Free Will

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PHYS771 Lecture 18: Free Will

Scott Aaronson

Scribe: Chris Granade


So today we're going to ask---and hopefully answer---this question of whether there's free will or not. If you want to know where I stand, I'll tell you: I believe in free will. Why? Well, the neurons in my brain just fire in such a way that my mouth opens and I say I have free will. What choice do I have?

Before we start, there are two common misconceptions that we have to get out of the way. The first one is committed by the free will camp, and the second by the anti-free-will camp.

The misconception committed by the free will camp is the one I alluded to before: if there's no free will, then none of us are responsible for our actions, and hence (for example) the legal system would collapse. Well, I know of only one trial where the determinism of the laws of physics was actually invoked as a legal defense. It's the Leopold and Loeb trial in 1926. Have you heard of this? It was one of the most famous trials in American history, next to the OJ trial. So, Leopold and Loeb were these brilliant students at the University of Chicago (one of them had just finished his undergrad at 18), and they wanted to prove that they were Nietzschean supermen who were so smart that they could commit the perfect murder and get away with it. So they kidnapped this 14-year-old boy and bludgeoned him to death. And they got caught---Leopold dropped his glasses at the crime scene.

They were defended by Clarence Darrow---the same defense lawyer from the Scopes monkey trial, considered by some to be the greatest defense lawyer in American history. In his famous closing address, he actually made an argument appealing to the determinism of the universe. "Who are we to say what could have influenced these boys to do this? What kind of genetic or environmental influences could've caused them to commit the crime?" (Maybe Darrow thought he had nothing to lose.) Anyway, they got life in prison instead of the death penalty, but apparently it was because of their age, and not because of the determinism of the laws of physics.

Alright, what's the problem with using the non-existence of free will as a legal defense?

A: The judge and the jury don't have free will either.
Scott: Thank you! I'm glad someone got this immediately, because I've read whole essays about this, and the obvious point never gets brought up.

The judge can just respond, "The laws of physics might have predetermined your crime, but they also predetermined my sentence: DEATH!" (In the US, anyway. In Canada, maybe 30 days...)

Alright, that was the misconception of the free will camp. Now on to the misconception of the anti-free will camp. I've often heard the argument which says that not only is there no free will, but the very concept of free will is incoherent. Why? Because either our actions are determined by something, or else they're not determined by anything, in which case they're random. In neither case can we ascribe them to "free will."

For me, the glaring fallacy in the argument lies in the implication Not Determined ⇒ Random. If that was correct, then we couldn't have complexity classes like NP---we could only have BPP. The word "random" means something specific: it means you have a probability distribution over the possible choices. In computer science, we're able to talk perfectly coherently about things that are non-deterministic, but not random.

Look, in computer science we have many different sources of non-determinism. Arguably the most basic source is that we have some algorithm, and we don't know in advance what input it's going to get. If it were always determined in advance what input it was going to get, then we'd just hardwire the answer. Even talking about algorithms in the first place, we've sort of inherently assumed the idea that there's some agent that can freely choose what input to give the algorithm.

Q: Not necessarily. You can look at an algorithm as just a big compression scheme. Maybe we do know all the inputs we'll ever need, but we just can't write them in a big enough table, so we write them down in this compressed form.
Scott: OK, but then you're asking a technically different question. Maybe there's no efficient algorithm for some problem such that there is an efficient compression scheme. All I'm saying is that the way we use language---at least in talking about computation---it's very natural to say there's some transition where we have this set of possible things that could happen, but we don't know which is going to happen or even have a probability distribution over the possibilities. We would like to be able to account for all of them, or maybe at least one of them, or the majority of them, or whatever other quantifier we like. To say that something is either determined or random is leaving out whole swaths of the Complexity Zoo. We have lots of ways of producing a single answer from a set of possibilities, so I don't think it's logically incoherent to say that there could exist transitions in the universe with several allowed possibilities over which there isn't even a probability distribution.
Q: Then they're determined.
Scott: What?
Q: According to classical physics, everything is determined. Then, there's quantum mechanics, which is random. You can always build a probability distribution over the measurement outcomes. I don't think you can get away from the fact that those are the only two kinds of things you can have. You can't say that there's some particle which can go to one of three states, but that you can't build a probability distribution over them. Unless you want to be a frequentist about it, that's something that just can't happen.
Scott: I disagree with you. I think it does make sense. As one example, we talked about hidden-variable theories. In that case, you don't even have a probability distribution over the future until you specify which hidden-variable theory you're talking about. If we're just talking about measurement outcomes, then yes, if you know the state that you're measuring and you know what measurement you're applying, quantum mechanics gives you a probability distribution over the outcomes. But if you don't know the state or the measurement, then you don't even get a distribution.
Q: I know that there are things out there that aren't random, but I don't concede this argument.
Scott: Good! I'm glad someone doesn't agree with me.
Q: I disagree with your argument, but not your result that you believe in free will.
Scott: My "result"?
Q: Can we even define free will?
Scott: Yeah, that's an excellent question. It's very hard to separate the question of whether free will exists from the question of what the definition of it is. What I was trying to do is, by saying what I think free will is not, give some idea of what the concept seems to refer to. It seems to me to refer to some transition in the state of the universe where there are several possible outcomes and we can't even talk coherently about a probability distribution over them.
Q: Given the history?
Scott: Given the history.
Q: Not to beat this to death, but couldn't you at least infer a probability distribution by running your simulation many times and seeing what your free will entity chooses each time?
Scott: I guess where it becomes interesting is, what if (as in real life) we don't have the luxury of repeated trials?

Newcomb's Paradox

So let's put a little meat on this philosophical bone with a famous thought experiment. Suppose that a super-intelligent Predictor shows you two boxes: the first box has $1000, while the second box has either $1,000,000 or nothing. You don't know which is the case, but the Predictor has already made the choice and either put the money in or left the second box empty. You, the Chooser, have two choices: you can either take the second box only, or both boxes. Your goal, of course, is money and not understanding the universe.

Here's the thing: the Predictor made a prediction about your choice before the game started. If the Predictor predicted you'll take only the second box, then he put $1,000,000 in it. If he predicted you'll both boxes, then he left the second box empty. The Predictor has played this game thousands of times before, with thousands of people, and has never once been wrong. Every single time someone picked the second box, they found a million dollars in it. Every single time someone took both boxes, the found that the second box was empty.

First question: Why is it obvious that you should take both boxes? Right: because whatever's in the second box, you'll get $1,000 more by taking both boxes. The decision of what to put in the second box has already been made; your taking both boxes can't possibly affect it.

Second question: Why is it obvious that you should take only the second box? Right: because the Predictor's never been wrong! Again and again you've seen one-boxers walk away with $1,000,000, and two-boxers walk away with only $1,000. Why should this time be any different?

Q: How good is the Predictor's computer?
Scott: Well, clearly it's pretty good, given that he's never been wrong. We're going to get to that later.

This paradox was popularized by a philosopher named Robert Nozick in 1969. There's a famous line from his paper about it: "To almost everyone, it is perfectly clear and obvious what should be done. The difficulty is that these people seem to divide almost evenly on the problem, with large numbers thinking that the opposing half is just being silly."

There's actually a third position---a boring "Wittgenstein" position---which says that the problem is simply incoherent, like asking about the unstoppable force that hits the immovable object. If the Predictor actually existed, then you wouldn't have the freedom to make a choice in the first place; in other words, the very fact that you're debating which choice to make implies that the Predictor can't exist.

Q: Why can't you get out of the paradox by flipping a coin?
Scott: That's an excellent question. Why can't we evade the paradox using probabilities? Suppose the Predictor predicts you'll take only the second box with probability p. Then he'll put $1,000,000 in that box with the same probability p. So your expected payoff is:
1,000,000 p² + 1,001,000 p(1 − p) + 1,000(1 − p)² = 1,000,000p + 1,000(1-p)
leading to exactly the same paradox as before, since your earnings will be maximized by setting p = 1. So my view is that randomness really doesn't change the fundamental nature of the paradox at all.

To review, there are three options: are you a one-boxer, a two-boxer or a Wittgenstein? Let's take a vote.

Results of Voting
Take both boxes: 1
Take only one box: 9
The question is meaningless: 9
Note: there were many double votes.

Well, it looks like the consensus coincides with my own point of view: (1) the question is meaningless, and (2) you should take only one box!

