I read Christof Koch’s Consciousness: Confessions of a Romantic Reductionist a few months back & I agree with Kathleen Reeves’ take on the book. The only thing she leaves out of her review is the dishonest tease of the word “confessions” in the title. In the introductory pages & throughout the book, Koch hints that he will reveal how some personal experience that transformed his thinking. But all the reader gets is a superficial description of the author’s predictable midlife crisis in which he leaves his wife & drinks too much pinot noir, neither of which affect his smug scientism in the least. For a book about consciousness, there is very little evidence of self-consciousness, in the sense of self-knowledge. I kept thinking how adolescent the book seemed.
Jim Holt, in his new book, Why Does the World Exist? An Existential Detective Story:
Schopenhauer himself hardly practiced the pessimistic asceticism he preached: he was fond of the pleasures of the table; enjoyed many sensual affairs; was quarrelsome, greedy, and obsessed with his fame. He also kept a poodle named Atma–Sanskrit for “world soul.”
At least my terriers don’t have pretentious names. (Jett, Dash, & Candy, since you ask. And since they are all rescues, they came to us with those names already given.)
Vietnamese poets—this may be common in everyday speech, but I haven’t run across it—will pile up two words with essentially the same meaning. Here is an example: The poet Tô Ngọc Thạch begins a line with the phrase “Lớp lớp địa tầng” in which, as near as I can tell by dictionary crawling, both “Lớp lớp” and “địa tầng” can straightforwardly be translated as “layers” or “strata” in English. I don’t know whether I should render this as just “layers” or “strata” or something more like “layers of strata.” Clearly, I need to seek the help of a Vietnamese poet on this, but I’m beginning to think that Vietnamese writers use these doublings & sometimes triplings to elicit shades of meaning. That is, redundancy — that’s what we’d call it in the West — is a fundamental element of style in Vietnamese, particularly in literature, but also in everyday speech.
Daniel Bowling really ought to do this study with Vietnamese speakers. In Vietnamese, there is a long tradition of interaction between the six tones of the spoken language & the (mostly pentatonic) music used to accompany songs & poems. Last weekend, I was invited to the home of a family of very talented traditional musicians & treated to an informal concert of various forms of Vietnamese music. In most of these forms, because the language itself is tonal, the poet or songwriter has followed forms that place rising or falling or level tones in particular places in the verse line. The instrumentalist(s) & vocalist, also following a set of conventions, but also improvising within the conventions, perform the text so as to emphasize & play with the composer’s intentions. My sense is, though I’m not entirely sure of this, that, contrary to the Western art song / lieder tradition, the music is driven by the vocal text rather than the other way around.
The musicians I listened to played the đàn tranh & the đàn đáy, stringed instruments with a pentatonic tuning & the ability to bend notes in order to suggest the tonal slides & glides of the Vietnamese language. There is also a two-stringed lute that has no natural tuning & can be tuned to any of the other instruments. Half-way through the concert the other night, a young man showed up who was a virtuoso on this instrument, playing incredibly complex runs of notes on the raised frets. In the south, I have seen Western guitars with the spaces between the frets scooped out in order to play microtones.
Hanoi shop keepers — because their goods spill out onto the sidewalk — have a seemingly infallible sixth sense about when it is going to rain. When you see them putting up their awnings or moving things indoors, take cover because it will rain soon (mưa sớm).