Emoporn: Oh yeah.

Okay, so last night I’m lying in bed just before falling asleep and I can’t shut my brain off. I’m trying to figure out what I want to write about. There’s so much. Then I got to thinking: what if I come up with a catchy new word? I could then craft a post around that and it might be more relevant to people. 

Well, laying there nodding off the idea came into my head about how we appeal much more to feeling than to thinking when we have to come to a decision in life about anything, like buying a car, choosing what to wear on a cold late fall day, or what kind of person you might want to live with. 

Certainly feelings are much more accessible than thought, especially rational thought based on evidence. Of course feelings and thoughts live side by side in our brains all the time. Even dyed-in-the-wool scientists can get excited, elated or angry at some experiment or other they’re working on. Feeling and thinking are partners in our brains. Problem is when we lead with feeling all the time and leave thinking to linger in solitary confinement in the recesses of our frontal cortex. 

So, I come up with this word, emoporn, to describe the phenomenon of people leading with their feelings or emotions when making decisions even when it’s plain that reason and logic should prevail. This morning, smug in the thought that I’ve come up with a neologism, a new word that I can foist on to the world I power up my computer and open my browser, open Google and type in emoporn, my new word. Well, what was I thinking? Emoporn is all over the place. I have not come up with a new word.

Emoporn or emo porn is just another way of describing porn, regular ol’ porn. Damn. I thought I had myself a neologism. It’s true that the way porn goofs use the term is not the way I would use it, but I suppose I have to stand aside and let them have their damn word for themselves. I think my proposed use of the word is much more elegant and useful than describing how “Emo Porn Girls Love Naked Pussy Sex.”  

I’ll tell you, the Christians are up in arms about emoporn or emo porn. A new headline on the Christian Post reads: Women Seduced by Emo-Pornography: The New 800-Pound Gorilla in Marriages. Well, there ya go. Ya gotta watch those 800 pound gorillas between the sheets. On the same website (Christianpost.com) I find this: “Wives today are now being seduced by “emo-porn,” which is a new virtual infidelity type of pornography that is more emotionally satisfying than creating physical pleasures, according to Focus on the Family.” So, it seems that emoporn is mostly a bored housewife diversion. They see all the hunks on daytime TV. Their husbands just don’t measure up. Better just masturbate while watching readily accessible emo porn. There’s lots of choice for bored, frustrated Christian housewives. Just Google emoporn, you’ll see. 

Of course, I’m a little disappointed but I’ll get over it. I can always pretend I’m a bored, Christian housewife and check out my new emo porn discovery on the internet. At 71, that stuff doesn’t have much effect, but maybe if I get enough of it, I’ll be rejuvenated and reinvigorated…at least digitally and I can phantasize about being a bored housewife alone in my suburban home mastubating the hell out of myself and not even thinking of my husband coming home. Yeah, that’s the ticket. 

So much to write about: death, sex, stupidity, ignorance and all of the above together! Oh, and political economy too.

I have been fairly quiet on this blog lately. I got a cold brought to me by my grandson. I grudgingly have to say it was worth it because I saw my family in Vancouver, but I’m not a great fan of colds. I rarely get one, but when I do, it’s usually a doozy. They seem to trigger my immune disease too. Bacteria, viruses and whatnot are having a party in my arteries and veins. Sheesh. 

Anyway, I’m reading a few books at the moment, a couple on sexuality and one on universal myths around the birth of heroes in classical literature, including the bible. I’m a little slow reading right now. I tend to fall asleep after about 10 minutes, and reading in bed is a waste of time because I seem to forget most of what I’ve read by morning. Well, I do remember a lot, but not much detail. That’s fine. I can live with that. 

In any case, like I said, I have a list of topics I want to write about, but I’d sure like to hear from you about what topics you’d like me to address. If you’ve read any of my posts in the past you know that I’m all over the map. I’ve taught courses in introductory sociology, deviance, racism, love and sex, research methods, cultural and physical anthropology, Canadian history, Canadian Justice systems, study techniques, both basic and advanced. I’m an avid reader. I’ve done a lot of research in political economy, Marx, Veblen, Elias, Mills, psychoanalysis (Freud, Rank, Brown) , psychology, evolution, sexuality, nationalism, history, language, pain and mental ‘illness’, and classical studies including books on mythology, ideology, and heroism. Check out my archives. Anything you’d like me to explore further? 

I’ll tell you one thing. The post here that’s got the most hits by far is: Is Canada a Capitalist Country? Maybe I should comment on that issue a bit more. It’s one that is very difficult for people to figure out because it’s so difficult to break through the veil of ideology surrounding the relationship between nations (countries) and the capitalist modes of accumulation and production. Got any ideas?

