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    “Alone in the Universe”

    Tuesday, May 15, 2012

    The biochemist Leslie Orgel once remarked that “we have no way of knowing anything about the possibility of life in the Cosmos. It could be everywhere, or we could be alone.” But physicist Enrico Fermi put the question more colorfully. If aliens had visited the Earth, he asked, then “Where is everybody?”

    In fact, however, American scientists via the government agency NASA spent decades and considerable funds creating spacecraft (probes) to seek out imagined distant civilizations. The project intended to reveal information about Earth and elicit reciprocity. These enthusiasts created the SETI project, abetted by science fiction and UFO interests. The famous Carl Sagan helped develop the now self-deprecating Pioneer plaque, wherein was revealed the DNA of Earthlings, their solar address, and an etching showing that Adam and Eve were astrophysicists. A few years later, on a Voyager probe, grainy and unimpressive (by modern standards) images of plants, animals, and earth objects were added, plus the famous Golden Record, a long play record complete with stylus and phonograph, containing representative Earth music: Beethoven, Mozart, Chuck Berry. In space, we are frozen in time, and any recipient extraterrestrial will wonder what, really, we were thinking as a civilization.

    John Gribbin’s book Alone in the Universe is not about philosophy but astronomy, and the quotes of Orgel and Fermi (but not the details about Sagan’s NASA input) are his. The book neatly refutes the cherished late 20th-century myth about extraterrestrial intelligence and the ambitious projects it spawned. Converted to more powerful telescopes, a fraction of that money would have yielded information about gases, liquids, metals, temperatures — the real foundation of information about life. The 1970s-80s obsession with extraterritoriality was the zeitgeist of the Cold War.

    Gribbin’s telling evidence starts with the Milky Way, where, in fact, only about 10% of the stars are in the Galactic Habitable Zone, that Goldilocks region of favorable safety (from shooting objects), metals, and evolutionary space and time. Everywhere else in the known universe are fainter stars, hence lower metalicities for sustaining life.

    Then one moves to the Solar Habitable Zone, finding liquid water, essential to life as we know it. Here temperatures must be just right (zero to 50 Celsius) — Venus is too hot and Mars too cold. Next comes the Continuously Habitable Zone of Earth, where circular versus elliptical orbit turns out to be crucial. The Sun is 95% less massive and more bright (hence more stable) than 75% of the other stars we know of in the Milky Way, which are red dwarfs already dying, or unstable binaries.

    The relationship between Earth and moon is critical because it further stabilizes orbit and gravity, while the Earth itself comprises a magnetosphere via plate tectonics, something absent from virtually all the potential planets of the galaxy. Earth has a strong metallic core, which is hot but both sustains the spectrum of temperatures on its surface and maintains the Earth’s favorable tilt. This balance of elements further includes a cycle of greenhouses gases that sustains the environment that evolved life and human beings on its surface.

    Thus the Gaia theory of scientist James Lovelock posited that life on the planet sustains the ongoing cycle, and the ongoing cycle sustains life. Disruptions like the Cambrian Explosion, however, show that this precarious balance is easily disrupted even on Earth, a process which never even evolves (let alone gets disrupted) on other galactic bodies. Life itself is, as Grbbfin puts it, an “extraordinarily rare event.” We are the interplay of extinction and balance, having evolved as the result of a “string of coincidences.” We have been on the planet a short time under the most favorable conditions, conditions never likely to evolve again. Our own doing, as technological civilization threatens the precious balance.

    “The biggest threat to technological civilization,” notes Gribbin, “seems to be technological civilization …” assuming that global war does not do us in first. The next biggest long-term threat is an impact from space (Gribbin discussed what past and possible impacts these are or may be). Volcanism is another threat. One may add that with Fukushima, one can see a convergence of such threats quite possible, if not probable. With global climate change, the threat now gives decades left to the fast-receding balance.

    So the conclusion that the stars are silent and that we are alone in the universe is not a difficult one to make. This conclusion only makes the book’s subtitle (“Why Our Planet is Unique”) a more urgent notion to reflect upon, for the reasons we are here, says Gribbin, “form a chain so improbable” that the chance of another civilization anywhere in the Milky Way or beyond is “vanishingly small.”

