Philosophical Shit

I think teachers often forget Aristotle's idea that "the roots of education are bitter, but the fruit is sweet" because they are already educated, so they know how to do the tasks they assign, and find it hard to imagine themselves stumbling around in the shadowy ignorance of Plato's allegorical cave; and while I do my best to empathize with the plight of my students, I certainly know some of my material too well to remember what it's like not to know it -- which is why teaching the podcast Serial has been so difficult and enlightening . . . I've learned that I am much better at reading than I am at listening, and that I have trouble with details, timelines, and auditory descriptions of geography . . . I made my students write an essay connecting Plato's cave metaphor to Episode 7 and 8 of Serial and one essay explained that Sarah Koenig couldn't be manipulating us (the audience) because she is also in a shadowy cave of ignorance, the maze of her investigation, and we are -- like Inception-- inside an even shadowier cave within her cave, and then I added another layer to this: though I am the teacher, I'm not great at organizing things this dense and detail-oriented, and so I am in an even darker cave within that cave; anyway, I am listening to the episodes two or three times, in order to plan and teach each one, and the students are helping me as much as I am helping them (and often summarizing and analyzing things in ways more eloquent and precise than I am capable of, which is impressive . . . and the main thing you should learn from all this, is that if you're life is on the line, you don't want me arguing your case).

Watching the Matrix Inside the Matrix

We were watching The Matrix last week in my senior composition class, and we had already covered the philosophical implications of the film: we connected early scenes to Plato and Camus (The Allegory of the Cave and "The Myth of Sisyphus") and so all we had left to discuss was the ending, when conflict and drama inside and outside the matrix build in masterful intertwined lock-step . . . Neo appears to be dead in the simulation, the sentinels have breached the hovercraft, Morpheus is about to detonate the EMP, and Trinity finally uses her oracular knowledge and some tongue to resolve things; this is when I used my brilliant analogy-- and analogy almost as brilliant as Plato's cave . . . I explained that the final structure is analogous to when they are in class-- the matrix-- pushing the rock and trying to live and succeed in the false reality of academia, and their cell-phone is buzzing, bring them information and messages from the real world, the world outside the matrix-like environment of school, the world which they desperately want to learn about and enter . . . but they're not supposed to be using their cell-phones in the school, they're supposed to ignore the outside world, stay inside the cave and focus on the shadows on the walls, but they want to graduate and see the light and fly around in the sky with cool sunglasses to awesome heavy techno music (and they're going to be sorely disappointed).

Reffing Inside Plato's Cave

I am finally home and drinking a cold beer after a taxing weekend: I reffed six games-- three on Saturday and three today-- and I worked three games as the center ref and two games as AR where the home team was running a serious offside trap, so I got some good experience calling various infractions, from the center and from the side-- and while I'm really starting to get the hang of things-- checking players in, keeping order during substitutions, calling fouls and restarts, and the various organizational duties of the ref, but I still haven't given out a yellow or red card yet and I haven't called a penalty kick-- but I'm ready to do so-- and this weekend, i worked with some veteran refs, including Rocco, an older Italian gentleman who condemns Venmo and only operates with cash and our one-armed assignor, who told a youngster who was nervous about his performance "the best ability is AVAILability"-- which is a fucking great old man statement; anyway, I've noticed that the difference between being a ref and being a coach is that when you're coaching, you are looking for reasons the ref should call a foul, but when you are reffing, you are looking for reasons to NOT call a foul: advantage, there was no contact, the player tripped over his own feet, the player's hands were against his body, little kids are just generally spastic, the ball is stuck in a pack of seven children and there's going to be random bumping without malevolence, a player tripped over the ball, etcetera . . . and there's definitely no way to get it all correct-- reffing is an exercise in futility, an exercise in unreliable narration-- but you have to be confident with your calls-- you can't reveal to the crowd and the players and the coaches that your perspective is limited, that you are at the mercy of your angle and your eyes and your old legs, you can't reveal that we are all residing in Plato's metaphorical cave, only perceiving the shadows of reality, not the actual truth, and your calls are just one subjective view among many, from one particular view of the field, your calls are not biased by rooting for one team or another, your calls are biased because you are a human, living within the flow of time, unable to stop it, run it back, rewind it, slow it time, look at it frame by frame-- this isn't TV-- and there's something very excellent and fun about this, you make a call and sometimes you nail it, and sometimes you wonder, and sometimes you get it wrong (and sometimes your AR corrects you) but you are outside, in the sun, watching sports and listening to passionate fans and players-- so, as a retirement job, it sure beats tutoring kids for the SAT or helping them write a college essay (plus, I got a shitload of exercise-- my feet hurt . . . also, if you bring any of this up during a game, I'll give you a yellow card for dissent).

