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‘The Ethical Governor’ and the Genius of John Butler
11.28.2010
12:26 pm
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According to the dictionary, the definition of the word genius includes:

n., pl., -ius·es.

Extraordinary intellectual and creative power.

That’s good enough for me, for by this definition, digital animator John Butler is a genius.

If you don’t know John’s work, then here’s a good place to start - an article Richard Metzger wrote up for Dangerous Minds, taken from an interview carried out with Butler earlier this year.

John is that rare and distinct thing, a creative talent with a unique and powerful vision - one that informs his analysis of current events into original speculative fictions. Underpinning this, John uses the terms and language of the military and financial sector, subverting them to reveal their true meaning.

All of which can be seen in his latest presentation The Ethical Governor, described as:

This presentation demonstrates a prototype of the Ethical Governor, a key component in the ethical projection of unmanned autonomous force.

In an exclusive interview with Dangerous Minds John Butler talks about the ideas behind The Ethical Governor and how they reflect today’s political, corporate and military world.

“I’ve been very interested in all aspects of what is now branded as the Long War, which I see as a war between Finance and Humans, rather than East versus West, Capitalism versus Islam, or whatever. 

A military invasion to secure resources and a financial austerity package to placate bondholders are all part of a unified process. It’s just that force is applied in a somewhat cruder manner in Afghanistan, Iraq, Pakistan and Africa.

What I’ve done is transposed the action to the Homeland, where it will eventually arrive anyway. The Drones are Chamber of Commerce assets, part of the elite Milton Friedman Unit.”

What is the inspiration for the presentation?

“The piece is based on actual systems being developed in universities right now in anticipation of fully autonomous war fighting. What I’ve done is resynthesised an academic presentation to reveal it’s true intent.

The language comes from the Military Educational Complex, but has been rewritten by the Butler Brothers to fictionalize it, and therefore make it more effective.

Concepts like the “Ethical Adaptor” actually exist. I liked that aspect most of all, the calibration of guilt, and the option to override the Ethical Governor when convenient.

I think that says it all about battlefield ethics. I like the idea of robots being “in Harm’s Way”, one of my favourite phrases.

How does this relate to what’s happening just now in the world?

“The anti IMF riots in Greece and the protests in Ireland and here are attempts by Humans to react to the Process.

Young people in Britain have no access to home ownership now, which is a detail that might have been overlooked, so they seem to have less to lose that Thatcher’s generation.

What are you working on next?

“Thinking up a companion piece just now, provisionally called Triage. It would be great to project this somewhere soon, as part of a Forum for the Future.”

Update

John Butler has forwarded Dangerous Minds an article on War Machines: Recruiting Robots for Combat from the New York Times, which confirms much of The Ethical Governor‘s theory, including:

“A lot of people fear artificial intelligence,” said John Arquilla, executive director of the Information Operations Center at the Naval Postgraduate School. “I will stand my artificial intelligence against your human any day of the week and tell you that my A.I. will pay more attention to the rules of engagement and create fewer ethical lapses than a human force.”

Dr. Arquilla argues that weapons systems controlled by software will not act out of anger and malice and, in certain cases, can already make better decisions on the battlefield than humans.

 

 
Previously on Dangerous Minds

An Interview With Avant Garde Animator John Butler


 

Posted by Paul Gallagher
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11.28.2010
12:26 pm
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Discussion
Stations En Route to Ray Davies Film Masterpiece: ‘Return to Waterloo’
11.23.2010
05:44 pm
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Haymarket, Edinburgh

I once met Ray Davies in a bar. I literally bumped into the great man just as I was exiting the toilet. Which isn’t the most auspicious place to meet a pop legend - between cubicle and urinal - or to announce an undying love for the man’s god-like talent.  But ‘carpe diem’ and all that, so I did, and also said how brilliant I thought his film Return to Waterloo.  Considering the amount of daft punters, myself included, he no doubt has to deal with on a daily basis, The Kinks’ genius was exceedingly gracious and kind.

Waverley, Edinburgh

I guess it was because I was rather middle-aged in my teens that unlike my contemporaries, who were out drinking, taking drugs and enjoying the folly of youth, I was at home the Friday night Return to Waterloo aired on telly. I’m glad I was, for Davies film was an incredible piece of TV, and unlike anything I’d seen before.

