Bobby Krlic grew up in Yorkshire, learned to play the guitar, and studied Music and Visual Arts at Brighton University. “What got me into electronic music was that I did a lot of DJ’ing of rap music as a teenager, and that got me interested in how people were making beats and stuff. I found out that people were using hardware samplers, so I started off with an Akai MPC2000, and then I had an Akai Z4 sampler, and then someone told me I should get a Mac, and he gave me copies of Cubase and Reason. Particularly Reason got me into working with MIDI, audio, basic synthesis, and then during my first year at University, in 2003, I got a copy of Ableton. By that stage I’d made a lot of four–bar loops, I had a huge library of the stuff, and the amazing thing about Ableton is that you can just drop things in and fit it to the tempo. Ableton did everything I could imagine, and I’ve never looked back.
“In my studio at home I now have a laptop and an iMac with a Universal Audio Apollo interface, Event 22 monitors, and B&W CM6–S2 speakers with a PVD–1 subwoofer, one old sE Electronics condenser mic and an AKG C1000S. I also have electric and acoustic guitars, a violin and a cello, and quite a few hardware synths. I’m really into modular stuff, and have Analogue Systems Apprentice and Harvestman synths, Doepfer sequencers, and the Teenage Engineering OP1. I also just got TE’s three pocket synths in.
I don’t use MIDI controllers; I tend to draw everything in by hand. I use NI’s Reaktor quite a bit for sampling, building a lot of stuff from scratch in there. I also like using the OP1, as well as the modular synths, which I often use to make drum sounds. I try to make my own sounds as much as I can, and all sounds that I create also are heavily processed.”. All contents copyright © SOS Publications Group and/or its licensors, 1985-2018.
All rights reserved. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers.
Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Web site designed & maintained by PB Associates & SOS.
16 GREAT Guitar eBooks: A Collection – – – – Password: warezhr 1. Rock Guitar Secrets The ultimate guitarist’s reference book with playing techniques, solo and improvisation concepts, exercises and jam tracks. The purpose of this book is to demystify the relatively simple concepts or tricks around which much of rock guitar is built. The book is designed modularly, allowing the reader to choose any topic at any time, but is can also be sequentially as a method. Topics includes warm-ups, pentatonic scales, bending and vibrato techniques, blues scales, string skipping, major scales, alternate picking,modes, economy picking (sweeping), arpeggios, two-hand tapping, minor scales, legato techniques, exotic scales, whammy bar, how to build a solo, practice planning, and improvisation. Each concept is discussed in a thorough and easily understandable manner. The accompanying CD includes over 80 licks and exercises plus more than 20 jam tracks, helping the student put the concepts directly into practice.
In notation and tablature. Playing techniques, solo and improvisation concepts, exercises, licks and jam tracks for: warm ups, pentatonic scales, bending and vibrato techniques, blues scales, string skipping, major scales, alternate picking, modes, economy picking (sweeping), arpeggios, two-hand tapping, minor scales, legato techniques, exotic scales, whammy bar, how to build a solo, improvisation. About the Author: Peter Fischer was born in 1966 and is Germany’s most prominent author of instructional books and videos such as Masters of Rock Guitar, Rock Guitar Secrets, Total Guitar Technique, Blues Guitar Rules, and the instructional video Modern Rock Concepts, of which a few have also been translated into English. He is a contributing columnist for various European music magazines.
A graduate of the Guitar Institute of Technology (GIT) in Los Angeles, he is also very active as a performer both on stage and in the studio. He was also a featured new talent in Mike Varney’s Spotlight column in the November 1989 issue of Guitar Player Magazine. Download: 2. Essential Rhythm Guitar by Steve Trovato Book Description: This book/CD pack is based on the concept that, for most popular music styles, there exist a few basic, fundamental rhythm guitar techniques and a set of appropriate chords and chord voicings that determine the sound of each style. This one-on-one lesson with MI instructor Steve Trovato teaches the rhythm guitar essentials for 7 styles: blues, rock, country, fingerstyle acoustic, Latin/Brazilian, jazz and swing, and funk.
The CD features 65 full-band tracks. Includes standard notation and tab.
Download: 3. Guitar Secrets: Harmonic Minor Revealed Legendary guitarist and educator Don Mock exposes the closely-guarded ‘secret’ soloing techniques of jazz and rock giants, revealing easy ways to create ultra-cool sounding lines and patterns by substituting simple harmonic minor patterns over dominant 7th chords. This book/CD package contains over 60 music examples, lines, licks and patterns. All music is written in standard notation and tablature. Download: 4. Rock Discipline by John Petrucci. PDF 83 pages + Tablatures 7Mb As the cornerstone for the innovative band Dream Theater, John Petrucci has rapidly become one of the most respected and talked about guitarists of the ’90’s.
