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Entry 1389 — “Cerebrogovernance”

Tuesday, March 4th, 2014

Yeah, another coinage, this one finishing off my full definition of the “G-factor” (or, in my psychology, general cerebreffectiveness component–or full-scale intelligence as opposed to what most credentialed psychologists consider it) as a combination of four cerebral mechanisms: charactration, accommodance, accelerance and–now–cerebrogovernance.  Mechanism in charge of basal cerebral energy level; mechanism in charge of reducing cerebral energy level; mechanism in charge of increasing cerebral energy; and supervisory mechanism in charge of directing cerebral energy (which is effectually the same as directing attention) to and from various awarenesses (or areas of the cerebrum such as the auditory or verbal awarenesses–e.g., the cerebrogovernance might turn off all the awarenesses of a person silently reading except his verbal awaresness and verbal/visual and verbal auditory association areas, then switch him out of all three to his auditory awareness if someone suddenly screams his name).

I think of cerebrogovernance as “little g” and all four cerebreffective mechanisms “big G.”  All the major awarenesses are “big S’s” (for big specific “intelligences”), and their many sub-awarenesses (e.g., the reducticeptual awareness’s matheceptual and linguaceptual sub-awarenesses) are “little s’s.”

I’m gearing up for a Major little essay on my theory of cerebreffective- ness.  But, first I have to finish the first blog entry to the continuation of my Scientific American blog.  I’ve almost finished it, honest, but I keep finding spots to repair, delete or expand, and seem to be avoid what I believe is the thing’s final section (where I went off on a tangent about tragedy, then realized what I had to say about it was too confuse to try to add to my entry).

Meanwhile, I had my cystoscopy.  It went very well, but my problem turned out to be due to a bladder stone the doctor couldn’t removed for some reason so I’ll have to go back next Monday for, I guess, a similar procedure to remove it.  Will find out more Thursday.  Meanwhile, I’ll have to endure another week of sometimes painful difficulty urinating.  Right now I’m in a good mood, though–even though I’m not on hydrocodone.

Speaking of that, I just read in the paper that I’m a hydrocodone-abuser because I sometimes take “just to feel better”–instead, apparently, for a headache back-ache or the like that other pain remedies don’t do much for, which is what my hydrocodone was prescribed for.  It’s so stupid.  A person semi-incapacitated because of a headache should be given a pill but a person unable to do anything that will give his life meaning because he’s in the kind of null zone I get into at times should not be given a pill–unless, I gather, worse off than I am.

My doctor can no longer prescribe the dosage of Hydrocodone he used to, so my latest prescription from him is for half the dosage.  A little silly, since it only means I have to take two pills instead of one to get the effect one was giving me.  I’m going to see how the half-dosage works, though.  I suspect I don’t really need any dosage; I think I only need the caffeine pills.  But who knows, I may end up seeing a shrink to get genuine anti-depressive pills, legitimately.

Of course, the thing that most disgusts me is that I’m not allowed to buy the pills from anyone who wants to sell them to me without a prescription, and take them as I see fit, on the grounds that I should make all final decisions about my body.  Which, of course, could include my decision to put one of my doctors in charge of my thyroid gland, for instance, as I’ve done.

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Entry 1176 — Natural and Learned Concepts

Thursday, August 8th, 2013

A few days ago while discussing conceptual poetry, which seems to be attracting a lot of attention amongst poetry people, I got mired in confusion: I realized I didn’t know what I was taking about.  This morning  (no, yesterday morning since I’m writing this a day in advance) I suddenly felt I did, so wrote the following to New-Poetry:

I think I’ve solved my question about what Grumman was trying to put into words.  It is that there are two kinds of concepts, those we perceive “naturally” the way we perceive the color red, and those we learn, which are more complex and ordinarily the only mental objects considered to be concepts (so far as I know).  I realized this while thinking about numbers.  The number one is a natural concept, I claim, because–I claim–one perceives a thing’s “oneness”  the same way one perceives a thing’s redness.  Thinking about it further, I decided that what we experience (due to a simple innate brain counting mechanism) is “absence of duplication.”  The mechanism consists of a storage chamber holding everything a person has seen (I’m considering the visual only for simplicity’s sake) over the past minute or so; and matching chamber with a slot for the object being tested for “oneness” and a slot into which each of the things in the storage chamber are inserted.  The matching chamber has a second compartment where one image overlaps the other and differences and samenesses are counted and a percentage arrived at that indicates match or non-match.

If nothing matches, the object being tested gets a one.  One match gives it a two.  Beyond that, who knows, but I’m sure four or five matches give the object a many.  Words labeling each of these, like “one,” “alone,” “unique,” “twin,” etc.  Larger numbers are learned.  Five dots gets a many from the counting mechanism–but eventually is learned as a hand of fingers or the like, which is reduced to the word, “five.”

I believe more complex mathematical mechanisms may have evolved, but haven’t thought any out.  I can’t believe I’m saying anything very wrong or new.  But I work from introversion almost entirely–being too lazy for research and related work.

So, to get to POETRY, I suppose it doesn’t matter whether a conceptual poem’s concept/s is/are natural or learned.  But I think all concepts are natural at the core.

Boy, I wish I were 25–and able to focus on ONE area of investigation the way Darwin did!  This would be a good such area to spend a life on.

Note: in knowlecular psychology, natural concepts are termed “urceptual concepts.”
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Entry 711 — A Visit With Paul Crowley

Tuesday, April 10th, 2012

For anyone coming here who doesn’t realize I’m a lunatic, I thought I’d give you a look at my latest post to HLAS.  In it I argue about what intelligence is with Paul Crowley.  No, what I’m now trying to do is get him to agree that such a thing exists.  I believe you will find him unbelievably out of it.  I often believe him to be a computer program designed to see how rational people interact with the completely irrational.  Or perhaps just for the fun of seeing me make a fool of myself trying to refute someone too dense to be refuted.  In any case, I believe my participation in discussions with Paul Crowley (which have been going on for around fifteen years) are near-proof that I am a lunatic.  But there is method in my madness, heheheheheh.  I am the foremost explorer of irrationality in the world, you see!  I’m not out to defeat this boob, but to spark manifestations of every conceivable insanity out of him so that I may list them as a lepidopterist collects butterflies for display!

On Apr 9, 11:48 am, Paul Crowley wrote:

> n 07/04/2012 00:09, Bob Grumman wrote:

> > And if you really think no one discusses intelligence,
> > and who is intelligent, who not, and what precisely it
> > is, and so forth, you’re–why, you’re Paul Crowley.

> The world is much more than the acquaintances
> of Bob Grumman. No one, outside of those born
> in the 20th century in a modern western scientistic
> culture discusses ‘intelligence’ in a manner that
> is remotely similar. To all other societies and
> cultures, the concept is either quite alien or
> utterly strange.

> >>> Is there a necessity to postulate an entity that allows
> >>> us to see–which I would call “sight?”
> >> Certainly not. People and other creatures see.
> >> That is enough.

> > Where did the word, “sight,” come from? (Truly,
> > you’re at your finest here, Paul–I’m sure I’ve never
> > tried to answer such incredibly stupid opinions
> > before.)

> It is convenient, in the English language (and
> in some other languages), to sometimes use
> abstract nouns. I’d advise you not to let that
> fact fool you into believing that such things
> have a real existence — but you are already
> hopelessly lost in a world of fantasy.

> > Ophthamologists should not be concerned with
> > some entity that allows people to see?

> There is no such entity.

What are the eyes?

> >> There is nothing to define. There is nothing
> >> that can be defined. It’s classic case of the
> >> Emperor’s new clothes.

> > Right. There is no such thing as intelligence
> > because there is no such thing as intelligence.

> Sorry, but pointing at the nakedness of the
> Emperor is enough to demonstrate that he
> has no clothes. It’s up to those claiming that
> he really has clothes to demonstrate that fact.
> For example, they could put him on a
> weighing scales and show that he weighed
> more with them on than with some off.
> You can’t off course. The clothing (i.e. here
> ‘intelligence’) exists because you want it to
> exist, so it must exist. You can’t imagine a
> world without it, but you have no conception
> as to how you’d prove or disprove its
> existence.

[note: amazing how much cranks love the dead metaphor of the emperor’s new clothes.]

> >>> And now I’m to what I thought I’d write about just
> >>> now: how we should tackle what I want to tackle,
> >>> which is to determine if each of us possesses a
> >>> mechanism I would call “intelligence” that allows
> >>> us effectively to interact with the environment–
> >>> biologically, I mean: i.e., in such a way as to
> >>> keep us alive and comfortable.

> >> No one in the real world asks such a question.
> >> It’s entirely fake.

[note: one of the most comic of Paul’s traits is his inability to avoid using “no one” and “entirely” and the like every chance he gets. If really pushed on the practice, he will call me too literal-minded to accept that he “really” means “the probability against anyone’s acting in such a way is astronomical,” of the like. But it’s clear he truly means what he says. As a rigidnik, he can’t accept not being 100% on the right side of any significant question.]

> > Yet I have reference books that define the term, and
> > books about it.

> If you had any historical perspective you would
> know that throughout history nearly all libraries
> consisted of books that were nearly all
> worthless junk. Those of the 20th century
> must be by far the worst in this respect, with
> Pssyycholistic and other pseudo-scientific
> ‘works’ being manifestly mindless junk from
> the moment they were published.

“Nearly all worthless junk.” Absolutely incredibly obtuse statement. Since I have something called intelligence, I know that to the contrary no book ever created was worthless junk. Many books about intelligence seem to me not to have very effectively advanced the search for truth regarding it, but the possibility that any of them was discussing something non-existent is ludicrous. But I’ll keep playing this insane game you have me in, the goal of which is to nail you in a contradiction no sane person can deny–although you will.

Here’s a starting question:  What did Shake-speare have that I do not have that was responsible for his creation of plays vastly superior to the ones I’ve written?

> >> You are talking about a nothing.

> > I am speaking of a physical mechanism humans
> > have that allow for problem solving.

> Nope. You are missing every point that can
> be missed. As an analogy, let’s say you
> are explaining to some young person how
> important the New York Times was in the
> 20th century, and what it was like. But, at best
> — and you are even a long way from that — you
> would be saying what kind of ink was used for
> its printing, and where they got the paper.

> >> There is no entity which “allows us to solve
> >> problems”. We either solve them or we don’t.
> >> We either walk or we don’t.

> > Ah, so my legs have nothing to do with my ability to
> > walk?

> How do you come to this conclusion?
> You need a lot of things to be able to walk,
> and working legs are one of them. Being
> able to balance is another. Having a fair
> amount of practice around the ages of one
> or two is another. Having nerve connections
> in the lower spine is another. And so on
> and on

So anything that’s complicated does not exist? What happens to allow a car to move is complicated: does it therefore not have the ability to move?

> Possessing an entity called ‘walking ability’
> does not figure in mind (or the books) of any
> physiotherapist or doctor or other specialist
> in the field. It would only be imagined by some
> specialist in Pssyychologostical bull-shit.

Wouldn’t a physiotherapist investigate certain physical mechanisms and not others? Would he give a person having trouble walking a color discrimination test?

> >> We either eat or
> >> we don’t. You can talk about whole ranges
> >> of pre-conditions that “allow us” to eat, or
> >> walk, or solve problems; for example, being
> >> fit and healthy helps. But none of these pre-
> >> conditions have some over-riding power.
> >> [..]

> > All you’re saying is that intelligence is a mechanism
> > has many constituents.

> NO, I am not. I am saying it is far less useful
> an idea than ‘walking ability’ would be to a
> paediatrician or a doctor in a hospital for foot
> or leg amputees.

I had a bad hip, Paul. It was operated on last June. After the operation I could walk, but not well. All the doctors and nurses and therapists I was involved in were concerned with my ABILITY TO WALK, not with whether it was there or not there as  a lunatic like you apparently would, but whether or not I had an EFFECTIVE ABILITY TO WALK. Certain muscles needed exercise for me to fully to recover THE ABILITY TO WALK. I soon had that ability again, but not a reasonably good ABILITY TO RUN, which they next worked on, and that is nearly back, as well.

> >> There is NO ability. Giving a name to a nothing
> >> and then defining it is (I fully agree) the raison

> >> d’etre of Pssyychologism.

> > Can a normal person solve some problems? If so,
> > what does he possess that allows him to do that?
> > Nothing?

> Take a relatively simple concept like ‘walking’

I can walk because I have legs and a brain that directs those legs.

> or ‘left-handedness’, and ask the same kind
> of question. You will (hopefully) then see that
> such a question is absurd or close to absurd,
> and that it has no reasonable answer.  THEN
> you might realise that to imagine you have a
> meaningful question as regards ‘intelligence’
> is only to fool yourself.

As far as I can make out, you are claiming that there is no such thing as an ability. Or that abilities exist but nothing physical causes them to be manifested.

> >> Not the supernatural. We are what we see we
> >> are. There is no point in trying to pretend that
> >> we are explicable in terms of electrical signals
> >> or whatever. You could say that today’s New
> >> York Times is just a combination of paper and
> >> ink. But to reduce it to ‘paper and ink’ misses
> >> its entire nature, and to respond in the wrong
> >> dimension. You are (somehow) thinking you can
> >> do something similar with human beings and
> >> their brains — reduce them all to bio-electrical
> >> bits and signals. You are simply missing the
> >> point.

Block the bio-electrical bits and signals to the cerebrum and the person involved will have no ability to solve problems. Doesn’t that tell you something, Paul?

> > If it is not bio-electrical bits and signals, and not
> > supernatural, what is it?

> It’s the hopeless inapplicability of your
> reductionist approach to anything human.

Seriously, Paul, have you had a relapse? You seem at least one order
of magnitude more insane than ever before.

–Bob

Few people visit HLAS nowadays, for Paul and I dominate it and there are few who are willing to wade through our exchanges.  I think they are very funny, some of my inept attempts against Paul being close to as funny as his almost-always bizarre irrationalities.  The very few who have commented on Paul or I lump us together.  No one yet has ventured to take sides in this particular thread (or the two or three other threads the discussion has also been going on in).  So I would appreciate it if someone would be good enough to reassure me that it is not absurd to believe that human beings possess a mechanism it makes sense to call intelligence that, among other things, allows them to solve problems (or try to).  I’m curious, too, if anyone finds Paul as hilarious as I do.  Sometimes I think there may be less that a thousand people in the whole world who love the ravings of nuts as much as I.  And, as I’ve said more than once, I empathize with nuts, knowing full well that I may be one myself.  Although I am convinced I am leagues less a nut than Paul Crowley is.  (I’ve tried to find out who he is in the real world and gotten nowhere, by the way; he refuses to disclose anything at all about himself–amusingly, I find it hard not to disclose everything about myself.)

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Entry 232 — New Knowlecular Terminology!!!

Saturday, September 25th, 2010

After so many near-worthless entries, at last a really really exciting one!  A very lame school marm type at HLAS, one of my Shakespeare Authorship “Question” sites, got me thinking about rigidniplexes.  They are fixational systems rigidniks form that are the basis of the authorship theories of the most dedicated and rigidly doctrinaire anti-Stratfordians.  One of their main functions is defending the rigidnik against non-conformity.   I had always thought of them as necessarily irrational.

But it seemed to me  the school marm, Mark Houlsby (which may be a pseudonym), has one,   because of  the way he constantly gets after people for rude remarks, going off-topic, and disregard of what he thinks is grammatical correctness, as well as any view he disagrees with, which are mostly non-conformist views.   Yet Houlsby is not an anti-Stratfordian nor does he  seem any more irrational than every normal person is, just set in his narrow ways.  So, I decided there are two basic kinds of rigidniplexes, “hyperrigidniplexes” and “hyporigidniplexes,” the first being highly irrational, the second not particularly irrational.

Actually, I’ve always believed in more than one kind of rigidniplex, but I hadn’t come up with names for them I liked, and my definitions of them were vague.    Now I think I’ll call the most rigidnikal of rigidniplexes, the ones suffered by genuine psychotics, “ultrarigidniplexes.”  Such rigidniplexes are either not “sensibly” irrational, the way hyperrigidniplexes are, or are based on unreality rather than the irrational, although they are no doubt irrational as well.  For instance, an ultrarigidnik may believe unreal aliens from another dimension are after him whereas a mere hyperrigidnik will only believe, say, that no one whose parents are illiterate can become a great writer, which is idiotic but but is merely a misinterpretation of reality, wholly irrational, but not drawing on pure fantasy.

