Quote from Playing Possum: How Animals Understand Death by Susana Monsó

Anthropomorphism also needs to be distinguished from anthropocentrism. In its most general sense, anthropocentrism refers to a bias that leads us to consider our own species as the center of the universe. It’s the tendency to think that, given that we are the most important thing from our perspective, we must be the most important thing in general.

Anthropocentrism can manifest in different ways depending on the context. Most of our cities, for instance, follow an anthropocentric urban planning, for they systematically ignore the many nonhuman species with whom we share a space; not just our pets (which are for the most part not massively taken into account either), but the thousands of wild species that inhabit and are adapted to the urban environment, as is the case of rats, cockroaches, pigeons, sparrows, squirrels, racoons, etc.

In science, anthropocentrism also manifests in various ways. Although according to its popular image science offers objective facts about the world, the truth is that this is an activity that is carried out by humans, and as such it is also a target for our biases and is heavily influenced by our values. The topics that we decide to study, the ones that have the greater chances of getting published or receiving funding, are not random, but rather obey our human interests. For this reason, the relevance of studying the mind and behavior of animals is often justified with reference to some human value, like our interest in uncovering the evolutionary origin of our psychological capacities or what distinguishes our mind from that of the remaining species.

Comparative thanatology cannot escape the influence of our human values either. In this discipline, the study of animals’ behavior and reactions surrounding death is often justified by an appeal to the importance of discovering the evolutionary origin of our own funerary practices and attitudes toward death. Even though this is of legitimate interest, it’s important to point out that a question doesn’t necessarily become more interesting when it can be explicitly related to us and our values. Perhaps you, the person reading this, find the question of how animals experience and understand death fascinating in and of itself, independently of what it can tell us about ourselves. If that is the case, welcome to the club.

In addition, we must remember that the study of other animals’ behavior doesn’t t have to give us clues about the evolution of our own capacities, even in the case of closely related species, such as the other great apes. Chimpanzees, bonobos, orangutans, and gorillas are not “less evolved” humans. They are species with whom we share common ancestors, but at no point in our evolutionary past were we chimpanzees, bonobos, orangutans, or gorillas. Consequently, even though studying them can give us some answers about our own evolution, they are not a direct window into our evolutionary history.

Anthropocentrism is a bias that leads us to believe that we are the center of the universe, but it also works like a pair of innate blinkers that prevent us from seeing beyond our own perspective. This anthropocentrism is implicit in a great deal of studies in comparative psychology, which don’t just aim to answer questions with our interests in mind, but also often follow methodologies that highlight the difficulties we have in abandoning our sapiens way of seeing the world. – Playing Possum: How Animals Understand Death by Susana Monsó

 

Against Narrative, works from 2023:

1)  The Tyranny of the Tale by By Parul Sehgal: ‘Anyone in my line has every incentive to fall in step, to proclaim the supremacy of narrative, and then, modestly, to propose herself, as one professionally steeped in story, to be of some small use. Blame it on the cortisol, though: there’s no stanching the skepticism. How inconspicuously narrative winds around us, soft as fog; how efficiently it enables us to forget to look up and ask: What is it that story does not allow us to see?

Return to storytelling’s primal scene: Scheherazade telling tales in order to live to see another dawn. Before it is anything else, a story is a way we can speak to one another without necessarily being ourselves; that is its risk and relief, its portable privacy. The fact that children ask for stories at night is used to defend the notion of storytelling as natural, deeply human—a defense against the dark. But Margaret Wise Brown, the author of “Goodnight Moon,” was convinced that children didn’t care much about plot; it was their parents who did. When children ask for stories, what they’re asking for is the presence of the adult. One wonders just whom Scheherazade was regaling in that room. When did her gaze shift from the king to the children, as it must have? What kind of armor did she think she was providing them?

It is also a strange, inadvertent echo of Peter Pan. Peter cannot grow up, he tells Wendy, because he was never told stories: “None of the lost boys know any stories.” Without being imparted a sense of narrative, he cannot establish his own.’ [Via]

2) Letting the Story Go: Field Notes from a Brutal Time by Janet Steen: ‘I gave up on the basic elements of storytelling. Setting, plot, character, theme. When I applied them to my brother’s life, I couldn’t get things to line up. What exactly was the “rising action”? What was the beginning of the denouement? What were the salient details? “I wanted to know more about the main character,” people always say in writing workshops. Yes, I wanted to know more about the main character. I had assumed I would have years and years to learn more about him. …

Stories were a way to freeze time. And time was an illusion anyway, my various guides were telling me. And everything was constantly changing, constantly becoming something else we couldn’t possibly imagine or predict. Memories were essentially old stories. The present moment was the only place where the memories and fantasies ceased.

This change in view felt both liberating and destructive. Who are you if you aren’t your conditioning, if you’re not the product of your past? What exactly is under there?

The most radical part of this process was finding out that I could withstand an enormous amount of emotional pain. Rupert Spira’s teachings especially helped with this, or maybe I was just partial to his gentle, deeply intelligent explanations in the YouTube videos I found and devoured. He was in the nondual tradition stemming from Advaita Vedanta, and what he calls the direct path. The direct path led you straight to your essential nature, which was pure awareness and devoid of, or beyond, thought or emotional content or objective experience.

But he also talked about the tantric approach, which was about bringing feelings close, so close that it was just the raw experience—not the story, not the thought, but “the raw experience in the body.” So instead of the separate self going into flight from the experience, you were absolutely up against it, feeling it as sensation.

I tried this. I went up against the grief, the longing, the missing, the keening, the despair. I touched into it, withdrew, touched into it again. I stayed there with it for as long as I could.

If something shocking and terrible happens, you might feel that you’re going to be consumed by the feelings about it. The intensity of them threatens absolutely everything and, naturally, you don’t want to go near them. But then you do. And in doing so there is some kind of distillation. It is nothing other than what it is in its purest form. And then, although I didn’t know this for quite some time, there begins to be an alchemical change.

In good moments I make him into a character, a mythic figure, because I can. Who is to stop me? It’s a creative act. I can make him into what I want and need him to be. He’s not a ghost. He’s a guide, a teacher, showing me the way out of darkness. He’s a doorway leading me out of a closed room.’ [Via]

3) The Movie James Franco Doesn’t Want You To See by Lola Sebastian: