U. of Colorado releases extraordinary report about sex bias and incivility in department, and brings in outside chair to change the culture. Move comes in a discipline regularly criticized for lack of support for women.
In December, the journal Brain Connectivity published a paper called "Short- and Long-Term Effects of a Novel on Connectivity in the Brain," based on a study conducted at Emory University. The researchers did MRI scans of the brains of 21 undergraduate students over a period of days before, during, and after they read a best-selling historical page-turner called Pompeii over the course of nine evenings. A significant increase of activity in "the left angular supramarginal gyri and right posterior temporal gyri" occurred during the novel-reading phase of the experiment, which fell off rapidly once they finished the book -- the gyri being, the report explained, regions of the brain "associated with perspective taking and story comprehension."
Not a big surprise; you'd figure as much. But the researchers also found that an elevated level of activity continued in the bilateral somatosensory cortex for some time after the subjects were done reading. In the novel, a young Roman aqueduct engineer visiting the ancient vacation resort of Pompeii "soon discovers that there are powerful forces at work -- both natural and man-made -- threatening to destroy him." Presumably the readers had identified with the protagonist, and parts of their brains were still running away from the volcano for up to five days after they finished the book.
So one might construe the findings, anyway. The authors are more cautious. But they raise the question of whether the experience of reading novels "is sufficiently powerful to cause a detectable reorganization of cortical networks" -- what they call a "hybrid mentalizing-narrative network configuration." Or to put it another way, a long-term rearrangement of the mind's furniture.
It isn't a work of fiction, and I am but a solitary reader without so much as access to an electroencephalograph, but A Philosophy of Walking by Frédéric Gros, a French best-seller from 2011 just published in English by Verso, seems to have been setting up its own "hybrid mentalizing-narrative network configuration" within my head over the past few days. Maybe it's the weather. After so many months of cold weather and leaden skies, Gros's evocation of the pleasures of being outside, moving freely, in no particular hurry, stirs something deep within.
The author, a professor of philosophy at the University of Paris, has, among other things, edited volumes in the posthumous edition of Michel Foucault's lectures at the College de France. But the authority Gros brings to his reflections on walking comes only in part from knowing the lives and writings of ambulatory thinkers across the millennia, beginning in ancient Greece. He is a scholar but also a connoisseur -- someone who has hiked and wandered enough in his time, over a sufficient variety of terrains, to know at first hand the range of moods (ecstasy, monotony, exhaustion) that go with long walks.
It is a work of advocacy, and of propaganda against sedentary thinking. The first of Gros's biographical essays is on Nietzsche, who took up walking in the open air while suffering from migraine headaches, eyestrain, and late-night vomiting spasms. It did not cure him, but it did transform him. He might be the one spending time at health resorts, but it was contemporary intellectual life that manifested invalidism.
"We do not belong to those who have ideas only among books, when stimulated by books," Nietzsche wrote. "It is our habit to think outdoors -- walking, leaping, climbing, dancing, preferably on lonely mountains or near the sea where even the trails become thoughtful. Our first questions about the value of a book, of a human being, or of a musical composition, are: Can they walk? Even more, can they dance?" Long, solitary hikes such as those taken by Nietzsche -- and also by Rousseau, the subject of another essay -- are only one mode of philosophical pedestrianism. The precisely timed daily constitutional that Kant took each day, so regular that his neighbors could set their watches by it, has gone down in history as an example of his extreme rigor (one easily recognized even by the layman who can't tell his an a posteriori from his elbow). Gros adds a telling detail to this otherwise commonplace biographical fact: Kant took care to walk at a measured, even pace, since he was profoundly averse to sweating.
At the other extreme was the ancient philosophical school known as the Cynics, with its cultivation of an almost violent indifference to comfort and propriety. The Cynics were homeless vagrants on principle. They denied themselves, as much as possible, every luxury, or even convenience, taken for granted by their fellow Greeks.
