A Tiny Jot on the Horizon

 

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A WARNING ABOUT XENOMORPHS FROM WEYLAND YUTANI CORP

Aside from being a huge fan of the Alien franchise, over the last months I have started stargazing. Despite the endless rain we have in Kerry in South of Ireland, the night sky down here is mainly free of light pollution, that is when those clouds finally clear. Given  a fairly clear night, an hour or two without rain, a warm coat, some gloves and a bit of hot whiskey, fun can be had (sadly Im on a diet – so no whiskey). Also, and most happily, my landlord has a pretty cool telescope. We spend hours looking at the moon and Saturn and occasionally a tiny Mars appears. There are countless stars out there and just staring into a telescope gives one and incredible rush of transcendence. There before one’s eyes are actual proof of other galaxies and other planets and other constellations. Call it a Galileo (remember what happened to him?) moment but we humans sometimes forget how small we are and how vast it all is out there. I find I love to look out through a telescope as opposed to looking into a computer screen. I find it wonderful to sit out on a clear night and allow my eyes to become accustomed to the dark after countless hours of artificial light. After a while the clouds disappear and I look up.

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FORMULA FOR CALCUALTING THE PROBABILITY OF ALIEN LIFE IN THE UNIVERSE

 

So many stars. Satellites come out at night. It’s fantastic. It’s literally a trip. Try it. Bring the kids. Bring your friends. Go up a hill at night and look at the sky. If you have a telescope all the better. But even with the naked eye looking at huge boiling stars lighting up the night sky millions or billions of light years away, is the most fun you can ever have without spending a cent. For me it’s a consciousness expanding exercise. One theory postulates that we occupy only one of multiple universes, how many we just don’t know. In this particular  universe some say there are a hundred billion galaxies. Others say its two hundred billion. Others again say there are five hundred billion galaxies. (I got these figures from a google search, so many results emerging I don’t see how I can provide links to same). When you take the difference between one and five billion, it becomes clear just how much about the universe we just dont know.  Also, I think that even if we don’t agree on the number of galaxies in the known universe we can say this. There are almost an uncountable number of them and as such there must therefore be an uncountable number of stars in the each of those galaxies. Right now its an unknown, but a immense number.

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If there are a vast number of stars, then there has to be even more planets. Planets form usually from the leftover parts of stars (how planets form), so for every star, there are usually a number of planets rotating around them. Then notion then that we are alone in this incredibly vast, impossibly complex universe, that humanity and the dolphins and the great apes and so on are the only sentient creatures, well anywhere, is so vastly improbable as to be at this stage funny. Its an extension of the junk science isolationism and anthropocentrism we see pervading our culture at present, to think this universe is especially for us and we are alone in it. Though without an ET we got no proof, its also equally true its a mighty vast universe with just one planet that supports life. To me the geeks and conspiracy theorists will be proven right in time, the tinfoil hat wearing brigade talking about other worlds and alien visitations, however hilarious and at times, and, well a bit deranged, have a valid point. Its most theories that fit way outside the accepted agreed pool of belief systalien_kittyems are treated as a bit crazy, but the more one looks out on a vast canopy of stars the more one sees, well more stars. How is it possible we are alone in all of this? Furthermore if we are alone (unlikely), why are we killing each other for real estate or belief systems? We have unlimited places out there to make a home and live in peace. If anything the wisest course of action is to recognize how limited resources are here, treat this beautiful planet with love, and set about recognizing the dangers of overpopulation, and finding new homes elsewhere rather than killing other people simply because they dont have the same god or their ideology doesn’t match yours. The truth is maybe out there?

 

 

The Extremely Cool Marcel Proust

 

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There are few extraordinarily gifted people people out there who can also be described as really good people. They exist of course, but Marcel Proust, a true artistic genius, was one of them. Kind, sensitive, thoughtful to a fault, a good and faithful friend and an extraordinarily generous man with his time and money, Marcel Proust deserves the title of being ‘extremely cool’. And his books have few peers in sheer scale of writing and breath of vision. They are extremely long, indeed an enormous committment, but the rewards far out weigh the effort in time and patience spent in reading these wonderful books. Forgive me if I sound as if an assumption is made here about prospective readers of Proust. As so much of contemporary culture is about instant rather than long term reward, I am advocating something somewhat counter cultural here. hence my caveat.

Marcel and Marcel – A life poured into a Novel
Marcel Proust poured his life into his novel Remembrance of Things Past, or, as in the original French, A La Recherché du Temps Perdu. From his life he composed so many unforgettable characters, living breathing people filled with ambivalent, sometimes clashing ambitions and sexualities, contradictory longings and sometimes devastating losses. These lives lurk within those famous long lyrical beautiful tortured sentences. There is the erudite eccentric homosexual Baron De Charlus, quoter of Balzac with a fixation for sado masochistic practices in male brothels. De Charlus pursues the gifted musician Morel, who eventually betrays him. Then there is Baron de Charlus’ nephew, Robert de saint Loup who though homosexual, courts and eventually marries Gilberte. Gilberte, with whom Marcel himself was once in love, is daughter to the coquette Odette. Odette is wife of the aesthete socialite, the fascinating and tragic Charles Swann, who risked exclusion from society for Odette, the woman he loved. Marcel, the “I” of the novel, the complex neurotic gifted sickly self-doubting central fictional narrator, has his own share of tragic love affairs. He falls passionately for the bisexual Albertine, whom Marcel jealously tries to control and possess completely. Albertine flees her captivity and dies tragically, something Marcel could never get past. There are other people too: the Guermantes family, the Verduins, Marcels parents, and the brilliant artist Elestir, among many others.

These characters are composites from Marcel Proust’s own life. In detailing their lives, Proust draws from the content of his consciousness, mixes compassion with irony, beauty with pathos, wit with savagery. This style and vision makes his novel addictive reading. It is surprising that there haven’t been more movies about the novel as Proust writes cinematographically. I know of two myself: Jeremy Irons in Swann in Love, and Time Regained with Emmanuele Beart, Catherine Deneuve, John Malkovich and Vincent Perez. Both are fine movies.

