Identifying foreshadow worksheet
The Wild Side: Animal Symbolism in TLOU 2, part 2 [ SPOILERS ]
2024.06.07 21:06 Littl3mata The Wild Side: Animal Symbolism in TLOU 2, part 2 [ SPOILERS ]
Let's now delve into Abby's perspective.
Abby's equivalent of the Wyoming Museum is her scenes in the aquarium. I find the choice of this particular ocean biome interesting. Throughout her journey in Seattle, Abby gradually distances herself from the WLF. The aquarium serves as a clandestine refuge where Abby and Owen seek solace away from their WLF responsibilities, a sanctuary amidst the chaos of the city. The ocean represents a hidden world, a sanctuary that other surface animals cannot penetrate, symbolizing a refuge from the conflicts and chaos above. Abby's character in Seattle is symbolized by a crab—outwardly strong yet internally vulnerable, much like herself as depicted by Owen's observation that she appears tough but is soft at heart. This symbolism extends to the imagery of a giant crab adorning the doors leading to the tragic fate of Owen and Mel. Upon her return from the island, blood stains beneath the doors. I think this is supposed to represent how by her actions she brought death to her friends, akin to bearing the weight of guilt or "dirty hands." Throughout her narrative, various other depictions of crabs persistently follows Abby.
Abby's Seattle setting is aquatic, but it wasn't always so. Prior to her father's death, her symbolic habitat was the jungle. In her initial flashback in Salt Lake, she stands at the zoo entrance, surrounded by banners portraying jungle and savanna creatures like tigers, elephants, apes, and antelopes. She can also find a flyer of the zoo ad with the tiger on it. In Santa Barbara, when visiting the Firefly outpost, Lev asks why the children's room depicts animals and a forest. Abby explains that it is a thing parents can do and that her father painted her a jungle in her room when she was little. I think deep within, Abby identifies with a tiger, and she actually re-finds herself with Lev's encounter. The tiger represents her true essence, her totem animal, while the crab represents what she turned into in Seattle. The crab, with its hard exterior and soft interior, also mirrors Abby's hardened exterior developed from her experiences with the WLF.
Yet, subtle hints throughout her narrative suggest a rediscovery of her true self as a tiger that coincide with what she's going throught. One instance that really striked me is the big cartoonish tiger she encounters in a cafe on the road to the hospital, sat in a position of meditation, coinciding with her growing bond with Lev. This moment signifies her gradual return to inner peace and authenticity. Another significant occurrence is the depiction of a tiger hidden behind a counter during her escape from the island with Yara and Lev, labeled with "mean streak." This moment precedes a pivotal confrontation with her former allies, symbolizing Abby's re-embrace of her tiger nature—a resurgence of strength and determination as she confronts her past and fights for her newfound family. The reappearance of the tiger symbolizes Abby's journey of self-discovery and resilience, marking her reclaiming of inner strength and ferocity in the face of adversity.
During the Salt Lake flashback, as Abby finds her father and they continue through the park, they enter the aquatic biome, greeted by a crab facing exactly towards the banner depicting a tiger, symbolizing Abby's future transformation in Seattle. She enters the mouth of a whale, symbolizing her immersion into the aquatic world. In the very next flashback, she will exit from the mouth of a shark, marking her transformation complete.
Owen is symbolized by a spotted seal. The first time they ever entered the aquarium, Owen get out of the water and place himself right in front of a seal depiction named "Oscar", saying some things to Abby. You can see a little crab right under. Hints in dialogues also point at Owen being a seal. During the scene in the aquatic dome underwater, Owen concludes their conversation by expressing his intention to spend some time with the seals. Another subtle clue to Owen's future role as a father is found within the aquarium's main room: a statue depicting a seal and its cub. This imagery hints at Owen's impending journey into parenthood.
I'm going to talk about Tommy in Abby's section because it mostly striked me while doing her parts, with the exception of this dinosaur looking like a horse head in the wyoming museeum as mentionned in my first post. Right after letting Yara at the "Big Fat Crab Shack" to get to the marina, she stumble upon Manny who's being targeted by Tommy. Interestingly, if you look behind Abby, you'll spot the "Big Fat Crab Shack" logo again with its giant crab, while directly in front of her, just a couple of meters away, is an advertising van for "Manke" beer. The logo on the van is a horse, accompanied by the tagline "made with the finest ingredients of southern America," which resonates with Tommy's Texan roots. This van appears again later not far, in the parking lot where Tommy shoots at Abby, instigating an attack from the infected.
However, what puzzles me is why Abby doesn't perceive Tommy as an aquatic animal like she does with others. My only lead on this is that the aquatic version of Tommy is a seahorse. This notion is reinforced by the presence of a seahorse symbol at the Serevena Hotel, where Ellie and Dina encounter men tortured by Tommy. Honestly not 100% convinced on this seahorse part.
Lev is seen as a shark by Abby. A whole section of the aquarium is dedicated to sharks and their importance in the ocean ecosystem ( you can also see a little crab under one of the shark depictions ) When Abby and Yara seek a gift for Lev, they deem a shark plushie as the perfect choice, emphasizing his connection to this creature.
A prominent shark exhibit features a large specimen seemingly poised to attack a diver's cage, adorned with scars on its mouth sides. The image of Lev braving the seas on his boat to rescue his mother on the island further reinforces this association, evoking the image of a shark cutting through the waves with determination.
In Abby's perception, Lev embodies the qualities of a shark, yet he identifies himself with a cat, ( or it's his totem animal ) First and foremost, we can clearly see Lev's agility and fearlessness, particularly evident in his comfort with heights, mirroring a cat's nimbleness and independence. Additionally, Lev expresses fears akin to those of a cat—water and dogs. During Ellie's parts, I found this board on the ancient communication agency swarmed by scars ( in front of the tramway ). There this little text on a board from a meeting to pitch a product, back in the days. It says :
"Client pitch meet ideas - emotional angle - comedy angle - personnification of cat ? "
Even though it might be a bit of a stretch, this corresponds perfectly to what happens between Abby and Lev. She feels pity for him upon learning his story and comes to love him, thus the emotional angle, and Lev also makes some jokes or blunders, like asking Abby what's going on between him and Owen at the worst possible moment, or when he doesn't know certain common words due to his life among the Seraphites.
The more obvious sign that Lev is really a cat can be found in the same cafe where we found the tiger in meditation pose, on the left walls. Just like Owen, we can witness Lev positionning himself right in front of this animal and get some dialogues. He say something like it's weird to represent humans as animals / humans from before were weird doing this. This particular artwork features two cartoonish cats adorned in rock-inspired attire, captured in a lively dancing pose. A male and female, holding hands. This really striked me as being a representaion of Lev's gender duality. Abby mentions Lev's "punk-rock" spirit not long before this, hence the outfits.
Yara is a sea otter, simply because she wears this shirt with a sea otter at the aquarium.
The WLF obviously are wolves but Abby actually sees them as Orcas. Upon awakening at the stadium, Abby is greeted by a rug adorned with an orca motif. Then she gets to the mess hall, there's one wolf banner on one wall but also depictions of orcas adorning pillars and inscriptions proclaiming "Home of the Orcas" on the walls. Orcas are kinda wolves of the seas, share several characteristics with wolves, such as being large predators that hunt in packs, exhibit complex social structures, and are territorial. By associating the WLF with Orcas, Abby's perception elevates them to a level of strength, cunning, and dominance akin to these apex predators of the ocean.
Scars are possibly herons. I found some herons in the wyoming museeum as mentionned in my first post, but also some depictions while Abby is crossing the chinese district to get to martyr's gate. They communicate throught whistling like birds including herons. They also go throught the city by the airs, basically. Theres not much hints, but I do feel like the herons correspond really well to Seraphites due to their way of life and behavior. Firstly, herons are often associated with aquatic areas such as marshes and rivers, where they patiently and strategically hunt their prey. Similarly, the Seraphites have established themselves on an isolated island, resembling a marsh, where they practice an ascetic and contemplative form of living in harmony with nature, living in wooden houses. Furthermore, herons are patient and methodical predators, silently observing their surroundings before taking action ( Remember that arrow in Ellie's shoulder ? ) The Seraphites also exhibit a deliberate approach in their lives and interactions, emphasizing discipline, reflection, and strategic planning.
During the visit to the Chinese district, theres a peculiar creature: the dragon. Numerous depictions of it adorn this area. There might be a connection to the Seraphites, evidenced by the presence of Martyr's Gate and the increased encounters with them following this section. However, it's challenging to pinpoint its exact representation; my guess is that it symbolizes a broader concept rather than a specific character or faction. Might also just be because it's the chinese district.
Abby seem to be also linked to whales and octopus, I think each representing one concept. Ellie's collection of cards includes one intriguing card featuring a whale named "Big Blue." The description of the card reads:
"Big Blue is an extra-dimensional entity who has taken on the appearance of a blue whale. First arriving on Earth over a billion years ago to keep watch over nascent life forms, they use their infinite well of knowledge to help guide the human race in times of great need and upheaval. Their unfathomable age has one major drawback: days appear to pass as microseconds. However, this time dilation effect is offset if they hold their breath—which they can do for several years at a time."
The whale, as an entity with ancient wisdom and knowledge, could be seen as a manifestation of destiny itself. Just as the whale has existed since the dawn of life on Earth, destiny is a force that has shaped Abby's life from the very beginning. It has guided her path, leading her to the pivotal moments and encounters that defined her journey. Despite the challenges she faces, destiny continues to steer her toward her ultimate purpose and fate.
In many cultures and mythologies, the octopus is often associated with aspects of mystery, danger, and conflict. Its tentacled appearance and ability to camouflage itself in its environment make it a powerful symbol of the struggle and complexity of human conflicts. In the game, the giant octopus present at the aquarium can be interpreted as a visual representation of the internal and external conflicts that the characters, especially Abby, must face. The octopus's tentacles seem to stretch out and envelop the environment, evoking how conflict can feel omnipresent and difficult to avoid. Furthermore, the octopus is a formidable predator in the marine world, using its tentacles to capture and subdue its prey. This imagery can be associated with how the characters in the game are ensnared in the conflicts surrounding them.
And finally, Abby sees Ellie as a Stingray. Ellie's journey to get to Abby in Seattle final moments is symbolic of her descent into the aquatic world : to get to the hidden crab in the secretive ocean, she must transform as an aquatic animal. As Ellie approaches the aquarium, the challenges intensify, marked by increasingly stormy weather and turbulent seas. Despite the obstacles, Ellie perseveres, ultimately reaching her destination, not before falling into the ocean. Few notes here, first of all there's this outdoor kids' play area, a crab faces towards a whale and a shark, while an orca wing and a seahorse stand behind them. Could be a representation of how Abby is leaving her past behind and her newfound responsibility towards Lev. Next, right before kneeling to get under the fence, a sign featuring a stingray lies on its side, urging one to "become a member today". Further symbolism unfolds as Ellie encounters a shark depiction just before her fall from a broken window, with a stingray positioned EXACTLY on the floor where she lands. On the same note there is a stingray positionned on the floor exactly where Ellie kills Mel & Owen. The cafe section of the aquarium, named "Stingray Bay Cafe," features murals depicting a beach with palm trees, foreshadowing the events to come in Santa Barbara. Abby's exploration of the aquarium with Yara while looking for Lev reveals a section named "Shipwreck Cove," dominated by a giant stingray overhead, further hinting at the impending encounters and sequences involving boats, serving as a metaphor for both characters feeling like shipwrecks by the end of their tumultuous journey.
Also, The use of animal symbolism during Ellie and Abby's confrontations adds a layer of complexity and depth to their dynamic. During their intense fight in the theater, the actions of Ellie and Abby mirror the characteristics of the animals associated with them. Abby's brute force and relentless attacks, smashing Ellie into the floor and causing them to fall to a lower level, hitting her with her fists or grabbing her, align with the symbolism of the crab and its claws. She also headbut Ellie ( bison ). In contrast, Ellie's actions, repeatedly tries spiking Abby with her knife like a stingray hitting its prey, reflect a more tactical and predatory approach. I invite you to re-check their fight at the theater with that in mind, it's really striking.
As we've discussed, these symbols are not merely decorative but serve as powerful storytelling devices, conveying concepts or themes of identity, transformation, and growth. Whether you've noticed these subtle details yourself or are discovering them for the first time, it's clear that the developers at Naughty Dog have crafted a meticulously designed world filled with rich symbolism and meaningful connections.
So, what are your thoughts? Have you spotted any other animal motifs or symbols ? Let me know your theories !
submitted by Littl3mata to thelastofus [link] [comments]
Abby's equivalent of the Wyoming Museum is her scenes in the aquarium. I find the choice of this particular ocean biome interesting. Throughout her journey in Seattle, Abby gradually distances herself from the WLF. The aquarium serves as a clandestine refuge where Abby and Owen seek solace away from their WLF responsibilities, a sanctuary amidst the chaos of the city. The ocean represents a hidden world, a sanctuary that other surface animals cannot penetrate, symbolizing a refuge from the conflicts and chaos above. Abby's character in Seattle is symbolized by a crab—outwardly strong yet internally vulnerable, much like herself as depicted by Owen's observation that she appears tough but is soft at heart. This symbolism extends to the imagery of a giant crab adorning the doors leading to the tragic fate of Owen and Mel. Upon her return from the island, blood stains beneath the doors. I think this is supposed to represent how by her actions she brought death to her friends, akin to bearing the weight of guilt or "dirty hands." Throughout her narrative, various other depictions of crabs persistently follows Abby.
Abby's Seattle setting is aquatic, but it wasn't always so. Prior to her father's death, her symbolic habitat was the jungle. In her initial flashback in Salt Lake, she stands at the zoo entrance, surrounded by banners portraying jungle and savanna creatures like tigers, elephants, apes, and antelopes. She can also find a flyer of the zoo ad with the tiger on it. In Santa Barbara, when visiting the Firefly outpost, Lev asks why the children's room depicts animals and a forest. Abby explains that it is a thing parents can do and that her father painted her a jungle in her room when she was little. I think deep within, Abby identifies with a tiger, and she actually re-finds herself with Lev's encounter. The tiger represents her true essence, her totem animal, while the crab represents what she turned into in Seattle. The crab, with its hard exterior and soft interior, also mirrors Abby's hardened exterior developed from her experiences with the WLF.
Yet, subtle hints throughout her narrative suggest a rediscovery of her true self as a tiger that coincide with what she's going throught. One instance that really striked me is the big cartoonish tiger she encounters in a cafe on the road to the hospital, sat in a position of meditation, coinciding with her growing bond with Lev. This moment signifies her gradual return to inner peace and authenticity. Another significant occurrence is the depiction of a tiger hidden behind a counter during her escape from the island with Yara and Lev, labeled with "mean streak." This moment precedes a pivotal confrontation with her former allies, symbolizing Abby's re-embrace of her tiger nature—a resurgence of strength and determination as she confronts her past and fights for her newfound family. The reappearance of the tiger symbolizes Abby's journey of self-discovery and resilience, marking her reclaiming of inner strength and ferocity in the face of adversity.
During the Salt Lake flashback, as Abby finds her father and they continue through the park, they enter the aquatic biome, greeted by a crab facing exactly towards the banner depicting a tiger, symbolizing Abby's future transformation in Seattle. She enters the mouth of a whale, symbolizing her immersion into the aquatic world. In the very next flashback, she will exit from the mouth of a shark, marking her transformation complete.
Owen is symbolized by a spotted seal. The first time they ever entered the aquarium, Owen get out of the water and place himself right in front of a seal depiction named "Oscar", saying some things to Abby. You can see a little crab right under. Hints in dialogues also point at Owen being a seal. During the scene in the aquatic dome underwater, Owen concludes their conversation by expressing his intention to spend some time with the seals. Another subtle clue to Owen's future role as a father is found within the aquarium's main room: a statue depicting a seal and its cub. This imagery hints at Owen's impending journey into parenthood.
I'm going to talk about Tommy in Abby's section because it mostly striked me while doing her parts, with the exception of this dinosaur looking like a horse head in the wyoming museeum as mentionned in my first post. Right after letting Yara at the "Big Fat Crab Shack" to get to the marina, she stumble upon Manny who's being targeted by Tommy. Interestingly, if you look behind Abby, you'll spot the "Big Fat Crab Shack" logo again with its giant crab, while directly in front of her, just a couple of meters away, is an advertising van for "Manke" beer. The logo on the van is a horse, accompanied by the tagline "made with the finest ingredients of southern America," which resonates with Tommy's Texan roots. This van appears again later not far, in the parking lot where Tommy shoots at Abby, instigating an attack from the infected.
However, what puzzles me is why Abby doesn't perceive Tommy as an aquatic animal like she does with others. My only lead on this is that the aquatic version of Tommy is a seahorse. This notion is reinforced by the presence of a seahorse symbol at the Serevena Hotel, where Ellie and Dina encounter men tortured by Tommy. Honestly not 100% convinced on this seahorse part.
Lev is seen as a shark by Abby. A whole section of the aquarium is dedicated to sharks and their importance in the ocean ecosystem ( you can also see a little crab under one of the shark depictions ) When Abby and Yara seek a gift for Lev, they deem a shark plushie as the perfect choice, emphasizing his connection to this creature.
A prominent shark exhibit features a large specimen seemingly poised to attack a diver's cage, adorned with scars on its mouth sides. The image of Lev braving the seas on his boat to rescue his mother on the island further reinforces this association, evoking the image of a shark cutting through the waves with determination.
In Abby's perception, Lev embodies the qualities of a shark, yet he identifies himself with a cat, ( or it's his totem animal ) First and foremost, we can clearly see Lev's agility and fearlessness, particularly evident in his comfort with heights, mirroring a cat's nimbleness and independence. Additionally, Lev expresses fears akin to those of a cat—water and dogs. During Ellie's parts, I found this board on the ancient communication agency swarmed by scars ( in front of the tramway ). There this little text on a board from a meeting to pitch a product, back in the days. It says :
"Client pitch meet ideas - emotional angle - comedy angle - personnification of cat ? "
Even though it might be a bit of a stretch, this corresponds perfectly to what happens between Abby and Lev. She feels pity for him upon learning his story and comes to love him, thus the emotional angle, and Lev also makes some jokes or blunders, like asking Abby what's going on between him and Owen at the worst possible moment, or when he doesn't know certain common words due to his life among the Seraphites.
The more obvious sign that Lev is really a cat can be found in the same cafe where we found the tiger in meditation pose, on the left walls. Just like Owen, we can witness Lev positionning himself right in front of this animal and get some dialogues. He say something like it's weird to represent humans as animals / humans from before were weird doing this. This particular artwork features two cartoonish cats adorned in rock-inspired attire, captured in a lively dancing pose. A male and female, holding hands. This really striked me as being a representaion of Lev's gender duality. Abby mentions Lev's "punk-rock" spirit not long before this, hence the outfits.
Yara is a sea otter, simply because she wears this shirt with a sea otter at the aquarium.
The WLF obviously are wolves but Abby actually sees them as Orcas. Upon awakening at the stadium, Abby is greeted by a rug adorned with an orca motif. Then she gets to the mess hall, there's one wolf banner on one wall but also depictions of orcas adorning pillars and inscriptions proclaiming "Home of the Orcas" on the walls. Orcas are kinda wolves of the seas, share several characteristics with wolves, such as being large predators that hunt in packs, exhibit complex social structures, and are territorial. By associating the WLF with Orcas, Abby's perception elevates them to a level of strength, cunning, and dominance akin to these apex predators of the ocean.
Scars are possibly herons. I found some herons in the wyoming museeum as mentionned in my first post, but also some depictions while Abby is crossing the chinese district to get to martyr's gate. They communicate throught whistling like birds including herons. They also go throught the city by the airs, basically. Theres not much hints, but I do feel like the herons correspond really well to Seraphites due to their way of life and behavior. Firstly, herons are often associated with aquatic areas such as marshes and rivers, where they patiently and strategically hunt their prey. Similarly, the Seraphites have established themselves on an isolated island, resembling a marsh, where they practice an ascetic and contemplative form of living in harmony with nature, living in wooden houses. Furthermore, herons are patient and methodical predators, silently observing their surroundings before taking action ( Remember that arrow in Ellie's shoulder ? ) The Seraphites also exhibit a deliberate approach in their lives and interactions, emphasizing discipline, reflection, and strategic planning.
During the visit to the Chinese district, theres a peculiar creature: the dragon. Numerous depictions of it adorn this area. There might be a connection to the Seraphites, evidenced by the presence of Martyr's Gate and the increased encounters with them following this section. However, it's challenging to pinpoint its exact representation; my guess is that it symbolizes a broader concept rather than a specific character or faction. Might also just be because it's the chinese district.
Abby seem to be also linked to whales and octopus, I think each representing one concept. Ellie's collection of cards includes one intriguing card featuring a whale named "Big Blue." The description of the card reads:
"Big Blue is an extra-dimensional entity who has taken on the appearance of a blue whale. First arriving on Earth over a billion years ago to keep watch over nascent life forms, they use their infinite well of knowledge to help guide the human race in times of great need and upheaval. Their unfathomable age has one major drawback: days appear to pass as microseconds. However, this time dilation effect is offset if they hold their breath—which they can do for several years at a time."
The whale, as an entity with ancient wisdom and knowledge, could be seen as a manifestation of destiny itself. Just as the whale has existed since the dawn of life on Earth, destiny is a force that has shaped Abby's life from the very beginning. It has guided her path, leading her to the pivotal moments and encounters that defined her journey. Despite the challenges she faces, destiny continues to steer her toward her ultimate purpose and fate.
In many cultures and mythologies, the octopus is often associated with aspects of mystery, danger, and conflict. Its tentacled appearance and ability to camouflage itself in its environment make it a powerful symbol of the struggle and complexity of human conflicts. In the game, the giant octopus present at the aquarium can be interpreted as a visual representation of the internal and external conflicts that the characters, especially Abby, must face. The octopus's tentacles seem to stretch out and envelop the environment, evoking how conflict can feel omnipresent and difficult to avoid. Furthermore, the octopus is a formidable predator in the marine world, using its tentacles to capture and subdue its prey. This imagery can be associated with how the characters in the game are ensnared in the conflicts surrounding them.
And finally, Abby sees Ellie as a Stingray. Ellie's journey to get to Abby in Seattle final moments is symbolic of her descent into the aquatic world : to get to the hidden crab in the secretive ocean, she must transform as an aquatic animal. As Ellie approaches the aquarium, the challenges intensify, marked by increasingly stormy weather and turbulent seas. Despite the obstacles, Ellie perseveres, ultimately reaching her destination, not before falling into the ocean. Few notes here, first of all there's this outdoor kids' play area, a crab faces towards a whale and a shark, while an orca wing and a seahorse stand behind them. Could be a representation of how Abby is leaving her past behind and her newfound responsibility towards Lev. Next, right before kneeling to get under the fence, a sign featuring a stingray lies on its side, urging one to "become a member today". Further symbolism unfolds as Ellie encounters a shark depiction just before her fall from a broken window, with a stingray positioned EXACTLY on the floor where she lands. On the same note there is a stingray positionned on the floor exactly where Ellie kills Mel & Owen. The cafe section of the aquarium, named "Stingray Bay Cafe," features murals depicting a beach with palm trees, foreshadowing the events to come in Santa Barbara. Abby's exploration of the aquarium with Yara while looking for Lev reveals a section named "Shipwreck Cove," dominated by a giant stingray overhead, further hinting at the impending encounters and sequences involving boats, serving as a metaphor for both characters feeling like shipwrecks by the end of their tumultuous journey.
Also, The use of animal symbolism during Ellie and Abby's confrontations adds a layer of complexity and depth to their dynamic. During their intense fight in the theater, the actions of Ellie and Abby mirror the characteristics of the animals associated with them. Abby's brute force and relentless attacks, smashing Ellie into the floor and causing them to fall to a lower level, hitting her with her fists or grabbing her, align with the symbolism of the crab and its claws. She also headbut Ellie ( bison ). In contrast, Ellie's actions, repeatedly tries spiking Abby with her knife like a stingray hitting its prey, reflect a more tactical and predatory approach. I invite you to re-check their fight at the theater with that in mind, it's really striking.
As we've discussed, these symbols are not merely decorative but serve as powerful storytelling devices, conveying concepts or themes of identity, transformation, and growth. Whether you've noticed these subtle details yourself or are discovering them for the first time, it's clear that the developers at Naughty Dog have crafted a meticulously designed world filled with rich symbolism and meaningful connections.
So, what are your thoughts? Have you spotted any other animal motifs or symbols ? Let me know your theories !
2024.06.07 11:43 Urban_Naxalite My theories for the next season of Panchayat: conspiracies, love, and unexpected alliance
Hi IndianOTTbestof!
My wife and I just finished the third season of Panchayat today. I'm not entirely sure how I feel about the writers taking the show in a decidedly darker direction, but we both spent the final episodeon the edge of our seats--and had a great laugh at the final "confrontation" between the protaginists, Bhushan, and the MLA.
Now that we're all wrapped up, I thought I'd share a few of my own theories and observations about the upcoming series--some of which I've seen written here, and some of which I haven't.
Before getting into my very amateur anaylsis, I wanted to briefly emphasize the principle of Chekhov's gun (which I would many or most of you are already familiar with). Put simply, Chekhov's gun is the notion that the elements expressed within a story should be relevant to its telling. In other words, if a character, an idea, or an object is introduced to the plot for a seemingly fleeting and trivial reason, it will most likely return at some later point.
So, even though I can't predict exactly what might happen in season four, I'd be willing to bet a few Pulse candies that the following ideas, conflicts, and relationships will be presented:
Although characters like the Pradhan, Bhushan, and the MLA have all expressed a willingness to engage in varying levels of deceit, I do not think that implicating the Pradhan in such a violent conspiracy would further the show in any meaningful way. Implicating the Pradhan, or any of the other protagonists, would unravel and unnecessarily complicate core dynamics, including that between Sachijv-ji and Rinky. And I don't think Bhushan, at least individually, has the resources needed to attempt a contract killing.
The MLA is the most obvious suspect. But Bhushan was right: it wouldn't make any for the MLA to attempt a public killing, especially so soon after his attempted attack on Phulera. He's already in hot water, and being involved in a murder would bring attention he can no longer afford to attract.
Furthermore, the writers made it evident that the killers did not know exactly who the Pradhan was. And I think that means it couldn't have been the MLA. In Episode 6, when the MLA hired the two goondas to attack Bahadur, he used a still image taken from Bahadur's interview to identify him--an image that had been carefully and deliberately organized by Sachiv-ji to place the Pradhan and Manju Devi in clear view of the camera.
So the killers knew where to find the Pradhan, but they did not know exactly who he was--because they themselves had been hired and dispatched by somebody who did not know exactly who the Pradhan was.
I, like many of you, believe that the Sansadji--who was shown for the very first time in the last episode--was directly involved. I don't know exactly why, but I think that the writers wanted us to think that the Sansadji's comment about politics being like "a game of chess" was meant to foreshadow conflict between the MLA and the Panchayat. But the MLA was already controversial--and his planned attack on Phulera may have convinced the Sansadji that the MLA was a liability who needed to be disposed of.
Instead of ordering the killing of the MLA--which would attract a great deal of attention and likely trigger an investigation--the Sansadji, likely in collaboration with the BDO, tried to stage a murder that would rid himself of a Pradhan-sized headache and a hot-headed MLA.
