About howard

Wine, Physics and Song is my blog. Roughly speaking, I'm a quantum physicist, working mostly in the foundations of quantum theory, and in quantum computation and quantum information processing. My main focus recently has been understanding the nature of quantum theory by understanding how the possibilities it gives us for processing information compare to what might have been, by studying information processing in abstract mathematical frameworks, using tools like ordered linear spaces and category theory, in which not only quantum and classical theories, but all sorts of "foil" theories that don't seem to be realized in our physical world, but are illuminating to contrast with quantum theory, can be formulated. Sometimes I like to call this pursuit "mathematical science fiction".

Learning "rootless" voicings for jazz piano from Earl MacDonald

[Understanding this post probably requires a basic knowledge of seventh and related chords and extensions and alterations as used in "straight-ahead" (swing, bebop) jazz and mid-twentieth century American popular song harmony.  The highlighted (and recommended) links will tell you what they are, and something of how they function in jazz harmony, though not the full story.]

A basic component of most jazz pianists' toolbox is the so-called "Bill Evans" or "rootless" or sometimes "left-hand" voicings.  Each of the three terms is inaccurate.  These were to some extent used before Evans came on the scene in the late 1950s/early 1960s, but he perhaps used them more extensively than others.  (Wynton Kelly, Red Garland, and Ahmad Jamal are among those also cited as inclined to use them.)  Along with McCoy Tyner, Evans also was a pioneer in using quartal voicings, which would probably be equally good candidates for associating with his name, but are not our topic here.   A few of the "rootless voicings" contain the root of the chord, though most do not.  And although they are commonly used in the left hand while the right plays melody, they may also appear in the right hand.  "Four-note voicings" might be another term one sees used, though I'm not sure if that's as specific.

In some of the classic books on jazz piano playing (like Mark Levine's highly recommended "The Jazz Piano Book"), these may be introduced a bit too early, and some teachers may overemphasize them early on (especially to students who are already fairly aware of the basics of jazz harmony).  Working pianists, who usually play in a rhythm section in which the bass takes care of stating the roots, like to use these voicings in order to stay out of the way of the bass line, and because they allow for more "color" tones, as found for example in standard extensions of 7th chords to include 9ths, 11ths, 13ths.  (Some of these may be called "alterations", a term whose appropriate application I'm not completely clear about and am not going to get into here; it usually refers to a #11, b5 (enharmonically the same as a #11), b6=b13, b9 or #9, but precisely which notes are "altered" and which are just extensions depends on (what is considered to be) the harmonic context.)  For learning jazz theory in a way that gets it into your ear (and fingers, if playing piano and not just hearing jazz harmony is your ultimate goal), I think it's best to practice four-note voicings with roots first.  These can work for elementary solo piano playing, and for getting the sound of a tune including the roots fixed in your mind (play the "rooty" voicings in the LH, and the melody or an improvisation (yours, or a transcribed one) in the RH).  Of course you can use these same possibilities with the Evans voicings, and you will find that many of them are the same as "rooty" four-note voicings for chords a third higher, so practicing the rooty ones first also helps with the Evans ones.  I'll post on rooty voicings at some point, but here I'll discuss learning the more advanced Evans voicings, something I am in the middle of doing.

I'm using pianist Earl MacDonald's excellent post on how to learn these voicings.  I recommend printing out both his post, and his pdf file with music notation and taking them to the piano.  I won't go into detail, but just say a few things that might be a useful supplement.  Two voicings, labeled "A" and "B", are given for each chord type.  Frequently, though not always, the B voicing just involves taking the bottom two notes of the A voicing and making them the top two notes.  For example, the first two chord types he considers (minor 9th, and  [dominant] 13th) work that way.  I tend to think of these kinds of four-note voicings as a pair of intervals (that between the bottom two notes, and that between the top two), separated by the interval between notes 2 and 3 (top of the bottom interval, and bottom of the top interval).  Then I just think of the move to the other voicing as moving the bottom interval up an octave (or the top one down an octave, depending which way I'm moving it).  It can help to keep in mind how the middle interval will change when you do that:  e.g., for the minor 9th voicings, from a minor third for the A voicing (I don't think explicitly about this in this case, because the A voicing here is just a root position major seventh starting on the third of the chord we are voicing, e.g. Cm9 is voiced as EbMaj7)  to a half step, or vice versa.  The cool thing about these voicings is that when you want to move from, say, a B voicing  to a voicing for the same type chord with the root down a fifth (very common root movement, with or without a change in chord type), you just keep the top two notes the same and move the bottom ones down a half step or a whole step.  So again, thinking about the chord as a pair of intervals helps.  Of course ultimately you want to get this into your fingers, and not "think" too explicitly.  For example, to move the minor 9th B voicing to a minor 9th a fifth down, you go to the A voicing of the new chord, by keeping the top two notes the same as in the previous chord, and dropping each of the bottom two by a whole step.  When you start incorporating the voicings into chord progressions, the chord type will often change, but since root movement down by fifths is common and important, you can frequently negotiate these progressions effectively by going from an A voicing for the first chord to a B voicing for the second, or vice versa, keeping track of which notes change and which stay the same.  Often  you will just move the bottom interval, or just move the top interval, which is nice.  And if you've practiced root-included 7th-chord progressions, you might find some of the movements are similar, or the same, just used over a different root.  I haven't done much along these lines yet, but obviously ii V7 I  or the minor homologue, iiø V7 i, are the first ones to work on.

The basic construction principle for most of the voicings can be understood starting from the example of the minor 9th chord.  The chord tones used are 3, 5, 7, and 9 (3 and 7 of course refer a minor third and minor seventh relative to the root, since this is a 9th chord; the 9th here is major).  The A voicing is [3 5 7 9], B voicing is [7 9 3 5] (left to right going low to high in pitch).  When a voicing has a natural 11th (enharmonically, 4th) it appears instead of the 3rd.  (This happens with one chord type, the half-diminished chord with natural 11th.)   When it has a 13th (= 6th) it usually appears instead of the 5th, in the above constructions.  There is an exception to the 5 goes to 6 rule for the A form of the standard major (no 11th) voicing:  the A form is a 6 9 voiced [3 5 6 9] (so one can think of the 6 as having been substituted for the 7th).  A #11th, on the other hand (one chord type: the Maj7#11), is substituted for the 5 (the boppers used to think of the sharp 11 as a flatted fifth; thinking that way there is no substitution going on here; then again I don't think the boppers often added a sharp 11th to major chords).  The Maj7#11 is also an exception to the rootless rule: it is voiced  A: [1 3 11 7] and B: [11 7 1 3].  The other exception to the rootless rule is the B form of the standard (eleventh-less) major chord: it is a Maj7 with root, voiced [7 1 3 5], i.e. the major 7th and then the root-position triad, starting a half-step above the 7th.  This pair of major voicings is the only one that doesn't obey the rule of putting the bottom interval on top while keeping the top interval as the bottom of the new voicing, to go from A to B voicing.  Rather, the bottom goes on top, but the formerly top interval shrinks (if you must think this way) from 6 9 (a fourth) to 7 1 (a half-step) as it becomes the new bottom interval.

One could probably understand a bit more about the choice of particular types of voicings from the voice-leading properties they give rise to in common progressions (primarily major and minor ii V I or i type progressions).  Curious is the omission of a voicing for the dominant 7th #11.  This was a very important chord starting with bebop.  If this reflects Evans' practice and not just MacDonald's predilections, I wonder if it's because Evans usually used a different type of voicing (quartal?) for this chord type?

