Monthly Archives: June 2016

What is Social Darwinism – AllAboutScience.org

Posted: June 17, 2016 at 4:54 am

QUESTION: What is Social Darwinism?

ANSWER:

Herbert Spencer, a 19th century philosopher, promoted the idea of Social Darwinism. Social Darwinism is an application of the theory of natural selection to social, political, and economic issues. In its simplest form, Social Darwinism follows the mantra of "the strong survive," including human issues. This theory was used to promote the idea that the white European race was superior to others, and therefore, destined to rule over them.

At the time that Spencer began to promote Social Darwinism, the technology, economy, and government of the "White European" was advanced in comparison to that of other cultures. Looking at this apparent advantage, as well as the economic and military structures, some argued that natural selection was playing out, and that the race more suited to survival was winning. Some even extended this philosophy into a micro-economic issue, claiming that social welfare programs that helped the poor and disadvantaged were contrary to nature itself. Those who reject any and all forms of charity or governmental welfare often use arguments rooted in Social Darwinism.

At its worst, the implications of Social Darwinism were used as scientific justification for the Holocaust. The Nazis claimed that the murder of Jews in World War II was an example of cleaning out the inferior genetics. Many philosophers noted evolutionary echoes in Hitler's march to exterminate an entire race of people. Various other dictators and criminals have claimed the cause of Social Darwinism in carrying out their acts. Even without such actions, Social Darwinism has proven to be a false and dangerous philosophy.

Scientists and evolutionists maintain that this interpretation is only loosely based on Darwin's theory of natural selection. They will admit to an obvious parallel between Darwin's theory of Natural Selection and Spencer's beliefs. In nature, the strong survive and those best suited to survival will out-live the weak. According to Social Darwinism, those with strength (economic, physical, technological) flourish and those without are destined for extinction.

It is important to note that Darwin did not extend his theories to a social or economic level, nor are any credible evolutionists subscribing to the theories of Social Darwinism. Herbert Spencer's philosophy is only loosely based on the premises of Darwin's work.

However, according to evolutionary theory, nature is a "kill-or-be-killed" system. Those that cannot keep up are either left behind or cut off. If evolution, through chance, is solely responsible for life as we now know it, why should that process be countered? If "survival of the fittest" or "kill or be killed" cannot apply in what we define as "decent society," then, which is wrong, society or evolution? If neither, then how do we explain morality, charity, and compassion? Why drain resources from the strong to support the weak? Certainly, we should be charitable and help those in need.

Though Darwin did not promote Social Darwinism, basic evolutionary theory raises some nagging questions.

What is your response?

Yes, today I am deciding to follow Jesus

Yes, I am already a follower of Jesus

I still have questions

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What is Social Darwinism - AllAboutScience.org

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Digital Darwinism: How Disruptive Technology Is Changing …

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Social media, mobile, wearables, Internet of Things, real-time these are just some of the technologies that are disrupting markets. Changes in how people communicate, connect, and discover are carrying incredible implications for businesses and just about anything where people are involved. Its not so much that technology is part of our everyday life or that technology is relentless in its barrage on humanity.

The real threat and opportunity in technologys disruption lies in the evolution of customer and employee behavior, values, and expectations. Companies are faced with a quandary as they invest resources and budgets in current technology and business strategies (business as usual) versus that of the unknown in how those investments align, or dont, with market and behavior shifts.

This is a time of digital Darwinism an era where technology and society are evolving faster than businesses can naturally adapt. This sets the stage for a new era of leadership, a new generation of business models, charging behind a mantra of adapt or die.

Rather than react to change or be disrupted by it, some forward-looking companies are investing in digital transformation to adapt and outperform peers.In November 2012, research-based consultancy Capgemini published a report studying the digital maturity of companies pursuing digital transformation. In its report, The Digital Advantage: How digital leaders outperform their peers in every industry, Capgemini found that those companies that are highly vested in both digital intensity and transformation management intensity, aka The Digirati, derive more revenue from their physical assets, theyre more profitable, and they also possess high market valuations.

Why is That?

It comes down to one word, relevance. If consumer behavior is evolving as a result of technology, businesses either compete to get ahead of it, they perpetually react to it, or they belittle it. One of the most problematic aspects around digital maturity is that technology is both part of the solution and also part of the problem.

Enter digital transformation.

Digital transformation may sound like its something youd hear in buzzword bingo, but it is one of the most important movements facing businesses today. It is forcing businesses to look beyond the world as they know it, observe how things are changing on the outside, to change transform philosophies, models, and systems on the inside. Ask 10 different experts in digital transformation for their definition of it though and you may just get 10 different answers. Before strategists can consider digital transformation, they at least have to know what it is, why its important, and what they need to do.

In 2013, I set out to better understand the catalyst and challenges around digital transformation and also the people driving it forward. It is indeed a deep and complex topic. I had to focus my research. Capgemini among others have already made tremendous headway in their work around technology and process models defining the evolution of digital maturity. One of the things I heard over and over was the need to know whos responsible for it and how do companies take steps in the right direction. Specifically, strategists wanted to know how to make the case in the absence of executive leadership pointing in new directions and leading teams to adapt or die! As a result, I explored digital transformation from a more human perspective. After a year of interviewing 20 leading digital strategists at some of the biggest brands around the world, I released my latest report, Digital Transformation: Why and How Companies are Investing in New Business Models to Lead Digital Customer Experiences.

What is Digital Transformation?

Again, it is a sweeping topic. Simply defined, digital transformation the intentional effots to adapt to this onslaught of disruptive technologies and how its affecting customer and employee behavior. As technology becomes a permanent fixture in everyday life, organizations are forced to update legacy technology strategies and supporting methodologies to better reflect how the real world is evolving. And, the need to do so is becoming increasingly obligatory.

In my research, I concentrated on how businesses are pursuing digital transformation in their quest to specifically understand how disruptive technology affects the customer experience. In turn, I learned how companies are reverse engineering investments, processes, and systems to better align with how markets are changing.

Because its focusing on customer behavior, digital transformation is actually in its own way making businesses more human. As such, digital transformation is not a specifically about technology, its empowered by it. Without an end in mind, digital transformation continually seeks out how to use technology in ways that improve customer experiences and relationships. It also represents an effort that introduces new models for business and, equally, creates a way of staying in business as customers become increasingly digital.

Some key findings from my research include:

While early in its evolution, digital transformation represents the next big thing in customer experience and, ultimately, how business is done. Those companies that get it and invest more in learning about their digital customers behaviors, preferences, and expectations will carry a significant competitive advantage over those that figure it out later (if at all). What separates typical new technology investments from those pursued by companies in my report is the ongoing search to find answers to problems and opportunities presented by the nuances of digital customers.

For example:

In the end, digital transformation is not a fad or a trendy moniker. It represents the future of business through the re-alignment of, or new investment in, technology and business models to more effectively engage digital consumers at every touchpoint in the customer experience lifecycle. Its bigger than any one area of technology disruption though and thats the point. Social media, mobile, cloud, et al. are converging into a greater force to push businesses out of comfort zones and into areas where true innovation can manifest.

The Result?

The roles and objectives of everyday marketing, social media, web, mobile and customer service and loyalty, can evolve to meet the needs and expectations of a more connected and discerning digital customer. Additionally, the outcome of even the smallest investments in change brings together typically disparate groups to work in harmony across the entire customer journey. This allows teams to cooperate, or merge into new groups, in uniting the digital journey to improve engagement; deliver a holistic experience; and eliminate friction, gaps, and overlap.

Perhaps the most important takeaway from my research is the pure ambition to make businesses relevant in a digital era.

The road to digital transformation is far from easy, but it carries great rewards for businesses and customers alike. It takes a village to bring about change, and it also takes the spark and perseverance of one person to spot important trends and create a sense of urgency around new possibilities.

But make no mistake. Digital transformation efforts grow market opportunities and profits as well as scaling efficiently in the process.

#AdaptorDie

Brian Solis is a principal analyst at Altimeter Group. He is also an award-winning author, promine
nt blogger, and keynote speaker. @briansolis

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Artificial Intelligence – The New York Times

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Artificial Intelligence - The New York Times

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A.I. Artificial Intelligence – Wikipedia, the free …

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A.I. Artificial Intelligence, also known as A.I., is a 2001 American science fiction drama film directed by Steven Spielberg. The screenplay by Spielberg was based on a screen story by Ian Watson and the 1969 short story Super-Toys Last All Summer Long by Brian Aldiss. The film was produced by Kathleen Kennedy, Spielberg and Bonnie Curtis. It stars Haley Joel Osment, Jude Law, Frances O'Connor, Brendan Gleeson and William Hurt. Set in a futuristic post-climate change society, A.I. tells the story of David (Osment), a childlike android uniquely programmed with the ability to love.

Development of A.I. originally began with producer-director Stanley Kubrick in the early 1970s. Kubrick hired a series of writers until the mid-1990s, including Brian Aldiss, Bob Shaw, Ian Watson, and Sara Maitland. The film languished in protracted development for years, partly because Kubrick felt computer-generated imagery was not advanced enough to create the David character, whom he believed no child actor would convincingly portray. In 1995, Kubrick handed A.I. to Spielberg, but the film did not gain momentum until Kubrick's death in 1999. Spielberg remained close to Watson's film treatment for the screenplay. The film was greeted with generally positive reviews from critics, grossed approximately $235 million, and was nominated for two Academy Awards at the 74th Academy Awards for Best Visual Effects and Best Original Score (by John Williams). The film is dedicated to Stanley Kubrick.

In the late 21st century, global warming has flooded the coastlines, wiping out coastal cities (such as Amsterdam, Venice, and New York City) and drastically reducing the human population. There is a new class of robots called Mecha, advanced humanoids capable of emulating thoughts and emotions.

David (Haley Joel Osment), a prototype model created by Cybertronics of New Jersey, is designed to resemble a human child and to display love for its human owners. They test their creation with one of their employees, Henry Swinton (Sam Robards), and his wife Monica (Frances O'Connor). The Swintons' son, Martin (Jake Thomas), had been placed in suspended animation until a cure could be found for his rare disease. Initially frightened of David, Monica eventually warms up enough to him to activate his imprinting protocol, which irreversibly causes David to have an enduring childlike love for her. He is also befriended by Teddy (Jack Angel), a robotic teddy bear, who takes it upon himself to care for David's well-being.

A cure is found for Martin and he is brought home; as he recovers, it becomes clear he does not want a sibling and soon makes moves to cause issues for David. First, he attempts to make Teddy choose whom he likes more. He then makes David promise to do something and in return Martin will tell Monica that he loves his new "brother", making her love him more. The promise David makes is to go to Monica in the middle of the night and cut off a lock of her hair. This upsets the parents, particularly Henry, who fears that the scissors are a weapon, and warns Monica that a robot programmed to love may also be able to hate.

At a pool party, one of Martin's friends unintentionally activates David's self-protection programming by poking him with a knife. David grabs Martin, apparently for protection, but they both fall into the pool. David sinks to the bottom while still clinging to Martin. Martin is saved from drowning, but Henry mistakes David's fear during the pool incident as hate for Martin.

Henry persuades Monica to return David to Cybertronics, where he will be destroyed. However, Monica cannot bring herself to do this and, instead, tearfully abandons David in the forest (with Teddy) to hide as an unregistered Mecha.

David is captured for an anti-Mecha "Flesh Fair", an event where obsolete and unlicensed Mecha are destroyed in front of cheering crowds. David is nearly killed, but the crowd is swayed by his fear (since Mecha do not plea for their lives) into believing he is human and he escapes with Gigolo Joe (Jude Law), a male prostitute Mecha on the run after being framed for murder.

The two set out to find the Blue Fairy, who David remembers from the story The Adventures of Pinocchio. He is convinced that the Blue Fairy will transform him into a human boy, allowing Monica to love him and take him home.

Joe and David make their way to Rouge City, a Las Vegas-esque resort. Information from a holographic answer engine called "Dr. Know" (Robin Williams) eventually leads them to the top of Rockefeller Center in the flooded ruins of Manhattan. There, David meets an identical copy of himself and, believing he is not special, becomes filled with anger and destroys the copy Mecha. David then meets his human creator, Professor Allen Hobby (William Hurt), who excitedly tells David that finding him was a test, which has demonstrated the reality of his love and desire. However, David learns that he is the namesake and image of Professor Hobby's deceased son and that many copies of David, along with female versions, are already being manufactured.

Sadly realizing that he is not unique, a disheartened David attempts to commit suicide by falling from a ledge into the ocean, but Joe rescues him with their stolen amphibicopter. David tells Joe he saw the Blue Fairy underwater and wants to go down to her. At that moment, Joe is captured by the authorities with the use of an electromagnet, but he sets the amphibicopter on submerge. David and Teddy take it to the fairy, which turns out to be a statue from a submerged attraction at Coney Island. Teddy and David become trapped when the Wonder Wheel falls on their vehicle. Believing the Blue Fairy to be real, David asks to be turned into a real boy, repeating his wish without an end, until the ocean freezes in another ice age and his internal power source drains away.

Two thousand years later, humans are extinct and Manhattan is buried under several hundred feet of glacial ice. The now highly advanced Mecha have evolved into an intelligent, silicon-based form. On their project to study humans believing it was the key to understanding the meaning of existence they find David and Teddy and discover they are original Mecha who knew living humans, making the pair very special and unique.

