Good Reason

It's okay to be wrong. It's not okay to stay wrong.

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Happy Hallowe’en

You have to realise; Hallowe’en is new in Australia, and no one knows what’s going on or how to do it properly.

Twenty years ago, a normal Trick or Treat incident would go like this:

Kid: Trick or treat!
Australian: What?
Kid: Trick or treat!
Australian: What’s that mean?
Kid: It means you’re supposed to give me candy.
Australian: Why?
Kid: It’s Hallowe’en!
Australian: Oh, okay. Well, do a trick first.
Kid: What?
Australian: You said ‘trick or treat’. Do a trick and I’ll give you a treat.
Kid: That’s not how it works! You’re supposed to give me a treat or I play a trick on you!
Australian: (utterly mystified) Are you sure you’ve got this right?
Kid: I think so.
Australian: Go on, do a trick.
Kid: Oh, all right. (Does unconvincing little dance.)
Australian: Not bad. Here’s some candy.

That’s the way it was; you had to explain the concept to every house you visited.

I still keep some Hallowe’en candy at the ready, though. If no one comes, I eat it all.

No chance of that last night, though; Hallowe’en and trick or treating are catching on. About twenty kids in costume showed up (in one big group). So I said to my two boys, “How about it?” They were in costume in seconds. Youngest boy was a Native American, and Oldest Boy was…

“What are you?” I asked. He had his hoodie on, and was wielding a hammer he found in the shed.

“I’m a hammer murderer,” he said.

“That’s awfully strange. I don’t know if that’s on the list.” I said. “But it’ll do. Let’s roll.”

And would you believe, every house we stopped at had candy. Even more unbelievably, people were dishing out candy to the boys by handfuls. Good stuff, too. None of the chalky rolls of ‘Smarties’ that I remembered from my youth; this was fun size candy bars and Easter eggs. Could it be that Australians are overdoing it because they’re new at this?

If so, we must never tell them.

We shall use my largest scales!

That’s what I said when I saw the Teacher’s scale today. It was Open Day at our school, so I poked my head into his room and saw it on display. The scale was taller than me, all wood and ropes. A few large rocks were at the side.

“It’s very impressive,” I said. “Did you build it yourself?”

“Yes, that’s right. I use it when teaching about weights and measures, levers, and so on.”

“Shouldn’t it be balancing?” I asked. Nothing was on the scale, but it was lopsided.

“Well, that’s the thing I can’t figure out,” he said. “I can attach little weights to either side to make it even, but sometimes one side will be heavier, and then in a little while the other side will. Maybe it’s evaporation or something. I don’t understand the physics of it.”

“Huh,” I said. “Maybe if the arms were longer.”

“Maybe,” he said. “Or maybe there’s an angel sitting on one side!”

“Perhaps,” I smiled, remembering that angels and fairies have a big part in the Steiner School aesthetic. Then I had a thought.

“Say,” I said, “if angels can influence the weights, they could be doing it all the time and we wouldn’t even know. So how can we ever trust the scales?”

“How do you mean?” he asked.

“Well, if I weigh two things on a scale, is one thing really heavier than the other, or is God just fiddling with my data?”

If it’s possible that there might exist a supernatural being that could influence the results of a scientific test or measurement, we could never really expect those results to be reliable. We couldn’t even do anything as simple as weigh anything. Scientific research itself would be impossible. But because scientific research is possible, such beings cannot exist.

Let’s dust off the old believer’s hat and see if it still fits. We could argue that God could intervene, but chooses not to. God works with laws of nature. In which case God is indistinguishable from the laws of nature, and our theory of the universe would lose nothing by cutting him or her out. Occam’s razor again.

This is a striking illustration of how science and spirituality the supernatural are not in harmony. They are two opposing approaches to the universe. One precludes the other.

Friday Random Five is bringing out all my neuroses.

I’m listening to the new Beck album a lot lately. The thing about this album is that the cover is graph paper, and there are stickers that you apply yourself. It’s ‘make your own album cover’. I haven’t done it yet, and I don’t really want to. Also I don’t want to examine what that might mean. Putting the stickers on is committing, and what if I get the back of the stickers all gummy with fingerprints and it doesn’t stick properly? And then it’s ruined! I think I’m just a big believer in non-destructive editing, but maybe I was one of those kids that was afraid of getting dirty. What would it mean for me to try?