Stop with the Categorical Thinking Already!

Robert Sapolsky is a Stanford University neuroscientist. In this video he introduces a course he taught (7 years ago at least) on human behavioural biology to a freshman class. As he explains in this video, students don’t need any prerequisites for this course. They don’t need a science background. 

Although the course is called Introduction to Human Behavioural Biology, it’s about avoiding categorical thinking in science but also generally in life. 

Sapolsky is one of the most talented and entertaining lecturers I’ve had the pleasure of listening to and watching. I would have loved to have taken his course. It’s well worth watching this video in its entirety (57 minutes). The second video in the series is  1 hour and 37 minutes long, but again well worth the time to watch and re-watch. Aside from these YouTube videos Sapolsky was featured in a 2008 National Geographic video called Stress (available on YouTube) which I used in my classes. It compares olive baboons in Africa with stressed out British bureaucrats in Whitehall, London, the seat of the British civil service. 

If you want, you could watch the YouTube video now and after watching it continue reading below to see why I suggest you watch it. 

I’ve recently had to think about categorical thinking because of a comment made by a commentator to my blog who suggested, very innocently I’m sure, that it’s probable that older people get set in their ways. She wasn’t denigrating that outcome as she saw it suggesting that it’s likely natural (as I interpret her meaning). I had to think: is categorical thinking inevitable as we age and am I a ‘victim’ of categorical thinking? My answer to both questions is a categorical no! Categorical thinking is not inevitable and if there’s anything I have spent my whole career trying to avoid, it’s categorical thinking. 

At the moment I’m reading a (1999) book by Ellen Meiksins Wood called The Origin of Capitalism. Well, over the years I’ve read dozens of books on this topic from various perspectives within various disciplines. Every time I pick up a book, any book, I’m open to having my mind changed and my ideas modified. Otherwise, why read anything? In this case, Wood is presenting me with a viewpoint on the subject I haven’t seen before and I’m still wondering what to make of it. I keep shaking my head because her perspective is quite foreign to me. For one thing, she is focussed on the origins of capitalism. Capitalism is a word Marx never used. At best it refers to a political-economic system. When Marx discusses capital or the capitalist mode of production, he’s not referring to a system, but to a period in history. I have to re-read Wood to ensure that I understand her notions of capitalism and especially her contention that capitalism originated in English agrarian life. Equally strange is her use of the terms revolution and class. 

Reading Meiksins forces me to rethink categories. I will assess her perspective and incorporate it wholly or in part into my worldview or reject it based on the evidence. 

I just received another book in the mail today. It’s by R.D. Laing, one of favourite rogue psychiatrists. It was written in 1976, the year I entered grad school, and is entitled The Facts of Life.  After I’m done reading these books and watching more Robert Sapolsky on YouTube, something which always helps buoy my spirits, I’ll re-read Chaos: Making a New Science by James Gleick. Sapolsky is really high on this guy so I have to read it again in light of the video posted above. 

Please, enjoy Sapolsky. Find his other videos on YouTube. He’s a delight!

A Different Take on Anger, Forgiveness and Maturity

For some time now I’ve subscribed to Maria Popova’s website called Brain Pickings.   I get her weekly email newsletter. Her website provides a fresh view on many things including emotions. In this episode of her newsletter Popova focusses on the philosopher and poet David Whyte. 

It’s worth subscribing to her newsletter.You won’t be disappointed.

Click on her name above for her take on David Whyte and his refreshing view on anger, forgiveness and maturity. 

My Life as a Teacher: Part 4 Addendum 2: Live Television.

Jeez. As I posted my last few blog entries I kept remembering more and more incidents, situations and conditions about my life teaching. The whole thing was entirely unconventional. I’d need to write a book to include even a fraction of the goofy and bizarre things that happened along with the mundane.

When I taught sociology and studying skills on the Knowledge Network from 1897 to 1992, the conditions in the studio were as far removed from what went on in a classroom as can be in terms of physical environment. The studio was always super hot with huge lights needed to ensure good colour on the set. There were many people directly involved in the on-air production: 3 camera operators in the studio with me as well as the floor director, the overall director in the control room as well as a number of technicians overseeing the quality of the picture and other aspects of the production. Timing was extremely important. The floor director would count me down at the beginning of the hour but every segment of the program was timed to the second. At the end of the program the floor director would count me out.

Dan Moscrip was most often the director but others were also involved. My buddy Roger Loubert volunteered regularly to man the phones for the call-in section of the program. That was especially important because NIC was responsible for the production of the telecourses and no one came forward to pay for anyone to man the phones. Roger did a great job. Much appreciated. This was really live television on a shoestring.

