On ‘The Overstory.’

On ‘The Overstory.’

We delude ourselves into thinking that the pace of life has increased in recent years.  National news is made by the minute as politicians announce their plans via live-televised pronouncement or mass-audience short text message.  Office workers carry powerful computers into their bedrooms, continuing to work until moments before sleep.

But our frenzy doesn’t match the actual pace of the world.  There’s a universe of our own creation zipping by far faster than the reaction time of any organism that relies on voltage waves propagating along its ion channels.  Fortunes are made by shortening the length of fiberoptic cable between supercomputer clusters and the stock exchange, improving response times by fractions of a second.  “Practice makes perfect,” and one reason the new chess and Go algorithms are so much better than human players is that they’ve played lifetimes of games against themselves since their creation.

640px-IFA_2010_Internationale_Funkausstellung_Berlin_18We can frantically press buttons or swipe our fingers across touch screens, but humans will never keep up with the speed of the algorithms that recommend our entertainment, curate our news, eavesdrop on our conversations, guess at our sexual predilections, condemn us to prison

And then there’s the world.  The living things that have been inhabiting our planet for billions of years – the integrated ecosystems they create, the climates they shape.  The natural world continues to march at the same stately pace as ever.  Trees siphon carbon from the air as they grasp for the sun, then fall and rot and cause the Earth itself to grow.  A single tree might live for hundreds or thousands of years.  The forests in which they are enmeshed might develop a personality over millions.

Trees do not have a neural network.  But neither do neurons.  When simple components band together and communicate, the result can be striking.  And, as our own brains clearly show, conscious.  The bees clustering beneath a branch do not seem particularly clever by most of our metrics, but the hive as a whole responds intelligently to external pressures.  Although each individual has no idea what the others are doing, they function as a unit.

Your neurons probably don’t understand what they’re doing.  But they communicate to the others, and that wide network of communication is enough.

Root_of_a_TreeTrees talk.  Their roots intertwine – they send chemical communiques through symbiotic networks of fungal mycelia akin to telephones.

Trees talk slowly, by our standards.  But we’ve already proven to ourselves that intelligence could operate over many orders of temporal magnitude – silicon-based AI is much speedier than the chemical communiques sent from neuron to neuron within our own brains.  If a forest thought on a timescale of days, months, or years, would we humans even notice?  Our concerns were bound up in the minute by minute exigencies of hunting for food, finding mates, and trying not to be mauled by lions.  Now, they’re bound up in the exigencies of making money.  Selecting which TV show to stream.  Scoping the latest developments of a congressional race that will determine whether two more years pass without the slightest attempt made to avoid global famine.

In The Overstory, Richard Powers tries to frame this timescale conflict such that we Homo sapiens might finally understand.  Early on, he presents a summary of his own book; fractal-like, this single paragraph encapsulates the entire 500 pages (or rather, thousands of years) of heartbreak.

image (2)He still binges on old-school reading.  At night, he pores over mind-bending epics that reveal the true scandals of time and matter.  Sweeping tales of generational spaceship arks.  Domed cities like giant terrariums.  Histories that split and bifurcate into countless parallel quantum worlds.  There’s a story he’s waiting for, long before he comes across it.  When he finds it at last, it stays with him forever, although he’ll never be able to find it again, in any database.  Aliens land on Earth.  They’re little runts, as alien races go.  But they metabolize like there’s no tomorrow.  They zip around like swarms of gnats, too fast to see – so fast that Earth seconds seem to them like years.  To them, humans are nothing but sculptures of immobile meat.  The foreigners try to communicate, but there’s no reply.  Finding no signs of intelligent life, they tuck into the frozen statues and start curing them like so much jerky, for the long ride home.

Several times while reading The Overstory, I felt a flush of shame at the thought of how much I personally consume.  Which means, obviously, that Powers was doing his work well – I should feel ashamed.    We are alive, brilliantly beautifully alive, here on a magnificent, temperate planet.  But most of us spend too little time feeling awe and too much feeling want.  “What if there was more?” repeated so often that we’ve approached a clear precipice of forever having less.