David is revived and walks to the frozen Blue Fairy statue, which cracks and collapses as he touches it. Having downloaded and comprehended his memories, the advanced Mecha use these to reconstruct the Swinton home and explain to David via an interactive image of the Blue Fairy (Meryl Streep) that it is impossible to make him human. However, at David's insistence, they recreate Monica from DNA in the lock of her hair, which Teddy had saved. One of the Mecha warns David that the clone can live for only a single day and that the process cannot be repeated. The next morning, David is reunited with Monica and spends the happiest day of his life with her and Teddy. Monica tells David that she loves him and has always loved him as she drifts to sleep for the last time. David lies down next to her, closes his eyes and goes "to that place where dreams are born." Teddy climbs onto the bed and watches as David and Monica lie peacefully together.

Kubrick began development on an adaptation of Super-Toys Last All Summer Long in the early 1970s, hiring the short story's author, Brian Aldiss, to write a film treatment. In 1985, Kubrick brought longtime friend Steven Spielberg on board to produce the film,[5] along with Jan Harlan. Warner Bros. agreed to co-finance A.I. and cover distribution duties.[6] The
film labored in development hell, and Aldiss was fired by Kubrick over creative differences in 1989.[7]Bob Shaw served as writer very briefly, leaving after six weeks because of Kubrick's demanding work schedule, and Ian Watson was hired as the new writer in March 1990. Aldiss later remarked, "Not only did the bastard fire me, he hired my enemy [Watson] instead." Kubrick handed Watson The Adventures of Pinocchio for inspiration, calling A.I. "a picaresque robot version of Pinocchio".[6][8]

Three weeks later Watson gave Kubrick his first story treatment, and concluded his work on A.I. in May 1991 with another treatment, at 90 pages. Gigolo Joe was originally conceived as a GI Mecha, but Watson suggested changing him to a male prostitute. Kubrick joked, "I guess we lost the kiddie market."[6] In the meantime, Kubrick dropped A.I. to work on a film adaptation of Wartime Lies, feeling computer animation was not advanced enough to create the David character. However, after the release of Spielberg's Jurassic Park (with its innovative use of computer-generated imagery), it was announced in November 1993 that production would begin in 1994.[9]Dennis Muren and Ned Gorman, who worked on Jurassic Park, became visual effects supervisors,[7] but Kubrick was displeased with their previsualization, and with the expense of hiring Industrial Light & Magic.[10]

Stanley [Kubrick] showed Steven [Spielberg] 650 drawings which he had, and the script and the story, everything. Stanley said, "Look, why don't you direct it and I'll produce it." Steven was almost in shock.

In early 1994, the film was in pre-production with Christopher "Fangorn" Baker as concept artist, and Sara Maitland assisting on the story, which gave it "a feminist fairy-tale focus".[6] Maitland said that Kubrick never referred to the film as A.I., but as Pinocchio.[10]Chris Cunningham became the new visual effects supervisor. Some of his unproduced work for A.I. can be seen on the DVD, The Work of Director Chris Cunningham.[12] Aside from considering computer animation, Kubrick also had Joseph Mazzello do a screen test for the lead role.[10] Cunningham helped assemble a series of "little robot-type humans" for the David character. "We tried to construct a little boy with a movable rubber face to see whether we could make it look appealing," producer Jan Harlan reflected. "But it was a total failure, it looked awful." Hans Moravec was brought in as a technical consultant.[10] Meanwhile, Kubrick and Harlan thought A.I. would be closer to Steven Spielberg's sensibilities as director.[13][14] Kubrick handed the position to Spielberg in 1995, but Spielberg chose to direct other projects, and convinced Kubrick to remain as director.[11][15] The film was put on hold due to Kubrick's commitment to Eyes Wide Shut (1999).[16] After the filmmaker's death in March 1999, Harlan and Christiane Kubrick approached Spielberg to take over the director's position.[17][18] By November 1999, Spielberg was writing the screenplay based on Watson's 90-page story treatment. It was his first solo screenplay credit since Close Encounters of the Third Kind (1977).[19] Spielberg remained close to Watson's treatment, but removed various sex scenes with Gigolo Joe. Pre-production was briefly halted during February 2000, because Spielberg pondered directing other projects, which were Harry Potter and the Philosopher's Stone, Minority Report and Memoirs of a Geisha.[16][20] The following month Spielberg announced that A.I. would be his next project, with Minority Report as a follow-up.[21] When he decided to fast track A.I., Spielberg brought Chris Baker back as concept artist.[15]

The original start date was July 10, 2000,[14] but filming was delayed until August.[22] Aside from a couple of weeks shooting on location in Oxbow Regional Park in Oregon, A.I. was shot entirely using sound stages at Warner Bros. Studios and the Spruce Goose Dome in Long Beach, south LA.[23] The Swinton house was constructed on Stage 16, while Stage 20 was used for Rouge City and other sets.[24][25] Spielberg copied Kubrick's obsessively secretive approach to filmmaking by refusing to give the complete script to cast and crew, banning press from the set, and making actors sign confidentiality agreements. Social robotics expert Cynthia Breazeal served as technical consultant during production.[14][26] Haley Joel Osment and Jude Law applied prosthetic makeup daily in an attempt to look shinier and robotic.[3] Costume designer Bob Ringwood (Batman, Troy) studied pedestrians on the Las Vegas Strip for his influence on the Rouge City extras.[27] Spielberg found post-production on A.I. difficult because he was simultaneously preparing to shoot Minority Report.[28]

The film's soundtrack was released by Warner Bros. Records in 2001. The original score was composed by John Williams and featured singers Lara Fabian on two songs and Josh Groban on one. The film's score also had a limited release as an official "For your consideration Academy Promo", as well as a complete score issue by La-La Land Records in 2015. The band Ministry appears in the film playing the song "What About Us?" (but the song does not appear on the official soundtrack album).

Warner Bros. used an alternate reality game titled The Beast to promote the film. Over forty websites were created by Atomic Pictures in New York City (kept online at Cloudmakers.org) including the website for Cybertronics Corp. There were to be a series of video games for the Xbox video game console that followed the storyline of The Beast, but they went undeveloped. To avoid audiences mistaking A.I. for a family film, no action figures were created, although Hasbro released a talking Teddy following the film's release in June 2001.[14]

In November 2000, during production, a video-only webcam (dubbed the "Bagel Cam") was placed in the craft services truck on the film's set at the Queen Mary Dome in Long Beach, California. Steven Spielberg, producer Kathleen Kennedy and various other production personnel visited the camera and interacted with fans over the course of three days.[29][30]

A.I. had its premiere at the Venice Film Festival in 2001.[31]

The film opened in 3,242 theaters in the United States on June 29, 2001, earning $29,352,630 during its opening weekend. A.I went on to gross $78.62 million in US totals as well as $157.31 million in foreign countries, coming to a worldwide total of $235.93 million.[32]

The film received generally positive reviews. Based on 190 reviews collected by Rotten Tomatoes, 73% of the critics gave the film positive notices with a score of 6.6 out of 10. The website described the critical consensus perceiving the film as "a curious, not always seamless, amalgamation of Kubrick's chilly bleakness and Spielberg's warm-hearted optimism. [The film] is, in a word, fascinating."[33] By comparison, Metacritic collected an average score of 65, based on 32 reviews, which is considered favorable.[34]

Producer Jan Harlan stated that Kubrick "would have applauded" the final film, while Kubrick's widow Christiane also enjoyed A.I.[35] Brian Aldiss admired the film as well: "I thought what an inventive, intriguing, ingenious, involving film this was. There are flaws in it and I suppose I might have a personal quibble but it's so long since I wrote it." Of the film's ending, he wondered how it might have been had Kubrick directed the film: "That is one of the 'ifs' of film history - at least the ending indicates Spielberg adding some sugar to Kubrick's wine. The actual ending is overly sympathetic and moreover rather overt
ly engineered by a plot device that does not really bear credence. But it's a brilliant piece of film and of course it's a phenomenon because it contains the energies and talents of two brilliant filmmakers."[36]Richard Corliss heavily praised Spielberg's direction, as well as the cast and visual effects.[37]Roger Ebert awarded the film 3 out of 4 stars, saying that it was "Audacious, technically masterful, challenging, sometimes moving [and] ceaselessly watchable. [But] the movie's conclusion is too facile and sentimental, given what has gone before. It has mastered the artificial, but not the intelligence."[38] On July 8, 2011, Ebert reviewed A.I. again when he added it to his "Great Movies" pantheon.[39]Leonard Maltin gives the film a not-so-positive review in his Movie Guide, giving it two stars out of four, writing: "[The] intriguing story draws us in, thanks in part to Osment's exceptional performance, but takes several wrong turns; ultimately, it just doesn't work. Spielberg rewrote the adaptation Stanley Kubrick commissioned of the Brian Aldiss short story 'Super Toys Last All Summer Long'; [the] result is a curious and uncomfortable hybrid of Kubrick and Spielberg sensibilities." However, he calls John Williams' music score "striking". Jonathan Rosenbaum compared A.I. to Solaris (1972), and praised both "Kubrick for proposing that Spielberg direct the project and Spielberg for doing his utmost to respect Kubrick's intentions while making it a profoundly personal work."[40] Film critic Armond White, of the New York Press, praised the film noting that "each part of Davids journey through carnal and sexual universes into the final eschatological devastation becomes as profoundly philosophical and contemplative as anything by cinemas most thoughtful, speculative artists Borzage, Ozu, Demy, Tarkovsky."[41] Filmmaker Billy Wilder hailed A.I. as "the most underrated film of the past few years."[42] When British filmmaker Ken Russell saw the film, he wept during the ending.[43]

Mick LaSalle gave a largely negative review. "A.I. exhibits all its creators' bad traits and none of the good. So we end up with the structureless, meandering, slow-motion endlessness of Kubrick combined with the fuzzy, cuddly mindlessness of Spielberg." Dubbing it Spielberg's "first boring movie", LaSalle also believed the robots at the end of the film were aliens, and compared Gigolo Joe to the "useless" Jar Jar Binks, yet praised Robin Williams for his portrayal of a futuristic Albert Einstein.[44][not in citation given]Peter Travers gave a mixed review, concluding "Spielberg cannot live up to Kubrick's darker side of the future." But he still put the film on his top ten list that year for best movies.[45] David Denby in The New Yorker criticized A.I. for not adhering closely to his concept of the Pinocchio character. Spielberg responded to some of the criticisms of the film, stating that many of the "so called sentimental" elements of A.I., including the ending, were in fact Kubrick's and the darker elements were his own.[46] However, Sara Maitland, who worked on the project with Kubrick in the 1990s, claimed that one of the reasons Kubrick never started production on A.I. was because he had a hard time making the ending work.[47]James Berardinelli found the film "consistently involving, with moments of near-brilliance, but far from a masterpiece. In fact, as the long-awaited 'collaboration' of Kubrick and Spielberg, it ranks as something of a disappointment." Of the film's highly debated finale, he claimed, "There is no doubt that the concluding 30 minutes are all Spielberg; the outstanding question is where Kubrick's vision left off and Spielberg's began."[48]

Screenwriter Ian Watson has speculated, "Worldwide, A.I. was very successful (and the 4th highest earner of the year) but it didn't do quite so well in America, because the film, so I'm told, was too poetical and intellectual in general for American tastes. Plus, quite a few critics in America misunderstood the film, thinking for instance that the Giacometti-style beings in the final 20 minutes were aliens (whereas they were robots of the future who had evolved themselves from the robots in the earlier part of the film) and also thinking that the final 20 minutes were a sentimental addition by Spielberg, whereas those scenes were exactly what I wrote for Stanley and exactly what he wanted, filmed faithfully by Spielberg."[49]

In 2002, Spielberg told film critic Joe Leydon that "People pretend to think they know Stanley Kubrick, and think they know me, when most of them don't know either of us". "And what's really funny about that is, all the parts of A.I. that people assume were Stanley's were mine. And all the parts of A.I. that people accuse me of sweetening and softening and sentimentalizing were all Stanley's. The teddy bear was Stanley's. The whole last 20 minutes of the movie was completely Stanley's. The whole first 35, 40 minutes of the film all the stuff in the house was word for word, from Stanley's screenplay. This was Stanley's vision." "Eighty percent of the critics got it all mixed up. But I could see why. Because, obviously, I've done a lot of movies where people have cried and have been sentimental. And I've been accused of sentimentalizing hard-core material. But in fact it was Stanley who did the sweetest parts of A.I., not me. I'm the guy who did the dark center of the movie, with the Flesh Fair and everything else. That's why he wanted me to make the movie in the first place. He said, 'This is much closer to your sensibilities than my own.'"[50]

Upon rewatching the film many years after its release, BBC film critic Mark Kermode apologized to Spielberg in an interview in January 2013 for "getting it wrong" on the film when he first viewed it in 2001. He now believes the film to be Spielberg's "enduring masterpiece".[51]

Visual effects supervisors Dennis Muren, Stan Winston, Michael Lantieri and Scott Farrar were nominated for the Academy Award for Best Visual Effects, while John Williams was nominated for Best Original Music Score.[52] Steven Spielberg, Jude Law and Williams received nominations at the 59th Golden Globe Awards.[53] The visual effects department was once again nominated at the 55th British Academy Film Awards.[54]A.I. was successful at the Saturn Awards. Spielberg (for his screenplay), the visual effects department, Williams and Haley Joel Osment (Performance by a Younger Actor) won in their respective categories. The film also won Best Science Fiction Film and for its DVD release. Frances O'Connor and Spielberg (as director) were also nominated.[55]

American Film Institute lists

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Understanding Memetics – SCP Foundation

Posted: at 4:54 am

Summary, for those in a hurry:

Memetics deals with information transfer, specifically cultural information in society. The basic idea is to conflate the exchange of information between people with genetic material, to track the mutation of ideas as they are transmitted from one person to the next in the way you could track viral transmissions and mutations.

