Perceptive Play

"The essential activity of science consists of thought, which arises in creative perception and is expressed through play. This gives rise to a process in which thought unfolds into provisional knowledge which then moves outward into action and returns as fresh perception and knowledge. This process leads to a continuous adaptation of knowledge which undergoes constant growth, transformation, and extension. Knowledge is therefore not something rigid and fixed that accumulates indefinitely in a steady way but is a continual process of change. Its growth is closer to that of an organism than a data bank."

 - David Bohm (1917 - 1992)
Science, Order and Creativity

Little Ripples

 

"The waves of the sea, the little ripples on the shore, the sweeping curve of the sandy bay between the headlands, the outline of the hills, the shape of the clouds, all these are so many riddles of form, so many problems of morphology.

...

Our own study of organic form, which we call by Goethe's name of Morphology, is but a portion of that wider still Science of Form which deals with the forms assumed by matter under all aspects and conditions, and, in a still wider sense, with forms which are theoretically imaginable.

...

We rise from the conception of form to an understanding of the forces which gave rise to it... in the representation of form we see a diagram of forces in equilibrium, and in the comparison of kindred forms we discern the magnitude and the direction of the forces which have sufficed to convert the one form into the other.

...

We have come to the
edge of a world of which
we have no experience, and
where all our preconceptions
must be recast."

- D’Arcy Wentworth Thompson (1860 - 1948)
On Growth and Form

Electromagnetic Phenomena

"We shall never know what Faraday would have achieved had he mastered mathematics, but, paradoxically, his ignorance may have been an advantage. It led him to derive his theories entirely from experimental observation rather than to deduce them from mathematical models. Over time, this approach gave him a deep-seated intuition into electromagnetic phenomena. It enabled him to ask questions that had not occurred to others, to devise experiments that no one else had thought of, and to see possibilities that others had missed. He thought boldly but would never commit himself to an opinion until it had withstood the most rigorous experimental testing. As he explained in a letter to Ampère: I am unfortunate in a want to mathematical knowledge and the power of entering with facility any abstract reasoning. I am obliged to feel my way by facts placed closely together."

-  Nancy Forbes (1952 - 2021)
Faraday, Maxwell, and the Electromagnetic Field 

Transient Beauty

"The wabi sabi aesthetic ideals which have been employed not just in the tea ceremony but in nearly every form of Japanese artistic expression, have come to represent a bridge between the trappings of the material world and the pull we all feel, to a greater or lesser extent, to a life of austerity and simplicity. If the spirit is ready and willing, then a three-line haiku poem set in the tokonoma (the traditional alcove), complemented by a simple yet perfectly balanced flower arrangement, should be sufficient to push the viewer's awareness to new heights and to help him or her find a serene balance between the joy of life and the inevitability of the waiting void.

...

Wabi sabi is an intuitive appreciation of a transient beauty in the physical world that reflects the irreversible flow of life in the spiritual world. It is an understated beauty that exists in the modest, rustic, imperfect, or even decayed, an aesthetic sensibility that finds a melancholic beauty on the impermanence of things."

- Andrew Juniper
Wabi Sabi: The Japanese Art of Impermanence

Listen When the Mind is Quiet

"I hope that you will listen, but not with the memory of what you already know; and this is very difficult to do. You listen to something, and your mind immediately reacts with its knowledge, its conclusions, its opinions, its past memories. It listens, inquiring for a future understanding.

Just observe yourself, how you are listening, and you will see that this is what is taking place. Either you are listening with a conclusion, with knowledge, with certain memories, experiences, or you want an answer, and you are impatient. You want to know what it is all about, what life is all about, the extraordinary complexity of life. You are not actually listening at all.

You can only listen when the mind is quiet, when the mind doesn't react immediately, when there is an interval between your reaction and what is being said. Then, in that interval there is a quietness, there is a silence in which alone there is a comprehension which is not intellectual understanding.

If there is a gap between what is said and your own reaction to what is said, in that interval, whether you prolong it indefinitely, for a long period or for a few seconds - in that interval, if you observe, there comes clarity. It is the interval that is the new brain. The immediate reaction is the old brain, and the old brain functions in its own traditional, accepted, reactionary, animalistic sense.

