Workshop:

Reception in the Conservative press was, as we would expect, generally more positive while being more mixed than one might expect. Fox New’s Sean Hannity and Jon Stossel, along with critics from conservative journals, sang its praises , while others were a little more reserved in recognizing the bad production values while recommending it for the message. But a point needs to be made here, one I have neglected, in that not every conservative would necessarily advocate this series nor the ideological extremes that Rand goes to. William F. Buckley Jr., for instance, rejected the book itself on the grounds of its underlying objectivism. It would serve us here to make an important distinction made by Thom Hartman in that between your everyday conservative and the Neo-Con, what he referred to as a Con. As I have learned, throughout my intellectual development, conservatism can mean any number of things depending on conservative you’re talking to, and even if I disagree with it in general, it is far too complex to warrant the venom I have focused on this particular extreme.

In fact, recent research suggests a physiological foundation to the distinction. In a recent article on the radio show To the Best of our Knowledge, Kevin Dutton lays out several characteristics that define the psychopathic personality: ruthlessness, fearlessness, charm, manipulation ability, focus, and extreme coolness under pressure, as well as a lack of empathy, and a lack of conscience. And it wouldn’t take a major leap to connect these with Rand’s ideology and the values behind it. He then goes on to describe a survey he did in which he asked various people to take a test that would evaluate their level on the different characteristics and also asked what their profession was. What he found out was that the greatest concentration of psychopathic tendencies was among corporate CEOs. And this shouldn’t surprise us anymore than Rand’s clear awe of them. Furthermore, he did an experiment with a Special Forces friend who rated high on all the characteristics of psychopathy in which they both looked at macabre images of severed body parts and such while being hooked up brain diagnostic technology. And what he found was that while his brain responses increased in intensity, his friend’s decreased.

But a different picture emerges with the research of Michael Dodd and John Hibbing. In their experiment, both liberals and conservatives were exposed to a montage of images interspersed with scenes of violence and the grim. What they found was that conservatives tended to linger longer on the macabre images suggesting that their emotional response was stronger due to a predisposed aversion to perceived threats. In other words, there may well be a physiological and empirical distinction between the two that amounts to the difference between a reasoned approach to a not so perfect world and the psychopathy of Rand.

I read more later when I get the chance.

The following is a revision of the entrance paragraph. While I’m naturally drawn to the approach of a lot of suspended clauses (despite the fact that…) that lead up to a money shot, it just seemed a little gimmicky in this case:

I tried to give it a chance. I really did. But then I had tried to give it a chance with The Virtues of Selfishness, but got so nauseous by the third essay, I had to put it down. And nothing I further read or heard about Rand, including the movie biopic The Passion of Ayn Rand, gave me any reason to temper my disgust. And I had assumed my reaction to be common among the creative community. So it troubled me when I read that Atlas Shrugged was being made into a movie in an article that mistakenly gave the impression that Angelina Jolie was backing it. But then why not? God only knows what runs through that chick’s mind. Still, it seemed odd that Hollywood would even consider it. However, when I saw a clip of the movie, where Hank Reardon declares his utter indifference to the poor, I got the impression that it would be one of those moody independent science fiction films like the The Blue Rose Hotel and I concocted a theory that the movie was made not just as a tribute to the book, but a critique as well. So when I kept coming across it on Netflix, I should have known that it was just a matter of time before I would set aside my progressive and social democratic disposition, push the play button, and give the woman, her book, and her position their day in court in the remote hope that it would surprise me. It has happened. I had always been impressed when talent from the other side of the ideological spectrum managed to present their view in a way I found digestible and empathetic to the extent that I had to temper my own extremes and revise my mental concepts. For instance, the movie A River Runs Through It paid tribute to Christian values in a way that most non-Christians would find inoffensive and even admirable. And Robert Duvall did as much by putting old school values across in an inoffensive and dignified way in such movies as Rambling Rose and Secondhand Lions. And, hating on chairs aside, you have to admire Clint Eastwood’s classicist approach to movie making. Plus that, to go into it for the explicit purpose of heckling just seemed petty and below my intellectual integrity.

How I Faltered and the Plot Thickened:

Of course the question that haunted me throughout it all was if it was some kind of joke. Why did they go through with this? I wondered. Who would push such a project? They had to have seen just how badly the whole project was developing. Wouldn’t the stilted dialogue of the script have been a clue? Were the Koch brothers behind it? It just seemed a little self defeating to showcase Rand’s work and thought in such a blatantly hokey and ridiculous manner. In fact, it brought back to me the theory I had toyed with back when I saw the clip of the Reardon expressing his indifference to the poor: that what the producers were actually doing was offering up a combination of tribute and critique of the book. But that might have made a good movie. In this case, the only way they could have been serving this purpose was, in a backdoor kind of way, by presenting it in the most distasteful manner possible. But that would seem an incredible risk of money without marketing it and actually presenting it as satire. And, of course, there was the most obvious possibility of the project being pushed as propaganda by corporate interests or a right wing think tank.

Plus that, by Part Two, I had calmed down and found myself playing the game of “why would these actors involve themselves in this?” primarily because the cast from Part One had been completely replaced with what, as far I could tell, were more familiar faces. There was Richard T. Jones utilizing the same stoic loyalty as Dagny’s assistant that he did in Judging Amy and Paul McCrane utilizing the same obnoxious worm, as a government player, that he did in ER. And the inclusion of these two suggested that they had been chosen, like character actors, for their perfect fit based on these previous roles. The thing was that further research showed that, unlike An American Carol where all the actors had some association with the Republican Party, there was nothing to indicate that any of these had any particular ideological affinity to the story itself. Nor was there any indication that they were lacking for work and participated out of desperation. The only conclusion I could come to is they were just minor actors who took whatever work was available to them and stood little to lose by it. This especially seemed to be the case with Ray Wise, as Head of State Thompson, who, having gotten notice in David Lynch’s Twin Peaks, seems to show up everywhere, regardless of the quality, and keeps showing up due to his unique physical characteristics. One could almost expect such character actors such as Danny Trejo and William Forsyth to show up in the third installment. However, I can’t help but suspect that Esai Morales took the part to brush up on his Shakespearian chops, while Deidrich Bader took it to break from his more air headed roles and write complex mathematical formulas on glass, just like he saw Russell Crowe do on A Beautiful Mind.

Still, there was the question of what happened to the first cast. John Aglialoro, the primary driving force behind the series’ existence, implied that the cost of hiring the cast from Part One exceeded Part Two’s budget and added that Taylor Schilling, Dagny in Part One, had become a bona fide star. This, of course, was immediate cause for suspicion since I hadn’t heard of or seen much of her. However, as a little researched showed, she had since appeared in the movie The Lucky One and the Netflix Series, Orange is the New Black. But how did that make her anymore inaccessible or expensive than Esia Moralas, Ray Wise, or Diedrich Bader? And Aglialoro wouldn’t be the first executive to spin something. So there was still the possibility of what, in some deep, dark, and petty element of my psyche, would have given me pleasure: that the first cast, having seen what a flop they had participated in, jumped ship, or the less pleasurable one of the producers abandoning them in the hopes of getting it right the next time. Or it could have been a combination of both.

Unfortunately, the story of how the movie came to be offered less leeway for self indulgence and sanctimony. After I got past my own expectations, and an initial propensity to read them into my research, I found the truth to be a little less odious than I would have liked. First of all, it was a project that took 30 plus years to be realized, starting in 1972 when Albert S. Ruddy approached Rand with the idea, which she agreed to on the condition that it focus on the love story between Reardon and Taggart and that she had final script approval. However, Ruddy rejected the offer and the deal fell through. It was then proposed as a 4 hour mini-series, but fell through again due to a CEO change. Rand even attempted a screenplay, but misfortune followed the project when she died 1/3 of the way through it. After yet another setback, concerning the option to her script, Aglialoro, an investor, obtained the rights in 1992 only to suffer several more setbacks until the movie went into production in 2010 and was released in 2011. The hope was that Part One would finance the making of Part Two. But that, due to bad critical and box office reception, didn’t happen. However, Aglialoro and conspirators would not be discouraged and they somehow managed to scrape together an even bigger budget for Part 2 only to create an even bigger flop. And as would be expected, the criticism it received depended the individual’s ideological position. Most critics, being of a liberal or moderate lean, bludgeoned it with some caveats such as the look of the film and the casting choices in Part Two. But the most insightful criticism came from the A.V. Club:

"The irony of Part II’s mere existence is rich enough: The free market is a religion for Rand acolytes, and it emphatically rejected Part I.”

Reception in the Conservative press was, as we would expect, generally more positive while being more mixed than one might expect. Fox New’s Sean Hannity and Jon Stossel, along with critics from conservative journals, sang its praises , while others were a little more reserved in recognizing the bad production values while recommending it for the message. But a point needs to be made here, one I have neglected, in that not every conservative would necessarily advocate this series nor the ideological extremes that Rand goes to. William F. Buckley Jr., for instance, rejected the book itself on the grounds of its underlying objectivism. It would serve us here to make an important distinction made by Thom Hartman in that between your everyday conservative and the Neo-Con, what he referred to as a Con. As I have learned, throughout my intellectual process, conservatism can mean any number of things depending on which conservative you’re talking to, and even if I disagree with it in general, it is far too complex to warrant the venom I have focused on this particular extreme.

In fact, recent research suggests a physiological foundation to the distinction. In a recent article on the radio show To the Best of our Knowledge, Kevin Dutton lays out several characteristics that define the psychopathic personality: ruthlessness, fearlessness, charm, manipulation ability, focus, and extreme coolness under pressure, as well as a lack of empathy, and a lack of conscience. And it wouldn’t take a major leap to connect these with Rand’s ideology and the values behind it. He then goes on to describe a survey he did in which he asked various people to take a test that would evaluate their level on the different characteristics and also asked what their profession was. What he found out was that the greatest concentration of psychopathic tendencies was among corporate CEOs. And this shouldn’t surprise us anymore than Rand’s clear awe of them. Furthermore, he did an experiment with a Special Forces friend who rated high on all the characteristics of psychopathy in which they both looked at macabre images of severed body parts and such while being hooked up brain diagnostic technology. And what he found was that while his brain responses increased in intensity, his friend’s decreased.

But a different picture emerges with the research of Michael Dodd and John Hibbing. In their experiment, both liberals and conservatives were exposed to a montage of images interspersed with scenes of violence and the grim. What they found was that conservatives tended to linger longer on the macabre images suggesting that their emotional response was stronger due to a predisposed aversion to perceived threats. In other words, there may well be a physiological and empirical distinction between the two that amounts to the difference between a reasoned approach to a not so perfect world and the psychopathy of Rand.

That said, as it stands now, Part Three is slated to appear in the summer of 2014. And it will be interesting to see if it does. I mean given the struggles and dramatic turns this project has gone through, it’s become a kind of narrative in itself –one that, like a cheap B movie, you can’t help but follow through with to see how it turns out.

There will, of course, be the true believers that will try to pass these struggles off (much as Aglialoro tried to imply) as the result of a Hollywood leftist conspiracy. It was the critics that killed it; not the quality of the movie. And we have to attribute some credibility to this argument. Creative people, at least those in the arts, do tend to be a little more liberal. But this is because their chosen pursuit requires that they be a little sympathetic and sensitive to the complexity of a given character or personality type. And it has been a cornerstone of my creative process to recognize that, if I look deep enough into myself, there isn’t anyone I can’t at least empathize with, if not sympathize, no matter how despicable. And what exactly did they expect? No more than I could expect to get through to the true believers with this, how could they expect this series to get through to the very people they are, with an air of disgust, referring to as “Looters”? How well would that work if people on my side of the fence referred to rich people and the true believers as “Hoarders”? How much luck would I have trying to get corporate sponsorship with that?

In the end though, I had to eat a little crow in having to admit that it wasn’t pimped by corporations, or a right wing think tank, for the sake of propaganda. And the Koch brothers, as far as I know, were not involved. Eventually, I had to admit, as much as I didn’t want to, that it was a labor of love.

And I found myself making further consolations as I went back through both parts in a more lucid and calm state of mind. I found myself, having gotten past the initial sting, a little more sympathetic with Jack Hunter, from The American Conservative, who noted:

“If you ask the average film critic about the new movie adaptation of Ayn Rand’s Atlas Shrugged they will tell you it is a horrible movie. If you ask the average conservative or libertarian they will tell you it is a great movie. Objectively, it is a mediocre movie at best. Subjectively, it is one of the best mediocre movies you’ll ever see.”

I mean once I got past my predispositions and expectations, I found it to be not totally lacking in cinematic quality. And it did seem a little more sophisticated than most B movies in that, between Rand and those who behind the series, there was a clear awareness of just about every plot device that Hollywood had to offer –even if they came off as clichés. And Rand certainly seemed to know how to put a story together, which gives some credibility to the achievements she managed with other books such as The Fountainhead. So I can easily see how someone who was a little more sympathetic to the ideology, or even indifferent, might be able to enjoy it in the same mindless manner I might with some low budget film on ScyFy or Fear Net.

And while I have yet to well up as the train crosses the bridge, I also found myself with an inkling of sympathy for Hank Reardon. In the beginning of Part One, he gave his wife, Lillian Reardon a bracelet made of Reardon Steel, a rather appealing piece of work and admittedly thoughtful gift that reflected Hank’s commitment to his work and his high hopes for her future. However, Lillian, a gold digging looter who spends much of the story skulking about and plotting against her husband, takes it as a symbol of his egoism and scoffs at it, eventually trading it to Dagny for a pearl necklace. And we have to recognize the semiology at work in that achievement is given privilege over materialism, and in the suggestion that Dagny’s common understanding of this privilege is what underlies the chemistry between her and Reardon. Interestingly, though, it was Lillian that provided the one insightful line in the whole thing. In a confrontation between her and Hank, over the divorce he wanted but she wouldn’t consent to, she approached him, looked him straight in the eye, and said:

“I’m the one that knows you most. You’re an ordinary man who thinks he doesn’t owe anyone anything. But you do. You owe everyone.”

What was revealed, whether consciously or not on the part of those who produced this story (perhaps even Rand), is the natural force fallacy that haunted and compromised Reardon’s courtroom stand. What one needs to accept, that is in order to see his point as anything else than ludicrous, is the notion that it is perfectly natural for some to rise to the top even if it comes at the expense of others. And while we can agree with Reich that it is not the role of corporations to act as moral agents, we have to take pause when the question is asked:

“What do the rich owe us?”

The problem with this is the assumption that the achiever acts in a vacuum, which is easy to do when Capitalism does such a effective job of mimicking a natural force and can be treated like an expression of nature (like the weather or death). But it’s not. It’s a human construct and, by virtue of that, an agreement. And as with any agreement, when it fails to work for all parties involved (or too few of them), it becomes a disagreement that warrants renegotiation. Second of all, in the real world, Reardon would not have created his wealth by himself. He would have built it on the productivity of labor and the purchases of consumers. So while he is not obligated to recognize the “public good” as justification for his existence (even though it is at a deeper level given that the “public good” was why we agreed to Capitalism in the first place), he has every obligation to recognize it when it expresses itself through government policy –that is since his achievement was as dependent on that policy as anything. But then I’m speaking in terms of the real world where far less ludicrous forms of legislation are created and enforced. And doesn’t this interdependence between producer and consumer point to a major discrepancy between the real world and Rand’s. Throughout the story, we’re presented a scenario in which America is suffering from major economic distress, one that is unlikely to produce the consumer base necessary to support Reardon’s and Taggart’s activities. Where would the profits come from? It seems as if such a scenario existed in the real world, the only real struggle the main characters would have is avoiding bankruptcy.

