of complicated system. Therefore, the deepest existential threat to our current civilization is our unwillingness to allow our collective systems for sensemaking to break down and take on new form. Sensemaking theory is concerned with how agents structure the unknown, why they structure it in a given way, and how that structure guides their actions. United States, Hearts of Darkness won several awards, among them the. One consequence of these characteristics is that causality is totally opaque to us in complex systems; we have no idea what causes what, and in what way.
It goes on too long, and I have to agree with Murch's original account of the passage as an "ultimately indigestible lump of political information yet somehow it belongs here, pushing the movie ever further from the terrain of the war film and closer. We still get Willard, wire-limbed and bendy with alcohol, punching the mirror in his Saigon hotel room, as if to destroy himself before the action gets under way; yet, throughout the revivified film, we feel Coppola and Murch exerting a slight, subtle pressure of the. Where did all the ideas go? But we should also remember how dangerous this. This disintegration hurls the shaman into the primordial unknown, where stimuli are stripped of all culturally assigned significance and are therefore both infinitely threatening and infinitely promising. According to Jordan Peterson, every step forward into the depths of the adaptive valley therefore has someaspect of the revolutionary descent into madness. It is simply out of the question, these days, that a major studio would allow a director, of any stature, to close a big-budget picture by effectively leaving it open, with all manner of monstrosity still writhing around inside; indeed, I felt a small, vulgar. "Apocalypse Now" was written by Coppola in conjunction with John Milius, and there are timesnot just the maniacal minutes of Kilgorewhen you can sense the director losing grip of his own political uncertainties and starting to quail before the sure, hawkish touch of the Milius.
That is why your heart breaks at the end, when Willard, having carved up the Colonel, finds the dazed and war-painted Lance, his sole fellow-survivor, takes him by the hand, and leads him away like a child. By descending into the valley, the shaman experiences the dissolution of the entire paradigmatic framework that organizes his society. Using the instruments of rationality, we chop up the flow of reality and construct mental models that orient attention to only those stimuli that can be rationally explained.