On Worshipping the Baal of godless Science

Hammer Time

:P

Better known than the versions of the Relief Theory of Shaftesbury, Spencer, and Dewey is that of Sigmund Freud. In his Jokes and Their Relation to the Unconscious (1974 [1905]), Freud analyzes three laughter situations: der Witz (often translated “jokes” or “joking”), “the comic,” and “humor.” In all three, laughter releases nervous energy that was summoned for a psychological task, but then became superfluous as that task was abandoned. In der Witz, that superfluous energy is energy used to repress feelings; in the comic it is energy used to think, and in humor it is the energy of feeling emotions. (In this article, we are not using humor in Freud's narrow sense, but in the general sense that includes joking, wit, the comic, etc.)

Der Witz includes telling prepared fictional jokes, making spontaneous witty comments, and repartee. In der Witz, Freud says, the psychic energy released is the energy that would have repressed the emotions that are being expressed as the person laughs. (Most summaries of Freud's theory mistakenly describe laughter as a release of repressed emotions themselves.) According to Freud, the emotions which are most repressed are sexual desire and hostility, and so most jokes and witty remarks are about sex, hostility, or both. In telling a sexual joke or listening to one, we bypass our internal censor and give vent to our libido. In telling or listening to a joke that puts down an individual or group we dislike, similarly, we let out the hostility we usually repress. In both cases, the psychic energy normally used to do the repressing becomes superfluous, and is released in laughter.

Freud's second laughter situation, “the comic,” involves a similar release of energy that is summoned but is then found unnecessary. Here it is the energy normally devoted to thinking. An example is laughter at the clumsy actions of a clown. As we watch the clown stumble through actions that we would perform smoothly and efficiently, there is a saving of the energy that we would normally expend to understand the clown's movements. Here Freud appeals to a theory of “mimetic representation” in which we expend a large packet of energy to understand something large and a small packet of energy to understand something small. Our mental representation of the clown's clumsy movements, Freud says, calls for more energy than the energy we would expend to mentally represent our own smooth, efficient movements in performing the same task. Our laughter at the clown is our venting of that surplus energy.

These two possibilities in my imagination amount to a comparison between the observed movement and my own. If the other person's movement is exaggerated and inexpedient, my increased expenditure in order to understand it is inhibited in statu nascendi, as it were in the act of being mobilized; it is declared superfluous and is free for use elsewhere or perhaps for discharge by laughter. (Freud 1974 [1905], 254)

Freud analyzes the third laughter situation, which he calls “humor,” much as Spencer analyzed laughter in general. Humor occurs “if there is a situation in which, according to our usual habits, we should be tempted to release a distressing affect and if motives then operate upon us which suppress that affect in statu nascendi [in the process of being born]… . The pleasure of humor … comes about … at the cost of a release of affect that does not occur: it arise from an economy in the expenditure of affect” (293). His example is a story told by Mark Twain in which his brother was building a road when a charge of dynamite went off prematurely, blowing him high into the sky. When the poor man came down far from the work site, he was docked half a day's pay for being “absent from his place of employment.” Freud's explanation of our laughter at this story is like the explanation above at Graham's poem about the cheapskate nephew. In laughing at this story, he says, we are releasing the psychic energy that we had summoned to feel pity for Twain's brother, but that became superfluous when we heard the fantastic last part. “As a result of this understanding, the expenditure on the pity, which was already prepared, becomes unutilizable and we laugh it off” (295).

Having sketched several versions of the Relief Theory, we can note that today almost no scholar in philosophy or psychology explains laughter or humor as a process of releasing pent-up nervous energy. There is, of course, a connection between laughter and the expenditure of energy. Hearty laughter involves many muscle groups and several areas of the nervous system. Laughing hard gives our lungs a workout, too, as we take in far more oxygen than usual. But few contemporary scholars defend the claims of Spencer and Freud that the energy expended in laughter is the energy of feeling emotions, the energy of repressing emotions, or the energy of thinking, which have built up and require venting.

Funny things and situations may evoke emotions, but many seem not to. Consider P. G. Wodehouse's line “If it's feasible, let's fease it.” Or the shortest poem in the English language, by Strickland Gillilan (1927), “Lines on the Antiquity of Microbes”:

Adam
Had'em.

These do not seem to vent emotions that had built up before we read them, and they do not seem to evoke emotions and then render them superfluous. So whatever energy is expended in laughing at them does not seem to be superfluous energy being vented. In fact, the whole hydraulic model of the nervous system on which the Relief Theory is based seems outdated.