    In both Hinduism and Buddhism, a kalpa is an eon of time — 4 billion years or 16 billion years, depending on the tradition. We now know that that is long time, enjoying a better sense of time from modern physics and astronomy. But even the traditional calculation could not fathom the complexity of the universe except to say — as says the Dalai Lama among others — that to be born a human being is the rarest event in the universe. And so it is. Thus realization that we are “alone in the universe” becomes a mirror to our solitary lives in society, culture, and what was called “the world.” And so we are.

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    In the moment

    Tuesday, May 1, 2012

    To “live in the moment” has become trite advice in popular thinking, a kind of doublethink motivated by guilt, regret, or nostalgia. One looks back years and wonders why, at moments of imagined happiness, one did not devise methods of perpetuating the circumstances of that moment, of making them a permanent part of one’s life. What a trick that would have been!

    But the effort would have been futile because we cannot craft the circumstances again, cannot freeze time. Saunter through the streets of an old home town, especially around the countryside, the farms, the factories, the railyards, the routes into the city’s heart, where everything was unloaded or disembarked, bought and sold. The ugliness one failed to notice in the bliss of youth is now glaring and repulsive. It is not that nothing good has survived but that consciousness tells us bluntly that it was always this way, always ugly.

    Everything is part of a built-in evanescence, only we assign levels of solidity to our experiences and their settings. Age deteriorates the solidness, and shadows of fog and noise eat away at the structures of the past. Soon, like a rushing stream, time has carried away all the circumstances of a past moment we had painstakingly identified and assembled to our imagining. Or how could something be remembered favorably, yet gone away, while that which is dead or lifeless lives on wretchedly? Wretched memories, regrets, sorrows. All of this is clearly the stuff of art, which is a deliberate contrivance of memory, not reality. Hence the attraction of art, of art for its own sake since it cannot impact anything anymore.

    We interpret the past from the content of the present. Our present adriftness is as misjudged as was the adriftness of the past. At least the past adriftness was ignorance, and it is well to remind oneself of that. But the present adriftness is but the consciousness of evanescence. And evanescence is but ignorance of a future reminiscence, something no yet occurred.

    The trite advice of living in the present bites us. The present is the ignorant accumulation of past circumstances, or, rather, the effect and result of circumstances now gone, causes no longer here, but their effects lingering, seeping into the fabric of time and rending it slowly, inexorably. The only moment in which one can live does not remain; it is quickly scattered, just as the past on which we seize has been scattered but our distorted memory of it remains.

    The present is but the present for a moment. In another moment, and then another, the present is gone. Like a candle’s flame, the light is destined to extinguish itself, destined to soon be the past. Memory, even nostalgia, lingers for a reason — because it is all that we can pretend to control, because we still need the light of the candle. As soon as we realize that we will lose that light shortly, panicking, one jumps into that rarefied shell of the mind that is memory, clinging there against the present. For that present, if it can be perpetuated, made to be free of content, insult, bad thoughts, memories, sounds — we understand it at once to be the only moment in which one can live.

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    Introversion extrapolated

    Tuesday, April 24, 2012

    Among salient points in Susan Cain’s book Quiet: the Power of Introverts in a World That Can’t Stop Talking) are 1) personality type in US culture was changed from rural agrarian-based values to values championed by urbanization and technology; 2) that introversion is not a failed extroversion but a distinct psychological reactivity that can be studied and objectified; and 3) introverts need to find a zone that best safeguards creativity and imagination in a world where the Extrovert Ideal (the West) is dominant.

    Cain pleads the case for tolerance of introversion in society, workplace, and schooling because introvert qualities can better foster important social functions of creative and critical thinking, detail orientation, thoughtfulness and reflective forethought.

    But the book’s summary of how introversion was eclipsed in the US by extroversion, from a culture of values such as integrity and character to a culture valuing salesmanship and glibness, can be made more robust. The shift was essentially that of capital’s triumph and the personality type needed to enforce this victory, first domestically through advertizing and fostering of consumption, then globally over the markets of the East where introvert cultures had to be overthrown. The process of imperialism and globalization hollowed out the dominant classes in the East in order to replace them with Westernized functionaries. The East was taken out of the East and replaced with the West. What Europe, especially Britain — succeeded by the US — did to India, China, Japan, and to Central and West Asian lands in an effort to dominant and force them to consume Western values takes on a new cultural perspective when considered from the view of cultural personality. In the US, the process was more baldly domestic because it was not foreign but familiar.