He has been featured in virtually every major guitar publication worldwide and was voted “Best Guitarist for 1994” in “Guitar” magazine and “Break Through Guitarist of the Year (1993)” in “Guitar For the Practicing Musician” magazine. This powerful and all encompassing book starts with a valuable segment on warm-ups followed by up-to-date practice concepts that address dealing with today’s information explosion. John has provided detailed lessons concerning speed and accuracy using rhythmic subdivisions, chromatic exercises, dynamics and scale fragments. Other topics include picking through arpeggios, string skipping, sweep picking, legato technique and how to expand the color and texture of basic “power chords.” Also included are detailed transcriptions and demonstrations of dozens of exercises, examples and special etudes ranging from easy-to-master to very challenging. All music examples are contained on the included recording and written in both standard notation and tablature. Download: 5. Signature Licks, CD Included (For Guitar) by Joe Satriani Explore Satriani’s scorching sound with this step-by-step breakdown of his styles and techniques.
This book/CD pack provides hands-on analysis of 11 classic tracks from five albums. From Not of This Earth: Hordes of Locusts ” Memories ” Not of This Earth ” Rubina. From Surfing with the Alien: Always with Me, Always with You ” Circles ” Crushing Day. From Dreaming #11: The Crush of Love. From Flying in a Blue Dream: Big Bad Moon ” Flying in a Blue Dream.
From The Extremist: Summer Song. Table of contents 01. Always With Me, Always With You 02. Big Bad Moon 03.
Crushing Day 05. Flying In A Blue Dream 06. Hordes Of Locusts 07. Not Of This Earth 09. Satch Boogie 11. Summer Song 12.
The Crush Of Love This book is more than just a catchy collection of jazz guitar licks. It presents a teaching concept which relates a great-sounding guitar phase to a typical chord progression and also to a typical standard tune. All examples are in notation and tablature and are applicable to pick or fingerstyle jazz. The musical examples contain Alan De Mause’s typical “hip” musicianship and humor. The CD is a stereo play-along CD and presents each jazz phrase.
All songs from the book are on the CD. Download: 6. 1001 Blues Licks – by Toby Wine Now guitarists can have all three volumes of this classic guitar method in one convenient book! Created by popular demand, this new edition of the method used as the basic text for the renowned Berklee College of Music guitar program is a complete compilation of the original Volumes 1, 2, and 3. Innovative solos, duets and exercises progressively teach melody, harmony and rhythm.
Perfect for the serious guitar student and instructor alike. Download: 7. Acoustic Fingerstyle of Tommy Emanuel MI instructor Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top phrases. This book is the complete resource for applying pentatonic, harmonic minor, melodic minor, whole tone, and diminished scales. The CD includes 99 full-band tracks. Download: 8. Amazing Phrasing by Tom Kolb Unlike many Bach editions for guitar, these transcriptions are meant to be performed using a pick.
Although a few of the pieces may be played on a standard acoustic guitar, most require an electric guitar or a guitar with a cutaway. All pieces are in the original keys and their ranges may require notes as high as the twenty-second fret.
Written in notation and tablature, these six pieces make great sight reading exercises. The included CD will prove an asset in learning these often challenging pieces. Download: 9. The Beginner Guitarist Primer Everything from the first steps of design to the final set-up of of solid-body, hollow-body and semi-acoustic electric guitars is covered step by step in this book.
Guitar Secrets Revealed
It contains a section about winding your own pickups and another on active guitar electronics. The last chapter is about visits to Steve Jarman Guitars (UK), Sadowsky Guitars (US) and PRS-Guitars (US) Download: 10.
Complete Idiots Guide to Playing the Guitar by Frederick Noad Great Riffs Series A great resource for hot riffs in country rock, bluegrass, rockabilly, and other styles. Features 40 riffs in all, with accompanying performance notes and examples of each riff on split-channel CD and cassette. Download: 11.
Exotic Scales (Jazz) by JP Befumo This book is for all levels and styles of guitarists. “Finger Gymnastics” is a term used for warm-ups, stretching, and any type of practice exercise that develops technique and stamina while preventing technique related injuries. The exercises in this book are time-tested and will keep your technique at its optimum while helping to ensure injury-free performance. The enclosed CD presents three versions of the exercises in chapters I and II, each version more advanced than the preceding one. In chapter III, bass and rhythm accompaniments are included for many of the examples. Matching the pitch and articulation with a rhythm background will not only assist in warming up, stretching, and building stamina, but will make your practice a more pleasurable experience.
Download: 12. Fretboard Roadmaps Rock Guitar by Fred Sokolow Go one on one with MI instructor Ross Bolton to get that funk groove with your guitar!
This book/CD pack covers: movable 7th, 9th, 13th and sus4 chords; 16th-note scratching; straight vs. Swing; slides; single-note “skank” and palm muting; songs and progressions; and more. The CD includes 70 full-band tracks. Download: 13. Guitar Design and Repair by Jim Donahue Not a song book which are a dime a dozen but an in depth look at guitar techniques by some of the greatest contemporary guitarists; John Abercrombie, Kevin Eubanks, Frank Gambale, Scott Henderson, Steve Lakather and Mike Stern.
A must book for the serious student of the guitar. Download: 14. Guitar Secrets by Joe Satriani Signature Licks Play along with the actual backing tracks from Passion and Warfare and Sex and Religion especially modified by Steve Vai himself!
