Thanks to fellow Brazilian logician Valeria de Paiva, I cam across this amazing video, ‘City of Samba’, created by the multimedia artists Jarbas Agnelli and Keith Loutit. The city of samba is, of course, Rio de Janeiro, a city that is perennially beautiful no matter how you look at it; but through the tilt shift lenses of the artists, it becomes frankly supernatural. The music is also specially composed by Jarbas Agnelli, using non-percussion instruments to recreate the magical drumming of a samba school. (Here is a video where he explains the creative process.)
Many of you may by now be a bit fed-up with the World Cup-induced Brazil frenzy, but I assure you that this video will blow your mind even if you are suffering from Brazil-fatigue.
Anyone who spends a modicum of time on the internet will have been exposed to the recent hashtag battle opposing #NotAllMen and #YesAllWomen, so I don’t need to rehearse the details here. What I think is significant is that there may well be a sense in which both camps are right: it may well be the case that the proportion of men engaging in the more extreme forms of sexism and violence against women – the limit cases being sexual assault and rape – is relatively small, while the proportion of women being victims of these assaults is very high. There is no contradiction between the two.
Indeed, a 2002 study mentioned in this recent Slate article (which Eric W also linked to in a recent post – btw, it’s Eric’s post that got me thinking about this issue) on the sexual histories of college men found that ‘only’ 6% of those interviewed had attempted or successfully raped someone. But the catch is that there was an average of 6 rape attempts per perpetrator. So the math is simple: in a population of 100 college men and 100 college women, if 6 men are rapists but each engage in rape attempts 6 times during their college years, then it is perfectly possible that 36 of the 100 women, so more than a third of them, will have been the victims of successful or attempted rapes. (Naturally, there may also be cases of men sexually assaulting other men, but it seems that, in the college population in particular (as opposed to the prison population, or among younger male victims), the wide majority of cases is of male perpetrator and female victim.)
In less than a week from now, the opening match of the World Cup will take place, between Brazil and Croatia. Inevitably, the World Cup exposes spectators to a variety of national anthems from around the world – many of which we’d be just as well not having to listen to. To be honest, the Brazilian national anthem is not particularly beautiful, especially as the lyrics contain the usual dose of chauvinism; but in an instrumental version, here with the virtuoso mandolin player Hamilton de Holanda, it actually sounds surprisingly good.
Continuing the football-themed series I started last week, today I’m posting ‘Fio Maravilha’ by Jorge Ben(Jor). In January 1972, the iconic team Flamengo was playing a friendly game against the Portuguese team Benfica in the Maracanã, and Jorge Ben, a fanatic Flamengo supporter, was among the spectators. Less than 15 minutes before the end of the game, the score was a frustrating 0 x 0, and so the spectators started to demand that João Batista de Sales, a much beloved player who was benched for that match, be let in the game. Coach Mário Zagallo finally decided to comply, and Sales was brought in as a substitute. In no time he scored an astonishing goal, sadly not immortalized on video. The goal is however immortalized in the song ‘Fio Maravilha’, which was the nickname given to Sales after this match; it was an angel’s goal, according to Jorge Ben. The song became very popular and won a national song festival in 1972, in the voice of singer Maria Alcina.
Jorge Ben recorded 'Fio Maravilha' a number of times: I'm posting here 'Fio Maravilha' on its own, and also a hugely popular medley of this song with two other Jorge Ben classics: 'Taj Mahal' and 'País Tropical'. (And let me say for the 1000th time that Jorge Ben is an effing genius.)
Last year weannounced the launch of Ergo, an Open Access Journal of Philosophy. Today is the grand day of the publication of Ergo’s very first issue, with four amazing papers. To commemorate this occasion, the Ergo editors asked four distinguished philosophers each to comment on one of the four papers by means of blog posts. These are:
Julia Jorati (OSU) on a paper in early modern by Paul Lodge (Oxford), at The Mod Squad.
I’ve written a fewposts in the recent past questioning the whole idea of anonymous peer-review as a reliable guide to quality – in philosophy as well as elsewhere. In other disciplines, there have been numerous recent cases of ‘false positives’, i.e. papers which made it through the peer-review process but then were discovered to be fundamentally flawed after they were published (leading to a very large number of retractions).