Q: It it really meaningless if you replace the question "what do you choose to do" with "how many boxes will you take?" It's not so much that you're choosing; you're reflecting on what you would in fact do, whether or not there's choice involved.
Scott: That is, you're just predicting your own future behavior? That's an interesting distinction.
Q: How good of a job does the Predictor have to do?
Scott: Maybe it doesn't have to be a perfect job. Even if he only gets it right 90% of the time, there's still a paradox here.
Q: So by the hypothesis of the problem, there's no free will and you have to take the Wittgenstein option.
Scott: Like with any good thought experiment, it's never any fun just to reject the premises. We should try to be good sports.

I can give you my own attempt at a resolution, which has helped me to be an intellectually-fulfilled one-boxer. First of all, we should ask what we really mean by the word "you." I'm going to define "you" to be anything that suffices to predict your future behavior. There's an obvious circularity to that definition, but what it means is that whatever "you" are, it ought to be closed with respect to predictability. That is, "you" ought to coincide with the set of things that can perfectly predict your future behavior.

Now let's get back to the earlier question of how powerful a computer the Predictor has. Here's you, and here's the Predictor's computer. Now, you could base your decision to pick one or two boxes on anything you want. You could just dredge up some childhood memory and count the letters in the name of your first-grade teacher or something and based on that, choose whether to take one or two boxes. In order to make its prediction, therefore, the Predictor has to know absolutely everything about you. It's not possible to state a priori what aspects of you are going to be relevant in making the decision. To me, that seems to indicate that the Predictor has to solve what one might call a "you-complete" problem. In other words, it seems the Predictor needs to run a simulation of you that's so accurate it would essentially bring into existence another copy of you.

Let's play with that assumption. Suppose that's the case, and that now you're pondering whether to take one box or two boxes. You say, "all right, two boxes sounds really good to me because that's another $1,000." But here's the problem: when you're pondering this, you have no way of knowing whether you're the "real" you, or just a simulation running in the Predictor's computer. If you're the simulation, and you choose both boxes, then that actually is going to affect the box contents: it will cause the Predictor not to put the million dollars in the box. And that's why you should take just the one box.

Q: I think you could predict very well most of the time with just a limited dataset.
Scott: Yeah, that's probably true. In a class I taught at Berkeley, I did an experiment where I wrote a simple little program that would let people type either "f" or "d" and would predict which key they were going to push next. It's actually very easy to write a program that will make the right prediction about 70% of the time. Most people don't really know how to type randomly. They'll have too many alternations and so on. There will be all sorts of patterns, so you just have to build some sort of probabilistic model. Even a very crude one will do well. I couldn't even beat my own program, knowing exactly how it worked. I challenged people to try this and the program was getting between 70% and 80% prediction rates. Then, we found one student that the program predicted exactly 50% of the time. We asked him what his secret was and he responded that he "just used his free will."
Q: It seems like a possible problem with "you-completeness" is that, at an intuitive level, you is not equal to me. But then, anything that can simulate me can also presumably simulate you, and so that means that the simulator is both you and me.
Scott: Let me put it this way: the simulation has to bring into being a copy of you. I'm not saying that the simulation is identical to you. The simulation could bring into being many other things as well, so that the problem it's solving is "you-hard" rather than "you-complete."
Q: What happens if you have a "you-oracle" and then decide to do whatever the simulation doesn't do?
Scott: Right. What can we conclude from that? If you had a copy of the Predictor's computer, then the Predictor is screwed, right? But you don't have a copy of the Predictor's computer.
Q: So this is a theory of metaphysics which includes a monopoly on prediction?
Scott: Well, it includes a Predictor, which is a strange sort of being, but what do you want from me? That's what the problem stipulates.

One thing that I liked about about my solution is that it completely sidesteps the mystery of whether there's free will or not, in much the same way that an NP-completeness proof sidesteps the mystery of P versus NP. What I mean is that, while it is mysterious how your free will could influence the output of the Predictor's simulation, it doesn't seem more mysterious than how your free will could influence the output of your own brain! It's six of one, half a dozen of the other.


One reason I like this Newcomb's Paradox is that it gets at a connection between "free will" and the inability to predict future behavior. Inability to predict the future behavior of an entity doesn't seem sufficient for free will, but it does seem somehow necessary. If we had some box, and if without looking inside this box, we could predict what the box was going to output, then we would probably agree among ourselves that the box doesn't have free will. Incidentally, what would it take to convince me that I don't have free will? If after I made a choice, you showed me a card that predicted what choice I was going to make, wellm that's the sort of evidence that seems both necessary and sufficient. Modern neuroscience does get close to this for certain kinds of decisions. There were some famous experiments in the 1980's, where someone would attach electrodes to someone's brain and would tell them that they could either press button 1 or 2. Something like 200ms before the person was conscious of making the decision of which button to press, certainly before they physically moved their finger, you could see the neurons spiking for that particular finger. So you can actually predict which button the person is going to press a fraction of a second before they're aware of having made a choice. This is the kind of thing that forces us to admit that some of our choices are less free than they feel to us---or at least, that whatever is determining these choices acts earlier in time than it seems to subjective awareness.

If free will depends on an inability to predict future behavior, then it would follow from that free will somehow depends on our being unique: on it being impossible to copy us. This brings up another of my favorite thought experiments: the teleportation machine.

Suppose that in the far future, there's a very simple way of getting to Mars---the Mars Express---in only 10 minutes. It encodes the positions of all the atoms in your body as information, then transmits it to Mars as radio waves, reconstitutes you on Mars, and (naturally) destroys the original. Who wants to be the first to sign up and buy tickets? You can assume that destroying the original is painless. If you believe that your mind consists solely of information, then you should be lining up to get a ticket, right?

Q: I think there's a big difference between the case where you take someone apart then put them together on the other end, and the case where you look inside someone to figure out how to build a copy, build a copy at the end and then kill the original. There's a big difference between moving and copying. I'd love to get moved, but I wouldn't go for the copying.
Scott: The way moving works in most operating systems and programming languages is that you just make a copy then delete the original. In a computer, moving means copy-and-deleting. So, say you have a string of bits x1, ..., xn and you want to move it from one location to another. Are you saying it matters whether we first copy all of the bits then delete the first string, or copy-and-delete just the first bit, then copy-and-delete the second bit and so on? Are you saying that makes a difference?
Q: It does if it's me.
Q: I think I'd just want to be copied, then based on my experiences decide whether the original should be destroyed or not, and if not, just accept that there's another version of me out there.
Scott: OK. So which of the two yous is going to make the decision? You'll make it together? I guess you could vote, but you might need a third you to break the tie.
Q: Are you a quantum state or a classical state?
Scott: You're ahead of me, which always makes me happy. One thing that's always really interested me about the famous quantum teleportation protocol (which lets you "dematerialize" a quantum state and "rematerialize" it at another location) is that in order for it to work, you need to measure---and hence destroy---the original state. But going back to the classical scenario, it seems even more problematic if you don't destroy the original than if you do. Then you have the problem of which one is "really" you. Q: This reminds me of the many-worlds interpretation.
Scott: At least there, two branches of a wave function are never going to interact with each other. At most, they might interfere and cancel each other out, but here the two copies could actually have a conversation with each other! That adds a whole new layer of difficulties.
Q: So if you replaced your classical computer with a quantum computer, you couldn't just copy-and-delete to move something...
Scott: Right! This seems to me like an important observation. We know that if you have an unknown quantum state, you can't just copy it, but you can move it. So then the following question arises: is the information in the human brain encoded in some orthonormal basis? Is it copyable information or non-copyable information? The answer does not seem obvious a priori. Notice that we aren't asking if the brain is a quantum computer (let alone a quantum gravity computer a la Penrose), or whether it can factor 300-digit integers. Maybe Gauss could, but it's pretty clear that the rest of us can't. But even if it's only doing classical computation, the brain could still be doing it in a way that involves single qubits in various bases, in such a way that it would be physically impossible to copy important parts of the brain's state. There wouldn't even have to be much entanglement for that to be the case. We know that there are all kinds of tiny effects that can play a role in determining whether a given neuron will fire or not. So, how much information do you need from a brain to predict a person's future behavior (at least probabilistically)? Is all the information that you need stored in "macroscopic" variables like synaptic strengths, which are presumably copyable in principle? Or is some of the information stored microscopically, and possibly not in a fixed orthonormal basis? These are not metaphysical questions. They are, in principle, empirically answerable ones.

Now that we've got quantum in the picture, let's stir the pot a little bit more and bring in relativity. There's this argument (again, you can read whole Ph. D. theses about all these things) called the block-universe argument. The idea is that somehow special relativity precludes the existence of free will. Here you are, and you're trying to decide whether to order pizza or Chinese take-out. Here's your friend, who's going to come over later and wants to know what you're going to order. As it happens, your friend is traveling close to the speed of light in your rest frame. Even though you perceive yourself agonizing over the decision, from her perspective, your decision has already been made.

