Quotulatiousness

April 3, 2014

ESR reviews Jeremy Rifkin’s latest book

Filed under: Books, Economics, Media, Technology — Tags: , , , , — Nicholas @ 10:46

The publisher sent a copy of The Zero Marginal Cost Society along with a note that Rifkin himself wanted ESR to receive a copy (because Rifkin thinks ESR is a good representative of some of the concepts in the book). ESR isn’t impressed:

In this book, Rifkin is fascinated by the phenomenon of goods for which the marginal cost of production is zero, or so close to zero that it can be ignored. All of the present-day examples of these he points at are information goods — software, music, visual art, novels. He joins this to the overarching obsession of all his books, which are variations on a theme of “Let us write an epitaph for capitalism”.

In doing so, Rifkin effectively ignores what capitalists do and what capitalism actually is. “Capital” is wealth paying for setup costs. Even for pure information goods those costs can be quite high. Music is a good example; it has zero marginal cost to reproduce, but the first copy is expensive. Musicians must own expensive instruments, be paid to perform, and require other capital goods such as recording studios. If those setup costs are not reliably priced into the final good, production of music will not remain economically viable.

[…]

Rifkin cites me in his book, but it is evident that he almost completely misunderstood my arguments in two different way, both of which bear on the premises of his book.

First, software has a marginal cost of production that is effectively zero, but that’s true of all software rather than just open source. What makes open source economically viable is the strength of secondary markets in support and related services. Most other kinds of information goods don’t have these. Thus, the economics favoring open source in software are not universal even in pure information goods.

Second, even in software — with those strong secondary markets — open-source development relies on the capital goods of software production being cheap. When computers were expensive, the economics of mass industrialization and its centralized management structures ruled them. Rifkin acknowledges that this is true of a wide variety of goods, but never actually grapples with the question of how to pull capital costs of those other goods down to the point where they no longer dominate marginal costs.

There are two other, much larger, holes below the waterline of Rifkin’s thesis. One is that atoms are heavy. The other is that human attention doesn’t get cheaper as you buy more of it. In fact, the opposite tends to be true — which is exactly why capitalists can make a lot of money by substituting capital goods for labor.

These are very stubborn cost drivers. They’re the reason Rifkin’s breathless hopes for 3-D printing will not be fulfilled. Because 3-D printers require feedstock, the marginal cost of producing goods with them has a floor well above zero. That ABS plastic, or whatever, has to be produced. Then it has to be moved to where the printer is. Then somebody has to operate the printer. Then the finished good has to be moved to the point of use. None of these operations has a cost that is driven to zero, or near zero at scale. 3-D printing can increase efficiency by outcompeting some kinds of mass production, but it can’t make production costs go away.

March 29, 2014

Nate Silver … in the shark tank

Filed under: Environment, Media — Tags: , , , — Nicholas @ 10:24

Statistician-to-the-stars Nate Silver can shrug off attacks from Republicans over his 2012 electoral forecast or from Democrats unhappy with his latest forecast for the 2014 mid-terms, but he’s finding himself under attack from an unexpected quarter right now:

Ever wondered how it would feel to be dropped from a helicopter into a swirling mass of crazed, genetically modified oceanic whitetip sharks in the middle of a USS-Indianapolis-style feeding frenzy?

Just ask Nate Silver. He’s been living the nightmare all week – ever since he had the temerity to appoint a half-way skeptical scientist as resident climate expert at his “data-driven” journalism site, FiveThirtyEight.

Silver has confessed to The Daily Show that he can handle the attacks from Paul Krugman (“frivolous”), from his ex-New York Times colleagues, and from Democrats disappointed with his Senate forecasts. But what has truly spooked this otherwise fearless seeker-after-truth, apparently, is the self-righteous rage from the True Believers in Al Gore’s Church of Climate Change.