In Fruitful Labor, Mike Madison (whose every word – including the rueful realization that young people today can’t reasonably expect to follow in his footsteps – seems to come from a place of earned wisdom and integrity, a distinct contrast from Thoreau’s Walden, in my opinion) asks us to:

image (3)Consider the case of a foolish youth who, at age 21, inherits a fortune that he spends so recklessly that, by the age of 30, the fortune is dissipated and he finds himself destitute.  This is more or less the situation of the human species.  We have inherited great wealth in several forms: historic solar energy, either recent sunlight stored as biomass, or ancient sunlight stored as fossil fuels; the great diversity of plants and animals, organized into robust ecosystems; ancient aquifers; and the earth’s soil, which is the basis for all terrestrial life.  We might mention a fifth form of inherited wealth – antibiotics, that magic against many diseases – which we are rendering ineffective through misuse.  Of these forms of wealth that we are spending so recklessly, fossil fuels are primary, because it is their energy that drives the destruction of the other assets.

What we have purchased with the expenditure of this inheritance is an increase in the human population of the planet far above what the carrying capacity would be without the use of fossil fuels.  This level of population cannot be sustained, and so must decline.  The decline could be gradual and relatively painless, as we see in Japan, where the death rate slightly exceeds the birth rate.  Or the decline could be sudden and catastrophic, with unimaginable grief and misery.

In this context, the value of increased energy efficiency is that it delays the inevitable reckoning; that is, it buys us time.  We could use this time wisely, to decrease our populations in the Japanese style, and to conserve our soil, water, and biological resources.  A slower pace of climate change could allow biological and ecological adaptations.  At the same time we could develop and enhance our uses of geothermal, nuclear, and solar energies, and change our habits to be less materialistic.  A darker option is to use the advantages of increased energy efficiency to increase the human population even further, ensuring increasing planetary poverty and an even more grievous demise.  History does not inspire optimism; nonetheless, the ethical imperative remains to farm as efficiently as one is able.

The tragic side of this situation is not so much the fate of the humans; we are a flawed species unable to make good use of the wisdom available to us, and we have earned our unhappy destiny by our foolishness.  It is the other species on the planet, whose destinies are tied to ours, that suffer a tragic outcome.

Any individual among us could protest that “It’s not my fault!”  The Koch brothers did not invent the internal combustion engine – for all their efforts to confine us to a track toward destitution and demise, they didn’t set us off in that direction.  And it’s not as though contemporary humans are unique in reshaping our environment into an inhospitable place, pushing ourselves toward extinction.

Heck, you could argue that trees brought this upon themselves.  Plants caused climate change long before there was a glimmer of a chance that animals like us might ever exist.  The atmosphere of the Earth was like a gas chamber, stifling hot and full of carbon dioxide.  But then plants grew and filled the air with oxygen.  Animals could evolve … leading one day to our own species, which now kills most types of plants to clear space for a select few monocultures.

As Homo sapiens spread across the globe, we rapidly caused the extinction of nearly all mega-fauna on every continent we reached.  On Easter Island, humans caused their own demise by killing every tree – in Collapse, Jared Diamond writes that our species’ inability to notice long-term, gradual change made the environmental devastation possible (indeed, the same phenomenon explains why people aren’t as upset as they should be about climate change today):

image (4)We unconsciously imagine a sudden change: one year, the island still covered with a forest of tall palm trees being used to produce wine, fruit, and timber to transport and erect statues; the next year, just a single tree left, which an islander proceeds to fell in an act of incredibly self-damaging stupidity. 

Much more likely, though, the changes in forest cover from year to year would have been almost undetectable: yes, this year we cut down a few trees over there, but saplings are starting to grow back again here on this abandoned garden site.  Only the oldest islanders, thinking back to their childhoods decades earlier, could have recognized a difference. 

