19 December 2014

Christmas with Stephen Leacock (1988)

 

  Christmas with Stephen Leacock (1988) No editor listed. A collection of occasional pieces, many of them apparently commissioned, and four unpublished ones. Of these “Hoodoo McFiggin’s Christmas” is the best known, but all exhibit Leacock’s superficial bonhomie overlaying a deep current of rage and despair. A “kindly mischievous ghost”, as the curator of the Leacock Memorial Home calls him, he was not. Leacock liked Christmas, but he was also angry at the yearly hypocrisy of pretending to care for one’s fellow human beings while following the dictates of custom and courtesy. He deeply wished that the angels’ message should be heard as an exhortation, not as a sentimental announcement annually repeated in a Christmas pageant. Worth reading, if you can find the book. ***

06 December 2014

Howard Engel. Mr. Doyle & Dr. Bell (1997)

     Howard Engel. Mr. Doyle & Dr. Bell (1997) Doyle is a student of Dr Bell’s. Alan Lambert’s brother comes to see Dr. Bell with a request to save  Alan from the gallows. The trial is clearly a miscarriage of justice, but without new and compelling evidence to point to the perpetrator, Lambert will be hanged. Engel tells a story with a satisfying number of twists and turns, and a satisfyingly plausible plot involving embezzlement and Edinburgh’s highest and mightiest. Along the way, he gives us a good insight into the differences between Scottish and English law, and shows how Bell was a plausible model for Sherlock Holmes.
     Engel also manages to write in a good pastiche of Doyle’s style, which makes the pleasure of reading this above-average mystery all the greater. **½

03 December 2014

Douglas Hofstadter. I Am a Strange Loop (2007)

    Douglas Hofstadter. I Am a Strange Loop (2007) I’m a fan of Doug Hofstadter. I like his ability to make the most abstract and mind-bending propositions, and then bring them into one’s understanding by using a metaphor or every-day detail or experience. He loves puns, and repeatedly uses the insight-generating power of accidental similarities and equivalences. He knows that we all makes sense of the world differently because we have had different lives, so the more points of entry, the more points of view, the more points of the argument, the more likely it is that the reader will be able to share his thinking.
    Here, Hofstadter returns to the puzzle that has focussed his life: What is consciousness? He now asks it as, What is a person? Here’s how I interpret his exploration of this puzzle.
    The title supplies the short answer: A person is a strange loop. To explain that concept, he starts with feedback, first as an unwanted side effect of outputs looping back as inputs, as when a microphone screeches in the middle of the gym. He escalates that to the feedback loop we experience in a hall of mirrors, or when a video camera videos its own output on a screen. More complex is the feedback loop we use when we control home heating with a thermostat.
    More complex still are the biological feedback loops that maintain bodily function. These loops intersect in many ways; they form a feedback web. To describe life is to describe feedback loops and webs.
    But there’s more: animal life includes feedback loops within the nervous system. We focus on something we see because we want more data. The visual centre has sent its outputs to other parts of the brain which in turn send their outputs to still other parts, and one of those parts triggers the “turn your head and look more closely” action.
     In short, we are perception machines. All living things perceive their environment in the sense that they respond to those features of it that their sensors monitor. That environment includes their own internal states. These are the feedback loops that enable living things to maintain their life processes over time.
    Humans, and many other animals, not only perceive their environment, they perceive their bodies in space, and that perception becomes part of the feedback web that results in actions. Some animals perceive at another level: they perceive themselves. They know that they are not the chair that they are sitting on, nor the human who is sitting on the chair. But this self-awareness is limited: a cat does not know that what it sees in the mirror is itself, not another cat.
    Finally, some animals are able to perceive themselves perceiving themselves. This is the strange loop of Hofstadter’s title. The famous mirror test demonstrating that chimpanzees have a self-image shows what he means. Humans have an even more complex capability: we perceive ourselves perceiving ourselves perceiving ourselves. This recursion constitutes what Hofstadter thinks of as a person. In fact, there seems to be only a practical limit to how far this recursion can go. Our brains are huge and complex, but there is a limit to the amount of information included in any one moment of awareness. At the conscious level, the recursion is expressed in symbols, primarily via language, but also via all the other mediums we use to articulate our awareness and understanding of ourselves, each other, and the world around us.
    That’s Hofstadter’s thesis as briefly as I can explain it. To me, it’s the most compelling account of consciousness, of a person, that I’ve read. It has the virtue of being testable. Hofstadter himself supplies the basic test. He reminds us of animal behaviours that suggest awareness, and more importantly, of the observation that a human grows in awareness of its surroundings, its body, and of its self. Babies are born barely able to respond to external stimuli. By around 5 or 6 years of age, a human has a well-developed self: “I” means not only the body, it includes desires and impulses, abilities and skills, the recognition of the things in its environment,  memories of yesterday and the day before, and expectations of the future.
    Most characteristically, the self is the way those awarenesses are expressed,  translated into stories, songs, pictures, and so on. The child is a person because it knows itself, it has constructed a narrative of itself as an agent in the past, present, and future. And as dementia destroys the brain, it also destroys the person. The narrative that constitutes the self diminishes bit by bit, and we observe the terrifying reality that a body can be empty, a shell with no self inhabiting it.
    The extension of the self into time and space, into memories and ideas, into symbolic representations, is uniquely human. To paraphrase Hofstadter, a dog will remember that a table scrap is delicious and therefore worth begging for, but it doesn’t reminisce with other dogs about The Best Table Scraps I Ever Ate.
    Hofstadter includes a couple of chapters on how Goedel’s theorem shows how complex the strange loop really is. He argues that Goedel’s theorem is about self-reference in a symbol system, and how that enables self-reference in general, and more specifically the kind of self-perception that makes a person. You can skip this part of the book.
    His motivation for this extended meditation on the self was the death of his wife. Like many people who have lost a most-beloved one, he had the uncanny feeling that she was still in some sense present, within himself, in his memories of her, in which he re-enacted how she would have responded to a new piece of music, to a new book, to a walk in a well-loved wood. In a sense, her personality was stored within him, and trying to puzzle that out led him back to the central question of his life. I don’t think you should skip those parts of the book.
    I thoroughly enjoyed this book. Recommended. ****