“We don’t pay that much attention to what media critics say, but that was a piece where we had 80 percent of our commenters weigh in negatively, so we’re commissioning a rebuttal to that piece,” said Silver. “We listen to the people who actually give us legs.”

The piece in question was the debut by his resident climate expert, Roger Pielke, Jr., arguing that there was no evidence to support claims by alarmists that “extreme weather events” are on the increase and doing more damage than ever before. Pielke himself is a “luke-warmer” – that is, he believes that mankind is contributing to global warming but is not yet convinced that this contribution will be catastrophic. But neither his scientific bona fides (he was Director of the Center for Science and Technology Policy Research at the University of Colorado Boulder) nor his measured, fact-based delivery were enough to satisfy the ravening green-lust of FiveThirtyEight’s mainly liberal readership.

March 13, 2014

“The Pity of War was a strange programme; flashy, lopsided, inconsequentially contrarian”

Filed under: Books, Britain, Europe, Germany, History, Media, WW1 — Tags: , — Nicholas @ 08:00

In a post at the History Today site, Paul Lay describes a rebroadcast of the BBC production based on Niall Ferguson’s The Pity of War:

It featured Niall Ferguson, the Harvard historian, reviving the arguments of his 1998 book of the same name: that Britain and its Empire should have stayed out of the war to leave Europe to be dominated by the economic giant that was the Kaiser’s imperium, much as the EU is now led by the wealthy, democratic Germany of Angela Merkel. After having spent almost an hour outlining his argument, Ferguson’s thesis was then quickly shot down by a phalanx of historians of the First World War, including Gary Sheffield, Heather Jones and Hew Strachan.

The Pity of War was a strange programme; flashy, lopsided, inconsequentially contrarian. At one point it ran a brief clip of A.J.P. Taylor, doyen of television historians, in his 1977 series How Wars Begin. The BBC don’t tend to produce programmes like that anymore — a single academic historian, addressing the audience with complex arguments in real time to camera — except that they do. The best, the most instructive and original television offering so far on the outbreak of the war is that of the constitutional historian Vernon Bogdanor: his lecture entitled Diplomacy: Sir Edward Grey and the Crisis of 1914, originally broadcast last year on the BBC Parliament channel and therefore, sadly, seen by few.

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Feminist writer picks fight with the Trans* community

Filed under: Britain, Media, Politics — Tags: , , , — Nicholas @ 07:06

Julie Burchill is a British feminist who writes for the Guardian and the Spectator, and has had spats with the Trans* community before. Her most recent provocation was in the comments section of an article at Vice, where she got particularly cranky:

Burchill made the comments on a Vice Magazine column by prominent trans activist and journalist Paris Lees, in which she talked about catcalling, and questioned whether enjoying the attention of men in the street effectively made her a “bad feminist.”

The Sugar Rush writer said: “Paris, you like it because you ARE still a YOUNG GAY BOY. And that’s what YOUNG GAY BOYS LIKE! Bless!

“Paris, if you were a BORN WOMAN, bothered since the age of 12 by GROWN MEN, you wouldn’t find it fun. You’d find it boring, wearisome, wearing. When you’re a plain old trans, ten years from now, you’ll get a big old identity crisis on, if you rely on random lechery for self-esteem.

“I bet B*tch [Paris Lees] will come up with a ‘sexy reason’ for foot-binding next. [Female Genital Mutilation], even. Didn’t I hear that a ‘transwoman’ thought we Radical Feminists were fussing about too much about FGM? What price the genital mutilation of a 7 year old brown-skinned girl child when THE MOST IMPORANT THING IN THE WORLD is big white blokes having their cocks cut off on the NHS?

[…]

She went on: “No human who did not grow up as a girl can call themselves a woman. Any more than a white human can become a black human. Delude yourselves all you like, but in the way you lot harass born women, your bully boy side always shines through. And no amount of lipstick and plastic tits can cover that up.”

She deleted the comments and posted an apology, but clearly the damage had been done.

H/T to Kathy Shaidle for the link.

