ambiguity arises not from the first message but from the second, the disconinuty from the moment recorded and the moment of looking p89
"All photographs are ambiguous " p 91
disconinuity always produces ambiguity, sometimes not obvious.
photograph beg for an interpretation, which words usually supply
The photograph, irrefutible as evidence but weak in meaning, is given a meaning by the words
POWERFUL TOGETHER
"could this ambiguity suggest another way of telling?"
representation "is indeed like a trace" p93
'the material
relation between the image and what it represents (between the marks on
the printing paper and the tree these marks represent) is an immediate
and unconstructed one' p93 b4
"in
itself the photograph cannot lie, but, by the same token, it cannot
tell the truth; or rather, the truth it does tell , the truth it can by
itself defend is a limited one." p97
p116 - 'it was a rationalist illusion to beleive that in dispensing with
religion, mysteries would be reduced. What has happened, on the
contrary, is that mysteries multiply. Merleau-Ponty wrote:'
We must take literally what vision teaches us, namely that through
it we come in contact with the sun and the stars, that we are everywhere
all at once, and that even our power to imagine ourselves elsewhere...
borrows from vision nd employs means we owe to it. Vision alone makes us
learn that beings that are different, "exterior", foreign to one
another, are yet absolutely together, are "simultaniety"; this is a
mystery psychologists handle the way a child handles explosives. """"
"In every act of
looking there is an expectation of meaning. This expectation should be
distinguished from a desire for an explanation. The one who looks may
explain aftewards; but, prior to any explanation, there is the
expectation of what appearances themselves may be about to reveal." p117
photographs are a way to show that an event has occurred, but does not
have the capacity to explain why, how, or what feelings were involved.
http://blog.lib.umn.edu/wardx278/1300/2007/10/appearances_john_berger.html
Simon Johnson
www.thephilosophicalphotographer.co.uk
Digging out of the hole
Intentional Fallacy, may be worth a look
- I am pretty sure Berger texts would come into play here *ENSURE I CHECK*
I will still have avoided my intial problem, an accurate representation becomes the decision of the wisdom of the crowd would it not?
perhaps we should resurrect the author
"New Criticism"
In 1946, William K. Wimsatt and Monroe Beardsley published a classic and controversial New Critical essay entitled "The Intentional Fallacy", in which they argued strongly against the relevance of an author's intention,
or "intended meaning" in the analysis of a literary work. For Wimsatt
and Beardsley, the words on the page were all that mattered; importation
of meanings from outside the text was considered irrelevant, and
potentially distracting.
The intentional Fallacy
"the design or intention of the author is neither available nor
desirable as a standard for judging the success of a work of literary
art."
W. K. Wimsatt, Monroe Beardsley
Wimsatt and Beardsley divide the evidence used in making interpretations
of literary texts (although their analysis can be applied equally well
to any type of art) into three categories:
Internal Evidence
External Evidence
Contextual Evidence
So perhaps I have saved my argument, the artist's intent is irrelevant, but we can still have an artist/author. Perhaps in this case there was not so much intent, or is there was we can't trust it because of the inherent bias behind it!
http://en.wikipedia.org/wiki/New_Criticism
criticism to new criticism
New Criticism is frequently seen as “uninterested in the human meaning, the social function and effect of literature.
Need I read affective fallacy?
Affective fallacy is a term from literary criticism
used to refer to the supposed error of judging or evaluating a text on
the basis of its emotional effects on a reader. The term was coined by W.K. Wimsatt and Monroe Beardsley as a principle of New Criticism.
Simon Johnson
www.thephilosophicalphotographer.co.uk
What is an Author? notes
What is an Author?
Michel Foucault, 1969
Preliminary thoughts... How does this apply when it is a self-portrait? obviously a personal thing, but then with the self, as I have demonstrated the self isn't just one thing, it itself is open to interpretation for the ineffable entity it is. Perhaps then when I look over my own project, that is one interpretation of it as I have discovered it, I simply know more information than others (however other people may know things about myself that I am not even aware of and come to their own conclusion) Perhaps it has been a bias that things have to have ONE meaning, ONE inherent truth behind it...
So thinking back to the question, is it possible to ever have an accurate representation of oneself? Well it would appear that the possibility exists of accuracy, however there is no possibility of confirmation of authenticity because of how easily we can be influenced. If the Death if the author is taken to be the case, then an accurate representation would seem to become irrelevant? It does not matter the accuracy to which this represents that because it is the interpreted message that is important... However, I guess it would be shortsighted to fully exclude the photographer and perhaps I can again critique some of this to suggest that the author may still have some presence on the work, if not as the Author, as possibly the keeper of knowledge, meaning they know most about it, they are the authoritive person when it comes to knowing about that particular thing/object/text/whatever.
Finally in dissertation I can bring this question to a reality based source to help find a solution, such as Facebook, in which self-portraits, as amateur as they come, are constantly being produced, and obviously it might go without saying perhaps there is no Authority or meaning behind the photo but people obviously decide what the photos means given the pragmatic world and way it is presented... i.e on facebook, in a profile, it is determined to be a certain way and project a certain thing with a certain amount of context, I'm saying 'certain' way too much...
Context driven, wisdom of the crowd.
Helpful commentary https://www.youtube.com/watch?v=wT302ezP6mI
Caution: no page numbers...
"The coming into notion of "author" constitutes the privileged moment of individualisation in the history of ideas, knowledge, literature, philosophy, and the sciences. Even today, hen we reconstruct the history of a concept, literary genre, or school of philosophy, such categories seem relatively weak, secondary, and super - imposed scansions in comparison with the solid and fundamental unit of the author and the work." p1
"at what point we began to recount the lives of authors rather than heroes, and how this fundamental category of "the-man-and-his-work criticism" began." p1
"For the moment, however, I want to deal solely with the relationship between text and author and with the manner in which the text points to this figure that, at lest in appearance; is outside it and antecedes it." p1
Beckett formulates the theme "What does it matter who is speaking."
-today's writing has freed itself from the theme of expression
it is, rather, a question of creating a space into which the writing subject constantly disappears.
-the second theme, writing's relationship with death, is even more familiar.
"The work, which once had the duty of providing immortailty, now possesses the right to kill, to be its author's murderer, as in the cases of Flaubert, Proust, and Kafka."
In photography how often do we have time to refer to the authors intent or biographical information? Sometimes not often, however it does seem to enhance the work does it not, as well as contextual information to go along with the work. It seems that the photograph without the writing is already very ambiguous and open to interpretation, which is the ideal case, but then the argument persists about truth vs this
"Using all the contrivances that he sets up between himself and what he writes, the writiing subject canels out the signs of his particular individuality. As a result, the mark of the writer is reduced to nothing more than the singularity of his absence; he must assume the role of the dead man in the game of writing." p2
"A certain number of notions that are intended to replace the privileged position of the author actually seem to preserve that privilege and suppress the real meaning of his disappearance." p2
First idea is of the work [oeuvre]
task is not to bring out the work's relationships with the author, nor rrecontrust through the text a thought or experience, but rather to analyse the work through its structure, its arcitecture, its intrinsic form, and the play of its internal relationships."
-Problem, what is a work?
"If an indivudual were not an author, could we say that what he wrote, said, left behind in his papers, of what has been collected of his remarks, could be called a "work"? p2
"Even when an individual has been accepted as an author, we must still ask whether everything that he wrote, said, or left behind is part of his work. The problem is both theoretical and technical." p2
-what can be considered a work? parts or scribblings.. a laundry list?
suggest how I do not like where this is leading us very impersonal this is turning out to be
"How can one define a work amid the millions of traces left by someone after this death?" p3
could go further...
"The word work and the unity that it designates are probably just as problematic as the status of the author's individuality." p3
This capter needs to be paired with Berger's another way of telling, I feel. However this could be another chapter, focusedonthe seer, or something like that... talks about the ambiguity of the photograph... However this ambiguity wouldn't exist now? Would it?
subtley preserves the author's existence... is writing.
"We try, with great effort, to imagine the general condition of each text, the condition of both the space in which it is dispersed and the time in which it unfolds." p3
...
not enough to repeat the authors death.. "Instead, we must locate the space left empty by the author's disappearance, follow the distribution of gaps and breaches, and watch for the openings this disappearance uncovers." p4
"we need to clarify briefly the problems arising from the use of the author's name. What is an author's name? How does it function? far from offering a solution, I shall only indicate some of the difficulties that it presents." p4
§proper name does not have just one classification
"However - and it is here that the particular difficulties of the author's name arise - the links between the proper name and the individual named and between the author's name and what it names are not isomorphic and do not function in the same way. There are several differences." p4
example of Shakespeare, if he didn't write the sonnets, if he wrote something addutional etc
"The author's name is not, therefore, just a proper name like the rest." p5
"Such a name permits one to group together a certain number of texts, define them, differentiate them from and contrast them to others." p5
"author function" introduced.
"A private letter may well have a signer - it does not have an author; a contract may well have a guarantor - it does not have an author. An anonymous text posted on a wall probably has an editor - but not an author. The author function is therefore characteristic of existence, circulation, and functioning of certain discourses within a society." p6
--If we limit our remarks to the author of a book or a text, we can isolate four different characteristics
- FIRST discources are objects of appropriation
authors punished
author's rights, author-publisher relations
was a time when narratives, stories, epics, tragedies comedies were put into circulation without any question about the identity of the author p6
I would say perhaps as the world became more linked, and communications improved, the necessity for an author to be credited became more important because things are so easily worldwide now.
people who invented / discovered - christened
today author function plays an important role
"It is not simply a manner of indicating the source but of providing a certain index of "reality" " p7
THIRD
"The name as an individual trademark is not enough when one works within a textual tradition" p8
so, problem if more than one work belongs to the same author...
Saint Jerme imposes 4 criteria:
i) inferior book attributed to the same artist, must remove that book
(author is then defined as a constant level of value
ii) if there are severe contradicitons in the main doctrine
(author has conceptual or theoretical coherence)
iii) exclude works written in a different style
(author is a stylistic unity)
iv) things mentioning things after author's death - interpolated texts
(author seen as historical figure, crossroads of numerous events
p8
Modern literary criticism
"the author provides the basis for explaining not only the presence of certain events in a work, but also their transformations distortions, and diverse modifications" p8
"the author also serves to neutralise the contradictions that may emerge in a series of texts."
IMPORTANT
"The text always contains a certain number of signs referring to the author" p9
talks about use of verbs, nouns, narrative style etc
Talk about the other three selves in the writing p9
"No doubt, analysis could discover still more characteristic traits of the author function."
limits to just four...
1 AF linked to juridical and institutional systems
2doesn't affect all discourses in the same way
3 not defined by single discourse but by series of complex operations
4 does not refer to an individual, several selves.
"I seem to have given the term "author" much too narrow a meaning" p10
Can give rise to more than just our work, Freud gave rise to psychoanalytic discource, which in turn allows Lacan, Klein, Jung to do also... p11
seem to present a new difficulty...
?
confused now..
End of p12 - to conclude
"I believe, in the activity of the author function and in its modifications than in the themes or concepts that discources set in motion." p13
"We must entirely reverse the traditional idea of the author." p13
"We are accustomed, as we have seen earlier, to saying that the author is the genial creator of a work in which he deposits, with infinite wealth and generosity, an inexhaustible world of significations." p13
"The truth is quote the contrary: the author is not an indefinite source of significations that fill a work; the author does not precede the works; he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short by which one impedes tge free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction." p14
"In fact, if we are accustomed to presenting thw author as a genius, as a perpetual surging of invention, it is because, in reality, we make him function in exactly the opposite fashion." p14
new questions can be asked if we got rid of the author.
What difference does it make who is speaking?
my reading guide:
http://www.lawrence.edu/dept/english/courses/60a/handouts/author.html
Taking something as a given, and turning it into a problem - what is an author?
Does it matter who is speaking?
What is a work?
What is a name?
Author function
Death of the author does help me sideshift the problem I have been seeking, but blows open a new hole for me to deal with... in completely doing away with the author, what has happened to our question?
Okay, perhaps we can question the merits of this and suggest it WAS an important move for the author to step down as the important step, but then suggest how the seer, perciever is intelligent and can still use details to work out things,
However, we encroach open open wounds, the perciever is prone to the consious unconscious bias, the unknowing of the authorial intent...
BOOM then I can suggest the wisdom of the crowd and context dependency.
Simon Johnson
www.thephilosophicalphotographer.co.uk
The Death of the Author notes
What this makes me think of, is that all the photographs in the world, perhaps there is a finite limit to the possibilities even if that limit is immense...
Perhaps all photographs are discovered, as opposed to created... therefore we are not the creator, we are a discoverer, we are not responsible for making it, we are responsibile for discovering that particular configuration of visual imagery.
The Death of the Author
source???
1967 essay
or image-Music-Text (1977)
- Roland Barthes
Begins with an example story: Sarrasine, by Balzac
Describes a castrato male, disguised as a woman.
- The sentence describing him
"Who is speaking in this way?" ... "It will always be impossible to know, for the good reason that all writing is itself this special voice, consisting of several discernible voices, and that literature is precisely the invention of this voice, to which we cannot assign a specific origin: literature is that neuter, that composite, that oblique into which every subject escapes, the trap where all identity is lost, beginning with the very identity of the body that writes." p2
"this disjunction occurs, the voice loses its origin, the author enters his own death, writing begins."
"the image of literature to be found in contemporary culture is tyrannically centered on the author, his person, his history, his tastes, his passions; criticism still consists, most of the time, in saying that Baudelaire's work is the failure of the man Baudelaire, Van Gogh's work his madness, Tchaikovsky's his vice: the explanation of the work is always sought in the man who has produced it, as if, through the more of less transparent allegory of fiction, it was always finally the voice of one and the same person, the author, which delivered his "confidence." p2
"linguistically, the author is never anything more than the man who writes just as I is no more than the man who says I: language knows a "subject," not a "person," end this subject, void outside of the very utterance which defines it, suffices to make language "work," that is, to exhaust it." p3
"The author, when we believe in him, is always conceived as the past of his own book: the book and the author take their places of their own accord on the same line, cast as a before and an after: the Author is supposed to feed the book - that is, he pre-exists it, thinks, suffers, lives for it; he maintains with his work the same relation of antecedence a father maintains with his child. Quite the contrary, the modern writer (scriptor) is born simultaneously with his text; he is in no way supplied with a being which precedes or transcends his writing, he is in no way the subject of which his book is the predicate; there is no other time than that of the utterance, and every text is eternally written here and now." p4
"We know that text does not consist of a line of words, releasing a single "theological" meaning (the "message" of the Author-God), but is a space of many dimensions, in which are wedded and contested various kinds of writing, no one of which is original: the text is a tissue of citations, resulting from the thousand sources of culture." p4
"suceeding the Author, the writer no longer contains within himself passions, humors, sentiments, impressions, but that enormous dictionary, from which he derives a writing which can know no end of halt: life can only imitate the book, and the book itself is only a tissue of signs, a lost, infinitely remote imitation." p5
"Once the Author is gone, the claim to "decipher" a text becomes quite useless. To give an Author to a text is to impose upon that text a stop clause, to furnish it with a final signification, to close the writing." p5
"This conception perfectly suits criticism, which can then take its major task the discovery of the Author beneath the work: once the Author is discovered, the text is "explained:" the critic has conquered; hence it is scarcely surprising not only that, historically, the reign of the Author should also have been that of the Critic, but that criticism (even "new criticism) should be overthrown along with the Author."
