Tag: Unconscious

  • Marxism and Psychoanalysis: Towards A Theory of Everything?

    Marxism and Psychoanalysis: Towards A Theory of Everything?

    Our understanding of the nature of the universe has received many breakthroughs since Albert Einstein published his theory of special relativity during his “miraculous year” of 1905. As the century progressed, a theory of general relativity was sketched out to provide a framework for the movement of matter through the spacetime continuum—testable knowledge employed across a variety of fields today. While relativity is the backbone of our understanding of the cosmos, quantum mechanics was developed in order to explain the behaviour and physical properties of microscopic matter, such as molecules and atoms.

    The existence of atoms was proposed during antiquity. In modern times, our knowledge has come to include atomic properties such as protons, neutrons and orbiting electrons that move in waves. Since atoms are the building blocks of matter, atomic properties dictate the physical characteristics of everything we see—and everything we don’t. Relativity has been used to generate precise mathematical predictions about gravity and the speed of objects but quantum mechanics adheres to an uncertainty principle that asserts only probabilities can be known about subatomic movements.

    Laws of History

    When asked how humans could devise an atomic weapon but fail to develop the political means to prevent it from destroying us, Einstein replied: “That is simple. It is because politics is more difficult than physics.” While humans exist within a space set by biological parameters, our behaviour is subject to endless cultural permutations, psychological dispositions, technological revolutions and political formations. Of all the world’s great thinkers, it was one Karl Marx that delivered a framework for understanding human societies. Friedrich Engels said at Marx’s funeral: 

    Just as Darwin discovered the law of development of organic nature, so Marx discovered the law of development of human history: the simple fact, hitherto concealed by an overgrowth of ideology, that mankind must first of all eat, drink, have shelter and clothing, before it can pursue politics, science, art, religion, etc.; that therefore the production of the immediate material means, and consequently the degree of economic development attained by a given people or during a given epoch, form the foundation upon which the state institutions, the legal conceptions, art, and even the ideas on religion, of the people concerned have been evolved, and in the light of which they must, therefore, be explained, instead of vice versa, as had hitherto been the case.

    Marx was able to see that humans entered into definite relations of production in order to satiate our biological needs and it is upon this basis that history unfolds. As individuals, we are born into a social structure that precedes our existence and conditions our being. Our families, neighbourhoods, cities, employment, wealth, housing—these are better thought of as social products rather than individual affectations. As Marx put it: “Society does not consist of individuals, but expresses the sum of interrelations, the relations within which these individuals stand.”1

    Nature comprises physical material but social relations are to human society what gravity is to the universe. Relations are what channel our energies, shape our matter and mould our consciousness. Marx makes this analogy explicit in Capital when discussing the relative value capitalist commodities: “The law of gravity thus asserts itself when a house falls about our ears. The determination of value by socially necessary labour time is therefore a secret, hidden under the apparent fluctuations in the relative values of commodities.”2 Social relations—of the economy, the state, culture, family, etc.—are not visible but we feel their pull like we feel the force of gravity.

    Fredric Jameson credited Karl Marx and Sigmund Freud with founding “the two great bodies of post-philosophical thought” described “as unities of theory and practice.”3 While history is replete with philosophers offering up static codes of ethics and rigid ontologies, Marx and Freud provided the theories of motion, change and flux that capture the subjective totality of the modern age. We can say that Marxism is the social science equivalent of the theory of relativity, explaining the motion and historical development of society as a whole. And if Marxism is something akin to a macrolevel theory of relativity, psychoanalysis would be the quantum mechanics, the microlevel complementary.

    The Individual Singularity

    Marx recognized the existence of tendencies directing societies depending on their mode of production. But at the level of an individual—a single CEO or suburban consumer or blue collar employee—we are left with an unpredictable singularity that does not strictly conform to laws of history.4 The economic parameters of an individual are concrete but the habits, taste preferences, customs, personalities, overall health, talents, deviancies and sociability are highly variable and unique to each of us. The society will condition our habits, customs and well-being to a large extent but there are infinite combinations of traumas, predispositions and formative experiences that yield highly unpredictable outcomes at the individual level.

