Rational Concepts

"The divine principle of unity has ever been that of an inner inter-relationship. This is revealed in some of its earliest stages in the evolution of multicellular life on this planet. The most perfect outward expression has been attained by man in his own body. But what is most important of all is the fact that man has also attained its realization in a more subtle body outside his physical system. He misses himself when isolated he finds his own larger and truer self in his wide human relationship. His multicellular body is born and it dies; his multi-personal humanity is immortal.

"...the impersonal aspect of truth dealt with by science belongs to the human Universe. But men of Science tell us that truth, unlike beauty, and goodness, is independent of our consciousness. They explain to us how the belief, that truth is independent of the human mind, is a mystical belief, natural to man but at the same time inexplicable. But may not the explanation be this, that ideal truth does not depend upon the individual mind of man but on the universal mind which comprehends the individual? For to say that truth, as we see it, exists apart from humanity is really to contradict science itself; because science can only organize into rational concepts those facts which man can know and understand, and logic is a machinery of thinking created by the mechanic man.

I do not imply that the final nature of the world depends upon the comprehension of the individual person. Its reality is associated with the universal human mind which comprehends all time and all possibilities of realization. And this is why for the accurate knowledge of things we depend upon science that represents the rational mind of the universal man and not upon that of the individual who dwells in a limited range of space and time, and the immediate needs of life."

- Rabindranath Tagore (1861 - 1941)

The Religion of Man 

Visible Delineations

"You see what the eye does teach; and yet it would never of itself have afforded this insight, without something that looks through the eyes and uses the data of the senses as mere guides to penetrate from the apparent to the unseen. It is needless to add the methods of geometry that lead us step by step through visible delineations to truths that lie out of sight, and countless other instances which all prove that apprehension is the work of an intellectual essence deeply seated in our nature, acting through the operation of our bodily senses."

- St. Gregory of Nyssa (335 – 395)

Naive Realism

"We all start from “naive realism,” i.e., the doctrine that things are what they seem. We think that grass is green, that stones are hard, and that snow is cold. But physics assures us that the greenness of grass, the hardness of stones, and the coldness of snow are not the greenness of grass, the hardness of stones, and the coldness of snow that we know in our own experience, but something very different."

- Bertrand Russell (1872 - 1970)

Mental Constructs

"Perhaps we all lose our sense of reality to the precise degree to which we are engrossed in our own work, and perhaps that is why we see in the increasing complexity of our mental constructs a means for greater understanding, even while intuitively we know that we shall never be able to fathom the imponderables that govern our course through life."

- W.G. Sebald (1944 - 2001)

The Rings of Saturn

Origins of Form

"The evolution of all things animate or inanimate takes place within a sea of forces. Some of these forces are dominant, some are scarcely there at all, but all exert some influence on the changing form. The force might be a necessity for the placement of leaves to maximize sunlight or it might be a compression of space, a surface stress, heat, infusion with another substance, vibration, or sonic disturbance, wind, torsion, electrical charge, gravitational pull, or any number and combination of other mechanical or chemical forces. The substance can only respond and its evolving form is a reflection of the forces, like a patch of froth on a slowly winding river revealing the currents and countercurrents. When the forces are complex and constantly shifting, the developing form is unpredictable, like an old pear tree that has been broken, pruned, and buffeted by the elements, or the skin of an aged elephant. But when the forces are more constant and predictable the forms evolve into rhythm, pattern, and symmetry."

- Christopher Williams
Origins of Form

Unbroken Movement

“There is a universal flux that cannot be defined explicitly but which can be known only implicitly, as indicated by the explicitly definable forms and shapes, some stable and some unstable, that can be abstracted from the universal flux. In this flow, mind and matter are not separate substances. Rather, they are different aspects of our whole and unbroken movement.” 

- David Bohm (1917 - 1992) 

Time Has No Divisions

"Time has no divisions to mark its passage,

there is never a thunder-storm or

blare of trumpets to announce the

beginning of a new month or year. 

Even when a new century begins

it is only we mortals who

ring bells and fire off pistols."

- Thomas Mann (1875 - 1955)

The Magic Mountain

Ego and Truth

"... we have not perceived the whole truth unless we have also perceived that the truth must operate.  If we think it is the "Ego" or the "I" that operates, we are confused.  (For example, that we follow truth because we are "honest," so that the Ego makes a "choice" ---as if the Ego could with meaning and sense choose to be "dishonest" and thus follow a falsehood.)  In reality, it is the truth that operates, outside of the preferences of the Ego.  And indeed, the truth can even operate on the Ego, by perceiving and understanding its motivations deeply.  So what happens is that the basic principle of the individual ceases to be the Ego and is truth instead.