In All the Wrong Places by Ulrich Schnauss Album: A Strangely Isolated Place
This is a gorgeous work of semi-ambient electronica. I say ‘semi-‘ — it’s got beats, but it’s mostly instrumental, and the production has a soft focus quality to it. A certain muffly swoosh, even though some of the details are quite crisp. You can tell it’s hard to describe. The layers of sound build into an enormous sugary wedding cake that dissolves when you touch it. It doesn’t just groove, it wobbles in that Boards of Canada way where someone’s doing something to the analogue tape.

Memories by Elvis Presley Album: Elvis 2nd to None
That’s funny. Spanish guitar usually makes things sound better. But the string arrangement goes so Mantovani on this poor sappy melody that not even Elvis’ voice can save it. There’s a fruit and veg place near my house that plays Elvis, so now when I hear Elvis, I think fruit. Or Dean Martin, which they also play. I don’t know if there’s a video to this, but I don’t want to see it. I think it would look like the stock footage from every karaoke place I’ve every been to. Even the head of Elvis is coming out to see what’s gone wrong. The severed head of Elvis, and it’s been sectioned right down the middle, right across the left eye. Ouch! What was the graphic designer thinking? Where’s the lei? It was such a motif in Elvis’ original album covers, and now it’s gone. Banished! It’s all black and bloodless, not like a real head if you hacked it in half. And then stuck a numeral 2 right in the Broca’s area.

Useless by Depeche Mode Album: Ultra
This is more like it. Ultra was a very good, somewhat overlooked album. Depeche Mode seemed deepened by their woes (rehab and lineup changes), and came out of it with a set of songs that becomes more interesting with closer listens. Listen to that guitar riff on Useless. That is a gritty riff. And the bass line slides up and down the octave in a head-nodding way. Good groove.

Crossroads by Davol Album: Mystic Waters
I wonder what Russ is doing right now. He’s the one who got me into Davol. Gave me a tape with two albums, back in the days of cassettes. And I played them over and over and then went out and bought both albums. I wonder if I’ve listened to the discs more than the tapes. I think Russ always wanted to record songs like this. He was into computers and MIDI. Funny how a song can remind you of someone. Especially a song as thoughtful as this one, like watching a river, or staring into a fire.

Hello by The Cat Empire Album: Triple J Hottest 100, Volume 11
Well, jelo, jelo. If you haven’t heard the Cat Empire’s unique brand of hyphenated Cuban ska salsa, it would probably be a good idea. You’d think you were doing something interesting, like being at a party or a concert, instead of sitting at home on the Net getting spam from someone named Tanzania Safari, like I just did. My life would be a lot more interesting with that name. Oh, Tanz, you don’t even exist, and your life is probably much more interesting than mine. Anyhow. The Cat Empire were the hot ticket a couple of years ago, though I haven’t heard anything recently. They’re probably having so much fun that I’m not even in the same universe as them. Maybe after the thesis is over, I’ll put on the dancing shoes and go find them. I’ll have to find one of those little hats first. You know the kind?

Whither the interrobang‽

Someone on the radio this morning reminded me of the interrobang, a delightful idea in typography from the 60s. The interrobang is a question mark mixed with an exclamation point, and you use it instead of typing both together. As in:

You did what‽
Rubber shirts‽
With your sister‽

The interrobang was actually available on some electric typewriters before the fickle crowd moved on to abuse apostrophes. And that’s too bad because it’s a lot nicer than a long string of characters. Bring it back, I say.

I’d also like to suggest that there’s another need for it, and that’s for the word ‘what’. You can say ‘what’ with different intonation.

Alexander Graham Bell: Mr Watson, come here. I want you.
Watson, with rising intonation: What? (meaning: I didn’t hear you)
Watson, with falling intonation: What? (meaning: What is it that you want?)

They both read the same in print, and it’s confusing. Using an interrobang for the second one could alleviate the confusion. Unless Mr Watson wanted to express indignation for what he perceived to be Mr Bell’s inappropriate suggestion.

