The Books Interview: Nicholas Humphrey

Solving the problem of consciousness.

Most of the Critics section in this week's issue of the New Statesman, out today, is devoted to a philosophy special. The philosopher and writer Raymond Tallis reviews two of the latest contributions to the burgeoning science of consciousness, Antonio Domasio's Self Comes to Mind and Nicholas Humphrey's Soul Dust. Humphrey recently spoke to the New Statesman about his new book.

Can you explain the title of your new book, Soul Dust?
I'm arguing that consciousness is like a kind of fairy dust which turns everything it touches into gold. "Dust" means matter too, but what I also want to do is reintroduce the soul as a respectable issue for evolutionary psychology and philosophy.Soulfulness or spirituality is a major achievement of natural selection. It allows us to live in this extraordinary ecological net which I call "soul land".

What's distinctive about your approach?
Philosophers and scientists have assumed that consciousness must be giving us some new skill or faculty of cognition. Then they get verypuzzled, because it doesn't seem to. I argue that consciousness changes our psychology in terms of our attitude toward the world we live in, rather than giving us a new skill.

Why do you want to make the idea of the soul respectable again?
My position as a natural historian of consciousness is to take seriously the way consciousness affects people's outlook on life. They may, for example, have the Christian idea of the soul, with all the baggage that comes with it.But spirituality and the belief in the soul actually came before religion, and religion has been parasitic on them. I don't agree with the view, now rather common view among evolutionary psychologists, that religion was evolutionarily adaptive.

How do you account for the emergence of religion then?
It emerged for cultural reasons. It's an extraordinarily powerful "meme", if I can use that word. But memes don't have to serve the interests of the hosts who carry them. I'm not arguing that religion is a bad thing in terms of the consequences it has. My point is that people had a spiritual side before religion took advantage of it.

You describe consciousness as a "magical mystery show" that human beings lay on for themselves. Why do we do that?
Sensation didn't have to have the qualities it does. They seem to have been elaborated by some really clever things going on in the brain. The question is why we have evolved them? My answer is that they change our relationship to the world and make it seem a more mysterious and magical place, and make us, as the enchanters of the world, see to be extraordinary, almost supernatural beings.

Indeed, you point out that we are tempted to treat consciousness as something "out of this world".
It seems to be something that is beyond explanation in terms of what we know about the material world. That's a claim which many people, religious believers and philosophers, always make.

So do you see your job in this book as breaking the spell that consciousness puts on us?
I don't think I'm breaking it. I'm drawing attention to it, and marvelling at it. Of course, I'm also trying to give a material explanation for what looks like magic. But the emphasis is on the fact that it does look like magic, and the questions I go on to ask are about what purpose it's serving.

What about animals which are conscious but don't, as far as we can tell, feel so special?
There may be varieties of consciousness which have at least some of the psychological effects I described and which we could recognise in dogs or chimpanzees, say. We should be able to see signs of it in the playfulness and the exuberance of an animal, in the way it delights in being itself.

Your background is in experimental psychology rather than philosophy. What do your more empirically minded colleagues think of what you're doing?
I'm waiting to see. The challenge will be to "prove it". If I am doing this in the name of science, then I ought to come up with predictions. But that is a tough order. I just hope that the ideas are taken seriously and that people who are much cleverer than me will realise that this could haveinteresting and testable consequences.

Interview by Jonathan Derbyshire
Nicholas Humphrey's "Soul Dust: The Magic of Consciousness" is published by Quercus (£18.99)

Jonathan Derbyshire is Managing Editor of Prospect. He was formerly Culture Editor of the New Statesman.

Youtube Screengrab
Show Hide image

Shell-shock symphony: Berg’s Wozzeck – opera’s take on post-traumatic stress disorder

Begun in 1914 and premiered in 1925, Wozzeck has class struggle, poverty and mental health problems as its principal subjects.

