Donuts and 'The Perfect Crime'

Image by Pragun Agarwal. Follow him on Instagram @pragunagarwal

Image by Pragun Agarwal. Follow him on Instagram @pragunagarwal

There is a smear of powdered sugar on my black suit pants tracing the memory of a really good donut.  The leftovers recall my mid-munch thought-process: “I shouldn’t eat this,” “damn, this is good,” “I might as well eat junk the rest of today and then erase the evidence by falling asleep and pretending it never happened.”  In my experience, the inner-dialogue will linger as long as it takes for my digestive system to swallow the donut, likely longer.

In an attempt to distract from the aftertaste, I pick up my phone and start scrolling. Mentally filing images of idealized avatar versions of strangers never helped anyone digest a donut, but, I’m a masochist.

This morning’s Instagram scroll was light, only around 20 images and five ads. I love Instagram ads. (I recognize that is an unpopular opinion, so, I’ll deny it later if asked.) I enjoy tricking myself into thinking that the closer Instagram’s algorithmic predictions come to my aesthetic ideal, the more likely the real world is to view me as having a cohesive sense of style.  And sometimes, if I’ve really lost the plot, I’ll pretend Instagram ads are digital personal shoppers catering to my whim. I double tapped two of the five ads and saved one to my archives: the cashmere sweatpants.  Turns out, this swift “save” was my decisive flaw.  

By lunchtime the cashmere sweats made it from my saved archives to item in my digital cart.  I claim no responsibility. The ad was very, very well marketed and I’m only human.  The simulacrum of a woman in a reading nook about halfway through an Anna Karenina-lengthed fiction curled up in her grey cashmere pants and – this part is a little incongruous – a black crop top showing off her tummy that is somehow still flat even when folded. Some elements not pictured but I know to be true: she has soft legs, a chill personality and an uncomplicated life. 

In The Perfect Crime (1995) French philosopher Jean Baudrillard wrote, “Our culture of meaning is collapsing beneath our excess of meaning, the culture of reality collapsing beneath the excess of reality, the information culture collapsing beneath the excess of information—the sign and reality sharing a single shroud.”

Following J.B. down the intellectual rabbit hole of our collapsing culture sounds way less chill than owning a pair of cashmere pants. I’m besotted by the promise of soft legs and a world as small and uncomplicated as a reading nook.  So, I actively neglect my responsibility to myself and to society as a whole to critically examine why I laid claim to this particular marketing illusion. 

I proceed to check-out and Baudrillard rolls his eyes from the dead.  I tap-in my credit card number and reach the penultimate page before “Congratulations! Track the image you bought-into with this nonsensical string of letters and numbers.” The smaller, thumbnail version of the Instagram ad is staring at me. Maybe it’s the smaller size or the shifted context of this new webpage, but this time I see the image it doesn’t say, “have some pants, a side of cool, a copy of Anna Karenina and a free pass to The Land of No Responsibilities.” Instead, the image pierces the tiny red button between my ears – the one you need the pointy end of an unfolded paper clip to reach – triggering my brain to short-circuit.  I fall straight from fantasy land into the graveyard where my body shame lays to rest. The gravestone reads:

Here lies she who did not look like that model in those pants.

When I return to consciousness, dirt abound, my brain gropes for logic by calculating how many days without sugar or trips to the gym are required to deliver me from evil. This morning’s donut – or at least the portion of it that didn’t end up on my lap – requires the tally of sugar-free days to net greater than the 2-day shipping that stretches between me and mothering cashmere.  The results of my math force me to close the website tab.

I almost fell for it.  When made to feel uncomfortable, as staring at waif thin models is apt to do, conformity is the instinctual salve. I inevitably turn inwards, deconstructing my appetites and attempting to manipulate my mind into genuinely believing I need to change myself to look like her (starting with her thinness which will, if all goes according to plan, end in my freedom from concern.)  I manipulate myself into thinking I believe that sugar is a drug and therefore consuming it is a moral flaw, or, conversely that a sugar-free lifestyle will promise an invisible but totally real inner and outer glow, a bigger, better brain, and the utter annihilation of acne from my human experience. Sugar or the absence of it is not a miracle, a cure, the answer or even the problem.