    In this light, what can be expected of the hope that the dominant cultural personality of extroversion will accommodate introvert values or personality types? If the whole consumerist modern culture is oblivious to the fouling and destruction of nature and resources for the sake of control, what will change? Cain herself notes that when extroverts engage in risky behavior and the result is clear failure or destruction, they not only do not back off but accelerate the destructiveness, being “geared to respond” rather than accustomed to forethought and conscience. And that is the quintessence of what is happening today, with modern advanced cultures (of the West, or simply Westernized) accelerating self-destructive behavior — in finance, environment, war.

    These observations are clearly corroborated by psychologist Robert Hare, who has studied psychopathy for decades. By definition, psychopathy is ruthless and egoistic behavior that excludes empathy in the desire for control, what might be ultimately considered behavior “geared to respond” in the most subjective and destructive ways. Unlike stereotypical versions of psychopaths being serial killers, psychopaths are cool, social, functional, and successful. Psychopaths effectively present a set of behaviors that are recognizable as aggressive in breaking rules, codes, and ethical expectations, but not necessarily criminal or illegal in what they do. They are often the culture’s heroes.

    In Hare’s pioneering 1993 book Without Conscience: The Disturbing World of the Psychopaths Among Us presented the characteristics of psychopathy. The important conclusion Hare made is not only to narrowly refine the characteristics of psychopathy but to observe them on a larger social scale. Hare followed up this applied analysis in his 2006 book Snakes in Suits: When Psychopaths Go to Work, the basis of the intriguing 2009 documentary film I Am Fishead, with the startling opening lines (spoken by Peter Coyote):

    Imagine that the most handsome charismatic person stares you straight in the eye and says: “You’re special. You look good. And you’re good at what you do.” He seems to know just what you like. He reads your innermost thoughts, and you feel like you’ve discovered a soul mate, a deep intimacy. You’re experiencing one of those rare fleeting moments that makes life worth living. Ah! Before you know it you’re involved in a deep personal bond … with a psychopath.

    The film examines corporate settings for psychopathic behavior, and finds it, easily. But despite apologists who might consider such behavior exceptional, the corporate sector is the engine of modern culture, and its values must thrive on a degree of psychopathy that is cultural, let alone those flagship leaders within who spawn crime, corruption, control, power, war, and psychopathy. Susan Cain discovered the heart of personality in briefly talking to students at Harvard Business School. When she explained to them the topic of her research, they told her: “There are no introverts here.”

    So the expectation that culture and society will in any way accommodate the introvert is extremely unlikely. Better for introverts to follow the rest of popular advice and find a safe niche in which to be creative.

    The content of psychopathy applied to a cultural setting is also confirmed by the historian Morris Berman, who popularizes the subject of US society and culture, his most recent book being Why America Failed. In some ways, Berman’s reliance on anecdotal cases of ignorance on the part of Americans has been well covered by critics and comedians. For example, the ignorance of American high school students who do not know the name of their first president or of what country the US revolted against is familiar. A medieval audience or a contemporary one in poverty might have been and is the same intellectually. The point must be that the powerful do not necessarily want an educated populace, a populace to question, reason, criticize and express moral indignation. Ignorance becomes a cultural introversion without any of the virtues. Such a structure is necessary for the execution of a psychopathic policy inimical to the needs of others. A seamless explanation emerges, an indictment as much of the lack of values as of the dangerous potentials of misunderstood or ignored personality types and their effects on humanity. The introvert and the solitary need not abide in waiting for society to change; the evidence is everywhere that it does not.

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    What is music?

    Thursday, April 12, 2012

    Music is the most evanescent of arts because, by its very nature as sound, is an auditory experience that requires memory, retention, and feeling. Unlike a painting or sculpture or even the contents of a book, which require vision (vision accounts for 80% of our cognitive sense learning — and are solid objects variously interpreted — music can be heard but must be reproduced immediately afterwards to confirm the musical experience, let alone the pleasure or positive sensation experienced. Audiobooks are a substitute for vision, not the equivalent of the listening of anthropological and preliterate times.