March 9, 2014

QotD: Puritan art

Filed under: Humour, Media, Quotations, USA — Tags: , , , , , — Nicholas @ 09:35

The saddest thing that I have ever heard in the concert hall is Herbert K. Hadley’s overture, “In Bohemia.” The title is a magnificent piece of profound, if unconscious irony. One looks, at least, for a leg flung in the air, a girl kissed, a cork popped, a flash of drawer-ruffles. What one encounters is a meeting of the Lake Mohonk Conference. Such prosy correctness and hollowness, in music, is almost inconceivable. It is as if the most voluptuous of the arts were suddenly converted into an abstract and austere science, like comparative grammar or astro-physics. Who’s Who in America says that Hadley was born in Somerville, Mass., and “studied violin and other branches in Vienna.” A prodigy thus unfolds itself: here is a man who lived in Vienna, and yet never heard a Strauss waltz! This, indeed, is an even greater feat than being born an artist in Somerville.

H.L. Mencken, “The Allied Arts: The Puritan as Artist”, Prejudices: Second Series, 1920.

March 1, 2014

QotD: Male vanity

Filed under: Humour, Quotations — Tags: , , — Nicholas @ 00:01

Let us go back. Why did I waste two hours, or maybe three, reading those idiotic manuscripts? Why, in the first place, did I answer her opening request the request, so inherently absurd, that I meet her in her father’s office? For a very plain reason: she accompanied it with flattery. What she said, in effect, was that she regarded me as a critic of the highest talents, and this ludicrous cajolery sound, I dare say, in substance, but reduced to naught by her obvious obscurity and stupidity was quite enough to fetch me. In brief, she assumed that, being a man, I was vain to the point of imbecility, and this assumption was correct, as it always is. To help out, there was the concept of romantic adventure vaguely floating in my mind. Her voice, as I heard it by telephone, was agreeable; her appearance, since she seemed eager to show herself, I probably judged (subconsciously) to be at least not revolting. Thus curiosity got on its legs, and vanity in another form. Am I fat and half decrepit, a man seldom noticed by cuties? Then so much the more reason why I should respond. The novelty of an apparently comely and respectable woman desiring to witness me finished what the primary (and very crude) appeal to my vanity had begun. I was, in brief, not only the literary popinjay but also the eternal male and hard at the immemorial folly of the order.

H.L. Mencken, “Scientific Examination of a Popular Virtue”, Prejudices: Second Series, 1920.

February 20, 2014

The Lego Movie – blatant anti-authoritarian propaganda

Filed under: Liberty, Media — Tags: , , — Nicholas @ 08:48

Anton Howes says that the recently released film is sheer individualistic and capitalistic propaganda:

The Lego Movie shows us a compelling dystopian world of conformity, regulation and authority where everyone “must follow the instructions” or be “put to sleep”. It is a tale of the battle between the chaotic, creative destruction of freedom, and the rigid, forceful regulation of bureaucracy.

The run-of-the-mill protagonist Emmet is blatantly shown to be brainwashed by repetitive and generic tv shows, corporatist celebration days like Taco Tuesdays, and a perpetually playing propaganda anthem called “Everything is Awesome” with clearly collectivist undertones: “everything is cool when you’re part of a team”. He works with other construction workers to tear down the “weird” and diverse buildings and replace them with generic ones.

But it gets so much better. The dystopian dictator’s position as both the CEO of the Octan Corporation and President of the World perfectly encapsulates the problems with corporatism and monopolies on force. Indeed, his evil plan is stultifying regulation taken to the extreme: he wants to use superglue to literally stick everything permanently into the “perfect” position, relying on a robotic army of “micro-managers” to make sure that everything is exactly how he wants it to be before being stuck into place. There could be no clearer metaphor for the perils of intruding technocrats.