The real mental retraining I require has nothing to do with dietary analysis and everything to do with kneeling down beside Baudrillard’s grave so he can remind me that: “The illusion of the sign is lost and only its operation remains.” And, “We continue to manufacture meaning even when we know there is none.”

No one body shamed me. No one needed to. That operation was all wrapped up in the advertisement. We are constantly consuming ads, even alone in a dark room where they playback from memory. My inherent failure to line up physically with images of what the media deem to be “worthy women” leads me to blame my body rather than blame the patriarchy, the media, or the universe.  I’ve indoctrinated this cannibalistic logic partly due to social construct and partly due to the nature of ego assuming everything (good or bad) is always about me.   

The automatic and powerfully magnetic impulse to pull shiny things from the outside world in towards us, to own them and thereby, hopefully, become associated with whatever they represent distracts from the real task at hand: actually getting to know yourself. 

For the women consuming these expectations, we lose our minds.  For the society enabling these expectations, we lose the diversity, dynamism and opportunity that would be the effect many different personalities colliding. As we grabble with our bodies, forcing ourselves into one-size-fits-all containers, womanhood turns greyscale. Sameness never inspired a dynamic personality, a unique thought, or a revolution.   

Baudrillard would belittle my task; he would warn me that any attempt to understand an individual’s personality is ultimately futile as it is impossible to untangle where social expectations end and human flesh begins. However, endeavoring to resist the tendency to passively engage in simulacra as if they are real will only end in your body eating itself. 

Sure, taking the mindful approach may seem less “chill” than the passive alternative, but when you’re done with your homework, there are donuts.

Fair Warning: The Dos And Donts of Day Sale Dressing

SHAHZIA SIKANDER, Elusive Realities (2000) 20000 USD

SHAHZIA SIKANDERElusive Realities (2000) 20000 USD

Unlike Fashion Week where seats are by invite only, art auctions are an open forum.  Either that, or the Philips Collection on Park Ave and 57th has poor security, because they just ignored my “hasn’t paid-off her student loans” youthfulness, and let me roll-up with the homeowners.  I sat at the back of the room, shy and paddle-less next to the only other person also in his early twenties, also paddle-less.  Unlike me, he’s black; looking around, he is the only black man in the room. 

He is wearing dirty white Nikes, navy blue chinos, and a matching blue, lightweight sweater with the collar of his tan button-up folded neatly over the neckline.  He’s holding open a torn black notebook that would have been a Moleskine if he had the money.  On the pages, in tight, tight rows of blue ink, he wrote the lot number for each artwork and the exact amount the piece sold for.  He is writing so slowly, so neatly, and so silently that I should find his exactitude disturbing if it weren’t for his overwhelming gracefulness. 

What I’m trying to say is, this dude knows how to wear clothes.  He knows how to co-exist with expensive art.  He knows how to enjoy the auction experience without a perceivable flicker of insecurity or ego or heavy cologne.  Every other person in the room (including myself) is out of place.  We couldn’t dress ourselves for the occasion.  We can't figure out how to exist in a big white room with vaulted ceilings without fidgeting.  Our eyes shifted and our egos twitched every time a peer lifted his paddle.

Gentlemen, if you are over the age of 60, please do not wear leather pants and Kanye sneakers, ever, but especially not to an art auction. Hey, Middle-Aged White Man wearing gladiator sandals with his suit? Get outahere.  I don’t want to see your chest hair, and I double don’t want to catch a flicker of light reflecting off a thick gold chain hiding in the thicket of your chest pubes.

For those who are also unfamiliar with Day Sales, art auctions are apparently where Americas go to practice double-kissing, perhaps confusing “fancy” with “European.”  Americans can’t get away with greeting each other with a kiss on each cheek; we don’t have the raw sexual prowess of the French.  Hell, we don’t even have the sexual prowess of the Canadians.  We also can’t get away with wearing sunglasses indoors.  So, Mr. Polo-shirt, unless you’re Larry David underneath those shades, please remove them.  And Miss, you, next to him, I know I’m no expert, but this does not seem like the time or the place to show us your bellybutton.  I love your two-piece suit, but a top that reaches the hem of your pants feels like a moral imperative when faced with a painting that just sold for 320,000 USD. 

