Utopian Turtletop. Contact: turtletop [at] hotmail [dot] com

Thursday, June 28, 2007


love love love love love -- it's a swinging thing.
(so say the Shirelles. i'm with the Shirelles.)



I watched the finale of Studio 60 on the Sunset Strip tonight, and really enjoyed the ending, in part because way back in October I predicted that “the show will be the love story of Matt & Danny” -- and I was right! The last scene in which more than one character appeared depicted Matt and Danny telling each other they love each other! Very sweet.

I mostly kept watching the show so I could better enjoy Lance Mannion’s live blog of it, and the bantering commentary, which I, living on the west coast, always read as a recap.

It wasn’t a very good show, and I’m not sad to see it go, but I don’t regreat having watched it.



Tuesday, June 26, 2007


the burning deck on which the boy stood.

Those of us still on the burning deck of good usage believe that unique -- the paradigm of absolute solitude -- can never be modified with an insipid very, quite, rather, almost or practically. -- William Safire, "On Language," 6/24/2007, New York Times
I showed Sunday's "On Language" column to my beloved spouse because modifying the adjective "unique" bugs her -- and not wrongly so. The line quoted above made her laugh, but she didn't recognize the allusion to a ghastly 19th century poem, "Casabianca" by Felicia Hemans.

The poem commemorates an actual event from history. A man named Casabianca captained a ship in the Battle of the Nile in 1798. As his ship burned down, his 13-year-old son held his post.

Hemans's poem applauds the boy's faithful heart.

The boy stood on the burning deck
Whence all but he had fled;
The flame that lit the battle's wreck
Shone round him o'er the dead.

Yet beautiful and bright he stood, 5
As born to rule the storm;
A creature of heroic blood,
A proud, though childlike form.

The flames roll'd on­-he would not go
Without his father's word; 10
That father, faint in death below,
His voice no longer heard.

He call'd aloud-­"Say, Father, say
If yet my task is done?"
He knew not that the chieftain lay 15
Unconscious of his son.

"Speak, Father!" once again he cried,
"If I may yet be gone!"
And but the booming shots replied,
And fast the flames roll'd on. 20

Upon his brow he felt their breath,
And in his waving hair,
And look'd from that lone post of death
In still, yet brave despair.

And shouted but once more aloud, 25
"My Father! must I stay?"
While o'er him fast, through sail and shroud,
The wreathing fires made way.

They wrapt the ship in splendour wild,
They caught the flag on high, 30
And stream'd above the gallant child,
Like banners in the sky.

There came a burst of thunder sound­-
The boy­-oh! where was he?
Ask of the winds that far around 35
With fragments strewed the sea!­-

With mast, and helm, and pennon fair,
That well had borne their part,
But the noblest thing which perish'd there
Was that young faithful heart! 40


Safire knows he's losing the usage war. His allusion to the poem -- which, I'm guessing, he may have learned in elementary school, back when people learned poems in school -- implies that the Father of Good Usage is always already dead, and his faithful sons (and daughters) can only cry for His guidance helplessly as they await their doom in the fiery battle.

This essay connects Alan Turing and his Turing test to the poem.


-- George Arnald (1763 - 1841), The Explosion Of L’Orient During The Battle Of The Nile



Monday, June 25, 2007


they played with Kronos.


After posting last week on Richard Rorty and the contingency of language, my thinking went on two divergent tracks.

* * *

First, I went back and re-read the essay that first introduced me to Rorty, “It’s Only As Good As It Sounds,” by Kyle Gann, which was recently reprinted in his terrific collection, Music Downtown. I read Kyle’s piece when it first came out in 1990 in the Village Voice (back when the Voice could boast not only the most prolific and comprehensive and widely respected post-classical critic in English (Kyle), but also the most prolific and comprehensive and widely respected jazz critic of the past 20 years (Gary Giddins) as well as the most prolific and comprehensive and one of the most highly regarded rock critics (Robert Christgau)). I should not have been surprised to rediscover thinking in the piece that sounds like my own Anti-Manifestoism. I have mentioned that Kyle expanded my horizons, but I have no doubt that encountering his writing when I did encouraged me in my habits of mind as well.

Among other things, Kyle argues in the piece, following Rorty, that different styles in music (as in philosophy) can’t necessarily be fused successfully, when the different styles have differing underlying assumptions.