Q: You and your friend are spacelike-separated, so what does that even mean?
Scott: Exactly. I don't really think, personally, that this argument says anything about the existence or non-existence of free will. The problem is that it only works with spacelike-separated observers. Your friend can say, in principle, that in what she perceives to be her spacelike hypersurface, you've already made your decision---but she still doesn't know what you actually ordered! The only way for the information to propagate to your friend is from the point where you actually made the decision. To me, this just says that we don't have a total time-ordering on the set of events---we just have a partial ordering. But I've never understood why that should preclude free will.

I have to rattle you up somehow, so let's throw quantum, relativity and free will all into the stew. There was a paper recently by Conway and Kochen called The Free Will Theorem, which got a fair bit of press. So what is this theorem? Basically, Bell's Theorem, or rather an interesting consequence of Bell's Theorem. It's kind of a mathematically-obvious consequence, but still very interesting. You can imagine that there's no fundamental randomness in the universe, and that all of the randomness we observe in quantum mechanics and the like was just predetermined at the beginning of time. God just fixed some big random string, and whenever people make measurements, they're just reading off this one random string. But now suppose we make the following three assumptions:

  1. We have the free will to choose in what basis to measure a quantum state. That is, at least the detector settings are not predetermined by the history of the universe.
  2. Relativity gives some way for two actors (Alice and Bob) to perform a measurement such that in one reference frame Alice measures first, and in another frame Bob measures first.
  3. The universe cannot coordinate the measurement outcomes by sending information faster than light.

Given these three assumptions, the theorem concludes that there exists an experiment---namely, the standard Bell experiment---whose outcomes are also not predetermined by the history of the universe. Why is this true? Basically, because supposing that the two outcomes were predetermined by the history of the universe, you could get a local hidden-variable model, in contradiction to Bell's Theorem. You can think of this theorem as a slight generalization of Bell's Theorem: one that rules out not only local hidden-variable theories, but also hidden-variable theories that obey the postulates of special relativity. Even if there were some non-local communication between Alice and Bob in their different galaxies, as long as there are two reference frames such that Alice measures first in one and Bob measures first in the other, you can get the same inequality. The measurement outcomes can't have been determined in advance, even probabilistically; the universe must "make them up on the fly" after seeing how Alice and Bob set their detectors. I wrote a review of Steven Wolfram's book a while ago where I mentioned this, as a basic consequence of Bell's Theorem that ruled out the sort of deterministic model of physics that Wolfram was trying to construct. I didn't call my little result the Free Will Theorem, but now I've learned my lesson: if I want people to pay attention, I should be talking about free will! Hence this lecture.


Years ago, I was at one of John Preskill's group meetings at Caltech. Usually, it was about very physics-y stuff and I had trouble understanding. But once, we were talking about a quantum foundations paper by Chris Fuchs, and things got very philosophical very quickly. Finally, someone got up and wrote on the board: "Free Will or Machine?" And asked for a vote. "Machine" won, seven-to-five. But we don't have to accept their verdict! We can take our own vote.

The Results
Free Will: 6
Machines: 5

Note: The class was largely divided between those who abstained and those who voted for both.


I'll leave you with the following puzzle for next time:
Dr. Evil is on his moon base, and he has a very powerful laser pointed at the Earth. Of course, he's planning to obliterate the Earth, being evil and all. At the last minute, Austin Powers hatches a plan, and sends Dr. Evil the following message: "Back in my lab here on Earth, I've created a replica of your moon base down to the last detail. The replica even contains an exact copy of you. Everything is the same. Given that, you actually don't know if you're in your real moon base or in my copy here on Earth. So if you obliterate the Earth, there's a 50% chance you'll be killing yourself!" The puzzle is, what should Dr. Evil do? Should he fire the laser or not? (See here for the paper about this.)


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YouTube: Memorializing Hockey in Unusual Ways

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Everyone has a camera these day, and social media has taken over with these devices, YouTube is one of the fastest growing media sites and hockey is on its radar. The cellular revolution has pretty much made certain that every mobile phone now has a camera attached. Gone are the days of the bulky video cameras, and now are the ways of the slim, fits in your pocket, ready at any moment video taking device. While these cameras are awesome for catching your baby’s first step at a moment’s notice, they are also adept at catching others at their first or second misstep. With the advent of YouTube, everyone with a smart phone is now a potential film maker. I perused through the recent archives of YouTube to see exactly how YouTube views hockey. It is fairly easy to access the archives of history both good and bad on YouTube.
When it comes to the sport of hockey, is YouTube helping to preserve our best and most powerful images in hockey, or our worst? What exactly does YouTube have to show about hockey?

The Good

Every once in a while, we get a commercial that makes us stop and stare. Seeing something so ncredible as Bobby Orr flying through the air, is one of those times. Some commercials encourage us to buy this or that, The History Will Be Made commercial, made us want to fly too, and it certainly made us want to stick with watching the playoffs in 2001. The commercial series also has one of the best musical scores made, making every commercial historical in its own right. YouTube did good in preserving this awesome piece of hockey advertising.
History Will Be Made Commercials

After the tumultuous fall, we all need a reason to get excited about hockey. This YouTube clip illustrates the desire to turn up the love and turn back on our sets, after all Hockey is Back! Something even YouTube can’t deny.
Hockey is Back

The Great

There’s something that the coolest goals, the best saves, and the most awesome fights can’t hold a candle to. You know it’s ‘Hockey Night In Canada!’ when you hear, ‘The Good Old Hockey Game.’ By Stompin Tom Connors. We lost this icon of hockey history last week on March 6, 2013 at the age of 77. He had a lot of songs, but can’t imagine Saturday nights without him. YouTube definitely placed him in perpetuity, a pioneer and a poster boy for our love of hockey.
The Good Old Hockey Game

The Sad

One of the most difficult things in a sport or organization is lose someone, albeit in the most horrific of all instances a whole branch or team. Team Locomotiv Yaroslavl of Russia failed to gain altitude, catching fire therefore losing all 45 people on board except for the avionics flight engineer on September 7, 2011. The wonderful thing about YouTube is that things we ordinarily wouldn’t have an opportunity to see due to events in other cities and other times, we can now see. This tribute is one I can’t imagine seeing in person without a handkerchief or tissues, it’s that we’ll done, and that worth preserving.
Ruslan Salei Sand Art Memorial

One of the most touching things about video memorials, and especially this one dedicated to the whole of the Yaroslavl Locomotiv team, is that they preserve people at their prime. YouTube captures them at their best, their youngest, their strongest. Those guys who p,sued their hearts out, will never grow old, never lose their youth, never retire. They will be alive and well, young and vibrant for all of eternity. This is how we are supposed to be remembered.
KHL Memorial

The Bad

Can something as ground breaking as YouTube, ever make a misstep? Well, since its videographers are human, yes it can. And never more than when you give a kid a camera. While YouTube can preserve great moments, it can also preserve great embarrassments. Take the team from Nyack. Some kid got the great idea to do a hockey room rendition of the Harlem Shake, and post it on YouTube. Now their playoffs are history. While my back round is in education, (I may get pummeled for my opinion) I think pulling the kids out of the play offs is a bit harsh. Serving detention for a month, assisting the custodians, etc. is more appropriate than taking away something they earned due to a video that thousands have replicated. This is definitely one team that will learn more than improved power skating over the summer. They will have learned to leave the power of leaving their phone at home.
The Harlem Shake

Life in other countries always intrigues us. Do they eat they way we do? Do they raise their kids like us? Do their kids p,ay hockey like us? Well, in the Russian town, they play hockey, for sure. And it’s a bloodsport, but it’s a ten year old bloodsport. I was surprised to see that so many kids drew penalties and were so aggressive. The video is kind of funny, but yet really sad in that these are the future players of some pro teams. Hockey parents and coaches must be win at all costs, But it isn’t always the best way to win at that age. Do all hockey enforcers come from the same place? If not, they might all in the not so near future!
10 year old Teams In The SIn Bin

The Joy of Victory

If you’re an Amercian, and you aren’t a fan of hockey, there’s no doubt that you were a huge fan on this particular day. Back in the Cold War beginning Reganomics era, anything to do with Russia was frowned upon. Except for beating them. Take a group of college kids, let them practice, throw Ina crusty coach, and pray for a miracle. When you find out one of the powerhouses of hockey-Russia to say the least was going to play you for the Olympic gold, you do a lot more than sweat. I bet those guys were having panic attacks. How else could we explain that to the Russians they just lost a game they thought they could easily win; while our confidence didn’t allow for that fact, we couldn’t believe we won, and still can’t theirty years later. A miracle on ice it was and always will be.