And it gets more interesting, assuming this scene to be taken from the book, when we consider that Rand may have revealed an internal conflict that inadvertently gave the story a little depth. First of all, she clearly recognized that Capitalism was, in fact, not a natural force, but a human agreement that that was vulnerable to further choices made by future agents. Otherwise, what would be the point? Why would she even feel the need to write Atlas Shrugged in order to “warn us”? And this just goes to a general inconsistency at work in the argument that results in a back and forth between Capitalism as an agreement that must protected from the non-believers at all costs, and Capitalism as a natural force immune to all arguments against it -that is: dependent on which take happens to be convenient at the time. Furthermore, we get the feeling from this that Lillian is Rand’s worst nightmare due to a truth revealed that Rand could not completely overcome. You have to wonder if Lillian did not serve as her evil alter-ego: a composite of common characteristics (ambition, materialism, and general narcissism) and Rand’s own doubts about herself.

But, in all fairness, we should consider the time in which Rand wrote Atlas Shrugged which was published in 1957. At the time, the cold war was heating up and there were Marxist elements that still bought into the egalitarian dream of Communism. Nor was she the only one concerned about this aspect of it as was demonstrated in Kirk Vonnegut’s short story, published in 1961, Harrison Bergeron. Plus that, she, like Smith and Marx, had no way of foreseeing the actual consequences of her push for deregulation much as we did in the economic meltdown of 2007. However, this point fails to redeem those who started this series in 2010 and, in fact, strategically chose the release date of the first part for tax day and the second for the 2012 election thereby confirming the series’ status as little more than propaganda.

Furthermore, it’s not as if I’m completely unsympathetic with the ideology. I too recognize that “selfishness” is a term that tends to be bandied about by those who would selfishly insist that you focus on what it is they think you should be doing. Plus that, being a man of modest resources, I know what it’s like to be surrounded by people who either can’t do for themselves, or won’t, yet make demands that I’m expected to fulfill. Like Bill Maher, who expressed as much on Real Time, I too know what it’s like to feel like I’m the only one pulling the wagon while everyone else jumps in. But it’s always a little more complex than that. For one, there is the issue of those who can’t do for themselves. What do we do in that case? Help them? Or take the more fascistic route of letting them die off? And it’s not like those that won’t lack for incentive or motivation. I mean working still seems to be a much better option than the hand to mouth existence I’ve seen such people get by on -social programs or not. But the most odious aspect of this is that Rand’s version of Capitalism acts as if society shedding this burden would magically make it disappear. But what really happens, by not spreading the burden through social programs, is that the burden becomes more localized either through the crimes committed by the desperate, or the desperate that turn to those closest to them to survive. Take, for instance, the Tea Party justification for dismantling social security, the argument being that, in the old days, families took care of their elderly. Of course, the problem with this is that back then the elderly usually didn’t get so elderly because healthcare was less developed and effective (and life expectancy much lower) with the consolation of being less expensive. On top of that, a family could generally survive on one income, thereby leaving one parent, usually the mother, with the time to take care of the aged. And given that such a financial arrangement is no longer practical, I fail to see how such an approach could be conducive to “achievement”, which is supposedly the main issue here. And there is a big difference between deciding to balance one’s own needs with that of others and the plundering of taking what one wants regardless of who suffers, even if it is done through ambition and achievement. And let’s be clear on this: neither myself, nor anyone I can think of, want to strip the rich of all their assets and distribute BMWs in the ghettos. And had Rand, or the movie makers, taken such considerations into the balance, they might have achieved something more than propaganda. They might have created a decent story. But that, in a spectacular way, is not what happened.

Watching Atlas Shrugged: My Struggle (and Rise) as a Fascist Looter

How I Got My Start:

I tried to give it a chance. I really did. But then I had tried as much with Rand and The Virtue of Selfishness, but got so nauseous by the third essay, I had to put it down. And nothing I further read or heard about her compelled me to temper my disgust. Nor did the critical biopic, the Passion of Ayn Rand, in which she has an affair with an intern after telling her husband and the intern’s girlfriend what she was going to do (that is out of some sociopathic notion of enlightened truth) do much to redeem her. As a peer once said: she seemed like the kind of woman that would eat her babies. And I had assumed my sentiment to be common among the creative community. So imagine my surprise when I read that Atlas Shrugged was being made into a movie in an article that mistakenly gave the impression that Angelina Jolie was backing it. But then why not? God only knows what runs through that chick’s mind. Still, it seemed odd that the so-called Hollywood liberal elite would even consider it. But, when I saw a clip of the movie, where Hank Reardon declares his utter indifference to the poor, my curiosity took root. For one, I got the impression that it would be one of those moody independent films in the sci-fi genre like The Blue Rose Hotel. Plus that, I concocted a Trojan horse theory that the movie was made not just as a tribute to the book, but a subtle critique as well. So when I kept coming across it on Netflix, it was only a matter of time before I would set aside my progressive and social democratic leanings, push the play button, and give the woman, her book, and her position their day in court, and do so in the remote hope that it would surprise me. I mean it has happened. I had always been impressed when talent from the other side managed to present their view in a way I found digestible and empathetic enough to temper my own extremes and revise my mental concepts. For instance, the movie A River Runs Through It paid tribute to Christian values in a way that most non-Christians would find inoffensive and even admirable. And Robert Duvall did as much by putting old school values across in a dignified and non-sanctimonious way in such movies as Rambling Rose and Secondhand Lions. And, hating on chairs aside, you have to admire Clint Eastwood’s classicist approach to movie making. Plus that, to go into it for the explicit purpose of heckling just seemed petty and below my intellectual integrity.

Unfortunately, the hope of being surprised dissipated when the second rate (if not third rate) production values became obvious. Many critics compared it to a TV mini-series. But I would equate it with the cheap B movies that are sometimes made for the ScyFy channel or shown on Fear Net. The only difference was that those films were generally innocuous enough to serve as mindless entertainment –something you stick with while rolling your eyes just to see if it ends in the manner you predict. Atlas Shrugged, on the other hand, took the more mean-spirited and paranoid route of a novel written by a conspiracy theorist or holocaust denier. It was less the individual perspective that constitutes a work of art and more like war to anyone with a non-pathological sense of reality. In fact, I began to suspect that what I was watching was not the theatrical release, but some made for TV knockoff much like the miniseries of Steven King’s The Shining, that which stuck closer to the book at the expense of the production values and creativity of Kubrick’s version. Even when I recognized the clip where Reardon expresses his indifference to the poor, I still had to wonder if it wasn’t just another version of a key moment in the book. It just seemed odd that something like it would even be released in theaters and that some marketer would not have recognized that it might have made a better entry (it basically flopped with critics and the box office) in a medium better suited to it such as TV or straight to DVD? But I now realize the most likely reason for this was that ideological forces overrode business sense and the agents behind it thought they had something more than actually they did.

Still, I hung on, because between the cheesy production, the cheap special effects, the one dimensional portrayals, and the talky ideology-laden dialogue, you had no choice but to focus on the message that was more or less being shoved down your throat. And while this approach seemed heavy-handed in Kevin Smith’s Dogma, and while we can now sympathize with the offense that Catholics may have felt in the face of that film, it gets really heavy handed and unsympathetic when you’re facing the equivalent of a master expecting the sympathy of the slave. It was becoming less and less about aesthetics and more and more about ideology, and a challenge I couldn’t refuse.

But my resolve only continued to slip as a heavy handed contrast emerged between the protagonists and antagonists. In corner of this mythical confrontation was the protagonists, Hank Reardon and Dagny Taggart, the respective heads of Reardon Steel and Taggart Transcontinental (a railway company), and champions of a miracle alloy that is lighter while being stronger; and in the other corner, the antagonists, those petty and bumbling government bureaucrats and rich quasi-socialists suffering from liberal guilt, the “looters” who skulked about plotting against the Promethean efforts of the supposed heroes, Reardon and Taggart. And as impressed as I was supposed to be by their heroics, I only found myself breaking into shrieks of mock whining:

“Why is everyone picking on me? Am I not the driver of progress? The job creator?”

In Rand’s world, no one understands them. The only surprise was that the antagonists didn’t have Hitleresque toothbrush mustaches that they could stroke as they contemplated their schemes and future victories. They were just short of it -and actually made the connection later in the series. But I hung on anyway. Then…

In hindsight, I’m not really sure what it was that set me off. I had seen the same kind of plot device in other movies: one to several people struggle for something until they come to a moment when their persistence pays off and it all comes together. It’s a common and still effective motif in movies. But when Taggart and Reardon were riding alone on that train, to make their point about the safety of the Reardon steel used for the railways, and that triumphant music was playing in the back while the viewer was treated with a panorama of grand vistas, I felt it welling up. But when they came to that shiny “beautiful” bridge, the one that Reardon had promised he could build in 3 weeks, the meltdown occurred. That was it! I had to throw down. It could have been how hokey it all seemed. It could have been the forced attempt to equate the beauty of nature with the beauty of Capitalism. It could have even been, as many RandHeads would assert, jealousy. But that neglects the many times I have found the tactic effective in other movies where characters have done things beyond my capabilities -sometimes to the point of choking up or, if drunk enough, tears. Or it could have been my disgust at the sheer gall of those behind it thinking they could manipulate me into seeing the errors of my ways and prostrating myself before the two main characters and the glory of Capitalism. I could literally imagine a RandHead (a true believer) standing behind me and repeating triumphantly:

“You see it? Do you see it now?”

From that point to the end of part one, it was a self degrading frenzy of eye rolling and heckling my computer –when I’m not sure the poor thing deserved it. Meanwhile, the movie did everything it could to encourage my behavior. For instance, the explanation that Rearden provided, in heavy handed fashion, for the demise of the 20th Century Motor Company as he and Dagny were approaching it. Apparently, it was due to everyone getting pay raises based on need rather than merit. This was later reinforced by a loyal Taggart employee who explained to Dagny that new management had run it into the ground with new ideas about treating it like one big family. The question, though, is what factory, in reality that is, is this suppose to resemble? Granted, many companies will simplify things by granting raises through across the board percentages. But a percentage means that those who have been there longer will be making more. And, as far as I know, the way the more ambitious bypass that is by working their way up the ladder through promotion. But, once again: what profit seeking corporation would even consider such an approach? Of course, the preposterous nature of this slippery slope only foreshadowed the Kafka-like labyrinth of bumbling and petty bureaucrats and new policies that grew more preposterous as it went along.

But the bigger issue was Rand’s well-known propensity towards the heroic and mythological coupled with her clear disgust for her antagonists: the looters. Her admiration for and influence by Shakespeare made itself more and more apparent as I went along -which seems strange given Shakespeare’s clarity on the corruption of power. What resulted was a vacillation between a comic book dialogue and a classical propensity towards speechmaking. On one hand, there were lines of dialogue that sounded like something off of a Lichtenstein painting such as when James Taggart, an antagonist by virtue of his wanting to serve “the public good”, displayed his pettiness by advising his sister, Dagny:

“You can’t leave. It’s a violation of the directive.”

Or this line by Reardon (typical of the false dilemma this movie presents) as he walked away from an agent from the State Scientific Agency:

“One of these days” he scolded, “you’re going to have to decide which side you’re on.”

Even the repetition of the line “Who is John Galt?”, which threaded throughout the narrative, seemed to take on a comic book aura -not to mention that of some inside joke that might be passed about through a cult.

On the other hand, I got these Shakespearian dialogues that, for the too obvious purpose of effect, seemed to be delegated to the more heroic characters. Esai Morales, for instance, as Francisco d’Anconia, skulked about like some modern Iago, almost shaman-like, dispensing his wisdom in resonant soliloquies on the folly of fools who do not know what they do and the unrecognized wisdom of Laissez Faire Capitalism.

“When money seizes to be the tool of men by which men deal with other men, then men become the tools of other men.”

And this might have seemed a poignant point if it wasn’t for the fact that no one I know of is trying to get rid of money and that, as anyone who is not self-employed would know, even with money men are the tools of other men.

This Shakespearean element got even more vulgar with the heroics of Hank Reardon as he stood before court accused of violating the “Fair Share Act” that imposed a limit on how much one company can sell to another –another act committed by petty bumbling bureaucrats that eluded me as to what the purpose would be.

“I do not recognize this court,” he stated in bold defiance, then proceeded to indict more government policies that seemed too unlikely provoke sympathy or any desire to cheer him on. At one point, at the mention of “the public good”, he responded, yet again, with the same smug disregard he did earlier:

“I do not recognize the good of others as justification of my existence.”

And let’s be fair here. As Robert Reich convincingly points out in SuperCapitalism, we cannot expect corporations to act as moral agents. They exist solely to create profit for them and their shareholders. It is government that must serve as check and balance to corporate power. But then, it is government power, regardless of what function it serves, that Rand and the moviemakers wanted to undermine. At another point, he proceeded to frame the “public good” in terms of:

“….those who would regulate and define us in our businesses and homes by stealing our liberty.”

Of course, at this point the crowd broke into the cheers of the converted. Who wouldn’t? Who isn’t concerned about their personal liberty? The problem is that Reardon’s point is a little hard to assimilate with the fact that, in our world, the primary agent of social control (under the encouragement of the health insurance industry), through drug testing, smoking policies, and, increasingly, wellness programs, has pretty much been our employers. But then we’re not in that world are we? We’re in Rand’s world. Reardon then proceeded to describe the benefits provided by corporations, such as job creation and technological progress, while the crowd cheered and the court slammed their hammer and screamed:

“Silence! Or the court will be cleared!”

And as would be expected, the court, recognizing that they could not turn Reardon into a martyr, decided to sentence him to 10 years in prison then, in light of his achievements, suspended his sentence. This was then punctuated by the following scene in which Dagny played cheer squad and told Reardon that he has provided a voice to the people as if, at that point, Rand and those behind the movie were perfectly convinced they had done a thorough job of creating a consensus.

Of course, you can get away with a lot in a movie if the comedic effects work. But this depends on wit defining character which comes out of an artist’s profound love for their characters. Unfortunately, in Rand’s solipsistic world, where the protagonists serve as little more than mouth pieces for her ideas and the antagonists are objects of contempt, what results is a lot of lame humor. To give you a sense of it, think of the kind you see on church billboards, but addressed to the same kind of dogmatic certainty that Capitalism displays throughout this love letter. At one point, Dagny Taggart, faced with an employee who drones “Who is John Galt?”, responds:

“Don’t ask that question if you can’t answer it.”

And it is these kinds of references to the mock heroics and above-the-fray nature of the main characters that are suppose to seduce us throughout it all. At another point, when Taggart and a scientist played by Dietrich Bader plot to research a supposed super-battery that, as we are to understand it, only the private sphere is capable of producing, Bader points out, in a conspiratorial way shared between rebels, that he can use his state funded lab to study it and that Taggart shouldn’t worry since they have the best night watch there is: him. And we can assume the irony here to be the state’s failures allowing the private sphere to carry out its own heroic efforts. But the most telling comes when a CEO and political candidate snarls when his train is stopped:

“I swear, if this train doesn’t make my campaign stop in San Francisco, I’ll make it my personal priority to nationalize this railroad.”