The issue with false positives is well known, but as I’ve suggested in some of my previous posts, the issue of false negatives is equally serious, or perhaps even more serious, and yet it tends to be under-appreciated. A recent piece by JP de Ruiter, a psycholinguist at the University of Bielefeld, articulates very nicely why it is serious, and why it remains essentially invisible.
The two main goals of a review system are to minimize both the number of bad studies that are accepted for publication and the number of good studies that are rejected for publication. Borrowing terminology of signal detection theory, let’s call these false positives and false negatives respectively.
It is often implicitly assumed that minimizing the number of false positives is the primary goal of APR. However, signal detection theory tells us that reducing the number of false positives inevitably leads to an increase in the rate of false negatives. I want to draw attention here to the fact that the cost of false negatives is both invisible and potentially very high. It is invisible, obviously, because we never get to see the good work that was rejected for the wrong reasons. And the cost is high, because it removes not only good papers from our scientific discourse, but also entire scientists. […] The inherent conservatism in APR means that people with new, original approaches to old problems run the risk of being shut out, humiliated, and consequently chased away from academia. In the short term, this is to the advantage of the established scientists who do not like their work to be challenged. In the long run, this is obviously very damaging for science. This is especially true of the many journals that will only accept papers that receive unanimously positive reviews. These journals are not facilitating scientific progress, because work with even the faintest hint of controversy is almost automatically rejected.
With all this in mind, it is somewhat surprising that APR also fails to keep out many obviously bad papers.
Another sad loss this week: psychologist Sandra Bem, a pioneer in the empirical study of gender roles, passed away on Tuesday, May 20th. Here is the most complete obituary I could find so far, which details nicely her scientific contributions and the practical impact they had in gender policies. For example, it was largely based on her scientific work that the infamous practice of segregating classified job listings under "Male Help Wanted" and "Female Help Wanted" columns was finally abandoned, after a 1973 decision of the US Supreme Court ruling against the practice. (The case was against a particular press, but within a year all other newspapers in the country changed how their classified ads were listed.)
There are many other aspects of Sandra Bem’s life and work worth mentioning, but let me focus on two of them. As an undergraduate in 1965, she met Daryl Bem, then a young assistant professor, and a romantic relationship between them began. (Yes, there are successful stories too, apparently…) Initially, she did not want to get married, as this course of events seemed to preclude the professional path she had in mind for herself. But Daryl was not deterred, and so together they agreed on an arrangement that would allow her to flourish professionally, and which would basically consist in what is now known as equally shared parenting – an ideal that many couples aspire to, but which remains a challenge to implement (speaking from personal experience!). The ‘experiment’ was largely successful, and Sandra narrates all the ups and downs of raising two children (a boy and a girl) on this model in her 1998 book An Unconventional Family. (I’ve been meaning to read the book for years, and now may well be the time to stop procrastinating.)
In a few weeks, the football World Cup will start in Brazil, so in the coming weeks I will be posting a few football-themed songs. Don’t worry: I will not be posting the monstrosity that is the official theme song (with Pitbull & co. -- I refuse to put the link up). I will focus instead on some classics about football in Brazilian music.
Some may recall that the World Cup in Brazil has been surrounded by controversy, especially with the truly astonishing amount of money that seems to have gone into the construction of the stadiums. But like it or not, it will happen, so we may as well get ready for it.
Let me start with ‘É uma partida de futebol’ (1996) by the pop/ska band Skank (I’ve posted about them before). Both the song and the video nicely convey the fanatic, euphoric approach to football among fans in Brazil, with lots of footage from actual matches and the supporters; so quite a treat for football fans!
Last week I was ‘touring’ in Scotland, first in St. Andrews for a workshop on medieval logic and metaphysics, and then in Edinburgh for a workshop on philosophical methodologies, organized by the Edinburgh Women in Philosophy Group. In the latter, I presented a paper entitled ‘Virtuous adversariality as a model for philosophical inquiry’, which grew out of a number of blog posts on the topic I’ve been writing in the recent past (here, here and here). Quoting from the abstract:
In my talk, I will develop a model for philosophical inquiry that I call 'virtuous adversariality', which is meant to be a response to critics from both sides [those who criticize and those who endorse adversariality in philosophy]. Its key feature is the idea that a certain form of adversariality, more specifically disagreement and debate, is indeed at the heart of philosophy, but that philosophical inquiry also has a strong cooperative, virtuous component which regulates and constrains the adversarial component. The main inspiration for this model comes from ancient Greek dialectic.
