Musings on the Creative Process: Left-Brain / Right-Brain Blending

 "It's always seemed like

a big mystery how nature,

seemingly so effortlessly,

manages to produce so much

that seems to us so complex.

Well, I think we found its secret.

It's just sampling what's

out there in the

computational universe."

- Stephen Wolfram (1959 - )

I apologize beforehand for what might seem like a long and bizarre excursion away from photography; but please bear with me as the following musings are very much in the vein of exploring the "creative process" of photography (well, at least, a glimpse of the creative process I've recently been immersed in!). Specifically, those aspects of the creative process that lie at the cusp of traditional left/right brain functions. Leaving aside the reality of such a dichotomy (e.g., see this recent paper), let us posit that left-brain processes focus more on logic and analytic thinking, and that right-brain processes focus on art and intuition more. Of course, all of us continually engage both sides throughout our waking hours, albeit with our own unique rhythms of shifting/combining focus and modulating relative emphasis. In my case, I live in two - usually quite separate - worlds, deliberately broken up into "what I do during my work week" (employed, as I am, as a physicist at a federally funded research & development center) and "what I do during essentially all available off hours" (which, among other things, has resulted in this photography blog and more fun with my cameras, lenses, filters, and tripods than I deserve in the 45+ years I've been doing photography). Occasionally, as I'm about to do here, I combine my two sides; though not always for the better - you, kind reader, can judge whether I've strayed a bit too far in this case.

"Working with mental images activates a different mode
of consciousness which is holistic and intuitive." 
- Henri Bortoft (1938 - 2012)

So many ideas come to mind as I ponder this question: Goethe's Holistic Seeing; Bohm's Implicate Order; and Alexander's (opus on fundamental organizing principles of "life forms") Nature of Order, all come to mind. But I will leave the discussion of these approaches for a later entry. For now, these ideas will have to serve merely as backdrops of my explanation of how I've partly fused my "left-brain/right-brain" activities over the last week or so (I promise to keep it short :). 

At its core, my usual "right brain" approach to photography cannot be simpler: I pick up my camera bag and tripod, head out for a walk to a local park (or just go downstairs to a "studio" I've set up for to experiment with color abstracts), and start shooting. If something catches the eye, I shoot. That's about it. And the less ("left-brain") thinking that is involved, the better (though it sometimes leads to thinking about thinking, which I've written about before). The only important - and almost entirely unconscious - action I take is to choose the time I press the shutter (I've assuming that such minutiae as f-stops, exposure times, filters, and the like are "automatic" and add little to the story I'm trying to tell here). OK, so far, so good.

"So the relationship of each moment in the whole to all the others
is implied by its total content: the way in which it
'holds’ all the others enfolded within it." 
- David Bohm (1917 - 1992) 

This is where my several-week-old left-brain machinations come in. While looking over a portfolio of recent abstracts (including those "discovered" in marble and crystals), I ran across a number that fell into the "whole contains other wholes" pictures I described above. I was sitting at the same PC that facilitates both my left-brain (Photoshop) and right-brain (Mathematica) activities, and reflected the same basic type of question I normally reserve for my left-brain: "How can I find the 'best' image?" - meaning one that best satisfies my desire to show "interesting parts" of an image, but in such a way that the whole is still implicitly within sight, "just barely out of reach." I had earlier experimented with breaking up images into thirds and looking for "interesting juxtapositions" (e.g., exchanging the 1st and 2nd panel interchanged, but leaving the 3rd panel fixed). And, while that did lead to some interesting variations, it was also a painstakingly long process. These preliminary experiments were akin to a kind of improvisational play,  wherein I manually dissected each image and created select juxtapositions of interest. Noting that something interesting can actually be found by following this method, my left-brain finally clicked into action.

