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February 28, 2001

I've been struck by synchronicity. A number of old issues have come up for one reason or another, all of them connected in some way with quintessence. In modern parlance, quintessence is the refined or fundamental nature of a thing, the essential quality of its idealization. This definition draws from some murky medieval philosophy, in turn stolen from the Greeks.

Once the atomic theories of Leucippus and Democritus gained a broad acceptance, ancient Greek scholars engaged in a professional rivalry, not unlike that of modern physicists, to determine the nature of the most fundamental particles. The first guess was that water was the basic matter; it was so much more fluid than matter, it must be disorganized collections of discrete atoms, rather than the densely-packed solids we deal with most of the time. Then somebody pointed out that air was even more rarefied, and thus must be more basic. Then the argument escalated to fire, and some philosopher, more out of good politics than good reasoning, suggested a compromise that all four were different types of basic matter, and everything was composed of combinations of them.

Alchemists tried sorting out what was which, and made the natural associations: earth with any solid, water with any liquid, air with any gas, and fire with light and heat and lightning and energy generally. They also made some more dubious associations. For example, the sea is deep and dark and mysterious, so water must be tied with the soul and emotions and similar facets of humanity not readily subject to objective examination. Airy environments, like mountaintops, are cold and clear, provide excellent vision, and must therefore be intimately connected with clear thought and perception. There were four bodily humors, four seasons, four cardinal directions, four gospels, all arranged in elaborate and implausible equations to the four elements.

Medieval scholars thought these were pretty spiffy ideas, and took them on faith, as they did much of ancient philosophy. But the ones who had really done their homework (and were willing to flirt with ideas not sanctioned by the Catholic church) knew the Pythagoreans, who had a thing for fives anyway, had played the ultimate trump card. There was, they claimed, a fifth form of matter so rarefied that nobody could detect its existence. Whoa.

Now, that's not really playing fair. Anything a rival philosopher could point to was, by definition, baser matter. And, since nobody could produce a hunk of it, there was no fear of contradiction of any properties you might care to assign it. A little bit of this fifth element, or quint essence, in mangled Latin, was in everything, just too little and too thinly spread to find. But if you could distill this primal matter in an appreciable quantity, you'd have God's modeling clay. Since quintessence is basic matter, it can be anything if arranged properly; all you have to do is impose your will upon it. Ultimately, quintessence became associated with the heavens and their supposed perfection, with mysteries, and with cosmic oneness. There is no fortune, just the synchronicity, the rarefied ether affecting the universe in regular ways.

So when I want to perform a brief experiment in random spatial grouping and pull out a special five-suit deck to help me place random darts, then read about quintessence as a game mechanic for influencing probability, then find old notes on designing a fortune-telling system with five elements, well, that's just quintessence at work. Or so ancient scholars and new-age groupies would have you believe.

February 27, 2001

As part of an exercise from a book on improving your writing, I had to draw up three lists: things I am grateful for, things I wish for, and things I fear. Well, I did the lists, admittedly with the skepticism I reserve for touchy-feely exercises, and thought they might make interesting reading for Never on Sunday. Then I decided some of those items were too personal to share with everyone who has a modem, but I wasn't ready to give up the basic idea. Here, then, are a few lists of little things, things that don't warrant a prime-time news article or an hour on the analyst's couch or deep attachment.

    Five Small Things That Make Me Grin
  • changing of the seasons
  • buying a candy bar
  • Man of Steel, Woman of Kleenex (essay)
  • hitting a golf ball on the moon
  • ethnically mixed names, like Guiseppe Rothberger, or Olga Velasquez
    Five Small Things That Piss Me Off
  • dog doo-doo on the sidewalk
  • the way garlic makes my fingertips smell for two days after mincing it
  • bad science fiction
  • people who don't take care of borrowed books
  • the substitution of ?anxious? for ?eager?
    Five Small Things Everybody But Me Finds Appealing
  • music videos
  • pine nuts
  • musicals
  • Friends (TV)
  • luxury cruises
    Five Small Things I Haven't Done In A Long Time
  • draw
  • spent Saturday morning watching cartoons
  • dreamt about college
  • eaten a large, luxurious breakfast
  • listened to Doors music
    Five Favorites
  • Cherry Garcia
  • Adeste Fidelis
  • October
  • Daffy Duck
  • Mollweide projection

February 24, 2001

I just finished a half-hour hike around the neighborhood, my exercise for the day, and it was a good one, thanks to the fog. The whole town is choked in the metaphorical pea soup resulting from a warm, heavy rain following a snow. As long as you don't have to drive in it, fog is terrific. It always gets me feeling moody and introspective, but paradoxically energetic. It's a time to think up murders and conspiracies and apocalypses, to picture driving to final confrontations with archrivals, to pass bribes to Soviet border guards. And I got to thinking how conditioned we are by the movies.

Sure, people respond in gross ways to the weather: happy if sunny, depressed if drizzly, alert in a heavy storm. Getting such specific associations as Checkpoint Charlie, though, takes some training. When specific responses are widespread, you can suspect mass media are at work. And when the associations don't make immediate sense, you know you're being conditioned.

Take, for example, cigarettes. The tobacco industry owes much of its dramatic success to how spectacular cigarette smoke can look with backlighting, especially in the pre-Technicolor days. Roger Ebert quips in a review of 200 Cigarettes, ?There were guns in Out of the Past, but the real hostility came when Robert Mitchum and Kirk Douglas smoked at each other.? Because smoking looked cool in the movies, it became cool in real life. People would carefully practice techniques of collecting, exhaling, re-inhaling, and releasing thick, dramatic curls of smoke. Without the visual impact of choreographed smoking, is there any chance teens would be eager, as Bob Newhart puts it, to stick burning leaves in their mouths?

Take organ music. I love Bach, and listen to his organ pieces for themselves, but for my father, it ?just sounds like church music.? (This is no coincidence; our church organist loved Bach, too.) After its dramatic debut as the invisible co-star of Phantom of the Opera, organ music, even relatively light pieces, mean nothing but angst for player and audience. Granted, organs are not delicate instruments, and do not play delicate music, but without Phantom and its imitators, the attachment of dry, intellectual fugues to the passions of the romantic era would be a real stretch.

Take middle-aged bureaucrats. What could be more innocuous than a little, graying man in business jacket and tie? Well, presuming you haven't seen The Spy Who Came In from the Cold. Or The Man Who Knew Too Much? Or, saints preserve you, The X-Files?

Think of a few of your own. Ever feel a chill upon hearing a helicopter? Was it Apocalypse Now, or M*A*S*H?

February 22, 2001

I saw a poster up today for a local performance by Rockapella, one of the better-known a capella groups in the country. Boy, did that take me back. Long ago, I sang baritone for the MIT Logarhythms, and I'd like to grab you by the collar for a moment of praise for baritones.

See, in male a capella, there are typically four harmonic lines, or voices. The leads (second tenors) have it easy; they sing the melody (or lead line, hence the name). The (first) tenors also have it easy; they sing the natural harmony, typically drifting along in parallel thirds to the melody. If you're prone to singing harmony along with the easy listening station, chances are you're duplicating the tenor line. Both of their lines tend to look something like this:

      o            o
   o     o     o      o
o           o             o

The (second) basses bounce along on the bass line; their notes are the base note of whatever chord is sung at the moment. Their lines tend to look like this in print:

o     o     o     o


   o     o     o     o

(pronounced ?Bum, bum. Bum, bum. Bum, bum. Bum, bum.?)

And then there's the baritones (or baris, singular bari). We generally don't get a harmonic line; we get whatever note is left over to fill out the chord. Often this is the fifth, often the seventh. When the composer decides to add some jazzy dissonance, we get the dissonant notes. If there are dreadful intervals to hop across, we get the intervals. Our scores look like someone fired birdshot at the page.

I'm not complaining about the difficulty of the baritone line. I came to see it as a challenge, one we could readily meet. It was fun watching the other parts whine when they had an irregular line to sing. Wussies. No, a challenging line was easy to take. The hard thing to swallow was the anonymity.

Since the baritone line is defined negatively ? whatever is left over ? it isn't much to listen to, just a tuneless wandering within the song's key. That means it shouldn't stand out enough for the audience to hear it, just to sense vaguely that something is there. Our job is to blend into the scenery, fill out the chord without making any waves. And, to a large degree, we work to make the rest of the group sound like they're blending better with one another than they actually are. We're the petty bureaucrats of the song world, doing thankless but necessary work, making everybody else look good.

Baritones don't get to showboat. Baritones don't get solos, which are persistently written just a wee bit too high for us. Baritones don't get mobbed by chicks after the concert. (Well, I went to MIT. Chicks didn't rush any of us after the concert. But we could envy parts in other groups.)

So just pause the next time you listen to your favorite recording and thank the baritones, or the violas, or whoever it is filling out the rest of the chord. We may not hear you, but it's nice to know we're appreciated.

February 20, 2001

I got a general check-up today, the first time in a doctor's office in ten or eleven years. The test results are a ways off, yet, but I'm expecting a high cholesterol count, since Eileene and I eat together, and her count is high.

While sitting far too long in the waiting room, the thought of cholesterol got me ruminating about a relatively new medical procedure for treating blocked arteries. No longer do they resort to crude bypasses, which were impressive enough in itself. Now they slip an optic fiber camera down the blood vessel to pinpoint the problem, then send down a second tube with a tiny rotating attachment to clean the plaque off the arterial wall. And away go troubles down the drain.

Learning of this procedure didn't surprise or amaze me, nor, I expect, did it surprise or amaze you. But the fact that it didn't surprise me is amazing.

Now think about this. Fifty years ago, the operation would have been unthinkable, in part because miniaturization hadn't yet appeared. A couple hundred years ago, nobody had the slightest notion what cholesterol is, nor what it can do to your body. Five hundred years ago, the world's greatest scholars were only dimly aware of what even goes on in your veins. And yet today, not only do we have the tools and experts to do the job, but the man on the street can immediately grasp how the procedure works, and why it is necessary. If he's had occasion to think about the matter, the basic principle of the operation may have occurred to him independently.

Virtually the entire body of higher education in classical Greece is contained in a solid high school education, minus a bit of law, plus a bit of science. The ancient Romans divided higher learning into seven subjects, the ?trivium? (grammar, logic, and rhetoric), and the ?quadrivium? (arithmetic, music, geometry, and astronomy) ? roughly equivalent to our undergraduate and graduate degrees. So commonplace has this learning become that ?trivium? has become the root for ?trivia,? insignificant knowledge.

February 15, 2001

Here I am on my fifth journal entry, and you don't even know why I'm here. Is it too late for a statement of purpose? Not yet, I don't think, since I only have nearly, uh, nearly one reader. Eileene almost counts, though she's the staff putting it up on the web, and I haven't given the address to my mother yet.

More to the point, is it too early for a statement of purpose? Quite possibly, since I'm still feeling my way around what these pages should be, what they should accomplish, and how much I'm willing to put into them apart from more regular, possibly saleable writing.

That first article about Zanzibar was a killer, as far as time is concerned. I approached it much like any other essay, except to try to turn it out in one day, rather than part of my daily juggle of two or three continuing projects: write one day, redraft a second, and make a close-examined redraft a third day. I spent about four hours on Zanzibar alone, and I can't keep that up. If I did, the journal would become my writing. Eileene was horrified to learn how much time I spent on Zanzibar, too. ?You're just supposed to spend an hour or so on it.? I write slowly at best; I don't know how other journallers manage. In the immediate future, things are even worse, since I'm following a regimen from The Artist's Way, with several assignments every week (say one a day), plus morning pages, which takes an hour or more. See, first thing in the morning, while you're still groggy and the editor inside you isn't up to speed, you fill three notebook pages with longhand writing. The author says it shouldn't take more than twenty or thirty minutes, but, trust me, she is lying. Unless you write in huge letters with a purple crayon, even stream of consciousness takes time, especially if your handwriting is as tiny and crabbed as mine.

Am I off topic? Uh, quick look back?yes, I am. This whole entry is getting slapped down at 5:30, with an hour left before I need to start getting dinner ready, so it won't even get a proper proofreading. Had to do a review of La Citta, plus two regimen assignments, and I'm getting to this late. If you haven't stopped reading already, might as well do so now. This page is really for my benefit, alone.

Ahem.

Statement of Purpose: This web page is regular exercise for any interesting thoughts I have in a day which do not suggest themselves for workable articles. Every day, I will put down something which has crossed my mind and seems a worthy idea or analysis. They may be unrefined, but nonetheless as intelligent and penetrating as I can make them.

February 14, 2001

Happy Valentine's Day!

Yesterday, I ruminated on wonderful things America has brought to the world, not accomplishments like the moon landing or combating nazism, though those are badges of pride too, but culture, things like democracy and music which other nations can participate in. It does a flag-waver good to stop and look at less admirable qualities of his country, too, so today I offer three institutions we hadn't exported.

Consumerism. We've always liked having stuff, and a combination of economic institutions and natural resources have given the Americans a big pile of it. When the national economy skyrocketed in the post-war era, our material bent struck with a vengeance. And, since it coincided with a massive exportation of American culture generally, way too many countries looked across the sea and thought, ?Hey, look at all the stuff they got! We oughta get a big pile of stuff, too.? Japan is the most obvious example, but states everywhere are concentrating more and more on wealth as the ultimate end ? including nervous authoritarians. Communism fell less to the ideals of democracy than to a desire for blue jeans (and computers, and strawberries out of season, and?).

There's nothing wrong with wanting to live comfortably, but often we take it too far. Wealth carries some hefty price tags: environmental damage, a weakening of important non-material values, and spiraling expectations. That last one is a killer; as a society gets richer, it grows to expect to continue getting richer, and tends to expect their increase to accelerate. If conditions don't lend themselves to accelerating wealth, resources succumb increasingly to the rapacity of short-term interests.

The lowest common denominator. I'm not sure if we've really exported this to the world; it seems inherent in the development of mass media, and if we hadn't spearheaded the entertainment industry, someone else would have, quite possibly with the same results. (Or worse. Ever watch Goebbels's propaganda? Creepy.) Still, we were there, and Hollywood is synonymous with mass media, and Hollywood set the pattern for fluff in entertainment, and each year seems to exceed itself in slickness at the expense of substance.

Adoration of youth. Our progressive attitude can be pretty spiffy; it powered our preeminent scientific and technological development. Sadly, it seems part of the same coin that Americans continually look to the new and the future, the young, and dismiss the past, the traditional, and the old. Happened fifty years ago? May as well never happened at all. I can't add anything to repeated accusations of marginalizing the elderly; I can only repeat them, though I am guilty myself.

Youthful looks and vigor are fine, nothing wrong with them. But it saddens even me, generally oblivious to Hollywood, to learn favorite actresses are compelled to lie about their ages to compete for roles. Saddening, too, that advertisements for products aimed at the senior bracket use actors that look like 45s with their hair frosted.

February 13, 2001

I'm in a patriotic mood today. Last night, after listening to a spiffy blues CD, I got to thinking what a laudable contribution the blues are to world culture, and how uniquely American the style is. There are several things uniquely American that we can be proud of, not just achievements like the moon walk and defeating the Nazis, but elements absorbed by world culture, including:

Populist democracy. Well, duh. Like the Soviet Union and the French Republic, the founding fathers put an entire nation on the line for the sake of a noble experiment in social engineering. Unlike the communists and the stormers of the Bastille, the founding fathers were wildly successful, and widely exported the idea that the state serves the people. Yes, we owe some of our traditions to British and Dutch parliament, and we owe some ideas to European philosophers who had kicked theories about, but it was the American colonists who took the risks, implemented the strategies, and actually made a workable whole, along with a raft of related institutions like a free press, public education, and the belief that international relations should depend on justice rather than might.

We haven't always lived up to our ideals (consider the long delay of universal suffrage). Nor does everyone aspire to populist democracy ? religious fundamentalists and hard-eyed bureaucrats of various ?people's republics? come to mind ? but the fact that such regimes fight continually to keep their citizens ignorant of western culture says a lot.

20th Century music. I've heard cogent arguments that jazz is the ?best? form of music the world has produced, if ?best? can have a meaning in this context (richest variations, most extensive influence on contemporary musical movements, richest history of innovation). That doesn't mean you, personally, should like it the most ? I prefer baroque, myself ? but rather that it has meant more to more people and promises more in the future than any other musical style. And jazz is really just one segment of a continuing synthesis of European melody with African rhythm, expressed in gospel, blues, rock 'n' roll, all of which have earned praise in the world forum. It's no accident that this rich tradition came from America; a lively slave trade provided us with the necessary demographic, the silver lining to a reprehensible practice. The only other places I can think of with so consistent a record of infectious music are the Caribbean and Brazil, both of which did a brisk trade in African slaves, too.

Progressive attitude. Nobody, but nobody, is so deeply convinced as an American is that the future is onward and upward. And, with some hiccups here and there, the belief is proving itself correct, now that we've learned to wed it to rational materialism, scientific method, a free market, and freedom in communication channels. Give every idea a full opportunity to prove itself, pass every idea through the forge of examination and debate, and eventually, we will separate the gold from the dross. Our vast improvements in standards of living in the 19th and 20th centuries grow directly out of this attitude. Victorian England is the celebrated home of the industrial revolution, but the US took the idea and ran with it, and kept running, to the alarm of British industrialists who soon saw themselves overtaken. (The current trend towards hoarding the results of R&D projects casts some worrisome shadows on future development.)

It's encouraging, too, that the rewards of progressive institutions seem to be independent of size, wealth, or any similar inequities between nations. The Japanese economic miracle was a product of an American businessman (who, ironically, was ignored in the US until the industries which ignored him started crumpling under Japanese pressure).

Tomorrow, in the interest of fairness, I'll describe three facets of American culture I'm not so proud to have exported to the world.

February 12, 2001

Zanzibar, Zanzibar,
Zanzibar is very far.
You can't get there in a car;
It's too far to Zanzibar.

Writing, the witticism would have it, is easy: simply stare at the page until drops of blood appear on your forehead. That's a lovely thought; it reminds us what a grand and noble thing writing - even writer's block - can be. This is a terrible labor. Why, my very life's blood is being spent for my art, but I spend it proudly, knowing mighty things are trying to force their way out of me.

That's harder to believe when all that's really coming out of me is whimsical doggerel about Zanzibar, a tiny island off of Tanzania. And it's not even my own doggerel; I'm merely repeating the highlight of a radio program I listened to the day before yesterday.

Were the song my own, I could enjoy some pride in it; the tune is catchy, and silly little ditties hold a small but respectable place in art. Ogden Nash and A. A. Milne built careers out of them. Sadly, it is not mine, but belongs to Bill Harley instead, related in a story about his failure to do a sixth-grade geography report. Procrastination and petty obstacles get in his way, and every time he thinks about the assignment, instead of a paragraph, his brain bubbles up something like

In Zanzibar, they grow cloves.
What're they for? I don't know.
Maybe they put 'em between their toes.
In Zanzibar they grow cloves.

It's a cute story, and did I mention the tune is catchy? NPR often replays portions of their broadcast, and I hoped to tape it on the second time around for a friend, but it never came around again, so I had to memorize it as best I could. Fortunately, I have an excellent memory for the spoken word and was able to retain most of it.

No, scratch that. Catastrophically, I have an excellent memory for the spoken word and was able to retain most of it. Because now, as I stare at the screen waiting for the drops of blood to surface, all I'm getting is

In Zanzibar, they grow tea
Far away across the sea,
Off the coast of Afrikee.
In Zanzibar, they grow tea.

There is a maddening irony here. After all, Mr. Harley's story is about the inability to get to work, sabotaged by procrastination and the song in his head. Indeed, he wraps up the story with an explicit moral that he has taken from the experience: that the hardest part of any activity, even one you really want to do, is to get started when there's nobody breathing down your neck to make you start. Surely that's true for me. Once I've gotten past the first few paragraphs, an essay picks up momentum, and I can press on to the end, but teasing out those first threads of thought, and making them appealing enough to myself to want to pursue them is a chore. Those first twenty minutes are the ones where I get another cookie, or check the weather, or sing

In Zanzibar, they grow ground nuts.
The people who grow 'em live in huts.

When I pause to look over my first few sentences and see whether I like the direction they're headed, I generally don't. Most days, that's the signal to grind them through over and over until I do like the direction. On poor days, I admit defeat after a few tries and cast about for a new subject. That leads to free association, and that to woolgathering, and that to

Men and women smoke cigars.
There's no tar in Zanzibar.

Enough. This essay was supposed to discuss the complexities of geography and urban growth, and how genre writers, the ones who provide maps of their fantastic worlds, often disappoint by turning out something painfully simple, like entire planets with one biome, or natural resources that inexplicably appear in one spot on earth.

In Zanzibar, they got sugar cane.
To grow it, they need lots of rain.

Okay, okay. There's good workable material in intelligent fictional geography, enough for novels, I suppose, though I'd rather aim for a series of brief speculations akin to Larry Niven's Theory and Practice of Teleportation. What if Europe shared the extensive plains of Asia (Rise and Fall of the Great Powers)? What if traveling north-south were ten times as difficult as traveling east-west (Guns, Germs, and Steel; Dragon's Egg)? What if nothing grew inland (Bordered in Black)? What if roads were prohibitively expensive?

In Zanzibar, they got no tar
To put on the roads to drive their cars.

Stop it. Just stop it. Eileene will be home soon, eager to slap this up on the web for friends to see, and I'm still on the first draft. First drafts stink, and if I don't want this to embarrass me, I need time to redraft, to comb over the phrases, pick out excess words, refine the rhythm of

Zanzabar, Zanzabar,
Zanzibar is very fa.r.
You can't get there in a car?

No! Bad Mike! No biscuit! There's a deadline to meet, here. Just stop singing and do something else. Something like?oh, hey, I still need to look up the singer's proper name to replace those temporary rows of asterisks. That's good; take a break, tear my eyes off the screen, hunt for

Zanzibar, Zanzibar?