Learn the secrets behind a guitar virtuoso then play along like the pro himself. Download: 15. Rock Lead Techniques by Nick Nolan A carefully planned and systematic approach to fretboard mastery, SHRED GUITAR is actually two books in one. The first half of the book book, SHRED GUITAR, is based around 10 popular rock chord progressions with full play-along tracks included on the accompanying CD. The second half of the book, The Practical Guide to Harmony and Theory, is a guitar theory reference that contains 17 units of detailed information that will be useful to all guitarists. Download: 16.
Speed Mechanics For Lead Guitar by Troy Stetina Total Rock Guitar is a unique and comprehensive source for learning rock guitar, designed to develop both lead and rhythm playing. This book/CD pack covers: getting a tone that rocks; open chords, power chords and barre chords; riffs, scales and licks; string bending, strumming, palm muting, harmonics and alternate picking; all rock styles; and much more.
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The examples in the book are in standard notation with chord grids and tablature, and the CD includes full-band backing for all 22 songs. Download: – – – – – – – – – – – – – – – Password: warezhr.
. When Dr Wednesday Martin fell in love and married at the age of 35 it wasn't just a husband that she gained. She also became a step mother to his daughters Alexandra and Katherine, then aged 15 and 11, who weren't happy about their father having a new woman in his life - and weren't afraid to make their feelings known. The New York-based writer said she was made to feel like a 'step monster' as the girls were constantly hostile and rude to her and competed with her for the attention of their father, Joel, then aged 42. Share ' They didn't want a step mother and by liking me they felt they were being disloyal to their mother. ' They would constantly make digs at me or tried to exclude me in silly little ways such as slipping into the passenger seat so I would have to sit in back while they sat next to dad or racing to sit next to him at the table at meals so I couldn't.
'They would talk great length about the time 'pre-me' so I couldn't join in the conversation beyond saying, 'that sounds great' and they would say unfavourable things about me to their mother and their friends.' Dr Martin explained their bitterness also manifested itself by throwing tantrums when they 'were way too old for it' and shouting 'you're not my mother' if she ever tried to discipline them. Dr Wednesday's 'blended' family includes her husband Joel, two stepdaughters Katherine (24) and Alexandra (28) and her own children Eliot (11) and Lyle (5) She felt her husband didn't give her enough support to banish the myth that she was the 'wicked step mother' and as a result she felt miserable and alone.
'I took their behaviour personally and it affected my self esteem. Women need good relationships to feel good about themselves, because I didn't have a good relationship with my step daughters I felt like a failure. 'I felt rejected and hurt. I felt unsupported by my husband and frustrated he didn't do more to help.' Dr Martin has since learnt that her emotions are typically felt by step mothers who can become the 'hidden victims' of new domestic arrangements.
'Step mothers often feel isolated and depressed,' she said. 'They may not sleep well because of the anxiety they are suffering from and this makes them more vulnerable to getting ill.' Dr Martin said she sought solace in her friends but as none of them were step mothers they found it hard to advise her. 'They would say, 'have you just tried being nice to them?' , Dr Martin revealed. 'Of course I'd tried that!' The writer admitted the turning point only came when they sought advice from family counsellors who were able to set them on a path towards a happy future.
'They told us everything we had been experiencing was normal and that was such a relief and reassurance,' she explained. 'They told me to stop trying so hard to create the perfect extended family where everyone gets along. 'I had to stop trying to be mum and trying to get the girls to love me because they already had a mother.
They also told me I didn't have to try so hard to get along with Joel's ex, it was enough just to be civil.' The family are now very happy after receiving counselling: 'They told me to stop trying so hard to create the perfect extended family where everyone gets along,' said Wednesday She added: ' My hus band and I were advised that we must form a tighter partnership. They told us to tend to our marriage first, since remarriages with children have such high divorce rates, and who wants kids to go through yet another divorce? 'Our happy and secure relationship would be the foundation for a happy family.' It took time but Dr Martin said things gradually got better and now she and her step daughters, now aged 28 and 24, get on famously. She and Joel have also had two sons of their own, Eliot, 11, and Lyle, five. She sad: 'Patience pays off.
It took years but I now have a wonderful relationship with my step daughters. I'm an extra adult support in their life without the baggage and anxiety that goes with being their parent and they can talk to me about things they can't always talk to their mum and dad about.' Now Dr Martin passes on her knowledge and first hand experience through her bestselling book 'Stepmonster: A New Look at Why Real Stepmothers Think, Feel and Act the Way We Do.' In the U.S., her book has become widely regarded as the 'go to' source for step mothers, step children and therapists. And with one in three British families now being part of a step arrangement, she believes her advice is invaluable to people here too.
'One of the most important thing step families have to do is stop trying so hard to be like a 'first' family,' she said. 'A step family is always going to be different with more people involved but that doesn't mean it can't be as happy.' She advises step mothers to bond with their step children through 'shoulder-to-shoulder' rather than 'eye-to-eye' activities. She explains: 'First families work better as a unit but step families work better one-on-one. When step families try to do group activities it activates anxiety because someone always feels left out or is trying to work out 'who daddy loves best'. 'The best bonding I had with my step-daughters was through shoulder-to-shoulder activities like when they helped me string popcorn at Christmas one year or when we completed a jigsaw together.