There are probably two levels of hyporigidniks–no, make that three.  Managerial hyporigidniks are the most successful rigidniks, common in the officer corps of the military, and on corporation boards, and, of course, running federal bureaucracies, or universities.  Rigidnikal enough to dominate third-raters, and hold unimaginatively to a course that has proved effective in the past, and rally others at their level, along with the masses, against non-conformity, which will include a country’s culturateurs.  Such hyporigidniks are the great defenders of mediocrity.  And here’s where this entry becomes on-topic for a blog called “Poeticks,” for among the great defenders of mediocrity are the people selecting prize- and grants-winners in poetry, and which contemporaries’ poetry should be taught, published and made the subject of widely-circulated critical essays or books.

A level below the managerial hyporigidniks are the marmly hyporigidniks.  Only slightly above-average in charactration, or basal mental energy, below average in accommodance, the engine of flexibility, imagination, creativity, but with possibly slightly above average accelerance, or the ability to raise their mental energy when appropriate.  So, not in managerial hyporigidniks’ league, but able to construct rigidniplexeses about trivialities like table manners, spelling, etc., and lord it over milyoops.  And, in poetry, repeat the opinions of the Establishment.

Managerial hyporigidniks, I should have said, are higher in charactration than lesser hyporigidniks.  Indeed, each level of rigidniks has more charactration, and less accommodance–and smaller but more life-consuming rigidniplexes.  The lowest-level hyporigidniks have average charactration and accommodance, and variable but never inordinately high accelerance.   Peasant hyporigidniks, I call them: they form rigidniplexes that are little more than habits sensible for their position in life, and aren’t so much locked into them as too unimaginative to try anything else.

In the past, I’ve often hypothesized a kind of “pararigidniplex”–a rigidniplex formed by freewenders, who are the sanest, most intelligent people.   I now have a new name for it: “wendrijniplex.”  It’s like any other rigidniplex except for its origin, which is not caused by a person’s chronically having too much charactration and too little accommodance, but by a freewender’s having in a single instance, too much charactration and too little accommodance, his enthusiasm for a discovery of his over-riding his critical sense, and his continued pleasure in the rigidniplex it brings into being, being too great for him to break ties with it.  So it blights his intellectual existence every bit as unfortunately as a rigidnik’s rigidniplex blights his.

To be thorough, I will remind my readers (including myself) that everyone forms knowleplexes, which are mental constructs each of which provides an inter-related understanding of some fairly large subject like biology, for a layman, or the biology of mammals, or of one species of mammals, for a biologist.  A rational (although not necessarily valid) knowleplex is a “verosoplex.”  Offhand, I would say there are two kinds of irrational knowleplexes: rigidniplexes and–another new term coming up–“ignosoplex,” or a knowleplex which is basically too incoherent to be classified as either rational or irrational.  It’s the result of ignorance.  We all have many of them, each concerning a field we are “ignosophers” about–not completely ignorant of, but not sufficiently knowledgeable about to be able to form a verosoplex–or any kind of working rigidniplex.

I’m well aware that most readers will find the above the product of an ignosopher.  It isn’t.  It’s just a pop-psychology–level very rough draft of one small knowleplex the among many making up my knowleplex of temperament, which in turn is a small knowleplex among the many making up my theory of intelligence, which is just a small portion of my theory of epistemology, which is a not-small portion of my theory of the human psychology.  Or so I keep telling myself.

Entry 218 — Evolution of Intelligence, Part 4

Saturday, September 11th, 2010

Sensors are  at first sensitive to only one stimulus.  If the sensitivity helped its cell, it would be retained by the species; if not it would be not be retained.  Eventually, sensors would become potentially sensitive to more and more stimuli, to hurry the process of finding effective sensitivities.  Sensors always sensitive to a wide vairety of stimuli would not be effective until they were able to limit their sensitivity to the first stimulus they are exposed to.  This would also keep the cell up-to-date–no longer would they automatically have sensitivities to other species that had become extinct or to matter in an enivronment no longer present.

Okay, now comes the detachment of such sensors before being sensitized to given stimuli.  They might not be able to admit neuro-signals then, in which case they would be innocuous accidental superfluous intruders that could well persist–until they became sensitive to neuro-signals.  At that point, they would become “sensor-sensors.”

Once able to become active, they would emit neuro-signals that would turn on effectors, sometimes, beneficially, sometimes not, sometimes neither.  Once an inhibitor joined one of them to make a proto-retroceptual reflex, their cell could inhibit them from activating effectors they should not.

To go back to my earlier remarks: “Another step in the evolution of superior intelligence will be the advent of inhibitors and stimulators–and we know inhibition and stimulation have major roles in the nervous system.  An inhibitor is device which prevents any effector it is connected to from acting in the same manner that a sensor causes the activation of any effector it is connected to.  Like everything else, it would pop up by chance but persist when it happened to be connected to a prey-odor sensor, say, and inhibited an away-from effector.  Ergo, the alphazoa blessed with such an inhibitor would not flee a cell whose predator color it had an avoidance reflex for if the cell had a prey odor, but appropriately flee a cell that had the color of a predator but no prey odor.

Eventually, effectors would evolve capable of causing two actions, or a sensor similarly capable.  Hence, an effector connected to a sensor sensitive to prey odor might both inhibit withdrawel from a cell with a predator’s color and cause advance toward a cell with the odor of prey.  Or a sensor sensitive to prey odor connect to two effectors, one inhibiting withddrawel, one causing advance.

“So, life will now have achieved the ability to choose between advancing or withdrawing in the direction of a gray cell, and be on its way toward more complex actions.  It will still be a very primitive computer, but with something like intelligence, anyway.”  The alphazoan could now, in effect, remember encountering a certain stimulus, what resulted, and whether or not the outcome was beneficial.

Something else is likely to have happened: various effectors sensitive to all neuro-signals from endo-sensors becoming constantly manufactured while inhibited ones are destroyed.   This would allow the cell constantly to find effective new ways to deal with existence.  Only effective reflexes consisting of endo-sensors and effectors would keep alive, and the latter would become more sophisticated in what signals they accepted, for they’d be able to accept lots of difference signals so long as what action they contributed to was pleasurable.  Stimulators would increase this.

The number of sensor-sensors would increase, as well.  The truest form of memory would occur once one sensor-sensor conected to another.   You would then have a memory of, say, stimulus A followed by a memory of stimulus B.  If cellular activity (call it activity C) as sensor-sensor B becomes active is positive, then when stimulus A again leads to sensor A’s activation, Sensor A would activate sensor B–even it no stimulus B was then present.  AB would then, through memory, try to cause activity C and possibly succeed.

More complex arrangements would then have to evolve.  Memory-holders, as I will now call sensor-sensors, would become sensitive to much, then all, “information” transmitted during an “instacon,” or unit of consciousness  They would retain the “information” until having some threshold amount needed for activation–which might come to be variable, dependent of what’s going on in the cell as a whole.  Longer strands of connected memory-holders would come into being.  Effectors would gain variable amounts of neuro-signals, often from more than one memory-cell (and no long directly from a sensor), and need a certain minimal amount to become active.  At some point, too, multi-cellular organisms would evolve or have evolved, relatively soon devoting whole cells to carry out the functions I’ve been giving to organelles.

Consequently, my next step in modeling the evolution of intelligence is going to concern the development of the mnemoducts my theory hypothesizes, as the central organs of memory, and intelligence.  I am taking a break from the project now, however, because of other projects higher on my present list of priorities.

Entry 214 — The Evolution of Intelligence, Part 3

Tuesday, September 7th, 2010

Here’s a revision of what I’ve been fumbling with concerning the evolution of intelligence with some additions:

An explanation of intelligence, starting with its evolution, if by intelligence we mean “choice of behavior” as opposed to random activity.

Let’s begin with the first living cell, a protozoan.  It moves randomly through water.  Eventually it accidentally acquires a sensitivity to light, let’s say, although it could be salt density or temperature, it doesn’t matter.  So, it has the prototype of a nervous system, a single sensor sensitive to light.  The next consequential accident will be its evolving a component–an organelle–that makes it move in some direction as opposed to being moved by environmental forces.  Call it an “effector.”  It may evolve this before it evolves a sensor, it doesn’t matter, What matters is that eventually many protoazoa will have non-functioning but not seriously biologically disadvantageous nervous-systems. They’ll have the potential to be superior (that is, they will have taken a step toward us), so I will call them “alphzoa.”

The first key accident leading to intelligence will be an alphazoan’s forming a linkage from its light-sensor to its effector, allowing the former to activate the latter.  As I see it, the linkage will not be the equivalent of a wire, but will result from two hypothesized attributes of organelles, at least the sensors and effectors I’m speaking of.  First claim: that when a sensor is exposed to whatever it is in the exo-environment that activates it, it carries out some kind of chemical reaction that creates molecules that leave it to flow haphazardly through the cell’s cytoplasm.  This will likely have no particular effect on the cell, so will be ignored by natural selection.

Second claim, an effector will react to the presence of the molecule the sensor transmits by absorbing it.  Eventually. it will absorb a molecule that partakes in a chemical reaction that leads to the effect for which the effector is responsible.  Ergo, a micro-relex is born.  If the action the reflex leads to is a biologically advantageous reaction to the presence of the stimulus activating the sensor involved, natural selection will keep it.  If, as probably the case, the reaction is neither good or bad, it may or may not be kept long enough for nature to find some use for it.  If the reaction is disadvantageous, cells possessing the reflex will die out.

Let me further propose that the organelles I’m speaking of have the equivalent of cell membranes, and call the molecules transmitted neuro-transmitters, which is what they in effect are.  So, if an effector causes movement toward light, and light is beneficial–as perhaps a source of energy–alpazoa with this capacity will soon become dominant.  Alphazoa which light causes to move away from light will die out.  Or perhaps evolve differently, finding something in darkness that makes up for lack of light–concealment from prey, maybe.  In any case, a functional, useful nervous system will have come into being, or what I’d call simple reflexive intelligence.

Eventually some sensor will evolve that is sensitive to the color, say, of one of the alphazoan’s prey and links with an effector causing the alphzoa to move toward the prey, a “toward-effector.”  Ditto, a reflex with an “away-from effector” attached to a sensor sensitive to the color or some other characteristic of some kind of predator on the alphazoan.  Not a technical advance, but certainly a big jump in improving the alphazoa’s biological fitness.

By this time, something of central importance had to have happened, or become ready to happen: the evolution of sensors sensitive to pain and pleasure.  For that to happen, “endo-sensors” (sensors sensitive to external stimuli) would have to have broken free of the cell membrane to become potential “intra-sensors.”  And somehow become sensitive to something of vital importance, a chemical due to damage to the cell membrane, say–probably excessive water (a biochemist would know).  Or maybe the organelle might have become sensitive to pieces of the membrane with which it would never have come into contact unless the membrane were damaged.  If the intra-sensor were attached to an away-from effector, natural selection would select it because of its value in helping its cell get away from whatever had damaged is membrane.

Before or after the evolution of pain-organelles, similar organelles connected to toward-effectors would become sensitive to some by-product, say, of a successful hunt–something eaten but not digested, that would cause  the cell to pursue whatever it had gotten a good taste of, with a feeling of pleasure.

Metaphysical question: why would such a sensation of pleasure be pleasurable?  That puzzles me.  The answer is not because it would motivate the cell to do something to keep the pleasure occurring.  Nothing can motivate a cell.  If it evolves a way to move toward a certain beneficial stimulus, it will do so, whether it feels pleasure or not.  My only guess to account for this is that in the eogotmic universe (or ultimate universe behind all existence), construction (such as the combining of materials to make a membrane) pleasurable, destruction (i.e., fragmentation) is painful, and that construction/destruction here reflects construction/destruction there.   Hence, any living organism will feel pleasure when it is reasonably well-organized, pain when going to pieces (and nothing one way or the other when in between the two states), and its state of organization will reflect its egotomic state of organization.

Another step in the evolution of superior intelligence will be the advent of inhibitors and stimulators–and we know inhibition and stimulation have major roles in the nervous system.  An inhibitor is device which prevents any effector it is connected to from acting in the same manner that a sensor causes the activation of any effector it is connected to.  Like everything else, it would pop up by chance but persist when it happened to be connected to a prey-odor sensor, say, and inhibited an away-from effector.  Ergo, the alphazoa blessed with such an inhibitor would not flee a cell whose predator color it had an avoidance reflex for if the cell had a prey odor, but appropriately flee a cell that had the color of a predator but no prey odor.  Eventually, effectors would evolve capable of causing two actions, or a sensor similarly capable.  Hence, an effector connected to a sesnor sensitive to prey odor might both inhibit withdrawel from a cell with a predator’s color and cause advance toward a cell with the odor of prey.  Or a sensor sensitive to prey odor connect to two effects, one inhibiting withddrawel, one causing advance.

So, life will now have achieved the ability to choose between advancing or withdrawing in the direction of a gray cell, and be on its way toward more complex actions.  It will still be a very primitive computer, but with something like intelligence, anyway.

Entry 209 — More on Maximuteurs

Thursday, September 2nd, 2010

I continue continuingly to feel like I need a nap: when I lie down, I close my eyes and at once feel near to sleep–but rarely sleep.  Although, I seem now always to get six hours or more at night.  Can’t figure it out.  But It makes it hard for me to concentrate, or want to do anything like write a daily entry here, which I’m forcing myself to do to keep myself from falling entirely to sloth.

I’m not sleepy when on the tennis court.  This morning, I played three sets of doubles (2 wins).  I was reasonably energetic, and running better, albeit nowhere near as well as I feel I ought to.  When I got home, I didn’t start limping, as I generally do after tennis.  So my leg may be getting better.  I quickly got sleepy, though.

Okay, to provide slightly less trivial content to this, back to the maximuteur, specifically to the what makes a failed maximuteur.

1. Not knowing enough, including the fact that one doesn’t know enough.  The result for the failed verosopher is a faulty premise, for the failed artist, lack of originality.

2. Illogic that will doom even a maximuteur with a valid premise or full understanding of an art.

3. Lack of talent for self-criticism.

4. Lack of marketing skills.

I think 1. may well apply to me as a theoretical psychologist, but none of the others–at least to any significant degree.  I’ve done almost nothing to market my theory, but I’ve published enough to make it available, and had a weird enough life, enough of it documented, to eventually get someone to pay attention to it.  I consider it very likely invalid, but almost certainly of value.

I don’t think any of the reasons for failure apply to me as a poet.  Again, my marketing attempts have not been very good, but my poetry has been published and a few times discussed by others.  I can’t believe that I won’t get so much as a footnote in literary histories of my time.

Entry 207 — A Day in the Life of a Verosopher

Tuesday, August 31st, 2010

Random thoughts today because I want to get this entry out of the way and work on my dissertation on the evolution of intelligence, or try to do so, since I’m still not out of my null zone, unless I’m slightly out but having trouble keeping from falling back into it.

First, two new Grummanisms: “utilinguist” and “alphasemanticry.”  The first is my antonym for a previous coinage of mine, “nullinguist,” for linguist out to make language useless; ergo, a utilinguist is a linguist out to make language useful.  By trying to prevent “poetry” from meaning no more than “anything somebody thinks suggests language concerns” instead meaning, to begin with,  “something constructed of words,” before getting much more detailed, for example.

“Alphasemanticry” is my word for what”poetry” should mean if the nullinguists win: “highest use of language.”  From whence, “Visual Alphasemanticry” for a combination of graphics and words yielding significant aesthetic pleasure that is simultaneously verbal and visual.”

I popped off today against one of Frost’s “dark” poems, or maybe it is a passage from one of them:  “. . . A man can’t speak of his own child that’s dead”–the kind academics bring up to show Frost was Important, after all.   “Wow,” I said, “Wow, he confronts death!  He must be major! ”  I then added, “Frost is in my top ten all-time best poets in English that I’ve read but not for his Learic Poems.”

James Finnegan then corrected me, stating (I believe) that the poem didn’t confront death but showed its effects.   I replied, “Okay, a poem about the effect of death on two people.   What I would call a wisdom poem.  I’m biased against them.  I like poems that enlarge my world, not ones that repeat sentiment about what’s wrong with it, or difficult about it.  Frost knew a lot about reg’lar folks, but I never learned anything from him about them that I didn’t already know.  In other words, I’m also somewhat biased against people-centered poems.  But mostly, I don’t go to poems to learn, I go to them for pleasure.”