If MacDonald's exercises seem time-consuming and difficult, let me just say that you can progress fairly quickly, and it's worth it.  Here's a point from MacDonald that I really appreciate his emphasizing; it's crucial to remember, not just about this but about many, many exercises involved in learning to play jazz (and other musics, for that matter, e.g. scale practice):

Learning voicings is similar to learning to ride a bike.  At first it is difficult, frustrating, and at times, painful.  But once it is learned correctly, you never look back, and you can do it instinctually ever after.

A few comments on MacDonald's suggested learning routine. For all of the exercises, I've done them sometimes without sounding the root, but frequently with the root sounded in the bass. I think this is important to get the proper harmonic function of the voicing in your ear. Less crucially, I've done some of them with the right hand as well. Exercise number 8, taking the voicings down the circle of fifths with metronome (he refers to it as the circle of fourths; up a fourth is down a fifth, modulo octaves) is particularly crucial; I think this is where you'll really get the voicings memorized. Besides sometimes doing it with sounded roots, when I don't sound the root, I've been saying its letter name out loud. This also helps in better memorizing the circle of fifths, which anyone playing any music with essentially Western tempered harmony will want to do. Another point is that before working on each chord type, it is good to sound out the full chords, in root position, stack-of-(usually)-thirds configuration, and then compare this sound to the rootless voicing sounded with the root in the bass. You'll really start getting an idea of how extensions and alterations sound by doing this (especially if you sound out the lower seventh chord before adding extensions). You don't have to do this for every root (I haven't been), but it might be worthwhile too.

I have not yet made flash cards and done the "random roots"  exercise.  I've tried going up by fifths, as preliminary step toward getting away from the reliance on "muscle memory" and explicit thinking about the "lower the bottom two notes" trick for moving the root down a fifth while going from an A to B voicing, and I recommend it, as it's a cool sound as well.  I'm ignoring his suggestion about completely mastering one chord type before going on to the next, in that I've worked quite a bit on the 13th chord without complete mastery of the minor 9th, but I think that's OK as long as you don't mix things up to much and really push on each type focusing primarily on one at a time.

Finally, the observation he asks you to try to ignore, that five of the chord types share the same voicing (just with a different root), is quite neat and important, an example of the general phenomenon that putting a different bass note under a given set of pitches in the middle or upper register can make an enormous change in the way they sound. Not only could it be used for reharmonization of a given melody, but I imagine it could be used (and probably is used) in composition, not just jazz but classical composition (many of these 7th, 9th, 13th, 11th, and 6th chords appear in classical music, especially Ravel, Debussy, Stravinsky, and Copland) to effect modulations, by changing the root under a given voicing and then treating it as if it has the new harmonic function, resolving it in some standard way. It would be neat to find---or create---examples of this.

Review: Dum Dum Girls "Only in Dreams"

This has been sitting around as a draft for more than a year now.  A quick track-by-track review of the Dum Dum Girls' September 2011 album "Only in Dreams" from last year on Sub Pop records.  Not ultra-heavy or consistently deep, but very enjoyable and interesting.  Definitely recommended.  It mixes bouncy guitar pop-rock with wisps of doowop, washes of surf and even occasional smears of grunge, quite organically and effectively.  Before the track-by-track comments, the official Youtube stream.

Always Looking kicks things off in style with a grungish main theme, and a slightly Grace Slick-ish vocal sound.  I have a feeling of having heard something like this from Mudhoney somewhere...perhaps it's a nod to the Sub Pop pedigree.  A poppier interlude ("I never felt a beat in my heart / till you made it start"), more reminiscent of Blondie, leads to a bit of tasty surf guitar.  Bedroom Eyes begins with a very pretty, sing-song melody in major in the guitar intro, then swings right into a peppy, uptempo verse, anchored by the superb chorus ("Oh, I need your bedroom eyes").  A new musical and episode late in the song ("you will never sleep again") tops things off with a bit of a triumphant feeling, and is nice structural touch, leading back to the main verse/chorus sequence again.

Just a Creep is a bit enigmatic---we don't learn who the creep is or what he's done.  Is this the same guy whose bedroom eyes she needed in the previous song?  "It upset me to learn you act this way / It must be hard to be yourself each day / you act so sweet / but you don't cut deep / you're just a little creep".  Excellent surf guitar obbligato.   In My Head is another song of separation and longing, but set to relatively upbeat and catchy music.  It's also a very well crafted song, with a full-fledged verse, chorus, and bridge, and interesting substructures within them.  The verse is set off by a doowopish chorus ("Oh don't you tell me / I am your baby/over the phone/it don't feel right/Come home and kiss me/ tell me you miss me / come do it right").  A superb song, perhaps the album's best.  Do we have a lyrical (though certainly not musical) nod to the Stone Roses here? ("I just wanna be adored")   Heartbeat is another excellent song with plenty of fifties doowop and pop influence, and a lighter feeling overall.  In general the drumming could lean a bit less on the two-eighth-notes on two / one-eighth on four backbeat, although it's very appropriate for many of these songs.  Musically Caught in One seems to continue in the mildly melancholic but peppy vein, though if you listen to the lyrics things are getting a bit heavier...there seems to be pain, and an unfaithful lover, involved.

With Coming Down we have, just in time, a more marked change in musical style... we have here an example of a minor-key guitar anthem, in a mood of nostalgia, yearning, regretful leaving, and wallowing in all of the above.  An interlude with a different feel leads to a higher-pitched, somewhat more triumphal sounding section ("there I go...").  Harmonically, and in mood, the song is related to Knockin' on Heaven's Door.  The guitar then lays out for a heavier bit in which the singer finally gets more specific about the source of this mood ("if you only had a heart").  For an example of how good a singer Dee Dee is, just listen to her control over the changing timbre as she stretches out the word "start". Simple and effective.

Wasted Away is again fairly uptempo, but remains emotionally engaged, and keeps up the theme of missing a lover, if a bit ambiguously ("I'd rather waste away than see you only in dreams / but there's nothing to say / at the end of the day you're wasting away").  Fuzzy, ringing guitars provide a foil.  Teardrops on My Pillow begins in a pop-punkish kind of vein, reminiscent of Hüsker Dü or some of Bob Mould's other projects, then "Teardrops on My Pillow" is intoned in a definite fifties-pop context. Hold your Hand ("I wish it wasn't true but there's nothing I can do except hold your hand") explores yet another vein of fifties vocal pop, slower but with a surging chorus ("But you'd do anything to bring her back").

I was afraid this immediately appealing album might pale on repeated listenings, but so far, it's just gotten better.  There's a lot of interesting detail to savor in the songwriting, and the vocal harmonies just get tastier.