After I did my thing in the studio, I would hop into my rental car and head into town with Roger sometimes. But I also did other things. I have lots of family in the Vancouver area but I had very little time to visit anyone. I did spend some time with my father-in-law who was in a long term care hospital conveniently located just steps away from the studios in Burnaby. Then I’d get back to the airport for my flight home and back to my ‘normal’ life.

NIC, at that time, was a distance education operation. I was considered a tutor and not an instructor. It was verboten to refer to ourselves as instructors and we didn’t have classes, we had study groups. Most of our students were spread all over the north island and we were in contact with them mostly by phone and by mail. When I started at NIC in 1983 I was put in charge of 18 courses as tutor in subjects ranging from Canadian History to French to studying skills, anthropology, geography and sociology. These were strangely fun times. It was really a lot of work keeping up with the content of so many courses so I could be in a position to answer student questions. A lot of the grading was handled by  tutors at Athabasca University in Alberta, where most of our packaged courses originated. I developed the studying skills courses myself on the basis of Tony Buzan’s program laid out in his book, Use Your Head. Tony later went on to head an international self improvement organization but his mother lived in White Rock and I had him on my program once. I’ll see if I can dig that up.

I think I’ll write at least one more post on my teaching experiences. There’s so much to tell. Stay tuned.

My Life as Teacher, Writer, and Artist: Part 4: Arting.

Alright, so I’ve written a little bit about teaching and writing in my last two blog posts. If I decided to, I could write a book about teaching and writing. In my last two posts I didn’t touch on my philosophy of teaching nor it’s sociological and economic dimensions. I just introduced you to my practice. In a later blog, I want to address my intellectual development in all of its many manifestations, permutations and stages. Now, in this fourth post in this series I come to art.

The act of creating  or making art, in my humble opinion, should be called arting. If I can teach and write, I should be able to art. I know, as a verb it doesn’t work in the English language. It should. I’ve been arting for a long time. It’s never been a way for me to make a living nor do I have much formal training in art, like I had in teaching and writing. Still, it’s been an important part of my life.

When I was a kid I’m sure I played with crayons. I may even have drawn stick people on the wall of the bedroom, but I can’t recall. What I vividly remember maybe at the ages of five or six is watching my older sisters, Thérèse in particular, drawing what I can only describe as fashion figures, always young women with elaborate hairdos, flowing gowns and elegant arms. Thérèse would not consider herself an artist now, but I thought she was amazing. Some of my other sisters probably did it too, but I don’t recall. If they read this, they could maybe jog my memory. A little later in my life I clearly remember my uncle Denis paint a kind of small cartoon character on the side of my brother-in-law’s car. It blew me away. How could anybody do such a wonderful thing? I’m sure these events had something to do with my compulsion to paint and draw later in my life, but I don’t recall actually making the connection at the time. I don’t think I ever said to myself: “Boy, I want to do that too!” It wasn’t like that. Then I went off to boarding school and art was not on the curriculum. Music and theatre were taught to some extent, but sports dominated extra-curricular activities.

When I left boarding school before completing grade twelve, it took me some time to adjust to life on the outside. After some time I took an informal painting course with a nun I had not previously known. (I was taught in elementary school by nuns but she wasn’t one of them.)  My sister Lucy and my uncle Denis were also involved. Lucy painted like a dream as did my uncle. I had already tried to paint. I bought some cheap oil paints, a rickety easel (which I still have), a couple of brushes, canvas boards and eventually some canvas and stretchers. I put together a few paintings, some quite large but none very good. Well, I was just starting out, but I was impatient. I wanted to paint a masterpiece. I bought some how-to-paint books (I still have those too). One by Robert Wood, a California landscape painter caught my fancy as well as a book of photographs he took that could be used to inspire paintings. I used that to paint a sunset and it turned out pretty well. (I’m not sure where that painting is now. Maybe long gone after a short stint in a dumpster) I was encouraged. I didn’t draw well at the time so I stayed away from painting figures. That came much later. This painting is based on a Ringo Starr album cover. I don’t know why I wanted to paint it but I did and I realized that I could have some control over my paints and brushes. Devil Woman

The kids were scared of this painting for a long time. They still may be for all I know. The grandkids probably are too. Who knows why.

I also painted this little boat. I still have this painting. It’s 16 X 20 and hangs in my studio in the corner. It’s a reminder of what I did in the far distant past. Yes, far distant past.

First Boat Painting

I think it’s okay for what it is and when I did it.

This covered bridge painting I did in 1971 while I studied with the nun I mentioned before (Damn, I wish I could remember her name!)