In between my judgmental observations of the crowd, I manage to learn some new terminology.  For example, the man who plays Judge Judy really does say, “Fair Warning, Going Once, Twice…” and then smacks a gavel on the podium.  Sometimes, less preferably, he just says “Fair Warning” in a patronizing tone like my Dad’s, which keeps jolting me upright in my chair, like a caution to pay closer attention.

Honest question to the men here: if your suede, designer driving shoes are scuff-free, did you hover-board here?  All my new shoes are magnets to homeless pee, discarded cigarette ash and whatever sticky shit people spill on the 6-train.  Did you get out of the cab and brush your shoes like the horses in your stable? Nonsense, you have staff for that kind of labor. 

With a THWAK lot 111 just sold for 106,250 USD to a man in a Yankees cap.  I know athleisure is trending; however, the only place it is appropriate to wear a black terrycloth bomber jacket over a white T-shirt and a Yankees cap, is to your son’s little-league practice on the Upper West Side.   Surprisingly (considering his childish demeanor) the Yankee outbid the Scary Christopher Walken White Guy wearing a double-breasted blue blazer and khakis.  Like Yankee, who thought he was going to a baseball game, Double-Breasted read his wife’s social calendar wrong; he thought he was docking the sailboat today not going to an art auction, classic mistake.

Overwhelmed by the literal manifestations of almost every stereotype of Manhattan’s elite, I go back to watching Mr. Moleskine write down numbers with calming blue calligraphy.  His clothes fit him perfectly.  They are worn but freshly laundered, even ironed.  The color tones match suggesting he used a mirror before he left the house, which is more than I can say.  With the reveal of every new lot, Moleskine doesn't shift in his seat or glance around the room.  He just sits there with his legs planted firmly on the ground, his back comfortably upright in the chair, and allows his eyes to alternate between the work of art and the journal where he tracks the piece’s corresponding price. Unlike the rest of us paranoid, social-climbing plebeians, Mr. Moleskine belongs at the Philips Art Auction and we would all be well served to take note.

 

A Silly Hat

Pope.L, Failure #33 - Red Clouds (2004-6) Photo Cred: Mitchell Ines & Nash

Pope.L, Failure #33 - Red Clouds (2004-6) Photo Cred: Mitchell Ines & Nash

For the last few weeks, I've been overwhelmed by my own imposter syndrome.  Everything I write and say feels like a regurgitation of something I've already read or heard thats just been left refrigerating in my stale brain, waiting to be reheated, chopped up and served as leftovers to my unsuspecting audience.    

Perhaps I've been reading too much Kenneth Goldsmith.  Goldsmith, Artist, writer, and professor, teaches "Uncreative Writing" at UPenn.   Since reading his essay in the Lunch Bytes Anthology: No Internet, No Art, and finding (to my own dismay) that I agree with his proposition, my brain feels likes it's been involuntarily submerged in molasses. Here, have a taste of Kenneth's argument:

"With an unprecedented amount of available text, our problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists.  How I make my way through this thicket of information - how I manage it, parse it, organize and distribute it - is what distinguishes my writing from yours."*  

Avoiding futile attempts at newness is not a Kenny G original thought.  Goldsmith sites a number of other artists, writers and critics who exist in the realm of "unoriginal genius."  Marjorie Perloff's term "unoriginal genius" (and the title of her book) supports the classically postmodern concept that we are in a post-original thought age.  Our concepts of "originality" are romantic and outdated and "an updated notion of genius would [instead] have to center around one's mastery of information and its dissemination." (24)  

According to Goldsmith, "The secret: the suppression of self-expression is impossible. Even when we do something as seemingly 'uncreative' as retyping a few pages, we express ourselves in a variety of ways." (31) It is my hope that composing my own consciously uncreative work will, paradoxically, free my molasses mind from its own redundancy and regurgitation.  

Fernando Botero, Pope Leo X (1964) beside popular "y tho" meme circulating the Internet since 2014

Fernando Botero, Pope Leo X (1964) beside popular "y tho" meme circulating the Internet since 2014

***

A SILLY HAT

Family lore had it that, with only a silly hat, he would be America's first pope.  
But how did he get to be so unique? 