And so I gave my talk, and somewhat against the spirit of it, everybody in the audience seemed to agree with pretty much everything I had said – where are these opponents when you need them? But one person, Amia Srinivasan (Oxford), raised what is perhaps the most serious objection to any adversarial mode of inquiry, virtuous or not: it may well minimize our endorsement of false beliefs, but it does so at the risk of also minimizing our endorsement of true beliefs.
Some years ago, at the end of an evening that probably involved more alcoholic beverages than it should have, I found myself as a member of a small party of four, composed of two colleagues (and incidentally, good friends) and one PhD student (all three male). As the conversation progressed, I ended up saying things that were somewhat sexually explicit (as some readers may recall, I don’t shy away from talking about matters pertaining to sexuality – see a recent lecture of mine on the science of female orgasm). To be clear, what I said could not have been construed as ‘flirtatious’ in any way, but the next day I came to deeply regret the whole episode. My reasoning was as follows: had I been a male individual, and had the student in question been a female individual, what I said would have been undoubtedly inappropriate, by my own lights. (Similar considerations could be offered concerning interactions with colleagues, but I was particularly concerned with the asymmetry between me and the student).
This episode led me to formulate and since then apply a principle of parity to regulate my behavior in professional situations: not to say or do anything that would be construed or viewed as problematic, had I been a man dealing with (especially more junior) women, be they colleagues, students etc. Until then, I would on occasion make remarks during class (e.g. ‘here, size does matter’ when talking about some issue pertaining to model-theory) which seemed to me to be ok (and in a sense, even a ‘political statement’ in some way), but which would not have been appropriate if uttered by a man. I do not make such remarks in class anymore.
A few weeks ago, the Rainforest Alliance, an NGO whose aim is to "conserve biodiversity and ensure sustainable livelihoods", released a promotional song, ‘I’m alive’, recorded in the Tijuca Forest in Rio de Janeiro, celebrating the wonders of Brazilian rainforests. Some of my favorite Brazilian musicians (Caetano Veloso, Lenine, Criolo) were involved, and the song is inspired by Caetano’s ‘Nine out of Ten’, from his classic 1972 album ‘Transa’. There is a sense in which it is yet another slightly embarrassing attempt by musicians to get involved in a ‘good fight’, but the result is musically not bad at all actually, hence me posting it here at BMoF. But I’m also posting the original ‘Nine out of Ten’ by Caetano Veloso, which, as my friend Jeroen would put it, has a lot more ‘balls’ than this newer version….
Yesterday the great singer Jair Rodrigues passed away at age 75; he was healthy and musically active until the end of his life (performing an average of 15 concerts per month), and died of an acute, violent heart attack. He is one of the lesser-known but very talented singers to have emerged in the 1960s, known for his samba interpretations, but in fact very versatile as a singer. In the 1960s, he hosted a very popular weekly show on TV with Elis Regina, in which many memorable duets with both were recorded.
I’m posting here the song that Jair Rodrigues is perhaps best known for, the classic ‘Deixa isso pra lá’ (1964) (a surprisingly modern proto-rap), and one of his medley duos with Elis Regina – this one with lots of Bossa Nova classics. He will be missed.
Hitler does not like Gödel's theorem one bit. Perhaps surprisingly, he displays a sophisticated understanding of the implications and presuppositions of the theorem. (In other words, there's some very solid philosophy of logic in the background -- I think I could teach a whole course only on the material presupposed here.)
(Courtesy of Diego Tajer, talented young logician from Buenos Aires, giving continuation to the best Monty Python tradition!)
This week I am posting ‘Palco’, a 1981 song by Gilberto Gil. The other day I was reminded of this song and then showed it to my daughters; they now love it, especially the part at the beginning that goes ‘my soul smells like talcum power, like a baby’s buttocks’ (‘minha alma cheira a talco, como bumbum de bebê'). It’s a great song, even if betrays its 1980s-ness in the instrumental overproduction. But it’s upbeat and lively, so perfect to put ya’ll in the mood for the weekend.