See also my review of Rosenfield's The Strange, Familiar and Forgotten.

01 December 2014

In Search of Beethoven (2009)

     In Search of Beethoven (2009) 3-part version of the bio-documentary, with lots of talking heads, photos and engravings of places and people, and performance snippets by many of the best interpreters of Beethoven. Well done, with much information new to people like me, who like classical music but haven’t learned much about the composers.
     Beethoven was a much more complicated man than the stereotypical bust suggests. He knew he was a pretty good composer, and felt he was competing with Haydn and Mozart, “our three great composers” according to contemporary music critics. Mozart was near the end of his life and Haydn was dead. Beethoven also had strong opinions, and believed that human beings were capable of much more than the slummy world of politics and commerce and social striving. He was furious when his hero Napoleon revealed himself to be just another power-grubbing arriviste, and erased Napoleon’s name from the dedication on the score of the Eroica so angrily that he left holes in the paper.
     We hear enough music to understand why so many people think of Beethoven as the greatest composer ever, and also why other prefer to give that prize to Mozart or Bach. There’s no question, I think, that Beethoven showed what music could be in ways that no one else ever did. His last compositions sound like late 19th or early 20th century works, with their broken chords, their fractured rhythms, and their searching and inconclusive melodic lines.
     One of the last comments was that Beethoven had so little lasting influence on later composers because no one could exceed him. There’s some truth to that, I think. “Serious” composers nowadays have to a large extent been reduced to experiments with new tonalities and abstract structures. Popular music has become the truly innovative source of new sound. Considering that well into the 19th century what we think of as classical music was actually contemporary pop, this is not surprising. Music endlessly reinvents itself. We rediscover old music in every generation, every generation recognises great work from all eras and every generation adopts and adapts the work of the old masters. This documentary demonstrated why Beethoven will last. The details of his personal life, and how his beliefs and feelings informed his music is interesting for anyone, but especially for the Beethoven fan. But in the end, the work itself is what matters. I don’t think that how it affects the listener depends on knowledge of biography.
     I think that Beethoven’s violin concerto in D Major is the most sublime piece of music ever written. Among my favourite versions are those by Itzhak Perlman, Yehudi Menuhin, and David Oistrakh.
     Good documentary. I wouldn’t have minded a longer version with more music. ***

Murder on the Home Front (2013)


     Murder on the Home Front (2013) [D: Geoffrey Sax. Patrick Kennedy, Tamzin Merchant] Several murders of prostitutes almost lead to major miscarriage of justice, on grounds of National Security. MI5 protects the actual perp because he’s a code breaker. The fall guy ends up interned on the Isle of Man. Dr Collins, the new young forensic pathologist at first antagonises the police because he’s aware of current methods, unlike his boss, the previous pathologist. He hires Molly Cooper,  a reporter eager to participate in order to get ideas for detective stories, to be his assistant because she doesn’t flinch when he asks her to help out on the first autopsy.
     The false leads, three more murders, and the machinations of MI5 nicely complicate the plot, and as a murder puzzle this movie is above average. As a story about the effects of crime on people and their relationships, it’s merely average: Collins and Cooper are clearly attracted to each other, but either he’s too bashful or too aware of how romance might compromise their professional relationship. As an evocation of wartime London, the movie’s quite good. The director wanted a claustrophobic effect, of being hemmed in and navigating through a perilous labyrinth. This not only set the ambience of hidden dangers and treachery, it also made it easier to give us the flavour wartime grunge. As an exploration of the necessary evils of war the movie fails. It presents the ethical dilemma, but solves it rather too neatly. Maybe it was solved that neatly in real life.
      We enjoyed this movie. Above average. **½

Rupture: living with a broken brain (Documentary, 2012)


     Rupture: living with a broken brain (2012) Maryam d’Abo and her husband made this documentary intending it to be the story of her recovery. There’s some of that, but mostly it’s interviews with other people who have suffered strokes.

Very well done, not your average medical doc, this movie tries to express the emotional impact of stroke on both the sufferer and the family and friends. It succeeds, because it doesn’t try to be literal. It focusses on the tiny minority (about 3-5% of all stroke victims) who recover a reasonable facsimile of their former more or less normal life. But all of them report that their sense of self, the world, and the people around them has changed. (This is a significant data point for the answering the puzzle of self-awareness.) Life for them has become more purposeful, but not more planned. The purpose is joy; plans often prevent that. Worth watching more than once. ***

13 November 2014

Dick Whittington - What Really Happened (Sitwell, 1945)

 Osbert Sitwell. The True Story of Dick Whittington (1946) My great-aunt Dolly gave me this book in 1949. I wonder whether she read it firs...