This was answered with the drunken wit of a fellow traveler (with a British accent for good effect):

“History shows that it is the only way to make the trains run on time.”

Get it? Nazi Germany? Trains running on time? Unfortunately, for the movie, the real humor lies in what the movie makers wanted us to take seriously. At one point, CEOs are photographed walking, with expressions of serious intent, to a board meeting in (can you guess?) slow motion. The only thing missing was the hard beat and crunchy guitar from Kill Bill Volume One in the club scene with Lucy Lui’s crew. But the continuous joke throughout it all was the way the plotline built not through suspense, but rather through the escalation of the ludicrous. In Part 1, this climax of the absurd came at the very end when Ellis Wyatt, before leaving with Galt, left his newly discovered natural gas field in flames and a note that said:

“I’m leaving it as I found it.”

Apparently, he just wandered upon a burning field that no one else had noticed, put out the flames, and had himself a natural gas field. And doesn’t there seem to be an underlying whininess about this: the feel of a child throwing a fit? However, the makers of Part 2, in Peter Jackson style, managed to keep it building throughout the series by topping the above with the most preposterous moment yet: the introduction of Directive 10-289. In a scene that was clearly meant to chill us out of our Priuses and drive us to the NRA, the President made a televised announcement of new policies that would make no sense in a purely communist regime, much less a democratic one, and that is while everyone in the nation, rich and poor alike, watched with dropped jaws of shock and disgust. Among them were total bans on firing employees or employees quitting or changing their jobs, wage freezes, all companies surrendering their patents in the form of gift certificates, and a mandate on everyone to spend the same amount of money they had the year before. Of course, in a perfect world where the government wasn’t so far up corporate ass as to actually act in the behalf of people, this might be a legitimate slippery slope. But how would wage freezes and bans on quitting or changing a job serve that purpose? In fact, what purpose would it serve under any circumstance? Forcing people to give up their hard earned patents would be a disincentive to new discovery. Even a Social Democrat and looter like me knows that. And Capitalism, and the inflation it creates, already has the patent on forced consumption as anyone would know who has to maintain a car in order to get to work due to a lack of public transportation, or finds themselves in need of healthcare, or paying more for basic services such as TV which, by the way, use to be free, or generally wants to function in contemporary society.

The only thing missing from the whole scene was the low, eerie hum of a synthesizer and someone screaming:

“Oh my God! It’s a white Obama!”

From that pivotal point on, the denouement proceeded with a montage style breakdown that consisted of previous anti-corporation protesters, having been schooled in the principle of unintended consequences, turning anti-government and Dagny losing her scientific ally to Galt, chasing him down in a plane, wrecking, and, as fortune would have it, meeting John Galt for the first time.

However, I would argue that the real money shot, at least for those who were behind the movie, came with a transient sitting on a curve like Nietzsche’s madman while the chaos of protest went on around him, and writing on a piece of wood shaped like a gravestone. I mean they clearly could have ended the whole thing (in a lame attempt at the grim irony of Altman’s finale for the movie Nashville) with the moment the camera panned and revealed what it said:

Here lies my country:

Born: 1776

Died: Yesterday.

Rand appeals to the natural appeal of the radical while acting as if conformity to the powers that be is somehow radical by creating an imaginary left. It comes down to a major misinterpretation of Nietzsche. In their minds, he’s purely about the Will to Power. But even he pointed out that such a will can be satisfied through conformity. which is the worst way to go about it -purely antithetical to Nietzsche.

There are those among us, of course, who would welcome this Mad Maxian world: the devotees of the Neo-Nieztscheian gospel of the fearlessly fanciful. Little more than day dreamers, they sit in environmentally controlled rooms, their faces blazing in the dim glow of of their computer screens and their minds swimming with hardcore industrial music that they got from video games. They boldly type words like “integrity” and “courage”, and we can easily imagine their minds clenched like fists, trembling, and ready for action.

There is, of course, the Neo-Nietzscheian gospel of the fearlessly fanciful: those who would sit in environmentally controlled rooms, their faces blazing in the dim glow of computer screens and their hearts pounding to the music, music they got from video games like Mortal Kombat, boldly typing words like “courage” and “integrity”, while their thoughts clinch like fists, tremble, and declare themselves ready for action.

It’s a comment on what Putman referred to as Macho ethics. Or Raymond Tallis referred to as Darwinitis.

:techie-typing:

:techie-typing:

This is what I’m doing:

facebook.com/notes/philosop … 1582023023

Efficiency:

One of the cool things about reaching middle age, being single, and well past the point of thinking you’re going “make it”, is that it allows you to freely bounce around between the different disciplines that define your life and allows you the free play of experimentation that results in the hybrids that can only result from the overlap of those disciplines. Efficiency, perhaps, was one of the strangest ones in that it was the product of my pursuit of the a-vocational (philosophy, social criticism, etc.) while also being the product of my more vocational efforts (applied and maintenance technologies).
*
As typical as it seems, in market based societies, it’s never enough to talk about more and less. We cannot, for instance, rest on the old adage that workers want more compensation for less work, while their employers pose, against these demands, their own requirement for minimal investment at maximum return. It might seem common sense. But on closer investigation, we might see that the two positions are not so deeply entrenched. If they were, the workplace would hardly be worth any amount of compensation, a perpetual battle with management while struggling to stay afoot in the mass competition toward better paying and easier jobs. And from there, the evidence goes all over the place. How can one be so happy at 10 an hour and another so miserable at 20? The janitor whistles, easily, while mopping his floor. He seems entranced, content, as if in meditation. Another man, sleek and muscular from hauling furniture, makes enough to go to the bar, nightly, and wakes each morning to sweat it off. At quitting time, the cycle repeats. And no random piss tests, thank God. Vagrants, drifters, and welfare recipients continue to scrimp through their hand to mouth lives. Meanwhile, a white collar manager slumps over his computer, grumbles often, and when he can, steals a moment on Monster.com. He’s hardly afraid he’ll get caught and, sometimes, even hopes.

And then there’s us: the intellectually and creatively curious, strange creatures that, in our ass-backwardness, approach the hierarchy of needs from the top down. We neglect basic creature comforts while clinging, often self destructively, to the drug-like addiction of self actualization. And what are we working toward? That is when so many of our heroes, the successful and famous, live public lives of misery, and sometimes kill themselves? Clearly, we need to break it down to individual needs, demands, and desires. We need to penetrate the multiplicity and interrogate the interactions. Furthermore, we need to recognize that it is primarily about expectations and their satisfaction, and that satisfaction only seems binary and digital by virtue of a molar perspective on the issue. We need to consider the molecular multiplicity of efficiencies.

Efficiency, a mechanical term used for equipment such as pumps, boilers, HVACs, etc., concerns the actual output of a system as compared to its theoretical rating and is a product of the differential between what the designer’s mathematics tell them (what something should be able to do) and what actually occurs in practice. But at a more fundamental level, it can also be the differential between the energy or resources put in to a thing (the input) and energy or resource gotten out (the output). And it is in this sense that we use the term. Only, for our purposes, we will define it in the more abstract sense of that which seeks to maximize itself by minimizing the differential between input and output.

But before we go on, there is more we can learn from the boiler room. First of all, we need to understand that there can never be 100% efficiency. Along the way, there is always a loss (heat loss) that can never return to an active or potential form. As any plant-op knows, you can never expect a 100% return on condensate on any boiler system. And like perpetual motion, everywhere we look, we find it equally elusive. Secondly, we must remain mindful that energy can never be created or destroyed, only transformed, eventually ending in its always final form: heat. Therefore, any motion or energy must be taken from something else. The pump must be driven by electricity. The electricity must be created by the turbine that, in turn, derives its energy from steam. And steam is the product of heat (remember heat loss?) taken from coal, its BTUs, that sees its efficiency reduced to ash. And finally, it must be remembered that our boiler room is a complex and dynamic interaction of efficiencies, a coexistence in which any one efficiency making too large a demand can steal energy from other efficiencies, thereby minimizing them and causing a breakdown in the supra-efficiency of coexistence. Furthermore, sub-efficiencies can be supra-efficiencies to their own relevant sub-efficiencies while also being sub efficiency to their own supra efficiencies. The pump, an efficiency in itself, is the product of a lot of sub efficiencies (the windings, the armature, etc.). It, in turn, is a sub-efficiency to the supra-efficiency of the boiler room (the plant) that, in turn, serves the supra-efficiency of the building by either heating or cooling it, thereby maximizing the tenant’s sub-efficiency of being comfortable that, in turn, serves the supra-efficiency of how they function in the building.

And thus we leave the boiler room with new tools to analyze our initial questions. We now see why the janitor can whistle while he meditates on the movement of the mop: time passes quickly in thought, and he has managed to keep his life within his means. For him, it is not matter of more; it is a question of efficiency. Likewise, the furniture hauler maximizes the efficiencies of his desire to drink and smoke pot without interference from the efficiency of job security. Plus he likes the exercise. Even the vagrants, drifters, and welfare recipients make more sense. They’ve balanced their efficiencies by lowering their demands. Meanwhile, the white collar worker struggles daily with the minimized efficiencies of job security, a sense of meaning, and family life due to long hours at the office that do nothing to increase financial efficiency in his salaried position -that is while the demands and expectations that have built up in his personal life (his and those around him) strain those financial resources. We further see the minimization of the supra-efficiency of co-existence that can occur when either the workers or employers make higher demands, and maximize their efficiency by compromising others. If the employer demands higher profit, that efficiency can only be maximized, that is since energy and resources cannot be created out of nothing, by stealing from the efficiencies of the employees and their sub-efficiencies. And should the worker demand more, this can only take from the supra-efficiency of the company that will, in turn, compromise the economy by raising prices thereby lowering the supra-efficiency of the economy as a whole .

Consequently, we now see that the Occupy Wall Street movement may not be a demand for more, but a demand for efficiency. It’s not about hating the rich. It’s about hating wealth at the expense of everyone else: the maximization of the large scale efficiencies of the few at the expense of others, and the minimization of their efficiencies. We can also see, finally, how our desire for self actualization can interact with other sub-efficiencies, and how the minimization of those others can lead one to misery, or even suicide. The applications seem infinite, and may well go beyond the issue of economics. The coexistence between the environment and civilization immediately comes to mind. But given our present focus, we might consider the possibility of a new ethical theory that says (complimenting the utilitarian) that those acts are good that maximize the supra-efficiency of coexistence. We might consider our happiest moments and ask: was it matter of having more? Or was it, rather, a matter of having all needs, demands, and desires, ours and those of others, come together in a state of harmonious co-existence: the coexistence of efficiencies?
*
The individual is an efficiency. Or it would be better to say that the individual is a supra-efficiency to the various sub-efficiencies that constitute it. These sub-efficiencies, in turn, take expression through needs, demands and desires, all which can be grouped together under the general category of expectations.

But before we go on, it would serve us to clarify needs, demands, and desires as attributed to Lacan. And the best way to do this is to describe how they develop in the child and carry on into adulthood. The child starts with needs (food, shelter, water, healthcare, etc.) to which the motherer attends. However, as the child grows more cognitive, it begins to develop more sophisticated expectations that it may think of as needs, but is rather an endless series of demands. And while the demands themselves can be obtained, what cannot be satisfied is the true motive behind the series itself (often a need for attention). Therefore, no matter how many of the demands are obtained, the series will never end because it is never about the thing being demanded. Eventually, due to the frustration of the motherer, who pulls away their attentiveness to those demands, and that of the child as they see less and less of their demands being met, the hope is that the child will eventually turn to what it desires or that which can be obtained but requires an active effort of figuring out what it is. This could be any number of things like self respect, meaning, achievement, or self actualization.

And we can see how these expectations can follow us into adulthood. No matter how old we get, we’ll always need food, water, shelter, and healthcare. And as much as we would like to think we outgrow our demands, they tend to plague us throughout all of our lives. For instance, what is a love relationship (and the underlying source of its volatility) but a long series of demands that two people tend to make on each other. Like the child, we find ourselves demanding the full attention of the other. And the sick (the body being a supra efficiency with its own sub efficiencies) will always demand to be better. The body demands it.

Finding our desire is what defines our maturity. We, the intellectually and creatively curious, define ourselves by what we come to know and create. However, we have to be wary of assuming that because we have found what we desire, we have found some way of keeping our demands forever at bay. Too many great minds have lived otherwise miserable lives to make that assumption. And too often, our desire can draw to it or become the source of other external and demands. We demand to be left alone and given time to practice our craft while demanding to be adored and respected. And once adored and respected, we demand to stay so.

And once we see these aspects of our makeup as different degrees of expectation given different levels of import that determine what level of energy we’re willing to invest in them, we can then translate them into the currency of efficiency and get a better sense of how this multiplicity might interact and emerge into the composite effect of the individual’s well or ill being: the maximization (or minimization) of the always supra-efficiency of the coexistence of efficiencies.

We should first note that basic needs are pretty much low investment efficiencies that, if we focus purely on the need, are generally easy to maximize. We could, for instance, live in a shack and eat rice as many third world people and Zen monks do. However, man does not live by bread and water alone. Not all of us want to live like monks or third world citizens, and we get further from need and closer to demand as we go from a bowl of rice to prime rib. The prime rib may fulfill the need of sustenance, but the enjoyment of that sustenance ultimately constitutes a demand. Still, at most points in between a bowl of rice and a prime rib (say a hot dog), the need for sustenance is an efficiency that is reasonably easy (at least in western industrialized nations -with qualifications in America) to sustain at a maximum level.

Desire, or having reached one’s desire, presupposes a maximization of the always supra coexistence of efficiencies. Take, for instance, creative flow. In this state, the individual always has their individual expectations in a state of coordination in which those that are of less import are absorbing less energy while bulk of energy is being focused on what is most important thereby maximizing that particular efficiency by being able to meet the input resources required to achieve the desired effect. Take, for instance, Einstein’s wardrobe. If Cronenberg’s movie The Fly is accurate, had you of looked in Einstein’s closet, you would have found a rack of exactly the same uniforms. The reason for this is that Einstein did not want to waste any more energy than he had to on deciding which outfit to wear so that he could focus all of it on complex mathematical and physics concepts.

And it was for good reason that he set aside the demand of vanity. Demand, it seems, because it can never be truly satisfied, only obtained, is clearly the least efficient form of expectation. And in its more extreme forms it can act as an all consuming parasite sucking the energy from more efficient forms of expectation and thereby undermine (or minimize) the always supra efficiency of coexistence.