'During these activities we were able to talk and get along, that would never have happened if I had forced them to sit down and chat with me over a cup of tea.'
From United Kingdom to U.S.A. About this Item: Alfred Music, 2005. Condition: New. Language: English. Brand New Book. To jam-playing music in a free, spontaneous and creative way-is what this book is all about.
Jam Guitar: Rock will help you develop your own voice on the guitar. It provides backing tracks for you to solo in a variety of rock styles-classic, hard, southern, funk, blues and more-in an assortment of keys. You will be prepared for real jam sessions and live musical experiences. When improvising, there is a whole world of theory, technique and vocabulary to draw from. This book makes it easy for you, with essential tips and tools to get you jammin right away! A CD containing the examples in the book is also included. Seller Inventory # BZV997 6.
From United Kingdom to U.S.A. About this Item: Hal Leonard Corporation, United States, 2000.
Condition: New. Language: English.
Brand New Book. (Musicians Institute Press). In this private lesson, MI instructor Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top, red-hot licks and lead phrases! He covers: modal and tonal usage, triad substitution and superimposition techniques, and much more. The book is in standard notation and tab, and the CD features 50 full-band tracks.
Seller Inventory # AAS581 7. From United Kingdom to U.S.A. About this Item: Hal Leonard Corporation, United States, 2000. Condition: New. Language: English. Brand New Book.
(Musicians Institute Press). In this private lesson, MI instructor Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top, red-hot licks and lead phrases! He covers: modal and tonal usage, triad substitution and superimposition techniques, and much more. The book is in standard notation and tab, and the CD features 50 full-band tracks.
Seller Inventory # AAS581 11.
Four billion years ago, Earth was a lifeless place. Nothing struggled, thought, or wanted. Slowly, that changed. Seawater leached chemicals from rocks; near thermal vents, those chemicals jostled and combined. Some hit upon the trick of making copies of themselves that, in turn, made more copies.
The replicating chains were caught in oily bubbles, which protected them and made replication easier; eventually, they began to venture out into the open sea. A new level of order had been achieved on Earth. Life had begun. The tree of life grew, its branches stretching toward complexity.
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Organisms developed systems, subsystems, and sub-subsystems, layered in ever-deepening regression. They used these systems to anticipate their future and to change it. When they looked within, some found that they had selves—constellations of memories, ideas, and purposes that emerged from the systems inside. They experienced being alive and had thoughts about that experience.
They developed language and used it to know themselves; they began to ask how they had been made. This, to a first approximation, is the secular story of our creation. It has no single author; it’s been written collaboratively by scientists over the past few centuries.
If, however, it could be said to belong to any single person, that person might be Daniel Dennett, a seventy-four-year-old philosopher who teaches at Tufts. In the course of forty years, and more than a dozen books, Dennett has endeavored to explain how a soulless world could have given rise to a soulful one.
His special focus is the creation of the human mind. Into his own he has crammed nearly every related discipline: evolutionary biology, neuroscience, psychology, linguistics, artificial intelligence. His newest book, “From Bacteria to Bach and Back,” tells us, “There is a winding path leading through a jungle of science and philosophy, from the initial bland assumption that we people are physical objects, obeying the laws of physics, to an understanding of our conscious minds.” Dennett has walked that path before. In “Consciousness Explained,” a 1991 best-seller, he described consciousness as something like the product of multiple, layered computer programs running on the hardware of the brain. Many readers felt that he had shown how the brain creates the soul. Others thought that he’d missed the point entirely. To them, the book was like a treatise on music that focussed exclusively on the physics of musical instruments.
It left untouched the question of how a three-pound lump of neurons could come to possess a point of view, interiority, selfhood, consciousness—qualities that the rest of the material world lacks. These skeptics derided the book as “Consciousness Explained Away.” Nowadays, philosophers are divided into two camps. The physicalists believe, with Dennett, that science can explain consciousness in purely material terms. The dualists believe that science can uncover only half of the picture: it can’t explain what Nabokov called “the marvel of consciousness—that sudden window swinging open on a sunlit landscape amidst the night of non-being.” Late last year, Dennett found himself among such skeptics at the Edgewater Hotel, in Seattle, where the Canadian Institute for Advanced Research had convened a meeting about animal consciousness.
The Edgewater was once a rock-and-roll hangout—in the late sixties and seventies, members of Led Zeppelin were notorious for their escapades there—but it’s now plush and sedate, with overstuffed armchairs and roaring fireplaces. In a fourth-floor meeting room with views of Mt. Rainier, dozens of researchers shared speculative work on honeybee brains, mouse minds, octopus intelligence, avian cognition, and the mental faculties of monkeys and human children. At sunset on the last day of the conference, the experts found themselves circling a familiar puzzle known as the “zombie problem.” Suppose that you’re a scientist studying octopuses. How would you know whether an octopus is conscious? It interacts with you, responds to its environment, and evidently pursues goals, but a nonconscious robot could also do those things.