That included footwear: "They had done so much walking," Gros says, "that they hardly needed shoes or even sandals, the soles of their feet being much like leather." When the Cynics showed up in a town square, their constant exposure to nature's elements gave a jagged edge to the harangues in which they attacked commonplace ideas and values. Gros sees walking, then, as the foundation of the Cynics' philosophical method:
"Philosophers of the type one might call sedentary enjoy contrasting the appearance with the essence of things. Behind the curtain of tangible sights, behind the veil of visibilities, they try to identify what is pure and essential, hoping perhaps to display, above the colors of the world, the glittering, timeless transparency of their own thought…. The Cynic cut through that classic opposition. He was not out to seek or reconstruct some truth behind appearances. He would flush it out from the radical nature of immanence: just below the world's images, he was searching for what supported them. The elemental: nothing true but sun, wind, earth and sky; their truth residing in their unsurpassable vigor."
Walking is not a sport, Gros takes care to emphasize. You don't need any equipment (not even shoes, for an old-school Cynic) nor is any instruction required. The skill set is extremely limited and mastered by most people in infancy. Its practice is noncompetitive.
But in a paradox that gives the book much of its force, we don't all do it equally well. It's not just that some of us are clumsy or susceptible to blisters. Gros contrasts the experience of a group of people talking to one another while marching their way through a walking tour (an example of goal-driven and efficiency-minded behavior) and the unhurried pace of someone for whom the walk has become an end in itself, a point of access to the sublimely ordinary. And so he has been able to give the matter a lot of thought:
"Basically, walking is always the same, putting one foot in front of the other. But the secret of that monotony is that it constitutes a remedy for boredom. Boredom is immobility of the body confronted with emptiness of mind. The repetitiveness of walking eliminates boredom, for, with the body active, the mind is no longer affected by its lassitude, no longer drawn from its inertia the vague vertigo in an endless spiral.… The body's monotonous duty liberates thought. While walking, one is not obliged to think, to think this or that. During that continuous but automatic effort of the body, the mind is placed at one's disposal. It is then that thoughts can arise, surface or take shape."
As for the clumsiness and blisters, I hope they will disappear soon. It's the practice of walking, not reading about it, that makes all the difference. But no book has rewired my bilateral somatosensory cortex so thoroughly in a long while.
Nothing sharpens memory quite like regret, so I cannot help noting the anniversary of a tossed-off phrase that has come back to haunt me many times over the past 10 years.
In early 2004, I began writing an occasional series of two- or three-paragraph squibs on the latest publications and doings of the Slovenian thinker Slavoj Žižek for The Chronicle of Higher Education, where it ran under the title "Žižek Watch." In the subhead for one such mini-article, I referred to him as "the Elvis of cultural theory." The expression took wings and has been repeated on more occasions than any sane person could track. (As of this writing, it gets 79,000 returns from Google.)
The phrase will outlive me. Last year it appeared in an article in the journal Critical Inquiry, as well as in a Canadian dissertation on the concept of totalitarian evil in the work Hannah Arendt. Someone will eventually write a book using it as a title. Remembering the line always make me cringe, as if from mild food poisoning. For the most salient quality of "the Elvis of cultural theory" -- judged, by any standard, as a characterization of Žižek's work or career -- is its near perfect meaninglessness, verging on hopeless and absolute stupidity.
Unless you know the inside joke, anyway. By my count, roughly two people in the world are in on it. So to mark the anniversary, it is time finally to put the backstory on the record.
The idea for "Žižek Watch" came from my editor at the time, Richard Byrne, an estimable playwright and cultural journalist with family roots in the Balkans. These days Rich is at the helm of the University of Maryland Baltimore County's UMBC Magazine, of which he is the founding editor. We shared a fascination with Žižek's close but complex relationship with the Slovenian post-punk band Laibach and the avant garde movement around it. Given the pace of his output (two or three books a year, just in English) and the growing frequency with which he had begun appearing in odd corners of the mass media, it felt like a matter of time before he graced The National Enquirer, or at least Weekly World News.
So it was that through a chain of associations that "Žižek Watch" alluded -- very much in passing -- to the definitive song about the improbable ubiquity of a tabloid phenomenon: "Elvis is Everywhere" by Mojo Nixon & Skid Roper.
