Monthly Archives: June 2023

Living Memory

This week, a consideration of how memories survive as stories. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane

The Header Image on this Week’s Post is of the RMS Carmania, which carried my great-grandfather to America in April 1914.

A few weeks ago, when I visited Mount Carmel Bluffs and the Motherhouse of the Sisters of Charity of the Blessed Virgin Mary (known more commonly as the BVMs) in Dubuque, Iowa I was struck at how even though it had been 8 years since my last visit and 14 years since the last time I was there for a family funeral, the memory of those relatives, my great-aunt Sr. Therese Kane in particular, still lived on in the sisters who came up to us throughout the day telling stories of times now long past and all the people they knew who lived in those moments. It had been so long since I’d seen Sr. Therese that it felt strange to still call her “Sister” as we all did in the Kane family when she lived.

That visit to Dubuque was in honor of Sister and my grandfather’s cousin, Sr. Mary Jo Keane, who died in April only a few weeks after having moved into her community’s retirement facility called Mount Carmel Bluffs. At her wake I noted to the attending sisters, relatives, and friends that she was one of the very last in my family who knew her parents’ generation who came to Chicago from County Mayo in the first half of the last century. Moreover, she was the very last person living who attended my great-grandfather Kane’s funeral in 1941, the last one who could tell some of the stories she heard as a child of life in Mayo at the end of centuries of colonial rule.

At Sister’s funeral lunch in 2009 I remember hearing Sr. Mary Jo, my grandfather, and their cousin Fr. Bill McNulty telling these stories about their parents, some of which I had never heard before then, of how hard it was for them to come to America, and of the trouble they faced in Ireland that led to their immigration. Some of these stories were still in the air at Sr. Mary Jo’s funeral lunch, told by my cousin Rosemary, yet as that first generation born in America leaves us so too their stories begin to fade away.

In the last week I slowly began to acknowledge the news of the lost submersible Titan which left St. John’s in Newfoundland for the wreck of the RMS Titanic and upon its descent beneath the surface was never seen again. At first, I acknowledged it was happening yet didn’t pay the story much heed, yet as my parents began to give it more attention and talk about it over dinner, I slowly started paying attention more. The Titan‘s mission to take tourists down to the remains of the Titanic 2.5 miles (3.8 km) beneath the surface of the North Atlantic is as much an act of nostalgia as any pilgrimage or historical tour can be. For $250,000 passengers were brought to the ocean floor to see the great ship as it rests slowly decaying away with the passage of time. I’ll admit the idea of seeing it for myself is intriguing, though even before the Titan was reported lost at sea, I doubt I’d ever take that opportunity to visit the Titanic.

One disaster resulted from fascination in another disaster. The sinking of the Titanic is a curious event for me because it is just on the horizon of what I consider recent events to my own life. Many of the last survivors––who themselves were old enough to remember the event––died around the time I was born, 80 years after the ship sank into the cold North Atlantic. What’s more, the generation of young immigrants in their 20s and 30s who left Ireland for America at the time of its sinking included my Kane great-grandparents who arrived in this country in 1914 and 1920 respectively. The Titanic followed the same course that my great-grandfather’s ship the RMS Carmania sailed between Cobh (then called Queenstown) and New York two years later in April 1914, and there is a point in my mind where it’s clear that had circumstances been different, had he sailed at age 20 instead of age 22, he very well could’ve been on the Titanic.

It’s always been strange to me to talk with people for whom recent memory is far shorter. When I started teaching at Binghamton University I expected my students, all New Yorkers, would have more vivid memories of 9/11 or perhaps had families who were directly involved, yet these students could tell me little about it, saying they were either too young or had not been born yet when the attacks took place 22 years ago. I think to my own early childhood, to my understanding of world events as the happened right before my birth in December 1992, and I at least have known a fair deal about events like the 1992 Presidential Election or the Fall of the Soviet Union in August 1991 for most of my life. I thank an insatiable curiosity and old Saturday Night Live re-runs for much of what I know about those events. Still, for most of my childhood memories of people who lived in the nineteenth century persisted, and so for me my great-grandfather Thomas Kane, who died 51 years before I was born, feels today closer than might be expected of someone who was born 100 years before me.