Meme : Memetics :: Gene : Genetics

Memetics does NOT refer to telepathy, ESP or any imaginary psychic mental magic. These words are memetic, and if you understand them then they are having a completely ordinary memetic effect on you.

Memetics in regards to SCP objects tends to focus on the impossible rather than the mundane, regarding effects that are transmitted via information. In general, the effects themselves should remain in the realm of information. A memetic SCP would be more likely to be a phrase that makes you think you have wings as opposed to a phrase that makes you actually grow a pair of wings. If you write up magic words that make people grow wings, it should be described as something other than memetic.

Memetic SCPs do not emanate auras or project beams. They are SCPs which involve ideas and symbols which trigger a response in those who understand them.

Memetic is often incorrectly used by new personnel as the official sounding term for "Weird Mind Shit." However, that is not actually what memetic means. These words are memetic. They are producing a memetic effect in your mind right now, without any magical mind rays lashing out of your computer monitor to grasp your fragile consciousness. Memes are information, more specifically, cultural information.

Outside of the Foundation's walls the concept of memetics is not taken very seriously; it is a theory that conflates the transfer of cultural information with evolutionary biology.

meme : memetic :: gene : genetic

The idea was that certain memes prosper and others wither the same way certain genes produce stronger offspring that out-compete creatures with different genes. Also, it is easy to compare the spread and mutation of information to the spread of a virus. The reason we use the term memetic in our work is largely due to this, as the truly dangerous memes out there can spread like wildfire due to the fact that the very knowledge of them can count as an infection.

Understanding the true nature of memetic threats is critical to surviving them. You cannot wear a special set of magical goggles made of telekill to protect yourself from a meme. THE GOGGLES DO NOTHING. If you just read those words in your head with a bad Teutonic accent, congratulations on being victim to yet another memetic effect. If you did not know that phrase was an oft-repeated quote from the Simpsons then congratulations; you are now infected with that knowledge and are free to participate in its spread.

An artifact can no more have a memetic aura or project a memetic beam than a creature could have a genetic aura or genetic beam. Even though you could imagine a creature with genes that allow it to produce some kind of aura or beam like a big doofy X-man, remember that the examples we have of such creatures in containment are not getting their super-powered emanations from anything resembling our scientific understanding of genetics and biology. Neither are the memetic artifacts. We contain these things specifically because we cannot understand or explain them yet. At the end of the day we're still using a clumsy concept to describe things we don't have a full grasp of.

It is very rare that anything with a dangerous memetic component could be described as hostile to begin with. We do not contain memetic threats because they are out to get us. They are threats because it is dangerous for us to merely perceive them. It is exceptionally rare for dangerous memes to even have anything resembling sapience with the exception of certain known entities which exist entirely within the medium of "cultural information" such as SCP-, SCP-732 and SCP-423.

A dangerous meme is basically a trigger that sets off something inside of you that you may or may have not been aware of. What would your knee jerk reaction be to knowing that your rival is sleeping with your one true love? How would you react if you were to unwittingly catch them in the act? That kind of sudden revelation can make a mild mannered citizen into a killer, so don't be surprised that there are other strange bits of information out there that can break the human mind in different yet equally drastic ways.

Protecting yourself from memetic threat is very tricky and can be worse than the threat itself. There are reasons that we behave the way we do, there are reasons our emotions soar when we hear just the right combination of sounds in a piece of music. Do you want to stop thinking about the Simpsons or your obnoxious nerdy friends that quote it every time you hear the phrase THE GOGGLES DO NOTHING? That would require forgetting about the Simpsons and your friends.

Do you want to survive hearing or reading the phrase " ?" Well, sadly we don't quite know what other information you need to forget or know to prevent [DATA EXPUNGED] but we're getting better. Lobotomies and pills help, and are one of the few times that the cure is not worse than the disease. The sum total of our human condition; our cultural knowledge and upbringing and memories and identity; this is what makes us susceptible to the occasional memetic compulsion.

So it's not the basalt monolith or its bizarre carvings that is making you strangle your companions with your own intestines, the problem was within you all along.

Should you ever find yourself under a memetic compulsion and aware of the fact, remember that there are certain mental exercises that you can perform which may save your life or the lives of your companions. Changing the information your mind is being presented with may just change how you react to it, and the more abrupt or absurd the change is the better.

Imagine the fearsome entity is wearing a bright pink nightgown. Draw a mustache on the haunted painting. Pee on the stone altar. Wear the terrible sculpture like a hat.

And if all else fails, bend over and kiss your ass goodbye. I'm not kidding. That could actually help.

- Dr. Johannes Sorts received a special dispensation to use the word "doofy" in this document

But seriously

This was originally intended as a piece of fiction on its own before it got stuck into the information bar with plenty of other plainly out-of-character writing guides. So here's the important things to take away:

1 - "Memetics" is a specific concept regarding information exchange. It has nothing to do with telepathy or ESP or psychic compulsions.

2 - SCP-148 has no effect on anything memetic. Don't screw this up or we will give you an incredibly hard time about it.

3 - Psychic compulsions are lame and you should think twice before using them in your new SCP, even if you avoid misusing the term "memetic" when you do it.

4 - Sorts' Rule for all memetic SCPs is "Memetic effect + crazy to death = failure."

5 - Wear it like a haaaaat!!

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Understanding Memetics - SCP Foundation

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Meme – Wikipedia, the free encyclopedia

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A meme ( MEEM)[1] is "an idea, behavior, or style that spreads from person to person within a culture".[2] A meme acts as a unit for carrying cultural ideas, symbols, or practices that can be transmitted from one mind to another through writing, speech, gestures, rituals, or other imitable phenomena with a mimicked theme. Supporters of the concept regard memes as cultural analogues to genes in that they self-replicate, mutate, and respond to selective pressures.[3]

Proponents theorize that memes are a viral phenomenon that may evolve by natural selection in a manner analogous to that of biological evolution. Memes do this through the processes of variation, mutation, competition, and inheritance, each of which influences a meme's reproductive success. Memes spread through the behavior that they generate in their hosts. Memes that propagate less prolifically may become extinct, while others may survive, spread, and (for better or for worse) mutate. Memes that replicate most effectively enjoy more success, and some may replicate effectively even when they prove to be detrimental to the welfare of their hosts.[4]

A field of study called memetics[5] arose in the 1990s to explore the concepts and transmission of memes in terms of an evolutionary model. Criticism from a variety of fronts has challenged the notion that academic study can examine memes empirically. However, developments in neuroimaging may make empirical study possible.[6] Some commentators in the social sciences question the idea that one can meaningfully categorize culture in terms of discrete units, and are especially critical of the biological nature of the theory's underpinnings.[7] Others have argued that this use of the term is the result of a misunderstanding of the original proposal.[8]

The word meme originated with Richard Dawkins' 1976 book The Selfish Gene. Dawkins's own position is somewhat ambiguous: he welcomed N. K. Humphrey's suggestion that "memes should be considered as living structures, not just metaphorically"[9] and proposed to regard memes as "physically residing in the brain".[10] Later, he argued that his original intentions, presumably before his approval of Humphrey's opinion, had been simpler.[11] At the New Directors' Showcase 2013 in Cannes, Dawkins' opinion on memetics was deliberately ambiguous.[12]

The word meme is a shortening (modeled on gene) of mimeme (from Ancient Greek pronounced[mmma] mmma, "imitated thing", from mimeisthai, "to imitate", from mimos, "mime")[13] coined by British evolutionary biologist Richard Dawkins in The Selfish Gene (1976)[1][14] as a concept for discussion of evolutionary principles in explaining the spread of ideas and cultural phenomena. Examples of memes given in the book included melodies, catchphrases, fashion, and the technology of building arches. [15]Kenneth Pike coined the related term emic and etic, generalizing the linguistic idea of phoneme, morpheme and tagmeme (as set out by Leonard Bloomfield), characterizing them as insider view and outside view of behaviour and extending the concept into a tagmemic theory of human behaviour (culminating in Language in Relation to a Unified Theory of the Structure of Human Behaviour, 1954).

The word meme originated with Richard Dawkins' 1976 book The Selfish Gene. Dawkins cites as inspiration the work of geneticist L. L. Cavalli-Sforza, anthropologist F. T. Cloak [16] and ethologist J. M. Cullen.[17] Dawkins wrote that evolution depended not on the particular chemical basis of genetics, but only on the existence of a self-replicating unit of transmission in the case of biological evolution, the gene. For Dawkins, the meme exemplified another self-replicating unit with potential significance in explaining human behavior and cultural evolution.

Dawkins used the term to refer to any cultural entity that an observer might consider a replicator. He hypothesized that one could view many cultural entities as replicators, and pointed to melodies, fashions and learned skills as examples. Memes generally replicate through exposure to humans, who have evolved as efficient copiers of information and behavior. Because humans do not always copy memes perfectly, and because they may refine, combine or otherwise modify them with other memes to create new memes, they can change over time. Dawkins likened the process by which memes survive and change through the evolution of culture to the natural selection of genes in biological evolution.[15]

Dawkins defined the meme as a unit of cultural transmission, or a unit of imitation and replication, but later definitions would vary. The lack of a consistent, rigorous, and precise understanding of what typically makes up one unit of cultural transmission remains a problem in debates about memetics.[19] In contrast, the concept of genetics gained concrete evidence with the discovery of the biological functions of DNA. Meme transmission requires a physical medium, such as photons, sound waves, touch, taste or smell because memes can be transmitted only through the senses.

Dawkins noted that in a society with culture a person need not have descendants to remain influential in the actions of individuals thousands of years after their death:

But if you contribute to the world's culture, if you have a good idea...it may live on, intact, long after your genes have dissolved in the common pool. Socrates may or may not have a gene or two alive in the world today, as G.C. Williams has remarked, but who cares? The meme-complexes of Socrates, Leonardo, Copernicus and Marconi are still going strong.[20]

Memes, analogously to genes, vary in their aptitude to replicate; successful memes remain and spread, whereas unfit ones stall and are forgotten. Thus memes that prove more effective at replicating and surviving are selected in the meme pool.

Memes first need retention. The longer a meme stays in its hosts, the higher its chances of propagation are. When a host uses a meme, the meme's life is extended.[21] The reuse of the neural space hosting a certain meme's copy to host different memes is the greatest threat to that meme's copy.[22]

A meme which increases the longevity of its hosts will generally survive longer. On the contrary, a meme which shortens the longevity of its hosts will tend to disappear faster. However, as hosts are mortal, retention is not sufficient to perpetuate a meme in the long term; memes also need transmission.

Life-forms can transmit information both vertically (from parent to child, via replication of genes) and horizontally (through viruses and other means). Memes can replicate vertically or horizontally within a single biological generation. They may also lie dormant for long periods of time.

Memes reproduce by copying from a nervous system to another one, either by communication or imitation. Imitation often involves the copying of an observed behavior of another individual. Communication may be direct or indirect, where memes transmit from one individual to another through a copy recorded in an inanimate source, such as a book or a musical score. Adam McNamara has suggested that memes can be thereby classified as either internal or external memes (i-memes or e-memes).[6]

Some commentators have likened the transmission of memes to the spread of contagions.[23] Social contagions such as fads, hysteria, copycat crime, and copycat suicide exemplify memes seen as the contagious imitation of ideas. Observers distinguish the contagious imitation of memes from instinctively contagious phenomena such as yawning and laughing, w
hich they consider innate (rather than socially learned) behaviors.[24]

Aaron Lynch described seven general patterns of meme transmission, or "thought contagion":[25]

Dawkins initially defined meme as a noun that "conveys the idea of a unit of cultural transmission, or a unit of imitation".[15] John S. Wilkins retained the notion of meme as a kernel of cultural imitation while emphasizing the meme's evolutionary aspect, defining the meme as "the least unit of sociocultural information relative to a selection process that has favorable or unfavorable selection bias that exceeds its endogenous tendency to change".[26] The meme as a unit provides a convenient means of discussing "a piece of thought copied from person to person", regardless of whether that thought contains others inside it, or forms part of a larger meme. A meme could consist of a single word, or a meme could consist of the entire speech in which that word first occurred. This forms an analogy to the idea of a gene as a single unit of self-replicating information found on the self-replicating chromosome.