To that hydraulic model, Freud adds several questionable claims derived from his general psychoanalytic theory of the mind. He says that the creation of der Witz—jokes and witty comments—is an unconscious process of letting repressed thoughts and feelings into the conscious mind. This claim seems falsified by professional humorists who approach the creation of jokes and cartoons with conscious strategies. Freud's account of how psychic energy is vented in joke-telling is also questionable, especially his claim that packets of psychic energy are summoned to repress thoughts and feelings, but in statu nascendi (in the process of being born) are rendered superfluous. If Freud is right that the energy released in laughing at a joke is the energy normally used to repress hostile and sexual feelings, then it seems that those who laugh hardest at aggressive and sexual jokes should be people who usually repress such feelings. But studies about joke preferences by Hans Jurgen Eysenck (1972, xvi) have shown that the people who enjoy aggressive and sexual humor the most are not those who usually repress hostile and sexual feelings, but those who express them.

Freud's account of “the comic” faces still more problems, particularly his ideas about “mimetic representation.” The psychic energy saved, he says, is energy summoned for understanding something, such as the antics of a clown. We summon a large packet of energy to understand the clown's large movements, but as we are summoning it, we compare it with the small packet of energy required to understand our own smaller movements in doing the same thing. The difference between the two packets is surplus energy discharged in laughter. Freud's account of thinking here is idiosyncratic and has strange implications, such as that thinking about swimming the English Channel takes far more energy than thinking about licking a stamp. With all these difficulties, it is not surprising that philosophers and psychologists studying humor today do not appeal to Freud's theory to explain laughter or humor. More generally, the Relief Theory is seldom used as a general explanation of laughter or humor.

Pair IV

John Stezaker, "Pair IV" (2007)

Two movie stars in evening dress lean in for the kiss. The air is scented, the music quivers and mounts. But just as their lips are about to meet, the moment is blocked by a quite different view – of a river at the bottom of a deep dark gorge, flowing away towards a distant light.

A sepia postcard has been glued to a 50s film still: romantic landscape, romantic movie. That is the work; the method is simple. But the alignment is so skilful that one is able to hold two (and more) opposing perceptions at once: the lovers about to kiss, evident though their profiles are occluded; the prospect of passion welling up in the darkness; but also the exact opposite: two cliff-faces opposed, blocked, never to meet, with no release. Look into the image and it deepens; look, and you see through it to another side.

Pair IV is a collage by the English artist John Stezaker. Its impact clearly comes in part from a lucky strike, the persuasive coincidence of jaw and cliff, eyebrow and foliage, the light in the room and the light in the landscape. Stezaker has shuffled his numberless pack of images and hit upon a perfect match.

But idea precedes experiment, and for 30 years or more Stezaker has been pondering visual incongruity, inverting, rotating, slicing and splicing pairs of old images to create new works of art. His juxtapositions are anything but seamless – colour/black and white, male/female, portrait/landscape – precisely so that the eye is confronted by obvious disunities that the mind must somehow resolve.

Source

I Miss "Yes"...

Clio

I AM DYING , Egypt, dying,
Ebbs the crimson life-tide fast,
And the dark Plutonian shadows
Gather on the evening blast;
Let thine arms, O Queen, enfold me,
Hush thy sobs and bow thine ear;
Listen to the great heart-secrets,
Thou, and thou alone, must hear.

Though my scarr'd and veteran legions
Bear their eagles high no more,
And my wreck'd and scatter'd galleys
Strew dark Actium's fatal shore,
Though no glittering guards surround me,
Prompt to do their master's will,
I must perish like a Roman,
Die the great Triumvir still.

Let not Caesar's servile minions
Mock the lion thus laid low;
'Twas no foeman's arm that fell'd him,
'Twas his own that struck the blow;
His who, pillow'd on thy bosom,
Turn'd aside from glory's ray,
His who, drunk with thy caresses,
Madly threw a world away.

Should the base plebeian rabble
Dare assail my name at Rome,
Where my noble spouse, Octavia,
Weeps within her widow'd home,
Seek her; say the gods bear witness —
Altars, augurs, circling wings —
That her blood, with mine commingled,
Yet shall mount the throne of kings.

As for thee, star-eyed Egyptian,
Glorious sorceress of the Nile,
Light the path to Stygian horrors
With the splendors of thy smile.
Give the Caesar crowns and arches,
Let his brow the laurel twine;
I can scorn the Senate's triumphs,
Triumphing in love like thine.

I am dying, Egypt, dying;
Hark! the insulting foeman's cry.
They are coming! quick, my falchion,
Let me front them ere I die.
Ah! no more amid the battle
Shall my heart exulting swell;
Isis and Osiris guard thee!
Cleopatra, Rome, farewell!

-William Haines Lytle, "Antony to Cleopatra"

Efil ym fo flah

Evol ym dnuof ev’I?Half of my life?

The Shrimp Life

A shrimp who sought his lady shrimp
Could catch no glimpse
Not even a glimp.
At times, translucence
Is rather a nuisance.

Ogden Nash