On Monday night this week I found myself diving deep down rabbit holes reading about Titanic survivors. It’s rather morbid to say that someone’s sole distinction is that they’re the last Titanic survivor of a certain demographic, that’s certainly something I’d have trouble being proud of. My reading led me to the story of an Englishwoman named Millvina Dean, who was a 9-week old infant at the time of the sinking, who was on her way to Kansas City with her parents to start a new life here on the prairies. 

The Washington Post reported in 1997 on the completion of her long voyage when “85 years after setting out for Kansas City” she finally arrived here to meet cousins long separated by the waters of the Atlantic. The article in question mentioned where her uncle who the Dean family was planning on staying with lived, on Harrison Street, leading me to old city directories to see where on Harrison. The most likely address is at the corner of Harrison St. and Armour Blvd. on the eastern side of Midtown near where many of my maternal Donnelly relatives lived in the 1910s. Ms. Dean herself died in May 2009, I remember reading about her death when it happened; and on the centenary of the sinking of the Titanic, I noticed the date come and go. There was a story that weekend on CBS This Morning, yet for me the main emotion was a strange feeling of an event which had always been there in the edge of memory of the people I knew fading ever further into the distance, less a lived event that my relatives read about in the papers when it happened and more a historical event.

In time all our lives will reach that threshold, our memories recorded will survive as relics of people, places, and moments long past, and those that were only spoken or thought yet never written down will fade away. There is so much I wish I knew about the immigrant generation in my family, I’ve seen pictures, heard stories, been told I look like my great-grandfather Kane in a striking way, yet beyond those things I’ve never really known them. We are fortunate in our time to have so many audio and video recordings of our world, to an extent that our memories will hopefully survive long after we are all gone. The democratization of these technologies is a gift, it means that when future generations want to yearn for the early 21st century they will have the cornucopia of our recorded memories to relive. For older generations, we are left with visions of the past defined by movies, talking and silent alike, which the New York Times columnist Maureen Dowd wrote about this week, her own father almost boarded the Titanic on his Atlantic Crossing from Ireland. Like the French anthropologist Claude Lévi-Strauss seeking the most remote of peoples in Brazil, to get an idea of what first contact was like in 1500, we are left with less recognition of the spirit behind these historical events the further they move away from us, until in a tragic ending to our story they are ancient history to us.

How Reading James Joyce Prepared Me for my Doctorate

How Reading James Joyce Helped Prepare me for my Doctorate Wednesday Blog by Seán Thomas Kane

This week, in honor of Bloomsday, how reading Joyce helped prepare me for my doctorate. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane

Last Friday was the annual commemoration of Bloomsday. 16 June 1904 was the date when all of the action in James Joyce’s 1922 episodic novel Ulysses takes place. Bloomsday is named for the main character, the sometimes hapless Leopold Bloom who fits perfectly into the wider scope of Irish main characters who may want things to go one way but often find their life taking ever weirder and sometimes darker turns. It reminds me of An Béal Bocht.

I’ll fully admit, I’ve never read Ulysses through the entire way before. I’ve seen the stage adaptation that they used to put on that the Irish Center of Kansas City a handful of times and have participated here and there in the day-long reading of Ulysses at the same cultural center, but to date I’ve never actually sat down and tried to read this work from cover to cover. For one thing, Ulysses evades expectations of literary formalities and standards. For another, a fair bit of the text really only makes sense when read aloud. And finally, because of several scenes it was banned here in the United States for a while, a nod to the puritan roots of our American culture.