Covered Bridge 1971. 18X24 Oil painting

So, anyway, this is some of my earlier work. By 1974 I was doing more drawing but I was in university and that put a cramp in the time I could dedicate to my art. And besides, we got married in 1973 and that also took up some of my time…in an entirely good way, I might add.

It took me ten years to get back into arting after we had moved to the Comox Valley the year before. That’s when I read Betty Edwards’ book Drawing on the Right Side of the Brain. It inspired me to draw again, but this time in a more realistic style. I wanted to be able to draw what I saw when I wanted to. So, I started doing this kind of thing:

Then this:

These two last images of derelict boats (the pencil drawing and the acrylic painting) came from some photographs I took on River Road in Delta, BC, I can’t remember exactly when, but it would have been in the 1970s sometime. Over the years I did three more acrylic paintings incorporating two boats from the photographs I took in the 70s, the Elcay and the VR 280:

River Road Derelicts 36 X 40 inches. Acrylic.

I also did a pencil drawing of the same two boats in the mid 90:

That drawing and a course I took in printmaking at North Island College with John Hooley changed my direction to some extent. I was still interested in painting and drawing, but now I would add printmaking to my repertoire, a medium I very much enjoy. This drawing became the first intaglio print I did. I used a zinc plate that was etched in nitric acid to get the effect I wanted, which was this:

I really need to take a better photograph of this piece. I have an edition of 30 of these prints (I do believe) that are now for sale. I’ve already sold a couple. 

During my course with John Hooley I also learned how to do relief printing and silkscreening. I need to take a silkscreening course again because the techniques and materials have changes so much in the last 25 years. 

After moving to Cumberland in 2002 I had a large studio available to me:

That allowed me to set up a painting and leave it on the easel as long as I needed to instead of having to take everything down every time I finished a session because we needed the space for something else. I’m now working on some prints and have a printing set-up in my studio for relief printing.  I also have a large acrylic painting on the go…which I WILL finish soon because I want to finish up an oil painting I started 10 or 15 years ago at least.  Me in my studio ten years ago:

Five years ago I did this from a photograph one of my former students who was a new mom at the time allowed me to use. She has this drawing. I’ve always meant to do a painting based on this drawing. It’s still my intention, but I have stopped pressuring myself to do this kind of thing. It will happen if it happens. One thing is certain, I have no shortage of projects. My only limitations are my aging body and time. 

If you’re interested in seeing more of my work I have a selection of it on my other blog: http://rogeralbert.blogspot.ca. 

Over the past 25 years I’ve done a number of realistic pieces but I tend more to the impressionistic side of things and I even do what some people would consider pretty kooky works. I’ve copied the works of some of the masters including Vermeer and Schiele. I can’t say that I’ve been overly influenced by any one artist of the past. I just do what comes to mind.

I love to doodle and sometimes I’m astonished by what comes out:

I often carry a drawing notebook with me but don’t always use it. Sometimes I just sit and think about painting or drawing subjects. Art is never far from my thoughts. Neither is writing. They tend to compete for brain space. Carolyn knows all too well what this means for my lack of attention to other things I could very well be attending to in my environment, social and natural especially as they concern her. My brain is a busy place. If a subject attracts my attention in a particularly forceful way I’ll sit and draw it if it’s possible given time and place. Drawing people on the ferry and sitting at picnic tables in parks has been fruitful for me in terms of drawing subjects. I’m finding too that I’m increasingly drawn to ink rather than pencil for my doodles and mini sketches. My ink drawings tend to be less precious and more spontaneous. I like that. 

A group of printers and I associated with the Comox Valley Printmakers Association just last weekend had a pop-up exhibition and sale in Cumberland. We had some 500 people come through in my estimation. Some say more came through. Now I have to finish up some flooring upstairs in the house and some window and door trim. Art has to be set aside for a bit. That said, I never stop thinking about it. But, you know what? I have to clean up my damn studio. I may want to be on a studio tour sometime soon. 

That’s enough for now. I’ve already started to plan my next blog post. It will be a about my intellectual development. 

My Life as Teacher, Writer, and Artist: Part 3: Writing

I write…obviously. I think I write fairly well for a French-Canadian kid from the wrong side of the tracks. That wasn’t always the case.

Of course I learned how to write when I was quite young, in elementary school. I learned early to write in French and in English. I still write in French and in English, but at the moment I write predominantly in English. However, in this blog post I don’t concentrate on the mechanics of writing. I’m more concerned here with writing as a craft, or as some would say, as an art.

