Causation, Coherence and Concepts

Total Page:16

File Type:pdf, Size:1020Kb

Causation, Coherence and Concepts Wolfgang Spohn Causation, Coherence, and Concepts A Collection of Essays Wolfgang Spohn Universität Konstanz Germany ISBN 978-1-4020-5473-0 e-ISBN 978-1-4020-5474-7 Library of Congress Control Number: 2008930864 © 2008 Springer Science + Business Media B.V. No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed on acid-free paper 9 8 7 6 5 4 3 2 1 springer.com Meiner Mutter, der versunkenen Selbstverständlichkeit, und meinem Vater, dem schlieblich Gelassenen. Preface In this collection I present 16 of my, I feel, more substantial papers on theoretical philosophy, 12 as originally published, one co-authored with Ulrike Haas-Spohn (Chapter14), one (Chapter 15) that was a brief conference commentary, but is in fact a suitable appendix to Chapter 14, one as a translation of a German paper (Chapter 12), and one newly written for this volume (Chapter 16), which, however, is only my recent attempt to properly and completely express an argument I had given in two earlier papers. I gratefully acknowledge permission of reprint from the relevant publishers at the beginning of each paper. In disciplinary terms the papers cover epistemology, general philosophy of science, philosophy of language, and philosophy of mind. The section titles Belief, Causation, Laws, Coherence, and Concepts and the paper titles give a more adequate impression of the topics dealt with. The papers are tightly connected. I feel they might be even read as unfolding a program, though this program was never fully clear in my mind and still isn’t. In the Introduction I attempt to describe what this program might be, thus drawing a reconstructed red thread, or rather two red threads, through all the papers. This will serve, at the same time, as an overview over the papers collected. When rereading all these papers for the purpose of this edition, I thought I can still stand to each of their claims and arguments, even of the older ones. This is not true of all of my papers. This was one criterion of exclusion. In one case, though, I regret this. I considered to include also my “Stochastic Independence, Causal Independence, and Shieldability” from the Journal of Philosophical Logic 9 (1980), 73–99, since it is the first specific articulation of the foundations of the theory of Bayesian nets and their causal interpretation (that is in fact contained as a section of my German dissertation in 1976). However, this paper is my most awkward and overformalized piece, and it contains, I think, false claims about the transitivity of causation that I have corrected only in my paper reprinted here as Chapter 2. Instead, I included Chapter 4 that indicates the content of that earlier paper and comments on its relation to the leaders of the meanwhile established theory of Bayesian nets and their causal interpretation. That I can stand to all the papers collected does not mean, though, that they would satisfy me. Ever so often I was tempted to put them into clearer or simpler or new ways I had found in the meantime, to elaborate on thoughts I had only vii viii Preface hinted at, and so forth. Obviously, this would have been an unending task, and so I did not even start. The only amendments I allowed myself consist in new abstracts for all papers, in cross-references within brackets, and in a few additional footnotes marked by a dagger † and explaining where later on I have elaborated on a sketchy idea, which significance some remarks have in relation to discussions emerging only afterwards, or how I have changed my terminology. I fear my papers are not easy to read, since many of them make free use of for- mal methods. These methods are entirely natural for me, but I know, of course, that this is not a shared attitude. Are they a precondition of good philosophy? Emphatically no. The best and most important philosophers did not use them or could even not know what they are. Different fields are amenable to these methods to varying degrees. My predilection, of course, is for those fields that are so amen- able, and my ambition is to extend those fields. Where formal methods are applicable, they are certainly most useful. They open up a second layer of argument. There is then not only the level of informal argument and clarity, there is also the level of rigorous definition and proof and, this is crucial, the continuous translation between the two levels, establishing thorough checks and bal- ances. A one-layered roof is fragile, but a two-layered roof with numerous crossbeams in between is incomparably more stable. In the end, I do not know of any better way, if feasible, to improve security in the deeply insecure fields of philosophy. (In Spohn 2005c I got the opportunity to expand a bit on the character of formal philosophy.) This was the pathetic argument. There is, though, a more individual reason. There are four kinds of papers in relation to formal matters. Papers of the first category move exclusively on the formal level and are only interested in formal results; they tend to be unphilosophical unless firmly grounded in papers from the other catego- ries. The second category consists of the formally explicit philosophical papers as I mostly conceive of mine. The third kind of philosophical papers are informal, but clearly indicate that the author has the formal version in the drawer. The final kind consists of the informal papers for which no formal version exists. The ideal papers, I find, are those of the third category, readable for everyone, but rich in program and perspective. There are masters of this category I greatly admire. I feel, however, that the third