Their children could no more have comprehended their parents’ tales of a tall forest than my 17-year-old sons today can comprehend my wife’s and my tales of what Los Angeles used to be like 40 years ago.  Gradually, Easter Island’s trees became fewer, smaller, and less important.  At the time that the last fruit-bearing adult palm tree was cut, the species had long ago ceased to be of any economic significance.  That left only smaller and smaller palm saplings to clear each year, along with other bushes and treelets. 

No one would have noticed the falling of the last little palm sapling.

512px-Richard_Powers_(author)Throughout The Overstory, Powers summarizes research demonstrating all the ways that a forest is different from – more than – a collection of trees.  It’s like comparing a functioning brain with neuronal cells grown in a petri dish.  But we have cut down nearly all our world’s forests.  We can console ourselves that we still allow some trees to grow – timber crops to ensure that we’ll still have lumber for all those homes we’re building – but we’re close to losing forests without ever knowing quite what they are.

Powers is furious, and wants for you to change your life.

You’re a psychologist,” Mimi says to the recruit.  “How do we convince people that we’re right?”

The newest Cascadian [a group of environmentalists-cum-ecoterrorists / freedom fighters] takes the bait.  “The best arguments in the world won’t change a person’s mind.  The only thing that can do that is a good story.”

On cooperation in gaming.

On cooperation in gaming.

vowminiatureAt a buddy’s house recently, I played a cooperative board game.  In Vanguard of War, each player controls a character defending a church from an army of demons.  Many games of this ilk have been produced recently – Pandemic and Ghost Stories are among the most popular.

But my impression is that these games are best with a single player.  You’re attempting to solve a (typically randomized) puzzle created by the designer.  Maybe you’re the sort of person who enjoyed doing math homework with friends – if so, this type of game would probably be fun to play with a team.

Perhaps it’s a failure of my own education that I rarely worked through chemistry or physics problems in groups.  After all, few really big puzzles are solved alone.  To the best of my knowledge, no tech company of one is going to stop climate change or start a colony on Mars.

But something I look for in games – in any group project, really – is for the identity of the participants to matter.  There’s an increasing awareness that people from different backgrounds will often come up with different approaches to even highly technical problems.  A world in which only white males hold management positions at tech companies doesn’t just produce economic and social inequality – it also makes crappier technologies.

themindSome cooperative games have an element of this.  I played The Mind recently, in which players are dealt random cards from a numbered deck of a hundred, and without communicating (other than wait times) are supposed to dole out their cards in ascending order.  Any set of players should converge toward the game’s simple solution (waiting a constant duration per card number before tossing down your next), but it was still fun to play.  I imagine that a kid could enjoy ten or more games, especially with different teammates.  Will you reach a rhythm soon enough?

But in many of other cooperative games, the identities of the actual humans sitting around the table don’t matter.  If you’re talking through decisions with your teammates, each player’s personality is subsumed by the game.  In something like Vanguard of War, where each player is the primary controller of a single character, that game character’s personality matters more than your own.

And let’s say you play a game several times: with many cooperative board games, the way to maintain an interesting challenge as you improve is for your teammates to play worse.  Otherwise the game becomes easier precisely when you need it to be more difficult.  When a game is a pre-set puzzle, you and your friends can’t keep having fun by growing in experience together.

This is unfortunate, because I’d wanted to introduce cooperative games to my kids.  Isn’t that what all parents want?  For their kids to get along, to be the sort of friendly, helpful ally that people are happy to work with later on in life?

hiveBut then I realized that the best thing for me to do is simply change how I think about playing games.  A two-player “competitive” game like Go or chess (or Hive, a recent household favorite) doesn’t need to seem adversarial.

In chess, each person is given an objective, and, yes, those objectives are mutually exclusive.  But completing the objective isn’t really the point.  The purpose of the game is to have fun solving puzzles, and the person you’re playing with creates the puzzles for you.  The players in chess actually are cooperating, because they’re both setting aside reality in favor of an arbitrary set of rules that both follow for the duration of the game – and the game is only interesting if both players work together to create it.  If anyone doesn’t follow the expected rules, it wrecks the puzzle.