I’ve been thinking lately about Kronos Quartet as “ugly Americans” -- people who feel that their American passports and ample pocketbooks allow them to go anywhere and do anything they like. It’s unfair to call them “Ugly Americans,” but I really felt that way upon hearing the track they recorded with the amazing Romanian Rom band Taraf de Haidouks, on the Kronos collection Caravan. I’ve seen Taraf de Haidouks live and own two of their collections, and they’re astonishing virtuosos. Kronos Quartet has chops -- on a tune from Taraf’s repertory, Kronos fits in, they keep up. But why are they there? Ah, the tune has gone on for several minutes, and here comes their “feature” spot (arranged by Osvaldo Golijov). And it’s 20th century classical ho-hummery. Really, it detracts from the whole. What the hell is Kronos doing on this tune?

To be fair, Kronos can be equally ugly toward their fellow Americans. Their intrusions on an archival recording of Charles Ives singing his song “They Are There!” are grotesque -- they actually mock Ives, putting a sarcastic exclamation where Ives had a rest! And the arrangement for themselves of a wonderful Harry Partch piece (“Barstow”) -- it’s awful. I usually have no problem with transcription from one ensemble to another -- it’s a longstanding and often gloriously fruitful classical tradition. But Partch for string quartet doesn’t work. At least not for me.

From another angle, I applaud Kronos’s omnivorous musical appetite. They work extremely hard and have wide-open and generous ears. The attention they bring to manifold corners of the music world is healthy and positive. The only problem is -- musically it often makes no sense, it doesn’t work. Which is fine! Experiments fail. Good for them for going for it.

Re-reading Kyle’s piece, and thinking about the subtle particularities of musical style, I realize why these fusions so rarely work. Jazz-classical fusions (for example) have tried to address rhythmic collisions between the traditions, but the differences are more basic and subtle than what can be addressed with notation.

The classical “difference” may be notation itself -- or notation-centrism, for jazz and many other styles employ notation. Some weeks ago I was reading a collection of Virgil Thomson’s writing, and I was struck by his praise for Edith Piaf and “all that vast authority of singing style.” The stylistic authority of pop stars outweighs that of all but the most iconoclastic classical stars, because stars in every style I know of other than classical have greater demands of individuality of phrasing, attack, decay, timbre, and even pitch placed upon them than classical players are even allowed. Classical ensemble players -- such as those in a quartet -- have even less leeway in these matters.

So, when classical players improvise, even if they know the stylistic boundaries of whatever style they are playing in, they rarely have the technical chops demanded. It’s not that the other techniques are more difficult or more advanced or more complex -- it’s that in the grainy details they’re fundamentally antithetical to classical chops.

* * *

The other track I followed after posting on Rorty: I sent my query to Michael Berube, whose obituary for Rorty spurred me down this line.

To recap: Berube had said that “I was never quite convinced by Rorty's claims that the languages of the physical sciences were as contingent as any other form of language.” I wrote and asked him whether the recent demotion of Pluto’s status from that of planet to that of dwarf planet did not indicate scientific language was contingent on present consensus and understanding.

He kindly wrote back, and it turns out that my misunderstanding was contingent on which definition of “contingent” was operational.

According to the dictionary (and looking only at the adjective forms):

con*tin*gent [kuhn-tin-juhnt] - adjective
1. dependent for existence, occurrence, character, etc., on something not yet certain; conditional (often fol. by on or upon): Our plans are contingent on the weather.
2. liable to happen or not; uncertain; possible: They had to plan for contingent expenses.
3. happening by chance or without known cause; fortuitous; accidental: contingent occurrences.
4. Logic. (of a proposition) neither logically necessary nor logically impossible, so that its truth or falsity can be established only by sensory observation.


After going back and forth with Michael, it seemed to me that his contention was completely valid if we stick with definition three. Scientific language -- or, perhaps, a scientific claim of truth -- is less accidental than other language (or claims of truth); less, say, random. Looking at definition one or four, however, I would argue that scientific language is more contingent than most others.

I was grateful to Michael for patiently walking me through my confusion. That the confusion hinged on rival definitions of a key word strikes me as . . . fizzily delightful.



Thursday, June 21, 2007



As long as we haven't extincted ourselves, we won't know how the human story ends, and if we were to extinct ourselves, there wouldn't be anybody to tell or hear the tale, and all of human history would have been a tale told by an idiot, signifying nothing. Nothing, to nobody. Unless God is listening. I don't believe he is.

Solstice Eve we went to a lecture on astrobiology, which addressed the possibility of life on Mars and on Saturn's moons. The lecturers mentioned an astronomer who has projected statistical possibilities of intelligent life on other planets. The use of statistical analysis seemed goofy, and the presenters spoke solemnly of Controversy surrounding this supposition or that. If X percent of earth-like planets have conditions for life, on how many will life develop? If X percent of planets with life evolve intelligent species, how many will develop technology to the point that they will be sending out radio waves? How amusing that people argue seriously over what X should equal in each instance, I thought at first, but maybe it's no more silly than arguing over who's the best guitarist.

