The Sensation of the Mystical

"The most beautiful and most profound emotion that we can experience is the sensation of the mystical. It is the source of all true science. He to whom this emotion is a stranger, who can no longer wonder and stand rapt in awe is as good as dead. To know that what is impenetrable to us really exists, manifesting itself as the highest wisdom and the most radiant beauty which our dull faculties can comprehend only in their most primitive forms - this knowledge, this feeling, is at the center of true religiousness. My religion consists of a humble admiration of the illuminable superior who reveals himself in the slightest details we are able to perceive with our frail and feeble minds. That deeply emotional conviction for the presence of a superior reasoning power, which is revealed in the incomprehensible universe, forms my idea of God."

- Albert Einstein (1879 - 1955)

Nature's Elegance #2

"What is especially striking and remarkable
is that in fundamental physics a
beautiful or elegant theory is
more likely to be right
than a theory that
is inelegant."

- Murray Gell-Mann (1929 - 2019)

Experimental Writing

"Some arts move in time, like music; others are presented in space, like painting. In both cases the organizing principle is recurrence, which is called rhythm when it is temporal and pattern when it is spatial. Thus we speak of the rhythm of music and the pattern of painting; but later, to show off our sophistication, we may begin to speak of the rhythm of painting and the pattern of music. In other words, all arts may be conceived both temporally and spatially. The score of a musical composition may be studied all at once; a picture may be seen as the track of an intricate dance of the eye. Literature seems to be intermediate between music and painting: its words form rhythms which approach a musical sequence of sounds at one of its boundaries and form patterns which approach the hieroglyphic or pictorial image at the other. The attempts to get as near to these boundaries as possible form the main body of what is called experimental writing. We may call the rhythm of literature the narrative, and the pattern, the simultaneous mental grasp of the verbal structure, the meaning or significance. We hear or listen to a narrative, but when we grasp a writer’s total pattern we 'see' what he means."

- Northrop Frye (1912 - 1991)

Mystagogic Objects

"If truth and reality can clearly come only from the subject and his consciousness, then illusion, which is the opposite of these, must necessarily come from elsewhere. From the world of the object, from some other thing than the subject. Illusion, like profusion, comes to us from the world.

...

The secret of theory is that truth does not exist.

...

The universe is mystagogic."

- Jean Baudrillard (1929 - 2007)
Fragments

Non-Mechanical Reality

"Today there is a wide measure of agreement, which on the physical side of science approaches almost to unanimity, that the stream of knowledge is heading towards a non-mechanical reality; the universe begins to look more like a great thought than like a great machine. Mind no longer appears as an accidental intruder into the realm of matter; we are beginning to suspect that we ought rather to hail it as a creator and governor of the realm of matter."

- Sir James Jeans (1877 - 1946)
The Mysterious Universe

Limits of Perception

"The human mind is only capable of absorbing a few things at a time. We see what is taking place in front of us in the here and now, and cannot envisage simultaneously a succession of processes, no matter how integrated and complementary. Our faculties of perception are consequently limited even as regards fairly simple phenomena. The fate of a single man can be rich with significance, that of a few hundred less so, but the history of thousands and millions of men does not mean anything at all, in any adequate sense of the word. The symmetriad is a million—a billion, rather—raised to the power of N: it is incomprehensible. We pass through vast halls, each with a capacity of ten Kronecker units, and creep like so many ants clinging to the folds of breathing vaults and craning to watch the flight of soaring girders, opalescent in the glare of searchlights, and elastic domes which crisscross and balance each other unerringly, the perfection of a moment, since everything here passes and fades. The essence of this architecture is movement synchronized towards a precise objective. We observe a fraction of the process, like hearing the vibration of a single string in an orchestra of supergiants. We know, but cannot grasp, that above and below, beyond the limits of perception or imagination, thousands and millions of simultaneous transformations are at work, interlinked like a musical score by mathematical counterpoint. It has been described as a symphony in geometry, but we lack the ears to hear it."

- Stanislaw Lem (1921 - 2006)

Solaris

Entanglement

"Indeed, it is the quantum entanglement between the 'object' and the 'agencies of observation,' in this case, between the atom and the apparatus that is precisely what we need to attend to in making the interference pattern evident. Once again we see evidence for the ontological priority of phenomena over objects. If one focuses on abstract individual entities the result is an utter mystery, we cannot account for the seemingly impossible behavior of the atoms. It’s not that the experimenter changes a past that had already been present or that atoms fall in line with a new future simply by erasing information. The point is that the past was never simply there to begin with and the future is not simply what will unfold; the 'past' and the 'future' are iteratively reworked and enfolded through the iterative practices of spacetimemattering—including the which-slit detection and the subsequent erasure of which-slit information—all are one phenomenon."

- Karen Barad (1956 - )
 Meeting the Universe Halfway

Transcendent Patterns

"To live on a day-to-day basis is insufficient for human beings; we need to transcend, transport, escape; we need meaning, understanding, and explanation; we need to see over-all patterns in our lives. We need hope, the sense of a future. And we need freedom (or, at least, the illusion of freedom) to get beyond ourselves, whether with telescopes and microscopes and our ever-burgeoning technology, or in states of mind that allow us to travel to other worlds, to rise above our immediate surroundings.

We may seek, too, a relaxing of inhibitions that makes it easier to bond with each other, or transports that make our consciousness of time and mortality easier to bear. We seek a holiday from our inner and outer restrictions, a more intense sense of the here and now, the beauty and value of the world we live in."

- Oliver Sacks (1933 - 2015)

Imperfect Concepts

"To Taoism that which is absolutely still

or absolutely perfect is absolutely dead,

for without the possibility of growth
and change there can be no Tao. In
reality there is nothing in the universe which
is completely perfect or completely still;
it is only in the minds of men
that such concepts exist."

- Alan Watts (1915 - 1973)

Nature's Elegance

"But nature is always more subtle,
more intricate, more
elegant than what
we are able to
imagine."

- Carl Sagan (1934 - 1996)
The Demon-Haunted World

Making Visible the Invisible

"The world is filled with these
invisible islands of energy,
where certain things can happen
and certain emotions and
dreams can be transported.
And as a photographer,
my task is to find those places.

...

Photography for me is not looking,
it’s feeling. If you can’t feel what
you’re looking at, then
you’re never going to get
others to feel anything when
they look at your pictures.

...

The camera is a tool for
making visible the invisible."

- Fay Godwin (1931 - 2005)

Worlds Born

"Each friend represents a world in us, a
world possibly not born until they arrive,
and it is only by this meeting
that a new world is born."

- Anais Nin (1903 - 1977)
The Diary of Anaïs Nin

Elegant Truths

"The cosmos is full beyond measure of elegant truths; of exquisite interrelationships; of the awesome machinery of nature. The surface of the Earth is the shore of the cosmic ocean. On this shore we've learned most of what we know. Recently we've waded a little way out, maybe ankle deep, and the water seems inviting. Some part of our being knows this is where we came from. We long to return. And we can. Because the cosmos is also within us. We're made of star-stuff. We are a way for the cosmos to know itself."

- Carl Sagan (1934 - 1996)

Ancient Rhythms

"The earth is our origin and destination. The ancient rhythms of the earth have insinuated themselves into the rhythms of the human heart. The earth is not outside us; it is within: the clay from where the tree of the body grows. When we emerge from our offices, rooms and houses, we enter our natural element. We are children of the earth: people to whom the outdoors is home. Nothing can separate us from the vigor and vibrancy of this inheritance. In contrast to our frenetic, saturated lives, the earth offers a calming stillness. Movement and growth in nature takes time. The patience of nature enjoys the ease of trust and hope. There is something in our clay nature that needs to continually experience this ancient, outer ease of the world. It helps us remember who we are and why we are here."

- John O'Donohue (1956 - 2008)
Beauty: The Invisible Embrace

Order and Disorder

"Like the librarians of Babel in Borges’s story, who are looking for the book that will provide them with the key to all the others, we oscillate between the illusion of perfection and the vertigo of the unattainable. In the name of completeness, we would like to believe that a unique order exists that would enable us to accede in knowledge all in one go; in the name of the unattainable, we would like to think that order and disorder are in fact the same word, denoting pure chance.

It’s possible also that both are decoys, illusions intended to disguise the erosion of both books and systems. It is no bad thing in any case that between the two our bookshelves should serve from time to time as joggers of the memory, as cat-rests and as lumber-rooms."

- Georges Perec (1936 - 1982)
Species of Spaces and Other Pieces

Symbiogenesis

"The tendency of 'independent' life
is to bind together and reemerge
in a new wholeness at a higher,
larger level of organization.

...

Living beings defy neat definition. They fight, they feed, they dance, they mate, they die. At the base of the creativity of all large familiar forms of life, symbiosis generates novelty. It brings together different life-forms, always for a reason. Often, hunger unites the predator with the prey or the mouth with the photosynthetic bacterium or algal victim. Symbiogenesis brings together unlike individuals to make large, more complex entities. Symbiogenetic life-forms are even more unlike than their unlikely 'parents.' 'Individuals' permanently merge and regulate their reproduction. They generate new populations that become multiunit symbiotic new individuals. These become 'new individuals' at larger, more inclusive levels of integration. Symbiosis is not a marginal or rare phenomenon. It is natural and common. We abide in a symbiotic world."

- Lynn Margulis (1938 - 2011)
Symbiotic Planet

Amorphous Morphology

"I claim that many patterns of Nature are so irregular and fragmented, that, compared with Euclid - a term used in this work to denote all of standard geometry - Nature exhibits not simply a higher degree but an altogether different level of complexity ... The existence of these patterns challenges us to study these forms that Euclid leaves aside as being 'formless,' to investigate the morphology of the 'amorphous.' Mathematicians have disdained this challenge, however, and have increasingly chosen to flee from nature by devising theories unrelated to anything we can see or feel."

- Benoit Mandelbrot (1924 - 2010)
The Fractal Geometry of Nature

Spiritualistic Painting

"All Chinese painting, which is not a matter of naturalistic but of spiritualistic painting, is to be contemplated as the soul's landscape. It is as subject to subject, and from the perspective of intimate confidence, that man connects with nature there. This nature is no longer an inert, passive entity. If we regard it, it regards us as well; if we speak to it, it speaks to us as well. Evoking Jingting Mountain, the poet Li Bai affirms: 'We regard one another tirelessly,' which echoes the painter Shitao who, with regard to Mount Huang, says 'Our tête-a-tête is endless.' At all times in China, poets and painters are in this relationship of collaboration and mutual revelation with nature. The beauty of the world is an appeal, in the most concrete sense of the word, and humans, those beings of language, respond to it with all their soul. Everything occurs as if the universe, thinking to itself, were awaiting man to speak."

- Francois Cheng (1929 - )
The Way of Beauty: Five Meditations for Spiritual Transformation

Curious Stillness of Autumn

"The wind swept down the rows, next morning,
swaying the branches of the trees,
and the windfalls dropped to
the ground with soft thuds.
Frost was in the wind,
and between gusts the curious
stillness of autumn."

- John Steinbeck (1902 - 1968)

"Although leaves remained on the beeches and the sunshine was warm, there was a sense of growing emptiness over the wide space of the down. The flowers were sparser. Here and there a yellow tormentil showed in the grass, a late harebell or a few shreds of purple bloom on a brown, crisping tuft of self-heal. But most of the plants still to be seen were in seed. Along the edge of the wood a sheet of wild clematis showed like a patch of smoke, all its sweet-smelling flowers turned to old man’s beard. The songs of the insects were fewer and intermittent. Great stretches of the long grass, once the teeming jungle of summer, were almost deserted, with only a hurrying beetle or a torpid spider left out of all the myriads of August. The gnats still danced in the bright air, but the swifts that had swooped for them were gone and instead of their screaming cries in the sky, the twittering of a robin sounded from the top of a spindle tree. The fields below the hill were all cleared. One had already been plowed and the polished edges of the furrows caught the light with a dull glint, conspicuous from the ridge above. The sky, too, was void, with a thin clarity like that of water. In July the still blue, thick as cream, had seemed close above the green trees, but now the blue was high and rare, the sun slipped sooner to the west and, once there, foretold a touch of frost, sinking slow and big and drowsy, crimson as the rose hips that covered the briar. As the wind freshened from the south, the red and yellow beech leaves rasped together with a brittle sound, harsher than the fluid rustle of earlier days. It was a time of quiet departures, of the sifting away of all that was not staunch against winter.'"

- Richard Adams (1920 - 2016)
Watership Down

Time and Memory

"This is the disconcerting conclusion that emerges from Boltzmann’s work: the difference between the past and the future refers only to our own blurred vision of the world. It’s a conclusion that leaves us flabbergasted: is it really possible that a perception so vivid, basic, existential—my perception of the passage of time—depends on the fact that I cannot apprehend the world in all of its minute detail? On a kind of distortion that’s produced by myopia? Is it true that, if I could see exactly and take into consideration the actual dance of millions of molecules, then the future would be “just like” the past?

...

Temporality is profoundly linked to blurring. The blurring is due to the fact that we are ignorant of the microscopic details of the world. The time of physics is, ultimately, the expression of our ignorance of the world. Time is ignorance.

...

I am my mother’s caresses, and the serene kindness with which my father calmly guided me; I am my adolescent travels; I am what my reading has deposited in layers in my mind; I am my loves, my moments of despair, my friendships, what I’ve written, what I’ve heard; the faces engraved on my memory. I am, above all, the one who a minute ago made a cup of tea for himself. The one who a moment ago typed the word “memory” into his computer. The one who just composed the sentence that I am now completing. If all this disappeared, would I still exist? I am this long, ongoing novel. My life consists of it."

- Carlo Rovelli (1956 - )
The Order of Time