February 4, 2014

QotD: The Autobiography of Mark Twain

Filed under: Books, Humour, Media, Quotations — Tags: , , — Nicholas @ 09:06

Why, oh why was Twain’s unpublished work turned over to these jackanapes to paw through like illiterate raccoons looking for rancid bits to eat? Yes, yes, I know they style themselves “The Mark Twain Project,” and have devoted their mortgages, if not lives, to Twain, or at least to raiding his intellectual larder to stock their shabby ivy-stricken midden over at Berkeley. So what. The mental contortions needed to adduce that their name and their sinecures makes them capable of understanding such a writer is like saying that a dog has ticks so the ticks should inherit the dog’s estate. Haven’t you drawn enough blood from the man already, you stooges? You’ve been carving out a living carving your initials, likely misspelled, into the outside of Twain’s bier for a century. Who allowed you to climb in there with him and start carving away on the inside?

There’s Twain inside this book, don’t get me wrong. It’s exactly, precisely what you always get from Twain. His laundry list is a Dead Sea Scroll. His lunch order is a Rosetta Stone. He has more intellectual horsepower under his fingernail after a trip to his ear than Berkeley has in a building, and that’s if the building is full of janitors. At least janitors know how the world works. The buildings full of these scholars need fumigating. Lock the doors, first, from the outside.

It was easy enough, if annoying, to tread across the minefields of intellectual delirium tremens these invertebrates have made of Twain’s writing, leaving their little piles of brain droppings here and there like badly behaved dogs, explaining Twain. I put on heavy shoes and plowed ahead. Then I got to page 468, the glimmer of a tear still in my eye over SLC’s description of his older brother, Orion, filled with pathos and love and respect and affection and a wistful, unspoken wish that his brother wasn’t doomed by his nature to miss the life Twain got by the thickness of one of Sam’s famous whiskers — and then I turned the page, and there on page 469 was text as terrible and incomprehensible as the writing on your own tombstone, delivered early: The rest of the book, almost 300 more pages, was entirely comprised of the stark, raving drivel of these toads, with only bits of Twain embedded in it like reverse carbuncles. Good God. I’ll hold my nose and run through Twain’s Elysian fields, keeping an eye peeled for your intellectual Beserkley cowpies the whole time, but I’m not treating myself to a one-man Easter-egg hunt in a sewage treatment plant.

Explaining Twain. Think of that. Why not send a cigar store indian out on a speaking tour to explain smoking. He stood outside the shop for a hunnerd years. He must know something about the topic by now.

Sippican Cottage, “Sippican’s Greatest Hits: The Autocoprophagy Of Mark Twain”, Sippican Cottage, 2014-01-29

February 1, 2014

QotD: Captains, Majors, and Colonels

Filed under: Britain, Media, Military, Quotations — Tags: , , , , , — Nicholas @ 09:06

The BBC television show Blackadder is arguably one of the funniest and finest comedies of the late 20th century. Achingly sharp, with jokes that are still funny to this day, it was a four series show which finished with Blackadder Goes Forth set in the First World War. Watching the show today, one is struck by how funny it is, and also worryingly how its anti-establishment jokes aimed at undermining the social structure of the time has become the accepted historical record of the First World War.

The UK has a very strange ‘love hate’ relationship with its military officers — junior ones are portrayed as incompetent (Lieutenant George), Captains are seen as possibly okay (Captain Blackadder), Majors are usually seen retired and with a snifter in their hand (the Major from Fawlty Towers), while Colonels or heaven forbid Generals (General Melchett) are usually seen as inept, incompetent, who do not have a clue about their profession or what it involves. They are seen as people without a clue until the point when they retire, at which point they suddenly become military geniuses, whose angry letters to Broadsheet newspapers warrant being printed on the grounds that they are military commanders who know what they are talking about.