 

2001 Renwood Old Vines Zinfandel (Amador County)

More song and philosophy than wine here lately, but I'll try to put out some quick reviews of outstanding wines I drank in 2012 and more recently.  I visited New Orleans in October (I think) of the year before Katrina, to give a talk at Tulane, and was served the 2001 Renwood Old Vines Zinfandel at the fabulous Lilette.  I was eating more meat then... it went great with a slow-cooked pork belly dish, really cutting through the fatty intensity which in turn helped tame the wine's tannins.  So I bought a case, at something like $10 or $12 a bottle, when I got back to New Mexico.  As I recall, the first bottle was quite close to the experience at Lilette, but then it seemed to go through a closed period, or maybe I just got some ho-hum bottles...so that I was thinking maybe this was just a decent wine to bring to barbeques and such where a really good wine might get lost.  A recently opened (December 2012) bottle was really excellent, though:  loads of very typical Amador County (it's in California's Sierra Foothills) flavors, especially tobacco which is very characteristic, a bit of chocolate, blackcurrant... maybe cherry and hints of coffee... whatever.  Strong and tasty.  Although it had some silkiness, and plenty of sediment had dropped, this was not the most elegant, velvety wine around...it has something of a late harvest, high-alcohol style, but enough flavor to handle it.  Almost reminiscent of a port.  It handles being consumed over several days with refrigeration inbetween, which is usual for me, quite well, although it does become more port-like over time.  Luckily, I have more than half the case left.  But I want to try aging this wine again with a newer vintage.  Really good flavors seem to have developed with aging.  I've always liked the tobacco and chocolate cherry flavors of Amador reds (I've tasted it in some Cabernets too), so I urge folks to check 'em out.

Jeremy Denk plays Schumann and Bach at Los Alamos

Jeremy Denk played Schumann's Davidsbündlertänze and Bach's Goldberg Variations at Los Alamos' Duane Smith Auditorium last Saturday (January 12), presented by the Los Alamos Concert Association.  A wonderful experience to hear two long works, each consisting of a sequence of many short pieces, and each among the pinnacles of keyboard music of their respective (romantic and baroque) musical eras.  Do not miss a chance to hear Denk play this repertoire.  The Schumann is a fascinating compendium of romantic gestures and episodes, only occasionally rambling and soft-edged as Schumann can be, mostly quite focused and beautifully shaped.   Denk's touch, as compared to some pianists, seems just slightly firm, and sometimes a bit monolithic on chords, sometimes slanting his interpretations towards the architectonic rather than the lyrical.  This could be quite piano-dependent, of course, and is not a bad thing.  In any case the last 10 minutes or so of the Schumann were pure song as played by Denk.  The Goldberg was a magnificent experience, sometimes recalling Glenn Gould's 1950s version with fast tempos (though there was no sense of excessively fast tempos overall), and great clarity, especially rhythmically.  Inner voices were often brought out, though less compulsively and analytically than by Gould.  In this piece Denk, playing a 9-foot Steinway, got an effect somewhat like a performance on a large, powerful, harpsichord---a coherent, speaking-with-one-voice impression, while still taking advantage of the piano's more lyrical potential when called for.  Very rarely, the faster tempos in certain variations left me momentarily feeling confused about the beat, but that might have been due to a momentary lapse of attention on my part, and in any case was made up for by the powerful overall impact of those same fast tempos.  Denk's touch is relatively precise, but not excessively glassy or percussive, rather just slightly soft-edged, keeping things clear and well-defined but without getting clanky and aggressive nor dry.  Just beautiful in the Goldbergs.

We got Mr. Denk back out for an encore: he played a fairly lengthy, and very familiar piece by Chopin in a somewhat dreamy, musing mood... probaby a ballade or nocturne...I should know the name.  It was magic.  Somebody brightened and dimmed the house lights accidentally toward the end, making the audience laugh, and breaking the spell a bit, I thought.  Whether the spell was broken in his playing, or just in my attention, I'm not sure... a shame, but not a huge one, since as I said most of the encore was pure enchantment.

Denk is about to record, or perhaps has just recorded, the Goldbergs;  I plan on getting it when it comes out.  I'm also very interested to see he's recorded some Ligeti, and Ives' Concord Sonata... I listened extensively to Gilbert Kalish's wonderful version of the latter masterpiece on a Nonesuch LP a couple of decades ago, but from what I've heard of Denk's playing, I'd love to hear him do it.

Nagel and Delong II: Fallibility and Transcendence

In my first post on Brad Delong's series of criticisms of Thomas Nagel's new book Mind and Cosmos I focused not on Brad's initial critcism but on a later post that seemed to be implying Nagel put too much weight on "common sense".  In this post I'll focus on Brad's initial criticism, and in particular on what seems to me his misunderstanding of Nagel's arguments concerning reason, as crucially dependent on the notion that reason is infallible at least in some cases.

Brad's critique began with a reaction to some remarks by Tyler Cowen, in particular Cowen's assertion that "People will dismiss his [Nagel's] arguments to remain in their comfort zone, while temporarily forgetting he is smarter than they are and furthermore that many of their views do not make sense or cohere internally."

Now I think it is unfortunate that Cowen is speculating about who's "smarter than" who, and unfortunate that Brad joins him in doing so.  Everyone involved seems to be quite smart, but unfortunately Brad seems to me to be misunderstanding what the main thrust of Nagel's argument is, and where its main weakness lies.  DeLong reacts to Cowen:

And here Tyler appears to me to have gone off the rails. Thomas Nagel is not smarter than we are--in fact, he seems to me to be distinctly dumber than anybody who is running even an eight-bit virtual David Hume on his wetware.

He fixates on a single example taken from Nagel's book and, I think, fails to understand the role Nagel thinks this example plays. Brad seems to think it is crucial that Nagel view reason as infallible. "And my certainty that I know must be correct!" as he puts it in his gloss on Nagel:

Nagel's argument, to the extent that I understand it and that it is coherent, goes roughly like this:

Suppose we think we are going south-southwest and see the sun rising before us. We don't think: "the heuristics of reasoning that have evolved because they tend to boost reproductive fitness conclude that it is very likely that I am not in fact going south-southwest". We think, instead: "I know that the sun rises in front of me when I am going east! Either I am hallucinating, or I must be going roughly east! I deduce this by my reason, and my reason is a mechanism that can see that the algorithm it follows is truth-preserving! My mind is in immediate contact with the rational order of the universe! I don't just think I am going east! I know I am either hallucinating or going east! And my certainty that I know must be correct! And I know that my certainty must be correct--and that triumph of reason cannot be given a purely physical explanation! Since I believe I am not hallucinating, I abandon the belief that I am going south-southwest because of my reason's transcendent grasp of objective reality! My consciousness is an instrument of transcendence that grasps objective reality! And no blind evolutionary process can produce such a transcendent instrument!"

Aspects of this example of Nagel's bothered me as well, but it plays a much less central part in Nagel's book than you might think from Brad's gloss. Note that even the material in quotes is a gloss, not a quote from Nagel, although it draws fairly heavily on him. (Further down in this post, I quote the passage in Nagel from the first appearance of the example to the last explicit reference to it.  Brad's post also contains further material on the general topic of reason directly quoted from Nagel.)  In the context of Brad's post, the term "Nagel's argument" seems to imply that this is the main argument of the book, on which it stands or falls.

As I said, I don't think the example is central. Rather, it is intended as an example of something central to the book, which is the claim that reason has the power --- imperfect and fallible, to be sure --- to get us in touch with objective reality, in a way that helps us transcend the appearance of things from our own particular viewpoint or perspective. It is probably also intended as part of a discussion of how logic --- the avoidance of contradiction --- is an essential part of our ability to engage in more subtle and substantive forms of reasoning. I will discuss this second point later, concentrating for the moment on the first.