What was striking: The model assumes that the intelligent species will thrive for only a limited time -- 10,000 years? 20,000 years? The lecturers assumed their most solemn tones to tell us that this is the most controversial supposition of all.

The astrobiologists implied that intelligence may end up having proved to have been an evolutionary blind alley -- in other words, having developed the tools to extinct ourselves, there is no reason to suppose that we won't eventually use them.

There is no way of knowing. Here's hoping we don't.



Wednesday, June 20, 2007


Various musical thoughts lately -- when I sit to set them down they flutter away like startled butterflies, they evaporate like nascent rainclouds, and so I'm left hoping for a cloudburst before too long, or a prolonged visitation with the butterflies.



The image is 10th century musical notation, if memory serves. I stole the image from a web site without making note of the image or the site, thinking I could find it again, and now I can't. Much like the notation itself -- can anybody read it?
(I can't read the writing either.)



One afternoon in late 1999 I was taking a group cab from Petra to Amman, Jordan, with a bunch of European tourists I had recently met. A young woman from the Netherlands put a cassette on, which the cabbie agreed to. It was '90s Euro-techno-dance music; I enjoyed it. Then the Netherlandish woman got tired of it and put on Led Zeppelin. "Led Zeppelin is like the Beatles," she said (she was in her early 20s), "Everybody likes them, and you can put them on in any mood or situation and it's fine."

Years before, 2 musician friends and I had discussed who set the industry standard in the '70s as the Beatles had (in many respects) in the '60s. I proposed the Eagles, which I regretted later (though I do like the Eagles).


Led Zeppelin -- they were it.

They sounded great across the Jordanian desert.







-- Jordanian desert above the Dead Sea, courtesy of these people.

Tuesday, June 19, 2007

It was the late, lamented Steve Gilliard who first, to my knowledge, publicly speculated that my other favorite political blogger, Digby, might be a woman.

Steve was right.

Jane Hamsher of Firedoglake has written about her friendship with Digby, and so it is no surprise that when Digby decided to reveal herself, she did so on Jane’s blog -- and it brings a mix of deep emotions to see Steve proven right.

In Jane’s words -- Ladies and Gentleman, Digby.

* * *

My mom has kept my dad's greeting on her answering machine. Today when I called I had forgotten, and I was really happy -- for a moment -- to hear his voice. "Oh, Dad, there's so much to tell you."

* * *

And a lot of it bad news -- an acquaintance of whom I am very fond lost her third and last brother, to liver failure from alcoholism. She had lost another brother to alcoholism, and her other brother was murdered.

Another acquaintance is facing a rather terrifying surgery, for which a specialist must be scheduled weeks ahead of time and flown in. I was shaken up when I heard.

Other troubles, strictly personal -- trouble and sorrow about which I can't do much.

* * *

With my dad gone, my connection to his childhood is gone. He has a brother and an uncle still living, but I'm not close to them in nearly the same way -- I don't, for instance, know their birthdays. My mom keeps me connected to my grandparents in a way that nobody else will be able to, because I was close to her parents in a way that my siblings were not -- though they know our grandparents' birthdays. My siblings will always keep me connected to our dad. Relationships are contextual. We're going to visit my mom in a couple of weeks, and it will be my first trip back since Dad's funeral. Talking with my sister the other day, I broke down sobbing when she talked about driving through a small town where grandparents of Dad's had lived. I don't know if I've ever driven through that town without Dad, at least not for many years, and always there was a story, which nobody now remembers. He was the lore master.

* * *

"We can't come to the phone right now," says my dad's voice on the answering machine. No, Dad, I don't suppose you can. It's nice to hear from you anyway.



Monday, June 18, 2007


I don't know much about philosophy, but I know what I like.

The thing* is, I don't know how I know.

And I'm OK with that.

One style of argument substitutes a macho display of name-dropping for thinking or conviction, like junior high boys waving their eruditions around -- "mine's bigger than yours."** I recognize that name-dropping also functions as jargon, as an intellectual shorthand for people within a discourse community, and familiarity with said jargon marks one as in or out. And so I notice when I'm out; my out-ness sticks out.

If you want to have fun at the dance, it helps to know the steps.



-- Raphael, School of Athens, 1509

* Das Ding an sich? Nah, it's just an expression, though our relationship to our own consciousness may be as thingful as anything.
** I know I do this too.