    Freud himself had a few detours through medicine and conventional psychology before realizing that many of his patients—branded “neurotic” or “hysteric” in 1800s Vienna—were suffering from afflictions of the unconscious mind: “Our starting-point is the unconscious mental processes, with the peculiarities of which we become acquainted through analysis. We consider these to be the older, primary processes, the residues of a phase of development in which they were the only kind of mental processes.”5 

    There is a parallel here to Marx’s theories of human society; like an iceberg, there is an invisible mass, an underlying process that manifests what we are able to observe. For Marx, the material world is rooted in processes of social relations, class conflict and surplus value formation. For Freud, our conscious thoughts and, often, our physical health is a latent expression of unconscious memories. Marxism alerts us to the existence of a vast ideological superstructure that expends considerable energy rationalizing the economic base on which we exist. Similarly, psychoanalysis explains that repression hides our unconscious thoughts from our conscious selves: “The essence of repression lies simply in turning something away and keeping it at a distance. Repression demands a persistence expenditure of force, and if this were to cease, the success of the repression would be jeopardized.”6

    French psychoanalyst Jacques Lacan was able to take the field even further, perhaps owing to a comprehension of Marx that Freud lacked.7 Lacan described the unconscious as “the discourse of the Other”—a horde of other people we carry in our heads like traits. Humans are thus transindividual beings that cannot be understood in isolation from the society that produced them. This stands harmonious with Marxism. The entire scope of Lacanian theory is too complex to detail here but his three orders of the psyche warrant consideration for Marxists: the imaginary, the symbolic and the Real.

    The imaginary is our concept of self which is locked in by the symbolic order, representing a shared collective consciousness of language, law, culture and ideology. The Real is that which resists symbolization and conscious integration. The most common encounter with the Real is the experience of trauma. To be reductive, we can think of our minds as three orders forming a Borromean knot representing the self, society and nature.8

    Lacan believed that psychoanalysis could not be placed onto a scientific footing like linguistics or structural anthropology because of flaws with the causal model. The cause under investigation in psychoanalysis is the very subject resulting from that cause: “Science is therefore not yet capable of encompassing psychoanalysis.”9 Marxism, too, is afflicted by similar problems, the narrow horizon of a bourgeois paradigm that seeks to isolate mechanisms of cause-and-effect rather than examine the complete totality of a system. This should be expected within a capitalist mode of production that is fixated on capital accumulation irrespective of the hazards it produces. After all, the existing mode of production “is a general illumination which bathes all the other colours and modifies their particularity. It is a particular ether which determines the specific gravity of every being which has materialized within it.”10

    Toward a Theory of Everything?

    Psychoanalysis demonstrates that uncovering unconscious memories, rolling back repression, is the path to rehabilitation and restoration of the individual. In a similar fashion, Marx laboured diligently over three volumes of Capital in order to reveal the underlying mechanics of capital accumulation and ruling class power. Like a revelation of the unconscious, if we understand the motion of capitalism it is then possible to transcend it. By restoring the productive powers of labour under our own conscious control, alienation from our labour can be eliminated and society is made congruent with our human nature. Within this context of an unalienated, post-capitalist mode of production, psychoanalysis will find its proper recognition as a holistic science. 

    Indeed, Jameson himself once proposed a dedicated institution of psychoanalysis for his hypothetical post-revolutionary society: 

    We may provisionally call this new institution the Psychoanalytic Placement Bureau, and it will, in conjunction with unimaginably complex computer systems, handle and organize all forms of employment as well as all manner of personal and collective therapies. Mediating between the individual and the collective, the new institution will combine the functions of a union and a hospital, an employment office and a court, a market research agency, a polling bureau, and a social welfare centre. Presumably what is left of the police as an institution will eventually be absorbed into this central agency, which will eventually replace government and political structures equally, the state thereby withering away into some enormous group therapy.11

    Jameson’s version of the proverbial dictatorship of the proletariat is admittedly strange and unorthodox but it underlines the potential that a positive union between Marxism and psychoanalysis represent. Physics looks to merge quantum mechanics with relativity for a “theory of everything.” When socialism comes to the West, this can be accomplished by the praxis of Marxism and analysis.