Or the Toblerone ad campaign. Notice that the model’s ‘What?’ could be ambiguous. I certainly didn’t get it at first.

But if you make it “What‽”, it conveys the right amount of petulant defiance.

I’d love to see the interrobang come back, now that we live in the age of Unicode. And we need a sarcasm mark, too.

Radio ad

Gary: Hi. I’m Gary Tobin.

Aryeh: And I’m Aryeh Weinberg. We’re the authors of a new report about political opinion at universities. For the last several years, we’ve been examining the views of university educators. Why? In a word: influence.

Gary: Everyone knows that young people of today idolise middle-aged academics. We would hate for their impressionable minds to be damaged by being exposed to the wrong kinds of opinions, if you know what we mean. And in our research, we found some startling facts.

Aryeh: Did you know that only 17% of faculty identify as conservative, but 46% identify as liberal? And in the 2004 election, 72% of academics voted for the Democrat John Kerry, but only 25% voted for Bush. It’s like some kind of plot!

Gary: Telling figures indeed. And these are just a few of the facts that show us that university educators aren’t representative of the general public. And for some reason we think they should be, just like every other occupation.

Aryeh: Now you could argue that academics are highly educated, and highly educated people tend to be more liberal than the general population. But we look beyond such simplistic explanations. We think ‘liberal groupthink’ is to blame. You see, when liberalism is entrenched in universities, it has a chilling effect on conservatives’ ability to speak their minds for fear of reprisal. As you have probably noticed from talk radio, Fox News, or family members, right-wingers are sometimes afraid to voice their opinions because… they’re shy.

Gary: Painfully shy. But we’re not advocating quotas or purges. We recommend that universities maintain a balance of liberal and conservative views, of left-wing and right-wing, of informed opinion and ignorance, just as we see in society at large. And we can learn a lot about achieving a healthy balance of views from business and management schools, which somehow manage to have a higher proportion of conservatives than elsewhere in universities. Viva la marketplace of ideas!

Aryeh: We also think that hiring and promotion processes should be free of political ideology.

Gary: Unless that means that too many liberals are getting hired or promoted.

Aryeh: Please download Volume One of our series, ‘Political Beliefs and Behavior’. And while you’re at it, check out our book ‘The UnCivil University‘ in which we make the stunning discovery that liberal academics are anti-Semitic because they’re not pro-Israel enough.

Gary: Won’t you help us to make academia safe for conservatism? Thank you.

It started like any other morning in church.

There was an opening hymn, which everyone sang, including the new convert, Sister Z, just in front of me. But it soon became apparent that she wasn’t singing the same hymn as everyone else. She was singing some kind of high-pitched melody that only she could hear. Rather loudly, too. And she didn’t stop singing at the end of the verse, she just kept on singing with her head pointed to the ceiling. Something was wrong.

“Dad, what’s she doing?” asked Youngest Boy.

“She’s having a problem in her mind,” I said, wondering what to do. “Just stay calm.”

The hymn ended, but her strange singing continued. The congregation stayed awkwardly silent. Then she started hitting herself in the chest. The person next to her tried to talk her down, but it wasn’t working. Sister Z got up and began shouting at the silent congregation.

“This is an adulterous church!” she shouted in the aisle. “You can’t tell me to be quiet! I will burn your skin.” And so on for about a minute.

It was then that she approached the stand and tried to go for the mike, but the bishop refused to yield. Instead he said, “Brothers and sisters, could I just ask you to quietly leave the chapel and go into the cultural hall.” Which everyone did.

An emergency team soon arrived. They’d seen Sister Z before; apparently this wasn’t a new thing for her.

People were confused and concerned. Fortunately we had some mental health professionals in the ward. Brother B had a brief chat to the adults, and Sister C spoke to the Primary children. All in all, the incident was handled very well.

For me, the notable thing about the incident was the practical way in which everyone handled it. Mormons do believe in the devil, and anecdotes about satanic possession do exist, but they’re not common. I think loads of Latter-day Saints would argue that devils could be cast out using the Priesthood. But how did the people of the Church handle the affair? They called in people who were trained and had experience in that area, like any sensible person would.