I would add that I’m an elitist, believing with Aristotle that the hero of a tragedy needs to be of great consequence, although I disagree with him that political leaders are that, and I would add that narrative literature of any kind requires either a hero or an anti-hero (like Falstaff) of great consequence.

I’m not big on poems of consolation, either.

I find that when I have to make too trips on my bike in a day, it zaps me.  I don’t get physically tired, I just even less feel like doing anything productive than usual.  Today was such a day.  A little while ago i got home from a trip to my very nice dentist, who cemented a crown of mine that had come out (after 24 years) back in for no charge, and a stop-off at a CVS drugstore to buy $15 worth of stuff and get $4 off.  I actually bought $18 worth of stuff, a gallon of milk and goodies, including a can of cashews, cookies, candy, crackers . . .  Living it up.  Oh, I did buy cereal with dried berries in it, too.

My other trip was to the tennis courts where I played two sets, my side winning both–because of my partners.  I’m not terrific at my best, and have been hobbled by my hip problem for over a year.  It may be getting slightly better, though–today I ran after balls a few times instead of hopped-along after them.  I’m still hoping I’ll get enough better to put in at least one season playing my best.  Eventually, I’m sure I’ll need a hip replacement but there’s a chance I won’t have to immediately.

I’ve continued my piece on the evolution of intelligence, but not done anything on it today.  now fairly confident I have a plausible model of the most primitive form of memory, and its advance from a cell’s remembering that event x followed action a and proved worth making happen again to a cell’s remember a chain of actions and the result.  That’s all that our memory does, but it’s a good deal more sophi- sticated.  I think I can show how primitive memory evolved to become what my theory says it now, but won’t know until I write it all down.  (It’s amazing how trying to write down a theory for the first time exposes its shortcomings.)  If I can present a plausible description of my theory’s memory, it will be a good endorsement of it.  No, what is much more true is that if I am not able to come up with a plausible description, it will indicate that my theory is probably invalid.

Entry 205 — Evolution of Intelligence, Part 2

Sunday, August 29th, 2010

At this stage of the evolution of intelligence a lot of minor advances would be made: multiplication of reflexes, the addition of sensors sensitive to the absence of a stimulus, the combining of more sensors and effectors so, perhaps, a purple cell with white dots and smell B and a long flagellum will be pursued if the temperature of the water is over eighty degrees but not if it is under.

By this time, something of central importance had to have happened, or be ready to happen: the evolution of sensors sensitive to pain and pleasure. For that to happen, “endo-sensors” (sensors sensitive to external stimuli) would have to have broken free of the cell membrane to become potential “intra-sensors.” And somehow become sensitive to a chemical due to damage to the cell mem- brane–probably excessive water (a biochemist would know). Or maybe the infra-cell might become sensitive to pieces of the membrane which it would never have contact with unless the membrane were damaged. If the intra-sensor were attached to an away-from effector, natural selection would select it because of its value in helping its cell get away from whatever had damaged is membrane.

Eventually similar intra-sensors connected to toward effectors would become sensitive to some by-product, say, of a successful hunt–something eaten but not digested, that would cause the cell to pursue whatever it had gotten a good taste of. I’m now going to name all such components of a cell that carry out functions like those of the sensors and effector “infra-cells” to make discussion easier. Let me add the clarification that the connections between sensors and effectors may begin as physical channels but will soon almost surely come to be made by precursors of neuro-transmitters: i.e., a sensor with “connect” to its effector by a distinctive chemical that only the effector recognizes and is activated by.  The cell’s cytoplasm will act as a primitive synapse.

Various other “neurophysiological” improvements should soon also occur. One would be an intra-sensor’s gaining the ability to activate a toward effector when it senses pleasure but activate an away-from effector when it senses pain. The accident resulting in such an infra-cell would not be too unlikely, it seems to me: simply the fusion of two cells, one sensitive to pain and connected to an away-from effector, the other sensitive to pleasure and connected to a toward effector. Obviously an evolutionary improvement.

It also seems likely to me that intra-sensors would evolve sensitive to the activation of effectors. They would connect to other infra- cells carrying out reactions to, say, a successful capture of prey: a toward effector becomes active due to signals from a sensor sensitive to a certain kind of prey, in which case the outcome should be dinner, so a sensor sensitive to the effector’s activation which is connected to some infra-cell responsible for emitting digestive juices or the like, would be an advantage.

Certain other infra-cells should evolve to allow the step up to memory, but right now I can’t figure out what they might be, so will stop here, for now.

Entry 202 — Back to Gladwell’s 10,000 Hours

Thursday, August 26th, 2010

Certain cranks are questioning the possibility that Shakespeare wrote the works attributed to him on the grounds that he could not have gotten the 10,000 hours of practice at his craft Malcolm Gladwell says every genius needs.  What I want to know is, if Shakespeare had his ten thousand hours when he wrote the Henry VI trilogy, where does it show?  There are serious scholars out there who think Heminges and Condell were lying when they said he wrote them.  Many mainstream critics won’t accept that he wrote certain scenes in them.

I claim that any reasonably intelligent non-genius actor of the time could have used the historians of the time, as Shakespeare did, to have written them.  Add, perhaps, a cleverness with language that some 14-year-olds have.  The only way his histories improved after the trilogy was in the author’s becoming better with words, through practice, of course, but only what he would have gotten from contin- uing to write plays (and doctor plays and–most important–THINK about plays), and getting interested enough in a few of his stereotypical characters to archetize them as he did Falstaff.

It seems to me that the requirements for being a playwright are (1) a simple exposure to plays to teach one what they are; (2) the general knowledge of the world that everyone automatically gets simply by living; (3) the facility with the language that everyone gets automa- tically from simply using them all one’s life.  The rank one as a playwight will depend entirely on his inborn ability to use language, and his inborn ability to empathize with others, and himself.  Of course, the more plays he writes, the better playwright he’ll be, but I’m speaking of people who have chosen to make playwriting their vocation (because they were designed to do something of the sort).

I speak out of a life devoted to writing and having read biographies of dozens of writers.  I would never be able to agree that I’m wrong on this.

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Entry 276 — The Irratioplex

Saturday, November 6th, 2010

Another day in the null zone for me, perhaps because I’m going without the pain pills I’ve been on for my bad hip as an experiment.  I played tennis this morning without any more of the slight hip pain I’ve been having with the pain pills.  That was nice but since I got home from that and a little marketing (for socks and new sneakers), I I’ve been feeling blah.  A nap didn’t help.

Meanwhile, I’m been feeling bitter about my reputation as a defender of Shakespeare.  SHAKSPER, an Internet discussion group I’m in, has for several days been discussing the proper reaction to a movie coming out called Anonymous, in which the Earl of Oxford is depicted as Shakespeare–and as Queen Elizabeth’s son–and Southampton is depicted as Oxford and Elizabeth’s son.  I think it may destroy Oxfordianism the way the preposterous codes found in Shakespeare’s plays “proving” Bacon wrote them pretty much destroyed Baconism.

What irks me is that several who comment at SHAKSPER mentioned James Shapiro’s recent book on the authorship question, and books and articles on it by others, but not my book.  No doubt I’m biased, but I consider my book the best refutation of anti-Stratfordianism in print, and the only one that presents a serious theory of what makes people become anti-Stratfordianism–whether valid or not.  Yet the Shakespeare establishment, and their little followers at the two authorship sites I participate in don’t mention me, or respond to my posts to SHAKSPER.  Maybe they don’t want it known that our side has a crank like me on it.   A crank, morover, who calls anti-Stratfordians “psitchotics.”

Nonetheless, my attempt to understand what causes reasonably intelligent people to become psitchotics where Shakespeare is concerned, and–more important–find a way to express my finding entertainingly and coherently, continues, with a minor development today, the new term “irratioplex.”  This I pronounce ehr RAH shuh plehks.  Do I misspell it?  Possibly, but “irratiplex” doesn’t do it for me.

And irratioplex is an irrational knowleplex.  There are several.  Two of them are the rigidniplex and the enthusiaplex.  I now maintain that all anti-Stratfordians are afflicted with one or the other of these two irratioplexes.  The new term allows me to couple them as victims of irratioplexes, then show how they differ from one another by virtue of their (slightly) different irratioplexes.  The rigidniks’ irratioplex is forced on them by their innate psychology; the enthusiasts’ (who are frrewenders) acquire their irratioplexes during fits of enthiuiasm, making them quickly too strong thereafter to resist.  Both irratioplexes act the same once active. both nearly impossible for their victims’ to resist.

My new strategy for the description of wacks is to concentrate on irratioplexes in general, proceed to  rigidniplexes and enthusiaplexes in general, then to how the latter two specifically enslave their victims to anti-Stratfordianism.

Entry 261 — “Magnipetry” and “Magnipoet”

Friday, October 22nd, 2010

“Magnipetry” and “magnipoet.”  maahg NIH peh tree and MAAH nih POH eht.  I know probably no one at all but I will now use them, but I’ve been needing them for years.  As I hope will be clear, they mean “superior poetry,” and “superior poet.”

My many critics will tell me that “superior poetry” and “superior poet” or like adjective/noun combinations, have been available for years, and proven satisfactory for everyone but me.  So why cram two new words for what they mean into the lexicon?  Well, for one thing, I believe important things should have names, not just descriptions, which “superior poetry” is.  (Am I really the only person in the world who believes this?  Sometimes I think so.)

I hope “magnipetry” suggests “magnificence.”  I feel it ought quite clearly to say, “large poetry,” and its derivative say  “large poet.”  Where I’ve often found myself wanting such words is in discussions of what makes a poet, when we’re talking about what makes a poet worth reading or listening to.  One always has to stick an adjective in.

Than there’s my problem with those who denounce poetry they don’t like as “not poetry,” when they have to mean they’re speaking of bad poetry.  If they aren’t, then they need a name for what the texts they are referring to are.  “Doggerel” is a good one for some but not all of it.  They can say, “This is not good poetry,” but that sounds weak to me.  They mean more than that, so we need a single name for it.

“Poetaster” is a good word for inferior poet, but it seems awkward to me, and “poetastry” isn’t (yet) a word.  Even with “poetaster,” which I’m not even sure how to pronounce, we still need a name for “good poet,” since a poetaster is a kind of poet, not a non-poet.

The real reason I suddenly made my coinages, having woken up with a headache in the middle of last night for a few minutes.  I was thinking about a long division poem I’ve made a sketch of in which I divide something (I forget what, right now) into “poetry.”  I times that by Shakespeare’s signature, and I get a graphic that’s about A Midsummer Night’s Dream, which I think is Shakespeare’s most poetic comedy, and a favorite of mine.  But there’s a remainder.  My problem is that the graphic is a poem, in my view–since it has words.  Moreover, some of the words play poetic word-games.  So there should not be a remainder.

But I really want to be divided into is “poetry of the highest order.”  I thought of various phrases for that, including, “poetry of the highest order,” but didn’t like them.  They sounded somewhat pretentious to me.  And I found nothing with more than one word in it to have the sock I wanted, the sock that “poetry,” would have if I could use it.  Hence, “magnipetry.”  It will keep most people from liking the poem as much as I’d like them to, but “poetry,” just isn’t right.

The same word will damage my long series of various long divisions of “poetry,” which I’ve always thought had the same problem this new piece has.  On the other hand, if my math poetry ever catches on, and people like my series, it’s possible the word might catch on.

While people have little trouble with new names for new things, they seem wired to reject new names for old things, even important old things that have never had a name, like visual art (which I now call “visimagery,” after auditioning more than a dozen names).  But I won’t give up trying to get the names I come up with into general usage.

It’s be nice to have a name for okay poetry that isn’t magnipetry, but I’m willing to let adjective take care of such poetry, and those who compose it.  “He’s a pretty good poet, but not a magnipoet,” for instance.  I think “magnipetry” is a good word.  I don’t think “magnipoet” is.  Dunno what to do about that, however.  I may well drop it.  The sneer, “he calls himself a poet,” for someone who writes bad poetry, “could be corrected to him think him write magnipetry.”  Hmmm, I will drop it.

Entry 245 — Varieties of Evaluceptual Types

Thursday, October 7th, 2010

Because the names of my aesthetic appreciation types, “apollonian” and “dionysian,” may connect too confusingly to Nietzsche’s similarly-named personality types, I am now calling  apollonians, dionysians and hermesians “verosolysts,” ” instinctilysts” and “expressilysts.”

Because the verosolyst evaluates poetry primarily on the basis of its truth (according to its freedom from or contamination by contradictions), I made his name out of  “veroso” of my term for “true wisdom”, or “the rational seeking of significant truths about material reality”, so a general term for philosophy, science, history, literary criticism, economics . . . and the “lyst” of “analyst.”

The instinctilyst’s name derives from the fact that he  evaluates an artwork primarily on the basis of the instinctive pleasure it affords by means of its attention to stimuli normal human beings are automatically attracted to like a 3-month-year-old happy baby.

The expressilyst is primarily concerned with how a poem presents its content, or its manner os expression, rather than with its content.  So we have the old what versus how again, this time as instinctilystic appreciation versus expressilystic appreciation.

Entry 237 — Celebratory and Illyrical Art

Wednesday, September 29th, 2010

I’ve been reworking my thoughts concerning what I’m now calling “illyrical art”–art, that on the surface, seems mainly to produce pain.   I’m planning a short booklet laying out my taxonomy of poetry, which I feel needs a preliminary definition of art, among other things.  That is what the following sketch partially addresses.

Celebratory Art & Illyrical Art

Most art–just about all the art I like–celebrates the beauty of
existence.  The final claim of such art, however, is not that
existence is beautiful, but that it is beautiful enough to celebrate, or
significantly more beautiful than ugly.  Some art, which I call
“illyrical art,” seems obsessed with the ugliness of existence,
though.  It is prized by the cognescenti more than celebratory art is,
in fact, tragedy being its most common variety.  It seems to
contradict my notion that human beings are wired to seek that
which gives them pleasure, and reject as much as possible that
which gives them pain.  And I define art as that which give
aesthetic pleasure.  How can I reconcile these views of mine with
the unarguable preference of so many people for art that seems to
give little or nothing but pain?

I’ve pondered this question a good deal, concluding finally that
even illyrical art ultimately provides people with more pleasure
than pain.  It does so by providing one of five values, or (more
commonly) some mixture of one or more of these values):

The Pleasurable Details Value

1. A work of illyrical art–an effective tragedy, say–will contain
details that give aesthetic pleasure,” I need only specify that I mean
such details as the metaphors in Shakespearean tragedy, or the
melodic effects of certain sad poems–or vivid scenes or characters.
Their contrast with the painful elements in the art will increase the
pleasure they give.  These pleasurable details will rarely if ever
compensate for twork’s pain–unless one of them is a
compensatingly redeeming ending: each of Shakespeare’s
tragedies, for instance, has an ending that nullifies its tragic
message to some degree.   Life is shown restored to The Way
Things Should Be.  A good king assumes the throne.  The bad guys
are buried.  Civilization has gotten through another time of horror
bloodied but alive.

The Artistic Conquering of Evil Value

2. A work of illyrical art will cause a person the pleasure of seeing
something conquered, at least to a degree, by art–that is, by an
artist’s organization  and expression of it.  This is just another way
of saying that finding the exactly right words eloquently to evoke
elements dangerous or ugly, and arranging them in some kind of
pattern (which will “explain” the painful elements, in a manner of
speaking, or make them more coherent, more logical, than they are
in the chaos of reality)  is, of course, a way of giving the antithesis
of the beautiful a kind of beauty.  That, in turn, will give an
engagent aesthetic pleasure, although probably not enough to offset
the aesthetic pain of the work.  But with the other positive
components of the work added to it, it will–as it must to be a
successful work of art.

The Sentimental Value

3. Illyrical art may provide an engagent with a friend with whom
one shares a reaction to the pain the art concerns–a character in a
tragic play, a persona in a melancholy poem, or a reader’s
impression of the author of such a poem.  For example, an
engagent might experience Macbeth as a friend by sympathizing
with his misery over the death of his wife and his final
dissatisfaction with life (even despite the evil acts he has
performed).  The feeling that Macbeth is an ally of the engagent
against the vileness of life will then cause a pleasure possibly
superior to the pain of Macbeth’s bad end, and the pain caused by
his crimes. In other words:  tragedy causes one to experience the
anthroceptual pleasure of learning one is not alone.

The Simple Relief Value

4. Tragedy, or any artwork (or art adventure like a ride on a roller
coaster)  dealing with ugly, fearsome, horrifying or similar painful
material, can, when the artwork is escaped, result in the pleasure of
gaining safety.  I consider this the primary reason people “enjoy”
illyrical art.