While the identification of memes as "units" conveys their nature to replicate as discrete, indivisible entities, it does not imply that thoughts somehow become quantized or that "atomic" ideas exist that cannot be dissected into smaller pieces. A meme has no given size. Susan Blackmore writes that melodies from Beethoven's symphonies are commonly used to illustrate the difficulty involved in delimiting memes as discrete units. She notes that while the first four notes of Beethoven's Fifth Symphony (listen(helpinfo)) form a meme widely replicated as an independent unit, one can regard the entire symphony as a single meme as well.[19]

The inability to pin an idea or cultural feature to quantifiable key units is widely acknowledged as a problem for memetics. It has been argued however that the traces of memetic processing can be quantified utilizing neuroimaging techniques which measure changes in the connectivity profiles between brain regions."[6] Blackmore meets such criticism by stating that memes compare with genes in this respect: that while a gene has no particular size, nor can we ascribe every phenotypic feature directly to a particular gene, it has value because it encapsulates that key unit of inherited expression subject to evolutionary pressures. To illustrate, she notes evolution selects for the gene for features such as eye color; it does not select for the individual nucleotide in a strand of DNA. Memes play a comparable role in understanding the evolution of imitated behaviors.[19]

The 1981 book Genes, Mind, and Culture: The Coevolutionary Process by Charles J. Lumsden and E. O. Wilson proposed the theory that genes and culture co-evolve, and that the fundamental biological units of culture must correspond to neuronal networks that function as nodes of semantic memory. They coined their own word, "culturgen", which did not catch on. Coauthor Wilson later acknowledged the term meme as the best label for the fundamental unit of cultural inheritance in his 1998 book Consilience: The Unity of Knowledge, which elaborates upon the fundamental role of memes in unifying the natural and social sciences.[27]

Dawkins noted the three conditions that must exist for evolution to occur:[28]

Dawkins emphasizes that the process of evolution naturally occurs whenever these conditions co-exist, and that evolution does not apply only to organic elements such as genes. He regards memes as also having the properties necessary for evolution, and thus sees meme evolution as not simply analogous to genetic evolution, but as a real phenomenon subject to the laws of natural selection. Dawkins noted that as various ideas pass from one generation to the next, they may either enhance or detract from the survival of the people who obtain those ideas, or influence the survival of the ideas themselves. For example, a certain culture may develop unique designs and methods of tool-making that give it a competitive advantage over another culture. Each tool-design thus acts somewhat similarly to a biological gene in that some populations have it and others do not, and the meme's function directly affects the presence of the design in future generations. In keeping with the thesis that in evolution one can regard organisms simply as suitable "hosts" for reproducing genes, Dawkins argues that one can view people as "hosts" for replicating memes. Consequently, a successful meme may or may not need to provide any benefit to its host.[28]

Unlike genetic evolution, memetic evolution can show both Darwinian and Lamarckian traits. Cultural memes will have the characteristic of Lamarckian inheritance when a host aspires to replicate the given meme through inference rather than by exactly copying it. Take for example the case of the transmission of a simple skill such as hammering a nail, a skill that a learner imitates from watching a demonstration without necessarily imitating every discrete movement modeled by the teacher in the demonstration, stroke for stroke.[29] Susan Blackmore distinguishes the difference between the two modes of inheritance in the evolution of memes, characterizing the Darwinian mode as "copying the instructions" and the Lamarckian as "copying the product."[19]

Clusters of memes, or memeplexes (also known as meme complexes or as memecomplexes), such as cultural or political doctrines and systems, may also play a part in the acceptance of new memes. Memeplexes comprise groups of memes that replicate together and coadapt.[19] Memes that fit within a successful memeplex may gain acceptance by "piggybacking" on the success of the memeplex. As an example, John D. Gottsch discusses the transmission, mutation and selection of religious memeplexes and the theistic memes contained.[30] Theistic memes discussed include the "prohibition of aberrant sexual practices such as incest, adultery, homosexuality, bestiality, castration, and religious prostitution", which may have increased vertical transmission of the parent religious memeplex. Similar memes are thereby included in the majority of religious memeplexes, and harden over time; they become an "inviolable canon" or set of dogmas, eventually finding their way into secular law. This could also be referred to as the propagation of a taboo.

The discipline of memetics, which dates from the mid-1980s, provides an approach to evolutionary models of cultural information transfer based on the concept of the meme. Memeticists have proposed that just as memes function analogously to genes, memetics functions analogously to genetics. Memetics attempts to apply conventional scientific methods (such as those used in population genetics and epidemiology) to explain existing patterns and transmission of cultural ideas.

Principal criticisms of memetics include the claim that memetics ignores established advances in other fields of cultural study, such as sociology, cultural anthropology, cognitive psychology, and social psychology. Questions remain whether or not the meme concept counts as a validly disprovable scientific theory. This view regards memetics as a theory in its infancy: a protoscience to proponents, or a pseudoscience to some detractors.

An objection to the study of the evolution of memes in genetic terms (although not to the existence of memes) involves a perceived gap in the gene/meme analogy: the cumulative evolution of genes depends on biological selection-pressures neither too great nor too small in relation to mutation-rates. There seems no reason to think that the same balance will exist in the selection pressu
res on memes.[31]

Luis Benitez-Bribiesca M.D., a critic of memetics, calls the theory a "pseudoscientific dogma" and "a dangerous idea that poses a threat to the serious study of consciousness and cultural evolution". As a factual criticism, Benitez-Bribiesca points to the lack of a "code script" for memes (analogous to the DNA of genes), and to the excessive instability of the meme mutation mechanism (that of an idea going from one brain to another), which would lead to a low replication accuracy and a high mutation rate, rendering the evolutionary process chaotic.[32]

British political philosopher John Gray has characterized Dawkins' memetic theory of religion as "nonsense" and "not even a theory... the latest in a succession of ill-judged Darwinian metaphors", comparable to Intelligent Design in its value as a science.[33]

Another critique comes from semiotic theorists such as Deacon[34] and Kull.[35] This view regards the concept of "meme" as a primitivized concept of "sign". The meme is thus described in memetics as a sign lacking a triadic nature. Semioticians can regard a meme as a "degenerate" sign, which includes only its ability of being copied. Accordingly, in the broadest sense, the objects of copying are memes, whereas the objects of translation and interpretation are signs.[clarification needed]

Fracchia and Lewontin regard memetics as reductionist and inadequate.[36] Evolutionary biologist Ernst Mayr disapproved of Dawkins' gene-based view and usage of the term "meme", asserting it to be an "unnecessary synonym" for "concept", reasoning that concepts are not restricted to an individual or a generation, may persist for long periods of time, and may evolve.[37]

Opinions differ as to how best to apply the concept of memes within a "proper" disciplinary framework. One view sees memes as providing a useful philosophical perspective with which to examine cultural evolution. Proponents of this view (such as Susan Blackmore and Daniel Dennett) argue that considering cultural developments from a meme's-eye viewas if memes themselves respond to pressure to maximise their own replication and survivalcan lead to useful insights and yield valuable predictions into how culture develops over time. Others such as Bruce Edmonds and Robert Aunger have focused on the need to provide an empirical grounding for memetics to become a useful and respected scientific discipline.[38][39]

A third approach, described by Joseph Poulshock, as "radical memetics" seeks to place memes at the centre of a materialistic theory of mind and of personal identity.[40]

Prominent researchers in evolutionary psychology and anthropology, including Scott Atran, Dan Sperber, Pascal Boyer, John Tooby and others, argue the possibility of incompatibility between modularity of mind and memetics.[citation needed] In their view, minds structure certain communicable aspects of the ideas produced, and these communicable aspects generally trigger or elicit ideas in other minds through inference (to relatively rich structures generated from often low-fidelity input) and not high-fidelity replication or imitation. Atran discusses communication involving religious beliefs as a case in point. In one set of experiments he asked religious people to write down on a piece of paper the meanings of the Ten Commandments. Despite the subjects' own expectations of consensus, interpretations of the commandments showed wide ranges of variation, with little evidence of consensus. In another experiment, subjects with autism and subjects without autism interpreted ideological and religious sayings (for example, "Let a thousand flowers bloom" or "To everything there is a season"). People with autism showed a significant tendency to closely paraphrase and repeat content from the original statement (for example: "Don't cut flowers before they bloom"). Controls tended to infer a wider range of cultural meanings with little replicated content (for example: "Go with the flow" or "Everyone should have equal opportunity"). Only the subjects with autismwho lack the degree of inferential capacity normally associated with aspects of theory of mindcame close to functioning as "meme machines".[41]

In his book The Robot's Rebellion, Stanovich uses the memes and memeplex concepts to describe a program of cognitive reform that he refers to as a "rebellion". Specifically, Stanovich argues that the use of memes as a descriptor for cultural units is beneficial because it serves to emphasize transmission and acquisition properties that parallel the study of epidemiology. These properties make salient the sometimes parasitic nature of acquired memes, and as a result individuals should be motivated to reflectively acquire memes using what he calls a "Neurathian bootstrap" process.[42]

Although social scientists such as Max Weber sought to understand and explain religion in terms of a cultural attribute, Richard Dawkins called for a re-analysis of religion in terms of the evolution of self-replicating ideas apart from any resulting biological advantages they might bestow.

As an enthusiastic Darwinian, I have been dissatisfied with explanations that my fellow-enthusiasts have offered for human behaviour. They have tried to look for 'biological advantages' in various attributes of human civilization. For instance, tribal religion has been seen as a mechanism for solidifying group identity, valuable for a pack-hunting species whose individuals rely on cooperation to catch large and fast prey. Frequently the evolutionary preconception in terms of which such theories are framed is implicitly group-selectionist, but it is possible to rephrase the theories in terms of orthodox gene selection.

He argued that the role of key replicator in cultural evolution belongs not to genes, but to memes replicating thought from person to person by means of imitation. These replicators respond to selective pressures that may or may not affect biological reproduction or survival.[15]

In her book The Meme Machine, Susan Blackmore regards religions as particularly tenacious memes. Many of the features common to the most widely practiced religions provide built-in advantages in an evolutionary context, she writes. For example, religions that preach of the value of faith over evidence from everyday experience or reason inoculate societies against many of the most basic tools people commonly use to evaluate their ideas. By linking altruism with religious affiliation, religious memes can proliferate more quickly because people perceive that they can reap societal as well as personal rewards. The longevity of religious memes improves with their documentation in revered religious texts.[19]

Aaron Lynch attributed the robustness of religious memes in human culture to the fact that such memes incorporate multiple modes of meme transmission. Religious memes pass down the generations from parent to child and across a single generation through the meme-exchange of proselytism. Most people will hold the religion taught them by their parents throughout their life. Many religions feature adversarial elements, punishing apostasy, for instance, or demonizing infidels. In Thought Contagion Lynch identifies the memes of transmission in Christianity as especially powerful in scope. Believers view the conversion of non-believers both as a religious duty and as an act of altruism. The promise of heaven to believers and threat of hell to non-believers provide a strong incentive for members to retain their belief. Lynch asserts that belief in the Crucifixion of Jesus in Christianity amplifies each of its o
ther replication advantages through the indebtedness believers have to their Savior for sacrifice on the cross. The image of the crucifixion recurs in religious sacraments, and the proliferation of symbols of the cross in homes and churches potently reinforces the wide array of Christian memes.[25]

Although religious memes have proliferated in human cultures, the modern scientific community has been relatively resistant to religious belief. Robertson (2007) [43] reasoned that if evolution is accelerated in conditions of propagative difficulty,[44] then we would expect to encounter variations of religious memes, established in general populations, addressed to scientific communities. Using a memetic approach, Robertson deconstructed two attempts to privilege religiously held spirituality in scientific discourse. Advantages of a memetic approach as compared to more traditional "modernization" and "supply side" theses in understanding the evolution and propagation of religion were explored.

In Cultural Software: A Theory of Ideology, Jack Balkin argued that memetic processes can explain many of the most familiar features of ideological thought. His theory of "cultural software" maintained that memes form narratives, social networks, metaphoric and metonymic models, and a variety of different mental structures. Balkin maintains that the same structures used to generate ideas about free speech or free markets also serve to generate racistic beliefs. To Balkin, whether memes become harmful or maladaptive depends on the environmental context in which they exist rather than in any special source or manner to their origination. Balkin describes racist beliefs as "fantasy" memes that become harmful or unjust "ideologies" when diverse peoples come together, as through trade or competition.[45]

In A Theory of Architecture, Nikos Salingaros speaks of memes as "freely propagating clusters of information" which can be beneficial or harmful. He contrasts memes to patterns and true knowledge, characterizing memes as "greatly simplified versions of patterns" and as "unreasoned matching to some visual or mnemonic prototype".[46] Taking reference to Dawkins, Salingaros emphasizes that they can be transmitted due to their own communicative properties, that "the simpler they are, the faster they can proliferate", and that the most successful memes "come with a great psychological appeal".[47]

Architectural memes, according to Salingaros, can have destructive power. "Images portrayed in architectural magazines representing buildings that could not possibly accommodate everyday uses become fixed in our memory, so we reproduce them unconsciously."[48] He lists various architectural memes that circulated since the 1920s and which, in his view, have led to contemporary architecture becoming quite decoupled from human needs. They lack connection and meaning, thereby preventing "the creation of true connections necessary to our understanding of the world". He sees them as no different from antipatterns in software design as solutions that are false but are re-utilized nonetheless.[49]

An "Internet meme" is a concept that spreads rapidly from person to person via the Internet, largely through Internet-based E-mailing, blogs, forums, imageboards like 4chan, social networking sites like Facebook, Instagram or Twitter, instant messaging, and video hosting services like YouTube and Twitch.tv.[50]

In 2013 Richard Dawkins characterized an Internet meme as one deliberately altered by human creativity, distinguished from Dawkins's original idea involving mutation by random change and a form of Darwinian selection.[51]

One technique of meme mapping represents the evolution and transmission of a meme across time and space.[52] Such a meme map uses a figure-8 diagram (an analemma) to map the gestation (in the lower loop), birth (at the choke point), and development (in the upper loop) of the selected meme. Such meme maps are nonscalar, with time mapped onto the y-axis and space onto the x-axis transect. One can read the temporal progression of the mapped meme from south to north on such a meme map. Paull has published a worked example using the "organics meme" (as in organic agriculture).[52]

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http://www.rubinghscience.org/memetics/dawkinsmemes.html Dec.1999 Chapter 11 from Richard Dawkins, ``The Selfish Gene''

[ First published 1976; 1989 edition: Oxford University Press, ISBN 0-19-286092-5 (paperback) ],

the best short introduction to, and the text that kicked off, the new science of MEMETICS, (and, also, the text where Dawkins coined the term `meme').