Why would they do that? Because want to give we viewers a compelling reason to doubt that the MLA is really the sort of person who'd kill and eat a dog. And why wouldn't they want us to doubt that the series' principal villain is anything but a villain? Because we must soon accept that the MLA, cruel and corrupt as he may be, is by far the lesser evil when compared to season four's villain--Sansadji (and/or the BDO).
As an aside, and circling back to the first post, we've seen a lot of the MLA--and I think it's worth pointing out that, up until his thwarted attack on Phulera, he didn't attempt to do anything worse than what you'd expect a corrupt and egotistical politician to do. He solicited bribes, requested Sachiv-ji's transfer out of anger, and sponsored Bhushan's candidacy to get revevnge on Pradhan.
But when Bahadur gave a viral interview that ravaged the MLA's reputation--and Bahadur refused to back down--the MLA tried to teach Bahadur a lesson by hiring goondas to break just one of Bahadur's legs. This may show both that the MLA is reluctant to actually murder. Plus, the fact that he had to source two incompetent goondas through Chuttan shows that he isn't the sort of person who can easily arrange cold-blooded killers.
The only time that the MLA was willing to murder was when Phulera took his horse--an animal that he seemed to see as a surrogate son, and which he clearly loved.
(of course, that's still not a great reason to massacre a village)
The writers have repeatedly brought her to our attention, despite her having virtually no lines or relevance to the plot, and have gone so far as to let the camera briefly center on and linger over her. They would have no reason to include her character if she will have no bearing on the plot.
And, if the Sachiv-ji-Rinky-Daughter angle is where the writers are going, there would be no practicable way for Sachiv-ji and the Daughter to have even an awkward chemistry if the relationship between Sachijv-ji and ther MLA remains fractured to the point that they cannot see each other without wanting to kill each other.
I don't think Sachiv-ji and the MLA will ever be friends--but I do think they'll have to tolerate each other for some reason or another. And it's not outside the realm of possibility that the Daughter might be a better match for Sachiv-ji than Rinky, who he likes but with whom he doesn't seem to share any real chemistry.
Or maybe the Daughter is the biggest villain of them all (kidding).
Sorry for the long post--I type really fast, lol--and for sharing some theories that may have already been shared here.
submitted by Urban_Naxalite to IndianOTTbestof [link] [comments]
My wife and I just finished the third season of Panchayat today. I'm not entirely sure how I feel about the writers taking the show in a decidedly darker direction, but we both spent the final episodeon the edge of our seats--and had a great laugh at the final "confrontation" between the protaginists, Bhushan, and the MLA.
Now that we're all wrapped up, I thought I'd share a few of my own theories and observations about the upcoming series--some of which I've seen written here, and some of which I haven't.
Before getting into my very amateur anaylsis, I wanted to briefly emphasize the principle of Chekhov's gun (which I would many or most of you are already familiar with). Put simply, Chekhov's gun is the notion that the elements expressed within a story should be relevant to its telling. In other words, if a character, an idea, or an object is introduced to the plot for a seemingly fleeting and trivial reason, it will most likely return at some later point.
So, even though I can't predict exactly what might happen in season four, I'd be willing to bet a few Pulse candies that the following ideas, conflicts, and relationships will be presented:
- The attack on the pradhan is part of a political conspiracy--that one that none of the main or recurring characters have any knowledge of.
Although characters like the Pradhan, Bhushan, and the MLA have all expressed a willingness to engage in varying levels of deceit, I do not think that implicating the Pradhan in such a violent conspiracy would further the show in any meaningful way. Implicating the Pradhan, or any of the other protagonists, would unravel and unnecessarily complicate core dynamics, including that between Sachijv-ji and Rinky. And I don't think Bhushan, at least individually, has the resources needed to attempt a contract killing.
The MLA is the most obvious suspect. But Bhushan was right: it wouldn't make any for the MLA to attempt a public killing, especially so soon after his attempted attack on Phulera. He's already in hot water, and being involved in a murder would bring attention he can no longer afford to attract.
Furthermore, the writers made it evident that the killers did not know exactly who the Pradhan was. And I think that means it couldn't have been the MLA. In Episode 6, when the MLA hired the two goondas to attack Bahadur, he used a still image taken from Bahadur's interview to identify him--an image that had been carefully and deliberately organized by Sachiv-ji to place the Pradhan and Manju Devi in clear view of the camera.
So the killers knew where to find the Pradhan, but they did not know exactly who he was--because they themselves had been hired and dispatched by somebody who did not know exactly who the Pradhan was.
I, like many of you, believe that the Sansadji--who was shown for the very first time in the last episode--was directly involved. I don't know exactly why, but I think that the writers wanted us to think that the Sansadji's comment about politics being like "a game of chess" was meant to foreshadow conflict between the MLA and the Panchayat. But the MLA was already controversial--and his planned attack on Phulera may have convinced the Sansadji that the MLA was a liability who needed to be disposed of.
Instead of ordering the killing of the MLA--which would attract a great deal of attention and likely trigger an investigation--the Sansadji, likely in collaboration with the BDO, tried to stage a murder that would rid himself of a Pradhan-sized headache and a hot-headed MLA.
- The MLA and the protaganists will be forced into an unwanted alliance.
Why would they do that? Because want to give we viewers a compelling reason to doubt that the MLA is really the sort of person who'd kill and eat a dog. And why wouldn't they want us to doubt that the series' principal villain is anything but a villain? Because we must soon accept that the MLA, cruel and corrupt as he may be, is by far the lesser evil when compared to season four's villain--Sansadji (and/or the BDO).
As an aside, and circling back to the first post, we've seen a lot of the MLA--and I think it's worth pointing out that, up until his thwarted attack on Phulera, he didn't attempt to do anything worse than what you'd expect a corrupt and egotistical politician to do. He solicited bribes, requested Sachiv-ji's transfer out of anger, and sponsored Bhushan's candidacy to get revevnge on Pradhan.
But when Bahadur gave a viral interview that ravaged the MLA's reputation--and Bahadur refused to back down--the MLA tried to teach Bahadur a lesson by hiring goondas to break just one of Bahadur's legs. This may show both that the MLA is reluctant to actually murder. Plus, the fact that he had to source two incompetent goondas through Chuttan shows that he isn't the sort of person who can easily arrange cold-blooded killers.
The only time that the MLA was willing to murder was when Phulera took his horse--an animal that he seemed to see as a surrogate son, and which he clearly loved.
(of course, that's still not a great reason to massacre a village)
- The MLA's daughter will play a much more significant role in the coming series.
The writers have repeatedly brought her to our attention, despite her having virtually no lines or relevance to the plot, and have gone so far as to let the camera briefly center on and linger over her. They would have no reason to include her character if she will have no bearing on the plot.
And, if the Sachiv-ji-Rinky-Daughter angle is where the writers are going, there would be no practicable way for Sachiv-ji and the Daughter to have even an awkward chemistry if the relationship between Sachijv-ji and ther MLA remains fractured to the point that they cannot see each other without wanting to kill each other.
I don't think Sachiv-ji and the MLA will ever be friends--but I do think they'll have to tolerate each other for some reason or another. And it's not outside the realm of possibility that the Daughter might be a better match for Sachiv-ji than Rinky, who he likes but with whom he doesn't seem to share any real chemistry.
Or maybe the Daughter is the biggest villain of them all (kidding).
Sorry for the long post--I type really fast, lol--and for sharing some theories that may have already been shared here.
2024.06.06 23:47 My2QTKs Is it possible to create Citations/Sources (like in Word) for cells?
I am entering text data from different sources, both written and oral, onto multiple worksheets. Each subject worksheet will contain information from more than one source. Does anyone have suggestions about how to "label" the source of the information in a cell? Looking to capture this reference information so that if future/other users have questions about the content in a cell, they can seek out the source: interview with X, Document Y, Study Z... "Labels" could be colors, fields, anything with a legend so that people can identify the source.
TIA
submitted by My2QTKs to excel [link] [comments]
TIA
2024.06.06 20:00 PrizeKey4575 Is my resume up-to par?
I've been submitting my resume for the past 4 - 5 months and haven't gotten as much as an interview. Is my resume lacking? Any opinions would be appreciated as I'm my family's financial backbone and this drought is having an impact.
submitted by PrizeKey4575 to resumes [link] [comments]
2024.06.06 17:13 Bear_Quirky Looking for a PDF book I found on Reddit almost a year ago called Into the Lions Den or something like that.
Obviously not exactly that title because nothing comes up when I search for that. The book was over 300 pages long and the author did not identify themselves that I could find.
The argument the book makes is that the gospel of John was written by Mary Madelene who was also the disciple that Jesus loved. The author argued that she was at the tomb on Sunday morning because she was the only disciple who believed that Jesus was literally foreshadowing His bodily resurrection. The author also makes a case that the synoptic gospels were essentially compromised by bad actors in various ways.
I cannot find this book anymore, I read the first half last fall but lost it when I changed phones. I'd love to finish the book if anybody knows what I'm talking about and can point me to it.
submitted by Bear_Quirky to AskAChristian [link] [comments]
The argument the book makes is that the gospel of John was written by Mary Madelene who was also the disciple that Jesus loved. The author argued that she was at the tomb on Sunday morning because she was the only disciple who believed that Jesus was literally foreshadowing His bodily resurrection. The author also makes a case that the synoptic gospels were essentially compromised by bad actors in various ways.
I cannot find this book anymore, I read the first half last fall but lost it when I changed phones. I'd love to finish the book if anybody knows what I'm talking about and can point me to it.
2024.06.06 15:36 MeghanClickYourHeels The Near Future of Deepfakes Just Got Way Clearer: India’s election was ripe for a crisis of AI misinformation. It didn’t happen, by Nilesh Christopher, The Atlantic
June 5, 2024.
https://www.theatlantic.com/technology/archive/2024/06/india-election-deepfakes-generative-ai/678597/
Before the start of India’s general election in April, a top candidate looking to unseat Prime Minister Narendra Modi was not out wooing voters on the campaign trail. He was in jail. Arvind Kejriwal, the chief minister of Delhi and the head of a political party known for its anti-corruption platform, was arrested in late March for, yes, alleged corruption. His supporters hit the streets in protest, decrying the arrest as a politically motivated move by Modi aimed at weakening a rival. (Kejriwal has maintained his innocence, and the Indian government has denied that politics played a role.)
Soon after the arrest, Kejriwal implored his supporters to stay strong. “There are some forces who are trying to weaken our country and its democracy,” he said in a 34-second audio clip posted to social media by a fellow party member. “We need to identify those forces and fight them.” It was not Kejriwal’s actual voice, but rather a convincing AI voice clone reading a message that the real Kejriwal had written from behind bars. A couple of days later, Modi’s supporters mocked Kejriwal’s misfortune by sharing their own AI response: a montage of images in which Kejriwal is strumming a guitar from inside a prison cell, singing a melancholic Hindi song. In classic AI fashion, there are mangled fingers and a pastiche of human faces.
Throughout this election cycle—which ended yesterday in a victory for Modi’s Bharatiya Janata Party after six weeks of voting and more than 640 million ballots cast—Indians have been bombarded with synthetic media. The country has endured voice clones, convincing fake videos of dead politicians endorsing candidates, automated phone calls addressing voters by name, and AI-generated songs and memes lionizing candidates and ridiculing opponents. But for all the concern over how generative AI and deepfakes are a looming “atomic bomb” that will warp reality and alter voter preferences, India foreshadows a different, stranger future.
Before this election, India was rightly concerned about deepfakes. As cheap, accessible AI tools such as voice cloning have made it possible for almost anyone to create a political spoof, the country has already witnessed AI scandals. In the lead-up to four state elections at the end of last year, the fact-checking publication Boom Live clocked roughly 10 election-related audio deepfakes, according to the deputy editor Karen Rebelo. If a dozen audio fakes emerged during just a few state elections, Rebelo thought, the national election would see unprecedented volumes. “It was truly terrifying,” she told me. “I thought, We’re going to see one a day or one an hour.”
And indeed deepfakes, and especially audio clones, surfaced throughout the 2024 election cycle—including ones involving false election-result predictions, simulated phone conversations, and fake celebrity criticisms. In the first week of voting, deepfaked clips went viral of the Bollywood stars Aamir Khan and Ranveer Singh criticizing Modi—a big deal considering that India’s film stars don’t often chime in on politics. But the dire fears of Rebelo and others haven’t materialized. Of the 258 election-related fact-checks that Boom Live did, just 12 involved AI-generated misinformation. Others counted more than 12 AI fakes. Digvijay Singh, a co-founder of Contrails.ai, a deepfake-detection firm in India, told me that he helped fact-checkers investigate and debunk a little over 30 pieces of AI-generated media in April and May.
submitted by MeghanClickYourHeels to atlanticdiscussions [link] [comments]
https://www.theatlantic.com/technology/archive/2024/06/india-election-deepfakes-generative-ai/678597/
Before the start of India’s general election in April, a top candidate looking to unseat Prime Minister Narendra Modi was not out wooing voters on the campaign trail. He was in jail. Arvind Kejriwal, the chief minister of Delhi and the head of a political party known for its anti-corruption platform, was arrested in late March for, yes, alleged corruption. His supporters hit the streets in protest, decrying the arrest as a politically motivated move by Modi aimed at weakening a rival. (Kejriwal has maintained his innocence, and the Indian government has denied that politics played a role.)
Soon after the arrest, Kejriwal implored his supporters to stay strong. “There are some forces who are trying to weaken our country and its democracy,” he said in a 34-second audio clip posted to social media by a fellow party member. “We need to identify those forces and fight them.” It was not Kejriwal’s actual voice, but rather a convincing AI voice clone reading a message that the real Kejriwal had written from behind bars. A couple of days later, Modi’s supporters mocked Kejriwal’s misfortune by sharing their own AI response: a montage of images in which Kejriwal is strumming a guitar from inside a prison cell, singing a melancholic Hindi song. In classic AI fashion, there are mangled fingers and a pastiche of human faces.
Throughout this election cycle—which ended yesterday in a victory for Modi’s Bharatiya Janata Party after six weeks of voting and more than 640 million ballots cast—Indians have been bombarded with synthetic media. The country has endured voice clones, convincing fake videos of dead politicians endorsing candidates, automated phone calls addressing voters by name, and AI-generated songs and memes lionizing candidates and ridiculing opponents. But for all the concern over how generative AI and deepfakes are a looming “atomic bomb” that will warp reality and alter voter preferences, India foreshadows a different, stranger future.
Before this election, India was rightly concerned about deepfakes. As cheap, accessible AI tools such as voice cloning have made it possible for almost anyone to create a political spoof, the country has already witnessed AI scandals. In the lead-up to four state elections at the end of last year, the fact-checking publication Boom Live clocked roughly 10 election-related audio deepfakes, according to the deputy editor Karen Rebelo. If a dozen audio fakes emerged during just a few state elections, Rebelo thought, the national election would see unprecedented volumes. “It was truly terrifying,” she told me. “I thought, We’re going to see one a day or one an hour.”
And indeed deepfakes, and especially audio clones, surfaced throughout the 2024 election cycle—including ones involving false election-result predictions, simulated phone conversations, and fake celebrity criticisms. In the first week of voting, deepfaked clips went viral of the Bollywood stars Aamir Khan and Ranveer Singh criticizing Modi—a big deal considering that India’s film stars don’t often chime in on politics. But the dire fears of Rebelo and others haven’t materialized. Of the 258 election-related fact-checks that Boom Live did, just 12 involved AI-generated misinformation. Others counted more than 12 AI fakes. Digvijay Singh, a co-founder of Contrails.ai, a deepfake-detection firm in India, told me that he helped fact-checkers investigate and debunk a little over 30 pieces of AI-generated media in April and May.
2024.06.05 08:30 shrugir B2B Mobile App Development
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2024.06.04 09:21 Euphoric-Relation-38 7 Steps To Crafting Chapter Outlines Like Successful Authors
 | https://preview.redd.it/vs3t1wjsai4d1.jpg?width=1200&format=pjpg&auto=webp&s=c11a13dfc0bfacfc88fef3b319bba3fa522ebea9 submitted by Euphoric-Relation-38 to cleverfoxpublishing [link] [comments] Crafting a compelling chapter outline is a crucial step in the journey of writing a book. It serves as a roadmap, guiding both the author and the reader through the narrative. Successful authors understand the importance of a well-structured outline in organizing their thoughts, maintaining coherence, and keeping the story on track. In this blog post, we’ll explore seven essential steps to help you craft chapter outlines like the pros. Define Your Book’s Theme and Purpose: Before diving into chapter outlines, take a step back and define the overarching theme and purpose of your book. What message do you want to convey? What are the main themes or ideas you want to explore? Understanding your book’s core theme will guide the direction of your chapter outlines. Outline Your Plot or Argument: For fiction writers, outline the key plot points, character arcs, and major events that drive the story forward. For non-fiction writers, outline the main arguments, supporting evidence, and examples that support your thesis or central idea. This step lays the foundation for each chapter’s content. Identify Key Points or Scenes: Break down your overarching plot or argument into smaller, manageable segments. Identify the key points, scenes, or concepts that need to be addressed in each chapter. These key points will serve as the building blocks of your chapter outlines. Determine Chapter Structure: Decide on the structure and format for your chapters. Will each chapter follow a chronological order, or will you use flashbacks, multiple perspectives, or non-linear storytelling? Determine how you want to organize your chapters to create a cohesive and engaging narrative flow. Create Chapter Summaries: Write concise summaries for each chapter, outlining the main events, developments, or arguments that will be covered. These summaries should provide a clear overview of what each chapter will entail, helping you stay focused and on track during the writing process. Establish Transitions Between Chapters: Pay attention to the transitions between chapters to ensure a smooth and seamless reading experience. Each chapter should flow logically into the next, maintaining the momentum of the narrative or argument. Consider how you can use cliffhangers, foreshadowing, or thematic connections to connect one chapter to the next. Review and Revise: Once you’ve crafted your chapter outlines, take the time to review and revise them thoroughly. Look for any inconsistencies, gaps in logic, or areas where the pacing feels off. Solicit feedback from beta readers or writing peers to gain fresh perspectives and identify areas for improvement. Crafting chapter outlines is an essential skill for any writer, whether you’re penning a novel, memoir, or academic thesis. By following these seven steps, you can create chapter outlines that are well-structured, cohesive, and engaging, setting the stage for a successful writing journey. |
2024.06.04 07:23 Deathnote_Blockchain loved Imperial Radch / Ancillary series by Lackie, but it was also a total letdown (review with spoilers)
TL;DR it was a great trilogy, super cool and good, everyone should read it and some people will just LOVE it.
I am going to first give a couple keys points that do not give much away so you Database Consumers can get an idea of what kind of moes you will get from this series. Please click away now if you cannot handle any types of spoilers.
I will then get into some very spoilery details because I have so many thoughts and am actually strangely conflicted. Will conceal with spoiler masks. Thanks.
Okay so this is overall a series about intrigue in a vast and old human empire that is dealing with some shit. It's got a lot of slow machinations and people drinking tea and being subtly shitty to each other. You never forget that you are in a science fictioney world though the set pieces are pretty soft.
The first thing you need to know, if you haven't heard about this, is the narrative conceit around the fact that the narrator's main language is Radchaai, and in this language, and culture, there is one gender, female. So the default pronouns for all characters are she and her. There are some conversations in other languages that have two genders to give you some clues as to what a particular character would present or identify as in our world, but this is done very subtly and it's only definite for a couple of characters. This whole thing is so well done it's going to be worth reading the books for some people.
Secondly, the setting is many thousands of years in the future. Human space is ruled by an agressive, imperial, and extremely genteel society named the Radch, a society of females who use superior military might to annex smaller human societies and cultures. Very British Empire feel to it. Everybody drinks tea, second and third book take place on the tea growing center of the galaxy.
The Radchaai have been ruled for 3000 years by a transhuman named Anaander Mianaai, who has thousands of linked clone bodies. Her fleet of warships are sentient, and each warship has - or used to have - among its crew "ancillaries" which are human bodies with brain implants to keep them all connected to each other and the ship's AI core to share a consciousness.
The books concern a schism that the ruler of the Radch has among herselves, and the last ancillary of a ship that got caught up in it.
Interesting characters, fun dialogue, and overall a story about trying to stand for whats right in a society that is old and crappy and falling apart under the wreight of it's own lies. I recommend that everybody read it. It might not hit your top five but you will feel that it was worth your time.
Now then, let me engage in spoilerific talk about why it left me a little disappointed and wishing it had been different
So the thing about the series is, it just leaves so much on the table. To the an extent that really feels weird sometimes.
The main thing is like...okay so your space empire has a transhuman distributed consciousness ruling it. Aaannd...the selves split and start to war with each other? How can you even have that be a thing in your book but it's not THE thing in the book?
I mean...seriously people are not out there dying by the trillions and quadrillions, planets getting cracked, massacres left and right and up and down?
Don't you just want to see the bits of Anaander engage in cloak and dagger tactics with each other, selves trying to conceal from the others which side they are on, revealing at the last minute, too late?
It is also a bit of a stretch to imagine the Radch lasting longer than a couple of months. I think as soon as anyone knew the lord of the Radch was no longer in charge of herself, that would be the end of it, it would be about trying to wrest control of ships and AIs (who Anaander had access to) to oust her.
The other thing that really hangs in the air is that, well, let's be honest: this is a horrifically grimdark future here. Early in the first book, Justice of Toren has a new ancillary thawed and hooked up, and it wakes up screaming and begging for help and trying to run away before eventually being assimilated. The war machine that the Radch was powered by this - criminals, war prisoners, and poor people who were turned into ancillaries. At the end of the series our heroine AI is like well, you know all those bodies in suspension, we're not going to turn them into ancillaries, but I will definitely not tell you you have to let go of the ones you have already installed.
So at the end of the day, it's a horrifyingly colonial empire, and our heroine rights a couple of fairly minor wrongs, but the big change is that the AIs are free. The way the empire subjugates and consumes humans? That's fine.
Writing wise, Lackie had a tendency to, imo, poorly foreshadow things. Like there would be a character who would appear a bunch...and you are like, okay this is kind of cool, but what is this character going to do here...and then it happens but it falls flat because it felt like it came out of nowhere. Like what's-her-face dropping the dime to Captain Hetnys. Or how Dlique appears and delivers all of these wacky lines just to get accidentally shot.
Or the whole thing with Sphene. By that point in the series I was HOPING AND PRAYING that there would be some climactic point when Sphene would gate in to the rescue and blow shit up. But at the end of the day she was just sort of there to deliver Sassy Android Moe.
So that's it basically....the epic story of a vast and decaying galactic empire gloriously immolating itself after the transhumans go crazy was not the point, but just a background, and sometimes Lackie fell a bit too in love with certain characters that didn't really serve the plot or the story perfectly well. And the plot and the story are not as integrated as I like to see in a truly great work of sf.
P.S. oh man one thing I HATED was the whole thing in Ancillary Mercy where Breq fires off a bunch of shots at Bad Anaander ships with the Garsit gun, and then there is this protracted mystery of what effect those shots may have had. In the end it just fell so flat. We found out she took out a Justice and it is heavily implied that two more of the four ships were taken out. And that this had Bad Childlike Anaander very riled up, but like...there was no clean reveal. Anaander only complained about losing the Justice. Nobody was like "well first this was going to happen but then three ships suddenly exploded"...we barely even got a glimpse of that. So I guess one of my points is that these books are anti-military sf in a way.
submitted by Deathnote_Blockchain to printSF [link] [comments]
I am going to first give a couple keys points that do not give much away so you Database Consumers can get an idea of what kind of moes you will get from this series. Please click away now if you cannot handle any types of spoilers.
I will then get into some very spoilery details because I have so many thoughts and am actually strangely conflicted. Will conceal with spoiler masks. Thanks.
Okay so this is overall a series about intrigue in a vast and old human empire that is dealing with some shit. It's got a lot of slow machinations and people drinking tea and being subtly shitty to each other. You never forget that you are in a science fictioney world though the set pieces are pretty soft.
The first thing you need to know, if you haven't heard about this, is the narrative conceit around the fact that the narrator's main language is Radchaai, and in this language, and culture, there is one gender, female. So the default pronouns for all characters are she and her. There are some conversations in other languages that have two genders to give you some clues as to what a particular character would present or identify as in our world, but this is done very subtly and it's only definite for a couple of characters. This whole thing is so well done it's going to be worth reading the books for some people.
Secondly, the setting is many thousands of years in the future. Human space is ruled by an agressive, imperial, and extremely genteel society named the Radch, a society of females who use superior military might to annex smaller human societies and cultures. Very British Empire feel to it. Everybody drinks tea, second and third book take place on the tea growing center of the galaxy.
The Radchaai have been ruled for 3000 years by a transhuman named Anaander Mianaai, who has thousands of linked clone bodies. Her fleet of warships are sentient, and each warship has - or used to have - among its crew "ancillaries" which are human bodies with brain implants to keep them all connected to each other and the ship's AI core to share a consciousness.
The books concern a schism that the ruler of the Radch has among herselves, and the last ancillary of a ship that got caught up in it.
Interesting characters, fun dialogue, and overall a story about trying to stand for whats right in a society that is old and crappy and falling apart under the wreight of it's own lies. I recommend that everybody read it. It might not hit your top five but you will feel that it was worth your time.
Now then, let me engage in spoilerific talk about why it left me a little disappointed and wishing it had been different
So the thing about the series is, it just leaves so much on the table. To the an extent that really feels weird sometimes.
The main thing is like...okay so your space empire has a transhuman distributed consciousness ruling it. Aaannd...the selves split and start to war with each other? How can you even have that be a thing in your book but it's not THE thing in the book?
I mean...seriously people are not out there dying by the trillions and quadrillions, planets getting cracked, massacres left and right and up and down?
Don't you just want to see the bits of Anaander engage in cloak and dagger tactics with each other, selves trying to conceal from the others which side they are on, revealing at the last minute, too late?
It is also a bit of a stretch to imagine the Radch lasting longer than a couple of months. I think as soon as anyone knew the lord of the Radch was no longer in charge of herself, that would be the end of it, it would be about trying to wrest control of ships and AIs (who Anaander had access to) to oust her.
The other thing that really hangs in the air is that, well, let's be honest: this is a horrifically grimdark future here. Early in the first book, Justice of Toren has a new ancillary thawed and hooked up, and it wakes up screaming and begging for help and trying to run away before eventually being assimilated. The war machine that the Radch was powered by this - criminals, war prisoners, and poor people who were turned into ancillaries. At the end of the series our heroine AI is like well, you know all those bodies in suspension, we're not going to turn them into ancillaries, but I will definitely not tell you you have to let go of the ones you have already installed.
So at the end of the day, it's a horrifyingly colonial empire, and our heroine rights a couple of fairly minor wrongs, but the big change is that the AIs are free. The way the empire subjugates and consumes humans? That's fine.
Writing wise, Lackie had a tendency to, imo, poorly foreshadow things. Like there would be a character who would appear a bunch...and you are like, okay this is kind of cool, but what is this character going to do here...and then it happens but it falls flat because it felt like it came out of nowhere. Like what's-her-face dropping the dime to Captain Hetnys. Or how Dlique appears and delivers all of these wacky lines just to get accidentally shot.
Or the whole thing with Sphene. By that point in the series I was HOPING AND PRAYING that there would be some climactic point when Sphene would gate in to the rescue and blow shit up. But at the end of the day she was just sort of there to deliver Sassy Android Moe.
So that's it basically....the epic story of a vast and decaying galactic empire gloriously immolating itself after the transhumans go crazy was not the point, but just a background, and sometimes Lackie fell a bit too in love with certain characters that didn't really serve the plot or the story perfectly well. And the plot and the story are not as integrated as I like to see in a truly great work of sf.
