Monday, December 20, 2021

Food and Human Behaviour


 

  Lapham’s Quarterly IV-3: Food (2011) All human societies have devised rules, customs, conventions, and moral judgements about food. There some constants: One must compliment the host on their generosity in sharing food, and their skill in its preparation. One must demonstrate that one knows the best table manners. One must show appropriate restraint in eating. One is permitted or required to display good taste in the table settings. One must be on one’s best behaviour either as host or as guest.
    Just how these requirements defined and met in different times and places makes for entertaining and instructive reading. There also some recipes. Here and there, the selections hint at what underlies our species-specific elaboration of food-related behaviours: we’re an omnivorous social species, who would fight over our food without these restraints on our behaviour. ****

The Sea


  Lapham’s Quarterly VI-3: The Sea (2013) Lapham’s family operated a shipping company in California. One of his earliest memories is of watching one of the family-owned ships breaking up on the rocky California coast. Most of the people in it survived, but Lapham was duly impressed by what he saw. His introductory essay-cum-memoir to this collection is alone worth the price of the magazine. The rest reminds us that we humans have at best merely survived on the seas, which we know we have never subdued as we believe we have subdued the land.
     The collection tells a great deal of first hand experience. Recommended for any landlubber who wants to know why they don’t want to sail the seas, and for any seafarer who wants to relive the exhilaration and terrors of sailing. ****

Money: its invention and history

 

 Lapham’s Quarterly I-2: About Money (2008) Compiled just before the financial collapse of 2008, this collection nevertheless covers all the main points, both as theoretical discussion and as evidence for the theories. Herewith a few stray thoughts prompted by this collection.
     Money is said to be a means of exchange, a measure of value, a standard of deferred payment, and a store of value. Historically, the means of exchange came first, approximately 6000 years ago in Mesopotamia. But a means of exchange is possible only if there is also an agreed measure of value, so those two aspects of money are fundamentally the same. The transition of material specie to abstract money happened via letters of credit and bank notes. Both of these were written promises to pay specie “on presentation” of the letter or note.
     In short, the value of money is what we (more or less unanimously) agree it is. That value is basically what we can buy with it. Unfortunately, money has also been treated as a commodity. In fact, a web search on “money” tosses up several sites that state that money is a commodity.
     The “labour theory of value” claims that money  measures the amount of labour needed to provide some good or service. The problem with that notion is that the price of some types of labour may be well below their value as measured in comparison with other types of labour. What’s more, pretty well everybody believes they are underpaid compared to what many, perhaps most, other people are paid for their labour.
     None of the common definitions of money get to the heart of the matter: Money is a system of universally accepted IOUs. A $10 bill shows that you provided $10 worth of goods or services, and hence are owed $10 worth of goods and services in exchange.
     There is fundamental confusion around the notions of value, cost, and price, terms which are often used interchangeably, and (worse) any one of which is often used to express different meanings in the same discussion. If economists could agree on fixed definitions of these terms, economics might actually become the science it aspires to be. As it is, much economic theory consists of ad hoc formulas used to “prove” that some political notion or other is an objective truth. Thus the claim that prices rise and fall according to “market forces”, while in fact some people ask for more money, and other people agree or refuse to pay more. The Law of Supply and Demand is supposed to explain how this works, but in fact the rise and fall in prices has to do with the psychology of the buyer and seller, which includes many more factors than the awareness of scarcity and abundance. It also has to do with market dominance, a polite phrase for monopoly. It is a commonly overlooked irony of “free market competition” that its aim is to eliminate competitors.
     My working definitions are:
Cost: the sum of materials, energy, and human labour required to produce some good or provide some service.
Price: The amount of money the vendor is willing to sell for.
Value: The amount of money the buyer is willing to pay.
     Cost is objective: it can be measured. Price and value are subjective: they exist only in the minds of seller and buyer. The so-called law of supply and demand begins there.
     One of the first of Lapham’s collections, but already excellent. ****

Saturday, December 18, 2021

Mixed media on paper 2021-12


 

 

 Mixed media on paper [© W. Kirchmeir] Water colour and collage over laser print.

Monday, December 13, 2021

Why art?

 


 Why Art?


I came across this quote of Jack Chambers after I’d written everything following it. I think Chambers is right: the desire to share one’s delight in the world is fundamental. I think that we make art for the same reason we do science: We want to make sense of the world. We want to perceive meaning. With both science and art we attempt to organise our experience into shapes that feel orderly and significant, which is a pompous way of saying we want to account for the unaccountable fact that we perceive beauty and truth. Keats equates beauty with truth. That’s also what mathematicians claim. Anyone who makes or performs any kind of art knows that it’s true. All art on this page made by me.

“The artist may hope to redeem man’s reality by showing him the world as it looks when it is loved.” (Jack Chambers, ca. 1978)

Why art? Many years ago, I took a course in the philosophy of art, and that was one of many questions that it didn’t answer. Psychology and anthropology note that the making of art is species-specific, and that it figures in everything from attracting a mate to shaping religious ritual to asserting social status. Does that mean that art has only such utilitarian functions, or is there something more to it?


Another question was the value of expertise. Does it or does it not increase one’s pleasure? Is there such a thing as educated taste? After all, how do you differentiate the pleasure derived from educated taste from that of untutored delight? As the man-in-the-street is supposed to have said, “I don’t know anything about art, but I know what I like.” And why should the taste of the person knowledgeable in the history of some art determine what’s worth looking at or reading or listening to? Isn’t educated taste just someone else’s taste that for some reason one deems superior to one’s own? Besides, educated taste looks suspiciously like the taste of people who can pay more for art than you can afford. What do rarity and price have to do with the value of art? Isn’t a lot of great art simply that which the privileged classes patronise?

What’s a classic? Isn’t it just some old work that has found admirers many years or centuries after its first audience has died off? Or maybe it’s just what the sons and daughters of privileged families have read during their expensive university education, and which now functions as a signal of belonging to that class of people.


Besides, aren’t popular literature, painting, theatre and music popular precisely because most people haven’t benefitted from the training in taste and insight their social betters have received?


As you can see, these questions all implicitly assume some answer to the question, Why art?

2021-12-13


 






Thursday, November 11, 2021

Remembrance Day 2021: 100 years of poppies.

 


On Remembrance Day, I'll post this link to a song about war.

This year is the 100th anniversary of the poppy a symbol of remembrance.

Thursday, November 04, 2021

Perils on a Nile Cruise: Night Train to Memphis (Peters)

 


Elizabeth Peters. Night Train to Memphis (1994) Vicki Bliss (PH.D.) yields to entreaties to go undercover as an expert on Islamic Art in order to catch a thief. She thinks the thief is her occasional lover and opponent Sir John Smythe (one of his aliases). She’s wrong of course, but it takes a heap of complications, numerous villains, a psychopathic female, misunderstandings, hair’s-breadth escapes, etc, before she discovers and faces the truth, which is that she truly, truly loves him (obvious from the  beginning, so telling you that isn’t a spoiler).
     Fun, a nicely done mix of entertainment and education in Egyptian archaeology. Snappy writing, dialogue that moves the story along at a brisk pace, and of course enough soppy romance to satisfy fans of that genre. The dust cover shows an American diesel engine, not an Egyptian one. The train doesn’t actually figure except as a background means of getting a character to a crucial place and time. Above average of its type. **½

Friends and foes (Lapham's Quarterly VIII-1 and XIV-2)

 

Lapham’s Quarterly VIII-1: Foreigners. (2015) Humans are possibly the most social animals in existence. We nurture each other from cradle to grave. Very few other animals behave similarly, chimpanzees and elephants being both the most well known and almost the only ones. We have strong instincts for bonding with each other. The complement is an equally strong instinct to distrust whoever is not of our group. Hence “foreigners”. Just as all human groups have customs and rules shaping behaviour towards fellow group members, all human groups have customs and rules about how to behave towards outsiders. The fact that these differ in detail doesn’t disguise the fact that the distinction between Us and Them is common to all social animals.
     Unlike other animals, we talk about what matters to us. Lapham and his team have assembled what looks like a representative collection of past and present writings and pictures about the Foreigner. One thing stands out to me: to enable any kind of non-violent interaction with foreigners, they are, at least temporarily, made members of the group. The distinction between Us and Them is not forgotten, but is firmly pushed into second place. A guest is one of us while they are with us. If a foreigner becomes a permanent guest, the some more or less formal ceremony acknowledges that they are now one of us.
     A tangential thought: we humans mark changes in social status. For example, a child becomes an adult. The initiation rites that mark this change are like the rites that mark the change from foreigner to insider.
     Personal note: I have felt like an outsider wherever I have lived.
     A good collection, as always. **** 

 

               
Lapham’s Quarterly XIV-2: Friendship. (2021) C. S. Lewis calls Friendship one of the Four Loves. He sees a common feature: Care and concern for some other person’s welfare. In Friendship, that begins with the awareness that the friend shares come source of joy or delight. The concern is then that the friend may enjoy that common delight as much as one does oneself. Hence a concern that they have the same resources, and hence a willingness to share. That willingness can widen to sharing anything and everything one has, which implies that Charity is next to Friendship. Lewis goes on to discuss Eros and Agape. His book is worth reading more than once.

    This collection doesn’t distinguish between friendship and charity, except perhaps in the sense that friendship may be charity focused on the few people we call our friends. Nevertheless, we read many testimonies to the power of friendship, and how for many people it was more important than family, or social or political alliance. We also read how, when mixed with social or political allowances, it can become corrupted, and an occasion for betrayal. The unkindness of a treacherous friend stings as sharp as the serpent’s tooth.
     Another good collection. ****



Thursday, October 21, 2021

Grimes experiments with poetry (Send Bygraves!)

 


 

Martha Grimes. Send Bygraves (1989) A tour de force: a series of poems that tell the story of a murder and the involvement of Bygraves, an elusive detective. Each segment experiments with a different verse form. The result is a series of sketches or set pieces that together provide a handful of way-stations on the road from suspicion to moderate certainty. I started reading this some years ago, and couldn’t get past the first few pages. This time I managed to persevere to the end. What kept me reading wasn’t the story, but curiosity about how Grimes would fit her tale to each set of poetical conventions and restraints. Her experiments are generally successful. I still don’t know exactly what the story was about, or how Bygraves did or did not solve the puzzle. I did suss that Bygraves is called but never answers.            
     A nicely made book, with an illustrated hardcover, interesting illustrations (which may elucidate the tale, but I’d have to re-read to figure out whether and how), and deckle-edged pages of excellent paper. A gift item suitable for Grimes fans, I suppose. Not a keeper. **

Two by L'Amour: A soft-spoken hero, and a tarnished knight.

 

Louis L’Amour. Guns of the Timberlands (1955) Jud Devitt, a man used to getting what he wants, arrives at Tinkerville. He aims to get at the timber upstream of Clay Bell’s ranch. The plot is complicated by a local man with a hidden agenda, Devitt’s fiancee Colleen Riley, and a motley crew of lumberjacks, outlaws, upstanding citizens, cowhands with dubious pasts, and so on. L’Amour allows himself editorial comments on the need for law, order, and fair dealing. Bell is good with his fists as well as his guns. He wins, of course, and gets the girl, too. A good entertainment, made into a movie in 1960. **½


Louis L’Amour. The Quick and the Dead. (1975). Duncan McKaskel and his family are travelling west. A passel of bandits want the loot in McKaskel’s wagon, and his wife Susanna. Con Valian meets up with them, tells them they will need to fight to preserve their lives and their possessions. McKaskel believes in negotiations with reasonable people. He’s wrong, and the story tells of his unwilling acceptance of the facts of life on the lawless frontier. Valian sticks around, despite himself.
     The reluctant knight in tarnished armour is a common figure in L’Amour’s novels, as is the Easterner endangered by his blithe assumptions of safety. L’Amour’s great skill is varying the stories, enough that I’m never bored reading them. This was also made into a movie, starring Sam Elliot. I’ve watched it, see my review elsewhere on this blog. ***

Sunday, October 10, 2021

Maurice Sendak: Two for beginning readers

 

Two by Sendak: In the Night Kitchen and Chicken Soup With Rice. Maurice Sendak had the gift of remembering what it’s like to be child, and so to know what kind of story appeals to children – not the ones concocted by authors with M. Ed degrees anxious to teach both reading and suitable life lessons. Sendak also knew how to make his pictures not merely illustrations but integral parts of the story.
     In the Night Kitchen tells a dream, in which Mickey falls into the kitchen under his house, where the bakers are busy baking bread and rolls. The bakers look remarkably like Oliver Hardy, and make a Mickey cake, from which he escapes. Chicken Soup With Rice praises that estimable dish in verses that tell us how it suits each month of the year. Well done, very good for beginning readers. Fantasy, clever rhymes, surprising ideas, what more could one want? ****


 

Political Satire. It's a page-turner! (The Best Laid Plans by Terry Fallis)


 

