A Look at Language

Doing Our Own ThingThe recent rash of mainstream books declaring the downfall of the American mind – intellectually, culturally, philosophically and emotionally – is nothing new. Bloom’s The Closing of the American Mind, from 1988, made the case very clear, and one can trace from Bloom’s sources a long lineage of such declaration and claim.

Yet whether it be my present position within the American culture or my recent sudden and unexpected interest in the state of mind of the country (as a result of our current political administration and their questionable actions, I am sure), I have found these often fanatical texts to be of extreme interest and relevance today.

One such text that I read some months back was John McWhorter’s Doing Our Own Thing: The Degradation of Language and Music and Why We Should, Like, Care.

What is most surprising throughout this text is the relaxed and often humorous style of McWhorter’s own writing. One would expect an expert in any field who is explicating the downfall of the rigor and style of that very field to take potshots at those responsible for the decline. One would naturally expect McWhorter, from the very subtitle on the cover, to poke fun at those people in society who utilize and perpetuate such loose language. Yet McWhorter’s humor is created by his reflection of a society that he not only observes, but actively participates in. McWhorter himself uses modern linguistic styling with sincerity, and uses them so effectively that there is enormous rapport between himself and any reader who is even slightly in touch with today’s culture. As any true linguist would be, he is less disappointed in the so-called “downfall” of language than he is fascinated; and one can sense that he is himself reveling in the change.

McWhorter’s primary argument, among the many resultant effects, is that language in America has ceased to be a language of which we are proud and with which we seek to speak artfully. Modern American English, he claims, has become simply a tool, and since the 1960′s (where he locates a few primary reasons for the language revolution) has been transitioning from a well-written and considered language to a strictly spoken language.

Whereas we still have the written word in society, in the form of books, papers, journals and even email, these print media are themselves printing words in a decidedly oral style, and he forecasts the continued decline of print media.

McWhorter goes on to outline and lament (despite his acceptance and fascination) the decline and fall not only of language in print and speech, but also in music. A huge fan of classic show tunes, McWhorter discusses the transition from classic compositional styles to the rhythm-driven and vocal-styling-obsessed culture of today.

Whereas some have viewed McWhorter’s words in a negative light, convinced that he is attacking all that is sacred to the youth of today, I have found quite the contrary. He eloquently sets forth his argument, but never does he attack or belittle. The author’s predilections are clearly in evidence and one is delighted to get such a personal glimpse into the life of this seemingly fun-loving individual, yet for that reason, some readers have assumed that any view not in alignment with his own are frowned upon. This would be a misinformed and egoistic stance.

An easy, humorous and accessible text, Doing Our Own Thing is a relaxed look at the evolution of language in modern society, as told through the words of an intelligent and playful critic. Highly recommended.

John McWhorter,Doing Our Own Thing,The Degradation of Language and Music, Language, Linguistics

The Thresher

Every so often, though with decreasing frequency these days, a journal appears in print that is subversive enough to balance delicately on the edge of mainstream yet backed by enough money to warrant a glossy cover. These journals are occasionally found in the large chain bookstores, a few copies buried amongst their larger, less inflammatory brethren. And it was in just such a location that I, with eyes wide with delight, recently discovered a copy of The Thresher, sporting a wide variety of goodness on the cover ranging from Surgical Deprogramming and Meth-Sick Goddesses to Madness & Mysticism and Scientologists Punked!

My eyes continued their expressive posturing by welling with tears when I spotted the name of the editor on the inside cover: R.U. Sirius

R.U. Sirius is perhaps best known for his alternative tech magazine Mondo 2000, which starting in 1989 began glamorized the then rising geek-scene and reported (though I use the term loosely) on the formerly fringe scenes of nootropics, life-extension, human augmentation and a host of other similar issues.

It has been quite a few years since my former life as a cryotransport technician and my involvement with the budding transhumanist movement, and as I stared down at R.U.’s name on the inside cover of this journal I sensed a sort of home sickness, seeing a name that was so near and dear to me that also represented a scene with which I hadn’t cavorted in years. I realized then that there was still some nagging need to pursue these former obsessions, albeit with a radically new point of view.

