Saturday, March 8, 2008

'Dexter' author set 'the rules,' but TV series takes its own route

Author Jeff Lindsay is no fan of horror novels, preferring biographies and historical fiction. He doesn't like scary movies and doesn't watch much TV except for the occasional episode of Dora the Explorer with his 4-year-old.

But on Sunday nights, he's tuning in to Dexter on CBS.

Dexter is based on Lindsay's novel Darkly Dreaming Dexter about a nocturnal serial killer named Dexter Morgan (played by Michael C. Hall). By day, Dexter works as a blood-spatter expert for the Miami police.

CBS picked up Dexter, a Showtime series, during the writers' strike. It has prompted some protests saying that a show that portrays a serial killer as likable — even if he kills only bad guys — has no place on broadcast TV.

What does Lindsay think of Dexter naysayers, including the television watchdog group objecting to its appearance on CBS?

"These are idiots who want to determine what we watch and don't watch," says Lindsay, who neither condemns nor defends Dexter's behavior. "I imagine that at the dark of the moon, they put on their brown shirts and go out goose-stepping."

House and CSI, Lindsay points out, are just as graphic as Dexter. CBS has had to edit out some of the adult language found in the Showtime series and in Lindsay's books. But, Lindsay says, " 'motherlover' is a pretty funny substitute for certain other words."

Lindsay is thrilled with Dexter's transformation from page to screen. "I love Michael C. Hall. When I first heard him read from the script, I thought, 'He's it. He's perfect.' "

Lindsay came up with the idea for Darkly Dreaming Dexter while attending a civics group luncheon in his home state of Florida. "An idea just popped into my head that a serial killer isn't always a bad thing." By the time lunch was over, he had outlined most of the story on a napkin.

The TV series' first season, now being aired on CBS, was based on Lindsay's first Dexter novel. Showtime's recently concluded second season was not based on Lindsay's novels, nor will the third be.

The creative separation between the scripts and his novels allows Lindsay (who co-wrote four other novels published in the 1990s) to write without considering how his books might translate to TV. A character who died in Season 2 of Showtime's Dexter, for example, is still alive in the fourth Dexter book, which Lindsay is now writing. Says Lindsay: "I know what an adaptation means."

Writers for the series, says executive producer John Goldwyn, create their own stories but stick to the spirit of Lindsay's creation. "Jeff gave us an incredibly rich template for all the characters, most profoundly and specifically the character of Dexter. Jeff, with that book and with that character, has established the rules. By that I mean 'The code of Harry (Dexter's adoptive father),' a very important thing — the idea that the kills are always righteous in their own way. That he does terrible things to even worse people. But also that kind of diffidence that lurks in his heart — 'Am I good? Am I bad? Can I have feelings, or do I not feel? I don't believe I feel?' — and yet in many ways he behaves very empathetically."

And as more TV viewers get to know Dexter, the popularity of the books may grow, too. The CBS broadcast premiere on Feb. 17 averaged 8.2 million viewers, roughly eight times more than the pay-cable Showtime audience. (Last Sunday's CBS viewership was 6.9 million.)

Lindsay, 55, who lives in South Florida, has been married for 20 years to writer Hilary Hemingway. Her father was Leicester Hemingway, Ernest's younger brother. Lindsay and Hilary knew each other as children, when their families took sailing vacations together. Their three daughters are 18, 12 and 4.

But Dexter is the man in his life. "I plan to keep writing about Dexter until someone tells me to knock it off."

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COMMENT: The idea that a born psychopath can be turned into a good person just by being given some guidance by a father with a conscience is a proven lie; just the latest attempt to position psychopaths as heroes in the minds of a polluted and confused public.

Now, if you'll excuse me, it's the dark of the moon, so I have to put on my brown shirt and go out goose-stepping.

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Wednesday, March 5, 2008

THREE-YEAR STUDY AT SEVEN MAJOR UNIVERSITIES FINDS STRONG LINKS BETWEEN ARTS EDUCATION AND COGNITIVE DEVELOPMENT

Washington, DC, March 4, 2008Learning, Arts, and the Brain, a study three years in the making, is the result of research by cognitive neuroscientists from seven leading universities across the United States. In the Dana Consortium study, released today at a news conference at the Dana Foundation’s Washington, DC headquarters, researchers grappled with a fundamental question: Are smart people drawn to the arts or does arts training make people smarter?

For the first time, coordinated, multi-university scientific research brings us closer to answering that question. Learning, Arts, and the Brain advances our understanding of the effects of music, dance, and drama education on other types of learning. Children motivated in the arts develop attention skills and strategies for memory retrieval that also apply to other subject areas.

The research was led by Dr. Michael S. Gazzaniga of the University of California at Santa Barbara. “A life-affirming dimension is opening up in neuroscience,” said Dr. Gazzaniga, “to discover how the performance and appreciation of the arts enlarge cognitive capacities will be a long step forward in learning how better to learn and more enjoyably and productively to live. The consortium’s new findings and conceptual advances have clarified what now needs to be done.”

Participating researchers, using brain imaging studies and behavioral assessment, identified eight key points relevant to the interests of parents, students, educators, neuroscientists, and policy makers.

1. An interest in a performing art leads to a high state of motivation that produces the sustained attention necessary to improve performance and the training of attention that leads to improvement in other domains of cognition.

2. Genetic studies have begun to yield candidate genes that may help explain individual differences in interest in the arts.

3. Specific links exist between high levels of music training and the ability to manipulate information in both working and long-term memory; these links extend beyond the domain of music training.

4. In children, there appear to be specific links between the practice of music and skills in geometrical representation, though not in other forms of numerical representation.

5. Correlations exist between music training and both reading acquisition and sequence learning. One of the central predictors of early literacy, phonological awareness, is correlated with both music training and the development of a specific brain pathway.

6. Training in acting appears to lead to memory improvement through the learning of general skills for manipulating semantic information.

7. Adult self-reported interest in aesthetics is related to a temperamental factor of openness, which in turn is influenced by dopamine-related genes.

8. Learning to dance by effective observation is closely related to learning by physical practice, both in the level of achievement and also the neural substrates that support the organization of complex actions. Effective observational learning may transfer to other cognitive skills.

As several of the consortium members stressed at today’s news conference, much of their research was of a preliminary nature, yielding several tight correlations but not definitive causal relationships.

Although “there is still a lot of work to be done,” says Dr. Gazzaniga, the consortium’s research so far has clarified the way forward. “We now have further reasons to believe that training in the arts has positive benefits for more general cognitive mechanisms.”

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COMMENT: SP's

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