Did I Ever Really See Dark City?

I watched Dark City on Blu-Ray the other night . . . possibly for the second time . . . it's a science-fiction film directed by Alex Proyas that is strangely similar to The Matrix (though it was released a year before in 1998) but more interesting than this comparison is the fact that I felt as if I was living parallel with the movie while watching it-- the movie begins with a naked man in a room (Rufus Sewell) with a murdered call-girl, and he has no memory of what happened to the girl or of the last three weeks of his life and he has only very dim memories of his past, and he slowly realizes-- as he makes his way through his very dark city, that aliens are manipulating not only his memories but the actual world he is living in; the movie is excellent and really looks spectacular on Blu-Ray, but I could only vaguely remember watching it in the past, and not when or where, and then Catherine came home and she couldn't remember watching it with me, and I rarely watch movies alone and it's not on my Netflix history nor have I rated it and there were only certain things that I remembered . . . like Shell Beach . . . and so I am wondering if I never really saw the movie at all, and if Kiefer Sutherland inserted it into my brain with one of his steam-punk memory injections, but now that I've got it recorded here on this blog, I'll be able to refer back to this post and foil the aliens that have been manipulating my brain (and there are the usual internet theories about how The Matrix stole from Dark City, but I find this highly unlikely, since the script for The Matrix was finished when they were shooting Dark City, and as one nut pointed out, all these ideas originated with the movie Tron . . . but at that point you might as well say that all of these type films-- ranging from The Game and The Usual Suspects and The Sixth Sense all the way to Bladerunner-- are an allegory for Plato's cave and forget who stole what from whom and just enjoy the special effects).

Remember Plato's Cave?

David Brooks' new best-selling overview of cognitive science, The Social Animal: The Hidden Source of Love, Character, and Achievement, is cleverly written through the perspective of a composite couple (Erica and Harold) and though the book is a review of many books that have already been mentioned on this blog (such as this book, this book, this book, and this book) and many books that I read about cognitive science before I began this blog (which annoys me to no end . . . I really wish I had a record of all the books I read before I started this project) the book was still an excellent read, mainly because of Brooks' effortless novelistic style, and I highly recommend it, although it should be called The Emotional Animal, because the main theme is that people, despite all our conscious powers of logical deduction, are stuck inside flawed but powerful minds, that are biased, opinionated, intuitive, fragmented, difficult to sway, in search of details that match already formed hypotheses, and generally illogical economically and syllogistically as far as our motivations and character.

Somewhere Between The Matrix and Inception I Learn How To Communicate With Women

Twelve years ago, my future wife and I went to the movies to see The Matrix, and during the film my future wife expressed her confusion with the plot, and so I whispered a long-winded explanation to her: beginning with Plato's cave, mentioning Tron and Lawnmower Man, citing William Gibson, and finally explaining how this ancient theme of living in a world of created shadows was being used by the Wachowski brothers . . . and I don't think this explanation helped her enjoy the film and, looking back, I'm sure she thought I was an annoying wind-bag, but she still married me, and--get this-- I have IMPROVED myself; last weekend we started watching Inception and because I had the flu, my wife had been minding the boys all day, so she was exhausted, and after about an hour of watching, she started falling asleep and she called the movie "stupid" and "full of itself," and I had been paying very close attention and I could have explained exactly what was happening, but instead of attempting a long-winded explanation,  I AGREED with her, because she was right-- the film is full of itself, and she just wanted some validation of her emotions-- and the next day, while our kids were at the movies with my parents-- she let me explain the plot to her and we sat down and watched the rest of the movie together and had a great discussion about it afterward . . . and so, slowly  but surely, I am learning how to communicate with women.

Traffic Cone = Cinema

Heraclitus warned us that "the only constant is change." For many years, the American school system eluded this inevitability, but not this year. EVERYTHING has changed. No textbooks. A new tablet device. We're wireless. And Bluetooth. We've adopted a new learning management system. Canvas instead of Google classroom. OneDrive instead of Google drive. OneNote instead of something else. And there's the looming threat that the winds of change will soon to remove our desktop computers.

Also, I still have stuff on Evernote.

Yesterday, I couldn't even figure out how to play a DVD. Every year, in Honors Philosophy, we read Plato's "Allegory of the Cave" and then we watch the first thirty minutes of The Matrix. Because it's the best visual representation of Plato's allegory.

But yesterday, I couldn't get the DVD to play. Apparently, Windows has removed this function from its Media Player. People stream now. Have you heard of Netflix? Amazon?

Coincidentally, both of these are blocked at our school. Even if you've purchased the movie on Amazon. So I freaked out a bit (in front of the children) and then I downloaded a bunch of weird free DVD players (and probably infected my desktop with some weird viruses . . . now whenever I use the search bar, it sends me through Yahoo! instead of Google).

Then the tech guy came and showed me that there WAS a player on my computer. The VLN player. The symbol is a traffic cone. It didn't open automatically when I put a disk in, so I didn't know it was there. And when the tech guy scrolled down through my apps and showed me the traffic cone, I wondered: why is orange traffic cone synonymous with playing a DVD? But then he started telling me about all the changes in my future-- they were taking my desktop, my DVD player, my big monitor, and my hardwired internet . . . and so I shouldn't even get used to the VLN player.

"They're not making your job any easier," he said, "and they're not making my job any easier either."

And why is the VLN Player logo a traffic cone? There's an enigmatic explanation on Wikipedia, but it adds more to the mystery than it resolves it: "The cone icon used in VLC is a reference to the traffic cones collected by École Centrale's Networking Students' Association."

If anyone can make sense of that, please leave the explanation in the comments.

My Week Was More Epic Than Yours (Unless You Were Involved in a Flood or Hurricane)

It is the first real Friday of the school year (last week the students only attended school for three days) and while I know many of you work long hours, have tedious commutes, and are responsible for many tasks and duties on a day-to-day basis (and I also recognize that many of you are without power, living through natural disasters) but still, you've got to understand just how epic a week this was for me-- and you've got to realize I had the whole summer off, so I got used to a certain lifestyle and rhythm of existence, and second, you've got to understand that I'm a rare and delicate flower, with many hobbies and interests and peccadilloes, and working gets in the way of this groove I've cultivated, and third, it was hot and humid and there's air-conditioning neither in my classroom nor on the soccer fields . . . anyway, here are my stats, in case Governor Christie wants to peruse them:

1) in the last seven days, I coached eleven soccer events and attended two others . . . so just shy of two a day;

2) my high school scheduled back-to-school-night early this year, on Wednesday, from 7 - 9 PM  . . . so Tuesday, Wednesday, and Thursday I worked fourteen hour days;

3) we've begun the narrative unit in my Expos class, so in order to prepare the students for the looming menace of their college essays, I reviewed Dan Harmon's 8 step story template, and I ended up telling the students a buttload of exemplary stories for my own life (which is exhausting) and the same thing happened in Creative Writing (for similar reasons) and Philosophy (mainly to do with perception, as we're doing Plato's "Allegory of the Cave") and so, to make a long story short, I recounted a lot of anecdotes, some multiple times in one day . . .  here's an incomplete list, for those of you keeping score at home:

 I Don't Want to Dress Like a Holiday

Yesterday Was NOT Groundhog Day

Stacey's Favorite Story About Dave

I Punch a Colleague for No Good Reason

There May Be Something Wrong with Me

I Unwittingly Give a Pregnant Student Anxiety

Concussions Are Finally Hip

Dave's Favorite Story About Dave

Dave Nearly Receives a Darwin Award (Yikes)

4) I also did some phenomenal acting on Wednesday, for three periods in a row in my Expos classes; in order to illustrate the lesson in Orwell's "Shooting an Elephant"-- the fact that authority figures will often compromise their morality and do what the crowd expects, in order to not look a fool-- I staged an incident of disobedience and secretly asked a student in each class if they would pretend they had not read the essay, refuse to take the quiz, make a bit of a scene, and then storm off to guidance-- disobeying my command to stay put and fail-- and each student that I asked did a phenomenal job, and then I had to fake-deal with the situation, which was fake-exhausting, I had to act like Orwell and let the class (the Burmese) push me around-- some classes wanted me to write up the student, other classes wanted me to give them a break, there were spurious phone calls and real-fake texting, the student couldn't be found anywhere-- not in the bathroom or in guidance, I fake-contacted the security guards and was very fake concerned because I had fake-lost a child . . . and I did all this in the real heat and humidity of my blind-less classroom (they took my blinds! I wanted them to fix my blinds, but instead they took them, so we're baking and we have a glare)

5) but I shouldn't complain because guidance came to visit my three senior Expos classes today, to inform the kids how to apply for college, and so I got to skip class and hang out in the air-conditioned office and explain my two simple rules of women's fashion-- which really annoyed Brady, who was also off all day, because I'm so unfashionably dressed, but I don't think it matters how I dress, it just matters if I can give women some good advice on how they should dress-- and my two rules of women's fashion are very simple . . . rule number one is tighter is better and rule number two is skin to win . . . and I'm pretty sure these are the rules of fashion every male is following when they comment on a woman's clothing (Stacey said when Ed makes a positive comment about an outfit, she knows that she can't wear it to work, because it's inappropriate for high school boys).

Just In Case You Thought You Had Things Under Control

Just in case you haven't read Plato's "Allegory of the Cave" lately . . . or recently watched The Matrix, here is a friendly video reminder that human perception is limited, that what you see isn't what you get, and that our brains are barely hanging on to this thin thread we refer to as reality (this is also an opportune time to wish Einstein's Theory of Relativity a happy 100th birthday).

Dave Nearly Receives a Darwin Award (Yikes)

This event happened Friday afternoon, but I totally repressed the memory-- I told no other human about it, and it would have sunk deep into my subconscious and never surfaced again if it wasn't for a discussion in philosophy class yesterday about the flaws in our perception-- we were talking about Plato's Allegory of the Cave and how our senses often deceive us; how we all too often mistake shadows for reality . . . and while students were providing examples, I suddenly remembered my ride home from work on Friday . . . I was overheated and extremely tired and engrossed in an episode of Planet Money; driving on Ryders Lane, across from the Acme; and I saw a flashing red light on a sign, and the sign said DO NOT STOP ON TRACKS and I thought to myself: that makes sense . . . I will not stop on the tracks . . . you certainly shouldn't stop on the train tracks . . . and then I drove across the tracks, and when I crossed them I heard a loud loud horn, and this sound snapped me out of my cataleptic stupor; I looked to my right and I saw a TRAIN . . . and in a cognitive flash I understood it all: the blue and white freight train engine, the cars stopped on the other side of the road, the flashing red lights . . . and I realized that those flashing red lights weren't simply emphasizing the fact that you shouldn't stop on the train tracks, they were indicating that there was an actual train coming, and the drivers on the other side of the road had figured this out and had stopped, but I plowed right across . . . luckily, I think the engine had slowed to a crawl to assess the situation, because Ryders Lane rarely sees train traffic (and thus there was no traffic control drop arm at this crossing) or I might have been t-boned by the engine, written off as a typical idiot, and posthumously presented a Darwin Award . . . and never gotten to plead my case, which was that in my decisive moment, I thought I was obeying the signage-- the red lights reminded me not to stop on the tracks-- and while I realize this was a rather grave, boneheaded error, it is also a lesson in how heat and exhaustion and a compelling podcast can lead to a total lack of peripheral awareness.