Showing posts with label vaclav havel. Show all posts
Showing posts with label vaclav havel. Show all posts

Monday, December 28, 2009

Grassroots + Power V: Iran

I spent a lot of arts-policy-brainwork on my diversity posts earlier this week, and so now my posting brain is looking back at politics again and getting excited -- probably based on my optimism about the health care bill.

At any rate, if you haven't seen Andrew Sullivan's extensive, expert coverage of today's protests across the country of Tehran, start with this post and work your way forwards. There are a lot of posts, but most of them are fairly short. I highly suggest watching at least a few of the Youtube videos.

A couple points:
  1. Mainstream media fail, per usual. One of Sullivan's readers actually points out accurately that the bigger fail is the MSM's failure to provide the context of the recent bomb attempt, inasmuch as there's basically a war going on in Yemen that we're at least tangentially involved in, against al Qaeda. If you're keeping count, that means we're fighting al Qaeda in five countries: Somalia (where US airstrikes have been supporting an Ethopian force), Yemen (where we've been supporting a largely Saudi force), Pakistan (where we've been supporting the Pakistani government), Afghanistan (directly), and a few remaining in Iraq (directly).
  2. A few months ago, I found myself having anonymous comments blasting my comments on Obama's arts policy. My response was generally "meh," but I was rather insulted by the implication that I didn't understand the relationship between grass-roots and power, considering as I wrote a play about it and it's my favorite topic. So I decided to tackle the subject in a series of posts.

    What's interesting to me about this Iran thing is how it's playing out in a rather textbook example of what President Vaclav Havel wrote in his essay "Power of the Powerless." When Aleksandr Solzhenitsyn asked of the Soviet Union, "For how else can something dead pretend it is living except by erecting a scaffolding of lies?" and Vaclav Havel formulated the same idea by saying that "living in truth" was the way to dismember the state that lives on lies, they would not be surprised to see what's going on in Iran.

    I remember once in school, one of my history teachers said that the original form of democracy was the Greek Tyrants: in order to stay in power, they had to compete for the affections of the military, because without the military, they were nothing. The military were the first constituency.

    Now we see that a new tipping point has been reached in Iran. Take this video, in which the once-feared Basij have been cornered, are begging forgiveness, pleading to be released by angry protesters who shout "are you only brave on your motorcycle." Other videos involve burning Basij buildings or stealing their helmets and their sticks. They are aiming their blow right at the heart of the "Scaffolding of lies" that props up the Ayatollah: the lie that his power is absolute.

    When the protests began months ago, protesters wore masks to conceal their identity. Now, the Basij wear masks and beg to be forgiven; the protesters are the ones with the cameras.
  3. My last point: if you watch any of the videos, you'll see hundreds of people with cell phones in the air, or cameras, documenting the revolution as it happens. All I want to say about that is that no single detail in this entire affair has so powerfully grounded me in feeling that the Iranian students are just like me. When I was at Barack Obama's rally before the primaries, or when I was at New Year's, it was the same thing -- the modern way we document our lives as it was happening.

    It made me realize something: when (not if) the Iranian people manage to overthrow the Ayatollah and create a more representative democracy (which may still be lead by Ayatollahs, but will be far more representative), the face of Iran is going to be transformed: it is going to become a face we recognize. We won't have to whisper between ourselves wondering exactly how insane or simply greedy their leadership is, they won't be born of a tradition and history unfathomable to us. We'll have some common experiences--we'll recognize each other. They'll still want nukes, they'll still resist our foreign policy interests, and I don't want to think about what they think about Israel. But we'll recognize them and they'll recognize us. It'll be the first step.
It's pretty exciting, and a great way to wrap up 2009. We started it with the optimism that change was coming, even in the midst of a falling economy we would have health care reform. In the middle of it, things looked bleak for health care reform as the town halls poisoned the atmosphere, but the response to the Iranian election was moving, gave us hope. Then they faded away, and I feared the worst for them. But now both have come together.

What I hope for 2010:
  1. The investigation into torture yields prosecution.
  2. Our troops are largely withdrawn from Iraq.
  3. Guantanamo closes.
  4. A review of Don't Ask Don't Tell and the Defense of Marriage Act by the end of the year.
I'm also hoping that California sets into motion drafting of a new constitution.

Thursday, February 5, 2009

How Copyright Hurts Playwrights II: Architecting

Copyright breaks my heart sometimes.