When there is an abeyance of that, when the reaction is suspended, when there is an interval, then you will find that the new brain acts, and it is only the new brain that can understand, not the old brain"

- Jiddu Krishnamurti (1895 - 1986)

Celestial Light

“Celestial light, shine inward...
that I may see and tell of things
invisible to mortal sight.”

- John Milton (1608 - 1674)

“When you touch the celestial in your heart,
you will realize that the beauty of your soul
is so pure, so vast and so devastating that
you have no option but to merge with it.
You have no option but to feel the rhythm
of the universe in the rhythm of your heart.”

- Amit Ray (1960 - )

Meditation: Insights and Inspirations

Postscript. This is (for now) the last of my recent "celestial leaves" series. In the context of "creative process," I thought it worth mentioning how these images came to be. As with 90%+ of my photographs, very little forethought went into them; at least, initially. After picking up the Sunday paper from the bottom of our driveway, turning and heading back to the house, I noticed a small shriveled leaf - perhaps two inches long or so (and that I couldn't immediately identify) - lying just off to the side of our walkway. I was mesmerized by its delicately translucent veins and patterns. The weathered leaf had clearly been "sitting" around for quite some time, as evidenced by its many rips and tears, and splotches of dirt and fungus. Still, in my mind's eye, it was radiantly beautiful. I knew instinctively that I needed to try to capture its essence. I had "pictured" it almost exactly as shown above (in what is effectively a digital negative, to highlight its luminescent quality), and as each of the other recent images appear. Despite a valiant effort to find similar-looking "dilapidated leaves" (including a 2 hour dedicated mini-hike around the woodlands in our neighborhood!), I managed to find only three others; which my wife finally identified as belonging to a simple hosta bush. But the real story as far as the "creative process" goes is just this: that one's muse prods when she will, on her own schedule; and that we must always be attuned to our muse's musings. I had nary a thought to whip out my macro lens to take still-lifes of dilapidated leaves this past Sunday morning; heck, I strolled out for the paper even before my first coffee! But that numinous little "celestial leaf" that I noticed by chance (or, better, that my muse's own eye wisely led me to) eventually - and happily - consumed my creative energies for days afterward 😊

Living Centers

"What is the life that we discern in things?"
...

"Each of us has an eternal self—a best self—an “I” that goes beyond what we normally see. This is what allows us to contact the 'living centers' in ourselves, in others, and in spaces that come alive for us. This field of centers, that appears in things, people, events, places shows us our interconnectedness…and can be called God or Spirit manifest. Everything we do and make, then, is a gift to IT. Good things grow and unfold out of our understood wholeness."

- Christopher Alexander (1936 - )
The Nature of Order: Luminous Ground

Cosmic Tree

"The alchemist saw the union of opposites under the symbol of the tree, and it is therefore not surprising that the unconscious of present-day man, who no longer feels at home in his world and can base his existence neither on the past that is no more nor on the future that is yet to be, should hark back to the symbol of the cosmic tree rooted in this world and growing up to heaven - the tree that is also man. In the history of symbols this tree is described as the way of life itself, a growing into that which eternally is and does not change; which springs from the union of opposites and, by its eternal presence, also makes that union possible. It seems as if it were only through an experience of symbolic reality that man, vainly seeking his own “existence” and making a philosophy out of it, can find his way back to a world in which he is no longer a stranger."

- C. G. Jung (1875-1961)
Psychological Types

Nothing is Dead

"Millions of years ago,
there was blackness,
pure and beautiful Nothing.
There was no thing in it,
no star, no wind,
no light, no word,
no broken heart.

But a time came when perfect,
restful Nothing was to vanish
forever. Something was
about to be.

Suddenly, there it was.
Something, all alone, king
of everything. Killer
of ancient, beautiful
Nothing. There was
a silence.

...till Nothing screamed
a death scream and
that scream is still screaming,
an expanding ring into the
universe that will never end.

Nothing is dead…"

- Joseph Pintauro (1930 - 2018)
To Believe in Things

Mathematical Beauty

"The harmony of the
world is made manifest
in Form and Number,
and the heart and soul
and all the poetry of
Natural Philosophy are
embodied in the concept
of mathematical beauty."