Terry Fallis. The Best Laid Plans (2007) Who’da thunk a political novel could be a read-through page-turner? Well, almost, I don’t set aside enough time to read through the whole book in one sitting. I did anticipate the pleasure of taking up where I left off, which was always rewarded.
     Daniel Addison leaves political hack work when he discovers his lover in the House Leader’s office having a non-political encounter. Broken-hearted, he retreats into academe. But one last political job must be done before he can relax and enjoy teaching and research. He must find a Liberal who is willing to stand in a riding certain to be lost to one of the most popular Conservative Finance Ministers ever to wear shiny new shoes on Budget Day. He manages to find one, his landlord Angus McLintock, an engineering prof doomed to teach English For Engineers. Daniel proposes a deal: He’ll teach the course if Angus will stand for the Liberals. Assured that he will lose, Angus is happy to oblige.
     And so begins an engaging story of how McLintock wins (what else did you expect?), Addison heals his broken heart (ditto), and various other characters receive their just poetical desserts. Not quite as funny as I expected from a book winning the Stephen Leacock Award, but slyly satirical, robustly indignant, sappily romantic, unobtrusively informative, with enough witty asides to satisfy my taste for irony. It was also the 2011 winner of Canada Reads, a CBC-sponsored competition in which miscellaneous celebrities argue for their book. I’ll add my recommendation to whoever promoted this one. ****

Glossary: Riding = electoral district. Shiny new shoes = Canadian political tradition, the Finance Minister wears brand new shoes when introducing the Budget. CBC = Canadian Broadcasting Corporation.

Two by Feynman: Occasional pieces add up to an autobiography

 

Feynman explaining one of his diagrams, and s couple of helpful hints for his students

Richard P. Feynman. Surely You’re Joking, Mr. Feynman? (1985) Feynman’s memoirs, recorded, assembled and edited by his student and friend Ralph Leighton.
     Feynman is one of my heroes. Ever since I heard his anecdote about how his father showed him the difference between knowing words and knowing things, I’ve been hooked on his straightforward common sense. I don’t understand his contributions to quantum mechanics, because I can’t do the math of quantum mechanics. But I understand that his approach to making sense of the world works.
     He was an intensely curious man. If he came across something he didn’t understand, he tried to figure it out. The puzzles that he loved most were about physics, but he also strove to make sense of art (he learned to draw, which trained his perception well enough that he could tell the difference between a Raphael and painting by one of Raphael’s students). He wanted to understand dreams, and how we can make images when we don’t have sensory stimuli to prompt perception (he died before fMRI scans provided the basis for an answer). He wanted to understand hallucinations, and spent several sessions in Dr Lilly’s sensory deprivation tanks.
     He liked mastering gadgets, earning pocket money as a boy by fixing broken radios. He wanted to master drumming, so he practiced, practiced, practiced. He did the same with combination locks used on file cabinets at Los Alamos when he worked at the Manhattan Project, demonstrating how insecure they were, which eventually prompted the authorities to buy better safes. (He tells how a big-wig colonel who wanted the best safe for himself didn’t bother resetting the combination from the factory setting, thus proving well before computers that the greatest weakness in any security scheme is the human being). When he discovered something that mattered to him, he changed his behaviour: when he was still a young man he stopped drinking because he didn’t want to screw up his thinking machine.
He didn’t suffer fools gladly, especially when they came on stage with pompous claims to scientific rigour. His Caltech commencement address dissected “cargo cult science”, of which he found depressingly many examples in the social sciences. He didn’t like what receiving the Nobel Prize did to his reputation: he found his fame was used by many institutions to attract audiences. To have a Nobelist as a guest speaker reflected glory on the sponsor. Feynman hated that.
     I’ve heard Feynman speak on recordings and in videos available on YouTube. Reading this book, I heard his voice again. A wonderful book by a wonderful human being. ****


Richard P. Feynman. “What Do You Care What Other People Think?” (1988) More memoirs, lectures, and anecdotes, as well as letters, sketches, and reports. Part 1 includes the title piece,  Feynman’s memoir of his first wife Arlene, who died of tuberculosis of the lymph glands. Part 2 is a dossier of his participation in the Challenger investigation. His key insight, that the rubber sealing rings in the booster joints could not adapt to cold temperatures, was prompted by his Pentagon minder, a General Kutyna, who was savvy in the ways of Washington, and so was able to give Feynman the hint that set him on the trail. The book also includes photographs, badly printed, but good enough to get an impressions of people and the occasion.
     Two things stood out for me. First, that Feynman was a private man, who took great care in showing only what he wanted to show of his inner life. His love for his wives and his family nevertheless comes through, as do his essential playfulness, and his fierce love of the truth. Then there’s his integrity. He won’t fudge the truth as he sees it, nor will he pretend certainty where there is none. A remarkable man. ****


 

Thursday, September 23, 2021

Judy Martin, textile artist.


OK, this is an excuse to post a photo of Judy Martin, a textile artist who lives on Manitoulin Island. See her latest blog entry here

She describes the inspiration for her work, and posts many, many photos of it. Enjoy!

The photo shows Judy at Four and Friends, Bruce Mines, July 2008.




Sunday, September 19, 2021

Cicero didn't say this, but it's still worth a comment or two.

 


A statement allegedly (1) by Marcus Tullius Cicero (January 106 – 7 December 43 BC):

The Budget should be balanced, the Treasury should be refilled, the public debt should be reduced, the arrogance of officialdom should be tempered and controlled, and the assistance to foreign lands should be curtailed, lest Rome will become bankrupt.
People must again learn to work instead of living on public assistance.


Cicero lived in an empire, which was rich enough to pay the costs of military occupation and administration of the (ever longer) supply chains that sustained Rome. Whoever put these words in his mouth thought as if Cicero lived in a subsistence economy, one that's barely able to meet the needs of its citizens. They were wrong. (2)

We live in an economy capable of even greater over-production than Rome. We make too much, but we still think about our economy as if we can't make enough (3). That causes a lot of stupid decisions, whose effects are now becoming clear: Too many people (4), too much production and consumption, too much exploitation of natural resources (5), etc, all of which are the causes of the climate crisis, the ecological crisis, and the many sociopolitical crises around the world. The only question left is which crisis will destroy our way of life first, and just how bad it will be. If we don't learn to think differently, we won't adapt fast enough to survive in anything remotely like our present way of life (6).

Having made such gloomy pronouncements, I still wish you a good day. :-)

Footnotes:
1. From https://checkyourfact.com/2019/08/19/fact-check-cicero-quote-budgeting-treasury-public-debt/
“The quote does not appear in any of Cicero’s surviving works. It actually comes from best-selling author Taylor Caldwell’s novel about ancient Rome.”

2. Any empire capable of maintaining itself for any length of time clearly was capable of producing far more than its citizens needed. Rome had about three times as many “statutory holidays” (several of them lasting two or more days) as we have, thus a much shorter working year. Even slaves got some time off on those holidays.

