Talking to aliens, Part II: No base for you

If you want to, you can read Part I: Prelude first.Mathematical bases sure are a convenient shorthand when adding, multiplying and subtracting, and their invention was necessary for the kind of recordkeeping that allowed ancient civilizations to blossom — amphoras of wine shipped, monies owed to the emperor, sacrifices made to the gods — let’s hear it for property rights and central planning.

But bases are arbitrary. The Babylonians used base 60. The Mayans used base 20. The Greeks and others used base 10, while the geeks have adopted binary notation, base 2, as their own.

All these number systems have quirks, too. Modern systems use place to determine the value of a number (i.e the 5 in 350 stands for 5 groups of 10); the Romans used different numeric symbols (XXX stood for three tens, CCC stood for three hundreds). Without prior access to such rules, a stranger would need a good number of examples from which to glean patterns. It wasn’t until the 1820s that we deciphered the Mayan number system, for example, and it took all the lateral thinking the splendidly named Constantine Samuel Rafinesque-Schmaltz could muster.

Number systems have another weakness: Division. They have no neat way of precisely representing all rational numbers — numbers that can be represented by a fraction, such as 6/2, 7683/99746 or 1/7. All bases can represent some rational numbers precisely: In base 10, for example, 6/2 is precisely 3 and 1/4 is precisely 0.25. But 1/7 is 0.142857142857… the 142857 repeating forever, the actual number never quite managing to get nailed. In base 7, meanwhile, the number equivalent to 1/7 in base 10 can be precisely represented as 0.1, but 1/4 becomes 0.151515… ad infinitum.

Base 2 merits some special consideration. The received wisdom is that binary notation is somehow more natural, because it is the simplest system, requiring the fewest symbols (2) without having to resort to pebbles or prison wall notches as a counting tool. Base 2 is special, it is argued or assumed, because its ones and zeros (“bits”) lend themself perfectly to representing the trues and falses of Boolean logic, which in turn can be physically embodied in the presence (“on”) or absence (“off”) of electromagnetic charges in our computers’ transistors and circuits.

That amounts to attaching too much importance to historical accident, however. Alternative logic systems do exist. In ternary logic, for example, base 3’s zeros, ones and twos map to “unknown”, “true” and “false”. And base 3 is more efficient than base 2 at representing numbers, as this great article points outHow to measure this efficiency? Take a number, any number. Depending on your choice of base, you will require different amounts of digits to write out the number. For example, the number 66 requires two digits in base 10; the base 2 equivalent of that number, 1000010, requires seven digits; the base 3 equivalent, 2110, requires four digits. Clearly, the higher the base, the fewer digits you need. Using a higher base means having to differentiate between more number symbols, which uses up bandwidth or computing resources — though it also means needing fewer digits, which saves resources. You can measure the total resources needed by multiplying the base a number is written in by its length in digits. In our case, 66 requires 10 x 2 = 20 “units” in base 10, 2 x 7 = 14 units in base 2, and 3 x 4 = 12 units in base 3. It turns out that for almost all numbers, using base 3 provides us with the notation that is the most economical in terms of these “units”. (The same argument applies to using ternary logic instead of Boolean logic. Often, fewer steps are needed to obtain the same result.). Computers using “trits” instead of bits were developed in the 1950s, notably by the Russians, but these efforts never caught on. According to the article, which you still haven’t read (it’s worth printing out the PDF and unplugging for this one), the likely reason why base 2 became the Microsoft of information theory notation is that in those days we didn’t have the technology to make transistors that could reliably represent three states. We could do two states, and that was good enough, so people like Claude Shannon ran with the idea and we never looked back. The cost of switching would now be too great. (Or would it? When it comes to data transmission, the Swedes are all over this.)

If aliens assume anything, why shouldn’t they assume that since base 3 is the most efficient notation, this must obviously be the base to use for interstellar communication? Since radio transmissions use phase shifts variable signal strength to encode “on” and “off” bits, it would be trivial to encode multiple states. Why didn’t we do so in our data transmissions? I’m guessing at more anthropocentrism, and because we forgot that sometimes simplicity is not the same as efficiencyWay off topic: When quantum computing happens, and it will, there is every reason to consider using the opportunity to swith to ternary logic, and using qutrits instead of qubits. This paper [PDF] and this paper make the case. This one [PDF] even has pretty pictures!.

