A statue of the victor of Bannockburn outside Stirling Castle. Photograph: Jeremy Sutton Hibbert
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The spirit of Bannockburn

Next year, a referendum on independence will determine Scotland’s future, but the country’s artists have already launched their own fight for freedom.

No one knows where exactly the Battle of Bannockburn was fought. Historians and archaeologists disagree. Some say the killing was done on the low flatland, or “carse”, where the Bannockburn flows into the River Forth; others say the higher ground, now covered in housing schemes, is more likely. We do know where Robert the Bruce planted his standard and set up his command post. It’s a few raised acres from where he would have been able to see everyone’s comings and goings. It was much more wooded 700 years ago, and Bruce and his men had spent months in the woods, training and preparing for the day the English appeared.

The site is now in the care of the National Trust for Scotland (NTS). It’s a national monument with a visitor centre and a clutter of memorials. I went there for the first time last September, at the invitation of the NTS. Finding the place was tricky; I had to cycle through housing schemes with speed bumps and corner shops. The site of the critical moment in Scotland’s history, when it secured its independence and confirmed its national identity, is hidden in plain view, sharing a driveway with a budget hotel. It’s not so much a place as an idea, of course. An attitude. I can’t recall how small I was when I first heard the name “Bannockburn”.

Seven or eight poets had been invited to this meeting, which was almost the last to be held at the visitor centre. It is now being demolished to make way for a new one. The new centre – we were shown the plans – will feature vernacular Scottish architecture, with snecked rubble walls, and will be constructed from local materials.

Inside, loud and interactive displays with moving figures will give visitors some small sense of the realities of medieval warfare. There will be plenty of “interpretation” and visitors will be reminded of Bannockburn’s crucial place in Scottish history. Public information will amplify the site’s resonances: freedom, resistance, triumph against the odds. Then, ears ringing and passions raised, visitors will go outside into the quiet, fresh air and make their way up the incline to the place where Robert the Bruce set his standard, and where stands a statue of him in battledress, mounted on a magnificent war - horse, staring defiantly south.

The area is laid out as parkland, with aven - ues of trees, and it is used as such by local people. Casual paths lead to the nearby housing estates; dogs are walked around the monuments. Aside from the statue, which stands a few yards off, there is another construction, which we learned to call “the rotunda”. It was this rotunda that concerned us poets.

It is a circle defined by a wall ten feet high, which encloses the very ground where the Bruce raised his flag. There are two wide gaps in the wall, orientated to frame vistas north and south. To frame vistas and concentrate the mind. North, the gap frames Stirling Castle on its rock, four miles away. This was Edward II’s objective. Had Stirling Castle been taken, Scotland would have fallen. That said, the road north was also Robert’s escape route. Apparently he didn’t know until the last moment whether he would engage or not and he had his getaway planned. The other gap looks south, over lower land, whence Edward’s army came with a wagon train 20 miles long.

Bannockburn was an unlikely triumph for the Scots. The English forces were vastly superior in number, but the Scots knew their own land. The Bruce had chosen well and trained hard; he made use of the forests, bogs and waterways around him. Driven into soft ground, the English horses floundered and so did the men. The Bannock - burn itself looks a small thing, but it’s a tributary of the Forth, and tidal. Across two days in June 1314, it filled with English dead. The historian Fiona Watson gave us a talk. “It was a disaster for the English,” she said. “Everyone in England would have known someone killed at Bannockburn.”

It was raining lightly as we made our way up to the rotunda. The land is not high – nothing compared to the splendid Ochil Hills a few miles north-east, but high enough to give a sense of landscape, of weather. From this point you can survey the same land as the Bruce did, if you can imagine away the traffic hum and houses. Surmounting the rotunda is an oak beam, which continues over the gaps to form an unbroken circle.

It was this beam that concerned us poets. The rotunda was built 50 years ago and the intention then was to carve an inscription on its inner face, but no inscription was ever made. However, with the anniversary and refurbishment of the monuments, the NTS was taking the opportunity.

Each poet was invited to submit an inscription; these would be made available on the NTS website so the public could voice an opinion. Then a panel of literary and NTS people would meet to choose one to be engraved on the monument.