And as it turns out, R.U. himself admits to having drifted away from the “scene”, as I’ll call it.
Shift.com states in their introduction to an interview with R.U. back in 2002:

“Sirius hardly goes online anymore, except for research. The truth is, the Godfather of GeekChic has moved on.”

Yet his writing is still as relevant and interesting as ever, and I was delighted to discover by sheer happenstance this issue, now in its third volume.

But as it stands, the fun stops there, with issue three, for I am unable, despite my best efforts, to locate any current information about the journal.

The website itself is displayed prominently on the back of the journal: www.thethresher.com. Anyone visiting the site will be sorely disappointed to discover that it in fact does not exist.

A WHOIS search of the domain turns up the following:

Domain Name: THETHRESHER.COM
Registrar: WOOHO T & C CO., LTD. D/B/A RGNAMES.COM
Whois Server: whois.rgnames.com
Referral URL: http://www.rgnames.com
Name Server: NS.BUYDOMAINS.COM
Name Server: THIS-DOMAIN-FOR-SALE.COM
Status: ACTIVE
Updated Date: 27-oct-2004
Creation Date: 21-oct-2004
Expiration Date: 21-oct-2005

and a search for the publisher, David Latimer and Altar Inc., turns up absolutely no information relevant to any future plans for the journal.

There are plenty of interviews with R.U. Sirius, yet not a single one is more recent than 2003, and everything seems to indicate that beyond his book Counterculture Through the Ages : From Abraham to Acid House, published only last month, R.U. is involved only in a project called NeoFiles, a website that seems to focus on interviews with such thinkers as NLP co-creator Richard Bandler and Extropy Institute founder Max More, and appears to be run by a life-extension supplement manufacturer by the name of Life Enhancement.

There is hope, however. The third and thus far last issue of The Thresher went to print in 2003, and despite the fact that the magazine itself states that it is:

“published (approximately) tri-annually”

which would mean that we should have seen more issues by now, R.U. is himself quoted as calling it a “yearly journal”.

With any luck, The Thresher has not mysteriously disappeared in the style of the nuclear sub carrying the same name, and rather than find it buried at 8000 feet, we’ll once again see its glossy cover gracing the shelves at newsstands; or at least crammed tightly between its larger, more PC cousins.

MORE INTERVIEWS WITH R.U. SIRIUS
San Francisco Chronicle
betterPropadanda
BETTERHUMANS
ctheory.net – very old, from ’96

RU Sirius, The Thresher, MondoGlobo, NeoFiles, RU Sirius Show

Sudden Noises

Sudden Noise from Inanimate ObjectsSeveral weeks ago the local alternative newspaper Seven Days ran two articles in the same issue that, despite their lack of explicit connection, nevertheless seemed to betray an intimate association.

The first article concerned an eccentric local composer named David Gunn. The second was a review of the book Sudden Noises from Inanimate Objects by the now local writer Christopher Miller, though I have since learned that he was not local when he authored the text.

My suspicion was that Miller had actually used Gunn as inspiration for his novel, and quite a wonderful novel it was, I might add.

I wrote up an article, intending to publish it in the Seven Days letters section, but it turned out to be far too long for inclusion. As I was feeling much too lazy to edit it down to a shorter length, I simply sent it to Christopher Miller and called it a day.

Included herein is the complete text of the article. I have also appended a short postscript which lays to rest the question posed in the text.

The original review and interview with the author can be viewed on the Seven Days website: Composition Book by Margot Harrison

I was unable to locate the article about Gunn on the Seven Days website, but it appears to be on the Rutland Herald website as well: Fun with music

It should be noted again, since the article was originally written for a local audience, that both Gunn and Miller are residents of Vermont, and this is what fueled my theory.

Gunning Down Silber by Roderick Russell

Reading Seven Days each week is always a great delight for me, so much so that I sometimes jump the gun and prematurely pick up a copy that I, only two paragraphs into a delightful article, suddenly realize I have already read.

So I wasn’t entirely surprised this week while reading Volume 10, Number 9 to experience an intense feeling of deja vu while deeply ensconced in the Musical Mayhem story about VT composer David Gunn.

I double checked the date, ran through my mental checklist of what I had read and where, and concluded that this was in fact the first time I had read the article. So why the deja vu? After much searching, I realized that I was reading a real-life account of a fictional character featured in a novel that I had only last month completed.