category is unstable. In principle, there is a simple test for distinguishing between the third and the fourth category: simply try to pro- duce the formal version by yourself! This is either easy or impossible. In fact, though, there is a thin line between the two categories. As an author you can only be sure to write within the third category, when you actually have a formal version; the mere hope or guess it could be produced is treacherous, and the thin line is easily crossed. If you actually have the formal version, it needs checking, by readers; thus you have landed the second category. At least, this is how I perceive the matter. I always wanted to be sure to never cross the thin line, and thus could not help going on writing formally explicit papers. There are not so many occasions to express one’s gratitude. Therefore I allow myself some length. I have an abstract sense of gratefulness towards the times I am living in: peace and prosperity and the opportunity to study and study, at most hampered by one’s Preface ix own imperfections and never directly affected by the slow disasters and the sudden catastrophes ineradicable from history. In particular, I feel most privileged in hav- ing started studying philosophy in the philosophically most exciting decade of the last century. One might say that the logical revolution and thus analytic philosophy started with Frege (1879) (although it is probably more appropriate to see Frege rather as the culmination of a rich development in the 19th century – cf. Peckhaus 1997). Look at our trees and bushes, though. Many of them form their first tiny buds already in late autumn that start growing only after wintry latency and explode to blossom in spring. So it was with analytic philosophy and its execution of the logical revolution. Winter lasted till World War II. Logic was pushed forward rather in mathematics, with some radiation to the philosophy of mathematics, and those who saw its great potential in philosophy in general were few and confronted a hostile environment. Spring started only after World War II, when the intellectuals of the Vienna and Berlin circle, assisted by Quine, began their success story in United States and when Russell, Moore, and Wittgenstein and their associates began dominating British philosophy. Still, it took more than 20 years till this turned into a mass movement, relatively speaking. This required the post-war pros- perity with its fast increasing numbers of students who reached their intellectual maturity only in the late 1960s. In any case, in my perception the tree of analytic philosophy was in full blossom only around 1969 – when I started studying philo- sophy in Munich. I think I sensed my luck every day, but it took some years to fully realize it, and only much later I started seeing the (partial) history of philosophy of the 20th century in this way. Therefore, my greatest philosophical indebtedness is to Wolfgang Stegmüller. Around 1966, as a school boy, I read Stegmüller’s Hauptströmungen der Gegenwartsphilosophie (1960), read several chapters on Heidegger, Hartmann, Häberlin, etc., neither liked nor understood them, and was then totally captivated by its ch. IX on Rudolf Carnap and the Vienna Circle. Ever since I wanted to study this kind of philosophy at Stegmüller’s institute, and I did. In 1969, his institute reached its peak as well, with around eight positions for associated and assistant professors that he could maintain till his death in 1991. It must have been the largest single philosophy institute in Germany, and a unique one.
Recommended publications
  • Myths, Legends, Fairy Tales and Folk Tales in Music ______
    ______________________________________________________________________________________________________ Sounds of Enchantment: Myths, Legends, Fairy Tales and Folk Tales in Music ______________________________________________________________________________________________________ Gioacchino ROSSINI Overture from William Tell Felix MENDELSSOHN Scherzo from A Midsummer Night’s Dream Sergei PROKOFIEV Waltz Coda and Midnight from Cinderella, Op. 87 David CROWE How Birds Came Into the World John WILLIAMS Raiders March from Raiders of the Lost Ark Piotr Ilyich TCHAIKOVSKY Scene from Swan Lake Modest MUSSORGSKY / arr. Ravel Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition HOW TO USE THIS STUDY GUIDE This guide is designed as a curriculum enhancement resource primarily for music teachers, but is also available for use by classroom teachers, parents, and students. The main intent is to aid instructors in their own lesson preparation, so most of the language and information is geared towards the adult, and not the student. It is not expected that all the information given will be used or that all activities are applicable to all settings. Teachers and/or parents can choose the elements that best meet the specific needs of their individual situations. Our hope is that the information will be useful, spark ideas, and make connections. TABLE OF CONTENTS Sounds of Enchantment Overview – Page 4 Program Notes – Page 7 ROSSINI | Overture from William Tell Page 8 MENDELSSOHN | Scherzo from A Midsummer Night’s Dream Page 10 PROKOFIEV | Waltz Coda and Midnight from Cinderella, Op. 87 Page 13 CROWE | How Birds Came Into the World Page 17 WILLIAMS | Raiders March from Raiders of the Lost Ark Page 20 TCHAIKOVSKY | Scene from Swan Lake Page 22 MUSSORGSKY | Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition Page 24 Activities — Page 27 Student Section— Page 39 CREDITS This guide was originally created for the 2008-2009 Charlotte Symphony Education Concerts by Susan Miville, Chris Stonnell, Anne Stewart, and Jane Orrell.
