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Support AeonThe 20th-century Canadian-American sociologist Erving Goffman believed that we adapt to roles – lover, customer, worker – based on circumstance, and are constantly concerned with how we’re appearing to others. This short animation explains why Goffman’s view of humanity left no room for a ‘true self’ – an actor behind all the roles we play.
It can be easy to simply accept algorithms as indisputable mathematic truths. After all, who wants to spend their spare time deconstructing complex equations? But make no mistake: algorithms are limited tools for understanding the world, frequently as flawed and biased as the humans who create and interpret them. In this brief animation, which was adapted from a 2017 presentation at the Royal Society of Arts (RSA) in London, the US data scientist Cathy O’Neil, author of Weapons of Math Destruction (2016), argues that algorithms can be useful tools when thoughtfully deployed. However, their newfound ubiquity and massive power calls for ethical conduct from modellers, regulation and oversight by policymakers, and a more skeptical, mathematics-literate public.
Director: Nice Shit Studio
Producer: Abi Stephenson
Before KHIL was pulled off the air by its new owners in October 2018, the radio station for Willcox in Arizona had been broadcasting classic country music to the small town’s residents and passersby for more than half a century. While much of the United States has moved on from sparsely strummed songs of whiskey and heartbreak, such music still very much defines this remote place: the singer and Western star Rex Allen (1920-99) is Willcox’s most beloved native son, and the Rex Allen Arizona Cowboy Museum and Willcox Cowboy Hall of Fame its most notable attraction. In Lonesome Willcox, the US filmmakers Ryan Maxey and Zack Wright profile Mark Lucke, KHIL’s unlikely lone employee in the station’s waning days. Living and working from the studio, Lucke keeps the classic country crooners alive for the town’s mainly elderly population, who sense their heritage and way of life being buried beneath the Arizona dust. But while Lucke finds satisfaction in playing songs that lift the locals’ spirits, he has a complicated relationship with the boozy, ne’er-do-well characters that populate them, following his own abusive childhood.
Directors: Ryan Maxey, Zack Wright
In her short documentary Jonah Stands Up, the US director Hannah Engelson profiles her friend Jonah Bascle: a creative, defiant spirit and New Orleans native who is dealing with a terminal heart condition related to his muscular dystrophy. The setup might sound familiar, but the short film and its subject are refreshingly subversive, refusing to fall into tired clichés about confronting disability and illness with bravery. A scrappy and heartfelt DIY production, the film uses animations inspired by Bascle’s artwork, footage of his standup comedy sets, and emotionally raw doctor’s visits to tell his story. Through Engelson’s tribute, Bascle is never presented as an inspirational force, but rather as the many things – a 20something artist, a disability-rights advocate, a rabble-rousing political candidate, a friend – he was in life.
Director: Hannah Engelson
Planarians are small flatworms that live in wet and humid areas around the globe. Although these creatures are relatively simple, their small, soft bodies possess one of the most amazing secrets in the animal kingdom. Cut a planarian into as many as 279 pieces and, within a few weeks, each bit will regenerate into a full new worm – head, eyes, digestive system and all. This incredible ability raises interesting questions for philosophers, who might wonder which, if any, of these worms is the ‘original’, and for medical researchers, who are hoping to harness the adaptability of planarian’s powerful regenerative stem cells to help regrow tissue, and potentially even limbs, on humans. Read more about this video at KQED Science.
The 20th-century Canadian-American sociologist Erving Goffman believed that we adapt to roles – lover, customer, worker – based on circumstance, and are constantly concerned with how we’re appearing to others. This short animation explains why Goffman’s view of humanity left no room for a ‘true self’ – an actor behind all the roles we play.