I’m in San Diego at the moment for the Pacific APA. Naturally, California rhymes with sea and sun, and in the absence of a California-themed Brazilian song worth posting (of course, there’s this silly one by Lulu Santos), I had to think of the classic ‘Wave’, composed by Tom Jobim and perhaps best known in the João Gilberto version. But I’m also posting it in the original instrumental version, by Jobim himself, and a live version with Jobim and Herbie Hancock. In other words, plenty of choice for picky ears...
BMoF's guest of this week is Luciana Souza, a Brazilian singer who is surprisingly little known in Brazil, having been based in the US for many years now. (Indeed, I discovered her recently thanks to the recommendation of a BMoF reader.) And yet, she has been receiving wide recognition for her work, including a number of Grammy nominations. One of the remarkable features of her career is that she continues to record classics from Brazilian music, while also making quite a splash in the more ‘traditional’ jazz scene. I’m quite impressed with how versatile Luciana is proving to be, being such an accomplished interpreter both of American standards and Brazilian classics.
Indeed, last year she released TWO albums (check here for a promotional video of both): one is the third installment of her Duos series, all of which containing nothing but Brazilian songs; the other is called The Book of Chet, and includes classics of the ‘Chet Baker sings’ repertoire. (Having spent a considerable portion of my youth listening to these Chet Baker recordings, I was particularly pleased to discover the Chet album…) Both albums received Grammy nominations, in different categories (Latin jazz and jazz vocal, respectively).
From Duos III, I’m posting ‘Doralice’, made famous through the João Gilberto classic version, and 'Lamento Sertanejo' (the very same song of last week's BMoF) in a medley with Djavan's beautiful 'Maçã do rosto'; from The Book of Chet I’m posting ‘The thrill is gone’ (my favorite from the album is ‘I get along without you very well’, but sadly I couldn’t find it on youtube). This should be more than enough to convince everyone of Luciana's exceptional talent.
A few weeks ago I had a post on different ways of counting infinities; the main point was that two of the basic principles that hold for counting finite collections cannot be both transferred over to the case of measuring infinite collections. Now, as a matter of fact I am equally (if not more) interested in the question of counting finite collections at the most basic level, both from the point of view of the foundations of mathematics (‘but what are numbers?’) and from the point of view of how numerical cognition emerges in humans. In fact, to me, these two questions are deeply related.
In a lecture I’ve given a couple of times to non-academic, non-philosophical audiences (so-called ‘outreach lectures’) called ‘What are numbers for people who do not count?’, my starting point is the classic Dedekindian question, ‘What are numbers?’ But instead of going metaphysical, I examine people’s actual counting habits (including among cultures that have very few number words). The idea is that Benacerraf’s (1973) challenge of how we can have epistemic access to these elusive entities, numbers, should be addressed in an empirically informed way, including data from developmental psychology and from anthropological studies (among others). There is a sense in which all there is to explain is the socially enforced practice of counting, which then gives rise to basic arithmetic (from there on, to the rest of mathematics). And here again, Wittgenstein was on the right track with the following observation in the Remarks on the Foundations of Mathematics:
This is how our children learn sums; for one makes them put down three beans and then another three beans and then count what is there. If the result at one time were 5, at another 7 (say because, as we should now say, one sometimes got added, and one sometimes vanished of itself), then the first thing we said would be that beans were no good for teaching sums. But if the same thing happened with sticks, fingers, lines and most other things, that would be the end of all sums.
“But shouldn’t we then still have 2 + 2 = 4?” – This sentence would have become unusable. (RFM, § 37)
The episode of this week in the web-series Dominguinhos+ has an unbelievably beautiful version of ‘Lamento Sertanejo’, one of Dominguinhos’ classics (also famous in the Gilberto Gil version). It is an amazing collaboration between singer Mayra Andrade, mandolinist Hamilton de Holanda, and guitarist Yamandu Costa, two of the most talented musicians currently in activity in Brazil. Dominguinhos’ accordion itself is not heard here, but the virtuosity of the two musicians combined with Mayra Andrade’s limpid voice is an absolute killer.
Over the weekend I came across this hoax piece of ‘news’, 'reporting' that a boy who had been raised by orangutans has been recaptured so as to live a ‘normal human life’ again in Malaysia. Despite (or perhaps because!) the phoniness of the ‘article’, it did get me thinking: in such a hypothetical scenario, would capturing such a child and bringing them back to a life with humans be the obvious, right thing to do? On the one hand: isn’t it a form of species chauvinism to think that a human being would undoubtedly be better off in the company of conspecifics? Wasn’t the boy doing just fine among orangutans? (In the hypothetical scenario, that is.) On the other hand: can a human being really thrive and live a fulfilling life exclusively among members of other species (and from a very early age)? This strikes me as an eminently philosophical question, though also partially empirical.
