The Behavioral Sink (2011)

If its growth continued unchecked, human society would succumb to nihilism and collapse, meaning the death of the species. Calhoun’s death-squared formula was for social pessimists what the laws of thermodynamics are for physicists. It was a sandwich board with “The End Is Nigh” written on one side, and “QED” on the other. Indeed, the plight of Calhoun’s rats and mice is one we easily identify with—we put ourselves in the place of the mice, mentally inhabit the mouse universe, and cannot help but see ways in which it is like our own crowding world.

This is precisely what Calhoun intended, in the design of his experiments and the language he used to describe them. Universe 25 resembles the utopian, modernist urban fantasies of architects such as Ludwig Hilberseimer. Calhoun referred to the dwelling places within his Universes as “tower blocks” and “walk-up apartments.” As well as the preening “beautiful ones,” he refers to “juvenile delinquents” and “dropouts.” This handy use of anthropomorphism is unusual in a scientist—we are being invited to draw parallels with human society.

And that lesson found a ready audience. “Population Density and Social Pathology” was, for an academic paper, a smash hit, being cited up to 150 times a year. Particularly effective was Calhoun’s name for the point past which the slide into breakdown becomes irretrievable: the “behavioral sink.” “The unhealthy connotations of the term are not accidental,” Calhoun noted drily. The “sink,” a para-pathology of shared hopelessness, drew in pathological behavior and exacerbated its effects. Once the event horizon of the behavioral sink was passed, the end was certain. Pathological behavior would escalate beyond any possibility of control. The writer Tom Wolfe alighted on the phrase and deployed it in his lament for the declining New York City, “O Rotten Gotham! Sliding Down into the Behavioral Sink,” anthologized in The Pump House Gang in 1968. “It got to be easy to look at New Yorkers as animals,” Wolfe wrote, “especially looking down from some place like a balcony at Grand Central at the rush hour Friday afternoon. The floor was filled with the poor white humans, running around, dodging, blinking their eyes, making a sound like a pen full of starlings or rats or something.” The behavioral sink meshed neatly with Wolfe’s pessimism about the modern city, and his grim view of modernist housing projects as breeding grounds for degeneration and atavism.

Wolfe wasn’t alone. The warnings inherent in Calhoun’s research fell on fertile ground in the 1960s, with social policy grappling helplessly with the problems of the inner cities: violence, rape, drugs, family breakdown. A rich literature of overpopulation emerged from the stew, and when we look at Calhoun’s rodent universes today, we can see in them aspects of that literature. In the 1973 film Soylent Green, based on Harry Harrison’s 1966 novel Make Room! Make Room!, the population of a grotesquely crowded New York is mired in passivity and dependent on food handouts which, it emerges, are derived from human corpses. In Stand on Zanzibar, John Brunner’s 1972 novel of a hyperactive, overpopulated world, society is plagued by “muckers,” individuals who suddenly and for no obvious reason run amok, killing and wounding others. When we hear of the death throes of Universe 25—the cannibalism, withdrawal, and random violence—these are the works that come to mind. The ultraviolence-dispensing, gang-raping, purposeless “droogs” of Antony Burgess’s novel A Clockwork Orange, which appeared in the same year as Calhoun’s Scientific American paper, are the very image of some of the uglier products of mouse utopia.

from Hacker News https://ift.tt/yhiSAW