P.S. oh man one thing I HATED was the whole thing in Ancillary Mercy where Breq fires off a bunch of shots at Bad Anaander ships with the Garsit gun, and then there is this protracted mystery of what effect those shots may have had. In the end it just fell so flat. We found out she took out a Justice and it is heavily implied that two more of the four ships were taken out. And that this had Bad Childlike Anaander very riled up, but like...there was no clean reveal. Anaander only complained about losing the Justice. Nobody was like "well first this was going to happen but then three ships suddenly exploded"...we barely even got a glimpse of that. So I guess one of my points is that these books are anti-military sf in a way.
2024.06.04 05:25 AnthonyMetivier How to Study Using a Memory Palace
The Memory Palace technique is a fantastic tool for remembering the things you study.
The catch is that you need to have multiple Memory Palaces. Ideally, each Memory Palace should be well-formed.
If you build them or develop them as you go, you're trying to do two things at once. So make sure to read this guide in full.
Then create a bunch of Memory Palaces the optimal way before applying them to your studies.
Maximum success in remembering your studies will soon follow.
History and Origin of the Method
No one knows exactly when the Memory Palace technique first arrived on the scene – but some people sure like to argue about it.
Lynne Kelly has good work on the pre-historic origins in The Memory Code, but she'll be the first to tell you that a lot of her ideas are speculative. We just don't know exactly how the ancient people around the world came up with the concept.
When it comes to using the technique for studying in a way that basically matches our current school system, one interesting starting place is Hugh of St. Victor.
His approach to the Memory Palace technique is one of the first places you see number systems applied to historical dates, for example. A good place to red him directly in English is The Medieval Craft of Memory, edited by Mary Carruthers.
In any case, you can spend your entire life studying the history of this technique. The more merrier if you ask me as someone who loves looking at the Memory Palaces' origins.
But I also love to help people who just want learn how Memory Palaces work so you can rapidly apply them to your studies.
Benefits of Using a Memory Palace for Studying
The benefits of this ancient memory method in terms of other study techniques is easy to summarize:
The Memory Palace lets you place a lot of information in your long-term memory through a variety of active learning processes. That way, you can pass exams without stress or spending more time than necessary. More free time opens up and you enjoy a feeling confidence every time you study and sit for your tests.
For many people, there's another clear benefit:
Using the Memory Palace is much more interesting than using spaced repetition software.
But to use it optimally still involves a kind of spaced repetition. Let's look at that next.
Understanding the Memory Palace
The Memory Palace is actually not just one technique. It's at least five:
There's a lot of science into exactly how "mental imagery" should be defined.
If you find it enjoyable and rewarding, look up the science that goes into the Memory Palace. If not, just make sure that you don't mistakenly think of the Memory Palace like Sherlock Holmes.
It's not a technique where you say, "I must go to my Mind Palace."
Far from it.
The point is to use the five systems so that information enters your long-term memory without having to think about your Memory Palaces at all.
In a way, the Memory Palace technique is like training-wheels on a bike. As soon as you're done, the mnemonics fall away. All that remains is the target information.
And that is a very beautiful thing!
Setting Up Your Memory Palace
To create your first Memory palace, choose a familiar location. Many people do better by using a building, like a home, school, church, art gallery, book store, library or the like.
You can practice visualizing the layout in detail purely in your imagination. However, I suggest you draw the location.
I'll give you some Memory Palace drawing examples in the resource section at the end of this guide.
Establishing Clear and Distinctive Locations within the Palace
The key is to make sure that every part of your Memory Palace is clear to you.
To do this, I suggest you avoid inventing locations or adding imaginary elements like pretend couches and bookcases (stunts like that come later).
The reason for this suggestion is that when learning the Memory Palace technique, most people start with very weak visualization skills. And their memory is quite rusty.
So when you use a Memory Palace, use only what you remember of a location. To add anything, even things like flying off balconies or passing ghost-like through walls gives you something you have to remembe.r
That's called a Memorized Palace and places cognitive load on any familiar location.
A true Memory Palace maximizes the power of using distinctive locations exactly the way you remember them, without elaborating anything.
Rest assured, there's plenty of opportunity to elaborate things inside of your Memory Palaces. That's what we'll discuss after going through one of the most important points of them all.
When Exactly Should You Use the Memory Palace Technique While Studying?
There are two different ways to answer this question, depending on your current level of skill and the nature of what you're memorizing.
Let me describe these two ways based on how I use the technique.
The first is to extract the information I want to memorize from books, videos, podcasts, etc. before doing ~any~ memorizing.
This is my preferred approach because it batches a few separate skills into refined activities:
Due to the "rhizomatic" and "magnetic" effects of the Memory Palace technique, less is usually more. And this approach leaves space for adding additional details when necessary or where desired.
The second approach is a bit more advanced, one that I normally only use when the stakes aren't particularly high. I'm talking about times when I'm reading for personal interest and come across something I want to remember.
For this approach, I'll use a 00-99 PAO to turn the page into a mini-Memory Palace based on the page number. The book in effect becomes a kind of Memory Palace unto itself.
There's more to say on this technique, so stay tuned and follow this space for future posts. The key point is that it's neither better or worse to extract information and memorize it at the same time or to separate the tasks.
But if I'm studying for an exam, I will separate the tasks because it's much more efficient and has reduced the feeling of being overwhelmed because I'm trying to do two things at once. Keep this experience in mind if you try memorizing as you read and feel similarly overwhelmed. Splitting out the activities will undoubtedly allow you to focus on encoding your info with much greater freedom and mental dexterity.
Encoding Information into the Memory Palace
The way you use a Memory Palace involves combining information with associations. Memory scientists call this step elaborative encoding.
A simple example involves how I used my brother's home recently to remember the word, enantiodromia.
I imagined Ant-Man watching Videodrome in his living room.
There's a bit more to the image than that, but the core technique was executed by paying attention to the alphabetical construction of the word and choosing images on that basis.
The sound and spelling associations of Ant-Man and Videodrome were paired with the living room.
Creating Vivid and Memorable Mnemonic Images
To encode information using vivid images, it's actually not really about images.
Instead, you're using the Memory Palace as a logical sequence to link highly multisensory images.
I prefer what I call the KAVE COGS formula.
Rather than seeing Ant-Man as such, I follow this simple formula on each and every station of the Memory Palace.
K = Kinesthetic
A = Auditory
V = Visual
E = Emotional
C = Conceptual
O = Olfactory
G = Gustatory
S = Spatial
Literally feeling what it would be like to watch a movie in the body of Ant-Man creates a physical or kinesthetic sensation. I hear the sound of the movie Videodrome in my ears while remembering it's basic look and the look of the Memory Palace.
Ant-Man has a specific attitude and emotions, so I feel those along with thinking about the concepts involved in the meaning of the target word, enantiodromia.
Finally, I smell and taste (olfactory and gustatory) where necessary. In this case, I did not, but if I needed to, I could imagine my brother bringing in a steak covered in ants to make the image much stronger in memory.
You don't have to use KAVE COGS, but most memory improvement teachers have some version of an elaboration process like this. The trick is to practice in multiple well-formed Memory Palaces.
If the Memory Palaces aren't well-formed, it can be difficult to place enough of your focus on making the associations properly.
Using the Memory Palace for Different Subjects
To use this technique for a variety of subjects, make sure to have multiple Memory Palaces.
The simplest way to set-up for the mental dexterity involved in switching between multiple topics is to have at least one Memory Palace for each letter of the alphabet. From this core Memory Palace Network, you can develop many sub-Memory Palaces.
Only scarcity-based thinking holds people back in this regard. In reality, there is more space around each and everyone of us than any of us could ever hope to use in a lifetime.
Studying for History: Dates and Events
For memorizing dates, you'll want to add a number system. The most popular is the Major System or its "big brother," the 00-99 PAO System.
Teaching this approach is its own lesson, so please see the resources at the end for more.
Studying for Science: Concepts and Theories
The trick to dealing with concepts and theories is simple:
Make sure you aren't hypnotizing yourself into thinking anything that can be worded can't be memorized.
If you can memorize one word, you can memorize thousands. Learn to do that and then, if you need to memorize longer ideas expressed in sentences, simply memorize the definition verbatim.
Often this isn't necessary. I memorized enantiodromia and the exact definition came along "free" based on other aspects I included in the living room with the core imagine. I know the author name and book title where I encountered this term as well, and none of that information needed to be encoded in the Memory Palace.
But please understand that a lot of that additional information that came along with a "less is more" approach involves studying science concepts using these techniques for many years. There is a "compound" effect because the more you study, the more concepts will snap together without any special additional steps.
Thus, it's a best practice to memorize both long verbatim definitions and practice going off of keywords alone. Soon you'll see that often memorizing just one word brings in tons of other information through the deep connection-making you've already been doing along with the power of context that comes from simply summarizing a concept in your own words.
Studying for Languages: Vocabulary and Grammar Rules
Language learning is assisted by Memory Palaces, but not achieved solely by this approach.
One way to approach things is to have your 26 Memory Palaces linked by the alphabet. Then place 10 words in each Memory Palace, i.e. ten words that start with 'A' in your 'A' Memory Palace, etc.
This starter exercise will leave you with 260 words in your target language. You can expand this number substantially by adding a sentence to most or all of the vocabulary you've established later on or during this setup process.
The exact number you'll wind up with could be in the thousands.
Again, this is not the only way to learn a language. But it helps.
To take things further, make sure that you are reading, writing, speaking and listening to the language near-daily. You will need to combine both active learning and passive learning approaches and actually use the language.
Most of my polyglot friends use Memory Palaces to some degree, but each person interprets exactly how they use them in their own way.
Review and Practice Techniques With Your Memory Palaces
The core reason to use the Memory Palace technique for studying at all is for spaced-repetition.
To do it well, you will practice a specific kind of retrieval that will strengthen your memory and usher your target information into long-term memory quickly.
Let's say you have 10 pieces of information in a Memory Palace. You want to apply equal doses of primacy effect and recency effect to each piece of information.
To do that, visit the information:
Adapting and Expanding Your Memory Palace as Needed
It's possible to change Memory Palaces and extend their size.
However, if you develop them optimally in the first place, such measures should not be needed.
If you want to do so anyway, it's basically just an imaginative process. You can add paintings to Memory Palaces and then journey around within them, or connect one Memory Palace to another in ways that don't actually reflect reality.
I would only suggest that you take care around doing this because you are turning a true Memory Palace into a Memorized Palace by engaging in this kind of activity.
Dealing with Overcrowded Palaces
Overpacking your Memory Palaces is bound to happen if you're a serious user.
Having more Memory Palaces is the most direct way to prevent this from becoming an issue. It's also useful to experiment with the advice found in the older Memory Palace instruction manuals:
You can also practice clearing them out if they get too packed – literally imagining a broom sweeping out your associations or something similar. But setting them up optimally in the first place is the ideal.
Keeping Images Clear and Distinct Over Time
Clear images are guaranteed when you use highly familiar figures, like Ant-Man and movies you know, etc.
Some people struggle with this principle because they don't partake in much popular culture or know many people.
The trick is to start wherever you are now and develop associations over time.
For example, if you learn the term enantiodromia, you'll discover that it's connected to Carl Jung. You can then use Carl Jung as one of your images. He is connected to a whole host of characters, and the extension of your associations can just build from there.
I know that it can be hard to feel like you have enough, but the time to get started is now. Soon, you will have an entire "paracosm" of figures to use in your Memory Palace Networks.
Should You Use The Memory Palace Technique For Studying?
The Memory Palace is a powerful mnemonic device. There's nothing quite like it for those who find the approach appealing.
I cannot stress enough that the point of the technique is to enable frequent and easy mental reviewing of your study material.
You want to use familiar locations, and whenever possible, base your Memory Palaces on locations where you study and even where you have to take your exams. I used York University when studying there precisely because that was where I was taking my exams.
This choice creates additional memory boosts based on what scientists call context dependent or state dependent memory. Your brain will feed you more details automatically thanks to this effect – or at least you give it more opportunities to do so when you base Memory Palaces on these kinds of locations.
Above all, each person needs to experiment. Ask question when necessary. Or seek further help.
If you'd like a bit more guidance, I've got four videos that take you deeper into the fundamentals of creating well-formed Memory Palaces with student examples. PDF worksheets are also included for you right here:
https://www.magneticmemorymethod.com/reddit
Enjoy your studies with well-formed Memory Palaces and shout out if you have questions any time. There's more to explore, and Memory Palaces work in combination with many other accelerated learning techniques.
The trick is to master the fundamentals first so that you enjoy smooth sailing with all the other techniques thereafter.
submitted by AnthonyMetivier to MagneticMemoryMethod [link] [comments]
The catch is that you need to have multiple Memory Palaces. Ideally, each Memory Palace should be well-formed.
If you build them or develop them as you go, you're trying to do two things at once. So make sure to read this guide in full.
Then create a bunch of Memory Palaces the optimal way before applying them to your studies.
Maximum success in remembering your studies will soon follow.
History and Origin of the Method
No one knows exactly when the Memory Palace technique first arrived on the scene – but some people sure like to argue about it.
Lynne Kelly has good work on the pre-historic origins in The Memory Code, but she'll be the first to tell you that a lot of her ideas are speculative. We just don't know exactly how the ancient people around the world came up with the concept.
When it comes to using the technique for studying in a way that basically matches our current school system, one interesting starting place is Hugh of St. Victor.
His approach to the Memory Palace technique is one of the first places you see number systems applied to historical dates, for example. A good place to red him directly in English is The Medieval Craft of Memory, edited by Mary Carruthers.
In any case, you can spend your entire life studying the history of this technique. The more merrier if you ask me as someone who loves looking at the Memory Palaces' origins.
But I also love to help people who just want learn how Memory Palaces work so you can rapidly apply them to your studies.
Benefits of Using a Memory Palace for Studying
The benefits of this ancient memory method in terms of other study techniques is easy to summarize:
The Memory Palace lets you place a lot of information in your long-term memory through a variety of active learning processes. That way, you can pass exams without stress or spending more time than necessary. More free time opens up and you enjoy a feeling confidence every time you study and sit for your tests.
For many people, there's another clear benefit:
Using the Memory Palace is much more interesting than using spaced repetition software.
But to use it optimally still involves a kind of spaced repetition. Let's look at that next.
Understanding the Memory Palace
The Memory Palace is actually not just one technique. It's at least five:
- The Memory Palace
- Alphabetical associations
- Numerical associations
- Symbol associations
- Space-Repetition system
There's a lot of science into exactly how "mental imagery" should be defined.
If you find it enjoyable and rewarding, look up the science that goes into the Memory Palace. If not, just make sure that you don't mistakenly think of the Memory Palace like Sherlock Holmes.
It's not a technique where you say, "I must go to my Mind Palace."
Far from it.
The point is to use the five systems so that information enters your long-term memory without having to think about your Memory Palaces at all.
In a way, the Memory Palace technique is like training-wheels on a bike. As soon as you're done, the mnemonics fall away. All that remains is the target information.
And that is a very beautiful thing!
Setting Up Your Memory Palace
To create your first Memory palace, choose a familiar location. Many people do better by using a building, like a home, school, church, art gallery, book store, library or the like.
You can practice visualizing the layout in detail purely in your imagination. However, I suggest you draw the location.
I'll give you some Memory Palace drawing examples in the resource section at the end of this guide.
Establishing Clear and Distinctive Locations within the Palace
The key is to make sure that every part of your Memory Palace is clear to you.
To do this, I suggest you avoid inventing locations or adding imaginary elements like pretend couches and bookcases (stunts like that come later).
The reason for this suggestion is that when learning the Memory Palace technique, most people start with very weak visualization skills. And their memory is quite rusty.
So when you use a Memory Palace, use only what you remember of a location. To add anything, even things like flying off balconies or passing ghost-like through walls gives you something you have to remembe.r
That's called a Memorized Palace and places cognitive load on any familiar location.
A true Memory Palace maximizes the power of using distinctive locations exactly the way you remember them, without elaborating anything.
Rest assured, there's plenty of opportunity to elaborate things inside of your Memory Palaces. That's what we'll discuss after going through one of the most important points of them all.
When Exactly Should You Use the Memory Palace Technique While Studying?
There are two different ways to answer this question, depending on your current level of skill and the nature of what you're memorizing.
Let me describe these two ways based on how I use the technique.
The first is to extract the information I want to memorize from books, videos, podcasts, etc. before doing ~any~ memorizing.
This is my preferred approach because it batches a few separate skills into refined activities:
- Pattern recognition for identifying key points
- Note-taking, usually using Zettelkasten
- Annotation and summarization
Due to the "rhizomatic" and "magnetic" effects of the Memory Palace technique, less is usually more. And this approach leaves space for adding additional details when necessary or where desired.
The second approach is a bit more advanced, one that I normally only use when the stakes aren't particularly high. I'm talking about times when I'm reading for personal interest and come across something I want to remember.
For this approach, I'll use a 00-99 PAO to turn the page into a mini-Memory Palace based on the page number. The book in effect becomes a kind of Memory Palace unto itself.
There's more to say on this technique, so stay tuned and follow this space for future posts. The key point is that it's neither better or worse to extract information and memorize it at the same time or to separate the tasks.
But if I'm studying for an exam, I will separate the tasks because it's much more efficient and has reduced the feeling of being overwhelmed because I'm trying to do two things at once. Keep this experience in mind if you try memorizing as you read and feel similarly overwhelmed. Splitting out the activities will undoubtedly allow you to focus on encoding your info with much greater freedom and mental dexterity.
Encoding Information into the Memory Palace
The way you use a Memory Palace involves combining information with associations. Memory scientists call this step elaborative encoding.
A simple example involves how I used my brother's home recently to remember the word, enantiodromia.
I imagined Ant-Man watching Videodrome in his living room.
There's a bit more to the image than that, but the core technique was executed by paying attention to the alphabetical construction of the word and choosing images on that basis.
The sound and spelling associations of Ant-Man and Videodrome were paired with the living room.
Creating Vivid and Memorable Mnemonic Images
To encode information using vivid images, it's actually not really about images.
Instead, you're using the Memory Palace as a logical sequence to link highly multisensory images.
I prefer what I call the KAVE COGS formula.
Rather than seeing Ant-Man as such, I follow this simple formula on each and every station of the Memory Palace.
K = Kinesthetic
A = Auditory
V = Visual
E = Emotional
C = Conceptual
O = Olfactory
G = Gustatory
S = Spatial
Literally feeling what it would be like to watch a movie in the body of Ant-Man creates a physical or kinesthetic sensation. I hear the sound of the movie Videodrome in my ears while remembering it's basic look and the look of the Memory Palace.
Ant-Man has a specific attitude and emotions, so I feel those along with thinking about the concepts involved in the meaning of the target word, enantiodromia.
Finally, I smell and taste (olfactory and gustatory) where necessary. In this case, I did not, but if I needed to, I could imagine my brother bringing in a steak covered in ants to make the image much stronger in memory.
You don't have to use KAVE COGS, but most memory improvement teachers have some version of an elaboration process like this. The trick is to practice in multiple well-formed Memory Palaces.
If the Memory Palaces aren't well-formed, it can be difficult to place enough of your focus on making the associations properly.
Using the Memory Palace for Different Subjects
To use this technique for a variety of subjects, make sure to have multiple Memory Palaces.
The simplest way to set-up for the mental dexterity involved in switching between multiple topics is to have at least one Memory Palace for each letter of the alphabet. From this core Memory Palace Network, you can develop many sub-Memory Palaces.
Only scarcity-based thinking holds people back in this regard. In reality, there is more space around each and everyone of us than any of us could ever hope to use in a lifetime.
Studying for History: Dates and Events
For memorizing dates, you'll want to add a number system. The most popular is the Major System or its "big brother," the 00-99 PAO System.
Teaching this approach is its own lesson, so please see the resources at the end for more.
Studying for Science: Concepts and Theories
The trick to dealing with concepts and theories is simple:
Make sure you aren't hypnotizing yourself into thinking anything that can be worded can't be memorized.
If you can memorize one word, you can memorize thousands. Learn to do that and then, if you need to memorize longer ideas expressed in sentences, simply memorize the definition verbatim.
Often this isn't necessary. I memorized enantiodromia and the exact definition came along "free" based on other aspects I included in the living room with the core imagine. I know the author name and book title where I encountered this term as well, and none of that information needed to be encoded in the Memory Palace.
But please understand that a lot of that additional information that came along with a "less is more" approach involves studying science concepts using these techniques for many years. There is a "compound" effect because the more you study, the more concepts will snap together without any special additional steps.
Thus, it's a best practice to memorize both long verbatim definitions and practice going off of keywords alone. Soon you'll see that often memorizing just one word brings in tons of other information through the deep connection-making you've already been doing along with the power of context that comes from simply summarizing a concept in your own words.
Studying for Languages: Vocabulary and Grammar Rules
Language learning is assisted by Memory Palaces, but not achieved solely by this approach.
One way to approach things is to have your 26 Memory Palaces linked by the alphabet. Then place 10 words in each Memory Palace, i.e. ten words that start with 'A' in your 'A' Memory Palace, etc.
This starter exercise will leave you with 260 words in your target language. You can expand this number substantially by adding a sentence to most or all of the vocabulary you've established later on or during this setup process.
The exact number you'll wind up with could be in the thousands.
Again, this is not the only way to learn a language. But it helps.
To take things further, make sure that you are reading, writing, speaking and listening to the language near-daily. You will need to combine both active learning and passive learning approaches and actually use the language.
Most of my polyglot friends use Memory Palaces to some degree, but each person interprets exactly how they use them in their own way.
Review and Practice Techniques With Your Memory Palaces
The core reason to use the Memory Palace technique for studying at all is for spaced-repetition.
To do it well, you will practice a specific kind of retrieval that will strengthen your memory and usher your target information into long-term memory quickly.
Let's say you have 10 pieces of information in a Memory Palace. You want to apply equal doses of primacy effect and recency effect to each piece of information.
To do that, visit the information:
- Forward
- Backward
- From the middle of the Memory Palace to the beginning
- From the middle of the Memory Palace to the end
- Skip the stations
Adapting and Expanding Your Memory Palace as Needed
It's possible to change Memory Palaces and extend their size.
However, if you develop them optimally in the first place, such measures should not be needed.
If you want to do so anyway, it's basically just an imaginative process. You can add paintings to Memory Palaces and then journey around within them, or connect one Memory Palace to another in ways that don't actually reflect reality.
I would only suggest that you take care around doing this because you are turning a true Memory Palace into a Memorized Palace by engaging in this kind of activity.
Dealing with Overcrowded Palaces
Overpacking your Memory Palaces is bound to happen if you're a serious user.
Having more Memory Palaces is the most direct way to prevent this from becoming an issue. It's also useful to experiment with the advice found in the older Memory Palace instruction manuals:
- Leave ample space between stations
- Explore "write" your associations into the walls (Aquinas suggests this based on the wax tablet metaphor of memory)
You can also practice clearing them out if they get too packed – literally imagining a broom sweeping out your associations or something similar. But setting them up optimally in the first place is the ideal.
Keeping Images Clear and Distinct Over Time
Clear images are guaranteed when you use highly familiar figures, like Ant-Man and movies you know, etc.
Some people struggle with this principle because they don't partake in much popular culture or know many people.
The trick is to start wherever you are now and develop associations over time.
For example, if you learn the term enantiodromia, you'll discover that it's connected to Carl Jung. You can then use Carl Jung as one of your images. He is connected to a whole host of characters, and the extension of your associations can just build from there.
I know that it can be hard to feel like you have enough, but the time to get started is now. Soon, you will have an entire "paracosm" of figures to use in your Memory Palace Networks.
Should You Use The Memory Palace Technique For Studying?
The Memory Palace is a powerful mnemonic device. There's nothing quite like it for those who find the approach appealing.
I cannot stress enough that the point of the technique is to enable frequent and easy mental reviewing of your study material.
You want to use familiar locations, and whenever possible, base your Memory Palaces on locations where you study and even where you have to take your exams. I used York University when studying there precisely because that was where I was taking my exams.
This choice creates additional memory boosts based on what scientists call context dependent or state dependent memory. Your brain will feed you more details automatically thanks to this effect – or at least you give it more opportunities to do so when you base Memory Palaces on these kinds of locations.
Above all, each person needs to experiment. Ask question when necessary. Or seek further help.
If you'd like a bit more guidance, I've got four videos that take you deeper into the fundamentals of creating well-formed Memory Palaces with student examples. PDF worksheets are also included for you right here:
https://www.magneticmemorymethod.com/reddit
Enjoy your studies with well-formed Memory Palaces and shout out if you have questions any time. There's more to explore, and Memory Palaces work in combination with many other accelerated learning techniques.
The trick is to master the fundamentals first so that you enjoy smooth sailing with all the other techniques thereafter.
2024.06.03 11:08 adulting4kids Dead Sea Scrolls Study Guide -Unedited
The War Scroll, also known as the "War of the Sons of Light Against the Sons of Darkness," is a unique text within the Dead Sea Scrolls that portrays an apocalyptic battle between the forces of good (Sons of Light) and evil (Sons of Darkness). This scroll provides insight into both historical and symbolic elements.
Historical Accuracy:
The War Scroll, while containing detailed military tactics and an epic narrative of the ultimate confrontation, doesn't explicitly reference any specific historical event or timeframe. Some scholars believe it could be a product of the community's anticipation of a future messianic conflict or a reflection of their own community's struggles against opposing forces during their time. Interpreting the historical accuracy of the scroll often involves exploring the context of the Qumran community and the turbulent times in which they lived.
Symbolism and Esoteric Wisdom:
The War Scroll goes beyond a mere description of a physical battle. It portrays a cosmic conflict between the forces of light and darkness, reflecting not just a literal warfare but also a symbolic and spiritual struggle. The text emphasizes righteousness, divine intervention, and the victory of good over evil.
Within the study guide, activities and exercises could involve dissecting the symbolic elements present in the War Scroll, exploring the deeper meanings behind the battle tactics and the metaphysical implications of the conflict. Understanding the symbolism could involve group discussions, comparative analysis with other ancient texts with similar themes, and exploring the impact of this symbolic representation on the community's beliefs and practices.
Here are a few activities and exercises to explore the symbolism and historical context of the War Scroll from the Dead Sea Scrolls:
Exploring these interpretative variations allows participants to appreciate the complexity of symbolism within ancient texts and provides insights into how different cultures and belief systems interpreted common motifs like the river Euphrates. It showcases the intricate interplay between religious, philosophical, and cultural elements shaping the symbolism and theological implications embedded in these narratives.
The river Euphrates, a prominent geographic feature in ancient texts, embodies universal themes that transcend specific cultural contexts. Identifying these universal themes helps reveal shared human concepts of transition, boundaries, and transformative events across diverse ancient traditions:
By identifying and discussing these universal themes, participants gain a deeper appreciation for the profound symbolism embedded in ancient texts and recognize the timeless relevance of concepts such as transition, boundaries, and transformative events in shaping human narratives and aspirations.
submitted by adulting4kids to writingthruit [link] [comments]
Historical Accuracy:
The War Scroll, while containing detailed military tactics and an epic narrative of the ultimate confrontation, doesn't explicitly reference any specific historical event or timeframe. Some scholars believe it could be a product of the community's anticipation of a future messianic conflict or a reflection of their own community's struggles against opposing forces during their time. Interpreting the historical accuracy of the scroll often involves exploring the context of the Qumran community and the turbulent times in which they lived.