But I want to hold off on the aliens for a while longer. I’m trying to make a case here for jetissoning bases in favor of a more rigorous approach to describing the numbers that lie between whole numbers. That’s because no number system is precise when it comes to representing arbitrary rational numbers, and downright hopeless when it comes to irrational numbers — and I think it is some of those numbers that we should consider beaming to aliens. (But I’m getting ahead of myself.)

The solution to the division problem is ingenious, and therefore first discovered by the Greeks. I’d come across continued fractions before, in high school, but their deeper significance completely passed me by until Roger Penrose, of course, rubbed my nose in them in his The Road to Reality (Chapter 3)You might remember my commitment to blog each chapter of that book. It’s not feasible, and frankly boring to impose my half-baked solutions to his problems on you. Perhaps a wiki is in order. Later. Instead, there’ll be posts like this one, inspired by the eye-opening (to me) stuff from the book..

It turns out that every number on the number line is representable by a unique continued fraction that looks like one of these:

It’s not as bad as it looks, so bear with me. You can make these continued fractions yourself: Use a calculator to divide 13 by 11. The answer is 1.181818… Subtract the bit to the left of the decimal point (it’s a 1) and put it aside. Divide the remainder into 1, and you get 5.5. Again subtract the bit to the left (the 5), then again divide the remainder into 1, and you get 2, this time with no remainder (if your calculator is any good). The numbers you took away from the running total, 1, 5 and 2, are the terms along the left edge in the continued fraction, above, which uniquely describes 13/11. This is the “basic” way of constructing a continued fraction — there are other ways [PDF].

root13.gif

There is only one continued fraction of this kindBy “kind” I mean continued fraction where all the numerators are 1. for each number because if you changed any of the denominators you would (obviously) get a different number. Another way of saying this is that every real number (whole, rational, irrational, transcendental) has a one-to-one correspondence to a specific sequence of whole numbers. In the case of the number 13/11, this sequence is short and finite: 1,5,2. In the case of the square root of 3, the sequence is 1,1,2,1,2,1,2… with the 1 and 2 alternating ad infinitum.

You might be wondering why this is any better than the repeating “181818…” we got in the decimal notation of 13/11. I have two reasons. First, the whole numbers that make up these sequences do not change depending on the base we use to write them. The sequence is base-neutral. Second, these sequences are more elegant: They are always finite when it comes to describing rational numbers exactly, and they are far better at divulging patterns in irrational numbers than any number system you care to use.

Here are some examples showing off the elegance of continued fractions when describing some irrational numbers — the square root of 41, and Phi, the Golden Mean.

phi.gif

In decimal notation, and in any other base, the numbers following the decimal point convey no order; they might as well be random. Not so when it comes to the representation of these numbers via continued fractions; for the square root of 41, the sequence is [6,2,2,12,2,2,12,2,2,12,2,2,12,…] ad infinitum. The pattern is clear.

What about that special class of “really” irrational numbers, the transcendental numbers, such as pi and eTranscendental numbers are irrational numbers that cannot be the solution to a polynomial equation. There are in fact far more transcendental numbers than any other kind of number — pi and e are just the most famous ones.?

pie.gif

For e, there is pattern visible, though it is one that changes in a set way with each repetition. As for pi, there is no discernible pattern via this kind of continued fraction, though much has been [Swedish PDF] made of the sequence of numbers that corresponds to it.

In sum, what we now have is a means of representing any real number in a base-independent manner using only sequences of whole numbers. This is good for communicating with aliens: No bases means no opportunity for anthropomorphising, while whole numbers are about as close to made-for-radio blips as you can get.

So, now that we can unambiguously send real numbers to aliens, which numbers shall we send them? Stay tuned for part III.

Christina Olsons hus

The translation, sort of:
 
Exactly 10 years ago this Easter Weekend, while I was at grad school in Washington DC, I was faced with a stark choice: Study for the final exams in May, or go for a road trip to Maine with a friend. The friend, Cole, had a car, and another friend needed a lift to Boston, and Cole’s girlfriend (you know who you are) was up in NYC for the weekend — so there were plenty of reasons to go, and it would certainly mean being able to avoid Clausewitz or Waltz for another 48 hours.
 
