Fireside Chat: Broaching the Uncomfortable, but Necessary

For my fireside chat presentation, I decided to raise awareness of sexual health.  The topic I chose was newborn circumcision.  In retrospect, I think I should have done more on the basics than I did.  I had a number of students come up to me afterwards asking for clarification on some of the things I presented on.

The main topic of misunderstanding was what an STI was.  I told them it was politically correct as Sexually Transmitted Infection aka STD (sexually transmitted disease).  I made a rookie mistake and forgot to focus on my audience.  The information I present was what I thought a good adaptation of a research presentation I did for my nursing class.  What I didn't realize/remember is that I was speaking to an audience who has none of the in-depth education I do about human health, and especially as it relates to human sexual health.

If I were to do it over, I would focus more on the basics, like fetal development and how that creates the situation after birth for the decision of circumcision.  That, or I would just go over basic human sexual organs and how it relates to sexual health as children and adults.  My weaknesses aside, I thought the presentation went well.  I was able to present the information I wanted to in a timely manner and I was able to gauge audience reaction to my slides.

It's fun, sometimes, to watch people squirm a little in their seat as I talk about subjects that are largely taboo.  They shouldn't be, though.  People should be comfortable to talk about sexual health in safe environs such as the fireside chat, home, or the classroom.  That's basically what the LDS Church's Gospel Principle's manual states.

I do believe that if children don't feel safe to bring this topic to their parents, then they will just google it.  And I, for one, will not entrust the sexual education of my children to Google.  I do find it odd that in Mormon culture we place so much emphasis on our bodies being temples and that we should keep them sacred that we miss entirely the discussions on haow to keep our bodies clean in other ways beside the spiritual.  We definitely need more help with the physical, mental, and emotional health of our earthly temples.

And that is my personal quest: to help those who wish to educate themselves and their families in safe environments have the tools to do so.  There is little in our LDS literature that can be used as a good guide, with enough and appropriately detailed information to be useful in educating about how to take care of our mental, sexual, physical, emotional, and spiritual selves.

Concerned Citizen

You can watch the video HERE

We wanted to present a concerned citizen that was making an effort to reach out to the community by serving the individuals that need assistance locally.  Megan is a mentor that spends time with special needs kids in order to help them have more opportunities in their community and to learn to better develop social skills.  She takes them hiking, to soccer games, movies, and other activities to help them discover new interests and hobbies.  It was touching to us that Megan takes time out of her schedule to mentor these kids, especially Nick, whom she talks about in the video.  Her attitude of changing the community in this simple way reminds one of what Goldbard states in Human Rights and Culture: From Datastan to Storyland.  It is discussed in this article that anyone who wants to be influential in a certain issue or problem must engaged with the feelings of others about this certain subject.  

As we engaged with Megan, we felt that our perspective was changed on the way in which she interacts with kids such as Nick that she works with.  We feel that the things that she expressed in the interview can open the eyes of the viewers in the community to the opportunities available to them right in Provo.  They discover here that they can be a friend to kids with special needs and, like Megan, connect with these kids that they otherwise would not have a chance to interact with. It appealed to us personally because of the moving influence that she’s had with these kids.  She and others like her encourage and inspire us to get outside of ourselves, get into the community, and be a loving representative of Christ by doing as he would.

Interactive Game

To play my interactive story game, please use this LINK

The world has always been enthralled by games.  Some of our largest, most expensive structures have been built for the joy of the game: the Olympic stadium in Greece, the colosseum in Rome, hippodromes, soccer stadiums, football stadiums, and every two to four years, another Olympic stadium/park.  We have television shows that command our daytime with games and there’s a lot of money to be won on those shows.  Even TV shows such as The Blacklist, White Collar, House of Cards and the like are about games played over decades, cultures, governments.  Even in our scholarly fields, games are at play.  To win, you must get an A, the highest score available to each player.  Economics is another playing field, where each partisan tries to make the most money off of someone else.  Then there’s the lottery.  We could talk for days about the different ways games have hijacked our society.

But perhaps, there is a positive way that games shape us.  How?  By using that format to tell us a story we might not encounter ourselves.  Playing only our story could be dangerous, as Chimamanda Ngozi Adichie alluded in her TED talk “The Danger of a Single Story”.  But if we can step into someone else’s shoes and walk or ‘play’ a mile, we can understand where they are coming from and combat the issues together. 