Still, let’s not commit to becoming Zen monks and completely discard demands and the value they contribute to the experience of our point A to point B. We can never be fully rid of them anyway. And those small pleasures (watching TV, having a beer and Jager while typing this and listening to my playlist, and name your desert) can add to the justification of a life. It’s a matter of degree and the extent to which they sap energy from other expectations and efficiencies. It is just important to keep in mind that demands are not needs and always dispensable. Of course, it would seem that desires are equally dispensable. However, more so than with demands, desires are what justify our existence. And as the intellectually and creatively curious know: such a life without justification would be worse than no life at all.
*
Of course, the individual, as supra efficiency of coexistence to their given sub efficiencies, is also a sub efficiency to their given social situation. They always have to interact with their family and social circles, their workplace, and their social and political environment. And these social structures, as well, must take their place in the folds (acting as both supra and sub efficiencies) that expand from social groups and workplaces to communities on to states and political structures up to the world and the earth it inhabits all of which must work under the always supra efficiency of the coexistence of efficiencies.

But at this point, several things need to be cleared up. For one, the always supra efficiency of coexistence is not some over-riding entity that hangs over it all at the top of the hierarchy. It is not a grand narrative. It is rather an ethical, pragmatic, and possibly metaphysical imperative that works at all levels from the sub systems of the individual to their social structures up to the world and possibly the universe itself.

Secondly, I have used the term energy in the engineer’s sense of “the ability to do work” as an all purpose designation to several things that can serve as inputs or outputs. On the input side, it can be effort and resources as well, while on output side it can be any type of positive effect whether purposely desired (such as monetary return) or left to chance (an unexpected move in a work of art) or somewhere in between.

And finally, the previous description has been pretty much vague and abstract. And there is purpose behind that. For one, there is no concrete entity we can think of as an efficiency. There only expressions of them. And in many cases, there is no way of actually measuring the inputs or outputs, much less the differential between them. Consequently, many of our judgments concerning the level of efficiency will be subjective in nature and generally a matter comparison between different degrees. Furthermore, we have to be careful about talking about the different levels of supra and sub efficiencies as if it were some kind of fixed hierarchy. For instance, to subordinate the individual to their various supra efficiencies could, in matters of social and political discourse, could lead to extreme conclusions that verge on the fascistic and authoritarian. That said, this is not science. Nor can it be expected to be a perfect fit to every possible situation. It is merely a model and tool that can be applied to reality to analyze the interactions of various systems and provide a different perspective along with a unique vocabulary to discuss what we find. And as abstract as it is, if we engage in a kind serious play with it, it can offer some very concrete understandings to very concrete situations and possibly solutions to the problems they present.
*
But as they say in Creative Writing: Show! Don’t tell! Therefore, I will offer a couple of examples that are more small scale then move on to the socio/political and economic where I think it has its most useful applications. I start with a personal experience which, because of reflection and hindsight, was the genesis of the concept:

In the mid 90’s, when the position openned, I gave up my maintenance job, and the higher financial and personal rewards that came with it, to work in a garage booth where I would have more time to read and write. And in that capacity, it served the purpose in that, artistically and intellectually, the 7 years I worked there were some of the most productive I’ve ever had. In other words, by setting aside or de-prioritizing other expectations and efficiencies, I had managed to maximize the efficiency of my desire to learn and create. The problem was, in order to meet the external demands and effciencies on my life, I had to, on top of working 1 1/2 hours of overtime in the booth, work 4 more at a part-time job. This meant 14 to 15 hr. workdays. On top of that, the internal demand or efficiency common to most men my age at the time (getting laid), I had also committed to a 1/2 hr. of working out every night after work. What resulted was me getting 4 or less hrs of sleep, thereby minimizing the efficiency of the basic need of health that was, in turn, influenced by need of sleep. In other words, by delegating most of my energy and resources to my desire to learn and create, I had maximized the efficiency by drawing energy from the efficiency of my health and need to sleep thereby minimizing those to the extent that they began to make demands that minimized the efficiency of my ability to wake up in the morning. This, in turn, drew energy from and minimized the efficiency of my standing at work.

On top of that, despite the long hrs I was working, the financial feedback was never enough to meet the demands being made on me by my financial obligations (or demands) brought into the mix through bills, 3 children of which I was the non-custodial father and the only one with resources, the cost of materials to further my intellectual and creative process, and the assumption of those around me that since I was working so many hrs that my resources were unlimited -an assumption that I had fallen prey to earlier in the process, then found it impossible to get clear to others the falsity of it after I had seen through it myself.

What resulted was a mixed package in which, on one hand, I was happy in that I was maximizing the effiency of my desire to learn and create while being equally miserable because of demands and efficiencies external to that desire that were more and more minimized to the point that they eventually turned on me. Towards the end, even desire to pursue my studies began evolve into an inefficient demand for success, when I found myself attached to an art gallery in which I had sold several art works. Because of this, I found the efficiency of my desire to create in the bounce around fashion I was accustom to minimized the demand for success that compelled to focus my last 3 years in the booth on art.

It was this coexistence of efficiencies that eventually led to my being fired from the job, which in turn led to a 5 year coexistence that focused on the efficiency of padding my resume. But even that got compromised as my desire to create and learn morphed into a demand to get back to my liberal and fine arts roots that sapped energy from, and minimized the efficiency of my pursuit of vocational knowledge. And here I am today.

And before I move on, I would also point out how my experience shines some light on the experience of many, if not all, creative people in that the dynamics of efficiency and needs, demands, and desires prohibit the possibility of a perpetual creative flow. The problem with the coexistence and coordination of efficiencies involved in those moments, regardless of how invulnerable they may make us feel, is that the system never occurs in a vacuum. Even though the experience can set aside and de-prioritize all other needs, demands, and desires, in order to focus energy on the prioritized efficiency; it can never eliminate their expectations. Sooner or later, after enough neglect, those expectations (both internal and external) will amplify to the point of becoming demands and sabotage the current coexistence. As I write this now, even though I have found a tentative flow or maximum efficiency of coexistence, I can feel the demands of my backlog of books creeping up on me. And it is that dynamic that led to Sylvia Plath’s suicide after writing Ariel.

A darker coexistence of efficiencies, at least from the outside, can be seen in the world of the chronic alcoholic or drug addict. First of all, let us admit that when it comes to alcohol or drugs, there is, in terms of pleasure, a minimal effort or input coupled with a maximum effect or output. And it is this maximized efficiency that draws the alcoholic or drug addict into addiction. However, as they focus more and more energy on this particular efficiency in their life, they begin to de-prioritize other efficiencies such as environment and appearance thereby achieving a maximized coexistence of efficiencies. And they achieve this maximization by drifting further and further away from the general symbolic order (another efficiency and expectation) and falling into the psychotic pitfall of the nihilistic perspective: that which, having no solid criteria by which to judge actions creates its own semiotic bubble of signs and values. And it would only be when the internal/external demands begin to show themselves, mainly that of securing more alcohol or drugs, that the coexistence of efficiencies would be disrupted.

Try this thought experiment. Ask yourself: if you took a drug addict, gave them shelter and food, and all the drugs they needed, would they ever sincerely recognize their addiction? I would argue no since that recognition would require a need, demand, or desire external to their addiction. In a sense, they would be in Tennyson’s Land of the Lotus Eaters. They would simply have no way of getting outside of the maximized efficiency of the coexistence of efficiencies in which they were immersed. There would not be any external efficiencies to disrupt it.

And while we’re on the subject, let’s apply our new model to the subject of why artists are so disposed to drug and alcohol addiction. Take, for instance, the writer. First of all, let’s agree that writing is a grueling and tedious venture. It is a process of enduring a lot of minimized efficiencies for the sake of a hopefully highly maximized supra efficiency. Plus that, the writer never has the advantage (the maximized efficiency) of seeing their finished work for the first time. Therefore, is it any wonder that they might mix the maximized efficiency (the immediate pleasure) of alcohol or drugs with the often minimized efficiency of the writing process? And doesn’t the artist, because of their position in relation to the general symbolic order, have to recede into a semiotic bubble similar to that of the addict? Van Gogh, for instance? And isn’t that, in a sense, what Einstein was doing with his wardrobe?

Efficiency:

One of the cool things about reaching middle age, being single, and well past the point of thinking you’re going “make it”, is that it allows you to freely bounce around between the different disciplines that define your life and allows you the free play of experimentation that results in the hybrids that can only result from the overlap of those disciplines. Efficiency, perhaps, was one of the strangest ones in that it was the product of my pursuit of the a-vocational (philosophy, social criticism, etc.) while also being the product of my more vocational efforts (applied and maintenance technologies).
*
As typical as it seems, in market based societies, it’s never enough to talk about more and less. We cannot, for instance, rest on the old adage that workers want more compensation for less work, while their employers pose, against these demands, their own requirement for minimal investment at maximum return. It might seem common sense. But on closer investigation, we might see that the two positions are not so deeply entrenched. If they were, the workplace would hardly be worth any amount of compensation, a perpetual battle with management while struggling to stay afoot in the mass competition toward better paying and easier jobs. And from there, the evidence goes all over the place. How can one be so happy at 10 an hour and another so miserable at 20? The janitor whistles, easily, while mopping his floor. He seems entranced, content, as if in meditation. Another man, sleek and muscular from hauling furniture, makes enough to go to the bar, nightly, and wakes each morning to sweat it off. At quitting time, the cycle repeats. And no random piss tests, thank God. Vagrants, drifters, and welfare recipients continue to scrimp through their hand to mouth lives. Meanwhile, a white collar manager slumps over his computer, grumbles often, and when he can, steals a moment on Monster.com. He’s hardly afraid he’ll get caught and, sometimes, even hopes.

And then there’s us: the intellectually and creatively curious, strange creatures that, in our ass-backwardness, approach the hierarchy of needs from the top down. We neglect basic creature comforts while clinging, often self destructively, to the drug-like addiction of self actualization. And what are we working toward? That is when so many of our heroes, the successful and famous, live public lives of misery, and sometimes kill themselves? Clearly, we need to break it down to individual needs, demands, and desires. We need to penetrate the multiplicity and interrogate the interactions. Furthermore, we need to recognize that it is primarily about expectations and their satisfaction, and that satisfaction only seems binary and digital by virtue of a molar perspective on the issue. We need to consider the molecular multiplicity of efficiencies.

Efficiency, a mechanical term used for equipment such as pumps, boilers, HVACs, etc., concerns the actual output of a system as compared to its theoretical rating and is a product of the differential between what the designer’s mathematics tell them (what something should be able to do) and what actually occurs in practice. But at a more fundamental level, it can also be the differential between the energy or resources put in to a thing (the input) and energy or resource gotten out (the output). And it is in this sense that we use the term. Only, for our purposes, we will define it in the more abstract sense of that which seeks to maximize itself by minimizing the differential between input and output.

But before we go on, there is more we can learn from the boiler room. First of all, we need to understand that there can never be 100% efficiency. Along the way, there is always a loss (heat loss) that can never return to an active or potential form. As any plant-op knows, you can never expect a 100% return on condensate on any boiler system. And like perpetual motion, everywhere we look, we find it equally elusive. Secondly, we must remain mindful that energy can never be created or destroyed, only transformed, eventually ending in its always final form: heat. Therefore, any motion or energy must be taken from something else. The pump must be driven by electricity. The electricity must be created by the turbine that, in turn, derives its energy from steam. And steam is the product of heat (remember heat loss?) taken from coal, its BTUs, that sees its efficiency reduced to ash. And finally, it must be remembered that our boiler room is a complex and dynamic interaction of efficiencies, a coexistence in which any one efficiency making too large a demand can steal energy from other efficiencies, thereby minimizing them and causing a breakdown in the supra-efficiency of coexistence. Furthermore, sub-efficiencies can be supra-efficiencies to their own relevant sub-efficiencies while also being sub efficiency to their own supra efficiencies. The pump, an efficiency in itself, is the product of a lot of sub efficiencies (the windings, the armature, etc.). It, in turn, is a sub-efficiency to the supra-efficiency of the boiler room (the plant) that, in turn, serves the supra-efficiency of the building by either heating or cooling it, thereby maximizing the tenant’s sub-efficiency of being comfortable that, in turn, serves the supra-efficiency of how they function in the building.

And thus we leave the boiler room with new tools to analyze our initial questions. We now see why the janitor can whistle while he meditates on the movement of the mop: time passes quickly in thought, and he has managed to keep his life within his means. For him, it is not matter of more; it is a question of efficiency. Likewise, the furniture hauler maximizes the efficiencies of his desire to drink and smoke pot without interference from the efficiency of job security. Plus he likes the exercise. Even the vagrants, drifters, and welfare recipients make more sense. They’ve balanced their efficiencies by lowering their demands. Meanwhile, the white collar worker struggles daily with the minimized efficiencies of job security, a sense of meaning, and family life due to long hours at the office that do nothing to increase financial efficiency in his salaried position -that is while the demands and expectations that have built up in his personal life (his and those around him) strain those financial resources. We further see the minimization of the supra-efficiency of co-existence that can occur when either the workers or employers make higher demands, and maximize their efficiency by compromising others. If the employer demands higher profit, that efficiency can only be maximized, that is since energy and resources cannot be created out of nothing, by stealing from the efficiencies of the employees and their sub-efficiencies. And should the worker demand more, this can only take from the supra-efficiency of the company that will, in turn, compromise the economy by raising prices thereby lowering the supra-efficiency of the economy as a whole .

Consequently, we now see that the Occupy Wall Street movement may not be a demand for more, but a demand for efficiency. It’s not about hating the rich. It’s about hating wealth at the expense of everyone else: the maximization of the large scale efficiencies of the few at the expense of others, and the minimization of their efficiencies. We can also see, finally, how our desire for self actualization can interact with other sub-efficiencies, and how the minimization of those others can lead one to misery, or even suicide. The applications seem infinite, and may well go beyond the issue of economics. The coexistence between the environment and civilization immediately comes to mind. But given our present focus, we might consider the possibility of a new ethical theory that says (complimenting the utilitarian) that those acts are good that maximize the supra-efficiency of coexistence. We might consider our happiest moments and ask: was it matter of having more? Or was it, rather, a matter of having all needs, demands, and desires, ours and those of others, come together in a state of harmonious co-existence: the coexistence of efficiencies?
*
The individual is an efficiency. Or it would be better to say that the individual is a supra-efficiency to the various sub-efficiencies that constitute it. These sub-efficiencies, in turn, take expression through needs, demands and desires, all which can be grouped together under the general category of expectations.

But before we go on, it would serve us to clarify needs, demands, and desires as attributed to Lacan. And the best way to do this is to describe how they develop in the child and carry on into adulthood. The child starts with needs (food, shelter, water, healthcare, etc.) to which the motherer attends. However, as the child grows more cognitive, it begins to develop more sophisticated expectations that it may think of as needs, but is rather an endless series of demands. And while the demands themselves can be obtained, what cannot be satisfied is the true motive behind the series itself (often a need for attention). Therefore, no matter how many of the demands are obtained, the series will never end because it is never about the thing being demanded. Eventually, due to the frustration of the motherer, who pulls away their attentiveness to those demands, and that of the child as they see less and less of their demands being met, the hope is that the child will eventually turn to what it desires or that which can be obtained but requires an active effort of figuring out what it is. This could be any number of things like self respect, meaning, achievement, or self actualization.

And we can see how these expectations can follow us into adulthood. No matter how old we get, we’ll always need food, water, shelter, and healthcare. And as much as we would like to think we outgrow our demands, they tend to plague us throughout all of our lives. For instance, what is a love relationship (and the underlying source of its volatility) but a long series of demands that two people tend to make on each other. Like the child, we find ourselves demanding the full attention of the other. And the sick (the body being a supra efficiency with its own sub efficiencies) will always demand to be better. The body demands it.