Looking back, it was a daring commission by the broadcasters, Channel 4, for here was a first time director’s film with no real plot, no dialog, just a series of vignettes tied together by a cycle of songs, about the day in the life of a Traveler (played by the superb Kenneth Colley) - his hopes, his fears, his desires, his failings, his loss. Doesn’t sound like much, does it? But believe me, it was.

Waterloo Underground

The film erupts out of a dark railway tunnel into a summer’s day. The Traveler wanders a railway station, through its crowds, then follows a girl with blonde hair, a newspaper headline with identi-kit picture - a rapist / murderer is on the loose. The Traveler follows the blonde (a memory of his missing daughter? a possible victim?) down into the underground, he passes a Busker (Davies, himself), and follows the girl along the platform. An underground train approaches. The Traveler’ nears the platform’s edge, its lights bleach out his face, and suddenly, as the day’s events rattle by, we return to the beginning.

It’s an opening that makes you sit up and take notice, as we are presented with several possible scenarios. Are we watching a murder mystery? A thriller about a missing daughter? A tale of sex/adultery/incest? It soon becomes clear these story-lines are unimportant, as what Davies is doing is something far more clever, subtle and personal.

Davies was thirty-nine when he made Return to Waterloo and it is filled with the disillusion of a man creeping towards his middle age and possible mid-life crisis. At the time, Davies was splitting up from his lover, Chrissie Hynde, with whom he had a daughter, and the film is tinged with a remorse for family life, for things that could have been, the pain of love lost. The question is how much does the Traveler represent Davies? How much is it a refraction of his own feelings?

Dear lonely heart, I wish things could be the way they were at the start…

But as we see, they can’t.  Actions, or the lack of them, bring their own unexpected results. 

Clapham Junction

Ken Colley has a list of credits from The Music Lovers, through Ripping Yarns to Star Wars and Return to Waterloo. He is one of cinema’s and television’s greatest character actors - a far better performer than most leading men. Colley does what many actors forget to do, he acts with his eyes.  When you watch Colley, you know what his character is thinking, what he’s feeling, what is going through his mind.

The train journey is a metaphor for the Traveler’s life, in much the same way as Sylvia Plath once used it to describe her pregnancy:

Boarded the train there’s no getting off

Nearing Waterloo Station, the Traveler fantasizes of a way of “getting off” - by giving his younger self the keys to his future, here’s what will happen, kid, here’s what you can do.

Lime Street, Liverpool

Did you know that Waterloo Sunset was originally Liverpool Sunset? It was Davies’ paean to the city he loves:

“Liverpool is my favourite city, and the song was originally called Liverpool Sunset. I was inspired by Merseybeat. I’d fallen in love with Liverpool by that point. On every tour, that was the best reception. We played The Cavern, all those old places, and I couldn’t get enough of it.

“I had a load of mates in bands up there, and that sound – not The Beatles but Merseybeat – that was unbelievable. It used to inspire me every time.

“So I wrote Liverpool Sunset. Later it got changed to Waterloo Sunset, but there’s still that play on words with Waterloo.

“London was home, I’d grown up there, but I like to think I could be an adopted Scouser. My heart is definitely there.”

Waterloo Station

As we approach our destination, there’s a question: why did Davies call his film Return to Waterloo? What was he returning to?

Millions of people swarming like flies ‘round Waterloo Underground
But Terry and Julie cross over the river
Where they feel safe and sound
And they don’t need no friends
As long as they gaze on Waterloo sunset
They are in paradise

This description from Waterloo Sunset does not fit with Britain in the 1980s. The sixties promise of “paradise” has been bartered and sold, by the then Prime Minister Margaret Thatcher. Tory policies during that decade knew the price of everything, but the value of nothing. But let’s not get too political, for the next song is as much about a private heartbreak as it is about public disillusion.

Now all the lies are beginning to show,
And you’re not the country that I used to know.
I loved you once from my head to my toe,
But now my belief is shaken.

And all your ways are so untrue,
No one breaks promises the way that you do.
You guided me, I trusted you,
But now my illusion’s shaken.
...

