Archive for August 1st, 2001

Ex-Hume-Ing the Truth

Posted August 1, 2001 By Dave Thomer

For all their differences, Descartes, Locke and Berkeley share one trait: they believe that it is possible to develop an argument that defeats skepticism and gives human knowledge a foundation of certainty. That optimism is not universal among philosophers, as David Hume makes clear in Enquiry Concerning Human Understanding. Hume is probably the most noted of the British empiricists, philosophers who (like Locke and Berkeley) believe that our knowledge comes primarily through our observation of the world around us and not from any inherent set of ideas or rational arguments. Where Hume differs from his fellows is in the amount of faith he’s willing to put into those empirical observations.
Read the remainder of this entry »

Con Games

Posted August 1, 2001 By Dave Thomer

The worst thing about coming back from vacation is getting back to work. The best thing about coming back from vacation is telling people who didn’t go anywhere about what a great time you had. I figure if I combine the two and write a column about my vacation, I’ll come out somewhere in the middle and for once seem like a normal, well-adjusted fellow. At least till I get to the part about the four hour line for a sketch, but that’ll come in its own good time.

Now, Pattie and I have never taken a real extended vacation; the closest we’ve come is a weekend at a bed and breakfast. So this year we decided, to heck with it, we’re gonna fly somewhere on a jet plane, stay in a hotel, the whole nine yards. We both decided it would be cool — and pay attention here, because one reason I married this woman is that she would actually think this is cool — to fly out to San Diego for Comic-Con International, the biggest comic book convention in the world. Four days of comic buying, autograph getting, and watching people dress up like Jedi and stormtroopers. I had to promise her something about seeing the rest of San Diego while we were there, but I figured one day of cruising around California was a small price to pay for a visit to Graphic Art Nirvana.

Of course, first we had to get there, which is where the jet plane came in. Now, I am over six feet tall, and we were flying in coach. Despite this, and the fact that I booked the plane tickets, I forsake any hope of an aisle seat so that Pattie could sit by a window that may have been twice the size of my thumb and look at the clouds. As a result, I was slightly cramped during the six hour flight. Fortunately, I had my revenge, as the cramping resulted in my ankles cracking loudly for the rest of the day and night. Foley artists have recorded my ankles in order to better replicate the sound of a fierce thunderstorm, which can make trying to sleep in the same room with me an . . . interesting experience, to say the least. Cramping aside, the flight was fairly pleasant, the in-flight meal was actually pretty tasty, and everything was going along smoothly.

Until we started our descent, of course, and I experienced the most agonizing pain I can remember as my ears tried to deal with the change in air pressure. Ten sticks of Wrigley’s Spearmint did absolutely nothing to help me, and to make matters worse, I couldn’t hear a darn thing. Pattie would try and say something to me, and all I could do was shrug my shoulders. Now, a medical excuse to not hear any of your wife’s requests may seem like a good thing at first, but since we were on vacation there was no chance she was asking me to clean the dishes or take out the garbage, and besides, she’s a pretty good conversationalist most of the time. To say nothing of the fact that without any sense of hearing on my part, regulating the volume of my own voice was suddenly a challenge. Next time we fly, they’re gonna have to pull some kind of BA Baracus stunt on me, because I do NOT want to go through that again.

Anyway, we get to San Diego, and let me tell you, I’ve heard all sorts of claptrap about how the weather’s always perfect in San Diego, and it’s so beautiful, and the sun’s always shining, and I’m here to tell you it’s just not true. Just as an example, on Friday, I saw a cloud. It was one of those perfect, fluffy cumulus clouds, but still — it was a cloud. And I think the high temperature may have deviated by a degree or two during our five day stay. And once, for a moment, I think it may have been slightly humid before a breeze came in off the bay and took care of that. So really, we Northeasterners with our humid 100 degree summers and our slushy below freezing winters don’t have a thing to be jealous of, and I think those Southern Californians should just stop fooling themselves.

I’m running out of room here — why do I never have this problem when I’m trying to write a philosophy article? — so let me get to the con itself. When I say it is enormously huge, I’m understating it. Walking the floor of the San Diego Convention Center was probably more exercise than I get in a month. And it was full of retailers, artists, companies, filmmakers, you name it. I got to meet people whose work I’ve been reading for years and tell them how much I enjoyed it. Or at least, I could attempt to. Once or twice I got a wee bit tongue tied. The worst was when I hoped to commission a sketch from Jeff Moy, one of my favorite artists who drew the Legion of Super-Heroes for several years. I was standing by his table, patiently waiting for him to finish what he was doing so I could talk to him and trying to figure out what exactly the protocol was for commissioning a sketch, since I’d never done it before, when he stopped, looked up at me and asked something along the lines of “What can I do for you?”