Go_boardPart of what makes “competitive” games interesting is that both players are striving to win – to capture the king, control the most territory, what have you.  A human consciousness is manipulating the puzzle that you’re trying to solve in real time.  Of course, this works best when both players have a fair chance of completing their objectives, which is a reason why I like Go better than chess.  There’s a built-in mechanism to accommodate less-experienced players.  And until the players have “solved” the game (like knowing the exact best strategy in tic-tac-toe or checkers), they’ll continue to have a fun challenge as they grow in experience together.

So I shouldn’t have been worried about introducing competitive games to my children.  I just needed to change the way I think about them.  If only I’d paid more attention to ecologist Mark Bekoff!

Bekoff has studied play for years.  In The Emotional Lives of Animals, he writes:

bekoffI was surprised to learn that [dogs’] bows are used not only right at the beginning of play to tell another dog “I want to play with you,” but also right before biting, accompanied by rapid side-to-side head shaking, as if to say, “I’m going to bite you hard but it’s still in play.”  Bows are also used right after vigorous biting, as if to say, “I’m sorry I just bit you so hard, but it was play.”  Bows serve as punctuation, an exclamation point, to call attention to what the dog wants. 

Infant dogs and their wild relatives learn how to play fairly using play markers such as the bow, and their response to play bows seems to be innate.  Pigs use play markers such as bouncy running and head twisting to communicate their intentions to play.  Jessica Flack and her colleagues discovered that juvenile chimpanzees will increase the use of signals to prevent the termination of play by the mothers of their younger play partners.  Researchers who study the activity always note that play is highly cooperative.  I can’t stress enough how important it is that play is carefully negotiated, that it is fine-tuned on the run so that the play mood is maintained.  There are social rules that must be followed.

Just the other day, my kid asked if we could play a game of “chest.”  I momentarily demurred.  But now that I’ve had time to reflect, I know – I don’t want to play against her, but I will happily play many games of chess with her.

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And probably with this guy, too.

On chess as a window to the soul.

On chess as a window to the soul.

chessI loved chess growing up, enough that I always felt a shiver of pleasure when games appeared in novels.  Like the pre-felo de se game in Love in the Time of Cholera, the grim filial sacrifice in Vonnegut’s “All the King’s Horses,” the entirety of The Defense ...

ompchessIf you also are a fan of chess in art, you’ll definitely want to watch Andrew Bujalski’s brilliant mockumentary Computer Chess.  The film manages to be incredibly entertaining and humorous while addressing big ideas about artificial intelligence, the treatment of women in science, power structures between underlings and their professional superiors, and the difficulty of bridging cognitive gaps between people with different value systems.  With that list of themes, and the film being shot in black & white by shaky handheld cameras, it could’ve so easily been dull and dry… but it’s a blast.

One reason why chess has appeared so often in artistic works is the claim that people reveal their personalities through their playing styles.  I never agreed with this.  Sure, you can play aggressively, you can play cautiously.  The biggest distinction, though, is between playing well or poorly.  And even then, only a small set of moves are available each turn.  With only twenty moves to choose from for the first turn, and hardly ever more than fifty, many of them strategically bad, how much of your personality can you reveal?

goThat’s why I was so excited when I discovered Go.  It’s a rough cultural equivalent to chess, but on any turn there are a much wider range of options that seem to be strategically reasonable (I say “seem to be,” because, unlike with chess, computers still can’t beat the best Go players, so we don’t have a clear algorithmic understanding to identify the best moves).

At the beginning of a game of Go, there are hundreds of options to choose from for each move.  And, unlike with chess, there’s no certainty that a slightly more aggressive move, or a slightly more timid one — setting a piece down very near an opponent’s, or father away — is better or worse than the other options.  Toward the beginning of the game, at least, your personality is less likely to be squelched by strategic constraints.

I figured that this abundance of choices meant games of Go would be more effective literary devices than chess games.  So far, though, I haven’t come across literary Go games that I’ve enjoyed as much as those chess matches cited above.  I’ve only read a few, though; maybe ones that’ll floor me are out there somewhere.

