My colleague Eric Wagner recently wrote that reading primary sources rather than studying what other writers have to say about the primary sources was lately more enjoyable for him. While I read this, I had been trying not to notice that I seemed to have been "coming down" with a particularly virulent cold virus that others around me had been jousting with. (I used the quote marks in that last sentence for fans of George Lakoff.)
This is not the flu; I have no fever. But it is a markedly aggressive HRV (human rhino virus) that has had normally hale and stout friends sneezing, hacking and croaking their speech for eight days, some even 17.
Eric's self-observation made me think of Robert Anton Wilson's line about reading primary sources to avoid the "standardization of error," which made me look up and read about Vilhjalmur Stefansson's life.
If you feel not-sick while reading this, do you
remember vividly what it FEELS like to be like
this guy?
As my throat got scratchier and my feeling of physical being worse and worse, I thought about our reactions to works - even people and ordinary objects - prior to contamination by others's opinions or learned "expertise."There's a long line of thinking that says Go First To The Source, forsaking all others. Both Eric and I have been influenced by Ezra Pound in this, although Ezra, much of the time, wants you to see for yourself, by thinking for yourself, that his - Ez's - esthetics were superior all along. He's funny in that way. One of Ez's students, Louis Zukofsky, wrote a book called A Test of Poetry, which seems like a better way to test your own esthetics without previous knowledge that "experts" agree that So-and-So is great, others less so, etc. In an earlier part of the Roaring Twentieth Century, I.A. Richards conducted similar tests about poetry; I did a gloss on him HERE. Wagner has a blog that's centered on his experience reading and thinking around Zukofsky.
What Pound, Richards and Zukofsky seem to want to engender in their readers is an axiology: a personal hierarchy of values about what's good and why and how works are alike in some way and not in others, etc.
I went to sleep reading about Heidegger's phenomenology, neuroscience ideas about Art, Kant's ding an sich ("the thing in itself"), and wasted into somnolence thinking how underrated phenomenology was...or that it seemed that way to me.
I woke up feeling much worse. The virus had set up shop in me, clearly: I had observed friends with this same thing, hoping I wouldn't get it. My symptoms, as I understand them, arose due to my immune system's "war" (for Lakoff fans, again) against the virus, which only wants to hack into my own cells and use their resources to make more copies of themselves. The symptoms are a good thing, even though we feel like shit. It means we're probably winning. (Who's this "we"?)
As I felt worse and worse and dreaded the at-minimum seven day sentence of dealing with this virus, I began to realize something I'd noted many times before: being sick, for me, seems like an odd discrete mind-state. I don't think I've been sick for a couple of years, but here I am, knowing intellectually that I'm usually not in this state. The odd thing - for me - is this: I can't feel what it's like to not be sick when I'm sick, even though I spend most of my life, in effect, "practicing" the state of being not-sick. I can certainly remember the state of wellness, but it's as if I remember it by reading about it in a book.
I've talked to friends about this and it seems around half know what I'm talking about and roughly concur: a nasty cold or the flu is a discrete mental state, like being high on LSD or mourning the loss of a loved one. The other half either doesn't "see" it this way: they're still "themselves" but just temporarily feeling lousy. It's not discrete; it's more a matter of degree for them, which certainly seems legit to me. Others who haven't seemed to agree with my "discrete state" of sickness idea seemed to have either been bored with my line of thought, or that I was talking too much again about some bizarre idea.
So I dropped my thinking of esthetic perception and read all day on qualia, a topic in the philosophy of mind that generated much debate and heat, shed some light of various quality, and seems to go on and on and on.
Very very briefly and ridiculously inadequately: We both sit down to drink a glass of zinfandel and talk about rock, stocks, the Sox, or life's building-blocks. Apart from the language of wine-tasting (the gamut: oak cask, aged, berry, body, nose/bouquet, tannins, bitterness, fruitiness, etc), we're drinking wine poured from the same bottle. How do you like it?, I ask. It's very good, you say. Yea, I like it too. Nice color.