Nagel is extremely clear that he does not believe that reason's power to help get us in touch with objective reality is infallible. (See the next quote I display from Nagel for an utterly explicit statement of this.)  It may seem that he is claiming it to be infallible in driving example, but even if he is, that does not seem crucial to his main line of argument. Most of Brad's ridicule of Nagel's argument is directed against the claim of infallibility, so it just misses its target if by "Nagel's argument" is meant, as is clear from the context, the overall line of argument of Nagel's book.

The overall argument of the book is not a single line of reasoning. But some main strands concern the nature and origin of life, of consciousness, and---what is under discussion here----of reason. Here is how Nagel puts his main argument concerning the nature of reason:

Thought and reasoning are correct or incorrect in virtue of something independent of the thinker's beliefs, and even independent of the community of thinkers to which he belongs. We take ourselves to have the capacity to form true beliefs about the world around us, about the timeless domains of logic and mathematics, and about the right thing to do. We don't take these capacities to be infallible, but we think they are often reliable, in an objective sense, and that they can give us knowledge. [Mind and Cosmos, pp. 80-81]

Perhaps some confusion has arisen because of Nagel's use of the word "reliable" elsewhere in the book (e.g. in the excerpt DeLong quotes)...it should not be taken to imply infallibility. In Brad's favor, the "directness" with which Nagel says reason "puts us in touch with the rational order of things" in this particular example, is thought by Nagel to strengthen his case. I just don't think it's the main point.

Lest anyone misunderstand, I don't agree with Nagel that our understanding of reason as part of a process enabling us to --- fallibly, Nagel admits, and partially, I might add --- get in touch with an objective reality that transcends each of our particular perspectives on it, provides support to the view that reason could not have evolved through natural selection.

Brad goes on to propose a counterexample to the claim that the bit of reasoning in Nagel's example is infallible. It is that "During northern hemisphere winter, if you are near the North Pole, it is perfectly possible to see the sun rise due south if you are due solar north of the center of the earth as you come out of the Earth's shadow. And I was. And I did."

Several things can be said about this. The most important one is that Nagel need not and does not claim infallibility. Less important is that Nagel explicitly described his example as one in which "I am driving...". Brad was flying. So Brad's "it happened to me" is not literally true. Moreover the distinction between flying and driving is not an irrelevant one (like that between its being Nagel or DeLong who is doing the reasoning...) but one that is probably relevant. I don't know whether there are any roads near enough the north pole that one could, driving, have the experience Brad did. Perhaps there is land, or at certain times of the year, perhaps there is still enough sea ice, near enough the pole that one could do this off-road, by driving a long way off-road, or bringing a vehicle in by air. Or perhaps not. I really don't think it matters much. There are some background assumptions that are not made explicit, though suggested by the framing of the situation, as there are in most pieces of reasoning.

Here's Nagel's introduction of the example, and its sequel:

But suppose I observe a contradiction among my beliefs and "see" that I must give up at least one of them. (I am driving south in the early morning and the sun rises on my right.) In that case, I see that the contradictory beliefs cannot all be true, and I see it simply because it is the case. I grasp it directly. It is not adequate to say that, faced with a contradiction, I feel the urgent need to alter my beliefs to escape it, which is explained by the fact that avoiding contradictions, like avoiding snakes and precipices, was fitness-enhancing for my ancestors. That would be an indirect explanation of how the impossibility of the contradiction explains my belief that it cannot be true. But even if some of our ancestors were prey to mere logical phobias and instincts, we have gone beyond that: We reject a contradiction just because we see that it is impossible, and we accept a logical entailment just because we see that it is necessarily true.

In ordinary perception, we are like mechanisms governed by a (roughly) truth-preserving algorithm. But when we reason, we are like a mechanism that can see that the algorithm it follows is truth-preserving. Something has happened that has gotten our minds into immediate contact with the rational order of the world, or at least with the basic elements of that order, which can in turn be used to reach a great deal more. That enables us to possess concepts that display the compatibility or incompatibility of particular beliefs with general hypotheses. We have to start by regarding our prereflective impressions as a partial and perspectival view of the world, but we are then able to use reason and imagination to construct candidates for a larger conception that can contain and account fo that part. This applies in the domain of value as well as of fact. The process is highly fallible, but it could not even be attempted without this hard core of self-evidence, on which all less certain reasoning depends. In the criticism and correction of reasoning, the final court of appeal is always reason itself.

What this means is that if we hope to include the human mind in the natural order, we have to explain not only consciousness as it enters into perception, emotion, desire, and aversion but also the conscious control of belief and conduct in response to the awareness of reasons---the avoidance of inconsistency, the subsumption of particular cases under general principles, the confirmation or disconfirmation of general principles by particular observations, and so forth. This is what it is to allow oneself to be guided by the objective truth rather than just by one's impressions. It is a kind of freedom---the freedom that reflective consciousness gives us from the rule of innate perceptual and motivational dispositions together with conditioning. Rational creatures can step back from these influences and try to make up their own minds. I set aside the question whether this kind of freedom is compatible or incompatible with causal determinism, but it does seem to be something that cannot be given a purely physical analysis and therefore, like the more passive forms of consciousness, cannot be given a purely physical explanation either.

If I decide, when the sun rises on my right, that I must be driving north instead of south, it is because I recognize that my belief that I am driving south is inconsistent with that observation, together with what I know about the direction of rotation of the earth. I abandon the belief because I recognize that it couldn't be true. If I put money into a retirement account because the future income it generates will be more valuable to me than what I could spend it on now, I act because I see that this makes it a good thing to do. If I oppose the abolition of the inheritance tax, it is because I recognize that the design of property rights should be sensitive not only to autonomy but also to fairness. As the saying goes, I operate in the space of reasons.[Mind and Cosmos, pp. 91-92]

Gene Callahan criticizes Brad as follows:

So Nagel gives us two beliefs:
1) The sun rises in the east (where I am); and
2) I am driving south, which means the east will be on my left.
And a fact: But the sun is rising to my right!

So Nagel's point is that we cannot continue to hold 1) and 2) simultaneously: "I must give up at least one of them." How could he have said that more plainly?

Then Nagel goes on to state that "IF" (notice, that "if" is right in the original text, I did not add it!) he decides to give up belief 2), it will be because he sees he cannot logically hold 1) and 2) at the same time. Notice what the "if" implies: Nagel clearly understands that he has the option of giving up belief 1) instead! Otherwise, no point to the "if."

Now, Brad Delong comes along and says, "What an idiot! [And he really does insult Nagel like that.] Once, I was in that situation, and I had to give up belief 1)!"

Ahem. One does not disprove the proposition that one ought to give up at least one of two contradictory beliefs by showing how once, one gave up one of two contradictory beliefs.

Brad's response:

Nagel does not believe: "the sun rises in the east (where I am)." Nagel believes: "the sun rises on my right".

Thus the two beliefs that Nagel's reason tells him are in conflict are (a) his belief that he is going south, and (b) his belief he sees the sun rising on his right. The choice he gives himself is between concluding that he is going north and concludeingthat he is hallucinating.

Now I understand that Callahan wishes that Nagel were not Nagel but rather some Nagel' who had added a third belief: (c) "I am in a normal place (but there are weird places on earth where the sun rises in a non-standard way)."

But we go to argument with the Nagel we have, and not the Nagel' Callahan wishes we had.

Callahan would presumably say that Nagel was just being sloppy, and that there is actually an unsloppy Nagel' who had made the argument that Callahan wishes he had made, and whose reason does have transcendental access to objective reality, and that we should deal with the argument not of Nagel but of Nagel'.