If this had happened in a born-again church, it would have been handled totally differently. Demonic possession? No problem! Some of the brethren grab her, the bishop commands Satan to leave, she barfs, end of story. Great meeting! Until next time she has a psychotic episode because the problem hasn’t been solved.

No, they handled it the right way — the non-spiritual, material way. Sensible people know that when you need something done, you don’t rely on spirits. You do what works. You don’t pray to get your sink fixed. You call a plumber. Of course, you could try and sneak God in somewhere, perhaps by praying that the plumber will know what he or she’s doing. The idea has worked its way into proverb: “God helps those who help themselves.” Or this modern homily: “Pray as if everything depended on the Lord, and then work as if everything depended on you.” Or as Voltaire put it: “It is unquestionable that certain words and ceremonies will effectually destroy a flock of sheep, if administered with a sufficient portion of arsenic.”

That which we call ‘spiritual’ is actually just made up. Therefore it’s only good in situations where
a) you can’t do anything about the problem (it makes you feel better)
b) you’re already doing something practical about the problem (and then when it works, you credit God instead)
c) it’s not a very serious problem that you don’t need solved, or
d) the problem relates only to ‘spiritual things’ and not the physical world in any way.

And these are in fact the situations in which people seek spiritual guidance. But when they need to do something real, even believers know that it’s the non-spiritual methods that work.

Powers of Ten

I saw this film when I was a kid (and probably so did you). It’s called “Powers of Ten“. It starts with a picnic scene, and zooms out by an order of magnitude every ten seconds. You see the galaxy and a good swath of the universe. Then it’s time to zoom in and see the atoms and quarks that make up cells and skin and picnickers.

When I heard an estimate that the universe contains 10^100 atoms, I thought, “Gee, only ten to the hundredth?” Now I can see how that’s actually quite a lot.

Friday Random Five does what it has to.

I actually bought a song yesterday. It was ‘Shadows’ by the Midnight Juggernauts, available (in non-DRM mp3 format!) from Inertia Records. Hard to say who’s flogging it harder, me or Triple J. It’s an aggressive slice of dance funk electronica. Anyone’s life would be augmented by hearing it.

On to the Friday tunes.

Sicilienne by Gabriel Fauré Album: Classic Moods
Classical ‘best of’ CDs are something of an embarrassment to their owners. You weren’t sufficiently connaissant to hunt down the definitive Fauré Requiem; you had to go out and find some collection at WalMart for a buck ninety five, and listen to it while you’re doing the washing up. This collection’s even worse; not only is it too plebian to list the artists, it actually lists the movies that have used the tracks! Right after the name of the song! Oh, the shame. They’re going to revoke my WASO season pass for sure.

The Sicilienne is Fauré at his usual melodic self. Light and dancing; lovely.

The Lure of Silence by Tim Story Album: Soul of the Machine
This Windham Hill compilation has come up before. It’s one of the few I still listen to. This piece is contemplative. It repeats an A to C interval like a metronome. The effect is that of the quiet passing of time.

War on War by Wilco Album: Yankee Hotel Foxtrot
Isn’t this a tremendous album. Hard to believe that the label didn’t know what to do with it when they got it; they thought it was too noisy. Hadn’t anyone heard of adding weird little electronica touches? Fortunately the band raised the money to buy it back and release it on their own Nonesuch label. For all the fuss, the track is smooth and grooving, not bellicose as the title would suggest.

Used to Be a Sweet Boy by Morrissey Album: Vauxhall and I
One supposes the boy to be Morrissey himself, reminiscing about his childhood, before all the bad happened:

Used to be a sweet boy
Holding so tightly to Daddy’s hand
But that was all in some distant land.

Moz has a real gift for writing about his childhood in a way that makes you feel that he’s writing about yours. I’m thinking of Late Night Maudlin Street, but I could have picked a later one like There is a Light that Never Goes Out. Maybe this what makes Morrissey so appealing to his legions of obsessive fans.

Cellistica by Klaus Schulze Album: Audentity
If you ever find a copy of this 2-disc work by electronic experimentalist Klaus Schulze, buy it. Take the first disc and throw it in the bin. Then superglue the second disc into your CD player.