The trip began well. Four hours to NYC, where we spent the evening out on the town with friends. By 11pm it was time to drive on. We reached Boston by 5am and dropped off our passenger. By 7am, in New Hampshire, we were flagging, and decided to take a nap by the side of the Interstate, but were soon woken by state troopers, for whom old Volkswagen Jetta + Oklahoma plates + two plausible prison escapees was reason enough to check with HQ. Nothing came up so we were free to continue. (A few days later, another vehicle with Oklahoma plates would make world headlines.)
 
The goal was Acadia National Park, a beautiful peninsula halfway up the coast. As we crossed the state line, the Maine tourist center offered up something even more interesting (to me): The Olson farmhouse, past Portland, which Andrew Wyeth had painted so often. It’s the house in Christina’s World.

Precis för 10 år sedan på påsken, när jag studerade i Washington DC till min magister, stod jag inför ett val: Studera till sluttentorna i maj, eller göra en roadtrip med en kompis norrut till Maine, en delstat jag aldrig hade besökt. Kompisen, Cole, hade bil, en annan vän skulle behöva lift till Boston, Cole’s flickvän befann sig i NYC över helgen — så vi hade många orsaker till att åka dit; inte minst betydde det ju att vi inte skulle behöva läsa Clausewitz eller Waltz.

Resan började bra. Fyra timmar till NYC, där vi gick ut på kvällen med kompisar. Kl. 23 var det tid att fortsätta resan. Kl. 5 nådde vi Boston, där vi lämnade vännen. Kl. 7, i New Hampshire, sov vi lite i bilen vid sidan av motorvägen, men väcktes av polis, som misstänkte oss för vem vet vad, därför att bilen var jättegammal och hade en registreringsskylt från Oklahoma. Till slut var allt okej och vi var på väg igen. (1995 var påsken 16 april; Oklahoma City bombningen var 19 april — polis var verkligen förutseende.)

Målet var Acadia National Park, som är en mycket vacker del av Maine. Men på turistcentret vid delstatsgränsen upptäckte jag något ännu intressantare (för mig, åtminstone) som jag ville besöka: Bondefamiljen Olsons hus utanför Portland, som målades många gångar av Andrew Wyeth, en av mina absoluta favoritkonstnärer. Huset finns till exempel i Christina’s World, hans mest kända tavla.

Christina’s World, 1948.christinas_worldwebsmall.jpg

När jag var liten hade vi hemma hos oss en poster av en av hans tavlor, en fotorealistisk closeup av en sida av detta hus, badande i nordens ljus. Jag hade växt upp med detta hus, om du så vill, och kände till dess minsta detalj, som ett barn som läser samma barnbok för ofta.

kuernersolsons.jpg
Weather Side, 1965. Above, the actual poster in question, wrinkles and all, from the Metropolitan Museum’s retrospective in 1976.
weathersidewebsmall.jpg

I motsats till en barnbok, dock, existerar huset i verkligheten, men jag hade aldrig vetat det. Det blev självklart något jag var tvungen att besöka.

Och det gjorde vi. Det kändes verkligen som en vallfart. Jag tog några foton, inklusive ett från samma perspektiv som posterns. Vädret var mulet, så vi såg inte ljuset som Wyeth hade målat så bra, och som jag gillar så mycket. (Kanske var det därför jag kom hit till Sverige? Jag såg samma ljus på Sandön i helgen, när det var så varmt i fredags, från en fortfarande insnöad strand.)

When I was a child we had a poster of one of his paintings at home, a photorealistic rendition of the side of that very same house, bathed in the attenuated light of the Maine coast. I grew up with that house, aware of every detail, like a child reading the same book far too often.
 
In contrast to what’s in most children’s books, however, the house actually exists, but I hadn’t known this until that day at the tourist center. It was obviously something I had to visit.
 
And so we did. It felt a bit like a pilgrimage. I took pictures, including one from the same perspective as in the poster. The weather was overcast, so we never saw the house in the light that Wyeth had painted so well, and which I like so much. (Is that why I came to Sweden? I saw the same light on Sandön island in the Stockholm Archipelago this weekend, on Friday when it was so warm, from a beach still covered in snow.)
 
