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Ed Webb

The Social Split Between TV and Movie Dystopias - NYTimes.com - 0 views

www.nytimes.com/...en-tv-and-movie-dystopias.html

dystopias dystopia films film television TV opinion class

shared by Ed Webb on 13 Oct 14 - No Cached
  • Dystopian parables like “The Walking Dead,” where zombies rule the earth, are an increasingly fashionable genre of entertainment, but the degree of apocalyptic pessimism is very different depending on the size of the screen.The dividing line between television and movies seems to be class conflict.Television shows posit a hideous future with a silver lining; survivors, good or bad, are more or less equals. Movies like “Divergent,” “Snowpiercer” and “Elysium” foresee societal divisions that last into Armageddon and beyond and that define a new, inevitably Orwellian world order that emerges from the ruins of civilization.
  • Movies project a morose, scary future where man is his own worst enemy, whereas television can’t entirely suppress a smile.There is something positive about the end of the world on shows like “The Walking Dead,” and “Z Nation” on Syfy and “The Last Ship,” on TNT. True, civilization as we know it is gone, but so is social stratification. Survivors don’t group into castes according to birth, race, income or religion. People of all kinds bond with whomever seems friendly, or at least unthreatening.
  • Dystopian movies based on young-adult novels understandably focus on the oppression of young adults, but in “Divergent” and “The Hunger Games,” a despotic elite divides the little people into cliques, only there is no prom in sight.Engels wrote about “contests between exploiting and exploited, ruling and oppressed classes.” He meant in the movies. On TV, all men are equal and equally at peril in the apocalypse.
Ed Webb

Look Closely, Doctor - See the Camera? - NYTimes.com - 0 views

www.nytimes.com/...28truman.html

psychiatry psychology psychosis technology

shared by Ed Webb on 24 Jun 12 - No Cached
  • a delusion is just a delusion, psychosis is psychosis, and the scenery is incidental
  • Some experts studying conditions like Truman Show delusion and other culture-bound delusions, which are specific to a time or place, are questioning the premise that culture is only incidental to psychosis, even as a growing body of evidence has pointed to brain abnormalities and other biological causes for illnesses like schizophrenia.
  • Another patient traveled to New York City and showed up at a federal building in downtown Manhattan seeking asylum so he could get off his reality show, Dr. Gold said. The patient reported that he also came to New York to see if the Twin Towers were still standing, because he believed that seeing their destruction on Sept. 11 on television was part of his reality show. If they were still standing, he said, then he would know that the terrorist attack was all part of the script
Ed Webb

What killed Caprica? - 0 views

io9.com/...what-killed-caprica

dystopias TV television opinion review

shared by Ed Webb on 14 Nov 10 - No Cached
  • Caprica may have gone too far, tried to cover too much. It broke one of the cardinal rules of mainstream science fiction, which is that if you have a strange alternate universe you'd better populate it with recognizable, ordinary characters. But I like the kind of thought-experiment audaciousness that says, Hell yes we are going to give you complicated characters who defy stereotypes, and put them in a world whose rules you'll have to think hard to understand. It's too late to bring Caprica back. But I hope that this show is the first part of a new wave of science fiction on TV. Like The Sarah Connor Chronicles, Dollhouse, and Fringe, Caprica tackles singularity-level technology as a political and economic phenomenon - not as an escapist fantasy. And that's why it was a show worth watching, even when it stumbled.
Ed Webb

