Showing posts with label interpretation. Show all posts
Showing posts with label interpretation. Show all posts

Friday, January 12, 2024

On knowing a lot about something and something about a lot of things

The physicist Richard Feynman told a story about being on a panel of experts from a variety of academic fields.  The full details are in one of the Surely you're joking books I read many years ago.  I'm paraphrasing from memory here because lazy.  The gist is that the panel was asked to look at someone's paper that pulled together ideas from a variety of fields and was generating a lot of buzz.  Just the sort of thing you'd want an interdisciplinary panel of experts to look at.

All the experts on the panel had a similar reaction: Overall, it looks very interesting, but the stuff in my area needs quite a bit of work -- this bit is a little bit off, they're mis-applying these terms and these parts are just wrong.  But there are some really interesting ideas and this is definitely worth further attention.

In Feynman's telling, at least, he was the one to offer a different take: If every expert is saying the part they know about is bad, that says it's just bad all the way through.  It doesn't really matter what an expert thinks of the area outside their expertise.


Relying on people's subjective impressions is risky.  What we need here is some way to objectively determine the value of a paper that crosses areas of knowledge.  Here's one way to do it: Have everyone rate the paper in each area on a scale of 0 - 100 and then pull together the numbers.

Let's say we have five people on the panel, specializing in music theory, physics, Thai cuisine, medieval literature and athletics, and someone has written a paper pulling together ideas from these fields into an exciting new synthesis.  Their ratings might be:

Music Physics Thai food Medi. lit Athletics Overall
Music theorist 25 75 80 65 85 66
Physicist 70 15 80 60 60 57
Thai chef 65 85 5 70 70 59
Medievalist 90 70 80 25 85 70
Athlete 85 90 95 90 30 78
Overall 67 67 68 62 66 66

Overall, the panel rates the paper 66 out of 100.  We don't have enough context here to know whether 66 is a good score or a mediocre score, but it certainly doesn't look horrible.  The highest score is in Thai cuisine, and the highest score there was from the athletics expert, so maybe the author has discovered some interesting contribution to Thai food by way of athletics.

But hang on a minute.  The highest overall score is in Thai cuisine, but the lowest rating in that category from any expert is the 5 from the Thai chef.  Let's ask each of the experts how much they know about their fields and those outside their home turf:

Music Physics Thai food Medi. lit Athletics
Music theorist 95 5 15 10 5
Physicist 20 100 10 5 5
Thai chef 5 10 100 10 15
Medievalist 10 5 10 95 10
Athlete 10 15 5 10 95

Everyone feels confident in their own field, as you might expect, and they don't feel particularly confident outside their own field, which also makes sense. There's also quite a bit more variation outside the home fields, which makes a certain amount of sense as well.  Maybe the physicist happens to have taken a couple of courses in music theory.  Maybe the athlete has only had Thai food once.  You can expect someone to have studied extensively in their field, but who knows what they've done outside it.

We should take this into account when looking at the ratings.  A Thai chef saying that the paper is weak in Thai cuisine means more than an athlete saying it's great.  If we take a weighted average by multiplying each rating by the panelist's confidence, adding those up and dividing by the total weight (that is, the total of the confidence numbers), we get a considerably different picture:

Music Physics Thai food Medi. lit Athletics Overall
Weighted result 40 33 27 38 42 36

Overall, the paper rates 36 out of 100 rather than 66.  Its weakest area is Thai cuisine, and even its strongest area, athletics, is well below the previous score of 66.

This seems much more plausible.  The person who knows Thai food best rated it low, and now we're counting that ten times more heavily than the physicist's rating and twenty times more heavily than the judge who said they knew least about it.

I think there are a few lessons to be drawn here.  First, it's important to take context into account.  The medievalist's rating means a lot if it's about Medieval literature and not much if it's about physics, unless they also happen to have a background there.  Second, just putting numbers on something doesn't make it any more or less rigorous.  The 66 rating and the 36 rating are both numbers, but one means a lot more than the other.