I must say that I was fortunate to attend some good schools where the staff were sincerely concerned about the students and their success. I attended a French Canadian Catholic school in Maillardville*, BC close to New Westminster from 1952 until 1959. All the teachers were nuns. In 1959 I and about 40 other boys from Maillardville travelled to Edmonton to attend the Collège St-Jean. That was an excellent school where a classical education could be had. I, not being particularly brilliant at the time, failed to appreciate the good fortune I had being at such a school. Boarding with hundreds of other boys never really appealed to me, but I did okay socially. I was an especially mediocre athlete in a school that loved athletics. I pretty much failed at sports although I always participated and I failed to excel at my academic work too going from the top of my class to the bottom of my class in grade 12. I was always too self-conscious to be good at anything. Instead of going ahead and just doing things like score goals in hockey, I always had one eye on the coach concerned with what he thought of me. I had the brains and some skill along with some desire, but I was completely bereft of self-confidence. A couple of concussions I got from playing hockey probably didn’t help much either.

At Collège St-Jean students were expected to write a lot in both French and English. I managed to learn some of the basics and for some reason I loved verb conjugations in French. I studied them even when I didn’t have to. We studied Latin too and I loved Latin conjugations as much as French ones. I have no idea why. I still have in my library a book entitled 5OO French Verbs. I’ll bet you don’t have one of those. I also have a couple of Latin grammar books. Every once in a while I’ll pull one off the shelf and flip through the pages just for old times sake. I even go so far as to test my verb conjugations against the tables at the ends of the books. Now, Google has all of that online. It’s hardly any fun at all anymore. English verb conjugations are hopelessly unfun.

So, even though I was pretty much an utter failure in most of my college activities, I had some fun with language and did well in my literature and composition courses. It’s when I entered Douglas College in New Westminster in 1971 that I had to really buckle down and learn some writing skills. I struggled. Composition was not easy for me. I had to work hard at it. It seemed to take forever for me to write a term paper. At least that’s the way I felt about it. Of course, my fellow students were having as much trouble as I was, by and large, coming from the working class, but not many of us were too keen on broadcasting the fact. I busted my butt at Douglas College and ended my time there with a strong grade point average as well as eight general credits for attending Collège St-Jean in Edmonton. Douglas College was obviously impressed with the quality of the education I got at St-Jean. Simon Fraser University (SFU) went one step further than Douglas College when I applied to study there in 1973. It recognized fifteen general credits for my frankly shoddy performance at Collège St-Jean. That was the equivalent of one semester’s work. Bonus! Happy days!

SFU was mostly great but being a natural contrarian I wouldn’t see it that way most of the time I was there. I got depressed. I got anxious. I got angry. I got scared. Same as many of my fellow students. At Douglas College I found that sociology was my favourite subject so I decided to enrol in the Sociology and Anthropology Department (S&A). That was a great choice on my part. I finally did something right. I loved it and did very well in terms of grades. I still had to work hard at writing, but that was something I was willing to accept as a likely prelude to the work I would have to put into writing at any job I was to get in the future. I wasn’t happy with it, but I was resigned to not being a good writer. Still got a BA though. Grades were good too. Good enough to get into grad school, no problem. Thankfully, it was in grad school that I finally learned how to write with some fluency and ease. It was about time. Writing my dissertation proved to be the impetus for me to completely change my attitude and practice towards writing. I could not have done it without some help from a couple of amazing professors I had. I live in perpetual gratitude to Noel Dyck for working with me as a member of my committee for pushing me hard to figure out the process of writing. He’d tear my essays apart. They’d be covered in comments: “Signpost that!” “Complete your thought!” I still love him for that. Richard Coe from the English Department was also instrumental in getting me to understand the dynamics of paragraph structure and the organization of narrative. I still have his great book Toward A Grammar of Passages.

Now, writing is enjoyable for me. I can sit down and compose a thousand word blog post in an hour or two. Of course, a big part of being able to do that is to have something to write about. I think I’ve proven that I do have something to write about given the 280 blog posts I’ve put together over the years. Add to the numerous blog posts I’ve written the scores of television scripts I wrote in the 80s and 90s, a number of research reports, magazine and newspaper articles and I have a fairly impressive body of written work.

Learning how to write well has not been easy. I write now with a fair bit of ease, but that ease was birthed in anxiety and self-doubt over many years, decades even. Finally, I can say that I’m quite pleased with myself for having survived the process. I don’t look to the coach anymore to see what he thinks of me.

 

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* The history of Maillardville is interesting. It was a community of French Canadians who, for the most part, came from western Québec, close to the Ontario border, around 1909. They were brought to BC from Québec as strike breakers in a long racially-charged dispute among forestry mill owners and their white workers against an increasingly strong Asian presence in organized labour.