The adolescent brain?

Blakemore says: “Adolescence is defined as the period of life that starts with the biological, hormonal, physical changes of puberty and ends at the age at which an individual attains a stable independent role in society.”

I’m not sure I understand this definition. The onset of puberty is pretty objective, but how do we define what a “stable independent role in society” is? Isn’t that what modern society actively tries to prevent teens from having by forcing them to spend their days with high school and homework, with the only adults they know being figures who are telling them what to do?

In other words, the definition seems to say: “Adolescence starts with puberty, and ends when we adults decide it ends.”

Blakemore discusses a behavioral study in which a subject is asked to move objects around from the point-of-view of someone else. Studies show that, on average, adults are better at this task than adolescents. That is, adults make fewer errors. The conclusion is that, Blakemore states, “the ability to take into account someone else’s perspective in order to guide ongoing behavior, which is something, by the way, that we do in everyday life all the time, is still developing in mid-to-late adolescence.”

I’m not convinced this task so simply represents one’s ability to “take into account someone else’s perspective.” Nor would I imply that a lower error rate on this task necessarily correlates with better social behavior, such as the ability to control one’s anger in the face of hostility, or the mistake of perceiving someone else’s comments as personal attacks when they are not. I’m not sure these test results tell us anything useful about teenage behavior as a whole.

We could easily imagine someone practicing this task to such an extent that they attain an error rate of 5% or less. But who would argue that these people would thus behave better in emotional social situations? (And how would we define “better”?)

Blakemore goes on quote Shakespeare’s The Winter’s Tale:

“I would there were no age between ten and three-and-twenty, or that youth would sleep out the rest; for there is nothing in the between but getting wenches with child, wronging the ancientry, stealing, fighting. … Would any but these boiled brains of nineteen and two-and-twenty hunt in this weather?”

This, to Blakemore, is evidence that adolescence is not a recent phenomenon.

Firstly, in the big scheme of human societal development, Shakespeare is quite recent. But I think it’s important to note that there is a difference between perceptions of there being an “adolescent” stage of normal human development (and that we should, as a society, take measures against it), and the notion that your own generation, and your own status within it, is the best, or at least not the worst. To think that the “young people (or any social group of which I am not a part) of today are not as skilled, or as intelligent, or as decent as me” is certainly not a new thought. What is the difference between the socially-defined stage of “adolescence” and classic human age-ism?

Blakemore goes on to discuss risk-taking and the role of the limbic system, concluding that teenagers take more risks because the rewards from the limbic system are hightened. But how do we define whether or not a task is “risky”? Does the limbic system’s rewards only respond to tasks that the rest of the brain has come to understand as “risky”? Does peer pressure make a task seem less risky? What if this has nothing to do with risk at all? We really gain nothing from this point.

Finally, Blakemore tries to relate this all to education, saying: “40% of teenagers don’t have access to secondary school education. And yet this is a period of life where the brain is particularly adaptable and malleable. It’s a fantastic opportunity for learning and creativity. So what’s sometimes seen as the problem with adolescence, heightened risk-taking, poor impulse control, self-consciousness, shouldn’t be stigmatized. It actually reflects changes in the brain that provide excellent opportunity for education and social development.”

It’s a bit of an empty statement, as we don’t know what exactly she’s defining “education” to be. Are we meant to conclude that today’s education system is doing unseen good for teenagers? Are we meant to conclude that older people lose their ability to learn because their brains aren’t developing in the same ways? Are we simply meant to feel inspired? I don’t know.

(Unrelated digression: Blakemore mentions that the prefrontal cortex is proportionally much bigger in humans than any other species. I imagine the point of mentioning this is to imply a correlation between prefrontal cortex proportional size and intelligence. But we judge how intelligent other living things are by how their behavior compares to ours. We assume we’re smarter than any species that can’t talk, or can’t solve problems in ways we can understand. But is that assumption valid? Can intelligence be plotted linearly, and therefore be easily judged with greater-than, less-than comparisons? I don’t mean to imply that I believe humans don’t have unique brain powers among all the other species on our planet. I only mean to assert that intelligence is not a simple matter of comparing abilities (or, by correlation, brain properties, like the proportional size of the prefrontal cortex), because we can only compare abilities that are within our power to understand, and for something to be beyond our intelligence does not imply that it is somehow more or less intelligent; simply that it is a different intelligence.)