Sudden Noises from Inanimate Objects is a delightfully ridiculous novel about the fictional composer Simon Silber, a review of which also coincidentally appeared further on in the same issue of Seven Days. I need not describe it here, for Margot Harrison did a great job reviewing it for the paper and also included a short interview with the author. And for a truly accurate picture of the novel, all one need do is read the Musical Mayhem article, inflate and exaggerate as any good storyteller would, and you’ve got a novel on your hands.

So the question becomes, though the author Miller never once mentions Gunn in any place that I have found, nor does Gunn mention Miller, do they in fact know each other? Could Miller have found inspiration for his brilliant first novel in an eccentric character from Barre, VT?

It seems hard to believe that the shortest composition in the novel, entitled Crows, was not influenced by Gunn’s own shortest composition, 50 Birds. And though it doesn’t take a comic genius to create composition titles such as Help Me Rondo and Transcendental Medication, both by Gunn, orVariation in a Minor and “Babbage” Permutations by Miller (okay, perhaps the latter two are genius) and to discover similarities between them, the parallels between the fictional character Silber and the very real character Gunn remain too numerous to overlook.

Both composers are highly concerned with meticulous and exacting recreation of their music. Granted, it could be argued that many composers are concerned with the representation of their artistic ideals, but Miller himself writes into his novel that Silber composes only for the solo piano “because he didn’t trust anyone else to interpret his works.” Compare that to Gunn’s admission that, though he is proud that the VYO was able to present his Incandescendence at the Flynn, they did so “32 percent faster than I had written it.” Not twice as fast, not simply “faster”, but precisely 32 percent. Perhaps there’s some hidden reference to the number of Goldberg Variations1 or the year of Glenn Gould’s birth that I’m missing there, but being so exacting deserves to be called “pulling a Silber”.

With both composers being characterized overwhelmingly by the “various states of oblivion” in which they live and their concern for meticulous recreation of their musical ideas, along with other countless similarities, one can only assume that Miller used Gunn as a basis for his novel.

Mind you, I am certain that Gunn is a great man with wonderful ideas. Any fictional representation of him is naturally, as any good caricature will, going to creatively inflate the circumstances. It just so happens that in some caricatures, the comically large nose really isn?t that different from the original. If anything, the article in Seven Days and the similarities I’ve discovered have encouraged me to explore this real-life character more. I only wonder if in fact Gunn was Miller’s muse on this project.

In any event, the novel is fantastic and an absolute hoot, especially for cynical-minded music lovers, and I highly recommend it to everyone. Kudos to Miller on a wonderful first novel.

1. In true Silber fashion, I should note that technically there are only 30 variations in the Goldbergs, but that the Aria is typically played once at the beginning and once at the end, leaving us with 32 separate selections.

POSTSCRIPT

Mr. Miller was kind enough to give me a wonderful little response to my article which put to rest any debate about Gunn’s possible inspirational role in the creation of the book. I hope that Mr. Miller doesn’t mind if I briefly quote him below:

Any resemblance between Silber and Gunn is just further proof that it’s impossible to satirize modern music because the reality is wackier than anything I could dream up.

Miller also commented that he was living in St. Louis at the time of the writing, and had actually never heard of Gunn.

Thank you for settling the argument Christopher. Keep putting pen to paper and cranking out those delightful words!

Sudden Noises from Inanimate Objects, Seven Days VT, David Gunn, music, composers, Simon Silber, Christopher Miller, Vermont Youth Orchestra

A Kantian Welcome

As this site is named after a Kantian concept, I thought it would be appropriate to post an article from my own days as a philosophy student, way back when. This particular selection is from a very lengthy commentary upon Kant’s own Critique of Pure Reason that I wrote while involved in a detailed study of the text. The selection was chosen because it is the first clear discussion of the in-itself found in the text.

I should note that my writing on this topic has been known to be an exceptionally powerful cure for insomnia. I post it here more as a symbolic act than anything else.