    [Show full text]
  • LH Women of Military Service, We Salute You... Page 17
    March 2014 The Official Magazine of Sun CompassCity Lincoln Hills 2014 Board of Directors... page 2 Remembering Rosie... page 7 What's New at Kilaga LH Women of Military Springs Café... page 10 Service, We Salute You... page 17 Association News Board of Directors Report ActivitiesIn News & HappeningsThis ................................. Issue 5, 44 Marcia VanWagner, Director, SCLH Board of Directors Ad Directory / Compass Advertisers .......................... 103 n February 20, about 20 residents wants this to be the best Aging Well: Do You Sleep Beautifully? ......................... 9 attended the Annual Meeting of community we can have and An Opportunity to Enrich Your Life: Lincoln Wine Fest .... 19 OMembers of the Lincoln Hills Com- that we all work very hard to ARC/Architectural Review Committee ...................... 10 munity Association. And we even had free achieve that goal. Association Contacts & Hours Directory ...................... 102 coffee! Because there was no quorum, the Part of our work is serving as liaisons Board of Directors Report........................................... 2 meeting was adjourned as no business to the Association committees. Jim Le- Bulletin Board ..................................................... 39 could take place without a quorum. The onhard, as Treasurer, will represent the • You Are Invited ............................................... 39 Special Board Meeting was convened and Board on the Finance Committee, Marcia • Community Perks ...................................................
    [Show full text]
  • Songs for Shakespeare the Baltimore Consort
    The Food of Love: Songs for Shakespeare The Baltimore Consort As You Like It Kemp’s Jig anon, Cambridge MS, late 16th c. It was a Lover and his Lass Thomas Morley, First Booke of Ayres, 1600 Twelfth Night O Mistresse Mine Morley, Consort Lessons, 1599 Peg a Ramsey Playford, The English Dancing Master, 1651 Farewell, dear love Robert Jones, First Book of Songs, 1600 The Buffens (Les Buffons) Jean d’Estrée Tiers livre de danseries, 1559 Romeo and Juliet When Griping Grief Richard Edward, 1525-1566 Lady Carey’s Dump anon., Marsh Lutebook, 16th c. Complain my lute anon., broadside ballad, 16th c. Heart’s Ease (The Honeysuckle) Anthony Holborne, Pavans, Galliards, and Almains….1599 Henry IV, Part II & A Winter’s Tale Queen’s Goodnight Thomas Robinson, 1560-1620 Fancy John Dowland, 1563-1626 The Carman’s Whistle anon, broadside ballad, c. 1600 Whoope, do me no harm/Jog on anon., late 16th c. ----------- INTERMISSION --------- Hamlet King of Denmark’s Galliard John Dowland Tarleton’s Riserrectione anon., late 16th c. Gravedigger song (“In Youth When I Did Love”) anon., late 16th c. Tarleton’s Riserrectione .anon., late 16th c. Bonny sweet robin Matthew Holmes MSS, c. 1588-97 Tarleton’s Jig anon., late 16th c The Tempest Greensleeves anon., 16th c., and John Johnson c.1545 -1594 Where the bee sucks Robert Johnson, c. 1583-1634 Loth to depart John Dowland Full fathom five Robert Johnson Merry Wives of Windsor & Othello Fortune my foe anon., The Dallis Lute book, 1585 Willow Song anon., The Lodge Lute Book, c.1559 Midsummer Night’s Dream Fairie
    [Show full text]
  • The Grotesque in the Fiction of Joyce Carol Oates
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1979 The Grotesque in the Fiction of Joyce Carol Oates Kathleen Burke Bloom Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Bloom, Kathleen Burke, "The Grotesque in the Fiction of Joyce Carol Oates" (1979). Master's Theses. 3012. https://ecommons.luc.edu/luc_theses/3012 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Kathleen Burke Bloom THE GROTESQUE IN THE FICTION OF JOYCE CAROL OATES by Kathleen Burke Bloom A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy March 1979 ACKNOWLEDGEMENTS I would like to thank Professors Thomas R. Gorman, James E. Rocks, and the late Stanley Clayes for their encouragement and advice. Special thanks go to Professor Bernard P. McElroy for so generously sharing his views on the grotesque, yet remaining open to my own. Without the safe harbors provided by my family, Professor Jean Hitzeman, O.P., and Father John F. Fahey, M.A., S.T.D., this voyage into the contemporary American nightmare would not have been possible.