Sir Humphrey, “This is the Captain(s) of Your Ship Speaking… Why there are 260 Captains in the Royal Navy today”, Thin Pinstriped Line, 2013-10-19

January 30, 2014

James T. Kirk, a character who regressed from the first season onwards

Filed under: Media — Tags: , , , — Nicholas @ 09:17

Steve Muhlberger is between major history projects right now, so he takes a bit of time to find out why so many of his friends are fans of the original Star Trek TV series.

So what about the original series? My memory of the original series is that it was not really very good. I was only about 15 when it came on, but I’d already read a lot of high-quality science fiction in print, and I thought that the TV show was not really giving the best selection of science-fiction ideas available. The series was better than most of what was on TV, but most of what was on TV was pretty lame.

Part of me wondered why the series had such a tremendous impact. I knew plenty of people who really loved it.

I’m a bit younger than Steve, so I didn’t watch the original broadcasts on NBC from 1966-69. For me, it was an after-school show in the early 70s that so far as I can remember was not shown in any kind of order. It left me with no sense of how the show changed over time (improving, in some respects). Steve points out one thing that didn’t improve:

A good half of that season focused on exactly one idea, which is not really much of a science fictional idea as much as a horror genre idea. That idea is that universe is filled with things that look like human beings that are actually monsters; or alternatively things that started out as human beings have turned into monsters, sometimes only moral monsters. There’s a lot of betrayal and menace in those early episodes, and they’re not really very good episodes otherwise.

But about halfway through that first season, what people have loved about this series begins to emerge. By that I mean the characters and the interactions between the characters on the ship and particularly on the bridge of the ship start making you really care about what goes on with them.

What really surprised me was that I liked the first season James T Kirk. I have always been someone who put James T Kirk down as a borderline maniac whose prominence in Starfleet reveals a weakness in their whole system, especially the recruiting efforts. My image of Kirk is a rather smug character who relies on his physical charisma (which did not really speak to me) to get his way. But the first season Kirk is not really like that. He’s trimmer, fitter, handsomer and — can’t believe I’m saying this — more intelligent and more philosophical than he was later on in the series or in the movies. He says a lot of things are actually smart. He looks smarter than Spock!

January 23, 2014

Machinima falls for the old “novelty death warrant” trick

Filed under: Business, Media, Technology — Tags: , , , — Nicholas @ 11:10

At Techdirt, Timothy Geigner recounts the potential PR disaster facing Machinima after they attempted to buy positive coverage from their own contributors for the Xbox One:

It began with a thread on NeoGAF that included text from an email Machinima was sending out to their partners which offered bonus CPM (cost per thousand views, the standard way advertising is priced) payments on videos covering Microsoft’s new console. Their requirements for this “promotion” in the email were already problematic, including gameplay footage from an Xbox One game, a mention of playing the game on the Xbox One console in the video, and a vague reference to following the “guidelines listed in the assignment.” Just in those lines, most journalists would find deal-killers. While the line on whether or not YouTube video makers covering games like this being journalists may be a bit blurry, there’s little doubt that thousands of YouTubers look to these folks for help on their purchasing decisions. In other words, they’re fame rests squarely on their reputations for honest reviews. Minus those reputations, these people have no following.

Which is what makes the details in those “guidelines” mentioned above so misguided.

    Now here’s where we enter really sketchy territory: Ars Technica tracked down a copy of Machinima‘s contract for the promotion, and there’s one line that stands out: “You may not say anything negative or disparaging about Machinima, Xbox One or any of its Games in your Campaign Video.” What’s more, these YouTubers can’t even be transparent about this arrangement, according to the contract:

    “You agree to keep confidential at all times all matters relating to this Agreement, including, without limitation, the Promotional Requirements, and the CPM Compensation, listed above. You understand that You may not post a copy of this Agreement or any terms thereof online or share them with any third party (other than a legal or financial representative). You agree that You have read the Nondisclosure Agreement (attached hereto and marked as Exhibit “A”) and You understand and agree to all of terms of the Nondisclosure Agreement, which is incorporated as part of this Agreement.”