Malnutrition and Poverty (MAP), the Twine game that I created, is one such experience.  MAP takes you through a speed-date as a single parent, with a limited and low income, with responsibilities and obligations that must be met, and no help to reach for.  This is a situation found in many parts of the USA.  There is an epidemic known as obese malnutrition.  That sounds like an oxymoron, but there is no truer utterance of the condition.  The reason that people are becoming both obese and malnourished is because the types of foods that are low-cost are also high-calorie, highly refined and loaded with carbs, sugar, salt, saturated and trans fats, etc.  Foods such as vegetables, fruits, meat are all highly priced. 

How do you feed a family of four when you have $250 a month?  It might seem like a lot of money, but spread over 4 weeks and 3 meals a day, it comes down to about $2.25 per person, per meal.  So, what do you buy with $10 that is sufficient to meet your family’s caloric needs? Not the bag of oranges for $5.  Not the broccoli that is $1/pound.  You buy the pasta mix for $2 each that will fill your kids’ stomachs.

In this game, there are very limited choices, but that is not so different from the everyday life of some Americans.  This is there story.  German novelist Juli Zeh said that “what people call there daily choices are really just a well-thought-out game.” And in the game of nutrition, having a low income is the worst handicap a player could have.

World Building Collaboration

Because of the collaborative effort of this assignment, the artifacts illustrating the world of Chroma can be found using the following link: World Building: Chroma

Artist Statement:

Identity is a multi-faceted ordeal: race, religion, socioeconomic status, health, gender, sexual orientation to name a few.  And there are many more categories that fit under the great identity umbrella.  A good portion of these traits cannot be seen, they are felt, heard, thought.  However,  what if you could see every part of your identity summed up in one trait?

We built a world in which that is the case. From the time you are born until you complete adolescence around age 20, your skin color changes.  People are born with all colors, which combined together is the equivalent of a semi-translucent white. As individuals grow to experience feelings and emotions, their skin starts changing colors. The rite of passage in this world is the solidification of your color. When the individual has their color solidify, they are not able to change it anymore, and that color will define his place in society. There is a second-rate class of citizens whose color never solidifies, they are known as Prisms. This caste is seen as inferior because they wear their thoughts, emotions, feelings, and experiences in dramatic, prismatic ways. This makes them hard to hire, harder to befriend, and harder to trust.  Becoming a prism is a thing of nightmares; a scare tactic to keep children in line.

           

To showcase this culture, we chose three artifacts: a drug elimination campaign poster, a radio advertisement, and a blog post. The anti-drug campaign poster shows us the community’s commitment to saving the population from suffering due to illegal drugs. Color drugs, is a way to change the individual solid color to become better accepted. However, most of them end up losing their own colors and who they are in the process. This artifact correlates to our own society as people does not feel accepted; drugs, vicious and other harmful things became their escape of reality.

           

The radio advertisement, like many that pop-up on free music-streaming platforms, allows citizens the opportunity to seek help in coming to terms with an evolving personality within the restriction of their skin color. This is reminiscent of addiction recovery and depression support group advertisements that one would see in our world. Our goal with this artifact is to criticize the idea that individuals can only be one color. People are complex, their whole being can’t be defined by only one simple characteristic like the color of their skin.

           

The blog post unveils the experiences of our outcast Prism culture, subjugated by their solid-color betters, fallen prey to discrimination. Like in our society, these are the marginalized people that can’t fit in and often have to face prejudice.

          

This colorful world mirrors our own reality of visual prejudices.  As Julian Bleeker states in his short essay Design Fiction:

“…fiction can be understood as a kind of writing that, in its stories, creates prototypes of other worlds, other experiences, other contexts for life based on the creative insights of the author. Designed objects — or designed fictions — can be understood similarly. They are assemblages of various sorts, part story, part material, part idea-articulating prop...”

            We label people into boxes, punishing them forever for being who they are.  We marginalize, we use the fear we create to develop false, harsh ideologies of how to treat others.  In the name of unity, conformity, we have fallen prey to exclusion.  Overcoming this obstacle is difficult; if only it were as easy as taking a self-help course like Color My Mind.  And that it came with a 10% discount.