Reading Marcel Proust’s Novel
Reading Proust is looking into the mind of a writer/narrator with a fetish for exactitude, an eye for emotional and physical detail that borders on obsessive compulsive. And this is why any at attempt at summarising A la Recherché du Temps Perdu is to subtract story from style, which is to miss out on one of the most unforgettable reading experiences one could have, no small loss in any lifetime. For Proust style is integral to substance, and the substance of the story is time, each moment of consciousness and identity being abolished by the next, time as death and rebirth captured and recalled and reborn in the truth of art. His work is filled with hilariously comic scenes of French society at the turn of the twentieth century. It is peppered with devastating ironies, depicting moments of extraordinary beauty and pathos and savagery. It has all the grasp of humanity, all the clarity and vision and beauty that only a mature artist can bring to a work at the height of their powers. It’s also in seven parts, and is three thousand pages long.

Marcel Proust (1871-1922) came to write A la Recherché only after an equally long journey of self-discovery. It is this journey which is the novels subject. Marcel Proust was the son of Adrien Proust, an eminent physician of provincial catholic descent, and Jeanne Weil, of a wealthy Alsatian Jewish family, born in Auteil, in France. He attended the Lycee Concordet (1882-89), which happily afforded a more relaxed regime than some of the scholarly Schools of the Quartier Latin, which served this sensitive person well. His school reports and essays and letters all speak of someone who loved reading and conversation, who avoided discord at all costs, who sought the companionship of his schoolmates and wrote for class magazines. His early childhood memories were recreated in A La Recherché in parallel with an intricate portrait of society life. One of his earliest memories forms the opening sequence of the novel, that of falling asleep at night. He speaks of dreaming, shifting consciousness, like a teleportation device taking one to other times and places. And yet he longs for the comfort of his mother’s goodnight kiss, his shield against night terrors. In parallel to his own private world, he draws in society too in the person of a family friend, Charles Swann, and later on in life hearing of Swann’s desperate pursuit filled courtship and eventual unhappy marriage to the unfaithful courtesan Odette de Creacy. Swann had met Odette years before at the Verduin salon, filled as it was with countless tiny torturous rubrics and rituals of propriety and nasty controlling gossip. Swann was based on the real life Charles Haas. He, Haas, was born approx. 1833 and was also a habitué of literary salons and artists’ studios. Haas, like Swann, was a Jewish dilettante who was well received in French high society. But Swann, unlike Haas risked his status and reputation for Odette de Creacy. Unfortunately the marriage was not a happy one. Proust did not intend to use Haas at all in the novel and actually gave Swann a very different personality than that of Haas. He said he found that Haas “was present at the conception of my Swann” (Corr vol XII p.387)

People like Haas, whom Proust met superficially or intimately, attached themselves to his memory and imagination, clinging like marker buoys to deeply submerged fragments of memory of his past life. These fictional people play out the tragicomedy of their lives as Marcel strives to find himself within this world of French high society.

 

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Drafts of the Novel ‘Swanns Way’

 

 

What actually happens – the story of the novel
The subject of A La Recherché du Temps Perdu is Marcel’s own evolution from sickly little boy to the artist who succeeds in his ambition to write a great work. The moment which gave the narrator Marcel the inspiration to begin the work is depicted at the end of the book. Here Marcel, now approaching middle age, is late for a musical soiree and is asked to wait in the library of the fictional Princess de Guermantes. The butler brings tea and cake. Marcel has at this stage in his life achieved the highest social acceptance. As he sits waiting, dipping his madeleine cake in tea, he unexpectedly has a climatic moment of realisation. He has a moment of involuntary memory. Memories of childhood wash over him. Suddenly he realises what he must do. He has found the great work he must write. The work is himself, his own journey. Edmund White in his fine book on Proust comments that perhaps “the strangest drama in Proust’s life is the transformation of little Marcel – the dandy and partygoer, the time waster who at thirty- four had managed to do little more than write a slim volume of short stories and two translation of Ruskin – into the great Proust, who wrote one of the longest and most remarkable novels of all time.” (Proust p.82) And now because of his crippling health problems, his ambition to succeed is also a race to against time to write, a race against death.

It is this ironic circular movement, this beginning and end, whereby Marcel in discovering his calling as an artist has to leave society, that make A La Recherché du Temps Perdu so memorable. He has to leave his life, or what he thought to be his life, and recreate the true life. He has to rejuvenate impressions suppressed by time, to recompose life and bring him back to his self, his boyhood and the love and companionship as he originally knew them. For Proust one creates fiction to recreate the truth, to resurrect it from the tomb of time where all things die. The work of the artist is the discovery of life hidden beneath self-love and intellect and habit, the underworld of life unseen because of the mundane and the ritualised. Ironically enough, the Guermantes salon where Marcel has his library insight is initially shown as a place of intelligence and poetry and high art. It is the initially the perfect circle for the fictional Marcel to revolve within. Moreover Marcel falls in love with the Duchess de Guermantes, but gets over it when he meets her in society after a trip to meet Saint Loup in his garrison town. Gradually Marcel’s disillusionment at the hollowness and vanity of Guermantes’ society surfaces. This fictional experience parallels Prousts deepening adult disenchantment with society, something that grew as became ever more upwardly mobile in society. As a boy he had suffered his first asthma bouts, a condition that was to debilitate him for the rest of his life. His childhood holidays (1880-89) were spent at Illiers and Auteuil or at seaside Normandy resorts with his grandmother. These childhood holiday scenes later became the Combray holiday scenes of the novel. During this time, as he played along the Champs-Elysees, he meets and falls in love with a little girl named Marie de Benardaky, just as in the novel the fictional Marcel meets and falls in love with Gilberte Swann, daughter of Charles and Odette. It is through Marie and other such children whose parents were society hostesses that Proust became as he grew older a habitué of some of the most exclusive drawing rooms of French society. Despite his chronic and recurrent ill health, Proust spent a year in the army (1889 to 1890), studied and took licences in law in 1893, and literature in 1895 at the School of Political Sciences. In 1896 he published Les Plaisirs at les Jours (Pleasures and Days), a selection of poignant stories already published in such magazines as Le Banquet and La Revue Blanche. Already he had begun to write the somewhat disjointed but brilliant novel Jean Santeuil (published eventually in 1955), which coincided with his increasing ill health, his gradual withdrawal from a society he could not tolerate.