    Of the other senses little need be said. Our olfactory sense (our sense of smell) is a vestige of evolution and only serves to warn against injurious or foul gases or bacteria. This sense seldom rewards the average person who is not sensitive at least to the fragrance of a flower or herb. Our sense of taste similarly keeps us willing to eat but offers only passing pleasures. So works of music have a hard time not in getting our attention but in keeping it in our minds.

    To the solitary or the purist, music is a grave challenge not because it is the creation or contrivance of another mind or personality, and not only because sounds of all origins are always competing with one another for authenticity. Music is a human creation yet not capable of restatement as an idea. One can talk about its effects but not reproduce it (the music) very effectively, especially that of an ensemble or orchestra. Unlike a painting or book, music emerges from a Pandora’s box. We must allow it to overwhelm us for the moment, to dominate the mental faculty, and to ring in our ears with themes and phrases and motifs — for days on end if we make the wrong choice of music or fail to put it in its place in our daily lives.

    To successfully carry an idea or sentiment, music must be the vehicle of something else, something higher, more sublime, or on the other hand, more raw and emotionally primitive. This duality is not so forceful in objects of the vision because these are mental reproductions and remain static. They require that we assign emotions to them, that we be “pre-sensitive” to them. We can control their impact on our minds. Music is spectacle or accompanies spectacles, from entertainment to war. Spectacles are not sustainable ideas or emotions, do not sustain thought or reflection but directly affect the spirit, saturating the cruder aspects of what might be called the “id.”

    Music can accompany the two faces of human endeavor — whipping up a martial frenzy or delicately interpreting the heavenly spheres. In between, music can pander to a variety of nuances, but always through human emotions and projections of positive or sordid. This plasticity of music is present but less obvious in painting or even writing, where the object lies static and lifeless unless a visitor sees merit or is willing to read doggedly and be inspired intellectually. The arts are often hijacked for the purpose of advancing a raw emotion or contrived idea. They often have little to do with reality and nature, even when we intend to express them as such. Books, paintings, and posters can try to conjure feelings, but music has a physiological function that can bypass the intellect.

    Thus a typical painting depends on visual satisfaction but remains ocular and does not reverberate in our minds until the associations with ideas begins. A book remains short of a cognitive experience in its complexity, especially if it fails to move us to reflect and merely thrills us for the time of reading. We need critics to convince us of a painting’s value and scholars to interpret the place of a given book in the history of similar ones. These experiences are second-hand or even more hands removed.

    But with some knowledge, skill, talent, or interest in music, a new part of human sensory faculties can emerge or be elicited, bypassing the mere visual or intellectual and striking directly at a mood, an atmosphere, a brooding or lightness, depending on the music taken seriously. Some sort of music moves somebody somewhere.

    Perhaps this volatility of music is why Nietzsche revolted so strongly against Wagner’s primordial music of tragedy, death, and redemption, which militated against the ego-optimism of Nietzsche’s youthful mindset. Not so much the music was Nietzsche’s source of offense but the person and ideas of the composer. He knew the grandiosity of the music made it artistically difficult to refute as art, less dismiss. He transferred his resentment to the composer himself.

    This transference is the perennial debate of art: Is the object of art to be held accountable for its creator’s flaws? Should we judge art ad hominum? In Turin in 1888, just short of his breakdown, Nietzsche wrote to a friend of the marvels of Bizet’s Carmen, in contrast to the heavy-handed Wagner. He makes the analogy of debilitated senses, the plea of weak eyes against glare — a utilitarian complaint for a moment of rest sought, not a music critic’s case but one weary and impatient with weighty themes. A little light music was called for. Different works of art have their appropriate times and moods.

    Yet Schopenhauer, Wagner, and Nietzsche are all passionately engaged with music as a tropos of aesthetics and philosophizing. They reach different conclusions, of course, and put music to different ends. Whether any given listener can endure the theory and will merely judge the music by their own preferences, dispensing with the critic’s futile interventions, shows us the subjectivity of music, especially when considering its popularization. Music today is largely utilitarian in being written to provoke a particular class of consumer to feel a particular subset of emotions. The phenomenon of the spectacle has become ubiquitous. Music is now the audio background to our humdrum daily lives and the places we frequent. With technology, more of it can be manufactured, separating us more and more from philosophy and aesthetics, more and more from silence and the authentic sounds of nature.

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