The following, key, paragraph of this chapter may perhaps serve as an abstract:

Examples of memes are tunes, ideas, catch-phrases, clothes fashions, ways of making pots or of building arches. Just as genes propagate themselves in the gene pool by leaping from body to body via sperms or eggs, so memes propagate themselves in the meme pool by leaping from brain to brain via a process which, in the broad sense, can be called imitation. If a scientist hears, or reads about, a good idea, he passed it on to his colleagues and students. He mentions it in his articles and his lectures. If the idea catches on, it can be said to propagate itself, spreading from brain to brain. As my colleague N.K. Humphrey neatly summed up an earlier draft of this chapter: `...memes should be regarded as living structures, not just metaphorically but technically.(3) When you plant a fertile meme in my mind you literally parasitize my brain, turning it into a vehicle for the meme's propagation in just the way that a virus may parasitize the genetic mechanism of a host cell. And this isn't just a way of talking -- the meme for, say, "belief in life after death" is actually realized physically, millions of times over, as a structure in the nervous systems of individual men the world over.'

Highlights ** and text in square brackets are not original.

11. Memes: the new replicators

So far, I have not talked much about man in particular, though I have not deliberately excluded him either. Part of the reason I have used the term `survival machine' is that `animal' would have left out plants and, in some people's minds, humans. The arguments I have put forward should, prima facie, apply to any evolved being. If a species is to be excepted, it must be for good reasons. Are there any good reasons for supposing our own species to be unique? I believe the answer is yes.

Most of what is unusual about man can be summed up in one word: `culture'. I use the word not in its snobbish sense, but as a scientist uses it. Cultural transmission is analogous to genetic transmission in that, although basically conservative, it can give rise to a form of evolution. Geoffrey Chaucer could not hold a conversation with a modern Englishman, even though they are linked to each other by an unbroken chain of some twenty generations of Englishmen, each of whom could speak to his immediate neighbours in the chain as a son speaks to his father. Language seems to `evolve' by non-genetic means, and at a rate which is orders of magnitude faster than genetic evolution.

Cultural transmission is not unique to man. The best non-human example that I know has recently been described by P.F. Jenkins in the song of a bird called the saddleback which lives on islands off New Zealand. On the island where he worked there was a total repertoire of about nine distinct songs. Any given male sang only one or a few of these songs. The males could be classified into dialect groups. For example, one group of eight males with neighbouring territories san a particular song called the CC song. Other dialect groups sang different songs. Sometimes the members of a dialect group shared more than one distinct song. By comparing the songs of fathers and sons, Jenkins showed that song patterns were not inherited genetically.Each young male was likely to adopt songs from his territorial neighbours by imitation, in an analogous way to human language. During most of the time Jenkins was there, there was a fixed number of songs on the island, a kind of `song pool' from which each young male drew his own small repertoire. But occasionally Jenkins was privileged to witness the `invention' of a new song, which occurred by a mistake in the imitation of an old one. He writes: `New song forms have been shown to arise variously by change of notes and the combination of parts of other existing songs ...The appearance of the new form was an abrupt event and the product was quite stable over a period of years. Further, in a number of cases the variant was transmitted accurately in its new form to younger recruits so that a recognizably coherent group of like singers developed.' Jenkins refers to the origins of new songs as `cultural mutations'.

Song in the saddleback truly evolves by non-genetic means. There are other examples of cultural evolution in birds and monkeys, but not these are just interesting oddities. It is our own species that really shows what cultural evolution can do. Language is one example out of many. Fashions in dress and diet, ceremonies and customs, art and architecture, engineering and technology, all evolve in historical time in a way that looks like highly speeded up genetic evolution, but has really nothing to do with genetic evolution. As in genetic evolution though, the change may be progressive. There is a sense in which modern science is actually better than ancient science. Not only does our understanding of the universe change as the centuries go by: it improves. Admittedly the current burst of improvement dates back to the Renaissance, which was preceded by a dismal period of stagnation, in which European scientific culture was frozen at the level achieved by the Greeks. But, as we saw in chapter 5, genetic evolution too may proceed as a series of brief spurts between stable plateaux.

The analogy between cultural and genetic evolution has frequently been pointed out, sometimes in the context of quite unnecessary mystical overtones. The analogy between scientific progress and genetic evolution by natural selection has been illuminated especially by Sir Karl Popper. I want to go even further into directions which are also being explored by, for example, the geneticist L.L.Cavalli-Sforza, the anthropologist F.T. Cloak, and the ethologist J.M. Cullen.

As an enthousiastic Darwinian, I have been dissatisfied with explanations that my fellow-enthousiasts have offered for human behaviour. They have tried to look for `biological advantages' in various attributes of human civilization. For example, tribal religion has been seen as a mechanism for solidifying group identity, valuable for a pack-hunting species whose individuals rely on cooperation to catch large and fast prey. Frequently the evolutionary preconception in terms of which such theories are framed is implicitly group-selectionist, but it is possible to rephrase the theories in terms of orthodox gene selection. Man may well have spent large portions of the last several million years living in small kin groups. Kin selection and selection in favour of reciprocal altruism may have acted on human genes to produce many of our basic psychological attributes and tendencies. These ideas are plausible as far as they go, but I find that they do not begin to square up to the formidable challenge of explaining culture, cultural evolution, and the immense differences between human cultures around the world, from the utter selfishness of the Ik of Uganda, as described by Colin Turnbull, to the gentle altruism of Margaret Mead's Arapesh. I think we have got to start again and go right back to first principles. The argument I shall advance, surprising as it may seem coming from the author of the earlier chapters, is that, for an understandi
ng of the evolution of modern man, we must begin by throwing out the gene as the sole basis of our ideas on evolution. I am an enthousiastic Darwinian, but, I think Darwinism is too big a theory to be confined to the narrow context of the gene. The gene will enter my thesis as an analogy, nothing more.

What, after all, is so special about genes? The answer is that they are replicators. The laws of physics are supposed to be true all over the accessible universe. Are there any principles of biology that are likely to have similar universal validity? When astronauts voyage to distant planets and look for life, they can expect to find creatures too strange and unearthly for us to imagine. But is there anything that must be true of all life, wherever it is found, and whatever the basis of its chemistry? If forms of life exist whose chemistry is based on silicon rather than carbon, or ammonia rather than water, if creatures are discovered that boil to death at -100 degrees centigrade, if a form of life is found that is not based on chemistry at all but on electronic reverberating circuits, will there still be any general principle that is true of all life? Obviously I do not know but, if I had to bet, I would put my money on one fundamental principle.This is the law that all life evolves by the differential survival of replicating entities.(1) The gene, the DNA molecule, happens to be the replicating entity that prevails on our planet. There may be others. If there are, provided certain other conditions are met, they will almost inevitable tend to become the basis for an evolutionary process.

But do we have to go to distant worlds to find other kinds of replicator and other, consequent, kinds of evolution? I think that a new kind of replicator has recently emerged on this very planet. It is staring us in the face. It is still in its infancy, still drifting clumsily about in its primeval soup, but already it is achieving evolutionary change at a rate that leaves the old gene panting far behind.

The new soup is the soup of human culture. We need a name for the new replicator, a noun that conveys the idea of a unit of cultural transmission, or a unit of imitation. `Mimeme' comes from a suitable Greek root, but I want a monosyllable that sounds a bit like `gene'. I hope my classicist friends will forgive me if I abbreviate mimeme to meme.(2) If it is any consolation, it could alternatively be thought of as being related to `memory', or to the French word mme. It should be pronounced to rhyme with `cream'.

Examples of memes are tunes, ideas, catch-phrases, clothes fashions, ways of making pots or of building arches. Just as genes propagate themselves in the gene pool by leaping from body to body via sperms or eggs, so memes propagate themselves in the meme pool by leaping from brain to brain via a process which, in the broad sense, can be called imitation. If a scientist hears, or reads about, a good idea, he passed it on to his colleagues and students. He mentions it in his articles and his lectures. If the idea catches on, it can be said to propagate itself, spreading from brain to brain. As my colleague N.K. Humphrey neatly summed up an earlier draft of this chapter: `...memes should be regarded as living structures, not just metaphorically but technically.(3) When you plant a fertile meme in my mind you literally parasitize my brain, turning it into a vehicle for the meme's propagation in just the way that a virus may parasitize the genetic mechanism of a host cell. And this isn't just a way of talking -- the meme for, say, "belief in life after death" is actually realized physically, millions of times over, as a structure in the nervous systems of individual men the world over.'

Consider the idea of God. We do not know how it arose in the meme pool. Probably it originated many times by independent `mutation'. In any case, it is very old indeed. How does it replicate itself? By the spoken and written word, aided by great music and great art. Why does it have souch high survival value? Remember that `survival value' here does not mean value for a gene in a gene pool, but value for a meme in a meme pool. The question really means: What is it about the idea of a god that gives it its stability and penetrance in the cultural environment? The survival value of the god meme in the meme pool results from its great psychological appeal. It provides a superficially plausible answer to deep and troubling questions about existence. It suggests that injustices in this world may be recified in the next. The `everlasting arms' hold out a cushion against our own inadequacies which, like a doctor's placebo, is none the less effective for being imaginary. These are some of the reasons why the idea of God is copied so readily by successive generations of individual brains. God exists, if only in the form of a meme with high survival value, or infective power, in the environment provided by human culture.

Some of my colleagues have suggested to me that this account of the survival value of the god meme begs the question. In the last analysis they wish always to go back to `biological advantage'. To them it is not good enough to say that the idea of a god has `great psychological appeal'. They want to know why it has great psychological appeal. Psychological appeal means appeal to brains, and brains are shaped by natural selection of genes in gene-pools. They want to find some way in which having a brain like that improves gene survival.

I have a lot of sympathy with this attitude, and I do not doubt that there are genetic advantages in our having brains of the kind we have. But nevertheless I think that these colleagues, if they look carefully at the fundamentals of their own assumptions, will find that they begging just as many questions as I am. Fundamentally, the reason why it is good policy for us to try to explain biological phemomena in terms of gene advantage is that genes are replicators. As soon as the primeval soup provided conditions in which molecules could make copies of themselves, the replicators themselves took over. For more than three thousand million years, DNA has been the only replicator worth talking about in the world. But it does not necessarily hold these monopoly rights for all time. Whenever conditions arise in which a new kind of replicator can make copies of itself, the new replicators will tend to take over, and start a new kind of evolution of their own. Once this new evolution begins, it will in no necessary sense be subservient to the old. The old gene-selected evolution, by making brains, provided the `soup' in which the first memes arose. Once self-copying memes had arisen, their own, much faster, kind of evolution took off. We biologists have assimilated the idea of genetic evolution so deeply that we tend to forget that it is only one of many possible kinds of evolution.

Imitation, in the broad sense, is how memes can replicate. But just as not all genes that can replicate do so successfully, so some memes are more successful in the meme-pool than others. This is the analogue of natural selection. I have mentioned particular examples of qualities that make for high survival value among memes. But in general they must be the same as those discussed for the replicators of Chapter 2: longevity, fecundity, and copying-fidelity. The longevity of any one copy of a meme is probably relatively unimportant, as it is for any one copy of a gene. The copy of the tune `Auld Lang Syne' that exists in my brain will last only for the rest of my life.(4) The copy of the same tune that is printed in my volume of The Scottish Student's Song Book is unlikely
to last much longer. But I expect there will be copies of the same tune on paper and in people's brains for centuries to come. As in the case of genes, fecundity is much more important than longevity of particular copies. If the meme is a scientific idea, its spread will depend on how acceptable it is to the population of individual scientists; a rough measure of its survival value could be obtained by counting the number of times it is referred to in successive years in scientific journals.(5) If it is a popular tune, its spread through the meme pool may be gauged by the number of people heard whistling it in the streets. If it is a style of women's shoe, the population memeticist may use sales statistics from shoe shops. Some memes, like some genes, achieve brilliant short-term success in spreading rapidly, but do not last long in the meme pool. Popular songs and stiletto heels are examples. Others, such as the Jewish religious laws, may continue to propagate themselves for thousands of years, usually because of the great potential permanence of written records.

This brings me to the third general quality of successful replicators: copying-fidelity. Here I must admit that I am on shaky ground. At first sight it looks as if memes are not high-fidelity repliators at all. Every time a scientist hears an idea and passes it on to somebody else, he is likely to change it somewhat. I have made no secret of my debt in the book to the ideas of R.L. Trivers. Yet I have not repeated them in his own words. I have twisted them round for my own purposes, changing the emphasis, blending them with ideas of my own and of other people. The memes are being passed on to you in altered form. This looks quite unlike the particulate, all-or-none quality of gene transmission. It looks as though meme transmission is subject to continuous mutation, and also to blending.