I went to P.S. 122 to see a show from a company who I'd seen before. They blew my mind. Their work was up to a new caliber. The show was Architecting, and after glowing reviews from Ben Brantley at the New York Times and anyone else you could ever imagine, it was extended. I saw the wreath of light around it, the excitement, and I noted that the reviews were not merely saying "good show." They were predicting this to be the new wave of American theater.

They were not wrong. The show captured something that is so incredibly difficult to capture. The company is called "Theater of the Emerging American Moment," and I have to say, they did exactly that. They captured the new American Moment. The one of my generation. The George W. Bush world, but in a way that spoke overtly about the present but tied itself into the historical past and the universal future. It spoke specifically about Hurricane Katrina but it was about destruction and rebuilding, about memorials, about destroyed communities. The ravaged South, the Hurricane country, the post-Suburban world.

What a shame that the whole thing was illegal.

Yes! Illegal theater! Banned theater! Theater which, under the law, is not to be done! I was even afraid to name the company involved, afraid to name the theater that is housing them, for fear that the lawyers will swoop in and crush them before the end of their run (February 15th--catch it before then!).

Now, I know what you're thinking. I went to the Czech Republic to hear stories of actually banned theater--Vaclav Havel's plays, or Belarus Free Theater. And of course, the people who are doing this theater have no fear of arrest. They won't find themselves on a 1930s era blacklist.

But it doesn't change that what these people are doing is illegal.

They're pirates. Copyright infringers. The people who make the RIAA sad. Because their work, which taps into historical American moments. Including an iconic historical book. Gone with the Wind.

Woah slow down, man! Did they pay for that Gone With The Wind? Did they get the approval of the estate of the writer?

Well, would the estate of the writer have granted it, even if TEAM had the money to option the stage rights? (any rights on one of America's most iconic classics are an arm and a leg--after all, a Broadway producer might be able to create a full run on Broadway with a classic adaptation of the play) Probably not. It has some very specific and harsh criticisms of the author, the book, the movie. Nothing slanderous, but... well, unless you're a very openminded individual (and not an estate of a dead individual), you might think twice about risking people taking away very strong messages against you.

But whatever the reason, this theater was illegal. It won't go into the historic canon, because there's a very low chance that it'll get published. Plays that only live in performance only live in the minds of the people that saw it, and in reviews that no one reads. Shakespeare is the first great English Playwright partly because he's the first published English Playwright. We remember him today because we still have his words.

This is why copyright breaks my heart. It is unfair that a book written about seventy years ago should force the most amazing play I've seen in the last year to be illegal. It simply breaks my heart.

I am reminded of something that Lawrence Lessig, one of my heroes, says (he's not the only one, and probably not the first, but I got it from him): we've criminalized a generation of kids. At the time, I thought he meant a generation in which music and movie piracy was the norm. But no. He's talking about the future artist/creators, who are growing up in an age where all of the artistic influence is already owned, where an entire century of American Experience is difficult to reference.

To talk about the southern experience without discussing Gone With The Wind would be as difficult as discussing American Government without discussing the Constitution. It's necessary for the cultural dialogue. That's why copyright should only last 7 years, or 7+7 if it's still profitable after the first 7. But 95 years? 95 + life? That's an entire century.

And as I discussed in the previous post, it drives this generation to look further into the past, to try and renovate the old plays--like the illegal theaters of Eastern Europe performing works of Shakespeare because the Bard gave cover for rebellious theater (read Dogg's Hamlet/Cahout's Macbeth by Tom Stoppard to see what I mean). Or they simply break the law, like TEAM did, like I have done in my theater.

And, being illegal, they may vanish forever rather than be preserved. It breaks my heart.

Monday, September 8, 2008

Words, Words, Words, Words, Words II

If confusion is the sign of the times, I see at the root of this confusion a rupture between things and words, between things and the ideas and signs that are their representation.

The quotation above is from Theater and Its Double, by Antonin Artaud. To a devoted fan of The Daily Show, I sympathize with that statement. We watch the political cycle today, and it feels as though words have become meaningless. Take, for instance, "time line." The Bush Administration, unhappy with the concept of a "time line," branded it as "cutting and running," saying that an "arbitrary time lines" would shackle them from responding to conditions on the ground, and would embolden the terrorists.

Then Obama laid out his 16 month time line, and very shortly afterward, the Prime Minister of Iraq echoed it. And the Bush Administration said that they would begin drawing down troops, to end in about sixteen months.

Was this a time line? No, it was a "time horizon."

