by Brooks Riley

by Bill Murray

Once we thought we’d look into a cruise. As skeptics in principle, we agreed we’d have to choose carefully. We wouldn’t join an enforced entertainment experience with a thousand shipmates enduring professional smiles.

We wouldn’t just pocket a few easy off-the-beaten-track conquests (although these look promising). The fun of those is getting there on your own. This ruled out a queasy crossing of the Drake Passage with newly retired strangers. Fine.

We wouldn’t sail anyplace that made our fellow cruisers too keyed up to have fun. This ruled out anything billed as a “trip of a lifetime.” Them’s marketing words. Finally, we hadn’t the free time for tramping aboard a cargo ship, although Gregory Jaynes’s Come Hell on High Water makes a strong case. One of these days.

We settled on sailing from Walvis Bay, Namibia on the world’s last royal mail ship, the RMS St. Helena, a stubby little bulldog bound for St. Helena and Ascension Islands, some 1800 miles east of Brazil and 1200 miles west of Angola, in the middle of the South Atlantic Ocean, among the more remote places on earth. Read more »

Fly on my menu at a restaurant in Brixen, South Tyrol, in August of 2013.

by Philip Graham

I serve as the family cook as well as the family DJ, so no dinner party preparation is complete without a small stack of CDs waiting for guests to arrive. When the doorbell rings and my wife Alma walks to the front door to greet our earliest guests, I idle the burners on the stove and hurry to the living room stereo, where I press Play for the first CD. A song should already be in progress before the exchange of Hellos, because music, like furniture, is a form of home decoration, filling and defining silence the way a couch or chair fills and defines space. The music must be dialed low, just enough for a home to express quiet domestic welcome. I like to think that I’m long past my ancient feckless undergraduate days of booming a song through an open window.

Yet over dinner, rarely does someone ask, “What is that lovely music?” Such a longed-for question always fills me with joy—someone heard its beauty too!–and I’m happy to reply, “Oh, that’s Brian Eno’s Music for Airports,” or “We’re listening to the Afro-Spanish singer Buika Concha,” or “You like the Kora Jazz Trio, too?” Am I the only one who can be diverted from dinner chitchat by an airy chorus, or a husky vocal phrase, or a tack piano’s piquant modulation?

That magic question does get asked from time to time. I remember in particular one evening, many years ago, when I hit paydirt as guests passed serving plates and bowls back and forth at the dinner table and an austere mix of resonant metallic percussion, choral voices, an organ and a violin wafted from the living room.

“What are we listening to?” my old friend Bruce asked. Bruce! Of all my friends, I knew he had that question in him.

“It’s ‘La Koro Sutro,’ by a contemporary American composer, Lou Harrison.” Read more »

by Bill Benzon

That, I assume, is the floor slab of a demolished industrial building. It’s located near one of the remaining fragments of the Morris Canal in Jersey City. Back in the day the Morris Canal delivered anthracite coal from Eastern Pennsylvania to New Jersey and New York City – the Hudson River is no more than half a mile to the right of this slab. Things have changed; the Morris Canal was abandoned in 1924. I don’t know just when guerilla skate boarders appropriated this slab for their sport, but I took the photo at 6AM on July 30, 2011. One feature in this do-it-yourself (DIY) skate park remains unfinished – that pile of dirt and rock to the right of center. Notice the Myspace URL at the bottom of the photo.

DIY parks have been an aspect of skate boarding for a long time. There aren’t enough purpose-built parks to meet the demand. People don’t like skate boarders using public sidewalks, plazas, parks, shopping centers, and streets, and skate boarders don’t like be harassed for doing what they love. What to do? Find an out-of-the-way spot and build your own park, that’s what. Read more »

by Varun Gauri

These days, fights about social identity are coming to the boil. Could mindfulness practice lower the temperature of those disputes? I want to suggest that it could. To understand why, it’s useful to start by describing the psychological components of social identity. There are a variety of ways of thinking about the topic; many have addressed it. I want to highlight three dimensions.

First, identity enters the body and the imagination. You can tell what groups people belong to from their languages, accents, clothing, symbols, habits, and ways of carrying themselves. Some Sikhs wear turbans on their heads; some Catholics wear crosses around their necks. Most Brazilians and Portuguese speak the same language, but with different accents. Women tend to carry handbags and men wallets. People have strong emotions about the way their bodies and words disclose their affiliations — sometimes pride, sometimes shame. They love their country’s rivers and mountains; they relish the food and drink of their neighborhoods; there are songs that bring them to tears, smells and gestures that evoke the sense of being at home in the world. Even when people reject their identities of origin, the disavowals often have the effect of acknowledging the relevance of those identities to their self-understanding. Let’s call this the expressive aspect of identity.