 

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Prousts famous noise excluding cork lined room

 

The Dreyfus Affair and Withdrawal from the World
This world weariness reached a high point with his involvement in the Alfred Dreyfus affair. Dreyfus (1859-1935) was a Jewish army officer unjustly imprisoned in Devil’s Island for spying. The affair was highly controversial, and spilt France into two highly contentious factions. It also alienated Proust from his father. Proust assisted Dreyfus’ lawyer and organized petitions on his behalf. Again his sensitivity to rejection and abandonment, which probably lent itself to his extraordinary graciousness and wit and skills at mimicry, came to the fore. Though Proust was not blackballed in society because of the Dreyfus affair, he did lose friends and was subjected to snide remarks because of being half Jewish, though he protested himself to be catholic. In reality he was agnostic. More than anything it was the bigotry and anti-Semitism of French society which led to his final withdrawal from it. This need to find oneself in the world of society, to find acceptance in it, and consequent failure and retreat and disillusionment, rises and disappears in cycles throughout A La Recherché. Indeed Proust, now that he had no salon world to comfortably retreat into (aside from the very occasional sortie), truly feared his own destiny as a writer. He feared rightly that in beginning the great work he so longed to write it might take everything he had in life. Consequently it would have been easier to dither. Then he might at least continue to live, be among the beautiful creatures of desire that populated high society, write brilliant pastiches of Balzac and Falubert, translate the art critic Ruskin’s works as he had in younger days, and have something akin to a life. But he didn’t. He took the plunge and wrote on. The first volume, Swann’s Way was rejected by the highbrow publishing house, Nouvelle Revue Française on the recommendation of Andre Gide, who thought that a snob like Proust could contribute little worthwhile to literature. Proust’s housekeeper, Celeste Albaret, thought that the manuscript had not even been unwrapped, let alone read. Gide was later to apologise, and radically changed his views after actually reading the manuscript. After the initial rejection by the NRF, the courageous publisher Grasset published Swann’s Way in 1913. Further negotiations between Grasset, Proust and the NRF led to a simultaneous volume being brought out, Within a Budding Grove, for which Proust won the Prix Goncourt in December 1919. Three more volumes came out during Prousts lifetime: Le côté de Guermantes I (October 1920), Le Côté De Guermantes II – Sodome et Gomorrhe I (May 1921), Sodome et Gomorrhe II (April 1922). The NRF in collaboration with Robert Proust, Marcels younger brother, published the final volumes – La Prisonnière (1923), Albertine Disparue (1925) and Le Temps Retrouvé (1927).

Througout A La Recherché the narrator Marcel continually has the ambition to write a great work ever drawing him on. This desire remains despite his misgivings over his talent, and even though ironically his ambitions in society if not in love, are continually satisfied. In real time, for Proust it was the death of his parents, his father in 1903 and his mother in 1905 that ironically set him free both emotionally and financially to write. Proust lived within a cycle of dependency, especially with his mother. Just after his mothers death Proust wrote to the Comte de Montesquiou (the basis for Proust’s Baron De Charlus character) saying that with his mother’s death “My life has now forever lost its only purpose, it’s only sweetness, it’s only consolation. I have lost her whose unceasing vigilance brought me in peace and tenderness the only honey of my life” (Selected Letters 2:208). He sought that peace and tenderness in many forms, in the character of Albertine, the thinly disguised feminisation of Albert Agnoscelli, Prousts secretary and great passionate unfulfilled love. Albertine is first depicted as the leader of a group of girls running on the beach led by Albertine. Like Albertine in the novel, Agnostelli was held captive by Proust, fled from his possessive love and dies tragically. Albert Agnostelli died in a plane crash in 1914 during a time when Marcel saw that millions were about “to be massacred in a war of the worlds comparable to that of Wells” (Corr. Vol XIII, p 283). The death of Albert occurring at the outset of war, led Proust to the second great shipwreck of his life after the death of his parents. For him this death, like his mother’s death, represented the loss of love, loss of everything. It was a desperate passion, an unspeakable unfulfilled desire that Proust projected onto his secretary. With Albert dead as in the novel, he felt himself to be a spent force. His passion and desire and jealousy of Albert were thwarted, as it was always thwarted in life, this time by death. Beauty is lost as love is lost, and though Proust was at the height of his powers as a writer, he stopped writing for a time to heal from such a devastating shock. Just as it was Prousts discovery of John Ruskin’s art criticism back in 1899 that led him to abandon Jean Santeuil, so too during this terrible crisis, it was the spiritual discovery that there was no region of the soul that could not be penetrated with the clear light of art that led Proust to return to work. Proust depicted these scenes of irrevocable loss in the latter part of A La Recherché du Temps Perdu, echoed as they were by other irrevocable losses through the novel of other characters as part of the inescapable truths of life, the emptiness of love and friendship, the ambivalence of desire and sexual attraction, that snobbery and cruelty are as common as beauty and kindness. The only champion against the ravages of time lie in the memories of loved ones and places and interactions stored in involuntary memory. There, outside time, life remains inviolate, beauty and truth becomes sustainable whereas in time it disintegrates. From the first pages of the novel, where through the eyes of the fictional Marcel one relives his childhood longings for his mothers goodnight kiss which was his shield against the terror of abandonment, we experience a hypersensitivity, a sense of dread and abandonment which never left him. It returned in later life as lovers left him, or friends and relatives died, whether naturally or as part of the thirty six million casualties of the First World War. But one of the novels deepest truths is the emptiness of friendship and love, as Beckett writes “Friendship according to Proust, is the negation of that irredeemable solitude to which every human being is condemned” (Proust p. 63) Ironically though, Proust both in life and in the composite fictional Marcel remained a faithful friend, and betrayed no one.

The End
Towards the end of the novel after Albertine’s flight and death and Marcel having spent some time in a sanatorium, he meets Baron de Charlus, now physically ruined by his sexual inclinations, betrayed by his beloved Morel and by the Verduins, his friends. Charlus begins to enumerate all the dead they both once knew: “Continuing to speak to me about the past, no doubt to prove to me that he had not lost his memory, he evoked it now… by reciting an endless list of all the people belonging to his family or his world who were no longer alive…with satisfaction at having survived them” (A La Recherché Vol. 6 p.211). This incident forms an initial link to a chain of events of memory that makes Marcel realize that the beauty and truth of the past still lives, and he begins the work of writing A La Recherché du Temps Perdu.

The novel has Prousts own homosexuality projected onto it, something that conspired along with his disillusionment and half Jewishness to producing a work written from the perspective of the outsider who ironically, is still fully accepted in society. It is precisely because of Marcel’s sense of otherness that allows him such a lucid deeply sensitised view of the society he grew up in. His fair minded exploration of all aspects of human nature, the beautiful and the bestial, broadened the range of his work, making A La Recherché du Temps Perdu into one of the greatest novels in all aspects of sexual love and of human nature. It is filled with brilliant insights into the nature and vanities of human love and sexuality, and profoundly influenced novelists and artists from Samuel Beckett to Virginia Woolf.