Third, when it comes specifically to averages, a weighted average can be a useful tool for expressing how much any particular data point should count for.  Just be sure to assign the weights independently from the numbers you're weighting.  Asking the panelists ahead of time how much they know about each field makes sense.  Looking at rating numbers and then deciding how much to weight them is a classic example of data fiddling.

Finally, it's worth keeping in mind that people often give the benefit of the doubt to something that sounds plausible when they don't have anything better to go on.  As I understand it, this was the case in Feynman's example.  In that case, giving the paper to a panel of experts from different fields gave the author much more room to hide than if they'd, say, submitted a shortened version of the paper for each field.

The answer is not necessarily to actively distrust anything from outside one's own expertise, but it's important not to automatically trust something you don't know about just because it seems reasonable.  The better evaluation isn't "I don't believe it" but "I really can't say".

I'll leave it up to the reader how any of this might apply to, say, generative AI, LLMs and chatbots.

Monday, June 18, 2018

Did clickbait kill the aliens?

Disclaimer: This post is on a darker topic than most.  I've tried to adjust the tone accordingly, but if anything leads you to ask "How can he possibly say that so casually?", rest assured that I don't think any of this is a casual matter.  It's just that if we're talking at the scale of civilizations and stars we have to zoom out considerably from the everyday human scale, to the point where a truly horrible cataclysm becomes just another data point.


As I've noted elsewhere, the Fermi paradox is basically "It looks likely that there's life lots of other places in the universe, so why haven't we been able to detect it -- or why haven't they made it easy by contacting us?"  Or, as Fermi put it, "Where is everybody?"

One easy answer, though something of a downer, is "They're all dead."*

This is the idea that once a species gets to a certain level of technological ability, it's likely to destroy itself.  This notion has been floated before, in the context of the Cold War: Once it became technically possible, it took shockingly little time for humanity to develop enough nuclear weapons to pose a serious threat to itself.  One disturbingly ready conclusion from that was that other civilizations hadn't contacted us because they'd already blown themselves up.

While this might conjure up images of a galaxy full of  the charred, smoking cinders of once vibrant, now completely sterile planets, that's not exactly what the hypothesis requires.  Before going into that in detail, it's probably worth reiterating here that most planets in the galaxy are much too far away to detect directly against the background noise, or to be able to carry on a conversation with (assuming that the speed of light is the cosmic speed limit we think it is).  In order to explain why we haven't heard from anyone, we're really trying to explain why we haven't heard from anyone within, say, a hundred light years.  I've argued elsewhere that that narrows the problem considerably (though maybe not).


A full-scale nuclear exchange by everyone with nuclear weapons would not literally kill all life on Earth.  There are a lot of fungi and bacteria, and a lot of faraway corners like hydrothermal vents for all kinds of life to hide.  It probably wouldn't even kill all of humanity directly, but -- on top of the indescribable death and suffering from the bombing itself -- it would seriously damage the world economy and make life extremely difficult even in areas that weren't directly affected by the initial exchange.  Behind the abstraction of the "world economy" is the flow of food, medicine, energy and other essentials.

There is an extensive literature concerning just how bad things would get under various assumptions, but at some point we're just quibbling over levels of abject misery.  In no realistic case is bombing each other better for anyone involved than not bombing each other.

For our purposes here, the larger point is clear: a species that engages in a full-scale nuclear war is very unlikely to be sending out interstellar probes or operating radio beacons aimed at other stars.  It may not even be sending out much in the way of stray radio signals at all.  It might well be possible for a species in another star system to detect life in such a case without detecting signs of a technological civilization, much less communicating with it.