To anyone with an understanding of the accepted meaning of words, that's clearly some jiggery-pokery. Both of them imply the same thing. But the point is that the phrase "time line" has become an ideological symbol, rather than a linguistic symbol. The tags "pro-choice" and "pro-life" mean the same thing; certainly the ambiguous tag "change" has. "Torture," "message force multipliers," "patriotism", etc. are words which have their original meaning erased, and replaced with an ideological meaning.

Take Mitt Romney (and others') use of the word "liberal." He is not talking about a person whose viewpoints are slightly left of average, he is talking about a charicature: the ideological imprint of liberal in the conservative mind (namely, a tax-and-spend elitist plutocrat with little interest in family values or faith).

This is dangerous, because it corrodes something even more fundamental than our politics: it corrodes our language itself. And, in fact, it corrodes our thought.

Intelligence is often distinguishable from unintelligence by the proper use of symbolic logic. If the brain can assemble symbols in a correct fashion, it answers questions and creates solutions better. If we confused the internal logic of our brain, muddling facts and decaying the links between language and thought, we are corroding our thought-process. This is a fairly extreme case, but in point of fact, if you cannot clearly interpret facts, and if the landscape of your assumptions are ideological rather than reality based, then you cannot properly think. And if you cannot properly communicate, you cannot properly exchange ideas and thoughts. Corroding language corrodes the marketplace of ideas.

This phenomenon can be seen in totalitarian societies: a perfect example is the Communist world. Take from Havel:

From being a means of signifying reality, and of enabling us to come to an understanding of it, language seems to have become an end in itself.

And further:

When we lose touch with reality, we inevitably lose the capacity to influence reality effectively. And the weaker that capacity is, the greater our illusion that we have effectively influenced reality.


He illustrates these points (in the essay On Evasive Thinking) very clearly when he relates the story of a window-sill which breaks off, falls, and kills a person. This has happened many times, he writes, and a newspaper person writes an article which raises the question of whether better care must be taken of window sills, but then proceeds to pat the communist regime on the back for being the sort of free and open place where one can question to state's upkeep of window-sills. The newspaper is forced to contort and bend over backwards to match the ideology.

I say all of this as a prologue for an excellent Czech play I saw yesterday on this very subject. It was called Tika Tika Politika (translated as Ticks Ticks Politics). It was a four-part experimental vocal score made up of syllables and proto-language (in the first part, for instance, it is entirely repetitions of different syllables of Politika) in such a way as to render all of the vocal language meaningless.

This is, to a certain degree, the way the words in our political language have been treated. In an era of talking points, the constant repetition of ideologically charged phrases redefines those phrases permanently. The only way to reverse this is to remove the content of the language entirely, and to analyze the other communication provided.

In Tika Tika Politika, the analysis comes mostly through body-language and tonality; seeing how they say what they say is the important part. You learn to follow the narrative outside of the message. In real life, this takes a strong ironic mind, and you need all the help you can get.

Which is why, right now, I'm watching the Daily Show.

Friday, September 5, 2008

Words, Words, Words, Words, Words

Language is very important to me. I'm a deep believer in the idea that language itself is the way that our brain is tied together; its the rules and the logic which gives it form. Nietzche once said "I fear we still believe in God because we still believe in Grammar." It seems to me to be strangely apt, despite the fact that I can't unravel the relationship. If I were any sort of a religion, it would be the blind-watchmaker vision of God (perhaps--it's hard to talk about a hypothetical version of me). The formulae and the logic that exists is existence, is the reason and the end, and therefore, would havve to be God.

There's a Czech saying:"Kolik řečí znáš, tolikrát jsi člověkem" which translates into "You are as many times a human as languages you know." I agree. Today, I was walking to my apartment through Prague, and I heard a German, an Englishman, and an American outside of a bar, talking in English. And I heard a Frenchman and a Czech person also debating in English. How much more they must learn about each other and the world, being able to communicate like that?

I've had a very positive experience with language in Prague. People have told me that they find Czechs rude. I've heard the same about the French. I found neither to be the case, either here or in Provence. The reason is because I always try very gamely and very positively to speak their language. My French is passable if fairly vocabulary-dry, but my Czech is only marginally better than a phrase book.

Don't ask them, "Do you speak English?" Ask them, "Parlez-vous francais" or "hablas ingles?" or "mluvim anglicky." It puts it on their turf, and it allows them choice. Several times now, I've had conversations with Czech people who don't know English. I barely know Czech. But using the few words I know, and the few words they know, and tracking intonation and gestures, I've managed to get by. And just the effort of communication has been greeted with smiles and indulgence for me.