The Masonchistic Pleasure

5. illyrical art acts to make the evil of life easier to take simply by
exposing us to it, in packaging that reduces its lethalness, thereby
allowing us to learn it into bearableness.  Or: “illyrical art, as
Aristotle has it, arouses pity and fear, the purgation of which
through catharsis, makes one feel better (anthroceptually).”  One
feels more fit to withstand evil after effective art.

Entry 232 — New Knowlecular Terminology!!!

Saturday, September 25th, 2010

After so many near-worthless entries, at last a really really exciting one!  A very lame school marm type at HLAS, one of my Shakespeare Authorship “Question” sites, got me thinking about rigidniplexes.  They are fixational systems rigidniks form that are the basis of the authorship theories of the most dedicated and rigidly doctrinaire anti-Stratfordians.  One of their main functions is defending the rigidnik against non-conformity.   I had always thought of them as necessarily irrational.

But it seemed to me  the school marm, Mark Houlsby (which may be a pseudonym), has one,   because of  the way he constantly gets after people for rude remarks, going off-topic, and disregard of what he thinks is grammatical correctness, as well as any view he disagrees with, which are mostly non-conformist views.   Yet Houlsby is not an anti-Stratfordian nor does he  seem any more irrational than every normal person is, just set in his narrow ways.  So, I decided there are two basic kinds of rigidniplexes, “hyperrigidniplexes” and “hyporigidniplexes,” the first being highly irrational, the second not particularly irrational.

Actually, I’ve always believed in more than one kind of rigidniplex, but I hadn’t come up with names for them I liked, and my definitions of them were vague.    Now I think I’ll call the most rigidnikal of rigidniplexes, the ones suffered by genuine psychotics, “ultrarigidniplexes.”  Such rigidniplexes are either not “sensibly” irrational, the way hyperrigidniplexes are, or are based on unreality rather than the irrational, although they are no doubt irrational as well.  For instance, an ultrarigidnik may believe unreal aliens from another dimension are after him whereas a mere hyperrigidnik will only believe, say, that no one whose parents are illiterate can become a great writer, which is idiotic but but is merely a misinterpretation of reality, wholly irrational, but not drawing on pure fantasy.

There are probably two levels of hyporigidniks–no, make that three.  Managerial hyporigidniks are the most successful rigidniks, common in the officer corps of the military, and on corporation boards, and, of course, running federal bureaucracies, or universities.  Rigidnikal enough to dominate third-raters, and hold unimaginatively to a course that has proved effective in the past, and rally others at their level, along with the masses, against non-conformity, which will include a country’s culturateurs.  Such hyporigidniks are the great defenders of mediocrity.  And here’s where this entry becomes on-topic for a blog called “Poeticks,” for among the great defenders of mediocrity are the people selecting prize- and grants-winners in poetry, and which contemporaries’ poetry should be taught, published and made the subject of widely-circulated critical essays or books.

A level below the managerial hyporigidniks are the marmly hyporiginiks.  Only slightly above-average in charactration, or basal mental energy, below average in accommodance, the engine of flexibility, imagination, creativity, but with possiblely slightly above average accelerance, or the ability to raise their mental energy when appropriate.  So, not in managerial hyporigidniks’ league, but able to construct rigidniplexeses about trivialities like table manners, spelling, etc., and lord it over milyoops.  And, in poetry, repeat the opinions of the Establishment.

Managerial hyporigidniks, I should have said, are higher in charactration than lesser hyporigidniks.  Indeed, each level of rigidniks has more charactration, and less accommodance–and smaller but more life-consuming rigidniplexes.  The lowest-level hyporigidniks have average charactration and accommodance, and variable but never inordinately high accelerance.   Peasant hyporigidniks, I call them: they form rigidniplexes that are little more than habits sensible for their position in life, and aren’t so much locked into them as too unimaginative to try anything else.

In the past, I’ve often hypothesized a kind of “pararigidniplex”–a rigidniplex formed by freewenders, who are the sanest, most intelligent people.   I now have a new name for it: “wendrijniplex.”  It’s like any other rigidniplex except for its origin, which is not caused by a person’s chronically having too much charactration and too little accommodance, but by a freewender’s having in a single instance, too much charactration and too little accommodance, his enthusiasm for a discovery of his over-riding his critical sense, and his continued pleasure in the rigidniplex it brings into being, being too great for him to break ties with it.  So it blights his intellectual existence every bit as unfortunately as a rigidnik’s rigidniplex blights his.

To be thorough, I will remind my readers (including myself) that everyone forms knowleplexes, which are mental constructs each of which provides an inter-related understanding of some fairly large subject like biology, for a layman, or the biology of mammals, or of one species of mammals, for a biologist.  A rational (although not necessarily valid) knowleplex is a “verosoplex.”  Offhand, I would say there are two kinds of irrational knowleplexes: rigidniplexes and–another new term coming up–”ignosoplex,” or a knowleplex which is basically too inchoerent to be classified as either rational or irrational.  It’s the result of ignorance.  We all have many of them, each concerning a field we are “ignosophers” about–not completely ignorant of, but not sufficiently knowledgeable about to be able to form a verosoplex–or any kind of working rigidniplex.

I’m well aware that most readers will find the above the product of an ignosopher.  It isn’t.  It’s just a pop-psychology–level very rough draft of one small knowleplex the among many making up my knowleplex of temperament, which in turn is a small knowleplex among the many making up my theory of intelligence, which is just a small portion of my theory of epistemology, which is a not-small portion of my theory of the human psychology.  Or so I keep telling myself.

Entry 229 — Reactions to my Cryptographiku

Wednesday, September 22nd, 2010

It turns out I was wrong when I claimed no one had ever discussed my cryptographiku in print: Geof Huth had.  I found that out in his response to the two new ones I’ve posted here a week or so and two weeks ago or so.  What he insightfully said on each occasion is now archived in this blog’s “Pages” under “Discussions of Bob Grumman’s Poetry.”

I’m still bumbling, although yesterday I did finish the book review I had to do.  I’m letting it sit today.  Tomorrow, I’ll give it a once-over and release it.   I’m not up to writing anything worthwhile here, so am posting the reactions at Geof’s blog to what he said about my latest cryptographiku, and my response to those comments:

Blogger Conrad DiDiodato said…
Geof,

your reading of Grumman’s ‘cryptographiku’ reminds me of something Derek Attridge once said about reading a work:

“We must not allow the resonances of the term “work” to echo too strongly, however; although we may admire the time and effort that has gone into an invention, what we respond to when we respond creatively and responsibly is the enduring event of invention that the labor made possible, not to the labor as such—to the work as working rather than as worked.” (“The Singularity of Literature”)

9:15 PM, September 18, 2010

Blogger John B-R said…
If – if – I consider what you’ve done, Geof, to be translation, then other translations are also possible. Here’s one:

.#####

eagle

epic

eagle

epic

gl

pic

uh

all around the world

color of flags, color of shit

failing fuckedup empire

1:31 PM, September 19, 2010

Anonymous Anonymous said…
‘good’ quote Conrad

I like-wise “pin it on”
the/an event

however: need that event
(irregardless of the/any punctuation or absence of any other
‘signification’) be an “enduring event” which we can reduce to mere mathematics and mathematical symols?

-K.

1:37 PM, September 19, 2010

Blogger VizPo-Central said…
Thanks, Geof, for your second discussion of my cyrptographiku. About the name, when coining terms for use in criticism or like fields, the aim should be clarity, not elegance, though maximizes elegance should be the second aim. When I coined my word, I couldn’t think of any better ones. But at one of my discussion groups, one who interpreted my poems used the word, “cipher.” So I now find “ciphku,” probably a better name for these kinds of poems. So, thanks for sensitizing me to the poor name enough to make me notice a word leading to what I think is a better one.

Thanks for the good comment, Conrad. I think speaking of a poem as a work can have on good side: it reminds the poem’s engagent that it wasn’t just thrown together (although these were!), so he should try not to dismiss it too easily.

Thanks for your thoughts, too, B-R–but your second interpretation is, I’m afraid, wrong. There is, so far as I can see, only one main “solution” for either poem that fits. For instance, in the first, each line should consist of one one-letter word followed by a four-letter word.

One idea I hope to follow up on is some coded text that spells one thing according to one code and another, legitimately, according to another.

Finally, K. I think you’ve hit on a central idea of each of the poems. While I don’t see anything “mere” about mathematics, in these poems, I was trying to show events not enduring–I’d rather say, enduring for only a moment–but dying from letters through numerals to nothingness.

Anyway, I’m happy that thoughts like yours occur to someone encountering my gadgets.

–Bob

Entry 203 — Random Thoughts

Friday, August 27th, 2010

Random thoughts today because I want to get this entry out of the way and work on my dissertation on the evolution of intelligence, or try to do so, since I’m still not out of my null zone, unless I’m slightly out but having trouble keeping from falling back into it.

First, two new Grummanisms: “utilinguist” and “alphasemanticry.”  The first is my antonym for a previous coinage of mine, “nullinguist,” for linguist out to make language useless; ergo, a utilinguist is a linguist out to make language useful.  By trying to prevent “poetry” from meaning no more than “anything somebody thinks suggests language concerns” instead meaning, to begin with,  “something constructed of words,” before getting much more detailed, for example.

“Alphasemanticry” is my word for what”poetry” should mean if the nullinguists win: “highest use of language.”  From whence, “Visual Alphasemanticry” for a combination of graphics and words yielding significant aesthetic pleasure that is simultaneously verbal and visual.”

I popped off today against one of Frost’s “dark” poems, or maybe it is a passage from one of them:  “. . . A man can’t speak of his own child that’s dead”–the kind academics bring up to show Frost was Important, after all.   “Wow,” I said, “Wow, he confronts death!  He must be major! “  I then added, “Frost is in my top ten all-time best poets in English that I’ve read but not for his Learic Poems.”

James Finnegan then corrected me, stating (I believe) that the poem didn’t confront death but showed its effects.   I replied, “Okay, a poem about the effect of death on two people.   What I would call a wisdom poem.  I’m biased against them.  I like poems that enlarge my world, not ones that repeat sentiment about what’s wrong with it, or difficult about it.   Frost knew a lot about reg’lar folks, but I never learned anything from him about them that I didn’t already know.  In other words, I’m also somewhat biased against people-centered poems.  But mostly, I don’t go to poems to learn, I go to them for pleasure.”

I would add that I’m an elitist, believing with Aristotle that the hero of a tragedy needs to be of great consequence, although I disagree with him that political leaders are that, and I would add that narrative literature of any kind requires either a hero or an anti-hero (like Falstaff) of great consequence.

I’m not big on poems of consolation, either.

Entry 146 — Discussing Mathematics and Poetry

Wednesday, June 16th, 2010

Gregory Vincent St. Thomasino has been blogging about mathematics and poetry at his Eratio blog.  When he told me about it on the phone yesterday,  I said I’d check it out, which I’ve now done.  I left my first comment on it.  Fortunately, for once I cut what I said before hitting the button telling his blog to accept it, for my post got rejected.  I’ll try in a little while to post it again.  Meanwhile I want to post it here, to make sure it’s somewhere, and because maybe one of my two regular visitors doesn’t also read Gregory, or misses posts to it because it’s irregular, which is my excuse.

Hi, Gregory.  I’ve decided to tear into your commentary on mathematics and poetry Very Slowly, one idea at a time, to facilitate coherence.

I’ll begin with your statement that “Already (‘mathematical sentence’) (you’re) thinking analogically.”

This is where you and I first disagree, for (as revealed in our long & interesting phone conversation of yesterday) I believe numerals and mathematical symbols are part of our verbal language, just as, in my opinion, typographical symbols for punctuation or to abbreviate are.  The mathematical symbol, “+,” for instance, is just a different way of writing, “plus,” or “&.”  It therefore follows that for me, a mathematical equation is a literal sentence differing from unmathematical sentences only in the words in it.  “a – b = c,” for instance, is a very simple sentence and not significantly different from, “Mary cried when she lost her lamb.”

Obviously, it’s just a case of your opinion versus mine, but I think acceptance of my opinion makes more sense, because it keeps thing more simple than your does.  I would say that what most people mean by “words” are “general words,” while words like “sineA” or “=” are “specialized words” or mathematical words–like punctuation marks.

I think in my linguistics, these “words” are all called “textemes,” But it’s been a while since I read Grumman on the matter, so I’m not sure.

Hey, I found a glossary in which I define many terms like “texteme.”  It’s not a word but a typographical symbol: “any textual symbol, or unified combination of textual symbols–letters, punctuation marks, spaces, etc.–that is smaller than a syllable of two or more letters: e.g., ‘g,’ ‘&h(7:kk,’ ‘GH,’ ‘jd.’”  I coined the term for discussion of various odd kinds of symbols and symbol-combinations like some of those among my examples that not infrequently occur in visual or infraverbal poems.

So, I don’t have a special term for word, as I define it.  Yet.

To continue my argument in favor of my take on mathematical expression as an extension of verbal expression, not something different in kind, I would saimply ask what is special about mathematical symbols that should require us to think of them as elements of a special kind of expression?  They do nothing that ordinary verbalization can’t do, although they do it more clearly, compactly and elegantly.

Graphs would be mathematical expression–a form of visio-conceptual expression, as is written music.  Chemical diagrams but not chemical notation. . . .

I don’t see that there’s any difference between the syntax of mathematical expression (other than graphs and probably other similar things I’m not into Math enough to think of right now) and normal verbal expression.  There’s no inflection, I don’t think, in mathematical expression.  Which is a triviality.

Conclusion: we need a carefully formed taxonomy of human modes of expression.

Entry 115 — The Knowleplex

Saturday, February 27th, 2010

The knowleplex is simply a chain of related memories–A.B.C.D.E., say–or a knowledge-chain. It is what we remember whenever we are taught anything, either formally at school (when our teacher tells us Washington is the capital of the United States, for instance) or informally during day-to-day experience (when we see our friend Sam has a pet cat).

There are three kinds: rigiplexes, flexiplexes and feebliplexes, the name depending on the strength of the knowleplex. One is too strong, one too weak, and the other just right. If we let A.B.C.D.E. stand for “one plus two is three,” then a person with a rigiplex “inscribed” with that, asked what one plus two is, will quickly answer, “three.” But if asked what one plus four is, he will give the same answer, because his rigiplex will be so strong it will become wholly active due only to “one plus.”

On the other hand, a person with a feebliplex “inscribed” with “one plus two is three,” asked what one plus two is, will answer “I dunno,” because his feebliplex will be so weak, even “one plus two is” won’t be enough for his knowlplex to become active. Ditto when asked what one plus four is. But the person whose knowleplex is just right–whose knowleplex is a flexiplex, that is–will answer the first question, “three,” and the second, “I dunno.”

Needless to say, this overview is extremely simplified. Even “one plus two is three” will form a vastly more complicated knowleplex than A.B.C.D.E. The strength of a given knowleplex will vary, too, sometimes a lot, depending on the circumstances when it is activated. And each kind of knowleplex will vary in strength, some feebliplexes being almost as strong as a flexiplex, for example. In fact, a feebliplex can, in time, become a rigiplex. For the purposes of this introduction to knowleplexes, however, all this can be ignored.

Entry 110 — The Three Varieties of Rhyme

Wednesday, February 17th, 2010

I’ve come up with new terms for two of the three kinds of rhyme in my poetics.  One is Chyme-Rhyme for standard rhyme (e.g., “bat/cat”).  The other is  Rhyle-Rhyme for the kind of rhyme I’ve called various names, “Backward Rhyme,” being the most frequent (e.g. “bat/badge”).  My name for the third kind of rhyme in my poetics is Rim-Rhyme, the perfect name coined many years ago for it (e.g. “bat/bet”).

The new names follow the logic of “Rim-Rhyme” by demonstrating the sound of the kind of rhyme they name, but not the construction, as “Rim-Rhyme” does.   The “Chyme” of regular rhyme seems fitting, too.  As for “Rhyle,” well, it’s a kind of rhyme that riles traditionalists, and I couldn’t come up with a better “rhy-consonant” word to use.

I should haven’t to explain why I consider all three of my kinds of rhyme valid rhymes, but while some accept rim-rhyme because of Wilfred Owen, I think no one has accepted rhyle-rhyme.  But it seems sensible to call such a combination a rhyme rather than an alliteration/assonance.  And it seems sensible to call any pair or great number of unidentical syllables sharing two sounds to be rhymes.