Now, I’m in graduate school. I’ve given lectures and presentations pretty much on the fly. I consider myself a fairly intelligent articulate guy. Of course, since I all of a sudden was put on the spot, what came out was, “Um, yeah . . .sketch . . .can I get one? Or two? With characters? If I paid for them? Or something?” Let’s just say I’m sure I’ve made better impressions. To top it off, he didn’t have any more openings to do sketches that day. (I did manage to go back and get one the next day, so at least that story has a happy ending.)

One of the things Pattie and I had done in the weeks before the con was to go over the programming list to select all the entertaining and informative panels that we would attend. Unfortunately, these well laid plans were shot to pieces pretty quickly, especially for me on Sunday. George Perez, one of my favorite artists (whose work appears in the corner of the first Not News cover image, by the way), was at the con and doing free sketches for his fans. Unfortunately for me, George Perez has had a spectacular 25+ year career in comics, and he’s a LOT of people’s favorite artist. So much so, that somehow the lines for his sketches managed to be full practically before the convention opened for business each day. (I am still trying to figure out how that worked, by the way. The ability to distort time and space in that fashion would pay off my student loans in a hurry.) In true comic fashion, I got my sketch in the nick of time, with about 15 minutes before the whole con closed, and after a four hour wait that absorbed most of the day. Now you can say that’s crazy, but hey — someday, I might find myself stuck in a six hour line at DisneyNation and look back fondly on the old days.

The Juror Is Out

Posted August 1, 2001 By Dave Thomer

I had the following dialogue at least a dozen times in the beginning of July:

ME: I have to go downtown for jury selection on the tenth.

OTHER PERSON: Oh, they’ll never pick you. Lawyers never pick jurors with too much education.

I’ll be honest, I assumed the same thing, and I guess I can’t blame anyone who would knock a philosophy PhD student off a panel. I mean, would you want to have to convince some know-it-all punk whose job it is to nitpick and find holes in any argument? And while it bugged the nobler side of my nature, which really wanted a chance to do its civic duty, there was a side of me that really hoped the conventional wisdom would hold up. I had just finished teaching an intensive summer course at Temple, I still had a month to go in the other course I was teaching, I had a number of personal and academic projects to catch up on (including this site), and Pattie’s and my vacation in San Diego was fast approaching. So somewhat smugly, I showed up at Philadelphia’s Criminal Justice Center and figured I’d collect my nine bucks and be on my way.

Whoops. I must have been really convincing during the voir dire stage, because despite my education, despite my having been mugged last November, and despite having had some relatives who’ve had run-ins with the law, I found out I was accepted for the jury, and that I would start hearing a rape case on Thursday, two days later. All of a sudden, I had to make plans to cover the two class sessions I was guaranteed to miss, to say nothing of the fact that my plane left for San Diego exactly one week after the trial was set to start. The judge had said she expected the trial to take until Tuesday, which left only a one day margin for error.

Now, like I said, I was a little annoyed by this, but the larger part of me was excited about the chance to use my reasoning skills to serve the community. And when I arrived at the courthouse the first day, I quickly realized that my fellow jurors were intelligent, serious-minded people who took the responsibility seriously, as irritated as they may have been to have their lives disrupted by it. I was feeling pretty optimistic about our chances to resolve the case fairly, intelligently, and within the expected time frame. Then the trial started.

I may be biased by this experience, but I can not think of a harder type of case to decide than a rape case like this one, where both parties acknowledge sex took place and the crucial issue is whether or not there was consent. It’s not a question of looking at facts and determining if those facts are valid evidence for a particular conclusion, like ‘Is so-and-so’s alibi valid’ or ‘did so-and-so really have the opportunity to commit the crime.’. Ultimately, it boils down to a she-said/he-said (or a she-said/his-lawyers-said) situation, where your decision ultimately rests on your assessment of the alleged victim’s credibility. And that means that the ideal defense strategy is an all out effort to destroy that credibility, in a scene right out of every rape-related movie of the week. The defense made every effort to imply that the alleged victim had been flirting with the defendant for weeks, that she had behaved suggestively the entire night of the incident, that she had invited the defendant to her room and that the allegation of rape was a hastily-concocted attempt to save her reputation with her friends and boyfriend. It was a classic blame-the-victim maneuver, delivered by a female defense attorney whose smugness and hostility made me want to get out of the jury box and slap her. At the very least, I wanted to deliver a guilty verdict to show her that This Would Not Be Tolerated.

There was only one problem. Remember what I said about the case boiling down to an assessment of the alleged victim’s credibility? Well, I had major problems there. Her testimony conflicted in major ways with just about every other witness’ account of events before and after the incident. Now, my study of history and of journalism has shown me that there are almost always inconsistencies in different accounts of events — heck, when my friend and I were mugged, we remembered different things and different parts of the event only a few hours later. But in this case, the inconsistencies were major, and concerned crucial elements of the alleged victim’s testimony, details that were so significant it’s hard to imagine how one might forget or confuse them. The only conclusion I could come to was that the witness was lying about certain things.