Hear that sound? That’s the sound of this entire promotion exploding with enough payload-force to also take out both the guilty and innocent Machinima video-producers. What this does is put everyone under suspicion. Given what we said about the importance of reputations above, this could be the meteor that destroys Machinima‘s world.

Yes, if you’re following along a home, the post title is a Blackadder reference.

January 21, 2014

George Orwell – confessed pamphlet addict

Filed under: Britain, History, Media, Politics — Tags: , , , — Nicholas @ 11:22

The British Library has posted an interesting short item on their Untold lives blog about George Orwell’s pamphlet collection:

George Orwell’s collection of mostly political ephemera was an important barometer of the social changes of the 1930s and 1940s, and a measure of his influences during those decades. While Orwell’s personal papers went to University College London and the National Archives, his miscellaneous materials are held by the British Library. Totalling over 2700 items, a full inventory of Orwell’s collection of pamphlets is now available via the British Library’s website.

Orwell was not a writer of ‘bestselling’ books until the end of his life, after the Second World War. He became known as a journalist, a critic of other people’s writings and a word-portraitist of the landscape of politics. It is likely he never passed up the opportunity to acquire pamphlets of any persuasion. He wryly observed in The Tribune that the pamphleteer’s road was paved by a “complete disregard for fairness or accuracy” (8 December 1944). Perhaps the most appealing aspect of his pamphlets collection is that he wasn’t Hoovering them up to form a George Orwell Archive; he considered them as a spectrum of thought that was deserving of preserving.

[…]

Orwell’s heaps of pamphlets informed his writing, both fiction and non fiction. He took pride in his squirrelling-away of pamphlets, “political, religious and what-not”. In 1949, he estimated that this hoard numbered 1200-2000, but even the higher figure was an underestimation. He wrote that “a few of them must be great rarities” and they were “bound to be of historical interest in 50 years time.” In line with most of his considerations, he wasn’t wrong.

December 30, 2013

QotD: Yes, but what is it really about?

Filed under: Books, Media, Politics, Quotations — Tags: , , , — Nicholas @ 00:01

A very common way of thinking in literary criticism is not seen as a consequence of Communism, but it is. Every writer has the experience of being told that a novel, a story, is “about” something or other. I wrote a story, “The Fifth Child,” which was at once pigeonholed as being about the Palestinian problem, genetic research, feminism, anti-Semitism and so on.

A journalist from France walked into my living room and before she had even sat down said, “Of course ‘The Fifth Child’ is about AIDS.”

An effective conversation stopper, I assure you. But what is interesting is the habit of mind that has to analyze a literary work like this. If you say, “Had I wanted to write about AIDS or the Palestinian problem I would have written a pamphlet,” you tend to get baffled stares. That a work of the imagination has to be “really” about some problem is, again, an heir of Socialist Realism. To write a story for the sake of storytelling is frivolous, not to say reactionary.

The demand that stories must be “about” something is from Communist thinking and, further back, from religious thinking, with its desire for self-improvement books as simple-minded as the messages on samplers.

Doris Lessing, “Questions You Should Never Ask a Writer”, New York Times, 1992-06-26 (reprinted 2007-10-13)

December 27, 2013

Peter Jackson’s variations from the original Hobbit story

Filed under: Media — Tags: , , , — Nicholas @ 10:24

At the Smithsonian blog, Rachel Nuwer talks to some Tolkien scholars about the latest installment of The Hobbit:

Die-hard J.R.R. Tolkien fans, however, likely side with that first review, as shown in some blog posts, Reddit threads and Tolkien forums. Jackson strayed from The Hobbit book in his first movie but those additions largely borrowed from Tolkien’s broader lore. In this film, however, the director has taken more liberties, beefing up the action and introducing invented characters such as Tauriel, the “she-elf,” but sacrificing some development of beloved characters in the process.