When I was 12 years old, I made a devastating discovery. The arias from my favourite operas – Rigoletto, Turandot, The Barber of Seville – which I played over and over again, winding and rewinding the cassettes ­until they ceased to work, did not ­necessarily have words that matched the beauty of the music. Intense study of a book I had received for Christmas called Stories from Opera taught me that although some of the soaring melodies I adored carried words about love, death, horror and tragedy, other lyrics, in translation, proved to be people agreeing where to meet later, or misremembering each other’s names.

This crushing disappointment came to mind again recently while I was listening to an edition of Radio 3’s Building a Library, a segment of its regular Saturday-morning CD review, in which new releases are compared and contrasted with archive recordings to find the best listening experience. The reviewer Gillian Moore was surveying the available recordings of Alban Berg’s Wozzeck. She gave credit to several English-language recordings for the clarity they offer newcomers to this work, but eventually concluded that she must recommend a version using the original German, because there were crucial aural elements that could not be reproduced without it.

Moore, now director of music at the Southbank Centre, chose to kick off a series of semi-staged concert performances of operas with Wozzeck. Although undoubtedly an opera, it was a far cry from the fairy stories and doomed romances that filled my pre-teen ears, but it worked surprisingly well stripped of scenery, costumes and other theatrical accoutrements.

Zurich Opera’s presentation placed importance on the orchestral score above all else, allowing its jagged and insistent lines to remind us that this is music born of the dark years between the world wars. Begun in 1914, but delayed while Berg served in the Austro-Hungarian army (it premiered in 1925), it has class struggle, poverty and mental health problems as its principal subjects. The score owes much to Berg’s fellow Viennese composers Gustav Mahler and Arnold Schoenberg (Mahler’s widow put up the money for the initial publication of the score). At times in this production, the orchestra was so utterly central that it felt like a symphony with singing, rather than vocal melodies with accompaniment.

The Wozzeck of the title is a poor soldier, flawed and dogged by madness and visions we would probably now see as signs of post-traumatic stress disorder. He scrapes a living for his girlfriend, Marie, and their son by humiliating himself before his military and class superiors (the Captain, the Doctor, the Drum Major) and by participating in degrading medical “experiments”. The star of the show, the German baritone Christian Gerhaher, had to withdraw at the last minute for health reasons, so the British singer Leigh Melrose stepped in to reprise his Wozzeck from the widely acclaimed 2013 ENO production. Despite performing from behind a music stand, Melrose acquitted himself well, handling the transitions between Berg’s three singing styles: “half-singing”, Sprechgesang (or “spoken singing”) and full vocalisation to great effect.

Gun-Brit Barkmin, with a severe Twenties bob and a flowing scarlet dress, was a superb Marie – alternately harsh and soft as the music demanded it, flirting destructively with the Drum Major while conveying how little choice she had in the matter. Of the ensemble, Lars Woldt’s Doctor particularly stood out, using the German libretto to drag every ounce of black comedy out of his character’s fascination with Wozzeck’s bodily functions. The high vocal standard proved Moore’s point about the necessity of the original German libretto – it is a difficult language to sing, because of all the harsh consonants and modified vowels, but when used expertly can be unendingly expressive. We hear this in the way the double “zz” of the title character’s name becomes a derisory bitten-off “tz” in the mouth of the Captain; and Wozzeck’s exclamation in Act I that “Du, der Platz ist verflucht!” sounds so much more accursed and deranged with all those consonants in such close proximity.

The German sociologist Theodor Adorno once called Berg “the foreign minister of the land of his dreams”, much to the composer’s amusement; but, hearing the score for Wozzeck laid so bare, you understand what Adorno meant. The incredible double crescendo on a single B from the orchestra after Wozzeck murders Marie – raised by the conductor Fabio Luisi in this performance to an unbearable volume before being allowed to die away – feels like music from an other-worldly nightmare. Yet, for the war-battered men who inspired Wozzeck, his tragic half-life was all too real.

Caroline Crampton is web editor of the New Statesman.

This article first appeared in the 08 October 2015 issue of the New Statesman, Putin vs Isis