So how likely is a full-scale nuclear war?  We simply don't know.  So far we've managed to survive several decades of the nuclear age without one, but, as I've previously discussed, that's no time at all when it comes to estimating the likelihood of finding other civilizations.  To totally make up some numbers, suppose that, once nuclear weapons are developed, a world will go an average of a thousand years without seriously using them and then, after the catastrophe, take a couple of centuries to get back to the level of being able to communicate with the rest of the universe.

Again, who knows?  We (fortunately) have very little data to go on here.  In the big picture, though, this would mean that a planet with nuclear weaponry or something similarly dangerous would be 10-20% less likely to be detected than one without.  We also have to guess what portion of alien civilizations would be subject to this, but how likely is it, really, that someone would develop the ability to communicate with the stars without also figuring out how to do anything destructive with its technology?

My guess is  that "able to communicate across interstellar distances" is basically the same as "apt to destroy that ability sooner or later".  This applies particularly strongly to anyone who could actually send an effective interstellar probe.  The  kinetic energy of any macroscopic object traveling close to light speed is huge.  It's hard to imagine being able to harness that level of energy for propulsion without also learning how to direct it toward destruction.

For purposes of calculation, it's probably best to assume a range of scenarios.  In the worst case, a species figures out how to genuinely destroy itself, and perhaps even life on its planet, and is never heard from.  In a nearly-as-bad case, a species spends most of its time recovering from the last major disaster and never really gets to the point of being able to communicate effectively across interstellar distances, and is never heard from.  The upshot is a reduction in the amount of time a civilization might produce a detectable signal (or, in a somewhat different formulation, the average expected signal strength over time).

Our own case is, so far, not so bad, and let's hope it continues that way.  However, along with any other reasons we might not detect life like us on other planets, we can add the possibility that they're too busy killing each other to say hello.


With all that as context, let's consider a recent paper modeling the possibility that a technological civilization ends up disrupting its environment with (from our point of view here, at least) pretty much the same result as a nuclear war.   The authors build a few models, crunch through the math and present some fairly sobering conclusions: Depending on the exact assumptions and parameters, it's possible for a (simulated) civilization to reach a stable equilibrium with its (simulated) environment, but several other outcomes are also entirely plausible: There could be a boom-and-bust that reduces the population to, say, 10% of its peak.  The population could go through a repeating boom/bust cycle.  It could even completely collapse and leave the environment essentially unlivable.

So what does this add to the picture?  Not much, I think.

The paper reads like as a proof-of-concept of the idea of modeling an alien civilization and its environment using the same mathematical tools (dynamical system theory) used to model anything from weather to blood chemistry to crowd behavior and cognitive development.  Fair enough.  There is plenty of well-developed math to apply here, but the math is only as good as the assumptions behind it.

The authors realize this and take care only to make the most general, uncontroversial assumptions possible.  They don't assume anything about what kind of life is on the planet in question, or what kind of resources it uses, or what exact effect using those resources has on the planet.  Their assumptions are on the order of "there is a planet", "there is life on it", "life consumes resources" and so forth.

Relying on few assumptions means that any conclusions you do reach are very general.  On the other hand, if the assumptions support a range of conclusions, how do you pick from amongst them?  Maybe once you run through all the details, any realistic set of assumption leads to a particular outcome -- whether stability or calamity.  Maybe most of the plausible scenarios are in a chaotic region where the slightest change in inputs can make an arbitrarily large difference in outputs.  And so forth.

As far as I can make out, the main result of the paper is that planets, civilizations and their resources can be modeled as dynamical systems.  It doesn't say what particular model is appropriate, much less make any claims about what scenarios are most likely for real civilizations on real exoplanets.  How could it?   Only recently has there been convincing evidence that exoplanets even exist.  The case that there is life on at least some of them is (in my opinion) reasonably persuasive, but circumstantial.  It's way, way too early to make any specific claims about what might or might not happen to civilizations, or even life in general, on other planets.

To be clear, the authors don't seem to be making any such claims, just to be laying some groundwork for eventually making such claims.  That doesn't make a great headline, of course.  The article I used to find the paper gives a more typical take: Climate change killed the aliens, and it will probably kill us too, new simulation suggests.

Well, no.  We're still in the process of figuring out exactly what effect global warming and the resulting climate change will have on our own planet, where we can take direct measurements and build much more accurate models than the authors of the paper put forth.  All we can do for an alien planet is lay out the general range of possibilities, as the authors have done.  Trying to draw conclusions about our own fate from our failure (so far) to detect others like us seems quite premature, whether the hypothetical cause of extinction is war or a ruined environment.



There's a familiar ring to all this.   When nuclear destruction was on everyone's mind, people saw an obvious, if depressing, answer to Fermi's question.  As I recall, papers were published and headlines written.  Now that climate-related destruction is on everyone's mind, people see an obvious, if depressing, answer to Fermi's question, with headlines to match.  It's entirely possible that fifty years from now, if civilization as we know it is still around (as I expect it will be) and we haven't heard directly from an alien civilization (as I suspect we won't), people will see a different obvious, if depressing, answer to Fermi's question.  Papers will be written about it, headlines will do what headlines do, and it will all speak more to our concerns at the time than to the objective state of any alien worlds out there.


I want to be clear here, though.  Just because headlines are overblown doesn't mean there's nothing to worry about.  Overall, nuclear weapons take up a lot less cultural real estate than they did during the height of the cold war, but they're very much still around and just as capable of wreaking widespread devastation.  Climate change was well underway during that period as well, and already recognized as a hazard, but not nearly as prominent in the public consciousness as it is today.

It's tempting to believe in an inverse relationship between the volume of headlines and the actual threat: If they're making a big deal out of it, it's probably nothing to worry about.  But that's an empirical question to be answered by measurement.  It's not a given.  Without actually taking measurements, the safest assumption is the two are unrelated, not inversely related.  That is, how breathless the headlines are is no indication one way or another as to how seriously to take the threat.

My own guess, again without actually measuring, is that there's some correlation between alarming headlines and actual danger.  People study threats and publish their findings.  By and large, and over time, there is significant signal in the noise.  If a range of people working in various disciplines say that something is cause for concern, then it most likely is -- nuclear war and climate change are real risks.  Some part of this discussion finds its way into the popular consciousness, with various shorthands and outright distortions, but if you take the time to read past the headlines and go back to original sources you can get a reasonable picture, and one that will bear at least some resemblance to the headlines.

Going back to original sources and getting the unruly details may not be as satisfying as a nice, punchy one-sentence summary, but I'd say it's worth the effort nonetheless.



(*) A similar but distinct notion is the "Dark forest" hypothesis: They're out there, but they're staying quiet so no one else kills them -- and we had best follow suit.  That's fodder for another post, though I think at least some of this post applies.

Friday, September 18, 2015

Counting on Freeway Rick

First, a disclaimer:  There are obviously a number of hot-button issues relating to the story of former crack cocaine distributor Ricky "Freeway Rick" Ross.  This blog is not about such issues.  I'm not going to touch on them here and (not that I expect this to be an issue) I'll summarily delete comments if necessary.  Hey, it's my blog.  If you're wondering "What hot-button issues?", feel free to chase the Wikipedia link above.

With that out of the way ...

In a post on counting (see section 3), I talked about the problem of counting how many crimes a person had committed.  This might seem like a fairly academic question, but the case of Ricky Ross illustrates how it can be anything but.  Ross was originally sentenced to life without parole for buying 100 kilos of cocaine from an informant.  Since Ross had previously been convicted of two drug-related felonies, this put him afoul of California's "three strikes" law, triggering its mandatory sentencing.

Except ...

That sentencing was later overturned on the basis that Ross's previous two convictions -- in different states -- should have been counted as a single conviction as they related to a single conspiracy (or "continuous criminal spree").  That meant that the conviction for selling to the informant was only Ross's second strike, and the sentence was accordingly reduced to 20 years.  Ross was released in 2009, with time off for good behavior.