We had expectations, now we’ve reached
As far as we can go.

London

Return to Waterloo reaches its destination, a brilliant and original film, which leaves one wondering why Davies hasn’t written and directed more for film and television?

A few years ago, a friend told me Ray Davies allegedly has this burning ambition to write a sitcom - now wouldn’t that be something?
 

 
Excerpts from Ray Davies’ ‘Return to Waterloo’ after the jump…
 

READ ON
Posted by Paul Gallagher
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11.23.2010
05:44 pm
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Discussion
Dangerous Minds Radio Hour episode 9
11.22.2010
10:29 am
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Hello, it’s the ninth episode of the Dangerous Minds Radio Hour. Allow, if you will, host Brad Laner access to your head space and be rewarded with as many indelible melodies, rhythms and sounds as can be crammed into one Earth hour. Today’s episode features a mini-tribute to the powerful, emotional music of Judee Sill (picture above). Her music is so significant to me, I can hardly muster the verbiage to describe it. Staggering stuff, if you’ve not yet heard it you’re in for a treat.

 
Crispy Ambulance - Deaf
Theatre Of Hate - Rebel Without A Brain
Marvin Gaye - Troubleman
Lady June (with Kevin Ayers and Brian Eno) - The Letter
Judee Sill - Jesus Was A Cross Maker
Judee Sill - The Kiss
Neil Young - Don’t Cry
The Roches - Hammond Song
Wigwam - Fairyport
Frank Zappa - It Just Might Be A One Shot Deal
Things to Come - Come Alive
Prince - New Position
Prince - I Wonder U
The Fiery Furnaces - Mason City
 

 
Download this week’s episode
 
Subscribe to the Dangerous Minds Radio Hour podcast at Alterati

 

Posted by Brad Laner
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11.22.2010
10:29 am
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Discussion
Good Morning Mr. Orwell: 1984 live TV experiment with Cage,Ginsberg,Dali,Paik,etc
11.17.2010
02:59 pm
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On new years day 1984 25 million people (myself included) throughout the world tuned in to PBS to watch video art pioneer Nam June Paik’s pleasantly shambolic live experiment Good Morning, Mr. Orwell featuring the likes of John Cage, Allen Ginsberg, Phillip Glass, Salvador Dali, Laurie Anderson and other usual suspects. All hosted by a bemused and mildy annoying George Plimpton. The full version of this was once up on the mighty Ubuweb but has mysteriously disappeared, so I bring you as many fragments of said program as I could find. Watching this in retrospect it comes off as perhaps the last 60’s style large scale “happening” featuring some of that era’s major hitters and is of course very quaint seeming “We’re linking New York to Paris on live TV !”, still very enjoyable to watch.
 
John Cage/Joseph Beuys

 
A ton more after the jump…

READ ON
Posted by Brad Laner
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11.17.2010
02:59 pm
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Discussion
Face to Face with Allen Ginsberg
11.16.2010
10:23 am
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This is a fine interview with Allen Ginsberg taken from the BBC series Face to Face, in which Ginsberg opens up about his family, loves, identity, drugs and even sings.

The series, Face to Face originally started in 1959, and was hosted by John Freeman, whose skill and forthright questioning cut through the usual mindless chatter of such interview shows. Freeman, a former editor of the New Statesman was often considered brusque and rude, but his style of questioning fitted the form of the program, which was more akin to an interview between psychiatrist and patient. The original series included, now legendary, interviews with Martin Luther King, Tony Hancock, Professor Carl Jung, Evelyn Waugh and Gilbert Harding.

In 1989, the BBC revived the series, this time with the excellent Jeremy Isaacs as questioner, who interviewed Allen Ginsberg for this program, first broadcast on 9th January 1995.

Watching this now, makes me wonder what has happened to poetry? Where are our revolutionary poets? Where are our poets who speak out, demonstrate, make the front page, and tell it like it is? And why are our bookstores cluttered with the greeting card verse of 100 Great Love Poems, 101 Even Greater Love Poems, and Honest to God, These Are the Greatest Fucking Love Poems, You’ll Ever Fucking Read. O, for a Ginsebrg now.
 

 

Posted by Paul Gallagher
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11.16.2010
10:23 am
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Discussion
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