Padd Solutions

Converted by Falcon Hive

Don't bet on the Batman

Posted by moses @ 16:37 • , , , , , , • 0 comments



Upon hearing that a massacre had occurred during a premiere of the latest iteration of the Batman films, some people asked, "Where was Batman?"

Perhaps the joke, all jokes are not an appropriate response to such a tragedy. But this is also a singularly powerful question. Indeed, where was—is—Batman?

Of course. He's not real. Batman is fiction. Everyone except some kids (and maybe some delusional fools) knows that. People can be expected to know the difference between reality and the superhero fiction, can't they? Well, can they?

Most people know that superheroes don't exist. But to what extent do they grasp this fact? I mean, why do people like superhero stories? The modern trend in fiction may be to humanise superheroes, to depict the conflicted and flawed hero. But they're still superheroes—they are still powerful; they can still solve the world's problems, even if they must bleed and sacrifice much in the process. Perhaps stories like Watchmen defy this convention altogether, but not the Batman films.

Christopher Nolan's Batman is a tortured hero, a hero who has to mask himself as a villain. But the audience are well aware that he is hero. And the fantasy of the mighty superhero, furthermore, is not shattered. People can expect Batman to save the world within the big screen. They want to savour—even just a shadow of it—the excitement that springs from the knowledge that a saviour is here to fight for them. Fiction melds with reality; the story is not real, but physiological reaction to it is.

That is why the massacre is semiologically powerful—a horrible crime is occurring while the superhero is 'present' on the big screen, a demonstrably flat image that interacts with the world purely as illusion. It's not even impotent; it's nothing at all. The mirage is shattered completely by the jarring reality of a tragedy unfolding simultaneously. Thus, observers may be prompted to ask, "Where was this hero?" Of course they'd known that he doesn't exist. But this incident makes them realise that anew and takes the realisation to a higher, uncanny level.

The death of the superhero, a theme that has been explored in fiction, is not as devastating to the fantasy as the real deaths of superhero fans in front of the big screen.

However, while many of us may intuit this, not everyone will realise what it means. Take, for example, this Facebook comment about the survivors:
All I can say is send them a hero Chris send the dark knight to the hospital for them, so the children know there are real heroes out there, and that evil won't win
This is exactly the kind of sentiment that should have been extinguished by this incident. Yet people want to hold on to the fantasy and, worse, to perpetuate it by instilling the same delusion in children—the notion that there is a simple fix to the big problems that can be accomplished by a few mighty and benevolent individuals.

Perhaps adults have a vested interest in raising children who are naïve and docile. Some of them had probably been raised to be that way themselves. But the use of a crutch is symptomatic of disability—this much-needed delusion reveals people's psychological inability to steer away from a petty existence waiting for salvation.

Those people have got it the wrong way around. If they did exist, superheroes would exist because people are unable to fight for themselves. Thus, instead of wishing that they did exist, we should want their existence to be unnecessary. That, not having a superhero around, would be truly empowering.

Please subvert

Posted by moses @ 16:08 • , , , , • 0 comments


Art and patronage has a complicated relationship. The reason is simple: Whoever pays for and facilitates the creation of art tends to influence the direction of art.

While this may be an ordinary thing in the art market, where artworks are freely hawked like any other commodity, it presents a problem for political art of the subversive kind. Art that receives state patronage is by definition art that is approved by the state; it therefore has limited subversive potential. Subversive art must hence be art that is not explicitly approved by the state; and an artistic object or act that is extra-legal is thus a good candidate for subversive art.

The arrest of the 'Sticker Lady' in Singapore and the subsequent online furore provides a good entry point for a discussion about the relationship between the state and subversive art.

From the point of view of the state, what she did was an act of vandalism or (if the distinction matters) at least that of the defacing of public property; to many, it was art. These are irreconcilable viewpoints not just because the state is not the best arbiter of what is and what is not art, which is a complex debate not suited to the dry legalist realm of discourse, but also because what she did is so compelling by virtue of the fact that it was an act of defiance of the law—in other words it spoke to its audience because it was subversive.

So, in that sense, demanding that the government recognise what she did as art and not a crime is quite beside the point. And, by extension, turning this into an issue of national policy on art and creativity is the wrong way to go about it; without a consensus that what she did was worthy of official recognition, the conversation would quickly reach a dead end. Instead, what we can do is to question the penalty against such acts and debate the implications of a harsh penalty on freedom of expression. Realistically speaking, what she did would always be legally deemed as a crime, but the enforcement of the relevant laws could certainly be toned down.