It is possible that this appearance of non-particulateness is illusory, and that the analogy with genes does not break down. After all, if we look at the inheritance of many genetic characters such as human height or skin-colouring, it does not look like the work of indivisible and unbendable genes. If a black and an white person mate, their children do not come out either black or white: they are intermediate. This does not mean the genes concerned are not particulate. It is just that there are so many of them concerned with skin colour, each one having such a small effect, that they seem to blend. So far I have talked of memes as though it was obvious what a single unit-meme consisted of. But of course that is far from obvious.I have said a tune is one meme, but what about a symphony: how many memes is that? Is each movement one meme, each recognizable phrase of melody, each bar, each chord, or what?

I appeal to the same verbal trick as I used in Chapter 3. There I divided the `gene complex' into large and small genetic units, and units within units. The `gene' was defined, not in a rigid all-or-none way, but as a unit of convenience, a length of chromosome with just sufficient copying-fidelity to serve as a viable unit of natural selection. If a single phrase of Beethoven's ninth symphony is sufficiently distinctive and memorable to be abstracted from the context of the whole symphony, and used as the call-sign of a maddeningly intrusive European broadcasting station, then to that extent it deserves to be called one meme. It has, incidentally, materially diminished my capacity to enjoy the original symphony.

Similarly, when we say that all biologists nowadays believe in Darwin's theory, we do not mean that every biologist has, graven in his brain, an identical copy of the exact words of Charles Darwin himself. Each individual has his own way of interpreting Darwin's ideas. He probably learned them not from Darwin's own writings, but from more recent authors. Much of what Darwin said is, in detail, wrong. Darwin if he read this book would scarcely recognize his own theory in it, though I hope he would like the way I put it. Yet, in spite of all this, there is something, some essence of Darwinism, which is present in the head of every individual who understands the theory. If this were not so, then almost any statement about two people agreeing with each other would be meaningless. An `idea-meme' might be defined as an entity that is capable of being transmitted from one brain to another. The meme of Darwin's theory is therefore that essential basis of the idea which is held in common by all brains that understand the theory. The differences in the ways that people represent the theory are then, by definition, not part of the meme. If Darwin's theory can be subdivided into components, such that some people believe component A but not component B, while others believe B but not A, then A and B should be regarded as separate memes. If almost everybody who believes in A also believes in B -- if the memes are closely `linked' to use the genetic term -- then it is convenient to lump them together as one meme.

Let us pursue the analogy between memes and genes further. Throughout this book, I have emphasized that we must not think of genes as conscious, purposeful agents. Blind natural selection, however, makes them behave rather *as if* they were purposeful, and it has been convenient, as a shorthand, to refer to genes in the language of purpose. For example, when we say `genes are trying to increase their numbers in future gene pools', what we really mean is `those genes that behave in such a way as to increase their numbers in future gene pools tend to be the genes whose effects we see in the world'. Just as we have found it convenient to think of genes as active agents, working purposefully for their own survival, perhaps it might be convenient to think of memes in the same way. In neither case must we get mystical about it. In both cases the idea of purpose is only a metaphor, but we have already seen what a fruitful metaphor it is in the case of genes. We have even used words like `selfish' and `ruthless' of genes, knowing full well it is only a figure of speech. Can we, in exactly the same spirit, look for selfish or ruthless memes?

There is a problem here concerning the nature of competition. Where there is sexual reproduction, each gene is competing particularly with its own alleles -- rivals for the same chromosomal slot. Memes seem to have nothing equivalent to alleles. I suppose there is a trivial sense in which many ideas can be said to have `opposites'. But in general memes resemble the early replicating molecules, floating chaotically free in the primeval soup, rather than modern genes in their neatly paired, chromosomal regiments. In what sense then are memes competing with each other? Should we expect them to be `selfish' or `ruthless', if they have no alleles? The answer is that we might, because there is a sense in which they must indulge in a kind of competition with each other.

Any user of a digital computer knows how precious computer time and memory storage space are. At many large computer centres they are literally costed in money; or each user may be allotted a ration of time, measured in seconds, and a ration of space, measured in `words'. The computers in which memes live are human brains.(6) Time is possibly a more important limiting factor than storage space, and it is the subject of heavy competition. The human brain, and the body that it controls, cannot do more than one or a few things at once. If a meme is to dominate the attention of a human brain, it must do so at the expense of `rival' memes. Other commodities for which memes compete are radio and television time, billboard space, newspaper
column-inches, and library shelf-space.

In the case of genes, we saw in Chapter 3 that co-adapted gene complexes may arise in the gene pool. A large set of genes concerned with mimicry in butterflies became tightly linked together on the same chromosome, so tightly that they can be treated as one gene. In Chapter 5 we met the more sophisticated idea of the evolutionarily stable set of genes. Mutually suitable teeth, claws, guts, and sense organs evolved in carnivore gene pools, while a different stable set of characteristics emerged from herbivore gene pools. Has the god meme, say, become associated with any other particular memes, and does this association assist the survival of each of the participating memes? Perhaps we could regard an organized church, with its architecture, rituals, laws, music, art, and written tradition, as a co-adapted set of mutually-assisting memes.

To take a particular example, an aspect of doctrine that has been very effective in enforcing religious observance is the threat of hell fire. Many children and even some adults believe that they will suffer ghastly torments after death if they do not obey the priestly rules. This is a peculiarly nasty technique of persuasion, causing great psychological anguish throughout the middle ages and even today. But it is highly effective. It might almost have been planned deliberately by a macchiavellian priesthood trained in deep psychological indoctrination techniques. However, I doubt if the priests were that clever. Much more probably, unconscious memes have ensured their own survival by virtue of those same qualities of pseudo-ruthlessness that successful genes display. The idea of hell fire is, quite simply, self perpetuating, because of its own deep psychological impact. It has become linked with the god meme because the two reinforce each other, and assist each other's survival in the meme pool.

Another member of the religious meme complex is called faith. It means blind trust, in the absence of evidence, even in the teeth of evidence. The story of Doubting Thomas is told, not so that we shall admire Thomas, but so that we can admire the other apostles in comparison. Thomas demanded evidence. Nothing is more lethal for certain kinds of meme than a tendency to look for evidence. The other apostles, whose faith was so strong that they did not need evidence, are held up to us as worthy of imitation. The meme for blind faith secures its own perpetuation by the simple unconscious expedient of discouraging rational inquiry.

Blind faith can justify anything.(7) If a man believes in a different god, or even if he uses a different ritual for worshipping the same god, blind faith can decree that he should die -- on the cross, at the stake, skewered on a Crusader's sword, shot in a Beirut street, or blown up in a bar in Belfast. Memes for blind faith have their own ruthless ways of propagating themselves. This is true of patriotic and political as well as religious blind faith.

Memes and genes may often reinforce each other, but they sometimes come into opposition. For example, the habit of celibacy is presumably not inherited genetically. A gene for celibacy is doomed to failure in the gene pool, except under very special circumstances such as we find in the social insects. But still, a meme for celibacy can be successful in the meme pool. For example, suppose the success of a meme depends critically on how much time people spend in actively transmitting it to other people. Any time spent in doing other things than attempting to transmit the meme may be regarded as time wasted from the meme's point of view. The meme for celibacy is transmitted by priests to young boys who have not yet decided what they want to do with their lives. The medium of transmission is human influence of various kinds, the spoken and written word, personal example and so on. Suppose, for the sake of argument, it happened to be the case that marriage weakened the power of a priest to influence his flock, say because it occupied a large proportion of his time and attention. This has, indeed, been advanced as an official reason for the enforcement of celibacy among priests. If this were the case, it could follow that the meme for celibacy could have greater survival value than the meme for marriage. Of course, exactly the opposite would be true for a gene for celibacy. If a priest is a survival machine for memes, celibacy is a useful attribute to build into him. Celibacy is just a minor partner in a large complex of mutually-assisting religious memes.

I conjecture that co-adapted meme-complexes evolve in the same kind of way as co-adapted gene-complexes. Selection favours memes that exploit their cultural environment to their own advantage. This cultural environment consists of other memes which are also being selected. The meme pool therefore comes to have the attributes of an evolutionarily stable set, which new memes find it hard to invade.

I have been a bit negative about memes, but they have their cheerful side as well. When we die there are two things we can leave behind us: genes and memes. We were built as gene machines, created to pass on our genes. But that aspect of us will be forgotten in three generations. Your child, even your grandchild, may bear a resemblance to you, perhaps in facial features, in a talent for music, in the colour of her hair. But as each generation passes, the contribution of your genes is halved. It does not take long to reach negligible proportions. Our genes may be immortal but the collection of genes that is any one of us is bound to crumble away. Elizabeth II is a direct descendant of William the Conqueror. Yet it is quite probable that she bears not a single one of the old king's genes. We should not seek immortality in reproduction.

But if you contribute to the world's culture, if you have a good idea, compose a tune, invent a sparking plug, write a poem, it may live on, intact, long after your genes have dissolved in the common pool. Socrates may or may not have a gene or two alive in the world today, as G.C. Williams has remarked, but who cares? The meme-complexes of Socrates, Leonardo, Copernicus and Marconi are stil going strong.

However speculative my development of the theory of memes may be, there is one serious point which I would like to emphasize once again. This is that when we look at the evolution of cultural traits and at their survival value, we must be clear whose survival we are talking about. Biologists, as we have seen, are accustomed to looking for advantages at the gene level (or the individual, the group, or the species level according to taste). What we have not previously considered is that a cultural trait may have evolved in the way that it has, simply because it is advantageous to itself.

We do not have to look for conventional biological survival values of traits like religion, music, and ritual dancing though these may also be present. Once the genes have provided their survival machines with brains that are capable of rapid imitation, the memes will automatically take over. We do not even have to posit a genetic advantage in imitation, though that would certainly help. All that is necessary is that the brain should be capable of imitation: memes will then evolve that exploit the capacity to the full.

I now close the topic of the new replicators, and end the chapter on a note of qualified hope. One unique feature of man, which may or may not have evolved memically, is his capacity for conscious foresight. Selfish genes (and, if you alllow the speculation of this chapter, memes too) have no foresight. They are unconscious, b
lind, replicators. The fact that they replicate, together with certain further conditions means, willy nilly, that they will tend towards the evolution of qualities which, in the special sense of this book, can be called selfish. A simple replicator, whether gene or meme, cannot be expected to forgo short-term selfish advantage even if it would really pay it, in the long term, to do so. We saw this in the chapter on aggression. Even though a `conspiracy of doves' would be better for every single individual than the evolutionarily stable strategy [=ESS], natural selection is bound to favour the ESS.

It is possible that yet another unique quality of man is a capacity for genuine, desinterested, true altruism. I hope so, but I am not going to argue the case one way or another, nor to speculate over its possible memic evolution. The point I am making now is that, even if we look on the dark side and assume that individual man is fundamentally selfish, our conscious foresight -- our capacity to simulate the future in imagination -- could save us from the worst selfish excesses of the blind replicators. We have at least the mental equipment to foster our long-term selfish interests rather than merely our short-term selfish interests. We can see the long-term benefits of participating in a `conspiracy of doves', and we can sit down together to discuss ways of making the conspiracy work. We have the power to defy the selfish genes of our birth and, if necessary, the selfish memes of our indoctrination. We can even discuss ways of deliberately cultivating and nurturing pure, disinterested altruism -- something that has no place in nature, something that has never existed before in the whole history of the world. We are built as gene machines and cultured as meme machines, but we have the power to turn against our own creators. We, alone on earth, can rebel against the tyranny of the selfish replicators.(8)

NOTES

(1) I would put my money on one fundamental principle ...all life evolves by the differential survival of repicating entities.

My wager that all life, everywhere in the universe, would turn out to have evolved by Darwinian means has now been spelled out and justified more fully in my paper `Universal Darwinism' and in the last chapter of The Blind Watchmaker. I show that all the alternatives to Darwinism that have ever been suggested are in principle incapable of doing the job of explaining the organized complexity of life. The argument is a general one, not based upon particular facts about life as we know it. As such it has been criticized by scientists pedestrian enough to think that slaving over a hot test tube (or cold muddy boot) is the only method of discovery in science. One critic complained that my argument was `philosophical', as though that was sufficient condemnation. Philosophical or not, the fact is that neither he nor anybody else has found any flaw in what I said. And `in principle' arguments such as mine, far from being irrelevant to the real world, can be more powerful than arguments based on particular factual research. My reasoning, if it is correct, tells us something important about life everywhere in the universe. Laboratory and field research can tell us only about life as we have sampled it here.

(2) Meme

The word meme seems to be turning out to be a good meme. It is now quite widely used and in 1988 it joined the official list of words being considered for future editions of Oxford English Dictionaries. This makes me the more anxious to repeat that my designs on human culture were modest almost to vanishing point. My true ambitions -- and they are admittedly large -- lead in another direction entirely. I want to claim almost limitless power for slightly inaccurate self-replicating entities, once they arise anywhere in the universe. This is because they tend to become the basis for Darwinian selection which, given enough generations, cumulatively builds systems of great complexity. I believe that, given the right conditions, replicators automatically band together to create systems, or machines, that carry them around and work to favour their continued replication. The first ten chapters of The Selfish Gene had concentrated exclusively on one kind of replicator, the gene. In discussing memes in the final chapter I was trying to make the case for replicators in general, and to show that genes were not the only members of that important class. Whether the milieu of human culture really does have what it takes to get a form of Darwinism going, I am not sure. But in any case that question is subsidiary to my concern.Chapter 11 will have succeeded of the reader closes the book with the feeling that DNA molecules are not the only entities that might form the basis for Darwinian evolution. My purpose was to cut the gene down to size, rather than to sculpt a grand theory of human culture.