Relatedly, I am currently dealing with another surge of demands for a pet in our household. The current proposal is for rabbits, but I’m resisting this move by pointing out that rabbits belong in the wild, with other rabbits. They wouldn’t be happy living with us, no matter how often my kids will pat and caress them, as they promise. (It’s cute though to hear that this is their conception of what makes a living being happy: lots of hugs.) Coming to think of it, the only species that make any sense at all as pets are those that truly thrive in the company of humans, and as far as I can tell, this only holds of dogs and cats. (Maybe horses? Not sure.) Could it be that, just as I resist the idea of e.g. rabbits being ‘happy’ among humans, I should also resist the possibility of a human boy being happy among orangutans? My intuitions are clashing here.
What do readers think? I especially welcome comments by philosophers of biology, who may have more data on intraspecific vs. interspecific cohabitation among the different species of animals.
(PS There are of course lots of interesting implications for the nature/nurture debate in such scenarios, but I will leave them be for now.)
Still on time for a BMoF today, and here is a recently released video clip/short film by rapper Criolo (that I'm a bit of a fan is no secret to anyone) of two tracks, 'Duas de Cinco' and 'Cóccix-ência'. Hope ya'll in the mood for rap on Fridays today!
In his Two New Sciences (1638), Galileo presents a puzzle about infinite collections of numbers that became known as ‘Galileo’s paradox’. Written in the form of a dialogue, the interlocutors in the text observe that there are many more positive integers than there are perfect squares, but that every positive integer is the root of a given square. And so, there is a one-to-one correspondence between the positive integers and the perfect squares, and thus we may conclude that there are as many positive integers as there are perfect squares. And yet, the initial assumption was that there are more positive integers than perfect squares, as every perfect square is a positive integer but not vice-versa; in other words, the collection of the perfect squares is strictly contained in the collection of the positive integers. How can they be of the same size then?
Galileo’s conclusion is that principles and concepts pertaining to the size of finite collections cannot be simply transposed, mutatis mutandis, to cases of infinity: “the attributes "equal," "greater," and "less," are not applicable to infinite, but only to finite, quantities.” With respect to finite collections, two uncontroversial principles hold:
Part-whole: a collection A that is strictly contained in a collection B has a strictly smaller size than B.
One-to-one: two collections for which there exists a one-to-one correspondence between their elements are of the same size.
What Galileo’s paradox shows is that, when moving to infinite cases, these two principles clash with each other, and thus that at least one of them has to go. In other words, we simply cannot transpose these two basic intuitions pertaining to counting finite collections to the case of infinite collections. As is well known, Cantor chose to keep One-to-one at the expenses of Part-whole, famously concluding that all countable infinite collections are of the same size (in his terms, have the same cardinality); this is still the reigning orthodoxy.
... in Turkey. I suppose no one should be surprised by what Recep Tayyip Erdogan is capable of by now, but this is definitely a new low. Below is a short BBC video narrating the chronology of events, and here is a piece in the Guardian from the point of view of those fighting back against the suppression of internet freedom in Turkey (H/T Lucas Thorpe for both).
I invite well informed readers to offer further elements on the situation in comments below.
This week we had the pleasure of welcoming Jerrold Levinson for a workshop in Groningen. I had never met Jerry in person before, but I had anticipated great conversations on music, given his influential work on the aesthetics of music. Well, as it turns out, it was even better than expected (and would have been better only if we had had more time to talk). It involved in particular some brief duets at restaurants in a variety of languages (English, Portuguese, French, even a bit of Spanish).
One of these songs was the bossa nova classic ‘Desafinado’: me in Portuguese, Jerry in English. And so the choice of what to post here at BMoF this week was pretty obvious: here is ‘Desafinado’, in the classic version from the Getz/Gilberto album, and the English version, ‘Slightly out of tune’ with the incomparable Ella Fitzgerald (live at a TV show). Incidentally, I find that the English lyrics, and Ella’s interpretation, give the song an ‘upbeat-ness’ that is extraneous to it, as it is basically a melancholic song about somebody who is accused of singing out of tune by his lover (and this causes him ‘immense pain’). Still, perhaps the way to think about it is of ‘Slightly out of tune’ as almost like a different song altogether, and a great one at that.