But Callahan's confusion of the Nagel' he wishes we were talking about with the Nagel who we are talking about demonstrates my big point quite effectively: powerful evidence that Nagel is a jumped-up monkey using wetware evolved to advance his reproductive fitness, rather than a winged angelic reasoning being with transcendental access to objective reality. No?

I think Callahan is roughly right here. Roughly because it's not obviously correct that "Nagel gives us two beliefs". Callahan's (2) is stated in Nagel's parenthetical introduction of the example (see the quote above). But the parenthetical introduction is probably best read as describing the situation, not explicitly attributing beliefs ("I am driving south", not "I believe I am driving south"). It's clear we're to take as implicit that the subject of the example believes this, though, and when Nagel returns to the example later in the passage I quoted it is made explicit: this is the belief that is given up. That return to the example also makes it clear that there are background beliefs not initially mentioned in Nagel's parenthetical introduction of the example: Nagel mentions "what I know about the direction of rotation of the earth". This is presumably where Callahan gets number (2) namely "The sun rises in the east (where I am)." That seems a correct reading of Nagel, so DeLong's "Nagel does not believe: "the sun rises in the east (where I am)." Nagel believes: "the sun rises on my right"." just seems wrong.  The Nagel of the example believes both of these things (if we understand "the sun rises on my right" to mean something like "the sun is rising on my right".  Brad's misinterpretation is probably based on taking the parenthetical sentence introducing the example as a statement of the two beliefs that are in contradiction, rather than a sketch of a situation in which "I observe a contradiction in my beliefs". (Brad also changes Nagel's "driving south" to "going south", which affects, as I discussed above, whether Brad's flying experience is relevant.)

I think Nagel is getting at several things with this example, in light of the surrounding discussion.

(1) One is the idea that deductive reason helps us access truths about the world that go beyond our own particular perspective on it, because the avoidance of inconsistency is integral to the use of language, which in turn enables us to describe how the world is or might be from a point of view that is not just the perspective of one being that it makes possible. I am not sure what Brad means by "transcendent access" to objective reality--- it may just be a rhetorical flourish, liked "winged" and "angelic". The term "transcendent access" does not appear in Mind and Cosmos. When Nagel uses words with the root "transcend", he is referring to transcending a limited point of view to come up with a view of the world "as it is independently of the thinker's beliefs and even independently of the community of thinkers to which he belongs." (He also uses it---probably in the same sense---to refer to "a transcendent being", a notion he finds unappealing.) In his description of "what it is to be guided by the objective truth" toward the end of the long quote above, he is quite clear that this involves observations and (broadly speaking) "inductive" reasoning ("confirmation and disconfirmation"), and earlier he mentions "imagination" in addition to reasoning. (So if Brad's "Humean heuristics" just means inductive reasoning broadly construed, then it looks like Nagel's on board with it.) When reading the discussion of the driving example in Mind and Cosmos and related passages in The Last Word, I have sometimes felt puzzled about why Nagel seems to be laying such emphasis on deductive reasoning. And in general, I'm slightly frustrated by the relative lack of discussion of induction or related non-inductive aspects of scientific reasoning in Nagel's writings. But I think the quoted passages make clear that for Nagel, reason comprises induction too. I think the reason for his stress on deduction and consistency is the importance --- as Nagel sees it --- of language, and language's intimate link with logic --- to the very formulation of theories and hypotheses, scientific and otherwise. Nagel's emphasis on "directness" in simple cases may or may not be misplaced, but I don't think it's the linchpin of his broader argument.

(2) Secondly, and perhaps more controversially, Nagel believes that we must conceive of our reasoning as autonomous and free---that we cannot view it as a mere disposition. A mere disposition is how Hume, on one reading, viewed "induction", if not deduction... here I think Nagel would disagree with Hume, and perhaps with DeLong, if "mere disposition" is what DeLong means by "Humean heuristics". The key point, for Nagel, is that "In the criticism and correction of reasoning, the final court of appeal is always reason itself." The theory of evolution itself is part of that objective picture of reality, transcending our individual perspectives on it, that reason enables us to arrive at. For Nagel, it would be absurd to let a belief in evolution by natural selection undermine our view that our reasoning, in conjunction with imagination and observation, can get us in touch with and is getting us in touch with objective reality, because our very belief in evolution itself relies on this view. It is this, and not infallibility or "transcendent access" (a term Nagel never uses) that is the most important, and that I think is crucial to his broader argument.  Note that this does not automatically imply that a belief in evolution by natural selection cannot modify our assessment of our reasoning, perhaps leading us to view particular judgments or modes of reasoning as suspect, because arising from heuristics that we can see to be reliable only in certain situations similar to those in which they evolved.  Indeed, Nagel seems overly impressed with this possibility---one of his main grounds for rejection of the notion that there could be an evolutionary-biological explanation of the advent of reason in humans is his view that such an explanation would necessarily undermine our assessment that the reasoning we exercise in conjunction with our other faculties actually is, on balance, tending to get us in touch with objective reality.

Brad does address some of these issues, in response to Callahan's pointing out that they are the main ones; I will take up that part of their discussion in a later post.

Let me here take up an element of the quoted passage from Nagel that is bound to have raised some hackles.
Nagel: "I set aside the question whether this kind of freedom [to decide what to believe and how to act for reasons, i.e. by reasoning -- HB] is compatible or incompatible with causal determinism, but it does seem to be something that cannot be given a purely physical analysis and therefore, like the more passive forms of consciousness, cannot be given a purely physical explanation either."

This really is a key argument for Nagel. However, in my view, it needs to be understood in terms of the subtleties of emergence. As I have written elsewhere, I think there is some crucial unclarity in Nagel (or in my understanding of him) about what "purely physical explanation" might mean. If it means "explanation in terms of the concepts of physics" then I suspect that the hypothesis that "this kind of freedom [...] cannot be given a purely physical explanation [...]" is correct.  (However, I think I still have a substantive disagreement with Nagel on the meaning of "explanation".)   But if we allow an evolutionary biological evolution to use concepts like "reason" (which seems rather reasonable if one is going to try to explain the origin of our ability to reason), it seems to me that this is compatible with our eventually having an evolutionary-biological explanation of its historical origin. Here also I think I disagree with Nagel, who sometimes refers to "physics extended to include biology", suggesting that to him an evolutionary-biological explanation is a kind of purely physical explanation. I've discussed this some in my first post on Mind and Cosmos, and will discuss it more in future posts. There are deep and subtle philosophical and scientific questions involved, but in my view it is here if anywhere that Nagel goes importantly astray in dealing with reason, and not primarily in some actual or putative attribution of infallibility to simple judgements of contradiction, nor even in the notion (which Nagel does appear to subscribe to, but which I'm not sure I want to endorse) that the faculty of avoiding contradiction involves our minds being in "immediate contact with the rational order of things" [Mind and Cosmos, p. 91].

 

 

Nagel and DeLong I: Common Sense

Brad DeLong has been hammering --- perhaps even bashing --- away at Thomas Nagel's new book Mind and Cosmos (Oxford, 2012).  Here's a link to his latest blow. I think Nagel's wrong on several key points in that book, but I think Brad is giving people a misleading picture of Nagel's arguments.  This matters because Nagel has made very important points --- some of which are repeated in this book, though more thoroughly covered in his earlier The Last Word (Oxford, 1997) --- about the nature of reason, defending the possibility of achieving, in part through the use of reason, objectively correct knowledge (if that is the right word) in areas other than science, and giving us some valuable ideas about how this can work in particular cases, for example, in the case of ethics, in The Possibility of Altruism [Princeton, 1979].