We huddled in the rain, seeking shelter from the wind under the wall of the rotunda, and began to think about Bannockburn. It’s a potent site. The weight of history, the sobriety of the monuments, the weather and the light, the slaughter, resistance, the subsequent union, devolution, turns of fate, a refusal to submit, “freedom”, whatever that means – the whole Bannockburn thing was ours in a small way to redirect. What sort of gesture to make, what to say? In what language? In what tone? It needn’t mention the battle; it’s long over, and besides, the visitor centre will take care of all that. In my opinion, it needed something forgiven and forgiving, modern, aspirational, welcoming, mature, gracious – and Scottish, and all in a few short lines. The restored rotunda will be unveiled in 2014, which may or may not be another defining year in Scotland’s history.

It’s no surprise that 2014 is the year the SNP has chosen for the independence referendum. Perhaps they imagine that the anniversary of Bannockburn will arouse a claymore sentiment; that events of the 14th century will affect people’s brains. In some fantasy, they perhaps imagine the “independence” debate is akin to that gory feudal battle, which happened somewhere between a bog and a housing scheme, under the A91.

Neither is it a surprise that the NTS, in liaison with the Scottish Poetry Library, would recruit contemporary poets to the Bannockburn task; the association between poetry, song, national identity and historical and political moments is still acknowledged in Scotland. In fact, the writers and artists insist on it. It is a cherished half-truth that the success of the 1997 devolution bill was achieved partly by the work of writers and visual artists. In the years between the 1979 devolution referendum, which failed, and the one in 1997, Scotland invigorated itself, not in flag-waving but in self-interrogation and self examination. It was a vibrant time, culturally speaking. In 20 years a whole generation of Scottish novelists “wrote themselves out of despair”. It is often stated that this refreshed cultural autonomy played a part in securing political autonomy. The Scottish Parliament, suspended in 1707, reconvened in 1999. And now we are gearing up for an independence referendum to coincide with the 700th anniversary of Bannockburn.

It is a truth sometimes missed south of the border that many Scots distrust the Scottish National Party, including plenty who voted for it last time, and many of Scotland’s writers and artists. We know this because they say so openly. A few of the poets gathered at Bannockburn for that meeting are also represented in a new book called Unstated: Writers on Scottish Independence.

The book was edited by Scott Hames of Stirling University. Hames conceived of his book because of the poverty he detected in the present “debate” about independence. He noted the politicians’ apparent lack of interest in the culture that brought them to Holyrood in the first place. In the introduction he writes: “Before the party machines and newspapers settle the parameters of a bogus debate, there must be room for more radical, more honest and more nuanced thinking about what ‘independence’ means in and for Scottish culture.”

To do that thinking, he turned to 27 poets, novelists and playwrights. All have stated their case, vented their spleen, imagined what kind of Scotland they want and don’t want, decried the Scotland we already have. Most are old enough to have been around during the devolution campaigns of the 1990s. Some are incomers to the country, from England or Australia or elsewhere. The editor himself is Canadian.

So it was an interesting time for some of us, to compose a bit of “culture” for this great national monument, and also to contribute to a book which claims that “the political significance of these writers’ work is also at stake in the deepening of the conflation that equates Scottish identity with nationalism”.

The thing is, many Scots, myself included, have no problem distinguishing independence from nationalism, and will probably vote Yes in a referendum, not because of a Bannockburn sentiment, but in the knowledge that any Holyrood government need not necessarily be “nationalist”. Or anything else. We can boot them out. In an independent Scotland we could boot out any government that failed us. Imagine! It is not a contradiction to write an inscription for a monument that valorises Scottish resistance and identity, then vote Yes for independence but still hold the SNP in suspicion, not least because it is seeking to appropriate that Bannockburn spirit of resistance.

Several of the writers in Unstated make the same point. They will vote for an independent Scotland because they cannot see any other way to preserve the vestiges of our collectivism, and our cherished public services. We want to vote for common decency and our own maturity. An awful lot of English and Welsh people feel that way, too. We used to be able to make common cause with them through the labour and even communist movements. But not now. So, more in sorrow than in anger, many Scots will vote Yes.

In certain ways, in certain quarters, the country is behaving as if it were already in - dependent. Some people are testing out the shape of the new state, and the people’s relationship with it, even before it exists.

Take this example. In 2010, a mere two years ago, a new arts funding body came into being. Creative Scotland took the place of the old Scottish Arts Council and Scottish Screen. It was a Holyrood invention, initiated by Labour and then embraced by the SNP when it won its majority in 2011. You’d think, with those impeccable credentials, that Scottish artists and writers, those truculent upholders of cultural autonomy, would like it – albeit grudgingly. Conversely, you’d think that the Scottish arts funding body would know that the country’s artists are a gallus crew, who had thought deeply about culture, nationhood and autonomy. But no.

While some of us were getting rained on at Bannockburn and beginning to think again about just those issues, our fellow poet Don Paterson published an essay in the Herald newspaper last September. It was his con - tribution to Unstated. He had chosen not to address “independence”, at least not directly. His essay concerned Creative Scotland, and it became the opening salvo, or rather, the first swing of the broadsword, against that corporate body.

The chief executive of Creative Scotland was Andrew Dixon, who came from the NewcastleGates head Initiative and, before that, the Arts Council of England. Its director of creative development was Venu Dhupa, late of the British Council. They answered to Fiona Hyslop, the minister for culture. Paterson called their organisation a “dysfunctional ant-heap”, among other things. Among artists, dismay and alarm had been shared anecdotally for about a year, but soon things started moving. Within three weeks of Paterson’s essay, an open letter had been drafted and sent to Sir Sandy Crombie, the chair of Creative Scotland. The letter was signed by 100 artists (which figure soon rose to 400 once it went online). The signatories included Booker and Turner prizewinners, theatre directors, the Master of the Queen’s Music, poets, novelists, sculptors. Creative Scotland got a fright, as did Hyslop.

The letter deplored the body’s “lack of empathy and regard for Scottish culture”. It took exception to its impenetrable marketingspeak and noted that funding decisions were seemingly being taken by people with no knowledge of the art form in question. What it did not say, overtly, was that Scottish artists resent being treated as a business proposition. We are not a “cultural industries sector” that requires “investment” in accordance with a quango’s corporate strategy.

Behind Creative Scotland lies the Scottish government, led by the people Scott Hames calls “the electoral beneficiaries of a cultural mobilisation”. That cultural mobilisation was conducted by many of the same artists and writers now weighing in against the new Creative Scotland. Mass meetings of artists were held and committees were convened to discuss writers and artists’ objections. The most recent part of the campaign was the publication of a beautiful postcard. Printed on it was a “constitution”. A constitution on a postcard! Though unsigned, it was written by Don Paterson and the first lines are these:

We, the Scottish people, undertake
To find within our culture the true measure
Of the mind’s vitality and spirit’s health;
To see that what is best in us is treasured . . .

Both Dixon and Dhupa resigned after the artists’ backlash.

This is where it gets curious. You don’t bring down a quango with a constitution. But one looks through the quango to the political attitudes behind it. In this case, the artists were reaching beyond their inchoate funding body to the Scottish government itself and saying to Holyrood: listen, we writers and artists did not maintain cultural autonomy for 30 or 300 years, and achieve a devolved government, only to have that government treat us as a “sector” in its tour - ism promotions and business ventures.

Hitherto, Creative Scotland has demanded endless “celebration” from artists. Its Panglos - sian “Year of Creative Scotland” is over now, but has only been replaced by another government initiative: the Year of Natural Scotland, which requires artists again to “promote and celebrate”. The SNP’s website declares it is “committed to putting culture at the heart of our plans to develop Scotland’s overall prosperity”. Scottish Labour notes the nation’s creative talent and wants to “capitalise on this potential to become world leaders in the creative industries”. Alas for them, the country’s artists are not so keen to be national cheerleaders, or to be treated as means to economic ends.

The idea with the postcard was that you signed the back, maybe appended a message, and sent it to Fiona Hyslop. Hyslop is an SNP minister. Whatever the outcome of the independence referendum, there still will be a Bannockburn spirit in Scotland – a truculent bloody-mindedness. Her party may regret invoking it, when it starts arriving by the sackload on its doormat.

When I was writing my poem-inscription, I went back to Bannockburn alone, just to get a feel for the place and its relationship to the surrounding landscape. It’s not a spectacular site, just a flattened knoll, but the land seems to wheel around it and Bruce and his men would have been able to see what was coming. I went early in the morning while no one else was there other than a woman talking on her mobile as her dogs gambolled under the statue.

At the foot of the slope, cranes and workmen had arrived to begin the demolition of the old visitor centre and the building of the new. It will be ready, and the monuments polished up, in time for a grand reopening in 2014. There will be a re-enactment, God help us, which I presume the Scots will win, but no one will be killed.

As for the Union, that may or may not survive the referendum later next year. I won’t be laying any bets, but even if the vote is No my hunch is that the issue will return. The Battle of Bannockburn was a colossal, defining event. The move towards independence, on the other hand, is a process long and slow.