A psychedelic drug?
An advanced course on transcending the retirement community?
The white-capped peaks of Washington State's Olympic Peninsula?
Mediation on a cliff in Central America?
Priesthood?
The law?
The supreme court?
Consent?
Therapy?
Transpersonal disabilities?
Shutting down his heart?
Dowsing, the art of divining energy with art deco?
An education?
Driving?
Dementia?
Canada?
Public recreation?
Her hand? 
Mrs. Shields?
Mr. Shields?
Nikki Sanchez?
Briony Penn?
Stephanie Green?
Sue Rodriguez?
Diego?
His wife?
His favorite wife?
His favorite daughter?
His other daughter?
A small white poodle?
The Great Unfolding?
Dry food?
A cocktail of pain medication?
Blacking out?
A long-term sleeping bag?
His delicate maroon chair?
A doctor's gift?
The aura of a university volleyball team?
Captain Copper Rod?
The tingling in his little carin' heart?
Bridge lessons at the local seniors center?
Rotisserie chicken legs with gravy?
A panel discussion?
An unusual idea?
Civil rights?
The hood?
Old-fashioned music and booze?
Helping people lessons?
Intellectual freedom?
Hand-thrown pottery?
Personal control?
Compromise?
Playing chicken?
Deep psychological pain?
Vacation?
1946?
1971?
2007?
March 24?
A precious second?
The last few months?  
Riches?
Dignity?
Gravity?
Trust?
His tormented thoughts?
A devilish, devilish little bald eagle?
7,191 bandaids?
General use?
Living well?
Dying well?

***

Every phrase in A Silly Hat is repurposed from "At His Own Wake, Celebrating Life and the Gift of Death," an article in Thursday's New York Times written by Catherine Porter.** 

*Kenneth Goldsmith, "From Uncreative Writing" in No Internet, No Art (24)

**Catherine Porter, "At His Own Wake, Celebrating Life and the Gift of Death," The New York Times, May 25, 2017.

VR Porn: Evolved Technology Meets Same Old Sexism

Sue Williams, Frequencies (2006) - oil and acrylic on canvas

Sue Williams, Frequencies (2006) - oil and acrylic on canvas

You may be familiar with Taro Gome's work "Everyone Poops."  However, you may not be aware of his lesser-known sequel "Everyone Has Sex."  The premise is similar to his first instalment in that it carries universal, androgynous resonance.  Unfortunately, the VR Porn industry hasn't read Gome's later work.  

As a critical source of funding, the VR Porn industry is responsible for driving much of the technological advancements in Virtual Reality.  To quote Anna Lee, President and Executive Producer of HoloFilm Productions, "What we are witnessing at the moment is just the very beginnings of what will be [in Virtual Reality technology]."  While her intent here is inspirational, in the context of her films, this comment bears ominous social implications.  

As the recipient of the Adult Video News Award for Best VR Studio of 2017, Best VR Innovation and Best Scene Filmed in VR, Anna Lee represents a virtual reality success story and a useful data point to analyze the direction of this new technology.**  

An investigation of HoloFilms demonstrates a racially and sexually limiting representation of society.  Upon further inquiry into the "About VR" page of the HoloFilm Productions website, you will find two pornographic images from a HoloFilm production in which the viewer is placed into the sexual simulation as a heterosexual, white male.  A scroll through page 1 of the "Videos" tab reinforces HoloFilm's assumption that their chief audience are straight, white males.  Finally, a review of the "stars" page shows a selection of only women - though slightly more racially diversified, the women wear the same body-type - again, assuming their audience is straight and male.

Undoubtably there are financial incentives to creating a product tailored specifically to your chief audience.  However, with the development of new technologies, we have not only the cultural opportunity to evolve a new lexicon and a new mode of expression, but also a social opportunity to choose equality and authenticity in the representation of human experience rather than continuing to saturate our culture with the ongoing deluge of tired white dicks.  

*As quoted by Curtis Silver @Forbes (link here)
**AVN award stats (link here)

Artist "in the cultural ghetto"

Mulling over the role of the artist in contemporary society, the nature of art in highly commodified mass culture, the implication of gender roles in a nihilistic universe, and the beauty of Martha Rosler's photographs in which she consolidates all of the above.  

[The unqualified antipathy to mass culture] is also linked to a privileging of the Artist as maker of these meanings, as socially or spiritually empowered to adjudicate on abiding human values. This notion of the Artist as specially endowed persists in and, indeed, has been very much attached to the view of the artist as outsider, heroine on the margins, or guerrilla in the cultural ghetto. The idea is still that the future of significant culture lies in the hands of the embattled few.

