[MD] Research

[ian glendinning]

Mark,

You're well ahead of me in following up the trail of references. You
don't need me beyond moral support maybe. I said I'd said enough. BUT
...

I put the (pejorative) term "typically" in front of PoM deliberately.
Don't reduce your ideas to "mere" PoM, in order to fit some
conveniently established philosophical furrow. Supervisors permitting,
follow that muse and build on the Pirsigian "aesthetic" angle. PoM
will follow you.

Don't make me publicly quote your own "knock-out" words back at you ;-).

You'll be onto a "winner".
But what do I know ?

Ian

On 12/14/06, Squonkonguitar at aol.com <Squonkonguitar at aol.com> wrote:
> Hi Ian and Dan,
>
> "Fugues have that interesting property, that each of their voices is a  piece
> of music in itself; and thus a fugue might be thought of as a collection  of
> several distinct pieces of music, all based on one single theme, and all
> played simultaneously...each of these individually meaningful lines fuse with  the
> others in a highly non random way, to make a graceful totality."
> [Hofstadter, GOEDEL, ESCHER, BACH, p. 283]
>
> Hearing a theme is like seeing a thing in a room, a section or movement is
> like a room, and a whole sonata is like an entire building. I do not mean to
> say  that music builds the sorts of things that space-builder does. (That is too
>  naive a comparison of sound and place.) I do mean to say that composers
> stimulate coherency by engaging the same sorts of inter-agent coordinations that
> vision uses to produce its illusion of a stable world using, of course,
> different agents. I think the same is true of talk or writing, the way these  very
> paragraphs make sense– or sense of sense–if any. Music, Mind, and Meaning.
> Marvin Minsky. Computer Music Journal, Fall 1981, Vol. 5, Number 3
>
> This seems to point to a philosophy of mind approach Ian?
> I know well the moq tries to avoid the term, 'mind' and it does have a sour
> Western bias - Indian philosophers may not even choose to recognise the term -
>  but if this area of research is a lock just waiting for sq/DQ to pick it
> then  maybe the stigma of the term, 'mind' may be a burden worth carrying for 3
> or 4  years?
> Key to picking this lock (excuse the musical pun) may be providing a very
> simple and elegant metaphysically stable account of what coherence is?
> Well, that's already been done hasn't it squire! (squire? lock?)
>
> If i wish to persuade the supervisors i have in mind (no! stop it!) to help
> me i need to interest them as well as gain freedom to follow my own path.
> Philosophy of mind, Metaphysics and Phenomenology are key areas of interest for
> these potential supervisors.
>
> I could hammer (piano)? the philosophy of mind approach to a point where  it
> crescendo's for one note to resolve it, and that note could be the moq?  In a
> sense, this would ensure the thesis is actually shot through with  Quality?
>
> I think it's true to say one can never know where help may emerge next and
> you and Dan may have started something here...
>
> But it's early days and this may all be for nowt.
>
> Thanks Dan and Ian,
> Love,
> Mark
>
>
> Hi Mark, .... ah, bliss ...
>
> (When I compare the comments here to my  earlier response, I noticed I
> used words like happy, excited you're happy,  postitive, etc up front
> too.)
>
> I won't repeat myself, but adding the  musical theme fits well too.
> (tuning / resonance / coherence etc). I think  this stuff is typically
> PoM / Evolved Intelligence / EvoPsych material too.  As well as the
> reference Dan gave you, look at Booth (who discovered the  Cello late
> in a life of academic rhetoric), as well as Minsky and of  course
> Hofstader for musical links between logic and aesthetic.
>
> Follow  your muse.
> I've said enough.
> Ian
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