Now, at present, this happens in a restricted domain, such as science or art.  But to see the basic principle of truth itself, it would be necessary for the individual to allow truth to operate unhindered in every field.  A basic part of the whole truth is to perceive the falsity of every operative idea that is really false.  This is extraordinarily difficult, as our motivations are confused and twisted in a very complicated way.  Many of our false ideas operate subliminally, or even subconsciously.  The problem is far more difficult to understand, than for example the theory of relativity, so that it requires a sustained and serious effort. "

- David Bohm

(1917 - 1992)

Bildung , Gestalten, and Metamorphosis

“If we look at all these Gestalten, especially the organic ones, we will discover that nothing in them is permanent, nothing at rest or defined—everything is in a flux of continual motion. This is why German frequently and fittingly makes use of the word Bildung [formation] to describe the end product and what is in process of production as well…. When something has acquired a form it metamorphoses immediately into a new one.

...We will see the entire plant world, for example, as a vast sea which is as necessary to the existence of individual insects as the oceans and river are to the existence of individual fish, and we will observe that an enormous number of living creatures are born and nourished in this ocean of plants. Ultimately we will see the whole world of animals as a great element in which one species is created or at least sustained, by and through another. We will no longer think of connections and relationships in terms of purpose and intention; we will progress in knowledge alone through seeing how formative nature expresses itself from all sides and in all directions.

...Among the objects we will find many different forms of existence and modes of change, a variety of relationships livingly interwoven; in ourselves, on the other hand, a potential for infinite growth through constant adaptation of our sensibilities and judgment to new ways of acquiring knowledge and responding with action."

- Johann Wolfgang von Goethe

(1749 - 1832)

Synesthetic Noetics: Cognition vs. Intuition

Intuition                                  Cognition

“The Noetic Quality, as named by William James, is a feeling of insight or illumination that, on an intuitive, nonrational level and with a tremendous force of certainty, subjectively has the status of Ultimate Reality. This knowledge is not an increase of facts but is a gain in psychological, philosophical, or theological insight.” - Walter Pahnke, The Psychedelic Mystical Experience in the Human Encounter With Death

“Although contemporary neuroscientists study “synesthesia”—the overlap and blending of the senses—as though it were a rare or pathological experience to which only certain persons are prone (those who report “seeing sounds,” “hearing colors,” and the like), our primordial, preconceptual experience, as Merleau-Ponty makes evident, is inherently synesthetic. The intertwining of sensory modalities seems unusual to us only to the extent that we have become estranged from our direct experience (and hence from our primordial contact with the entities and elements that surround us.):

'…Synesthetic perception is the rule, and we are unaware of it only because scientific knowledge shifts the center of gravity of experience, so that we have unlearned how to see, hear, and generally speaking, feel, in order to deduce, from our bodily organization and the world as the physicist conceives it, what we are to see, hear, and feel.' (Merleau-Ponty)" - David Abram, The Spell of the Sensuous

"Hallucinogenic discourse, both of scientific and “recreational” nature, faces a similar rhetorical dilemma as the rest of the ecstatic traditions it responds to: It must report on an event which is in principle impossible to communicate. Writers of mystic experience from St Teresa to William James have treated the unrepresentable character of mystic events to be the very hallmark of ecstasies. Hallucinogenic discourse faced a similar struggle in the effort to report on the knowledge beyond what Aldous Huxley (and Jim Morrison…) described as the “doors of perception.” - Richard Doyle, "Consciousness Expansion and the Emergence of Biotechnology" in In Semiotic Flesh: Information and the Human Body

Note: Volume II of my "Synesthetic Landscape" series is now available for purchase (softcover, hardbound with wrap-around cover, and pdf versions).

Why the heck is he taking a picture of that?

A while back, I blogged about a series of images I call "Photographing the Photographer" diptychs (or PPDs), consisting of two side-by-side images: one image - taken by my wife - is of yours truly happily snapping away with my camera, oblivious to everything except what is in front of the tripod; the other, is of the "final print" of whatever it was that caught my attention at that instant. While the dissonance between the "final print" and the - sometimes bizarre - postures I assume while setting up a shot (and/or puzzling places in which I set up my tripod to begin with!) was not as great as in past adventures (e.g., look here and here), my wife managed to catch me "in the act" during three shots I took during our recent trip out west (see previous blog entries). Of course, each has its own story.