To stretch The Hobbit — originally a light-hearted 300-page children’s story — into what, in the end, will likely be a nearly nine-hour epic trilogy, Jackson again relied on three main sources: original material from The Hobbit book, including expanding on minor elements that were mentioned only in passing in that text; details that Tolkien revealed in The Lord of the Rings books and their Appendices; and things he just made up himself. The sly allusions to Tolkien’s broader world are still there, but they are even more obscure than before. In some ways, however, this makes picking out those hidden gems and Easter eggs all the more appealing for fans.

Last year, we consulted with two Tolkien experts, John Rateliff, an independent scholar, and Michael Drout, an English professor at Wheaton College, to help us sort through the cinematic noise and identify true Tolkien threads. We’ve returned to them this year to get their take on the new movie and help us navigate the sliding scale from unadulterated Tolkien to Jackson invention.

December 23, 2013

Psychiatry does not seek “to colonise everyday life – rather, everyday life now invites colonisation by psychiatry”

Filed under: Health, Science — Tags: , , , — Nicholas @ 11:32

In Spiked, Sandy Starr reviews Gary Greenberg’s recently published The Book of Woe:

There is an inevitable contingency about diagnostic categories, particularly when it comes to psychiatry. Greenberg argues that for all the useful work that goes into constructing these categories, psychiatric diagnosis has a ‘self-validating nature…by which once you’ve created a diagnostic category, the fact that people fit into it becomes evidence that the disorder exists’. Greenberg reminds us that ‘while many diagnoses are made on clinical signs and symptoms rather than on lab tests or other external validators, only in psychiatry are all diagnoses made that way’.

It’s worth adding that this may be changing. As psychiatry seeks to predicate itself more and more upon genetics and neuroscience, there are expectations in some circles that biochemical diagnostic tests for psychiatric disorders will follow ineluctably. This prospect does not reassure me. Psychiatry is attempting the difficult feat of relocating its foundations without toppling its façade, and this involves elisions — several of which are discussed by Greenberg — that leave me feeling less persuaded of the profession’s credentials, not more.

[…]

That said, one can certainly appreciate the need for psychiatry to appear coherent and confident, given the far-reaching consequences of the DSM’s contents. Greenberg explains, for example, how the use of a single ‘and’ where an ‘or’ might have been used, in the definition of ‘paedophilia’ that made its way into the fourth edition, inadvertently made it far easier for US authorities to detain indefinitely (on psychiatric grounds) people who had been convicted of sexual offences against minors. In other words, a single use of the word ‘and’ in the DSM led to a complex domain of morality and law — the culpability (or otherwise) of people charged with sexual offences in various circumstances, and proportionate sentencing for their crimes — becoming subordinate to the considerations of psychiatry.

[…]

‘Once you start to think of your troubles as a disease, your idea of yourself, which is to say who you are, changes’, warns Greenberg. But while psychiatry gives a diagnostic imprimatur to our expectations of ourselves and of one another, psychiatry is not solely capable of bringing about a wholesale alteration of these expectations. To understand what else might account for a psychiatric turn in society, one needs to recognise that we live in a culture in which our adult capacities are constantly denigrated, in which victimhood has become one of the few widely recognised sources of authority, and in which we are constantly encouraged from all directions not only to put our problems on public display (rather than addressing them within the intimate confines of trusted friends, family or — in extremis — psychotherapists or even psychiatrists), but also to assume that our problems will most likely afflict us in perpetuity.

It’s not so much the case that psychiatry now seeks to colonise everyday life — rather, everyday life now invites colonisation by psychiatry. In circumstances such as these, even the most well-meaning and scrupulous psychiatrist might struggle to parse the suffering and idiosyncrasy they encounter, so as to partition it sensibly into the pathological and the normal. Greenberg’s barbs against psychiatry may be well deserved, and are certainly grounded in tantalising insider detail and no small amount of wit. But they represent an incomplete picture of the dynamics he sets out to get to grips with, which lie outside the institution of psychiatry as much as they lie within.

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