Perhaps this is not everyone's experience. I tend to smile a lot and say "prosim" and "dekuju" a lot, just to make sure I'm in people's good graces.

Also: translation is an exceptionally fun way of learning meaning. I'm right now translating Artaud's journals when he was in a mental asylum in 1948. It's very, very simple French (which is good because I'm fairly lame at it), but it's fascinating. The tiniest of adjustments creates a totally different sense of what's going on. George Carlin once said that thoughts are airy and undefined, and then it gets attached to a word, and then you're stuck with that word for that thought. Translation defies that. You really have to know the person's mind to know what they were saying, and you have to know what they were saying to know their mind. It's rather like sculpting away at rock until you see the statue that was hidden beneath.

This is why I have a great respect for Eric Bentley, who most theater people in America do not pay proper homage to. Bertold Brecht is considered one of the top ten theater aestheticians of all time. He is often put in opposition to Aristotle in the very most basic theater classes, as a way of framing all of theater. Alienation, and empathy. But Brecht wouldn't have that privileged place in society if it wasn't for the tireless translation and promotion of Eric Bentley. Brecht would still be a small event in German history (and a freak Broadway success) if Bentley hadn't really placed Brecht on the map.

Words. They're the most important thing we have. I get very distressed when we damage words' meanings. The Bush administration has signalled the most vicious attack on the concept of language since Ernest Hemingway made the American dialect so word-impovershed. I can't list it all now, but concepts like "torture" or "time table" or "victory" have been so damaged, so needlessly... it signals terrible times for us. When your language unlinks from reality, you have lost your way: Vaclav Havel has written impressive things on that score.

This thought is short, because I'm still pretty chill from the Jazz Club I went to (music being the language we all speak and most of us can't read), and I have a less defined point than usual.

Sunday, May 25, 2008

Culture Future II: Absolutism versus Reducible Complexity

It is easy to believe that we cannot change culture, because it is so large. So we throw our hands up and accept it as fate. But it doesn't have to be.
When I wrote this in the first post, I was speaking mainly of our contemporary American culture. In a way, Americans are still caught in the ancient debate of free will versus predestination. Although for some it is still in the old frame of God versus human free will, there are other outlets for that way of thinking. One place where I see this schism developing, which is a very difficult place to disentangle it, is in the realm of health (mental and physical). Am I the way I am because I made certain choices? Were those choices pre-determined by a combination of my genetic code and my upbringing?

This debate is crucial today because the two different views have two different solutions. If our depression (as a for instance) is caused by a plethora of causes beyond our control--our family, our genetic predisposition--then the best solutions will be medical ones (Prozac or Zoloft or some new experimental treatment). But if it is our choices which cause our depression, then it is our choices which will liberate us from it.
Our problems are man-made, therefore they may be solved by man. And man can be as big as he wants. No problem of human destiny is beyond human beings. Man’s reason and spirit have often solved the seemingly unsolvable – and we believe they can do it again.
John F. Kennedy said that. He was not speaking in the realm of health, but in the realm of culture. He was speaking of American politics, of the direction which America wanted to take, of its growing fear in the face of the Soviet Union.

Our culture is man-made, therefore it can be shaped by man. Although, as I said before, we think we cannot change culture because it is so large, Man can be as big as he wants. There is both good and bad in that.

The discovery that man can be scientifically manipulated, and that governments can turn large masses this way or that as they choose, is one of the causes of our misfortunes.
That statement was written twenty years before Kennedy's speech; it was Bertrand Russell in an essay about religion entitled An Outline Of Intellectual Rubbish. 'Our misfortunes,' which he refers to, is the scourge of Nazism, which at the time was even more dangerous than the Soviet Union of Kennedy's day, purely by virtue of the fact that the Soviet Union was as wary of the United States as we were of them.

Russell is correct that scientific manipulation of societies was the well-spring of Nazism, and of the Soviet Union. It is, of course, also the well-spring of American democracy; but Russell is right to highlight the dangers of mass manipulation. Sociology and communication, for instance, are combined to create propaganda. What went wrong for Nazis and for the Soviets was not that culture cannot be controlled--it is that culture cannot be rigidly controlled.

The current model I enjoy for examining culture is that of the conversation. A good conversation requires two people who are interested in the exchange of thoughts and/or feelings. "Interested" means that they are ready to listen; "the exchange" means that they are ready to speak.

The Nazi Party and the Bolsheviks had something to say, clearly--this is clear by how much they wrote at the time. It was very fashionable for them to write tracts and to make speeches. But they were not willing to respond, not willing to interact with the rest of culture as a whole. They wished to substitute Nazi culture for German culture, to substitute Bolshevik culture for Russian culture, and thus, were not ready to listen. If writing tracts and making speeches shows how willing to speak, then the brutal censorship of tracts and speeches (and those who made them) shows how unwilling to speak they are.

In point of fact, this shows that they had failed the 'scientific approach' to culture that many have ascribed to them. They started with the hypothesis of culture, and they performed the experiment. But by refusing to acknowledge the data which returned, and by refusing to engage in active conversation with other cultures, they were stifling that very same intellectual approach to changing society that first led them to embark. After all, Karl Marx was able to write his tracts on the economy because he was a professor at an English university, able to write what he pleased without fear.

Why were they unable to be in conversation? Because they were absolutists. They dreamed of a utopia, but it was an absolutist utopia. There was no room for non-communism in the Communist ideal; the bourgeois had to be brutally crushed. There was no room for the "impure" in the eugenics of Nazis; the impure had to be brutally crushed. It is specifically in the utopian, absolutist execution of these ideals that they were unable to be in conversation with other cultures. Nothing in the universe is perfect, so an ethos which calls for the destruction of the imperfect is by definition destructive; in fact, it targets everything in the universe. In fact, if these absolutist movements could look at themselves with objective eyes, they'd be forced to destroy themselves. How many of the leading Nazis were genetically pure? How many of the Communist leaders were truly equals to the rest of their society?

In The Rest Is Noise, Alex Ross wonders why intellectuals who formed the artistic elite in Vienna found themselves supporting Nazism during its rise. As an answer, he says,

The cultish fanaticism of modern art turns out to be unrelated to the politics of fascism: both attempt to remake the world in utopian forms.
In fact, it is the cultish absolutism of certain modern artists; many of these same artists purported to hate the support of the people because the people were inferior. Take, for instance, Schoenberg:

If it is Art, it is not for all, and if it is for all, it is not art.
This sort of bloody-minded absolute extremism is underpinned on a hatred of the imperfect. It is unfortunate, for instance, that this absolutism can sometimes arise from religion. I do not believe, like many of the New Athiests and their intellectual forebears, that everything religion touches is evil. But I do agree that absolutism is in religion is perverse and destructive. If, as some purport, we are all touched by sin and born in sin, and God hates sin, then how can God not hate everything?

The God that holds you over the pit of hell, much as one holds a spider, or some loathsome insect over the fire, abhors you, and is dreadfully provoked: his wrath towards you burns like fire; he looks upon you as worthy of nothing else, but to be cast into the fire; he is of purer eyes than to bear to have you in his sight; you are ten thousand times more abominable in his eyes, than the most hateful venomous serpent is in ours.
Jonathan Edwards, one of the earlier evangelicals in this country, spoke that in his sermon "Sinners In The Hands Of An Angry God." Through the hyperbole of the text, it is clear to see that once you accept the philosophy of absolutism, everything which is not absolute is absolutely wrong; the world is black and white--and in fact, mostly black.

It has often been said of Islam that it is actually one of the most respectful religions, and that today's fundamentalists are perverting the Koran. But the Koran does have passages within it which support today's fundamentalists, just as the Bible supports today's fundamentalist Christians and fundamentalist Marxists can use the Manifesto to slaughter Capitalists if they so choose. Each of these ideas, when taken absolutely, are incompatible with other cultures--obviously, because absolute cultures refuse to be in conversation with other cultures.

But the hope for the world is not, as Richard Dawkins or George W. Bush might think, to set up an opposite absolutism and let them battle to the death ("Democracy" versus totalitarianism; Hitchens' anti-theism versus theism, etc.), but rather to create the forum for conversation which refuses to tolerate violence and moderates the conversation as it precedes.

The clear example for this is in the creation of the US Constitution. Reading the Federalist papers by Madison and Hamilton reveal something clear about the Constitution: although the Constitution was founded on certain ideals, the machinery of the Constitution was built not for a utopian, ideal community, but rather for the everyday. Rather than hoping that America would never elect a cruel dictator or greedy, self-serving beaurocrats, the machinery was put into place to keep such people in check. This is the center of the concepts of checks and balances. The machinery continues to need tinkering, especially considering the abuses which the Constitution has weathered over the past eight years, but the concept is still sound.