Why is a review the legal penalty for vandalism important? Firstly, a harsh penalty for vandalism is indicative of an authoritarian political culture that is not tolerant of dissenting voices, especially when this penalty is disproportionately heavy compared to penalties for other more severe crimes.

Secondly, if we want art of every kind to flourish, including subversive art, then it follows that we should try to reduce the heavy-handed prosecution of some kinds of art. Demanding that the authorities recognise subversive art is contradictory, but asking them to be less stern towards it is not.

Finally, this would also serve as a tangible and actionable goal that extends beyond this incident–a larger goal that could actually be reached without the debate being hopelessly mired in arguments about art and vandalism.

We the Citizens

Posted by moses @ 18:16 • , , , , , , , • 0 comments


Doing some research on the public discourse surrounding last year's racist tram incident in the UK, I was prompted to ponder the rise of xenophobic sentiments in Singapore. 

As held in diaspora studies, there is no such thing as a mythical, unchanging homeland. A people's conception of their homeland is formed through experience: What you grow up knowing as your home will be the home that you know. That may seem obvious and tautological; yet people persist in perceiving their homeland as a thing unchanging, when, in reality, their conception of the homeland is simply that which they have learned.

As such, if you're used to the idea of a homogeneous or monocultural homeland, that is how you would conceive of your homeland; that is the image in which you might want to remake your country.

At the very least, Singaporeans are accustomed to the idea of multi-racialism. It has been drilled into us since we were young. Those with a libertarian bent may deride such education as plain indoctrination, but, in truth, it is hardly alien to the process of socialisation that every normal member of society goes through as he/she grows up. And it works. Of course, racism still exists, but there is no popular challenge to idea of Singapore as a multi-racial society.

Yet it has not saved Singapore from the tensions and culture shock associated with immigration, as immigrants from 'alien' cultures have become numerous enough to have a perceived impact on the local way of life. 

Further fuelling the tensions is the political situation, the official support for mass immigration, which sets up a bitter conflict between the authorities and citizens who feel that their grievances are being ignored. While I believe that an open immigration policy is, as typically held by liberal political philosophy, morally right, Singapore's immigration policy is firmly rooted in neoliberalism. In line with the country's ideology of 'pragmatism', immigration is to be supported on the basis of its necessity for economic growth. 

This ideology reduces not only immigrants into economic units, it does the same to the locals, who must embrace cutthroat competition. Wages are driven down and the economic worth of immigrants, especially that of the wealthy among them, is emphasised. The latter is clearly demonstrated by the Chinese evening daily's headline on the recent accident involving a reckless Ferrari driver from China. While hardly relevant to the tragic incident, the newspaper opted to announce the wealth and prestige of the driver first, perhaps to pre-empt local anger, ever-simmering as it was, towards Chinese immigrants. 

What the headline ends up doing is intensifying the existing social tensions, as locals once again feel that they are being treated as mere economic units whose worth is incessantly being compared to the immigrants'. And the fact that local media is tightly controlled by the authorities lends whatever the former prints an air of official legitimacy—it certainly means the authorities cannot conveniently push the blame away. 

Thus, the knee-jerk xenophobia among the public, while deplorable, should be understood as a by-product of the neoliberal race to the bottom, which has exacerbated social inequality in the name of economic growth. And as long as growth takes precedence over social justice and a fair distribution of rights and responsibilities, the government will continue to give ammunition to the xenophobes; which is a pity, since an open immigration policy could work without driving down local living standards and causing so much resentment, if only the government would speak the right language of multiculturalism, abandon the neoliberal religion and adopt better labour regulations. 

Feel Good Inc.

Posted by moses @ 08:46 • , , , , , , • 1 comments


Some people have idealised views of how they can change the world or their surroundings. It's good that these people have dreams, but even if those dreams can be translated into action, it's worth asking if the action would make any real difference. If not, then it would be quite silly for them to think that they are actually doing something.

Recently, as part of their school project, a group of students in Singapore decided to reach out to foreign workers who are employed to do 'low-skilled' jobs. As a result of this outreach, the students have put up an account of the workers' daily lives and their struggle to earn in a living in a society composed mostly of people of entirely different classes from them, a society that mostly ignores their existence.