But there's more.

After his release, Ross became embroiled in a lawsuit against William "Rick Ross" Roberts, a prison guard turned gangsta rapper who had sold millions of records under the name "Rick Ross".  Freeway Rick lost the suit, but one of the legal issues that came up was whether each  of Roberts' "Rick Ross" albums should count as a separate claim, or whether the "single publication" rule applied.

Whatever else one might think about Rick Ross's legal history, it's clear from it that what might seem like a simple matter of counting can be tricky and serious business.

Tuesday, April 29, 2014

This is not your uncle Benoit's Mandelbrot set

I've just thrown away a previous draft of this post, in which I tried to make some overarching point about the interaction between technology and art, and tie that in to the current generation of 3D fractal art.  That didn't work out so well, so maybe I'll just give a few impressions.  All in my personal opinion, of course.  I don't pretend to be an art connoisseur.


Early fractal art worked mainly as eye candy.  A typical Mandelzoom was an assault of wild shapes and saturated colors, looking vaguely organic, or perhaps suggesting a paisley print, or maybe something you might see when you rubbed your eyes.  Striking images.  Trippy, beautiful, even.

As with any algorithmic art, there is a vital human element that gives them the claim to be called "art" -- whether good, or bad, whether your cup of tea or not.  Someone took the time to search the infinity of the Mandelbrot set for an image to their liking, to frame and color it, and to present it.  While not strictly fractal art, Electric sheep is an interesting example of this human-algorithm interplay, on two levels.  On the one hand, someone (Scott Draves) came up with the idea and got it going.  On the other hand, the actual curation is done collectively by thousands of people on the web.  Very cool.  I've got it as live wallpaper on my phone as I write.

But ... it's all sort of ... detached.  It's cool, without a doubt, but it's also cool in the sense of "aloof".  I get the impression of a mind at work, but an emotionless, alien mind.  Maybe I'm biased by knowing too much of the mechanics behind it all.  I'm sure others have warmer impressions, or more easily see familiar objects like trees or flowers, but to me, even when the images suggest some sort of life form, they look like something other.  Which, I'm sure, is exactly the point to a lot of folks.



In 2009, after many not-quite-successful experiments by many people, Daniel White hit upon the Mandelbulb, a way to generalize the process behind the Mandelbrot set to three dimensions in a way that people generally agreed was as cool as the original 2D set.  In 2010, Tom Lowe came up with a different way of generalizing to higher dimensions, called the Mandelbox, which was also deemed worthy.  Strictly speaking, both the Mandelbulb and Mandelbox are actually families of shapes with infinitely many possible parameter settings, some cooler than others, of which the artist is free to pick the coolest, but they're generally referred to as single entities.

Being truly three-dimensional (in that they're embedded in three-dimensional space), these sets offer possibilities well beyond those of two-dimensional fractals.  While some 2D fractals may suggest depth, these have it.  A video rendering is truly a trip through an alien space.  Technically, any fractal (or at least any non-linear fractal, where the structure doesn't simply repeat as you zoom in) has infinitely elaborate detail, but these 3D fractals somehow seem to have more infinitely elaborate detail.

They can also seem more organic, particularly if you play with the formula a bit.  Note the images at the bottom.  They look like they grew, rather than having been produced by a purely mechanical process.  Even the more mechanical-looking images seem more made than found.  In a normal Mandelzoom, it feels like a computer (or math itself) provided the image.  Many of the 3D structures give the strong impression someone made them and the algorithmic process managed to stumble upon them -- see the intricacy of the design, the attention to detail, the exotic esthetic -- or even that they somehow made themselves.

If anything, the feeling of alien-ness is even stronger than for a 2D mathscape.  Even the most organic-looking forms, though they may seem like they ought to be part of some coral reef or fungal growth, seem about as foreign as they could look and still seem familiar.  No puppy dogs or Old Master still lifes here.