3. The USA spends over a trillion dollars per year on its armed forces and the wars they fight.

4. In my lifetime, the Earth’s human population has grown more than fourfold. 1940: about 2 billion.  2021: over 8 billion.

5. It’s likely that there won’t be enough food to feed all humans being sometime between 2025 and 2050.

6. Just how different will it be? Best case: Something like a medieval life-style for the survivors: small farms producing enough food to sustain the necessary artisans and traders in the settlement. Worst case: back to the stone age, with perhaps some of the survivors being able to scavenge useful materials like iron from the ruins.

Update 2021-09-23: Typos fixed, and a couple of clarifying edits.

Monday, September 13, 2021

Numbers (Andrew Hodges: One To Nine)


 Andrew Hodges. One to Nine (2007) Hodges takes each of the first ten natural numbers (including zero in the chapter about The Unloved One), and talks about their significance and meanings. It’s mostly about the math, but Hodges has a large store of cultural relevance to share as well. Again, much of that is about the math: It took a surprisingly long time moving from the practical use of negative numbers to denote debts in casting accounts to the acceptance of their places in mathematics. The same is true of complex numbers, which were still labelled “imaginary numbers” when I was in middle school.
     Hodges writes an easy style, which should give this book a wide audience. But his inclusion of real math and problems for the reader to solve will limit his audience to those with enough math background to understand his narrative, even if only vaguely. Luckily, I am one of those. I enjoyed the book, skipped almost all the problems, and followed the math far enough to get the flavour of that which was beyond me. A tasty treat. ***

Tuesday, September 07, 2021

A wife goes missing, and DCI Barnaby must find her.


 

Caroline Graham. Faithful Unto Death (1996) A woman disappears, then a ransom note from her kidnappers demands 50,000 pounds. Her husband apparently suicides, but a couple of oddities attract DCI Tom Barnaby’s attention. Murder it is. And so a well-done police procedural proceeds.
   Graham’s Barnaby is a lot like DCI Wexford, but his sidekick DS Tory is nothing like Wexford’s DI Mike Burden. Like Rendell, Graham has a sharp eye for human frailties and self-delusion, but a much more acid tongue. I get the impression that she would have preferred to write a comedie humaine: the crime and its investigation are a pretext for character analysis and moral commentary. She has the gift of making every sentence and paragraph count: apparently throw-way asides add to ambience, sharpen context, clarify relationships, shift point of view. A good read. ***

Monday, September 06, 2021

What is Life? A comment on viruses.


There have been many definitions of “life”. I think the simplest definition of life is this one: Life a system that acquires the substances and energy needed to continue to exist and to reproduce. If it fails to do this, it ceases to exist. Any such system is an organism.

By that definition, a virus is alive. It’s the simplest form of life: a packet of genetic information that drifts about until it latches onto a cell that it can invade. It then uses the cell to acquire the substance and energy it needs in order to reproduce.

Since a virus needs another organism to survive and reproduce, it is a parasite. Most parasites either do not harm their hosts or provide some benefit. A few (mostly microbes) are necessary for their host’s well-being and even continued existence. A few parasites harm their hosts, and some kill their hosts. A parasite species will survive only if its hosts do not die out.

It’s likely that many viruses, like many microbes, are not merely beneficial but necessary for their hosts’ well being. We know enough about bacilli, for example, to know that without them, we humans would have trouble digesting much of our food. We don’t know that much about viruses. But we do know that some of them kill bacteria that are dangerous to us. We also know that viruses can transport bits of DNA between species, and that this sometimes results in beneficial changes to an organism’s genome.

What all this amounts to is that we are woefully ignorant of viruses’ roles in the web of life. The handful that bother us create the impression that we would be better off without them. That is certainly false. We just don’t know enough. Yet.

Footnote: Very early on, some programmers wrote small programs with a rather strange property: they would use the computer’s operating system to write copies of themselves into every available memory space. Rewriting these programs so that they would send copies of themselves to other computers was the next step. Thus the computer virus. Are any of them alive? Yes, any virus that can prevent the computer from shutting down, thus maintaining the energy it needs for continued existence. Are there such computer viruses? I don't know. But anything I can imagine, anyone with similar information can imagine. Therefore, someone has imagined such a virus. And when a programmer can imagine a program's functions, creating the program is just a matter of time and effort.

Thursday, September 02, 2021

Covid Variant Mu

 Covid variant Mu: Some tangential thoughts.

The Guardian reports on a new “variant of interest”, labelled Mu

https://www.theguardian.com/world/2021/sep/01/who-monitoring-new-coronavirus-variant-named-mu

Mu may turn out to be a problem if it is more transmissible than Alpha or Delta, and/or can evade immune system defenses better. It all depends on whether it makes people sicker and/or kills more people. So it could be bad. Hence the monitoring.

However,  if Mu turns out to be much more transmissible yet much milder in its effects than Alpha or Delta, it could be exactly what we want: A tolerable, flu-like version of covid. For higher transmissibility would enable it to outcompete the other variants. There would still be occasional epidemics of the more serious versions, as happens with the flu, but it’s likely that better treatments would blunt their effects.

In short, a highly transmissible but mild Mu could buy the time needed to develop good treatment and even better vaccines. Hope, or wishful thinking?

                                   

Wednesday, September 01, 2021

A Web re-tangled (Burley's Wycliffe and The Tangled Web)

 

W. D. Burley. Wycliffe and the Tangled Web (1988) Hilda Clemo, beautiful, intelligent, and 17 years old, tells her boyfriend and assorted other folk that she is pregnant. Then she disappears. Wycliffe sees the missing persons report, and a vague unease prompts him to order a more thorough search and investigation. The tangled web of the title refers to past and present relationships, but the one that leads to her murder is simple jealousy. Another satisfying concoction.

