reading Albert Camus at the age of 16 was life-changing at an intellectual level, and deepened my doubts about the religion I had grown up with.

Wright’s book is a good complementary read to Jenna’s autobiography, as he provides a history lesson of the whole Church, albeit not one the Church would endorse. The book contains a number of footnotes that declare the Church’s outright disagreement on a number of issues as well as numerous disclaimers from Tom Cruise’s attorney, Bertram Fields. Wright is an acclaimed author, with a number of awards to his name, and is staff writer for The New Yorker. His book arose from a feature story he wrote on Paul Haggis (a disillusioned Scientologist) for that magazine. The book starts and ends with Haggis, but, in between, attempts to cover every aspect of the religion, including a biography of its founder, testimony from many of its disaffected members, and its connection to Hollywood celebrity.

Paul Haggis is a successful screenwriter and his credits include some of the best films I’ve seen: Million Dollar Baby, The Valley of Elah (which he also directed) and Casino Royale. His career-changing movie was Crash, which I’m sorry to say I haven’t seen. I remember when it came out, it was on my must-see list, but it never happened. He also wrote Flags of Our Fathers, which Eastwood directed following Million Dollar Baby. In The Valley of Elah is a little known movie starring Charlize Theron (I believe it’s one of her best roles) and Tommy Lee Jones; part crime thriller, part commentary on the Iraq war. I saw it around midnight in a Melbourne arthouse cinema, such was its low profile. He also made The Next 3 Days with Russell Crowe, which I haven’t seen. We never know screenwriters - they are at the bottom of the pecking order in Hollywood - unless they are writer-directors (like Woody Allen or Oliver Stone) so no one would say I’d go and see a Paul Haggis film, but I would.

Haggis campaigned against Proposition 8 in California (a bill to ban same-sex marriage) which I’ve written about myself on this blog. His disillusionment with Scientology was complete when he failed to get the Church to support him.

Scientology promotes itself as a science, and, in particular, is strongly opposed to psychiatry. But at best, it’s a pseudo-science; a combination of Freudian psychoanalysis and Buddhist philosophy. The e-meter auditing, which supposedly gives it its scientific credibility has never been accepted by mainstream science or psychology. L Ron Hubbard, before he started Dianetics, which became Scientology, was a highly prolific pulp sci-fi writer and best friend of Robert Heinlein (a famous sci-fi author with right-wing politics). But while Hubbard lived and wrote during the so-called ‘golden era’ of science fiction, his name is never mentioned in the same company as those who are lauded today, like Heinlein, Isaac Asimov, Arthur C Clarke or Ursula Le Guin (still alive, so possibly later) and I’ve never seen or heard his name referenced at any Sci-Fi convention I’ve attended.

When it comes to psychological manipulation, Scientology excels. In particular, the so-called ‘Bridge to Total Freedom’, aka ‘the Bridge’, which is effectively a sequence of stages of spiritual enlightenment one achieves as a result of courses and ‘sessions’ one completes. At the end of this process, usually taking many years and costing thousands of dollars, one is given access to ‘OT III’ material, the end of the journey and one’s ultimate spiritual reward. According to Miscavige Hill, people ‘on the Bridge’ are told that given early access to OT III would cause serious injury, either mental or physical, such is its power. Now, common sense says that information alone is unlikely to have such a consequence, nevertheless this was both the carrot, and indirectly, the stick, for staying with the course. As revealed, in both of these books, OT III is in fact a fantastical science fiction story that beggars credulity on any scale. It’s effectively an origins story that could find a place in Ridley Scott’s movie, Prometheus, which is better rendered, one has to say, in its proper context of fiction.