The illusion of originality: webspinna battle

Originality is something that is strived for by any artist.  Each wants to make her mark in the rapid, ever-expanding world of artistic expression.  Jonathan Lethem in his montage The Ecstasy of Influence discusses how artists, be they authors, painters, or other creators, often find themselves in a debacle when creating a piece of art.  In the fight for originality, the artist can become suffocated by the shear volume of already produced works.  

Indeed, this suffocation could completely choke the artist from creating anything.  How is an author to feel when his magnum opus parallels, almost mirrors, a fictitious tale already written?  Is he then guilty of plagiarism?  What if he had no clue that this tale had already been told?  As Lethem iterates, many artists must come to the conclusion that their art is influenced and in part derived from pre-existing products.  As Carl Jung postulates, there is some merit that mankind has a collective unconsciousness that bleeds across geographical and cultural barriers and marks the influence for so many similar pieces of art.  

Our Webspinna battle is no different.  Although our idea of conflict is somewhat original, the works we use to accomplish our foray are the products of other artists.  We begin with an establishing notion, that Dr. Yellow is the embodiment of happiness, sunshine, dreams, and accomplishments.  Mr. Blue upends this delightful atmosphere by reminding us that the world we live in is full of blue, sour moments; rife with maddening irony; and oftentimes contains experiences we would rather have swept underneath the carpet.  

Dr. Yellow tries to cure our depressed friend, but Mr. Blue convinces us that we each have a monster inside of us, one that is hard to face, and that sometimes this monster gathers other heathens around us.  Mr. Blue also makes clear that no one owns his will but himself and that he is not at all afraid to say ‘NO’!  Exasperated, Dr. Yellow tries desperately to out-compete Mr. Blues repertoire of anti-establishment, reject-driven, and disheartening rhetoric.  

But in the end, both Mr. Blue and Dr. Yellow realize that we are each who we are, even born into these different states of being.  Finding a common ground, we experience at last a harmony worth our attention and focus.  Perhaps the best solution to our characters’ objecting viewpoints is for them to agree to disagree.

Textual Poaching: Identity Verification

Photo courtesy BYU NLC

Photo: Chris Olsen, courtesy BYU NLC

Photo: Chris Olsen '76, courtesy BYU NLC

PC: Laura Thompson 

PC: Laura Thompson

PC: Laura Thompson

Identity is a fairly loaded concept in today’s ‘modern’ society.  Occupations, race, sexual orientation, culture, socioeconomic status, etc. are all up for grabs when it comes to defining one’s identity.  What makes determining this identity more difficult is the perception that comes with each individual aspect.  How ready is the gay high schooler to admit his sexual orientation when he attends a catholic boarding school?  What hope does a child born into a home unable to afford decent meals of adding ‘college graduate’ to her identity?  Though these circumstances could end in any number of ways, no one can dismiss that the culture that surrounds each of us plays heavily in how certain, if not all, aspects of our individual identities are perceived or available. 

Adding to the complexity of identity, Henry Jenkins in his book Textual Poachers discusses how texts, which includes many media—like television, can become parts of individual and collective identity.  These texts are taken from the author by the reader and hijacked into a world appreciated only by those who share similar ideas about the subject.  These texts then become ‘real’ because the reader takes what is inanimate or fictitious and, like Dr. Frankenstein, summons a creature only he or she can appreciate.

These creatures appear as Star Trekkies, Pottermore, Team Edward, etc.  And these creatures can be just as much a part of someone’s identity as religion or race.  And again, one cannot deny the influence cultural context has on identity perception.

A great deal of my current identity resides in my future profession of nursing.  Nursing is one of the few, if not the only, profession where men who are nurses are given the prefix of ‘male’.  This is because nursing is a traditionally feminine profession.  Nursing is laden with a history of kind, dedicated women who cared for their fellow humans despite the chagrin of their male medical superiors.  Perhaps the most iconic nurse, Florence Nightingale, is the embodiment of that history.  And it is precisely that history that demands a distinction be made since men were ‘allowed’ into this profession.

The photos I have decided to ‘poach’ are historical photos found in the Nursing Learning Center at Brigham Young University.  To me, they personify three distinct and recognizable aspects or duties seen in nurses.  Nurses' primary duty is to carry out orders prescribed by the physician, as long as it resides in the nurse’s scope of practice.  This includes setting up intravenous (IV) access, administering medications, cleaning wounds, etc.  Nurses are also known for going above and beyond, often seen consoling patients for any number of reasons.  These are also traditionally seen as feminine aspects: men don’t clean; men don’t console; men don’t take orders. 