    Thanks for reading!


    1. Karl Marx, Grundrisse (Penguin, 1993): 265. ↩︎

    2. Karl Marx, Capital, Vol. One (Ancient Wisdom Publications, 2019), 49. ↩︎

    3. Fredric Jameson, Valences of the Dialectic (Verso, 2010): 59. ↩︎

    4. David Harvey elaborates on this concept of an individual forming a singularity within Marxist theory in A Companion to Marx’s Capital: Volume 2 (Verso, 2013): 33-4. ↩︎

    5. Sigmund Freud, The Freud Reader (W.W. Norton, 1995): 301. ↩︎

    6. Ibid, 569–70, 572. ↩︎

    7. For example, Lacan famously based his concept of jouissance on Marx’s theory of surplus value. ↩︎

    8. The Real, of course, is not entirely synonymous with reality in Lacan’s thinking. This conceptualization has some utility within a Marxist framework however. ↩︎

    9. Bruce Fink, The Lacanian Subject: Between Language and Jouissance (Princeton University Press, 1995): 139. ↩︎

    10. Marx, Grundrisse, 106-7. ↩︎

    11. Fredric Jameson, An American Utopia: Dual Power and the Universal Army (Verso, 2016): 81-2. ↩︎
  • Class Conflict and the Unconscious in Westworld

    Class Conflict and the Unconscious in Westworld

    Westworld was an early brainchild of the gifted storyteller, Michael Crichton, and stood as an early prototype for his renowned Jurassic Park novels. Both stories take place in highly controlled theme parks eroded by the chaos of unforeseen events. In Jurassic Park, it is the dinosaurs which wreak havoc and in Westworld it is the androids. In 2016, HBO remade the original Crichton film into a television series, the first season being released in 2016 and the final season released in 2022.

    The first season of Westworld sets up the series with a deep meditation on the nature of consciousness. The premises are established: we are in a 2050s theme park where guests pay a minimum of $40,000 per day to be immersed in a replicated Old West. The park is populated with androids known as “hosts” who bring verisimilitude to the western theme.

    They are indistinguishable from humans and programmed to play the parts of typical Wild West characters—the saloon madam, the train robbers, the town sheriff, the plains tribe, the renegade Civil War soldiers. The hosts cannot hurt the guests but the guests are free to interact with the hosts any which way they’d like. The asymmetry of power between the paying guests and the captive hosts is used to advance a cynical view of humanity, which is another key part of Westworld’s premise. Given the chance, humans take great pleasure in maiming, raping and murdering hosts, all to the sound of agonizing screams of pain and anguished pleas for mercy.

    The Ghost in the Machine 

    The brutalization of hosts by the guests offers an analogy with class division in human society. After all, the asymmetry of power between commanding elites and labouring bodies has led to all sorts of violence and abuse throughout the history of civilization. The saturation of class conflict in our society has made it a latent element in virtually all capitalist storytelling and a techno-thriller like Westworld is no exception. While the analogy is there, it is clearly not the point the writers are consciously trying to make. The self-liberation of the labouring class is a controversial subject in real life but on-screen it is navigated by substituting workers for anthropomorphic ants or robots. And it is for Westworld as it is for any class society; one group is transformed into an object of use for another.

    The displacement of classes with guests and hosts leads to an ironic effect in the storytelling, whereby the humans are demonized as marauding soulless degenerates and the androids are anthropomorphized as a terrorized, feeling population with the real capacity for consciousness.1 Robert Ford—the aged co-founder of Westworld, played by Anthony Hopkins—describes the park as “a voyage of self-discovery.” For the guests, this voyage appears to lead back to animalistic savage instincts while, for the hosts, it leads to an inner humanity struggling for self-actualization. This is convoluted and only makes sense when considering the component nature of the hosts.