Symbolism and Esoteric Wisdom:
The War Scroll goes beyond a mere description of a physical battle. It portrays a cosmic conflict between the forces of light and darkness, reflecting not just a literal warfare but also a symbolic and spiritual struggle. The text emphasizes righteousness, divine intervention, and the victory of good over evil.
Within the study guide, activities and exercises could involve dissecting the symbolic elements present in the War Scroll, exploring the deeper meanings behind the battle tactics and the metaphysical implications of the conflict. Understanding the symbolism could involve group discussions, comparative analysis with other ancient texts with similar themes, and exploring the impact of this symbolic representation on the community's beliefs and practices.
Here are a few activities and exercises to explore the symbolism and historical context of the War Scroll from the Dead Sea Scrolls:
- Symbolism Analysis:
- Comparative Analysis:
- Historical Context Exploration:
- Creative Interpretation:
- Role-playing or Debates:
Organize a role-playing activity where participants take on the roles of "Sons of Light" and "Sons of Darkness," debating their ideologies, motivations, and strategies for the ultimate battle. This exercise helps in understanding differing perspectives and interpreting the conflicts presented in the scroll.
- Mesopotamian Context:
- In Mesopotamian mythology and literature, the Euphrates River often held symbolic significance as a boundary between the known civilized world and the wild, unknown realms. The crossing of the Euphrates could symbolize journeys into unexplored territories or transitions between order and chaos. This perspective reflects a worldview rooted in the physical and geographical division of lands.
- Biblical Context:
- In biblical texts, such as those in the Book of Revelation or Old Testament prophecies, the crossing of the Euphrates carries eschatological significance. It may represent a divine intervention or a decisive moment in God's plan, marking the commencement of apocalyptic events. This interpretation aligns with the biblical narrative of divine judgment and the unfolding of God's ultimate purpose in history.
- Gnostic or Apocryphal Context:
- Gnostic or apocryphal texts often interpret the river's crossing as a symbolic liberation or awakening. It might signify the release of spiritual forces or the ascent to higher consciousness, reflecting a philosophical perspective emphasizing spiritual enlightenment and liberation from material constraints.
- Greco-Roman Interpretation:
- In Greco-Roman literature, crossings of rivers were often associated with mythological journeys or transitions between realms. The crossing of the Euphrates might symbolize a transition from mundane existence to a realm of mystery or spiritual significance, reflecting a cultural perspective rooted in mythology and cosmology.
Exploring these interpretative variations allows participants to appreciate the complexity of symbolism within ancient texts and provides insights into how different cultures and belief systems interpreted common motifs like the river Euphrates. It showcases the intricate interplay between religious, philosophical, and cultural elements shaping the symbolism and theological implications embedded in these narratives.
The river Euphrates, a prominent geographic feature in ancient texts, embodies universal themes that transcend specific cultural contexts. Identifying these universal themes helps reveal shared human concepts of transition, boundaries, and transformative events across diverse ancient traditions:
- Threshold and Transition:
- The Euphrates often symbolizes a boundary between known and unknown territories. Its crossing represents a transition from one state to another, signifying a pivotal moment of change or passage. This theme of crossing a threshold echoes the human experience of transitions in life, moving from familiar to unfamiliar realms.
- Boundary and Separation:
- As a geographical boundary, the Euphrates signifies separation between distinct territories or civilizations. This concept of demarcation resonates with universal human experiences of setting boundaries, delineating spaces, or marking divisions between different aspects of life.
- Transformative Events:
- Crossing the Euphrates is often associated with cosmic or transformative events in ancient texts. This universal theme reflects the human fascination with the concept of epochal change, cosmic upheavals, or moments of divine intervention that reshape the course of history.
- Symbol of Power and Control:
- The river might represent a symbol of power, control, or geopolitical significance. Crossing it could signify shifts in dominance, challenges to established authority, or the assertion of influence. This theme resonates with human narratives of power struggles and shifts in societal dynamics.
- Metaphor for Spiritual Journeys:
- Across cultures, rivers are often used metaphorically to represent spiritual journeys or quests. The crossing of the Euphrates might symbolize the pursuit of enlightenment, the passage to higher realms of understanding, or the quest for spiritual transformation.
By identifying and discussing these universal themes, participants gain a deeper appreciation for the profound symbolism embedded in ancient texts and recognize the timeless relevance of concepts such as transition, boundaries, and transformative events in shaping human narratives and aspirations.
- Historical Context:
- What historical events or societal conditions might have influenced the composition of the War Scroll?
- How does the historical context of the Dead Sea Scrolls' discovery contribute to our understanding of this text's significance?
- Symbolism and Esoteric Wisdom:
- How does the War Scroll use symbolism to convey spiritual or cosmic themes?
- What esoteric wisdom or deeper spiritual insights can be derived from the portrayal of cosmic conflict and divine intervention within the text?
- Comparative Analysis:
- Compare the themes and symbolism of the War Scroll with other apocalyptic texts from different cultures (e.g., Book of Revelation, The Book of Daniel). What common motifs or differences in interpretation do you observe?
- Parallelism in Biblical Texts:
- Explore connections between the War Scroll and other biblical texts. How does the language, imagery, or themes in the War Scroll intersect with passages from the Hebrew Bible or New Testament?
- Community Beliefs and Practices:
- How might the apocalyptic expectations depicted in the War Scroll have influenced the beliefs and practices of the community that produced it?
- Discuss the impact of such intense anticipation of cosmic conflict on communal life and religious rituals within the community.
- Cultural Significance of Cosmic Battles:
- Across various ancient cultures, why do you think depictions of cosmic battles and eschatological events were significant? What might these narratives represent in a broader cultural context?
- Interpretive Variations and Unique Perspectives:
- Explore the diverse interpretations of specific passages or symbols within the War Scroll. How do different scholars or traditions interpret these elements, and what underlying factors might influence their interpretations?
- Personal Reflection and Modern Relevance:
- Reflect on how the themes of cosmic conflict, righteousness, and spiritual warfare in the War Scroll might resonate in contemporary society or personal belief systems.
- Theological and Philosophical Implications:
- Discuss the theological and philosophical implications of a cosmic battle between forces of light and darkness. How does this theme intersect with broader philosophical inquiries or theological doctrines?
- Literary and Symbolic Analysis:
- Analyze the narrative structure and symbolic elements present in specific passages of the War Scroll. How do these elements contribute to the text's overarching themes and meanings?These study questions aim to provoke critical thinking, promote in-depth exploration of themes, encourage comparative analysis, and stimulate discussions on the multifaceted nature of the War Scroll's content and its significance within ancient and contemporary contexts.
- Archaeological and Linguistic Analysis:
- How does the physical condition of the Dead Sea Scrolls, including the War Scroll, impact our understanding of their preservation and historical context? - Discuss the linguistic peculiarities or unique textual features found within the War Scroll and their implications for translation and interpretation.
- Apocalyptic Expectations and Messianic Concepts:
- Explore the portrayal of messianic figures or anticipated saviors within the War Scroll. How do these concepts align with or diverge from contemporary expectations of a messianic figure in other ancient texts or religious traditions?
- Impact of Apocalyptic Literature:
- Analyze the enduring influence of apocalyptic literature, such as the War Scroll, on subsequent religious, literary, or cultural traditions. How have these texts shaped later beliefs or inspired artistic and literary works?
- Ethical and Moral Frameworks:
- Discuss the ethical or moral implications of the cosmic conflict depicted in the War Scroll. How do the themes of righteousness and wickedness contribute to the text's underlying moral framework?
- Role of Prophecy and Revelation:
- Explore the role of prophecy and revelation within the War Scroll. How do the prophetic elements contribute to the text's portrayal of future events and cosmic justice?
- Experiential and Ritualistic Elements:
- Investigate potential ritualistic or experiential dimensions associated with the teachings or beliefs conveyed in the War Scroll. How might the community have engaged with these teachings in their religious practices or communal activities?
- Literary Genre and Interpretation:
- Discuss the classification of the War Scroll within the broader genre of apocalyptic literature. How does its classification influence our understanding and interpretation of its themes and symbolic elements?
- Relevance in Modern Scholarship:
- Reflect on the ongoing scholarly debates or discoveries related to the War Scroll. How have modern interpretations evolved, and what implications do these new perspectives have on our understanding of the text?
- Intersection of Faith and Scholarship:
- Consider the interplay between faith-based interpretations and scholarly analyses of the War Scroll. How might religious convictions or theological frameworks influence academic research and vice versa?
- Future Research and Interpretative Avenues:
- Propose potential avenues for future research or areas of exploration concerning the War Scroll. What unanswered questions or unexplored aspects merit further investigation?The composition of the War Scroll, along with other Dead Sea Scrolls, was likely influenced by several historical events and societal conditions prevalent during the time of its writing, which is estimated to be between the 2nd century BCE and the 1st century CE:
- Hellenistic Rule and Cultural Influence:
- The region where the Dead Sea Scrolls were found was under Hellenistic influence due to the conquests of Alexander the Great and the subsequent control by the Seleucid Empire. This era saw a clash between Hellenistic culture and Jewish traditions, leading to cultural tensions and a desire to preserve religious and cultural heritage.
- Political Turmoil and Resistance Movements:
- The Jewish people experienced political unrest, particularly during the Maccabean Revolt against Seleucid rule. This period was characterized by resistance movements, attempts to preserve Jewish identity, and fervent anticipation of a messianic figure to deliver them from foreign oppression.
- Religious Sects and Spiritual Expectations:
- Various religious sects existed within Judaism, each with its own interpretations and expectations of messianic redemption, purity laws, and theological doctrines. The community associated with the Dead Sea Scrolls, often believed to be the Essenes, likely had distinctive theological beliefs and a strong apocalyptic worldview.
- Anticipation of Cosmic Redemption:
- There was a widespread belief in the imminent arrival of a messianic figure or a divine intervention that would bring about cosmic redemption, ushering in an era of righteousness and divine rule. This anticipation of apocalyptic events and a cosmic battle between forces of light and darkness is reflected in the War Scroll's themes.
- Preservation of Ancient Texts:
- The discovery of the Dead Sea Scrolls, including the War Scroll, provided an invaluable collection of ancient manuscripts that significantly expanded our understanding of ancient Jewish texts, religious beliefs, and the diversity of Jewish thought during the Second Temple period.
- Insights into Jewish Sectarianism:
- The scrolls shed light on the diversity of beliefs and practices among Jewish sects during that time. Understanding the beliefs and expectations of the community associated with the Dead Sea Scrolls helps contextualize the theological and apocalyptic themes present in the War Scroll.
- Confirmation of Scriptural Accuracy:
- The Dead Sea Scrolls' discovery contributed to confirming the accuracy and preservation of certain biblical texts, highlighting the continuity of textual transmission across centuries and supporting the authenticity of biblical manuscripts.
- Impact on Biblical Studies and Scholarship:
- The discovery of the Dead Sea Scrolls revolutionized biblical studies, providing scholars with invaluable primary sources for studying ancient Judaism, the development of biblical texts, and the context in which these texts were composed.
2024.06.02 22:58 MirkWorks Excerpts from The Minimal Self by Christopher Lasch (The Politics of the Psyche & The Ideological Assault on the Ego)
VI. The Politics of the Psyche
…
The Liberal Ego: Nineteenth-Century Origins of the Therapeutic Ethic
Liberal educators and social scientists have advocated ego-strengthening education, without calling it a program of personal survival, for some time. They have argued that a dynamic, pluralistic, and democratic society cannot live by the inherited moral wisdom of the past. According to the liberal theory of socialization, parents and other authorities recognize the futility of instilling in children practical skills and moral dogmas that will be outmoded by the time they become adults. Instead of merely transmitting the ethical and technical information accumulated in the past, they seek to train the inner resources that will enable the young to fend for themselves. According to liberal sociology, cultural alarmists mistake this educational realism for the abdication of parental and pedagogical authority, a breakdown of the family, a collapse of the social order. As Talcott Parsons once put it, the modern family specializes in the “production of personality” - that is, the capacity for adaption to unforeseen contingencies for experimentation and innovation. John Dewey and his followers described the task facing the school system in much the same way. When they were accused of undermining respect for authority, they replied that democratic authority, like science, achieves its greatest success precisely in assuring its own supersession. It provides each new generation with the intellectual tools and emotional resources needed to challenge existing authority and to work out new ways of living better suited than the old ways to the changing conditions of a society constantly in motion.
The liberal tradition sides with the rational, reality-testing faculty, the ego, against both impulse and inherited morality. Even in the nineteenth century, when liberal education still drew on the cultural capital of the past, more heavily than it realized, liberal social theory envisioned a new type of autonomous personality emancipated from custom, prejudice, and patriarchal constraints. In its crudest form, liberalism identified itself with the utilitarian morality of enlightened self-interest, according to which the individual seeks to maximize pleasure and to avoid pain not, of course, by giving in to impulse but by putting off immediate gratification in the anticipation of future rewards. Today the morality of enlightened self-interest lives on in behavioral psychology, which conceives of moral education as moral conditioning accomplished largely through positive reinforcements. A behaviorist like B. F. Skinner stands squarely in the utilitarian tradition when he insists that punishment, an ineffective form of social control, has to give way to “nonaversive” controls. Skinner’s belief that science can become the basis of a “better moral order,” in which “there is no need for moral struggle,” restates another tenet of utilitarianism, modified, as we shall see, by an overlay of twentieth-century progressivism.
The long-standing liberal critique of the superego found expression not only in utilitarianism and behaviorism but in nineteenth-century liberal religion, updated and secularized in the twentieth century by ego psychology, humanistic psychology, and other “reality-oriented” therapies. Then nineteenth-century attack on Calvinism, denounced by liberal preachers as a religion of terror that bred either craven submission or revolt, illustrated very clearly the difference between two conceptions of social order, one founded on submission or revolt, illustrated very clearly the difference between two conceptions of social order, one founded on submission to omnipotent divine authority and the other on a system of rational “correction.” Jacob Abbot, a Congregational clergyman, educator, and author still close enough to Calvinism to grasp its central doctrines, went to the heart of the issue when he distinguished between two conceptions of punishment, “vindictive retribution for sin” and “remedial” punishments administered with an eye to their “salutary effects” on character. Retribution, Abbott explained, takes little or no account of “future acts”; it rests instead on a sense that justice demands punishment “as the natural and proper sequel and complement of the past act of transgression.” Correction, on the other hand, employs punishment, along with rewards, in the interest of behavior modification, as it would be called today. A transitional figure, Abbott could still see value in retribution, which educates and satisfies our sense of justice. He found himself unable to decide whether God’s punishment should be seen as vindictive or remedial, and the same uncertainty, he thought, extended to the machinery of penal justice administered by the state. But no one could have any doubts, he believed about the undesirability of vindictive punishments in the school and family. “The punishment of a child by a parent, or of a pupil by a teacher, ought certainly, one would think, to exclude the element of vindictive retribution altogether, and to be employed solely with reference to the salutary influences that may be expected from it in time to come.”
By the middle of the nineteenth century, most liberals had come to regard all forms of authority in the same light, even divine justice itself. They had come to believe that God punished sinners for their own good, not because punishment provides a fitting sequel to sin. Liberal preachers applied utilitarian conceptions of justice to theological problems and reinterpreted salvation and damnation as a rational apportionment of rewards and punishments designed to encourage good behavior and discourage bad. Just as penal reformers objected to corporeal punishments and public torture on the grounds not only of their cruelty but of their ineffectiveness in preventing crime, so liberal theologians objected to the Calvinist doctrines of original sin and infant damnation on the grounds that they inadvertently encouraged moral irresponsibility and social disorder. Such was the burden of William Ellery Channing’s celebrated “moral argument against Calvinism.” “By shocking, as it does, the fundamental principles of morality, and by exhibiting a severe and partial Deity, [Calvinism] tends strongly to pervert the moral faculty, to form a gloomy, forbidding, and servile religion, and to lead men to substitute censoriousness, bitterness, and persecution, for a tender and impartial charity.” The new ethic of personal accountability and “moral agency” insisted on punishments (human or divine) accorded strictly on the basis of individual merit and aimed at the moral enlightenment of the offender, along with the correction of the bad habits behind his offense.
Psychoanalysis and the Liberal Tradition of Moral Optimism
Nineteenth-century liberal theology, with its insistence that health and happiness are a reward for clean living and high thinking, already contained the seeds of the remissive, therapeutic moralities that have flowered in such profusion in our own time. It is a commonplace that twentieth-century psychiatry serves as a substitute for religion, promising the traditional consolations of personal mastery, spiritual peace, and emotional security. Many of the founders of modern psychiatry, including the early popularizers of Freud - Ernest Rutherford Groves, Wilfred Lay, Edwin Bissell Holt - were brought up as liberal Christians and carried into their psychiatric work the ethical meliorism so characteristic of nineteenth-century Protestantism. Those who turned to psychoanalysis welcomed it as another form of mind-cure, another system of self-improvement and personal growth. From the beginning, the American version of psychoanalysis minimized the power of instinctual drives and stressed the possibility of subjecting them to rational control. In the “moral struggle” between infantile desires and the “spirit of social evolution,” as Lay called it, the unconscious proved itself “willing to follow directions and gain the reward held out to it.”
According to Freud, psychoanalytic therapy could hope only to substitute “everyday unhappiness” for debilitating neurosis. By training intelligent self-awareness, it might reconcile men and women to the sacrifices exacted by civilized life, or at least make those sacrifices easier to bear. It might even help to encourage more enlightened public attitudes toward sex. But psychoanalysis held out no cure for injustice or unhappiness; nor could it satisfy the growing demand, in a world without religion, for meaning, faith, and emotional security. It was exactly belief and personal power, however, that Americans hoped to find in psychoanalysis. They turned to Freud’s work in the hope that it would provide a new ethic grounded in study of human nature, an “ethic from below,” in Holt’s words, or in the expectation that it held the key to personal effectiveness and contentment. Popularizations of psychoanalysis, in the early years of its American acceptance, depicted it as a competitor of Christian Science. One Journalist, Lucian Cary, compared a repressed memory to an abscess. “Lance an abscess and relief is instantaneous. Tell your painful memory and you will begin to forget it.” “We have but to name these nervous diseases with their true name,” wrote Max Eastman, “… and they dissolve like the charms in a fairy story.”
The transformation of psychoanalysis into a cult of personal health and fulfillment, which occurred more rapidly and went further in America than anywhere else, had already been foreshadowed in Europe, in the early rebellions led by Alfred Adler and Carl Jung. Adler divested Freud’s theories of their sexual content, reinterpreting libido as the “will-to-power.” The “inferiority complex,” not the Oedipus complex, underlay all human actions. The struggle to overcome feelings of inferiority, to attain the “masculine ideal” of “security and conquest,” was the “fundamental fact of human development.” Adler’s stress on interpersonal relations and competition, his social democratic sympathy with the downtrodden, and his identification of the will-to-power with the striving for moral perfection appealed to many Americans. Large numbers of “Freudians” in the United States were actually closer to Adler and to Harry Stack Sullivan, who developed an indigenous psychology of interpersonal relationships that emphasized the need for power and security. This type of therapy, which assigned to willpower and self-mastery the healing role that Freud assigned to self-knowledge, blended more easily than stricter forms of psychoanalysis into a culture with its roots in nineteenth-century religious liberalism.
Even Jungian mysticism, in some of its manifestations at least, had a certain affinity with liberal traditions of moral striving and spiritual self-help. Jung saw the unconscious mind not as a tangled mass of desires - the Freudian view - but as a reservoir of collective experience, of saving myths. The task of therapy, as he saw it, was to bring to consciousness the buried imagery, the “archetypes,” the eternal wisdom deeper than mere rationality, that slumbered in the soul. As Philip Rieff has shown, Jung addressed himself to a disease no less pervasive in modern society than the sense of personal inadequacy - the impoverishment of the spiritual imagination. He sought to restore the illusion of faith, if not its reality, by enabling the patient to construct a private religion made up of the decomposing remnants of former religions, all of them equally valid in Jung’s eyes and therefore equally serviceable in the modern crisis of unbelief. Jung’s spiritual eclecticism and Adler’s self-improvement, radically different in so much of their tone and content, shared a central feature. Both replaced self-insight with ethical teaching, thereby transforming psychoanalysis into a “new religio-ethical system,” as Freud put it. Jung’s insistence on the individual’s need to complete his “life-task” - to struggle against “psychic laziness” and to find his own destiny - resembled the Adlerian exhortation to master one’s circumstances For all his despair of science and rationality, Jung shared Adler’s confidence that psychotherapy could serve as the basis of a new morality, based not on the old prohibitions but on a scientific understanding of human needs.
Even this sanitized reading of Freud proved unacceptable to most American psychiatrists, of course, and they proceeded to work out even more affirmative and uplifting therapies that promised not only personal regeneration but, in many cases, social regeneration as well, a secular version of the Christianized social order, envisioned by liberal Protestants. In the process, they jettisoned what remained of psychoanalysis. Carl Rogers, exposed as a young man to the idealism of the YMCA and to the bracing atmosphere of religious fellowship, found Freud’s pessimism as revolting and incomprehensible as his spiritual forebears had once found Calvinism. “When a Freudian such as Karl Menninger tells me … that he perceives man as … ‘innately destructive,’ I can only shake my head in wonderment.” Rogers’s own approach to therapy, as a follower put it, was “as American as apple pie.” It emphasized free will, in opposition to the determinism of both Freud and Skinner. It aimed to promote “total sensitivity to the client,” “empathy,” “unconditional positive regard,” “congruence,” and the importance of being “real.” In the tradition of earlier doctrines of human perfectibility, it held that every organism has an innate “drive toward growth, health, and adjustment.” Above all, it stressed the possibility of achieving rational control over the self and its environment.
VII. The Ideological Assault on the Ego
...
Purposefulness, Nature, and Selfhood: The Case for a Guilty Conscience
The critique of the rational or “masculine” ego, which has now found a political home in a number of important movements for social and cultural change, not only addresses issues of growing concern but identifies weaknesses in the dominant political traditions, especially in the liberal tradition, that can no longer be ignored. My objects to the “new consciousness” must not be misunderstood as a defense of liberal humanism or as an attack on feminism, environmentalism, or the peace movement. I believe in the goals of these movements and join in their demand for a realignment of political forces, an abandonment of the old political ideologies, and a reorientation of values. I share their conviction that a “cultural revolution” is an essential precondition of political change, though not a substitute for it. It is precisely because the part of Narcissus, as I have called it, has gone so much further than others in calling attention to the dangers of “instrumental reason” and industrial technology that its ideas need to be subjected to careful scrutiny. A new politics of conservation has to rest on a solid philosophical foundation, not on a critique of instrumental reason that extends to every form of purposeful activity. It has to rest on a respect for nature, not on a mystical adoration of nature. It has to rest on a firm conception of selfhood, not on the belief that the “separate self in an illusion.” A brief review of these three issues - purposefulness, nature, and selfhood - will bring this essay to a conclusion.
The antidote to instrumental reason is practical reason, not mysticism, spirituality, or the power of “personhood.” In the Aristotelian tradition of political theory, phronesis or practical reason describes the development of character, the moral perfection of life, and the virtues specific to various forms of practical activity. Technique, on the other hand, concerns itself exclusively with the means appropriate to a given end. The highest form of practice, for Aristotle and his followers, is politics, which seeks to promote the good life by conferring equal rights on all citizens and by establishing rules and conventions designed not so much to solve the problems of social living as to encourage citizens to test themselves against demanding standards of moral excellence (for example, in contests of oratorical skill and physical prowess) and thus to develop their gifts to the highest pitch. The Aristotelian conception of practice has more in common with play than with activities defined as practical in the modern sense. Practices in the Aristotelian sense have nothing to do, as such, with the production of useful objects or with satisfying material needs. This goes even for the practice of politics. Only in the sixteenth century did Machiavelli and Thomas More define material survival, the physical maintenance of life, as the chief business of the state. From that position it was a short step in the modern conception of politics as political economy, which assumes, as Jurgen Habermas points out, that “Individuals are exclusively motivated to maximize their private wants, desires, and interests.”
The classical conception carries with it a certain contempt for the production of material comforts and useful objects (which it assigns to the lowly realm of the household) and an unacceptably restrictive definition of citizenship (one that includes only those who have freed themselves from material necessity); but it nevertheless enables us to identify one of the distinctive features of the industrial worldview: its instrumentalization and debasement of practical activity. Instrumentalism regards the relation of ends and means as purely external, whereas the older tradition, now almost forgotten, holds that the choice of the means appropriate to a given end has to be considered as it contributes to internal goods as well. In other words, the choice of means has to be governed by their conformity to standards of excellence designed to extend human capacities for self-understanding and self-mastery. Industrial societies conceive of the extension of human powers only as the replacement of human labor by machinery. As work and politics lose their educative content and degenerate into pure technique, the very distinction between technique and practice becomes incomprehensible. Industrial societies have almost completely lost sight of the possibility that work and politics can serve as character-forming disciplines. These activities are now understood strictly as means of satisfying material needs. Moral ideas, meanwhile, lose their connection with practical life and the with the virtues specific to particular practices and become confused instead with the exercise of purely personal choices and the expression of personal prejudices and tastes, which can be neither justified nor explained and which should therefore not be regarded as binding on anyone else.
It is the deterioration of public life, together with the privatization and trivialization of moral ideas, that prevents a collaborative assault on the environmental and military difficulties confronting modern nations. But the part of Narcissus does not understand the source of these difficulties: the confusion of practice with technique. It shares this confusion and thus repudiates all forms of purposeful action in favor of playful, artistic pursuits, which it misunderstands, moreover, as activities without structure or purpose. When it insists on the pathology of purposefulness, it merely reverses industrial ideology. Where the prevailing ideology swallows up practice into a cult of technique, the “counterculture” indiscriminately rejects both and advocates a renunciation of will and purpose as the only escape from Promethean technology. Disparaging human inventiveness, which it associates only with destructive industrial technologies, it defines the overriding imperative of the present age as a return to nature. It ignores the more important need to restore the intermediate world of practical activity, which binds man to nature in the capacity of a living caretaker and cultivator, not in a symbiotic union that simply denies the reality of man’s separation from nature.
An environmental ethic ought to affirm the possibility of living in peace with nature while acknowledging that separation. Nature sets limits to human freedom, but it does not define freedom; nor does it, by itself, offer us a home. Our home is the earth, which includes a marvelously salubrious natural environment but also includes the durable world of human objects and associations. The crowning indictment of industrial civilization is not merely that it has ravaged nature but that it has undermined confidence in the continuity and permanence of the man-made world by surrounding us with disposable goods and with fantastic images of commodities. Confusion about the distinction between practice and technique is closely bound up with confusion about man’s relation to nature. Human beings are part of an intricately interconnected evolutionary chain, but self-consciousness - the capacity to see the self from a point of view outside the self - distinguishes humanity from other forms of life and leads both to a sense of power over nature and to a sense of alienation from nature. Dependent on nature yet capable of transcending it, humanity wavers between transcendent pride and a humiliating sense of weakness and dependency. It seeks to dissolve this tension either by making itself altogether self-sufficient or by dreaming of a symbiotic reunion with the primordial source of life. The first path leads to the attempt to impose human will on nature through technology and to achieve an absolute independence from nature; the second, to a complete surrender of the will.
If men were moved solely by impulse and self-interest, they would be content, like other animals, simply to survive. Nature knows no will-to-power, only a will-to-live. With man, needs become desires; even the acquisitive enterprise has a spiritual dimension, which makes men want more than they need. This is why it is useless to urge men to renounce material pleasures in favor of a more spiritual existence. It is precisely the spiritual side of human experience that makes men want more than is good for them. It is equally useless to urge men to be governed, in the interest of their survival and the distinctively human and spiritual impulse of pride and power,” as Reinhold Neibuhr once observed, too often tend to seek a quick and easy return to the harmony of a purely natural existence. “The perversity of romantic naturalism,” Neibuhr wrote - which reappears in many phases o the contemporary environmental movement - “consists in the primitivistic effort to regain the innocency of nature” and “to reconstitute the harmony of nature on a new level of historical decision.” Such a program misunderstands human freedom, which makes it impossible to recreate natural harmony in history. The innocence of nature is harmony without freedom.
At this point in history, it is essential to question the boundless confidence in human powers that acknowledges no limits, which finds its ultimate expression in the technology of nuclear warfare. But this cannot be done by disavowing all forms of purposive intelligence or by dissolving the subject-object distinction that allegedly underlies it - the “strange dualistic epistemology characteristic of Occidental civilization,” as Bateson calls it. Selfhood - an obsolete idea, according to Bateson and other proponents of the “new consciousness” - is precisely the inescapable awareness of man’s contradictory place in the natural order of things. Advocates of a cultural revolution echo the dominant culture not only in their confusion of practice with technique but in their equation of selfhood with the rational ego. Like their opponents, they see rationality as the essence of selfhood. Accordingly, they argue for a “resurrection of the body,” for “feminine” intuition and feeling against the instrumental reason of the male, for the alleged aimlessness of play, and for the “poetic imagination,” as Bateson puts it, as a corrective to “false reifications of the ‘self’.” The distinguishing characteristic of selfhood, however, is not rationality but the critical awareness of man’s divided nature. Selfhood expresses itself in the form of a guilty conscience, the painful awareness of the gulf between human aspirations and human limitations. “Bad conscience is inseparable from freedom without an accompanying critical attitude to the self,” and this “excess of freedom and the critical turning back upon the self that freedom begets,” he adds, “are at the source of dialectical thinking and the dialectical interpretation of history.”
Both the champions and the critics of the rational ego turn their back on what remains valuable in the Western, Judaeo-Christian tradition of individualism (as opposed to the tradition of acquisitive individualism, which parodies and subverts it): the definition of selfhood as tension, division, conflict. As Neibuhr pointed out, attempts to ease an uneasy conscience take the form of a denial of man’s divided nature. “Either the rational man or the natural man is conceived as essentially good.” If the party of the ego glorifies the rational man, the party of Narcissus seeks to dissolve tension in its own way, by dreaming of a symbiotic reunion with nature. It glorifies the natural man, often after redefining nature itself, however, as an aspect of some universal mind.
As for the party of the superego, it equates conscience not with an awareness of the dialectical relationships between freedom and the capacity for destruction but with adherence to a received body of authoritative moral law. It hankers for the restoration of punitive sanctions against disobedience, above all for the restoration of fear. It forgets that conscience (as distinguished from the superego) originates not so much in the “fear of God” as in the urge to make amends. Conscience arises not so much from the dread of reprisals by those we have injured or wish to injure as in the capacity for mourning and remorse. In individuals, its development signifies the child’s growing awareness that the parents he wishes to punish and destroy are the same parents on whom he relies for love and nourishment. It represents the simultaneous acceptance of dependence - on fathers, on mothers, on nature - and of our inevitable separation from the primordial source of life.
In the history of civilization, the emergence of conscience can be linked among other things to changing attitudes toward the dead. The idea that the dead call for revenge, that their avenging spirits haunt the living, and that the living know no peace until they placate these ancestral ghosts gives way to an attitude of genuine mourning. At the same time, vindictive gods give way to gods who show mercy as well and uphold the morality of loving your enemy. Such a morality has never achieved anything like general popularity, but it lives on, even in our own enlightened age, as a reminder both of our fallen state and of our surprising capacity for gratitude, remorse, and forgiveness, by means of which we now and then transcend it.
The Culture of Narcissism to a coworker and friend a couple of weeks ago, yesterday we discussed it after work. Apparently he’d managed to get halfway through the text before putting it down in frustration, he’d found that despite Lasch’s stylistic precision he found Lasch’s thesis “imprecise”. Had a great discussion. His initial frustrations with and criticism of Lasch mirrored my own. He didn’t like the use of the term “narcissism”… made other tentative suggestions and we worked through those. Things like “self-centeredness” that don’t really capture what Lasch was attempting to highlight (recalling what Lasch himself had noted at the start of the text in regards to the use of Narcissism as a metaphor for the spirit of the times or for contemporary subjectivity… Narcissism as understood and utilized by Lasch is not “Self-Love” or having a strong sense of Self or Self-Image)… really the best ‘alternative’ is One-Dimensionality or the One-Dimensional Man (and perhaps by extension Heidegger’s Das man and Nietzsche’s Last Man). Something seemed to click when I historically situated Lasch and by extension his application of psychoanalytic theory. I was very happy he’d started reading the book. Lots of things were clarified in the discussion. He proposed his own “alternative” which I thought was brilliant, ‘Mattress People’… the imprint/indentation left on a bed.
My friend is something of an amateur historian who legitimately reads through the works he cites. When I’d first met him he was actively engaging with Von Mises work along with Robert Conquest’s works (Cold War era Hawkish historical mythmaking concerning the USSR). Suspect he was university student in Cuba, possibly a teacher… so he has a very particular AES country engineer-logic, a type you have to experience in person and which I imagine is fairly ubiquitous not just in Cuba but throughout the former USSR and Communist Bloc as well. Can see why a Von Mises would stick with the type, just the right combination of ‘scientific’ or materialist authority and ideological zeal (Von Mises is undeniably an ideologue, a true photographic negative of a Marxist rhetorician). We’ve had some wonderful discussions, being someone who doesn’t act like a complete weirdo if you disagree with whoever he happens to be reading at the time or if you happen to disagree with him. In a strange bit of synchronicity, he recommend I check out Collapse by Vladislav M. Zubok. Been meaning to engage with this work as part of a larger study cycle.
An impressive feat of historical compilation and historiographical production. Lacking in French grandiosity his Work remains wildly ambitious in scope, almost cyclopean. Find Lasch calcifying. Suspect this has to do with his approach. In some ways Lasch appears to play a kind of trick on the reader. His methodology and style appears very lucid and unpretentious…”matter-of-fact” and yet this proves to obscure more than it illuminates. Has something of a “looping” or “spiraling” effect. There is a motion in its stagnation, an intelligence and a frustration propelling the reader into different zones. This feels like something Lasch himself attempts to control, there is a jealousy in this.>
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The Liberal Ego: Nineteenth-Century Origins of the Therapeutic Ethic
Liberal educators and social scientists have advocated ego-strengthening education, without calling it a program of personal survival, for some time. They have argued that a dynamic, pluralistic, and democratic society cannot live by the inherited moral wisdom of the past. According to the liberal theory of socialization, parents and other authorities recognize the futility of instilling in children practical skills and moral dogmas that will be outmoded by the time they become adults. Instead of merely transmitting the ethical and technical information accumulated in the past, they seek to train the inner resources that will enable the young to fend for themselves. According to liberal sociology, cultural alarmists mistake this educational realism for the abdication of parental and pedagogical authority, a breakdown of the family, a collapse of the social order. As Talcott Parsons once put it, the modern family specializes in the “production of personality” - that is, the capacity for adaption to unforeseen contingencies for experimentation and innovation. John Dewey and his followers described the task facing the school system in much the same way. When they were accused of undermining respect for authority, they replied that democratic authority, like science, achieves its greatest success precisely in assuring its own supersession. It provides each new generation with the intellectual tools and emotional resources needed to challenge existing authority and to work out new ways of living better suited than the old ways to the changing conditions of a society constantly in motion.
The liberal tradition sides with the rational, reality-testing faculty, the ego, against both impulse and inherited morality. Even in the nineteenth century, when liberal education still drew on the cultural capital of the past, more heavily than it realized, liberal social theory envisioned a new type of autonomous personality emancipated from custom, prejudice, and patriarchal constraints. In its crudest form, liberalism identified itself with the utilitarian morality of enlightened self-interest, according to which the individual seeks to maximize pleasure and to avoid pain not, of course, by giving in to impulse but by putting off immediate gratification in the anticipation of future rewards. Today the morality of enlightened self-interest lives on in behavioral psychology, which conceives of moral education as moral conditioning accomplished largely through positive reinforcements. A behaviorist like B. F. Skinner stands squarely in the utilitarian tradition when he insists that punishment, an ineffective form of social control, has to give way to “nonaversive” controls. Skinner’s belief that science can become the basis of a “better moral order,” in which “there is no need for moral struggle,” restates another tenet of utilitarianism, modified, as we shall see, by an overlay of twentieth-century progressivism.
The long-standing liberal critique of the superego found expression not only in utilitarianism and behaviorism but in nineteenth-century liberal religion, updated and secularized in the twentieth century by ego psychology, humanistic psychology, and other “reality-oriented” therapies. Then nineteenth-century attack on Calvinism, denounced by liberal preachers as a religion of terror that bred either craven submission or revolt, illustrated very clearly the difference between two conceptions of social order, one founded on submission or revolt, illustrated very clearly the difference between two conceptions of social order, one founded on submission to omnipotent divine authority and the other on a system of rational “correction.” Jacob Abbot, a Congregational clergyman, educator, and author still close enough to Calvinism to grasp its central doctrines, went to the heart of the issue when he distinguished between two conceptions of punishment, “vindictive retribution for sin” and “remedial” punishments administered with an eye to their “salutary effects” on character. Retribution, Abbott explained, takes little or no account of “future acts”; it rests instead on a sense that justice demands punishment “as the natural and proper sequel and complement of the past act of transgression.” Correction, on the other hand, employs punishment, along with rewards, in the interest of behavior modification, as it would be called today. A transitional figure, Abbott could still see value in retribution, which educates and satisfies our sense of justice. He found himself unable to decide whether God’s punishment should be seen as vindictive or remedial, and the same uncertainty, he thought, extended to the machinery of penal justice administered by the state. But no one could have any doubts, he believed about the undesirability of vindictive punishments in the school and family. “The punishment of a child by a parent, or of a pupil by a teacher, ought certainly, one would think, to exclude the element of vindictive retribution altogether, and to be employed solely with reference to the salutary influences that may be expected from it in time to come.”
By the middle of the nineteenth century, most liberals had come to regard all forms of authority in the same light, even divine justice itself. They had come to believe that God punished sinners for their own good, not because punishment provides a fitting sequel to sin. Liberal preachers applied utilitarian conceptions of justice to theological problems and reinterpreted salvation and damnation as a rational apportionment of rewards and punishments designed to encourage good behavior and discourage bad. Just as penal reformers objected to corporeal punishments and public torture on the grounds not only of their cruelty but of their ineffectiveness in preventing crime, so liberal theologians objected to the Calvinist doctrines of original sin and infant damnation on the grounds that they inadvertently encouraged moral irresponsibility and social disorder. Such was the burden of William Ellery Channing’s celebrated “moral argument against Calvinism.” “By shocking, as it does, the fundamental principles of morality, and by exhibiting a severe and partial Deity, [Calvinism] tends strongly to pervert the moral faculty, to form a gloomy, forbidding, and servile religion, and to lead men to substitute censoriousness, bitterness, and persecution, for a tender and impartial charity.” The new ethic of personal accountability and “moral agency” insisted on punishments (human or divine) accorded strictly on the basis of individual merit and aimed at the moral enlightenment of the offender, along with the correction of the bad habits behind his offense.
Psychoanalysis and the Liberal Tradition of Moral Optimism
Nineteenth-century liberal theology, with its insistence that health and happiness are a reward for clean living and high thinking, already contained the seeds of the remissive, therapeutic moralities that have flowered in such profusion in our own time. It is a commonplace that twentieth-century psychiatry serves as a substitute for religion, promising the traditional consolations of personal mastery, spiritual peace, and emotional security. Many of the founders of modern psychiatry, including the early popularizers of Freud - Ernest Rutherford Groves, Wilfred Lay, Edwin Bissell Holt - were brought up as liberal Christians and carried into their psychiatric work the ethical meliorism so characteristic of nineteenth-century Protestantism. Those who turned to psychoanalysis welcomed it as another form of mind-cure, another system of self-improvement and personal growth. From the beginning, the American version of psychoanalysis minimized the power of instinctual drives and stressed the possibility of subjecting them to rational control. In the “moral struggle” between infantile desires and the “spirit of social evolution,” as Lay called it, the unconscious proved itself “willing to follow directions and gain the reward held out to it.”
According to Freud, psychoanalytic therapy could hope only to substitute “everyday unhappiness” for debilitating neurosis. By training intelligent self-awareness, it might reconcile men and women to the sacrifices exacted by civilized life, or at least make those sacrifices easier to bear. It might even help to encourage more enlightened public attitudes toward sex. But psychoanalysis held out no cure for injustice or unhappiness; nor could it satisfy the growing demand, in a world without religion, for meaning, faith, and emotional security. It was exactly belief and personal power, however, that Americans hoped to find in psychoanalysis. They turned to Freud’s work in the hope that it would provide a new ethic grounded in study of human nature, an “ethic from below,” in Holt’s words, or in the expectation that it held the key to personal effectiveness and contentment. Popularizations of psychoanalysis, in the early years of its American acceptance, depicted it as a competitor of Christian Science. One Journalist, Lucian Cary, compared a repressed memory to an abscess. “Lance an abscess and relief is instantaneous. Tell your painful memory and you will begin to forget it.” “We have but to name these nervous diseases with their true name,” wrote Max Eastman, “… and they dissolve like the charms in a fairy story.”
The transformation of psychoanalysis into a cult of personal health and fulfillment, which occurred more rapidly and went further in America than anywhere else, had already been foreshadowed in Europe, in the early rebellions led by Alfred Adler and Carl Jung. Adler divested Freud’s theories of their sexual content, reinterpreting libido as the “will-to-power.” The “inferiority complex,” not the Oedipus complex, underlay all human actions. The struggle to overcome feelings of inferiority, to attain the “masculine ideal” of “security and conquest,” was the “fundamental fact of human development.” Adler’s stress on interpersonal relations and competition, his social democratic sympathy with the downtrodden, and his identification of the will-to-power with the striving for moral perfection appealed to many Americans. Large numbers of “Freudians” in the United States were actually closer to Adler and to Harry Stack Sullivan, who developed an indigenous psychology of interpersonal relationships that emphasized the need for power and security. This type of therapy, which assigned to willpower and self-mastery the healing role that Freud assigned to self-knowledge, blended more easily than stricter forms of psychoanalysis into a culture with its roots in nineteenth-century religious liberalism.
Even Jungian mysticism, in some of its manifestations at least, had a certain affinity with liberal traditions of moral striving and spiritual self-help. Jung saw the unconscious mind not as a tangled mass of desires - the Freudian view - but as a reservoir of collective experience, of saving myths. The task of therapy, as he saw it, was to bring to consciousness the buried imagery, the “archetypes,” the eternal wisdom deeper than mere rationality, that slumbered in the soul. As Philip Rieff has shown, Jung addressed himself to a disease no less pervasive in modern society than the sense of personal inadequacy - the impoverishment of the spiritual imagination. He sought to restore the illusion of faith, if not its reality, by enabling the patient to construct a private religion made up of the decomposing remnants of former religions, all of them equally valid in Jung’s eyes and therefore equally serviceable in the modern crisis of unbelief. Jung’s spiritual eclecticism and Adler’s self-improvement, radically different in so much of their tone and content, shared a central feature. Both replaced self-insight with ethical teaching, thereby transforming psychoanalysis into a “new religio-ethical system,” as Freud put it. Jung’s insistence on the individual’s need to complete his “life-task” - to struggle against “psychic laziness” and to find his own destiny - resembled the Adlerian exhortation to master one’s circumstances For all his despair of science and rationality, Jung shared Adler’s confidence that psychotherapy could serve as the basis of a new morality, based not on the old prohibitions but on a scientific understanding of human needs.
Even this sanitized reading of Freud proved unacceptable to most American psychiatrists, of course, and they proceeded to work out even more affirmative and uplifting therapies that promised not only personal regeneration but, in many cases, social regeneration as well, a secular version of the Christianized social order, envisioned by liberal Protestants. In the process, they jettisoned what remained of psychoanalysis. Carl Rogers, exposed as a young man to the idealism of the YMCA and to the bracing atmosphere of religious fellowship, found Freud’s pessimism as revolting and incomprehensible as his spiritual forebears had once found Calvinism. “When a Freudian such as Karl Menninger tells me … that he perceives man as … ‘innately destructive,’ I can only shake my head in wonderment.” Rogers’s own approach to therapy, as a follower put it, was “as American as apple pie.” It emphasized free will, in opposition to the determinism of both Freud and Skinner. It aimed to promote “total sensitivity to the client,” “empathy,” “unconditional positive regard,” “congruence,” and the importance of being “real.” In the tradition of earlier doctrines of human perfectibility, it held that every organism has an innate “drive toward growth, health, and adjustment.” Above all, it stressed the possibility of achieving rational control over the self and its environment.
VII. The Ideological Assault on the Ego
...
Purposefulness, Nature, and Selfhood: The Case for a Guilty Conscience
The critique of the rational or “masculine” ego, which has now found a political home in a number of important movements for social and cultural change, not only addresses issues of growing concern but identifies weaknesses in the dominant political traditions, especially in the liberal tradition, that can no longer be ignored. My objects to the “new consciousness” must not be misunderstood as a defense of liberal humanism or as an attack on feminism, environmentalism, or the peace movement. I believe in the goals of these movements and join in their demand for a realignment of political forces, an abandonment of the old political ideologies, and a reorientation of values. I share their conviction that a “cultural revolution” is an essential precondition of political change, though not a substitute for it. It is precisely because the part of Narcissus, as I have called it, has gone so much further than others in calling attention to the dangers of “instrumental reason” and industrial technology that its ideas need to be subjected to careful scrutiny. A new politics of conservation has to rest on a solid philosophical foundation, not on a critique of instrumental reason that extends to every form of purposeful activity. It has to rest on a respect for nature, not on a mystical adoration of nature. It has to rest on a firm conception of selfhood, not on the belief that the “separate self in an illusion.” A brief review of these three issues - purposefulness, nature, and selfhood - will bring this essay to a conclusion.
The antidote to instrumental reason is practical reason, not mysticism, spirituality, or the power of “personhood.” In the Aristotelian tradition of political theory, phronesis or practical reason describes the development of character, the moral perfection of life, and the virtues specific to various forms of practical activity. Technique, on the other hand, concerns itself exclusively with the means appropriate to a given end. The highest form of practice, for Aristotle and his followers, is politics, which seeks to promote the good life by conferring equal rights on all citizens and by establishing rules and conventions designed not so much to solve the problems of social living as to encourage citizens to test themselves against demanding standards of moral excellence (for example, in contests of oratorical skill and physical prowess) and thus to develop their gifts to the highest pitch. The Aristotelian conception of practice has more in common with play than with activities defined as practical in the modern sense. Practices in the Aristotelian sense have nothing to do, as such, with the production of useful objects or with satisfying material needs. This goes even for the practice of politics. Only in the sixteenth century did Machiavelli and Thomas More define material survival, the physical maintenance of life, as the chief business of the state. From that position it was a short step in the modern conception of politics as political economy, which assumes, as Jurgen Habermas points out, that “Individuals are exclusively motivated to maximize their private wants, desires, and interests.”
The classical conception carries with it a certain contempt for the production of material comforts and useful objects (which it assigns to the lowly realm of the household) and an unacceptably restrictive definition of citizenship (one that includes only those who have freed themselves from material necessity); but it nevertheless enables us to identify one of the distinctive features of the industrial worldview: its instrumentalization and debasement of practical activity. Instrumentalism regards the relation of ends and means as purely external, whereas the older tradition, now almost forgotten, holds that the choice of the means appropriate to a given end has to be considered as it contributes to internal goods as well. In other words, the choice of means has to be governed by their conformity to standards of excellence designed to extend human capacities for self-understanding and self-mastery. Industrial societies conceive of the extension of human powers only as the replacement of human labor by machinery. As work and politics lose their educative content and degenerate into pure technique, the very distinction between technique and practice becomes incomprehensible. Industrial societies have almost completely lost sight of the possibility that work and politics can serve as character-forming disciplines. These activities are now understood strictly as means of satisfying material needs. Moral ideas, meanwhile, lose their connection with practical life and the with the virtues specific to particular practices and become confused instead with the exercise of purely personal choices and the expression of personal prejudices and tastes, which can be neither justified nor explained and which should therefore not be regarded as binding on anyone else.
It is the deterioration of public life, together with the privatization and trivialization of moral ideas, that prevents a collaborative assault on the environmental and military difficulties confronting modern nations. But the part of Narcissus does not understand the source of these difficulties: the confusion of practice with technique. It shares this confusion and thus repudiates all forms of purposeful action in favor of playful, artistic pursuits, which it misunderstands, moreover, as activities without structure or purpose. When it insists on the pathology of purposefulness, it merely reverses industrial ideology. Where the prevailing ideology swallows up practice into a cult of technique, the “counterculture” indiscriminately rejects both and advocates a renunciation of will and purpose as the only escape from Promethean technology. Disparaging human inventiveness, which it associates only with destructive industrial technologies, it defines the overriding imperative of the present age as a return to nature. It ignores the more important need to restore the intermediate world of practical activity, which binds man to nature in the capacity of a living caretaker and cultivator, not in a symbiotic union that simply denies the reality of man’s separation from nature.
An environmental ethic ought to affirm the possibility of living in peace with nature while acknowledging that separation. Nature sets limits to human freedom, but it does not define freedom; nor does it, by itself, offer us a home. Our home is the earth, which includes a marvelously salubrious natural environment but also includes the durable world of human objects and associations. The crowning indictment of industrial civilization is not merely that it has ravaged nature but that it has undermined confidence in the continuity and permanence of the man-made world by surrounding us with disposable goods and with fantastic images of commodities. Confusion about the distinction between practice and technique is closely bound up with confusion about man’s relation to nature. Human beings are part of an intricately interconnected evolutionary chain, but self-consciousness - the capacity to see the self from a point of view outside the self - distinguishes humanity from other forms of life and leads both to a sense of power over nature and to a sense of alienation from nature. Dependent on nature yet capable of transcending it, humanity wavers between transcendent pride and a humiliating sense of weakness and dependency. It seeks to dissolve this tension either by making itself altogether self-sufficient or by dreaming of a symbiotic reunion with the primordial source of life. The first path leads to the attempt to impose human will on nature through technology and to achieve an absolute independence from nature; the second, to a complete surrender of the will.
If men were moved solely by impulse and self-interest, they would be content, like other animals, simply to survive. Nature knows no will-to-power, only a will-to-live. With man, needs become desires; even the acquisitive enterprise has a spiritual dimension, which makes men want more than they need. This is why it is useless to urge men to renounce material pleasures in favor of a more spiritual existence. It is precisely the spiritual side of human experience that makes men want more than is good for them. It is equally useless to urge men to be governed, in the interest of their survival and the distinctively human and spiritual impulse of pride and power,” as Reinhold Neibuhr once observed, too often tend to seek a quick and easy return to the harmony of a purely natural existence. “The perversity of romantic naturalism,” Neibuhr wrote - which reappears in many phases o the contemporary environmental movement - “consists in the primitivistic effort to regain the innocency of nature” and “to reconstitute the harmony of nature on a new level of historical decision.” Such a program misunderstands human freedom, which makes it impossible to recreate natural harmony in history. The innocence of nature is harmony without freedom.
At this point in history, it is essential to question the boundless confidence in human powers that acknowledges no limits, which finds its ultimate expression in the technology of nuclear warfare. But this cannot be done by disavowing all forms of purposive intelligence or by dissolving the subject-object distinction that allegedly underlies it - the “strange dualistic epistemology characteristic of Occidental civilization,” as Bateson calls it. Selfhood - an obsolete idea, according to Bateson and other proponents of the “new consciousness” - is precisely the inescapable awareness of man’s contradictory place in the natural order of things. Advocates of a cultural revolution echo the dominant culture not only in their confusion of practice with technique but in their equation of selfhood with the rational ego. Like their opponents, they see rationality as the essence of selfhood. Accordingly, they argue for a “resurrection of the body,” for “feminine” intuition and feeling against the instrumental reason of the male, for the alleged aimlessness of play, and for the “poetic imagination,” as Bateson puts it, as a corrective to “false reifications of the ‘self’.” The distinguishing characteristic of selfhood, however, is not rationality but the critical awareness of man’s divided nature. Selfhood expresses itself in the form of a guilty conscience, the painful awareness of the gulf between human aspirations and human limitations. “Bad conscience is inseparable from freedom without an accompanying critical attitude to the self,” and this “excess of freedom and the critical turning back upon the self that freedom begets,” he adds, “are at the source of dialectical thinking and the dialectical interpretation of history.”
Both the champions and the critics of the rational ego turn their back on what remains valuable in the Western, Judaeo-Christian tradition of individualism (as opposed to the tradition of acquisitive individualism, which parodies and subverts it): the definition of selfhood as tension, division, conflict. As Neibuhr pointed out, attempts to ease an uneasy conscience take the form of a denial of man’s divided nature. “Either the rational man or the natural man is conceived as essentially good.” If the party of the ego glorifies the rational man, the party of Narcissus seeks to dissolve tension in its own way, by dreaming of a symbiotic reunion with nature. It glorifies the natural man, often after redefining nature itself, however, as an aspect of some universal mind.
As for the party of the superego, it equates conscience not with an awareness of the dialectical relationships between freedom and the capacity for destruction but with adherence to a received body of authoritative moral law. It hankers for the restoration of punitive sanctions against disobedience, above all for the restoration of fear. It forgets that conscience (as distinguished from the superego) originates not so much in the “fear of God” as in the urge to make amends. Conscience arises not so much from the dread of reprisals by those we have injured or wish to injure as in the capacity for mourning and remorse. In individuals, its development signifies the child’s growing awareness that the parents he wishes to punish and destroy are the same parents on whom he relies for love and nourishment. It represents the simultaneous acceptance of dependence - on fathers, on mothers, on nature - and of our inevitable separation from the primordial source of life.
In the history of civilization, the emergence of conscience can be linked among other things to changing attitudes toward the dead. The idea that the dead call for revenge, that their avenging spirits haunt the living, and that the living know no peace until they placate these ancestral ghosts gives way to an attitude of genuine mourning. At the same time, vindictive gods give way to gods who show mercy as well and uphold the morality of loving your enemy. Such a morality has never achieved anything like general popularity, but it lives on, even in our own enlightened age, as a reminder both of our fallen state and of our surprising capacity for gratitude, remorse, and forgiveness, by means of which we now and then transcend it.
My friend is something of an amateur historian who legitimately reads through the works he cites. When I’d first met him he was actively engaging with Von Mises work along with Robert Conquest’s works (Cold War era Hawkish historical mythmaking concerning the USSR). Suspect he was university student in Cuba, possibly a teacher… so he has a very particular AES country engineer-logic, a type you have to experience in person and which I imagine is fairly ubiquitous not just in Cuba but throughout the former USSR and Communist Bloc as well. Can see why a Von Mises would stick with the type, just the right combination of ‘scientific’ or materialist authority and ideological zeal (Von Mises is undeniably an ideologue, a true photographic negative of a Marxist rhetorician). We’ve had some wonderful discussions, being someone who doesn’t act like a complete weirdo if you disagree with whoever he happens to be reading at the time or if you happen to disagree with him. In a strange bit of synchronicity, he recommend I check out Collapse by Vladislav M. Zubok. Been meaning to engage with this work as part of a larger study cycle.