     Burley apparently preferred to write radio plays, and wrote the Wycliffe series because it paid. Radio play require the ability to suggest character and ambience in dialogue, skills that make his potboiler novels above average. Burley is very good at pacing the narrative slowly enough to create tension, and fast enough to maintain curiosity.
     A re-read. Either I’m mellowing, or I saw more in the story this time round, since I’m rating it half a star higher. ***

Friday, August 27, 2021

Trade and Music (Lapham's Quarterlies)

 


 Lapham’s Quarterly XII-2: Trade (2019) Exchange of favours is not a human species-specific trait, but organised trade is. It’s one of the constants of human culture. All human societies regulate exchange, ranging from customs and conventions to formal rules and laws governing everything from weights and measures to contracts.
     The bits and pieces assembled here remind us that many humans will cheat if they can get away with it, hence the need for law. They also remind us that humans have co-operated from the beginning to gain advantages in trading, ranging from guilds and cartels to international agreements governing trade between cities and nations. The corresponding counter is conventions and agreements that give everyone the same opportunities for fair trading.
     Trading rules within societies (families, tribes, and eventually larger communities) ensured that essentials were produced and shared equitably. Trading between such groups ensured that necessary and desirable materials and products reached those who needed and wanted them. Trade made us what we are today: the most wide-spread and successful animal on Earth. It also encouraged the development of our most dangerous vice, greed, which has brought us to the point of no return in climate change.
     In short, trade is essential to human beings, and trade requires honest dealing and justice. It also raises a question: Was it trade that distinguished us from our sibling species, the Neanderthals, Denisovians, and others? Was it trade that gave us the advantages that enabled us to outcompete them? I see no obvious method for answering this question, but I think it’s an important one. Equally important is the question of how we can adapt our trading practices to survive climate change.
     Another good collection. Pretty well all past issues are available from the publisher; some have been reprinted as annual sets. ****



 Lapham’s Quarterly X-4: Music (2017) I enjoyed the pieces by the musicians and composers best. Mixes of memoir, technical discussions, and reviews. They gave me insights not only into how music-makers experience the world and their art, but also into why I find music an essential part of my life. Music “sounds the way feelings feel”, to quote a phrase from Suzanne Langer’s Philosophy in a New Key (1957). David Levitin’s researches into the neurology of music support that insight.
     There have been many speculations about the source of music’s power and of the human need to make it, and the attempts to justify or ban it on theological, moral, or philosophical grounds. The excerpts here are interesting as evidence of how all attempts at understanding ourselves are predicated on and hence limited by contemporary assumptions about reality. They may have satisfied the writers and their readers, but reading them now I was continually distracted by current knowledge of neurology, and a wider experience of music than some of these writers had. They also demonstrate the role of culture in music: in most cultures, music is assumed to be a finished art, and students are taught to emulate and replicate music as defined by their predecessors. The notion that art should be new, that an artist should create new and original works even when within a tradition, that notion seems to be peculiarly European, and a recent one, too.
     There are several fascinating bits about the instruments. All are versions of the three basic technologies: pipes, strings, and drums. ****


Clocks mark the Crime. (Christie's The Clocks)

 

 


Agatha Christie. The Clocks.  (1963) An absurdly complicated murder: Sheila Webb, a typist from an agency, arrives at her supposed client’s house, goes into the sitting room as directed, and finds a dead man behind the sofa. Miss Pebham, her supposed client, denies having asked for her. The dead man’s jacket pocket yields a business card for a non-existent insurance agency. And so begins a very tangled story, which Poirot does not solve until (as usual) a chance remark rearranges the facts into a satisfying solution.
     The problem and solution is pure Christie: improbably complex, made plausible only because of the careful plotting and characterisation that creates the illusion of character-driven choices. It’s the asides that makes this book worth reading. There’s a charming passage in which Poirot pontificates on his reading of crime fiction (having exhausted the available true crime literature with which he has enlivened his retirement). There’s a suitable young man, Colin Lamb, whose secret service career is the reason for his being on hand when Sheila rushes from the house screaming with fear. There are venal and over-confident baddies, persons of interest, red herrings, and enough ambience to satisfy those of us who read Christie for the nostalgia.
     All in all, a well done entertainment, above average for Christie. ***½

Tuesday, August 17, 2021

Two Sci-Fi Anthologies: Pohl and Nebula Awards

 


Frederik Pohl. Day Million (1970) In his introduction, Pohl says that these tales have only two things in common: One is they were written by “myself” – I put it like that because I’m not really entirely sure that that 20-year-old who banged out It’s A Young World is much like the 50-year-old who is telling you about it now. The other is that are all “science fiction.” He goes on to puzzle over the label for the genre, noting that much “science fiction” contains no science at all. At the time he wrote, the genre was still widely dissed as adolescent trash. But many of the classics Gulliver's Travels, 1984) are in fact what we label “science fiction”. If we consider any fiction to be an extended answer to “What if?”, then all fiction is “science fiction”.
     Pohl wrote for the pulps, which means he had to write stories that sold, which means that they couldn’t be too different. Readers expect both the familiar and the new, but the new had better be a variation or extension of the familiar. Johnson said that the purpose of art is “to make the new familiar and the familiar new”. “Science fiction” is the art that specialises in that endeavour. Pohl was a master. The story he wrote when he was 20 years old still stretches the reader’s expectations. The world it describes has been set up to enable the immortal leaders of the stellar empire(s) to recover their psychological equilibrium and emotional strength.
      Any of Pohl’s tales is worth reading. *** to ****

James Blish. Nebula Award Stories Number Five (1970) The three award-winning stories, plus three add-ons, and a couple of essays about the state of science fiction in the 1960s, which I didn’t read. The stories are all worth reading. The best I think is Ursula Leguin’s Nine Lives, a meditation on what makes us individuals, via the fancy that a team of ten clones would feel and act as one. When nine of them are killed, the survivor is faced with the a life of appalling loneliness.
   Terror also figures in Silverberg’s Passengers: he posits invasion by entities that “ride” humans by taking over their brains. It’s a literal take on enthusiasm, which originally meant being inhabited by a god (en- “in” thus- “god” -(i)asm “state or condition”). Recall Shakespeare’s “As flies are we to the gods, they kill us for their sport.”
     *** to ****

Monday, July 26, 2021

Planes glide through the air like fish

A comment by an ex-airman in a newsgroup prompted me to publish this as a separate post. It's also available on the Page of Stories.

 

Before I knew why airplanes stayed up, I thought they glided through the air like fish through water. Later I found out it wasn’t like that at all, a fish can’t fall to the bottom of the lake because it has a pocket of air inside it, but a plane stays up because it moves. Sharks don’t have a pocket of air, they must keep moving or they will fall to the bottom like an airplane falling from the sky.

We lived by a lake, whose clear water revealed the bottom six or more feet down. The fish were dark slashes against the grey green silt, or a swift gleam of silver as they turned. In the mornings and evenings, the fishers went out on the lake to set and fetch their nets.
    The fishers stood up in a long flat bottomed boat, leaning and straightening as they pumped the square bladed oar, he tall and stooped in the stern, she short and round in the bow. They’re shovelling water, I thought, I didn’t understand how that could move the boat forward. The fishers stuck the small fish onto pine splints which they ranged in the smoke house chimney. The smoked fish tasted salt and sweet at the same time when one gnawed them off the wood.
    I watched the fishers mend nets, watched their hands and fingers move out and back with a twist as they fed and knotted the line with a flat, narrow piece of wood. I didn’t see how the line could make a knot with only one end free. The nets hung on frames made of pine poles, moving in the wind like waves on the water, bleached white and soft by the sun.