In his latest salvo Brad suggests that "If you are going to reject any branch of science on the grounds that it flies in the face of common sense, require[s] us to subordinate the incredulity of common sense, is not based ultimately on common sense, or is a heroic triumph of ideological theory over common sense--quantum mechanics is definitely the place to start…".  This is preceded by some quotes from Nagel:

  • But it seems to me that, as it is usually presented, the current orthodoxy about the cosmic order is the product of governing assumptions that are unsupported, and that it flies in the face of common sense…
  • My skepticism is… just a belief that the available scientific evidence, in spite of the consensus of scientific opinion, does not… rationally require us to subordinate the incredulity of common sense…
  • Everything we believe, even the most far-reaching cosmological theories, has to be based ultimately on common sense, and on what is plainly undeniable…
  • I have argued patiently against the prevailing form of naturalism, a reductive materialism that purports to capture life and mind through its neo-Darwinian extension…. I find this view antecedently unbelievable— a heroic triumph of ideological theory over common sense…

Now there are things I disagree with here, but Nagel is clearly not claiming that no theory that is not itself a piece of common sense is acceptable. Indeed, the second bullet point makes it clear that he allows for the possibility that scientific evidence could "rationally require" him to subordinate the incredulity of common sense. It is his judgment that it does not in this case. Now---at least with regard to the possibility of an explanation by evolutionary biology of the emergence of life, consciousness, and reason on our planet and in our species, which is what I think is at issue--- I don't share his incredulity, and I also suspect that I would weigh the scientific evidence much more heavily against such incredulity, if I did share some of it.  But Nagel is not commited to a blanket policy of "reject[ing] scientific theories because they fail to match up to your common sense." Regarding the third bullet point, it's perhaps stated in too-strong terms, but it's far from a claim that every scientific theory can directly be compared to common sense and judged on that basis. The claim that scientific theories are "ultimately based in common sense and on what is plainly undeniable" does not imply that this basis must be plain and direct. Logic and mathematics develop out of common-sense roots, counting and speaking and such... science develops to explain "plainly undeniable" results of experiments, accounts of which are given in terms of macroscopic objects... Some of this smacks a bit too much of notions that may have proved problematic for positivism ("plainly undeniable" observation reports?)... but the point is that common sense carries some weight and indeed is a crucial element of our scientific activities, not that whatever aspect of "common sense" finds quantum theory hard to deal with must outweigh the enormous weight of scientific experience and engineering practice, also rooted "ultimately" according to Nagel in common sense, in favor of that theory.

Just for the record I don't find that the bare instrumentalist version of quantum theory as an account of the probabilities of experimental results "flies in the face of common sense" --- but it does seem that it might create serious difficulty for the conception of physical reality existing independent of our interactions with it. At any rate it does not seem to provide us with a picture of that sort of physical reality (unless you accept the Bohm or Everett interpretations), despite what one might have hoped for from a formalism that is used to describe the behavior of what we tend to think of as the basic constituents of physical reality, the various elementary particles or better, quantum fields.  But if someone, say Nagel, did believe that this all flies in the face of common sense, it would be open to him to say that in this case, we are permitted, encourage, or perhaps even required to fly in said face by the weight of scientific evidence.

As I've said, I disagree on two counts with Nagel's skepticism about an evolutionary explanation of mind and reason: it doesn't fly in the face of my common sense, and I weigh the evidence as favoring it more strongly than does Nagel. Part of my disagreement may be that what Nagel has in mind is an evolutionary explanation that is commited to a "reductive materialism that purports to capture life and mind through its neo-Darwinian extension." Whereas I have in mind a less reductive approach, in which consciousness and reason are evolutionarily favored because they have survival value, but we do not necessarily reduce these concepts themselves to physical terms. In my view, biology is rife with concepts that are not physical, nor likely to be usefully reduced to physical terms--- like, say, "eye". As with "eye", there may be no useful reduction of "consciousness" or "perception" or "thought" or "word" or "proposition", etc.., to physics, but I don't think that implies that the appearance of such things cannot have an evolutionary explanation. (Nor, just to be clear, does it imply that these things are not realized in physical processes.) So I might share Nagel's incredulity that such things could have a "materialist" explanation, if by this he means one in terms of physics, but not his incredulity about evolutionary explanations of the appearance of mind and reason. To me, it seems quite credible that these phenomena form part of the mental aspect of structures made of physical stuff, though we will never have full explanations for all the phenomena of consciousness and the doings of reason, in terms of this physical structure.

(David Deutsch's recent book The Beginning of Infinity is one excellent source for understanding such non-reductionism---see in particular its Chapter 5, "The Reality of Abstractions".)

I'll likely make several more posts on this business, both on other ways in which I think Brad and others have mischaracterized Nagel's arguments or misplaced the emphasis in their criticisms, and on why this matters because some important points that Nagel has made on matters closely related to these, that I think have value, are in danger of being obscured, caricatured, or dismissed under the influence of the present discussion by Brad and others.

Thomas Nagel's "Mind and Cosmos"

I've just finished reading Thomas Nagel's newish book, "Mind and Cosmos" (Oxford, 2012).  It's deeply flawed, but in spite of its flaws some of the points it makes deserve more attention, especially in the broader culture, than they're likely to receive in the context of a book that's gotten plenty of people exercised about its flaws.  I'm currently undecided about whether to recommend reading his book for these points, as they are probably made, without the distracting context and possibly better formulated, equally well elsewhere, notably in Nagel's  "The Last Word" (Oxford, 1997).  The positive points are the emphasis on the reality of mental phenomena and (more controversially) their ireducibility to physical or even biological terms, the unacceptability of viewing the activities of reason in similarly reductive terms, and a sense that mind and reason are central to the nature of reality.  Its greatest flaws are an excessively reductionist view of the nature of science, and, to some degree in consequence of this, an excessive skepticism about the potential for evolutionary explanations of the origins of life, consciousness, and reason.

One of the main flaws of Nagel's book is that he seems --- very surprisingly --- to view explananations in terms of, say, evolutionary biology, as "reductively materialist".  He seems not to appreciate the degree to which the "higher" sciences involve "emergent" phenomena, not reducible---or not, in any case, reduced---to the terms of sciences "below" them in the putative reductionist hierarchy.  Of course there is no guarantee that explanations in terms of these disciplines' concepts will not be replaced by explanations in terms of the concepts of physics, but it has not happened, and may well never happen.  The rough picture is that the higher disciplines involve patterns or structures formed, if you like, out of the material of the lower ones, but the concepts in terms of which we deal with these patterns or structures are not those of physics, they are higher-order ones.  And these structures and their properties---described in the language of the higher sciences, not of physics---are just as real as the entities and properties of physics.  My view --- and while it is non-reductionist, I do not think it is hugely at variance with that of many, perhaps most, scientists who have considered the matter carefully --- is that at a certain very high level, some of these patterns have genuine mental aspects.  I don't feel certain that we will explain, in some sense, all mental phenomena in terms of these patterns, but neither does it seem unreasonable that we might.  ("Explanation" in this sense needn't imply the ability to predict perfectly (or even very well), nor, as is well known, need the ability to predict perfectly be viewed as providing us with a full and adequate explanation---simulation, for example, is not necessarily understanding.)   Among scientists and philosophers who like Nagel hold a broadly "rationalist" worldview David Deutsch, in his books The Fabric of Reality and especially The Beginning of Infinity, is much more in touch with the non-reductionist nature of much of science.