I first heard this disc because my Spokane friend Brent Beever (of Cattleprod fame) gave me a four-track tape of his songs called “All My Best”. I listened to it for a couple of years without ever turning it over. When I accidentally inserted it upside-down in someone’s car tape deck, I was suprised to hear this on the b-side. What I heard was 25 minutes of cybernetic cityscape with cello followed by another 25 minutes of… well, I won’t describe it in case it comes up later. And I didn’t even know what it was or how to find it. No record store guys knew. It would have to wait 15 years until the collective experience of Internet users could tell me.

Alas, this is from disc one. The feel is the same, but the pace is too frenetic. The parts mash together into a textureless blur. But it gets easier as it goes. The music unwinds and you get lost in it. It’s not an exercise in patience like some Autechre; it’s atmospheric and engrossing.

Good and Bad Reasons for Believing

Has it really been almost a week without a blogpost? You know what that means: I’m out of the running for the Bloggy McBlog Award for Most Pathologically Prolific Self-Expression Despite Deadlines and Actual Work. Drat.

But this page inspired me. It’s an essay by Richard Dawkins to his 10-year-old daughter.

The way scientists use evidence to learn about the world is much cleverer and more complicated than I can say in a short letter. But now I want to move on from evidence, which is a good reason for believing something , and warn you against three bad reasons for believing anything. They are called “tradition,” “authority,” and “revelation.”

I like that he’s mentioned ‘revelation’ specifically. Let’s skip to that.

If you had asked the pope in 1950 how he knew that Mary’s body disappeared into Heaven, he would probably have said that it had been “revealed” to him. He shut himself in his room and prayed for guidance. He thought and thought, all by himself, and he became more and more sure inside himself. When religious people just have a feeling inside themselves that something must be true, even though there is no evidence that it is true, they call their feeling “revelation.”

That description is not a straw man. It is part and parcel of what Latter-day Saints expect to get out of the religious experience, and it is a key reason for believing people to hold the beliefs they do. It’s also the hardest to counter. People have a natural tendency to believe their own experiences, and it’s very difficult to disbelieve your experience when it runs counter to fact. This tendency kept me believing in counterfactual things for absolutely years.

The essay is everything I wanted to say to my kids about evidence (and some things I already have).

Carmina Burana

I have just finished singing in a performance of Carl Orff’s Carmina Burana with Collegium Symphonic Choir. Every time I do a piece of music, I always fall in love with it and think, “This is the best thing I’ve ever done!” But now I’m thinking, “Hey, I think this might actually be the best thing I’ve ever done!”

Carmina Burana (or ‘Songs of Beuern’) is an 11th century collection of poems written by defrocked monks and vagrants who had been kicked out of their monasteries and had to get money teaching and doing whatever they could. Along the way, they wrote these great poems about Spring and drinking and life and lots of sex. Fantastic.

A number of memories of the piece. The double piano of the ‘Tanz’, with each player alternating eighth notes. The slow and thoughtful ‘Veris leta facies’. And the famous ‘O Fortuna’, with which Carmina begins and ends. While singing this in the middle of a hundred people, the overwhelming image I got was that of a baby being born screaming into a world of fear and tumult, helplessly strapped to the torturous wheel of fortune. ‘In taberna quando sumus’ is a lusty drinking song, and an exceptionally fast bit of Latin as well. ‘Tempus est iocundum’ is typical of the joyful percussiveness of the piece. For Carmina is very noisy, and unclassically boisterous.

And so sexy. ‘Veni, veni, venias’ represents the fury of lovers. The feeling is: Come on, come on! I have got to have you now or I am going to die. ‘In trutina’, deservedly the second-most famous piece, in which the Girl decides to submit to the yoke of love. And ‘Dulcissime’ is the climax of the piece, if you will. A high soprano solo that goes right to the centre of you when it works. (And it did.)

It’s not a tough work to get, conceptually, but it is a very demanding sing that requires highly tuned attention and stamina from singers. The audience really seemed to enjoy it. Perhaps it’s so accessible because it’s so unrestrained. If you haven’t heard it all the way through before, it’s a very satisfying and recommended listen.

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