ParaNorman review

paranorman

I saw ParaNorman in 3D the other day.  He’s my short review.

The animation was incredible.  I have never seen stop-motion so fluid and life-like; it was beautiful.  They even got blubberous body fat to move realistically (well, realistically for a stop-motion puppet).  After seeing so much pure-CGI, it’s so refreshing to see not only something with a different texture, but something that really pushes the state of the art forward.  The bar for stop-motion animation has just been set quite high.

The humor was a bit raunchy for me, which is quite odd for PG movie.  But references to or mentions of irritable bowels, diarrhea fascination, f-word swearing, itchy genitals, same-sex relationships, steroid use, butt-sniffing, butt-pausing, butt-grabbing, and more just seemed awkwardly out of place, as if the filmmakers were either trying too hard to be "edgy" or just had awkwardly dirty minds.

The story itself was a mix of weak and strong elements.  The opening scenes, establishing the character of Norman and his abilities to see and talk to the dead, were wonderful.  It was easy to become immediately sympathetic to him.  Also wonderful were the film’s final scenes, when Norman faces the antagonist face to face and sets things right.  I thought it was powerful and touching.

That said, the rest of the movie felt like a lot of boring filler.  Nothing very important seems to happen between the opening and the climax, and just about all the characters except for Norman and his Grandmother are portrayed as extremely and annoyingly stupid.

Norman’s parents especially made no sense.  The father hates that Norman claims to be able to talk to ghosts, but why it makes him so angry is unexplained, so we can’t relate to him.  (And why doesn’t Norman keep his ability a secret in the first place?  I don’t know.)  The mother tries her best calm the tension between her husband and her son, but she has no real insight to offer.  At one point, after the father erupts in anger and storms off, the mother says to Norman something like: "Sometimes when people are scared, they say things that can seem really mean."  Normal replies: "He’s my dad, he shouldn’t be scared of me."  The mother replies: "He’s not scared of you, he’s scared for you."  Does she mean: "He’s scared that you might be just as crazy as you sound"?  That’s how it comes across to me, and I don’t know how saying that could possibly help the situation.  What the mother should’ve said is: "Look, Norman, if you can really talk to ghosts, you’ll just have to understand that since most people can’t, they will find the idea that someone can to be crazy.  You’ll have to accept that and live with it."  The father, unfortunately, just seemed unsympathetically crazy.

Finally, the voice work was great for the most part, but it felt like some characters, especially Norman, had trouble with the more energetic lines, as if they were afraid to raise their voices.  It made some parts a bit annoying because the timidity of the voice didn’t match the energy of the animation.

Overall, the film was a mix.  I can’t judge it overall.  It had some really wonderful elements mixed with some really awful elements.

Inklewriter

Some of my earliest games made in good old GW-BASIC were text-based interactive stories; choose-your-own adventures, but a little more complex than the in-print books; not that much more complex, I was only ten years old or so, but being able to use the magic of “variables!!” the story could remember player names and past choices. Unfortunately the games are now lost… so you’ll just have to trust that I was smart enough to do that when I was ten.

The point is, I enjoyed the art of interactive fiction.

So I recently read about an online program called Inklewriter which allows storytellers to quickly and easily write and test interactive fiction. I used it to quickly write a simple dialog story called The Movie Deal.

I’d like to try to write something more serious with it at some point. It looks like they’ve recently announced a contest that I think would be fun to try.

So, go have fun with it. And let me know about your work if you’d like me to check it out!

Tricks of the Hopeful World Changers

As the media continues to celebrate sexuality in an ever-increasing “anything goes” manner, Christians may find themselves unsure of what to make of it. On the one hand, we do want to be fair and equal people, treating each other with dignity and respect. How can we not want each other to be truly happy? On the other hand, these issues didn’t arise yesterday; religious teachings on the spirituality of the sexual nature of humans are not some ancient arbitrary teachings like “the world is flat” that movies and TV shows are just now calling into question. Everyone understands that our own sexual natures are something intimate and special to us, otherwise there’d be no issue about this in the first place.

If approached with an open heart in a true spirit of seeking understanding, these can actually be healthy conversations to have. (Not that many people would actually want to have them, which only helps to demonstrate how naturally intimate the subject is.)

But we can’t approach the subject with the premises that:

1. “people who disagree with each other actually fear or hate each other” or that
2. “surrendering to your natural temptations is accepting who you are” or that
3. “as long as you’re not hurting other people, whatever you think or do is OK” or that
4. “there is nothing spiritual about sex” or that
5. “sexual actions are just a matter of love and happiness.”

These are the “trick” premises the opponents use in an attempt to take advantage of a Christian’s good nature. (Which isn’t to say that people don’t honestly believe these premises.)

The first two tricks seek to frame the argument as if it’s only about love and acceptance, which it is not. It’s about the morality of sexual acts, not whether we or not we love each other. Still, framing the argument this way is a good way to get a lot of Christians to believe they’re on their side. But it is like the child who begs for ice-cream, claiming that his father doesn’t love him if he doesn’t give him what he wants. And if the father can only ever prove his love on the child’s terms, what can he do, and what can his love ever be worth to his child?

The second trick is especially nonsense, yet people will accept it without question. If you find yourself angry and wanting to hit someone, would you accept the violence as “just being who you are”? When you find yourself envious of a rich man who lives in a mansion, do you honestly think it’s because you were born to live in a mansion, and that’s just who you are? The worst thing about this trick is that it denies your Free Will, your ability to choose what to do. It persuades you that surrendering to your instinctual desires a perfectly OK, because it’s who you are. No, it’s not. You are a conscious entity that can make your own choices. You do not have to be ashamed of a temptation, nor do you have to let it define you or control you. You are what you choose to be; you are not merely the sum of your natural desires.

The third trick seeks to persuade the Christian to just not care, and thereby not get in the way of whatever legal and societal changes they seek. This argument could also attempt to downplay the argument, as in: “there are worse things to worry about, like murder!” Similarly, I have heard Christians argue things like “same-sex marriage is nothing to worry about because so many opposite-sex marriages are already full of immoral sexual acts and divorce.” It is such an obviously fallacy, it is hard to know how to respond.

You may notice that the fourth and fifth tricks disagree with each other. If sex has something to do with love, then it has something to do with spirituality.

The fourth trick seeks to divorce sexual acts from any spiritual understanding at all. This trick would work wonderfully, were it not for our innate understanding of our own sexual natures, and how we understand them to be intimate and special to us. This is similar to how some atheists deny that there is any spirituality to life itself, but rightfully refuse to deny that there exists an objective morality that exists beyond and outside of our minds, or that love is just otherwise meaningless chemicals in the brain. Our acceptance or denial of this premise cannot be based on logic, just as we cannot logic ourselves to the rightfulness of Christianity. (Which isn’t to say that Christianity is illogical; it’s not at all. But it’s like trying to show the logicalness of logic itself; you can’t; you have to accept certain premises on their own terms before you can work with them.) In the end, it is a choice. Do we want seek the physical pleasures of this world, or do we trust our innate feelings that there’s more to life than constantly pleasing the physical sensations? Surely if there’s something worthwhile doing in the nursery school of the spirit that is this physical life, it is answering this question with as much certainty as we can. If we accept that “there is nothing spiritual about sex”, on what grounds can we ever deny that “there is nothing spiritual at all”?

The fifth trick again tries to remind the Christian that love is a good thing, as if that’s all the argument is about. It supposes that “love is love!” would be a good thing to remind each other. Sure love is love, but what does has that got to do with anything? It’s like arguing that two plus two should be allowed to equal five because “numbers are numbers.” Why not instead use the mantra “sex is love”? Could it be that even the opponents understand there is a difference? That not all sexual actions imply love, and that not all love requires to sexual intimacy? So, if the two are in and of themselves different things, we are left to ask: When is sexual intimacy an appropriate expression of love, and when is it not? And this what the thousands of years of Christian teachings on the morality and spirituality of sexual actions are all about, and seeking to oppose them is not new or revolutionary. Rather than considering these teachings or making arguments within their contexts, it is easier for the opponent to try to change the premises to appeal to Christians’ love and use tricks, which would be almost silly in and of themselves if so many Christians didn’t fall prey to them.