Note that none of this means there isn't in some sense a "physical basis" for mind and reason.  It is consistent with the idea that there can be "no mental difference without a physical difference", for example (a view that I think even Nagel, however, agrees with).

This excessively reductionist view of modern science can also be found among scientists and popular observers of science, though it is far from universal.   It is probably in part, though only in part, responsible for two other serious flaws in Nagel's book.  The first of these is his skepticism about the likelihood that we will arrive at an explanation of the origin of life in terms of physics, chemistry, and perhaps other sciences that emerge from them---planetary science, geology, or perhaps some area on the borderline between complex chemistry and biology that will require new concepts, but not in a way radically different from the way these disciplines themselves involve new concepts not found in basic physics.  The second is his skepticism that the origins of consciousness and reason can be explained primarily in terms of biological evolution.  I suspect he is wrong about this.  The kind of evolutionary explanation I expect is of course likely to use the terms "consciousness" and "reason" in ways that are not entirely reductive.   I don't think that will prevent us from understanding them as likely to evolve through natural selection.   I expect we will see that to possess the faculty of reason, understood (with Nagel) as having the---fallible, to be sure!---power to help get us in touch with a reality that transcends, while including, our subjective point of view, confers selective advantage.  Nagel is aware of the possibility of this type of explanation but --- surprisingly, in my view --- views it as implausible that it should be adaptive to possess reason in this strong sense, rather than just some locally useful heuristics.

The shortcomings in his views on evolution and the potential for an evolutionary explanation of life, consciousness, and reason deserve more discussion, but I'll leave that for a possible later post.

The part of Nagel's worldview that I like, and that may go underappreciated by those who focus on his shortcomings, is, as I mentioned above, the reality of the mental aspect of things, and the need to take seriously the view that we have the power, fallible as it may be, to make progress toward the truth about how reality is, about what is good, and about what is right and wrong.  I also like his insistence that much is still unclear about how and why this is so.  But to repeat, I think he's somewhat underplaying the potential involvement of evolution in an eventual understanding of these matters.  He may also be underplaying something I think he laid more stress on in previous books, notably The View from Nowhere and the collection of papers and essays Mortal Questions: the degree to which there may be an irreconcilable tension between the "inside" and "outside" views of ourselves.  However, his attitude here is to try to reconcile them. Indeed, one of the more appealing aspects of his worldview as expressed in both Mind and Cosmos and The Last Word is the observation that my experience "from inside" of what it is to be a reasoning subject, involves thinking of myself as part of a larger objective order and trying to situate my own perspective as one of many perspectives, including those of my fellow humans and any other conscious and reasoning beings that exist, upon it.  It is to understand much of my reasoning as attempting, even while operating as it must from my particular perspective, to gain an understanding of this objective reality that transcends that perspective.

So far I haven't said much about the positive possibilities Nagel moots, in place of a purely biological evolutionary account, for explaining the origin of life, consciousness, and reason.  These are roughly teleological, involving a tendency "toward the marvelous".  This is avowedly a very preliminary suggestion.  My own views on the likely role of mind and reason in the nature of reality, even more tentative than Nagel's, are that it is less likely that it arises from a teleological tendency toward the marvelous than that a potential for consciousness, reason, and value is deeply entwined with the very possibility of existence itself.  Obviously we are very far from understanding this.  I would like to think this is fairly compatible with a broadly evolutionary account of the origin of life and human consciousness and reasoning on our planet, and with the view that we're made out of physical stuff.

Ethan Iverson plays Hall Overton's Polarities #1

Via Ethan Iverson's blog Do the Math, a panel discussion at The Jazz Loft Project, of jazz and classical composer, arranger and pianist Hall Overton. Iverson kicks it off with a superb performance of Overton's classical piece "Polarities #1" (begins around 2'00 in the video).  A performance that should not be missed. Some more of my thoughts follow the video.

The Jazz Loft Project presents "Hall Overton: Out of the Shadows" from Center for Documentary Studies on Vimeo.

This is a wonderful piece of music and a superb performance of it. To my ear there are hints of jazz, especially at the beginning. The first two measures definitely sound like they could be the opening of a jazz ballad with relatively "advanced" harmonies, and the descending figure in the bass in the third measure sounds very Monkish.  [Update: this figure reminded me of a specific phrase in a Monk composition, which I suspected was "Nutty".  Sure enough, it's the first part of the falloff that Monk sometimes adds to the end of one of the first phrases in "Nutty".  Not only that, but the opening of Polarities seems related to the phrase to which Monk adds this falling line.  Though very different harmonically, there's some similarity in melodic profile and rhythm.]  A few other spots have that "advanced jazz ballad" feel.  While Overton was on the faculty at Juillard and apparently also taught at Yale and the New School, most of us jazz fans know Overton primarily as the arranger for the Town Hall big band concert featuring Monk, so a Monk reference is hardly a farfetched supposition.  The piece is roughly atonal or at least in very unstable tonality, but not twelve-tone, and very expressively balances atonal features with what seem to me passages with stronger harmonic implications.  The musical language often seems to me poised between Debussy and Schoenberg.  The sequence of chords around 3'19 to 3'33 in the video remind me of Debussy in his more declamatory frame of mind, while some of the passages preceding and following it remind me of his lyrical side.  I was quite surprised to be strongly reminded, around 3'39-4'00,  especially in the chord alternation at 3'44, 3'50 and 3'56 and melodic line connecting these bits, of Cecil Taylor's fantastic 1973 solo piano performance "Indent".  To my mind, Indent is some of the most important and enjoyable music to come out of the twentieth century, and if you don't know Taylor or have listened to other pieces and not "gotten" him, I'd say Indent or the early-60's band-as-jazz-orchestra side "Into the Hot" (the other side of the Impulse LP is Gil Evans' "Out of the Cool"), are the places to start.  Accessible but building in intensity and complexity.  I recall reading that Taylor intensely studied twentieth-century classical scores early in his career, so I guess it's not impossible that there was some direct influence of Overton's classical work on Taylor's composition or vice versa, especially since Overton was active in jazz circles in New York at just this time (mid to late 50s), but accidental convergence is just as likely.  (Though Indent is from 1973, the "vice versa" possibility is because Taylor might have developed some of these ideas very early even though they may not have been appearing in his performances at the time, which in the late 50s were still often based on jazz standards.)  Iverson recently linked the transcipt of a 1964 panel discussion between Overton, Taylor, and others that grows somewhat contentious, making this perceived momentary connection between their musics even more startling to me.

Iverson also points out that this piece appears, played by Robert Help, on a collection from the 1960s, "New Music for the Piano", available from New World Records, and he suspects this is the only appearance of Overton's classical music on CD.  Based on this performance of Polarities, that is a real shame and I hope it is rectified soon.  Also based on this performance, Iverson would be a fantastic pianist to do it.  He's not just playing the notes here, he has gotten inside the music and it's gotten inside him: each phrase is expressed as if he composed the music himself.  He gets a fantastic, bright and ringing but not harsh tone out of this piano, and can give it nuances to bring out or contrast different lines. The clarity and control are astonishing too.  Really beautiful music-making from both Overton and Iverson.  I hope we can hear more of this combination sometime.