Here's the thing: those on the side of qualia's existence and importance say there's something ineffable about your experience drinking that wine, an explanatory gap. It's not like doing your income taxes. Drinking that zinfandel - your experience doing it - is not like feeling rushed and late for work. It's not like stubbing your toe after getting out of the shower. Each of these things is different from each other, even though they all involve you in the world, subject to gravity and made of atoms, possessed of articulate language, and a nervous system well experienced in myriad environments. It seems like each experience of the world cannot be completely reduced to physical processes; there's always something left-over, something ineffable and unique about our experience.
We do simulations of what it might be "like" to "be" someone famous, brilliant, beautiful, or widely hated. Some of us may have tremendous imaginations, but we cannot know, I cannot know, what it's like to be Dave Grohl of the Foo Fighters. Or Cate Blanchett. Or Dan Dennett.
I began to think of having this nasty cold as a suite of qualia: the feeling of being literally phlegmatic due to a virus? We've all had the experience. But how do I know your experience is the same as mine? I can't. Oh, we can talk and nod: yep, I feel that way too; those words seem adequate enough. But they are only words.
A typical thought-experiment in philosophy: You meet some alien from another world who cannot feel physical pain, but It speaks your language well and is crazy-intelligent. You explain the physiology of nerve pathways and the spine, types of pain receptors, qualities of pain from a paper cut versus a kick to the shins, etc. The alien downloads into his freakish mind, from the Cloud of info available to us via Internet and books: everything available that has any sort of important bearing on the physiology of pain. And categorizes and memorizes all of it, so any question you ask it about pain, no matter how occult and abstruse? Our alien can answer you in a matter of seconds, with a long stream of data that seems meaningful in some way. Very soon It knows everything any human has ever discovered about pain, and could lecture at the best medical schools on it. Every human authority on pain in the world recognizes our alien ("It") as the Brain About Pain. And yet: It can't feel pain. This is qualia. The alien knows everything about pain except the actual experience of pain, and what sort of "knowledge" is that?
"What's it like to experience_____?"
"What's it like to be_____?"
Now: qualia is usually discussed in terms of basic, simple experiences, like the wine example I gave. Departures from our mundane, "ordinary" feelings of "reality" - altered states of consciousness - seem to enter into the qualia discussions less often. But if they are not the same, then surely the ideas do overlap? Being very stoned on hashish while sitting intensely close to one of the great violinists in the world as she plays the Chaconne in D minor seems like both a very radical altered state and so filled with qualia as to be qualia-stupid: just model it: This is what it is for me to be radically stoned and sitting 4 feet from Victoria Mullova playing Bach...Yes? And how was it different from the way coffee smelled, from down the hall on Sunday morning while you were still in bed and just coming out of sleep? We realize one experience was otherworldly, but only you know what it was like for you to experience both events.
A very convincing idea in cognitive psychology that has to do with the question: Why do we "like" horror movies or tragedies and sad stories? Why are we drawn to news stories about horrible things that happen to people? A big part of the answer is: we use these stories to mentally rehearse worse-case scenarios for ourselves. Just in case. The fictional horrors and depressing stories are more "enjoyable" because, while we know they could be "real" in this case everyone's safe because they are not in fact real. We build circuitry in our brains about these stories, just in case we need to draw upon the "knowledge" there. David Hume said this type of thinking about the sufferings of others builds empathy towards others. The experience of the stories have qualia, if you're into that too. But maybe I'm muddling up the topic even more than I normally do...
Daniel Dennett defends the materialist view of the world by saying that qualia is a fancy word for something that is so ordinary we hardly ever think about it: the way the world seems to us. He has a very refined and nuanced refutation (or denigration) of qualia, and I refer The Reader to his book Consciousness Explained. Because most of the eminent adherents of qualia seem to talk about it as if it's aligned with the Hard Problem of nailing down what consciousness "is" and we don't have any way to scientifically answer this to most scientists' satisfaction, it's a metaphysical concept. Which is anathema to the materialist. I disagree with Dennett and Minsky and a few other qualia-denigrators/deniers of repute, but not for reasons that seem all that robust to me: I think it's a question of personality and temperament. I think the major reason I like and "believe" in qualia is because it's fun to do so. Others choose Batman or God. Go figure.
