感謝電子羊公司部落格Matt!的文章〈體驗與所有物〉（Experiences VS. Possessions）介紹，我看到了這部「很長很長」的 BBC 紀錄片：《自我的世紀》（The Century of The Self）。
“This series is about how those in power have used Freud’s theories to try and control the dangerous crowd in an age of mass democracy."
（這部影集是關於那些擁有權力的人們，如何運用佛洛依德的理論試圖在大眾民主的時代，控制危險的群眾的故事。） – Adam Curtis
在佛洛依德的侄子 Edward Bernays 的成功努力下，女性抽煙，竟然被連結到自由女神握住火炬，爭取自由！這真是太讚了…
The engineering of consent is the very essence of the democratic process, the freedom to persuade and suggest.
– (Edward L. Bernays, “The Engineering of Consent", 1947)
Ron Brinkmann, lead developer of Shake (Apple) and author of The Art and Science of Digital Compositing gave a talk in recent Etech Conference. They would like to build tools for the challenges in digital films, but then they found the tools are also useful for real world situations. Spectacles (you must remember the very big ad of Calton Draught), pedestrian simulation for public safty, like pilgrimage bridge crowd simulation in Mecca. Ars Technica’s Nate Anderson in “The wisdom of digital crowds: from Lord of the Rings to a bridge near Mecca".
Visual effects work draws from real-world research into all sorts of things: image processing, artificial intelligence, physics, and mathematical movement algorithms. But Apple’s Ron Brinkmann argues that the process is bidirectional, with tech developed for the visual effects world beginning to make its way into real-world scientific simulations—even in Mecca.
She ask good questions in the end of the article. If the movie/tools is earning a lot of money from entertainment industry, then maybe we don’t need any more practical usages to proof its legitimacy. That’s pragmatism. But we can always found truth indirectly via the glance of the ripple, or children’s innocent smiles. There’s an alterity also there we might really want to enjoy.