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Entry 385 — My Most-Used Coinage

Monday, February 21st, 2011

On 2/21/2011 3:21 AM, Jake Berry wrote:

Bob,    Hope this finds you well. I'm working on an essay and I'd like to  use your term 'otherstream', but I want to quote your definition  of the word directly. I haven't been able to find it on the internet  and I have no idea where it might be among all my books and papers.  So how would you define it?    Best,  Jake  

Terrific hearing from you, Jake–although it makes me feel guilty by reminding me of what a horrible correspondent I’ve been for going on ten years or more.  So many people I haven’t kept in touch with but should have!  Although I do keep up with you on the Internet.

Ah, the old days when I was one of the Kings of the  . . . Otherstream because I owned my own Xerox!  I’ve had some ungood years since then.  2010 was possibly the worst year I’ve had in thirty years.  But this year, so far, is going pretty well, although right now I’m in my null zone again.

Maybe not–your e.mail has me at least partway out of it.  Great to know someone still likes my coinage, and it was fun doing my own search for it on the Internet.  I found an article about Dale Jensen and his wife, Judy Wells, in which the term was used, followed by a comment by Jack Foley (good ol’ Jack) declaring that Andrew Joron had not coined “otherstream,” Bob Grumman had!

Somewhere else some guy took credit for coining it in 1996. My guess is that I first used it around 1985, so it has just has its 25th anniversary.  If I, indeed, was the first to use it.  Who knows if I did or not.  I don’t care.  I mean, it’d be nice to know for sure some word that more than a few people use was my word, but I’m really not that big about getting credit.  I want money, not credit!

Oh, I also found out there are various businesses calling themselves “otherstream” this or that, including, I think, a broadcast network.

So, a definition.  I’ve defined it in different although similar ways.  I think I would say that “otherstream” is my adjective for kinds works of art the great majority of arts academics, well-known critics, commercial publishers and commercial magazine editors know little more than the names of, if that.  A brief definition: art that’s now taught in college classes.  For me, it means approximately but only approximately the opposite of “mainstream.”  What it’s the exact opposite of is “knownstream.”  That’s because some art is knownstream, like certain kinds of very formal verse–the sestina, say, is well-known to most literature professors but is not what you’d call a kind of mainstream poetry.  I don’t think cowboy poems are considered mainstream, either, or though fairly popular.  I used it mainly for visual poetry, sound poetry and language poetry when I began using it, but some language poetry has become mainstream.

Hope this helps.  Thanks for wanting to use the word, which I think is a useful one.  And for inspiring me to write what I have here, which I can now use for today’s entry in my blog!  Make sure to link me to your essay when it’s online, or send it to me if it’s printed–with the hundred dollar royalty fee I charge for the use of any of my coinages.  (You can use “knownstream,” also mine, for half-price.)

all best, Bob

From My Verosophy Workshop « POETICKS

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Entry 1674 — The Sun & My First House

Saturday, December 27th, 2014

For the past two days or so I have been feeling like I am on the verge of really getting started on a Major Work beginning with an in-depth survey of my theory of awarenesses.  I couldn’t figure out why until I thought of the transitting sun.  That’s what the sun is called when one is considering its location in one horoscope: right now the Sun is at 6 degrees Capricorn in the sky, which puts it just in my horoscope’s first house, which begins at around 3 degrees Capricorn.  This house, as you might guess, has to do with beginnings!

It’s all rot, but fun.  And I have to admit, when my life is suddenly doing something good that my horoscope says it should be doing, it encourages me, however many more times I’ve compared what my horoscope said my life should be doing with what my life was doing and found no similarity at all between the two.  I think it’s because nothing in my life is ever encouraging.  Okay, exaggeration.  What’s more true is that the few things in my life that have been encouraging resulted in nothing but disappointment: get the gig at the Scientific American website, for instance.  To be maximally accurate, I should say that the stars are no worse at predicting good things for me than real life is, and not as depressing when their predictions are full of hooey, because I don’t really believe in them.

On the other hand, anything encouraging is good for me, if I can even half believe in it for a few minutes because I think people like me may have an urceptual optimist in us that is sensitive to any sign of encouragement, and able to minimize all that our internal pessimist tries to warn us about.

Note: you have just had a front eye on the birth of the urceptual optimist and urceptual pessimist: neither existed until I began writing the paragraph above.  They make sense to me, particularly the urceptual optimist.  How else explain the insanity that keeps people like me going no matter how unarguably quickly the unreachability of our goals is increasing?

Hey, I also have three new terms for you: “magni-cerebrevalu-ceptual,”  “practi-cerebrevaluceptual,” and “reflexevaluaceptual.” I’ll save my discussion of these till tomorrow.

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Entry 1668 — Additions & Blither

Sunday, December 21st, 2014

First an addition to my taxonomy of awarenesses: I’ve decided to give what I was temporarily calling the “X-ceptual Awareness” one of the names I previously considered, then junked, “the Magniceptual Awareness.”  My problem with it was that it was too similar to “the Supraceptual Awareness,” the name I had given to my system’s over-all awareness.  I made that problem go away by simply changing “Supraceptual Awareness” to “Cerebral Awareness.”  Pretty clever, wot?  It makes sense since both the Practiceptual Awareness and the Magniceptual Awareness are in, or mostly in, the cerebrum.  And I’m comfortable with the idea of a Sub-Cerebral Awareness located in the cerebellum and other parts of the brain, as well as various places in the secondary nervous system.

Next, a Noun cement that I hope will will cause those of you feeling guilty about getting all this blog’s incredible brilliance for free to express your gratitude with money–to someone on food stamps (due to his actual economic situation, not lies about it, although I did not report the $200 I made as a writer last year in my 2013 request to continue on the dole, nor will I report the $350! I made as a writer this year on my upcoming request).  You can do this by sending me $5 or more for an autographed numbered copy of a limited edition of 4 More Poem Poems.  It just came off the press.  Only 8 copies printed, each with a different cover from the others–in fact, I have just decided to paste a unique original visual image on each cover.  (Note: I really think $20 would be reasonable for anyone who is paying that or more for a subscription to any poetry-related magazine whatever.)  I claim that no one who likes Joycean foolery with the language and surrealism will find at least one of the poems delightful.  And there iz not one (1) but two (2) dreadfully wicked attacks in the collection on our country’s poetry gate-keepers–but only in passing!  Remember, Posterity will really be angry with you for not sending me any money!

To take advantage of this Fabulous Offer, send check & your name&address to:

Bob Grumman
1708 Hayworth Road
Port Charlotte FL 33952

Sorry for the begging, folks.  I’m really not badly off: I still have credit cards that will allow me to borrow over ten thousand dollar before I max them.  I just used on of the cards for $1500, in fact–to have some company try to get the data in an external drive of mine that went bad about a year ago, and has the only copies of a few of my poems, and a lot of my only copies of others’ poems including four or five of Guy Beining’s the originals of which are lost.  But I thought it’d be fun to play marketeer for a little while.  And at least I didn’t bold-face the above.

* * *

Okay, now to what seems to me an interesting question I just wondered into (note: it’s near impossible now for me not to qualify every opinion of mine in some way like this) while discussing Karl Kempton’s current central project, an exhaustively researched history of visual poetry from pre-history on: what poem should be considered the world’s first major full-scale visual poem?  Very subjective, I fear, because of the difficulty in defining both a full-scale poem (for me, to put it simply, it would be a poem that’d be mediocre or worse if not for what it does visually) and a major poem.

I have no idea what poem is but don’t think any of Mallarme’s was because not depending on the visual for anything truly central to them.  Nor Apollinaire’s, which seem primitive to me, although I’d have to look at them again to be sure.  Such a poem would have to have a highly significant and original visual metaphor at its core to get the prize, in my opinion.  Nothing before the twentieth century that I know about does.  I think I’d aware the prize to something by Cummings (although I’m not sure what, and he may not have composed what I’d call a full-scale visual poem); if not Cummings, then Grominger’s “silence,” but not with confidence because I don’t know what other superior visual poems came before it.

Here’s a related question I didn’t send Karl: what poet could be said to have been the world’s first serious, dedicated, lyrovisual poets, by which I mean poet who concentrated a fairly substantial portion of his thoughts and energy to lyrovisual poetry–as opposed to Lewis Carroll who (1) was not a lyrical visual poet and (2) wrote light visual poems (which were nonetheless an important contribution to poetry, or Mallarme or Herbert, neither of whom composed more than a few poems that could be called visual–or, from my standpoint, made primary visual poems, or poems whose visual content was at least as important aesthetically as its verbal content.

I’m not even sure Cummings would qualify for consideration since he did not compose all that many poems I’d call primary visual poems.  I’d have to go through my volume of his complete poetry to be sure of this, though.  So, we have a preliminary question: what poets devoted a fairly substantial portion of his thoughts and energy to lyrovisual poems.  My impression is that Kenneth Patchen was one of them.  I think Apollinaire probably was, too.  Most of the concrete poets seem to have been. I know I’ll annoy a number of you with my next pronouncement: it is that fewer and fewer people calling themselves visual poets devote much, or any, time to the composition of visual poems, preferring to make textual designs (and mostly doing extremely well at it).

Now another addition, this to my thoughts about urceptual personae:

It occurred to me that I made no attempt in yesterday’s entry to indicate the biological advantage of having . . . ursonae, so I’ll try to do that now.  I’ll need to go into some detail about the way an urceptual persona is created.  For an example, I’ll use the urnemy (no, I’m just foolin’ around: I won’t make that my new name for “the urceptual enemy”).  When a baby first sees its father, it will automatically be thrust into its socioceptual awareness[1] where its urceptual persona recognition mechanism is.  This mechanism will activate the baby’s urceptual other—due to such stimuli as the father’s face and arms.  The father will be unfamiliar to it (probably, although he may have experienced enough of him while in the womb for him to be familiar; or perhaps any face will be familiar enough not to cause the baby pain, or even to cause it pleasure; assume here, though, that the father is unfamiliar to the baby, maybe because he has a beard and is first encountered while he is sneezing or farting).  Since the unfamiliar causes pain according to my theory, and pain caused by another person has to be one of the stimuli causing the activation of a person’s urceptual enemy, the baby’s urceptual enemy will become active.

The baby will withdraw as much as possible from its enemy, the father, because urceptual personae automatically activate appropriate certain reflexive behavior.  This is value #1 of an urceptual persona.

At this point, I am going to drop the urceptual enemy for not being as good a choice as an example as I first thought.  I’ll go instead to the urceptual father.  In the scenario I began, the father will almost certainly not continue to activate the baby’s urceptual enemy for long, if he even does so when the baby first encounters him.  The baby’s mother will probably be with the father and say something like, “Here’s your daddy, Flugwick (or whatever the kid’s name is),” in a momvoice, accompanied by a mom smile, and many another mo0mfeature, so neutralize the father’s unfamiliarity.  And the father will smile and say something in a gentle voice and perhaps, tickle the kid under the chin—certainly something likely to seem pleasant to the kid.  In short, little Flugwick’s urceptual persona recognition mechanism will soon activate its urceptual father (I now think a baby will recognize the first male it encounters as its father—but be able to correct the error before long—rather than as a friend; if my hypothesis turns out valid, it will be easy to determine exactly what happens.

Be that as it may, eventually the baby will (in normal circumstance) automatically perceive its father as both a certain shape with a certain voice and smell—and as its urceptual father.  The activation of the latter will help it more quickly react to the father appropriately.  It will learn from its social environment—mainly its family—the details of appropriate reactions not instinctive like its smile will be until it learns enough to control it.

That an urceptual persona will double the ability of the real person it is attached to cause reactions is it second extremely important biological value.  For one thing, this will make people more important than almost anything else to a person, which would obviously help a species survive.

What might be as important to a person as people?  Here’s where my superspeculative nature takes over from my speculative nature.  The goals a person shoots for may become as important to a person as others, or even himself  Beauty, for an artist.  As I’ve already tried to demonstrate, an artist will almost surely be motivated to some small or large degree to create an object of beauty to gain others’ approval.  But simply to create something of beauty for its own sake can very well be his main motive, or even his only motive.  I’m back to the magniceptual awareness where one might go to concentrate on beauty free of interpersonal concerns.  Where I increase my speculativeness is in thinking puberty may open a person’s magniceptual awareness—give him doors into it, or significantly increase his doors into it.  I strongly suspect a male’s magniceptual awareness is significantly large than a female’s.  Just as a female’s anthroceptual awareness is much larger than a male’s. Of course, feminists will take this to be an insult to women, but I don’t see it as that.  Well, as a male, I have to think of what I am as superior to females, but nonetheless trying to be objective about it, there’s no reason to say that interpersonal matters require less talent than impersonal matters.

The joke is that all this will be moot when asexual computers take over the world, reproducing like protocytes—with ecstasy.  But who knows, they may be us.
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* * *
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[1] According to Me, among everyone’s ten major awarenesses[2] (so far) is an anthroceptual awareness, which consists of two sub-awarenesses, the egoceptual awareness which is where a person experiences himself as an individual, and the socioceptual awareness, where he experiences himself as a member of his society.  Each of these is one of the “intelligences,” in Howard Gardner’s writings on the subject.

[2] A major awareness is an awareness just under one of the primary awarenesses on my taxonomical chart of the awarenesses.

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Entry 1665 — Additions to Yesterday’s Entry

Thursday, December 18th, 2014

Note: in yesterday’s entry, I opposed entities that are “real,” because capable of being sensorily perceived, to “imaginary” ones that cannot be perceived.  I should have used “communicatively perceived” in place of just “perceived,” or whatever term I used for that.  That’s because some believers in Eastern x-ceptualities, believe themselves actually perceiving gods and the like whom others cannot.  I say that if I see a tree, and say the tree is real and get almost any sane person to look at it and agree with me that it is, I have identified a communicably perceivable entity whereas if an Eastern mystic says he went somewhere in his mind, or some like place, and talked with his god, his god is only perceptible to him, if he cannot take me where I can also meet him; the god is not communicably perceivable.

This goes back to the two realities idea of mine.  I’m not sure what nutto names I gave them, but they are the personal reality and the collective reality, and–for me–the only one the means anything is the collective reality: reality is what I and others agree it is.  I think my personal reality is almost the collective’s.  The important differences are no questions not yet genuinely decided by the collective: for instance, the value of my cultural contributions.  I suspect there will never be a fair way to determine that but the collective’s current answer would have to be”who knows.”

As I think more on it, it seems to me there might be two collective realities: the one with a city called New York separated by an ocean called the Atlantic from a city called London, and we go into our x-ceptual awareness to consider.  There most questions are a good deal less than 95% decided by the collective, and I think it fair not to consider something to be part of the collective reality (“objective reality” is or should be my name for this unless 95% of the clearly sane say it is.  It is insane, though, to reject something proposed as real because it hasn’t gotten enough votes; one must accept it as not sufficiently demonstrated only.

Maybe I’m saying objective reality is what we deal with in a practiceptual awareness, while insufficiently-demonstrated reality makes up most of what we deal with in our higher awareness.  From another slant, objective reality consists of entities; non-practiceptual possible reality consists of the inter-relationships of entities.

I’ve thought more about what to call x-ceptuality.  “Sapienceptuality” may be my best attempt, but it’s not right.  “Aristoceptuality” gets it almost exactly, but only if we put aside the fact that most aristocrats are not very bright.  And Aristotle, my favorite philosopher, had little to do with the arts.  Another miss: “Magnaceptual,” out because too similar to “Supraceptual,” which I want to keep for my ruling awareness.

I thought of following Siggy in using the names of gods which would have given me “Apolloceptual.”  But what god’s name could I use for “practiceptual,” assuming I could give up that name, which seems near ideal for what I want it to mean.  Also, Apollo seems to me to represent only part of where goes on in the “second” awareness.

“Significeptual?”  I like it but fear it’s too much of a slur on the practical.   I thought of “culturaceptual” because the practiceptual awareness has to do with survival and comfort, the other awareness with what I think of as culture.  But “culture” is a contaminated word.

“Abracaceptual?”  A good one, but no.

Fie on it.  I’m quitting for now.
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Entry 1447 — Day 14

Thursday, May 8th, 2014

My second week working on what I thought would be a simply essay will end today.  I may have another week to go before finishing it.  It’s close to 7,000 words in length now–which means I’ve done 500 words for it daily.  But most of them were already written before I began.  And the piece should be substantially shorter when done.

So just what have I been up to?  Basically thinking, I guess, and re-thinking–and re-arranging blocks of text.  A few days just enough more than nothing to claim I worked on the thing.  And it’s only one small portion of only one of my life’s projects!  Yesterday, though, I wrote A Pivotal Sentence: “More exactly, however, it is what we feel when a pleasure-cell in the brain’s ‘evaluceptual awareness’ is activated,” “it” being pleasure.  This sentence was wonderfully important, at least to me, because it give me a transition into what I was instantly intuitively certain would be the Grand Core of Mine Essay.

Finding a good transition makes me happier than coming up with what seems to me an original, important idea.  Anyway, this one led to “And here we leave certified science completely for my Knowlecular Psychology.”  See?  Now I can yak about my whole theory, then about its evaluceptual awareness, and finally what I have to say about beauty, ending with its biological importance.  I’m already 200 words into that.  You will be able to judge whether my transition worked or not when the essay is done and published somewhere.

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Entry 384 — A Poetic Coinage « POETICKS

Entry 384 — A Poetic Coinage

Faereality.
.                                      f
.                                     ae
.                                      r
.                                     ea
.                                     lit
.                                     y

As Cummings might have had it.  I coined it for use in the mathemaku I made last night for the one-mathemaku-a-day-no-matter-how-bad project I start five days ago to force myself to think mathemakuically–in hopes that that would eventually perk me up.   It’s the dividend.  I haven’t gotten the quotient quite the way I want it.  At this stage, it’s “clouds softening/ out of a long-lost haiku/ toward a full-hued day.”  I need it positive because the poem’s divisor is a raging storm.  Which now makes me think a better quotient would be something like “17th-century haiku about a butterfly”–i.e., something not so obviously the opposite of a storm.  The poem needs work, but it’s the first I’ve thought good enough to tinker with.  The first four don’t come close to making sense nor do anything interesting. No matter as long as I end with 365 things that qualify as mathemaku 360 days from today.

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theoretical psychology « POETICKS

Posts Tagged ‘theoretical psychology’

Entry 115 — The Knowleplex

Saturday, February 27th, 2010

The knowleplex is simply a chain of related memories–A.B.C.D.E., say–or a knowledge-chain. It is what we remember whenever we are taught anything, either formally at school (when our teacher tells us Washington is the capital of the United States, for instance) or informally during day-to-day experience (when we see our friend Sam has a pet cat).

There are three kinds: rigiplexes, flexiplexes and feebliplexes, the name depending on the strength of the knowleplex. One is too strong, one too weak, and the other just right. If we let A.B.C.D.E. stand for “one plus two is three,” then a person with a rigiplex “inscribed” with that, asked what one plus two is, will quickly answer, “three.” But if asked what one plus four is, he will give the same answer, because his rigiplex will be so strong it will become wholly active due only to “one plus.”

On the other hand, a person with a feebliplex “inscribed” with “one plus two is three,” asked what one plus two is, will answer “I dunno,” because his feebliplex will be so weak, even “one plus two is” won’t be enough for his knowlplex to become active. Ditto when asked what one plus four is. But the person whose knowleplex is just right–whose knowleplex is a flexiplex, that is–will answer the first question, “three,” and the second, “I dunno.”

Needless to say, this overview is extremely simplified. Even “one plus two is three” will form a vastly more complicated knowleplex than A.B.C.D.E. The strength of a given knowleplex will vary, too, sometimes a lot, depending on the circumstances when it is activated. And each kind of knowleplex will vary in strength, some feebliplexes being almost as strong as a flexiplex, for example. In fact, a feebliplex can, in time, become a rigiplex. For the purposes of this introduction to knowleplexes, however, all this can be ignored.

Entry 89 — IQ, EQ and CQ

Friday, January 29th, 2010

I’m taking a break from Of Manywhere-at-Once to reveal my latest coinages, PQ and CQ, or psycheffectiveness quotient and creativity quotient.  I’ve long held that IQ is a ridiculously pseudo pseudo synonym for intelligence.  “Pychefficiency” is an old term of mine for “genuine intelligence.”  A slightly new thought of mine is that PQ equals IQ times CQ divided by 100.  So an average person’s PQ would be 100 times 100 divided by 100, or 100.  The most common Mensa member’s PQ would be 150 times 50 divided by 100, or 75.

Okay, mean-spirited hyperbole.  But there definitely are a lot of stupid high IQ persons, and it is the stupid high IQ persons that gravitate toward Mensa membership.  (Right, I’m not in Mensa–but I could be, assuming my IQ hasn’t shrunk much more over the years than my height, which is down a little over half an inch.)

My formula wouldn’t come too close to determining a person’s true PQ because IQ is so badly figured, but it would come at least twice as close to doing so as IQ by itself.  A main change necessary to make the formula a reasonable measure of mental effectiveness would be to divide it into short-term IQ and long-term IQ.   The former is what IQ currently (poorly) is–i.e., something that can be measured in a day or less.  The latter would be IQ it would take a year (or, really, a lifetime, to measure).  Quickness at accurately solving easy problems versus ability to solve hard problems.

Really to get IQ right one would have to measure the many kinds of intelligence there are such as social intelligence, aesthetic intelligence, athletic intelligence, self intelligence and so forth, then add them together, find the mean score thus obtained for human beings.  Divide that by a hundred and use the answer to divide a given intelligence sum to find true IQ.

Maybe not “true IQ,” but “roundedness quotient.”  For me, true IQ would be all the intelligences multiplied together divided by the product of one less than the number of intelligences and 100.  That, on second thought, wouldn’t do it, I don’t think.  What I want is a reflection of the strength of all one’s cerebral aptitudes without penalty for absent talents since it doesn’t seem to be that they’d be too much of a handicap.  I’m in an area now I need to think more about.  So here will I close.

Entry 78 — Of Manywhere-at-Once, Volume Two

Monday, January 18th, 2010

For three months or so I have been critiquing a book by an imbecile who doesn’t know who wrote the works of Shakespeare, only that Shakespeare did not.   Diana Price’s Shakespeare’s Unorthodox Biography. Each day (but one) I’ve attacked a section of it at HLAS, where the authorship debate can be carried on without restrictions.  I started the critique for many reasons, the main one being that the book is too full of crap to ignore.  Nor did I ignore it when it was first published.  I read it through, making copious annoyed and sarcastic annotations in it.  I wrote up an overview of its main thesis for use in my own authorship book.  And I fully intended to write a thorough critique of it–which I never got around to.  Until now.

2009 was a terrible year for me, especially the second half of it.  I did almost no writing during that second half.  So my second reason for my critique was simply to force myself into a writing routine.  I have to admit I also wanted something to express anger about, being pretty unhappy at the time with just about everything in my life.  In other words, take out my misery on poor Diana Price.  Not a worthy victim but published hardbound by a more respectable company than I ever was, and asked to lecture on her book at universities, as I never have been asked to lecture on my Shakespeare book.  Oh, what I’d really call my main purpose is to present a full-scale portrait of a propagandist–that is, reveal what the main propagandistic devices are and how they work.  A handbook on propaganda for the uninitiated, or–more exactly–the incompletely initiated–which would include me, out to learn in the process.

My venture  has so far been successful.  My critique is now almost 40,000 words long, and I’m almost halfway through Price’s books, which I’m covering page by page.   For some reason today I thought of a similar project I could start here: constructing day by day another book I have notes for and long ago seriously hoped to write but didn’t, my Of Manywhere-at-Once, Volume Two. (I’ve had a third volume in mind to do, as well.)

So: tomorrow I’ll begin it.  I figure I’ve pretty much taken care of this entry already–and want to add something to it that has nothing to do with my manywhere book, but want to record in case I forget about it.  It has to do with my knowlecualr psychology, specifically with my theory of temperaments.  Until an hour or so ago, I posited four temperaments (or personality-types): the rigidnik, the milyoop, the ord, and the freewender for, respectively, high-charactration/low accommodance persons, high-accommodance/low charactration persons, medium charactration/medium accommodance (ordinary) persons, and high charactration/high accommodance persons.   My types were based on two of my three mechanisms of intelligence, charactration and accommodance.  I suddenly saw earlier today that a fifth temperament based on the third mechanisms of intelligence, accelerance, might be in order.  A person high in accelerance bu not high in either of the other two mechanisms.   An eruptor?  Not sure how good a name that is, but it will do for now.

Entry 42 — A Knowlecular Analysis of the Visiophor

Monday, December 14th, 2009

#682 through #688 contain pieces of an attempt at an analysis of how, according to my knowlecular theory of psychology, we experience visual poetry.  It’s a jumble I hope at some time to make a coherent essay out of but for right now I’ve made it a page you can access by clicking on “How the Brain Process Visual Poetry” in the Pages section to the right.

Entry 17 — Knowlecular Poetics, Part 1

Wednesday, November 18th, 2009

Today, #621 in its entirety because I’m too tapped out to do anything more:

14 October 2005: Eventually, neurophysiology will be the basis of all theories of poetics. My own central (unoriginal) belief that metaphor is at the center of (almost) all the best poetry is neurophysiological, finally, for it assumes that the best poems happen in two (or more) separate brain areas, one activated by an equaphor (or metaphor or metaphor-like text), the other (or others) by the equaphor’s referents. Manywhere-at-Once. Neurophysi-ologists may even now be able to test this idea–although not with much finesse. Their instruments are too crude to determine anything definitively, but could certainly determine enough to be suggestively for or against my idea.

I believe, by the way, that the few good non-equa-phorical poems get most of their punch due to their evasion of metaphor. That is, those experiencing them get pleasure from the unexpected absence of metaphor or nything approximating mataphor. It may even be that such poems cause those experiencing to experience anywhere-at-Once by activating two separate brain areas–one of them empty! (A kind of “praecisio” for Geof Huth to consider.) The pay-off would be a feeling of image-as-sufficient-in-itself.Be that as it may, I brought this subject up–well, I brought it up because I couldn’t think of anything else to discuss today. But I wanted to begin considering visual poetry neurophysiologically, something I haven’t before, that I know of. Recently, I’ve been trying, in particular, to distinguish visual poetry from illustrated poetry in terms of my knowlecular psychology, which is entirely neurophysiological (although the neuorophysiology is hypothetical). I’ve been having trouble. I believe I have a beginning, though. It is that an illustrated poem, like some of William Blake’s, put a person experiencing them in a verbal area of his mind first, and then into a visual area of his mind. The text activates his verbal area, the illustration his visual area–at about the same time that his verbal area activates some of the cells in the portion of his visual area activated by the illustration. This results in a satisfying completion that enhances the pleasurable effect of the poem.

A classical visual poem–a poem, that is, that everyone would consider a visual poem–will put a person experiencing it in a verbal area of his mind and a visual area of his mind at the same time. Because the text and the illustration will be the same thing.

The activated visual area will cause (minor) pain, because not expected–that is, it will be due to textual elements used in unfamiliar ways, or graphic elements jammed into texts in unfamiliar ways. If successful, the poem’s verbal content will secondarily activate some of the cells in the portion of the subject’s visual area the visual elements did–to result in the same kind of saisfaction the illustrated poem resulted in, except faster (the precipitating experiences not being consecutive but simultaneous), and with more unfamiliarity resolved, a plus in my theory of aesthetics.

Apologies if all this seems dense. I’m feeling my way–and writing for myself more than for anyone else. I hope to find my way to clearer expression, eventually.

Apologies for the misplacement of the above text: I can’t figure out how to indent at this site.–Bob

Entry 4 — The Nature of Visual Poetry, Part 2

Thursday, November 5th, 2009

Note to anyone dedicatedly trying to understand my essay, you probably should reread yesterday’s segment, for I’ve revised it.  Okay, now back to:

The Nature of Visual Poetry

As a visual poem, Biloid’s “Parrots” is eventually processed in two significantly different major awarenesses, the protoceptual and the reducticeptual.   In the protoceptual awareness, the processing occurs in the Visioceptual Awareness, to which it directly proceeds.  In the reducticeptual awareness, it first goes to  the Linguiceptual Awareness, which is divided into five lesser sub-awarenesses, the Lexiceptual, Texticeptual, Dicticeptual, Vocaceptual, Rhythmiceptual and Metriceptual.  The first is in charge of the written word, the second of the spoken word, the third of vocalization, the fourth of the rhythm of speech and the fifth of the meter of speech.  Of these, the linguiceptual awareness passes “Parrots” on only to the first, the lexiceptual  awareness, because “Parrots” is written, not spoken.  Since the single word that comprises its text will be recognized as a word there, it will reach its final cerebral destination, the Verbiceptual Awareness.

The engagent of “Parrots” will thus experience it as both a visioceptual and a verbiceptual knowlecule, or unit of knowledge–at about the same time.  Visually and verbally, the first because it is visual, the second because it is a poem and thus necessarily verbal.  Clearly, it is substantially more than a conventional poem, which would be processed entirely by its engagent’s verboceptual awareness.

Okay, this essay, only about a thousand words in length so far, is already a mess.  Yes, way too many terms.  And I keep needing to revise it for clarity.  Or, at least, to reduce its obscurity.  I have trouble following it myself.  My compositional purpose right now, though, is to get everything down.  Later, I’ll simplify, if I can.

Entry 3 — The Nature of Visual Poetry, Part 1

Wednesday, November 4th, 2009

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The image above is from the catalogue of a show I co-curated in Cleveland that Michael Rothenberg was kind enough to give space to in Big Bridge #12–with two special short gatherings of pieces from the show, with commentary by me.  I have it here to provide relief from my verosophizing (note: “verosophy” is my word for serious truth-seeking–mainly in science, philosophy, and history).  It’s also a filler, for I’ve had too tough a day (doctor visits, marketing, phoning people about bills) to do much of an entry.

It’s not a digression, though–I will come back to it, as a near-perfect example of a pure visual poem.

Now, briefly, to avoid Total Vocational Irresponsibility, back to:

the Nature of Visual Poetry

The pre-awareness is a sort of confederacy of primary pre-aware- nesses, one for each of the senses.  Each primary pre-awareness is in turn a confederacy of specialized secondary pre-awarenesses such as the visiolinguistic pre-awareness in the visual pre-awareness and the audiolinguistic pre-awareness in the auditory pre-awareness.  Each incoming perceptual cluster (or “pre-knowlecule,” or “knowlecule-in-progress,” by which I mean cluster of percepts, or “atoms of perception,” which have the potential to form full-scale pieces of knowledge such as the visual appearance of a robin, that I call “knowlecules”) enters one of the primary pre-awarenesses, from which it is sent to all the many secondary pre-awarenesses within that primary pre-awareness.

The secondary pre-awarenesses, in turn, screen the pre-knowlecules entering them, accepting for further processing those they are designed to, rejecting all others.  The visiolinguistic pre-awareness thus accepts percepts that pass its tests for textuality, and reject all others; the audiolinguistic pre-awareness tests for speech; and so on.  More on this tomorrow, I hope.

Entry 2 — The Ten Knowlecular Awarenesses

Tuesday, November 3rd, 2009

Okay, today the first installment of my discussion of the nature of vispo, which begins with a summary of my theory of “awarenesses”:

A Semi-Super-Definitive Analysis of the Nature of Visual Poetry

It begins with the Protoceptual Awareness. It begins there for two reasons: (1) to get rid of the halfwits who can’t tolerate neologies and/or big words, and to ground it in Knowlecular Psychology, my neurophysiological theory of psychology (and/or epistemology).  The protoceptual awareness is one of the ten awarenesses I (so far) posit the human mind to have.  It is the primary (“proto”) awareness–the ancestor of the other nine awarenesses, and the one all forms of life have in some form.  As, I believe, “real” theoretical psychologists would agree.  Some but far from all would also agree with my belief in multiple awarenesses, although probably not with my specific choice of them.  It has much in common with and was no doubt influenced by Howard Gardner’s theory of multiple intelligences.

The protoceptual awareness deals with reality in the raw: directly with what’s out there, in other words–visual, auditory, tactile, olfactory, gustatory stimuli.  It also deals directly with what’s inside its possessor, muscular and hormonal states.  Hence, I divide it into three sub-awarenesses, the Sensoriceptual, Viscraceptual and Musclaceptual Awarenesses.  The other nine awarenesses are (2) the Behavraceptual Awareness, (3) the Evaluceptual Awareness, (4) the Cartoceptual Awareness, (5) the Anthroceptual Awareness, (6) the Sagaceptual Awareness, (7) the Objecticeptual Awareness, (8) the Reducticeptual Awareness, (9) the Scienceptual Awareness, and (10) the Compreceptual Awareness.

The Behavraceptual Awareness is concerned with telling one of one’s behavior, which this awareness (the only active awareness), causes.  For instance, if someone says, “Hello,” to you, your behavraceptual awareness will likely respond by causing you to say, “Hello,” back, in the process signaling you that that is what is has done.  You, no doubt, will think of the brain as yourself, but (not in my psychology but in my metaphysics) you have nothing to do with it, you merely observe what your brain chooses to do and does.  But if you feel more comfortable believing that you initiate your behavior, no problem: in that case, according to my theory, your behavraceptual awareness is concerned with telling you what you’ve decided to do and done.

The Evaluceptual Awareness measures the ratio of pain to pleasure one experiences during an instacon (or “instant of consciousness) and causes one to feel one or the other, or neither, depending on the value of that ratio.  In other words, it is in charge of our emotional state.

The Cartoceptual Awareness tells one where one is in space and time.

The Anthroceptual Awareness has to do with our experience of ourselves as individuals and as social beings (so is divided into two sub-awareness, the egoceptual awareness and the socioceptual awareness).

The Sagaceptual Awareness is one’s awareness of oneself as the protagonist of  some narrative in which one has a goal one tries to achieve.

The Objecticeptual Awareness is the opposite of the anthroceptual awareness in that it is sensitive to objects, or the non-human.

The Reducticeptual Awareness is basically our conceptual intelligence.  It reduces protoceptual data to abstract symbols like words and numbers and deals with them (and has many sub-awarenesses).

The Scienceptual Awareness deals with cause and effect, and may be the latest of our awarenesses to have evolved.

Finally, there is the Compreceptual Awareness,which is our awareness of our entire personal reality. I’m still vague about it, but tend to believe it did not precede the protoceptual awareness but later formed when some ancient life-form’s number of separate awarenesses required some general intelligence to co:ordinate their doings.

I have a busy day ahead of me, so will stop there.

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Entry 902 — the “Pleruser”

Thursday, October 25th, 2012

Do I have a good word, finally, after forty years, for “one who does more than read a poem” in “pleruser?”  I like it now, but I’ve liked probably thirty or more previous of my attempts to get a better word than my “aesthcipient” for engage a work of art fully, in general, and for not just reading but viewing a visual poem, in particular.  pluhr ROO zuhr.  From “peruser” and “PLuRal.”  Sibling: “plerusal.”

Another new coinage, but probably just an ad hoc term is “poelectricrity,” which is what a poem has to have to be major.  It comes from my latest idea about a poem that it has three contents, one of them its elecrical content.  More on that when (and if) I get the essay I’m writing about it–one paragraph done so far–finished.

I’m learning of interesting behind-the-scenes quiet differences of opinion about the Fantagraphic anthology, by the way.  Two friends having mixed views of it, or worse; an unnamed acquaintance of one of them sounding as if he thinks very little of it.   I consider it excellent–which doesn’t mean there aren’t specimens in it I’m not too fond of, although I’ve seen nothing in it that I think doesn’t deserve to be in it.   I’m not sure which would be better for the field–a no-holds-barred between those for it and those against it, or a solidity of all involved in the field it covers against the Establishment, it the latter comes out in opposition to it, as I hope it will.  Probably the best thing for now is to await further developments in the BigWorld.

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Entry 788 — Poets & Writers Questionnaire

Tuesday, July 3rd, 2012

Here it is:

1. Yes, I am interested in participating in either a phone interview (30 minutes) or focus group (90 minutes) or both
2. Please tell us what you write. Poetry, Fiction
3. Do you write genre fiction? Yes
4. If you write genre fiction, please indicate which type.  Science Fiction
5. Are you a translator? No
6. Do you write books for children?
7. Do you write books for young adults? Not yet
8. Have you published a book? Yes
9. If you’ve published one or more books, how were they published?
Both Published by a publisher and Self-published
10. Would you be willing to participate in a focus group in Manhattan? Could not afford to
11. Would you be willing to participate in a focus group in downtown Los Angeles.? Could not afford to
12. Do you use Google+ Hangouts? No (Don’t know what these are.)
13. Would you be willing to participate in a virtual focus group using Google+ Hangouts? Don’t know what it is.
14. On weekdays, what time of day would be best for you to participate in a focus group? Any time
15. Do you subscribe to Poets & Writers Magazine? No
16. Do you subscribe to our e-newsletter? No
17. Have you received payment from Poets & Writers for a reading you’ve given or a workshop you’ve conducted? That’s a laugh.
18. Are you listed in our Directory of Poets & Writers? Yes
19. Do you participate in our online Speakeasy? No
20. Your age? Over 65
21. Your ethnic background? White, not Hispanic
22. Your gender? Male
23. Please provide your name, email address and information on where you live. Provided

I find nothing in it to indicate Poets & Writers has a genuine interest in finding out what it can do to help poets and writers. They should, at the very least, have someone answering their questionnaire tell how he rates their magazine from 1 for I think it very bad to 5 for I think it very good, to be sure of getting a few people who could actually help them do what they say they want to do. They should ask for comments, too. Such as a yes/no question about whether the answerer has ever published any kind of opinion piece on the state of literature in America, with a follow-up determining how often he has, if he has. More specific question on the kind of poetry done would help–a list of the Wilshberian poetries and “other.”  If I had time, I’m sure I could think of other good questions.  The results of P&W’s effort to improve should be amusing.

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Entry 524 — The Latest Nobel Laureate

Friday, October 7th, 2011

 
Yesterday I made a sarcastic remark at New-Poetry about the blurb at the Nobel site for the latest mediocrity getting money from Stockholm in the literature department.  John Jeffrey replied, “Bob, if you go to the Noble Prize for Lit web site, there’s a list of all the laureates.  For the recent winners, those little blurbs (such as Tranströmer’s ‘condensed, translucent images’ you commented on) have been so overblown that they crack me up.  Here are some for various winners.  (See if you can guess who based on the blurb.)

 
“‘…for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat’.
 
“‘…author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization’.
 
“‘…that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny’.
 
“‘…for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories’.
 
“But it seems these incomprehensible burbs are a recent phenomenon.  It wasn’t always this way.  Back in ’23, they wrote that Yeats was awarded the prize,“for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation.”  That’s probably too clearly phrased for today’s fancy-pants Nobel writers.”
  
Said I: “I’m a sucker for ‘cartography,’ John, so I love the blurb with that in it.  As for the Yeats blurb, well, my problem with it is the same as my real problem with all the blurbs: they treat poetry as a sociopolitical instrument; what it does for ‘the spirit of a whole nation’ is what counts, not what it does as works of art—not for a whole nation but only for its best few (although I believe in the trickle-down effect that will allow lesser talents to use the innovations of geniuses to make art most of the rest of a nation will enjoy—the Bob Dylans, for instance).  The over-blown gush the Nobel people use for their blurbs is just their way of saying they haven’t the slightest idea for what poetry is at its best—though a few times I accept that they’ve rewarded it at its best, as with Yeats.  Maybe with Tranströmer, too, who knows.  I don’t and won’t have time to, but my intuition is that, at best, he’s another Yeats—which is to say, as Brahms was to Beethoven—when Wagner had become the next Beethoven.  Not that I’d shoot someone for preferring Brahms’s music to Wagner’s, but I would shoot someone for claiming Brahms was anywhere near as important a composer as Wagner, and importance ought to be of . . . importance.”
 
I mentioned Dylan because some people are advancing him as an appropriate Nobel Laureate.  If writers like Sinclair Lewis and Pearl Buck were, then I guess he is. 
 
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Entry 476 — Bad News

Monday, August 1st, 2011

Just last night I heard of Len Fulton’s death from Karl Kempton.  A huge loss to me personally, and to the larger world.  What small visibility I have as a critic is due almost entirely to him.  What small visibility our country’s best writers have is due in large part to him, too–due to his support of the small press and micro-press for so long.  (His American Odyssey, a Bookselling Travelogue, which is about his beginnings in his vocation, is still entertainingly and informativelyl worth reading.)

I never met him personally–or even talked to him on the phone.  But we exchanged a lot of notes over the twenty years or so that I knew him.  He was always upbeat and supportive.  In his last note to me (this June), he wished me luck with my hip, which I’d just written him I was going to have replaced.

I was amused to hear that he’d been a life-long fan of the baseball Giants–and saddened that I hadn’t shared his happiness for them when they won the world series last year.  I’d rooted for them when they were the New York Giants, then for a while after they abandoned their New Jersey, New York and Connecticut fans, but only because of my emotional investment in their players.  I eventually dropped them for the Mets.  I disliked them (and the Dodgers) for many years but last year they were my team–I liked their players and felt the organization had been punished long enough for having skipped out.  Now that I find they won one for Len, I’m even more for them!

I hope he can be replaced enough to allow Dustbooks to continue.  He certainly won’t be replaced enough to satisfy any of the many who will miss him.

Entry 350 — Re: the Value of Taxonomy « POETICKS

Entry 350 — Re: the Value of Taxonomy

My good friend Geof Huth has challenged me to demonstrate why taxonomization is of value.  At first, I was somewhat dumbfounded by his belief that it was, if not useless, not of major importance.  Able occasionally to illuminate but not able to do so well enough for one to make a life-long project of, as I have.   I have always taken it as a given that an effective taxonomy is of value–of crucial value–in all fields.  Linnaeus’s Taxonomy, Mendeleyev’s Periodic Table of Elements, Euclid’s Geometry . . .   I termed it “the basis of the conceptual appreciation of art” (in a slightly different arrangement of those words), in the introductory defense of it in my A Preliminary Taxonomy of Poetry.  I also mentioned “the clarification of discussion that an effective taxonomy can accomplish.”  Later, I may have gone off the lyrico-mystical deep end when I said, “At their best, taxonomies (and analysis in general) reveal ever-smaller mysteries, and ever-vaster interconnections to discover down or up to–while allowing us a vocabulary greater than ‘oooh’ and ‘ahhh’ with which to share our pleasure with others.”  Granted, the idea that without taxonomy’s help, our vocabulary would be limited to ooohs and ahhhs is absurdly exaggerated.  Still, as I hope to show, only a taxonomy-based vocabulary is of maximal usefulness in the search for significant truths.

I soon admitted that I had not done much more than assert the worth of taxonomy, although it still seems to me that anyone who has done serious work in any kind of verosophy (i.e., field of significant material knowledge) would find plenty of support in his experiences for those assertions.  Ergo, I now must present a detailed case for taxonomy.  Not easy, for that requires a discussion of knowledge,  a main contention of mine being that taxonomies are either necessary or hard to do without in all attempts significantly to understand a discipline.  Here I ought to stop, for the possibility that I could convince anyone that my understanding of what knowledge is, and how we acquire and use it is valid is less than point oh one percent.  Nevertheless, I’ll try.  If I can figure out how to.

Warning: I’m now going to think out loud.  I will be hard to follow as I will probably jump around.  My logic will at times be very lax, and I’ll use coinages of mine unfamiliar to all but me.  Don’t expect too much in the way of articulateness, either.

I’m going to start with the knowleplex.  That’s what I call the complex of knowlecules (bits of knowledge) that a person’s brain forms when learning his way around a portion of reality containing interrelated matter–one’s neighborhood, for instance, or marine biology, or the study of the photon.  There are many kinds of knowleplexes.  The most effective, for verosophers, is the verosoplex.  That’s because it is systematically organized.  Not perfectly, but always aiming for maximal systemization.

I would claim that one reason many plenty dislike taxonomy (and reductive thinking and everything else having to do with science and related fields) is that they are incapable of forming verosoplexes.  Some whom I call “milyoops, tend because of their innate temperaments, mainly to form sloppy clumps of knowlecules some of which interrelate with some of the others in the knowleplex  but few of which interrelate to all or even a majority of the others in it.  The milyooplexes, as I call these, lack a unifying principle, something that makes a big picture possible.  An effective taxonomy is the ultimate such unifying principle.

It’s just like a city: an ideal system of streets will get you with maximal efficiency wherever you want to go; streets designed merely to connect one building to one or two others, will be worthless outside a give neighborhood.  Similarly, a city with an effective system of streets will tend to fill up with building at eay to find and get-to locations.  A really well-organized city (impossible because Nature must make it so) would have a center from which the whole of the center would be in view.

Another kind of knowleplex is the rigidniplex.  It’s formed by people I term rigidniks whose innate temperament compels them to create unsound unifying principles–conceptual skeletons, so to speak–that are too inflexible to form a unifying basis for sufficient knowledge to provide a rational understanding of a field.  They over-unify too little data.

Milyoops are satisfied by their milyooplexes because they allow pleasurable short-term connections–the pleasure of vaudeville versus the pleasure of a well-written full-length play.  Or pop songs versus classical symph0nies.  They can’t experience long-term pleasure or be other than bored by anything aimed to provide that, so they oppose it.  They love to learn small facts, but avoid systematic knowledge.  Another way of putting it is that a milyoop lacks much of an attention span–a pop song’s immediate variation on its initial theme will give them pleasure, but forget a second movement of a symphony’s providing a (probably more complicated) variation on a (probably more complicated) theme played ten minutes previously.  They can’t use a taxonomy, which does, basically, what a fine symphony does, so they reject it.

The whole idea is that a small understanding of some small portion of a knowleplex will give pleasure, but if one also can connect it to some other portion of the knowleplex, one can enjoy the second portion at the same time, and if one can also–do to one or more such connections, intuite something of the way everything in the knowleplex interrelate, one can enjoy a truly superior pleasure.  Indeed, such an understanding can suggest the sense of the oneness of all things that religions hype as the ultimate happiness–and which I believe all verosophers experience in their best moments, and have spoken of.  Artists, too–although not by means of a verosoplex, but by means of (this is a new idea of mine) an intuiplex–a knowleplex whose unifying principle is protoceptual rather than reducticeptual.  Or sensual rather than conceptual.

This is a good moment for me.  Due to the taxonomical thinking I always do when working with my theory of psychology.  I classify artistic temperaments as different from scientific temperaments on the basis of their brain make-up, which I won’t go into here.  And suddenly perceived how I could be nice to artists with this intuiplex, which I genuinely see can be a route to large truths equal to the verosoplex.  But also what causes the two cultures C. P. Snow wrote about, and which I fully accept.

The intuiplex much more than the verosoplex aids the pursuit of beauty, which I hold to be as important as the search for truth, but probably hinders the latter–except when used by someone who also is capable of verosoplexes.  Similarly, verosoplexes tend to get in the way of the pursuit and appreciation of beauty.

Again, I yield to the temptation of using my present reasoning to support the value of taxonomy.  Only because of taxonomy have I been able on the spur of the moment to hypothesize an intuiplex–because it is based on the knowleplex, which is only a taxonomical level one step above it, and the verosoplex, which it is recognizably identical to (to me) except for one thing, its being an arrangement of primarily protoceptual knowlecules (think of the somatic knowledge that some highly unintellectual highly effective athletes have) instead of reducticeptual knowlecules–which, by the way, is taxonomically very similar, and in the same taxon as protoceptual knowlecules, differing from them only in that their ultimate source is the data conveyed to the brain more or less directly from the senses rather than extracted from the senses pre-cerebralling and converted to reducticepts (or conceptual knowledge, like words, numbers or geometrical shapes).

An important point to recognize is that the validity of my theory of psychology is irrelevant so far as the value of its taxonomy is concerned: its taxonomy greatly facilitates my navigation of it, and ability to understand it–and find gaps worth trying to fill I’d never find without it,

I really think I know what I’m talking about, however little it may seem so.  I hope someone somewhere in time and space gets something out of this installment of my adventure in Advanced Thought.  More, I hope, tomorrow.

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Andrew Joron « POETICKS

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Entry 385 — My Most-Used Coinage

Monday, February 21st, 2011

On 2/21/2011 3:21 AM, Jake Berry wrote:

Bob,    Hope this finds you well. I'm working on an essay and I'd like to  use your term 'otherstream', but I want to quote your definition  of the word directly. I haven't been able to find it on the internet  and I have no idea where it might be among all my books and papers.  So how would you define it?    Best,  Jake  

Terrific hearing from you, Jake–although it makes me feel guilty by reminding me of what a horrible correspondent I’ve been for going on ten years or more.  So many people I haven’t kept in touch with but should have!  Although I do keep up with you on the Internet.

Ah, the old days when I was one of the Kings of the  . . . Otherstream because I owned my own Xerox!  I’ve had some ungood years since then.  2010 was possibly the worst year I’ve had in thirty years.  But this year, so far, is going pretty well, although right now I’m in my null zone again.