On we went to Acadia, where we ate far too many lobsters, ran up Acadia’s tallest mountain, froze on the summit, and then started on our way back to DC. But there was one thing left to do. Christina’s World is in NYC, so we decided to complete our pilgrimage with a visit to the painting. We drove straight to the Metropolitan, where I thought I remembered seeing the painting (it has other Wyeths) but in the end we had to head to the MoMA to find it. We took a picture, and were on our way again. In the meantime, I was coming down with something. By the time we reached DC, I had a fever. I ended up with a two-week bout of bronchitis as the price of our conquering an Acadian summit.
woodsidepicwebsmall.jpg

housecloseup.jpghousefar03websmall.jpg

moma04websmall.jpgDärefter åkte vi till Acadia, åt för många humrar, sprang upp för Acadia halvöns högsta berg, frös, och var då på väg tillbaka till DC. Men det fanns en sak till att göra. Christina’s World kan ses i NYC, så vi bestämde oss för att komplettera vallfarten med att titta på tavlan igen. Vi körde rakt till Metropolitan Museet, där jag trodde mig minnas att tavlan fanns, men jag hade fel. Den fanns istället på MoMA, så vi körde dit, tog ett foto, och var på väg igen. Under tiden hade jag börjat må illa. Innan vi nådde DC hade jag en feber. Jag skulle komma att ha bronkit för två veckor darefter, tack vare vår expedition till toppen av Acadia.

(Visste du att “Christina” i Christina’s World inte är en ung flicka, men en vuxen, förlamad kvinna?)

Talking to aliens, Part I: Prelude

Before talking to aliens, it would be helpful if we had some insight into what it is like to be one. Since we don’t, and won’t, we will have to do the next best thing — identify all our anthropocentric assumptions about intelligent life in the universe and then ruthlessly eradicate these from the messages we send them.

To that end, we need to ask ourselves: What common ground could there be between all forms of intelligence in he universe? What is the minimal definition of the term intelligence in this regard? And is there a medium for communication that is shared by all these intelligences?

Jules Verne implicitly had a go at some answers when he conjured up a scheme for communicating with moon dwellers, the “Selenites,” in From the Earth to the Moonmoon.gif:

Thus, a few days ago, a German geometrician proposed to send a scientific expedition to the steppes of Siberia. There, on those vast plains, they were to describe enormous geometric figures, drawn in characters of reflecting luminosity, among which was the proposition regarding the ‘square of the hypothenuse,’ commonly called the ‘Ass’s Bridge’ by the French. “Every intelligent being,” said the geometrician, “must understand the scientific meaning of that figure. The Selenites, do they exist, will respond by a similar figure; and, a communication being thus once established, it will be easy to form an alphabet which shall enable us to converse with the inhabitants of the moon.” So spoke the German geometrician; but his project was never put into practice, and up to the present day there is no bond in existence between the Earth and her satellite. (Found via the University of Zimbabwe)

Here a geometric proof of the Pythagorean theorem is proposed as something so fundamental that it must be one of the first discoveries made by a budding civilization’s mathematicians. The Greeks indeed discovered it first here on Earth, but still: How fundamental is it exactlyIn hyperbolic space, the angles of a triangle add up to less than 180 degrees. In elliptical space, they had up to more than 180 degrees — as is the case if you draw a triangle on a sphere, for example. We don’t currently know what kind of space the universe is made of. On a very small scale, the human scale, space certainly looks Euclidian, but that would also hold true in hyperbolic or elliptical universes. My own gut feeling is that space is hyperbolic. But aliens might know for sure.? The theorem only holds true in Euclidian space, which we think of as “normal” space, but not in hyperbolic or elliptical space. We’re biased that way, however. We’re instinctive flat-Earthers — we prefer to shoehorn the elliptical plane we call Earth into flat, Euclidian maps, replete with massive Greenlands. We exude pro-Euclidian sentiment in everything we do.

We shouldn’t expect aliens to know about this proclivity of ours. Actually, they probably wouldn’t even notice proofs transmitted at wavelengths suited specifically for our eyes — aliens have no reason to suspect we’d be broadcasting at those entirely arbitrary wavelengths. Or else they might be in a phase of their development where geometric proofs are unfashionable, not to be trusted, much as was the case for generations of our own mathematicians in the era between Descartes and Riemann — and they’d even be right in this caseIn Verne’s time, aliens might (correctly) have interpreted our depiction of the Pythagorean theorem across Siberia as a statement of our (unjustified) belief in a Euclidian universe; or else they might (incorrectly) have concluded that we think the theorem holds true on an elliptical plane (Siberia). Either way, they’d think we’re stupid..