Many years later, in another country, I learned Bernoulli’s equations and Boyle’s law, and understood how air moving over the wing made the wing lift the plane. For a few weeks I understood the equations that defined drag and turbulence, too, well enough to pass the test. Now I understand only their meaning, a lovely interplay of velocity, pressure and viscosity, with which the airplane designer and pilot co-operate.
     I learned a lot of other things too, I understood the engineer’s and metal worker’s craft, their exquisite skill lavished on the bombers that glided through the sky, making death beautiful and distant.

The bombers looked like fish against the sky, gleaming silver, but not like fish, sliding across the blue air, steady and inexorable, and making a sound you felt in your bones, a sound that struck across the sky and flowed into the earth and came up through your feet and made your teeth buzz. Then black flowers bloomed on the horizon where the railway junction was. Many years later I saw pictures of black chrysanthemums, they bloomed like smoke against a blue sky. My friend’s mother died among the roots of one of those flowers, but that was before he was my friend, before we even knew of each other’s existence.

One day a plane came in low over our house, and fell into the lake, trailing a black and orange flag. My mother said my brother could see the pilot’s face, I must have seen it too as I stood next to my brother, but he can remember it and I can’t, I wonder if that’s why he hides his melancholy. I hide mine too, but not in the same way, he bursts out in sudden attacks of craziness, roaring like a monster, pretending to be Grendel, or the giant that ate an Englishman and ground his bones for bread. My Grandpa read us that story, I loved the bits where Jack steals the gold and the hen and the harp, and runs to the beanstalk along the winding cloudy road. The harp betrayed the thief, an early lesson on the deviousness of artists.
    I tell people I’m fine, when they ask. I ask them, too, and they tell me they are fine. We tell each other we are fine, making up a fine story about how fine the world is, and what a fine time we are having this fine afternoon, while we eat a fine meal made on a fine barbecue in a fine garden owned by a fine neighbourly neighbour.

For several weeks, I understood the equations that explained airplanes, then we wrote a test and I forgot them. I didn’t forget what they explained. Whenever I look at a plane I see the air flow over its wings, faster on top and slower underneath, holding up the plane, a plane that weighs more than the largest steam locomotive ever built, and as the jet climbs into the sky like a man going up a flight of stairs, I know that if the air peels off the wings in unseen swirls and whirlpools, the plane will crash, but we won’t make a white splash in the water because there’s no lake under us, just grass and asphalt. A black and orange flower will bloom in the field at the end of the runway.
    When the fishers pump the oar, eddies and swirls peel off it and press against the blade, and that presses the boat forward. What brings down the plane moves the boat forward. Nature has her ways. If you work with her, she rewards you with flying planes and gliding boats.

My cousin and I used to go into the park next to our house. The oaks and beeches and maples and pines and firs and sycamores made it a quiet place, the only sounds the rustle of the leaves high above us and the scuff of our feet in the duff. We thought of it as a secret place, known only to us, a source of treasure, a landscape of adventure. Once we saw the wreck of an airplane caught high in the branches of the trees. We took one of the transformers that had come loose and fallen to the ground, and for a long time after we had fine copper wire to play with, varnished a rich mahogany red. My cousin told me we could make snares and catch fish, or make electrical stuff, if we wanted. Just thinking about the possibilities hidden in the coils of fine, dark red wire was enough, it made us happy. We hid the transformer in the gazebo and took it out to relish the technical perfection of its windings, fine as hair.
     A day or two after we found the transformer we were forbidden to go into the park, a prohibition we could not understand until we heard talk among the grownups about the dead pilot of the airplane hanging in the branches of the sycamore tree. We waited for our chance and crept back into the park but the wreck had been removed. As usual, the grownups had spoiled our fun, but we were used to it, and went about our business.

When it rained, the snails came out of the underbrush, their shells banded yellow and black and sometimes orange. The shells gleamed in the wet. I gathered up the snails and set them on the pine-log railing of the gazebo and waited for them to race each other. The snails came out from their shells, waving their antennae, testing the air for danger. They crawled over the curve of the railing and fell into the grass and disappeared.

One day the sirens moaned while I was building forts and jetties with the rocks at the edge of the water. I ran up the slope to the road, a cyclist rushing home knocked me over. The wheels of his bike scraped my bare belly, there was no other injury. My mother dressed us in two layers of underwear, and two layers of overcoats, the topmost one made from a bright red blanket. We must have looked like little red snowmen. The woollen vest itched, I cried with vexation in the cellar. We heard the bombers fly over, they seemed closer this time, perhaps the cellar magnified their sound, it came out of the ceiling and the floor and the walls. When the bombs hit the railway yards, we felt the thump, and a small cloud of dust drifted down from the ceiling. The lights flickered and went out. One of the grownups lit a candle, the light made a boundary around us like a wall. We huddled up next to Mother, and felt secure. But the vest still itched.
    When I hear sirens in a war movie these days, something grabs my throat and squeezes tears from my eyes.

I visited the lake again recently. The mountains that stood on the opposite shore still stand there, self-sufficient and silent. High above them, a contrail divides the sky. I can’t see the plane, but I know it glides through the air like a fish glides through water.

Lapham's Quarterly: States of Mind

 


 Lapham’s Quarterly XI-1: States of Mind Psychology. The most common idea is that the Mind is somehow non-physical, separate and different from the brain and body in which it resides. As in the doctrine of the soul, which is embedded in Christian and other theologies. I find that odd, since the Creeds affirmed by most Christians refer explicitly to the resurrection of the body, not the survival of the immortal soul.
     But to get back to the book: Assuming that Lapham and his staff have assembled a representative collection of snippets, Mind and Self are often conflated, as are Consciousness and Self. This too strikes me as odd. Define “mind” as the ability to reason, to solve problems, to formulate goals and methods of achieving them. Then creatures (and machines) with brains clearly have some kind of mind, but not necessarily a sense of self, and most of them apparently not even consciousness.
     What this collection shows us more completely than the textbooks is that the notions of mind, self, and consciousness are inextricably bound up with each other. More, whatever mechanisms account for one will in part account for the others. These three concepts depend on each other. It’s a simple (but I think fallacious) step to infer that the phenomena labelled by these words must also depend on each other. “Soul” is an attempt to account for their apparent mutual dependence.
     Anyhow, “consciousness” is the “hard problem”. How can one and a half pounds or so of living matter the consistency of Jello give rise to the certainly that “I” exist? I think the answer begins with the observation that brains make sense of the data acquired by the sense organs. All living things interact with their environment in order to harvest the energy that sustains them and the substances that enable them to reproduce.
     Brains enable organisms to do so more effectively by solving a wider range of problems, by overcoming a wider range of obstacles to continued existence and reproduction. Brains create something like an image or map of the environment. At some level of complexity, the brain creates an image of the organism itself. More complexity, and the brain creates an image of the organism within the environment. The next level of complexity creates an image of the organism creating that image. (This may be why we use the metaphor of a mirror when we “reflect upon our experience”.)
     Or something like that. When it comes to understanding our minds, our conscious selves, there’s much handwaving in the explanations. All of them offer some insight. All of them help the reader (me) extend and clarify their own notions and insights.
     One of the essays recounts how Jung arrived at the concept of “psychological types”, and its consequence that we are fundamentally unable to understand people who are not the same type as we ourselves. It’s the same reason that we can’t imagine what it’s like to be a bat. ****