Why Doesn't Anyone Pay Attention Anymore? | HASTAC - 0 views

www.hastac.org/...t-anyone-pay-attention-anymore

attention education opinion analysis blog

shared by Ed Webb on 22 Nov 10 - No Cached
  • We also need to distinguish what scientists know about human neurophysiology from our all-too-human discomfort with cultural and social change.  I've been an English professor for over twenty years and have heard how students don't pay attention, can't read a long novel anymore, and are in decline against some unspecified norm of an idealized past quite literally every year that I have been in this profession. In fact, how we educators should address this dire problem was the focus of the very first faculty meeting I ever attended.
  • Whenever I hear about attentional issues in debased contemporary society, whether blamed on television, VCR's, rock music, or the desktop, I assume that the critic was probably, like me, the one student who actually read Moby Dick and who had little awareness that no one else did.
  • This is not really a discussion about the biology of attention; it is about the sociology of change.
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  • The brain is always changed by what it does.  That's how we learn, from infancy on, and that's how a baby born in New York has different cultural patterns of behavior, language, gesture, interaction, socialization, and attention than a baby born the same day in Beijing. That's as true for the historical moment into which we are born as it is for the geographical location.  Our attention is shaped by all we do, and reshaped by all we do.  That is what learning is.  The best we can do as educators is find ways to improve our institutions of learning to help our kids be prepared for their future--not for our past.
  • I didn't find the article nearly as stigmatizing and retrograde as I do the knee-jerk Don't Tread on Me reactions of everyone I've seen respond--most of which amount to foolish technolibertarian celebrations of the anonymous savior Technology (Cathy, you don't do that there, even if you also have nothing good to say about the NYT piece).If anything, the article showed that these kids (like all of us!) are profoundly distressed by today's media ecology. They seem to have a far more subtle perspective on things than most others. Frankly I'm a bit gobstopped that everyone hates this article so much. As for the old chestnut that "we need new education for the information age," it's worth pointing out that there was no formal, standardized education system before the industrial age. Compulsory education is a century old experiment. And yes, it ought to be discarded. But that's a frightening prospect for almost everyone, including those who advocate for it. I wonder how many of the intelligentsia who raise their fists and cry, "We need a different education system!" still partake of the old system for their own kids. We don't in my house, for what it's worth, and it's a huge pain in the ass.
  • Cathy -- I really appreciate the distinctions you make between the "the biology of attention" and "the sociology of change." And I agree that more complex and nuanced conversations about technology's relationship to attention, diverstion, focus, and immersion will be more productive (than either nostalgia or utopic futurism). For example, it seems like a strange oversight (in the NYT piece) to bemoan the ability of "kids these days" to focus, read immersively, or Pay Attention, yet report without comment that these same kids can edit video for hours on end -- creative, immersive work which, I would imagine, requires more than a little focus. It seems that perhaps the question is not whether we can still pay attention or focus, but what those diverse forms of immersion within different media (will) look like.
  • Ed Webb on 22 Nov 10
     
    I recommend both this commentary and the original NYT piece to which it links and on which it comments.
Ed Webb

The stories of Ray Bradbury. - By Nathaniel Rich - Slate Magazine - 0 views

www.slate.com/...all

fiction story Bradbury sci-fi literature dystopias utopias

shared by Ed Webb on 16 May 10 - Cached
  • Thanks to Fahrenheit 451, now required reading for every American middle-schooler, Bradbury is generally thought of as a writer of novels, but his talents—particularly his mastery of the diabolical premise and the brain-exploding revelation—are best suited to the short form.
  • The best stories have a strange familiarity about them. They're like long-forgotten acquaintances—you know you've met them somewhere before. There is, for instance, the tale of the time traveler who goes back into time and accidentally steps on a butterfly, thereby changing irrevocably the course of history ("A Sound of Thunder"). There's the one about the man who buys a robotic husband to live with his wife so that he can be free to travel and pursue adventure—that's "Marionettes, Inc." (Not to be confused with "I Sing the Body Electric!" about the man who buys a robotic grandmother to comfort his children after his wife dies.) Or "The Playground," about the father who changes places with his son so that he can spare his boy the cruelty of childhood—forgetting exactly how cruel childhood can be. The stories are familiar because they've been adapted, and plundered from, by countless other writers—in books, television shows, and films. To the extent that there is a mythology of our age, Bradbury is one of its creators.
  • "But Bradbury's skill is in evoking exactly how soul-annihilating that world is."    Of course, this also displays one of the key facts of Bradbury's work -- and a trend in science fiction that is often ignored. He's a reactionary of the first order, deeply distrustful of technology and even the notion of progress. Many science fiction writers had begun to rewrite the rules of women in space by the time Bradbury had women in long skirts hauling pots and pans over the Martian landscape. And even he wouldn't disagree. In his famous Playboy interview he responded to a question about predicting the future with, "It's 'prevent the future', that's the way I put it. Not predict it, prevent it."
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  • And for the record, I've never understood why a writer who recognizes technology is labeled a "sci-fi writer", as if being a "sci-fi writer" were equal to being some sort of substandard, second-rate hack. The great Kurt Vonnegut managed to get stuck in that drawer after he recognized technolgy in his 1st novel "Player Piano". No matter that he turned out to be (imo) one of the greatest authors of the 20th century, perio
  • it's chilling how prescient he was about modern media culture in Fahrenheit 451. It's not a Luddite screed against TV. It's a speculative piece on what happens when we become divorced from the past and more attuned to images on the screen than we are to each other.
  • ite author of mine since I was in elementary school way back when mammoths roamed the earth. To me, he was an ardent enthusiast of technology, but also recognized its potential for seperating us from one another while at the same time seemingly making us more "connected" in a superficial and transitory way
  • Bradbury is undeniably skeptical of technology and the risks it brings, particularly the risk that what we'd now call "virtualization" will replace actual emotional, intellectual or physical experience. On the other hand, however, I don't think there's anybody who rhapsodizes about the imaginative possibilities of rocketships and robots the way Bradbury does, and he's built entire setpieces around the idea of technological wonders creating new experiences.    I'm not saying he doesn't have a Luddite streak, more that he has feet in both camps and is harder to pin down than a single label allows. And I'll also add that in his public pronouncements of late, the Luddite streak has come out more strongly--but I tend to put much of that down to the curmudgeonliness of a ninety-year-old man.
  • I don't think he is a luddite so much as he is the little voice that whispers "be careful what you wish for." We have been sold the beautiful myth that technology will buy us free time, but we are busier than ever. TV was supposed to enlighten the masses, instead we have "reality TV" and a news network that does not let facts get in the way of its ideological agenda. We romanticize childhood, ignoring children's aggressive impulses, then feed them on a steady diet of violent video games.  
Ed Webb