We have on several occasions made real attempts to talk to aliens. In the early 70s we attached a plaque with an engraved diagrammatic message to the Pioneer 10 and 11 space probes, which we then sent on flyby missions to Jupiter and Saturn and on into outer space.

Pioneer 10 is travelling to Aldebaran, a giant aging star around 65 light years away. As of 2005, the probe is about 12 light hours from us — one 50,000th of the way there.plaque.gif

record.jpgIn the late 70s we launched the Voyager 1 and 2 probes on a similar, upgraded mission. They contain a more ambitious attempt at communication — a gold-plated phonograph record! With a supplied needle, no less.

Both attempts unintentionally reveal some less flattering aspects of humanity, though fortunately these should be way above aliens’ potential heads. For example, the naked woman on the Pioneer plaques has no genitalia. Apparently the plaque’s designer, astronomer Carl Sagan, left them out rather than risk rejection of the entire project. The fact that there were naked people at all on these plaques nevertheless led to angry letters accusing NASA of peddling smut to the stars. More embarrassing, at least to me, is that one of the two greetings on the Voyager records is by an ex-Nazi stormtrooper, Kurt Waldheim. How on Earth — literally — did we manage thatThe other greeting is by Jimmy Carter.?

I rather doubt aliens will ever “hear” the encoded sounds on the record. If they find a Voyager spacecraft they will conclude it was built by an intelligence, but in the absence of ears, atmosphere or human brain circuitry, the bits on that record will be as revealing to aliens as a jpeg of Monica Bellucci is to a blind personCue yet another reference to Thomas Nagel and his essay, What is it like to be a bat?. And how should aliens tell if they are seeing the plaque the right side up, given they have never met a human before? It’s just a load of Pollocks to them.

In 1974 we carefully aimed the Arecibo radio telescope’s transmitter at M13, a globular star cluster 25,000 lightyears away, and sent it a three minute message containing exactly 1,679 bits (around 0.2 kilobytes). The message, travelling at the speed of light, will unfortunately miss M13 completely, as the cluster will by then have moved out of the signal’s path, seeing as our galaxy rotates.

This problem aside, using radio was not an arbitrary choice. Radio transmissions offer a faster medium than plaques and a less anthropocentric medium than records or light. Radio is as fast as light, since both are just electromagnetic radiation made up of photons, but radio frequencies are far lower than light frequencies, so radio photons require much less energy to produce.

Which exact frequency to use for radio transmissions (and thus also for listening)? In this universe, one part of the radio spectrum — at around 1420 Megahertz — has far less background noise than other parts, so anybody who would want to maximize their signal-to-noise ratio would use it. We use it when we listen for aliens with SETI. So did we use it to send the Arecibo message? Not exactly:

It’s interesting to note that in 1974 the Arecibo message was transmitted at 2380 MHz, a frequency well above the “water hole” band. In Earth’s first “Active SETI” attempt we didn’t transmit at a well known and preferred frequency of either 1420 or 1665 MHz. Furthermore, 2380 MHz is the second harmonic of no particularly special frequency. The Arecibo transmitter was designed for S-band planetary radar experiments and SETI used it because it was available.

Luckily, it technically relatively easy for aliens to listen to many frequencies simultaneously, as this fuller discussion on making guesses about the medium makes clear.

arecibo.gifThe one thing the makers of the Arecibo message did get right, in my opinion, was to use the basic properties of whole numbers to encode it. Because the sequence of prime numbers is the same regardless of where you are in this universe, the prime factors of 1,679 — the number of bits sent in the message — will be 23 and 73 everywhere. Aligning the bits sequentially on a 23 x 79 grid produces the patterns that make up the message. That’s really clever, and hints at the kind of message I think we should be sending.