Finding our desire is what defines our maturity. We, the intellectually and creatively curious, define ourselves by what we come to know and create. However, we have to be wary of assuming that because we have found what we desire, we have found some way of keeping our demands forever at bay. Too many great minds have lived otherwise miserable lives to make that assumption. And too often, our desire can draw to it or become the source of other external and demands. We demand to be left alone and given time to practice our craft while demanding to be adored and respected. And once adored and respected, we demand to stay so.

And once we see these aspects of our makeup as different degrees of expectation given different levels of import that determine what level of energy we’re willing to invest in them, we can then translate them into the currency of efficiency and get a better sense of how this multiplicity might interact and emerge into the composite effect of the individual’s well or ill being: the maximization (or minimization) of the always supra-efficiency of the coexistence of efficiencies.

We should first note that basic needs are pretty much low investment efficiencies that, if we focus purely on the need, are generally easy to maximize. We could, for instance, live in a shack and eat rice as many third world people and Zen monks do. However, man does not live by bread and water alone. Not all of us want to live like monks or third world citizens, and we get further from need and closer to demand as we go from a bowl of rice to prime rib. The prime rib may fulfill the need of sustenance, but the enjoyment of that sustenance ultimately constitutes a demand. Still, at most points in between a bowl of rice and a prime rib (say a hot dog), the need for sustenance is an efficiency that is reasonably easy (at least in western industrialized nations -with qualifications in America) to sustain at a maximum level.

Desire, or having reached one’s desire, presupposes a maximization of the always supra coexistence of efficiencies. Take, for instance, creative flow. In this state, the individual always has their individual expectations in a state of coordination in which those that are of less import are absorbing less energy while bulk of energy is being focused on what is most important thereby maximizing that particular efficiency by being able to meet the input resources required to achieve the desired effect. Take, for instance, Einstein’s wardrobe. If Cronenberg’s movie The Fly is accurate, had you of looked in Einstein’s closet, you would have found a rack of exactly the same uniforms. The reason for this is that Einstein did not want to waste any more energy than he had to on deciding which outfit to wear so that he could focus all of it on complex mathematical and physics concepts.

And it was for good reason that he set aside the demand of vanity. Demand, it seems, because it can never be truly satisfied, only obtained, is clearly the least efficient form of expectation. And in its more extreme forms it can act as an all consuming parasite sucking the energy from more efficient forms of expectation and thereby undermine (or minimize) the always supra efficiency of coexistence.

Still, let’s not commit to becoming Zen monks and completely discard demands and the value they contribute to the experience of our point A to point B. We can never be fully rid of them anyway. And those small pleasures (watching TV, having a beer and Jager while typing this and listening to my playlist, and name your desert) can add to the justification of a life. It’s a matter of degree and the extent to which they sap energy from other expectations and efficiencies. It is just important to keep in mind that demands are not needs and always dispensable. Of course, it would seem that desires are equally dispensable. However, more so than with demands, desires are what justify our existence. And as the intellectually and creatively curious know: such a life without justification would be worse than no life at all.
*
Of course, the individual, as supra efficiency of coexistence to their given sub efficiencies, is also a sub efficiency to their given social situation. They always have to interact with their family and social circles, their workplace, and their social and political environment. And these social structures, as well, must take their place in the folds (acting as both supra and sub efficiencies) that expand from social groups and workplaces to communities on to states and political structures up to the world and the earth it inhabits all of which must work under the always supra efficiency of the coexistence of efficiencies.

But at this point, several things need to be cleared up. For one, the always supra efficiency of coexistence is not some over-riding entity that hangs over it all at the top of the hierarchy. It is not a grand narrative. It is rather an ethical, pragmatic, and possibly metaphysical imperative that works at all levels from the sub systems of the individual to their social structures up to the world and possibly the universe itself.

Secondly, I have used the term energy in the engineer’s sense of “the ability to do work” as an all purpose designation to several things that can serve as inputs or outputs. On the input side, it can be effort and resources as well, while on output side it can be any type of positive effect whether purposely desired (such as monetary return) or left to chance (an unexpected move in a work of art) or somewhere in between.

And finally, the previous description has been pretty much vague and abstract. And there is purpose behind that. For one, there is no concrete entity we can think of as an efficiency. There only expressions of them. And in many cases, there is no way of actually measuring the inputs or outputs, much less the differential between them. Consequently, many of our judgments concerning the level of efficiency will be subjective in nature and generally a matter of comparison between different degrees. Furthermore, we have to be careful about talking about the different levels of supra and sub efficiencies as if it were some kind of fixed hierarchy. For instance, to subordinate the individual to their various supra efficiencies could, in matters of social and political discourse, could lead to extreme conclusions that verge on the fascistic and authoritarian. That said, this is not science. Nor can it be expected to be a perfect fit to every possible situation. It is merely a model and tool that can be applied to reality to analyze the interactions of various systems and provide a different perspective along with a unique vocabulary to discuss what we find. And as abstract as it is, if we engage in a kind serious play with it, it can offer some very concrete understandings to very concrete situations and possibly solutions to the problems they present.
*
But as they say in Creative Writing: Show! Don’t tell! Therefore, I will offer a couple of examples that are more small scale then move on to the socio/political and economic where I think it has its most useful applications. I start with a personal experience which, because of reflection and hindsight, was the genesis of the concept:

In the mid 90’s, when the position opened, I gave up my maintenance job, and the higher financial and personal rewards that came with it, to work in a garage booth where I would have more time to read and write. And in that capacity, it served the purpose in that, artistically and intellectually, the 7 years I worked there were some of the most productive I’ve ever had. In other words, by setting aside or de-prioritizing other expectations and efficiencies, I had managed to maximize the efficiency of my desire to learn and create. The problem was, in order to meet the external demands and effciencies on my life, I had to, on top of working 1 1/2 hours of overtime in the booth, work 4 more at a part-time job. This meant 14 to 15 hr. workdays. On top of that, the internal demand or efficiency common to most men my age at the time (getting laid), I had also committed to a 1/2 hr. of working out every night after work. What resulted was me getting 4 or less hrs of sleep, thereby minimizing the efficiency of the basic need of health that was, in turn, influenced by need of sleep. In other words, by delegating most of my energy and resources to my desire to learn and create, I had maximized the efficiency by drawing energy from the efficiency of my health and need to sleep thereby minimizing those to the extent that they began to make demands that minimized the efficiency of my ability to wake up in the morning. This, in turn, drew energy from and minimized the efficiency of my standing at work.

On top of that, despite the long hrs I was working, the financial feedback was never enough to meet the demands being made on me by my financial obligations (or demands) brought into the mix through bills, 3 children of which I was the non-custodial father and the only one with resources, the cost of materials to further my intellectual and creative process, and the assumption of those around me that since I was working so many hrs that my resources were unlimited -an assumption that I had fallen prey to earlier in the process, then found it impossible to get clear to others the falsity of it after I had seen through it myself.

What resulted was a mixed package in which, on one hand, I was happy in that I was maximizing the effiency of my desire to learn and create while being equally miserable because of demands and efficiencies external to that desire that were more and more minimized to the point that they eventually turned on me. Towards the end, even desire to pursue my studies began evolve into an inefficient demand for success, when I found myself attached to an art gallery in which I had sold several art works. Because of this, I found the efficiency of my desire to create in the bounce around fashion I was accustom to minimized the demand for success that compelled to focus my last 3 years in the booth on art.

It was this coexistence of efficiencies that eventually led to my being fired from the job, which in turn led to a 5 year coexistence that focused on the efficiency of padding my resume. But even that got compromised as my desire to create and learn morphed into a demand to get back to my liberal and fine arts roots that sapped energy from, and minimized the efficiency of my pursuit of vocational knowledge. And here I am today.

And before I move on, I would also point out how my experience shines some light on the experience of many, if not all, creative people in that the dynamics of efficiency and needs, demands, and desires prohibit the possibility of a perpetual creative flow. The problem with the coexistence and coordination of efficiencies involved in those moments, regardless of how invulnerable they may make us feel, is that the system never occurs in a vacuum. Even though the experience can set aside and de-prioritize all other needs, demands, and desires, in order to focus energy on the prioritized efficiency; it can never eliminate their expectations. Sooner or later, after enough neglect, those expectations (both internal and external) will amplify to the point of becoming demands and sabotage the current coexistence. As I write this now, even though I have found a tentative flow or maximum efficiency of coexistence, I can feel the demands of my backlog of books creeping up on me. And it is that dynamic that led to Sylvia Plath’s suicide after writing Ariel.

A darker coexistence of efficiencies, at least from the outside, can be seen in the world of the chronic alcoholic or drug addict. First of all, let us admit that when it comes to alcohol or drugs, there is, in terms of pleasure, a minimal effort or input coupled with a maximum effect or output. And it is this maximized efficiency that draws the alcoholic or drug addict into addiction. However, as they focus more and more energy on this particular efficiency in their life, they begin to de-prioritize other efficiencies such as environment and appearance thereby achieving a maximized coexistence of efficiencies. And they achieve this maximization by drifting further and further away from the general symbolic order (another efficiency and expectation) and falling into the psychotic pitfall of the nihilistic perspective: that which, having no solid criteria by which to judge actions creates its own semiotic bubble of signs and values. And it would only be when the internal/external demands begin to show themselves, mainly that of securing more alcohol or drugs, that the coexistence of efficiencies would be disrupted.

Try this thought experiment. Ask yourself: if you took a drug addict, gave them shelter and food, and all the drugs they needed, would they ever sincerely recognize their addiction? I would argue no since that recognition would require a need, demand, or desire external to their addiction. In a sense, they would be in Tennyson’s Land of the Lotus Eaters. They would simply have no way of getting outside of the maximized efficiency of the coexistence of efficiencies in which they were immersed. There would not be any external efficiencies to disrupt it.

And while we’re on the subject, let’s apply our new model to the subject of why artists are so disposed to drug and alcohol addiction. Take, for instance, the writer. First of all, let’s agree that writing is a grueling and tedious venture. It is a process of enduring a lot of minimized efficiencies for the sake of a highly maximized supra efficiency. Plus that, the writer never has the advantage (the maximized efficiency) of seeing their finished work for the first time. Therefore, is it any wonder that they might mix the maximized efficiency (the immediate pleasure) of alcohol or drugs with the often minimized efficiency of the writing process? And doesn’t the artist, because of their position in relation to the general symbolic order, have to recede into a semiotic bubble similar to that of the addict? Van Gogh, for instance? And isn’t that, in a sense, what Einstein was doing with his wardrobe?
*

As we move into the more large scale complexes of the social and political sphere, we can now, in a simpler, more accessible, and clear manner, apply a simple formula that can then be applied in retrospect to our previous examples:

E(pot.)=R/e

Wherein:

E=potential efficiency or efficiency potential which sounds a little more high brow and technical
R=resources
& e=expectations

In order to understand it, and its interaction with other instances of itself, we can apply simple and arbitrary numbers to the variables in the context of a workplace situation. We start with a single instance as applied to Bob the manager with the values:

R=10
& e=2

Therefore if we calculate the results, E=10/2, we get an efficiency potential of 5. However, let’s say that Bob, under pressure from upper management and the stockholders to increase profits, is forced to increase his expectations to a value of 5: E=10/5 therefore E=2. Of course, this loss of efficiency potential results in a great deal of anxiety and frustration for Bob and, in order to restore order in his life, the only thing he can do is increase his resource factor to 20, thereby resulting in 20/5=E, therefore E= an efficiency potential of 4, which is not quite the comfort level he had before but better than the drop he experienced. And this is because of the efficiency of improved conditions.

However, those resources had to come from somewhere. Enter average Joe the employee who starts with the same base values as those of Bob: R=10, e=2, therefore, E=5. But as the adage goes, shit flows downhill, and when Bob begins to put pressure on him, Joe’s expectancy rating goes up to 5, thereby, lowering his efficiency value to 2. Even worse, Bob is also forced to cut back costs by decreasing parts inventory and overtime which reduces Joe’s resource value to 5 thereby resulting in a calculation of 5/5 or an efficiency potential of 1. On top of that, the loss of overtime and extra money reduces the resource value of Joe’s financial efficiancy and, consequently, its efficiency potential leaving Joe no choice but to supplement and bring the resource value back up by taking on a second job which, in turn, affects the values involved in his efficiency potential for time management. And the chain reaction goes on not in the linear fashion our calculations would have us believe, but rather in a multidirectional fractal manner.

Of course most of us don’t need this formula to see how this type of thing can occur in the workplace. We’ve seen it firsthand and have, in a very real way, felt the distress and frustration that can result from having our efficiency potential lowered. A telling example of this can be seen in research done on Boeing employees who had lost their jobs due to cutbacks and those who had survived. What they found was that those who had been laid off were generally healthier than those employees that were still working for Boeing. And given our formula, it is easy to make an educated guess as to why this happened. For the laid off, as pressures increased within the company before their severance, they were probably already experiencing declines in their efficiency potentials. However, when they found themselves unemployed, while their resource values might have dropped drastically, the drop in expectancy values were such that they may have actually experienced an increase in efficiency potential. Meanwhile, those left behind who found themselves with a smaller staff dealing with an increasing workload may have experienced a steady decrease in their potential and actual efficiencies.
*
And this dynamic, as well as the formula, can be applied to the general economy as well. First we would note that Capitalism, as it was articulated by Adam Smith, would have been reasonably efficient in an economy that consisted of craftsmen, artisans, shopkeepers, and family farms. This is because the small populations involved and the expectations that centered around the desire for comfort and sustenance, rather than vast accumulations of wealth (demand), were easily met by the resources available. To put it in Marxist terms: the differential between the natural value of what was produced, and later translated into buying power (a resource), and the exchange value (expectation) was small enough to insure a smooth flow of exchange and, consequently, a maximized coexistence of efficiencies -that is, of course, unless you were a slave. It wasn’t until mass production became necessary, because of growing populations, and those who owned the means of production began to demand higher feedbacks, thereby compromising the coexistence of efficiencies, that a Marx became necessary. And what is Communism, as it was intended, but the final maximized coexistence of efficiencies not by lowering expectations, but by evening them out to the point that efficiency potentials of all individuals were maximized.

However, because of the efforts of those influenced by Marx and the confidence instilled in the oliogopolies of the 50’s and 60’s and even into the 70’s, a workable coexistence was established again -even if it was one that stayed within the perimeters of producer/consumer Capitalism. And once again, it only seemed workable if you were a white middle class laborer.

But the technology developed by the oligopolies and government sowed the seeds of their own destruction, by opening doors for more competition thereby lowering efficiency potentials of the rich through loss of security (a resource) thereby increasing their demand (expectancy) for more wealth in order to secure their standard of living. It was no longer a matter of having wealth; it became a matter of insuring it (another efficiency) by continuing to accumulate superfluous wealth (demand as expectation). This is what resulted in going from the 50’s and 60’s, where the CEO’s of company expected around 20 times the compensation of their lowest paid employee, to the minimized coexistence of today where CEO’s command 3 to 400 times their lowest paid employee. And as was the case with Bob the manager and everyday Joe, the only way these CEO’s can continue to do so is turn their expectancies into maximum efficiency values is by increasing their resource values that, in turn, must steal from the resource values of those below them while forcing increased expectations upon them (through consumer demand and heavier workloads) and thereby minimizing their efficiencies and compromising the coexistence of efficiencies.