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The Late, Truly Great, Marcel Proust

 

Proust died on Saturday November 18 1922 of complications brought on by bronchial pneumonia. He died feted as a man of letters, still helping his friends and fretting over the as yet unpublished sections of his novel. He died a fulfilled person after years of apparent failure and anonymity. He died with a reputation that was to expand to astral proportions. He had succeeded in his ambition to write a great work, the sheer originality of it, along with his celebration of the extraordinary nature of everydayness, makes A La Recherché du Temps Perdu a true classic, a truly universal novel.

A Miscavige of Justice

Or What in Heavens Name Happened to Louis Theroux’s “My Scientology Movie”?

Louis Looks Quizzically at the Church of Scientology As a decades long fan of just about everything Louis Theroux has ever put out on the BBC, I was completely thrilled to hear he was going to embark upon a documentary about a subject that had long fascinated and intrigued me: Scientology.

L Ron and Me

dianeticsI remember around the age of sixteen picking up a copy of the delightful Dianetics in a second hand bookshop in Dublin and reading it through and saying to myself Is this for me?  Then I heard that L. Ron Hubbard was a bit dodgy as a person, not at all like Jesus or Buddha. Apparently he had kidnapped his wife in 1951 and that his doctrines had been condemned by the American Psychological Association. That interested me even more. After all L Ron wrote so many science fiction novels. I thought – well a little crazy can be good for creativity. But then there are limits. I mean take this as an interesting story : this is Scientology Dogma: Scientology teaches, as a core element of its belief system, that one of the fundamental incidents of human history (and indeed our Destiny) refers to an intergalactic overlord Xenu or Xemu. Around 75 million years ago, Xenu as a ruler of a galactic confederacy, killed billions of his people. He did it as an act of population control. Xenu captured, froze and paralyzed billions of citizens of his planets and brought them to the mouths of volcanoes on Earth. Next, he blew the mouths of these volcanoes using nuclear weapons, thus releasing millions of alien spirits onto the Earth. Afterwards, he recaptured these spirits and subjected them to a massive personality deprived indoctrination program (watching lengthy movies apparently) that inadvertently contributed to the development of all those other misguided religions – other than Scientology. Apparently all these spirits, for all eternity, cling to our misguided and unclear human souls. This, if you like, is Scientology’s doctrine of Original Sin – or in other words- L Ron’s Story of where it all went wrong for humanity. Humanity is doomed – unless we adhere to the tenets of Scientology . To me now that is really interesting.

Science Fiction and Belief Systems

forbidden-planetI mean  its not that absurd really. Its in our natures to tell ourselves stories to explain everything. That being the case, I have been a fan of science fiction ever since I was seven and saw  Forbidden Planet, and read the wonders of the Asimov’s Foundation Trilogy. People scoff at the belief systems of Scientology. When I hear such scoffing, I scoff back, mostly at myself. I mean, I believed in Transubstantiation and the Virgin Birth, the Trinity and the Miraculous Medal. One can be made to believe literally anything, given the right conditioning. And such doctrines, that I have thumbnail sketched above, are revealed to Scientologists only after a long period of very expensive and very exhaustive conditioning. In other words, unless we adhere to an open philosophy of life (in other words a notion of truth that’s testable and refutable by experience), we get into trouble.

Louis’ Scientology Movie

Louis Theroux took a very interesting and unique approach to the issue of plumbing the depths of Scientology. He took, as his starting point, the arrival of David Miscavige after L Ron Hubbard’s death in 1987. Miscavige reigns as the new Pope of Scientology, or  “Chairman of the Board of the Religious Technology Center (RTC), a corporation that controls the trademarks and copyrights of Dianetics and Scientology.” (Wiki Page on Miscavige), has not been a popular one. His absolutism has made for him many enemies, countless critical books and a few super Documentaries (Going Clear is a gem). One in particular is Theroux’s use of the testimonies and remembrances of former members of the Religion such as: Mark Rathbun, Andrew Perez, Rob Alter, Jeff Hawkins, Tom De Vocht, Marc Headley and Steve Mango.

Its clear that these people feel this faith is a lie and a terribly destructive force in modern life. Theroux questions them in a half humorous – half teasing way, while maintaining a professional distance from whether what is being told him is actually the truth. Moreover, one of the more delightful aspects of the movie is that Theroux actually uses actors to re-enact critical aspects of the church’s history, some speeches by Miscavige himself, and some of the more controversial scenes where Miscavige goes somewhat medieval on the Scientology’s top brass, in a place called ‘the hole’ (at the Gold base in Helmet California). We have a few actors playing Tom Cruise, David Miscavige, and others. Then things get strange. As Theroux is making the movie, it becomes increasingly clear that the church is making a movie about him. They send him countless legal letters, harass former members – particularly  Mark Rathbun.

Rathbun and Theroux

And this is where I have a problem with the movie. Mark Rathbun is a former head of Inspector General of the Religious Technology Center (a kind of head of Scientology’s thought police), investigating and correcting any ideological or doctrinal deviations. This he did for over twenty years, until he resigned in 2004. He tried for a while to form an independent Scientology religion and now declares himself not a believer. Rathburn, like anyone with a complex past, when he was the ‘go to guy’, the ‘fixer’, appears to have done things which he is willing (only in part) to talk about, but also appears to be keeping a lot to himself. Theroux continually prods him and tries to get him to open up. However Rathbun is a complex and highly sophisticated man with complex feelings of guilt, anger and regret over his involvement in Scientology, and after so many years, a lot of unprocessed feelings over his own past. In other words not someone you needle or try to provoke. Unfortunately instead of trying to generate some type of congenial relationship, Theroux does the opposite and antagonizes the one person who had the power to make or break the film. As Jefferson Hawkins said in the movie “Marty knows where all the bodies are buried.”