Now, I have thought a lot about very high order abstractions like god, justice (especially informal examples), terrorism, Being, and infinity. There are similar debates about these words too, and what they refer to, or why referring to them is to talk poppycock. It's all fascinating to me. I find I think about these ideas in as many rational ways as I can; I try to articulate the points of view of those who seem to disagree with me in order to better understand where they're coming from. And I note I always have strong emotional responses to each word, for different "reasons." With qualia, I'm okay with it: I find it pragmatically useful to assume it exists, because it's pleasurable to do so. I'm well aware of a host of very good arguments against it, that it's "mere metaphysics," and that it might be an accident of language or brain evolution; it could be the result of a kludge.
V.S. Ramachandran thinks qualia is probably related to brain development that differs us from chimps. We have Wernicke's Area. Parts of the parietal lobe became differentiated in function way back in our dim past. "Rama" thinks qualia has to do with the idea of "the self" and finding meaning and brain areas - it has a whole hell of a lot to do with the Big Problem of consciousness - so he thinks qualia is a metaphysical concept now, but with further neuroscience, it can become physical.
John Searle sees consciousness as explainable by biology too, "like digestion," and I once heard him say that "conscious states are qualia all the way down."
David Chalmers posits a "principle of organizational invariance" and says that hey, if you AI/roboticists can array computer chips in a way to map the neural circuitry of the brain, you'll get qualia, which is such a trippy idea I almost feel a cannabis contact-high writing this.
But I and many others see Chalmers, Searle, and Rama as serious characters. And aye, the Materialists are worthy opponents too.
Robert Anton Wilson, as far as I can recall, never used the word qualia, but he did think we experienced it, because of the array of life-experiences and memories we brought with us to any further experience. These memories and life experiences were totally unique to us. Right there: qualia. But add to this: our nervous systems are not identical, physically, so our sensoria cannot be 100% identical. We bring cultural references and a vast suite of tricks that our language can play in our experience too. Wilson was a longtime linguistic relativist. He said we also bring moods and expectations to experience, which seem highly variable and can shape our experience of something as simple as a glass of wine. For Wilson, we lived alone on the island of our own vastly idiosyncratic subjectivities, but due to language, gestures and time-binding, we can have intersubjective discourse, bugs and misunderstandings and all.
Indeed, have you ever been so preoccupied that you took your first sip and then were asked "How do you like it?" and you realized you didn't even tune in to the taste and note anything? That's a quale right there: singular for qualia. Either lie and say it's "a bit too jammy for my taste, but all in all it's quaffable and not plonk by any means, no," or admit it: you didn't even notice, because, "I just found out the IRS is going to audit me." So...there's qualia: your total feelings about finding out you're being audited by the IRS, but only your unique feelings about it. Everyone will agree it sucks, of course. But there's more!
For Further Reference
-John Searle's TED talk on consciousness: 15 minutes. The old Berkeley dude still has it, here.
-Wiki for qualia. I was going to make most of the post about Schrodinger, but the Idiot parts of my writing brain took over. Sorry!
-Stanford Encyclopedia of Philosophy is usually a first-rate place to dig into a topic in philosophy, and here they come through in spades.
-V.S. Ramachandran! It's worth 8 minutes of your day, probably.
-9 1/2 minutes: this guy does a very good job of giving us a basic idea about qualia
-Thomas Nagel's famous 1974 paper, "What Is It Like To Be A Bat?", which did a lot to make qualia into more of debated and then popular topic in the philosophy of mind. (Schrodinger's ideas should have done it in the late 1940s/early 1950s, but I think he was way ahead of his time.)
The Overweening Generalist is largely about people who like to read fat, weighty "difficult" books - or thin, profound ones - and how I/They/We stand in relation to the hyper-acceleration of digital social-media-tized culture. It is not a neo-Luddite attack on digital media; it is an attempt to negotiate with it, and to subtly make claims for the role of generalist intellectual types in the scheme of things.