Do the patterns that comprise the Arecibo message make any sense to aliens? As there will not be any opportunity to start a dialogue, aliens won’t be able to ask for clarifications. I think mixing binary counting systems with graphical representations is therefore really just a way of not imparting any information at all. Aliens might think we look like the blobs representing binary representations of our DNA molecules. Maybe they look like the binary representations of our DNA molecules. Maybe our representative pinheaded human provides them with an unsolveable binary counting puzzle which they just can’t crack.

And why oh why do we have to count to 10 in our binary counting lesson at the start of the message? Haven’t we learned anything about anthropocentrism? Much better, I think, to drop using bases altogether when talking to aliens, and just focus on winking at them unambiguously. How? I have a plan.

Infrequently asked questions

In the wake of Sweden’s Social Democrats floating a trial balloon regarding the possibility of running on a tax-even-more-and-spend platform for the next general elections, Stockholm Metro [PDF] today published the results of an opinion poll they commissioned. As usual, the questions couldn’t be formulated any worse:

57% of 970 respondents answered Yes to the question“Kan du tänka dig att betala mer i skatt om det innebär en förstarkning av skola, vård och omsorg?”, “Would you be willing to pay more in taxes if it meant strengthening schools, health care and social care?”

60% of respondents answered Yes to the question“Bör svenska fackföreningar genom blockader hindra utländska företag från att utföra arbeten i Sverige om de inte skriver på svenska avtal?”, “Should Swedish unions, through blockades, prevent foreign firms from performing work in Sweden if they do not subscribe to Swedish collective bargaining?”

Questions I really wish they had asked:

1) Would you be willing to pay more in taxes if it meant a strengthening of schools, health care and social care?

Ja [X]  Nej [X]  Vet ej [X]

2) Then you would definitely be willing to pay less in taxes if it meant a strengthening of schools, health care and social care?

Ja [X]  Nej [X]  Vet ej [X]

3) No, it’s not a trick question. Consider this: If somebody could make a better TV more cheaply, would you buy it instead of what’s available now?

Ja [X]  Nej [X]  Vet ej [X]

4) Would you be willing to buy a better, cheaper television if it were made abroad?

Ja [X]  Nej [X]  Vet ej [X]

5) Would you be willing to pay more for a TV made in Sweden if you could buy the identical TV made abroad for less?

Ja [X]  Nej [X]  Vet ej [X]

6) It doesn’t matter to you where this TV comes from?

Ja [X]  Nej [X]  Vet ej [X]

6a) You’re sure?

Ja [X]  Nej [X]  Vet ej [X]

7) So you don’t think you should be forced to buy more expensive Swedish TVs if you can get the same quality TV more cheaply from abroad? (Sorry to be repetitive, I just want to be clear)

Ja [X]  Nej [X]  Vet ej [X]

8) Not through tariffs, import quotas, punitive duties, or blockades?

Ja [X]  Nej [X]  Vet ej [X]

9) You realize that this means Swedish TV factory workers might have to find more productive work elsewhere?

Ja [X]  Nej [X]  Vet ej [X]

10) Is the labor that a factory worker puts into making a TV special? I mean, is it any more or less precious than the labor put into catching fish, mining copper, writing an article, programming code, or building a house?

Ja [X]  Nej [X]  Vet ej [X]

11) So if Swedish TV manufacturers shouldn’t get any special protection from foreign competition, then fishermen, miners, journalists, programmers and builders shouldn’t either?

Ja [X]  Nej [X]  Vet ej [X]

12) So you don’t think you should be forced to buy a more expensive house to help Swedish builders avoid adapting to global norms of competition, if you can get the same quality house more cheaply from abroad?

Ja [X]  Nej [X]  Vet ej [X]

13) Should a Swedish union, through a blockade, force you to buy a more expensive house than the one you can buy made by foreign labour?

Ja [X]  Nej [X]  Vet ej [X]

13) Should Swedish unions, through blockades, prevent foreign firms from performing work in Sweden if they do not subscribe to Swedish collective bargaining?

Ja [X]  Nej [X]  Vet ej [X]

Googliografi: Jan Yoors

Första i serien: Viola IlmaDen första gången jag bodde i New York var mellan 1976 och 1982, som barn, och då gick jag på UNIS, den United Nations International School. Där fanns bara en till person som pratade flamländska som jagAllright already, I relent. Tough crowd. Here is the translation of my Swedish homework for the week:
 
The first time I lived in New York, between 1976 and 1982, as a child, I went to school at UNIS, the United Nations International School. There was only one other kid who spoke Flemish like me, or so I remember. His name was Kore, and his father was an artist. We weren’t friends exactly, but our parents knew each other.
 