"we know that to restore to writing its future, we must reverse its muth: the birth of the reader must be ransomed bu the death of the Author." p6
-translated by Richard Howard
Simon Johnson
www.thephilosophicalphotographer.co.uk
Death of the author - revisited chp5
1967 essay by Roland Barthes 'The Death of the Author'
included in: Image-Music-Text (1977)
"Barthes's essay argues against traditional literary criticism's practice
of incorporating the intentions and biographical context of an author
in an interpretation of a text, and instead argues that writing and
creator are unrelated." - wikipedia summary
If this is applied to photographic work, then the photographer's intent AND context of the author in interpreting a photograph may be false, that it and the photographer are unrelated.
Hmmm, perhaps I may need to introduce my idea of context sooner than expected to be able to suggest intent and context is irrelevant..
Perhaps I have already done this, the context of the photographer was covered in our solution to the subverted identity [ √ ] so now the dissertation importance swaps from the photographer to the seer...
Of course this will then open us up to the same problems that afflicts the photographer, the conscious / unconsious dilemma. Finally, our get out of jail clause may return to the context of the photographer, perhaps it is a neccessary attribute - one which cannot be avoided... and continue on to suggest the wisdom of the crowd... supported by Facebook and ohter online media?
IS THIS ARGUMENT COHERENT??? NEED TO WORK OUT THE FLAWS
problem: "To give a text an Author" and assign a single, corresponding interpretation to it "is to impose a limit on that text."
----opens up MANY interpretations again...
---wisdom of the crowd will save this
notes that the traditional critical approach to literature raises a
thorny problem: how can we detect precisely what the writer intended?
His answer is that we cannot.
----my point exactly
We can never know." Writing, "the destruction of every voice," defies adherence to a single interpretation or perspective
----------------------------------------------------------
......Michel Foucault also addressed the question of the author in critical interpretation. In his 1969 essay "What is an Author?",
he developed the idea of "author function" to explain the author as a
classifying principle within a particular discursive formation. Foucault
did not mention Barthes in his essay but its analysis has been seen as a
challenge to Barthes' depiction of a historical progression that will
liberate the reader from domination by the author.
----------------------------------------------------------
intentional fallacy
http://en.wikipedia.org/wiki/Intentional_fallacy#Reader_Response
W.K. Wimsatt and Monroe Beardsley wrote in their essay The Intentional Fallacy:
"the design or intention of the author is neither available nor
desirable as a standard for judging the success of a work of literary
art."[1] The author, they argue, cannot be reconstructed from a writing - the text is the only source of meaning, and any details of the author's desires or life are purely extraneous.
The author's biography and unconscious
state were seen as part of the text, and therefore the author's intent
could be revived from a literary text—although the intent might be an
unconscious one.
http://en.wikipedia.org/wiki/Psychoanalytic_criticism
Simon Johnson
www.thephilosophicalphotographer.co.uk
The analytic experience
The analytic experience
Lecture from the Tavistock
Neville Symington
P. in GB 1986 by Free association books
978-0-946960-30-9
contents:
preface
Psychoanalysis: A servant of truth, 15
Freud's Self-analysis, 84
Freud's Understanding of Dreams, 90
The break in the friendship between Freud and Jung, 206
Jung's theories, 217
Psychoanalysis is an experience that occurs between two people. p9
7 Freud's analysis, p84
In 1897 Freud began to make an inner journey a specific task, seeing the prime focus psychoanalysis as himself. p84
long Bettelheim, 1982 p52 quote
Interpretation of dreams (1900) understand the nature of dreams and the power of the unconsious.
subjective knowledge got this way "whereby we are able to know truth and sense authenticity"
Perhaps I can take one last swing back at myself at the end of this dissertation, as I would have 'killed the author' perhaps the author can be revived to look at his own work in heinsight and then analyse exactly what he has created and any inherent bias may have gone towards it.
19 The break in the friendship between Freud and Jung, p206
first meeting of frued and jung in march 1907 p206
swiss
Freud's dogma over sexuality
"Freud replied that if he were to rveal any more it would risk his authority. Jung was horrified and knew that he could not remain a follower of Freud because 'Freud was placing personal authority above truth' (Jung, 1963, p. 154). " p212-213
20 Jung's theories, p217
theories embraces those deep desires and aspirations which have underpinned human motivation for centuries. p217
"He referred to this as the 'collective unconscious' and distinguished it from the 'personal unconscious', and his view is that the thoughts and feelings of the personal unconscious stretch down into the collective unconscious." p217
used to talking about the self as if it was seperate personalities, Jung first characterised this, complexes.
"All this is explained by the fact that the so-called unity of consciousness is an illusion. It is really a wish-dream. We like to think we are one; but we are not, most decidedly not. We like to believe in our will-power and in our energy and in what we can do; but when it comes to a real show-down we find that we can do it only to a certain extent, because we are hampered by those little devils the complexes. Complexes are autonomous groups of associations that have a tendency to move by themselves, to live their own life apart from our intentions." (1935, pp.. 71-73) p219
Simon Johnson
www.thephilosophicalphotographer.co.uk
Jung a very short introduction
Jung
a very short introduction
Anthony Stevens
Chapter 2, Archetypes and the collective unconscious
Remember this is a theory, which cannot be proved but it is interesting to talka bout
After this Jung bit, I can say briefly pose other ideas such as the introjection and congruence as a short example to what may be influencing us,
before then I can move onto the more sciency bit to help just give a bit of leighway and desparation showing how difficult this whole topic is...
appendices , Jung's diagram 15. schematic of Jung's model of the psyche p49
"Jung held it to be the business of the psychologist to investigate the collective unconscious and the functional units of which it is composed - the archetypes, as he eventually called them. Archetypes are 'identical psychic structures common to all' (CW V, para. 224) which together constitute 'the archaic heritage of humanity' (CW V, para. 259) " p47
"Essentially, he concieved them to be innate neuropsychic centres possessing the capacity to initiate, controland mediate the common behaviorial characteristics and typical experiences of all human beings." p48
"An indivudual's entire archetypipal endowment makes up the collective unconsious, whose authority and power is vested in a central nucleus, responsible for integrating the whole personality, which Jung termed the Self." p48
"diagram should be viewed as a three-layered onion."
At the centre, permeating the entire system with its influence in the self.
Within the inner is collective unconscious - composed of archetypes
outer circle is consciousness, focal ego orbiting like the Moon
Between that is the personal unconscious, made up of complexes
"complexes are personifications of archetypes; they are the means through which archetypes manifest themselves in the personal psyche." p48
similar to Plato's world of forms, ideas
Example to illustrate is the fingerprints, all different but have them.
"Where Jung's archetypes differ from Plato's ideas is in their dynamic, goal-seeking properties. Archetypes actively seek their actualisation in the personality and the bahviour of the individual, as the life cycle unforls in the context of the environment." p50
"An archetype, he said, is not 'an inherited idea' but rather 'an inherited mode of functioning, corresponding to the inborn way in which the chick emerges from the egg, the bird builds its nest.... In other words, it is a "pattern of behaviour". This aspect of the archetype,'" p52
support of Jung, other's have rediscovered his theory
]
Jung is saying we come into this world with already a blueprint of preprogrammed things, this makes sense, our instinct this sounds like. Obviously would affect us, the instinctfor survival is a strong one and instincts are difficult to overcome.
Compatible with theoretial formulations of contemporary ethologists, sociobiologists, and psychiatrists. p54
"The French molecular biologist and Nobel Laureate Jacques Monod reached an identical conclusion: 'Everything comes from experience, yet not from actual experience, reiterated by each indivdual with each generation, but instead from experience accumulated by the entire ancestry of the species in the course of its evolution." p54
science agreeing
Jung didn't give good example for his theory
better one was the mother-child arcetype
This is an idea with profound implications
"If Jung is beleived, archetyped pre-condition all existence then they must manifest in the spiritual achievements of art, science, and religion as well as in the organisation of organic and inorganic matterm and can provide a standpoint capable of transforming our understanding of all these phenomena" p58
"Whatever else the archetypal hypethesis may achieve, it can at least provide a bridge between the science of the mind and the science of behaviour." p59
------------------------------
so archetypes are good necessary, instinctual almost, they suggest.... we are already programmed with certain things, if we are then we may be conditioned to act in a certain way, correct?