1980 Do You Believe in Miracles

Last year was a great draft year. I admit being partial to the Avalanche, and boy did we get the good end of the deal when the Oilers went with Ryan Nugent-Hopkins. Being second doesn’t always mean being picked last. Colorado has a history of playing their drafts, and boy did second pick Gabriel Landeskog of the Kitchener Rangers get some play time. He even inadvertently created a new word and physical position for winning a goal-Landeskogging. He takes every bit out of the joy he deserves in making some of the greatest most needed goals. He is one fun guy to watch. I can only hope we see a lot more Landeskogging in the future.

Landeskogging

The Agony of Defeat

You might remember years ago if you’re an American, Saturday afternoon on the television were reserved for sports. They even had a great commercial that showed the examples of the thrill of victory and the agony of defeat. The thrill of victory in this article, I had to cover with the 1980′s Do You Believe In Miracles. The agony of defeat clearly goes Ryan Miller in the gold winning game of USA Hockey versus Canada.
I wonder how many nights he’s gone over that last goal in his head. We’ve forgiven him, but has he forgotten? Can you forget something like that? Maybe 2014 in Souchi will let someone else be the poor guy failing head or heels down a snow bank instead of Miller.

Miller in Olympics

The Funny

Now what would article on hockey through Youtube’s eyes, be without bloopers. Sadly for the athletes, some of the funniest moments in history for the fans, are the moments the athletes would rather we forget. Here’s a sampling of some of the classic bloopers that we can’t seem to let go, no matter how much we love the game.
Bloopers

The Just Plain Angry
If YouTube has done any real damage to hockey, it’s been in letting amateur’s catch us at our worst. Jim Mayfair is the perfect example. After being given a bad call, he flat out LOSES it! The two guys on either side of him are I’m sure were,praying he wouldn’t destroy their sticks. The poor guy looked like he was going to choke himself pulling off his coat and hang himself with his tie on accident.

The Coach Losing It

The Truly Scary

The scariest things YouTube documentsmaremthe injuries. Throat slitting is a big one. It doesn’t happen,frequently, but when it does, you can bet someone’s videoing it. These accidents are as frightening as concussions. The next time you see a guy play NBA or NHL, remember those big boys may fall hard, but they don’t get potentially exsanguinated by the other players’s shoes. These video clips are painful to watch, yet propel us to think of better safety rules.
Throat slit by skate

And the Just Shaking My Head Query

One of the most impressive feats in hockey is Zdeno Chara’s slap shot. The math and physics of his shooting skill is mind boggling. I’m always impressed with the goalies who have to defend their goals against one of his shots.

This leads me into the perfect example of why you should stay way from this guy: if he can shoot that hard and fast, what kind of damage can he do in a fight? What’s more, there are people who actually willing and do fight with him. To me they look little more like rag dolls being tossed around in the hands of the Zman.

I like YouTube. I like a lot of things about it. It’s accessible, you get to relive those great moments, see a moving tribute to someone who deserves our respect and admiration and to live into eternity. I think the following statement applies to hockey fans, ‘If you want to know what someone fears losing, look at what they photograph.’
Just don’t leave the videography in the hands of your child!

Author information

Cherie Tinker
Cherie Tinker
Hockey History Writer at The Hockey Writers
Interests: Reading, writing, art, music, movies, history, and HOCKEY! BS.Ed., MS.Ed.

This article was originally published at: The Hockey Writers.



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Exploring The Expanse: one quiet moment explains an entire movement

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The Expanse is a television show based on the novels by James S.A. Corey. Every week, I’ll be taking a look at one moment in each episode of the show’s second season, and what it means for the larger story.

Spoilers ahead for the seventh episode of season 2, “The Seventh Man.”

Last week, The Expanse reset itself as it geared up for its next big story arc, which started to get moving this week. Mars, Earth, and the Outer Planets Alliance are all shuffling for power in the Belt, and an attack on Ganymede brings everyone right up to the brink of war. When this episode opens, Martian Marine Bobbie Draper is recovering after the huge attack on Ganymede that closed out last week’s episode, Earth is trying to figure out how to respond, and Fred Johnson and the crew of the Rocinante are taking in refugees after the attack on Jupiter’s moon.

It’s Anderson Dawes that gets a chance to shine this week

While there are dramatic things happening in the solar system, one of the side characters has a chance to shine this week: Anderson Dawes. In this episode, there’s a fantastic point where we see exactly where Dawes figures into the equation, and it defines how the much larger Outer Planets Alliance movement fits in. Midway through the episode, Dawes visits Diogo, a Belter teenager who’s popped up throughout the series. Dawes flatters him, hoping to recruit Diogo for a mission. It’s clear from this conversation how adept Dawes is at manipulation, which reinforces that he’s a pretty scary character. At one point, he asks how old Diogo is. It’s an innocuous question, but it’s revealing:

“Nineteen, I think.” Diogo replies.

“Even our sense of time comes from them,” Dawes tells him. “The time it takes the Earth to spin around its axis, the time it takes the Earth to go once around the sun. On Jupiter, you would be celebrating your first birthday. It’s hard to feel we matter out here, isn’t it?”

It’s a revealing moment, one that spells out the Belters’ frustration in one simple observation: they’re people who can no longer live on Earth, but are beholden to it in every way. Dawes is a political radical who understands just how this impacts his people, and uses it to his advantage to gain a foothold in the solar system.

Dawes is the leader of an OPA faction, and we’ve seen him pop up repeatedly since the first season. He’s a political figurehead for a people who have been utterly crushed by Earth and Mars, and he sees the conflict between the two planets as an opportunity to force himself into the midst of the conflict. With Eros dropped onto Venus and with a whole bunch of Earth and Martian missiles in their hands, the OPA is trying to figure out its next steps. Fred Johnson wants to negotiate with Earth, while Dawes doesn’t necessarily want to play nice. He’s a radical with a clear mission before him: the survival of those who live in the Belt, by any means necessary.

It’s moments like this that make ‘The Expanse’ stand out

Politics are hard to do in science fiction, but its these quiet, introspective moments in The Expanse that really help the show stand out. It conveys an incredibly important motivator for the characters without exposition, but it also signals the emotional weight behind it. In this instance, the comment highlights how Earthers assume everyone thinks like them. It’s a microaggression, plain and simple, one that clearly rankles Belt inhabitants. This is why The Expanse resonates so well for me, because it’s commenting on pointed issues we see in society every day. This is one of the huge strengths of science fiction: extrapolating an everyday moment into a fantastic situation. In past episodes, we’ve seen Belters get stranded in space, choke and suffer because of predatory landlords failing to clean their air filters, and more. But this small, personal exchange feels like the first real moment where we see what they’re fighting for, at their core: to be independent not just from Earth’s politics, but from its endless heavy influences.



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WHOOP Employees Share Boston Marathon Training Stories

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In my opinion, the advice to “listen to your body” is pretty meaningless. I think I speak for a lot of endurance athletes when I say that my mind and desires always get the first word over my body.

This is because we crave the endorphins, tackling the next training phase and event, and the comradery of chasing down the sunrise with friends. The high we get out of beasting a workout, the FOMO we get from missing an epic run with buddies, are drivers in our toughened minds to hush the plea of our bodies, and drag them along for another ride they may not be game for.

I am training for my first Boston Marathon and this will be my third time on WHOOP training for 26.2. Having gone through the motions of preparing for a marathon, I have repeatedly engaged in a massive mental strengthening exercise that has sent the balance of power between my brain and my body rocking back and forth. If so much of tackling a marathon is overcoming the mental blocks that are preventing us from cultivating endurance we didn’t know we had, how do we determine when our bodies truly are throwing up red flags?

In essence, how do we really know how to listen?

WHOOP provides our bodies with a voice. Its Sleep, Recovery and Strain analytics empower our bodies to present us with what’s going on. Our minds still have the authority to decide what to do with that information (and sure sometimes that group bike ride and pub crawl is too enticing to give up), but now we go into making decisions with a second voice of authority; our unique physiology.

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The Boston running community is my home. I am inspired by my friends and community members training (some fundraising!) for our hometown marathon in April. WHOOP has taught me that all of those bodies out there on the course need their own unique amount of sleep, recovery periods, fuel, etc. to train, and even more importantly; to stay healthy and in the running game long term. When you can appreciate these differences and let your body’s voice weigh in, that’s when you truly can take care of and respect yourself.