So, on Friday I went over to Rainy Day Books, the finest local bookstore I’ve stepped foot in, located just across the border in Fairway, Kansas, to buy a copy of Ulysses for myself. My goal on Friday was to record an Instagram reel of me reading my favorite passage from the novel, a scene with an ever increasingly ridiculous list of foreign dignitaries attending the Ascot Gold Cup, which took place on the same day as the story at large. Yet, the eccentricity of Ulysses befuddled me enough that I ended up choosing a different passage from Part II’s Episode 12, “Cyclops” in which an ancient hero wearing a leather belt adorned with the portraits of a series of Irish heroes is described. Again, this series of Irish heroes steadily becomes more ridiculous as it goes on. As a matter of fact, I’ll read this passage for you now:

Joyce’s Ulysses makes far more sense when read aloud than if read silently, a style of reading that was pioneered in the 5th century CE by none other than St. Augustine of Hippo no less. It’s a far older style of literature that way, something which gives it an air of antiquity that I for one appreciate a great deal. This is also something that I find regular among my primary sources for my dissertation, books which were written for a very different audience who lived 450 years ago in France. In my case, I often find reading those aloud gives me the greatest clarity of what they’re actually trying to say. My translation of André Thevet’s 1557 book The Singularities of France Antarctique is one such book that is best read in full voice, and I have a feeling when I go through and edit my translation that I’ll have to soften some of the eccentricities of my initial interpretation of Thevet’s text, or at least that’s what I’ve been finding as I incorporate it into my dissertation.I find Joyce’s writing daunting, a proper challenge, yet still something that is immensely relatable to my own way of thinking about writing. I love his fluid use of adjectives to describe his characters, they bring even the most marginal of figures to life in a way that echoes down the last century to the present moment. Now, 119 years after Leopold Bloom’s eventful day in Dublin, and 101 years after Joyce’s first edition was published in one volume under the title of Ulysses, there’s a connection to that story which continues to live on for me.

Classics

This week I'm discussing what the word "classical" means to me in musical as well as historical and political terms. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane

During my high school years in Kansas City, I would often listen to either NPR or 1660 AM, the local classical music station, on my 30 minute drive south to St. James Academy. In those years I continued to embrace Classical Music, especially opera, as an art form that remains a particular passion of mine, even to the point of several ill-fated attempts at composing.

Still, it strikes me that our term classical has a rather complicated set of meanings and uses. In the musical sense, it’s used to refer to the most highbrow of our genres, the rare musical tradition that still sees performances of music composed within the last 400 years rather than the decade-based music that usually makes the Pop and Rock charts. Classical Music tends to embrace the trappings of old European and American elite while also providing a gateway for the rest of us to enter that refined space and hear the radiant melodies and harmonies that have been the soundtrack for generations.

I began to explore Classical Music in my middle school years, like many Americans my introduction to this wide scope of music was through jazz and Gershwin’s blending of the classical and jazz orchestras. I’ve been wanting to write a blog post all about my appreciation for Gershwin’s music, though my continuing uncertainty regarding copyright law has kept me from ever publishing it or trying to record a podcast version of it. From Gershwin I jumped backwards to Mozart, Beethoven, and the other big names before settling both in the Baroque world with Lully and in the realm of the Romantics with the likes of Johann Strauss II, Verdi, Wagner, and Mahler. Today, I still love the music from all of those composers, yet I’m also drawn to more recent works written by the likes of Debussy, film music that fits in the 20th Century late Romantic tradition embodied by Prokofiev and the German film composer Gottfried Huppertz, who longtime Wednesday Blog readers and listeners will remember is the composer of the score for Fritz Lang’s 1926 science fiction film Metropolis

In the last couple of years, I’ve returned to my first unwitting introduction to classical music through the film music of the likes of John Williams and Elmer Bernstein and found myself drawn to electronic-classical compositions of Vangelis, which inspired the theme for the Wednesday Blog, and the choral classical-crossover albums of Christopher Tin and 2022’s The Moons Symphony written by Amanda Lee Falkenberg. I’ll gladly spend an afternoon listening to Jerry Goldsmith’s themes for the various Star Trek series and Mr. Williams’s compositions for Star Wars as much as I’ll choose to hear a Mozart piano concerto or Bernard Lallement’s Missa Gallica.