Maybe not–your e.mail has me at least partway out of it.  Great to know someone still likes my coinage, and it was fun doing my own search for it on the Internet.  I found an article about Dale Jensen and his wife, Judy Wells, in which the term was used, followed by a comment by Jack Foley (good ol’ Jack) declaring that Andrew Joron had not coined “otherstream,” Bob Grumman had!

Somewhere else some guy took credit for coining it in 1996. My guess is that I first used it around 1985, so it has just has its 25th anniversary.  If I, indeed, was the first to use it.  Who knows if I did or not.  I don’t care.  I mean, it’d be nice to know for sure some word that more than a few people use was my word, but I’m really not that big about getting credit.  I want money, not credit!

Oh, I also found out there are various businesses calling themselves “otherstream” this or that, including, I think, a broadcast network.

So, a definition.  I’ve defined it in different although similar ways.  I think I would say that “otherstream” is my adjective for kinds works of art the great majority of arts academics, well-known critics, commercial publishers and commercial magazine editors know little more than the names of, if that.  A brief definition: art that’s now taught in college classes.  For me, it means approximately but only approximately the opposite of “mainstream.”  What it’s the exact opposite of is “knownstream.”  That’s because some art is knownstream, like certain kinds of very formal verse–the sestina, say, is well-known to most literature professors but is not what you’d call a kind of mainstream poetry.  I don’t think cowboy poems are considered mainstream, either, or though fairly popular.  I used it mainly for visual poetry, sound poetry and language poetry when I began using it, but some language poetry has become mainstream.

Hope this helps.  Thanks for wanting to use the word, which I think is a useful one.  And for inspiring me to write what I have here, which I can now use for today’s entry in my blog!  Make sure to link me to your essay when it’s online, or send it to me if it’s printed–with the hundred dollar royalty fee I charge for the use of any of my coinages.  (You can use “knownstream,” also mine, for half-price.)

all best, Bob

Jonah Goldberg « POETICKS

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Entry 1639 — Choice of Ethotactic, Part 4

Saturday, November 22nd, 2014

What I’ve said so far suggests a question to me: can something a person does with no ethical intentions be ethotactical?  For instance, say I am with a friend I know to be much more poor than I and we  come upon an apple tree in a public forest with one apple on it, and I pick it and eat it, not thinking of my friend.  Or, for a more colorful example, say I have been taught that Irishmen are subhuman creatures without the ability to feel pain, and that hunting them will be good practice in the use of firearms that one may one day need to fight off aliens from outer space.  So I shoot a few Irishmen between the eyes, inflicting pain on them without realizing it, and even perhaps killing one or two of them.  Have I behaved immorally?

According to my theory of knowlecular psychology, no.  That’s because an ethotactic, or the choice of a moral or immoral action, can only be the result of some anthroceptual decision based on living in harmony with a known social code.

I think I would go so far as to say that my killing an Irishmen or two in such a case is not immoral even according to most people’s standards.  Many would protest, but because it would seem that I would be excusing a Nazi taught to consider Jews sub-human for gassing them.  I would excuse the Nazi, but only morally.  For me, he would be not immoral, but homicidally stupid—and therefore deserving to be reprimanded!  Sorry.  I have a weakness for black humor.  What I believe is that such a person should be prevented from continuing to gas Jews by being executed—unless one truly believes some kind of re-education can make him accept Jews as human, and he is compelled to repay society for his social stupidity by spending the rest of his life shining the shoes of Jews for free or something.

Ultimately, I believe all reprehensible acts are acts of stupidity, and that what kind of stupidity is involved—moral stupidity or some other kind of stupidity—is irrelevant.  Society should be maximally protected from the person acting reprehensibly (and protected from his genes, for I believe criminals [real criminals], and that’s who I’m talking about, should not be allowed to breed).  Of course, I realize I’m making a complex subject seem much more cut&dry than it is.  Just ideas to counteract simple-minded bad/good anti-continuumism and the insensitivity of certain sentimentalists to Evil.

About evil I will say that all definitions of it are necessarily subjective, but that it does exist, and can be defined sociobjectively.  Sociobjectivity is a view of an idea that is held by such a large majority of the members of a society and which has an objective neurophysiological basis as to be close enough to true objectivity as to be taken as such.  Take the evil of killing an innocent child.  Almost everyone would disapprove of that, and (I believe) almost all of us are instinctively repelled by the deed, and—in fact—would instinctively try to prevent a child, innocent or not, from being killed.

Not that our instinct to use reason would necessarily not be involved.  If effective, it might tell us that our standing in society will go up if we stop someone from murdering a child.  Although our instinct to advance statoosnikally would be part of that.  Actually, I think in most cases, protecting the child would be reflexive whereas our explanation would be taken care of mostly by our reasoning.

To be honest, if I were dominated by reason, I would never risk my life, even as the old man I now am, for some child, because what I believe I may contribute to World Culture is almost sure to be more than what the child will, however long he lives.  The problem with that, of course, is that my ability to reason may be defective, in which case, my not saving a child at the risk of losing my own life would be stupid integrity–that is, acting according to my code that I should protect my own life at all costs because of its great value to the world.  I claim that following that code would be absolutely valid if I were another . . . Nietzsche, without his breakdown.

Needless to say, the idea that Evil is what some deity has said it to be is absurd; various deities have universally defined certain acts as evil because the men who invented them were instinctively against those acts.  Other non-universal acts, like saying something contemptuous about some deity, have also been said to have been ordained Evil by a deity invented by men not because their inventors were instinctively against such acts but because the definition of Evil helped them gain power or destroy other tribes, or simply because of some personal dislike—of a priest once clawed by a cat that made him claim his main god had defined cats as evil, for example.

I do think that reasoning should dominate every moral choice one makes, but it can’t overcome one’s instincts, all of which are ultimately moral, for a given person.  We can only argue about whose individual morals would work best for the society we want to live in, and perhaps use reason to show that giving in to a society’s chosen code will be better for each individual in the long run, the long run excluding some never-seen Heaven or anything like it.

Which brings to mind the question of whether or not it is moral to lie to the masses and tell them some God will do horrible things to them if they don’t accept a society’s code.  I realize that there are those who don’t believe that our species naturally, due to our genes, divides into different social classes–three of them, roughly speaking:  masters, slaves, and . . . cerebreans.  They’re nuts.

I divide ethics into the study of socioethotactics and the study of egoethotactics . . . I think.  There are two major problems: formulation of a maximally fair and biologically advantageous set of socioethotactics by a society, and an individuals’ reconciling his inevitably conflicting set of egoethotactics with his society’s socioethotactics.

More on this eventually, if I think I can say anything at all interesting about it.

* * *

Note: on the day I made my first entry here about ethotactics, 36 people checked up on me at my Wikipedia entry; rarely do more than 4 people visit it on a day, and none since the first month it was up have anywhere near that many done so.  Were they fans of Jonah Goldberg, whose article I was commenting on?  The visits after that have been few, for or five in a day at most.

Last, and definitely least, here’s this SURVEY again:

Please, Dear Reader, I implore thee: when you have read as much of this entry as you feel like reading, let me know whether you have found it worth reading in full or not by clicking “YES” or “NO” below. You would help me a great deal, and might even get me to make my entries more reader-friendly. (And for the love of Jayzuz, please don’t try to spare my feelings by politely declining to click the NO although you think the entry Vile Beyond Imagination. Oh, some of you may need to know that I am not asking you whether you agree with me or not!)

YES

NO

Note: I will be repeating this request in some of my entries to come. Feel free to click one of my buttons each time I do, but please don’t click either more than once a day.

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Entry 1636 — Back to Goldberg

Wednesday, November 19th, 2014

Okay, back to my response to an essay by Jonah Goldberg.  I was writing about the effect of ethotactical intelligence on ethotactical duration but also the width of said duration.  An “ethotactic” is a person’s moral choice of action in a given situation.  I ended my writing for that day with the following:

“Obviously, the situation will have a lot to do with the length of a person’s ethotactical durations, there seldom being little point in trying for a long one regarding what to do morally about a piece of candy one has been offered.  Short-term moral behavior will not depend much on ethotactical intelligence.  That means day-to-day behavior will generally be intelligent enough (and considered acceptable enough) although not based on long ethotactical durations or particularly high ethotactical intelligence.

“Now for a scattering of points, because I don’t see right off how to present a better organized response to Goldberg’s essay.  First is his suggestion that too many people, especially young people, believe that “if it feels right, do it!’ by which he means all they think is necessary to make an ethotactical decision is passion.  Goldberg amplifies this when he quotes a character in the movie, Legally Blonde, as follows: “On our very first day at Harvard, a very wise professor quoted Aristotle; ‘The law is reason free from passion.’  Well, no offense to Aristotle, but in my three years at Harvard, I have come to find that passion is a key ingredient to the study and practice of law—and of life.’”

“Well, I would agree with Goldberg that the character is an airhead  . . .” I stopped there, cutting the paragraphs above from the text because I thought it had come to a good stopping point before them.  When I came back to them just now, three days later, and wrote the paragraph beginning this entry, to set the scene, I was immediately unsure what I was talking about.    There’s a person’s plain choice of action.  How is it different from his moral choice of action?

Okay, a person’s choice of action depends on a vote from each of his active awarenesses at the time.  These votes will probably never be equal.  How much weight the vote of a given awareness will have will depend on the person and on the situation.  And now I suspect I’m constructing a different theory or set of ideas than I was describing in part one of this cluster-dementia of an intellectual exploration.

I should probably re-start but I’m too lazy too.  It is also possible that I’ve got an idea begun that may lead somewhere worthwhile.  Question: what awareness provides the ethical portion of a person’s choice of action?  Immediate answer: the evaluceptual awareness, because it is the awareness that determines on the basis of past experience what path is most likely to maximize the pleasure-to-pain ratio.  This answer is wrong.

The moral content of the evaluceptual awareness’s choice will be determined all or mostly in the anthroceptual awareness, because it will try to make one act properly in order to satisfy one or more social instincts like the need to conform, the empathic need not to cause pain . . . there must be others but I can’t think of them now.  The instinct not to cause pain probably has many sub-instincts under it: like the need not to boast (because it may make others feel smaller) . . .

I wonder if there’s an egoceptual instinct to be honest in appraising oneself.  No one else need see that you dishonestly rate yourself a better poet than some Nobel Prize Winner, so it’s not a socioceptual instinct, if it exists.  I think it may exist because it would be advantageous for preventing unrealistic behavior.  But would it be moral?  And what about the embarrassment of missing five lay-ups in a row in your backyard where no one can see you.  You have immorally failed to live up to your own expectations just as missing one layup in a game would be immorally failing to live up to your group’s expectations.  If doing what you’re supposed to in a team effort hasn’t to do with morality, what does it have to do with?

My problem is to intelligently describe a person’s choice of action, which I now see is a matter of describing the many choices it is a combination of—basically the votes of various awarenesses (and sub-awarenesses) I’ve already mentioned.  Too much work for me now, so I’m outta here.  I hope I return to this matter, for my own sake.  (It would be immoral for me to deprive the world of my further thoughts about it.)  Not sure I will.

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Entry 1633 — Moral Integrity

Sunday, November 16th, 2014

Jonah Goldberg is one of my favorite writers.  I consider him funny enough to steal material from, and agree with (most of) his political outlook.  Often, though, I find myself partially disagreeing with some position of his.  At the moment, I’m disagreeing with portions of his latest essay in National Review, “Empty Integrity.”  Goldberg believes the world is opting for a kind of “integrity” that Irish philosopher David Thunder categorizes as “purely formal accounts of integrity (which) essentially demand internal consistency within the form or structure of an agent’s desires, actions, beliefs, and evaluations.”  Opposed to this is a kind of integrity, Thunder describes as “fully substantive accounts.”  The difference between the two is that a person with the first kind acts in accordance with ethical principles designed to maximize his pleasure-to-pain ratio whereas a person with the second kind “desires to do what is morally good in all of his decisions,” according, again, to Thunder.

Goldberg implies that the first kind of integrity, which—because he associates it with the philosophy of Nietzsche, one of my idols—I will hereafter term Nietzschean Integrity, is “empty.”  It isn’t.  What he is really bothered by, first, is that a person possessing it does not “apply reason to nature and our consciences in order to discover what is moral” but simply does what “feels right.”  This is wrong for Goldberg because it ultimately means understanding integrity “only as a firm commitment to one’s own principles—because one’s own principles are the only legitimate principles. The god of a person’s morality is thus not Jehovah but the person.”

Nietzschean Integrity is “empty” only inasmuch as there is no imaginary being running it.  It seems to me that a truly empty integrity would be one that was devoid of rules to follow.  That is not the case with Nietzschean Integrity.  What makes it empty for Goldberg is merely his dislike of its rules . . .  No, what is wrong with it for him is not its rules but the rules he believes it will be based on if some entity outside it is not their source.  Actually there is no reason a person with Nietzschean Integrity might not “apply reason to nature and (his) conscience in order to discover what is moral” and, as a result become firmly committed to absolutely standard good old George Washington principles—because they lead him to rules of morality that “feel right” to him.

Ultimately, we all must follow the internal moral rules that feel right regardless of where they come from.  Everything we do, we do because it feels right.  Reason may tell someone that if he sticks his hand in a fire, he will experience pain, but he will accept what it tells him because it feels right.  To give just one example of why you should accept my generality that should suffice to clinch my case—which, I suppose, reduces the question to one of simple semantics.

In any case, the real problem for Goldberg (and me) is what I have some up with the brilliant name for of “Stupid Integrity.”   And here I bumble into boilerplate I feel bad about repeating but, I fear, is all I have to say about the topic.  I claim that one necessarily tries always to maximize his P2P (i.e., his “pleasure-to-pain ratio”), as he at the time believes—I should say, “guesses”—it to be for a length of time dependent on his . . . anthreffec- tiveness, or effectiveness as a human being, which includes but is quite a bit more than his “cerebreffectiveness,” which includes what those less picky about such matters than I would call “intelligence” but is significantly more than.  To make it easier to plow through what I will go on to say, though, I will replace “anthreffectiveness” with “intelligence.”

The stupider a person is, the shorter the period of time I’m speaking of will be.  Since my greatest defect as a thinker is a need to name just about everything I discuss, I am now going to call this period of time the “ethotactical duration.”  It’s a term I’ve come up with on the spot, so probably won’t last long.  It’s how long ahead a person plans (in effect, since usually the “planning” will be nothing like formal planning, and won’t even involve what most people think of as thought)—or, to put it more simply, it’s how long a person will take to decide, based on his (conscious or unconscious) moral code, what he will next do.  (A “behavratactical duration” is how far ahead a person plans before initiating any behavior.)

Note to Goldberg: please tell your couch that I am not purposely trying to distract my readers from my essentially empty ideas by overloading them with terminology, and that—while I do feel he’s almost as good an influence on my as he is on you, I’d prefer that he not bother me until I’ve finished saying what I want to say here.  I should add that if he wants me to continue referring to him in the future, thus improving his chances of immortality by at least 0.62%, he needs to try harder to be my friend.)

To be fastidious to a nauseating extreme, I must say that by “how long ahead a person thinks before making an ethotactical decision about what he will do next,” I actually mean “how long ahead the wide variety of facts, feelings, and who-knows-what-else a person will (in effect) consult before making an ethotactical decision regarding what he will next do.

Now then, while the length of a person’s ethotactical duration has a great deal to do with the intelligence of his moral acts, the width and depth of his moral decisions (i.e., their intelligence) will have significantly more to do with it.  Does he just consider the taste of a piece of candy he has been offered, or also its effect on his health and/or its effect on his reputation, and/or its effect on a child with him if you don’t offer it to him and the effect of that on you, and/or its effect on his mood and the effect of that on the poem he is composing . . . and the effect of that on what the world thinks of him in the year 2222?

As you can see, ethotactical intelligence will effect ethotactical duration but also the width of said duration.  In the case just described, if the person is concerned only with the taste of the candy bar and the immediate effect of his giving it versus not giving it to the child, he will only be concerned with a duration approximately equal to the time it takes him to eat the candy, or the same length of time (let’s assume) that he will enjoy the child’s enjoyment of the candy if he gives it to the child, or feel guilty about not giving it the child if he eats it but the width of the duration will be greater than it would have been had he only considered how the candy would taste.

(My thanks to Goldberg’s couch for not telling me how clumsily I just expressed myself.)

TO BE CONTINUED (alas)

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