One could try to argue that Christianity is a more imaginative and beautiful religion than Buddhism, or vice versa, and it might be fun to waste some time on that debate, but it really doesn’t make sense to say that one group’s languages or symbols are superior to another’s. Some expressions of identity are morally contestable (consider headscarf bans or statues of Confederate soldiers), but as a general rule, people are, and should be, free to express their identities. Read more »

by David Copp and Gerald Dworkin

We have argued in a recent article in 3 Quarks Daily that there is a moral obligation for those who are able to safely be vaccinated against serious diseases such as measles and COVID-19 to do so. The gist of the argument is that, when certain factual conditions are met, people have a duty to accept vaccination. There are two conditions. First, there is a significant benefit to the person who is vaccinated and little risk. Second, there is a significant benefit to those to whom the person might otherwise transmit the disease. The benefit is a reduction in the risk of serious harm, which obtains if the disease is life-threatening or seriously threatening of significant pain, physical or emotional damage, or significant expense or effort to avoid these, to a significant subset of the population. We will refer again to these conditions, so let’s have a term for them. Call them the “factual preconditions” of an obligation to accept vaccination.

In this essay we are interested in a different set of issues–those surrounding the use of legal coercion to enforce the moral duty above. It is important to see that the two questions are distinct. There are moral obligations that we do not use the law to enforce. For example, we are generally obligated to tell the truth.  People often lie when they are obligated not to do so.  But lying is not generally a criminal offense.  Suppose that someone who is seriously hurt and trying to get to an emergency room in his car, asks us where the nearest emergency room is.  If we gave him false directions, we would clearly be failing to comply with a moral obligation to tell the truth in such circumstances. But, to our knowledge  there is no law which requires us to tell the truth in such a circumstance. Read more »

Two young men greeted a new crew member on a ship’s quarterdeck 60 years ago and, in a matter of weeks, by simple challenge, introduced this then 18 year-old who’d never really read a book through to the lives that can be found in them.… —Thank you Anthony Gaeta and Edmund Budde for your life-altering input.

An Evening Narragansett Walk to the Base Library

bay to my right (my rite of road and sea:
I hold to shoulder, I sail, I walk the line)

the bay moved as I moved, but in retrograde
as if the way I moved had something to do
with the way the black bay moved, how it tracked,
how perfectly it matched my pace, but
slipping behind, opposed, relative
(Albert would have a formula or two
to spin about this if he were here)
behind too, over shoulder, my steel grey ship at pier
transfigured in cloud of cool white light,
a spray from lamps on tall poles ashore
and aboard from lamps on mast and yards
among needles of antennae which gleamed
above its raked stack in electric cloud enmeshed
in photon aura, its edges feathered into night,
luminescent as it lay upon the shimmering skin of bay

from here, she’s as still as the thought from which she came:
upheld steel on water arrayed in light, heavy as weight,
sheer as a bubble, line of pier behind etched clean,
keen as a horizon knife

library ahead —behind
a ship at night

the bay to my right (as I said) slid dark
at the confluence of all nights,
the lights of low barracks and high offices
of the base ahead all aimed west, skipped off bay,
each of its trillion tribulations jittering at lightspeed
fractured by bay’s breeze-moiled black surface
in splintered sight

ahead the books I aimed to read,
books I’d come to love since Tony & Ed
in the generosity of their own fresh enlightenment
had teamed to bring bright tools to this greenhorn’s
stymied brain to spring its self-locked latch
to let some fresh air in crisp as this breeze
blowing ‘cross the bay from where to everywhere,
troubling Narragansett from then
to me here now

Jim Culleny
12/16/19

by David Kordahl

Physicists, as a tribe, are overwhelmingly likely to believe that smart extraterrestrials exist, and are also overwhelmingly likely to believe that they haven’t visited Earth. I’m considered a bit of a kook by my physicist friends because I harbor genuine confusion on this point. I want to believe, but I also want unambiguous evidence—which unfortunately leaves me as a reluctant agnostic. Yet despite my self-consciously atypical attitude, this doesn’t stop me from talking with my physicist friends about alien possibilities. After all, even physicists who have decided that science fiction-type ETs don’t exist will often still let them creep into thought experiments. The alien thought experiment I’m most interested in, the one I won’t shut up about, involves a simple question. Suppose that the aliens were to land on our lawn. How much would they know about physics?

This question reveals a split that’s more fundamental than anything about aliens per se. It probes whether science lets us in on universal truths, and whether we can expect these truths to be universally accepted. Read more »

Sughra Raza. Island Pond Algae, Upstate NY. July 26, 2020.

Digital photograph.

by Sabyn Javeri Jillani

‘To be a woman is to be an actress’, writes Susan Sontag in her 1972 essay The Double Standards of Ageing. She is referring to the beauty norms that expect women to freeze ageing while levying no such expectations on men. As the popular saying goes, men become wiser with age while women become older; men being judged by their maturity while women through their bodies. Beauty is often associated with the young and so these pressures of eternal youth trap our subconscious in unrealistic standards of attractiveness. Performing to a biased audience, women become objects of their own calling for as Sontag writes, ‘From early childhood on, girls are trained to care in a pathologically exaggerated way about their appearance’. She wrote this nearly 50 years ago. Since then, there has been a lot of consciousness-raising debates about these reductive attitudes, and nowadays you would be hard pressed to find someone who would admit to the pressures of ‘youthful preservation’.  They call it ‘selfcare’, instead. But is it really?