I thought Kore was a little wild, but I also felt a little jealous. His father died suddenly in 1977, and eventhough this was tragic, it seemed to me like he now had a very free life — that he could do as he pleased. And he lived in the exotic Greenwich Village, while my family and I lived in the boring upper east side.
 
In 1980 we were 11 years old, but while he knew about CBGBs and The Ramones, I still thought the B52s were a type of airplane. And when John Lennon was murdered in December of 1980 I did not know who he was, eventhough I had a favorite opera, Carmen, and a favorite conductor, Herbert von Karajan.
 
Kore’s father, Jan Yoors, had had a very interesting life. When he was 12 he had run away from home to travel with the Roma. Later he would write a book about the Roma, and it is to this day one of the few books that describes their life from an insider’s perspective.
 
During WWII he acted as a liaison between the Allies and Roma who were behind Nazi lines. In 1943 he was even arrested and condemned to death by the Gestapo, but managed to escape. After the war he went to London, where he learned the art of tapestry. In 1950 he went to New York, where he established himself as an artist. His life in Greenwich Village was bohemian, perhaps inspired by the Roma; he had two wives, for example. When Jan Yoors died in 1977 he left behind many full-scale tapestry patterns, which his wives continue to weave (interesting link, this one) to this day, in the studio in the Village that I visited in the 70s. Yoors’ art is perhaps not as hot as it once was just now — massive tapestries were all the rage in the huge lobbies of the skyscrapers that sprouted in the 60s and 70s, so perhaps they might now remind some of corporate art, even if I think they are very calming, peaceful works.
 
It must have been strange to be 12 years old and know that at this age one’s father had run away from home. Maybe that was why Kore acted wild, in my eyes. In the meantime, he too has become an artist. Like father like son, in the end.
. Han hette Kore, och hans far var konstnär. Vi var inte kompisar, men våra föräldrar kände varandra.

Jag tyckte att Kore var lite vild, men jag kände mig också lite avundsjuk på honom. Hans far dog plötsligt 1977, och även om det var tragiskt, verkade han vara mycket friare än jag därefter. Han fick göra vad som helst. Och han bodde i exotiska Greenwich Village, medan jag och min familj var trygga på tråkiga upper east side.

1980 var vi 11 år gamla, men medan han kände till CBGBs och The Ramones, till exempel, trodde jag att B52:or var ett sorts flygplan. När John Lennon mördades i december 1980 visste jag inte vem han var, även om jag hade en favoritopera, Carmen, och en favoritdirigent, Herbert von Karajan.

Kores far, Jan Yoors, hade haft ett mycket intressant liv. När han var 12 år gammal hade han rymt hemifrån för att resa med romerna. Senare skulle han skriva en bok om romerna, och den är fortfarande en av få böcker som beskriver deras liv inifrån.

yoorssmall.jpgUnder andra världskriget var han kontaktperson mellan de allierade och de romer som fanns i nazi delen av Europa. 1943 blev han anhållen av Gestapo, och dömd till döden, men han lyckades fly. Efter kriget reste han till London, där han lärde sig väva gobelänger. 1950 åkte han till New York, och blev en känd konstnär. Hans liv i Greenwich Village var bohemisk, som romernas; han hade, till exempel, två fruar. När Jan Yoors dog 1977 fanns många vävmönster kvar. Fruarna fortsätter än idag att väva dem i studion i Village, som jag besökte som barn i 70-talet. Hans konst är dock inte så populär som tidigare just nu. Stora väggbonader var jättepopulära i de Amerikanska bankernas lobbies på 70-talet, så nu erinrar det lite om företagskonst, även om jag tycker hans konst är helt rogivande.

Det måste ha varit konstigt att bli 12 år gammal och att veta att ens far hade rymt hemifrån i samma ålder. Kanske var det därför Kore var så vild. Jag hade ingen sådan förebild. Under tiden har han också blivit konstnär. Sådan far, sådan son.

What is it like to be Elizabeth Costello?