Sinclair tells stations to air media-bashing promos - and the criticism goes viral - Ap... - 0 views

money.cnn.com/...index.html

propaganda US USA television TV ownership conservatism

shared by Ed Webb on 02 Apr 18 - No Cached
  • they're seeing these people they've trusted for decades tell them things they know are essentially propaganda
Ed Webb

CNN produces Gothic horror, and this is a problem | Bryan Alexander - 0 views

bryanalexander.org/...c-horror-and-this-is-a-problem

media CNN TV television gothic horror fear opinion

shared by Ed Webb on 27 Mar 18 - Cached
  • Remember that for *decades* American violent crime has gone steadily down, but most Americans have been convinced we lived under a nightmarish crime siege. CNN plays a key role in that, as I and others have shown. CNN has continuously celebrated violent crime stories far, far out of proportion to their reality.
  • As an information source, CNN helped skew Americans’ sense of reality in terms of violent crime. As things got better, they took exquisite care to make sure we thought they were the opposite. Why does this matter?
  • remember that Trump won in 2016 in part by arguing that America was under siege from violent crime. Who do you think convinced about 1/4th of American voters of this idea?  Social media played some role, which is in the public eye now, but tv’s huge role is underappreciated
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  • A key driver for gun ownership is self defense. CNN teaches viewers that they live in a dangerous hellscape, with terror about to attack at any moment.  Put another way, CNN is the NRA’s best secret friend
  • I think if CNN is truly possessed of world class storytellers, they could turn heart disease into a gripping narrative.  (Might I recommend a certain book on the subject?)  They could also choose not to flog a relative handful of crime stories into a national terror wave.  Instead they very carefully selected the violent crime horror route.
  • This is Gothic puffery, a deliberate act of fearmongering, with consequences. And we’re not holding CNN and its ilk accountable.  It’s time we should.
Ed Webb

The migrant caravan "invasion" and America's epistemic crisis - Vox - 0 views

www.vox.com/...ump-epistemic-crisis-democracy

dystopia authoritarianism Trump US USA politics media

shared by Ed Webb on 03 Nov 18 - Cached
  • The intensity of belief on the right has begun to vary inversely with plausibility. Precisely because the “threat” posed by the caravan is facially absurd, believing in it — performing belief in it — is a powerful act of shared identity reinforcement, of tribal solidarity.
    • Ed Webb
      Ed Webb on 03 Nov 18
       
      See (obviously) Orwell. Also Lisa Wedeens' great book on totalitarianism in Syria, Ambiguities of Domination.
  • Once that support system is in place, Trump is unbound, free to impose his fantasies on reality. He can campaign on Republicans protecting people with preexisting conditions even as the GOP sues to block such protections. He can brush off Mueller’s revelations and fire anyone who might threaten him. He can use imaginary Democratic voter fraud to cover up red-state voter suppression. He can use antifa as a pretext for deploying troops domestically.
  • Trump does not view himself as president of the whole country. He views himself as president of his white nationalist party — their leader in a war on liberals. He has all the tools of a head of state with which to prosecute that war. Currently, he is restrained only by the lingering professionalism of public servants and a few thin threads of institutional inertia.
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  • The epistemic crisis Trump has accelerated is now morphing into a full-fledged crisis of democracy.
  • As Voltaire famously put it: “Anyone who has the power to make you believe absurdities has the power to make you commit injustices.”
  • The right, in all its organs, from social media to television to the president, is telling a well-worn, consistent story: Opposition from the left and Democrats is fraudulent, illegitimate, a foreign-funded conspiracy against the traditional white American way of life.
  • Having two versions of reality constantly clashing in public is cognitively and emotionally exhausting. To an average person following the news, the haze of charge and countercharge is overwhelming. And that is precisely what every autocrat wants.
  • every aspiring tyrant in modern history has made the independent media his first target
  • Then they go after the courts, the security services, and the military. Once they have a large base of support that will believe whatever they proclaim, follow them anywhere, support them in anything — it doesn’t have to be a majority, just an intense, activated minority — they can, practically speaking, get away with anything.
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