I’ve always been suspicious of dressing up to please others but I’m even more skeptical of dressing up for myself. Despite all the consciousness-raising feminist movements that made us aware of women’s history of objectification, the fact remains that prior to the pandemic many of us still spent a lot of time and money on beautifying ourselves according to societal standards. Only this time the capitalists were selling it to us as ‘selfcare’ and ‘wellbeing’.  The pandemic has made us rethink how beauty and youth have been rebranded as ‘selfcare’ while still pandering to the imaginary audience that makes being a woman a performance. Much along the lines of Sheryl Sandberg’s neoliberal ‘Lean in’ feminism which tells women to take responsibility for their marginalization, the new beauty standards tell us to look good ‘for ourselves’. In other words, looking good is for our own good. Read more »

by Paul Orlando

I’ve been exploring ways that tech innovation could lead to inevitable outcomes. Here’s a continuation of that, specific to the enduring human need for music.

Music has been around as long as there have been people. Longer if you count music made by animals. It’s safe to say that music will be a part of this world  as long as there is life. So what happens when new technology encounters an eternal constant for humans?

Demand for something like music is built into what it means to be human. Music related tech development (especially if it is more about improvements rather than step changes) can be somewhat predictable. I use the term inevitable because we’re combining enduring human needs with forces that are largely about laws of physics applied to manufacturing. Supporting business models form.

Early Tech

Let’s look at some of the changes over the 20th century of the music industry. Treat this as a thought experiment on applying second-order thinking.

If you were born in 1900, in the early years of the recording industry, it’s likely that all of the music you heard growing up would be live music. An informal local band, or a more formal chamber orchestra, or singing in the home. You also would have been a child when Enrico Caruso recorded these versions of “Vesti la Giubba,” from the opera Pagliacci (which premiered in 1892).

Enrico Caruso – Vesti la Giubbia, first decade of 1900s

Caruso was one of the first international stars, both because he was a great tenor and also because his career coincided with the development of the early recording industry. His combined “Vesti la Giubba,” recordings are counted as the first million unit record sale in the US. (A bigger deal back then with one-quarter of today’s population and less disposable income.) Read more »

by Brooks Riley

by Anitra Pavlico

As we wait for life in this era to regain a sense of normalcy and rationality, we take refuge in other eras. There is a severe shortage of contemporary human activities–art-making, conversation, building things. The past becomes closer and larger. The future has shrunk and become clouded, even dark. We have nowhere to go but back, but the past is likewise little comfort, partly because five months ago feels like five decades ago–quaint, old-fashioned, hopelessly out of touch.

The themes of time, memory, and collective humanity in Albert Camus’s The Plague have preoccupied me lately. The Algerian town of Oran is cut off from the rest of the world in an attempt to contain the pestilence that has taken hold there. 

But the plague forced inactivity on them, limiting their movements to the same dull round inside the town, and throwing them, day after that, on the illusive solace of their memories. . . . they drifted through life rather than lived, the prey of aimless days and sterile memories, like wandering shadows that could have acquired substance only by consenting to root themselves in the solid earth of their distress.

It is difficult to tell whether time for us has slowed to a near-stop or has sped up. We have less variety in our days, and yet there are times when the hours race by and we haven’t accomplished a fraction of what we set out to do that day. It is more likely that we have slowed down, dulled by inaction to insipidity, than that time has accelerated, but the result is the same: nothing results. As Camus writes: Those who had jobs went about them at the exact tempo of the plague, with dreary perseverance. Read more »

by Tim Sommers

In high school, I attended a “debate camp” at a small university in southeastern Missouri. I was thrilled to visit my first college bookstore while there and I bought a cheap, slender volume out of the remainders bin called “Parables and Paradoxes”. It was written by Franz Kafka. I am embarrassed to say that I recognized the name only because I was a big fan of the stories of Jorge Luis Borges and he mentioned Kafka here and there. In one essay, for example, Borges used Kafka to illustrate how great writers rewrite the works of their own precursors. Surveying a disparate collection of works, Borges says that “Kafka’s idiosyncrasy is present in each of these writings, to a greater or lesser degree, but if Kafka had not written, we would not perceive it; that is to say, it would not exist.”

The difference between Kafka and Borges that struck me almost immediately was that despite the labyrinthine, elliptical, and self-referential character of Borges’ stories it always seemed more or less clear to me what they meant; whereas Kafka’s stories seemed clearly to mean something, but it was never clear to me exactly what. What is the meaning of that hideous machine that writes on human flesh, the secret trial where Joseph K. is never charged but loses his life, of Gregor Samson transformed into a gigantic bug? The very elusiveness of meaning in Kafka intensifies the search for it.

It’s not just me. Psychologists asked subjects to read either “The Country Dentist” by Kafka or a rewritten version that changed all the weird, unexplained bits. Subjects who read the Kafka story were better able to spot hidden patterns in rows of letters afterwards than those who read the “normalized” version. The experimenters theorize that encountering the unexpected can increase people’s ability to creatively search for meaning. They call it “The Kafka Effect”. Read more »

Wild martagon lilies growing in a forest near Fane Alm in the South Tyrol in July of 2020.