By placing myself in the position held primarily by a female counterpart, I am declaring that these aspects are as much a part of my identity as my sexual orientation or religion.  And, I am declaring that these aspects needn’t be seen as strictly feminine in nature.  A man can be capable of providing comfort to those who need it.  A man can clean up after someone.  A man can take orders and give medications.  In short, a man can do anything a nurse can do because a man is who I am and a nurse is who I'll be.

Medium Specificity

Read article here: The Metal Raindrop

Narratives can take on many forms: first-person, third person.  Narrators themselves can take equally if not more numerous forms, depending on the narrator’s identity, relation to the story, gender, level of knowledge of events within the narrative itself and the narrator’s own biases or lack thereof.  Scott McCloud iterates in his graphic novel Understanding Comics, where artist (author) and patron (reader) diverge is usually at the point when the understanding of what constitutes the medium they are sharing also diverges.  McCloud talks specifically about how comics separate themselves from painting, photography, and other illustration mediums. 

Literary narrative also has to separate itself from poetry, biography, and historical writing.  It is also not merely prose.  Literary narratives must have, as the name implies, a narrative—a story.  Literary narratives are a symphony that can only be properly performed if the participant and the author come to a mutual understanding through the narrator. 

Literary narratives depend on the reader’s ability to read, understand textual symbolism, and connect events to the overall plot.  Literary narratives depend as well upon the author’s ability to arrange language to fit the audience that is skilled enough to understand the narrative being written.  And when author and reader meet on the field of mutual understanding, that is where the fun begins.  

In The Metal Raindrop, many aspects of literary narrative are emphasized.  It explores the strengths and enormous power a literary narrative can have.  The Metal Raindrop also admits that literary narrative is bound by that which it reveals, for the Reader can never know what the Author has not yet written.  Our narrator reminds us of this constantly, pointing out things that the Author neglected to tell us.  And true to literary narratives, the Author only gives us the pieces we need to know in order to understand the story.

In the beginning, the narrator tells us of the lack of need for a large fire.  At the end, we realize that it is not just that he is alone in his study, but alone entirely.  And the end of the narrator is the end of the narrative, as a literary narrative should be. 

Our narrator also comments on one of the most powerful things a literary narrative can do: create images and ideas inside the human mind.  Since literary narrative can only function if the author can write and the reader can read, it is limited to humans.  Even within our species, there is limitation due to language and culture.

Despite these limitations, the written word has changed and influenced mankind since its inception.  Humans have tried to do physically what words do mentally, film and painting being great examples.  Many are the people who confess that they enjoyed the book better than its film adaptation.  And though film is influential in its own right, it still does not have the power of persuasion that a literary narrative has.  And as the narrator wishes, let us all hope that our own narratives end better than his.

Historical Fiction Piece

Click here for: My Other Half Script

My Other Half shows us the familiarity and camaraderie between Michael and Ashton Kutcher.  Michael is born with cerebral palsy and has had other health complications that have made life difficult to navigate—it’s hard to know which way to go when you don’t know where the cliff’s edge is.  Michael’s health problems are the true antagonist of our story.  Much like Hurricane Katrina in Josh Neufeld’s After the Deluge, Michael’s health problems control the underlying tension of the story. 

In this circumstance, Ashton reacts somewhat similarly to his brother’s health crisis as Marjane Satrapi does in her excerpt The Veil.  Satrapi is forced to wear a veil to cover her head as is common in some Muslim sects.  At first, her and her classmates do all sorts of nonsense with the veil before they settle into the routine wearing of such. 

Ashton bounds to an extreme solution when he contemplates the news that his brother needs a heart transplant and soon: Ashton offers his own heart.  Ashton also reacts rather excessively when Topher Grace makes a comment about handicapped.  Another antagonist in My Other Half, Topher Grace, is based loosely in rumor.  An inciting incident was necessary for the story, so the rumor that Grace was a bit cold to his fellow cast members was useful.  This provided us with an opportunity to use our creative liberty and spruce up the contention a bit. 

This leads us to a semi-antagonist—The Producer.  This character is not based on any sources.  My Other Half needed a devil’s advocate as far as the conflict between Ashton and his acting career goes.  An unrealistically sympathetic human may have let Ashton have the day off to tone things down.  But our current Producer exemplifies the idiom ‘Time is Money’ and Ashton was not on his own time.  Earlier versions focused more on events and their minute description, but the story is better told through the dialogue and nudges in for mis en scene.

Works Cited

Associated Press. "Michael Kutcher talks about twin brother Ashton, life with cerebral palsy
February 2, 2012 at 11:01 pm | UPDATED: February 7, 2016 at 12:42 pm." 7 February 2016 Web. <http://www.twincities.com/2012/02/02/michael-kutcher-talks-about-twin-brother-ashton-life-with-cerebral-palsy/>.

Faherty, Allanah. "Ashton Kutcher Contemplated Suicide to Save His Twin Brother." Sept. 2016. Web. <https://moviepilot.com/p/ashton-kutcher-suicide-twin-brother/4107780>.

Swift, Nicki. "What Really Happened Behind the Scenes of That '70s Show." Web. <http://www.nickiswift.com/9993/really-happened-behind-scenes-70s-show/>.

Wikipedia. "Ashton Kutcher." Jan. 2017. Web. <https://en.wikipedia.org/wiki/Ashton_Kutcher>.

Process Piece

Documentaries focus on everything from the extraordinary to the common, everyday occurrences. They inform and they inspire feeling, whether they be documenting the Hundred Year War or the making of horseshoes or the washing of dishes. Our short audio documentary is the everyday experience of walking a dog. It is simple, unadorned, has repeating sounds, few words and is rather quiet, yet listening to it could produced a different experience, and inspire different feelings and memories, to each listener. Most people have walked a dog at some point or another, and by documenting such an ordinary and plain event, it allows the listener to picture what they will and insert themselves into the audio and picture their own memories into the walk.

The jingle of the collar. The panting of a dog. The steps tapping down stairs. All these quiet noises make the listener focus and try to identify these quiet noises and create an image of what is going on. As defined in Broderick Fox’s book on Documentary Media, this is a performative piece, quite different from any of the videos we watched as homework, but rather in common with Jack White Makes a Guitar. It makes the viewer wonder what the person in the piece is thinking. The sounds in the beginning are very familiar as the leash is placed on the dog and they go out the door. New sounds are introduced as they walk down stairs and around the neighborhood, telling a simple story as we listen for things that we can identify and picture. As the pair return to the stairs, we realize the short journey is at an end and they have returned home.The beginning and ending is easily identified and allows for an easier identification with what is going on.

I loved to walk my dog around the neighborhood back when I was home. It was peaceful and I often would stick in headphones, and think back to the latest book I read, placing myself in it and having a mini adventure in my head. That is what this audio recording captures for me when I listen to it. However, when Micai walks his dog, he enjoys nature and time with his dog, while thinking about nature, school, hobbies, friends, family, his next task. This audio documentary doesn’t just capture one moment, but many.

For me, it has the same effect that “The Equation” scene does in the movie “The Little Prince.” Both are very simple, with few and repetitive sounds, and. Document something very simple. “The Equation” scene is about a young girl stuck inside doing homework. The simplicity of the scene and the sounds bring a nostalgic feeling and allow one to place themselves into the scene or documentary.

Brangelina Goes Textual

Every person tied to the digital text communication system, be it email or SMS, has had to struggle with the possible misinterpretation of the intent or tone of the messages he or she has sent.  This text conversation mosaic allows us to see into the one couple’s dating process.  As mentioned in DJ Spooky’s Exquisite Corpse anthology, the interconnectedness of our narratives trio allow us to see how the digitalization of information has affected our abilities to communicate, interpret and create media. The boyfriend has forgotten an important date and the girlfriend is quick to judge him for it.  Without the assistance of a close friend, we and the boyfriend may have been lost.  With the addition of this third, binding perspective, we can see the drama for what it is and are spared a potentially damaging moment in a couple’s dating timeline.  

This short glimpse into a relationship mirrors characters and an event from popular culture: the romance between Brad Pitt and Angelina Jolie that went head to head with Jennifer Aniston.  Mixing this narrative into a casual text conversation has the drawback of reducing the real tabloid drama to a simple misunderstanding about the importance of certain relationship ‘milestones’.  But, it gives us the opportunity to create moments of clarity to a situation that many people have experienced while dating.  