Chapter 3 The stages of life
"the psychic nucleus repsonsible for co-ordinating this lifelong sequence Jung called the Self." p60
other archetypal structures: the ego, persona, shadow, anima, animus
The Self is different than the self for Jung, the Self is more about the blueprint and wholeness of our whole existence
"The ego is itself the centre of the consciousness and it is what we refer to when we use the terms 'I' or 'me'. It is responsible for our continuing sense of identity so that we still feel ourselves at 80 to be exactly the same person we were at 8." p62
never made a clear distinction between ego and consciousness
"the self, like unconsious, is an a priori existent out of which the ego evolves' (CW XI, para. 391). p63
---
every personality has a persona
"through the persona we codify ourselves in a form which we hope will prove acceptable to others" p63
depends on ones success or failure to society
" 'One could say, with a little exaggeration, that the persona is that which in reality one is not, but which onself as well as others think one is' (CW IX, para. 221)
very important quote, the heart of what I wanted to know here
"The persona begins to form in early childhood our of a need to conform to the wishes and expectations of parents, peers and teachers. Children quickly learn that certain attitudes and behaviours are acceptable and may be rewarded with approval while others are unacceptable and may result in punishment or the withdrawl of love. The tendency is to build acceptable traits into the persona and to keep unacceptable traits hidden or repressed. These socially undesirable aspects of the maturing personality are usually regulated to the personal unconsious, where they coalesce to form another complex, or part personality, that Jung called the shadow."
still important
-----
the shadow, unwanted freudian dark part
appear in dreams
frued similar superego
Dorian Gray example, dr jeckyl and mr hyde. The shadow complex
"The moral complex forms on the basis of an archetypal imperative to learn and maintain the values of the culture into which we happen to have been born. If no such imperative existed, anarchy would be the natural human condition: we should all be psychopaths, incapable of co-operation or mutual trust, and the species could not conceivably exist." p66
this imposes severe restrains on the Self which regulates the shadow.. when experienced, seen as a threat.
"not only do we repress the shadow in the personal unconsious, but we deny its existence in ourselves, and project it out on to others. This is done quite unconsciously; we are not aware that we do it." p66
"It explains the the ubiquitous practice of scapegoating and underlies all kinds of prejudice against people belonging to identifiable groups other than our own. Shadow projection is also involved in the psychiatric symptom of paranoia, when one's own hostile, persecutory feelings are disowned and projected onto others, who are then experienced as being hostile and persecutatry towards onself" p66
major threat to social and international peace.
----------
Well that is my link into the projection element I wanted to discuss... difficulty here trying to find something to latch onto directly related to photography, perhaps I'm not thinking clearly enough at present.
The problem could be that there is notthing really there to be a representation of anyway
" ' Behind a man's actions there stands neither public opinion nor the moral code, but the personality of which he is still unconscious. Just as a man still is what he always was, so he already is what he will become. The conscious mind does not embrace the totality of a man, for this totality consists only partly of his conscious contents . . . In this totality the conscious mind is contained like a smaller circle within a larger one. ' " (CW XI para. 390) p73
Simon Johnson
www.thephilosophicalphotographer.co.uk
Critical dictionary of jungian analysis
A critical dictionary of Jungian analysis
Andrew Samuels, Bani Shorter and Fred Plaut
first p. 1986 Routledge
978-0-415-05910-7
Identity
persona
archetype
Perhaps these definitions are too advanced at the moment for me to concieve them properly... will go back to them
Simon Johnson
www.thephilosophicalphotographer.co.uk
Mini Plan chapter 4
I can easily edit out bits / add bits as I go along, but at the moment this is my potential order.
Unconscious assumptions ----> Scientific proof (both highlighting further problems)
Freud, conception of conscious + unconscious
his basic view, and how the unconscious would work,
he overelied on sexual drive.
Lacan, mirror stage, construction of identity (is this really relevant???)
Jung, archetypes from collective unconscious, persona mask
-This would allow us to decieve.
POSSIBLE: Mood Conguence, affected by our feelings at the time (i.e. emotions, could be covered by next part.)
POSSIBLE: Projection / Introjection (again could be explained elsewhere, if necessary)
-----------------------------
So let's back this up with science for a stronger viewpoint... pragmatic.
Freud's views don;t stand the test of time, primarily going to reference Jonah Lehrer book.
which I have the following to choose from to discuss:
Conclude saying how problematic this is and that to be able to get out of this rut something drastic needs to be done to escape this trap that we are in... as we cannot properly concieve of a way out.... therefore I can then introduce the death of the author which may aleviate the problem of not knowing other minds, truth, because truth and all that will be creted by the perciever
of coursr that has it's own problems too, but it can then be put back again with the collective opinion, giving strength to accepted interpretation, along with context, coherentism, new facts, always open to change nothing is ever solid, such as new discoveries changing everything. fluidity.
Simon Johnson www.thephilosophicalphotographer.co.uk
Jung - a few bits
Some link sources about Jung, should I need to include him in the dissertation, Im thinking I may
His archetypes + collective unconsious
http://www.netplaces.com/philosophy-book/psychology/carl-gustav-jung.htm
biography and summary of ideas as a basis
Jung, C.G. (1951). "Phenomenology of the Self." The Portable
Jung, 147.
Jung, C.G. (1964). Man and His Symbols. New York; Doubleday and
Company, Inc
"Jung's most famous theory is that of the collective unconscious, a shared memory of symbols, imagery, and memories that he called archetypes'
Jung identified four major archetypes, but also believed that there was no limit to the number that may exist.
http://atheism.about.com/library/glossary/aesthetics/bldef_archetype.htm
good quote referring to art and archetype
collective unconcious
http://phobias.about.com/od/glossary/g/collectuncons.htm
Important one: http://psychology.about.com/od/personalitydevelopment/tp/archetypes.htm
His archetypes
"All the most powerful ideas in history go back to archetypes," Jung explained in his book The Structure of the Psyche.
"a kind of mask,
designed on the one hand to make a definite impression upon others, and
on the other to conceal the true nature of the individual"
C. G. Jung, Two Essays on Analytical Psychology (London 1953) p. 190
FOR THE PERSONA!! V. IMPORTANT, masks
Projection / Introjection
Projection and introjection
http://changingminds.org/disciplines/psychoanalysis/concepts/projection_introjection.htm
Description
Projection and introjection describe some interactions between the inner and outer worlds.Projection
Projection takes aspects of one's internal world and projects them onto external subjects.This can be a defense mechanism where it is used to expel and externalize uncomfortable inner thoughts and feelings.
Projective identification involves projection into another object and then identifying with the object (often a person). This keeps bad parts of the self at a safe distance without losing them.
Projection is based on an unconscious phantasy of excretion and expulsion.
It is thus 'output' from the internal world into the outer world.
Introjection
Introjection occurs where a subject takes into itself the behaviors, attributes or other external objects, especially of other people.A common pattern is where a child introjects aspects of parents into its own persona.
According to Freud, the ego and the superego are constructed by introjecting external behavior into the subject's own persona.
This can be a defense mechanism where one takes on attributes of a strong other person who is able to cope with the current threat.
It is based on an unconscious phantasy of ingestion.
Introjection is not as primitive as incorporation, as it often involved drawing an object in, but not incorporating it into the body. An introjected object is drawn into the 'inner circle', but can still have a life of its own.
Introjective identification is the taking in of someone else's good objects. This occurs with people we like or admire.
Introjection is thus 'input' into the internal world from the outer world.