The problem is that there’s no way to observe consciousness directly. From the outside, it’s possible to imagine that the octopus is a “zombie”—physically alive but mentally empty—and, in theory, the same could be true of any apparently conscious being. The zombie problem is a conversational vortex among those who study animal minds: the researchers, anticipating the discussion’s inexorable transformation into a meditation on “Westworld,” clutched their heads and sighed. Dennett sat at the seminar table like a king on his throne. Broad-shouldered and imposing, with a fluffy white beard and a round belly, he resembles a cross between Darwin and Santa Claus.
He has meaty hands and a sonorous voice. Many young philosophers of mind look like artists (skinny jeans, T-shirts, asymmetrical hair), but Dennett carries a homemade wooden walking stick and dresses like a Maine fisherman, in beat-up boat shoes and a pocketed vest—a costume that gives him an air of unpretentious competence. He regards the zombie problem as a typically philosophical waste of time. The problem presupposes that consciousness is like a light switch: either an animal has a self or it doesn’t.
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But Dennett thinks these things are like evolution, essentially gradualist, without hard borders. The obvious answer to the question of whether animals have selves is that they sort of have them. He loves the phrase “sort of.” Picture the brain, he often says, as a collection of subsystems that “sort of” know, think, decide, and feel. These layers build up, incrementally, to the real thing. Animals have fewer mental layers than people—in particular, they lack language, which Dennett believes endows human mental life with its complexity and texture—but this doesn’t make them zombies.
It just means that they “sort of” have consciousness, as measured by human standards. Dennett waited until the group talked itself into a muddle, then broke in. He speaks slowly, melodiously, in the confident tones of a man with answers. When he uses philosophical lingo, his voice goes deeper, as if he were distancing himself from it.
“The big mistake we’re making,” he said, “is taking our congenial, shared understanding of what it’s like to be us, which we learn from novels and plays and talking to each other, and then applying it back down the animal kingdom. Wittgenstein”—he deepened his voice—“famously wrote, ‘If a lion could talk, we couldn’t understand him.’ But no! If a lion could talk, we’d understand him just fine. He just wouldn’t help us understand anything about lions.” “Because he wouldn’t be a lion,” another researcher said. “Right,” Dennett replied. “He would be so different from regular lions that he wouldn’t tell us what it’s like to be a lion. I think we should just get used to the fact that the human concepts we apply so comfortably in our everyday lives apply only sort of to animals.” He concluded, “The notorious zombie problem is just a philosopher’s fantasy.
It’s not anything that we have to take seriously.” “Dan, I honestly get stuck on this,” a primate psychologist said. “If you say, well, rocks don’t have consciousness, I want to agree with you”—but he found it difficult to get an imaginative grip on the idea of a monkey with a “sort of” mind. If philosophy were a sport, its ball would be human intuition. Philosophers compete to shift our intuitions from one end of the field to the other. Some intuitions, however, resist being shifted. Among these is our conviction that there are only two states of being: awake or asleep, conscious or unconscious, alive or dead, soulful or material.
Dennett believes that there is a spectrum, and that we can train ourselves to find the idea of that spectrum intuitive. “If you think there’s a fixed meaning of the word ‘consciousness,’ and we’re searching for that, then you’re already making a mistake,” Dennett said. “I hear you as skeptical about whether consciousness is useful as a scientific concept,” another researcher ventured. “Yes, yes,” Dennett said.
“That’s the ur-question,” the researcher replied. “Because, if the answer’s no, then we should really go home!” “No, no!” Dennett exclaimed, as the room erupted into laughter. He’d done it again: in attempting to explain consciousness, he’d explained it away.
In the nineteenth century, scientists and philosophers couldn’t figure out how nonliving things became living. They thought that living things possessed a mysterious life force. Only over time did they discover that life was the product of diverse physical systems that, together, created something that appeared magical. Dennett believes that the same story will be told about consciousness. He wants to tell it, but he sometimes wonders if others want to hear it.
“The person who tells people how an effect is achieved is often resented, considered a spoilsport, a party-pooper,” he wrote, around a decade ago, in a paper called “Explaining the ‘Magic’ of Consciousness.” “If you actually manage to explain consciousness, they say, you will diminish us all, turn us into mere protein robots, mere things.” Dennett does not believe that we are “mere things.” He thinks that we have souls, but he is certain that those souls can be explained by science. If evolution built them, they can be reverse-engineered. “There ain’t no magic there,” he told me. “Just stage magic.”.
It’s possible to give an account of Dennett’s life in which philosophy hardly figures. He is from an old Maine family. By the turn of the eighteenth century, ancestors of his had settled near the border between Maine and New Hampshire, at a spot now marked by Dennett Road. Dennett and his wife, Susan, live in North Andover, Massachusetts, a few minutes’ drive from Tufts, where Dennett co-directs the Center for Cognitive Studies. But, in 1970, they bought a two-hundred-acre farm in Blue Hill, about five hours north of Boston.
The Dennetts are unusually easygoing and sociable, and they quickly became friends with the couple next door, Basil and Bertha Turner. From Basil, Dennett learned to frame a house, shingle a roof, glaze a window, build a fence, plow a field, fell a tree, butcher a hen, dig for clams, raise pigs, fish for trout, and call a square dance.