Text messages can be easily misinterpreted, as we have nothing but the text itself and a few emoji or animations to give us context.  There is no nuance or stress put on certain words as one would hear in audible speech.  Text messages do allow us to communicate in simple, short messages that could reach a person in situations that would otherwise require one to leave whatever task they are enveloped in to ‘take a call’.  For example, before the dawn of texting, if a parent was in an office meeting and their child called, the parent would either have to ignore the child or leave the meeting.  Now, with the advent of cell phones and text messages, the child could text the parent and the parent could respond, all done while the parent is engaged in the office meeting.  

In the case of our trio of texters, the boyfriend would have had to stave off his uncertainty in real time if the girlfriend had called him instead of texting.  Communicating through text gives him time to come up with a solution. He has the ability text his girlfriend’s best friend in order to procure the necessary information in order to please his girl without making her aware that he has forgotten when they started dating.  The text conversation allows the girls to exchange frustration and correction without needing to be near a telephone or in person.  And so a relationship is saved because conversations are now digitally available, creating time and opportunity to either get it right or take it the wrong way.

Music Mosaic

The music that this mosaic portrays can be found here

This piece portrays the illumination that written, musical, and visual words have on us.  They have the power to open new and different perspectives that enlighten and expose ideas to enrich our lives. We’ve all heard the phrase a picture is worth a thousand words.  Indeed, if one were to contemplate how to describe one picture—in sufficient enough detail—so that not even the slightest pixel is left un-illustrated, one-thousand words may not seem sufficient.  One would have an equally trying time describing the melody, harmony, and rhythm of a classic musical piece.  The same is true about novels.  How do you describe the effect that classic artist’s ideas have had, effects that turned their pieces works to be vetted as essential for all generations to consider?  I cannot tell you.  But I can help.

Part of the trial lies in the difference in perception of the artist and the viewer.  The artist may paint a sliver of light—the last light the crew sees—as the harsh Arctic Ocean’s icy fangs devours their vessel, hoping to show the frailty of man against nature; but the viewer, whose experience of the arctic is harmonious, sees the one ray of sunlight in the painting as hope, that the long, dark winter has finally given way to spring.  So, to describe an art piece, you need to know what you see, but also what they see.

In this piece, a book is found.  A hand reaches out to touch the book.  There are things surrounding the book, why not touch them?  Because they are seen.  Nothing is hidden.  But the book, we don’t know what is inside it.  The book is opened and the journey begins.  That’s how it always starts; every journey begins when something is opened.  The book cannot be closed, the journey must continue.

The shadows around the book reflect the ominous mountain shrouded by clouds.  The greys and blues and tans connect the viewer with the book, the page, the mountain.  The plants, whether stitched in the cloth or growing on the mountain makes no difference—they are both frozen.  The pages blur like the flurries of snow in the canyon.  The yellowing pages give us the color of our main subject: a dog.  Just as the dog searches for what we cannot see, the viewer reads for what he cannot yet know.  The anticipation of discovery keeps both going.

As both continue the journey, it gets more intimate and the light begins to grow.  First a stark line between what is seen and what is shadow, but the line fades and grows—making the border unclear, just like the snow blankets everything into a white mass.  The end is reached, the room is dark no more.  Though the dog has found his master—the reader as well—we ask ourselves: who is the master?  I cannot tell you.  And I cannot help, yet.

The Trouble of Total Transparency

Duke of Windsor: “Now we come to the anointing: the single most holy, most solemn, most sacred part of the entire service”

Male Spectator: “Why don’t we get to see it?”

Duke: “Because we are mortals.”

This excerpt from Peter Morgan’s Netflix series The Crown (2016) episode five “Smoke and Mirrors” comments on the anointing of Great Britain’s current matriarch, Queen Elizabeth II.  Hers was the first televised anointing in British history.  But even in agreeing and inviting the public to attend most of this sacred ceremony, there was one part that the monarchy left enshrouded: the actual anointing itself.  And why?  Was it because they wanted to show the common folk that the royalty was still in control of their lives?  No.  The reason was to preserve the mystery, the sacredness, and the importance of that rite.  The clergy does not get anointed, neither parliament, nor the people.  It is the monarch herself.  The ceremony was for her, not everyone else. Total transparency would have ruined that moment and I argue that it will ruin our world as well. 