Melanie Klein main thing
http://changingminds.org/disciplines/psychoanalysis/theorists/klein.htm
Projection
http://changingminds.org/explanations/behaviors/coping/projection.htm
Introjection
http://changingminds.org/explanations/behaviors/coping/introjection.htm
Simon Johnson www.thephilosophicalphotographer.co.uk
Bias Blind spot
Bias Blind spot
http://changingminds.org/explanations/theories/bias_blind_spot.htm
We often know that people have biases. If we think about it, we also realize
that we also use bias in our decisions, yet we still do not compensate
sufficiently for our biases.
In particular, we will consider ourselves as being relatively unbiased
compared with others.
References
Pronin, Lin, and Ross (2002), Pronin, Gilovich, and Ross (2004)Pronin, E., Lin, D. Y., & Ross, L. (2002). The bias blind spot: Perceptions of bias in self versus others. Personality and Social Psychology Bulletin, 28, 369-381
Pronin, E., Gilovich, T. D., & Ross, L. (2004). Objectivity in the eye of the beholder: Divergent perceptions of bias in self versus others. Psychological Review, 111, 781-799.
Simon Johnson www.thephilosophicalphotographer.co.uk
Mood Congruence research
Starting point:
http://en.wikipedia.org/wiki/Mood_congruence
In psychiatry, mood congruence is the congruence between feeling, or the emotion that a person is experiencing, and affect display, or the manner in which that emotion is "presenting", or being expressed.
Moreover, in social psychology
the definition mood congruency refers to a cognitive mechanism that
explains a wide variety of mood effects in which there is a match in
affective valence between people’s mood and their responses (Mayer et al., 1992)
- Congruent mood - smiling while feeling happy.
- Non-congruent mood - smiling while feeling anxious.
- Inappropriate affect - laughing while describing a loved one's funeral, for instance.
http://changingminds.org/explanations/theories/mood_judgment.htm
Our judgments are not cold and logical: they are biased by our moods. When we are in a good mood, we see the world in a more friendly light, and our judgments are more positive. Likewise, when we are grumpy we evaluate things around us as being bad.
This can create a spiral, as positive judgments lead to positive moods. They also lead to positive moods in others, who then infect us back again.
Mood can be affected by such as movies, music and comments of others.
Affection Infusion Model...
http://changingminds.org/explanations/theories/affect_infusion.htm
Mood affects our judgments, but not consistently. For the mood to have an effect on our judgment, it has to override the forces that would normally lead to the 'standard' judgment.
Mood has no effect when:
- We are making judgments that are based on direct retrieval of a simple pre-formed conclusion.
- We are trying to satisfy strong directional goals.
- We are using short-cut methods, such as heuristics, for making
decisions.
- Mood sneaks in at the subconscious level, biasing our judgments without us noticing. At this level we typically use 'How would I feel?' type of evaluations, which are clearly affected by our current mood.
- Elaborate reasoning, where we are using substantive processes.
- Mood is not so strong at the decision level here. It does have an effect, however, at the more detailed level such as when what we recall is biased by our mood
So seems I have a scientific side that suggests the unconsious and how we may be predetermined.
Then I shall also have this bit which suggests a shorter term impact on our decisions, our emotions, suggested that we are not rational beings.
ALL suggest that it is more difficult to be fully unbiased when creating a self-portrait.
Simon Johnson www.thephilosophicalphotographer.co.uk
Jonah Lehrer - How We Decide
Jonah Lehrer - How We Decide
p. 2009 - Houghton Mifflin Harcourt
978-0-618-62011-1
Book review information:
http://www.nytimes.com/2009/03/22/books/review/Johnson-t.html?_r=0
Jonah Lehrer’s engaging new book, “How We Decide,” puts our decision-making skills under the microscope.
tilts more decisively in the thinking-person’s self-help direction,
promising not only to explain how we decide, but also to help us do it
better.
Early on, Lehrer introduces his main theme: “Sometimes we need to reason
through our options and carefully analyze the possibilities. And
sometimes we need to listen to our emotions.”
Most readers at this point, I suspect, will naturally think of Malcolm Gladwell’s mega-best-seller “Blink,” which explored a similar boundary between reason and intuition.
Gladwell’s book took an external vantage point on its subject, drawing
largely on observations from psychology and sociology, while Lehrer’s is
an inside job, zooming in on the inner workings of the brain. We learn
about the nucleus accumbens, spindle cells and the prefrontal cortex.
Many of the experiments he recounts involve fMRI scans of brains in the
process of making decisions (which, for the record, is a little like
making a decision with your head stuck in a spinning clothes dryer).
He has a wonderful section on creativity and working memory, which ends
with the lovely epigram: “From the perspective of the brain, new ideas
are merely several old thoughts that occur at the exact same time.”
The very best deciders, whether quarterbacks, airline pilots, poker
players, or CEOs, are those who weigh both reason and emotion. Links back here to Ban Gogh
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Cover
Since Plato, philosophers have described the decision-making process as either rational or emotional: we carefully deliberate, or we "blink" and go with our gut.
neuroscience
-Introduction xi
-The quarterback in the pocket 1
-The predictions of Dopamine 28
-fooled by a feeling 57
-the uses of reason 93
-choking on thought 133
-the moral mind 167
-the brain is an argument 196
-the poker hand 219
-coda 251
Introduction
Flight simulator - can investigate your own decisions
This book is about how we make decisions. It is about what happened inside my brain after the engine fire. It is about how the human mind—the most complicated object in the known universe—chooses what to do. xiv
For centuries, they constructed elabo rate theories on decision-making by observing human behavior from the outside. Since the mind was inaccessible—the brain was just a black box—these thinkers were forced to rely on un- testable assumptions about what was actually happening inside the head.
Greeks, assumptions revolve around that we are rational beings, analyse situations logically, plato... descartes... Over time, our rationality came to define us. It was, simply put, what made us human.
There's only one problem with this assumption of human ra tionality: it's wrong. It's not how the brain works. couldn't reason himself to safety.
So how did I make a decision? What factors influenced my choices after the engine fire? For the first time in human history, these questions can be answered. We can look inside the brain and see how humans think: the black box has been broken open. It turns out that we weren't designed to be rational creatures.
Sometimes feelings can lead us astray and cause us to make all sorts of predictable mistakes
We either rely on statistics or trust our gut instincts. There's Apollonian logic versus Dionysian feeling; the id against the ego; the reptilian brain fighting the frontal lobes. xvi
Some times we need to reason through our options and carefully an alyze the possibilities. And sometimes we need to listen to our emotions.
Two main questions for this book: How does the human mind make decisions? And how can we make those decisions better?
The Quarterback in the Pocket p1-------------------------------------------------------------------
Example: Superbowl, 1minute remaining, The greatest upset in NFL history
1
Quarterback must make many quick decisions
Happen so fast they don't seem like decisions
suggestion of NO correlation between IQ (wonderlic) test of NFL players, and the decisions they make on the field p7
No time to contemplate maths and think about things rationally
2
This mystery of how we make decisions is one of the oldest of the mind p9
"The most popular theory frames decision-making in epic terms, as a pitched battle between reason and emotion, with reason often triumphing." p9
"Plato, as usual, was there first. He liked to imagine the mind as a chariot pulled by two horses."
"If we follow the horses, we will be led like a "fool into the world below."" p10
"This division of the mind is one of Plato's most enduring themes, an idea enshrined in Western culture." p10
"René Descartes, the most influential philosopher of the Enlightenment, agreed with this ancient critique of feeling. Descartes divided our being into two distinct substances: a holy soul capable of reason, and a fleshy body full of "mechanical passions."" p10
"The Cartesian faith in reason became a founding principle of modern philosophy. Rationality was like a scalpel, able to dis sect reality into its necessary parts. Emotions, on the other hand, were crude and primitive." p11
There were no temples dedicated to emotion.
