Tag: World War I

Essay 76: Education and the Question of a “Scheme of Things”

The French classic The Thibaults (Les Thibault) from 1922 has a dialog about the presence or absence of “a scheme of things” behind everything. This Roger Martin du Gard (died 1958, Nobel 1937) classic gives us an insight into the relationship between education and this “scheme of things.”

First:

The Thibaults is a multi-volume roman-fleuve (saga novel) by Roger Martin du Gard, which follows the fortunes of two brothers, Antoine and Jacques Thibault, from their upbringing in a prosperous Catholic bourgeois family to the end of the First World War.

Antione, one of the Thibault brothers, has a conversation with a priest at the very end of the novel:

“I talked just now about a Universal Order and a Scheme of Things…actually we’ve as many reasons to question the existence of a Scheme of Things as to take it for granted. From his actual viewpoint, the human animal I am observes an immense tangle of conflicting forces. But do these forces obey a universal law outside themselves, distinct from them? Or do they, rather, obey—so to speak—internal laws, each atom being a law unto itself, that compels it to work out a ‘personal destiny’? I see these forces obeying laws which do not control them from outside but join up with them, but do nothing more than in some way stimulate them…And anyhow, what a jumble it is, the course of natural phenomena! I’d just as soon believe that causes spring from each other ad infinitum, each cause being the effect of another cause, and each effect the cause of other effects.

“Why should one want to assume at all costs a Scheme of Things?

“It’s only another bait form our logic-ridden minds. Why try to find a common ‘purpose’ in the movements of atoms endlessly clashing and glancing off each other? Personally, I’ve often told myself that everything happens just as if nothing led to anything, as if nothing had a meaning.”

Antione shook his head. “that blind appeal—to what? To that problematic Scheme of Things! To a deaf and dumb abstraction, that takes no heed of us.”

(Roger Martin du Gard, The Thibaults, Bantam Modern Classic, 1968, pages 768-770)

All bodies of knowledge like religion, philosophy, science posit a scheme of things which is perhaps subtle or occluded (“The Occluded Imam” or “mystery of the Holy Trinity”) or “the mind of God” (Steven Hawking’s way of getting at this) or “the Method of Absolute Doubt” leading to final certainty (Descartes).

String theory talks this way too.

In our own educational remediation effort, we are agnostic about any Scheme of Things and do not try to link books, lectures, courses to some pre-existing schema or “final layer underlying everything” at all.

Students create an evolving overview by “circum-spective” “walking around” or meta-intelligence and there is no ultimate “Eureka moment” where “everything is illuminated” (to use the title of the contemporary novel by that name.) We also do not deny the possibility of the existence of a Scheme of Things. Education thought of this way is an exploration and quest that does not end and there does not have to be a final “knowledge map“ or “truth atlas” other than home-made student “composite sketches” which are tentative and not final or “apodictic.”

Essay 54: Movies as an Off-Campus “Open University:” Antonioni’s La Notte (The Night, 1961)

Michelangelo Antonioni was an Italian film director, screenwriter, editor, painter, and short story author.  

Antonioni died on July 30, 2007 (aged 94) in Rome, the same day that another renowned film director, Ingmar Bergman, also died.

He is best known for his “trilogy on modernity and its discontents”—L’Avventura, La Notte, and L’Eclisse from the early sixties.

One “hidden pillar” of the world Antonioni depicts in his movies is that “you are what you read.” This gives the viewer a “meta-intelligent” (latent overview signal) handle on the world being depicted:

In La Notte of 1961, Antonioni starts with an image of the Pirelli Tower in Milano, the most famous skyscraper of its time in Italy. In contrast to the impressiveness of the building, the characters in his movies are trying to “navigate” boredom and the enveloping sense of ennui.

One of the characters in the movie is said to be reading the masterpiece by Herman Broch, The Slkeepwalkers:

The Sleepwalkers (original title Die Schlafwandler), is a 1930s novel in three parts, by the Austrian novelist and essayist Hermann Broch. 

Opening in 1888, the first part is built around a young Prussian army officer; the second in 1903 around a Luxembourger bookkeeper; and the third in 1918 around an Alsatian wine dealer.  Each is in a sense a sleepwalker, living between vanishing and emerging ethical systems just as the somnambulist exists in a state between sleeping and waking.  Together they present a panorama of German society and its progressive deterioration of values that culminated in defeat and collapse at the end of World War I.

Antonioni implies the characters he depicts are a new version of “sleepwalker.”

When the movie starts, the characters played by Marcello Mastroianni and Jeanne Moreau visit a friend in the hospital who mentions his new work on Adorno.  Adorno (1903-1969) was a German-Jewish theoretician who wants to understand how the world has gone off the rails leading to WWII and the death factories of the Nazis.  He argues that this is connected (paradoxically) to the relentless rationality of “The Enlightenment” and works in a “dialectical” way (i.e., something becomes its opposite).