This exclusive mission is, however, only an elitist or utopian fantasy. Marginality guarantees nothing. Culture is not expressive of an experience to be had on the margins or anywhere else; and, contrary to what is suggested, belligerent independence is not the artist’s natural or necessary state. What is rather the case is that formations which represent themselves as heroically isolated - that is, avant-gardes - have only emerged under special historical conditions.
— John Tagg, The Cultural Politics of 'Postmodernism'

Read more of John Tagg's essay here.

Martha Rosler, Beauty Rest from the series House Beautiful: Bringing the War Home (c.1967-72) MoMA image here.  

I'm 23 And Its Tuesday

Image from the 1966 film.

Image from the 1966 film.

I'm 23 and it's Tuesday.

I have a heavy ache in my frontal lobe
Holding my small head in a veiny fist of tension. 
My eyes burn from the unrelenting sun
Cast through the tall corporate window,
Melting the chemical mascara
From wire lashes into dry eyes.
I can feel the irritated zit pulsating,
Cracking under makeup like a dried scab
Sealed ineffectively from the light of gaze.

I'm 23 and it's Tuesday.

I hold a soft plastic cup
Half filled with $7 beer
Half with concealing foam.
I listen to my dad's favorite songs
In an anachronistic bar in Brooklyn.
It smells of sticky liquor and white candles.
The bar designed as a cave,
Oliver Twist's windowless pub
upgraded with wifi and flat-screams,
2D images of naked legs. 
There are no gentlemen,
Only boys wearing vintage T-shirts and woollen beanies.
There are no women,
Only girls wearing thick hair and a nervous bounce.

I'm surprisingly unselfconscious. 
Surprising because I'm 23 and it's Tuesday.

Youths cram in, bodies invading the line
I draw between myself and the outside world.
A line I imagine as pillows and erect as paper.

The bass starts to disrupt the balance of the room,
Flickering the white candles and rocking the legs of my chair.
The foam of my beer sinks into a thin film, 
Concealing the yellow liquid
Like a bald spot conceals stretchy skull skin.
The noises are loud.
The music no longer my dad's.
The stack of plastic cups dwindles.
The well builds a mucus of liquor, soda and foam.

I'm 23 and it's Tuesday

I'm anxious.

I'm 23 and its Tuesday.

My skin is thin glass
Immovable
Impatiently waiting to shatter.

I'm 23 and it's Tuesday

I have a tint in my blood.
Maybe it's only hued from youth, 
But it feels innately, timelessly a part of me. 
It's an energy drink. 
A propellant.
Pushing me to create, to care, to move, to desire.

I'm 23 and its Tuesday

Deep Void Colored

THERE IS A NEW COLOR.

Sample of 'Vantablack' provided to the New York Times by Surrey NanoSystems. 

Sample of 'Vantablack' provided to the New York Times by Surrey NanoSystems. 

It’s called “Vantablack” (surely we could have done a little better with the nomenclature here) and artist Anish Kapoor owns it.  Sorry Crayola, sorry Benjamin Moore, and most importantly, sorry global art community, Kapoor isn’t willing to share his new toy. 

According to Brigid Delaney’s stellar article on the subject in the Guardian, Kapoor discovered this pigment after hearing about NanoSystem’s new material: “the pigment is comprised of microscopic stems of colour that are 300 times as tall as they are wide, so that about 99.6% of all life ‘just gets trapped in the network of standing segments, […] It’s literally as if you could disappear into it.’”

Because of limitations in Vantablack’s density, Kapoor could only use limited amounts of the material at a time.  Kapoor decided to collaborate with NanoSystems to gain exclusive rights to the material and start producing the pigment in greater volume.

Delaney’s article (please read it in full) is a lot to absorb.  For example, in the article Kapoor makes the argument that his ownership of Vantablack has caused a kerfuffle simply because the color is black-toned. “The problem is that colour is so emotive – especially black… I don’t think the same response would occur if it was white,” Kapoor declared.  And, “It’s the ‘psycho side’ of black [makes] us want to possesses it.”

On his argument, I call bullshit.  I don’t care if the new color is white toned, black toned, or tangerine toned, the blackness of Vantablack isn’t the cause for upset in the art community.  Rather, it is the idea that one artist could own complete, unfettered access to a material no other artist can explore. 

The Vantablack debate is a contemporary example of an ageless debate in art regarding innovation.  Is a work of art genius because it is original?  Is original even possible?  If you could break a painting or an idea into its percentage of original content versus its percentage of derivative content, where would real art sit on the divide?  Is “great art” 80% original and 20% derivative?  90/10?  

As we often find with subjects in art and culture, there is no satisfyingly conclusive or objective measurement of great art.  There is no way to decouple pastiche from originality in large part because our brains’ don’t work that way.  Our life experience is inherently predicated on our past, even a newborn’s proclivities are based on his accidental genetics – and the argument doesn’t even need to go back that far!

The beauty of the creative process is evolving and transforming prior experiences and old ideas into something new and resonate.  By sequestering a new material for exclusive use, Kapoor is cock-blocking the inherently collaborative nature of art and, as such, curtailing the evolution of an artistic dialogue with Vantablack that could very well have inspired more prolific cultural change. 

Happy Humans

Rachel Jonas, a neuroscience PhD student at UCLA, studies the dynamic effects of LSD on the human brain.  

"[Serotonin 2A] is expressed all over the brain, particularly in regions associated with cognitive functions and social interactions. Stimulation of this receptor has been directly linked to cognitive flexibility, enhanced imagination and creative thinking. Disorders associated with variants of the 5-HT2AR include schizophrenia, depression, obsessive-compulsive disorder and attention deficit hyperactivity disorder – in other words, a panoply of psychiatric illness. It turns out that LSD functions by binding to and stimulating 5-HT2AR in the cerebral cortex, which is thought to regulate an enzyme called phospholipase C, and eventually leads to psychoactive effects. In fact, blockage of this receptor has been linked to a remediation of the hallucinatory effects of LSD in rats." [Aeon Magazine]

Q:  Ever wonder if there is a trove of overly-happy humans as large as the mass of depressive ones?  

A:  I googled it.  Turns out an excess of Serotonin causes diarrhoea, vomiting, shivering and confusion. So, no.  There is not a group of happy humans that exist out there taunting the depressed.  Or, if there is, they are happy and confused, frolicking in their own shit.  Either way, this feels like a small victory for the trove of depressed. 

Gilbert & George, Speaking Youth, 1981. Exhibited at MONA, "Gilbert & George The Art Exhibition" 28 November 2015 - 28 March 2016.

Gilbert & George, Speaking Youth, 1981. Exhibited at MONA, "Gilbert & George The Art Exhibition" 28 November 2015 - 28 March 2016.

Brain Space

Recycling has a net ‘positive’ connotation.  Please recycle.  Leonardo DiCaprio and the Earth thank you.

However, recycling brain space seems decidedly less positive. 

Our brains magnetise to preexisting neural pathways out of energy conservation (fancy for, ‘our brains are lazy, habit-oriented machines.’ Surely we can all sympathise with this tendency.  Arguably one of the central tenants of technological development is a result of the tech industry smartly capitalising on human’s proclivity for laziness).  While our brain’s appreciation for the familiarity and hominess of past experience leads us to recycle brain patterns with much greater frequency than we spend forging new synaptic patterns, neuroplasticity, or the science of evolving and changing brain patterns, is getting greater public attention. 

Thanks to killer podcasts, solid journalism (here and here) and ‘neuroscience for amateurs’ TED talks (e.g. Gero Miesenboeck and Michael Merzenich), new(er) ideas about brain activity and plasticity have entered the mainstream.  However, in most cases, once the podcast, article or TED Talk introduces a plebian-translation for complicated science theories behind brain plasticity, the discussion evolves into what does this mean for our everyday lives? The instinct is to invite the audience member to use their newfound awareness of the brain’s potential to squeeze more productivity, more youthful agility out of the organ. 

Your brain is not a fresh sponge.  We do not wake up each morning and wring out our brain, sleep to allow candy and unicorn dreams inflate our brain back up - all flushed and fluffy - just to wring it out again in the morning and watch knowledge and efficiency rain over our day.  Not everything we do can adhere to economics principles of hyper efficiency – as much as we would like it to.  Rather than capitalise on brain science in an endless pursuit of a better standard of living, take a second to mull over my own translated science blurb (below) and consider the opportunity for greater self-awareness rather than indulge in perfectionism.

OLD SCIENCE

Reigning scientific theory promoted the idea that brains were only ‘plastic’ (plastic in this sense means – “a brain that can form new connections”) in babies aged 0-5. Based on this science, if an adult brain were damaged it would be unable to regenerate or repair.

NEW SCIENCE

Fortunately, new(er) science proves adult brain-stagnation is not scientifically accurate; in fact, we can not only forge new neural pathways, but also regenerate brain cells throughout our lives (with varying degrees of difficulty.  It is still better to be young.)^1  Through neuroplasticity, the brain compensates for the injury or shortcoming by activating new neural connections.

Note: Neuroplasticity differs from neurogenesis.  Neuroplasticity starts to include new parts of the brain in brain activities that always existed but perhaps weren’t previously involved in those synaptic patterns.  Neurogenesis is the regeneration of destroyed neurons.

From what I’ve read, the science of neurogenesis and neuroplasticity is considered predominately under the umbrella of investigating and curing cognitive trauma and disease.  By investigating brain defects, scientists have come to understand more about the functioning of normal brains.  As it turns out, injury provides impetus for neuroplasticity, but so does change in the external conditions of normal brains.  Anything from challenging intellectual environments, to physical activity and new social situations impel the brain to form new neural connections.^2

This nugget of scientific wisdom is critical.  Implied in neuroplasticity is the significance of how we invest our time as adults.  How we nurture ourselves throughout our lives is directly correlated with the activity, growth and, ultimately, the health of our brains.  To quote Michael Merzenich, “In your future is brain aerobics. Get ready for it. It's going to be a part of every life not too far in the future, just like physical exercise is a part of every well organised life in the contemporary period.”^3

While we can’t blink and capture mental MRI snapshots to judge the health and plasticity of our brains, we can consider brain health by scanning our daily activities and habits and evaluating what these patterns say about us as individuals.  Merzenich said, “What we’ve done in our personal evolutions is build up a large repertoire of specific skills and abilities that are specific to our own individual histories.  And in fact they result in a wonderful differentiation of humankind, in the way that, in fact, no two of us are quite alike.  Every one of us has a different set of acquired skills and abilities that all derive out of the plasticity, the adaptability of this really remarkable adaptive machine.”^4

In sum, avoid recycling neural pathways by evaluating your life and introducing new intellectual and external environments into your personal ecosystem. Consider what your habits and quirks already are and how those may have formed unconscious neural pathways that will continue to govern your life.  Consider these patterns from a negative and positive context, what are the unique attributes you wouldn’t want to erode with age and what are those that cause you trouble? 

To conclude with some final words from my favorite of all quintessential neural-nerds:

What it’s all about is the selective representations of things that are important to the brain. Because [most of the life of the brain] is under control of behavioral context. It’s what you pay attention to. It’s what’s rewarding to you. [...]
Now, overwhelmingly, the most powerful context that’s occurred in your brain is you. Billions of events have occurred in your history that are related in time to yourself as the receiver, or yourself as the actor, yourself as the thinker, yourself as the mover.
— Michael Merzenich

Consider and embrace the unique patterns of recycling and exploring the space that your brain has to offer.

Juiced-up image of brain receptors.  Image from Gero Miesenboeck's TED talk.  Watch it here. 

Juiced-up image of brain receptors.  Image from Gero Miesenboeck's TED talk.  Watch it here


Citations:

^1    Information regarding the evolution of neuroplasticity in the science community is courtesy of Stanford University’s “HOPE” foundation:Huntington’s Outreach Project for Education at Stanford.”  Stephanie Liou, “Neuroplasticity.”  Hopes.  26 Jun, 2010.  http://web.stanford.edu/group/hopes/cgi-bin/hopes_test/neuroplasticity/

^2    Stephanie Liou, "Neuroplasticity."

^3    Michael Merzenich, "The Elastic Brain." Feb, 2004. TED. http://www.ted.com/talks/michael_merzenich_on_the_elastic_brain/transcript?language=en#t-777000

^4    Michael Merzenich, "The Elastic Brain."