Showing posts with label aesthetics. Show all posts
Showing posts with label aesthetics. Show all posts
Monday, February 17, 2014
Qualia and Having a Nasty Cold Virus, Drinking Wine: What's It Like?
Wednesday, September 18, 2013
On Vision and Judgement
Just let me discuss three recent analyses of the topic before I get out of your hair?
"Experts" and Winners of Classical Music Competitions
So, among the more than 1000 people in the study on musical excellence that you agreed to take part in are ordinary people, musicians, and "experts," the last being the sort of people who judge the winner of the Tchaikovsky or Paganini International Competitions. There are many of these competitions, worldwide, and winning one may get you a tour or a deal to record a few CDs. You signed up for this study, and randomly any one of you are assigned to either 1.) only listen to the top three finalists and then try to guess who won; 2.) view and listen to the top three and guess who won; or 3.) only view the top three but not listen to them play.
Of course, this is a major competition, so all three are shredding, hot-assed players. They all kick ass and play gorgeously. Give it your best shot anyway.
Of course, this is a major competition, so all three are shredding, hot-assed players. They all kick ass and play gorgeously. Give it your best shot anyway.
You can probably "see" where this went: the third group - who only watched and never heard a note - guessed correctly at far above chance the actual winners of BigTime International classical music competitions. The group (made up randomly of musicians, ordinary people, and "experts") that only listened to the top three did the worst at guessing, but the group that both watched with the sound did only slightly better.
This suggests a few things. One: we have an unconscious bias towards visual data even when dealing with the judgement of audio data. Visual data even seems to interfere with audio data. Two: "experts" once again tend to be full of crap. Three: As a longtime rock guitarist, this makes me laugh because it has always been quite an "open secret" that the coolest-looking guitarist will always be more impressive to the fans than the guy who is not all that attractive but plays circles around the cool looking dude.
But classical music was supposed to be different. And I wondered why so many of the female violinists on the covers of my classical CDs were so pulchritudinous. (Aye, but they play marvelously too! I don't hold their looks against them.)
Funny: Here's how the study got going: Dr. Chia-Jung Tsay has PhDs in Organizational Behavior and Psychology, and a PhD in Music from Harvard. She studied piano at Julliard. As a kid, she entered piano competitions and noticed that the reception of her auditions seemed slightly different depending on when she only sent in an audio recording of her playing versus when she sent in a video tape. Tsay played at Carnegie Hall at age 16. Ah...and here is a classical music glamor shot of Dr.Tsay:
After doing her study, Dr. Tsay says she thinks the experts aren't judging solely on "superficial" (by which I think she means: hotness?) criteria, but that there's something about visual information that is very compelling to our brains. We have always been told we shouldn't judge a book by its cover, but publishers and marketers know that we do anyway. When instrumentalists seem to be "hamming it up" they may be merely acting because they think it's what the audience wants, or their playing may be so embodied that they emote in a strikingly visual way, all while being far more "aware" of what they're doing musically rather than what they're doing with their body or face, or both. I have known both types of players. I have been both types.
In the end, I think we might need to reconsider the idea of "purity" usually assumed by performance: if you're moved by a performance...you're moved by the performance. Just be aware that the visual aspect (if there is one) probably shaped your experience. I think we can't get away from this; it's how we're wired. Maybe we should be a little easier on ourselves. It's biology!
Link to a brief discussion of Tsay's study HERE. NPR and Tsay discussing her study, with a photo of famously emotive virtuoso pianist Lang-Lang.
Long ago I saw the piano virtuoso Arturo Benedetti Michelangeli play on the old Arts and Entertainment channel back when cable TV was "new" in the US, and they'd show an entire concert without commercials. He was near the end of his career (he died in 1995), and had let his hair grow long. He was a really hot player, firing off Liszt, but exuded a bitchiness come la prima donna, and he reminded me of when I'd recently seen Ritchie Blackmore play live: sneering, swaggering, total command over technique, dressed in flamboyant black, with a hint of lasciviousness. I found both Blackmore and Michelangeli captivating, even thrilling.