In the movie, there’s a scene where the author played by Mastroianni is at a book talk concerning his new book.

In other words, the world Antonioni is depicting, a kind of “odyssey” of ennui made confusing by gleaming architecture such as the Pirelli Tower of Nervi (built from 1955-1958) shown in the opening shot of the movie.

The books mentioned in the movie confirm the director’s “you are what you read” motif.

The recent book: The Sleepwalkers: How Europe Went to War in 1914 by Christopher Clark is consistent with this sense of things.

Essay 47: Novels as a Kind of University Demonstrating Storms of Global Finance and Technification

Edith Wharton began writing The Age of Innocence in 1917 as a way of recalling and criticizing the world of her youth, which had not yet experienced the devastation of World War I (1914–18).  Beginning in July 1920, the novel was published in serial form in New York’s monthly Pictorial Review.

The centrality of finance and technical change can be seen. We are reminded of the very first line in The Magnifcent Ambersons of Booth Tarkington, which tells the reader that the basis of the magnificence of the Ambersons was established when they somehow benefited from the 1873 financial crisis which destroyed many others. (Whether the Ambersons were shrewd or lucky or wily is not clarified.)

The Age of Innocence is set in New York in the 1870s and the financial storm and “techno-storm” become vital:

The Panic of 1873:

In The Age of Innocence, the investment bank run by Julius Beaufort collapses, bringing shame upon him and his wife and throwing New York into a tizzy. Beaufort’s business failure is a fictionalized version of the Panic of 1873, industrial capitalism’s first worldwide depression. Then, the United States backed its currency with both silver and gold, but when Germany and several other countries stopped using silver to back their currency, the price of silver fell precipitously, devaluing U.S. currency. The U.S. Treasury made matters worse by releasing large amounts of paper money into the economy. Speculators and bankers now had to immediately pay off their debts with gold.

In 1873, a prominent investment banker by the name of Jay Cooke went bankrupt, the effects rippled throughout the entire U.S. economy, and panic ensued. Trading was suspended for two weeks on the New York Stock Exchange as company after company failed, wages dropped precipitously, and unemployment spiked. The rise of the labor movement can be traced to the widespread unrest and economic instability set off by the panic. Additionally, the panic allowed a few of the wealthiest businessmen—such as Andrew Carnegie, John Rockefeller, and Cyrus McCormick, who retained access to valuable capital—to vastly increase their wealth and snuff out competitors.

Technological Advancements

Characters in The Age of Innocence are aware their world is about to be forever changed by the culture of outsiders, brought to them in part by advancements in technology. Although inventions like the telephone were on the horizon, they seemed improbably fantastic to people living in the early 1870s world of telegrams and horse-drawn carriages. However, in the final chapter, Wharton depicts Newland Archer living in a world that has been significantly altered by these technologies, a mere quarter century later.

In 1876, for example, American inventor Alexander Graham Bell (1847-1922) patented an early telephone and wowed audiences by demonstrating the world’s first telephone call by placing a call from one telegraph station to another five miles away.  The Western Union company refused to buy Bell’s telephone patent, claiming his invention would amount to no more than a novelty. However, the first telephone line was built in 1877-78, and after that, telephone usage skyrocketed.  At the start of the 1880s, there were almost 50,000 telephones in use, a number that swelled to over half a million by the turn of the century.

A similar large-scale change was the invention and development of electricity. Although the first electric light was developed in 1835, it was not until 1879 that American inventor Thomas Edison (1847-1931) developed and patented a light bulb with a life span of 15 hours. Edison’s work also focused on the problems of electrical generation and conductivity.

At the same time that communication was becoming easier and the day was lengthened artificially through electric lighting, the distance between continents was shortened by advances in turbine steam engines. 

In the 1860s, it took between eight and nine days to cross the Atlantic Ocean; by 1907, the Mauretania (the ship that Dallas and Newland Archer take to Europe in the last chapter) makes the voyage in half that time.  This was a contributing factor to the great influx of European immigrants who arrived in the United States during the late 19th and early 20th centuries.

In Chapter 29, Newland contemplates the “brotherhood of visionaries,” who predict a train tunnel under the Hudson River as well as “ships that would cross the Atlantic in five days … and other Arabian Night marvels.” In 1904, excavation for train tunnels under the Hudson began, directed by Alexander Cassatt, president of the Pennsylvania Railroad. In 1910, New York’s Penn Station opened and began receiving traffic from electric trains that traveled through the tunnels.

Notice that the novel The Magnificent Ambersons is from 1918, Edith Wharton’s Age of Innocence from 1920. In each, the personal storms of private emotion are somewhat carried along and swept up into the storms coming from national and even global finance (1873 caused a tremendous crash in Germany and Austria called the “Grunderkrach” [founder’s crash]) as well as techno-waves that are very baffling to the people of the time.