This is a wonderful attempt at raising social awareness. But, unfortunately, it stops there. I find the students' recommendations for future action particularly uninspiring. The following is what they advocate, in full:
All i want to say, is that we should really learn to appreciate and accept them as our equal. Maybe the next time we see them, we could perhaps just give them a simple smile, or even a word of thanks, to show our appreciation for what they are doing, I'm sure it would make their day. Or at the very least, the next time we see them, we can just try not to pull an ugly face or walk away.

Thank you for taking time to read this, and although every share would not get a dollar donated or anything, but every share is a step closer to a warmer, more accepting society.
It seems not a little naive and condescending to acknowledge that low-skilled foreign workers are economically marginalised while acting as though social acceptance and recognition are going to improve their lot. Yes, levels of social awareness are painfully low in Singapore such that having any is quite commendable. But, having become aware, what are you going to do about the system and the government that author such oppression?

I find the above project to be the humanitarian equivalent of "sending positive vibes" to help people who are faced with problems. It tries to engender good sentiments but does nothing in reality. While these workers may appreciate your reaching out to them, the failure to even mention political and economic solutions makes this gesture seem almost as hollow as the act of spamming of "Kony 2012" on the Internet, a recent example of slacktivism. Raising awareness becomes simply a way to soothe your own conscience when you're not prepared to ask the tough questions and talk about real measures to create change.

So stop just smiling like fools in a photo op—bare your teeth and attack injustice at its source.

Illustration by Frank Chimero

Make Singlish official? Don't be extra, lah!

Posted by moses @ 15:42 • , , , • 0 comments


Some people may lament the lack of official recognition for Singlish. There is no definitive glossary of Singlish terms, no authoritative dictionary that people can turn to in order to reaffirm the meanings in this local variety of English that they use.

But does Singlish (as this Wiki article claims) not have its own version of the Oxford English Dictionary because the government disapproves of it? While that may be a contributing factor, it is but one that contributes to Singlish's larger 'problem'—the lack of institutionalisation. 

And that is as it should be.

But why wouldn't a Singlish dictionary be useful? It might be useful for foreigners who are visiting Singapore, as an aid for finding their way in daily conversations with locals. But for such visitors, wouldn't a short glossary do? 

If some visitors require more because they are staying for a much longer period, wouldn't it be best if they learned by being involved in local conversations? Doesn't the appeal of Singlish come from the fact that it is the lingua franca of the neighbourhood, something that is tacitly learned and that is the culmination of the different customs and culturally-specific meanings that have been thrown together in the melting pot that is Singaporean daily life?

Hence, attempts to codify Singlish and set its rules on paper are missing a crucial point—the very character of it as a creole that is woven into everyday life. Moreover, this brings up the more fundamental issue of the difference between creole and language, a difference that can tell us why the idea of a proper Singlish dictionary is at present quite nonsensical.

As mentioned earlier, meanings in creole are tacit and very much tied to users' habits rather than to formal rules. Thus, the very nature of a creole implies that its rules are institutionalised to a lesser degree compared to a language. And it is worth saying here that the politics of language is really all that separates the two, since language can hardly call itself pure either—most languages are after all derivations of others.

In that sense, there isn't really a sacred philosophical distinction between creole and language. Still, creole is, by virtue of its relatively uninstitutionalised character, closer to Wittgenstein's concept of language-games—examples of language use where actions define the meanings of words and the rules of language. In other words, the meanings of words in creole depend on how people collectively use those words (even more so than in language), in contrast to an imaginary situation where people adhere strictly to prescribed meanings when using words.

So, just as with language, the meanings of words in creole are defined by convention. The difference is, in creole, the conventions are not institutionalised to the same degree by things like authoritative dictionaries, academies and educational systems. Hence, attempts at creating creole dictionaries would not enjoy any kind of spectacular success without also being a real step towards institutionalising the rules that govern creole and thereby towards turning creole into language.

Of course, convention, being a rather 'democratic' thing, tends to come about only with the tacit agreement of the subjects—in this case the creole speakers. And this has implications not just on the meanings of words, but also on the nature of the creole itself. That is why Singlish dictionaries will, in the foreseeable future, remain mainly as humorous rather than useful material; and they will remain so until Singlish speakers tacitly agree to turn Singlish into a properly institutionalised language that is more rigid and bound by abstract rules.

Is losing yourself good?

Posted by moses @ 18:55 • , , , , • 0 comments


I keep coming back to David Brooks' article on finding a job because I'm quite fascinated by its message. When I first read it last spring, my first reaction was to be indignant. I was still working towards my degree and feeling secure in school. I still had a little confidence that if I did well, it wouldn't be a problem finding a rewarding job that I am passionate about.