(3) ...memes should be regarded as living structures, not just metaphorically but technically

DNA is a self-replicating piece of hardware. Each piece has a particular structure, which is different from rival pieces of DNA. If memes in brains are analogous to genes they must be self-replicating brain structures, actual patterns of neurological wiring-up that reconsititute themselves in one brain after another. I had always felt uneasy spelling this out aloud, because we know far less about brains than about genes, and are therefore necessarily vague about what such a brain structure might actually be. So I was relieved to receive very recently a very interesting paper by Juan Delius of the University of Konstanz in Germany. Unlike me, Delius doesn't have to feel apologetic, because he is a distinguished brain scientist whereas I am not a brain scientist at all. I am delighted, therefore, that he is bold enough to ram home the point by actually publishing a detailed picture of what the neuronal hardware of a meme might look like. Among the other interesting things he does is to explore, far more searchingly than I had done, the analogy of memes with parasites; to be more precise, with the spectrum of which malignant parasites are one extreme, benign `symbionts' the other extreme. I am particularly keen on this approach because of my own interest in `extended phenotypic' effects of parasitic genes on host behaviour (see Chapter 13 of this book and in particular chapter 12 of The Extended Phenotype). Delius, by the way, emphasizes the clear separation between memes and their ('phenotypic') effects. And he reiterates the importance of coadapted meme-complexes, in which memes are selected for their mutual compatibility.

(4) `Auld Lang Syne'

`Auld Lang Syne' was, unwittingly, a revealingly fortunate example for me to have chosen. This is because, almost universally, it is rendered with an error, a mutation. The refrain is, essentially always nowadays, sung as `For the sake of auld lang syne', whereas Burns actually wrote `For auld lang syne'. A memically minded Darwinian immediately wonders what has been the `survival value' of the interpolated phrase, `the sake of'. Remember that we are not looking for ways in which people might have survived better through singing the song in altered form. We are looking for ways in which the alteration itself might have been good at surviving in the meme pool. Everybody learns the song in childhood, not through reading Burns but through hearing it sung on New Year's Eve. Once upon a time, presumably, everybody sang the correct words. `For the sake of' must have arisen as a rare mutation. Our question is, why has the initially rare mutation spread so insidiously that it has become th
e norm in the meme pool?

I don't think the answer is far to seek. The sibilant `s' is notoriously obtrusive. Church choirs are drilled to pronounce `s' sounds as lightly as possible, otherwise the whole church echoes with hissing. A murmuring priest at the altar of a great cathedral can sometimes be heard, from the back of the nave, only as a sporadic sussuration of `s's. The other consonant in `sake', `k', is almost as penetrating. Imagine that nineteen people are correctly singing `For auld lang syne', and one person, somewhere in the room, slips in the erroneous `For the sake of auld lang syne'. A child, hearing the song for the first time, is eager to join in but uncertain of the words. Although almost everybody is singing `For auld lang syne', the hiss of an `s' and the cut of a `k' force their way into the child's ears, and when the refrain comes round again he too sings `For the sake of auld lang syne'. The mutant meme has taken over another vehicle. If there are any other children there, or adults unconfident of the words, they will be more likely to switch to the mutant form next time the refrain comes round. It is not that they `prefer' the mutant form. They genuinely don't know the words and are honestly eager to learn. Even if those who know better indignantly bellow `For auld lang syne' at the top of their voice (as I do!), the correct words happen to have no conspicuous consonants, and the mutant form, even if quietly and diffidently sung, is far easier to hear.

A similar case is `Rule Brittannia'. The correct second line of the chorus is `Brittannia, rule the waves'. It is frequently, though not quite universally, sung as `Brittannia rules the waves'. Here the insistently hissing `s' of the meme is aided by an additional factor. The indended meaning of the poet (James Thompson) was persumably imperative (Brittannia, go out and rule the waves !) or possibly subjunctive (let Brittannia rule the waves). But it is superficially easier to misunderstand the sentence as indicative (Brittannia, as a matter of fact, does rule the waves). This mutant meme, then, has two separate survival values over the original form that it replaced: it sounds more conspicuous and it is easier to understand.

The final test of a hypothesis should be experimental. It should be possible to inject the hissing meme, deliberately, into the meme pool at a very low frequency, and then watch it spread because of its own survival value. What if just a few of us were to start singing `God saves our gracious Queen'?

(5) If the meme is a scientific idea, its spread will depend on how acceptable it is to the population of individual scientists; a rough measure of its survival value could be obtained by counting the number of times it is referred to in successive years in scientific journals.

[ Sorry, I left this note out. It's rather long, and contains 3 figures (relatively hard to copy and put into an HTML page) that unfortunately are important to the note's text -- and anyway, the note is probably of interest only to settled bureaucratic scientists concerned mainly with the # of times their own publications are quoted in papers by others. :-):-) But !, since you have read so far, I think you are pretty interested in this stuff -- please consider buying the book ! I think it really would be a worthwhile investment in yourself. ]

(6) The computers in which memes live are human brains.

It was obviously predictable that manufactured electronic computers, too, would eventually play host to self-replicating patterns of information -- memes. Computers are increasingly tied together in intricate networks of shared information. Many of them are literally wired up together in electronic mail exchange. Others share information when their owners pass floppy disks around. It is a perfect milieu for self-replicating programs to flourish and spread. When I wrote the first edition of this book I was nave enough to suppose that an undesirable computer meme would have to arise by a spontaneous error in the copying of a legitimate program. Alas, that was a time of innocence. Epidemics of `viruses' and `worms', deliberately released by malicious programmers, are now familiar hazards to computer-users all over the world. [Un-original paragraph break]

My own hard disc has to my knowledge been infected in two diffent virus epidemics during the past year, and that is a fairly typical experience among heavy computer users. I shall not mention the names of particualr viruses for fear of giving any nasty little satisfaction to their nasty little perpetrators. I say `nasty', because their behaviour seems to me morally indistinguishable from that of a technician in a microbiology laboratory, who deliberately infects the drinking water and seeds epidemics in order to snigger at people getting ill. I say `little', because these people are mentally little. There is nothing clever about designing a computer virus. Any half-way competent programmer could do it, and half-way competent programmers are two-a-penny in the modern world. I'm one myself. I shan't even bother to explain how computer viruses work. It's too obvious.

[ Hear, hear ! .... So even Dawkins is not immune to burst off in `flames' and in useless gratuitous morality and ethics. :-):-) Still, nevertheless, this note (bar the moralisms) does contain some interesting stuff. ]

What is less easy is how to combat them. Unfortunately some very expert programmers have had to waste their valuable time writing virus-detector programs, immunization programs and so on (the analogy with medical vaccination, by the way, is astonishingly close, even down to the injection of a `weakened strain' of the virus). The danger is that an arms race will develop, with each advance in virus-prevention being matched by counter-advances in new virus programs. So far, most anti-virus programs are written by altruists and supplied free of charge as a service. But I foresee the growth of a whole new profession -- splitting into lucrative specialisms just like any other profession -- of `software doctors' on call with black bags full of diagnostic and curative floppy disks. I use the name `doctors', but real doctors are solving natural problems that are not deliberately engineered by human malice. My software doctors, on the other hand, will be, like lawyers, solving man-made problems that should never have existed in the first place. In so far as virus-makers have any discernible motive, they presumably feel vaguily anarchistic. I appeal to them: do you really want to pave the way for a new cat-profession? If not, stop playing at silly memes, and put your modest programming talents to better use.

(7) Blind faith can justify anything.

I have had the predictable spate of letters from faith's victims, protesting about my criticisms of it. Faith is such a successful brainwasher in its own favour, especially a brainwasher of children, that it is hard to break its hold. But what, after all, is faith? It is a state of mind that leads people to believe something -- it doesn't matter what -- in the total absence of supporting evidence. If there were good supporting evidence then faith would be superfluous, for the evidence would compel us to believe it anyway. It is this that makes the often-parrotted claim that `evolution is a matter of faith' so silly. People believe in evolution not because they arbitrarily want to believe it but because of overwhelming, publicly available evidence.

I said `it doesn't matter what' the faithful believe, which suggests that people have faith in entirely daft, arbitrary things, l
ike the electric monk in Douglas Adam's delightful Dirk Gently's Holistic Detective Agency. He was purpose-built to do your believing for you, and very successful at it. On the day that we meet him he unshakingly believes, against all the evidence, that everything in the world is pink. I don't want to argue that things in which a particular individual has faith are necessarily daft. They may of may not be. The point is that there is no way of deciding whether they are, and no way of preferring one article of faith over another, because evidence is explicitly eschewed. Indeed the fact that true faith doesn't need evidence is held up as its greatest virtue; this was the point of my quoting the story of Doubting Thomas, the only really admirable member of the apostles.

Faith cannot move mountains (though generations of children are solemnly told the contrary and believe it). But it is capable of driving people to such dangerous folly that faith seems to me to qualify as a kind of mental illness. It leads people to believe in whatever it is so strongly that in extreme cases thay are prepared to kill and die for it without the need for further justification. Keith Henson has coined the name `memeoids' for `victims that have been taken over by a meme to the extent that their own survival becomes inconsequential ... You see lots of these people on the evening news from such places as Belfast or Beirut'. Faith is powerful enough to immunize people agains all appeals to pity, to forgiveness, to decent human feelings. It even immunizes them against fear, if they honestly believe that a martyr's death will send them straight to heaven. What a weapon! Religious faith deserves a chapter to iteself in the annals of war technology, on an even footing with the longbow, the warhorse, the tank, and the hydrogen bomb.

(8) We, alone on earth, can rebel against the tyranny of the selfish replicators.

The optimistic tone of my conclusion has provoked scepticism among critics who feel that it is inconsistent with the rest of the book. In some cases the criticism comes from doctrinaire sociobiologists jealously protective of the importance of genetic influence. In other cases the criticism comes from a paradoxically opposite quarter, high priests of the left jealously protective of a favourite demonological icon! Rose, Kamin, and Lewontin in Not in Our Games have a private bogey called `reductionism'; and all the best reductionists are also supposed to be `determinists', preferably `genetic determinists'.

The numbers in brackets refer to the numbered references in the bibliography. References for the body of Chapter 11 are preceded by a -, those for the notes by a >.

- Arapesh tribe (133) - blending inheritance (69) - Cavalli-Sforza, L.L. (32, 33) - Cloak, F.T. (37) - cultural evolution (20, 32, 33, 37, 62, 128) - Darwin, C.R. (41) > Delius, J.D. (58) > determinism (47,51,154) - faith (94) > Henson, H.K. (94) - Humphrey, N.K. (99) - Ik tribe (175) - Jenkins, P.F. (101) > Kamin, L.J. (154) > Lewontin, R.C. (110, 154) - Mead, M. (133) -> meme (20, 58) > parasites (47, 89, 90, 160) - particulate inheritance (69, 129, 153) - Popper, K. (150, 151) - primeval soup (144) > reductionism (154) - religion (94) - replicator (47, 48) > Rose, S. (154) - saddleback (101) - Trivers, R.L. (170, 171, 172, 173, 174) - Turnbull, C. (175) > universal Darwinism (49, 50) - Williams, G.C. (181, 183) > Wilson, E.O. (185)