Enjoy, or not…

Comments Upon Kant’s Critique of Pure Reason
Transcendental Logic and Transcendental Analytic through Book I, Analytic of Concepts

by Roderick A. Carder-Russell

The Transcendental Aesthetic begins to take on form and function when placed against the subsequent section, the Transcendental Logic. In the Aesthetic we set as our object of inquiry the method of sensible intuition, concerning ourselves with questions regarding how we can know objects, have experience and thus gain knowledge through sensible intuition. We ended the section with questions as to the possibility of any pure a priori synthetic judgements. Seeking an answer to this question leads us naturally into the self, and our method of understanding. Thus we are left facing the function of our own understanding, which is the subject matter of the Logic.

As with the Aesthetic, when we speak of knowledge, or in this case general logic, we make the distinction between pure and applied (empirical), the former being by necessity a priori, the exercise of the understanding as abstracted from all empirical conditions. This Kant calls, quite naturally, Pure Logic. Such a pure logic must be distinguished from a pure understanding, which we may take issue with and argue against, at least prior to our thorough examination of the pure logic. Pure logic is most appropriately defined as the canon of understanding, the rules of the understanding in general, not the understanding itself. Thus, its object of study is the mere form of thought, that which makes possible any understanding.

Having laid the groundwork and guidelines for what it is we shall inquire after, an understanding of the form of understanding, and how, not empirically, but purely a priori according to our prerequisite work in the Aesthetic, Kant then directs us towards what he titles the Transcendental Logic. If the General Pure Logic is the canon of the understanding, then the transcendental logic must be the representation of that very canon. Whereas the logic itself, even the pure logic, is closely associated with the objects of the aesthetic through appearances, the transcendental logic is very far removed from any empirical objects, as it’s objects are representations themselves, and representations of objects that themselves are given a priori at that. Kant tells us that intuitions are only representations, and so they are. We can never know an object in-itself, for all objects of the outer sense are first ordered by our projection of space, and then internally by time, and only then is the sensible object given over to our sensible intuition, whereupon it may be combined with concepts in the understanding, allowing us to see how even to this high level, the object is still merely a representation. Are concepts themselves, being given a priori, then entitled transcendental? Kant gives us an emphatic “No”. Only those concepts which relate a priori to objects that are not of empirical or aesthetic origin, that is, representations of our a priori conceptions, serving as objects of our intuition, may be titled transcendental. The concepts which treat of entirely internal objects belong to the science of Transcendental Logic.

Having thus isolated the understanding, and having declared transcendental knowledge as our goal, we must further distinguish between analytic and dialectic modes of inquiry. General logic itself is divided into such categories, but here it is transcendental logic that is our sole concern. It may however be appropriate to define the terms first in their use as applied to general logic.

Analytic logic is the resolution of “the whole formal procedure of the understanding and reason into its elements, and exhibits them as principles of all logical criticism of our knowledge”. Kant further states:

Its rules must be applied in the examination and appraising of the form of all knowledge before we proceed to determine whether their content contains positive truth in respect to their object.

Thus we are indeed performing an analysis of the forms of knowledge itself. When such principle knowledge is applied in obtaining “objective” assertions, it is serving as if it wer a tool, and organon, and thus we call it when treated in this manner dialectic.

Transcendental logic is also divided into such categories, analytic and dialectic, but here we will be pursuing a transcendental analytic rather than a dialectic, for it is the form of all knowledge, and specifically within transcendental logic the form of all pure a priori knowledge, without their content, that we are interested in obtaining. It again must be stressed that such knowledge is of the forms themselves, and thus occupies a higher metaphysical plane than simply the application of such forms and concepts. What we are striving after is a consciousness of that which makes thought possible, not the thought itself, and it is thus a self-consciousness, as will be shown by Kant.

Analytic of Concepts

What are concepts? We know from the Aesthetic that we have a certain sensibility that is receptive to objects and which gives its sensation over to intuition. Concepts are part of the understanding. The understanding is “non-sensible”, and thus clearly not a faculty of intuition. Concepts, being part of the understanding, are themselves non-sensible.

Kant tells us that we have only two modes of knowledge, being intuition and concepts. Knowledge that is yielded by understanding by means of concepts, being not intuited, is titled discursive.

Intuitions rest on affections, the act of being affected, by the matter of objects given over through the sensibility. Concepts rest on functions, the “unity of the act of bringing various representations under one common representation”, a placement of representations into their respective categories, of which we will speak later.

If intuitions are based upon impressions, or the receptivity of the sensibility, concepts are based upon spontaneity of mind.

