Friday 7 October 2016

Bilibin's Letter About the Campaign - War and Peace

I enjoyed reading this section so much that I have decided to share it here.

It is 1805. The Russians have recently lost the Battle of Austerlitz against Napoleon and have since been retreating. Despite this obvious retreat, the Russian aristocracy continues to believe in the myth of Russian invincibility and dismisses the facts of war as the fault of incompetent allies.

Bilibin is a wry, skeptical yet very talented Russian diplomat, here writing from the front to a friend back home - Prince Andrei Bolkonsky.

For context - a few chapters before this letter was presented the following anecdote: a letter is received by the Russian Army from Napoleon; this letter causes some confusion because the chiefs of the army are unable to decide how to address the reply ('Your Majesty', 'Head of the French Government', 'General'?); finally, one character suggests, jestingly, to address Napoleon as 'Enemy of the Human Race'.

This is one of the funniest pieces of prose I have ever read.
Since the day of our brilliant success at Austerlitz, as you know, my dear prince, I never leave headquarters. I've certainly acquired a taste for war and it is just as well for me. What I have seen during these last three months is incredible. I begin ab ovo. The Enemy of the Human Race as you know attacks the Prussians. The Prussians are our faithful allies who have only betrayed us three times in three years; we take up their cause but it turns out that The Enemy of the Human Race pays no heed to our fine speeches and in his rude and savage ways throws himself on the Prussians without giving them time to finish the parade they had begun and in two twists of the hand he blows them to smithereens and installs himself in the Palace of Potsdam. 'I most ardently desire' writes the King of Prussia to Bonaparte 'that you should be received and treated in my palace in a manner agreeable to yourself and insofar as circumstances allowed I have hastened to take all steps to that end; may I have succeeded'. The Prussian generals pride themselves on being polite to the French and lay down their arms at the first demand. The head of the garrison at Glogau with ten thousand men asks the King of Prussia what he is to do if he is summoned to surrender. All this is absolutely true.
In short, hoping to settle matters by taking up a war-like attitude it turns out that we've landed ourselves in war and what is more in war on our own frontiers with and for the King of Prussia. We have everything in perfect order, only one little thing is lacking, namely a commander in chief. As it was considered that the Austerlitz success might have been more decisive had the commander in chief not been so young, all our octogenarians were reviewed and of Prozorovski and Kamenski the latter was preferred. The general comes to us, Suvorov-like, in a kibitka and is received with acclamations of joy and triumph. On the fourth, the first courier arrives from Petersburgh. The mail is taken to the field marshal's room, for he likes to do everything himself. I am called in to help sort the letter and take those meant for us. The field marshal looks on and waits for letters addressed to him. We search, but none are to be found. The field marshal grows impatien and sets to work himself and finds letters from the Emperor to Count T, Prince V and others. 
And he bursts into one of his wild furies and rages at everyone and everything, seizes the letters, opens them and reads those from the Emperor addressed to others. 'Ah. So that's the way they treat me. Ah. No confidence in me. Ah. Ordered to keep an eye on me, very well then, get along with you' so he writes the famous order of the day to General Bennigsen: 'I am wounded and cannot ride and consequently cannot command the Army. You have brought your army corps to Pultusk, routed: here it is exposed, and without fuel or forage, so something must be done, and, as you yourself reported to Count Buxhowden yesterday, you must think of retreating to our frontier- which do today'.
'From all my riding,' he writes to the Emperor, 'I have got a saddle sore which, coming after all my previous journeys, quite prevents my riding and commanding so vast an army, so I have passed on the command to the general next in seniority, Count Buxhowden, having sent him my whole staff and all that belongs to it, advising him if there is a lack of bread, to move farther into the interior of Prussia, for only one day's ration of bread remains, and in some regiments none at all, as reported by the division commanders, Ostermann and Sedmoretzki, and all that the peasants had has been eaten up. I myself will remain in hospital at Ostrolenka till I recover. In regard to which I humbly submit my report, with the information that if the army remains in its present bivouac another fortnight there will not be a healthy man left in it by spring. Grant leave to retire to his country seat to an old man who is already in any case dishonored by being unable to fulfill the great and glorious task for which he was chosen. I shall await your most gracious permission here in hospital, that I may not have to play the part of a secretary rather than commander in the army. My removal from the army does not produce the slightest stir - a blind man has left it. There are thousands such as I in Russia.'
The field marshal is angry with the Emperor and he punishes us all, isn't it logical? 
This is the first act. Those that follow are naturally increasingly interesting and entertaining. After the field marshal's departure it appears that we are within sight of the enemy and must give battle. Buxhowden is commander in chief by seniority, but General Bennigsen does not quite see it; more particularly as it is he and his corps who are within sight of the enemy and he wishes to profit by the opportunity to fight a battle 'on his own hand' as the Germans say. He does so. This is the battle of Pultusk, which is considered a great victory but in my opinion was nothing of the kind. We civilians, as you know, have a very bad way of deciding whether a battle was won or lost. Those who retreat after a battle have lost it is what we say; and according to that it is we who lost the battle of Pultusk. In short, we retreat after the battle but send a courier to Petersburg with news of a victory, and General Bennigsen, hoping to receive from Petersburg the post of commander in chief as a reward for his victory, does not give up the command of the army to General Buxhowden. 
During this interregnum we begin a very original and interesting series of maneuvers. Our aim is no longer, as it should be, to avoid or attack the enemy, but solely to avoid General Buxhowden who by right of seniority should be our chief. So energetically do we pursue this aim that after crossing an unfordable river we burn the bridges to separate ourselves from our enemy, who at the moment is not Bonaparte but Buxhowden. General Buxhowden was all but attacked and captured by a superior enemy force as a result of one of these maneuvers that enabled us to escape him. Buxhowden pursues us- we scuttle. He hardly crosses the river to our side before we recross to the other. At last our enemy. Buxhowden, catches us and attacks. Both generals are angry, and the result is a challenge on Buxhowden's part and an epileptic fit on Bennigsen's. But at the critical moment the courier who carried the news of our victory at Pultusk to Petersburg returns bringing our appointment as commander in chief, and our first foe, Buxhowden, is vanquished; we can now turn our thoughts to the second, Bonaparte. 
But as it turns out, just at that moment a third enemy rises before us- namely the Orthodox Russian soldiers, loudly demanding bread, meat, biscuits, fodder, and whatnot! The stores are empty, the roads impassable. The Orthodox begin looting, and in a way of which our last campaign can give you no idea. Half the regiments form bands and scour the countryside and put everything to fire and sword. The inhabitants are totally ruined, the hospitals overflow with sick, and famine is everywhere. Twice the marauders even attack our headquarters, and the commander in chief has to ask for a battalion to disperse them. During one of these attacks they carried off my empty portmanteau and my dressing gown. The Emperor proposes to give all commanders of divisions the right to shoot marauders, but I much fear this will oblige one half the army to shoot the other.
Have you ever read anything more delightful? I love Tolstoy.

