education, Meta Intelligence

Movies as a Part of Remedial Education

It’s almost “un-American” to be honest about the nightmare side of life when you cannot “walk on the sunny side of the street” and operate under all those facile Americanisms about “I’ve got the world on a string…” in all the songs and movie lines.

Film noir is supposed to be an antidote to this “false sunniness” and there’s one classic example that exemplifies this undiscussable nightmare side of life, namely, Detour (1945), directed by Edgar Ulmer.

Edgar Georg Ulmer was a Jewish–Moravian, Austrian–American film director who mainly worked on Hollywood B movies and other low-budget productions, eventually earning the epithet “The King of PRC,” due to his extremely prolific output on the said Poverty Row studio.
Wikipedia

As a refugee/expat, he understood that life isn’t always “a bowl of cherries” and set out to show this in his films.

In this underrated Ulmer masterpiece, Tom Neal plays a musician, Al Roberts, who gets into a labyrinthian mess via bad luck and some mindless impulsiveness combined. Detour is a kind of “road movie” in hell. With life and the world a kind of hellish school, the protagonist Al Roberts captures the enforced money-madness in everything:

“Money. You know what that is, the stuff you never have enough of. Little green things with George Washington’s picture that men slave for, commit crimes for, die for. It’s the stuff that has caused more trouble in the world than anything else we ever invented, simply because there’s too little of it.”

To this nightmarishness, there’s to be added the irrationality of fate or destiny or karma or luck:

“That’s life. Whichever way you turn, Fate sticks out a foot to trip you.”
— Al Roberts, Detour

He adds:

“But one thing I don’t have to wonder about, I know. Someday a car will stop to pick me up that I never thumbed. Yes. Fate, or some mysterious force, can put the finger on you or me for no good reason at all.”

[as narrator] “Until then I had done things my way, but from then on something stepped in and shunted me off to a different destination than the one I’d picked for myself.”

Vera comments:

“Life’s like a ball game. You gotta take a swing at whatever comes along before you find it’s the ninth inning.”

Hitchhiking, say, is often hellish and not romantic and usually not a Jack Kerouac On the Road poetic or rhapsodic adventure at all, as Al Roberts explains:

“Ever done any hitchhiking? It’s not much fun, believe me. Oh yeah, I know all about how it’s an education, and how you get to meet a lot of people, and all that. But me, from now on I’ll take my education in college, or in PS-62, or I’ll send $1.98 in stamps for ten easy lessons.”

Nightclubs too are not always heavenly escapes:

[voiceover] “It wasn’t much of a club, really. You know the kind. A joint where you could have a sandwich and a few drinks and run interference for your girl on the dance floor.”
— Al Roberts, Detour

Women might not be the salvation you were told to expect in songs like “Some Enchanted Evening” from South Pacific.

“Vera was just as rotten in the morning as she’d been the night before.”
— Al Roberts, Detour

There’s a genre of American films called “lowlife stories” such as The Hustler with Paul Newman.

Ulmer’s Detour is not exactly a “lowlife movie” but rather an undiscussed dark side to life movie, nor is it “stylishly pessimistic” (like the French “poetical pessimism” movies) but rather a truth-telling exercise that shows stability and permanence and happiness as “living” on thin ice. American “cock-eyed optimism” isn’t always appropriate.

In that sense, Detour is a part of remedial education.

Education and the Triple Helix underneath It

We want to restate the basic instinct and intuitions of this education or re-education project.

To get at the “schema” it will help you if you digress for a second and absorb this writeup of Professor Richard Lewontin’s (Harvard biology) 2002 masterpiece, The Triple Helix: Gene, Organism and Environment.

The blurb from Harvard University Press tells us:

“One of our most brilliant evolutionary biologists, Richard Lewontin has also been a leading critic of those—scientists and non-scientists alike—who would misuse the science to which he has contributed so much. In The Triple Helix, Lewontin the scientist and Lewontin the critic come together to provide a concise, accessible account of what his work has taught him about biology and about its relevance to human affairs. In the process, he exposes some of the common and troubling misconceptions that misdirect and stall our understanding of biology and evolution.