And the rest is, if not history, at least a decade-long lesson in the sliding of the signifier across the greased skids of digital-age publicity.
A footnote in one article from 2005 did trace "the Elvis of cultural theory" back to its first appearance, albeit without identifying the origins of the phrase as such. But by now, context is irrelevant. The expression has long since escaped meaning. And even though nobody seems to get it, does not the very circulation of my remark participate in what Žižek identifies as the "mystery" of jokes -- that they seemingly appear "all of a sudden out of nowhere," produced by "the anonymous symbolic order" through "the very unfathomable contingent generative power of language"?
So writes Elvis, or somebody, in the introduction to Žižek's Jokes (Did you hear the one about Hegel and negation?), published by MIT Press. It is an anthology of the theorist's shtick, not an analysis of it. The cover describes it as "contain[ing] every joke cited, paraphrased, or narrated in Žižek's work in English (including some in unpublished manuscripts), including different versions of the same joke that make different points in different contexts." The sources of the collected passages are given in the book's endnotes, followed with a brief yet oddly repetitive afterword by a novelist and songwriter from Scotland who lives in Japan and writes under the pen name Momus.
The claim to be exhaustive is difficult to credit, and so is the rationale offered for its existence: "The larger point being that comedy is central to Žižek's seriousness." Along with his frequent digressions into popular culture, Žižek's use of jokes has lent his books an appearance of accessibility that accounts for his fame with a broad audience. But that quality is misleading. Žižek practices a form of what Freud called "wild psychoanalysis," with contemporary culture as the analysand. The remarks, quoted earlier, about the free-floating and anonymous nature of jokes are just Žižek's paraphrase of a point made in Jokes and Their Relation to the Unconscious, where Freud interpreted the erotic and aggressive drives manifested through manipulation of the funny bone.
By spelling that out, I've just told you more about why "comedy is central to Žižek's seriousness" than Žižek's Jokes ever does. In the afterword, Momus speculates that "the joke has become for Zizek what algebra is for his old ally and rival Badiou: the most concise way Žižek knows how to sum up a universal situational shape." The idea might well be developed further, preferably by someone who knows that Badiou's interest is in formalized set theory rather than algebra. But as formulated it is more a gesture than an insight
A gesture serving mainly to distract attention from two striking things about the book. The first is that Žižek's Jokes makes unavoidably obvious something that it was still possible to overlook 10 years ago: the dynamic role of cut-and-paste in Žižekian production.
Žižek once said that his completed theoretical edifice, spanning several volumes, would amount to a Summa Lacanica rivaling Aquinas's Summa for both scope and cohesion. But along the way, he has met the growing demand for his work from the editors of books, magazines, and newspapers by tearing off suitably sized chunks of whatever manuscript he had in progress. Sometimes he tweaked things to make it appear like freestanding essay or topical news commentary. And sometimes he did not, though publication was almost certain either way. (I know of one case where the author of a book tried, without success, to have the introduction commissioned from Žižek removed since it had nothing to do with the volume in question.)
Over time, reading Žižek became an experience in déjà vu, with passages from one volume reappearing in others or, in one case, twice in the same book. Žižek's Jokes takes this to a new level. He wrote nothing new for it. Even his two-page introduction consists of one long paragraph from an earlier book. It is a remarkable accomplishment and I do not imagine he will be able to surpass it.
The other striking feature of Žižek's Jokes is how grim the experience of reading it quickly proves to be. In accord with Freudian principles, they revolve almost entirely around sex and/or aggression, often involving racist or misogynist sentiments. All of which is fine when they appear as specimens in a cultural critique -- where they might even elicit a laugh, given the incongruity of seeing them in a context where Hegel or Heidegger have set the terms for analysis. But running through them one after another, in the service of no argument, is deadening. It ceases to be shocking. It just seems lame. Maybe he should be known as "the Jay Leno of cultural theory?" (If, you know, Leno had Tourettes.)
Of course it's also possible that Žižek has a hidden agenda -- that he's sick of being considered hilarious by people who aren't really interested in Hegel, et al., and so has decided to destroy that reputation in the most efficient way possible. And I'm not even joking about that. It makes a certain amount of sense.