Data can’t drive every decision in our lives–that would leave no room for spontaneity and exploration. For this year’s Boston, I will not stop drinking beer the night before long runs. I will go out and forfeit some sleep. But, I will also give my body the chance to pipe in and say “dude, we really aren’t feeling it today,” and to drive decisions based on what it’s telling me through WHOOP. If we consistently ignore the voice of our bodies, we may find ourselves paying the consequences down the road, and take away our moment to set foot at the start line in Hopkinton on April 17th.

My body’s voice lives right on my wrist. I look forward to having it lead me through my first Boston Marathon, and to many more runs and adventures to come.

— Emma


Below is another perspective on training for the Boston Marathon with WHOOP from data scientist Chris Allen, a former Division 1 track and field athlete.

Lately I’ve been in uncharted territory training-wise. Over the years, I’ve competed in many different races ranging from one-mile track races to half marathons on the road. A marathon is a completely different beast–I have spent the last few months seriously training for my first one. Over the course of the winter my workouts have gotten tougher and my long runs have gotten longer in order to best prepare myself for the grueling 26.2 grind from Hopkinton to Boston this April.

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Having worn WHOOP for about a year and a half now, I’ve developed a pretty good understanding of what habits and behaviors affect my sleep quality and next-day Recovery. Now armed with knowledge about how my body usually reacts to different aspects of training, I have found WHOOP especially useful while getting ready for my first marathon. It’s been invaluable to know how quickly I recover from a super-long run or an intense workout that I have never done before.

WHOOP does not just help me understand how well my body responds to my running – WHOOP also helps me understand how well my body reacts to various other life stressors. If I have an extremely busy or stressful week and have to cut sleep a little short, the additional insight from WHOOP gives me an idea of how my body is coping and how ready I am to train hard.

I see myself as a runner 24/7, not just a runner in the morning before breakfast; I find it incredibly valuable to know how everything I do today will affect my body’s recovery tomorrow. When I toe the line in Hopkinton, every incremental advantage to optimize training counts.

— Chris

 



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George Saunders: what writers really do when they write

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1

Many years ago, during a visit to Washington DC, my wife’s cousin pointed out to us a crypt on a hill and mentioned that, in 1862, while Abraham Lincoln was president, his beloved son, Willie, died, and was temporarily interred in that crypt, and that the grief-stricken Lincoln had, according to the newspapers of the day, entered the crypt “on several occasions” to hold the boy’s body. An image spontaneously leapt into my mind – a melding of the Lincoln Memorial and the Pietà. I carried that image around for the next 20-odd years, too scared to try something that seemed so profound, and then finally, in 2012, noticing that I wasn’t getting any younger, not wanting to be the guy whose own gravestone would read “Afraid to Embark on Scary Artistic Project He Desperately Longed to Attempt”, decided to take a run at it, in exploratory fashion, no commitments. My novel, Lincoln in the Bardo, is the result of that attempt, and now I find myself in the familiar writerly fix of trying to talk about that process as if I were in control of it.

We often discuss art this way: the artist had something he “wanted to express”, and then he just, you know … expressed it. We buy into some version of the intentional fallacy: the notion that art is about having a clear-cut intention and then confidently executing same.

The actual process, in my experience, is much more mysterious and more of a pain in the ass to discuss truthfully.

2

A guy (Stan) constructs a model railroad town in his basement. Stan acquires a small hobo, places him under a plastic railroad bridge, near that fake campfire, then notices he’s arranged his hobo into a certain posture – the hobo seems to be gazing back at the town. Why is he looking over there? At that little blue Victorian house? Stan notes a plastic woman in the window, then turns her a little, so she’s gazing out. Over at the railroad bridge, actually. Huh. Suddenly, Stan has made a love story. Oh, why can’t they be together? If only “Little Jack” would just go home. To his wife. To Linda.

The writer is that person who, embarking upon her task, does not know what to do

Donald Barthelme

What did Stan (the artist) just do? Well, first, surveying his little domain, he noticed which way his hobo was looking. Then he chose to change that little universe, by turning the plastic woman. Now, Stan didn’t exactly decide to turn her. It might be more accurate to say that it occurred to him to do so; in a split-second, with no accompanying language, except maybe a very quiet internal “Yes.”

He just liked it better that way, for reasons he couldn’t articulate, and before he’d had the time or inclination to articulate them.

An artist works outside the realm of strict logic. Simply knowing one’s intention and then executing it does not make good art. Artists know this. According to Donald Barthelme: “The writer is that person who, embarking upon her task, does not know what to do.” Gerald Stern put it this way: “If you start out to write a poem about two dogs fucking, and you write a poem about two dogs fucking – then you wrote a poem about two dogs fucking.” Einstein, always the smarty-pants, outdid them both: “No worthy problem is ever solved in the plane of its original conception.”

How, then, to proceed? My method is: I imagine a meter mounted in my forehead, with “P” on this side (“Positive”) and “N” on this side (“Negative”). I try to read what I’ve written uninflectedly, the way a first-time reader might (“without hope and without despair”). Where’s the needle? Accept the result without whining. Then edit, so as to move the needle into the “P” zone. Enact a repetitive, obsessive, iterative application of preference: watch the needle, adjust the prose, watch the needle, adjust the prose (rinse, lather, repeat), through (sometimes) hundreds of drafts. Like a cruise ship slowly turning, the story will start to alter course via those thousands of incremental adjustments.

The artist, in this model, is like the optometrist, always asking: Is it better like this? Or like this?

What a pleasure it is to be, on the page, less of a dope than usual

The interesting thing, in my experience, is that the result of this laborious and slightly obsessive process is a story that is better than I am in “real life” – funnier, kinder, less full of crap, more empathetic, with a clearer sense of virtue, both wiser and more entertaining.

And what a pleasure that is; to be, on the page, less of a dope than usual.

3

Revising by the method described is a form of increasing the ambient intelligence of a piece of writing. This, in turn, communicates a sense of respect for your reader. As text is revised, it becomes more specific and embodied in the particular. It becomes more sane. It becomes less hyperbolic, sentimental, and misleading. It loses its ability to create a propagandistic fog. Falsehoods get squeezed out of it, lazy assertions stand up, naked and blushing, and rush out of the room.

Is any of this relevant to our current political moment?

Hoo, boy.

When I write, “Bob was an asshole,” and then, feeling this perhaps somewhat lacking in specificity, revise it to read, “Bob snapped impatiently at the barista,” then ask myself, seeking yet more specificity, why Bob might have done that, and revise to, “Bob snapped impatiently at the young barista, who reminded him of his dead wife,” and then pause and add, “who he missed so much, especially now, at Christmas,” – I didn’t make that series of changes because I wanted the story to be more compassionate. I did it because I wanted it to be less lame.

But it is more compassionate. Bob has gone from “pure asshole” to “grieving widower, so overcome with grief that he has behaved ungraciously to a young person, to whom, normally, he would have been nice”. Bob has changed. He started out a cartoon, on which we could heap scorn, but now he is closer to “me, on a different day”.

How was this done? Via pursuit of specificity. I turned my attention to Bob and, under the pressure of trying not to suck, my prose moved in the direction of specificity, and in the process my gaze became more loving toward him (ie, more gentle, nuanced, complex), and you, dear reader, witnessing my gaze become more loving, might have found your own gaze becoming slightly more loving, and together (the two of us, assisted by that imaginary grouch) reminded ourselves that it is possible for one’s gaze to become more loving.

Or we could just stick with “Bob was an asshole,” and post it, and wait for the “likes”, and for the pro-Bob forces to rally, and the anti-barista trolls to anonymously weigh in – but, meanwhile, there’s poor Bob, grieving and misunderstood, and there’s our poor abused barista, feeling crappy and not exactly knowing why, incrementally more convinced that the world is irrationally cruel.

Illustration by Yann Kebbi for Review

4

What does an artist do, mostly? She tweaks that which she’s already done. There are those moments when we sit before a blank page, but mostly we’re adjusting that which is already there. The writer revises, the painter touches up, the director edits, the musician overdubs. I write, “Jane came into the room and sat down on the blue couch,” read that, wince, cross out “came into the room” and “down” and “blue” (Why does she have to come into the room? Can someone sit UP on a couch? Why do we care if it’s blue?) and the sentence becomes “Jane sat on the couch – ” and suddenly, it’s better (Hemingwayesque, even!), although … why is it meaningful for Jane to sit on a couch? Do we really need that? And soon we have arrived, simply, at “Jane”, which at least doesn’t suck, and has the virtue of brevity.

