What about the unknown knowns?

Reading Nate Silver’s On the Edge and The Art of Uncertainty by David Spiegelhalter for the Spectator

The Italian actuary Bruno de Finetti, writing in 1931, was explicit: “Probability,” he wrote, “does not exist.”

Probability, it’s true, is simply the measure of an observer’s uncertainty, and in The Art of Uncertainty British statistician David Spiegelhalter explains how his extraordinary and much-derided science has evolved to the point where it is even able to say useful things about why things have turned out the way they have, based purely on present evidence. Spiegelhalter was a member of the Statistical Expert Group of the 2018 UK Infected Blood Inquiry, and you know his book’s a winner the moment he tells you that between 650 and 3,320 people nationwide died from tainted transfusions. By this late point, along with the pity and the horror, you have a pretty good sense of the labour and ingenuity that went into those peculiarly specific, peculiarly wide-spread numbers.

At the heart of Spiegelhalter’s maze, of course, squats Donald Rumsfeld, once pilloried for his convoluted syntax at a 2002 Department of Defense news briefing, and now immortalised for what came out of it: the best ever description of what it’s like to act under conditions of uncertainty. Rumsfeld’s “unknown unknowns” weren’t the last word, however; Slovenian philosopher Slavoj Žižek (it had to be Žižek) pointed out that there are also “unknown knowns” — “all the unconscious beliefs and prejudices that determine how we perceive reality.”

In statistics, something called Cromwell’s Rule cautions us never to bed absolute certainties (probabilities of 0 or 1) into our models. Still, “unknown knowns” fly easily under the radar, usually in the form of natural language. Spiegelhalter tells how, in 1961, John F Kennedy authorised the invasion of the Bay of Pigs, quite unaware of the minatory statistics underpinning the phrase “fair chance” in an intelligence briefing.

From this, you could draw a questionable moral: that the more we quantify the world, the better our decisions will be. Nate Silver — poker player, political pundit and author of 2012’s The Signal and the Noise — finds much to value in this idea. On the Edge, though, is more about the unforeseen consequences that follow.

There is a sprawling social ecosystem out there that Silver dubs “the River”, which includes “everyone from low-stakes poker pros just trying to grind out a living to crypto kings and adventure-capital billionaires.” On the Edge is, among many other things, a cracking piece of popular anthropology.

Riverians accept that it is very hard to be certain about anything; they abandon certainty for games of chance; and they end up treating everything as a market to be played.

Remember those chippy, cheeky chancers immortalised in films like 21 (2008: MIT’s Blackjack Team takes on Las Vegas) and Moneyball (2011: a young economist up-ends baseball)?

More than a decade has passed, and they’re not buccaneers any more. Today, says Silver, “the Riverian mindset is coming from inside the house.”

You don’t need to be a David Spiegelhalter to be a Riverian. All you need is the willingness to take bets on very long odds.

Professional gamblers learn when and how how to do this, and this is why that subset of gamblers called Silicon Valley venture capitalists are willing to back wilful contrarians like Elon Musk (on a good day) and (on a bad day) Ponzi-scheming crypto-crooks like Sam Bankman-Fried.

Success as a Riverian isn’t guaranteed. As Silver points out, “a lot of the people who play poker for a living would be better off — at least financially — doing something else.” Then again, those who make it in the VC game expect to double their money every four years. And those who find they’ve backed a Google or a SpaceX can find themselves living in a very odd world indeed.

Recently the billionaire set has been taking an interest and investing in “effective altruism”, a hyper-utilitarian dish cooked up by Oxford philosopher Will MacAskill. “EA” promises to multiply the effectiveness of acts of charity by studying their long-term effectiveness — a approach that naturally appeals to minds focused on quantification. Silver describes the state of the current movement, “stuck in the uncanny valley between being abstractly principled and ruthlessly pragmatic, with the sense that you can kind of make it up as you go along”. Who here didn’t see that one coming? Most of the original EA set now spend their time agonising over the apocalyptic potential of artificial intelligence.

The trick to Riverian thinking is to decouple things, in order to measure their value. Rather than say, “The Chick-fil-A CEO’s views on gay marriage have put me off my lunch,” you say, “the CEO’s views are off-putting, but this is a damn fine sandwich — I’ll invest.”

That such pragmatism might occasionally ding your reputation, we’ll take as read. But what happens when you do the opposite, glomming context after context onto every phenomenon in pursuit of some higher truth? Soon everything becomes morally equivalent to everything else and thinking becomes impossible.

Silver mentions a December 2023 congressional hearing in which the tone-deaf presidents of Harvard, Penn and MIT, in their sophomoric efforts to be right about all things all at once all the time, managed to argue their way into anti-Semitism. (It’s on YouTube if you haven’t seen it already. The only thing I can compare it to is how The Fast Show’s unlucky Alf used to totter invariably toward the street’s only open manhole.) No wonder that the left-leaning, non-Riverian establishment in politics and education is becoming, in Silver’s words, “a small island threatened by a rising tide of disapproval.”

We’d be foolish in the extreme to throw in our lot with the Riverians, though: people whose economic model reduces to: Bet long odds on the hobby-horses of contrarian asshats and never mind what gets broken in the process.

If we want a fairer, more equally apportioned world, these books should convince us that we should be spending less time worrying about what people are thinking, and concern ourselves more with how people are thinking.

We cannot afford to be ridden by unknown knowns.

 

Radiant with triumphant calamity

Reading Fear by Robert Peckham for the Telegraph, 25 August 2023 

Remember the UK intelligence claim that Saddam Hussein could strike the UK with a ballistic missile within 45 minutes? The story goes that this was spun out of a two-year-old conversation with a taxi driver on the Iraq-Jordan border. One thing’s for sure: fear breeds rumour breeds more fear.

Robert Peckham lives in fear, and claims we’re all of us entering “an era of insidious, mediatised fear”. This may be a case of misery seeking company. And you can see why: in 1988 this British historian of science (author of several well-received books about epidemics) narrowly missed getting blown up in a terrorist attack on the funeral of Abdul Ghaffar Khan in Jalalabad. More recently, in the summer of 2021, he quit his job at the University of Hong Kong where, he writes, ”fear was palpable… friends were being hounded by the authorities, news agencies shut down and opposition leaders jailed.”

With the spread of Covid-19, Peckham’s political and medical interests dovetailed in Hong Kong in grim fashion. “A pandemic turned out to be the ultimate anti-protest weapon,” he writes, “one that the city’s chief executive, Carrie Lam, deployed ruthlessly to stifle opposition.”

Fear is the story of how, over the last 700 years or so, power has managed and manipulated its subjects through dread: of natural disasters, pandemics, revolutions, technologies, financial crashes, wars and of course, through fear of the government itself.

We see how the Catholic Church tried and failed to canalise the horrors of the Black Death into sacral terror and obedience; how instead that fear powered the Reformation. There’s a revealing section about Shakespeare’s Hamlet, a play both steeped in fear and about it: and how fear is shown sometimes engendering, sometimes acting as a moral brake on violence. Through the bloody medium of the French revolution, we enter the modern era painfully aware that reason has proved more than capable of buttressing terror, and that the post-Enlightenment period is “radiant with triumphant calamity”.

Peckham’s history is as encyclopaedic as it is mirthless. After a striking and distressing chapter about the slave trade (every book should have one), Peckham even wonders whether “perhaps slavery has been so thoroughly embedded in free market capitalism that it can’t be dislodged, at least not without the collapse of the entire system”.

At this point, the reader is entitled tug on the reins and double check some figures on the United Nations website. And sure enough: in the 21st century alone global life expectancy has risen seven years, literacy has risen by nine per cent (to 91 per cent) and extreme poverty is about a third what it was at the beginning of this century.

Allow Peckham’s argument that the Machiavellian weaponisation of fear had a hand in all this: dare one suggest this was a price worth paying?

Of course this is far from the whole of Peckham’s argument. He says at the outset he wants to explore the role fear plays in promoting reform, as well as its use in repressing dissent. “What,” he asks, “would happen to all the public-spirited interventions that rely on the strategic use of fear to influence our behaviour? Don’t we need fear to take our problems seriously?”

It’s an interesting project. Too often, though, the focus on fear acts to dampen our responses, rather than enrich them. For instance, Peckham depicts Versailles as “a policed society” where “prescriptions on how to eat, talk, walk and dance kept courtiers in line, with the ever-present threat that they might be stripped of their privileges if rules of comportment were infringed”. This is at once self-evident and woefully incomplete, excluding as it does any talk of political aspiration, personal vanity, love of play, the temptations of gossip and the lure of luxe. This isn’t an insight into Versailles; it’s a gloomy version of Versailles.

There is a difference, it is true, between the trenches of Verdun, and the fear felt in those trenches, just as there is a difference between the NKVD knocking on your door, and your fear of the knock. But — and here’s the nub of the matter — is it a useful difference? Or is it merely a restatement of the obvious?

In the end, having failed to glean the riches he had hoped for, Peckham is left floundering: “Fear is always intersectional,” he writes, “an unnerving confluence of past, present and future, a convergence of the here and there.”

To which this reader replied, with some exasperation, “Oh, pull the other one!”

Darkfield’s Flight: an immersive experience that leaves you half dead

Boarding Darkfield’s existentially challenged airline for New Scientist, 28 November 2018

There’s a shipping container sitting outside 14th-century Dartington Hall in south Devon, offering cheap flights to an unspecified destination. Even by the standards of today’s budget airlines, Flight, by theatrical production company Darkfield is cheap. How do they do it? Part of their winning formula, I think, must be the way they kill their passengers.

Because one thing is for sure – the plane I seemed to be on (mocked up to a high degree of realism, with seatbelts and overhead luggage bins and a safety card in the seat pocket in front of me describing what action to take in the advent of some difficult-to-parse existential disaster; then, once the lights went out, magicked from the absolute darkness of the shipping container by an immersive binaural soundtrack) that plane, as I was saying, most certainly broke up in the air. I heard the screams. Some of them may have been my own.

Afterwards, armed with a steadying pint from the nearby White Hart pub, I had to admit, however, that life had not altogether left me. Was I alive or dead? Had I flown on an orange airline, or a blue one? To steady myself, I dug out my laptop and began editing my interview with Flight‘s co-producer David Rosenberg.

Rosenberg and the Darkfield company are no strangers to Dartington Hall. Their first blacked-out and binaural entertainment, Séance, ran here in 2017. And while they’re a company known for pushing the boundaries of performance, their presence is by no stretch a novelty for the estate which, since its purchase in 1925 by social experimenters Dorothy and Leonard Elmhirst, has been attracting artists, educators and political philosophers in an effort to develop new ways of living.

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The work of the Dartington Hall Trust, which aims to maintain the estate as a place of radical experimentation, a model of rural regeneration, and a centre for progressive ideas and innovation, sounds hippyish – it is hippyish, in important respects – but that’s not to say it’s unserious. On the contrary. Important British institutions, including the National Health Service and the Arts Council, were conceived here.

A community devoted to self-renewal, the 1,200-acre estate is deep into ground-breaking experiments in land use, farming and housing, and artistic and social projects that involve the estate in the lives and aspirations of some of the most deprived communities in Britain.

“We want to be championing arts that are purposeful here, and have something to say about the world in which we live, whether through performance or the visual arts,” says Amy Bere, executive director of the Dartington Hall Trust’s arts programme. “We’re also looking for socially engaged and civic art, and for ways to reach those parts of our community who aren’t engaging with us yet.”

Darkfield’s offering is certainly likely to draw interest from all manner of people. Maybe not the timid, though. Scanning the transcript of our recent phone interview, I see that Rosenberg, a medical anaesthetist turned theatrical impresario, called the recent output Darkfield “a terrifying fairground of darkness”. He was joking. I think.

And of Flight – a 20-minute airline experience that leaves you inhabiting two worlds at once — one where you’re alive, and one where you very much aren’t — he said, “It’s not as scary as all that. Unless you dislike flying. Or you’re afraid of the dark. Or you have some existential terror about the way the universe is assembled.”

Simon Ings That’s a long list.

David Rosenberg But a short show. Glen Neath and I have been making performances in complete darkness using binaural sound for the last six years or so. But the commitment to sitting in a theatre for an hour in total darkness is a big one, so we’ve now begun making shorter, more intense pieces in shipping containers: pieces that would explore fear and anxiety in different ways.

Using the container means we can tour our material to places where audiences will engage with it in a different way – treating it a bit more like a fairground ride.

SI With this form of presentation, are you fated always to be exploring the uncanny?

DR I think we’ll be able to broaden our output as we develop. But for now, by putting people in an environment where they feel quite vulnerable, the uncanny plays a large part in what we do. Our first piece, Séance, dealt with our beliefs about death and the beyond. Flight began, obviously enough, with the fear of flying, but then we got interested in the work of physicist David Deutsch and the many-worlds interpretation of quantum mechanics. There’s a peculiar interpretation of the many-worlds model, not very well regarded but irresistible, called the quantum suicide fallacy. Suppose all probabilities are played out in the quantum realm: then we will only have a conscious experience of iterations in which our consciousness survives. So, in this respect, it’s impossible to die in a plane crash. Of course it’s also possible to be the only survivor of a plane crash, or the horribly mutilated sole survivor of a plane crash, or the only person in the crash to be hurt, and so on: it’s maybe not that much of a comfort. But this is the game we are playing in Flight. You perish and you survive, at the same moment.

SI Why plunge your audience into darkness?

DR In most instances vision is our leading perception. We attach sounds to images, rather than the other way around. You can show this with auditory illusions in which people moving their lips in a certain way but the sound that you hear is related to the lip movements.

SI So we’re all lip-readers!

DR To some degree, yes. We wanted to make work that wasn’t led visually in any way, and to achieve that we need darkness. In the dark, we can start with the sound and create environments and characters and to allow the audience to create visuals for themselves, in their imaginations.

SI You first worked with Darkfield co-founder Glen Neath on Shunt in 1988 – the theatre company that pioneered immersive theatre in the UK. Why, with that background, did you decide to turn the lights out?

DR As we explore virtual reality and augmented reality we’ve begun to to notice that a lot of immersive techniques provide experiences that are are paradoxically less immersive than old media. “Immersive” has become an entertainment buzzword. I joked the other day about going to an immersive funeral: it was very sad, and it smelt a bit like bread.

Sure, we could reach a point where virtual reality is indistinguishable from real life; but then it would be real life. Quite a lot of popular virtual reality experiences involve doing incredibly mundane things. The human imagination, on the other hand is — or at any rate feels — limitless. I have been more immersed in a book than I’ve ever been in a 3D film. Immersion isn’t about drowning the senses. It’s about providing enough gaps for our imagination to fill.

SI Have you gone any further in exploring sensory deprivation?

DR We’ve used anechoic chambers to strip sound of all its reflections, so it literally becomes sound from nowhere. But we haven’t really thought of a way to bring that into a performance context. The problem is the body itself is incredibly noisy. As soon as you remove all the other sounds, then your body really makes a racket and you end up focusing on that.

For myself, I remember in the late 1980s I went to a sensory deprivation tank in Manchester that was set up in this guy’s flat. There was a bit of a vogue for the idea at that time. It was a very basic experience: a body temperature bath with enough salt in it that you floated, in complete darkness and quiet. Just before he closed the door on me, the last thing he said was, Don’t touch your face.

SI Good grief.

DR So of course I spent the whole time not touching my face, wanting desperately to touch my face.

SI That sounds horrific.

DR It was a bit stressful.