Kathleen Jamie’s most recent poetry collection is “The Overhaul” (Picador, £9.99)

This article first appeared in the 04 February 2013 issue of the New Statesman, The Intervention Trap

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Fitter, dumber, more productive

How the craze for Apple Watches, Fitbits and other wearable tech devices revives the old and discredited science of behaviourism.

When Tim Cook unveiled the latest operating system for the Apple Watch in June, he described the product in a remarkable way. This is no longer just a wrist-mounted gadget for checking your email and social media notifications; it is now “the ultimate device for a healthy life”.

With the watch’s fitness-tracking and heart rate-sensor features to the fore, Cook explained how its Activity and Workout apps have been retooled to provide greater “motivation”. A new Breathe app encourages the user to take time out during the day for deep breathing sessions. Oh yes, this watch has an app that notifies you when it’s time to breathe. The paradox is that if you have zero motivation and don’t know when to breathe in the first place, you probably won’t survive long enough to buy an Apple Watch.

The watch and its marketing are emblematic of how the tech trend is moving beyond mere fitness tracking into what might one call quality-of-life tracking and algorithmic hacking of the quality of consciousness. A couple of years ago I road-tested a brainwave-sensing headband, called the Muse, which promises to help you quiet your mind and achieve “focus” by concentrating on your breathing as it provides aural feedback over earphones, in the form of the sound of wind at a beach. I found it turned me, for a while, into a kind of placid zombie with no useful “focus” at all.

A newer product even aims to hack sleep – that productivity wasteland, which, according to the art historian and essayist Jonathan Crary’s book 24/7: Late Capitalism and the Ends of Sleep, is an affront to the foundations of capitalism. So buy an “intelligent sleep mask” called the Neuroon to analyse the quality of your sleep at night and help you perform more productively come morning. “Knowledge is power!” it promises. “Sleep analytics gathers your body’s sleep data and uses it to help you sleep smarter!” (But isn’t one of the great things about sleep that, while you’re asleep, you are perfectly stupid?)

The Neuroon will also help you enjoy technologically assisted “power naps” during the day to combat “lack of energy”, “fatigue”, “mental exhaustion” and “insomnia”. When it comes to quality of sleep, of course, numerous studies suggest that late-night smartphone use is very bad, but if you can’t stop yourself using your phone, at least you can now connect it to a sleep-enhancing gadget.

So comes a brand new wave of devices that encourage users to outsource not only their basic bodily functions but – as with the Apple Watch’s emphasis on providing “motivation” – their very willpower.  These are thrillingly innovative technologies and yet, in the way they encourage us to think about ourselves, they implicitly revive an old and discarded school of ­thinking in psychology. Are we all neo-­behaviourists now?

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The school of behaviourism arose in the early 20th century out of a virtuous scientific caution. Experimenters wished to avoid anthropomorphising animals such as rats and pigeons by attributing to them mental capacities for belief, reasoning, and so forth. This kind of description seemed woolly and impossible to verify.

The behaviourists discovered that the actions of laboratory animals could, in effect, be predicted and guided by careful “conditioning”, involving stimulus and reinforcement. They then applied Ockham’s razor: there was no reason, they argued, to believe in elaborate mental equipment in a small mammal or bird; at bottom, all behaviour was just a response to external stimulus. The idea that a rat had a complex mentality was an unnecessary hypothesis and so could be discarded. The psychologist John B Watson declared in 1913 that behaviour, and behaviour alone, should be the whole subject matter of psychology: to project “psychical” attributes on to animals, he and his followers thought, was not permissible.

The problem with Ockham’s razor, though, is that sometimes it is difficult to know when to stop cutting. And so more radical behaviourists sought to apply the same lesson to human beings. What you and I think of as thinking was, for radical behaviourists such as the Yale psychologist Clark L Hull, just another pattern of conditioned reflexes. A human being was merely a more complex knot of stimulus responses than a pigeon. Once perfected, some scientists believed, behaviourist science would supply a reliable method to “predict and control” the behaviour of human beings, and thus all social problems would be overcome.

It was a kind of optimistic, progressive version of Nineteen Eighty-Four. But it fell sharply from favour after the 1960s, and the subsequent “cognitive revolution” in psychology emphasised the causal role of conscious thinking. What became cognitive behavioural therapy, for instance, owed its impressive clinical success to focusing on a person’s cognition – the thoughts and the beliefs that radical behaviourism treated as mythical. As CBT’s name suggests, however, it mixes cognitive strategies (analyse one’s thoughts in order to break destructive patterns) with behavioural techniques (act a certain way so as to affect one’s feelings). And the deliberate conditioning of behaviour is still a valuable technique outside the therapy room.