(And here is to hoping for more such duets involving Jerry and me in the future.)
I am currently supervising a student writing a paper on Wittgenstein’s notion of therapy as a metaphilosophical concept. The paper relies centrally on a very useful distinction discussed in N. Rescher’s 1985 book The Strife of Systems (though I do not know whether it was introduced there for the first time), namely the distinction between prescriptive vs. descriptive metaphilosophy (the topic of chap. 14 of the book).
The descriptive issue of how philosophy has been done is one of factual inquiry largely to be handled in terms of the history of the field. But the normative issue of how philosophy should be done – or significant questions, adequate solutions, and good arguments – is something very different. (Rescher 1985, 261)
Rescher goes on to argue that descriptive metaphilosophy is not part of philosophy at all; it is a branch of factual inquiry, namely the history of philosophy and perhaps its sociology. Prescriptive metaphilosophy, by contrast, is real philosophy: methodological claims on how philosophy should be done are themselves philosophical claims. (Full disclosure: I haven’t read the whole chapter, only what google books allows me to see…) Rescher’s position as described here seems to be quite widespread, encapsulating the ‘disdain’ with which not only descriptive metaphilosophy, but also the history of philosophy in general, is often viewed by ‘real philosophers’. And yet, this position seems to me to be fundamentally wrong (and this is also the claim that my student is defending in his paper).
(Notice that to discuss the status of descriptive metaphilosophy as philosophy, we need to go meta-metaphilosophical! It’s turtles all the way up, or down, depending on how you look at it.)
Dominguinhos was one of the greatest Brazilian accordionists of all times, and musical heir of Luiz Gonzaga – second only to Gonzaga in the pantheon of Brazilian northeastern music. Sadly, he passed away last year in July. In the year before his death, a documentary on his life and oeuvre was filmed and is now completed. The documentary itself will be released in May (though it will be competing in a number of film festivals the coming months), but as a prelude to the documentary a webseries of 8 short episodes is being posted online, a new episode every Wednesday. Each episode focuses on musical encounters of Dominguinhos with other musicians: the first episode is with Gilberto Gil, second with João Donato, and third with Djavan, among other illustrious guests. I’ve been enjoying each of them tremendously, and look forward to the remaining 5 – and of course, to the documentary!
I’m posting here ‘Abri a porta’, with Gilberto Gil; ‘Minha saudade’, with legendary jazz pianist João Donato; 'Retrato da vida' with Djavan and Mayra Andrade . In all tracks, the magical accordion of Dominguinhos shines. (You can follow the next episodes on Facebook or the Youtube channel.) Brazilian music lovers are unbelievably lucky that all this wonderful material was recorded just before Dominguinhos' death, as this means there is more of him still around for us to enjoy.
[H]e is proclaiming his new project, the Wolfram Language, to be the biggest computer language of all time. It has been in the works for more than 20 years, and, while in development, formed the underlying basis of Wolfram’s popular Mathematica software. In the words of Wolfram, now 54, his new language “knows about the world” and makes the world computable.
From the point of view of the philosophical debates on artificial intelligence, the crucial bit is the claim that his new language, unlike all other computer languages, “knows about the world”. Could it be that this language does indeed constitute a convincing reply to Searle’s Chinese Room argument?
To be clear, I take Searle’s argument to be problematic in a number of ways (some of which very aptly discussed in M. Boden’s classic paper), but the challenge posed by the Chinese Room seems to me to still stand; it still is one of the main questions in the philosophy of artificial intelligence. So if Wolfram’s new language does indeed differ from the other computer languages thus far developed specifically in this respect, it may offer us reasons to revisit the whole debate (which for now seems to have reached a stalemate).
As many readers will have seen, the great Paco de Lucia passed away last week. So to honor him, here is the (to my knowledge) only song recorded by him with a Brazilian musician, namely Djavan. The song is ‘Oceano’ of 1989, and to be honest it is not among my favorite Djavan songs (it doesn’t help that it was the main theme of the ‘love story’ between the protagonists of a soap-opera, so we all got over-exposed to it back in the day). But there is a beautiful solo by Paco de Lucia between 2.30 and 3.00 mins., which already makes it all worth it. I’m also posting one of the many breath-taking duos of Paco de Lucia with the equally great (and also prematurely deceased) Camarón de la Isla, simply because one can never get enough of these two; here, 'Tu cariño es mi castigo'.