We still have a culture which allows for conversation, although the state of our conversation is still poor. We have a culture which allows for change. Even cultures which attempt to stifle change and innovation find themselves prey to the human spirit. Consider Vaclav Havel, writing in the frozen Czechoslovakia during the oppression of the Cold War.
I am unwilling to believe that this whole civilization is no moer than a blind alley of history and a fatal error of the "human spirit."
But he did not sit and wait for things to happen; nor did he preach some extremist anti-Communist revolution. Rather, he preached the idea of "living in truth," describing in his seminal essay "Power of the Powerless" of a green-grocer who does simply nothing more than stop following the ridiculous laws of the Communist regime. He is not attacking the problem at the center, not trying to topple a powerful and huge regime alone, but rather: he is eroding the ideological and absolutist foundation of the regime. The more people simply stop cooperating, the weaker the regime was. And in fact, that is how the Soviet Union collapsed: not with a bang, but with a whimper.

The problem of "solving" culture is a problem of reducible complexity. It is impossible to change all of culture overnight; that path leads to absolutism. The Soviet Union tried, in one act of revolution, to cure every problem of the Industrial Revolution which had been brewing for a full century, and further to cure every problem of the feudal, monarchal Russia which had been brewing for centuries before that.

At the same time, the Western world was addressing the problems one by one. Today, we have ensured a far higher quality of life than the Soviet Union had, and far higher than the time of the Industrial Revolution. We solved each problem slowly, over the course of the 20th Century. There was a brief period, at the beginning of the Soviet Experiment and during the Great Depression, when actually there was a higher quality of life in the Soviet Union. But because of the absolute and rigid ideology that had created it, the Soviet Union never advanced; in fact, it regressed.

Take for instance, Richard Foreman:
If you’re a big person, carrying your big, heavy, important projects and concerns with you into the theater, when you confront my play it will appear to be an amorphous cloud of molecular particles, circulating in a seemingly random pattern, like Brownian motion. Perceiving it like that, the big person that you are measures the play against the heavy projects you carry around in your head, and you think: ... I want help in resolving such weighty problems, and all this play proposes is an amorphous cloud of circulating molecules, incapable of budging those big solid shapes that fill my life. What I need from a play is a shape bigger and heavier than my own in order to reorganize my own massive shapes.

My art proposes, however, that by shifting your attention to the scale on which atomic events occur...you discover that your own solid shapes are themselves but clouds of molecules in circulation.
Richard Foreman is talking about tackling personal problems on a quantum scale; the model which he's using (metaphorical) is of reducible complexity.

Our society is having trouble doing this. We expect our President to "fix" the education system. But the problems in the education system today are myriad; problems of race, economics, educational theory, and cultural value of education are among many problems which face the education system. Others, seeing the complexity in their face, would prefer to withdraw; give everyone who can the opportunity to flee to private education.

Foreign policy is the same; on the one side, President Bush wishes to attack every problem with an Insta-Solution: democracy. Iran, Russia, North Korea, Iraq, Palestine--all of these problems could theoretically be solved by sweeping aside their leadership, and instituting 'democracy.' This ignores their complex histories, the billions of individual forces which are the swirling and pushing in every different directions. Others, currently led by Ron Paul, have a different approach: withdrawing from the foreign policy sphere. While a movement toward disengagement might be appropriate at the moment, isolationism is not how America can use its considerable position in the world to make it better--for itself as well as for everyone else.

What American politicians lack is the care, attention, and complex conversation with the rest of the world which leads to smart foreign policy. When we discuss foreign policy, we don't reduce the problem; we reduce our approach to it. We approach it in reductive terms; that is to say, reductionist. And reductionist thinking is absolute thinking because what reductionism and absolutism share is an inability to deal with complexity. Complexity is caused by different forces in different directions. Iraq is not just Sunni versus Shiite.

If we attempt to solve the problems facing our culture by reducing complexity into simplicity, and attempting to solve those 'simple' problems with absolute principles, we will fail. If we lump problems together into massive, fear-inducing entities (the War on Terror; the War on Poverty; the War on Drugs), then we will fail. But if we, as a community, break apart these problems into small, workable chunks, then each of us can play a part in solving these problems. We can only solve these many particles of problems if we're in conversation about these problems, but it will no longer be like climbing Darwin's Mount improbable.