The effective “behavioural modification programme” first publicised by Weight Watchers in the 1970s is based on reinforcement and support techniques suggested by the behaviourist school. Recent research suggests that clever conditioning – associating the taking of a medicine with a certain smell – can boost the body’s immune response later when a patient detects the smell, even without a dose of medicine.

Radical behaviourism that denies a subject’s consciousness and agency, however, is now completely dead as a science. Yet it is being smuggled back into the mainstream by the latest life-enhancing gadgets from Silicon Valley. The difference is that, now, we are encouraged to outsource the “prediction and control” of our own behaviour not to a benign team of psychological experts, but to algorithms.

It begins with measurement and analysis of bodily data using wearable instruments such as Fitbit wristbands, the first wave of which came under the rubric of the “quantified self”. (The Victorian polymath and founder of eugenics, Francis Galton, asked: “When shall we have anthropometric laboratories, where a man may, when he pleases, get himself and his children weighed, measured, and rightly photographed, and have their bodily faculties tested by the best methods known to modern science?” He has his answer: one may now wear such laboratories about one’s person.) But simply recording and hoarding data is of limited use. To adapt what Marx said about philosophers: the sensors only interpret the body, in various ways; the point is to change it.

And the new technology offers to help with precisely that, offering such externally applied “motivation” as the Apple Watch. So the reasoning, striving mind is vacated (perhaps with the help of a mindfulness app) and usurped by a cybernetic system to optimise the organism’s functioning. Electronic stimulus produces a physiological response, as in the behaviourist laboratory. The human being herself just needs to get out of the way. The customer of such devices is merely an opaquely functioning machine to be tinkered with. The desired outputs can be invoked by the correct inputs from a technological prosthesis. Our physical behaviour and even our moods are manipulated by algorithmic number-crunching in corporate data farms, and, as a result, we may dream of becoming fitter, happier and more productive.

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The broad current of behaviourism was not homogeneous in its theories, and nor are its modern technological avatars. The physiologist Ivan Pavlov induced dogs to salivate at the sound of a bell, which they had learned to associate with food. Here, stimulus (the bell) produces an involuntary response (salivation). This is called “classical conditioning”, and it is advertised as the scientific mechanism behind a new device called the Pavlok, a wristband that delivers mild electric shocks to the user in order, so it promises, to help break bad habits such as overeating or smoking.

The explicit behaviourist-revival sell here is interesting, though it is arguably predicated on the wrong kind of conditioning. In classical conditioning, the stimulus evokes the response; but the Pavlok’s painful electric shock is a stimulus that comes after a (voluntary) action. This is what the psychologist who became the best-known behaviourist theoretician, B F Skinner, called “operant conditioning”.

By associating certain actions with positive or negative reinforcement, an animal is led to change its behaviour. The user of a Pavlok treats herself, too, just like an animal, helplessly suffering the gadget’s painful negative reinforcement. “Pavlok associates a mild zap with your bad habit,” its marketing material promises, “training your brain to stop liking the habit.” The use of the word “brain” instead of “mind” here is revealing. The Pavlok user is encouraged to bypass her reflective faculties and perform pain-led conditioning directly on her grey matter, in order to get from it the behaviour that she prefers. And so modern behaviourist technologies act as though the cognitive revolution in psychology never happened, encouraging us to believe that thinking just gets in the way.

Technologically assisted attempts to defeat weakness of will or concentration are not new. In 1925 the inventor Hugo Gernsback announced, in the pages of his magazine Science and Invention, an invention called the Isolator. It was a metal, full-face hood, somewhat like a diving helmet, connected by a rubber hose to an oxygen tank. The Isolator, too, was designed to defeat distractions and assist mental focus.

The problem with modern life, Gernsback wrote, was that the ringing of a telephone or a doorbell “is sufficient, in nearly all cases, to stop the flow of thoughts”. Inside the Isolator, however, sounds are muffled, and the small eyeholes prevent you from seeing anything except what is directly in front of you. Gernsback provided a salutary photograph of himself wearing the Isolator while sitting at his desk, looking like one of the Cybermen from Doctor Who. “The author at work in his private study aided by the Isolator,” the caption reads. “Outside noises being eliminated, the worker can concentrate with ease upon the subject at hand.”