I’ve long thought that classical music saw its greatest innovation in the last century when its venue diversified from the concert hall alone to include the sweeping compositions that breathe life into films. Film music to me fits in the long tradition of ballet music. This comes out of the great silent film tradition of a century ago which reached its zenith in the late 1920s with epics like the original Ben-Hur and Phantom of the Opera films as well as with Metropolis and the other great German expressionist films. Sound film took some of the storytelling need off of the music as now the characters on screen could too be heard, yet the power of music in film was already clear. I relish the chance to hear the Kansas City Symphony perform a concert of film music, because even when it’s disassociated from the pictures that score was originally created to accompany that score often holds up on its own as a concert piece.

It is interesting then to consider that within the world of Classical Music the term “classical” generally only refers to a short span of musical composition within the long history of the wider “classical” genre. The Classical Period in music matches up with the Neo-Classical Period in art, architecture, and literature that ran from around 1750 to 1820. This period includes great composers like Gluck, Haydn, Mozart, Beethoven, and Schubert, all of whom worked in Vienna the beating heart of Europe’s music industry in this period. Yet by this definition the word classical implies a separation from the present, clear limits to its scale and span, and an air of antiquity.

In many other contexts the term classical refers to the far older Classical Antiquity of European History, the centuries during the height of Greek and later Roman civilization from around the 8th century BCE to the 5th century CE. When I write about the classics in my work, I am most often referring to people and ideas conceived during this 13-century long span of time. The classical fathers of Western philosophy––Socrates, Plato, and Aristotle––continue to be required reading in modern philosophy studies, while Aristotle and Pliny the Elder have a foundational role in my own discipline in the History of Natural History. Those two, Aristotle and Pliny, were central influences for the naturalists who defined the Americas in the sixteenth century, people like the focus of my dissertation André Thevet, as well as Gonzalo Fernández de Oviedo and José de Acosta who both wrote natural histories of the Spanish Americas, and Conrad Gessner & Carolus Clusius whose works were written about distant worlds from the comfort of their own homes back in Europe.

Classical is a tricky word because it can be interpreted as something which is removed from common life. It stands apart from popular things because of its high status. I’m often struck by the adoption of mannerisms and norms from the classical music world in popular music, there was one concert I attended nearly a decade ago where the musicians on stage went from dancing in circles playing their violins to suddenly, briskly, taking chairs and sitting in a neat orchestral row in them as though playing the part yet ever with a wink and a nod about it. There has been a general loosening of expectations and normalities in our culture, a sort of reaction to the manners of past generations. I tend to see our present moment as responding to the norms of the 1980s and 1990s, politically we are in a period of unstable transition from the Reagan Conservativism and Clinton centrism of the 80s and 90s, though that needle continues to move forward in time and it does feel now that American conservativism and liberalism now seems to be working in response to the policies of the Bush and Obama Administrations as our youngest generation of voters now were born after the Millennium. I’m happy to see more classical musicians on social media releasing short videos of their performances, rehearsals, and daily practice for all to see. That’s one way for the classical to remain vibrant in the present moment. Still, it worries me that today in 2023 classical and jazz tend to be the exception in popular performance compared to pop, rock, and country.

Artificial Intelligence

Artificial Intelligence Wednesday Blog by Seán Thomas Kane

Concerns have been raised lately over the risk that the increasing artificial intelligence of our computers poses to humanity. I think the risk truly lies in who teaches these computers and what they are taught. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane

Concerns have been raised lately over the risk that the increasing artificial intelligence of our computers poses to humanity. I think the risk truly lies in who teaches these computers and what they are taught.

There have been stories of humans striving for divine heights for millennia, whether it be Icarus flying too high as the wax of his wings melted in the Sun’s rays, or Dr. Frankenstein creating life from the remains of the dead only to find his creation a terror because it couldn’t find a home in human society. In more recent generations stories of cyborgs like Darth Vader, the Borg, and the Cybermen have shown the horrors that augmenting the human body with mechanical parts could bring, especially if those augmentations overwhelm the human.

Many of these risks bear resemblance to the countless stories in our history of people who were raised to fear rather than to love. Darth Vader is merely a tragic figure in a mask lacking most of his limbs without all the anger, hate, and rage that boiled inside that suit sinking the man deep within the façade of Vader so that his climb out, his redemption took the greatest of effort and over two decades to achieve. A central fear over artificial intelligence is in how narrow-minded computers traditionally tend to be. They are machines that run on binary code, 0s and 1s, which allow every one of their decisions to be narrowed down to an up or down choice. There’s little nuance in that, nuance that distinguishes the human from the machine.