The understanding makes judgements by manipulation of concepts, which themselves may be synthesized from other concepts, as well as empirical judgements based upon immediate representations of objects (insofar as we can really speak of a representation being immediate, for it is always mediated by at least space and time). We therefore see that judgements are mediate to objects.

There is a certain form of the understanding which all concepts fall within, and as we will see, the pure and a priori concepts immediately fall under this form. It is as follows.

I. Quantity of Judgements: Universal; Particular; Singular
II. Quality of Judgements: Affirmative; Negative; Infinite
III. Relation: Categorical; Hypothetical; Disjunctive
IV. Modality: Problematic; Assertoric; Apodeictic

Kant tells us that our a priori pure concepts of the understanding are synthesized from these very forms. These concepts are as follows:

I. Of Quantity: Unity; Plurality; Totality
II. Of Quality: Reality; Negation; Limitation
III. Of Relation: Of Inherence and Subsistence; Of Causality and Dependence; Of Community
IV. Of Modality: Possibility – Impossibility Existence – Non-existence Necessity – Contingency

One will note that the third concept in each category is discovered by a synthesis of the first two. Does this then mean that it is not an original and pure concept, but rather derivative of the first two? By no means does Kant want to say that. The third member comes from the act of understanding the first two, yet it was always present, simply not understood.

We are told that we can further subdivide these categories into two broader categories, the first being the category of mathematical categories, the second of dynamical. The two mathematical categories have no correlates, that is, they do not concern themselves with objects themselves, but only objects of intuition, either pure or empirical. The dynamical categories are concerned with the existence of objects, either in their relation to one another or to the understanding. Kant does not delineate which categories fall under mathematical and empirical, but it seems evident that the categories “Of Quantity” and “Of Quality” would be contained in the mathematical, and the remaining two would fall under dynamical.

In considering the dynamical category, we are immediately struck by the idea that such categories have as their concern the objects themselves. How is such concern possible? Isn’t every experience to some extent mediated? How then may we come to know an object in-itself. We quite simply can not. It is my understanding that the concepts of the dynamical category help to form concepts of an object in-itself, but this clearly is a far cry from the actual object. I believe, based upon what has been stated thus far, that this is as close as we can come to actually understanding an object in-itself. But again, it is still a representation of the object, and so we fall just short of the goal. Kant must be making this statement with the understanding that his readers will correctly realize that he does not mean strictly what he says, and is using the term only loosely.

Having laid bare the pure a priori concepts of the understanding, we must now attempt a transcendental deduction of these pure concepts, that is, attempt to explain the manner in which concepts can relate a priori to objects. This is to be distinguished from an empirical deduction, which treats of how concepts are acquired through experience.

We are in possession thus far of two types of concepts which relate a priori to objects, those of Space and Time, and those of the Categories of Understanding. The former belong to sensibility, and thus to the Aesthetic, the latter to understanding, and thus to the Logic. Any deduction of the latter, being pure and inner, must by necessity be transcendental.

Now, in speaking of how these pure concepts of understanding relate a priori to objects, it must be understood that these categories do not represent the conditions under which objects are given in intuition. The categories are not concerned with intuition, and the only conditions under which objects of outer experience are given are that of space and then ultimately time. Objects may be presented to us without being necessarily related to the functions of understanding. However, in order to think of or understand such appearances, such representations, we must relate them to the categories of understanding, and that relation must by definition exist prior to the object being understood, which would be prior to true experience, which gives us an a priori relation. It is not necessary for the object to be represented, but to be represented in any intelligible way it is. As a result of this, Kant tells us that a synthetic representation can meet its object in one of two ways:

1. The object alone must make the representation possible, or
2. The representation alone must make the object possible.

The former in merely empirical. The objects existence is not dependent upon its representation, but for anything intelligible to come of it, for the object to be understood, it is dependent upon the representation. Thus, an object does not contain any meaning in-itself. Kant here poses and answers in the affirmative, as shown above, “are a priori concepts antecedent conditions under which alone anything can be thought as object in general?”.

We have now demonstrated that all empirical knowledge has as its foundation a priori concepts, and the objective validity of the pure concepts of understanding is shown insofar as all experience is made possible through them.