However, let’s give the pro-capitalist credit where credit is due in terms of the efficiency formula. For one, they are right in asserting that government, through regulation, can lower efficiency by lowering the resource factor through restrictions on what materials can be used. But this is generally due to environmental or labor and safety concerns that involve other efficiency occurrences that are just as important as the efficiency of profit if a respectable coexistence of efficiencies is to be maintained. At the same time, these disruptions can affect the working class efficiencies through indirect methods. A lot of drug and smoking policies are the results of government policy, but they are also the result corporate lobbying and corporate indifference to the right of individuals to do whatever floats their boats because those activities might compromise the individual’s role as producer/consumer. To give another example, we are coming to a time when the backyard mechanic is coming to an end due to the complex environmental controls that car producers must put into cars. This imposes upon the car owner the inefficiency of depending on the car dealer to keep that car running so they can get to work. But his, once again, only offers the car producer an opportunity to increase the efficiency of the demand for profit by forcing the consumer to depend on the dealer for maintenance of their vehicle thereby increasing their profit.

The less compromised assertion of the pro-Capitalist position comes from their faith in the ability of Capitalism to develop the technology and means of production they have grown addicted to. And this one is hard to question. This is because corporations can afford high expectations (e) because their resources (R) are such as to, because of our formula, to maintain a high efficiency factor (E) –that is if you consider the failures in league with the successes. But then I’m just rehashing Marx here.

The problem with this was pretty much articulated by James Burke in the 90’s series Connections. As he pointed out, technology at the time was progressing at a rate similar to Galileo’s Law of Falling Bodies: at a constant rate of acceleration. And the problem with this was that such a situation tended to evoke in people a taste for novelty –in other words: demand. And as we have already pointed out, demand is the least efficient form of expectation there is because it raises the e value to the point that the resources available to it may not be able to sustain a respectable efficiency potential. It can only sustain E value by raising R value. And this can only happen by stealing from other R values while raising e values to the point of demand and lowering their respective E values.

And in this lies the primary failure of Capitalism in terms of efficiency. And it is why Capitalism must put its emphasis on growth (demand) as compared to efficiency. The night after I had arrived at the formula for efficiency potential, I found myself second guessing in that I began to wonder if, since efficiency is basically about an input/output differential, if the formula should have actually been E=R-e. But then I began to think about how the e variable affects the calculation as a whole. Now say we start with the values R=10 and e=5 therefore E(pot.)=2. Then we drop the e value to 2 and get an efficiency potential of 5: an increase of 3 from our initial point. Now we drop the e value to 1 and we get an E(pot.) of 10 or an increase of 8 from our initial point. And this non proportional increase in the efficiency potential seems perfectly in line with reality in that breathing (with an expectation value of one and oxygen being at a high R value) is the most efficient thing we could do -almost at a 100% actual efficiency. And the only thing that could compromise that is a drastic reduction in the R value as concerns oxygen such as suffocation or lung disease. As compared to actions at higher e value, we hardly put any effort into it. And on top of that, the act is carried out with hardly any effort at all and leaves us a lot of (excuse the pun) breathing room (resources) that can be delegated to other efficiency potentials such as technology that work through the burning of oxygen.

I began to realize that my second guessing was the result of confusing 2 different issues - that of potential efficiency and actual (or actualized) efficiency- and I had forgotten the principle from which the formula had emerged: that the potential for efficiency tends to decrease as expectations increase. Plus that, the simpler calculation of E=R-e gives the impression that as resources increase one can increase their expectations proportionally. And that, to me, seems to play right into the hegemony of Capitalism and neglects the principle of diminishing returns that tend to come from increased expectations. As another principle of mine states:

“The probability of a system breaking down seems to grow in an asymmetrical proportion to the complexity and sophistication of that system.”

And as I also realized, not even the formula for actual efficiency takes the route of simple mathematics, but rather algebraic one of: E(act.)=O/I wherein:

E=actualized efficiency
O=output
and I=Input

But the formula gets more reflective of reality when we consider what happens as we increase the e factor. We start again with an R value of 10 and an e value of 5 which results in an E value of 2. Then we increase the e value to 10 which puts us at an E value of 1. Now in order to get back to our original E value, the R value would have to increase to 20 (or an increase of 10). But when we increase our e value to 15, we have to increase our R value to 30 in order to sustain an E(pot.) value of 2. In other words, for every increase of 5 in e value, there has to be disproportional increase of 10 in R value. This is because as expectations increase, what is expected becomes more complex in nature and therefore more vulnerable to inefficiencies or failures. Plus that, the R value always has a ceiling either in general or, more likely, within a given potential’s horizon. And in this sense, our formula lands us in the principle of diminishing returns as expectation increases. And on top of that, as we already pointed out, the R value can only be increased by stealing from the R value of other efficiency potentials, thereby decreasing their value.

Capitalism, however, and clever creature that it thinks it is, thinks it can overcome this problem by not settling for an E potential of 2. But let’s say it seeks to increase its original state of e=5 and R=10 to an E(pot.)=5. It would either have to lower its e value to 2 (which we know Capitalism is incapable of) or raise its R value to 25 which, once again, means that it has to steal from other E potentials. The problem is the increase in R value requires an increase in e value. This is what defines Demand in Lacanian terms. And it is this privilege given to growth over stability (the maximum efficiency of coexistence), mathematically defined, the underlies the snowball effect that has led to the very rich demanding obscene accumulations of wealth at the expense of everyone else.
*
Anyway, my time has ran out on this project, and I want to make a few brief notes for myself when I return to it:

  1. I want to follow this with a return to the Lacanian model and point out how Capitalism’s privilege given to demand undermines the always supra efficiency of the coexistence of efficiencies, then move on to solutions based on government the acts as a facilitator of this coexistence, then finally consider the possible metaphysical implications of efficiency as a kind of strange attractor that can possibly apply to both micro and macro physics.

  2. I would like to apply the formula to arguments among the pro-capitalists (for instance, the way the resource of willingness to make the effort is cancelled out by required increases in the e value –in other words: the notion of self determination). And I would like to go after the precarious notion that Exchange value=Buying power.

And, finally, 3. I want to see if I can fuse Spinoza’s (via Deleuze) sad and joyful affects into the text and bring out the import of power relationships in terms of efficiency.

Until then: Love ya, man!

Please forgive me, ILP’s servers.

It’s not to punish you… please believe me.

On one hand, I find Amy Pollard’s deconstructive take on Plato’s Republic in Democracy is Sick (issue 101) worthy of consideration. It offers a reasonable counterargument to the general assertion that The Republic laid out the framework for the many despotic regimes that followed it. And the fact that it was written in dialogue form would seem to offer some juice to her ironist interpretation: that Plato was just acting as a kind of gadfly making insincere statements for the sake of discourse. But there are a couple of problems she’ll have to deal with sooner or later.

For one, we could easily apply her evidence (the lack of consistency in Plato’s arguments) to any writer we want to. I mean how do we know the lack of logical consistency in any writer is not on purpose as compared to the cognitive dissonance and compartmentalization that tends to show itself in the authoritarian mindset? For instance, an apologist could apply the same approach to Mein Kampf by arguing that Hitler was just asking us to reconsider our basic assumptions about what is right. Unless there is something in the text that explicitly states that the writer is being satirical or insincere, you have to consider taking it at face value –that is before those that commit atrocities do.

But the deeper problem lies in the metaphysical foundation Plato establishes for the Republic and that she hints at near the end of the article when she says “Plato outlines the ideal city state: now Athens must strive to emulate its virtues.” This suggests the aim high to hit the mark principle that has defined the dichotomy between the Apollonian classicist and the Dionysian break that started with Romanticism and Rousseau and haunts us to this day –such as the analytic tendency, in its more dogmatic forms, to smugly dismiss what Mikhail Epstein refers to as lyrical philosophy. If we look at Plato’s realm of Ideal Forms, that which we can tap into through effort (i.e. reason) and for which everything in reality are imperfect copies, and extract the ethical implication that virtue is a matter of immolating those ideal forms as close as we can, we can see the underlying justification for the Republic and the vertical hierarchy that Plato explicitly based on the relationship between the mind, heart, and body and correlated to the different social levels.

And it doesn’t take a lot of imagination to understand the sensibility that Plato might have been working under. At the time, civilization was young. It was just crawling out of the muck. Therefore, it would seem perfectly natural for people, out of a sense of generational confidence, to assume: civilization good; nature bad. It was assumed that the constructs of our minds must be given privilege over our natures (our hearts and bodies) to make civilization work. Likewise, it took hundreds of generations under despots, based on Plato’s model, to make the romantic break into democracy.

:techie-typing:

But the bigger issue was Rand’s well-known propensity towards the heroic and mythological coupled with her clear disgust for her antagonists. Her influence by Shakespeare made itself more and more apparent as it went along, especially in part two -which seems strange given Shakespeare’s clarity on the corruption of power. What resulted was a vacillation between a comic book dialogue and a classical propensity towards speechmaking. On one hand, there were lines of dialogue that sounded like something off a Lichtenstein painting such as when James Taggart, an antagonist by virtue of his wanting to serve “the public good”, advised his sister, Tagny:

“You can’t leave. It’s a violation of the directive.”

Or this line by Reardon (typical of the false dilemma the story presented) as he stomped away from an agent of the State Scientific Agency:

“One of these days, you’re going to have to decide which side your on.”

Even the repetition of the line “Who is John Galt?”, which threaded throughout the narrative and was passed about like some cultish inside joke, as well as the mystery character himself who went about collecting high achievers like a shepherd gathering his flock, took on a hokey comic book aura.

On the other hand, there were these Shakespearian dialogues that, for the too obvious purpose of effect, seemed delegated to the more heroic characters. Esai Morales, for instance, as Francisco d’Anconia, skulked about like some modern Iago, almost shaman-like, dispensing wisdom in resonant soliloquies on the folly of fools who do not know what they do and the unrecognized wisdom of Lassie Faire Capitalism:

“When money seizes to be the tool of men by which men deal with other men, then men become the tools of other men.”

And this might have seemed a poignant point if it wasn’t for the fact that no one I know of is trying to get rid of money and that, as anyone who is not self-employed would know, even with money men are the tools of other men.

But this Shakespearean element got even more vulgar in part two with the heroics of Hank Reardon as he stood before court accused of violating the “Fair Share Act”, that which imposed a limit on how much one company can sell to another –another act committed by petty bumbling bureaucrats that eluded me as to what the purpose would be.

“I do not recognize this court,” he stated in bold defiance, then proceeded to indict government policies that could not, in any dimension, exist. At one point, at the mention of “the public good”, he responded, yet again, with the same smug disregard he did earlier:

“I do not recognize the good of others as justification of my existence.”

And let’s be fair here. As Robert Reich convincingly points out in SuperCapitalism, we cannot expect corporations to act as moral agents. They exist solely to create profit for their shareholders. It is government that must serve as check and balance to corporate power. But then, it is government power, regardless of what function it serves, that Rand and the moviemakers wanted to undermine. At another point, Reardon proceeded to frame the “public good” in terms of being defined by:

“….those who would regulate and define us in our businesses and homes by stealing our liberty.”

Of course, at this point the crowd broke into the cheers of the converted. But then, who wouldn’t? Who isn’t concerned about their personal liberty? The problem is that Reardon’s point is a little hard to assimilate with the fact that, in our world (the real one), the primary agent of social control (under the encouragement of the health insurance industry) has pretty much been our employers through drug testing, smoking policies, and increasingly wellness programs. But then we’re not in that world are we? We’re in Rand’s world. Reardon then proceeded to describe the benefits provided by corporations, such as job creation and technological progress, while the crowd cheered and the court slammed their hammer and screamed:

“Silence! Or the court will be cleared!”

The cliché continued as the court, recognizing that they could not turn Reardon into a martyr, decided to sentence him to 10 years in prison then, in light of his achievements, suspended his sentence. This was then punctuated by the following scene in which Dagny played cheer squad and told Reardon that he had provided a voice to the people. But what people exactly? The rich? Those who are ignorant enough to believe that their personal freedom is dependent on the freedom of the rich and powerful to do as they please?

Of course, you can get away with a lot in a movie if the comedic effects work. But this depends on wit that defines the character. Unfortunately, in Rand’s world, what results when defining characters meant to represent a questionable ideology is a lot of lame humor. To give you a sense of it, think of the kind you see on church billboards, the heavy handed attempts at cleverness that can only fall flat and roll the eyes of anyone but the true believer, but addressed to the same kind of dogmatic certainty that Capitalism displays throughout this love letter. At one point, Dagny Taggart, faced with an employee who drones “Who is John Galt?”, responds:

“Don’t ask that question if you can’t answer it.”

And it is these kinds of references to the mock heroics and above-the-fray nature of the main characters that are suppose to seduce us throughout it all. At another point, Taggart and a scientist played by Dietrich Bader plot to research a supposed super-battery that, as we are to understand it, only the private sphere is capable of making happen. When Taggart inquired as to where the plan would be carried out, the scientist assured her, in the conspiratorial way meant to suggest a couple of lovable rebel rascals, that he can use his state funded lab to study it and that she shouldn’t worry since they have the best night watch there is: him. What poetic justice: the state’s failures are what allow the private sphere to carry out its own more heroic efforts. But the most telling comes when a CEO and political candidate snarls when his train is stopped:

“I swear, if this train doesn’t make my campaign stop in San Francisco, I’ll make it my personal priority to nationalize this railroad.”

This is then followed by the drunken wit of a fellow traveler in a British accent for good effect:

“History shows that it is the only way to make the trains run on time.”

Get it? Nazi Germany? Trains running on time? Unfortunately, for the movie, the real humor lies in what those behind it wanted us to take seriously. At one point, CEOs are photographed walking, with expressions of serious intent, to a board meeting in (can you guess?) slow motion. The only thing missing was the hard beat and crunchy guitar from Kill Bill Volume One in the club scene with Lucy Lui’s crew. But the continuous joke throughout it all was the way plot line built not through suspense, but rather through of the heavy handed manner in which Rand’s message was being relayed through the escalation of the ludicrous. This tendency peaked, appropriately, at the very end of part one when Ellis Wyatt, before leaving with Galt, left his newly discovered natural gas field in flames and a note that said:

“I’m leaving it as I found it.”

Really? So now we know how he came into it. Apparently, he just wandered upon a burning field that no one else had noticed, put out the flames, and had his redneck self, with a southern accent added for appeal, a natural gas field. And doesn’t there seem to be an underlying whininess about it: the feel of a child throwing a fit?