Sunday, June 17, 2007


Not that anybody asked, but this is what I believe.

I believe that the world -- the universe -- is out there, or rather, here, and that we are part of it.

I believe that the universe would continue to exist without human perception, and that it existed before human perception.

I believe that while human perception, imagination, and understanding can come to more-or-less accurate accounts of phenomena, two limits hem these accounts in: First, we have no way of knowing with absolute certainty which portions of our accounts are accurate; and second, nobody will ever have a complete account of phenomena, and not just because of temporal limits or Heisenbergian limits. I believe that uncounted phenomena will remain opaque to human understanding. For example, we may never understand what dark energy is or how it works. By contrast, we may learn that what we are presently calling “dark energy” is really something else altogether. Another example: Will we ever understand why it is that when two highly flammable gases -- hydrogen and oxygen -- fuse, they become something which smothers fire, and not something super-extra-fiery?

Michael Berube’s thoughts on the death of philosopher Richard Rorty prompt these reflections. As with quite a lot else, I first learned of Rorty in Kyle Gann’s Village Voice column, many years ago. Gann’s account of Rorty’s pragmatism seemed congenial to me, and I’ve never read Rorty, though just tonight I reserved his book Contingency, Irony, Solidarity from the library.

In his obituary, Berube states, “I was never quite convinced by Rorty's claims that the languages of the physical sciences were as contingent as any other form of language.” “Contingent on what?” you may ask, as Berube did of Rorty in a graduate seminar, to which Rorty replied: "Not contingent on anything, just … contingent."

Please forgive me if my ill-informed state leads me to blatantly blunder in asking this, but didn’t Pluto’s recent demotion from planet-status reveal the contingent nature of scientific language? Isn’t it contingent on the limits of present understanding and consensus? Hasn’t the language of science evolved over time even more drastically than than the language of poetry? Or am I completely missing the boat on the meaning of “contingent,” and stepping off the dock and into the drink -- in short, am I all wet?

As I reflect on the roots of my non-anti-rational skepticism, I realize I must have been influenced by Taoism. When I hitch-hiked across the country at the age of 19, I took the Tao Te Ching with me -- and maybe the Chuang Tzu as well. And now I don’t remember where I first heard about Taoism. In college? Probably. In a class? I don’t think so. From another student? Quite likely -- maybe my friend Jeff D.? From reading Alan Watts? And why would I have been reading Alan Watts? Not for a class -- because John Cage mentioned him? Does John Cage mention him? Quite possibly not! I would have been reading Cage because I was a music nerd (though not a music student).

Whatever the case may be, I seem to have lost my edition of Chuang Tzu, which disappoints me for a number of reasons. But in looking for a passage on language that I half-remembered, I found some relevant stuff that I’m sure I read as a teen-ager. Here are two passages from the chapter, “Discussion on Making All Things Equal,” in Burton Watson’s standard translation.

Suppose you and I have had an argument. If you have beaten me instead of my beating you, then are you necessarily right and am I necessarily wrong? If I had beaten you instead of you beating me, then am I necessarily right and are you necessarily wrong? Is one of us right and the other wrong? Are both of us right or are both of us wrong? If you and I don't know the answer, then other people are bound to be even more in the dark. Whom shall we get to decide what is right? Shall we get someone who agrees with you to decide? But if he already agrees with you, how can he decide fairly? Shall we get someone who agrees with me? But if he already agrees with me, how can he decide? Shall we get someone who disagrees with both of us? But if he already disagrees with both of us, how can he decide? Shall we get someone who agrees with both of us? But if he already agrees with both of us, how can he decide? Obviously, then, neither you nor I nor anyone else can know the answer. Shall we wait for still another person? . . .


Words are not just wind. Words have something to say. But if what they have to say is not fixed, then do they really say something? Or do they say nothing? People suppose that words are different from the peeps of baby birds, but is there a difference or isn't there?


This is the quote I was looking for -- not quite as relevant, as it turns out, but still lively.

The fish trap exists because of the fish; once you've gotten the fish, you can forget the trap. The rabbit snare exists because of the rabbit; once you've gotten the rabbit, you can forget the snare. Words exist because of meaning; once you've gotten the meaning, you can forget the words. Where can I find a man who has forgotten words so I can have a word with him?


Condolences to Rorty’s family and friends.



-- The image, if I'm not mistaken, is of Chuang Tzu conversing with a friend.
Thomas Merton used it on the cover of his edition of the writings attributed to Chuang Tzu.
I don't know the source of the picture.



This page is powered by Blogger. Isn't yours?