Six months after graduating, and having indeed done well in school, I have lost all that confidence as I continue to look for paid and fulfilling work (I have done unpaid work in the meantime, so I'm not just being lazy). I find myself applying to a variety of positions just so that I can pay my own rent and gain any professional experience that will be useful later.

So was Brooks right? Is it a matter of applying yourself to whatever opportunity comes up and not of finding the opportunities you want? In a practical sense, he is certainly right. Do most young job seekers have any other choice in these times?

But, inside, I'm still resistant to his message. There is something I fundamentally disagree with, and it's not just because I'm being naive and idealistic. Yet I could never put my finger on what. Until now.

Imagine a society where a typical adult has prosthetic limbs. It’s normal to have them and they are seen as an important part of what it means to be an adult and a full-fledged member of this society. These prosthetic limbs are advanced enough that they don't hinder people's day-to-day functioning. In fact, they perform better compared to natural limbs, which is originally why people do this. The only price you have to pay is the relatively small cost of the operation and the moderate amount of temporary physical pain associated with the process. To some young people, this procedure might seem a little frightening. They might express their reservations about it and they might even try to negotiate a way out. But the adults who have gone through the procedure pooh-pooh these feelings. It's just part of the process of growing up, they say; you'll get used to it.

But what these adults don't realise is the price paid in terms of the loss of your natural limbs. They have already paid that price, so they can easily forget about it. Only practical concerns enter into their calculations. Young people, however, may be aware of this price. They may like they way they are and don't like the idea of being compelled to cut off parts of themselves as part of a self-augmentation procedure.

This is essentially the problem with Brooks' message. He is arguing not only for the practicality of simply grabbing whatever opportunity comes up, but also that this is quite natural and is, in fact, good for young people because that is how they will find themselves. It doesn't seem to occur to him that who young people are before they enter the working world may hold some value that will be lost in the process.

Thus, capitalist wisdom, as articulated by Brooks, holds that one's self identity cannot be complete without being shaped by one's role in the capitalist relations of production. While it's true that the latter tends to shape one's self identity, such wisdom jumps the gun by normalising this process and not recognising prior identities as being complete and worthy of holding on to. And it glosses over this uncomfortable point by assuming that youth precludes having a strong self identity in the first place, which allows it to posit the process of finding one's career as incontrovertibly and necessarily part of the process of 'growing up' and becoming a fully-formed human being. In other words, it tells young people to just do as the market dictates because who they are before that doesn't really matter anyway.

I dislike this message very much because, inside, I feel that who I am is important in considering what I’m going to do for a living. Even if I am presently just an inexperienced young person, I like who I am and dislike things that try to force me to become someone I am not. And I realise that the process of finding employment often entails the latter.

Besides, this is just the beginning. When I do get one of these positions, I will have to live with it every day. That’s when the person I am will begin to change, and I’m not sure if that will be for the better.

What I learned

Posted by moses @ 08:07 • , , , , , • 0 comments


I have other topics in mind that I want to write about, but right now I'm struck by a sudden desire to recapitulate and summarise what I studied last year. Maybe it is the desire to seize something tangible before my memory of it fades. So here goes. 

The main lesson I derived from the research I did for my dissertation is that any claim that film critics have as arbiters of a non-pluralistic (in both the moral and universal senses of it) notion of good taste is undermined by the idea that taste is a means of social distinction; a means of thinking of oneself as superior or different based on vague but compelling categories of identity with which one identifies. 

This implies that taste is neither objective nor entirely subjective. While critics often try seductively to suggest the former, aesthetic 'laymen' tend to stress the latter. Rather, according to my research, taste should perhaps be described as 'intersubjective'. But, more precisely, it is constituted by hyperreal categories (such as socio-economic class) that often appear to us as objective categories.

In other words, from the perspective of theories of language, taste is an entirely practical concept in human language that has perhaps received far too much theoretical attention. It is very much rooted in our social structures and psychology and does not properly belong in the domain of the aesthetic.

I understand that aestheticians may want to think of (good) taste as the practical implication of what is good or beautiful in aesthetics. But I think that's just not the case in contemporary reality. Taste has much less to do with aesthetics than with social categories.

And as articulations of the social structures that give rise to this social phenomenon, the pieces of film criticism I examined do not even use the language of aesthetics, contradictory or hypocritical as it might often be. Tellingly, the critics do not seem to care to exhibit a grasp of aesthetics before presenting themselves as an authority on film tastes.