While the process is still "simple" (relatively speaking), and can - and will - easily be improved upon in coming days and weeks, I wrote a Mathematica function that automatically breaks an image into thirds (i.e., my 3-word alphabet of 'panels' to be used in  constructing new triptychs); applies all possible combinations of (1) leaving the orientation of a given panel unchanged (or as 'original = O'), (2) flipping a panel in the horizontal direction ('HF'), (3) flipping a panel in the vertical direction ('VF'), and (4) rotating a panel 180 deg (i.e., perform a vertical rotation = 'VR'); and assembling the new panels into a triptych with a bit of white space between and on the outside perimeter of the whole image. (90 deg rotations are not allowed, because in order to retain the same aspect ratio, the panels would all need to be square.) The Mathematica function is constrained to not create any triptychs in which the original panel order is left unchanged, since my goal is to find combinations of individually interesting images - in this case, panels - in which the whole, or original image, is only implicit and not directly observable. A bit of counting shows that, with this constraint, there are a total of 320 possible 'panel exchange + rotation/flip' combinations. This is significantly more than I can create by hand, but is easily doable in a few seconds by feeding my Mathematica function a starting image of choice. More specifically (since it is hard to visually digest 320 images at once), I had Mathematica display a smaller array of 16 random triptychs out of the complete set that my right-brain can inspect - and select interesting variants of - "at a glance." 

"No pattern is an isolated entity. Each pattern can exist in the
world only to the extent that is supported by other patterns:
the larger patterns in which it is embedded, the patterns of the
same size that surround it, and the smaller patterns
which are embedded in it."
- Christopher Alexander (1936 - ) 

Two such arrays are displayed at the top of this post, along with - on the right hand side - one of the images I like best. By design, all of the randomly constructed triptychs share the two most important qualities I am searching for: (1) each of the panels is "interesting" (since this cannot be expected to be true of just any image, the starting image must already be specially selected), and (2) the starting image is visible only implicitly, since the viewer is allowed to see only the juxtaposed panels, not in their original order). As for what makes triptych x more/less interesting than triptych y? That's where the right brain jumps back into the process, as it subjectively selects one out of many - just because; though, because of the way my left-brain constructed the samples from which my right-brain is asked to choose (leaving out the "real" image), the right-brain is faced with - what for me, is - an intoxicating aesthetic tension between parts and an implicit whole. Indeed, the pleasure I get from finding and viewing "interesting images" of this sort are a direct analogue of the creative process by which they are spawned. In the same way as (I've just described) my left-brain helps me sort, dissect, operate-on, and create a multiverse of same-but-different sets of images that my right-brain generated the 'starting set' for (by intuitively capturing the original image) - my right-brain now delights in teasing apart the tension between the parts and wholes of images that my left-brain constructed for me (thus revealing "interesting" sets of images otherwise invisible to my own eye). 

Importantly, at least as far as photography - and aesthetics - are concerned, both sides of this creative process are fueled by search, discovery, and selection. That is, a search for a place and time to take a photograph, discovering an image, and selecting how and when to capture it. The only difference between my usual photography and the (admittedly laborious seeming) process described above is the space over which the search, discovery, and selection is conducted: i.e., a meta-space of images constructed out of images already taken vs. the physical world in which an original set of images is captured. The extra delight (I continue to have as I experiment with left-brain / right-brain blending) is that - at least temporarily - both sides of my brains are actively engaged in pursuit of an unchanging goal: to find "interesting images" :)

Here some additional "discoveries" in my left-brain constructed multiverse of meta-images (with more sure to follow)...

Encountering the Whole

"We cannot know the whole in the way in which we know things because we cannot recognize the whole as a thing. If the whole were available to be recognized in the same way as we recognize the things which surround us, then the whole would be counted among these things as one of them. So we could point and say 'here is this' and 'there is that' and 'that’s the whole over there.' If we could do this we would know the whole in the same way that we know its parts, for the whole itself would simply be numbered among its parts, so that the whole would be outside of its parts in just the same way that each part is outside all the other parts… But the whole comes into presence within its parts, so we cannot encounter the whole in the same way as we encounter the parts. Thus we cannot know the whole in the way that we know things and recognize ourselves knowing things. So we should not think of the whole as if it were a thing…, for in so doing we effectively deny the whole inasmuch as we are making as if to externalize that which can presence only within the things which are external with respect to our awareness of them."