“One thing about Dan—you don’t have to tell him twice,” Turner once remarked to a local mechanic. Dennett still cherishes the compliment. In the course of a few summers, he fixed up the Blue Hill farmhouse himself, installing plumbing and electricity. Then, for many years, he suspended his academic work during the summer in order to devote himself to farming. He tended the orchard, made cider, and used a Prohibition-era still to turn the cider into Calvados. He built a blueberry press, made blueberry wine, and turned it into aquavit. “He loves to hand down word-of-mouth knowledge,” Steve Barney, a former student who has become one of the Dennetts’ many “honorary children,” says.
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“He taught me how to use a chain saw, how to prune an apple tree, how to fish for mackerel, how to operate a tractor, how to whittle a wooden walking stick from a single piece of wood.” Dennett is an avid sailor; in 2003, he bought a boat, trained his students to sail, and raced with them in a regatta. Dennett’s son, Peter, has worked for a tree surgeon and a fish biologist, and has been a white-water-rafting guide; his daughter, Andrea, runs an industrial-plumbing company with her husband. A few years ago, the Dennetts sold the farm to buy a nearby waterfront home, on Little Deer Isle. On a sunny morning this past December, fresh snow surrounded the house; where the lawn met the water, a Hobie sailboat lay awaiting spring. Dennett entered the sunlit kitchen and, using a special, broad-tined fork, carefully split an English muffin. After eating it with jam, he entered his study, a circular room on the ground floor decorated with sailboat keels of different shapes. A close friend and Little Deer Isle visitor, the philosopher and psychologist Nicholas Humphrey, had e-mailed a draft of an article for Dennett to review.
The two men are similar—Humphrey helped discover blindsight, studied apes with Dian Fossey, and was, for a year, the editor of Granta—but they differ on certain points in the philosophy of consciousness. “Until I met Dan,” Humphrey told me, “I never had a philosophical hero. Then I discovered that not only was he a better philosopher than me; he was a better singer, a better dancer, a better tennis player, a better pianist. There is nothing he does not do.” Dennett annotated the paper on his computer, and then called Humphrey on his cell phone to explain that the paper was so useful because it was so wrong. “I see how I can write a reaction that is not so much a rebuttal as a rebuilding on your foundations,” he said, mischievously. “Your exploration has helped me see some crucial joints in the skeleton.
I hope that doesn’t upset you!” He laughed, and invited Humphrey and his family to come over later that day. He then turned to a problem with the house.
Something was wrong with the landline; it had no dial tone. The key question was whether the problem lay with the wiring inside the house or with the telephone lines outside. Picking up his walking stick and a small plastic telephone, he went out to explore. Dennett has suffered a heart attack and an aortic dissection; he is robust, but walks slowly and is sometimes short of breath. Carefully, he made his way to a little gray service box, pried it open using a multitool, and plugged in the handset. There was no dial tone; the problem was in the outside phone lines. Harrumphing, he glanced upward to locate them: another new joint in the skeleton.
During the course of his career, Dennett has developed a way of looking at the process by which raw matter becomes functional. Some objects are mere assemblages of atoms to us, and have only a physical dimension; when we think of them, he says, we adopt a “physicalist stance”—the stance we inhabit when, using equations, we predict the direction of a tropical storm. When it comes to more sophisticated objects, which have purposes and functions, we typically adopt a “design stance.” We say that a leaf’s “purpose” is to capture energy from sunlight, and that a nut and bolt are designed to fit together. Finally, there are objects that seem to have beliefs and desires, toward which we take the “intentional stance.” If you’re playing chess with a chess computer, you don’t scrutinize the conductive properties of its circuits or contemplate the inner workings of its operating system (the physicalist and design stances, respectively); you ask how the program is thinking, what it’s planning, what it “wants” to do. These different stances capture different levels of reality, and our language reveals which one we’ve adopted. We say that proteins fold (the physicalist stance), but that eyes see (the design stance).
We say that the chess computer “anticipated” our move, that the driverless car “decided” to swerve when the deer leaped into the road. Later, at a rickety antique table in the living room, Dennett taught me a word game he’d perfected called Frigatebird.
Real frigate birds swoop down to steal fish from other birds; in Frigatebird, you steal words made of Scrabble tiles from your opponents. To do so, you use new letters to transform their stems: you can’t steal “march” by making “marched,” but you can do it by making “charmed.” As we played, I tried to attend to the workings of my own mind. How did I know that I could use the letters “u,” “t,” and “o” to transform Dennett’s “drain” into “duration”?
I couldn’t quite catch myself in the act of figuring it out. To Dennett, this blindness reflects the fact that we take the intentional stance toward ourselves. We experience ourselves at the level of thoughts, decisions, and intentions; the machinery that generates those higher-order properties is obscured. Consciousness is defined as much by what it hides as by what it reveals. Over two evenings, while drinking gin on the rocks with a twist—a “sort of” cocktail—we played perhaps a dozen games of Frigatebird, and I lost every time.