The central message of this book is that we will never fully understand living things if we continue to think of genes, organisms, and environments as separate entities, each with its distinct role to play in the history and operation of organic processes. Here Lewontin shows that an organism is a unique consequence of both genes and environment, of both internal and external features. Rejecting the notion that genes determine the organism, which then adapts to the environment, he explains that organisms, influenced in their development by their circumstances, in turn create, modify, and choose the environment in which they live.

The Triple Helix is vintage Lewontin: brilliant, eloquent, passionate and deeply critical. But it is neither a manifesto for a radical new methodology nor a brief for a new theory. It is instead a primer on the complexity of biological processes, a reminder to all of us that living things are never as simple as they may seem.”

Borrow from Lewontin the idea of a “triple helix” and apply it to the ultimate wide-angle view of this process of understanding. The educational triple helix includes and always tries to coordinate:

The student and their life (i.e., every student is first of all a person who is playing the role of a student). Every person is born, lives, and dies.
The student and their field are related to the rest of the campus. (William James: all knowledge is relational.)
The student and the world. (Container ships from Kaohsiung, Taiwan are bringing Lenovo and Acer computers to Bakersfield, California in a world of techno-commerce, exchange rates, insurance, customs, contractual arrangements, etc. In other words, always with some sense of the global political economy.)

The student keeps the triple helix “running” in the back of the mind and tries to create a “notebook of composite sketches” of the world and its workings and oneself and this develops through a life as a kind of portable “homemade” university which stays alive and current and vibrant long after one has forgotten the mean value theorem and the names and sequence for the six wives of Henry VIII).

The reader should think of Emerson’s point from his Journals of Ralph Waldo Emerson: 1824–1832—“The things taught in schools and colleges are not an education, but the means to an education.”

Looking Around Is Educational

Julian Fellowes (the writer who gave us Downton Abbey) followed up with a 2018 movie called The Chaperone about a girl named Louise Brooks who became a global superstar, especially in Weimar (pre-Hitler) Germany:

Louise Brooks is a rebellious 15-year-old schoolgirl who dreams of fame and fortune in the early 1920s. She soon gets her chance when she travels to New York to study with a leading dance troupe for the summer—accompanied by a watchful chaperone.

Louise Brooks starts as a would-be dancer, “inducted” into an avant-garde dance school. This is the Denishawn School of Dancing and Related Arts (founded in 1915 by Ruth St. Denis and Ted Shawn in Los Angeles, California), which helped many perfect their dancing talents and became the first dance academy in the United States to produce a professional dance company.

Upon Louise’s “induction” into the school, one of the founders says to the girls, “Remember you are not in your body, your body is in you.”

The listener wonders: What could this possibly mean?

The answer is this: In one sense you have a body, but in another, you are your body. The first body is the “thing” you weigh on the bathroom scale. This is your interaction with gravity, as measured in conventions like pounds. On the other hand, you are also “somebody” (i.e., some body). To have and to be are entwined here. In philosophy, say in the writings of Gabriel Marcel during the fifties, the body you weigh is “corporeal” and the body you are is “existential.”

Very roughly, the first body is objectively weighed, the second subjectively sensed as your experience of yourself.

Physics and Dance (by Emily Coates and Sarah Demers), a recent book from Yale University Press, gives you the dancing body as a biomechanical problem. Dancing itself is the expression through biomechanics and movement based on physics, but apart from this, it’s also an art form.

The student will see that a moment in a movie—in this case The Chaperone—can open a door to a whole set of domains, realms and phenomena. Education at its best comes from learning how to go from such instantaneous accidents on the street or screen to a larger canvas.

Thus the declaration, “Remember you are not in your body, your body is in you” explains that biomechanics is an infrastructure, while the artistry of the dance is an art form (i.e., a kind of “communicative action,” to use a Habermas phrase).