- Henri Bortoft (1938 - 2012)

Restructuring Consciousness

"The holistic mode of consciousness is complementary to [analysis]... this mode is nonlinear, simultaneous, intuitive instead of verbal-intellectual, and concerned more with relationships than with the discrete elements that are related. It is important to realize that this mode of consciousness is a way of seeing, and as such it can only be experienced in its own terms. In particular, it cannot be understood by the verbal-intellectual mind because this functions in the analytical mode of consciousness, for which it is not possible to appreciate adequately what it means to say that a relationship can be experienced as something real in itself. In an analytical mode of consciousness it is the elements which are related that stand out in experience, compared with which the relationship is but a shadowy abstraction. The experience of a relationship as such is only possible through a transformation from a piecemeal way of thought to a simultaneous perception of the whole. Such a transformation amounts to a restructuring of consciousness itself. … Whereas we imagine movement and change analytically, as if the process really consisted of a linear sequence of instantaneously stationary states (like a sequence of snapshots), when movement and change are experienced holistically, they are experienced as a whole. The elements which are experienced simultaneously in this mode are thus dynamically related to each other, and this dynamical simultaneity replaces the static simultaneity of the analytical mode."

- Henri Bortoft (1938 - 2012)

The Wholeness of Nature

Goethian Wholeness

"In following Goethe's approach to scientific knowledge, one finds that the wholeness of the phenomenon is intensive. The experience is one of entering into a dimension that is the phenomenon, not behind or beyond it, but which is not visible at first. It is perceived through the mind, when the mind functions as an organ of perception instead of the medium of logical thought. Whereas mathematical science begins by transforming the contents of sensory perception into quantitative values and establishing a relationship between them, Goethe looked for a relationship between the perceptual elements that left the contents of perception unchanged. He tried to see these elements themselves holistically instead of replacing them by a relationship analytically. Ernst Cassirer said, 'the mathematical formula strives to make the phenomena calculable, that of Goethe to make them visible."

- Henri Bortoft (1938 - 2012)

The Wholeness of Nature

Authentic Wholes

"In following Goethe's approach to scientific knowledge, one finds that the wholeness of the phenomenon is intensive. The experience is one of entering into a dimension that is the phenomenon, not behind or beyond it, but which is not visible at first. It is perceived through the mind, when the mind functions as an organ of perception instead of the medium of logical thought. Whereas mathematical science begins by transforming the contents of sensory perception into quantitative values and establishing a relationship between them, Goethe looked for a relationship between the perceptual elements that left the contents of perception unchanged. He tried to see these elements themselves holistically instead of replacing them by a relationship analytically. A Ernst Cassirer said, 'the mathematical formula strives to make the phenomena calculable, that of Goethe to make them visible.'"

- Henri Bortoft (1938 - 2012)

"Counterfeit and Authentic Wholes," 

in Goethe's Way of Science

Sting, Goethe, and the Creative Process

"Basic characteristics of an individual organism: to divide, to unite, to merge into the universal, to abide in the particular, to transform itself, to define itself, and as living things tend to appear under a thousand conditions, to arise and vanish, to solidify and melt, to freeze and flow, to expand and contract....What has been formed is immediately transformed again, and if we wish to arrive at a living perception of Nature, we must remain as mobile and flexible as the example she sets for us." - Johann Wolfgang von Goethe

My wife and I recently went to Sting's Symphonicities concert, when his tour stopped by in northern Virginia. Apart from enjoying his music (backed by the Royal Philharmonic Concert Orchestra), and observing the inevitable aging of his/our generation first hand - there were many, many more 40/50/60-somethings at the concert than anyone who can still remember pimples on their young faces (my wife recalled the puzzled look on the face of our 17 year old baby sitter when she told her where she and I were going for the evening; "Sting who?" she asked), the evening gave us a chance to muse on one of the reasons for Sting's longevity, and what it may say about the creative process in general.

There are some who have criticized Sting's recent forays into decidedly non-traditionally-Rock-like music oeuvres (such as with his If On a Winter's Night and Songs From a Labyrinth albums). And his most recent Symphonicities album has been described as same-ole / same-ole embellished with a full orchestra (an overly harsh assessment, IMHO, as much thought and craft obviously went into integrating new voices and new accompaniment). Of course, it is precisely by continually venturing into new musical territories and challenging himself to rework older material that Sting stays a potent musical and creative force. Sting also challenges us to consider just who "Sting" (or any artist) really is, and whether being content with "sameness" is a form of artistic decay, at best, or artistic irrelevance, at worst.