The artist has a fair bit of latitude in choosing the color palate, location, scale, viewing angle, lighting and so forth, but the underlying shape is still the underlying shape.  Still, there's only so much you can do with a landscape so fundamentally bizarre, either to make it more familiar or more otherworldly [many 3D Mandelpictures have some sort of height map or similar manipulation that can impose a chosen shape on the underlying contours of the fractal.  Old-fashioned texture mapping and other rendering techniques can be brought to bear as well, along with compositing and other image manipulation techniques.  The artistic effect is to make the fractal more a technique than an end in itself, which seems overall like a good development -- D.H.]


What is it about these forms, both 2D and 3D, that resonates so strangely?  What does it say about our brains that we should see these images the way we do?

It's not shocking that fractal forms should remind us of living things or other natural objects.  Fractal geometry was invented in part to describe the wide variety of natural shapes that didn't fit into the regular categories of classical geometry.

The name "fractal" itself comes from the notion of a fractional dimension, which is ubiquitous in nature once you look for it.  There are several definitions of dimensionality that can take fractional values, but the one usually used with fractals is the Hausdorff dimension.  By that standard, the coastline of Great Britain, for example, has been measured to have a dimension of 1.25, the coastline of Norway 1.52.  Galaxy clustering comes in around 2, cauliflower around 2.3, and the surface of the human brain around 2.8.  Interestingly, the Mandelbrot set itself has a Hausdorff dimension of exactly 2 -- as does its boundary.

As odd as a fractional dimension may sound, it makes a certain kind of sense.  A coastline certainly isn't 2-dimensional, but neither is it quite a straight line or smooth curve.  Because we see these kinds of shapes all the time -- trees, clouds, veins in leaves, mountains, piles of pebbles, coral, broccoli ... it's not a great leap to think we would respond to something artificial with the same general property.  And on the other hand, because they're not exactly like anything we naturally encounter, it's natural to think of them as alien.

In one sense that feeling of some of the 3D forms being organisms or artifacts themselves is a property of the sets themselves, but equally so is it in the eye (or the perceptual machinery behind it) of the beholder and of the artist selecting and rendering the scene.  It would be interesting to show a bunch of people random images from the Mandlethingies and ask "Does that look natural, artificial, or other?"

Then follow up with "If this looks artificial to you, who do you think made it?"

And why?

Thursday, September 23, 2010

Jockomo Jockomo

I've been listening to Our New Orleans, a post-Katrina benefit album of some of New Orleans' best musicians, which of course got me to pondering a venerable question.  Just what does Iko Iko mean?

A little poking around discovers that there are a great many versions of the song Iko Iko itself (no surprise) and that the first two were put out by James "Sugar Boy" Crawford (under the title Jock-o-mo) and the Dixie Cups (under the title Iko Iko). Neither of these makes any claim of originality.  Both Crawford and the Dixie Cups freely admit that they merely repeated what they'd heard, Crawford from Mardi Gras Indian chants, the Dixie Cups from their grandmother (who in turn probably heard it at Mardis Gras).  This much is pretty clear, but little else is.  In particular, what do the words mean and, prerequisite to that, what are the words?

The second question can only be answered approximately, since the song has been covered so many times, often (probably nearly always) by performers with little or no idea of its possible meaning.  This in turn has led to disputes on the order of "Is it chockomo, jockomo, jock-o-mo or what?" "Is it Iko or Aiko"  "Is it wa na ne or ah na ne?" and so forth.  Keeping in mind that individuals' accents and enunciation may vary and that language itself is fairly shifty, a reasonable rendition of the mystery lyrics is:
Hey now, Hey now
Iko, Iko, an day
Jockomo fee no wah na nay
Jockomo fee na nay
Interpretations vary. One is:
Code language!
God is watching
Jacouman causes it; we will be emancipated
Jacouman urges it; we will wait.
Another is
Hey now! Hey now!
Listen, listen at the back
Jocomo made our king be born
Jocomo made it happen.
What's to pick between them?

Explanations are also offered for pieces here and there. Who or what is "Jockomo"? No less an authority than Dr. John says Jockomo is a jester. A linguist familiar with Native American trade languages says that chockema feena means "very good" in a now-extinct jargon. What does Iko Iko mean? A Ghanaian linguist says that Ayeko Ayeko is found in a West African chant and means "Well done, congratulations".

Why would it be so difficult to track down the meaning of a song heard and sung by millions? For a start, New Orleans is one of the most multicultural cities in the world, let alone the United States. As Dr. John says, it's a place where "Nothing is purely itself but becomes part of one funky gumbo." Add to that the complex nature of the ingredients themselves — Creole culture, Hatian culture, French and other European cultures, hundreds of West African and Native American languages/dialects, and so forth, many lost or only recently recorded — it would seem almost inevitable that origins become hard to trace.

It's clear from even casual comparison that the song has deep and direct African musical roots. This again is hardly surprising for New Orleans, but some cases are more obvious than others (Louis Armstrong's classic What a Wonderful World seems less obviously African-influenced). It also pretty clear that the rhythms came to the Mardi Gras Indians by way of the Caribbean, in particular Haiti, whose Kata rhythms are clearly similar (compare this and this, for example). The origins of a tune aren't necessarily the same as the origins of its lyrics, but it's not implausible that the Mardi Gras Indians' chants are also Caribbean in origin.

The two translations given above, different though they are, both accord with that general backdrop. The first, based on notes unfortunately lost in the Storm along with so many other cultural treasures, uses a mixture of Yoruba (West African) and Creole French.

The second translation is better documented, at least, and is pure Louisiana Creole:
  • akou(t) = French ecoute = listen
  • an deye = French en derrière = in back
  • Jockomo is a name, possibly Giacomo, possibly "little Jacques"
  • fi = French fit = made
  • no wa = French notre roi = our king
  • ne = French = born
  • the particle na, being peculiar to Creole, makes it "to be born"
This all seems reasonable enough, particularly since the Creole words given all exist in other sources, the words are in the right order and the meaning, while a bit puzzling, is not a complete word salad.  But while the general drift seems reasonable, I'm not entirely convinced.

For example, while "Hey now, listen all the way in the back!" makes sense and fits with Mardi Gras chiefs facing off and taunting each other, wouldn't the accent on akout be on the last syllable, not the first?  More troubling, though, is the use of the phrase Jockomo feena nay in other places, such as the Wild Magnolias' Brother John is Gone/Herc Jolly John (which is what brought us here in the first place):
Jockomo feena nay, Jockomo feena nay
If you don't like what the Big Chief say
Then jockomo feena nay!
This fits better with another gloss that's been given: "Joker, kiss my ass" (or similar). The Magnolias also exhort the audience to "make Jockomo any way you want", which casts a little doubt on Jockomo being a personal name.

As to the Yoruba/Creole interpretation, I have no idea, except that "code language" is probably not meant as a literal interpretation, rather that "Hey now" (or "Ena" or whatever) is a code meant to call people together. Which seems, um, probable. Again, though, "Jocouman will emancipate us" doesn't seem a likely riposte to someone who doesn't like what the Big Chief says.  On the other hand, if the original meaning had been lost, more likely in the case of the Yoruba hypothesis, then perhaps a now-nonsensical string of syllables could be turned into a taunt simply by use as such.


So, what to make of all this?  Until someone can come up with something more definitive, like a written record from the 19th century, we're really reading tea leaves.  I find the Creole idea the best of the lot, but I wouldn't want to say it's "the" definitive meaning.

More interesting, though, is the way that the funky gumbo, where nothing is purely itself, leads us on a fascinating journey of guesswork with only a provisional, incomplete resolution.  That's New Orleans for you.



Sources: