Does Neuroscience Prove That You Should Follow Your Bliss?

See Never Too Late to Learn. It is a book review from Saturday's WSJ. The book reviewed was Guitar Zero by Gary Marcus. Here is the passage:

"Brain scans show that musicians' new neuronal connections vary according to the instrument they play. Violinists have their signature brain changes, brass players theirs. Loving what we do helps to form these new connections, because the same dopamine chemistry that gives us the pleasurable rush of reward consolidates new brain connections."

Of course, mythologist Joseph Campbell said "follow your bliss."

What does it mean to follow your bliss? In general, it means three things:

1. Money and material things are secondary (Campbell, 1988, pp. 148,229). The following is dialogue between Joseph Campbell and Bill Movers from The Power of Myth (1988,p. 148):

C: My general formula is "Follow your bliss." Find where it is, and don't be afraid to follow it.

M: Is it my work or my life?

C: If the work you're doing is the work that you choose to do because you are enjoying it, that's it. But if you think, "Oh, no! I couldn't do that!" that's the dragon locking you in. "No, no, I couldn't be a writer," or "No, no, I couldn't do what So-and-so is doing."

M: In this sense, unlike heroes such as Prometheus or Jesus, we're not going on our journey to save the world but to save ourselves.

C: But in doing that, you save the world (emphasis added).

Elsewhere, Campbell says that the savior is the one who can transcend the pairs of opposites (Briggs & Maher, 1989, p. 45). This means going beyond the duality of individual and group that is stressed in socio-economics (Campbell 1988, p. 229):

C: Each incarnation has a potentiality, and the mission of the life is to live that potentiality. How do you do it? My answer is, "Follow your bliss." There's something inside you that knows when you're in the center, that knows when you're on the beam or off the beam. And if you get off the beam to earn money, you've lost your life. And it you stay in the center and don't get any money, you still have your bliss.

Finally, Leeming sums up the Jungian importance of myths:

The person who lives without myths lives without roots, without links to the collective self which is finally what we are all about. He is literally isolated from reality. The person who lives with a myth gains 'a sense of wider meaning' to his existence and is raised 'beyond mere getting and spending" (Leeming, 1973, p. 321).

2. If you follow your bliss, doors (opportunities) will open up for you where they would not have opened up before. They will also open up for you where they would not have opened up for anyone else (Cousineau, 1990, p. 214). This echoes one of Campbell's favorite writers, Goethe:

Concerning all acts of initiative and creation, there is one elemental truth-the ignorance of which skills countless ideas and splendid plans: that the moment one definitely commits oneself, the Providence moves, too. All sorts of things occur to help one that would never otherwise have occurred (Catford & Ray, 1991, p. 5).

3. Following your bliss has to be contrasted with following a system or a social system. A system creates roles for us that are not of our own choosing. This dehumanizes us (Campbell, 1988, p. 143-144). The following is also dialogue between Joseph Campbell and Bill Movers from The Power of Myth (pp. 143-144):

M: Do movies create hero myths? Do you think, for example that a movie like Star Wars fills some of that need for a model of the hero?

C: I've heard youngsters use some of George Lucas' terms-"the Force" and "the dark side.' So it must be hitting somewhere. It's a good sound teaching, I would say.

M: I think that explains in part the success of Star Wars. It wasn't just the production value that made that such an exciting film to watch, it was that it came along at a time when people needed to see in recognizable images the clash between good and evil. They needed to be reminded of idealism, to see a romance based upon selflessness rather than selfishness.

C: The fact that the evil power is not identified with any specific nation on this earth means you've got an abstract power, which represents a principle, not a specific historic situation. The story has to do with an operation of principles not of this nation against that. The monster masks that are put on people in Star Wars represent the real monster force in the modern world. When the mask of Darth Vader is removed, you see an unformed man, one who has not developed as a human individual. What you see is a strange and pitiful sort of undifferentiated face.

M: What is the significance of that?

C: Darth Vader has not developed his own humanity. He's a robot. He's a bureaucrat, living not in terms of himself but in terms of an imposed system. This is the threat to our lives that we all face today. Is the system gong to flatten you out and deny you your humanity, or are you going to be able to make use of the system to the attainment of human purposes? How do you relate to the system so that you am not compulsively serving it? It doesn't help to try to change it to accord with your system of thought. The momentum of history behind it is too great for anything really significant to evolve from that kind of action. The thing to do is to learn to live in your period of history as a human being. That's something else, and it can be done.

M: By doing what?

C: By holding to you own ideals for yourself and, like Luke Skywalker, rejecting the system's impersonal claims upon you.

M: When I took our two sons to see Star Wars, they did the same thing the audience did at that moment when the voice of Ben Kenobi says to Skywalker in the climactic moment of the last fight, "Turn off your computer, turn off your machine and do it yourself, follow your feelings, trust your feelings." And when he did, he achieved success, and the audience broke out into applause.

C: Well, you see, that movie communicates. It is a language that talks to young people, and that's what counts. It asks, Are you going to be a person of heart and humanity-because that's where the life is, from the heart-or are you going to do whatever seems to be required of you by what might be called "intentional power"? When Ben Kenobi says, "May the Force be with you," he's speaking of the power and energy of life, not of programmed political intentions.

In the movie Star Wars, Luke Skywalker turns off his computer (the impersonal system) and relies on the "Force" or his intuition to destroy the Death Star.

Generally speaking, following your bliss unlocks your creative potential because you separate from your community or system. "You can't have creativity unless you leave behind the bounded, the fixed, all the rules" (Campbell, 1988, p. 156). Attaining the joy of being a creative, spiritually fulfilled person is probably the best thing we can do for ourselves.


Sources:

Briggs, D., & Maher, J.M. (1989). An open life: Joseph Campbell in conversation with Michael Toms. New York: Harper and Row.

Campbell, J. (1988). The power of myth. New York: Doubleday.

Catford, L., & Ray, M. (1991). The path of the everyday hero. Los Angeles: Tarcher.

Cousineau, P. (1990). The hero's journey: Joseph Campbell on his life and work. San Francisco: Harper.

Leeming, D.A. (1973). Mythology: The voyage of the hero. Philadelphia: J. B. Lippincott.

Elliot McGucken's Hero's Journey Mythology video set to Beethoven!

Go to

THE HERO'S JOURNEY MYTHOLOGY CODE OF HONOR

It is filled with great pictures, music and interesting and inspiring quotes from many great philosophers and entrepreneurs. He is working on a book on this topic.

Elliot created the HERO'S JOURNEY ENTREPRENEURSHIP FESTIVAL: THE GREAT BOOKS RIDE AGAIN and like me he has related the work of Joseph Campbell on the hero in mythology to entrepreneurship.

Click here to go to Elliot's website

People Will Work For Purely Symbolic Rewards

See Week in Ideas: Christopher Shea from The Wall Street Journal, 4-30-11.

"Economics
Thanks for Nothing
Awards that cost companies nothing to provide can pay dividends in productivity, a study finds.

Researchers in Switzerland hired 150 people to do two hours of real work for a nonprofit group. They were paid a flat rate of $37 to search the Web for information useful in fund-raising, namely, contact information for local-government officials who might be approached for grants. The nonprofit group made clear to the students that it had no jobs to offer them if they performed well.

The workers were assigned to small groups and given enough privacy that, if they chose, they could slack off at their computers. Eighty-three of the 150 were assigned to groups whose members were informed they'd be competing for a certificate of special thanks.

Despite the brevity of the job and the fixed wage, both groups were productive. More importantly, the workers competing for a frameable piece of paper gathered, on average, 12% more information than those that did not.

"Getting More Work for Nothing? Symbolic Awards and Worker Performance," Michael Kosfeld and Susanne Neckermann, American Economic Journal: Micro (forthcoming)"

This reminds me of a quote I once read that supposedly came from Napoleon: "The most amazing thing I have learned about war is that men will die for ribbons." (or medals as is sometimes reported) Click here for more info about the paper.

Even more info is at Meaningless Awards Spur Performance.

Legacies & Memories: A Company Devoted To Publishing The Stories Of Entreprneuers

See Legacies & Memories. I saw their ad in the WSJ on 4-20-11. The ad mentioned that entrepreneurs understand the value of having their life story told.. Of course, I have written about how entrepreneurs are like heroes. See my link on the side called "The Relationship Between Economics and Mythology." One of their books won an Axiom Award.

Are Myths And Stories A National Security Issue?

This may seem farfetched, but there are some links below on this. Recently I had a post called Being Able To Tell Stories May Help The Economy.

I came across this issue because neuroeconomist Paul Zak said he was going to a workshop on The Neurobiology of Narratives put on by Defense Advanced Research Projects Agency (DARPA). Those are the folks who brought us the internet. Here is a description of the workshop:

"The impact of narratives on human psychology ranges widely from what events we remember most easily to our choices about important foundational behaviors to include our degree of trust in others. Since the brain is the proximate cause of our actions, narratives have a direct impact on the neurobiological processes of both the senders and receivers of them. Understanding how narratives inform neurobiological processes is critical if we are to ascertain what effect narratives have on the psychology and neurobiology of human choices and behaviors, and can assist in everything ranging from exploring how Post-Traumatic Stress Disorder is influenced by event repetition to better understanding the thoughts and feelings of others.

To stimulate discussion and research on these issues, the Defense Sciences Office (DSO) of the Defense Advanced Research Projects Agency (DARPA) is hosting a workshop, Narrative Networks (N2): The Neurobiology of Narratives. The workshop is intended as a sequel to one held February 28, 2011, which explored the nature of narratives, their role in security contexts, and methods for analyzing them quantitatively. This workshop will establish fertile ground for connecting our understanding of the neurobiology of narratives with models, simulations and sensors salient to security concerns. Accordingly, it focuses on surveying the neurobiological processes related to narratives, bridging the cognitive neurosciences and the story stimulus.

This workshop has five mutually reinforcing and overlapping goals:

To assay narrative effects on our basic neurochemistry

To understand narrative impact on the neurobiology of memory, learning and identity

To assess narrative influence on the neurobiology of emotions

To examine how narratives influence moral neurobiology

To survey how narratives modulate other brain mechanisms related to social cognition"

There is more at Your Brain on Stories. Here is an excerpt:

"We’ve only begun to understand what happens in the brain when we watch a movie or consume a story in any format. There’s much more to learn, and the implications are huge, if not controversial. Consider what William Casebeer says:

Casebeer notes that a compelling narrative can seal the resolve of a suicide bomber, and suggests that developing “counter-narrative strategies” could help deter such attackers. “It might be that understanding the neurobiology of a story can give us new insights into how we prevent radicalisation and how we prevent people from becoming entrenched in the grip of a narrative that makes it more likely that they would want to intentionally cause harm to others,”

Casebeer is the Air Force colonel who was in charge of the workshop. He has a Ph. D. in philosophy and cognitive science.

There is even more at Hooked on Stories. Here is an excerpt:

"Stories can also manipulate how you feel, as anyone who has watched a horror movie or read a Charles Dickens novel will confirm. But what makes us empathise so strongly with fictional characters? Paul Zak from Claremont Graduate University, California, thinks the key is oxytocin, a hormone produced during feel-good encounters such as breastfeeding and sex.

Taking this idea a step further, Read Montague of Virginia Tech University in Blacksburg and William Casebeer of the US Defense Advanced Research Projects Agency (DARPA) in Arlington, Virginia, have started using fMRI to see what happens in the brain’s reward centres when people listen to a story. These are the areas that normally respond to pleasurable experiences such as sex, food and drugs. They are also associated with addiction. “I would be shocked if narrative didn’t engage the same kind of circuitry,” says Montague. That would certainly help explain why stories can be so compelling. “If I were a betting man or woman, I would say that certain types of stories might be addictive and, neurobiologically speaking, not that different from taking a tiny hit of cocaine,” says Casebeer."

Book Review On Business Fiction

See Workplace Fiction That’s True to Life from this past Sunday's New York Times by BRYAN BURROUGH. It is a review of the following book:

Blue Collar, White Collar, No Collar: Stories of Work edited by Richard Ford.

Here is an excerpt from the review:

"I’VE often wondered why there aren’t more strong works of fiction dealing with the business world. Offhand, with the possible exception of Tom Wolfe’s “The Bonfire of the Vanities,” Richard Ford’s real estate dramas, or Michael Crichton’s forgettable “Disclosure,” I can’t think of many novels of recent years that grapple with the kinds of issues most business people encounter.

Invariably, what we get instead is the corporate thriller. You know, young Ned lands a job in the mailroom at Faceless Colossus Inc., climbs the ladder to middle management, then finds his boss in a pool of blood and balance sheets in the conference room, then uncovers a giant global conspiracy to subvert humanity in the boardroom, then goes on the run, where he is pursued by stern men in Joseph Abboud suits as he and the inevitable girlfriend scramble to save their lives, the world and, I don’t know, their 401(k)s. The villain is always the C.E.O.

The paucity of thoughtful business fiction, I surmise, has to do with the novelist’s preference for matters of life and death, or at least love. Writers yearn to put their characters in jeopardy, whether actual or emotional, and at first glance the main thing at stake in most corporate dramas, real or otherwise, is money. If the crucial issue is whether Faceless Colossus makes its earnings estimate for the quarter, or whether young Ned gets that bonus, well, not many novelists want to go there.

Which is kind of a shame. Television, after all, has set all kinds of excellent tales in the business world. “Mad Men” jumps to mind; it actually finds drama in the gritty realities of account management. “L.A. Law.” Heck, even “Ally McBeal” had its moments.

These shows also illuminate the lives that people lead in the workplace — another part of experience that is not especially well represented in fiction. Sloan Wilson (“The Man in the Gray Flannel Suit,” published in 1955), Joshua Ferris (“Then We Came to the End,” from 2007) and Mr. Ford are among the few who have found fictional inspiration inside the office."

Mythology, Ideology and Politics

That is the title of a paper I Presented at the annual meetings of The Society for the Advancement of Socio-Economics in July 1994, in Paris, France. I found many parallels between ideology and mythology. Click here to read it. It is an MS Word file, so you might get a dialog box asking you if you want to open it. It is about 20 pages long.

I got started thinking about these parallels after seeing what Joseph Campbell said about the functions of myth and what economist Robert Higgs said about the functions of ideology. I saw some similaritiess.

The four functions of mythology according to Campbell are:

1. Mystical-Realizing what a wonder the universe is, and what a wonder you are and experiencing awe before the mystery. Myth opens the world to the dimension of mystery, to the realization of the mystery that underlies all forms.
2. Cosmological dimensions-This is the dimension with which science is concerned-showing you what the shape of the universe is, but showing it in such a way that the mystery comes through.
3. Sociological-This supports and validates a certain social order. These myths vary from place to place.
4. Pedagogical-How to live a human life under any circumstances.

Although not identical to, these are similar to the aspects of ideology mentioned by Higgs. The sociological function is akin to Higgs's solidary aspect while the pedagogical function is akin to Higgs's programmatic aspect. The cosmological aspect can be seen as similar to the cognitive aspect in that they both aim at explaining why the world is as it is. The pedagogical function can also be seen as similar to the affective aspect of ideology in that it can communicate morals.

Given that the world is full of uncertainty, everyone has an ideology or lives by a mythology. One can never scientifically "prove" that their ideology is the correct one. Furthermore, how does one choose and then adhere to an ideology? There must be some emotional, irrational attachment to it. As mentioned earlier, people are swayed by the emotional and symbolic rhetoric of issue entrepreneurs. They often do this with poetry (as Higgs mentions) or stories. Every ideology has within it a myth or mythology. This provides it with the necessary emotional foundation, without which no political movement would be successful.

The following is a summary of how ideology works in politics according to Higgs:

1. There are few ideologies. This is because ideology has to be coherent and comprehensive.
2. They are produced by opinion leaders and the public or masses consume them. Most people get their ideas from reading or hearing politicians speak and we agree or disagree.
3. Ideologies constrain and propel change (political action)
4. Ideology becomes prominent during social crises.
5. Leaders cause consumers to act through rhetoric.

For Higgs, an ideology is successful because of its rhetoric.

"Ideological expression aims to persuade, but not in the cool dispassionate manner celebrated by the rational ideal of science and philosophy. Of course it may be rational, at least in part, and it may appeal to indisputable facts. But the persuasive power of ideological expression arises for the most part from neither logic nor facts. It arises mainly from the unabashedly polemical character of the rhetoric employed."

Here is more from Higgs on ideology:

Ideology has four aspects:

The first is the cognitive aspect, which determines our understanding and perception of the world.

The second is the affective aspect, which tells us what is good or bad in a moral sense.

The third and fourth aspects are the programmatic and solidary. These propel a person to "act in accordance with his cognitions and evaluations as a committed member of a political group in pursuit of definite social objectives." Higgs uses the last aspect, the solidary aspect, to justify the introduction of ideology into the standard utility function used by economists. These usually contain the commodities that people consume because of the selfish wants and desires that individuals are said to have according to neoclassical economic theory. But ideology is added because of two additional desires human beings have: the desire to belong to a group and to have a self image or identity that arises from group membership.