An impressive feat of historical compilation and historiographical production. Lacking in French grandiosity his Work remains wildly ambitious in scope, almost cyclopean. Find Lasch calcifying. Suspect this has to do with his approach. In some ways Lasch appears to play a kind of trick on the reader. His methodology and style appears very lucid and unpretentious…”matter-of-fact” and yet this proves to obscure more than it illuminates. Has something of a “looping” or “spiraling” effect. There is a motion in its stagnation, an intelligence and a frustration propelling the reader into different zones. This feels like something Lasch himself attempts to control, there is a jealousy in this.>
2024.06.02 21:39 Juxtavarious [EXCEL] Most efficient way to store a table in VBA to be stamped into other workbooks?
I am convinced that I'm missing some kind of vernacular or jargon that is not yielding an answer to a search when I try to figure this out. I have a macro currently that prints a list of names, numbers, and notes to a workbook as part of generating from a template. Currently, that macro is A1 = value, A2 = value, A3 = value, etc. I have to imagine that there is a substantially more efficient way of handling this than what I've slapped together. I am trying and failing to get any information to pass through an array to be printed to a worksheet and I don't understand what I don't understand.
What I'm trying to do is to put the data into a simple array that is three columns wide and however many rows tall that I need. Right now, it's setup to just write straight to the worksheet one value at a time but this isn't easily maintainable especially since each list is by column stacked within the code. This has made the code more difficult to read than necessary.
I've tried looking through SO and MS help for an explanation but am clearly missing some critical bit of understanding in how these are meant to function/load which is preventing me from being able to understand how to resolve the issue. Most of the examples involve copying data from a worksheet which isn't what I'm trying to set up. I want to be able to populate the array itself in VBA and then have that stamp to the worksheet. Any help would be much appreciated.
EDIT: So based on continued struggle and comments, to more clearly describe what all it is that I'm doing and why:
This particular macro is a step in a series of macros to generate a directory to a worksheet that is then formatted into a table to be passed into a query to identify and organize data by known facilities. The directory has to be printed to the worksheet from the macro itself because certain users have had trouble understanding how to update something this simple on their own. What I am trying to do is improve on the overall code to most efficiently print this data from the VBA script to the worksheet. Originally, I had everything as a individual cell reference to populate the values. As you can imagine, this makes it hard to read which all lines have what data on them when the rest of the row is separated by column and stacked vertically.
Based on what I am able to make work, I have this down to 1D arrays on a one per row setup so that at least now everything is captured a row at a time as opposed to a cell at a time which is definitely an improvement on efficiency and readability. However, I'd still like to understand how to do this with a 2D array to populate the worksheet straight from the code. That is where I am struggling to tie loose ends together.
submitted by Juxtavarious to vba [link] [comments]
What I'm trying to do is to put the data into a simple array that is three columns wide and however many rows tall that I need. Right now, it's setup to just write straight to the worksheet one value at a time but this isn't easily maintainable especially since each list is by column stacked within the code. This has made the code more difficult to read than necessary.
I've tried looking through SO and MS help for an explanation but am clearly missing some critical bit of understanding in how these are meant to function/load which is preventing me from being able to understand how to resolve the issue. Most of the examples involve copying data from a worksheet which isn't what I'm trying to set up. I want to be able to populate the array itself in VBA and then have that stamp to the worksheet. Any help would be much appreciated.
EDIT: So based on continued struggle and comments, to more clearly describe what all it is that I'm doing and why:
This particular macro is a step in a series of macros to generate a directory to a worksheet that is then formatted into a table to be passed into a query to identify and organize data by known facilities. The directory has to be printed to the worksheet from the macro itself because certain users have had trouble understanding how to update something this simple on their own. What I am trying to do is improve on the overall code to most efficiently print this data from the VBA script to the worksheet. Originally, I had everything as a individual cell reference to populate the values. As you can imagine, this makes it hard to read which all lines have what data on them when the rest of the row is separated by column and stacked vertically.
Based on what I am able to make work, I have this down to 1D arrays on a one per row setup so that at least now everything is captured a row at a time as opposed to a cell at a time which is definitely an improvement on efficiency and readability. However, I'd still like to understand how to do this with a 2D array to populate the worksheet straight from the code. That is where I am struggling to tie loose ends together.
2024.06.02 18:42 adulting4kids Last Five Levels
- Historical Context:
- Level 1: In what ways does the unconventional era impact historical elements within the story?
- Level 2: Explore specific historical events unique to this era that influence the characters' lives.
- Level 3: How do characters navigate societal changes and challenges that stem from the unconventional historical context?
- Level 4: Are there conflicts or alliances rooted in historical events that shape the narrative's progression?
- Level 5: Reflect on the broader implications of the historical context on [Protagonist]'s journey and the story's thematic depth.
- Foreshadowing:
- Level 1: Identify instances of foreshadowing in the narrative, hinting at future events or revelations.
- Level 2: Explore the subtleties and clues embedded in foreshadowing and their significance.
- Level 3: How do characters interpret or respond to foreshadowing, and does it impact their decisions?
- Level 4: Are there moments where foreshadowing creates tension or suspense in the story?
- Level 5: Reflect on the overall impact of foreshadowing on the narrative's pacing and reader engagement
- Parallel Narratives:
- Level 1: Does the story explore parallel narratives or subplots? If so, what are they?
- Level 2: Describe how parallel narratives intersect with the main plot and contribute to character development.
- Level 3: How do parallel narratives enhance the overall storytelling experience and thematic exploration?
- Level 4: Are there moments of convergence or divergence between the main plot and parallel narratives?
- Level 5: Reflect on the role of parallel narratives in setting the stage for future developments in a longer, novel-length storyline.
- Narrative Tone:
- Level 1: Describe the overall tone of the story—is it whimsical, poetic, dark, or a blend of various tones?
- Level 2: Explore specific scenes or moments that exemplify the chosen narrative tone.
- Level 3: How does the narrative tone align with [Protagonist]'s character and the overall atmosphere of the tale?
- Level 4: Are there shifts in tone during pivotal moments, and how do they contribute to the story's emotional impact?
- Level 5: Reflect on the significance of the chosen narrative tone in conveying the story's themes and evoking reader responses.
- Open-Ended Possibilities:
- Level 1: Does the resolution of the story leave room for open-ended possibilities or hints at potential future developments?
- Level 2: Explore specific elements in the resolution that set the stage for future story arcs .
- Level 3: How do characters' decisions in the resolution impact the trajectory of their individual journeys?
- Level 4: Are there unresolved threads or lingering questions that beckon further exploration?
- Level 5: Reflect on the potential for future developments and how the story's resolution paves the way for a novel-length exploration of [Protagonist]'s journey.
2024.05.31 16:03 samvit59 Resume review please
 | Want to apply to finance roles submitted by samvit59 to ResumeExperts [link] [comments] |
2024.05.31 11:58 Trick_Minimum3190 Innocuous AI Today, Dystopian Warning Tomorrow: A Provocative Inquiry
Looking at the current capabilities of artificial intelligence and witness its integration into various aspects of our lives, it's worth pondering: What seemingly innocuous AI applications today could serve as ominous harbingers of a dystopian future?
Consider this: In today's world, AI-powered personal assistants like Siri and Alexa provide convenient solutions to mundane tasks, from setting reminders to playing music. While their utility is undeniable, could these seemingly harmless AI companions foreshadow a darker future?
Imagine a not-so-distant future where these AI assistants evolve into omnipresent entities, privy to every aspect of our lives. What might seem like harmless convenience today could morph into pervasive surveillance and control tomorrow. Every conversation, every action monitored and analyzed, all in the name of efficiency and optimization.
Furthermore, the proliferation of AI in social media algorithms presents another potential warning sign. As AI learns our preferences and behaviors to tailor content, it shapes our worldview and influences our decisions in subtle ways. While this may seem innocuous now, imagine a future where AI algorithms dictate not just what we see but also what we think and believe.
Even the use of AI in healthcare, such as diagnostic algorithms and predictive analytics, could take a sinister turn if wielded without proper ethical oversight. What starts as a tool for improving medical outcomes could devolve into discriminatory practices, with AI determining who receives care based on predetermined criteria.
The point of this inquiry isn't to instill fear or skepticism but rather to foster critical thinking and awareness. By examining the trajectory of AI development and its potential societal implications, we can better prepare for the challenges that lie ahead.
So I pose the question to you: What seemingly innocuous AI applications do you see today that, if extrapolated into a dystopian future, could serve as glaring warnings of things to come? Here are a few that I thought of:
submitted by Trick_Minimum3190 to ArtificialInteligence [link] [comments]
Consider this: In today's world, AI-powered personal assistants like Siri and Alexa provide convenient solutions to mundane tasks, from setting reminders to playing music. While their utility is undeniable, could these seemingly harmless AI companions foreshadow a darker future?
Imagine a not-so-distant future where these AI assistants evolve into omnipresent entities, privy to every aspect of our lives. What might seem like harmless convenience today could morph into pervasive surveillance and control tomorrow. Every conversation, every action monitored and analyzed, all in the name of efficiency and optimization.
Furthermore, the proliferation of AI in social media algorithms presents another potential warning sign. As AI learns our preferences and behaviors to tailor content, it shapes our worldview and influences our decisions in subtle ways. While this may seem innocuous now, imagine a future where AI algorithms dictate not just what we see but also what we think and believe.
Even the use of AI in healthcare, such as diagnostic algorithms and predictive analytics, could take a sinister turn if wielded without proper ethical oversight. What starts as a tool for improving medical outcomes could devolve into discriminatory practices, with AI determining who receives care based on predetermined criteria.
The point of this inquiry isn't to instill fear or skepticism but rather to foster critical thinking and awareness. By examining the trajectory of AI development and its potential societal implications, we can better prepare for the challenges that lie ahead.
So I pose the question to you: What seemingly innocuous AI applications do you see today that, if extrapolated into a dystopian future, could serve as glaring warnings of things to come? Here are a few that I thought of:
- Virtual Assistants: While virtual assistants like Siri and Alexa currently aid us in tasks, they also collect vast amounts of data on our preferences, behaviors, and even intimate conversations. In a dystopian future, this data could be weaponized for targeted manipulation, censorship, or even blackmail.
- Social Media Algorithms: AI algorithms on social media platforms curate our feeds based on our interests and interactions. However, this could lead to echo chambers and filter bubbles, exacerbating societal polarization. In a dystopian scenario, AI might use this data to manipulate public opinion, sow discord, or suppress dissent.
- Smart Home Devices: Internet-connected devices in our homes, such as smart thermostats and security cameras, offer convenience but also raise privacy concerns. In a dystopian future, AI could exploit this network of surveillance to monitor and control our every move, eroding personal autonomy and freedom.
- Healthcare Analytics: AI-driven healthcare analytics promise improved diagnostics and treatment outcomes. Yet, the data collected from medical records and wearable devices could be misused for discriminatory practices, such as denying coverage based on predictive algorithms or exploiting vulnerabilities for profit.
- Autonomous Vehicles: Self-driving cars rely on AI for navigation and decision-making. While they aim to enhance road safety, they also raise ethical dilemmas, such as who bears responsibility in case of accidents. In a dystopian future, AI-controlled transportation systems could be manipulated for mass surveillance or orchestrated attacks.
- Language Processing: Natural language processing algorithms analyze text and speech to extract meaning and sentiment. In a dystopian scenario, AI could exploit this capability to eavesdrop on private conversations, identify dissenters, or enforce thought conformity through linguistic analysis.
- Personalized Recommendations: AI-powered recommendation systems tailor content to our preferences, shaping our consumption habits. However, this could lead to algorithmic bias, reinforcing stereotypes or limiting exposure to diverse perspectives. In a dystopian future, AI might exploit this data to manipulate consumer behavior or suppress dissenting viewpoints.
- Workplace Monitoring: AI-driven productivity tools track employee performance and behavior in the workplace. While they aim to improve efficiency, they also raise concerns about surveillance and micromanagement. In a dystopian future, AI could use this data for workplace surveillance, control, and social engineering.
2024.05.30 15:31 doytch Security error after adding a formula to a cell.
Hello, I am a beginner so go easy on me!
All of a sudden when I go to add a formula into a cell, I get the below error. I am not seeing any ghost links or even any links at all. The workbook is not externally linked, I am getting data from other sheets within the workbook. Is there anything anyone can suggest I check? Being that this is a work related item, I do not want to disable any protections. That seems to be the popular solution when I have Googled around.
Error:
"Microsoft Office has identified a potential security concern.
Automatic update of links has been disabled. If you choose to enable automatic update of links, your computer may no longer be secure. Do not enable this content unless you trust the source of this file."
Then I have the options of "Enable" and "Disable".
Hitting "Disable" does nothing. It leaves the formula sitting in the cell. When I hit enter, it then gives me a dialog box that is titled "Update Values: then a worksheet name I am referencing in the formula like it is looking for it on my machine. But again, it is a worksheet in the same file and the data is contained there. No need to update. If I click past this, nothing happens.
Thanks for any help!
submitted by doytch to excel [link] [comments]
All of a sudden when I go to add a formula into a cell, I get the below error. I am not seeing any ghost links or even any links at all. The workbook is not externally linked, I am getting data from other sheets within the workbook. Is there anything anyone can suggest I check? Being that this is a work related item, I do not want to disable any protections. That seems to be the popular solution when I have Googled around.
Error:
"Microsoft Office has identified a potential security concern.
Automatic update of links has been disabled. If you choose to enable automatic update of links, your computer may no longer be secure. Do not enable this content unless you trust the source of this file."
Then I have the options of "Enable" and "Disable".
Hitting "Disable" does nothing. It leaves the formula sitting in the cell. When I hit enter, it then gives me a dialog box that is titled "Update Values: then a worksheet name I am referencing in the formula like it is looking for it on my machine. But again, it is a worksheet in the same file and the data is contained there. No need to update. If I click past this, nothing happens.
Thanks for any help!
2024.05.30 01:01 FIreBoyi Black Ops 6 Vault Edition Weapons Identified
BEFORE YOU READ: THE WEAPONS LIST POSTED IS FROM A LEAK, HOWEVER, ME FIGURING THIS OUT ALMOST CEMENTS IT
carry on
I made a post a few days ago doing a full game breakdown of Black Ops 6, which also included the weapons we would be getting.
And uhhhhh-
https://preview.redd.it/3pa2dmahtf3d1.jpg?width=2560&format=pjpg&auto=webp&s=13fa1958bca498a49d53405dcae5a71fd1845318
Yeah, so that happened :/ But since we already know the game's weapons:
https://preview.redd.it/l0pou34ktf3d1.png?width=10671&format=png&auto=webp&s=8f1fb613cbb24fa070d4f909b1db43cadb92538b
https://preview.redd.it/coq0ldoktf3d1.png?width=10332&format=png&auto=webp&s=045abd509924dd448bff0cd54ae9d941075135f5
It will be easy to identify them. (FORESHADOWING)
https://preview.redd.it/94xf529t6g3d1.png?width=10638&format=png&auto=webp&s=7e5e96eedfd6cec59abd6b7fcefc7462219c1af2
Yeah so i massively underestimated how long it took me to figure this out. i don't really know too much about guns so, yeah...
if anything however i guess i gained credibility for the weapons now right?
enjoy your day, cuz i certainly didnt! :)
submitted by FIreBoyi to blackops6 [link] [comments]
carry on
I made a post a few days ago doing a full game breakdown of Black Ops 6, which also included the weapons we would be getting.
And uhhhhh-
https://preview.redd.it/3pa2dmahtf3d1.jpg?width=2560&format=pjpg&auto=webp&s=13fa1958bca498a49d53405dcae5a71fd1845318
Yeah, so that happened :/ But since we already know the game's weapons:
https://preview.redd.it/l0pou34ktf3d1.png?width=10671&format=png&auto=webp&s=8f1fb613cbb24fa070d4f909b1db43cadb92538b
https://preview.redd.it/coq0ldoktf3d1.png?width=10332&format=png&auto=webp&s=045abd509924dd448bff0cd54ae9d941075135f5
It will be easy to identify them. (FORESHADOWING)
https://preview.redd.it/94xf529t6g3d1.png?width=10638&format=png&auto=webp&s=7e5e96eedfd6cec59abd6b7fcefc7462219c1af2
Yeah so i massively underestimated how long it took me to figure this out. i don't really know too much about guns so, yeah...
if anything however i guess i gained credibility for the weapons now right?
enjoy your day, cuz i certainly didnt! :)
2024.05.29 06:09 E-lasmosaurus-3010 Learning Russian with a 7yo
 | I'm a special needs assistant/caretaker of a second grader autistic boy, and since we began to work together last year, I identified his deep interest in the Russian alphabet! We have no idea where he got in contact with it in the first place (we are brasilian), but I have been trying super hard to encourage his interest and teach him Russian. submitted by E-lasmosaurus-3010 to russian [link] [comments] The only thing is... I don't know russian. So we are basically learning together, with me finding the information, breaking down to his level, and them making worksheets and activities for him. His little brain is like a sponge, he just gets everything so fast, and corrects me when i forget something. So, what do you guys think of my activities? Am i doing a decent job at all? There are any resources that i can find and maybe adapt for him? And how can i move on from just words, to frases? I being having sobe difficulties with this, as frases are not as straight forward to teach him as nouns and verds. Really, any positive criticism would be good! Images: 1: him writing on the board. He writes the russian alphabet almost daily, it's a self soothing activity for him. (The little signs in the letters are eyebrows lmao, he does that to everything) 2-6: some of the worksheets i made for him since last year. He will always ace all of them and ask for more. 7: first try to introduce him to actual frases. I managed to teach him what it means, and he will respond if asked "Как вас зовут?" And will also respond correct if i point to someone and ask "Как его зовут?" But will not use the frase with me, as, obviously, he already knows my name and don't see a need to ask lmao😂 8: his favorite russian video. I also love it. Love this channel, and would love some recommendations for others. |
2024.05.28 23:17 TheIslamicMonarchist Paradosis and monotheism: a late antique approach to the meaning of islām in the Quran by Juan Cole
Hello, everyone.
I wanted to share with you an article written by Professor Juan Cole regarding the term Islam, and the possible translations in which the early Muslim/Believer community had meant of the word Islam. According to Professor Cole, he argues that the term islam may have meant something different than the usually pressumed translation of "submission".
To read the full article, please go to this link: Paradosis and monotheism: a late antique approach to the meaning of islām in the Quran
To summarize, Cole makes a few points regarding the early association of islam as tradition rather than submission. He points toward John bar Penkaye, a seventh-century Christian living under the Umayyads, who spoke of the Umayyad authorities enforcing a tradition (mashlmānūtā) of Muhammad. A century later, Cole notes, it would become the common Syriac Christian term for Islam.
The model of Alan Race and John Hick offers in the way which religions view the prosect of salvation toward other faiths and beliefs conform to three possibilities: exclusivism, inclusivism, and pluralism. The Quran itself seems to ridicule the exclusivist policies of the Jews and the Christians in *the Cow (2:135): "*They say: 'Become Jews and Christians and be guided.' No, the word (millah) of Abraham, the pious gentile. He was no polytheist." The word "millah" is vowled in Arabic by the Aramaic loan, "meltā", and "this concept was in turn underlain by the Greek Logos.16".
Cole writes: "The wide range of meanings of Logos included the cosmic principle of reason generating the universe and a religious path to that truth. The early Christian thinker Justin Martyr put forward the Logos as an agent of religious pluralism. He responded to those Roman critics who berated Christians as hardhearted for dooming to hellfire all human beings born before Jesus of Nazareth. Justin Martyr held that Christ is the Word or Logos, the principle of universal reason "of whom every race of men were partakers; and those who lived reasonably are Christians."17 They included ancient Greek philosophers such as Heraclitus and Socrates as well as the patriarch Abraham. In contrast, the first-century CE Jewish philosopher Philo spoke of the Logos of Abraham himself, which he described as a God-given combination of eloquence and faith.18 The Qur’an in this passage rejects the idea that salvation is exclusively limited to those who believe in Moses and the Torah, or in Jesus and the Gospel. Rather, adoption of the monotheistic word of Abraham suffices, and Judaism, Christianity and the religion of Muhammad are all manifestations of it. That the Qur’an deploys a Greek concept, Logos, via its Aramaic loanshift, strengthens the argument that its use of islām might also be underlain by Aramaic and Greek technical terms."
He continues: "It is even possible that among the Arabic-speakers of Syria, Palestine and Transjordan the Arabic islām had for centuries been used informally to translate paradosis, and that millah or kalimah (the Arabic for “word”) had rendered the Logos." Which in itself is not too surprising - historical evidence points to substantial Arabic-speaking Christians throughout the Near East, and there were substantial Christian communities in Najran, Hira, Petra, Nessena, and Jabiya"
Now, onto Islam in the Qur'an section.
Cole notes that the Qur'an conceives of monotheism as a "perennial and ecumenical tradition, in which Jews, Muslims, and other monotheists all particpated.38 He points to the Ranks 61:6 where the Quran criticizes Jews for rejecting the later prophets:"
This sin, however, is not depriving them of God's salvation. Cole classifies the denial of the succeeding Prophet's as a "venal rather than a moral sin".
submitted by TheIslamicMonarchist to progressive_islam [link] [comments]
I wanted to share with you an article written by Professor Juan Cole regarding the term Islam, and the possible translations in which the early Muslim/Believer community had meant of the word Islam. According to Professor Cole, he argues that the term islam may have meant something different than the usually pressumed translation of "submission".
To read the full article, please go to this link: Paradosis and monotheism: a late antique approach to the meaning of islām in the Quran
To summarize, Cole makes a few points regarding the early association of islam as tradition rather than submission. He points toward John bar Penkaye, a seventh-century Christian living under the Umayyads, who spoke of the Umayyad authorities enforcing a tradition (mashlmānūtā) of Muhammad. A century later, Cole notes, it would become the common Syriac Christian term for Islam.
"The Syriac word derives from the trilateral Semitic root shlm, a cognate of the Arabic slm from which aslama comes. Late antique Christian authors used the Syriac term to mean tradition or a teaching that is passed on.12 It can mean “scripture” itself. Cyriacus of Nisibus composed a work on the tradition (mashlmānūtā) of Paul. Rabbis spoke of the Mosaic mashlmānūtā or tradition, and also made the term synonymous with the Mishna, the oral scripture commentary, and hence an ongoing, living tradition.13 Dictionaries of Syriac give the verb from which this noun derives a wide range of meanings, including handing down, capitulating, betraying, succeeding and commenting.14"The term "loanshift" is meant to describe a process in which within bilingual communities or societies a term or word in one language takes a new meaning or connotation because of the influence of a word in another language. The diverse meanings of the Syriac mashlmānūtā, Cole writes, "derive from it being a loanshift of the Greek term παράδοσις (paradosis), which has a similarly wide range of meanings having to do both with surrender and with the passing on or acceptance of a tradition."
The model of Alan Race and John Hick offers in the way which religions view the prosect of salvation toward other faiths and beliefs conform to three possibilities: exclusivism, inclusivism, and pluralism. The Quran itself seems to ridicule the exclusivist policies of the Jews and the Christians in *the Cow (2:135): "*They say: 'Become Jews and Christians and be guided.' No, the word (millah) of Abraham, the pious gentile. He was no polytheist." The word "millah" is vowled in Arabic by the Aramaic loan, "meltā", and "this concept was in turn underlain by the Greek Logos.16".
Cole writes: "The wide range of meanings of Logos included the cosmic principle of reason generating the universe and a religious path to that truth. The early Christian thinker Justin Martyr put forward the Logos as an agent of religious pluralism. He responded to those Roman critics who berated Christians as hardhearted for dooming to hellfire all human beings born before Jesus of Nazareth. Justin Martyr held that Christ is the Word or Logos, the principle of universal reason "of whom every race of men were partakers; and those who lived reasonably are Christians."17 They included ancient Greek philosophers such as Heraclitus and Socrates as well as the patriarch Abraham. In contrast, the first-century CE Jewish philosopher Philo spoke of the Logos of Abraham himself, which he described as a God-given combination of eloquence and faith.18 The Qur’an in this passage rejects the idea that salvation is exclusively limited to those who believe in Moses and the Torah, or in Jesus and the Gospel. Rather, adoption of the monotheistic word of Abraham suffices, and Judaism, Christianity and the religion of Muhammad are all manifestations of it. That the Qur’an deploys a Greek concept, Logos, via its Aramaic loanshift, strengthens the argument that its use of islām might also be underlain by Aramaic and Greek technical terms."
He continues: "It is even possible that among the Arabic-speakers of Syria, Palestine and Transjordan the Arabic islām had for centuries been used informally to translate paradosis, and that millah or kalimah (the Arabic for “word”) had rendered the Logos." Which in itself is not too surprising - historical evidence points to substantial Arabic-speaking Christians throughout the Near East, and there were substantial Christian communities in Najran, Hira, Petra, Nessena, and Jabiya"
Now, onto Islam in the Qur'an section.
Cole notes that the Qur'an conceives of monotheism as a "perennial and ecumenical tradition, in which Jews, Muslims, and other monotheists all particpated.38 He points to the Ranks 61:6 where the Quran criticizes Jews for rejecting the later prophets:"
And when Jesus the son of Mary said to the children of Israel, I am the messenger of God to you, confirming the Torah that you possess, and giving good tidings of a messenger who will come after me, called 'the Praised one' But when he came to them with clear signs, they said, 'That is manifest sorcery.'" The Quran continues, "And who does a greater wrong than one who fabricates lies about God, even while God is called him to islam? And God never guides evildoers.'By translating islam as "submission to God", it becomes confused, since the first-century Jews worshipped the one God. Instead, Cole claims, the Quran "implies that first-century Jews, by rejecting Jesus, declined the summons to the fullness of the serial prophetic tradition (and here Jesus not only announces himself but points to a future successor.)"
This sin, however, is not depriving them of God's salvation. Cole classifies the denial of the succeeding Prophet's as a "venal rather than a moral sin".
"The Qur'an is inclusivist with regard to doctrine, holding that it has the whole truth of monotheism and that the revelation through the Prophet Muhammad is an essential continuation of the Abrahamic tradition, and that past religions have forgotten some essentials of prophetic monotheism. It is, however, pluralist with regard to salvation, accepting many monotheistic faiths as paths to salvation.40"In The Pilgrimage 22:78, Cole writes that "accepting the tradition is associated with Abraham, but also with Muhammad: '
"Strive strenuously for the sake of God. He chose you and has laid no hardship on you in religion. It is the Logos (millah) of your father Abraham. He named you monotheists (muslimīn) aforetime, so that the messenger might bear witness to this for you, and you might bear witness to the people. So pray and give charity regularly. Hold fast to God. He is your lord, the best of patrons and the best of succorers.' Here, Abraham himself is depicted as coining the term muslim, to describe one who subscribes to his primal Word (millah). Ages after Abraham, The Pilgrimage 22:78 says, Muhammad bore witness to this same Logos, and, it is implied, was enabled to do so because Abraham began the tradition or paradosis. The Qur’an views the Logos of Abraham as a universal monotheistic principle at the heart of each of the true religions."The Family of Amram 3:19 declares:
"According to God, religion (dīn) is islām. Those who had been given scripture only differed out of covetousness, after knowledge came to them. God is quick in calling to account anyone who denies the verses of God." Again, the issue addressed by this verse is not the oneness of God or submission to him. Rather, the Qur'an is saying that in principle, Jews. Christians and Muhammad's followers all share in the monotheistic tradition and so participate in authentic religion, in implicit contrast to the false religion of polytheists. They therefore ought not to quarrel with one another over the details, since they share in a common core. The difference is that Muhammad's Believers recognized Judaism and Christianity as participating in the Abrahamian tradition whereas some members of the previous religions denied that recognition to the newer teaching. The Qur'an in 3:19 has brought together a Persian and a Greek concept. From Middle Persian it derives the word dēn, which came to mean "a religion.” 41 (It should not be confused with the Semitic word dīn, meaning judgment or service, which is also used by the Qur’an). In 3:19 the Qur'an is not saying that Muhammad's religion is called Islam and is the only true faith. Nor is the verse saying that Muhammad’s is the true and full islām, which the previous religions foreshadowed and to which they are ex post facto subordinated, which is how triumphalist Muslims read the verse.42 It is saying that the monotheistic paradosis goes back to Abraham, and that subsequent prophets all preached a version of it, even if their adherents decline to recognize this unity (cf. 3:84, which says God makes “no distinction” among the prophets)."As I often write, and agree with Professor Cole and Professor Fred Donner, that the usage of the term muslim as the identifying marker for the followers of the Prophet Muhammad is anachronistic. The Quran identifies, and uses, the term "those who have believed" for the community of the Prophet, often being named Believers or Mu'minun. But Cole also points out an interesting facet in 39:22:
"One problem with reading islām here as "submission" is that God is the agent, not the believer. God would have to be seen as having imposed submission on these individuals, which logically speaking is no kind of submission. Moreover, the two lines of the verse are parallel, with those whose hearts have been opened to islām opposed to those whose hearts have been hardened against the mention (dhikr) of the divine, suggesting that the two words are synonyms. “Submission” is not a synonym of “mention.” But if islām means “the tradition of monotheism,” then the parallelism of “tradition” and “mention” would make sense."I think this entire article is fascinating, given the Quran's clear universalism regarding the monotheistic traditions provided by the pervious prophets, of whom came to correct but perhaps more importantly confirm the past scriptures and traditions of their predecessors (of whom Prophet Muhammad is considered the last, according to Islamic tradition). I cannot do the article full justice here, so I highly recommend others to go ahead and read it (I believe it should be available for all on the website I linked).
2024.05.28 14:37 0hio_Pingu_69 My Concept for a Fnaf fangame called "Lost at Henry's" are their any ways I could improve on it? (It's not an actual fangame that's going to be happening, just a creative exercise) (Or is it?) 🐸🐱🦥🔴
 | Entire Game Story submitted by 0hio_Pingu_69 to fivenightsatfreddys [link] [comments] Cutscene 1: The game begins with a commercial for “Henry Hut Pizzeria,” featuring lovable cartoon characters like Henry the Hyena, Oliver the Cat, and Fergus the Frog. At the 35-second mark, the screen glitches and abruptly transitions to a news report about several missing children at the pizzeria, including Beth’s daughter. Cutscene 2: The game transitions to a dream sequence where Beth stands in a black void, her face hidden in the dark. A buzzing sound like a VHS tape playing is heard in the background. A tall red figure emerges from the darkness, staring down at Beth. Children scream ominously, police cars flash, and Beth’s sorrowful cries are barely audible. The red figure taunts Beth: “What was that you said? Oh right. ‘Scars heal.’ Perhaps your scars have healed, Beth. But I will still take my opportunities. Even after your child’s death. Oh, you poor thing… you look so unpleased. Perhaps I have something to cheer you up.” As Beth looks up, the screen cuts to black for 10 seconds before a distorted image of Beth appears, screaming. The scene cuts to black again. Beth wakes up from her nightmare in a stressed state, rushes to the bathroom, and takes a shower to calm down. After getting ready for the day, she decides to investigate the disappearances at Henry Hut Pizzeria during a thunderstorm. Beth drives to the abandoned pizzeria on a dark and stormy night. Rain pelts against her car's windshield, and lightning flashes ominously in the sky. The old Henry Hut Pizzeria looms ahead, its once cheerful facade now eerily desolate. Beth pulls up to the entrance, her heart pounding with a mix of fear and determination. She exits the car, pulling her raincoat tightly around her as she braces herself against the howling wind. With each step towards the entrance, the sense of foreboding grows stronger. Beth knows she's about to uncover dark secrets that have haunted her for too long. The screen cuts to black, revealing the game’s title with chilling music in the background. Instructions: The game transitions to an instruction screen: Navigating the Office: - Use the mouse or touchpad to look around the office. - Click on different areas of the office to move Beth to that location. Using the Camera: - Locate the lever on the desk. - Click and hold the lever, then drag it downwards to activate the camera. - Release the lever to take a picture. Viewing Pictures: - After taking a picture, wait for it to load. - The picture will reveal the current location of the targeted animatronic. Pay close attention to the surroundings to identify where they are in the pizzeria. Managing Power: - Keep an eye on the power meter located on the desk. - Avoid unnecessary use of power to conserve it throughout the night. - Use power strategically, especially when using the camera or other electronic devices in the office. - If you lose power, the lights will turn completely off and you will hear a cinematic version of “You Are My Sunshine” along with Beth vomiting and screaming in the background. Monitoring Animatronics: - Keep an eye on the pictures to track the movement of the animatronics. - If an animatronic is getting closer to the office, the music will become more intense, indicating imminent danger. How to Deter the Animatronics: - If Fergus breaches the office, avoid looking directly at him to prevent his attack. Use the lever to turn on flashing lights in the office, which will disorient him. - Oliver the Cat usually enters through the vents. Shut a door in the vents to keep him out. - There are other characters to monitor as well. Night 1: Night 1 serves as the introduction to the game's atmosphere and mechanics, creating a sense of foreboding and vulnerability. The main office is depicted as realistic but dimly lit. Players must quickly familiarize themselves with the controls and mechanics, such as using the camera system to track the animatronics' movements and managing power usage. A phone call each night explains the mechanics and the history of the place, warning Beth not to go into “The Basement.” The tension is heightened by the ambient sound design, with subtle cues hinting at the presence of animatronics lurking in the shadows. As the night progresses, the music becomes more intense, signaling imminent danger as the animatronics draw closer to the office. After approximately 7 minutes, Beth reaches 8 AM, and Night 1 ends. Overall, Night 1 sets the stage for the escalating tension and fear that players will experience throughout the game, establishing Henry’s Pizzeria as a truly menacing and unpredictable environment. Cutscene 3: Serene Suburban Scene The screen fades in from black to a serene suburban neighborhood bathed in golden sunlight. Birds chirp in the background as children laugh and play in the street. Among them is Beth's daughter, Sienna, her face bright with a joyful smile as she runs around with her friends. Beth stands at the doorstep of their cozy home, watching fondly as Sienna interacts with the other children. She wears a gentle smile, her eyes filled with love and pride as she observes her daughter's joyous antics. Sienna suddenly runs up to Beth, her eyes sparkling with excitement as she tugs on her mother's hand, urging her to join in the fun. Beth laughs, her heart swelling with warmth as she follows Sienna into the playful chaos. The scene unfolds with glimpses of tender moments between Beth and Sienna: bedtime stories, playful games, and heartfelt conversations that underscore their deep connection. However, amidst the laughter and joy, subtle hints of foreshadowing linger, hinting at the darkness soon to engulf their lives. Cut to Reality: Beth's Grief The scene shifts abruptly to Beth waking up from her dream, crying. She misses her daughter deeply. Beth sits alone in her dimly lit apartment, surrounded by scattered photographs and mementos of happier times with Sienna. The weight of grief hangs heavy in the air as Beth clutches a faded picture of Sienna, tears streaming down her face. As memories of her daughter flood her mind, Beth's thoughts drift back to the day Sienna went missing, a day that forever changed her life. The pain of that loss still feels fresh, a raw wound that refuses to heal despite the passage of time. A Sudden Disturbance Suddenly, Beth hears a sound coming from outside her room. Her attention is drawn to a faint noise emanating from the apartment hallway. With a mixture of curiosity and apprehension, she rises from her seat and cautiously approaches the source of the disturbance. Gameplay Segment: Investigating the Noise Beth, controlled by the player, peers into the dimly lit hallway and notices a flickering light coming from the television in the living room. With a sense of unease gnawing at her, she hesitantly makes her way towards the television, her footsteps echoing eerily in the silence. Upon reaching the living room, Beth's eyes widen in shock as she sees the television screen flickering with static, casting an ominous glow across the room. Instinctively, she reaches out to turn off the television, but before she can do so, the static suddenly clears, revealing a haunting image that sends shivers down her spine. A distorted figure appears on the screen, its features obscured by shadows and static. Its voice echoes ominously through the room, sending a chill down Beth's spine as she listens to its cryptic words. "Hello, Beth," the figure intones, its voice dripping with malice. "I've been expecting you." Beth's breath catches in her throat as she realises that she's not alone in her apartment. Panic surges through her veins as she frantically searches for a way to escape the encroaching darkness. But before she can flee, the figure on the screen speaks again, its voice cutting through the silence like a knife. "You're looking for answers, aren't you, Beth?" it taunts, its words sending a cold shiver down her spine. "Well, you've come to the right place. But be warned, not all truths are meant to be uncovered." With those ominous words ringing in her ears, Beth's resolve hardens. She prepares to confront the darkness that lies ahead, determined to uncover the truth and bring justice for her daughter. Beth asks, “Who are you? What are you doing in my house?” The hyena-like figure on the screen replies, “Look behind you.” The player, controlling Beth, looks behind her just in time to see the top half of a tall hyena-like figure flee into the shadows. As the screen fades to black, Beth's fate hangs in the balance, her future uncertain as she braves the unknown horrors that await her in the nights to come. But no matter what dangers lie ahead, Beth will stop at nothing to uncover the truth and bring justice to those who have wronged her and her daughter. Night 2: Increased Tension As Night 2 begins, the atmosphere in the pizzeria feels even more ominous than before. The player, controlling Beth, senses something off, confirmed when they notice that one of the animatronics, Chef Stefano the Sloth, is missing from its usual location. The absence of Stefano adds a new layer of tension, as the player must contend with the uncertainty of not knowing where the animatronic is lurking. Every sound becomes a potential threat as Beth navigates the darkened corridors of the pizzeria. The player must use the camera system strategically to locate Stefano and the other animatronics while managing their dwindling power supply. With each passing minute, the sense of dread mounts, pushing the player's nerves to the limit as they await the inevitable encounter with the possessed animatronics. Oliver is significantly more aggressive and active than the previous night. Throughout the night, Beth's determination to uncover the truth about her daughter's disappearance drives her forward, even in the face of overwhelming fear. She refuses to back down, knowing she must confront the darkness head-on to find closure. As the night wears on, the tension reaches its peak, culminating in a heart-pounding climax as Beth faces off against Stefano and the other animatronics in a desperate bid for survival. Only by outsmarting her relentless pursuers can Beth hope to uncover the secrets hidden within the walls of Henry's pizzeria. Cutscene 4: A Bittersweet Memory The scene cuts to a flashback of Beth and Sienna playing a game called “To the Moon.” Beth holds Sienna in her arms and runs as fast as she can, pretending to fly to the moon together. Their laughter fills the air as they embark on their imaginary journey, Beth's arms pumping with determination as she carries Sienna higher and higher. Eventually, they reach their destination, and Beth gently lowers Sienna to the ground, their adventure coming to a joyful end. The memory brings a bittersweet smile to Beth's face as she reminisces about happier times with her daughter. Suddenly, Beth hears a whispering sound. Gameplay Segment: The Whispering Voices Startled, Beth looks around the room, searching for the source of the whispering. Her heart races as the faint voices grow louder, echoing ominously in the darkness. With a sense of unease gnawing at her, Beth struggles to make sense of the haunting whispers that fill the air. As she listens intently, fragments of memories begin to surface, swirling around her mind like ghosts from the past. Images of laughter and joy are juxtaposed with scenes of darkness and despair, creating a disorienting collage of emotions that threatens to overwhelm her. But amidst the chaos, one voice stands out from the rest—a familiar voice that sends a shiver down Beth's spine. It's the voice of her daughter, Sienna, calling out to her from beyond the grave. Tears well up in Beth's eyes as she listens to Sienna's ghostly whispers, her heart breaking at the sound of her daughter's voice. Memories of their time together flood her mind, filling her with a sense of longing and sorrow that cuts deep into her soul. Suddenly, Beth hears a commotion outside her room. Gameplay Segment: Confronting the Hyena Figure Beth's senses go on high alert as she hears the commotion outside her room. With a mixture of fear and determination, she braces herself for whatever may be lurking in the darkness beyond her door. Slowly, she inches towards the source of the noise, her footsteps echoing softly in the silence. As Beth peers cautiously into the hallway, her worst fears are realized as she sees a shadowy hyena-like figure lurking in the dimly lit corridor. Panic surges through her veins as she realizes she's not alone, and that whatever is out there poses a grave threat to her safety. As the player guides Beth closer to the figure, it walks away to the left. Beth follows to where the figure walked past, but finds nothing there. The screen fades to black, leaving Beth's fate hanging in the balance. As she prepares to face the unknown horrors that await her, Beth's determination to uncover the truth and bring justice to those who have wronged her and her daughter remains unshaken. The journey ahead is fraught with danger, but Beth will stop at nothing to uncover the secrets and find closure for her lost daughter. Night 3: Night 3 begins with a greater sense of unease as Fergus the frog is now missing from his usual location. The player, controlling Beth, must navigate the increasingly hostile environment of Henry's pizzeria while contending with the absence of yet another animatronic. The nightly caller's voice becomes quieter and more peculiar, adding to the eerie atmosphere. Beth moves cautiously around the office, and the tension mounts with every passing moment. Every shadow seems to conceal a lurking threat, and the sense of being watched becomes palpable. The player must use the camera system strategically to track the remaining animatronics while conserving power and avoiding detection. With Fergus missing, the animatronics' movements become even more unpredictable, adding an additional layer of challenge to the gameplay. Beth's determination to uncover the truth about her daughter's disappearance is tested as she faces the relentless onslaught of the possessed animatronics. Throughout the night, the player is bombarded with unsettling sights and sounds, heightening the atmosphere of dread and foreboding. Haunting whispers of the children trapped within the animatronics echo through the darkness, serving as a constant reminder of the horrors that await Beth in the depths of Henry's pizzeria. As the night wears on, Beth's resolve is tested to its limits. Only by staying one step ahead of her pursuers and confronting her fears head-on can Beth hope to survive the night and uncover the truth hidden within the pizzeria's walls. But with each passing moment, the darkness closes in, threatening to engulf Beth and drag her into despair. Her only hope is to cling to the faint glimmer of light that guides her through the darkness, knowing that her daughter's fate hangs in the balance. Cutscene 5: The scene shifts to a VHS recording from 1997, showing Beth taking Sierra to a birthday party at Henry's pizzeria. The festive atmosphere is filled with colorful lights and cheerful music. Sierra's face lights up with delight as she watches the animatronics perform, clapping her hands in time with the music. Beth, seeing her daughter's happiness, feels a warm sense of joy despite their trials and hardships. The screen fades to an unsettling image: what appears to be Fergus being burnt in an incinerator, with the corpse inside struggling to escape the animatronic's body. This chilling sight is a stark contrast to the earlier joyful scene, hinting at the dark secrets lurking within the pizzeria. Beth's Nightmare: Beth's heart pounds in her chest as she lies frozen in bed, dread pressing down on her. Echoing footsteps and a sharp, insistent knock send shivers down her spine. A voice whispers through the darkness, "Beth, I have a present for you. I have a surprise." Fear claws at her insides, but she can't move. The voice continues, "You need to open the door now. I'm not going away," each word increasing her terror. The figure then mimics Sierra's screams, wrenching Beth's heart. Desperate and terrified, Beth rises from her bed with a burst of courage, approaches the door, and grasps the handle. After a brief moment of doubt, she lets go, sensing the dark secret behind the door. Night 4: As Night 4 descends upon Henry's pizzeria, the atmosphere becomes increasingly tense and foreboding. The animatronics move with newfound purpose, their actions more erratic and unpredictable. The nightly call is replaced by heavy breathing and inhuman sounds, leaving Beth to navigate the treacherous environment alone. Beth cautiously explores the dimly lit corridors, her senses on high alert. The animatronics loom ominously in the darkness, their relentless pursuit growing more aggressive. With each encounter, Beth must use her cunning and resourcefulness to outsmart her pursuers and uncover the sinister events unfolding at Henry's pizzeria. As she delves deeper into the twisted world of the animatronics, the line between reality and nightmare blurs. Beth's sanity hangs by a thread as she confronts the horrors within the pizzeria's walls. Her determination is put to the ultimate test as she faces her fears head-on, hoping to survive the night and emerge victorious against the forces of darkness. Cutscene 6: The VHS video resumes, showing Sierra wandering through the pizzeria with a camera in hand. Her excitement mounts as she discovers new attractions, but a sense of unease lingers in the air. Shadows dance at the edges of her vision, and strange whispers echo through the darkness. Sierra's curiosity drives her deeper into the pizzeria. Her footsteps echo softly against the tiled floor, muffled by the oppressive silence. A faint sound draws her attention, leading her to a horrifying sight: multiple children tied up, tortured, and mutilated. Sierra turns and sees the silhouette of a familiar animatronic hyena. The screen displays the ominous words, "The Basement," hinting at the dark secrets hidden within Henry's pizzeria. Cutscene 7: Beth awakens from her bed, her heart racing as she recalls the disturbing images from the VHS recording. The words "The basement" linger in her mind, a chilling reminder of the dark secrets that lie hidden beneath Henry's pizzeria. With a sense of dread gnawing at her insides, Beth knows that she must confront the truth lurking within the depths of the basement. Despite the overwhelming fear threatening to paralyse her, she resolves to uncover the secrets that have eluded her for so long. Night 5: This night is not point and click like the other nights. The night begins when we make our way to the basement of the pizzeria where the animatronics are completely missing. In order to enter the basement, we must give up a photo of Sierra. When we walk into the basement, something is extremely off. Prior to night 5, every single setting in the game shared a similar characteristic. A run-down, dark pizzeria with paint peeling off the walls and an almost gross feel to it. It is said by the characters throughout the game that Beth should not go into the basement, and yet once we finally enter this supposedly horrific location, we are greeted by a humble, almost calming environment. What we see of the basement at first is the inside of a house that is neat and mundane with no clear signs of any threat anywhere to be seen. Up to this point, this was easily the most relaxing and comfortable location in the entire game, which set off lots of red flags in our heads the second Beth walked in. With the other overtly scary areas in the game, they made it clear right from the moment you entered who and what the present threats were. You knew about the animatronics outside the basement and what they could do. The game made these threats very apparent from the moment you entered the pizzeria, but in this peaceful, serene house, you had no idea what to expect. You knew something was going to happen here, but you did not know what it would be or when it would happen. As we explored the basement deeper, we stepped through a pair of doors which had faint music playing behind them and were greeted to a room with many dismembered animatronic doll parts hanging from the ceiling, as well as a note with clues conveniently placed right in the middle of it all. Of course, going into this, we knew that retrieving the note was not going to be that easy, but we took it anyway, thinking we could take on whatever the game threw our way. And then something happened. The lights turned off, a deep and uncanny laugh was heard, and our supplies were stolen by an unknown entity which we would discover right around the corner. Just like that, our suspicions or concerns we had while venturing into this basement were validated in the worst way possible. This single event essentially forces the worst case scenario of being helpless to Beth, now making it so that any threat that may appear while she's in the basement is infinitely more threatening than they ever would be if she had the means to fight it and it's this looming dread over her head which carries the horror of this sequence as she makes her way in each room attempting to solve the escape room-esque puzzles it presents. Every little scare, every moment when we're forced to make our way into the unknown knowing Foley that there may be something we can't fight waiting for us. It all builds towards an overwhelming tension the last for the entirety of this sequence until it inevitably reaches its climax as the lights go out and we stand before a red bloodied room. This moment is what the entirety of this night has been building to. This moment where we stand before a door opened to reveal a pitch black hallway where a subtle droning ambience begins to build and where forced to stare into a darkness so intense that we can barely see two feet in front of us. Cutscene 9: Beth walks towards the dark room, the score here almost sounds like a high-pitched whistle building the tension and suspense as we hear crying within the distance which we soon find out is from a hallucination of Sierra. An evil entity is playing with Beth's mind. Beth then finally makes an effort to confront her trauma. This is how the conversation went Hallucination Sierra: Mommy, why I missed you. Why didn't you save me? You could have called for help. Beth: Because I had problems, I was 17 years old…. Someone did horrible things to me to conceive you! I'm sorry, I'm sorry for not being there when you needed me most. I had so many problems which I couldn't fix. Beth starts sobbing Beth realises that she has to get over her trauma and realise that this is actually her daughter, but unfortunately it's not that simple. She tells herself that what she's currently experiencing isn't real to try and gain power and control over the situation but this is short-lived as the entity quickly asserts that it is the one that is in control. Hallucination Sierra: But Beth, your mind makes it real. The entity then begins to smile and its eyes dilate showing a small snippet of what is to come. Beth: Why are you doing this to me? Hallucination Sierra: Because your mind is so enticing. Beth slowly closes the door while sobbing It cuts back to you playing as Beth As Beth walks away from the door, a large, clawed, red hand grabs the side of the door and opens it. Revealing it to be Henry the hyena, the figure that has been taunting Beth for all this time. It squeezes itself out of the door and begins slowly moving towards Beth, its 11 ft frame barely fitting in the hallway and cackling uncannily almost like a hyena but different. What makes Henry terrifying in this particular part of the game is how confusing Henry is, his appearance is constantly growing, shrinking, and changing depending on where he is. One moment, he's 6 feet tall, and in another moment, he's like 14 feet tall with long limbs, sometimes he's walking on 4 legs, sometimes he walks on 2. It never ends The chase scene with Henry the hyena in the basement adds a thrilling gameplay mechanic where Beth must run and hide to evade the monstrous animatronic. As Henry slowly advances towards her, the player must quickly assess their surroundings to find hiding spots or items that can help them escape. Throughout the chase, Beth must also search for a key that will unlock the next area of the basement, adding an additional layer of challenge to the gameplay. The tension mounts as Henry's menacing laughter echoes through the darkened corridors, driving Beth to move quickly and stealthily to avoid detection. As Beth explores the basement, she encounters various obstacles and puzzles that she must solve to progress further. Each room presents its own set of challenges, from navigating through narrow passageways to avoiding traps set by Henry. The player must use their wits and reflexes to outsmart Henry and find a way to find a fuse and escape to another area of the basement before it's too late. With each close encounter, the threat of Henry grows more intense, pushing Beth to her limits as she fights to survive. The combination of adrenaline-fueled chase sequences, strategic hiding, and puzzle-solving creates a heart-pounding gameplay experience that keeps players on the edge of their seats until the very end. Beth successfully finds the fuse and places it in the elevator that goes even deeper underground, but the relief is short lived. Beth must painstakingly wait for the door for the elevator to open while hearing Henry slowly approaching her from behind, sitting there and waiting for that elevator knowing what is behind her. With bated breath, Beth watches the elevator doors inching open, every second feeling like an eternity. The sound of Henry's footsteps grows louder, his presence looming closer with each passing moment. Her heart races as she imagines the horrors awaiting her if she doesn't make it in time. Finally, the doors slide apart, and without hesitation, Beth dashes inside, the relief flooding her senses. As the elevator descends further into the depths, she can't shake the feeling of Henry's eyes boring into her back. But for now, she's safe, her frantic escape preserving a fragile moment of reprieve. Reddit won't allow me to write anymore words otherwise I won't be able to post it so to be continued. You will be in for a treat soon.... |
2024.05.28 14:11 Reaqzehz Spent a few days reflecting on 73 Yards, and this is my 3300 word analysis.
73 Yards confused the hell out of me on Saturday. I think me watching it at midnight was partly to blame, but it was certainly an episode that forced me to dust off and use my brain. Upon my rewatch, I kept some notes on my phone to help me analyse it. I called the notes “unWTFing 73 Yards” and wrote the following as the analysis. I decided to expand on it, format it a bit, and force it onto you lot.
Couple disclaimers first. As I wanted to try to analyse the episode without outside aid, I’ve avoided reading too much into what other people have said. That said, I can’t say I fully succeeded. RTD’s explanation played a big part in this, and I did read a bit into the post-episode discussion. Finally, I’m aware that this episode based itself on Fae magic. I know nothing of Fae magic, nothing at all, and I decided against doing any research in my analysis. I felt that the episode should stand on its own feet and was best analysed without any understanding the context of its inspiration. Chances are, I may have missed something, maybe even something big, because of that. Time will tell when I read up on Fae magic.
So, to summarise, everything except the following is my own interpretation: RTD explaining the Doctor and Ruby being punished, Ruby’s fear of abandonment playing a major role thematically (I did pick up on this in my first viewing, but it’s safer to just say it here anyway), and the involvement of Fae magic. Also, the fact there were no opening titles… Not quite sure how I missed that! I've purposely avoided reading any posts, so as many of the ideas written here are my own, but I expect most, if not all, has been said by other people. Anyway, onto my interpretation.
The episode acts as a character piece for Ruby Sunday. Given that I’ve felt Ruby to be under-characterised thus far, this is a much needed, and wholeheartedly welcomed, episode for her. The episode’s plot utilises the series’ novel, openly fantastical direction, that RTD set up in Wild Blue Yonder, through presenting the narrative in the form of “nightmare logic”. In my opinion, RTD has managed to utilise the fantasy approach brilliantly here. Space Babies and Devil’s Chord didn’t sell it for me, and Church on Ruby Road slightly did. Here, however, RTD really lets the storytelling potential show. I don’t know if I consider 73 Yards to be the greatest thing he’s ever written (like he himself stated, apparently) given that Midnight, Turn Left, and Children of Earth exist. But I can certainly respect anyone who does agree with him.
The episode is Doctor-lite, Gatwa’s presence in the story is minimised. This absence, coupled with the absence of opening titles, might be a technique in which RTD (or perhaps director, Dylan Holmes Williams, who deserves credit too) hints at the episode’s fantastical nature. The episode’s plot abandons the science-fiction approach, which (albeit often loosely) follows a form of traditional logic, even when telling stories with a fantasy element. The absence of the Doctor and titles might be a way of connoting the episode’s unconventional premise; that it does not follow Doctor Who’s traditional approach in storytelling. It’s withholding the safe and familiar, thrusting viewers alongside Ruby, into this unfamiliar territory where something’s not quite right. It’s a way of telling the viewer not to interpret this episode like any other; there is no “logical” plot-thread, so trying to apply traditional logic here is futile.
The Doctor’s disappearance, and Ruby being haunted by the woman, is explained by RTD as punishment for breaking the circle. As stated, the episode’s narrative doesn’t follow a “traditional” thread of logic. Instead, it follows the logic of a nightmare. As the one who broke the fairy circle, the Doctor’s punishment is to be erased from the universe. As an accomplice, Ruby’s punishment is to live her life with her greatest fear realised. She is perpetually abandoned.