But why did I make those changes? On what basis?

On the basis that, if it’s better this new way for me, over here, now, it will be better for you, later, over there, when you read it. When I pull on this rope here, you lurch forward over there.

This is a hopeful notion, because it implies that our minds are built on common architecture – that whatever is present in me might also be present in you. “I” might be a 19th-century Russian count, “you” a part-time Walmart clerk in 2017, in Boise, Idaho, but when you start crying at the end of my (Tolstoy’s) story “Master and Man”, you have proved that we have something in common, communicable across language and miles and time, and despite the fact that one of us is dead.

Another reason you’re crying: you’ve just realised that Tolstoy thought well of you – he believed that his own notions about life here on earth would be discernible to you, and would move you.

Tolstoy imagined you generously, you rose to the occasion.

The empathetic function in fiction is accomplished via the writer’s relation both to his characters and to his readers

We often think that the empathetic function in fiction is accomplished via the writer’s relation to his characters, but it’s also accomplished via the writer’s relation to his reader. You make a rarefied place (rarefied in language, in form; perfected in many inarticulable beauties – the way two scenes abut; a certain formal device that self-escalates; the perfect place at which a chapter cuts off); and then welcome the reader in. She can’t believe that you believe in her that much; that you are so confident that the subtle nuances of the place will speak to her; she is flattered. And they do speak to her. This mode of revision, then, is ultimately about imagining that your reader is as humane, bright, witty, experienced and well intentioned as you, and that, to communicate intimately with her, you have to maintain the state, through revision, of generously imagining her. You revise your reader up, in your imagination, with every pass. You keep saying to yourself: “No, she’s smarter than that. Don’t dishonour her with that lazy prose or that easy notion.”

And in revising your reader up, you revise yourself up too.

5

I had written short stories by this method for the last 20 years, always assuming that an entirely new method (more planning, more overt intention, big messy charts, elaborate systems of numerology underlying the letters in the characters’ names, say) would be required for a novel. But, no. My novel proceeded by essentially the same principles as my stories always have: somehow get to the writing desk, read what you’ve got so far, watch that forehead needle, adjust accordingly. The whole thing was being done on a slightly larger frame, admittedly, but there was a moment when I finally realised that, if one is going to do something artistically intense at 55 years old, he is probably going to use the same skills he’s been obsessively honing all of those years; the trick might be to destabilise oneself enough that the skills come to the table fresh-eyed and a little confused. A bandleader used to working with three accordionists is granted a symphony orchestra; what he’s been developing all of those years, he may find, runs deeper than mere instrumentation – his take on melody and harmony should be transferable to this new group, and he might even find himself looking anew at himself, so to speak: reinvigorated by his own sudden strangeness in that new domain.

It was as if, over the years, I’d become adept at setting up tents and then a very large tent showed up: bigger frame, more fabric, same procedure. Or, to be more precise (yet stay within my “temporary housing” motif): it was as if I’d spent my life designing custom yurts and then got a commission to build a mansion. At first I thought “Not sure I can do that.” But then it occurred to me that a mansion of sorts might be constructed from a series of connected yurts – each small unit built by the usual rules of construction, their interconnection creating new opportunities for beauty.

6

Any work of art quickly reveals itself to be a linked system of problems. A book has personality, and personality, as anyone burdened with one will attest, is a mixed blessing. This guy has great energy – but never sits still. This girl is sensitive – maybe too much; she weeps when the wrong type of pasta is served. Almost from the first paragraph, the writer becomes aware that a work’s strengths and weaknesses are bound together, and that, sadly, his great idea has baggage.

For example: I loved the idea of Lincoln, alone at night in the graveyard. But how is a novel made from one guy in a graveyard at night? Unless we want to write a 300-page monologue in the voice of Lincoln (“Four score and seven minutes ago, I did enter this ghastly place”) or inject a really long-winded and omniscient gravedigger into the book (we don’t, trust me, I tried), we need some other presences there in the graveyard. Is this a problem? Well, it sure felt like one, back in 2012. But, as new age gurus are always assuring us, a “problem” is actually an “opportunity”. In art, this is true. The reader will sense the impending problem at about the same moment the writer does, and part of what we call artistic satisfaction is the reader’s feeling that just the right cavalry has arrived, at just the right moment. Another wave of artistic satisfaction occurs if she feels that the cavalry is not only arriving efficiently, but is a cool, interesting cavalry, ie, is an opportunity for added fun/beauty – a broadening-out of the aesthetic terms.

In this case, the solution was pretty simple – contained, joke-like, in the very statement of the problem (“Who else might be in a graveyard late at night?”).

I remembered an earlier, abandoned novel, set in a New York State graveyard that featured – wait for it – talking ghosts. I also remembered a conversation with a brilliant former student of mine, who said that if I ever wrote a novel, it should be a series of monologues, as in a story of mine called “Four Institutional Monologues”.

So: the book would be narrated by a group of monologuing ghosts stuck in that graveyard.

And suddenly what was a problem really did become an opportunity: someone who loves doing voices, and thinking about death, now had the opportunity to spend four years trying to make a group of talking ghosts be charming, spooky, substantial, moving, and, well, human.

‘There is something wonderful in feeling the presence of the writer within you, of something wilful that seems to have a plan’ … George Saunders. Photograph: Tim Knox for the Guardian

7

A work of fiction can be understood as a three-beat movement: a juggler gathers bowling pins; throws them in the air; catches them. This intuitive approach I’ve been discussing is most essential, I think, during the first phase: the gathering of the pins. This gathering phase really is: conjuring up the pins. Somehow the best pins are the ones made inadvertently, through this system of radical, iterative preference I’ve described. Concentrating on the line-to-line sound of the prose, or some matter of internal logic, or describing a certain swath of nature in the most evocative way (that is, by doing whatever gives us delight, and about which we have a strong opinion), we suddenly find that we’ve made a pin. Which pin? Better not to name it. To name it is to reduce it. Often “pin” exists simply as some form of imperative, or a thing about which we’re curious; a threat, a promise, a pattern, a vow we feel must soon be broken. Scrooge says it would be best if Tiny Tim died and eliminated the surplus population; Romeo loves Juliet; Akaky Akakievich needs a new overcoat; Gatsby really wants Daisy. (The colour grey keeps showing up; everything that occurs in the story does so in pairs.)

Then: up go the pins. The reader knows they are up there and waits for them to come down and be caught. If they don’t come down (Romeo decides not to date Juliet after all, but to go to law school; the weather in St Petersburg suddenly gets tropical, and the overcoat will not be needed; Gatsby sours on Daisy, falls for Betty; the writer seems to have forgotten about his grey motif) the reader cries foul, and her forehead needle plummets into the “N” zone and she throws down the book and wanders away to get on to Facebook, or rob a store.

The writer, having tossed up some suitably interesting pins, knows they have to come down, and, in my experience, the greatest pleasure in writing fiction is when they come down in a surprising way that conveys more and better meaning than you’d had any idea was possible. One of the new pleasures I experienced writing this, my first novel, was simply that the pins were more numerous, stayed in the air longer, and landed in ways that were more unforeseen and complexly instructive to me than has happened in shorter works.

Without giving anything away, let me say this: I made a bunch of ghosts. They were sort of cynical; they were stuck in this realm, called the bardo (from the Tibetan notion of a sort of transitional purgatory between rebirths), stuck because they’d been unhappy or unsatisfied in life. The greatest part of their penance is that they feel utterly inessential – incapable of influencing the living. Enter Willie Lincoln, just dead, in imminent danger (children don’t fare well in that realm). In the last third of the book, the bowling pins started raining down. Certain decisions I’d made early on forced certain actions to fulfilment. The rules of the universe created certain compulsions, as did the formal and structural conventions I’d put in motion. Slowly, without any volition from me (I was, always, focused on my forehead needle), the characters started to do certain things, each on his or her own, the sum total of which resulted, in the end, in a broad, cooperative pattern that seemed to be arguing for what I’d call a viral theory of goodness. All of these imaginary beings started working together, without me having decided they should do so (each simply doing that which produced the best prose), and they were, it seemed, working together to save young Willie Lincoln, in a complex pattern seemingly being dictated from … elsewhere. (It wasn’t me, it was them.)

Something like this had happened in stories before, but never on this scale, and never so unrelated to my intention. It was a beautiful, mysterious experience and I find myself craving it while, at the same time, flinching at the thousands of hours of work it will take to set such a machine in motion again.