Education and Spontaneous Learning

We give you examples of being receptive to the world around you and learning to see and hear as a form of education:

There is a show on PBS called Stories from the Stage. People come forward to a microphone on a stage and tell personal stories from their past, stories that they consider important, informative, educational (in the widest sense), and usable by the listener. One of the early “people at the mic” on stage is a teenage girl who says something, in a plaintive sorrowful voice, like: “I have been waiting far too long…to wait for someone…to see me.”

This perplexed girl is unwittingly raising the question of a deep human hunger: the hunger for “personhood.” At a young age, this primordial hunger expresses itself as somebody befriending me (i.e., the speaker needs a real friend) so that the befriended person comes into clearer focus to themselves, achieving personhood.

Very intelligent philosophers like Emmanuel Levinas of France have spent their entire lives trying to understand the connections between countenances (how a person “wears a face”), personhood, interactive life, etc.

In his book, The Face of the Other (the girl wants somebody to notice her and her face and like her and “smile upon her”) Levinas has a deep analysis of all these human yearnings and self-definitional journeys and quests:

“The Face of the Other” is an evocative phrase used by Emmanuel Levinas, an important twentieth-century philosopher.

“Other” (sometimes capitalized, sometimes not) usually translates the French word autrui, which means “the other person” or “someone else” (other than oneself). It is thus the personal other, the other person, whoever it is, that each of us encounters directly, or experiences the traces of, every day. Of course, we encounter a multiplicity of others, but Levinas more often uses the singular “other” to emphasize that we encounter others one at a time, face to face.
By “face,” Levinas means the human face (or in French, visage), but not thought of or experienced as a physical or aesthetic object. Rather, the first, usual, unreflective encounter with the face is the living presence of another person.

Thus, when we come “face to face” with another person, the experience is a social and ethical one (rather than intellectual, aesthetic, or merely physical). “Living presence,” for Levinas, would imply that the other person (as someone genuinely other than myself) is exposed to me—that is, is vulnerably present—and expresses him or herself simply by being there as an undeniable reality that I cannot reduce to images or ideas in my head.

This impossibility of capturing the other conceptually or otherwise reveals the other’s “infinity” (i.e., irreducibility to a finite [bounded] entity over which I can have power).

The other person is, of course, exposed and expressive in other ways than through the literal face (e.g., through speech, gesture, action, and bodily presence generally), but the face is the most exposed, most vulnerable, and most expressive aspect of the other’s presence.

Thus, a student could be channel surfing on TV, observe this young girl saying these things on Stories from the Stage, and expand one’s understanding of this entire set of hungers and self-identity efforts and go (say) from the moment of TV watching to reading Levinas.

This is a simple example from the current world of TV where a certain particular “cri de coeur” (French: “cry from the heart”) of a girl you don’t know at all could deepen and widen your understanding by following the thread to Levinas and other profound people. The girl’s plaint where she’s “waiting for someone to see me” becomes much deeper and can be understood on a larger canvas which is exactly what we want.

Many experiences from daily life, from walking around, from moments on TV, from tiny incidents, can be pathways to higher understanding and learning if you can see and hear “with the third eye and the third ear.” (Theodore Reik talks about “listening with the third ear.”)

Education is a kind of “applied awareness.”

Movies and Chemistry: Keeping the Enchantment of Education

Several movies give you an “enchanting” back door or window into chemistry so that you can “beat” the tediousness of regular education and come into the field and its topics via these movies:

I.

The Man in the White Suit is a 1951 British comedy classic with Alec Guinness as a genius research chemist. He fiddles with his flasks and polymer and textile chemistry experiments until he invents a fabric that shows no wear and tear “forever.” This would seem like a great boon to humanity in its clothing needs but the chemist (“Sidney Stratton”) finds that both labor and management reject his discovery violently as it threatens jobs and profits. Textile or fabric polymer chemistry is at the heart of the plot.

Cry Terror! is a taut 1958 crime thriller movie with James Mason and Rod Steiger. The plot involves the terrorist threat of exploding a domestic airliner with a hidden RDX cache (a TNT successor) unless the demanded payment is made.

RDX was used by both sides in World War II. The U.S. produced about 15,000 long tons per month during WWII and Germany about 7,000 long tons per month. RDX had the major advantages of possessing greater explosive force than TNT, used in World War I and requiring no additional raw materials for its manufacture.