The woman is an analogy for Ruby’s fear of abandonment. It makes her adoptive mother abandon her, including taking out an injunction against her. It makes Kate Steward and UNIT soldiers, all of whom are trained in anti-brainwashing, also abandon her. Kate’s abandoning especially is done to bring the audience into Ruby’s position. No way would the Kate we know fall for it, we know Ruby is safe with her. We know UNIT will step up, solve this mystery, and bring the Doctor back! We know that… until she isn’t, and they don’t. Abandoning Ruby is wildly out of character for both Carla and Kate, there’s no logical reason for them to do so, and that’s the point. Nightmares and fears aren’t logical; these out-of-character behaviours thematically illustrate the illogical nature of anxiety. There is no way in hell that Carla would brutally exclaim that even Ruby’s birth mother didn’t want her. Ruby’s relationships falling through due to her preoccupation with the woman is an analogy for Ruby’s fear of abandonment interfering with her ability to form meaningful relationships. the woman remains at a distance, never approaching Ruby but always staying near, "semper distans". The woman never interferes with Ruby's life unless Ruby does something to prompt the woman to speak to someone, be it as someone to talk to her or get the woman to scare a politician; an analogy for Ruby's fear being self-destructive, people abandoning her due to self-fulfilling prophecy. Not matter how hard she tries to ignore the woman, like her fears, it never goes away. Semper distans, never approaching, never straying, like fear itself. It all leads to the natural question of what exactly does the woman tell them? What could make then respond with such fear and disgust? One answer is simply nothing, that the audience never knows is part of the illustration of anxiety. There really is nothing that would lead to them having that response. It's also possible that the woman informed of the Doctor and Ruby breaking the fairy circle. Kate's look of absolute disgust, refusing to investigate a potential extraterrestrial or supernatural threat; Carla wanting nothing to do with Ruby, to the extent of getting an injunction; an ap Gwilliam, a newly elected, extremist prime minister, dropping everything and resigning. What could make Ruby scare and disgust them? An interesting line comes from ap Gwilliam upon being asked why he resigned, "ask her". If we consider RTD's words that the narrative follows Ruby being punished for something, then the idea that the woman told them of the Doctor and Ruby breaking the circle fits. It's not something that would lead any of them to react like that, which is where the nightmare logic kicks in. It's as if Ruby is being told she's done something wrong, but not what it is. It realises her fear, being abandoned but not knowing why, leading to her feeling it's because nobody wants to know her, but it's also telling her to work out what she did herself.
The role of Roger ap Gwilliam, and his connection to the circle, is unclear. My interpretation is that he is not intrinsically connected to it. It would be logical to consider "Mad Jack" as some kind of demon that had been entrapped in the circle before the Doctor inadvertently released him. RTD pre-emptively defuses this notion early by building it up through the Welsh pub’s occupants, before subverting it and revealing them as a merely joking, literally laughing off the idea. Furthermore, this subversion is foreshadowed by Ruby’s asking if she can pay via her phone. The landlady’s confusion implies Ruby is in the past, however this too is revealed as a joke at Ruby’s expense, subverting the notion that this episode is a “creepy, rural historical”. It's RTD subtly rejecting the "typical" Doctor Who story in this instance. In a sense, it is RTD picking up on a writing technique often used by Moffat; utilising a subversion to make a statement on what something isn't.
If Roger “Mad Jack” ap Gwilliam is not an escaped demon, the question remains: what is he? The Doctor mentions him when he breaks the circle, and Ruby reads the name “Mad Jack” on the circle — which ap Gwilliam later identifies as an old nickname used for him. Perhaps it is the Doctor mentioning him that made ap Gwilliam relevant, as if the circle picked up those words. Ruby takes the name as an indicator that by “defeating him”, the curse on her is lifted. Perhaps that is why “Mad Jack” is written in the circle. A message for Ruby, a task provided to give her the opportunity of redemption in the force’s eyes.
RTD stated that doing so, using the curse for good, saving millions of lives, led to Ruby and the Doctor being forgiven for breaking the circle. However, as Ruby was not immediately rewarded for stopping ap Gwilliam, there is perhaps more to it than that. Ruby stopped him and lived for four decades longer. She dies having not become bitter by the loneliness caused by the curse, she even toasts the woman a few times. This is not without hardship, obviously she struggles. She breaks down when Carla rejects her, lashes out in public when Kate does the same. It pulls her down but never breaks her. The woman in the party she volunteers for is a mirror of Ruby. Living in a nightmare, but relenting to it unlike Ruby, who takes action for as long as it takes. She tells the TARDIS that she never found her birth mother, yet she retains hope at the end. She describes having hope as very much like the Doctor. I believe it is this moment that might just cement Ruby’s redemption in the eyes of the circle’s forces. To stop ap Gwilliam for the sake of ending the curse could perhaps be seen as selfish in nature, an act done for self-gain, not of repentance or altruism. It’s both stopping ap Gwilliam and Ruby’s words to the TARDIS that grants Ruby a second chance.
The Doctor describes the circle as “charms and spells, hopes and dreams”. The word, “hopes” here is notable. If the fairy circle represents hope, then Ruby’s words of hope, her lack of bitterness, to the TARDIS could’ve been taken in by the circle’s forces as a reflection of both her and the Doctor. An understanding that Ruby stopping ap Gwilliam was not done solely for Ruby’s self-gain. In that, the forces behind the fairy circle deemed her as sufficiently repentant, or perhaps that she and the Doctor did not break the circle out of maliciousness, and rewarded her with a second chance. Furthermore, it is also possible that part of the “test” was that Ruby wouldn’t allow the disappointment of stopping ap Gwilliam leading to nothing making her bitter. Ultimately, if one considers the circle’s forces as evaluating Ruby, it’s plausible that the events of the episode are them observing if Ruby is worthy or being spared, or something to that effect. It is also plausible that Ruby being taken back to the moment the circle was broken was another, final test. To see if Ruby now understood why all that happened did, and if she would do anything to make amends and prevent the circle being broken.
While the episode strongly implies an elder Ruby is the woman following her, this implication leads to the notion the episode exists within a time-loop. As far as I see it, there are two possibilities here.
The first possibility is that the woman is Ruby, having failed to prevent the circle breaking when returned to the moment. It’s possible that the woman is a version of Ruby who grew bitter and continued the cycle, leading people to abandon her, due to that bitterness. When one considers Ruby using the woman, her curse, to save the world, the episode presents a moral: to use the hardship you’ve endured to better others. With that in mind, the woman could be the inverse of that. Allowing hardship to consume you, leading to you inflicting suffering in others, especially yourself. The episode would then present itself as a time-loop, testing Ruby over and over again, in a sort of purgatory, until she got it right.
The second possibility is that the old woman took the form of an elderly Ruby, but isn’t Ruby herself. Ruby as the woman at the episode’s climax is the only time Ruby is the woman. In this scenario, why the woman took Ruby’s form is perhaps done so as a warning to Ruby. The woman is dressed in black. A colour associated with death, mystery, fear, authority, and the occult, all relevant here. The warning could be implying Ruby’s potential of dying alone, her face unknowable to suggest Ruby as forgotten, abandoned by the world — like someone nobody notices, as supported by mention of the TARDIS’ perception filter. The woman realising Ruby’s fear of abandonment is a warning of the kind of person she could become if she let that fear consume her. A self-fulfilling prophecy that only Ruby herself would lead to her being abandoned. In this instance, the episode would not be a time-loop, meaning Ruby gets it right the first time round (perhaps, she wouldn’t be given another chance if she didn’t).
Whichever you prefer is up to you. It could even be a mix of both. Personally, I like the ambiguity of not knowing which one is the case. Adds to the mysterious nature of the woman and the circle’s forces. The ability to erase the Doctor from the universe suggests a god-like force, one that’s perhaps unknowable. Both the Doctor and the woman in the pub suggest the cliffs are a boundary between land and sea, where all is possible. This echoes the edge of the universe in Wild Blue Yonder. RTD hints once more at the episode’s fantastical nature by calling back to an episode where the antagonists were of a nature beyond understanding. With this in mind, it is perhaps futile to ponder on the intentions, reasoning, or even nature of this mystical force. As he did in Midnight, RTD fails to provide answers on purpose. The narrative does not require these explanations, nor would it benefit from them. Like the Midnight entity, it is better to leave the mystery as a mystery. The Doctor implies so at the end, suggesting they “give them their respect” and “let them rest in peace.”
I've already stated that RTD utilises a Moffat subversion trick, and this episode is one I would describe as a 'Moffat episode penned by RTD'. A common theme we saw in Moffat's era, though not unique to him, is the companion becoming the Doctor. RTD himself did this too, however his approach is more Moffat-esque than it was in his first tenure as showrunner. RTD tended to punish those that became too much like the Doctor: Rose risked death, had the Doctor not saved her, upon becoming the Bad Wolf; and Donna, like Rose, risked death had her memory not been wiped of the Doctor after she became too much like him. Cristina was a potential companion who paralleled the Doctor to an extent and was outright refused the opportunity to travel with him (she was, however, given the given the consolation prize of a replacement flying bus service). Moffat took a more optimistic approach best observed with Clara, who became like the Doctor and was rewarded with technical immortality, her own TARDIS, and a companion. Here, we see Ruby become like the Doctor and be rewarded for it. Ruby states she has hope, much like the Doctor would. She saves the world using a tactic that the Doctor would. Note the orange top she wears, the colour that has come to define Fifteen, highlighting that he has had an effect on her. Two key aspects of Moffat's era are the notion that anybody could be the Doctor, and that it didn't matter that the Doctor was fictional, they could impact anybody, even the viewer. RTD echoes these themes in Ruby. Becoming like the Doctor, in his absence, led her to besting her fear, which in turn serves the episode's moral. The Doctor is technically the first one to "abandon" Ruby this episode, and she returns to the TARDIS to "talk" to him of the hope she has at the end. She's conquered her fear of being abandoned.
Of course, it wouldn’t be a Russell T. Davies script without a good ol’ political statement, and 73 Yards is no exception. Upon my first viewing, I was somewhat critical towards ap Gwilliam as a character. I believed he and his politics were shallowly defined, and somewhat extreme. Too extreme to be believable, in my opinion (yes, even for a 2024 audience — then again, with how bad the 2020s are, God knows what the 2040s will be like). Upon reflection, it‘s better to have not done so. For one, ap Gwilliam and his politics are given as much explanation that the narrative required. Further elaboration would be a waste of screentime. Secondly, I feel that ap Gwilliam isn’t the political figure in this episode; Ruby is. It’s not an episode about politicians like ap Gwilliam, it’s an episode about their followers. Ruby volunteers for ap Gwilliam’s party. Her reasoning for doing so is owed to her curse, her fear of abandonment. My read is that RTD is making a statement that those who turn to extremist politics do so because they have unresolved, personal issues. They turn to extremist politics because they blame the world around them, projecting their issues outwardly rather than attending to them inwardly. Ruby’s decision to volunteer comes off the back of a break-up, an analogy for this being the response to grief and hurt for many people. Ap Gwilliam’s politics are irrelevant, only that he is extreme. Granted, Ruby volunteers with an ulterior, altruistic motive, but I feel the point stands regardless. It works to the themes I’ve discussed in this post; one can use their hardship to help others and make the world a better place, or let it consume them and spread further suffering until things spiral out of control. It’s entirely possible that this is why the fairy circle made “Mad Jack” the target of Ruby’s redemption. Perhaps to teach her that value. There is also a lesson here in respecting the cultures of others. RTD stated that the Doctor's uncharacteristic disrespect led to the episode's events.
But one last question that I have is this: if the fairy circle was intending to teach Ruby a lesson, what good is that if she can’t remember? Well, perhaps she does. Deep down, without knowing so, Ruby does remember. When the episode begins, Ruby mentions having visited Wales twice. At the end, she says she visited three times. When the Doctor asks her the third time, she dons a confused expression before suggesting, “now”. This could indicate that Ruby has, though means beyond our logical understanding, retained something of her “purgatory” life. She says “three” times, not four or five, leading me to think she only “remembers” being the old woman at that moment. She doesn’t remember the “purgatory” life, but perhaps she remembers the lessons learned if not the events surrounding them.
Annnnnd that’s all I got. Just a couple notes, of course, nothing too elaborate. I did write them without a format so I’m hoping I’ve formatted it in a way that’s more readable. Overall, I think that was a fantastic episode. Space Babies was a rough start for me, and I enjoyed Devil’s Chord but not as much as others. Now we have Boom and 73 Yards, I’m glad to say that we. Are. So. BACK!
submitted by Reaqzehz to gallifrey [link] [comments]
Couple disclaimers first. As I wanted to try to analyse the episode without outside aid, I’ve avoided reading too much into what other people have said. That said, I can’t say I fully succeeded. RTD’s explanation played a big part in this, and I did read a bit into the post-episode discussion. Finally, I’m aware that this episode based itself on Fae magic. I know nothing of Fae magic, nothing at all, and I decided against doing any research in my analysis. I felt that the episode should stand on its own feet and was best analysed without any understanding the context of its inspiration. Chances are, I may have missed something, maybe even something big, because of that. Time will tell when I read up on Fae magic.
So, to summarise, everything except the following is my own interpretation: RTD explaining the Doctor and Ruby being punished, Ruby’s fear of abandonment playing a major role thematically (I did pick up on this in my first viewing, but it’s safer to just say it here anyway), and the involvement of Fae magic. Also, the fact there were no opening titles… Not quite sure how I missed that! I've purposely avoided reading any posts, so as many of the ideas written here are my own, but I expect most, if not all, has been said by other people. Anyway, onto my interpretation.
The episode acts as a character piece for Ruby Sunday. Given that I’ve felt Ruby to be under-characterised thus far, this is a much needed, and wholeheartedly welcomed, episode for her. The episode’s plot utilises the series’ novel, openly fantastical direction, that RTD set up in Wild Blue Yonder, through presenting the narrative in the form of “nightmare logic”. In my opinion, RTD has managed to utilise the fantasy approach brilliantly here. Space Babies and Devil’s Chord didn’t sell it for me, and Church on Ruby Road slightly did. Here, however, RTD really lets the storytelling potential show. I don’t know if I consider 73 Yards to be the greatest thing he’s ever written (like he himself stated, apparently) given that Midnight, Turn Left, and Children of Earth exist. But I can certainly respect anyone who does agree with him.
The episode is Doctor-lite, Gatwa’s presence in the story is minimised. This absence, coupled with the absence of opening titles, might be a technique in which RTD (or perhaps director, Dylan Holmes Williams, who deserves credit too) hints at the episode’s fantastical nature. The episode’s plot abandons the science-fiction approach, which (albeit often loosely) follows a form of traditional logic, even when telling stories with a fantasy element. The absence of the Doctor and titles might be a way of connoting the episode’s unconventional premise; that it does not follow Doctor Who’s traditional approach in storytelling. It’s withholding the safe and familiar, thrusting viewers alongside Ruby, into this unfamiliar territory where something’s not quite right. It’s a way of telling the viewer not to interpret this episode like any other; there is no “logical” plot-thread, so trying to apply traditional logic here is futile.
The Doctor’s disappearance, and Ruby being haunted by the woman, is explained by RTD as punishment for breaking the circle. As stated, the episode’s narrative doesn’t follow a “traditional” thread of logic. Instead, it follows the logic of a nightmare. As the one who broke the fairy circle, the Doctor’s punishment is to be erased from the universe. As an accomplice, Ruby’s punishment is to live her life with her greatest fear realised. She is perpetually abandoned.
The woman is an analogy for Ruby’s fear of abandonment. It makes her adoptive mother abandon her, including taking out an injunction against her. It makes Kate Steward and UNIT soldiers, all of whom are trained in anti-brainwashing, also abandon her. Kate’s abandoning especially is done to bring the audience into Ruby’s position. No way would the Kate we know fall for it, we know Ruby is safe with her. We know UNIT will step up, solve this mystery, and bring the Doctor back! We know that… until she isn’t, and they don’t. Abandoning Ruby is wildly out of character for both Carla and Kate, there’s no logical reason for them to do so, and that’s the point. Nightmares and fears aren’t logical; these out-of-character behaviours thematically illustrate the illogical nature of anxiety. There is no way in hell that Carla would brutally exclaim that even Ruby’s birth mother didn’t want her. Ruby’s relationships falling through due to her preoccupation with the woman is an analogy for Ruby’s fear of abandonment interfering with her ability to form meaningful relationships. the woman remains at a distance, never approaching Ruby but always staying near, "semper distans". The woman never interferes with Ruby's life unless Ruby does something to prompt the woman to speak to someone, be it as someone to talk to her or get the woman to scare a politician; an analogy for Ruby's fear being self-destructive, people abandoning her due to self-fulfilling prophecy. Not matter how hard she tries to ignore the woman, like her fears, it never goes away. Semper distans, never approaching, never straying, like fear itself. It all leads to the natural question of what exactly does the woman tell them? What could make then respond with such fear and disgust? One answer is simply nothing, that the audience never knows is part of the illustration of anxiety. There really is nothing that would lead to them having that response. It's also possible that the woman informed of the Doctor and Ruby breaking the fairy circle. Kate's look of absolute disgust, refusing to investigate a potential extraterrestrial or supernatural threat; Carla wanting nothing to do with Ruby, to the extent of getting an injunction; an ap Gwilliam, a newly elected, extremist prime minister, dropping everything and resigning. What could make Ruby scare and disgust them? An interesting line comes from ap Gwilliam upon being asked why he resigned, "ask her". If we consider RTD's words that the narrative follows Ruby being punished for something, then the idea that the woman told them of the Doctor and Ruby breaking the circle fits. It's not something that would lead any of them to react like that, which is where the nightmare logic kicks in. It's as if Ruby is being told she's done something wrong, but not what it is. It realises her fear, being abandoned but not knowing why, leading to her feeling it's because nobody wants to know her, but it's also telling her to work out what she did herself.
The role of Roger ap Gwilliam, and his connection to the circle, is unclear. My interpretation is that he is not intrinsically connected to it. It would be logical to consider "Mad Jack" as some kind of demon that had been entrapped in the circle before the Doctor inadvertently released him. RTD pre-emptively defuses this notion early by building it up through the Welsh pub’s occupants, before subverting it and revealing them as a merely joking, literally laughing off the idea. Furthermore, this subversion is foreshadowed by Ruby’s asking if she can pay via her phone. The landlady’s confusion implies Ruby is in the past, however this too is revealed as a joke at Ruby’s expense, subverting the notion that this episode is a “creepy, rural historical”. It's RTD subtly rejecting the "typical" Doctor Who story in this instance. In a sense, it is RTD picking up on a writing technique often used by Moffat; utilising a subversion to make a statement on what something isn't.
If Roger “Mad Jack” ap Gwilliam is not an escaped demon, the question remains: what is he? The Doctor mentions him when he breaks the circle, and Ruby reads the name “Mad Jack” on the circle — which ap Gwilliam later identifies as an old nickname used for him. Perhaps it is the Doctor mentioning him that made ap Gwilliam relevant, as if the circle picked up those words. Ruby takes the name as an indicator that by “defeating him”, the curse on her is lifted. Perhaps that is why “Mad Jack” is written in the circle. A message for Ruby, a task provided to give her the opportunity of redemption in the force’s eyes.
RTD stated that doing so, using the curse for good, saving millions of lives, led to Ruby and the Doctor being forgiven for breaking the circle. However, as Ruby was not immediately rewarded for stopping ap Gwilliam, there is perhaps more to it than that. Ruby stopped him and lived for four decades longer. She dies having not become bitter by the loneliness caused by the curse, she even toasts the woman a few times. This is not without hardship, obviously she struggles. She breaks down when Carla rejects her, lashes out in public when Kate does the same. It pulls her down but never breaks her. The woman in the party she volunteers for is a mirror of Ruby. Living in a nightmare, but relenting to it unlike Ruby, who takes action for as long as it takes. She tells the TARDIS that she never found her birth mother, yet she retains hope at the end. She describes having hope as very much like the Doctor. I believe it is this moment that might just cement Ruby’s redemption in the eyes of the circle’s forces. To stop ap Gwilliam for the sake of ending the curse could perhaps be seen as selfish in nature, an act done for self-gain, not of repentance or altruism. It’s both stopping ap Gwilliam and Ruby’s words to the TARDIS that grants Ruby a second chance.
The Doctor describes the circle as “charms and spells, hopes and dreams”. The word, “hopes” here is notable. If the fairy circle represents hope, then Ruby’s words of hope, her lack of bitterness, to the TARDIS could’ve been taken in by the circle’s forces as a reflection of both her and the Doctor. An understanding that Ruby stopping ap Gwilliam was not done solely for Ruby’s self-gain. In that, the forces behind the fairy circle deemed her as sufficiently repentant, or perhaps that she and the Doctor did not break the circle out of maliciousness, and rewarded her with a second chance. Furthermore, it is also possible that part of the “test” was that Ruby wouldn’t allow the disappointment of stopping ap Gwilliam leading to nothing making her bitter. Ultimately, if one considers the circle’s forces as evaluating Ruby, it’s plausible that the events of the episode are them observing if Ruby is worthy or being spared, or something to that effect. It is also plausible that Ruby being taken back to the moment the circle was broken was another, final test. To see if Ruby now understood why all that happened did, and if she would do anything to make amends and prevent the circle being broken.
While the episode strongly implies an elder Ruby is the woman following her, this implication leads to the notion the episode exists within a time-loop. As far as I see it, there are two possibilities here.
The first possibility is that the woman is Ruby, having failed to prevent the circle breaking when returned to the moment. It’s possible that the woman is a version of Ruby who grew bitter and continued the cycle, leading people to abandon her, due to that bitterness. When one considers Ruby using the woman, her curse, to save the world, the episode presents a moral: to use the hardship you’ve endured to better others. With that in mind, the woman could be the inverse of that. Allowing hardship to consume you, leading to you inflicting suffering in others, especially yourself. The episode would then present itself as a time-loop, testing Ruby over and over again, in a sort of purgatory, until she got it right.
The second possibility is that the old woman took the form of an elderly Ruby, but isn’t Ruby herself. Ruby as the woman at the episode’s climax is the only time Ruby is the woman. In this scenario, why the woman took Ruby’s form is perhaps done so as a warning to Ruby. The woman is dressed in black. A colour associated with death, mystery, fear, authority, and the occult, all relevant here. The warning could be implying Ruby’s potential of dying alone, her face unknowable to suggest Ruby as forgotten, abandoned by the world — like someone nobody notices, as supported by mention of the TARDIS’ perception filter. The woman realising Ruby’s fear of abandonment is a warning of the kind of person she could become if she let that fear consume her. A self-fulfilling prophecy that only Ruby herself would lead to her being abandoned. In this instance, the episode would not be a time-loop, meaning Ruby gets it right the first time round (perhaps, she wouldn’t be given another chance if she didn’t).
Whichever you prefer is up to you. It could even be a mix of both. Personally, I like the ambiguity of not knowing which one is the case. Adds to the mysterious nature of the woman and the circle’s forces. The ability to erase the Doctor from the universe suggests a god-like force, one that’s perhaps unknowable. Both the Doctor and the woman in the pub suggest the cliffs are a boundary between land and sea, where all is possible. This echoes the edge of the universe in Wild Blue Yonder. RTD hints once more at the episode’s fantastical nature by calling back to an episode where the antagonists were of a nature beyond understanding. With this in mind, it is perhaps futile to ponder on the intentions, reasoning, or even nature of this mystical force. As he did in Midnight, RTD fails to provide answers on purpose. The narrative does not require these explanations, nor would it benefit from them. Like the Midnight entity, it is better to leave the mystery as a mystery. The Doctor implies so at the end, suggesting they “give them their respect” and “let them rest in peace.”
I've already stated that RTD utilises a Moffat subversion trick, and this episode is one I would describe as a 'Moffat episode penned by RTD'. A common theme we saw in Moffat's era, though not unique to him, is the companion becoming the Doctor. RTD himself did this too, however his approach is more Moffat-esque than it was in his first tenure as showrunner. RTD tended to punish those that became too much like the Doctor: Rose risked death, had the Doctor not saved her, upon becoming the Bad Wolf; and Donna, like Rose, risked death had her memory not been wiped of the Doctor after she became too much like him. Cristina was a potential companion who paralleled the Doctor to an extent and was outright refused the opportunity to travel with him (she was, however, given the given the consolation prize of a replacement flying bus service). Moffat took a more optimistic approach best observed with Clara, who became like the Doctor and was rewarded with technical immortality, her own TARDIS, and a companion. Here, we see Ruby become like the Doctor and be rewarded for it. Ruby states she has hope, much like the Doctor would. She saves the world using a tactic that the Doctor would. Note the orange top she wears, the colour that has come to define Fifteen, highlighting that he has had an effect on her. Two key aspects of Moffat's era are the notion that anybody could be the Doctor, and that it didn't matter that the Doctor was fictional, they could impact anybody, even the viewer. RTD echoes these themes in Ruby. Becoming like the Doctor, in his absence, led her to besting her fear, which in turn serves the episode's moral. The Doctor is technically the first one to "abandon" Ruby this episode, and she returns to the TARDIS to "talk" to him of the hope she has at the end. She's conquered her fear of being abandoned.
Of course, it wouldn’t be a Russell T. Davies script without a good ol’ political statement, and 73 Yards is no exception. Upon my first viewing, I was somewhat critical towards ap Gwilliam as a character. I believed he and his politics were shallowly defined, and somewhat extreme. Too extreme to be believable, in my opinion (yes, even for a 2024 audience — then again, with how bad the 2020s are, God knows what the 2040s will be like). Upon reflection, it‘s better to have not done so. For one, ap Gwilliam and his politics are given as much explanation that the narrative required. Further elaboration would be a waste of screentime. Secondly, I feel that ap Gwilliam isn’t the political figure in this episode; Ruby is. It’s not an episode about politicians like ap Gwilliam, it’s an episode about their followers. Ruby volunteers for ap Gwilliam’s party. Her reasoning for doing so is owed to her curse, her fear of abandonment. My read is that RTD is making a statement that those who turn to extremist politics do so because they have unresolved, personal issues. They turn to extremist politics because they blame the world around them, projecting their issues outwardly rather than attending to them inwardly. Ruby’s decision to volunteer comes off the back of a break-up, an analogy for this being the response to grief and hurt for many people. Ap Gwilliam’s politics are irrelevant, only that he is extreme. Granted, Ruby volunteers with an ulterior, altruistic motive, but I feel the point stands regardless. It works to the themes I’ve discussed in this post; one can use their hardship to help others and make the world a better place, or let it consume them and spread further suffering until things spiral out of control. It’s entirely possible that this is why the fairy circle made “Mad Jack” the target of Ruby’s redemption. Perhaps to teach her that value. There is also a lesson here in respecting the cultures of others. RTD stated that the Doctor's uncharacteristic disrespect led to the episode's events.
But one last question that I have is this: if the fairy circle was intending to teach Ruby a lesson, what good is that if she can’t remember? Well, perhaps she does. Deep down, without knowing so, Ruby does remember. When the episode begins, Ruby mentions having visited Wales twice. At the end, she says she visited three times. When the Doctor asks her the third time, she dons a confused expression before suggesting, “now”. This could indicate that Ruby has, though means beyond our logical understanding, retained something of her “purgatory” life. She says “three” times, not four or five, leading me to think she only “remembers” being the old woman at that moment. She doesn’t remember the “purgatory” life, but perhaps she remembers the lessons learned if not the events surrounding them.
Annnnnd that’s all I got. Just a couple notes, of course, nothing too elaborate. I did write them without a format so I’m hoping I’ve formatted it in a way that’s more readable. Overall, I think that was a fantastic episode. Space Babies was a rough start for me, and I enjoyed Devil’s Chord but not as much as others. Now we have Boom and 73 Yards, I’m glad to say that we. Are. So. BACK!