In the diptych at top, I recall both our boys (Noah, 13, and Josh, 9) circling around, curious about what caught my eye. "Is there a bird?", Noah asked. "A frog?" inquired Josh. "Just a log, guys," I answered. They gingerly walked up to the nondescript log by the water, giggled, and with an obligatory, "Dad, you are so weird!" went back to frolicking about the lakeshore (we were standing at the northern end of Yellowstone lake). In truth, it was more the light, and the play between the light, grass, and contrast between the log and grass that caught my eye, but my hunch is that a fuller "explanation" would have induced more giggling. 

In this shot, I stood locked in my hunched position (for which my back repaid me later by locking up completely at night) for 30-45 min, moving ever so slightly left-right / up-down trying a number of subtlety different compositions. My kids (along for a family hike at Bear Lake, CO) did not even bother to stop to inquire, though I caught a "Yep, at it again" as they made their way up the trail. I did get a few quizzical looks from passerbys, one commenting to another (a bit too loudly I thought), "Why the heck is he taking a picture of that?" This abstract root-contusion is among my favorite shots of the whole trip!

This final diptych finds me hunched over a a shot of Yellowstone's Lower Falls. In contrast to the earlier images, in which I "slaved" over myriad attempts to find a pleasing composition, I took but one shot here (worth keeping), but had to stay glued to my spot for what seemed like an eternity because of the swarm of visitors, a few of whom - sad to say - were less than polite. I was stomped on, pinched, shoved, yelled at (true!), had my tripod yanked (twice!), and even had to do a quick duck and cover to save my camera as a burping baby got a bit too close for comfort with recent-meal-induced projectiles. Though I needed no more than 10 sec to compose and click, it took 10-15 minutes (!) to find a stretch of uninterrupted time into which I could fit those precious 10 sec! As I got my shot, and turned to leave, I found my wife quietly and contentedly standing behind me, having gotten her shot of me almost immediately after I set up my tripod. Smiling (and in mock resignation), she simply asked: "Just how long does it take you to get a simple shot?"

Postscript. I was "yelled" at for having the gall to wear a NY Yankees hat in Wyoming... what insolence! ;-)

"Photographing the Photographer" Diptychs

"The universe as we know it

is a joint product of the

observer and the observed.”

- Teilhard de Chardin

Philosopher / Mystic

(1881 - 1955)

While looking over some old photos (going back to trips to Scotland in 2009 and Greece in 2008), I ran across an interesting set of pictures taken by my wife that I turned into what I call PPDs, or "Photographing the Photographer" Diptychs. My wife, an avid videographer and occasional still photographer, took a series of images showing yours truly in the act of "doing" photography.

Some of her photos contain "me" only in the sense that I am somewhere in the picture, but the shot itself is focused on something else; a landscape, our rental car, a hotel, the front of a restaurant, whatever. But many of them are (as my wife confessed) deliberately focused on my (not always elegant) photo machinations: my scurrying to and fro like a frenzied zombie, climbing, prowling, bending, scrunching up like a pretzel, maneuvering my body and tripod for decent angles. A few actually catch me in the "act" of going click.

For many of these I was able to find and match the "shot" I was capturing (or a shot taken at nearly the same place and time) with the shot my wife has of me doing so. I made a few diptychs to show my wife and friends, who all enjoyed them, commenting that the diptychs reveal something not normally seen, or appreciated.

The diptychs show two different - but obviously correlated - experiences by two different people of ostensibly the same "experience" (almost the same). While my wife and I were obviously both at the same place and time, we were looking at the world from our own (not quite identical) local reference frames and slightly different perspectives: she, as an empathic observer of "life (in this case, her husband's) in environment," and I, as landscape photographer immersed in Scotland's innate physical beauty. To my eyes, our respective images of a given time and place, combined in diptych form, achieve an interesting transcendent synergy. While neither image, if considered alone, shows anything more than it does by itself, when reflected upon simultaneously with its partner provides a tangibly more meaningful, deeper glimpse of our shared experience.

I have posted a small portfolio of ten such "Photographing the Photographer" Diptychs (8 from Scotland, 2 from Greece); if nothing else, it gave me an opportunity to revisit some of the many spectacular sights and visual delights my wife and I have been privileged to see. It also gives an opportunity to those of you (you know who you are ;-) who have, from time to time, seen a bespectacled photographer bent over a tripod somewhere, seemingly trained at nothing in particular, and been puzzled about just what this bespectacled photographer is looking at? My wife has kindly provided an answer.