Semtex is a general-purpose plastic explosive containing RDX and PETN. It is used in commercial blasting, demolition, and in certain military applications.

A Semtex bomb was used in the Pan Am Flight 103 (known also as the Lockerbie) bombing in 1988. A belt laden with 700 g (1.5 lb) of RDX explosives tucked under the dress of the assassin was used in the assassination of former Indian prime minister Rajiv Gandhi in 1991.

The 1993 Bombay bombings used RDX placed into several vehicles as bombs. RDX was the main component used for the 2006 Mumbai train bombings and the Jaipur bombings in 2008. It also is believed to be the explosive used in the 2010 Moscow Metro bombings.

Traces of RDX were found on pieces of wreckage from 1999 Russian apartment bombings and 2004 Russian aircraft bombings. Further reports on the bombs used in the 1999 apartment bombings indicated that while RDX was not a part of the main charge, each bomb contained plastic explosive used as a booster charge.

Ahmed Ressam, the al-Qaeda Millennium Bomber, used a small quantity of RDX as one of the components in the bomb that he prepared to detonate in Los Angeles International Airport on New Year’s Eve 1999-2000; the bomb could have produced a blast forty times greater than that of a devastating car bomb.

In July 2012, the Kenyan government arrested two Iranian nationals and charged them with illegal possession of 15 kilograms (33 pounds) of RDX. According to the Kenyan Police, the Iranians planned to use the RDX for “attacks on Israeli, U.S., UK and Saudi Arabian targets.”

RDX was used in the assassination of Lebanese Prime Minister Rafic Hariri on February 14, 2005.

In the 2019 Pulwama attack in India, 250 kg of high-grade RDX was used by Jaish-e-Mohammed. The attack resulted in the deaths of 44 Central Reserve Police Force personnel as well as the attacker.

Semtex was developed and manufactured in Czechoslovakia, originally under the name B 1 and then under the “Semtex” designation since 1964, labeled as SEMTEX 1A, since 1967 as SEMTEX H, and since 1987 as SEMTEX 10. Originally developed for Czechoslovak military use and export, Semtex eventually became popular with paramilitary groups and rebels or terrorists because prior to 2000 it was extremely difficult to detect, as in the case of Pan Am Flight 103.

The Russian apartment bombings were a series of explosions that hit four apartment blocks in the Russian cities of Buynaksk, Moscow and Volgodonsk in September 1999, killing more than 300, injuring more than 1,000, and spreading fear across the country. The bombings, together with the Invasion of Dagestan, triggered the Second Chechen War. The handling of the crisis by Vladimir Putin, who was prime minister at the time, boosted his popularity greatly and helped him attain the presidency within a few months.

The blasts hit Buynaksk on 4 September and in Moscow on 9 and 13 September. On 13 September, Russian Duma speaker Gennadiy Seleznyov made an announcement in the Duma about receiving a report that another bombing had just happened in the city of Volgodonsk. A bombing did indeed happen in Volgodonsk, but only three days later, on 16 September. Chechen militants were blamed for the bombings, but denied responsibility, along with Chechen president Aslan Maskhadov.

A suspicious device resembling those used in the bombings was found and defused in an apartment block in the Russian city of Ryazan on 22 September. On 23 September, Vladimir Putin praised the vigilance of the inhabitants of Ryazan and ordered the air bombing of Grozny, which marked the beginning of the Second Chechen War. Three FSB agents who had planted the devices at Ryazan were arrested by the local police, with the devices containing a sugar-like substance resembling RDX.

II.

The movie Khartoum (1966) has General Charles Gordon traveling to Sudan in 1884 to quell the “mad mullah” the Mahdi. (Osama bin Laden of his day).
At the train station where General Gordon starts his trip, there’s a railway ad sign that promotes the use of “Wright’s Coal Tar Soap.”

This gives us a sign of the rise of the modern chemical industry.

III.