Part two, in Peter Jackson/Lord of the Rings style, was almost admirable in the way it maintained the thread of absurdity and kept it building to the most preposterous moment yet: the introduction of Directive 10-289. In a scene that was clearly meant to chill us out of our Priuses and drive us to the NRA, the President (played by Ray Wise) made a televised announcement of new policies that would make no sense in a purely communist regime, much less a democratic one. And in order to direct me as to how I was supposed to feel, there was everyone in the nation, rich and poor alike, watching with dropped jaws of shock and disgust. Among the policies were total bans on firing employees or employees quitting or changing their jobs, wage freezes, all companies surrendering their patents in the form of gift certificates, and a mandate on everyone to spend the same amount of money they had the year before. Of course, in a perfect world where the government wasn’t so far up corporate ass as to actually act in the behalf of people, this might, at best, seem like a legitimate slippery slope. But how would wage freezes and bans on quitting or changing a job serve that purpose? In fact, what purpose would it serve under any circumstance? Forcing people to give up their hard earned patents would be a disincentive to new discovery. Even a Social Democrat and looter like me knows that. And the government has nothing on the market when it comes to forced consumption as anyone would know who, due to a lack of public transportation, has to maintain a car in order to get to work, or finds themselves in need of healthcare, or paying more for basic services such as TV which, by the way, use to be free, or generally wants to function in contemporary society. The only thing missing from the whole scene was the low, eerie hum of a synthesizer and someone shrieking at the president:

“Oh my God! It’s a white Obama!”

From that pivotal point on, the denouement proceeded with a montage style breakdown that consisted of anti-corporation protesters, having been schooled in the principle of unintended consequences, turning anti-government, while Tagny pursued her scientific ally in a plane, having lost him to Galt, crashed, and, in the final scene, finally met the mystery man himself: John Galt.

However, the real money shot, at least in terms of the mentality behind the movie (and its desire to impose a kind of grim irony similar to the ending of Altman’s Nashville), came with a bum sitting on a curve in the midst of the chaos, a sort of Nietzschian madman, writing on a gravestone shaped piece of wood:

America:

Born: 1776

Died: Yesterday.

[b]Watching Atlas Shrugged: My Struggle (and Rise) as a Fascist Looter

How I Got My Start:[/b]

I tried to take the high road and give it a chance. I really did. But then I had tried as much with Rand and The Virtue of Selfishness, but got so nauseous by the third essay, I had to put it down. And nothing I further read or heard about her tempered my disgust. Certainly not the movie biopic, the Passion of Ayn Rand, in which she has an affair with an intern after telling her husband and the intern’s girlfriend what they were going to do. This only came across as some kind of psychopathic notion of enlightened honesty and the self indulgence of a narcissistic bitch: the kind of woman that would eat her babies as a peer once pointed out. And I had assumed my sentiment to be common among the creative community. So imagine my surprise when I read that Atlas Shrugged was being made into a movie in an article that gave the misleading impression that Angelina Jolie was backing it. But then why not? God only knows what runs through that chick’s mind. One sometimes gleams a hint of the psychopathic in that icy glare: that narrowing of the eyes as they zero in on the kill. Still, it seemed odd that the alleged Hollywood liberal elite would even consider it.

My curiosity took root. And it only intensified upon seeing a clip where Hank Reardon declares his utter indifference to the poor. I got the impression that it would be one of those moody independent films like The Blue Rose Hotel. But in this case it was a sort of cyberpunk Trojan horse in which subtle critique is cleverly concealed within tribute. Plus that, there was always the possibility of being surprised. I had always been impressed when talent from the other side managed to present old school and Christian values in a way that was digestible and empathetic enough to temper my own extremes and revise my mental concepts. Such sensibilities, even if I didn’t share them, could clearly be presented in a dignified and non-sanctimonious manner as in the movie A River Runs Through It, Robert Duvall in such roles as Rambling Rose and Second Hand Lions, the work of Terrence Malick, and, hating on chairs aside, Clint Eastwood’s classicist/conservative approach to filmmaking. So when I kept coming across it on Netflix, it was only a matter of time before I would set aside my political leanings, push the play button, resolve to not tarnish my intellectual integrity with petty heckling, and give the woman, her story, and her position their day in court. But then authentic Christian/classical values are something quite different than Capitalist ones.

It was a matter of minutes before the hope dissipated and I found myself reeling in shock and astonishment at the second (if not third( rate production values. Many critics compared it to a TV mini-series. But I would equate it with the cheap B movies that are sometimes made for the ScyFy channel or shown on Fear Net. The only difference was that those films were generally innocuous enough to serve as mindless entertainment –something you stick with while rolling your eyes just to see if it ends in the way you predict. Atlas Shrugged, on the other hand, took the mean-spirited and paranoid route of conspiracy theory or holocaust denial: less the individual perspective that constitutes a work of art and more like war to anyone with a non-pathological sense of reality. I even began to suspect, perhaps out of denial, that what I was watching was not the theatrical release, but some made for TV knockoff much like the miniseries of Steven King’s The Shining, that which stuck closer to the book at the expense of the production values, creativity, and style of Kubrick’s version. Even when I recognized the clip where Reardon expresses his indifference to the poor, I wondered if it wasn’t just another version of a key moment in the book. It just seemed odd that something like it would even be released in theaters, that some marketer would not have recognized that it might have made a better debut (it basically flopped with critics and the box office) in a more appropriate medium such as TV or straight to DVD. However, the more I watched and learned about it, the harder the possibility pressed itself: that ideological forces overrode business sense and the agents behind it thought they had something more profound than they actually did.

But I hung on anyway because between the cheesy production, the second rate special effects, the one dimensional portrayals, and the talky ideology-laden dialogue, I had no choice but to focus on the message that was more or less being shoved down my throat. And while this approach seemed a little (maybe a lot( heavy-handed in Kevin Smith’s Dogma, and while I can now sympathize with the offense that Catholics may have felt in the face of that film, it gets really heavy handed and unsympathetic when you’re facing the equivalent of a master expecting the sympathy of the slave. It was, for me, becoming less about aesthetics and more about ideology, and a challenge I couldn’t refuse.

My resolve continued to slip as a heavy handed contrast emerged between the protagonists and antagonists. In one corner of this mythical confrontation was the protagonists, Hank Reardon and Dagny Taggart, the respective heads of Reardon Steel and Taggart Transcontinental (a railway company), and champions of a miracle alloy that is lighter while being stronger; and in the other: the antagonists, those petty and bumbling government bureaucrats and rich quasi-socialists suffering from liberal guilt, the “looters” who skulked about plotting against the Promethean efforts of the supposed heroes, Reardon and Taggart. And as impressed as I was supposed to be by their heroics, I only found myself breaking into shrieks of mock whining:

“Why is everyone picking on me? Am I not the driver of progress? The job creator?”

In Rand’s world, apparently, no one understands them. The only surprise was that the antagonists didn’t have Hitleresque toothbrush mustaches that they could stroke as they contemplated their schemes and future victories. They were just short of it -and actually made the connection later in the series. But I hung on anyway. Then…

In hindsight, I’m not really sure what it was that set me off. I had seen the same kind of plot device in other movies: one to several people struggle for something until they come to a moment when their persistence pays off and it all comes together. It’s a common and still effective motif in movies. But when Taggart and Reardon were riding alone on that train, to make their point about the safety of the Reardon steel used for the rails, and that triumphant music was playing in the back while the viewer was treated with a panorama of grand vistas, I felt it welling up. But when they came to that bridge gleaming in the sun, the one that Reardon had promised he could build in 3 weeks… that was it. I had to throw down. It could have been how hokey it all seemed. It could have been the forced attempt to equate the beauty of nature with the beauty of Capitalism. It could have even been, as many RandHeads would have it: jealousy. But that neglects the many times I have found the approach effective in other movies where characters have done things beyond my capabilities -sometimes to the point of choking up or, if drunk enough, tears. Or it could have been my disgust at the sheer gall of thinking I could be manipulated into seeing the errors of my ways and prostrating myself before the glory of Capitalism. I could literally imagine a true believer (a Rand Head) standing behind me and shrieking triumphantly:

“You see it? Do you see it now?”

From that point to the end of part one (the story was divided, in Lord of the Rings fashion, into three parts with the third one pending), it was a self degrading frenzy of eye rolling and heckling my computer –when I’m not sure the poor thing deserved it. Meanwhile, the movie did everything it could to encourage my behavior. For instance, there was the heavy handed explanation that Rearden provided for the demise of the 20th Century Motor Company as he and Dagny were approaching it. Apparently, it was due to everyone getting pay raises based on need rather than merit. This was later reinforced by a loyal Taggart employee who explained to Dagny that new management had run it into the ground with new ideas about treating it like one big family. The question, though, was what factory (in reality that is) was it suppose to resemble? Granted, many companies will simplify things by granting raises through across the board percentages. But a percentage means that those who have been there longer will be gaining more. And, as far as I know, the way the more ambitious bypass that is by working their way up the ladder through promotion. But, once again: what profit seeking corporation would even consider such an approach? Of course, the preposterous nature of this slippery slope only foreshadowed the Kafkaesque labyrinth of bumbling and petty bureaucrats, and their policies, that grew more absurd as it went along.

But the bigger issue was Rand’s well-known propensity towards the heroic and mythological coupled with her clear disgust for her antagonists. Her influence by Shakespeare made itself more and more apparent as it went along, especially in part two -which seems strange given Shakespeare’s clarity on the corruption of power. What resulted was a vacillation between a comic book approach and a classical propensity towards speechmaking. On one hand, there were lines of dialogue that sounded like something off a Lichtenstein painting such as when James Taggart, an antagonist by virtue of his wanting to serve “the public good”, advised his sister, Tagny:

“You can’t leave. It’s a violation of the directive.”

Or this line by Reardon (typical of the false dilemma the story presented) as he stomped away from an agent of the State Scientific Agency:

“One of these days, you’re going to have to decide which side your on.”

Even the repetition of the line “Who is John Galt?”, which threaded throughout the narrative and was passed about like some cultish inside joke, as well as the mystery character himself who went about collecting high achievers like a shepherd gathering his flock, took on a hokey comic book aura.

On the other hand, there were these Shakespearian dialogues that, for the too obvious purpose of effect, seemed delegated to the more heroic characters. Esai Morales, for instance, as Francisco d’Anconia, skulked about like some modern Iago, shaman-like, dispensing wisdom in resonant soliloquies on the folly of fools who do not know what they do and the unrecognized wisdom of Lassie Faire Capitalism:

“When money seizes to be the tool of men by which men deal with other men, then men become the tools of other men.”

And this might have seemed a poignant point if it wasn’t for the fact that no one I know of is trying to get rid of money and that, as anyone who is not self-employed would know, even with money men are the tools of other men.

But this Shakespearean element got even more vulgar in Part Two with the heroics of Hank Reardon as he stood before court accused of violating the “Fair Share Act”, that which imposed a limit on how much one company can sell to another –another act committed by petty bumbling bureaucrats that eluded me as to what the purpose would be.

“I do not recognize this court,” he stated in bold defiance, then proceeded to indict government policies that could not, in any dimension, exist. At one point, at the mention of “the public good”, he responded, yet again, with the same smug disregard he did earlier:

“I do not recognize the good of others as justification of my existence.”

And let’s be fair here. Robert Reich makes a convincing point, in SuperCapitalism, that we cannot expect corporations to act as moral agents. They exist solely to create profit for their shareholders. It is government that must serve as check and balance to corporate power. But then, it is government, regardless of what function it serves, that Rand and the moviemakers wanted to undermine. At another point, Reardon proceeded to frame the “public good” in terms of being defined by:

“….those who would regulate and define us in our businesses and homes by stealing our liberty.”

Of course, at this point the crowd broke into the cheers of the converted. But then, who wouldn’t? Who isn’t concerned about their personal liberty? The problem is that Reardon’s point is a little hard to assimilate with the fact that, in our world (the real one), the primary agent of social control (under the encouragement of the health insurance industry) has pretty much been our employers through drug testing, smoking policies, and increasingly wellness programs. But then we’re not in that world are we? We’re in Rand’s world. Reardon then proceeded to describe the benefits provided by corporations, such as job creation and technological progress, while the crowd cheered and the court slammed their hammer and screamed:

“Silence! Or the court will be cleared!”

The cliché continued as the court, recognizing that they could not turn Reardon into a martyr, decided to sentence him to 10 years in prison then, in light of his achievements, suspended his sentence. This was then punctuated by the following scene in which Dagny played cheer squad and told Reardon that he had provided a voice to the people. But what people exactly? The rich? Those who are ignorant enough to believe that their personal freedom is dependent on the freedom of the rich and powerful to do as they please?

Of course, you can get away with a lot in a movie if the comedic effects work. But this depends on wit that defines the character. Unfortunately, in Rand’s world, what results when defining characters meant to represent a questionable ideology is a lot of lame humor. To give you a sense of it, think of the kind you see on church billboards, the heavy handed attempts at cleverness that can only fall flat and roll the eyes of anyone but the true believer, but addressed to the same kind of dogmatic certainty that Capitalism displays throughout this love letter. At one point, Dagny Taggart, faced with an employee who drones “Who is John Galt?”, responds:

“Don’t ask that question if you can’t answer it.”

And it is these kinds of references to the mock heroics and above-the-fray nature of the main characters that are suppose to seduce us throughout it all. At another point, Taggart and a scientist played by Dietrich Bader plot to research a supposed super-battery that, as we are to understand it, only the private sphere is capable of making happen. When Taggart inquired as to where the plan would be carried out, the scientist assured her, in the conspiratorial way meant to suggest a couple of lovable rebel rascals, that he can use his state funded lab to study it and that she shouldn’t worry since they have the best night watch there is: him. What poetic justice: the state’s failures are what allow the private sphere to carry out its own more heroic efforts. But the most telling comes when a CEO and political candidate snarls when his train is stopped:

“I swear, if this train doesn’t make my campaign stop in San Francisco, I’ll make it my personal priority to nationalize this railroad.”

This is then followed by the drunken wit of a fellow traveler in a British accent:

“History shows that it is the only way to make the trains run on time.”

Get it? Nazi Germany? Trains running on time? Unfortunately, for the movie, the real humor lies in what those behind it wanted us to take seriously. At one point, CEOs are filmed walking, with expressions of serious intent, to a board meeting in (can you guess?) slow motion. The only thing missing was the hard beat and crunchy guitar from Kill Bill Volume One in the club scene with Lucy Lui’s crew. But the continuous joke throughout it all was the way plot line built not through suspense, but rather through of the heavy handed manner in which Rand’s message was being relayed through the escalation of the ludicrous. This tendency peaked, appropriately, at the very end of Part One when Ellis Wyatt, before leaving with Galt, left his newly discovered natural gas field in flames and a note that said:

“I’m leaving it as I found it.”

Really? So now we know how he came into it. Apparently, he just wandered upon a burning field that no one else had noticed, put out the flames, and had his redneck self, with a southern accent added for appeal, a natural gas field. And doesn’t there seem to be an underlying whininess about it: the feel of a child throwing a fit?

