TV

The Power of Language and Fear in 'Doctor Who'

Liam Bishop

Language as we know it, is human. The Dalek's limited vocabulary suggests that they were once exposed to human language or were once human. The Dalek's world is limited by its primary purposes to kill enemies and achieve world domination.

Over the decades, famed Doctor Who villains the Dalek's have proved to be impervious to the challenges threatening them; stairs, the Doctor himself, a tellytubby style makeover in the new series, complete obliteration, being written out, and BBC cuts, because they keep returning no matter what challenges there are to their fictional life as the Doctors enemy, or to their reputation as salt shaker looking, overly used props. They keep returning, and despite producer Steven Moffat saying that he was shelving them for a while, they returned after a very brief period in the warehouse.

However, what castigated my interest in them was not just the imminent return of them, but a podcast from The Philosophers Stone. In fact it didn't really inspire my fear and intrigue of the Daleks, more the power and beauty of language. The podcast, fronted by the late Alan Saunders, discusses several classic philosophical and contemporary issues. In The Evil of the Daleks, Saunders was joined by Robin Bunce, an academic from the University of Cambridge promoting the publication Daleks and Philosophy: Bigger on the Inside, and discussing what makes these legendary foes, visually benign looking entities, so scary. Initially there is the historical context. When the Dalek's were introduced back in the early 1960's, people genuinely thought that World War III was about to ensue due to the Cuban Missile Crisis in 1962. Indeed, the episode The Dalek Invasion of Earth (1964) which was set in 2164 was effectively an allegory of the political mechanics involved in the crisis. As the episode centres in 'New Washington', the Daleks have been interpreted as the Soviets.

Bunce also cited how the Daleks may have been humans, and gone through a period of dehumanisation. There were theories that the Daleks' predecessors were the Dals who were exposed to radiation and mutation after a war with the Thals. This is not wholly certain, but this element of nuclear war reverberates with the times and the missile crisis and, clearly, the Daleks have gone through some kind of mutation, not just physically, but mentally and, ultimately, represented what the human race feared happening to them.

Without wanting to divulge too much into Dalek geneaology, another point Bunce made was of the dystopias created in Aldous Huxley's Brave New World(1931), and George Orwell's 1984(1949). The two books focus on the omni-powerful state, but differ in their methods of doing so. Huxley's was achieved through technological interventions and emphasis on the consumerist society, and making its citizens so happy that they disregard their personal freedom and will. In 1984, the state uses constant surveillance, torture, or as Christopher Hitchens put it "a house of horrors". The nightmare society created by Orwell lays a strong foundation for the totalitarianism of the Daleks. The Daleks represent both the power of selective language use on thought -- as well as fear. Likewise, these two themes are explored in Orwell's classic novel.

For example, Orwell created Newspeak as a hallmark of his dystopia. As Syme the Big Brother loving worker puts it "It's a beautiful thing, destroying words". Beautiful it might be, the impoverishment of language, such a simple concept. What the Party hopes to achieve through Newspeak is to remove meanings of old language and construct new meanings. By eradicating a word that implies something is negative, could you still perceive something as negative? This creation then is an invention of controlling thought by leaving simple concepts: bad becomes ungood; bad is now not negative but neutral or un-positive: excellent becomes doubleplusgood; not entirely neutral, but still good and positive, it is exceedingly positive, and can be placed on the same spectrum as ungood. Now there is one singular concept of good and it is very large and encompassing. The word orthodoxy comes under scrutiny in Newspeak, but orthodoxy is treated as a verb. It's probably best exemplified by the following passage:

“How could you have a slogan like 'Freedom is Slavery' when the concept of freedom has been abolished? The whole climate of thought will be different. In fact there will be no thought as we understand it now. Orthodoxy means not thinking – not needing to think. Orthodoxy is unconscious.”

It almost seems that by eradicating words, you are eradicating thought, which in turn reduces the opportunity of judgment, emotion and morality, all conscious acts; maybe not so much emotion, but the effect of emotion on thoughts, or thought preceding emotion. If the whole state become orthodox not doing anything other than the norm, where the norm is created by the state then the Party could ultimately create a society of unconscious Sentients to their needs.

When you look at 1984, it is not the torture that helps achieve this, the torture and Room 101 is only really reserved for those most resilient to Big Brother's ways. Newspeak's power strikes at the unconscious. In the form of a novel it works, but its resonance permeates more than fiction. Back in the late 1920s, two linguistists Edward Sapir and Benjamin Lee Whorf were studying the effect of language on thought. Their hypothesis (the Sapir-Whorf hypothesis) was linguistic relativism, ie.the structure of somebody's language affects the way in which speakers conceptualise their world. Still, its not as simple as that. There is little empirical evidence for the hypothesis, and its counterpart linguistic determinism. Even more so, most of the research has been done in a cognitive paradigm, which is encountering problems about its theories of language itself, mainly those of Noam Chomsky and Universal Grammar (which suggests that all humans have a capacity to produce language, and there is a universal, cognitive mechanism of grammar which supports this).

What is emerging however is a new approach to language and its effects on thought and psychology which may give us a greater insight into the world of the Daleks and Newspeak. The linguistic relativism debate was before Orwell's and the Dalek's time. One provoked nearer the time was by Ludwig Wittgenstein. His philosophy was based on the way language can change not quickly and obviously, but in a more evolutionary manner. What's more his views on language were deterministic – language and its structure determines human knowledge and thought. Language is a powerful, human tool. Language, is governed by implicit rules in its social and private uses. A man has private language, which nobody will ever be able to access, and if a solitary man tried to translate his inner, private language which is composed of sensations, its translation to somebody else would render it pointless. It is easy to see how Newspeak could effect its population. If language really did determine thought then the limited vocabulary available would constantly reduce the ability of its members to participate in linguistically diverse world. Wittgenstein did also state "about what one can not speak, one must remain silent."

Language as we know it, is human. The Dalek's limited vocabulary suggests that they were once exposed to human language or were once human. The Dalek's world is limited by its primary purposes to kill enemies and world domination. But the point Wittgenstein made about language means the limits of the world, also means the limits of the other speakers world. It restricts the ability to empathise, to understand, and simply communicate on any level. The Dalek's vocabulary reduces any level of compassion because their social language is nothing but a few words, and when there is no reason left, one is left to physical means. If we had an ability to talk to lions and bears, would we feel the need to shoot them, run away, or use any other physical action if they attacked us?

It's harder to speculate on the private language of a Dalek and the inhabitants of George Orwell's 1984 for example, because it was ultimately a philosophy. It suggests there is a finite distinction between a private and social language. Winston Smith, when finally converted to loving Big Brother, may still resent and abhor the regime in his mind, but without the ability to overtly express it he is a prisoner to his own language capabilities. There is no power to create a flexible social world.

This may enhance the Dalek's villainy, but what about humans? This is not just a human vs alien argument. It would be assumed that the Daleks' other worldliness, their extraterrestrial being-ness would make them more scary for viewers. But it would arguably be much more scary if they had gone through this transformation from once human to alien.

The classic Zimbardo prison study where the participants of the study were split into either prisoners or guards demonstrated how If given orders, people can easily lose empathy. The guards gradually became more sadistic to those who had to act as prisoners (and it must be remembered these were not actual prisoners but people who were also participants in the study). As a result, Zimbardo had to call a premature end to the study. Anybody familiar with the Milgram study, which had similar aims, will understand how people can be quite easily made to inflict misery on another person when they are in a state of subordination to a higher power. Even more so, this highlighted how atrocities like the Holocaust can occur. All this adds up to paint a rather vivid context in which the Daleks operate. They may seem like silly looking aliens to an outsider, but they have been expertly written to reflect the social and cultural context of society's fears of the past and the future.

If anything, the Daleks tell us more about ourselves than their perception as a prop in a sci-fi television show - as some people might see them. In Nazi Germany, who were the Prison Guards that were caught up in an extreme regime of fascism? It's highly unlikely they were all brought up to be evil workers of Hitler, but were most likely everyday people caught up In the nihilistic rhetoric and subordination of higher order. It also tells us the power of language, rhetoric and discourse. Orwell, and then writers of Doctor Who both recognise this. You can torture the most resilient, but you can win over the masses with cleverly nuanced rhetoric, good or evil, and this what the leaders of our day do.

In the past language and its repercussions have been, sometimes, ignored. Social constructionists have followed on from Wittgenstein, and a postmodern stance on not just language but psychology itself. Instead of focusing on numbers and statistics as sources of information, discourse psychology focuses on specific language use instead of the mind as computational device. This is also potentially what makes the Daleks more relevant. Modernism in culture peaked after the first world war, and despite cognitive science not gaining ground until the late 1950's it is easy to see its influence; it emphasizes structure over process, information over meaning; one can see the human mind structured like a cubist painting. Modernism was psychology wanting to be a science, psychology wanting to tell the truth.

Humans were constantly being regarded in this mechanistic metaphor and still are. Culture was being ignored and traditional western science and psychology was bound in the individualism that capitalism can create. Indeed postmodern psychology is postcognitive. The boundaries of the world are created by discourse, which means they are not set in stone, they are not technically there. Its inhabitants are continually creating, reaffirming and changing them with their use of discourse and its constructions. It is real world.

One particular take on it is how the media can enforce anti-semitic and fascist ideology through its rhetoric. Michael Billig in Banal Nationalism explores how the these hidden ideologies can be reinforced and are prevalent throughout the media. Billig highlighted how the division of 'domestic' and 'international' news almost makes it an implicit and subliminal - which makes it all the more worrying. This is all achieved through language use and rhetoric.

This is just one of the instances of the applicability of studying language, as cognitivism, potentially dies away (although it will questionably never be left as a paradigm in the Kuhn sense) there is a door open for a post modern stance to psychology and human behaviour. But what about the Daleks? Exteriors aside, they have been one of the most famous villains and have played a monumental part in the longest running sci-fi show on the planet. Certainly in its old format before the return in the 2000's, they provided fear for the youth of the 60's, 70's and 80's. Originally their context has played a big part in why this is so, the 20th century was a turbulent decade. Here I've presented the case that they represent the power of language and how this seemingly human invention can be used more destructively than any gun or weapon. The Dalek's, though, also represent fear; the fear what made Orwell write 1984 - our fear of what we could turn into, emotionless beings ruled and conquered in a perpetual war zone.

Humans evolved to produce language, its what sets us apart from the rest of the animal kingdom, but we will continue to evolve, but in too what, and language is certain to be a prime factor in the moulding of our minds and societies. A future without emotions, would be a future a lot more frightening than a future without language.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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