The twentieth-century version of the Platonic metaphor was put forth by Sigmund Freud.
"In his "speculative science," Freud imag ined the human mind as divided into a series of conflicting parts. (Conflict was important to Freud, since it helped explain neuroses.) At the center of the mind was the id, a factory of crude desires. Above that was the ego, which represented the conscious self and the rational brain. It was the job of the ego to restrain the id, channeling its animal emotions in socially acceptable ways. "One might compare the relations of the ego to the id with that between a rider and his horse," Freud wrote in a direct allusion to Plato. "The horse provides the locomotive energy, and the rider has the prerogative of determining the goal and of guid ing the movements of his powerful mount towards it."" p11-12
"Over time, Freudian psychology lost its scientific credibility. Discussions of the id, ego, and Oedipus complex were replaced by references to specific areas in the brain; " p12
"But modern science soon hit on a new metaphor: the mind was a computer. According to cognitive psychology, each of us was a set of software programs running on three pounds of neu ral hardware." p12
"The problem with seeing the mind as a computer is that computers don't have feelings. Be cause emotions couldn't be reduced to bits of information or the logical structures of programming language, scientists tended to ignore them." p12-13
"...if our feelings keep us from making rational decisions, then surely we'd be better off without any feelings at all. Plato, for example, couldn't help but imagine a Utopia in which reason determined everything. Such a mythical society—a republic of pure reason —has been dreamed of by philosophers ever since." p13
"But this classical theory is founded upon a crucial mistake. For too long, people have disparaged the emotional brain, blaming our feelings for all of our mistakes. The truth is far more interesting. What we discover when we look at the brain is that the horses and the charioteer depend upon each other. If it weren't for our emotions, reason wouldn't exist at all."
3
Elliot, tumor, unable to make a decision p14 example
"He had the emotional life of a mannequin.
This was a completely unexpected discovery. At the time, neuroscience assumed that human emotions were irrational. A person without any emotions—in other words, someone like Elliot—should therefore make better decisions. His cognition should be uncorrupted. The charioteer should have complete control." p15
impact of removal of tumor form area of the brain..
"The mundane choices of every day life become excruciatingly difficult. It's as if his very person ality—the collection of wants and desires that defined him as an individual—had been systematically erased" p16
"The crucial importance of our emotions—the fact that we can't make decisions without them—contradicts the conven tional view of human nature, with its ancient philosophical roots." p17
"David Hume, the eighteenth-century Scottish philosopher who delighted in he retical ideas, was right when he declared that reason was "the slave of the passions."" p17
"When a person is drawn to a specific receiver, or a certain en trée on the menu, or a particular romantic prospect, the mind is trying to tell him that he should choose that option. It has already assessed the alternatives—this analysis takes place outside of conscious awareness—and converted that assessment into a positive emotion. And when he sees a receiver who's tightly cov ered, or smells a food he doesn't like, or glimpses an ex-girlfriend, it is the OFC that makes him want to get away. {Emotion and motivation share the same Latin root, movere, which means "to move.") The world is full of things, and it is our feelings that help us choose among them." p18
Decisions seem to have already been made before we think we consciously think them?
"While Plato and Freud would have guessed that the job of the OFC was to protect us from our emotions, to fortify reason against feeling, its actual function is precisely the oppo site. From the perspective of the human brain, Homo sapiens is the most emotional animal of all. p18
4 p19
daytime soap opera, long tiem to film for 22mins of television DAYS OF OUR LIVES
only has one day to shoot, so can't afford to think carefully about everything
after years learned to trust his instincts
The mental process Stein is describing depends on his emotional brain. p23
...all those details that he doesn't consciously perceive. "The conscious brain may get all the attention," says Joseph LeDoux, a neuroscientist at NYU. "But consciousness is a small part of what the brain does, and it's a slave to everything that works beneath it." Ac cording to LeDoux, much of what we "think" is really driven by our emotions. p23
Stein's insight is that his feelings are often an accurate shortcut, a concise expression of his decades' worth of experience. They already know how to shoot the scene. p23
WHY ARE OUR emotions so essential?
The answer is rooted in evolution.
What these animals couldn't do, however, was reflect on their own decisions. They couldn't plan out their days or use language to express their inner states. They weren't able to analyze complex phenomena or invent new tools. What couldn't be done automatically couldn't be done at all. The charioteer had yet to appear. p24
These new talents were incredibly useful. But they were also incredibly new. As a result, the parts of the human brain that make them possible—the ones that the driver of the chariot con trols— suffer from the same problem that afflicts any new tech nology: they have lots of design flaws and software bugs. p25
When it comes to the new parts of the brain, evolution just hasn't had time to work out the kinks. p25
batter example, we pick up clues before the swing is initiated and that helps us decide whether to swing or not.
scientific proof of correlation between emotional brain, needed for decision making
Chapter 1 - importance, that we are
not rational beings and that emotions do come into play so this can
obviously affect us and also our perception of something.... Emotions
are important! someone feeling love will respond favourably as opposed
to something they hate.
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2 The Predictions of Dopamine p28
Example: Second Marine Division across desert of Saudia Arabia
Retaking Kuwait after Iraqi invasion
blipping on the radar
couldn't tell if blip was an enemy missle or an A-6 freindly
CHOSE to fire
"The captain asked Riley how he could be sure he'd fired at an Iraqi missile and not at an Amer ican fighter jet. Riley said he just knew." p32
sounds like intuition to me
Turns our he was right, he had SAVED a battleship.
could have just been lucky... a gamble
UNTIL 1993 when Gary Klein started to investigate the Silkworm affair
Reason:Riley was un consciously evaluating the altitude of the blip, even if he didn't know he was doing it. it was subtle but the evidence is there. p34
1
The question still remains: how did Riley's emotions manage to distinguish between these two seemingly identical radar blips? p34
The answer lies in a single molecule, called dopamine, that brain cells use to communicate with one another. p34
The importance of dopamine was discovered by accident. In 1954, James Olds and Peter Milner, two neuroscientists at McGill University, decided to implant an electrode deep into the
center of a rat's brain. p34
(NAcc), a part of the brain that generates pleasurable feelings. p34
(rat experiment) constant dopamine caused them to die, not caring about anything. p35
"Scientists now know that this neurotransmitter helps to regulate all of our emotions, from the first stirrings of love to the most visceral forms of disgust" p35
"Just as the process of sight starts with the retina,
so the process of decision-making begins with the fluctuations of dopamine." p35-36
"Schultz set out to decipher this reward circuitry. How exactly did a single cell man age to represent a reward? And why did it fire before a reward was given?" p35
Primate experiements to see if they expected the reward... worked began to recieve dopamine before given reward
"However, if the pattern was violated— if the tone was played but the juice never arrived—then the monkey's dopamine neurons decreased their firing rate. This is known as the prediction-error signal. The monkey felt upset be cause its predictions of juice were wrong." p37
When not recieving the expectation: "Within milliseconds, the activity of the brain cells has been inflated into a powerful emotion. Nothing focuses the mind like surprise." p38
Neuroscientists have known for several years that this region, the anterior cingulate cortex (ACC), is involved in the detection of errors.