Dennett was patient and encouraging (“You’re getting the hang of it!”), even as he transformed my “quest” into “equations.”. Along with Richard Dawkins, Sam Harris, and the late Christopher Hitchens, Dennett is often cited as one of the “four horsemen of the New Atheism.” In a 2006 book called “Breaking the Spell: Religion as a Natural Phenomenon,” he argued that religion ought to be studied rather than practiced. Recently, with the researcher Linda LaScola, he published “Caught in the Pulpit: Leaving Belief Behind,” a book of interviews with clergypeople who have lost their faith. He can be haughty in his dismissal of religion. A few years ago, while he was recovering from his aortic dissection, he wrote an essay called “Thank Goodness,” in which he chastised well-wishers for saying “Thank God.” (He urged them, instead, to thank “goodness,” as embodied by the doctors, nurses, and scientists who were “genuinely responsible for the fact that I am alive.”).
Yet Dennett is also comfortable with religion—even, in some ways, nostalgic for it. Like his wife, he was brought up as a Congregationalist, and although he never believed in God, he enjoyed going to church. For much of his life, Dennett has sung sacred music in choirs (he gets misty-eyed when he recalls singing Bach’s “St. Matthew Passion”). He and Susan tried sending their children to Sunday school, so that they could enjoy the music, sermons, and Bible stories, but it didn’t take. Dennett’s sister Cynthia is a minister: “A saintly person,” Dennett says, admiringly, “who’s a little annoyed by her little brother.” The materialist world view is often associated with despair. In “Anna Karenina,” Konstantin Levin, the novel’s hero, stares into the night sky, reflects upon his brief, bubblelike existence in an infinite and indifferent universe, and contemplates suicide.
For Dennett, however, materialism is spiritually satisfying. In a 1995 book called “Darwin’s Dangerous Idea,” he asks, “How long did it take Johann Sebastian Bach to create the ‘St. Matthew Passion’?” Bach, he notes, had to live for forty-two years before he could begin writing it, and he drew on two thousand years of Christianity—indeed, on all of human culture. The subsystems of his mind had been evolving for even longer; creating Homo sapiens, Dennett writes, required “billions of years of irreplaceable design work”—performed not by God, of course, but by natural selection. “Darwin’s dangerous idea,” Dennett writes, is that Bach’s music, Christianity, human culture, the human mind, and Homo sapiens “all exist as fruits of a single tree, the Tree of Life,” which “created itself, not in a miraculous, instantaneous whoosh, but slowly, slowly.” He asks, “Is this Tree of Life a God one could worship? Probably not.” But, he says, it is “greater than anything any of us will ever conceive of in detail worthy of its detail.
I could not pray to it, but I can stand in affirmation of its magnificence. This world is sacred.” Almost every December for the past forty years, the Dennetts have held a black-tie Christmas-carolling party at their home. This year, snow was falling as the guests arrived; the airy modern shingle-style house was decorated like a Yuletide bed-and-breakfast, with toy soldiers on parade. In the kitchen, a small robotic dog-on-wheels named Tati huddled nonfunctionally; the living-room bookshelf displayed a set of Dennett-made Russian dolls—Descartes on the outside, a ghost in the middle, and a robot inside the ghost. Dennett, dapper in his tuxedo, mingled with the guests. With a bearded, ponytailed postdoc, he considered some mysteries of monkey consciousness; with his silver-haired neighbors, many of whom had attended the party annually since 1976, he discussed the Patriots and the finer points of apple brandy.
After a potluck dinner, he called everyone over to the piano, where Mark DeVoto, a retired music professor, was noodling on “O Come, All Ye Faithful.” From piles on a Dennett-built coffee table, Dennett and his wife distributed homemade books of Christmas carols. “Hello!” Dennett said. “Are we ready?” Surrounded by friends, he was grinning from ear to ear. We’ll start with ‘O Come, All Ye Faithful.’ First verse in English, second in Latin!” Earlier, I’d asked Susan Dennett how their atheism would shape their carol-singing. “When we get to the parts about the Virgin, we sometimes sing with our eyebrows raised,” she said. In the event, their performance was unironic. Dennett, a brave soloist, sang beautifully, then apologized for his voice.
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The most arresting carol was a tune called “O Hearken Ye.” Dennett sang the words “ Gloria, gloria / In excelsis Deo” with great seriousness, his hands at his sides, his eyes faraway. When the carol faded into an appreciative silence, he sighed and said, “Now, that’s a beautiful hymn.”.
Dennett has a philosophical arch-nemesis: an Australian named David Chalmers. Chalmers, who teaches at N.Y.U. And at the Australian National University, believes that Dennett only “sort of” understands consciousness. In his view, Dennett’s theories don’t adequately explain subjective experience or why there is an inner life in the first place. Chalmers and Dennett are as different as two philosophers of mind can be. Chalmers wears a black leather jacket over a black T-shirt.
He believes in the zombie problem and is the lead singer of a consciousness-themed rock band that performs a song called “The Zombie Blues.” (“I act like you act, I do what you do. / What consciousness is, I ain’t got a clue / I got the Zombie Blues.”) In his most important book, “The Conscious Mind,” published in 1996, Chalmers accused Dennett and the physicalists of focussing on the “easy problems” of consciousness—questions about the workings of neurons or other cognitive systems—while ignoring the “hard problem.” In a formulation he likes: “How does the water of the brain turn into the wine of consciousness?” Since then, the “hard problem” has been a rallying cry for those philosophers who think that Dennett’s view of the mind is incomplete. Consider your laptop.