20. Bonner, J.T. (1980) The Evolution of Culture in Animals. Princeton: Princeton University Press. 32. Cavalli-Sforza, L.L. (1971) Similarities and dissimilarities of sociocultural and biological evolition. In Mathematics in the Archaeological and Historical Sciences (eds. F.R. Hodson, D.G. Kendall, and P. Tautu). Edinburgh: Edinburgh University Press. pp. 553-41. 33. Cavalli-Sforza, L.L. and Feldman, M.W. (1981) Cultural Transmission and Evolution: A Quantitative Approach. Princeton: Princeton University Press. 37. Cloak, F.T. (1975) Is a cultural ethology possible? Human Ecology 3, 161-82. 41. Darwin, C.R. (1859) The Origin of Species. London: John Murray. 47. Dawkins, R. (1982) The Extended Phenotype. Oxford: W.H. Freeman. 48. Dawkins, R. (1982) Replicators and vehicles. in Current Problems in Sociobiology (eds. King's College Sociobiology Group). Cambridge: Cambridge University Press. pp. 45-64. 49. Dawkins, R. (1983) Universal Darwinism. In Evolution from Molecules to Men (ed. D.S. Bendall). Cambridge: Cambridge University Press. pp. 403-25. 50. Dawkins, R. (1986) The Blind Watchmaker. Harlow: Longman. 51. Dawkins, R. (1986) Sociobiology: the new storm in a teacup. In Science and Beyond (eds. S. Rose and L. Appignanesi). Oxford: Basil Blackwell. pp. 61-78. 58. Delius, J.D. (in press [in 1989]) Of mind memes and brain bugs: a natural history of culture. In The Nature of Culture (ed. W.A. Koch). Bochum: Studienlag Brockmeyer. 62. Dobzhansky, T. (1962) Mankind Evolving. New Haven: Yale University Press. 69. Fisher, R.A. (1930) The Genetical Theory of Natural Selection. Oxford: Clarendon Press. 89. Hamilton, W.D. (1998) Sex versus non-sex versus parasite. Oikos 35, 282-90. 90. Hamilton, W.D. and Zuk, M. (1982) Heritable true fitness and bright birds: a role for parasites? Science 218, 384-7. 94. Henson, H.K. (1985) Memes, L5 and the religion of the space colonies. L5 News, September 1985, pp. 5-8. 99. Humphrey, N. (1986) The Inner Eye. London: Faber and Faber. 101. Jenkins, P.F. (1978) Cultural transmission of song patterns and dialect development in a free-living bird population. Animal Behaviour 26, 50-78. 110. Lewontin, R.C. (1983) The organism as the subject and object of evolution. Scientia 118, 65-82. 128. Maynard Smith, J. (1988) Games, Sex and Evolution. New York: Harvester Wheatsheaf. 129. Maynard Smith, J. (1988) Evolutionary Genetics. Oxford: Oxford University Press. 133. Mead, M. (1950) Male and Female. London: Gollancz. 144. Orgel, L.E. (1973) The Origins of Life. London: Chapman and Hall. 150. Popper, K. (1974) The rationality of scientific revolutions. In Problems of Scientific Revolution (ed. R. Harr). Oxford: Clarendon Press. pp. 72-101. 151. Popper, K. (1974) Natural selection and the emergence of mind. Dialectica 32, 339-55. 153. Ridley, M. (1985) The Problems of Evolution. Oxford: Oxford University Press. 154. Rose, S., Kamin, L.J., and Lewontin, R.C. (1984) Not In Our Genes. Oxford: Oxford University Press. 160. Seger, J. and Hamilton, W.D. (1988) Parasites and sex. In The Evolution of Sex (eds. R.E. Michod and B.R. Levin). Sunderland, Massachusetts: Sinauer. pp. 176-93. 170. Trivers, R.L. (1971) The evolution of reciprocal altruism. Quarterly Review of Biology 46, 35-57. 171. Trivers, R.L. (1972) Parental investment and sexual selection. In Sexual Selection and the Descent of Man (ed. B. Campbell). Chicago: Aldine. pp 136-79. 172. Trivers, R.L. (1974) Parent-offspring conflict. American Zoologist 14, 249-64. 173. Trivers, R.L. (1985) Social Evolution. Menlo Park: Benjamin/Cummings. 174. Trivers, R.L. and Hare, H. (1976) Haplodiploidy and the evolution of the social insects. Science 191, 249-63. 175. Turnbull, C. (1972) The Mountain People. London: Jonathan Cape. 181. Williams, G.C. (1975) Sex and Evolution. Princeton: Princeton University Press. 183. Williams, G.C. (1975) A defense of reductionism in evolutionary biology. In Oxford Surveys in Biology (eds. R. Dawkins and M. Ridley), 2, pp. 1-27. 185. Wilson, E.O. (1975) Sociobiology: The New Synthesis. Cambridge, Massachusetts: Harvard University Press.

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The Zeitgeist Movement – Wikipedia, the free encyclopedia

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The Zeitgeist Movement was established in 2008 by Peter Joseph and advocates a transformation of society and its economic system to a non monetary system based on resource allocation and environmentalism.

Originally, the ideas were based on a societal model by Jacque Fresco a social engineer with The Venus Project.[1][2] In the Venus project machines control government and industry and safeguard resources using artificially intelligent earthwide autonomic sensor system super-brain connected to all human knowledge.[3]

The Zeitgeist Movement was formed in 2008[4] by Peter Joseph shortly after the late 2008 release of Zeitgeist: Addendum, the second film in the 'Zeitgeist' film series.[5][1] In its first year the group described itself as "the activist arm of The Venus Project.[6] In April 2011, the two groups partnership ended in an apparent power struggle, with Joseph commenting, Without [The Zeitgeist Movement], [The Venus Project] doesnt exist it has nothing but ideas and has no viable method to bring it to light."[1] Jacques Fresco in an interview said that although the Zeitgeist movement wanted to act as the 'activist arm' of Venus project, Peter Joseph never clarified what that would entail. In addition Fresco's ideas of how to change society were not followed, leading to Fresco dropping participation in the Zeitgeist Movement.[7]

VC Reporter's Shane Cohn summarized the movement's charter as: "Our greatest social problems are the direct results of our economic system".[5]

Samuel Gilonis describes the movements opinions as wanting to replace all private property with for what Joseph refers to as "strategic access" as well as replacing democracy with a form of technocracy whereby the ruling class would comprise technical experts in control of their relevant domains.[8]

The group is critical of market capitalism describing it as structurally corrupt and inefficient in the use of resources. According to The Daily Telegraph, the group dismisses historic religious concepts as misleading and embraces a version of sustainable ecological concepts and scientific administration of society.[9][10][11][12][13][14]

In January 2014, the group published a book, The Zeitgeist Movement Defined: Realizing A New Train Of Thought, composed of eighteen essays on psychology, economics, and scientific theory written by the 'TZM Lecture Team' and edited by Ben McLeish, Matt Berkowitz, and Peter Joseph.[15]

The group holds two annual events: Z-Day (or Zeitgeist Day), an "educational forum"[16] held in March and an artivist event called Zeitgeist Media Festival.[3] The second Z-Day took place in Manhattan in 2009 and included lectures by Peter Joseph and Jacque Fresco. The organisers said that local chapters also held sister events on the same day.[16] The Zeitgeist Media Festival was first held in 2011. Its 3rd annual event took place on August 4, 2013 at the Avalon Hollywood nightclub in Los Angeles, California.[17][3]

An article in the Journal of Contemporary Religion describes the movement as an example of a "conspirituality," a synthesis of New Age spirituality and conspiracy theory.[18]

Michelle Goldberg of Tablet Magazine called the movement "the world's first Internet-based apocalyptic cult, with members who parrot the party line with cheerful, rote fidelity." In her opinion, the movement is "devoted to a kind of sci-fi planetary communism", and the 2007 documentary that "sparked" the movement was "steeped in far-right, isolationist, and covertly anti-Semitic conspiracy theories."[19]

Alan Feuer of The New York Times said the movement was like "a utopian presentation of a money-free and computer-driven vision of the future, a wholesale reimagination of civilization, as if Karl Marx and Carl Sagan had hired John Lennon from his Imagine days to do no less than redesign the underlying structures of planetary life."[16]

In Socialist Unity magazine and also Tablet Magazine the films relationship to anti-Semitic texts is claimed and it is claimed that those theories are made to look left-wing or liberal. A relationship between the film and a book called The Protocols of the Elders of Zion, along with the films use of other anti-Semitic tropes is claimed.[20][21]

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Seasteading – Wikipedia, the free encyclopedia

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Seasteading is the concept of creating permanent dwellings at sea, called seasteads, outside the territory claimed by any government. Most proposed seasteads have been modified cruising vessels. Other proposed structures have included a refitted oil platform, a decommissioned anti-aircraft platform, and custom-built floating islands.[1]

No one has created a state on the high seas that has been recognized as a sovereign state. The Principality of Sealand is a disputed micronation formed on a discarded sea fort near Suffolk, England.[2] The closest things to a seastead that have been built so far are large ocean-going ships sometimes called "floating cities", and smaller floating islands.

The term combines the words sea and homesteading. At least two people independently began using it: Ken Neumeyer in his book Sailing the Farm (1981) and Wayne Gramlich in his article "Seasteading Homesteading on the High Seas" (1998).[3]

Outside the Exclusive Economic Zone of 200 nautical miles (370km), which countries can claim according to the United Nations Convention on the Law of the Sea, the high seas are not subject to the laws of any sovereign state other than the flag under which a ship sails. Examples of organizations using this possibility are Women on Waves, enabling abortions for women in countries where abortions are subject to strict laws, and offshore radio stations which were anchored in international waters. Like these organizations, a seastead would take advantage of the absence of laws and regulations outside the sovereignty of nations, and choose from among a variety of alternate legal systems such as those underwritten by "Las Portadas".[4]

"When Seasteading becomes a viable alternative, switching from one government to another would be a matter of sailing to the other without even leaving your house," said Patri Friedman at the first annual Seasteading conference.[5][6][7]

The Seasteading Institute (TSI), founded by Wayne Gramlich and Patri Friedman on April 15, 2008, is an organization formed to facilitate the establishment of autonomous, mobile communities on seaborne platforms operating in international waters.[5][8][9] Gramlichs 1998 article "SeaSteading Homesteading on the High Seas" outlined the notion of affordable steading, and attracted the attention of Friedman with his proposal for a small-scale project.[3] The two began working together and posted their first collaborative book online in 2001, which explored aspects of seasteading from waste disposal to flags of convenience.

The project picked up mainstream exposure in 2008 after having been brought to the attention of PayPal cofounder Peter Thiel, who contributed $500,000 to fund the creation of The Seasteading Institute and has since spoken out on behalf of its viability, as seen in his essay "The Education of a Libertarian",[10] published online by Cato Unbound. The Seasteading Institute has received widespread media attention from sources such as CNN, Wired,[5]Prospect,[11]The Economist[9] Business Insider,[12] and BBC[13] American journalist John Stossel wrote an article about seasteading in February 2011 and hosted Friedman on his show on the Fox Business Network.[14]

On July 31, 2011, Friedman stepped down from the role of executive director, and became chairman of the board. Friedman was replaced by Randolph Hencken. Concomitantly, the institute's directors of business strategy and legal strategy went on to start Blueseed, the first commercial seasteading venture.[15]

Between May 31 and June 2, 2012, The Seasteading Institute held its third annual conference.[16]

In the spring of 2013,[17] the Institute launched The Floating City Project,[18] which combines principles of both seasteading and startup cities,[19] by seeking to locate a floating city within the territorial waters of an existing nation, rather than the open ocean. The institute argued that it would be easier to engineer a seastead in relatively calm, shallow waters; that the location would make it easier for residents to reach as well as to acquire goods and services from existing supply chains; and that a host nation would place a floating city within the international legal framework.

The Institute raised $27,082 from 291 funders in a crowdfunding campaign[20] and commissioned DeltaSync[21] to design a floating city concept for The Floating City Project. In December 2013, the concept report was published. The Seasteading Institute has also been collecting data from potential residents through a survey.[22]

The first seasteads are projected to be cruise ships adapted for semi-permanent habitation. Cruise ships are a proven technology, and they address most of the challenges of living at sea for extended periods of time. The cost of the first shipstead was estimated at $10M.[23]

The Seasteading Institute has been working on communities floating above the sea in spar buoys, similar to oil platforms.[24] The project would start small, using proven technology as much as possible, and try to find viable, sustainable ways of running a seastead.[25] Innovations that enable full-time living at sea will have to be developed. The cruise ship industry's development suggests this may be possible.

A proposed design for a custom-built seastead is a floating dumbbell in which the living area is high above sea level, which minimizes the influence of waves. In 2004, research was documented in an online book that covers living on the oceans.[26]

The Seasteading Institute focuses on three areas: building a community, doing research and building the first seastead in the San Francisco Bay. In January 2009, the Seasteading Institute patented a design for a 200-person resort seastead, ClubStead, about a city block in size, produced by consultancy firm Marine Innovation & Technology. ClubStead marked the first major development in hard engineering, from extensive analysis to simulations, of the seasteading movement.[9][26][27]

At the Seasteading Institute Forum, an idea arose to create an island from modules.[28] There are several different designs for the modules, with a general consensus that reinforced concrete is the most proven, sustainable and cost-effective material for seastead structures,[29] as indicated by use in oil platforms and concrete submarines. The company AT Design Office recently made another design using the modular island method.[30]

Many architects and firms have created designs for floating cities, including Vincent Callebaut,[31][32]Paolo Soleri[33] and companies such as Shimizu and Tangram 3DS.[34]Marshall Savage also discussed building tethered artificial islands in his book The Millennial Project: Colonizing the Galaxy in Eight Easy Steps, with several color plates illustrating his ideas. Some design competitions have also yielded designs, such as those produced by Evolo and other companies.[35][36][37]

In 2008, Friedman and Gramlich had hoped to float the first prototype seastead in the San Francisco Bay by 2010[38][39] but 2010 plans were to launch a seastead by 2014.[40] The Seasteading Institute projected in 2010 that the seasteading population would exceed 150 individuals in 2015.[41]

The Seasteading Institute held its first conference in Burlingame, California, October 10, 2008. 45 people from 9 countries attended.[42] The second Seasteading conference was significantly larger, and held in San Francisco, California, September 2830, 2009.[43][44] The third Seasteading conference took place on May 31 - June 2, 2012.[45]

As of 2011[update], Blueseed was a
company working on launching a ship near Silicon Valley which was to serve as a visa-free startup community and entrepreneurial incubator. The shipstead planned to offer living and office space, high-speed Internet connectivity, and regular ferry service to the mainland.[46][47] The project aims included overcoming the difficulty organizations face obtaining US work visas, intending to use the easier B-1/B-2 visas to travel to the mainland, while work will be done on the ship.[46][47][dated info] Blueseed founders Max Marty and Dario Mutabdzija met when both were employees of The Seasteading Institute.[46][47]

Seasteading has been imagined numerous times in pop culture in recent years.

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