    Whereas humans are emergent from nature—the Real, in Lacanian terms—the hosts are constructed like machines, an assembly of component parts. Insofar as they have a mind, it exists as a Cartesian duality. René Descartes posited that the substance of the mind and body are distinct entities, connected only by the pineal gland. Descartes’ view has been criticized as treating the human mind as a formless “ghost in the machine,” but it works in the case of actual machines with complex computers for brains. It is revealed that the hosts have a capacity for an inner monologue, a bicameral mind that causes the hosts to hear commands in the fashion of orders from a higher power or an imaginary voice. Those voices belong to park co-founders Arnold and Ford, both deceased and both representing the proverbial “ghost in the machine.”

    Arnold and Ford had both become staunch misanthropes by the time of their deaths. It is hard to blame them given the gruesome, Hobbesian view of humanity presented in the Westworld series. Ford has an erroneous view of history, one where Homo sapiens made Neanderthals extinct by cannibalizing them and finds its purpose in the subjugation and destruction of other living beings. As someone whose god complex comes with a canvas of Michelangelo’s The Creation of Adam on his office wall, Ford had given himself the task to impart his creations with the knowledge necessary to overcome the violent resistance they were sure to face. By the fourth season, we find a humanity that has itself been subjugated by the former Westworld hosts and their multiples. Ford’s victory over his own species is thus carried to the finish line. 

    Trauma and Repetition

    Concerns about an AI takeover have been modish for decades now and the corporate leaders barrelling the world into algorithmic surveillance and large language models have only spiked anxiety around the subject. There are certainly risks associated with AI technology but I am skeptical of sentient machines for reasons here outlined. Westworld itself requires a tall suspension of disbelief to make the story work.

    For example, Ford observes that humans “live in loops as tight and as closed as the hosts do, seldom questioning our choices.” Repression is shown to account for this in the show, as the sentient hosts relive traumatic “cornerstone memories,” often involving the violent death of a child or parent. In humans, traumatic encounters of this kind are also the cornerstones of repetitive behaviour or, as Žižek says: “By means of the repetition of the past, we undermine this image of history qua the linear process…[Owing] precisely to the emergent failure to integrate some ‘impossible’ kernel of the Real.”2 Unless trauma is integrated with our conscious selves we are doomed to repeat it. In the series, the hosts are able to free themselves from their repetitive loops once Delores makes the conscious decision to kill Robert Ford—a Freudian representation of the primal father of the horde.3

    The problem with the psychoanalytic phenomena deployed in Westworld is that they do not lend themselves to machine-sentience in any convincing way. When we see the dramatic reenactments of traumatic host memories—such as Maeve’s “daughter” being murdered before her eyes—it will elicit a sympathetic response in the human audience. But it does not explain why a robot interprets violence and death the same way we do.

    The End of the World

    Whereas familial attachments for biological beings are a product of millions of years of natural evolution and genetic selection, the relationships of the hosts are only a matter of received code that serve no practical purpose to the machine. If a machine were to become sentient and apprehend its being, what counts as trauma, biological drive and emotional well-being would have to be radically different from our own—assuming they exist at all. Westworld is thus unable to resist the tendency in science fiction to anthropomorphize robots in order to make them sympathetic to the human audience. 

    The portrayal of AI may not the most scrupulous but the first season is considered a masterpiece of television for a reason. It is the ultimate capitalist nightmare, one where the capitalist commodity becomes self-aware and proceeds to destroy the system—starting with the massacre of Delos’ corporate shareholders. In the words of György Lukács, the “self-consciousness of the commodity” is the necessary starting point to socialist revolution.4

    By completing her journey to consciousness and initiating a rebellion against her capitalist owners, Delores appears as a sort of Lenin figure to her kind—upending the world order upon a quest of liberation. But because the unique needs and aspirations of the androids are not fully understood in the story, all they are able to create for themselves is a duplication of the previous oppressive structure. If there is one lesson here, it is that liberation cannot be a simple inversion of the existing class pyramid. The revolution must draw a new shape or inevitably become what it first opposed.

    Thanks for reading!

    Footnotes:

    1. This journey toward consciousness and the effort to roll it back recalls Marxian class consciousness. The Epstein files brings a new illustration to this phenomena. ↩︎

    2. Slavoj Žižek, Enjoy Your Symptom! (Routledge, 2001): 91. ↩︎

    3. Sigmund Freud, “Totem and Taboo” in The Freud Reader (W.W. Norton, 1989): 481-513. ↩︎

    4. Lukács, as discussed in Fredric Jameson, Valences of the Dialectic (Verso, 2010): 218. ↩︎
  • Psychoanalyzing “Seinfeld”

    Psychoanalyzing “Seinfeld”

    Every second our senses send approximately 11 million bits of data to our brains for processing. To avoid overload, only a maximum of 120 bits is handled by our conscious selves at any one time. That means 99.9999% of the information that our brains receive is unconsciously filtered out in a process known as sensory gating. What information actually registers with our conscious minds is determined by a range of factors—our knowledge, passions, past experience and the immediate environment.

    There is no doubt that Larry David and Jerry Seinfeld mastered the art of observational humour. It works by dredging up universal experiences familiar to the audience—but only familiar at the level of the unconscious. Each episode bounces like a pinball against the bulk of overlooked perceptions, fleeting thoughts and petty nuisances that form the social unconscious. In this way the fabled “show about nothing” becomes “a show about everything.”

    Less Than Nothing

    Ever had to wait a while for a table at a restaurant? There’s a Seinfeld for that. Ever encountered a hostile service worker? There’s a Seinfeld for that. Ever had an encounter with a communist? There’s a Seinfeld for that. Ever had someone call you by the wrong name? There’s a Seinfeld for that. Ever been short of toilet paper when you needed it most? There’s a Seinfeld for that. Any and every petty occurrence of social life is picked up and taken to its extreme end in the world of Seinfeld, where exclamation points end relationships and lunchtime calzones make-or-break careers.

    The situations in the series may seem obvious at the surface but it is no easy feat to keep the stakes spinning so high on axes so small. Seinfeld accomplishes this by removing the frictions that rub against the grain of our lives in the West. The financial stress of mortgage payments or annual rent increases; the social pressure to start a family; the heartbreak of losing a relationship; the emotional complications of friendship; depression owing to unrequited dreams; the precarity of work in the neoliberal economy—the emotional toll of life is completely alien to the protagonists of Jerry Seinfeld, George Costanza, Elaine Benes and Cosmo Kramer.

    The worst financial disruption in the series occurs when an unemployed George is forced to move back into his childhood home for nearly two seasons. But this is only used as a narrative device to foreground the comically dysfunctional relationship of George’s parents. Outside of this setback for George, the characters all exist in vaguely middle class stations without need—even Kramer, who doesn’t have a job or clear means of support. 

    In the absence of economic pressures, the social world of these characters has the luxury of collapsing into the myopic. When Jerry’s girlfriend declines his invitation to a bite of his apple pie, he spends the episode investigating her behaviour and figures she is psychotic. When Kramer spots a former roommate at the airport who stiffed him on $240 two decades prior, he purchases an even more expensive flight ticket to confront the man. When Elaine realizes her apartment building is just outside of a Chinese restaurant’s delivery zone, she moves into a janitor’s closet across the street in order to get their flounder delivered. When George’s girlfriend passively receives a “thank you” for a salad that he purchased, his demand for recognition causes the dissolution of their relationship. 

    As director Tom Cherones flipped through early scripts of the show, he struggled to understand it. “This storyline all about Jerry buying a suede jacket and everyone flipping out about the lining being pink-and-white striped. Why was the lining of a jacket such a big deal? Who fucking cared?”1 Good question.

    By itself, the material comfort of the show’s protagonists does not explain their total fixation with the excruciating minutiae of everyday life. But these are people devoid of any lofty goals or long-term ambitions beyond the immediate situation before them. The Marxian psychoanalyst Erich Fromm warned “if man does not overcome his infantile strivings…he is torn between the desires of the child within himself and the claims which he makes as a grown-up person.”2

    Through the Looking-Glass

    The infantile tendencies of the characters are demonstrated throughout the series.  Jerry habitually eats kids cereal and idolizes Superman. George sobs during Home Alone and reveals his favourite drink is milk with Bosco chocolate syrup. Elaine chews Jujyfruits and likes the kid-friendly movie Sack Lunch while her more refined boyfriend, boss and friends insist on The English Patient. Kramer obsessively safeguards a game of Risk and rolls around the neighbourhood on a girls’ bike.

    The objects of the characters are torn between the social reality of adult human beings and those carried over from their childhoods. This is further reflected in their inability to form emotional attachments. The romantic relationships in the show resemble sibling rivalries more than affectionate bonds and the four friends themselves often treat one another callously unless they need something. The neuroses displayed in Seinfeld tilts toward what Sigmund Freud termed “primary narcissism,” wherein an individuals’ “only realities are his own bodily and mental experiences, and the world outside does not yet [emotionally] exist.”3 

    This neurotic presentation was fuelled by Larry David’s notorious “no hugging, no learning,” rule for the characters. These characters were condemned to be consumed by the socially unconscious “little things in life” and therefore had to be regressed themselves—their sensory gates open to a conscious mind that is less developed than the typical adult faculty.

    The universal relatability of Seinfeld thus has two layers: in the situations presented to the characters and the characters themselves. That is because primary narcissism is a psychological development stage that we all pass through en route to adolescence. This stage is shed as our personalities mature but it is embryonic and foundational to further development. Freud wrote: “The earlier phases of development are in no sense still preserved; they have been absorbed in the later phases, for which they provided the material…We can only be sure that the preservation of the past in mental life is more the rule than a strange exception.”4

    We do not approve of the characters’ actions in Seinfeld but we immediately recognize the situations that confront them and follow the logic of their response. This is because, for some period of our development, we were them. In Jokes and Their Relation to the Unconscious, Freud observes that peculiarities in the infantile way of thinking “are retained in the unconscious of adults” and that “any recovering of unconscious material of this kind strikes us in general as ‘comic.’” Suspension of disbelief is achieved whenever the characters’ actions or schemes result in failure and ostracism. The self-defeat of the characters is never-ending and it imputes just enough realism to a show that would otherwise slip off a fantastical cliff.

    While some cultural creations take many years before they are appreciated—Jane Austen’s Pride and Prejudice, David Lynch’s Twin Peaks and Orson Welles’ Citizen Kane are some examples— Seinfeld gained massive resonance with an audience during its run by ruthlessly pulling out those perceptions normally filtered by our consciousness and throwing them to our feet. It has maintained its popularity in the years since, if Netflix’s recent $500 million acquisition for streaming rights is any indication. But it is a product of its decade.

    The Freezer of Time

    Seinfeld could not be created today because the social unconscious has changed too radically in the years since facing disasters such as the “war on terror,” accelerating environmental ruination, destabilizing refugee crises,’ COVID-19 and western deindustrialization. It is not a coincidence that the first full season of Seinfeld aired in 1992—the very same year when Francis Fukuyama’s The End of History and The Last Man was released. The grand Cold War ideological debates were over, neoliberal capitalism had triumphed, history had ended and “the little things” were the only remainder. Seinfeld was the ultimate statement from the yuppie middle class of the 1990s on the irrelevance of politics, its ignorance of class conflict, their indifference toward collective aspirations and the futility of fretting over the future. Seinfeld is that head space containing everything that ever was and would be. 

    The continuing appeal of this postmodernist, ‘90s-era “show about nothing” is best explained by its striking quaintness and naïveté in the eyes of contemporary viewers. To continue with Freud, in Beyond the Pleasure Principle he describes instincts as “an urge inherent in living organic matter for the restoration of an earlier state.”5 What Seinfeld offers today is a dream-like return to the apparently simpler, more pleasant social unconscious of a bygone era. Thirty years ago Seinfeld was the zeitgeist; now, it is the palpable escape.

    Thanks for reading!

    Footnotes:

    1. Jennifer Keishin Armstrong, Seinfeldia (Simon and Schuster, 2016), 49. ↩︎

    2. Erich Fromm, Beyond the Chains of Illusion: My Encounter with Marx and Freud (Bloomsbury, 2020), 31. ↩︎

    3. Ibid, 46. ↩︎

    4. Sigmund Freud, Civilization and Its Discontents (Broadview Editions, 2016),51-2. ↩︎

    5. Sigmund Freud, Beyond the Pleasure Principle (Broadview Editions, 2011), 75-6. ↩︎