Think of “Sherlock Holmes” in terms of all the movies and TV series or the original stories and books:

Holmes has to explain to Watson how he survived the assassination attempt on him by Moriarty, “the Napoleon of Crime” who threw him off the Reichenbach Falls. Holmes explains that he faked Moriarty out and clung to a bush or something and was (obviously) not killed.

Holmes tells Watson what he does when he returns to civilization and travels and studies for some three years:

“I then passed through Persia, looking in at Mecca, and paid a short but interesting visit to the Khalifa at Khartoum, the results of which I communicated to the Foreign Office. Returning to France, I spent some months in a research into the coal-tar derivatives, which I conducted in a laboratory at Montpellier, in the south of France.”

The context implies the year 1894.

There is clear evidence that Mr. Holmes was deeply involved in the research of coal-tar derivatives as early as 1889 when the events of the Copper Beeches matter were transpiring.

We are told that on an evening in 1889, Mr. Holmes was seated in 221B Baker Street at the deal table loaded with retorts and test tubes. He was settling down to one of those all-night chemical researches in which he frequently indulged.

The research work was interrupted by a message of distress from Violet Hunter. Watson found that there was a train the next morning, and Holmes tells Watson:

“That will do very nicely. Then perhaps I had better postpone my analysis of the acetones as we may need to be at our best in the morning.”

It is clear that Holmes was engaged in coal-tar research long before his visit to Montpellier in the south of France.

The quotation from the Copper Beeches story refers to acetones, not to coal-tar derivatives.

“In the fractional distillation of coal-tar, the distillate separates into five distinct groups or layers, depending upon the stage of the process and the amount of heat applied. Category-one of the five includes benzene, toluene, xylenes and cumenes.

Acetones [dimethelketone-CH₃COCH₃] may be derived from the oxidation of cumene. And cumene [isopropylbenzene-C₆H₅C(CH₃)₂] is derived by distillation from the coal-tar naphtha fractions.”

Cumenes are derived from coal-tar, and acetones are derived from cumenes. Thus, a study of the acetones is, necessarily, research into coal-tar derivatives.

The rise of chemical engineering and organic chemistry are at the heart of the Sherlock Holmes stories.

Thus we can “climb” into chemistry via these books and movies and keep a feeling of enchantment as a kind of educational “shoehorn.”

Songs as Another Kind of Parallel University

Meta Intelligence is a heterodox view of education where formal education (courses, diplomas, universities, fields) are incomplete and limited without adding informal education which is part of your life such as movies, songs, conversations and images (paintings, posters, etc). Your “lifeworld” (Edmund Husserl’s apt coinage) fuses all the kinds of education where the word education means thought-provoking and illuminating. Even personal experience counts such as illnesses or bad marriages! Only via this Meta Intelligence will you achieve a glimpsed “holism.” (Meta Intelligence is that meta-field outside fields, borders and boundaries.)

Take songs.

Think back to Jim Morrison’s classic tune, “Riders on the Storm” which begins:

“Riders on the storm
Riders on the storm
Into this house, we’re born
Into this world, we’re thrown
Like a dog without a bone
An actor out on loan
Riders on the storm”

This song (by the Doors), expresses in a simple way Heidegger’s notion of human existence as partly governed by “Geworfenheit” which derives from “werfen,” to throw. “Geworfenheit” means “thrownness.” Jim Morrison and his band the Doors are song–philosophers without (probably) being Heidegger’s acolytes. Max Weber, one of the fathers of modern sociology, uses the word “disenchantment” to describe the modern world, “Entzauberung” in German, where “zauber” means “magicality” and “ent” means “removal of,” and “ung” means “condition of being.” The magic here does not mean something like a card trick but rather sacred mysteries, perhaps like the feeling a medieval European felt on entering a cathedral.

Enchantment in the West survived in our notions of romantic love and was associated with the songs and outlook of the medieval troubadours. Such romantic enchantment which is fading from our culture in favor of sex is still celebrated in the classic Rogers and Hammerstein song, “Some Enchanted Evening” from the forties musical and fifties movie, South Pacific.

The song lyrics give you the philosophy of romantic love as the last stand of enchantment:

“Some enchanted evening, you may see a stranger,
You may see a stranger across a crowded room,
And somehow you know, you know even then,
That somehow you’ll see here again and again.
Some enchanted evening, someone may be laughing,
You may hear her laughing across a crowded room,
And night after night, as strange as it seems,
The sound of her laughter will sing in your dreams.

“Who can explain it, who can tell you why?
Fools give you reasons, wise men never try.

“Some enchanted evening, when you find your true love,
When you hear her call you across a crowded room,
Then fly to her side and make her your own,
Or all through your life you may dream all alone.

“Once you have found her, never let her go,
Once you have found her, never let her go.”

Notice that “chant” is a component of enchantment.

One could say that conventional enchantment has been transferred to the world of science and mathematics where a deep beauty is intuited. Professor Frank Wilczek of MIT (Nobel Prize) wrote several books on this intersection of science and the quest for beauty whereas Sabine Hossenfelder of Germany has argued, per contra, that this will be a “bum steer.”

You should sense that like movies, songs give you a “side window” or back door into thinking and knowledge, which should be center stage and not depreciated.

Education and Word and Number Hidden Vagueness

These mini-essays help students of any age to re-understand education in a deeper and more connected way.

They look for “circum-spective” intelligence. (Not in the sense of prudential or cautious but in the sense of “around-looking.”)

One of the things to begin to see is that explaining things in schools is misleading “ab initio” (i.e., from the beginning).

Let’s do an example:

In basic algebra, you’re asked: what happens to (x² – 1)/(x – 1) as x “goes to” (i.e., becomes) 1.

If you look at the numerator (thing on top), x² is also 1 (since 1 times 1 is 1) and (1 – 1) is zero. The denominator is also (1 – 1) and zero.

Thus you get 0 divided by 0.

You’re then told that’s a no-no and that’s because zeros and infinities lead to all kinds of arithmetic “bad behavior” or singularities.

You’re then supposed to see that x² – 1 can be re-written as (x – 1)(x + 1) and since “like cancels like,” you cancel the x – 1 is the numerator and denominator and “get rid” of it.

This leaves simply x + 1. So, as x goes to 1, x + 1 goes to 2 and you have a “legitimate” answer and have bypassed the impasse of 0 acting badly (i.e., zero divided by zero).

If you re-understand all this more slowly you’ll see that there are endless potential confusions:

For example: you cannot say that (x² – 1)/(x – 1) = x + 1 since looking at the two sides of the equal sign shows different expressions which are not equal.

They’re also not really equivalent.

You could say that coming up with x + 1 is a workaround or a “reduced form” or a “downstream rewrite” of (x² – 1)/(x – 1).

This reminds us of the endless confusions in high school science: if you combine hydrogen gas (H₂) with oxygen gas (O₂) you don’t get water (H₂O). Water is the result of a chemical reaction giving you a compound.

A mixture is not a compound. Chemistry is based on this distinction.

Math and science for that matter, are based on taking a formula or expression (like the one we saw above) and “de-cluttering” it or “shaking loose” a variant form which is not identical and not the same but functionally equivalent in a restricted way.

A lot of students who fail to follow high school or college science sense these and other “language and number” problems of hidden vagueness.
School courses punish students who “muse” to themselves about hidden vagueness. This behavior is pre-defined as “bad woolgathering” but we turn this upside down and claim it is potentially “good woolgathering” and might lead to enchantment which then underlies progress in getting past one’s fear of something like math or science or anything else.

One is surrounded by this layer of reality on all sides, what Wittgenstein calls “philosophy problems which are really language games.”

Think of daily life: you say to someone: “you can count one me.” You mean trust, rely on, depend on, where count on is a “set phrase.” (The origin of the phrase and how it became a set phrase is probably unknowable and lost in the mists of time.)

“You can count on me” does not mean you can stand on me and then count something…one, two, three.

In other words in all kinds of language (English, say, or math as a language) one is constantly “skating over” such logic-and-nuance-and-meaning issues.

The genius Kurt Gödel (Einstein’s walk around buddy at Princeton) saw this in a deep way and said that it’s deeply surprising that languages work at all (spoken, written or mathematical) since the bilateral sharing of these ambiguities would seem deadly to any clarity at all and communication itself would seem a rather unlikely outcome.

You could also say that drama giants of the twentieth century like Pinter, Ionesco and Beckett, intuit these difficulties which then underlie their plays.

All of this together gives you a more “composite” “circum-spective” view of what is really happening in knowledge acquisition.

Education and Pre-Understanding

To embark on an education in any field, physics, say, is enervating because the student (in high school) say, enters a strange ocean with “zillions” of names and laws, units of measurement (amps, ohms, coulombs, faradays, etc.) which are very intricate and confusing.

A student does start swimming in this ocean via school “coercion” (i.e., how one will be punished for “failing.”)

There’s a much deeper and useful and practical way to create a pathway into fields: looking for a pre-understanding of what the field is like by taking one particular question or “head-scratcher” and start to delve into it, welcoming any initial sense of not-being-sure, as part of the fun of it, the enchantment.

Consider this article from 2001 in Scientific American:

“Can somebody finally settle this question: Does water flowing down a drain spin in different directions depending on which hemisphere you’re in? And if so, why?” [Archived PDF]

If you start to worry about the water swirling down your kitchen sink or bathtub, you are inevitably faced with the puzzling discussions of something called Coriolis forces, named after the French scientist of this name:

“In physics, the Coriolis force is an inertial or fictitious force that acts on objects that are in motion within a frame of reference that rotates with respect to an inertial frame. In a reference frame with clockwise rotation, the force acts to the left of the motion of the object. In one with anticlockwise (or counterclockwise) rotation, the force acts to the right. Deflection of an object due to the Coriolis force is called the Coriolis effect. Though recognized previously by others, the mathematical expression for the Coriolis force appeared in an 1835 paper by French scientist Gaspard-Gustave de Coriolis, in connection with the theory of water wheels. Early in the 20^th century, the term Coriolis force began to be used in connection with meteorology.”

The Coriolis force is called a pseudo-force or fictitious force which is already quite puzzling. It seems to push an ant walking across a 78 RPM record in motion on the turntable in unexpected ways and affects the swirling motions of storm phenomena (hurricanes, cyclones, etc.).

The student would immediately sense that at the heart of physics—using this Coriolis force as an indicator—there’s an unbelievable intricacy—but also the sense that these explanations (i.e., forces versus pseudo-forces) that are not entirely convincing and might well be overturned or re-done by someone with a deeper grasp of the problem, in the future. There’s an “ad hoc-ness” (i.e., the explanations and units and theories and proofs seem somehow “circular” or “tautological” in a way that eludes us, as we wait for a clearer theory).

A person walking across a moving merry-go-round or carousel and the complexity of the pushes and pulls experiences “shoves” that are unfamiliar and the water going down the drain in the bathtub awaits a better theory. There is a subfield called “turbulent flow” and that would need to be brought into it. Weather phenomena like tsunamis, cyclones, etc. are turbulences that are complex and our theories are both unbelievably intricate but perhaps subject to revision.

All of this might be an enchanting “gateway” into physics and would give the student a pre-understanding of physics’s “style of thinking and explaining.” In other words, to “parachute” into a field you need the parachute of some particular puzzling example which you use as a “private gateway” into the way people in that field think and act.

Just to go through the years of high school and college in an endless and mindless “slog” with the “failure gun” of coercion pointed at you, is a tremendously soul-destroying way to educate oneself. You have to “go underground” and find your own pre-understanding and its twin brother or clone, enchantment.

“Pre-Understanding” as a Pillar of Better Education

One pillar of our education enhancement effort is the concept of “pre-understanding” which argues that there usually is a step that has been skipped in education and that is the overview or guidance or “lay of the land” step that comes before courses become efficacious. To tackle a 900-page text-book seems soul-crushing in the absence of “pre-understanding” (i.e., where are we and why are we doing this) other than the coercive power of schools (grades, scholarships, recommendations, grad school admissions, etc.)?