    [Show full text]
  • New Studio on Broadway: Music Theatre and Acting
    ® ® 2019 CELEBRATING JIMMY NEDERLANDER James M. Nederlander or “Jimmy,” Chairman of The Nederlander Organization, was the visionary theatrical impresario who built one of the largest private live entertainment companies in the world known for producing and presenting world-class entertainment since 1912. Jimmy started working in the theatre at age 7 sweeping floors for his father, David Tobias (D.T.) Nederlander, in Detroit, Michigan. During a career that spanned over 70 years, Jimmy amassed a network of premier legitimate theatres including nine on Broadway: the Brooks Atkinson, Gershwin, Lunt-Fontanne, Marquis, Minskoff, Nederlander, Neil Simon, Richard Rodgers, and the world famous Palace; in Los Angeles: The Pantages; in London: the Adelphi, Aldwych, and Dominion; and in Chicago: the Auditorium, Broadway Playhouse, Cadillac Palace, and CIBC Theatres, and the Oriental Theatre which this year was renamed the James M. Nederlander Theatre in Jimmy’s honor. He produced over one hundred acclaimed Broadway musicals and plays including Annie, Applause, La Cage aux Folles, Les Liaisons Dangereuses, Me and My Girl, Nine, Noises Off, Peter Pan, Sweet Charity, The Life and Adventures of Nicholas Nickelby, The Will Rogers Follies, Woman of the Year, and many more. “Generous,” “loyal” and “trusted” are just a few of the accolades his friends use to describe him. Jimmy was beloved by the industry and the recipient of many distinguished honors including an Honorary Doctorate of Fine Arts from the University of Connecticut (2014), the Exploring the Arts Foundation Award (2014), the United Nations Foundation Champion Award (2012), The Broadway League’s Schoenfeld Vision for Arts Education Award (2011), the New York Pop’s Man of the Year (2008), and the special Tony Award for Lifetime Achievement (2004).
    [Show full text]
  • Chick Corea and Béla Fleck
    Chick Corea and Béla Fleck Thu, April 24 ABOUT THE PROGRAM Royce Hall Chick Corea & Béla Fleck, two master songwriters, musicians, and band leaders 8pm meet in a historic duet of piano and banjo, combining Corea and Fleck’s classic tunes with music from their 2007 Grammy-winning album The Enchantment. With a mix of jazz and pop standards, crossing a myriad of genres, from jazz, PERFORMANCE DURATION: bluegrass, rock, flamenco and gospel, this will be a casual, intimate evening Approximately two hours; with two legends from different musical worlds. One Intermission The original Enchantment recording came about after the two artists had admired each other’s music for several years. Chick had previously recorded PRE-SHOW CONCERT three songs on Béla’s 1994 CD, Tales From the Acoustic Planet, as well as on the SCA Terrace Series featuring group’s 1996 live CD, Live Art. Sean Stevens and Andrew Davis. FREE - ROYCE TERRACE - 7PM Chick, in turn, had enlisted Fleck to perform with him and Bobby McFerrin on the 2002 Rendezvous in New York project. Fleck said that The Enchantment was “one of my greatest experiences as a Supported in part by the musician … playing with my hero, Chick Corea.” Chick returned the compliment Evelyn & Mo Ostin Endowment by saying that for the Performing Arts the album broke new ground for him, with Fleck inspiring him to delve into “unfamiliar territory.” “I love those kinds of challenges, and we had a blast on The Enchantment, which MEDIA SPONSORS: has a totally new kind of sound,” Chick says. ABOUT THE ARTISTS MESSAGE FROM THE CENTER: Chick Corea Since embarking on a solo career in 1966, Chick has been at the We’re incredibly proud to bring two of the most acclaimed forefront of jazz, both as a renowned pianist forging new ground with instrumentalists in the world to the Royce Hall stage.
    [Show full text]
  • Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
    1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
    [Show full text]
  • Literary Journalism in the 18Th Century (London: Routledge, 2005)
    Literary Anthology and Reading List Unless otherwise stated, all items are EITHER available in the Hunter Street Library (Those on Short Loan indicated thus: SLN) OR in the Course Materials Box (my Office) OR via links on MOODLE OR Online Please do not hesitate to be in touch 24/7 about how to access materials you wish to look at: [email protected] | 2 | 3 List of Contents 1. John Milton Areopagitica; A Speech, of Mr John Milton (London, 1644) 5 2. Daniel Defoe The Shortest Way with the Dissenters (London, 1702) 44 3. Jonathan Swift A Modest Proposal for Preventing the Children of Poor 61 People in Ireland, from Being a Burden on Their Parents or Country, and for Making Them Beneficial to the Publick (Dublin: S. Harding, 1729) 4. Samuel Johnson ‘The Rambler’, No. 114 [On Capital Punishment] 73 (Saturday, 20 April 1750) ‘The Adventurer’, No. 84 [Vanity in a Stagecoach] 77 (Saturday, 25 August 1753) ‘The Idler’, No. 22 [The Vulture’s View of Mankind] 81 (Saturday, 9 September 1758) ‘The Idler’, No. 103 [This is the Last] 84 (Saturday, 5 April 1760) 5. William Hazlitt ‘On Gusto’ The Examiner (26 May 1816) 88 ‘The Fight’ New Monthly Magazine (February 1822) 92 6. W. M. Thackeray ‘Going to See a Man Hanged’ Fraser’s Magazine for Town 108 and Country (July 1840), pp. 150-58 7. W. H. Russell Despatches from the Crimea. First published in The Times 124 (1854–55), repr. The British Expedition to the Crimea (London: G. Routledge, 1858) 8. Charles Dickens ‘On Duty with Inspector Field’ (Household Words, 14 June 152 1851) ‘Down with the Tide’ (Household Words, 5 Feb 1853) 164 ‘Poor Mercantile Jack’ (All the Year Round, 10 Mar 1860) 173 ‘The Ruffian’ (All the Year Round, 10 October 1868) 184 ‘A Small Star in the East’ (All the Year Round, 19 Dec 1868) 191 ‘On An Amateur Beat’ (All the Year Round, 27 Feb 1869) 201 9.
    [Show full text]
  • Tolkien's Dialogue Between Enchantment and Loss
    Volume 33 Number 2 Article 11 4-15-2015 Tolkien's Dialogue Between Enchantment and Loss John Rosegrant Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Rosegrant, John (2015) "Tolkien's Dialogue Between Enchantment and Loss," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 33 : No. 2 , Article 11. Available at: https://dc.swosu.edu/mythlore/vol33/iss2/11 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Examines the tension between the theme of loss underlying so much of the content of The Lord of the Rings, and the enchantment of the form of the work; the balance between the two generates a melancholy beauty that brings readers back to the book over and over again.