Kaleidscopes in the 1980s

 


  Cozy Baker. Through the Kaleidoscope... and Beyond (1987) Second, expanded edition of a catalogue of US kaleidoscope makers and vendors in the 1980s. Some history of the toy, including a copy of the inventor’s patent application. Some colour plates, a handful of nicely done black and white drawings, and photos of most of the artisans. The book seems to be a vanity project by Ms Baker. No doubt useful for kaleidoscope fans at the time, and possibly useful for anyone wanting to write a history. Printed on heavy paper in a well-made cloth case. The colour plates are well printed, but do not add as much information as I would like. Not a keeper. **

Saturday, July 24, 2021

Del Rey's Mortals and Monsters

 


Lester del Rey. Mortals and Monsters (1965) Del Rey was a good journeyman writer. He supplied the pulp fiction trade with reliably entertaining tales, many of which suggested deeper questions than his protagonists tangled with. The irony wasn’t lost on his readers, though: The guy who invented time-travel by stealing a time-travel machine from a museum erected in his memory gets himself trapped in an eternal loop, a whirlpool in the river of time. The reader exists outside the fictional universe and sees the loop that’s hidden from the thief.  So who or what is the observer of our universe, watching us drifting on the river of time?
     A man whose body rejects the rejuvenation treatments realises that a limited life-span has more value than an unlimited one. An autonomous robot who doesn’t understand instinct learns what it is when his team recreates a human. An alien stranded on Earth manages to persuade a human to help him get home (but it’s a tougher story than the movie ET). And many more. Pulp fiction is underrated: the authors use the expected tropes and stereotypes, but the must make their tales newer than last month’s publications, so they ask questions that can lead us into the most subtle and profound of the enigmas that puzzle us.
     A good collection. ** to ***

Aliens and Other Strangers: Dickson's The Stranger.

 


Gordon R. Dickson. The Stranger (1987) It seems our obsession with extra-terrestrial life has needed assuaging for centuries. One of the earliest fantasy fictions was written in the 1600s. The traveller used geese to fly him to the moon, where he encountered aliens. Of course, in that century Europeans encountered many new peoples. Travellers’ tales were very popular. Extending the itch for exploration stories to the Moon was I think an inevitable step, even though the technology of the time mean it was speculative fiction.
     Dickson, like most SF writers, riffs on the Alien, and does so better than most. Some are stranded on Earth, some are sought by Earthlings, some are denizens of the far future, one is a machine that manages global life (and tolerates no opposition). Like all tales about encounters with the Stranger, they tell us as much about the teller as the told. Dickson has a generally optimistic view of humankind: his protagonists usually prevail. The dangers come from human hybris, stupidity, or moral lethargy.
     The collection includes work from the 1950s to the 80s. The earliest stories can be read as expressions of the Western fear of Communist domination: the Stranger disguises appearance and intention. The later stories explore the notion of “stranger” in the widest sense: we humans are the strangest critters we know. Worth reading. ** to ****

Thursday, July 01, 2021

215 Graves

 

I wrote this a week ago, it's a little rough around the edges.

 215 Graves

215 Graves with no names
215 names lost forever
215 sparks of God's fire
drifting away on the river.


They were worlds of wonder loving God's bounty
Loving the earth and the sky and the river.
It carried them on, it swept them away,
Time’s cruel waters drowned love's fire.

215 Graves with no names...

Pride and power took them from family
Took them for shaping as if they were clay
But God's spark within them resisted the potter
Flamed bright and loving until they gave way.

215 Graves with no names...

Then they were buried, discarded, forgotten;
The warm earth received them and held them safe,
Safe from the beatings, the scoldings and pain,
Dreaming of fathers and mothers and home.

215 Graves with no names...

Now we have found them, now their bones cry to us,
Were you the ones who talked of Christ’s love?
Now we must reckon with guilt of our ancestors,
But power and pride live on in us.

215 graves with no names....

We’re all one family, children of Earth,
Earth-mother who offers us love of each other,
Love that can heal us, love that can lift us
Above pride and power, above guilt and fear.

215 graves with no names....

When we let go of the greed that defines us,
The greed that we think will free us from fear,
Then the bones of the children will rise up and embrace us
And love will reshape us into children of light.

215 graves with no names
215 names to recover
215 sparks of God’s fire
lighting the way to love.

 

© 2021 W. Kirchmeir

Monday, June 21, 2021

Monty Python and Others: scripts by John Cleese

 

John Cleese. The Golden Skits of Muriel Volestrangler EHRS & BAR (1984) Cleese wrote or collaborated on sketches for several TV shows, Monty Python’s Flying Circus being the one best known in North America. This sampling demonstrates his skills, but as with most printed scripts, it helps to have seen at least some of them performed. Tones of voice, pregnant pauses, furrowed brows etc don’t show in print. The book is great fun, with repeated reminders of the absurdities hidden in what we think of as normal behaviours.
      Most of the time, it’s habit and context that makes us behave as we do. Switch to different contexts, and the habitual behaviours become absurd. Consider the flying sheep sketch: the observers behave as “observers”, and so see nothing odd about the sheep’s attempt at flying. Other writers have used to the same trick to show how habits can be lethal. I recall a Christie story whose plot turns on the insight that we habitually see a “policeman”, not a human being with passions.
      Much of what we think of as our (and other people’s) personality is merely the behaviour expected of us in some specific context. (See Leo Ross’s “attribution error”). We play the roles we feel are expected of us, which include expectations of our idiosyncrasies. One of the blessings of comedy and satire is that it reminds us of how much of what we think of as free choice is merely rote reaction. Recognising that may help us achieve a few degrees of autonomy.
      The Dead Parrot sketch is _not_ included. ***

Schoolmasterly Memoir: Swan Song of A. J. Wentworth

 