Ansel Adams, with his piano skills, was fond of comparing the relationship between prints and original exposures to performances of scripted musical scores; and was equally fond of "reworking" old plates with new techniques or aesthetic sensibilities. The "Ansel Adams" of 1980 was similar to but not entirely equivalent to the "Ansel Adams" of 1960 or the "Ansel Adams" of 1940. Yet we use the same "name" to refer to all three periods, and have a mental picture of the "same" Ansel Adams when referring to any of his impermanent historical versions. Szarkowski's Ansel Adams at 100 shows a few examples of Ansel's evolution as a printer (the difference between Ansel's original and 20+ year-later version of his well-known "Mckinley" print are particularly striking).

There is a deeper - philosophical / epistemological - problem lurking here, hidden in a seemingly innocuous question: "What is the difference between the 'name' of something that is alive - a flower, a pug, an artist, or an artwork - and the 'living being' itself?" Richard Feynman, the great physicist, told of an important lesson he was taught as a child. His father - a methodical observer of nature - delighted in sharing with his son his voluminous mental notes on the rich lives of all the birds that lived in their neighborhood; when they came out in the morning, what songs they sang, what food they ate, and so on. All of this his father learned on his own, not by reading books, but by carefully watching and listening to the birds for years and years. Young Richard's lifelong lesson came one day when his peers laughed at him for not knowing any of the birds' names, something he never learned from his father (who himself did not know). His father gently explained to Richard that he actually knew far more about the birds than any of his friends: "All your friends know is a jumble of sounds that help them point to a particular bird. Only you know who those birds really are!"

This holistic approach to "knowing" can be traced back to Goethe's way of doing science, an approach which Henri Bortoft (in his masterful work, The Wholeness of Nature: Goethe's Way Toward a Science of Conscious Participation in Nature) describes as "dwelling in the phenomenon" instead of "replacing it with a mathematical representation." It derives from the "simple" observation that living beings are growing, evolving processes that are as much "things in themselves" as interconnected components of lesser and greater processes. To identify any one state of such a being with the being itself - i.e., by using a "name" to designate "what the system is" at some arbitrary time during the course of its evolution (such as by taking a picture of a tree in your yard one day and calling it "the tree in my yard"; or by taking a picture of the Atlantic ocean from some beach on Long Island - see picture above - and calling it the "Atlantic Ocean") - is to miss completely what the being really is; namely, an organic instantiation of a continually unfolding dynamic process of evolution, metamorphosis, and transformation.

In describing the movement of metamorphosis in the foliage of a flowering plant, Friedemann Schwarzkopf (in his The Metamorphosis of the Given: Toward an Ecology of Consciousness), suggests that "...if one could imagine a person walking through the snow, and leaving the imprints of its feet, but with every step changing the shape of its feet, and if one would behold not the trace in the snow, perceptible to the sense-organs of the physiological eyes, but the living being that is undergoing change while it is walking, one would see with the inner eye the organ of the plant that is producing leaves."

And what of the lesson for the photographer? If only we could see the world as Schwarzkopf - and Goethe - suggest we see a plant! The inner creative process that drives what we do (why and what we choose to look at, what moves us, what grabs our attention and demands to be expressed) is just as much a living force as what we train our lenses on in the world at large. I would argue that in order to become better - more impassioned, more sincere, more artfully truthful - photographers, requires a more Goethian approach; it requires us to learn how to dwell in our subjects. Don't focus on objects or things. Pay attention instead to process; and revel in your own transformation as you do so.

Postscript. Goethe's The Metamorphosis of Plants has recently been reissued in a beautiful new edition. Highly recommended for anyone interested in learning about the "...how of an organism." For those of you wishing to pursue Goethe's approach to nature, I urge you to also look at two recent books: (1) Meditation As Contemplative Inquiry, by physicist Arthur Zajonc, and (2) New Eyes for Plants: A Workbook for Plant Observation & Drawing, by Margaret Colquhoun and Axel Ewald.