Essay 40: Movies as a “Backdoor Into Financial History”

“Financial history” (the Professor Niall Ferguson PBS miniseries, The Ascent of Money, of recent years tries to “flag” this domain) can be exciting and eye-opening if the student fins the kind of “backdoor” into it that makes it all enchanting and not a tiresome slog through opaque textbooks.  Movies are a good way to “parachute” into fields, domains, areas of study:

The 1963 movie Mary Poppins is partly about bank runs and the “Tuppence” song in the movie communicates the centrality of London finance in the world of 1910, the setting of the movie:

“You see, Michael, you’ll be part of railways through Africa
Dams across the Nile, fleets of ocean Greyhounds
Majestic, self-amortizing canals
Plantations of ripening tea
All from tuppence, prudently fruitfully, frugally invested
In the, to be specific
In the Dawes, Tomes, Mousely, Grubbs
Fidelity fiduciary bank

Now Michael, when you deposit tuppence in a bank account
Soon you’ll see
That it blooms into credit of a generous amount
Semiannually
And you’ll achieve that sense of stature
As your influence expands
To the high financial strata
That established credit, now commands
You can purchase first and second trust deeds
Think of the foreclosures
Bonds! Chattels! Dividends! Shares
Bankruptcies! Debtor sales! Opportunities
All manner of private enterprise
Shipyards! The mercantile
Collieries! Tanneries
Incorporations! Amalgamations! Banks”

The current  U.S. Treasury Secretary Mnuchin was a foreclosure king of the Great Recession of 2008.  An American movie on “bank runs” is of course the classic It’s a Wonderful Life (with James Stewart as the local banker.)

The 1910 world of London finance show in the movie Mary Poppins can be now contextualized by realizing all of this crashed down in August 1914 which represents the beginning of post-WW 1 “deglobalization.”  Thus, finance and globalization issues haunt the present.

Walter Bagehot’s masterpiece of 1873, Lombard Street, is a kind of anticipation of this syndrome and Charles Kindleberger‘s (MIT) Manias, Panics and Crashes gives the sense of the underlying instability.

Kevin Phillips’s book Bad Money of 2008 outlines the dangers of “over financialization.”

The movie and the fun song can help a student find his or her way in to these areas and domains.

Essay 1: Unnoticed Dimensions of Knowledge

Let’s “get down to cases” right now:

  1. You learn decimals and fractions in school. You see that 1/2 can be written as 0.5 or 0.50 or with as many zeros as you like. That seems “clean.”

But 1/3 is equal to something more complex (i.e., 0.3 recurring or repeating, like 0.3333 and so on infinitely).  If you divide 1 by three you keep getting three.

Imagine you want to experiment a bit, and multiply the fraction 1/3 by three and the 0.3 recurring by three, thus not affecting things since you’re doing the same thing to both sides of the equation.

You get:  1 = 0.9 recurring or repeating.

You’re suddenly puzzled: How can 1 be obtained by adding “slices of 9 fractions” (i.e., 9/10 + 9/100 + 9/1000) to infinity. How do you get to the end? What end? 

It turns out that it’s not that simple to get a grip on all this.  A person who allowed themselves to become fascinated by this specific conundrum would enter a “beautiful ocean” of mathematics beginning with so elementary a phenomenon.

This shows you a deep connection between a part (e.g., the fraction and decimal 1/3 and 0.3 recurring) and the wider world or domain or universe of numbers.

How can it be that such a simple elementary “thing” becomes so intricate, deep and elusive?

  1. Let’s jump over to an entirely different kind of example. Think of Dinesen’s novel Out of Africa. Remember the movie with Meryl Streep and Robert Redford.

Suppose you turn the movie “inside out” and “upside down” and ask: is this movie about coffee and coffee bushes, coffee markets and coffee growing, in a colonial context?  The coffee plantation is near Nairobi (today’s Kenya) and involves plantation economics, colonial relations with Kikuyu peoples, German-British colonial tensions around World War I.

Suppose I take the “backstory” and make that the “frontstory”.

The story of “economic botany” (coffee growing is one case) and colonial tensions between and among Europeans as well as Europeans and Africans is the deeper and larger story while the “musical beds” of the Westerners is a colorful footnote.   

We have the perennial question of “parts and wholes” which is one theme of this book.       

  1. Why does science “orbit” some numbers such as π (pi) (i.e., 22/7)?

You learn in school that there’s a ratio called π (pi) which is 22/7. Think of π (pi) as some kind of essence of circularity. Remember πr2 and 2πr in grade school.

Why does it keep appearing in almost every equation of physics? Why would “circleness” “haunt” science and math? Probability and statistical theory are dependent on π (pi) as a variable. Why?

You could peruse:

A History of Pi is a 1970 non-fiction book by Petr Beckmann that presents a layman’s introduction to the concept of the mathematical constant π (pi). 

Why does science “orbit” some numbers such as π (pi)?

This is an example of this quest for connectedness.