But, right, this essay is supposed to be about chess, not Go.  Because I eventually realized that chess does reveal the players’ personalities… as long as they’re not following the rules.  Consider this monologue from Burroughs’s Queer (a bit of context that might help explain the speaker’s casual racism: Queer is, in my opinion, the best novel about unrequited love.  The speaker is trying, and failing, to get the man he loves to pay attention to him.  His aggrieved petulance and insobriety lead him to tell increasingly vicious, mean-spirited stories):

Art by Christiaan Tonnis.
Art by Christiaan Tonnis.

“I was reading up on chess.  Arabs invented it, and I’m not surprised.  Nobody can sit like an Arab.  The classical Arab chess game was simply a sitting contest.  When both contestants starved to death it was a stalemate.”  Lee paused and took a long drink.

“During the Baroque period of chess the practice of harrying your opponent with some annoying mannerism came into general use.  Some players used dental floss, others cracked their joints or blew saliva bubbles.  The method was constantly developed.  In the 1917 match at Baghdad, the Arab Arachnid Khayam defeated the German master Kurt Schlemiel by humming ‘I’ll Be Around When You’re Gone’ forty-thousand times, and each time reaching his hand towards the board as if he intended to make a move.  Schlemiel went into convulsions finally.

“Did you ever have the good fortune to see the Italian master Tetrazzini perform?”  Lee lit Mary’s cigarette.  “I say ‘perform’ advisedly, because he was a great showman, and like all showmen, not above charlatanism and at times downright trickery.  Sometimes he used smoke screens to hide his maneuvers from the opposition — I mean literal smoke screens, of course.  He had a corps of trained idiots who would rush in at a given signal and eat all the pieces.  With defeat staring him in the face — as it often did, because actually he knew nothing of chess but the rules and wasn’t too sure of those — he would leap up yelling, ‘You cheap bastard!  I saw you palm that queen!’ and ram a broken teacup into his opponent’s face.  In 1922 he was rid out of Prague on a rail.  The next time I saw Tetrazzini was in the Upper Ubangi.  A complete wreck.  Peddling unlicensed condoms.  That was the year of the rinderpest, when everything died, even the hyenas.”

Chess played that way clearly reveals the players’ personalities.  They’re no longer shackled by strategic constraints — the apparent lawlessness of the game resembles Calvinball more than traditional chess.

maThe chess game in Michal Ajvaz’s The Other City has a similar emphasis on personality over rules.  The Other City is a beautiful novel, and I think this passage is fairly representative of what I love about it.  Dream logic that is far enough removed from traditional reality that we expect weirdness, but not so weird as to be incomprehensible.  A real attention to detail in describing the oft-impossible physical surroundings.  And pervasive horror; this passage is followed by one describing a once-beautiful poet scarred by long use of a typewriter that struck him with poisonous quills each time he pressed the keys.  Even the description of the chess game has real nightmarish properties.  The stakes are high, but the rules are unclear.  Oh, and, many thanks to Gerald Turner for the translation; all translation seems difficult, but recreating this sort of surrealism in another language must’ve been particularly arduous.

The Book of Deserted Gardens speaks of this on the page with the greasy stain from noodle soup left by a scribe of long ago, who took fright when across the sun-drenched page there fell the horned shadow of a monster as it passed through the sleepy and desolate lanes of the city after defeating the aging king at a game of chess on the parched ramparts.  It was played with chessmen of sparkling ice; all that could be heard in the silence was the soft rattle of red and purple gemstones falling in the hour-glass alongside the chessboard; it was the monster’s vengeance for a bygone defeat in a contest beneath the high stone walls of the fortress, on which broke the waves of the nocturnal sea.  The stories do not tell the entire truth — monsters always return: one day, a familiar monster will ring your doorbell too, bearing a chessboard under its arm; it will persuade you to join it in a game of chess and you will be obliged to include in the game the carved figure of a tiger-headed spearman, a piece that moves in irregular, furtive spirals and can stray quite far from the chessboard — even out of the apartment.