Why do I feel this to be a hopeful thing? The way this pattern thrillingly completed itself? It may just be – almost surely is – a feature of the brain, the byproduct of any rigorous, iterative engagement in a thought system. But there is something wonderful in watching a figure emerge from the stone unsummoned, feeling the presence of something within you, the writer, and also beyond you – something consistent, wilful, and benevolent, that seems to have a plan, which seems to be: to lead you to your own higher ground.

  • Lincoln in the Bardo is published by Bloomsbury. To order a copy for £14.24 (RRP £18.99) go to bookshop.theguardian.com or call 0330 333 6846. Free UK p&p over £10, online orders only. Phone orders min p&p of £1.99.


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Gender Reversed Presidential Debate Reveal Trump’s Allure to Clinton Voters

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Two professors, one from INSEAD and one from New York University, put together Her Opponent, a re-enactment of the Trump-Clinton debates with the genders reversed—the Donald Trump role was played by Rachel Whorton and the Hillary Clinton role by Daryl Embry.

Maria Guadalupe, an associate professor of economics and political science at INSEAD, a global graduate business school, says she came up with the idea after watching the second debate, when she wondered what kind of reactions Trump's performance would elicit if it came from a woman. She recruited Joe Salvatore, a clinical associate professor of educational theatre at NYU with a background in adapting interviews, transcripts, and other historical media into plays.

Salvatore said that the two started the project, NYU explains, "assuming that the gender inversion would confirm what they'd each suspected watching the real-life debates: that Trump's aggression—his tendency to interrupt and attack—would never be tolerated in a woman, and that Clinton's competence and preparedness would seem even more convincing coming from a man."

As you might already have guessed, the actual performances didn't turn out that way. Instead of confirming the professors' assumptions, the performances suggested different conclusions. The style of Brenda King, the female Donald Trump character, was attractive to many of the audience members who assumed that Jonathan Gordon, the male Hillary Clinton character, would be even more clearly more competent than his opponent than under the original gender paradigm. H

"Most of the people there had watched the debates assuming that Ms. Clinton couldn't lose," New York Times reporter Alexis Soloski, who attended one of the two performances, wrote. "This time they watched trying to figure out how Mr. Trump could have won."

Each of the two performances were followed by a discussion where audience members' impressions of the debate were sussed out. "I've never had an audience be so articulate about something so immediately after the performance," Salvatore told NYU. "For me, watching people watch it was so informative. People across the board were surprised that their expectations about what they were going to experience were upended."

Notably, a number of Clinton supporters struggled to find in Gordon what had attracted them to Clinton. Instead, they found his style grating. "Someone said that Jonathan Gordon was 'really punchable' because of all the smiling," Salvatore said. "And a lot of people were just very surprised by the way it upended their expectations about what they thought they would feel or experience."

"I was surprised by how critical I was seeing [Clinton] on a man's body," Salvatore said, "and also by the fact that I didn't find Trump's behavior on a woman to be off-putting."

"In some ways, I developed empathy for people who voted for him by doing this project, which is not what I was expecting," Salvatore continued. "I expected it to make me more angry at them, but it gave me an understanding of what they might have heard or experienced when he spoke."

The Jonathon Gordon character's effeminacy also came up with some observers. Salvatore said the actor received no notes to be more effeminate in his portrayal. "I was particularly struck by the post-performance discussions about effeminacy," Salvatore said. "People felt that the male version of Clinton was feminine, and that that was bad. As a gay man who worked really hard, especially when I was younger, to erase femininity from my body—for better or worse—I found myself feeling really upset hearing those things."

Watch a two minute segment via NYU below:



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Lyme Is 'All in Your Head' – A Wake-Up Call to Mental Health Professionals

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Every day, in doctors’ offices across the US—as well as in Canada, the UK, Ireland, Amsterdam, Australia, Sweden, in 80 countries and on every continent—chronic Lyme disease sufferers are being told that their debilitating, destructive, multi-systemic illness is nothing more than a small nuisance condition that is really just ‘all in their head’.

For more than forty years, mainstream medicine has kept chronic Lyme disease in the shadows. The disease itself, as well as the political machinations of this disease, plunges sufferers down a complicated, confusing, and terrifying abyss—a black hole of personal anguish, conflicting medical views, widespread corruption, and unrelenting health care navigation.

Today, chronic Lyme disease has reached pandemic proportions, with a grossly underreported 300,000 cases in the US alone, and millions suffering worldwide. This is a critical time for mental health professionals to step up for the sake of millions who are chronically ill, infirm and medically abandoned.

As mainstream medicine continues to turn its back, invalidating, denying, ignoring and even mocking the sufferers of this very real chronic illness, the mental health profession has a moral and ethical obligation to create a system of care for those who are sick and dying, who are without medical support and are left to struggle entirely on their own. What we desperately need is a wake-up call to psychiatrists and all mental health care providers, asking you to become educated about this infectious disease and be aware that it must be used as a differential diagnosis.

How have I come to know this Lyme world so intimately?

For more than four years now I have been immersed in the land of chronic Lyme, driven by my adult son’s illness. I am a Registered Psychotherapist in private practice in Toronto, Canada where I support chronic Lyme sufferers firsthand. And I am the author of the newly released book Lyme Madness: Rescuing My Son Down the Rabbit Hole of Chronic Lyme Disease.

We entered ‘Lymeland’ in October of 2012, when we were forced to go on a long, terrifying and overwhelming medical odyssey starting with a grueling 18-month journey into the offices of 20 medical specialists in NYC, each of whom missed my son’s diagnosis altogether. This hero’s journey required us to navigate my son’s declining health issues entirely on our own. We were forced to do our own research and use our intuition, determine the diagnosis for ourselves, and then traverse the slippery slope of this foreign land—an upside down, inside out, mad world where most doctors are not there to support you save for a handful of ‘believers’. On this expedition, just like all Lyme sufferers and caregivers, we were forced to become our own microbiologist, neurologist, immunologist, gastroenterologist, infectious disease specialist and so on, in order to map out a treatment plan, all without a GPS.

Our story is by no means unique. Most chronic Lyme sufferers are ill for months, years or even decades before they come to understand the root cause of their dis-ease. Most sufferers consult with a multitude of doctors only to have to figure it out for themselves.

So this has now become part two of my mission: to educate my colleagues about the devastating neuropsychiatric, bio/psycho/social, and physical effects of this illness.

When patients present with intractable depression, intractable anxiety, and a myriad of other symptoms, mental health professionals must consider that infectious disease can potentially be a root cause. It’s not enough to only consider childhood trauma when assessing mental health. And it’s no longer acceptable or appropriate to make a bee line to the prescription pad as the first line of defense. First, the potential underlying mechanisms of neurological inflammation, immunosuppression, and infectious disease need to be more widely considered.

Chronic Lyme disease is a neurological, bacteria driven, multisystem, immunosuppressive, post sepsis illness. And it’s a disease that for more than forty years has been kept in the shadows by mainstream medicine, forcing sufferers to go it alone and navigate this life-altering illness without adequate support. Many are losing their health, their livelihoods, their relationships, their homes, and their dignity.

Yes, it’s true. Chronic Lyme disease is, in fact, in your head. But not in the way that doctors intend that to mean. Contrary to medical consensus, chronic Lyme disease is not a made-up illness. It is NOT a case of malingering, Munchausen, hypochondria, laziness, or “craziness.”

Chronic Lyme disease is all in your head because it is primarily a neurological disease, wreaking havoc on your brain and your nervous system—as well as your heart, your liver, your kidneys, and so many other organs. Lyme disease patients can, and most often do, experience anxiety, depression, panic attacks, rage, attention problems, short-term memory loss, personality changes, mood swings, and learning disabilities.

Chronic Lyme sufferers can also experience detachment, dissociation, depersonalization, psychotic episodes, and obsessive-compulsive disorder. As with any cognitive impairment, chronic Lyme sufferers may have trouble keeping track of their daily tasks, they may lose things easily, including words and objects, they may have trouble retrieving information, forget appointments, and struggle with holding a conversation.

Sufferers are desperate for mental health professionals (along with all other medical specialists) to understand Lyme so that they will know to consider it as a potential differential diagnosis before plying a patient with psychotropic meds that may make matters worse. There have been so many Lyme sufferers misdiagnosed as bipolar or schizophrenic and then institutionalized when, in actual fact, the patient who has been committed to a psych ward is suffering from Lyme encephalitis.

Suicidal ideation and completed suicides are not uncommon among Lyme sufferers. I understand why this is the case, having personally witnessed the intolerable suffering of those who have wanted to end their lives. I have also read plenty of stories about those who have taken their own lives as a result of Lyme—stories that are heartbreaking and tragic, and perhaps could have been prevented.