In my introduction, I mentioned my own very brief experience with Scientology in Sydney (either late 1970s or early 1980s) when I was interviewed and offered an ‘e-meter’ session. Something about the whole setup made me more than suspicious, even angry, and I rebelled. What I saw were basically insecure people ‘auditing’ other insecure people and it made me angry. I had grown up in a church (though my parents were not the least religious) where once we were called to stand up and declare ourselves to Jesus in writing. I remember refusing as a teenager, mainly because I knew my father opposed it, but also the sense of being pressured against my will. This feeling returned when I was in the Scientology centre in Sydney, or whatever it was called. Interestingly, they took me upstairs where I met some people about my own age who were very laid back and surrounded by a library of philosophical books. I said I would prefer to explore their ideas at my own leisure and so I bought a copy of Dianetics and had nothing more to do with them. I never read Dianetics, though I’ve read the complete works of Jung and books by Daisetz Suzuki on Zen Buddhism, so I was very open to religious and philosophical ideas at that age. Likewise, I’ve never read any of Hubbard’s fiction, though I once tried and gave up.

Thursday, 18 April 2013

3 Cheers for New Zealand

I don't have much to say about this, just watch the video. When the Parliament starts singing at the end it really made my eyes well up - that would never happen in this country.

Congratulations New Zealand, may many other countries follow your lead.

Saturday, 16 March 2013

Cloud Atlas


Cloud Atlas is a very recent release, which I saw last weekend; a collaborative effort by the Wachowski siblings (Lana and Andy) and Tom Tykwer. The Wachowski siblings famously gave us the Matrix trilogy (shot in Australia) and Twyker gave us Run Zola Run (made in Germany) a brilliant film that played with different media (like anime) and time (not unlike Ground Hog Day, only different). Cloud Atlas was shot in Scotland, Germany and Majorca, and, considering all its different scenarios shot with conscientious realism, it must have been very expensive.

It has to be said straight away that this film, with its 6 overlapping stories, all in different periods, and only tenuous connections, won’t appeal to everyone, yet I liked it a lot. A bloke sitting a couple of seats away from me kept looking at his iphone; a sure indication of boredom. I suspect the only thing that kept him in his seat (other than the outlay for his ticket) were the action scenes and any storyline was irrelevant to his need for entertainment. Without actually talking to him, this may be a harsh judgement, but I suspect he simply gave up trying to keep track of the 6 interlocking stories; so, for many, this may be a flawed film. Even David Stratton (arguably, Australia’s most respected film reviewer) who gave it 3.5 stars (his co-host, Margaret Pomeranz, gave it 4) said he’d like to see it again.

I think what saved the film, for me, was that all 6 stories were good stories in their own right and they all followed the classic narrative arc of setup, conflict and resolution. I thought the editing between stories (especially at the beginning) was too frequent, but that’s a personal prejudice. Once I got past the setup for each story (some took longer than others) I had no trouble following them. I made no attempt to follow any links between them (more on that below) and they all had the same theme, which was human rights and oppression, and how it hasn’t changed historically, except in its focus, and how it will continue into the future of our evolutionary development.

One story was set in the 19th Century, 2 in the 20th Century, 1 in the present, and 2 in the future. At almost 3 hours duration each story really only took up half an hour, therefore it didn’t drag, at least for me. As a writer I like to have 2 or 3 subplots happening at once – that’s how I write – so multiple storylines are not a problem in themselves. The popular series, Game of Thrones, has multiple storylines of 4 or more, yet I’ve never heard anyone say it was too difficult to follow.

Only one character, as far as I could tell, traversed 2 of the stories (in the 20th Century) and there was a very clever link between the 2 future stories, which was only revealed towards the end, and I won’t give it away, except to say (spoiler alert) that it reveals how a mortal from the past can be seen as Godlike in the future. In other words, they gain an iconic status as a result of their personal sacrifice. I thought this was the singularly most germane insight of the entire movie.

To call it ambitious is an understatement. Even within individual stories, they play with time, using every storytelling device that film allows, with flashbacks, flash-forwards and voiceovers. At least once, I observed that the voiceover from one story continued into another story; to emphasise a common theme rather than any continuity in content. The trailer emphasises the common thread in a mystical sense, yet, for me, that is not what the movie is about. I thought the 2 future stories were the most powerful, especially the near-future one. My advice to anyone viewing this is just go with the flow; don’t try to analyse it while you’re watching it but just treat each story on its merit.