Nicolo Paganini the Genoese came on the 19th century violin scene at a time when the "free agent" musician could make a lot of money and not have to answer to royalty, beg the aristocracy for money or rely on patronage. The new, more powerful "middle class" (AKA bourgeoisie) of Europe loved him. Paganini's technique was otherworldly, and he greatly inspired Chopin, Liszt, and Schumann. But Paganini also cultivated a "demonic" image, which also put asses in the seats. He was the first Jimi Hendrix or Ozzy Osbourne, in a way. But he also pioneered dazzling violin techniques. Paganini may have been the first to exploit his visual, emotive self in a "flamboyant" way in an effort to accentuate his musical self.
Nicolo Paganini the Genoese came on the 19th century violin scene at a time when the "free agent" musician could make a lot of money and not have to answer to royalty, beg the aristocracy for money or rely on patronage. The new, more powerful "middle class" (AKA bourgeoisie) of Europe loved him. Paganini's technique was otherworldly, and he greatly inspired Chopin, Liszt, and Schumann. But Paganini also cultivated a "demonic" image, which also put asses in the seats. He was the first Jimi Hendrix or Ozzy Osbourne, in a way. But he also pioneered dazzling violin techniques. Paganini may have been the first to exploit his visual, emotive self in a "flamboyant" way in an effort to accentuate his musical self.
HERE is Blackmore acolyte Yngwie Malmsteen's showmanship: the entire rock vocabulary, mixed with Bach, Paganini, and Hendrix.
HERE is Nadja Salerno-Sonnenberg playing the finale of the Mendelssohn Violin Concerto in E minor, on American TV, accompanied by a pianist. She flubs a bit, but she's fiery and kinetic as all hell, an Italian-American "tomboy" who loved to play baseball in the street as a kid. I always found her incredibly emotive visually, in addition to her "pure" playing.
Experiment: click on the next link and LISTEN without seeing anything. Then watch the guy play. Do you recognize the name? Is he any good? He's a white guy wearing a t-shirt, apparently at an audition.
The McGurk Effect
This one's really weird: it turns out that what we "see" people say influences what we think we heard, and we can be fooled. And it seems we can't do much to make amends for it. Vision influences hearing here, too. "Reality" seems to be warped in a surprising way. Watch the video!
The Demeanor Assumption
This is a term from lawyer and fraud specialist Robert Hunter. Emily Pronin of Princeton, who studies our ability to detect lies, calls it "the illusion of asymmetric insight." What is it?
I'm drawing on Ian Leslie's piece from New Statesman.
This month a court in England ruled that a muslim woman must remove her hijab/veil when giving evidence. Some experts applauded this, but thought this didn't go far enough: no one should be allowed to veil their faces in court, ever, reasoning that the more body language and facial expressions we see, the better for juries, lawyers and judges to ascertain who's telling the truth. Or who's lying. (I loved the CSICOP-sounding group the "National Secular Society.")
But it turns out we humans are under the illusion that we can determine who's lying. Studies show we're not very good at all. Frankly, we kinda suck at it. Liars can look you straight in the face and get away with it. The innocent can appear twitchy and nervous and suspicious. When I read about this, I thought of Kafka, and especially Anthony Perkins in Orson Welles's The Trial. Also, growing up a snotty thin long-hair "hippie" kid in a town that was not accepting, I was used to telling the truth and not being believed by adults.
Ian Leslie's article made me want to read his book, Born Liars: Why We Can't Live Without Deceit, about research into how lousy we are at detecting lies. He argues that, contrary to the court's opinion, we might "hear" the testimony and evidence better if everyone were veiled!
When you meet me, most prominent in your mind are two things: 1.) my face; and 2.) your own thoughts. You probably think you can read my thoughts while your own are private. But...I'm meeting you, too. Why wouldn't things be the same for me? Leslie sums up this cognitive bias thus: "I am never quite what I seem; you are an open book."
How does this data about how bad we are at detecting lies reflect on the stuff about judging musical performances? Does the Demeanor Assumption throw off classical music "experts"?
I previously wrote on the topic of deception HERE.
Trailer for Welles's interpretation of Kafka's The Trial:
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