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Louis Theroux and Marty Rathbun
And the end of the movie we are greeted with a somewhat anti-climatic and simultaneously disturbing vibe. After a scene from ‘the hole’ re – enacted by actors, Rathbun is tormented by Scientology members outside the movie studio and is visibly upset. This is when Theroux goes for the jugular against Rathbun. Theroux reminds Rathbun that he too tormented ‘suppressive persons’. ‘SP’ or Suppressive Persons are what Scientologists refer to as unbelievers, skeptics and former embittered anti-Scientology members. But this is bad timing. Rathbun’s tormentors have just hit him with hurtful remarks about his adoptive child and Rathbun is devastated. He tells Theroux to go fuck himself. Things get ugly and the film never recovers to fulfill its earlier extraordinary promise. This is one of the few times I have ever seen Theroux meet his match intellectually and psychologically and the one unfortunate aspect is that he, Theroux, did not treat Rathbun as an equal or see Rathbun as the complex intelligent vastly experienced person he is. Theroux toyed with him and needled him, but never really befriended him and things went awry. A great pity and a poor ending to a movie with so much promise.
*With Thanks to Ishka for her many comments and editorial work

The writer indulges in writing activity

or

What happens when you are wrongly diagnosed as bipolar or whatever: and what it means, if anything…

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Nietzsche – whose work hugely contributed to philosophical polemics, poetry, cultural criticism, aphorism, and fiction while displaying a fondness for metaphor and irony and drawing variously on philosophy, art, history, religion, and science (wiki) : but is generally considered nuts.

Bad Therapy

Have you ever been the patient of a really bad psychotherapist? Lets be honest, there are more than a few of them out there. I actually seriously  toyed with the idea of becoming one at one stage of my life. Except I was somewhat drawn by the writing life, and that was that.

Two things separate the good therapist from the bad one, assuming they have been properly trained and have had sufficient therapy themselves to be relatively free of transference and projection and all the other things we do that affects our relationships. Firstly the capacity to objectively listen with out prejudice and secondly the capacity to apply knowledge coupled with experience to an individual patient. Most if not all of the many bad therapists I have had over the years failed on either or both of those fronts. One stand-out moment which typifies my negative therapeutic experiences happened during a session some years ago and it led me to discontinue the therapy. The therapist turned to me in a moment of obvious frustration, and asked me was I by any chance writing a book about him?

I beg your pardon, I said?

And he repeated the question.

Why, I asked?

Well, the therapist said, rather solemnly, these sessions we were engaging in were more like two therapists discussing the practise of psychotherapy, than a patient going to and talking with a therapist.

I was pretty appalled and very angry.

I said no, I wasn’t writing a book about this. I am in trouble, big trouble. That’s why I am here. I don’t need to do that kind of research to write.

I then went on to say by the way that was a bizarre question. One of the most I have ever been asked in therapy.

I mentioned I had completed a draft novel I wasn’t really happy with. I went on to say that the novel had a therapist as the central character. I offered him a look at a draft of it to satisfy himself I wasn’t using his rather dull unimaginative personality as a blueprint (and no, I wasn’t being unkind, he was a dreadful bore)

The therapist said that wasn’t necessary.

But I pressed the issue. I said that as the issue had been raised, it was hard to see how this could not become a central issue during the therapeutic encounter.

I wasn’t there for copy. I was there because I was in trouble. My marriage was in difficulty at the time. I was very anxious and depressed about family of origin issues. I felt trapped. Hopeless. this was the third therapist I had been to with no help. As I didn’t get the help from either that quack therapist I needed, or from other equally awful therapists, I got more depressed. And things went downhill. Feeling helpless and unsupported has something of a domino effect. Things cratered to such an extent that I had a major depressive episode. After that I went to a psychiatrist and was misdiagnosed as bipolar. I completely accepted the diagnosis. I told friends and colleagues. I did radio interviews about it. This went on for a few years. Then, by sheer luck I met a good therapist who told me I was no more bipolar as I was a professional safe-cracker or an astronaut. Not that her word was enough, by the way. I met a few others who said the same thing. I took the hint and stopped seeing Psychiatrists. It was such a good move.

Along with the indignity of being misdiagnosed as bipolar, I have been put on some of the most awful mind numbing medications. The medication had withdrawal symptomatology far worse than the condition they were supposed to treat. After a couple of attempts I got off the meds. Things have massively improved. Years have passed. No ill effects.

How does this kind of thing happen? How does a depressed writer get diagnosed with a pretty serious condition which he does not have? Well, it’s easy in one way to see how it might happen. I mean when I am working on something I feel fantastic. The ideas come fast and I have a lot of energy. Afterwards I am tired and lethargic. As any writer or indeed anyone creative will tell you, one goes to rather extreme emotionally and spiritually exhausting places to write books. One isn’t in it for the money. Believe me there are easier way to make money. One writes because its what one was born to do. To not do it, to settle for less, is very dangerous thing to do. So this is the creative cycle, not the manic depressive cycle. There is a substantial difference, and a good therapist sees this.

Monkey-typing1

‘The infinite monkey theorem states that a monkey hitting keys at random on a typewriter keyboard for an infinite amount of time will almost surely type a given text, such as the complete works of William Shakespeare.’ (wikipedia) – or if you are a writer, you just might get lucky some day…

The Discreet Charm of being Labelled

But it doesn’t work out like that. Labels stick. Like the bad writer stuck in a rut that pays, once you write your best seller or get your government grant or run enough magazines or give courses, you are labelled. And once that happens, everyone expects more of the same. You get comfortable. You feed the crowds. Similarly once you got the label, it stays. After initial diagnosis, there is little re-visitation of ones symptoms. One is labelled and medicated and that’s that. Aftercare was a twilight zone experience for me. Our health system makes you go see a trainee psychiatrist who is under the care of a Chief Psychiatrist. One sees a different one for every appointment, for the most part. They don’t  know you, usually never met you before, and usually never will again. They are polite, friendly, witty, personable, professionally distant, and usually very busy. They have a few minutes to read your file, and on this basis, they interview you. This little psychodrama happens once every month or two. The pubescent psychiatrist is usually a doctor on psych rotation, someone who gives you twenty minutes and then ends the session with a prescription. Not ideal, to say the least. I had to aggressively lobby for therapy, and for the most part I got it only by the skin of my teeth. This rather hands-off approach of out patient psychiatry is something that needs urgent attention in my view.

Then there is a deeper issue at work here. It leads me to the notion of how in our cognitive processes, belief tends more often than not to precede evidence. Evidence should always precede belief. Otherwise one is guilty of cognitive bias. I displayed symptoms of bipolarity. But I was not bipolar. I had creative cycles. I was depressed due to life circumstances. I needed help. I needed the good therapy I had been looking for, not a cheap and easy diagnosis. I needed a good therapist. Not years of medication.