Carnival has already started in Brazil. The internationally most famous carnival celebration is the parade of samba schools in Rio, but two equally strong carnival traditions thrive in Salvador (Bahia) and Recife/Olinda (Pernambuco) – democratic, street carnival in both cases. What the samba school is for carnival in Rio (and a few other places, like São Paulo), the ‘bloco’ is for street carnival. Blocos are (more or less) organized groups with their own music band and participants who dance along. In Bahia, the most famous bloco is probably Ilê Aiyê, created in 1974 as an affirmation of black pride and a celebration of the Afro cultural heritage in Bahia and in Brazil more generally. When it first came into existence, it was viewed as ‘racist’ given its emphasis on the value of African-Brazilian culture, and to this day only blacks are allowed to parade with the group. Ilê Aiyê remains one of the symbols of the strength of the Afro-Brazilian culture – here is a song by Caetano Veloso celebrating their existence.
In their first carnival, in 1975, Ilê Aiyê paraded with a song that remains emblematic for the black pride movement in Brazil: ‘Que bloco é esse - Ilê Aiyê’. And so to join the carnival spirit this week I’ll be posting numerous versions of this song. It’s really a great song, and here is a bit of the lyrics translated (as usual, very hard to come up with a decent translation):
Many of you are now waking up with the distressing news of another ‘harassment scandal’ in philosophy, this time at Oxford, involving Jeffrey Ketland (a lecturer at Pembroke College) and a student who committed suicide in June of last year. The reports available so far come from news outlets such as the Daily Mail, the Telegraph and The Times (especially the first two, not known for a high level of journalistic impartiality).
Full disclosure: Jeff is a friend of mine, we co-blog at M-Phi and have been friends for a few years. There is much information concerning these tragic events that I got from him, and which I am not at liberty to share at this point (obviously). What does seem to me to be worth pointing out now is that the articles on the story seem to suggest that the harassment accusations have been confirmed, which is not the case at this point. Jeff merely received a harassment warning, and for those of us not familiar with the British legal system, it may not be clear what this amounts to. Brian Leiter links to a useful Guardian article that clarifies the concept, and here are some relevant passages:
Harassment warnings can be issued by police officers with little or no prior investigation of the original allegation and there is a real concern that this is later incorrectly presented as, or perceived by some to be, little short of a conviction.
A harassment warning can be given by police following an allegation which, if true and if repeated, would amount to an offence under the PHA. Until or unless further similar allegations are made, there is not enough evidence to charge the person with harassment, hence the warning.
A harassment warning is not a criminal conviction – simply a notice that a complaint has been received. The behaviour complained of, by itself, does not amount to a crime.
To be clear, the harassment accusations have so far not been confirmed (or disconfirmed, for that matter) by any official investigation, so at this point in time there is no official conclusion as to what exactly happened. Thus, at the very least, at this point we should be careful when using factive terminology like ‘the student was harassed by the lecturer’, ‘the harasser’, ‘the victim’ and such like, as none of this has been corroborated by investigation. That the student took her own life is an extremely distressing turn of events, obviously, but to draw causal connections between this outcome and her complex interactions with Jeff Ketland (they had known each other since 2008), as these reports seem to suggest, is (at this point in time at least) entirely unwarranted. (Some of the articles do mention other distressing recent events in the student's life.)
(Some readers may also be wondering why this is coming up now, if the suicide took place in June last year. What happened is that the inquest, the juridical procedure to establish cause of death, took place yesterday, February 26th, and this is how the story 'leaked' to the press.)
Ok, so today is my birthday (yes, somehow every year it coincides with Valentine's day), and most of it will be spent packing and then in the car, driving to the mountains. So not exactly the best birthday ever, but with a nice reward to come after: a week of vacation. (So no BMoF next week.)
Anyway, to congratulate myself I'm posting the Brazilian version of 'Happy birthday', 'Parabéns pra você', quite possibly the most often sung song in the whole history of Brazilian music (damn, not an original Brazilian song!). So here it is, sung by soulman Ed Motta, who already made an appearance here at BMoF a while back.
And yes, I'm happy to accept congratulations in comments.