"It internalizes the lessons of real life, making sure that neural patterns are completely up to date. If it was predicted that juice would arrive after the tone, but the juice never arrived, then the A C C makes sure that future predictions are revised." p39
"This is an essential aspect of decision-making. If we can't in corporate the lessons of the past into our future decisions, then we're destined to endlessly repeat our mistakes." p39
Just to keep in mind, that I can talk about Frued / jung but as a basis to start thinking about the unconscious but to imply there are always other things going on in the background beyond our cconscious control
"The ACC has one last crucial feature, which further explains its importance: it is densely populated with a very rare type of cell known as a spindle neuron. Unlike the rest of our brain cells, which are generally short and bushy, these brain cells are long and slender. They are found only in humans and great apes, which suggests that their evolution was intertwined with higher cognition. Humans have about forty times more spindle cells than any other primate." p40
"The consequence of this is that the minor fluctuations of a single type of neurotransmitter play a huge role in guiding our actions, telling us how we should feel about what we see. "You're probably 99.9 percent unaware of dopamine release," says Read Montague, a professor of neuroscience at Baylor University. "But you're probably 99.9 percent driven by the information and emotions it conveys to other parts of the brain." " p40-41
"Those wild horses aren't acting on a whim. Instead, human emotions are rooted in the predictions of highly flexible brain cells, which are constantly adjusting their connections to reflect reality. Every time you make a mistake or encounter some thing new, your brain cells are busy changing themselves. Our emotions are deeply empirical." p41
"Fool me once, shame on you. Fool me twice, shame on my dopamine neu rons." p41
Seasickness example... used to solid unmoving ground, don't expect moving ground
"Every time you experience a feeling of joy or disappointment, fear or happiness, your neurons are busy rewiring themselves, construct ing a theory of what sensory cues preceded the emotions. The lesson is then committed to memory, so the next time you make a decision, your brain cells are ready. They have learned how to predict what will happen next." p42
2
Backgammon
Chess - computer beating human, just a maths equation to it
"This is a crucial cognitive talent. Dopamine neurons automat ically detect the subtle patterns that we would otherwise fail to notice; they assimilate all the data that we can't consciously comprehend. And then, once they come up with a set of refined pre dictions about how the world works, they translate these pre dictions into emotions." p48
stocks example
if asked which gives the best feeling, be able to identify best stocks
"According to Tilmann Betsch, the psychologist who performed this clever little experi ment, your emotions will "reveal a remarkable degree of sensitivity" to the actual performance of all of the different securities." p48
3
HOWEVER
"This doesn't mean that people can coast on these cellular emotions. Dopamine neurons need to be continually trained and re trained, or else their predictive accuracy declines. Trusting one's emotions requires constant vigilance; intelligent intuition is the result of deliberate practice." p49
" Robertie says. "The game started to become very much a matter of aesthetics. My decisions in-
The Predictions of Dopamine \ 51
creasingly depended on the look of things, so that I could con template a move and then see right away if it made my position look better or worse. You know how an art critic can look at a painting and just know if it's a good painting? I was the same way, only my painting was the backgammon board."" p50-51
"According to Robertie, the most effective way to get better is to focus on your mistakes. In other words, you need to consciously consider the errors being internalized by your dopamine neurons."
"Although we tend to think of experts as being weighed down by information, their intelligence dependent on a vast amount of explicit knowledge, experts are actually profoundly intuitive. When an expert evaluates a situa tion, he doesn't systematically compare all the available options or consciously analyze the relevant information. He doesn't rely on elaborate spreadsheets or long lists of pros and cons. Instead, the expert naturally depends on the emotions generated by his dopamine neurons. His prediction errors have been translated into useful knowledge, which allows him to tap into a set of ac curate feelings he can't begin to explain." p54
"so FAR, we've been exploring the surprising intelligence of our emotions. We've seen how the fluctuations of dopamine are translated into a set of prophetic feelings. But emotions aren't perfect. They are a crucial cognitive tool, but even the most useful tools can't solve every problem. In fact, there are certain conditions that consistently short-circuit the emotional brain, causing people to make bad decisions. The best decision-makers know which situations require less intuitive responses, and in the next part of the book, we'll look at what those situations are" p56
Chapter 2 - Dopamine affects our decisions, predictions, expectation and outcome improve errors and commit to memory... emotional brain collates most information we can't consciously comperehend
Make decisions just by looking at things, may be right/wrong but they are because of our past, so photographers can learn from past mistakes which affect their decisions now, it's because we can;t always conscious think about every decision and analyse them so of course a lot of it has to go on in the background to decide and perhapos even 'taking the shot' is through this process and more intuitive and even manipulating and selecting an image is through this process
Fooled by a feeling p57
Example: Klinestiver, Parkinson's disease
caused by lack of dopamine
discovered gambling
taken off her medication tremors came back, gambling stopped
"The brain is flooded with a feel-good chemical, making these games of chance excessively seductive. Such pa tients are so blinded by the pleasures of winning that they slowly lose everything. That's what happened to Ann." p61
"When emotions get out of control—and there are certain things that reliably make this happen—the results can be just as devastating as not having
any emotions at all." p61-62
1
the hot hand phenomenom
no evidence for it
"Why do we believe in streaky shooters? Our dopamine neu rons are to blame. Although these cells are immensely useful —they help us predict events that are actually predictable—they can also lead us astray, especially when we are confronted with randomness. " p64
The danger of random processes—things like slot machines and basketball shots—is that they take advantage of a defect built into the emotional brain." p65
We trust our feelings and perceive patterns, but the patterns don't actually exist." p65
"THIS DEFECT IN the emotional brain has important consequences. Think about the stock market, which is a classic exam ple of a random system." p67 cant be predicted
"The danger of the stock market, however, is that sometimes its erratic fluctuations can actually look predictable, at least in the short term." p67
"The world is more random than we can imagine. That's what our emotions can't understand." p70
2
Deal or no deal
26 boxes, 25 choices
for the most part, a game of luck
How contestent arrived at these decisions
Most offered higher amounts then succesively lower and lower amounts
The way the question was phrased, saving 200 ppl or killing 400 Changed answers p75-76
Loss aversion
"Loss aversion is an innate flaw. Everyone who experiences emotion is vulnerable to its effects. It's part of a larger psycho logical phenomenon known as negativity bias, which means that, for the human mind, bad is stronger than good." p81
3
credit card debt
"The problem with credit cards is that they take advantage of a dangerous flaw built into the brain. This failing is rooted in our emotions, which tend to overvalue immediate gains (like a new pair of shoes) at the cost of future expenses (high interest rates)." p87
"He tries to quote a famous song by the Rolling Stones but he can't quite remember the lyrics. The message of the chorus is simple: you can't always get what you want, but sometimes not getting what you want is just what you need." p92
Brain looks for patterns where none exist so affects our decisions.
perhaps not entirely relevant here, there is nothing maybe so disasterous when used in our photography in the depths that this discusses
----------------------------------------------------------------------------
4 The Uses of Reason p93
Firefighters, out of control fire
some died - couldn't outrun fire
man survived by burning the ground and survived
1
question is now, how did he make such a smart decision?
what made him resist the urge to fleee
"Dodge survived the fire because he was able to beat back his emotions. Once he realized that his fear had exhausted its usefulness—it told him to run, but there was nowhere to go—Dodge was able to resist its primal urges. Instead, he turned to his conscious mind, which is uniquely capable of deliberate and creative thought. While automatic emotions focus on the most immediate variables, the rational brain is able to expand the list of possibilities." p99
""The advantage [of the emotional brain] is that by allowing evo lution to do the thinking for you at first, you basically buy the time that you need to think about the situation and do the most reasonable thing." And so Dodge stopped running. If he was go ing to survive the fire, he needed to think."
2
"The prefrontal cortex can deliberately choose to ignore the emotional brain." p107
3
4
reason perhaps not so important hre as I am talking about the bias and things we cannot control, as obviously sometimes we can control things but I care about if there is a chance of deception/bias then that is important. This is suggesting that sometimes our rational mind is important to override emotions sometimes
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p133 Choking on Thought
" In general, we believe that carefully studying something leads to better outcomes, since we'll avoid careless errors." p133 e.g. marriage
"Unsubstantiated speculation. Plato, after all, didn't do experiments. He had no way of knowing that the ratio nal brain couldn't solve every problem, or that the prefrontal cortex had severe limitations. The reality of the brain is that, sometimes, rationality can lead us astray." p133
So this chapter seems like it will be about how reason can mislead us... perhaps relevant. Problems.