Dr. David Rosenhan
18 Jan 1973, Stanford, California, USA — Dr. David Rosenhan, a professor of law and psychology at Stanford University, was among eight researchers who feigned insanity to get into mental hospitals. Rosenhan, who directed the project, said that the hospital staff never recognized any of the researchers as sane despite their normal behavior once they were admitted, but that the patients in the 12 hospitals caught on. The ‘pseudopatients” were labelled as schizophrenics “in remission” when they got out, which, according to Rosenhan, indicates that the mentally ill label “has a life and influence of its own” and can never be shaken. — Image by © Bettmann/Corbis

Then there are examples and studies. I found a really interesting one in my reading. In the early 1970’s, much to the huge outrage of the psychiatric community a psychiatrist called David Rosenhan conducted a case study which led to some rather fascinating results. He persuaded seven friends, none of whom had any case history of any kind of mental illness, to enter various mental hospitals to see if they could persuade members of the mental health care community that they were mentally ill. This was between 1969 and 1972. What did these sane folks do to convince the doctors they were sick? Well they all claimed to hear the words “thud, and “empty” and “hollow” and they all got admitted. Every one of them. And they were all diagnosed as having some form of mental illness, mostly schizophrenia. They were given a total of 2100 pills (they had been taught to ‘cheek’ their meds before going in), only two of which were ever actually swallowed. Other than lying about their names and lying about hearing the words, they were told to be completely honest. After Rosenthan had gotten his diagnosis, staff began to read into his actions. For instance, his study required him to make notes. This was described as ‘writing behaviour’. One of the other impostor patients was and artist and drew these fantastic line drawings of the hospital they were in, they too were described as indulging in ‘drawing/painting behaviour’. Finally Rosenthan couldn’t get out of the hospital. The only way he could actually get out of the hospital was to tell the doctors that they were completely correct in their views, that he Rosenthan was insane, and that he was getting better bit by bit.

This is not dissimilar to the experience of Robert Pirsig, author of Zen and the Art of Motorcycle Maintenance, who suffered a very real and very debilitating breakdown and was admitted to a mental hospital, a hospital which he simply could not get out of. His method was to tell the doctors that he was feeling better incrementally. He would every day tell staff that things were getting better for him; that he was feeling just a little bit better than yesterday, till they let him go. Check out his second book Lila for a description of this process.

The point of all this is the question of belief. These professionals couldn’t distinguish between sick and well folks. My therapists couldn’t do that either. If you are seen as a patient and not as a person, your views of reality-no matter how valid – are somehow seen as secondary. This is because the belief that the doctor imposes on the patient presupposes disbelief of the patient’s valid world-view. I can even report that this is how exactly I experienced my treatment. I accepted the doctors word for what was ‘wrong’ with me. I accepted it and trusted them, despite the fact that the more I read about my condition, and the more I discussed my condition, the more doubts I had about whether or not I actually had Bipolar Disorder.

No, Really – I Engage in Writing Activity

But back to Rosenbaum. Rosenbaum told the doctors repeatedly that he was actually a professor of psychology. They asked him did he often feel he was a professor of psychology. I told my doctors I was a writer, that I had written novels and plays, poetry and articles. They didn’t believe me. They had to ask asked my wife (now deceased sadly) and my doctor, who assured them that yes I was indeed a writer. It’s what Rosenbaun refers to as the ‘stickiness of psycho diagnostic labels’ – prejudicial thinking, the imposition of an unscientific mindset on presenting symptomatology.

It would be somewhat facile to suggest that there is an easy way through what I see as a complex and rather perennial difficulty. What is sanity? In a world deeply troubled, what is a sane mind? Obviously we are all grasping at an answer to this question. Suffice to say that though there is no absolute answer to this question, we live in a world of consensus based on an ever expanding pool of knowledge and research and clinical experience to draw from. The people who diagnosed me were most definitely trying to help a person who was in a lot of pain. Sadly, though they did help, they left me in something of a mess for quite a while until I figured out what they had gotten wrong, and thanks to the brilliant help of a few really gifted therapists, I did. I wonder if there are more creative people out there who have similar experiences. Those who are of a more creative bent, who pursue the extremities of human experience, are naturally inclined to suffer trauma, and at times to become unwell. Its unfortunate that the labelling of a creative person can also lead to the labelling of their work, indeed the tenor of their entire lives. This reflects badly on our culture and on our society. Though it is true that some creative folk most definitely do suffer throughout their lives from various flavours of psychiatric disorders, many others I am sure, like myself, were subject to misdiagnosis based on a consensus misunderstanding of creativity. I live in the hope that my and many others experience will form a teachable moment and shift our cultural understanding of the needs of the creative person.

Eight things about reading at O Bheal in Cork that everyone should know

Ireland is replete with literary events and poetry readings. All literary events are literary, but not all of them are equal. O Bheal ( www.obheal.ie ) is a particularly good one, and it was a marvelously enjoyable evening for me.

1. Resistance is futile. You are made just so welcome. I am not a particularly nervous reader of my work (or indeed of anyone elses). That is, except about two minutes before I stand up. Then and only then do I generally get the most dreadful attack of nerves, which dissipates pretty quickly. Even if I were a sufferer from chronic stage fright, it wouldn’t matter. Paul Casey and his team of MC’s make one so welcome and comfortable. No need to be afraid.

2. Practice before. O Bheal, to my mind is an important reading. It had been over a year since I  had given a reading, so, feeling rusty, I prepared, maybe too much on reflection. I should have had more of an edge on me. Less smooth. Though when I turned up for the reading (way too early as it happened and wandered around Cork City for an hour) I was glad I had. One is reading to a discerning and humorous audience. If they don’t like the poem, they don’t clap. They aren’t rude or unreceptive or snobbish. Its clear, all too clear one is dealing with an audience who are there because they love poetry. I was relieved. I chose my words had my stuff ready, and read acceptably. So, even if you read twice a week every week, prepare yourself.

3. Its Not Trying to be Cool or Clever, It Just Is. O Bheal is run by writers and artists for writers, artists, and lovers of good writing. Terrible readings generally are either (a) over formalized or (b) over controlled by tradition or (c) given to a reactionary rebelliousness, or (d) so replete with establishment self congratulation true self expression is impossible. Real innovation exists somewhere between the twin horns of the dilemma of established tradition and innovation. O Bheal segues around this difficulty as it embraces both sides of the aisle. You can, within reason, read whatever you like, and nobody gets offended. I have had, in the past to temper my material to avoid giving offense to people. In actual fact, in order to avoid any such eventuality, I actually asked if there was any subject I might avoid so as to no offend anyone. I was told not to worry.