It’s processing information but isn’t having experiences. Now, suppose that every year your laptop gets smarter.
A few years from now, it may, like I.B.M.’s Watson, win “Jeopardy!” Soon afterward, it may have meaningful conversations with you, like the smartphone voiced by Scarlett Johansson in “Her.” Johansson’s character is conscious: you can fall in love with her, and she with you. There’s a soul in that phone. But how did it get there? How was the inner space of consciousness opened up within the circuits and code?
This is the hard problem. Dennett regards it, too, as a philosopher’s fantasy. Chalmers thinks that, at present, it is insurmountable. If it’s easy for you to imagine a conscious robot, then you probably side with Dennett. If it’s easier to imagine a robot that only seems conscious, you’re probably with Chalmers. A few years ago, a Russian venture capitalist named Dmitry Volkov organized a showdown between Dennett and Chalmers near Disko Island, off the west coast of Greenland. Before making a fortune investing in Shazam and in the Russian version of PayPal, Volkov was a graduate student in philosophy at Moscow State University, where he wrote a dissertation on Dennett’s work.
Now he chartered a hundred-and-sixty-eight-foot schooner, the S/V Rembrandt van Rijn, and invited Dennett, Chalmers, and eighteen other philosophers on a weeklong cruise, along with ten graduate students. Most of the professional philosophers were materialists, like Dennett, but the graduate students were uncommitted. Dennett and Chalmers would compete for their allegiance. In June, when the Arctic sun never sets, the lowlands of Disko are covered with flowering angelica. The philosophers piled into inflatable boats to explore the fjords and the tundra. The year before, in the Journal of Consciousness Studies, Dennett had published a paper called “The Mystery of David Chalmers,” in which he proposed seven reasons for Chalmers’s resistance to his views, among them a fear of death and a pointless desire to “pursue exhaustively nuanced analyses of our intuitions.” This had annoyed Chalmers, but on the cruise the two philosophers were still able to marvel, companionably, at the landscape’s alien beauty. Later, everyone gathered in the Rembrandt’s spacious galley, where Volkov, a slim, voluble man in sailor’s stripes, presided over an intellectual round-robin.
Each philosopher gave a talk summarizing another’s work; afterward, the philosopher who had been summarized responded and took questions. Andy Clark, a lean Scottish philosopher with a punk shock of pink hair, summarized Dennett’s views.
He wore a T-shirt depicting a peacock with a tail made of screwdrivers, wrenches, and other tools. “It obviously looks like something quite colorful and full of complexity and ‘peacockness,’ ” he said.
“But, if you look more closely, that complexity is actually built out of a number of little devices.” “A Swiss Army peacock!” Dennett rumbled, approvingly. He was in his element: he loves parties, materialism, and the sea. After the introduction and summarizing part was over, Chalmers, carrying a can of Palm Belgian ale, walked to the front of the room and began his remarks. Neurobiological explanations of consciousness focus on brain functions, he said.
But, “when it comes to explaining consciousness, one needs to explain more than the functions. There are introspective data—data about what it’s like to be a conscious subject, what it’s like experiencing now and hearing now, what it’s like to have an emotion or to hear music.” He continued, “There are some people, like Dan Dennett, who think that all we need to explain is the functions. Many people find that this is not taking consciousness seriously.” Lately, he said, he had been gravitating toward “pan-proto-psychism”—the idea that consciousness might be “a fundamental property of the universe” upon which the brain somehow draws. It was a strange idea, but, then, consciousness was strange.
Andy Clark was the first to respond. “You didn’t actually give us any positives for pan-psychism,” he said. “It was kind of the counsel of despair.” Jesse Prinz, a blue-haired philosopher from cuny, seemed almost enraged. “Positing dualism leads to no further insights and discoveries!” he said. Calmly, nursing his beer, Chalmers responded to his critics. He said that he could make a positive case for pan-proto-psychism, pointed out that his position wasn’t necessarily antimaterialist (a pan-psychic force could be perfectly material, like electromagnetism), and declared that he was all in favor of more neuroscientific research.
Dennett had lurked off to the side, stolid and silent, but he now launched into an argument about perspective. He told Chalmers that there didn’t have to be a hard boundary between third-person explanations and first-person experience—between, as it were, the description of the sugar molecule and the taste of sweetness. Why couldn’t one see oneself as taking two different stances toward a single phenomenon? It was possible, he said, to be “neutral about the metaphysical status of the data.” From the outside, it looks like neurons; from the inside, it feels like consciousness. Problem solved. Chalmers was unconvinced. Pacing up and down the galley, he insisted that “merely cataloguing the third-person data” could not explain the existence of a first-person point of view.
Dennett sighed and, leaning against the wall, weighed his words. “I don’t see why it isn’t an embarrassment to your view,” he said, “that you can’t name a kind of experiment that would get at ‘first-personal data,’ or ‘exper.