    [Show full text]
  • The Philosophic Game: Eighteenth-Century Masquerade in German and Danish Literature and Culture a DISSERTATION SUBMITTED TO
    The Philosophic Game: Eighteenth-Century Masquerade in German and Danish Literature and Culture A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Anne Beryl Wallen IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Rembert Hüser, Poul Houe May 2012 © Anne Beryl Wallen, 2012 Acknowledgements My studies, research and dissertation writing have been supported by several institutions, for which I must express my most sincere appreciation: the University of Minnesota, particularly for the Doctoral Dissertation Fellowship and the Graduate School Fellowship; the Department of German, Scandinavian & Dutch, particularly for the Hella Lindemeyer Mears Fellowship, the Gerhard and Janet Weiss award, and to Hella Mears and Gerhard Weiss themselves for their support; the U.S.-Denmark Fulbright Comission; the American Scandinavian Foundation; and the P.E.O. Scholars Award. I am also grateful to the University of Copenhagen Institute of Nordic Studies and Linguistics for hosting me during my Fulbright year in Copenhagen. Thanks to Lisbet Hein of Hørsholm Museum and to Ida Poulsen of the Theatre Museum in the Court Theater for generously sharing materials and knowledge with me. At the individual level, my thanks go first to my co-advisors, Rembert Hüser and Poul Houe, for sharing their experience and providing guidance over the past several years. The size of my dissertation committee has raised eyebrows, but I could not imagine having gone forward with my project without the invaluable input each of my committee members has provided. Ruth-Ellen Joeres and Richard Leppert both also served on my Master’s committee, and so deserve special thanks for their support throughout my graduate studies.
    [Show full text]
  • Spring/Summer/Fall 2021
    Keukenhof Gardens – Lisse, Netherlands SPRING/SUMMER/FALL | 2021 Planning to Fly? Looking Forward If you are planning to fly after September by David Davenport 30, 2021, you will need a “REAL ID” I would like to take the time to personally driver’s license or an accepted government thank everyone for your support during compliant source of identification. Therefore, these challenging times this past year. beginning October 1, 2021, a standard The cards, emails, and phone calls with driver’s license will no longer be accepted words of encouragement were very much when boarding a flight. Passed by Congress appreciated. I can’t tell you how grateful in 2005 as a recommendation from the 9/11 the staff and I were to hear from so many of Commission, the Department of Homeland you. When this all began, we had two groups Security will now require the Transportation of travelers out of the country. Karolyn was Security Administration (TSA) to begin with a group in Iceland and Sharon was enforcing the new and more stringent with another on a Caribbean cruise. We standards. Passports will work in place of a were a bit worried at the time, but thankfully, “Real ID” drivers license, along with several everyone returned home healthy and safe. collection of tours highlights some of the best other forms of identification which can be In the middle of getting our groups back “Great Outdoors” tours in the state. We also found on the (TSA) website – www.tsa.gov. and the country shutting down, I became a have a wonderful selection of cruises, day, SignaTours recommends taking the extra grandfather for the third time! Laura and I overnight, and bucket list tours! step of getting a “REAL-ID” when renewing could not have been any happier, although Finally, I would like to recognize someone your driver’s license.
    [Show full text]
  • Arturo Sandoval
    Tour Conciertos Grapa Email: [email protected] WebPage: www.conciertosgrapa.com CHICK COREA Maestro del Jazz, 18 veces ganador de los premios Grammy, brillante compositor y virtuoso del teclado, CHICK COREA ha alcanzado el estatus de leyenda viva luego de cinco décadas de creatividad sin precedentes y una producción artística sencillamente asombrosa. Desde la obtención de su Grammy 2012 como Mejor Solista de Jazz de Improvisación, y a lo largo de su enormemente prolífica carrera, Chick ha abordado un asombroso espectro de bases musicales en su impresionante recorrido profesional – siempre adelante, y a la vanguardia, desde el bebop a la fusión, de canciones infantiles a la música de cámara, con algunas incursiones de largo alcance dentro de la música sinfónica --, y se ha mantenido a través del tiempo en un nivel de excelencia verdaderamente impresionante. Espíritu creativo e incansable, gracias a su permanente impulso superador, Chick sigue reinventándose continuamente a sí mismo en el proceso. Innovador y Pionero Chick comenzó su carrera de la mano de maestros de la talla de Stan Getz, Sarah Vaughan y la banda de Miles Davis, donde participó en sesiones emblemáticas como In a Silent Way y Bitches Brew. Desde que decidió embarcarse en su carrera como solista en 1966, Chick ha estado a la vanguardia del jazz, tanto como pianista de renombre, al tiempo que forjaba nuevos caminos con sus bandas de jazz acústico, así como tecladista eléctrico innovador con Return to Forever y la Elektric Band. Su extensa discografía cuenta con numerosos álbumes imprescindibles, comenzando con su clásico de 1968, Now He Sings, Now He Sobs.
    [Show full text]