4. Winthrop Street in Cork is a Super Venue. Its not too big, not too small. Its a kind of Goldilocks venue, just the right size. Homely and welcoming, I loved it. Here’s a map:

5. Its Got a Good Mix. O Bheal combines an open mic, a featured reader, and what is known as the ‘five word challenge’. People suggest five words. and you have to make up a poem from the five words. The winner gets a pint free from the bar. Some of the poems are remarkable. My own offering was absolutely dire, by the way.

6. Its Social. Like Seven Towers events O Bheal has a strong social element. I got involved, despite being really tired from five hours traveling, and giving a reading, in all kinds of discussions about writing mostly. These included such arcane topics  as second century atheistic poetry in Muslim countries and Doris Lessings post colonial guilt. I got into my rooms about 2 AM, completely wrecked. Then I had the joy of listening to the loudest snoring I ever heard ever from downstairs. It sounded like the bed and breakfast had a dragon staying.

7. You get Paid and B&B. They put you up in a really nice B&B and they pay you. Enough said. This is important. Writers need to be paid. Thanks to Paul Casey and the team. Kudos.

8. The Reading. And heres my reading 8th June 2015 at O Bheal Winthrop Street. Cork

Enjoy, and check out the event. A great evening.

Six Types Of Writers

6types of writersI came across this on the net a long time ago . There’s a full analysis of each of these six types of writers at http://alexeimaximrussell.blogspot.ca, and the Writer and Blogger Alexei Maxim Russel is the originator of the above meme. I really enjoyed this the first time I saw it. And I kept it and often found myself looking over it again and again. I thought it not inaccurate at all when it comes to a generalization (nothing more) of the various categories of scriveners one comes across in the world of writers. As with most of these categories they only work to an extent, but they might serve as a compass along the often uncertain routes of a writing life. If there is anything the meme teaches its this: don’t be bitter. Writing is incredibly difficult. Too many people think that a few years and a few novels a writer makes. Not at all. Don’t be fooled. Follow your own dreams. The one true measure of a successful writer is that s/he always remained true to their artistic vision, and the only way to do that is to love what you do. That, a solid dose of common sense and a willingness to stick to a book till its over and sell it, and one will be fine. Oh, and have fun. Its never boring.

Karl Marx, Stephen Hawking, and the Rise of the Robots

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The Foster Miller Talon Military Robot “The military is performing additional tests using TALON robots equipped with grenade launchers and anti-tank rocket launchers.” (http://science.howstuffworks.com/military-robot2.htm)

One of the most common themes in Science Fiction movies, from Terminator flicks to the Cylons in Battlestar Galatica to the Matrix franchise, to the more thoughtful poetic philosophical Stanley Kubrickesque 2001, is the notion of the Earth being taken over by robots ( in the movie 2001, for a time the fate of the Earth hung in the Hands of Hal) The  word ‘robot’ is Czech for slave, and its very existence implies forced labour. Robots are intelligent nonhuman slaves, in other words, machines able to perform complex tasks automatically. The takeover of the machines is a paranoid fantasy of loss of control similar to the ‘red’ scare in movies like ‘Invasion of the Body Snatchers’ or Zombie flicks where mindless forces take over our nature and threaten to destroy our humanity. But to move away from paranoid Hollywood movies and back to robots , what caught my eye was how seriously the AI (artificial intelligence) ‘threat’ it was being taken in certain quarters.

For instance in the rather restrained language in an open letter from the Future of Life Institute “Research Priorities for Robust and Beneficial Artificial Intelligence“. Artificial Intelligence research is steadily increasing and concern seems to be sufficient for the FLI to write this open letter so that we all could sign it. I did, so that the impact of the rise of AI/Robotics remain positive for life and for humanity.

I have long held a deep skepticism over what is happening in Robotics. It also seems that only technologists who aren’t bought and paid for, science fiction writers and Stephen Hawking (who signed the aforementioned document) seem to be really worried about the rise of the robots) This rather surprised me, but then I am used to being surprised. Once, according to Hawking, AI was developed it would take off and redesign itself at an ever increasing rate, and thus pose a mortal threat to any life form that would oppose it. for the full statement – see here

1. Robots are now clever, far cleverer than we imagine they are.

In some regards its absolutely fascinating what can be done now with robots. For instance Amazon, the massive corporation selling everything from shoes to silicone implants recently began testing online delivery drones for packages under 2.3 kg in a delivery time of 30 minutes or less in Canada, as it couldn’t get the license to test them in the USA. An extraordinarily clever use of airspace exactly below airline travel routes.

New Test Drone for delivery of Items by Amazon corp.

This is but one of the applications of robotics that are literally limitless, and most of them have already been written about in science fiction, technical manuals, and economic texts and are going into production from automobile production, to cleaning, to medical applications, to the health and service industries, military and agricultural, prisoner monitoring, policing, fast food industries, and road maintenance. I saw some footage today of a grape harvester that moves through the vines, and leaving them intact, harvests the grapes into giant vats. Don’t forget our every online keystroke is monitored by a vast AI system. We imagine robots as mobile. Many of them are stationary, squatting buddahesque in vast kilometer long underground supercooled rooms maintained by technicians, for instance as worked on by Google.

Few large corporations, given the size of the market and the potential revenue one can bring in via the Internet, have skimped on investing gargantuan sums in building better, faster, stronger, smarter machines. Soon your favourite piece of apple pie and coffee will be served not by a waitron, but a machine. Its not just production, what we want is creativity too from our artificial life. Robots write novels, poetry, paint portraits, and compose music. If you like the meal cooked by the local robot chef, soon you won’t have to leave a tip. AI write reports, poems, short pieces of journalism, and, as I mentioned, novels – probably a lot better than some of the fiction being written. But this is rather high brow. Think of the guy who pumps gas for you. He too will soon be made of metal. But by then you probably won’t have to pump gas. Your car will be a self-driving robot too, run on biofuel from hemp.