What would an a priori concept that did not relate to experience be? It would only be the logical form of a concept, not the concept itself through which objects are thought, as it would be empty of content. A pure a priori concept can not contain anything empirical. But would that then make it a form rather than a concept? Here Kant is doing something very interesting. He is alleging that you need not have an experience to have a concept that is based upon experience, that is, upon a possible experience. In fact, you may possess a concept that allows you to imagine, in accordance with that concept, that which is not experiencable, but is nonetheless based upon experience, one which you need not have. It is obvious to anyone that all of our concepts must be based upon possible experience, for if they were not, they need not have arisen, we would never have developed them. A pure concept of understanding is one in which everything empirical has been abstracted out of it, and Kant is now making possible a sort of fusion between extreme idealism and extreme empiricism. All concepts come from experience, the empiricist view, but it is only from the nature of experience for Kant, thus making possible concepts from experience, without any experience, only the possibility of experience, thus placing him in a more idealistic position.

All knowledge (and thus experience) comes from a combination of spontaneity (a faculty of mind) with receptivity (of the sensibility), which serves as the ground of a three-fold synthesis of apprehension, reproduction and recognition.

The synthesis of apprehension is the holding together of the manifold of space and, ultimately, time. All of our sensibility is given to us by means of intuition, but is ordered by the pure a priori concepts of space and time. Ultimately, time is the responsible entity, as all sensation is ordered by inner sense. But what exactly happens in this inner sense? What does time do? Time provides us with a backdrop by which to recognize that appearances occur one after another. But this manifold of time must itself be processed, or synthesized, into a unity, a whole, otherwise we could not recognize the succession of representations in time as part of one and the same. This synthesis of the manifold we call the synthesis of apprehension.

Now, we must be able to reproduce this unified manifold of appearances, otherwise, we could have no experience, let alone reflect upon it. As with the un-synthesized manifold, we would simply lose all representations that we had gained. The manifold would be synthesized once, and then lost for all eternity. That is clearly not so, for we can and indeed must reproduce within us the unified manifold, and this is accomplished in the synthesis of reproduction in imagination, or by the transcendental faculty of imagination.

Finally, we must synthesize that repeatable representation into a concept, and this is done in the third stage mention above.

But what is doing all of this ordering? First we have the manifold of time being synthesized into a whole, then it is repeatable, and finally leads to experience and knowledge, but to what end? These faculties are not understanding in themselves, yet clearly, I understand this unity. What can this be attributed to? Kant therefore gives us the faculty of Transcendental Apperception.

It must be possible for the “I think” to accompany all of my representations, for it is the only way in which we can know a representation as “mine”.

We can have a representation prior to all thought simply by having an intuition, and yet, this “I think” accompanies even that. Thus, it must be ever present. The manifold of intuition must have a necessary and fundamental relation to the “I think”. Our entire investigation has been one of analysis, and analysis itself presupposes a prior synthesis. How would this synthesis be formed? By the transcendental self, known through transcendental apperception. “The principle of apperception is the highest principle in the whole sphere of human knowledge”.

The manifold of space is ordered and folded into time, which is synthesized into a unity and presented to intuition, which then is able to further synthesize this unified manifold into applicable concepts of the understanding and ultimately into a unified system of experience and knowledge. But what faculty is itself responsible for the overall unity? We have explored all of the faculties and functions themselves, but we still have not reached the level on which we have true knowledge and a grasp of that knowledge. What is the overall unifying principle for Kant? It is the transcendental apperception, the “I think”, that to which all of our knowledge and experience is presented.

What we will discover is that the transcendental apperception, though the unifying principle of all, that which gives birth to all of our thus far delineated faculties and functions, is itself but a piece of something much greater, the true self. However, given the nature of our faculties, both sensible and logical, in the face of such a self-referent representations, we can not perceive ourselves in our totality and only appear as an appearance to ourselves, not as a thing in-itself. We are faced with the same problem that we come up against in the case of objects “out there”. All that I can know in my transcendental apperception is that I am, not what I am, nor how I am. Have we thus run up against an impenetrable wall beyond which we can not proceed? Within Kant’s system, I believe we have. However, it remains to be discovered if we can possess knowledge that is fundamentally different in nature than that which is set forth by Kant.