In the last few years our machines have gotten far better at interpretation and understanding hints of nuance. What started as humorous easter eggs embedded into virtual assistants created by Apple, Amazon, Google, and Microsoft like answers to riddles or references to the Hitchhiker’s Guide to the Galaxy have become the minute personalization of service provided by the newest generation of artificial intelligences, notably those developed by Microsoft’s Open AI, the creators of Chat GPT. I was unsurprised to see that Chat GPT could devise information for me regarding very particular subjects like André Thevet (1516–1590), the focus of my dissertation, or about the Ancient Order of Hibernians, the largest Irish Catholic fraternal order in the United States of which I am a member. Yet what struck me was the speed at which Chat GPT learned how to communicate and relay ideas. No longer was there a bias towards English and several other languages as has been the case with the other AI text generator Google Translate; Chat GPT was able to answer questions I asked it in Irish, and when I pressed on further in the Connacht dialect that I speak it replied in the same.

I am cautious about using artificial intelligence without due process or consideration of the ramifications. I want the things I write to be my own, without much bias from a computer beyond the fact that nearly everything I write today is typed on a computer rather than written by hand. This reminds me of how our very understanding of language is technologically influenced from the start. Without the technologies we and our ancestors developed over thousands of years our languages would exist orally, spoken and sung, heard, yet not read. The very word language comes from the Latin lingua, which has a very close sibling word dinguameaning tongue, not unlike how in English an older synonym for language is tongue itself. This distinction is pressing for me because much of the ancient history of my Irish Gaelic ancestors was only written down centuries after the fact, rendering those stories from the ancient epics prehistoric in the eyes of the historical method. I recognize their view: after all many of the characters in epics like the Táin Bó Cuailnge are thought to be personifications of ancient gods and goddesses, Queen Medb in particular. I still bristle a bit in frustration at hearing that, especially when an explanation I wrote of the anglicization of my family name from Ó Catháin to Kane was referred to as a “prehistory” by one fellow academic. Without the technology of the written word there is little precedent that we would find acceptable to distinguish one people’s history from another people waiving it off as mere prehistoric myth.

Still, artificial intelligence remains central to my life and work today from my ability to interface with the computer in my car vocally to the spell check that doesn’t care for the handful of Irish names in the previous paragraph telling me to rework those. Over the last three weeks readers of the Wednesday Blog will have seen a series of images that I created using Open AI’s image generator DALL-E 2. I once had more skill as a sketch artist, but have long since fallen out of practice, in part due to the discouragement of an art teacher years ago. So, rather than try to create all these images myself with paper, pencil, and watercolors I instead decided to see what an artificial intelligence could do. I asked DALL-E 2 to create images in the style of Claude Monet (1840–1926), the French impressionist painter whose works I deeply admire that depicted all of the main characters as well as several of the settings on Mars. Those images came to embody “Ghosts in the Wind” in a way that I’m quite pleased with.

The fears that many of the leaders in artificial intelligence have been speaking of lately reflect as much the potential that their creations hold as in the worry that our own long history poses. We have seen time and again as technologies are created and twisted for destructive purposes. This call for caution is very much warranted in that long lens, yet I think behind it is a concern that there are enough people or powers out there who would want to use artificial intelligence to further their own ends to the detriment of everyone else. Many of the beta canon explanations for the Borg lie in genetic experimentation with nanotechnology injected into organic tissue that overwhelms the organic and through a collective hive mind dreams up a desire to assimilate all other organic life. Whether we’re looking at that emerald tinted nightmare or at the vision of a computer that will only stop its program once it’s played all the way through, we need more safeguards against both the human inclination towards chaos that will continue to influence A.I., and against the resolute binary inclination towards order of the machines. As the moral of Fritz Lang’s 1927 film Metropolis––the first great science fiction film to ask about artificial intelligence––says: the mediator between the head and the hands must be the heart.