Part two, in Peter Jackson/Lord of the Rings style, was almost admirable in the way it maintained the thread of absurdity and kept it building to the most preposterous moment yet: the introduction of Directive 10-289. In a scene that was clearly meant to chill us out of our Priuses and drive us to the NRA, the President (played by Ray Wise) made a televised announcement of new policies that would make no sense in a purely communist regime, much less a democratic one. And in order to direct me as to how I was supposed to feel, there was everyone in the nation, rich and poor alike, watching with dropped jaws of shock and disgust. Among the policies were total bans on firing employees or employees quitting or changing their jobs, wage freezes, all companies surrendering their patents in the form of gift certificates, and a mandate on everyone to spend the same amount of money they had the year before. Of course, in a perfect world where the government wasn’t so far up corporate ass as to actually act in the behalf of people, this might, at best, seem like a legitimate slippery slope. But how would wage freezes and bans on quitting or changing a job serve that purpose? In fact, what purpose would it serve under any circumstance? Forcing people to give up their hard earned patents would be a disincentive to new discovery. Even a Social Democrat and looter like me knows that. And the government has nothing on the market when it comes to forced consumption as anyone would know who, due to a lack of public transportation, has to maintain a car in order to get to work, or finds themselves in need of healthcare, or paying more for basic services such as TV which, by the way, use to be free, or generally wants to function in contemporary society. The only thing missing from the whole scene was the low, eerie hum of a synthesizer and someone shrieking at the president:

“Oh my God! It’s a white Obama!”

From that pivotal point on, the denouement proceeded with a montage style breakdown that consisted of anti-corporation protesters, having been schooled in the principle of unintended consequences, turning anti-government, while Tagny pursued her scientific ally in a plane, having lost him to Galt, crashed, and, in the final scene, finally met the mystery man himself: John Galt.

However, the real money shot, at least in terms of the mentality behind the movie (and its desire to impose a kind of grim irony similar to the ending of Altman’s Nashville), came with a bum sitting on a curve in the midst of the chaos, a sort of Nietzschian madman, writing on a piece of wood shaped like a gravestone:

America:

Born: 1776

Died: Yesterday.

How I Faltered and the Plot Thickened:

I had to wonder if it wasn’t some kind of joke. I mean: why? Why did they even go through with this? Who would push such a project? They had to have seen just how badly the whole project was developing. Wouldn’t the stilted dialogue have been a clue? Were the Koch brothers behind it? It just seemed a little self defeating to showcase Rand’s work and thought in such a blatantly hokey and ridiculous manner. I found myself going back to the theory I had toyed with when I saw the clip of the Reardon expressing his indifference to the poor: that what the producers were actually doing was offering up a combination of tribute and critique of the book. But that might have made a good movie. The only other possibility was that they were undermining it, in a backdoor kind of way, by presenting it in the most distasteful manner possible. But that seemed an incredible risk of money without marketing it and actually presenting it as some kind of satire. And, of course, there was the most obvious possibility of the project being pushed as propaganda by corporate interests or a right wing think tank.

By Part Two, I had calmed down and found myself playing the game of “why these actors would involve themselves?” And this was mainly because the cast from Part One had been completely replaced with what, as far I could tell, were more familiar faces. There was Richard T. Jones utilizing the same stoic loyalty as Dagny’s assistant that he did in Judging Amy and Paul McCrane portraying the same obnoxious worm, as a government official, that he did in ER. And the inclusion of these two suggested that they had been chosen, like character actors, for their perfect fit based on these previous roles. And further research showed that, unlike An American Carol where all the actors had some association with the Republican Party, there was nothing to indicate that any of them had any particular ideological affinity to the story itself. Nor was there any indication that they were lacking for work and participated out of desperation. The only conclusion I could come to is they were just minor actors who took whatever work was available to them and stood little to lose by it: the immunnity to career suicide that comes from being a minor actor. This especially seemed to be the case with Ray Wise, as Head of State Thompson, who, having gotten notice in David Lynch’s Twin Peaks, seems to show up everywhere, regardless of the quality, and keeps showing up due to his unique physical characteristics. And given that possibility, I had to wonder if such character actors such as Danny Trejo and William Forsyth might show up in the third installment. That said, though, I can’t help but suspect that Esai Morales took the part to brush up on his Shakespearian chops, while Deidrich Bader took it to break from his more air headed roles and write complex mathematical formulas on glass, just like he saw Russell Crowe do on A Beautiful Mind.

Still, there was the question of what happened to the first cast. John Aglialoro, the driving force behind the series, implied that the cost of hiring the cast from Part One exceeded Part Two’s budget and added that Taylor Schilling, Dagny in Part One, had become a bona fide star. This, of course, was immediate cause for suspicion since I hadn’t heard of or seen much of her. However, as a little researched showed, she had since appeared in the movie The Lucky One and the Netflix Series, Orange is the New Black. But how did that make her anymore inaccessible or expensive than Esia Moralas, Ray Wise, or Diedrich Bader? And Aglialoro wouldn’t be the first executive to spin something. So there was still the possibility of what, in some deep, dark, and petty element of my psyche, would have given me the satisfaction of the sanctimoneous: that the first cast, having seen what a flop they had participated in, jumped ship, or the less pleasurable one of the producers abandoning them in the hopes of getting it right the next time. Or it could have been a combination of both.

Unfortunately, the story of how the movie came to be offered less leeway for self indulgence and sanctimony than I would have liked. After I got past my own expectations, and an initial propensity to read them into my research, I found the truth to be a little less odious. First of all, it was a project that took 30 plus years to be realized, starting in 1972 when Albert S. Ruddy approached Rand with the idea, which she agreed to on the condition that it focus on the love story between Reardon and Taggart and that she had final script approval. However, Ruddy rejected the offer and the deal fell through. It was then proposed as a 4 hour mini-series, but fell through again due to a CEO change. Rand even attempted a screenplay, but misfortune followed the project when she died 1/3 of the way through it. After yet another setback, concerning the option to her script, Aglialoro, an investor, obtained the rights in 1992 only to suffer several more setbacks until the movie went into production in 2010 and was released in 2011. The hope was that Part One would finance the making of Part Two. But that, due to bad critical and box office reception, didn’t happen. However, Aglialoro and conspirators would not be discouraged and they somehow managed to scrape together an even bigger budget for Part Two only to create an even bigger flop. And as would be expected, the criticism it received was contingent the individual’s ideological position. Most critics, being of a liberal or moderate lean, bludgeoned it with some caveats such as the look of the film and the casting choices in Part Two. But the most insightful criticism came from the A.V. Club:

"The irony of Part II’s mere existence is rich enough: The free market is a religion for Rand acolytes, and it emphatically rejected Part I.”

Reception in the Conservative press was, as we would expect, generally more positive while being more mixed than one might expect. Fox New’s Sean Hannity and Jon Stossel, along with critics from conservative journals, sang its praises , while others were a little more reserved in recognizing the bad production values while recommending it for the message. But a point needs to be made here, one I have neglected, in that not every conservative would necessarily advocate this series or the ideological extremes that Rand goes to. William F. Buckley Jr., for instance, rejected the book itself on the grounds of its underlying objectivism. It would serve us here to make an important distinction made by Thom Hartman in that between your everyday conservative and the Neo-Con, what he referred to as a Con. As I have learned, throughout my intellectual process, conservatism can mean any number of things depending on which conservative you’re talking to, and even if I disagree with it in general, it is far too complex to warrant the venom I have focused on this particular extreme.

As it stands now, Part Three is slated to appear in the summer of 2014. And it will be interesting to see if it does. I mean given the struggles and dramatic turns this project has gone through, the making of it has become a kind of narrative in itself –one that, like a cheap B movie, you can’t help but follow through with to see how it turns out. There will, of course, be the true believers that will try to pass these struggles off (much as Aglialoro tried to imply) as the result of a Hollywood leftist conspiracy. It was the critics that killed it; not the quality of the movie. And we have to attribute some credibility to this argument. Creative people, at least those in the arts, do tend to be a little more liberal. But this is because their chosen pursuit requires that they be a little sympathetic and sensitive to the complexity of a given character or personality type. And it has been a cornerstone of my creative process to recognize that, if I look deep enough into myself, there isn’t anyone I can’t at least empathize with, if not sympathize, no matter how despicable. And what exactly did they expect? No more than I could expect to get through to the true believers with this, how could they expect this series to get through to the very people they are, with an air of disgust, referring to as “Looters”? How well would that work if people on my side of the fence referred to rich people and the true believers as “Hoarders”? How much luck would I have trying to get corporate sponsorship?

In the end though, I had to eat a little crow in having to admit that it wasn’t pimped by corporations, or a right wing think tank, for the sake of propaganda. And the Koch brothers, as far as I know, were not involved. Eventually, I had to admit, as much as I didn’t want to, that it was a labor of love. With time, I found myself making further consolations as I went back through both parts in a more lucid and calm state of mind. I found myself, having gotten past the initial sting, a little more sympathetic with Jack Hunter, from The American Conservative, who noted:

“If you ask the average film critic about the new movie adaptation of Ayn Rand’s Atlas Shrugged they will tell you it is a horrible movie. If you ask the average conservative or libertarian they will tell you it is a great movie. Objectively, it is a mediocre movie at best. Subjectively, it is one of the best mediocre movies you’ll ever see.”

Once I got past my predispositions and expectations, I found it to be not totally lacking in cinematic quality. And it did seem a little more sophisticated than most B movies in that, between Rand and those who behind the series, there was a clear awareness of just about every plot device that Hollywood had to offer –even if they came off as clichés. And Rand certainly seemed to know how to put a story together, which gives some credibility to the achievements she managed with other books such as The Fountainhead. So I can easily see how someone who was a little more sympathetic to the ideology, or even indifferent, might be able to enjoy it in the same mindless manner I might with some low budget film on ScyFy or Fear Net.

And while I have yet to well up as the train crosses the bridge, I also found myself with an inkling of sympathy for Hank Reardon. In the beginning of Part One, he gave his wife, Lillian Reardon a bracelet made of Reardon Steel, a rather appealing piece of work and admittedly thoughtful gift that reflected Hank’s commitment to his work and his high hopes for her future. However, Lillian, a gold digging looter who spends much of the story skulking about and plotting against her husband, takes it as a symbol of his egoism, scoffs, and eventually trades it with Dagny for a pearl necklace. And we have to recognize the semiology at work in that achievement is given privilege over materialism, and in the suggestion that Dagny’s common understanding of this privilege is what underlies the chemistry between her and Reardon. Interestingly, though, it was Lillian that provided the one insightful line in the whole thing. In a confrontation between her and Hank, over the divorce he wanted but she wouldn’t consent to, she approached him, looked him straight in the eye, and said:

“I’m the one that knows you most. You’re an ordinary man who thinks he doesn’t owe anyone anything. But you do. You owe everyone.”

What was revealed, whether consciously or not on the part of those who produced this story (perhaps even Rand), is the natural force fallacy that haunted and compromised Reardon’s courtroom stand. What one needs to accept, that is in order to see his point as anything else than ludicrous, is the notion that it is perfectly natural for some to rise to the top even if it comes at the expense of others. And while we can agree with Reich that it is not the role of corporations to act as moral agents, we have to take pause when the question is asked:

“What do the rich owe us?”

The problem is the underlying assumption that the achiever acts in a vacuum, which is easy to do when Capitalism does such a effective job of mimicking a natural force and can be treated like an expression of nature (like the weather or death). But it’s not. It’s a human construct and, by virtue of that, an agreement. And as with any agreement, when it fails to work for all parties involved (or too few of them), it becomes a disagreement that warrants renegotiation. Second of all, in the real world, Reardon would not have created his wealth by himself. He would have built it on the productivity of labor and the purchases of consumers. So while he is not obligated to recognize the “public good” as justification for his existence (even though it actually is given that the “public good” was and is why we agree to Capitalism in the first place), he has every obligation to recognize it when it expresses itself through government policy –that is since his achievement was as dependent on that policy as anything. But then I’m speaking in terms of the real world where far less ludicrous forms of legislation are created and enforced. And doesn’t this interdependence between producer and consumer point to a major discrepancy between the real world and Rand’s. Throughout the story, we’re presented a scenario in which America is suffering from major economic distress, one that is unlikely to produce the consumer base necessary to support Reardon’s and Taggart’s activities. Where would the profits come from? It seems as if such a scenario actually existed, the only real struggle the main characters would have is avoiding bankruptcy.

And it gets more interesting, assuming this scene to be taken from the book, when we consider that Rand may have revealed an internal conflict that inadvertently gave the story a little depth. First of all, she clearly recognized that Capitalism was, in fact, not a natural force, but a human agreement that that was vulnerable to further choices made by future agents. Otherwise, what would be the point? Why would she even feel the need to write Atlas Shrugged in order to “warn us”? And this just goes to a general inconsistency at work in the argument that results in a back and forth between Capitalism as an agreement that must be protected from the non-believers at all costs, and Capitalism as a natural force immune to all arguments against it -that is: dependent on which take happens to be convenient at the time. Furthermore, we get the feeling from this that Lillian is Rand’s worst nightmare due to a truth revealed that Rand could not completely overcome. You have to wonder if Lillian did not serve as her evil alter-ego: a composite of common characteristics (ambition, materialism, and general narcissism) and Rand’s own doubts about herself.

But, in all fairness, we should consider the time in which Rand wrote Atlas Shrugged which was published in 1957. At the time, the cold war was heating up and there were Marxist elements that still bought into the egalitarian dream of Communism. Nor was she the only one concerned about this aspect of it as was demonstrated in Kirk Vonnegut’s short story, published in 1961, Harrison Bergeron. Plus that, she, like Smith and Marx, had no way of foreseeing the actual consequences of her push for deregulation much as we saw in the economic meltdown of 2007. However, this point fails to redeem those who started this series in 2010 and, in fact, strategically chose the release date of the first part for tax day and the second for the 2012 election thereby confirming the series’ status as little more than propaganda.

Finally, it’s not as if I’m completely unsympathetic with the ideology. I too recognize that “selfishness” is a term that tends to be bandied about by those who would selfishly insist that you focus on what it is they think you should be doing. Plus that, being a man of modest resources, I know what it’s like to be surrounded by people who either can’t do for themselves, or won’t, yet make demands that I’m expected to fulfill. Like Bill Maher, who expressed as much on Real Time, I too know what it’s like to feel like I’m the only one pulling the wagon while everyone else jumps in. But it’s always a little more complex than that. For one, there is the issue of those who can’t do for themselves. What do we do in that case? Help them? Or take the more fascistic route of letting them die off? And it’s not like those that won’t lack for incentive or motivation. I mean working still seems to be a much better option than the hand to mouth existence I’ve seen such people get by on -social programs or not. But the most odious aspect of this is that Rand’s version of Capitalism acts as if society shedding this burden would magically make it disappear. But what really happens, by not spreading the burden through social programs, is that it becomes more localized either through the crimes committed by the desperate, or the desperate that turn to those closest to them to survive. Take, for instance, the Tea Party justification for dismantling social security, the argument being that, in the old days, families took care of their elderly. Of course, the problem with this is that back then the elderly usually didn’t get so elderly because healthcare was less developed and effective (and life expectancy much lower) with the consolation of being less expensive. On top of that, a family could generally survive on one income, thereby leaving one parent, usually the wife, with the time to take care of the aged. And given that such a financial arrangement is no longer practical, I fail to see how such an approach could be conducive to “achievement”, which is supposedly the main issue here. And there is a big difference between deciding to balance one’s own needs with that of others and the plundering of taking what one wants regardless of who suffers. And let’s be clear on this: neither myself, nor anyone I can think of, want to strip the rich of all their assets and distribute BMWs in the ghettos. And had Rand, or the movie makers, taken such considerations into the balance, they might have achieved something more than propaganda. They might have created a decent story. But that, in a spectacular way, is not what happened.