A person senses (not incorrectly) that economics as a field of study seems tedious and solipsistic (i.e., “talking to itself” and not to the student).

Can we give students a “pre-understanding” that opens a backdoor or side window into the field, where such doors and windows were never seen or noticed?

A person is trying to decide what airline they should use in flying from Boston to Nepal.

Immediate concerns are of course price, flexibility of ticket, safety reputation of different airlines, schedules, weather forecasts, routes, etc.

A person might argue: Flight A stops in Tokyo and I can make use of that because my friend who lives in the area will put me up for a weekend, whereby we can do the town and sights, talk about old times, re-connect, etc. There’s also some other task or chore there I could do and so the Tokyo interruption is to my liking. There’s some risks associated with this (i.e., my fiancée who’s traveling with me might find it boring). I’m not sure (uncertainty).

Now suppose somebody tells you that such “decision theory” is at the heart of economics and involves four dimensions:

Whether you know it or not, you are optimizing some things (usefulness and pleasure of travel) and minimizing other things (time in the air, costs, safety risks, comfort, etc.).

You don’t realize that you’re making subtle decisional calculations where risks and uncertainties that cannot be quantified, are somehow being weighted and weighed and quantified by you, implicitly and the decision calculus is quite complicated.

Suppose you were now given to understand that economics is about economizing (i.e., budgeting your costs, benefits, risks and uncertainties, some of which are qualitative and subjective) but you find a way to assign some kind of numbers and weighting factors (i.e., importance to you) in your actual but more likely, intuitive calculations.

Goaded and prompted by this “pre-understanding” you might then pick up a standard guide to actual cost-benefit analysis (such as Mishan’s classic book) and go through this previously unseen “door” into the field without being crushed by the feeling that it’s all so tiresome in its appearance.

Similarly, if you take a math concept like the square root of minus one, think of it as an imaginary “unicorn” of the mind, then how is it that it appears constantly in all science and math such as Euler’s equation, Schrödinger’s equation, electrical engineering textbooks, etc.

How can something so elusive be so useful?

This “pre-understanding” quest or detour or episode could give you, the student, a deep nudge through a hidden window or door into “math world.”
Without this “trampoline of pre-understanding,” an “ocean of math intricacy” seems to loom before you.

Education: Disease, History and Lit

The Italian writer Giovanni Boccaccio lived through the plague as it ravaged the city of Florence in 1348. The experience inspired him to write The Decameron.

The Plague of 1665 in England was a major upheaval affecting Isaac Newton’s life.

The 1984 movie, A Passage to India (David Lean) set in 1920s India, has a scene where the ever-present lethal threat of cholera is discussed as Doctor Aziz lies sick of a fever.

The W. Somerset Maugham novel, The Painted Veil (2006 movie) is also about cholera in the Chinese countryside in the 1920s.

Manzoni’s 1827 The Betrothed, the most famous classic novel of Italian literature, centers on the plague to drive the story.

Overview:

Etymologically, the term “pest” derives from the Latin word “pestis” (pest, plague, curse). Hardly any disease had such cultural and historical relevance as the bubonic plague. Throughout the centuries, the plague was the most terrifying infectious contagious disease which generated a series of demographic crises. The plague epidemics influenced the evolution of society biologically and culturally speaking. The Black Death was one of the most devastating pandemics in human history, is estimated to have killed 30%–60% of Europe’s population, reducing the world’s population from an estimated 450 million to between 350 and 375 million in 1400. This has been seen as having created a series of religious, social and economic upheavals, which had profound effects on the course of European history. It took 150 years for Europe’s population to recover.

The plague returned at various times, killing more people, until it left Europe in the 19^th century. Modern epidemiology (Dr. John Snow, London) has its roots in cholera management and water sanitation as well as waste management.

Education involves seeing disease as a major protagonist in all history and not as a footnote.

The classic Plagues and Peoples should accordingly be studied by every student: Plagues and Peoples is a book on epidemiological history by William Hardy McNeill, published in 1976.

It was a critical and popular success, offering a radically new interpretation of the extraordinary impact of infectious disease on cultures and world history itself.