2. Humans are fragile: we break, die, and fall ill rather easily.

So what happens when most blue collar work is replaced by AI? What happens when the bank tellers are for instance replaced by sophisticated automated tellers and loan distributors? – Not that too many loans will be given out. There will fewer consumers. Why? Well, as we will mention, it’s expensive to raise humans. Its easier to have fewer humans and more machines running things. After all robots are robust, easier to replace and never get old. Humans require a share of the wealth. They need insurance, wages, holidays. Robots need good technicians to keep them going. For humans there is the issue of health care, housing, feeding, educating them. And humans are fragile despite their big brains. They have soft bodies that need constant maintenance. There are other health issues as humans get into adulthood in terms of the diseases that can fall prey to, new interesting diseases that one has to spend time and money developing cures for (yes drugs are a massive business, but not as massively profitable as robotics). Not to mention the panoply of psychological and psychiatric ailments that humans invariably acquire or inherit that need costly intervention.

CAA Drone operatator guidelines, Dorset, Britain - 02 Jan 2015
Pepper Spraying Drones For crowd control. About to go into limited use in India to control unruly mobs (Guardian Newspaper)

Initially robots, for instance in the last few decades primary work among others, is to monitor humans and make sure they don’t step out of line. Again that sounds a bit reactionary and paranoid, but think of the number of cameras and screens and investment in listening to just what we are doing right now. This is because of the sheer numbers of humans and the diverse nature of the population. This is not a situation that will remain. In time because the the expense of maintaining and educating people, it will probably be necessary to enact laws to cut down on the number of humans. Overpopulation is a huge issue.

In future, because of the robots, those humans who are allowed to raise families will have to be intelligent and trained and maintained and brainwashed and compliant. We cannot have divergent thinkers in a world where so much expense and investment has gone into training a human to a specific supremely complex task. Genetics are an obvious human outlet here, but there are so many others. We could possibly forbid the robots to do any genetic work while we design the next evolutionary cycle of human being, perhaps to try to keep up with whats happening with the robots evolution.

So lets focus on the humans in this imaginary world. Allow for the fact that there will be fewer of them. Many of the non-robot workers will be working on higher wages maintaining the robotic software and machinery that generates wealth and capital for those who own the robots. As most of the highly sophisticated work, in other words the intellectual capital necessary to run most of the main pillars of the economy, will be bought and owned by those who provide the populace with most of the services needed to run the economy, including the universities, hospitals, prisons, heavy industries, military and governmental, only a small proportion of the population will physically be allowed to reproduce. If they do reproduce, it implies a further division of wealth, which is bad business practice and cannot be allowed. Thus they may do so at a loss of citizenship and the possibility to advance themselves within the technologized world. In other words those who do reproduce without permission will find themselves in a severely economically disadvantaged position. Robots and humans always remain at odds. They are two competing life forms and one or the other will inevitably gain absolute control, despite the fact that for a lengthy period of history, humans might the owners of Capital.

http://bigthink.com/embeds/video_idea/the-future-battlefield

3. Karl Marx was a genius of historical proportions, which is partly why we don’t like him much, but he sure knew about human alienation.

Anyway the problem with all of this it does not have a kind of historical inevitability in the way I am describing the logic of robotization here. It’s probable, but not absolutely so. Moving on, to paraphrase Karl Marx’s theory of alienation and to extend it a little, if capital alienates humans from the product of their work, in other words if I work for a living wage, then the person who pays me owns my work. Anyone interested have a read of Marx’s Paris manuscript (1844). It runs to about fifty thousand words, about the size of a short novel.

Karl_Marx_001
Its that man again…

You or I may not like the idea of alienation, but it’s how society works. People possess what they buy, including our time, our ideas and our creations. So I am undeniably alienated from my work through the process of my boss paying for it. My boss who paid for my time is the possessor of the capital necessary for me to get a job to earn a living wage. But what happens if I lose my job? What happens if a robot does my job, for instance the way an ATM does the job a bank teller used do? If this happens I am completely alienated. I am without any means of working in the way I was working before. Whether I am living in Greece and believe me in Greece where I write this there is serious alienation going on, or in the heart of Germany, it makes no difference. Whether the population of the Earth swells to fifteen or even twenty million, it makes no difference. This is because my skillset has been superseded by a robot and I am without an income. I can become all revolutionary and blow up all the robot factories I like, it also makes no difference. Robots are replaceable. More are being made as I blow them up. The word sabotage originates from the sabo, or shoe, weavers used to throw into the cotton mills to stop them depriving workers of a living during the first Industrial Revolution. The upshot of all of this is my company needs to hire fewer workers (human) and in the end I am turned back on myself, on my human nature. Either I upskill or I lose my income altogether. Reskilling is a short term solution unless I am on a lifelong upward learning curve. Realistically it becomes an increasingly limited option open to fewer and fewer the more robots are made, and better smarter more skilled robots, and even then we have to start assuming at a certain point an evolutionary curve in robotics. In other words some go obsolete and we build better robots to manufacture better robots.

4. Labour options.

So people have less labour options open to them. What can they do that cannot be done faster cheaper and more efficiently by AI? They might turn to crime or to black market operations, but even that has a limited lifespan. So at a certain point we enter into a period of massive population decline with huge supernormal profits being few into the coffers of multinationals and fewer and fewer being

born, or we ship off planet altogether. Let’s assume that happens and life on Earth settles down to a billion or two of us living with the robots, robots which have already in effect conquered the Earth for an elite group of industrial capitalists who own the corporations, the leaders of the ‘free’ world, and the raw materials left on the planet. Robots begin the process of rehabilitating the planet, its climate, its nuclear waste for clean energy, and the Earth becomes a nicer cleaner place to live. Soon it becomes clear, after a few hundred robotic evolutions that they are the master race. They have evolved past us. I am reminded here of Shelley’s Frankenstein. We build something that in so many ways supersedes us and it destroys those who created it. And the thing about it is this is something we have already witnessed as happening. I don’t have a solution to this scenario.

5. Isaac Asimov was also a genius, but his three laws were naive.

Isaac Asimov, science fiction writer, devised his famous three laws of robotics, and in 1942 included them in a story called ‘runaround’

  • A robot must obey the orders given it by human beings except where such orders would conflict with the First Law.
  • A robot may not injure a human being or, through inaction, allow a human being to come to harm.
  • A robot must protect its own existence as long as such protection does not conflict with the First or Second Laws
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The problem with Asimov’s theory is that the of the first and most obvious applications of robots is and always has been the battle field. Unmanned vehicles against humans and other robots is arguably one of the most efficient military uses of robots. It’s certainly something worth thinking about, and has me scratching my head.