My short review of David Deutsch's "The Beginning of Infinity" in Physics Today

Here is a link to my short review of David Deutsch's book The Beginning of Infinity, in Physics Today, the monthly magazine for members of the American Physical Society.  I had much more to say about the book, which is particularly ill-suited to a short-format review like those in Physics Today.  (The title is suggestive; and a reasonable alternative would have been "Life, the Universe, and Everything.")   It was an interesting exercise to boil it down to this length, which was already longer than their ideal.  I may say some of it in a blog post later.

It was also interesting to have such extensive input from editors.  Mostly this improved things, but in a couple of cases (not helped by my internet failing just as the for-publication version had been produced) the result was not good.  In particular, the beginning of the second-to-last paragraph, which reads "For some of Deutsch’s concerns, prematurity is irrelevant. But fallibilism undermines some of his claims ... " is not as I'd wanted.  I'd had "this" in place of "prematurity" and "it" in place of "fallibilism".  I'd wanted, in both cases, to refer in general to the immediately preceding discussion, more broadly than just to "prematurity" in one case and "fallibilism" in the other.  It seems the editors felt uncomfortable with a pronoun whose antecedent was not extremely specific.  I'd have to go back to notes to see what I ultimately agreed to, but definitely not plain "prematurity".

One other thing I should perhaps point out is that when I wrote:

Deutsch’s view that objective correctness is possible in areas outside science is appealing. And his suggestion that Popperian explanation underwrites that possibility is intriguing, but may overemphasize the importance of explanations as opposed to other exercises of reason. A broader, more balanced perspective may be found in the writings of Roger Scruton, Thomas Nagel, and others.

I was referring to a broader perspective on the role of reason in arriving at objectively correct views in areas outside science. "More balanced" was another editorial addition, in this case one that I acquiesced in, but perhaps I should not have as some of its possible connotations are more negative than I intended.  "Appealing," though not an editorial edition, is somewhat off from what I intended.  I wanted also to include suggestion of "probably correct" since something can be appealing but wrong, but couldn't find the right word.  I shortened this discussion for reasons of space, but I had initially cited Scruton specifically for aesthetics, and recommended his "On Beauty", "Art and the Imagination", and "The Aesthetics of Architecture".  I haven't read much of his work on politics (he is a conservative, although from what I have read a relatively sensible one at the philosophical level) nor his "Sexual Desire", so don't mean to endorse them.  Likewise I had initially recommended specifically Nagel's "The View from Nowhere" and "The Last Word", and was not aware of his recent "Mind and Cosmos"; I emphatically did not mean to endorse his skepticism, in that book, about evolutionary explanations of the origins of life and mind, although I do think there is much of interest in that book, and some (but certainly not all!) of the criticism of it that I've seen on the web is misguided.  I am much more in sympathy with Deutsch's views on reductionism than with Nagel's:  both are skeptical about the prospects for a thoroughoing reduction of mind, reason, and consciousness to physical terms, but Nagel, bafflingly, seems to think that an evolutionary explanation of such phenomena is tantamount to such physical reductionism.  Deutsch seems to me more sophisticated about the nature of actual science, and how non-reductionist many scientific explanations are, and about how that can nevertheless be compatible with physical law.  I should say, though, that I am less sympathetic than Deutsch is to accounts of mind and consciousness as being essentially a computer running a certain kind of program.  I view embodiment, interaction with a sufficiently rich environment, and probably a difficulty in disentangling "hardware" and "software" (perhaps related to Douglas Hofstadter's notion of "strange loops") as likely to be crucial elements of an understanding of mind and consciousness.  Of course it may be that with a sufficiently loose notion of "kind of computer program" and "kind of input" some of this could be understood in the computational terms Deutsch seeks.

Thanksgiving wine notes

Camp Viejo Rioja Tempranillo 2010 (Spain)--- excellent, not super-complex but lots of bright cherry fruit and some vanilla, yet not cloyingly sweet; a modicum of tannin helps out here.  This was not one of my contributions, but I'm pretty sure it's reasonably priced---has been in the past. Probably 8 points on my scale, 85 or so on a Robert Parker / Wine Advocate style 100 point scale.  Just basically delicious; I'm delighted to find out about this.  I enjoyed some Campo Viejo pretty well years ago (the 1979 and 1983 I think)...the basic flavor profile is still similar but this seems fresher and a bit fuller-bodied and more tannic, perhaps due to a more modern winemaking style nowadays.  I recall being impressed with the vanilla and caramel notes and smoothness, but ultimately finding the wine a bit simple and uninspiring when I tried more bottles (perhaps of later vintage).  Traditional Rioja style involves holding the wine in very large oak casks, often until quite a bit of tannin has dropped.  Also it sometimes involves strong flavors of American oak, which are probably providing the vanilla notes here just like they did in the eighties, but seem to be under better control now or at least have more fruit and tannin to balance them.  So I'm very glad to have rediscovered this in improved form thanks to our Thanksgiving hosts.

Rosemount "Diamond" Shiraz, 2010 (Australia).  Tasty enough, somewhat similar to the Campo Viejo in having a reasonably rich, fruit-forward style, but a bit less polished and balanced, and the flavors slightly less appealing.  A little too sweet for my taste too.  Drinkable enough though, and perhaps it would be fairer to retry this with food (I had it before dinner and did not come back to it).  Perhaps 6.5 points on my scale, maybe 75-78 on a Parkeresque one.  I'm guessing it and the Campo Viejo are in a similar $10ish price range, and the Campo Viejo definitely beats it in my mind.

2001 Faller Riesling Geisberg Grand Cru (Alsace, France).  Really excellent Alsatian Riesling from the Geisberg, a Grand Cru vineyard in the village of Ribeauvillé that I brought back from a visit to Alsace.  It's aged nicely, comes across as honeyed but still reasonably crisp, with some slight floral notes and hints of minerality, good balance, maybe some slight hints of Brett at first that blew off quite quickly.  Good length finish, too. Definitely ready to drink. I'd say 8.5-9 points or so on my scale, maybe 87-89 on the Parker scale.  Perfect Thanksgiving wine, too.  I would definitely seek this out again if I'm in Alsace, and am quite happy that I have a few more bottles of miscellaneous Rieslings from Faller in the cellar.

2001 Perrin "Les Sinards" Chateauneuf-du-Pape.  Excellent, the 11 years of age having mellowed it to where it's much more approachable than a young Chateauneuf usually is, but still with enough tannin to give it good structure.  Medium full bodied, with a good balance of fruitiness and some autumn leaf kind of impressions.  With the Faller, the most complex and interesting wine of the afternoon.  Probably near its peak but should be good for another 4-5 years at least.  Very tasty; I'm afraid this may be my only bottle but I will keep an eye out for other vintages.  Perrin's Côtes du Rhône and Vacqueyras tend to have a house style that I find slightly glyceriny in mouthfeel and smoother and less tannic than the average while still quite flavorful...not necessarily a bad thing.  This wine doesn't really have that style, though: the texture is pretty much classic Chateauneuf, though toward the mellower and more approachable end of the range.  I'd say probably 8.5 points on my 10 point scale; 87 on a Parkeresque 100 point scale.