In Elizabeth Costello the novelCoetzee’s latest novel to come out in paperback here in Stockholm is currently on sale during the annual countrywide book sale/reading frenzy. Elizabeth Costello the novelist gives a series of lectures on topics that clearly interest J.M. Coetzee the author. Costello is not Coetzee’s mouthpiece, however; she gets a generous hearing, but we get hints that while she and Coetzee know the same things, her perspectives are that of another person — perhaps an older, waning person.

One of Costello’s lectures is a passionate defense of animal rightsThis part of the novel was originally published by Coetzee as the novella The Lives of Animals, delivered as a lecture at Princeton University in 1997. The Nation has a great review.. In the middle of her speech, just as her daughter-in-law whispers to her son that “she is rambling,” she begins a critique of Thomas Nagel’s famous essay, What is it like to be a bat? Nagel argued that even if we can imagine what it is like to behave like a bat, we cannot ever know what it is like to be a bat, because human mental states are just too different from those of bats — for starters, we can’t sense sonar.

Costello’s retort is twofold: First, she can make inroads into imagining her own death (so why not an animal’s life?):

‘For instants at a time’ his mother is saying, ‘I know what it is like to be a corpse. The knowledge repels me. It fills me with terror; I shy away from it, refuse to entertain it.
 

‘All of us have such moments, particularly as we grow older. The knowledge we have is not abstract — “All human beings are mortal, I am a human being, therefore I am mortal” — but embodied. For a moment we are that knowledge. We live the impossible: we live beyond our death, look back on it, yet look back as only a dead self can.

Second, novels work because “there are no bounds to the sympathetic imagination.” And if that is the case, “if I can think my way into the existence of a being who has never existed, then I can think my way into the existence of a bat or a chimpanzee or an oyster…”

Later, it struck me: Elizabeth Costello the novel is really an essay entitled “What is it like to be Elizabeth Costello?” Coetzee wants to know: To what extent is it possible to imagine what it is like to be her or someone like her? Not just behave like an elderly person, but be one?

It’s a question I never really asked myself when I was 18, but which I have pondered more often in recent years. Perhaps we can at then least answer the question “What is it like to be 35?”
Answer: You wonder what it is like to be 70.
I’m sure in part it has to do with both surviving grandparents — my grandmothers — now being in their early 90s.

One grandmother is as sharp as ever, living unassisted, devouring crosswords and French novels when not cheating atrociously at Solitaire or ScrabbleWhy do the elderly cheat at games so much? Have they learned a lesson in life we haven’t yet? I’ll put down phoney words at Scrabble but that is allowed. Feeling for blanks, however, is beyond the pale.. Every so often, matter of factly, she mentions that she won’t be around for much longer. I’ve noticed myself (and others) hush her on such occasions, telling her she will likely outlive us all, or mock-chiding her for her morbidness. I think these episodes reveal more about us than about her, however. At her age, death is not something you can put off thinking about. It looms. It is we young ones who grow skittish when compelled to contemplate death. But I wonder if we are not doing my grandmother a disservice by denying her an opportunity to give voice to such thoughts. I wonder if it is something that the elderly talk about when we are not around.

My other grandmother lives in a dementia ward. She is frail, often confused, and tires quickly. It is as if she has a surfeit of memories to process, but only as if, because that’s not really what I suspect she is experiencing. In fact, I am not at all sure I am able to imagine what it is like to be her, in part because when I attempt the exercise I find myself using mental faculties that I suspect I need to imagine no longer having.

Contemplating her existence doesn’t provide any new intellectual insights. We know consciousness is not a binary notion, on or off, a matter of being awake to the world or dead, but a collective, a group effort prone to slow dissolution. Yet what is it like to feel your identity ebbing? Could someone not in her state write a convincing novel about a protagonist who is?

There seem to be several different challenges to overcome, then, when trying to think one’s way into the existence of an elderly person. I can think of three. Perhaps the easiest is to imagine being physically frail; after all, we’ve all broken a bone or been bedridden. Then there is the matter of acquiring the right perspective — from near the end of a life, from where you can count with your hands the number of summers left to you. And finally, in some cases, the challenge of imagining being on a trajectory into mental unbeing.

I will probably live to find out what my grandmothers are experiencing now. It will be too late to compare notes with them, though.