Example: Opera superstar
worried when difficult note approaches, was overthinking it, nervous, barely breathe etc
eventually quit
"Performers call such failures "choking," because a person so frayed by pressure might as well not have any oxygen. What makes choking so morbidly fascinating is that the only thing in capacitating the performer is his or her own thoughts." p135
Golfer example, when started to think about what he was doing, began to break down.
Is this really relevant to me? I'm not so sure...
"A little experience, however, changes everything. After a golfer has learned how to putt—once he or she has memorized the necessary movements—analyzing the stroke is a waste of time. The brain already knows what to do." p138
"The lesson of Renee Fleming, Jean Van de Velde, and these Stanford students is that rational thought can backfire. While reason is a powerful cognitive tool, it's dangerous to rely exclu sively on the deliberations of the prefrontal cortex" p140
"They ignore the wisdom of their emotions—the knowledge embedded in their dopamine neurons—and start reaching for things that they can explain. (One of the problems with feelings is that even when they are ac curate, they can still be hard to articulate.) Instead of going with the option that feels the best, a person starts going with the op tion that sounds the best, even if it's a very bad idea." p140
I CAN REVISIT THIS CHAPTER IF I FEEL I NEED TO KNOW MORE ABOUT THE RATIONAL MIND CAUSING US TO ERR
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6 The Moral Mind
At first glance, morality may not come into so much that I wish to discuss here...
Example: John Wayne Gacy, child, Sadism was entertaining
On March 1 2 , 1980, John Wayne Gacy was convicted of murdering thirty-three boys. He paid the boys for sex, and if something went awry with the trans action, he would kill them in his living room p168
psychopaths make disastrous choices
"Morality can be a squishy, vague concept, and yet, at its simplest level, it's nothing but a series of choices about how we treat other people." p169
For this reason I am now going to skip this chapter.
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7 The Brain is an Argument p196
favoured presidents...
editorial staff favoured different presidents, however the majority wins
"In this sense, the editorial board is a metaphor for the brain. Its decisions often feel unanimous—you know which candidate you prefer—but the conclusions are actually reached only after a series of sharp internal disagreements" p198
RE cereal choices "Each of these distinct claims will trigger a particu lar set of emotions and associations, all of which then compete for your conscious attention." p199
""The point is that most of the computation is done at an emotional, unconscious level, and not at a logical level," he says. The par ticular ensemble of brain cells that win the argument determine what you eat for breakfast." p199
1
"The dilemma, of course, is how to reconcile the argument. If the brain is always disagreeing with itself, then how can a person ever make a decision? At first glance, the answer seems obvious: force a settlement. The rational parts of the mind should intervene and put an end to all the emotional bickering." p203
"he problem is that the urge to end the debate of ten leads to neglect of crucial pieces of information. A person is so eager to silence the amygdala, or quiet the OFC, or suppress some bit of the limbic system that he or she ends up making a bad decision. A brain that's intolerant of uncertainty—that can't stand the argument—often tricks itself into thinking the wrong thing. What Mike Pride says about editorial boards is also true of the cortex: "The most important thing is that everyone has their say, that you listen to the other side and try to understand their point of view. You can't short-circuit the process."" 203-204
2
"The only way to counteract the bias for certainty is to encour age some inner dissonance. We must force ourselves to think about the information we don't want to think about, to pay at tention to the data that disturbs our entrenched beliefs. When we start censoring our minds, turning off those brain areas that contradict our assumptions, we end up ignoring relevant evi dence. A major general shrugs off the evacuation of Soviet mili tary personnel and those midnight cables from trusted sources. He insists that an invasion isn't happening even when it has al ready begun." p217
Interesting that we have a dilemma over our choices, may revisit this for our selection over photographs that small minute decisions go into choosing.
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8 The Poker Hand p219
particle physiscit, thinking about his plays and how could have played differently, high
kicked out of casinos
"They know that the most important thing in poker is not what cards they actually have, but what cards people think they have. A lie told well is just as good as the truth." p225
I was going to say that decieving may be important for the photographer to do, but then this kind of implies it is a conscious process and not one here.... or is it?
winning hand...
"That bet had nothing to do with math," Binger says. "I'd gotten high pairs before, and not done much with them . . . But at that moment, as soon as I saw my cards, I knew what I needed to do. To be hon est, I don't know why I went all in on that hand. If I'd really thought about it, I might not have done it. The bet was damn risky. But it just felt like the right thing to do. Y ou can do all the probabilistic analysis in the world, but in the end it all comes down to something you can't quite explain." p229
comparison poker + chess, chess pure information, computers can cossitently beat
"The difference between math problems and mysteries is im portant. In order to solve a math problem, all you need is more rational thought. Some poker hands, of course, can be played by relying on the math: if you're dealt a pair of aces, or get a straight on the flop, then you're going to make an aggressive bet. The odds are in your favor" p230
" Binger realizes that in certain situations, it's impor tant to listen to his feelings, even if he doesn't always know what they're responding to. " A s a physicist, it can be hard admitting that you just can't reason your way to the winning hand," Binger says. "But that's the reality of poker. Y ou can't construct a per fect model of it. It's based on a seemingly infinite amount of in formation. In that sense, poker is a lot like real life."" p232
2
Dijksterhuis experiment chooisng cars,
"How should we make this choice? The best strategy may be the following: First, take a good look at both of the paintings. Then leave the auction and distract yourself for a while (which is easy to do in Paris), and only then decide."" p236
"Dijksterhuis says. "Use your conscious mind to acquire all the information you need for making a decision. But don't try to analyze the information with your conscious mind. Instead, go on holiday while your unconscious mind digests it." p237
4
"We can now start to sketch out a taxonomy of decision-making, applying the knowledge of the brain to the real world. We've seen how the different brain systems—the Platonic driver and his emotional horses—should be used in different situations. While reason and feeling are both essential tools, each is best suited for specific tasks." p243
"Future experiments will reveal new aspects of human hardware and software. We'll learn about additional programming bugs and cognitive talents. The current theories will undoubtedly get complicated. And yet, even at the dawn of this new science, it's possible to come up with a few general guidelines that can help us all make better decisions." p244
SIMPLE PROBLEMS REQUIRE REASON
Likewise, there's a whole subset of everyday decisions—those mundane choices that don't really matter—that could benefit from a little more conscious deliberation. Too often, we let our impulses make the easy decisions for us. A person will pick a vegetable peeler, laundry detergent, or boxer shorts on a whim and automatically trust his instincts when he gets an obvious poker hand. But these are precisely the sorts of emotion-driven decisions that might benefit from rational analysis. p245-246
NOVEL PROBLEMS ALSO REQUIRE REASON.
YOU KNOW MORE THAN YOU KNOW. One of the endur ing paradoxes of the human mind is that it doesn't know itself very well. p248
"The conscious brain is ignorant of its own underpin nings, blind to all that neural activity taking place outside the prefrontal cortex. This is why people have emotions: they are windows into the unconscious, visceral representations of all the information we process but don't perceive." p248
WELL WORTH RE-READING LATER once I know what I'm chatting about
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Coda p251
plane crash statistics, mainly error
since 1990's significantly reduced
reasons, flight simulators,
The best decisions emerge when a multiplicity of viewpoints are brought to bear on the situation. The wisdom of crowds also applies in the cockpit p254
THE WISDOM OF CROWDS, NEEDED FOR LATE`r iN DISSERTATION!!!!
such as guessing the number of jellybeans in a bottle....
CRM this is called
"Pilots are like the plane's prefrontal cortex. Their job is to monitor these onboard computers, to pay close attention to the data on the cockpit screens. If something goes wrong, or if there's a disagreement among the various computers, then it's the re sponsibility of the flight crew to resolve the problem." p256-257
explaisn how the brain works in this plabe has a lot of autopilot systems and we could be the unconsious that needa to inttervene
Simon Johnson
www.thephilosophicalphotographer.co.uk