In today’s information-laden world, transparency is heralded as one of several things being increasingly claimed as a right in the cyberworld.  We believe that we should be able to do a Google search and come upon any information we deem necessary—and not just for education, but also to satisfy a whimsical thought, a wondering of how x, y, or z works, looks, behaves, sounds.  But we must ask ourselves: is total transparency and total access to information something that will help or damage our societies?  How do you respond when a religious sect wants to keep hidden their holy rites not because they have something to hide, but that they want to preserve that rite’s sacredness?  When do we decide that we have gone from seeking transparency to total invasion of an individual’s or culture’s most cherished customs? 

Invasion of traditions cannot come without consequence.  Almost exactly two years ago, Paris suffered under the fallout of the Charlie Hebdo shooting.  Why? Because a satirical newspaper decided that it’s right to comment and make transparent anything it deemed worthy, threw mockery in the face of Muslims.  And despite warnings, lawsuits, and other threats, Charlie Hebdo kept at it.  The result?  A massacre.  Why?  Because it is illegal—in a religious sense—for some sects in Islam to depict the prophet Mohammed.  And Charlie Hebdo didn’t just depict the sacred prophet, they satirized him.  As much as we wish the shooting hadn't happened, the question must be asked: where is respect in our demand for transparency and distribution of information?  It is apparent that today’s world needs a reminder: just because something is exclusive does not mean that it must be exhibited. 

In exhibiting all things, we must also look at whether making transparent whatever we like is actually making our world a better place.  Sure, one could argue that transparency would cause people, businesses, governments, societies to be more moral, more accountable.  Jeffrey Pfeffer in his article “Openness and transparency will not solve our problems”, speaks to the fact that although the innards of certain ‘conspiracies’ have been exposed, change is still far behind.  He argues that even though it is right in front of us, the majority of people still don’t care to take a look at it.

Why is it, then, that when we finally get our golden egg, we—instead of cracking it open--simply put it back on the shelf?  In his article entitled “Egg McNothin’”, Ian Bogost argues that when something that used to be a luxury—an unattainable or elusive commodity, and in his case the egg McMuffin—becomes commonplace, we lose all allure for it and its value becomes zero.  Why? Because, according to Bogost, humans are sold on the principle of anticipation, of ideas of unattained indulgence. That when we narrowly miss our opportunity for luxury, we desire another chance to claim it.  To elaborate on this fact, Bogost quotes Adam Chandler’s lament about McDonald’s violation of well-established ritual:  

“The 24/7 work world turns “morning” into “that time after whenever you woke up,” and all-day breakfast at McDonald’s only spreads a new layer of oil atop an already greasy period of precarity and overwork. “In demanding eternal breakfast,” Chandler mourns, “America is reverting to its adolescence”.

Adam Chandler may be on to something more than just begrudging the addition of breakfast to our list of instantly gratifying options.  It is often the character of adolescents to act without acknowledgment of consequences.  Indeed it could be argued that in our demand for transparency and total access, we are actually reverting to more juvenile ways of thinking.  We want to know what that CEO did with his last paycheck.  We want breakfast no matter when we get out of bed.  We want to crucify that woman for her insensitive tweet.  We don’t think that what the CEO does with his own money is none of our concern, so long as it’s legal.  We don’t comprehend that the suffering tweeter is now unable to get work, couldn’t pay her rent, and is now homeless.  But we should.

Is total transparency something to be sought after?  Perhaps, but probably not.  Security cameras are great tools that can reveal the identity robbers when they thought they were hidden.  But people still don’t put security cameras in their bathroom.  Total transparency in all things robs mankind of the respect, ritual, and private matters that make life interesting and livable. 

Toward the end of the Crown episode Smoke and Mirrors, the Duke of Windsor says it all:

“Who wants transparency when you can have magic?”

“Who wants prose when you can have poetry?”

“Pull away the veil and what are you left with? An ordinary young woman of modest ability and little imagination. But wrap her up like this, anoint her with oil, and hey presto what do you have?”

“A goddess.”

Who would want to rob the world of magic, poetry, and deity?  Those who desire total transparency.

References:

Raphael Satter "WikiLeaks"

Jeffrey Pfeffer "Openness and Total Transparency"

Ian Bogost "Egg McNothin'"

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