Thursday 6 October 2016

Knowing Feelingly


The other week I watched a video where composer Rob Kapilow quoted Yip Harburg as having once said "words make you think thoughts, music makes you feel a feeling but a song makes you feel a thought". I reckon design has a similar ambition. When you walk through a Palladian archway or use a Philippe Starck juicer or swipe to dismiss a notification, the design helps you feel a thought (calm, playfulness, ease). Successful design creates the satisfying sensation of innate mastery, of (to paraphrase King Lear) knowing something "feelingly".

This "knowing feelingly" is a wonderful and immensely useful idea because humans suffer grievously of forgetfulness. Our minds are like sieves. Names, facts, dates, aphorisms, the sorrows of loved ones, the humanity of others, the steps of formatting an Excel spreadsheet and the principles of a virtuous life - we forget and forget and forget.

The frailty of memory is a designer's worst nightmare because she desperately needs you to learn how to use her product, yet must teach you do to so in the design alone. Sure, there are user manuals, there are tooltips and forums and Google, but the most successful products are often those which don't require anything besides themselves. Somehow we guess to switch off the radio by rotating the volume dial anti-clockwise until it clicks; we pinch to zoom, we push to walk through doors without a handle. These designs succeed because they talk directly to the senses, make use of habits and meet our expectations, without placing additional burden on our already strained, exhausted conscious minds.

From reading 'The Design of Everyday Things' by Don Norman it would seem that in design the common trick for dealing with faulty human memory is to put some of the knowledge required into the surrounding world. Of course, planting memory cues around ourselves is common practice: we make use of notes, reminders, calendars, assistants and apps of every kind. Yet design does do something more. Where most of these signals still require an engagement of our conscious mind (we need to read the text from the note on our dressing mirror that reminds us to 'be kind today' and deliberately place ourselves in that frame of mind), design knows this is ineffective. Conscious thought is effort habitually shirked. So design uses external cues that talk primarily to the subconscious mind. Icons, art, photography, music, rituals, tattoos. Removing handles from doors which can only be pushed, embedding the notion of serenity into the very shape of a building. These are things which make us feel thoughts. It's the thoughts we feel that we remember longest.

Don Norman postulates also that great design works on three levels: visceral, behavioural, reflective. The visceral level is where our senses are intimately satisfied, because the thing is pleasurable to touch, smell, hear, hold or look at. Design at the behavioural level means that it makes good use of our existing habits (meaning skills) and expectations (meaning experience) so we can master it without extensive premeditation (meaning in flow, as satisfying and intuitive as playing an instrument or riding a bike). The reflective level is where we find the product embodies our values: an electric car with a low emissions footprint or a responsibly sourced piece of furniture.

I think these levels - visceral, behavioural, reflective - go from least to most forgetful. Advertising needs constantly to remind us that something is fair trade or organic or for a good cause, but the smell and taste and touch and look of a product are inherent. The more meaning can be communicated in the first two levels, the more immediate and longer lasting its understanding.

Furthermore, it occurs to me that the visceral, besides being more immediate and harder to forget, has yet another quality: it regenerates. By this I mean that although we become desensitised to physical sensations in the short term, going away for any length of time makes the sensations once more as fresh as ever. We might tire of feeling proud of our low-emissions cars or responsibly sourced bedsteads, but we can never tire of beauty, flavour, scent or sound. No matter how much sunshine we experience, we will always want more. Perhaps this is why art, as Proust will have it, helps us discern with new eyes: it is the visceral component that reminds us to perceive anew.

So we forget, but forget slower and tire less of those things which we get to know feelingly. Design, like art, embeds this knowledge in the surrounding world whence it may be readily retrieved any time we need to find our way reliably back to an important idea. And the most lasting representations are those which at once seduce the senses, engage habits and expectations and stir reflection in the conscious mind. So instead of that inspirational quote on the dressing mirror, perhaps we should instead surround ourselves with embodiments of thoughts - through art, design and certain other people.