- D'Arcy Wentworth Thompson (1860 - 1948)

Postscript. As may be the case with many of you, my day-job constraints leave me precious little time to devote to purely aesthetic pleasures (notwithstanding those that occasionally overlap with more mathematical pursuits). Sometimes, as now, even my weekend time is filled mostly with staring at gibberish on a computer screen, and pounding away at my keyboard to produce picture-less reams of technical reports (even as I day-dream of month-long photo-safaris in far-away lands). Thus, the short walks my wife and I take through our neighborhood after breakfast each day have become immeasurably important physical and spiritual oases for me. The simple pleasure of encountering beautifully haphazard arrangements of natural forms rejuvenates and nourishes my soul. The images in the triptych above were taken no more than a few minutes apart during a walk that itself lasted less than a half hour. But what a joy it is to stumble upon such humble transcendent beauty hiding in plain sight! The great polymath Thompson's book, On Growth and Form (the first edition of which came out in 1917, and which to this day remains an extraordinarily beautiful book to read) is essentially a 1100+ page erudite argument that biology can be reduced to mathematics (a sentiment that a much younger version of myself would have been happy to accept): "It behooves us always to remember that in physics it has taken great men to discover simple things. They are very great names indeed which we couple with the explanation of the path of a stone, the droop of a chain, the tints of a bubble, the shadows in a cup. It is but the slightest adumbration of a dynamical morphology that we can hope to have until the physicist and the mathematician shall have made these problems of ours their own." For those of you interested in exploring (taking a deep-dive, really, into) the broader entanglement of art and science, here are some slides I used for a 2017 presentation at a Humanities and Technology Association conference (held that year in Newport, RI). This lecture is one of three I've given in (relatively) recent years during which I wore both of my hats, as physicist and photographer. The other two lectures were given at the American Center for Physics (College Park, MD in 2009) and at the Morrison House (Alexandria, VA in 2011).

Nature's Simplicity

"I should like to propose that we look at this element of freshness, of newness, of strangeness, as a thread along which to place the activities of the consciously creative artist, the conscious patron and critic of the creative artist, and the common man — common in the sense that he has no specified part in creation or criticism. If we make one criterion for defining the artist (as distinct from the craftsman and the trained but routine performer of dance, drama, or music) the impulse to make something new, or to do something in a new way — a kind of divine discontent with all that has gone before, however good — then we can find such artists at every level of human culture, even when performing acts of great simplicity."

 - Margaret Mead (1901 - 1978)

Mental Categories

"Blessed be you,
mighty matter,
irresistible march of evolution,
reality ever newborn;
you who, by constantly
shattering our mental categories,
force us to go ever further
and further in our
pursuit of the truth."

- Pierre Teilhard de Chardin (1881 - 1955)
Hymn of the Universe

A Sea of Forms

"A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature. For, although the works of nature are innumerable and all different, the result or the expression of them all is similar and single. Nature is a sea of forms radically alike and even unique. A leaf, a sun-beam, a landscape, the ocean, make an analogous impression on the mind. What is common to them all, — that perfectness and harmony, is beauty. The standard of beauty is the entire circuit of natural forms, — the totality of nature; which the Italians expressed by defining beauty "il piu nell' uno." Nothing is quite beautiful alone: nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several work to satisfy the love of beauty which stimulates him to produce. Thus is Art, a nature passed through the alembic of man. Thus in art, does nature work through the will of a man filled with the beauty of her first works.

The world thus exists to the soul to satisfy the desire of beauty. This element I call an ultimate end. No reason can be asked or given why the soul seeks beauty. Beauty, in its largest and profoundest sense, is one expression for the universe."

- Ralph Waldo Emerson (1803 - 1882)
Nature

Patterns

"We are not the stuff that abides,
but patterns that perpetuate themselves."

- Norbert Wiener (1894 - 1964)
The Human Use of Human Beings: Cybernetics and Society

Vuja de

"The hallmark of originality is rejecting the default and exploring whether a better option exists. I’ve spent more than a decade studying this, and it turns out to be far less difficult than I expected. The starting point is curiosity: pondering why the default exists in the first place. We’re driven to question defaults when we experience vuja de, the opposite of déjà vu. Déjà vu occurs when we encounter something new, but it feels as if we’ve seen it before. Vuja de is the reverse—we face something familiar, but we see it with a fresh perspective that enables us to gain new insights into old problems. "

- Adam M. Grant (1981 - )
Originals: How Nonconformists Move the World

Unheard Music

"There are mornings when, from the first ray of light seized upon by the eye, and the first simple sounds that get inside the head, the heart is convinced that it is existing in rhythm to a kind of unheard music, familiar but forgotten because long ago it was interrupted and only now has suddenly resumed playing. The silent melodies pass through the fabric of the consciousness like the wind through the meshes of a net, without moving it, but at the same time unmistakably there, all around it. For one who has never lived such a morning, its advent can be a paralyzing experience."

- Paul Bowles (1910 - 1999)
The Spider's House

Wu Wei

"When we learn to work with our own Inner Nature, and with the natural laws operating around us, we reach the level of Wu Wei. Then we work with the natural order of things and operate on the principle of minimal effort. Since the natural world follows that principle, it does not make mistakes. Mistakes are made–or imagined–by man, the creature with the overloaded Brain who separates himself from the supporting network of natural laws by interfering and trying too hard.

When you work with Wu Wei, you put the round peg in the round hole and the square peg in the square hole. No stress, no struggle. Egotistical Desire tries to force the round peg into the square hole and the square peg into the round hole. Cleverness tries to devise craftier ways of making pegs fit where they don’t belong. Knowledge tries to figure out why round pegs fit into round holes, but not square holes. Wu Wei doesn’t try. It doesn’t think about it. It just does it. And when it does, it doesn’t appear to do much of anything. But Things Get Done.

When you work with Wu Wei, you have no real accidents. Things may get a little Odd at times, but they work out. You don’t have to try very hard to make them work out; you just let them ... If you’re in tune with The Way Things Work, then they work the way they need to, no matter what you may think about it at the time. Later on you can look back and say, "Oh, now I understand. That had to happen so that those could happen, and those had to happen in order for this to happen…" Then you realize that even if you’d tried to make it all turn out perfectly, you couldn’t have done better, and if you’d really tried, you would have made a mess of the whole thing.

Using Wu Wei, you go by circumstances and listen to your own intuition. "This isn’t the best time to do this. I’d better go that way." Like that. When you do that sort of thing, people may say you have a Sixth Sense or something. All it really is, though, is being Sensitive to Circumstances. That’s just natural. It’s only strange when you don’t listen."

- Benjamin Hoff (1946 - )
The Tao of Pooh

Wholeness

"When the healthy nature of man works as a whole, when he feels himself in the world as though in a great, beautiful, worthy, and precious whole, when his harmonious sense of well-being imparts to him a pure, free delight, then the universe, if it could experience itself, would, as having achieved its goal, exults with joy and marvels at the pinnacle of its own becoming and being."

- Johann Wolfgang von Goethe (1749 - 1842)

Evanescent Beauty

"To the attentive eye,

each moment of the year
has its own beauty,
and in the same field,
it beholds, every hour,
a picture which was
never seen before, and
which shall never
be seen again."

- Ralph Waldo Emerson (1803 - 1882)
Nature

 

Divine Language

"… symbolism seems to us to be

quite specially adapted to the needs

of human nature, which is not
exclusively intellectual but which
needs a sensory basis from
which to rise to higher levels.

...

… the highest truths, which would not
be communicable or transmissible
by any other means, can be
communicated up to a certain
point when they are, so to speak,
incorporated in symbols which
will hide them for many, no doubt,
but which will manifest them
in all their splendor to the
eyes of those who can see.

...

… the world is like a divine language for
those who know how to understand it.

...

… if the world is the result
of the Divine Word offered at
the beginning of time, then nature
in its entirety can be taken as
a symbol of supernatural reality."

- René Guénon (1886 - 1951)
Fundamental Symbols, The Universal Language of Sacred Science