Modern anti-distraction tools such as computer software that disables your internet connection, or word processors that imitate an old-fashioned DOS screen, with nothing but green text on a black background, as well as the brain-measuring Muse headband – these are just the latest versions of what seems an age-old desire for technologically imposed calm. But what do we lose if we come to rely on such gadgets, unable to impose calm on ourselves? What do we become when we need machines to motivate us?

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It was B F Skinner who supplied what became the paradigmatic image of ­behaviourist science with his “Skinner Box”, formally known as an “operant conditioning chamber”. Skinner Boxes come in different flavours but a classic example is a box with an electrified floor and two levers. A rat is trapped in the box and must press the correct lever when a certain light comes on. If the rat gets it right, food is delivered. If the rat presses the wrong lever, it receives a painful electric shock through the booby-trapped floor. The rat soon learns to press the right lever all the time. But if the levers’ functions are changed unpredictably by the experimenters, the rat becomes confused, withdrawn and depressed.

Skinner Boxes have been used with success not only on rats but on birds and primates, too. So what, after all, are we doing if we sign up to technologically enhanced self-improvement through gadgets and apps? As we manipulate our screens for ­reassurance and encouragement, or wince at a painful failure to be better today than we were yesterday, we are treating ourselves similarly as objects to be improved through operant conditioning. We are climbing willingly into a virtual Skinner Box.

As Carl Cederström and André Spicer point out in their book The Wellness Syndrome, published last year: “Surrendering to an authoritarian agency, which is not just telling you what to do, but also handing out rewards and punishments to shape your behaviour more effectively, seems like undermining your own agency and autonomy.” What’s worse is that, increasingly, we will have no choice in the matter anyway. Gernsback’s Isolator was explicitly designed to improve the concentration of the “worker”, and so are its digital-age descendants. Corporate employee “wellness” programmes increasingly encourage or even mandate the use of fitness trackers and other behavioural gadgets in order to ensure an ideally efficient and compliant workforce.

There are many political reasons to resist the pitiless transfer of responsibility for well-being on to the individual in this way. And, in such cases, it is important to point out that the new idea is a repackaging of a controversial old idea, because that challenges its proponents to defend it explicitly. The Apple Watch and its cousins promise an utterly novel form of technologically enhanced self-mastery. But it is also merely the latest way in which modernity invites us to perform operant conditioning on ourselves, to cleanse away anxiety and dissatisfaction and become more streamlined citizen-consumers. Perhaps we will decide, after all, that tech-powered behaviourism is good. But we should know what we are arguing about. The rethinking should take place out in the open.

In 1987, three years before he died, B F Skinner published a scholarly paper entitled Whatever Happened to Psychology as the Science of Behaviour?, reiterating his now-unfashionable arguments against psychological talk about states of mind. For him, the “prediction and control” of behaviour was not merely a theoretical preference; it was a necessity for global social justice. “To feed the hungry and clothe the naked are ­remedial acts,” he wrote. “We can easily see what is wrong and what needs to be done. It is much harder to see and do something about the fact that world agriculture must feed and clothe billions of people, most of them yet unborn. It is not enough to advise people how to behave in ways that will make a future possible; they must be given effective reasons for behaving in those ways, and that means effective contingencies of reinforcement now.” In other words, mere arguments won’t equip the world to support an increasing population; strategies of behavioural control must be designed for the good of all.

Arguably, this authoritarian strand of behaviourist thinking is what morphed into the subtly reinforcing “choice architecture” of nudge politics, which seeks gently to compel citizens to do the right thing (eat healthy foods, sign up for pension plans) by altering the ways in which such alternatives are presented.

By contrast, the Apple Watch, the Pavlok and their ilk revive a behaviourism evacuated of all social concern and designed solely to optimise the individual customer. By ­using such devices, we voluntarily offer ourselves up to a denial of our voluntary selves, becoming atomised lab rats, to be manipulated electronically through the corporate cloud. It is perhaps no surprise that when the founder of American behaviourism, John B Watson, left academia in 1920, he went into a field that would come to profit very handsomely indeed from his skills of manipulation – advertising. Today’s neo-behaviourist technologies promise to usher in a world that is one giant Skinner Box in its own right: a world where thinking just gets in the way, and we all mechanically press levers for food pellets.

This article first appeared in the 18 August 2016 issue of the New Statesman, Corbyn’s revenge