Now, the judge’s instructions to the jury are quite clear — a juror can believe all of a witness’ testimony, or part of it. It’s not required to assume that because a witness lied in one instance, he or she was always lying. And it was plausible to me that the alleged victim was telling the truth about the alleged crime and lying about other significant elements in a misguided attempt to make her testimony more believable; in fact, that’s what I considered the most likely explanation. But then there’s the other part of the judge’s instructions — the definition of ‘reasonable doubt.’ We throw this phrase around all the time — Lord knows I use it often in my logic and critical thinking classes — but I don’t know if I had ever heard the official definition. A ‘reasonable doubt’ is one that would cause a person to pause or hesitate before making an important decision. Well, judging by the tossing and turning I was going in bed thinking about this case (and let no one tell you that jury duty is a walk in the park; besides the effort required to listen to and retain testimony — since you can’t take notes or reread the transcripts — the sheer weight of the responsibility is draining beyond belief), how could I not say I had reason to pause or hesitate? Sure, I had concluded that it was most plausible to believe that the alleged victim was lying about some things but truthful about other things, but the idea that she was lying about the whole thing was plausible, if unlikely. Thing is, I wasn’t allowed to say that the defendant was probably guilty. The presumption of innocence means that it had to be all or nothing. And I fully support that standard, even if it means that sometimes juries will have to let a person they believe probably committed a crime go free.

However, for a small but significant minority of jurors, there was no doubt in their mind that the defendant was guilty. The scenarios that I found to be plausible enough to raise reasonable doubt weren’t at all convincing to them. And there was no convincing these people otherwise — they had the courage of their convictions, and I applaud them for that. The notion of some kind of compromise verdict that would let us all get back to our lives was raised, and quickly dismissed. Moments like that made it a trying but ultimately heartening experience. The only problem is that our deadlock meant that the jury deliberations took far longer than anyone expected — and it came time for me to fly to San Diego. The other jurors were escorted out of the courtroom while I was left alone with the judge, who thanked me for my effort and dismissed me from the panel. I was free, but I felt an overwhelming sense of disappointment and failure that I have not been able to shake. I so desperately wanted to finish what I started, to resolve the question before us one way or another. Instead, I was being told that life, and the deliberations, would go on without me. I’m trying, now, to retain the positives of the experience; my faith in the possibility of a citizen democracy is restored, and my belief in the importance of the Not News project is stronger than ever.

Most of What Follows Is True

Posted August 1, 2001 By Dave Thomer

One of my graduate courses last spring was a seminar in what’s currently called “public history,” which pretty much covers any historically-grounded work that’s produced by and/or intended for an audience consisting of people outside the academic historical community. Museums, monuments, and commemorative memorabilia all fall into this category; so do many forms of historically-derived entertainment, from docudramas and documentary programs like Biography, Behind the Music, or Ken Burns’ documentary films to memoirs and biographies to films and programs that claim to be ‘based on a true story.’ It’s a very wide and varied field, and while the labeling of it as ‘public history’ is something of an attempt to maintain the perceived purity of the academic discipline, it’s also a recognition that these works are more accessible to the public than many of the texts and articles that attract the attention of ‘professional’ scholars. One of the challenging questions we grappled with throughout the term was how far one can go in trying to attract the public to a historical work while still maintaining the work’s integrity. This was very clear on the first night of the seminar, as we discussed what an ‘ideal’ public history project would look like, and whether any of the historically-inspired blockbuster motion pictures had a place in serious public history.

I was seriously torn on the issue. We’ve discussed the presence of cultural myths several times on the forums; I believe that these distorted views of our own history are one of the most serious problems we face in society, because they form the bedrock of many people’s resistance to the social changes needed to address our problems. (The myth of rugged individualism, for example, is one of the reasons why reforming our school funding systems is such a challenge.) Any form of popular entertainment that perpetuates these myths — such as the historical exhibits at the Disney theme parks described in Mickey Mouse History — has something to answer for, in my opinion. I think shows like Behind the Music and Biography can be dangerous in the way they transform history into entertainment by playing up certain emotional themes and restructuring a person’s life into a relatively brief narrative; the fact that many of these programs occur with the cooperation of their subjects is another cause for skepticism.

Furthermore, I am worried that many people will see that a film is based on true events and assume — consciously or unconsciously — that what they see on the screen is what “really happened.” I love Apollo 13, for example, but the filmmakers apparently chose to play up the tension between Bill Paxon’s and Kevin Bacon’s character in a way that did not really reflect what happened during the mission. Oskar Schindler’s breakdown at the end of Schindler’s List was also a Hollywood creation, and the writers chose to create composite characters for the sake of the storyline. Dramatically, I think the former worked much better than the latter. But both films are compromised as historical works. Read the remainder of this entry »