H. F. Ellis. Swan Song of A. J. Wentworth (1982) The second (and final) chronicle of Wentworth’s life and career, as told by himself. It’s a mildly amusing and occasionally sharply skewering satire of the naively blinkered fool, in the peculiarly English tradition of Diary of A Nobody. Several of its parts appeared in (the now defunct) Punch, a magazine that appeared as if by magic in my Grandfather’s house when I was a boy barely capable of understanding the cartoons, let alone the prose pieces.
     I enjoyed this book, but I suspect that it’s a specialised taste. Too many of the jokes depend on allusions too very English traits and attitudes, most of which were already obsolescent when this book was written. Wentworth is given a trip to the USA; it seems his experience as a maths teacher at Burgrove prep school qualify him for a lecture tour. He ends up a married man, but the causative events leading up that blessed state were recounted in the first volume, which I haven’t read. Drat! **½

Milligan's Q Show Scripts

 


Spike Milligan. The Q Annual (1979) Scripts and a few photos commemorating Spike Milligan’s TV series “Q” (intermittently from 1969 to 1982). I also looked at a few online videos. Typically Milligan, outrageously absurd and sometimes offensive, the skits I think show Milligan’s unassuaged pain and rage. It seems to me that his wartime experience left him with psychological wounds that he could not heal, (these days called “post-traumatic stress disorder”). An early attempt to cope led to The Goonshow, which was kept within bounds by his friendship with Peter Sellers and Harry Secombe, and the producers’ ability to tone down what I suspect were screams of psychic pain in the pre-production unedited scripts.
I don’t think “enjoyed reading this book” is the best way to describe the experience, but I can’t think of a better string of words. Essential for any Milligan fan, and worthwhile for anyone interested in the absurdist period of British radio and TV comedy. ***

Saturday, June 19, 2021

Thinking Out Loud about Reality, Experience and Truth


     Our experience of reality is created by the brain. We know reality indirectly, since the brain creates our experience from the sensory inputs. Past experience, expectations, emotions, social context, focus of attention, etc all determine what we perceive as reality “right now”. Thinking about our experience produces what we believe is an accurate description of reality. One way to understand reality is to list a hierarchy of complexity, like the following. It’s not original with me, but I can’t recall exactly where and when I first came across it. “Many decades ago”, is about all I can tell you.

Sensory data
Sensation
Perception
Fact
Knowledge
Significance
Insight
Understanding
Wisdom

     Every level in this hierarchy combines data, primarily from the immediately lower level, but also from any other level. Controlling the data used at any level controls the experience. Magicians know this, and do their best to control the data the audience receives.



     Sensation and higher levels occur entirely in the brain, not the sense organs (which, by the way, also combine data from several sensors), although the process can be affected by factors like alcohol, oxygen deprivation, etc. For example, “seeing” is what the brain computes from the data provided by the eyes. However, perception of a shape (and its colour and motion, etc) is not enough to identify the object: Fact is another computation, which includes information from other senses, and from memory, etc. And so it goes. Your conscious experience consists of the level on which you focus your attention, perhaps surrounded by a kind of nimbus of all the other levels of experience. That’s something that seems to vary both between and within individuals.
     For example you’re looking at your back yard at night, and perceive a dark irregular shape moving across the visual field. What is it? A bear, or the neighbour’s dog? The answer is the fact that it’s the dog.
     Once you’ve identified your neighbour’s dog, the next level is knowledge: What is it doing in your back yard? At this point, guesswork (hypothesis) enters in. You know the dog roams the neighbourhood, so that’s what it’s doing. Is this knowledge significant? To compute that, you need more information, such as the dog’s habits, whether or not the neighbour is at home, whether coyotes or foxes have been seen in your neighbourhood, etc. It depends on how you get on with the neighbour and their dog, or your knowledge about doggy lives, or your tolerance for strange animals in your back yard, or your town’s ordinances about stray pets, or any combination of these and many other factors that make up the context of the event. You may decide to call your neighbour, and tell them their dog’s out. Or maybe not.
     Will you derive some insight? Maybe. Perhaps you realise that the dog is on patrol, and will return tomorrow night. Could be that you realise that you rather like the idea of a dog roaming in your back yard. Or that you really must find some way of persuading your neighbour to keep their dog under control. Or whatever. And then perhaps you may understand that the inconvenience, if any, if the dog’s invasion is really of little importance. With luck, you may achieve the wisdom of deciding not to call the neighbour about their dog.


     All the while, your attention flits around the total constellation of disparate sensations, perceptions, facts, significance, etc, as you try to figure out what to do about the dog. At any moment, some event may attract all your attention so that you forget about the dog, until next day, when your neighbour tells you that he came home badly injured from an encounter with the fox.


    The brain makes errors at every level, some of which can be corrected by training/education, and some of which cannot be corrected, even when they are recognised as errors. This is most obvious in the computation of perceptions from sense data: Visual illusions persist even when we know we are seeing an illusion.
     We also suffer from illusions of fact: that dark irregular shape is actually a bear, but our brain has computed it to be a dog. We need more data to correct that illusion. But even with added data we may be still be convinced it was a dog we saw. Why? Because we expected to see a dog, and not a bear.
     There are illusions at more abstract levels. We suffer from illusions of insight, understanding, etc. Call them conceptual illusions. Some can be detected and corrected (with some effort) by applying logical analysis to our descriptions of our insights and understanding. This is one of the goals of scientific inquiry.
     Science is a method of recognising errors, and if possible correcting them. It begins with our remembered experience, which modifies our present experience. To understand what the dog is doing in our backyard we test a guess against everything we know about that particular dog, about dogs in general, about our neighbourhood, about wildlife in our neighbourhood, etc and so on and so forth. We do all this very quickly, mostly unconsciously, and repeatedly modifying our guess until we have a plausible explanation. “Plausible” merely means “fitting the specific and general facts well enough to feel correct.”
     This still isn’t science, however. Science is systematic and conscious framing and testing of guesses in order to have a more general understanding of dogs, and neighbours, and wildlife, and social obligations, and so on. It will likely entail gathering more facts, and/or integrating several pieces of knowledge. Items will have to be evaluated for their significance, and with luck and perseverance, we may arrive at some insights that lead to a more complete understanding. We want to be able to say,  “Because of my understanding of reality, I know how to make wise choices”


      We want the feeling that we have an understanding of reality that’s general enough to include a large swath of our experience. We want to be able to say, “This, my individual experience of reality is valid. What I have to say about it is true.” More, we want a Theory of Everything. We want to believe that, at least in principle, all human experience can be explained, that it’s possible to describe Reality in such a way that everything is included, and that every possible statement in that description is true.

 
 





A Memoir (World War II)

  Planes glide through the air like fish      Before I knew why airplanes stayed up, I thought they glided through the air like fish thro...