There are a number of reasons why people commit suicide. And chronic Lyme is the perfect storm. It’s a disease that matches up with so many reasons for not being able to see a way out of the darkness. It is clear to me how and why chronic Lyme sufferers, in particular, so often succumb to this disease by their own hand.

Anxiety and depression are commonly experienced neurological symptoms of Lyme. After all, with Lyme, the brain is inflamed and therefore subject to all sorts of neurological imbalances. This, compounded by the lack of (and often outright negation of) medical attention, can lead to discouragement, fear, helplessness, frustration, loss, grief, loneliness, and, at times, little hope for recovery. When an illness is chronic and there is unrelenting suffering and inadequate relief from the myriad of debilitating symptoms, anxiety and depression can become even more pronounced.

Lyme depression is often intractable—that is, resistant to treatment. Lyme can also affect the endocrine system, potentially creating mood disorders. The collection of symptoms—including brain fog, headaches, fevers, joint pain, nerve pain, shakiness, instability, dizziness, vision and auditory disturbances, hallucinations, seizures, paralysis, and more—experienced day in and day out, can wear you down, making even the most resilient warriors eventually want out.

Lyme sufferers are socially isolated, medically denied, crying out for help, and no one is listening. Family and friends don’t know how to help. Some loved ones all but abandon the Lyme sufferer because they get fed up with the constant complaining and limitations. As doctors are showing Lyme sufferers the door, it becomes more and more difficult for loved ones to understand and support those with Lyme. Lyme sufferers feel like a burden. They can lose their independence, their livelihoods, and their ability to function. They feel like they’re losing their minds at times. They live with constant brain fog and cognitive limitations, making every task far more difficult. They get worn down by the chronic pain and illness, by the fear, the inactivity, and the inability to plan or have anything to look forward to.

Lyme sufferers have to face loss every day. Loss of health, loss of the person they once were, loss of independence, loss of dreams and goals, loss of missed opportunities, loss of the life they once had, loss of an identity, loss of self-esteem, loss of loved ones who abandon them, loss of hope, loss of finances, loss of employment, and loss of a future. Lyme sufferers are victimized many times over—by the disease itself, by doctors who turn their backs, by family and friends who roll their eyes and walk away, by insurers who refuse coverage, and by a medical system that negates the very existence of this disease.

I would give anything to un-learn, un-know and un-see the ugly and devious underbelly of mainstream medicine and all of its political machinations. And I would of course give anything to see my son fully recover from this life-altering illness. We continue to work at it every single day.

Please know that chronic Lyme disease is about so much more than ticks and bulls-eye rashes—which only 20% of sufferers ever get to see as proof positive of their disease. Chronic Lyme is the new B-cell AIDS. And if that’s not madness enough, it is also known as “the New Great Imitator,” mimicking more than 350 medical conditions including chronic fatigue syndrome, fibromyalgia, Alzheimer’s, Parkinson’s, Rheumatoid Arthritis, Multiple Sclerosis and more. If only chronic Lyme disease were just about ticks and rashes. Those were simpler times when we thought this was the case.

If all that I’ve shared about this disease is overwhelming, confusing or frightening, you will understand why I’ve called my book LYME MADNESS. There is no other way to describe this journey that we’ve been forced to take. And as a therapist, an empath, and now a Lyme advocate, I know that it’s my calling to tell this cautionary tale—to be one of many voices out there working to wake up the world to what is happening.

Make no mistake: healing from chronic Lyme is a complex, multilayered, do-it-yourself guessing game, with a daily and sometimes hourly hyperfocus on what is causing the symptoms and how best to address them. And while my son has some very good non-mainstream doctors on board to help him heal, the constant shifts in his health require us to continue to be our own sleuths, researchers, doctors, and diagnosticians at all times.

Several years later, we are still searching and filing away new ideas as my son’s various symptoms wax and wane. Without question, this process is expensive and draining, as it requires throwing all kinds of stuff against the wall to see what may or may not stick. If the medical system would just do its job, the job that it’s supposed to do by training and by the very meaning of the Hippocratic oath, then perhaps this journey could be a little less do-it-yourself with a lot more certainty.

My hope is that the blaming and the discrediting of millions of patients worldwide ends now and that mainstream medicine starts to do its job and stops sick-shaming the sufferer with the statement that “it’s all in your head.”

As Dr. Kenneth B. Liegner, a US Lyme-Literate MD, one shining light in a small community of doctors who support and treat Lyme sufferers, says: “In the fullness of time, the mainstream handling of chronic Lyme disease will be viewed as one of the most shameful episodes in the history of medicine because elements of academic medicine, elements of government, and virtually the entire insurance industry have colluded to deny a disease. This has resulted in needless suffering of many individuals who deteriorate and sometimes die for lack of timely application of treatment or denial of treatment beyond some arbitrary duration.”

He has also generously reminded me, “If it were not for mothers, we would be nowhere with Lyme disease. It is MOTHERS, concerned about their families, their children, that have sparked ALL progress in this field!”

That’s because mothers know that when our kids are suffering—even our adult kids—we must trust that it is not necessarily all in their head. Mental health professionals must trust this too.



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3 Tips for Young Defensemen to Master Backwards Transitions

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Vancouver Hockey School students work on backwards pivots during skating camp

As a coach or parent of a young defenseman you watch in agony as your future star continuously gets skated around while attempting to play a 1 vs 1. You hear the coach or parent yelling in desperation “pivot, pivot backwards” without success. Most 1 vs 1’s require the defenseman to skate forward, close the gap and then transition from forwards to backwards. Transitioning F>B with speed and confidence is one of the harder skating mechanics to teach young players. It requires balance, power crossovers, and squaring of the shoulders.

The most common error young defenseman make when initiating the F>B transition is leaning too far forward, which causes the player to be off balance.

Second, young players tend to keep their feet too close together entering the transition. This hinders the ability to gain speed using a power crossover when exiting the transition. Players should focus on having an athletic stance with their feet apart. This stance will improve balance and edge control leading into the first F>B crossover.

From the athletic stance, players should initiate the transition heels first.

“The more quickly a player can turn his or her skates so that the heels are leading the transition, the more rapidly the player can initiate the first backward crossover.”

Players should focus on extending the reach and drive of the inside skate to gain more power from the crossover.

Finally, it’s important to square the shoulders mid transition. It’s really important for players to rotate at the hips allowing the shoulders the face forward. This position will allow players to drive straight backwards during the crossovers. In turn, helping the player maintain gap on the opposing player. A great way to practice this technique is by transitioning from F>B in a straight line. This will allow the player to start gaining ice while moving backwards more quickly, thereby matching the speed of the offensive forward.

It’s important to remember the F>B transition is a challenging skill for young defenseman to master. It requires patience and repetition. Focusing on an athletic stance, power crossovers and effective shoulder positioning will help young players transition with more speed and confidence.

The post 3 Tips for Young Defensemen to Master Backwards Transitions appeared first on Hockey Coaching Tips & Drills.



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Obama Slams "False" Trump Accusation, Says "Never Ordered" Wiretapping

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Moments ago, Barack Obama through his spokesman Kevin Lewis denied Trump's accusation that he had ordered the Trump Tower wiretapped, saying neither he nor any member of the Obama White House, "ever ordered surveillance on any U.S. citizen. Any suggestion otherwise is simply false."

Follows the statement from Kevin Lewis, spokesman to former president Barack Obama

"A cardinal rule of the Obama Administration was that no White House official ever interfered with any independent investigation led by the Department of Justice. As part of that practice, neither President Obama nor any White House official ever ordered surveillance on any U.S. citizen. Any suggestion otherwise is simply false."

 

Yet while the carefully-worded statement, an exercise in semantics, claims Obama did not himself, or through members of his White House team, order a potential wiretapping, it does not deny an actual wiretapping of Trump (or Trump Tower), which as some have speculated in the past, did in fact take place after a FISA Court granted surveillance of Trump over accusations of Russian interference. It also does not preclude the FBI - which is the entity that would most likely have implemented such a wiretap - from having given the order.

As a reminder, here is what the Guardian reported in early January:

The Guardian has learned that the FBI applied for a warrant from the foreign intelligence surveillance (Fisa) court over the summer in order to monitor four members of the Trump team suspected of irregular contacts with Russian officials. The Fisa court turned down the application asking FBI counter-intelligence investigators to narrow its focus. According to one report, the FBI was finally granted a warrant in October, but that has not been confirmed, and it is not clear whether any warrant led to a full investigation.

For the definitive answer, we suggest Trump ask Comey whether or not his building was being tapped in the days prior to the election.



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