Fungal States of Minds

"Fungal organisms can perceive the outer world in a way similar to what animals sense. Does that mean that they have full awareness of their environment and themselves? Is a fungus a conscious entity? In laboratory experiments we found that fungi produce patterns of electrical activity, similar to neurons. The new field of fungal consciousness is opening in front of us. Let us discuss directions of future studies. Do fungi have holistic states of mind? Do they combine/modify such states? How many fungal states of mind could be described? Do fungi create specific relational contexts? Or are they, on the contrary, not capable of having holistic states of mind, and are just following completely prefixed patterns? At which extent can we include fungi affects into such cognitive processing? Fungal chemotaxis could be part of such proto-emotional states. A deeper consciousness state allows us to understand and accept sacrificing our 'self' for higher purposes (martyrs, heroes).

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Given the peculiarity of fungi morphology and degree of connection, we may imagine how radically different computational schemes are embedded into a fungal consciousness. For example, rather than 3-dimensional visual perception, holographic perception might be possible, considering the quasi-flat distribution of mycelia and its mechanoceptive reconstruction of moving objects (animals) at the upper boundary layer. Non-causal consciousness might arise from this specific perception framework, eventually hindering the time perception. All of these remain open questions for further investigations."

- Andy Adamatzky, et al., "Fungal States of Minds"

Twigs and Rocks

"Once there lived a village of creatures along the bottom of a great crystal river. The current of the river swept silently over them all - young and old, rich and poor, good and evil, the current going its own way, knowing only its own crystal self. Each creature in its own manner clung tightly to the twigs and rocks at the river bottom, for clinging was their way of life, and resisting the current what each had learned from birth. But one creature said at last, 'I am tired of clinging. Though I cannot see it with my eyes, I trust that the current knows where it is going. I shall let go, and let it take me where it will. Clinging, I shall die of boredom.' The other creatures laughed and said, 'Fool! Let go, and that current you worship will throw you tumbled and smashed across the rocks, and you shall die quicker than boredom!' But the one heeded them not, and taking a breath did let go, and at once was tumbled and smashed by the current across the rocks. Yet in time, as the creature refused to cling again, the current lifted him free from the bottom, and he was bruised and hurt no more. And the creatures downstream, to whom he was a stranger, cried, 'See a miracle! A creature like ourselves, yet he flies! See the Messiah, come to save us all!' And the one carried in the current said, 'I am no more Messiah than you. The river delights to lift us free, if only we dare let go. Our true work is this voyage, this adventure.' But they cried the more, 'Saviour!' all the while clinging to the rocks, and when they looked again he was gone, and they were left alone making legends of a Saviour."

- Richard Bach (1936 - )
Illusions

The Mind of Some Eternal Spirit

"When scientists study the world of phenomena, the shadows which nature throws onto the wall of our cave, they do not find these shadows totally unintelligible, and neither do they seem to represent unknown or unfamiliar objects. Rather, it seems to me, we can recognize chess players outside in the sunshine who appear to be very well acquainted with the rules of the game as we have formulated them in our cave. To drop our metaphor, nature seems very conversant with the rules of pure mathematics as our mathematicians have formulated them in their studies, out of their own inner consciousness and without drawing to any appreciable extent on their experience of the outer world.

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And now it emerges that the shadow-play which we describe as the fall of an apple to the ground, the ebb and flow of the tides, the motion of electrons in the atom, are produced by actors who seem very conversant with these purely mathematical concepts-with our rules of our game of chess, which we formulated long before we discovered that the shadows on the wall were also playing chess.

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When we try to discover the nature of the reality behind the shadows, we are confronted with the fact that all discussion of the ultimate nature of things must necessarily be barren unless we have some extraneous standards against which to compare them. For this reason, to borrow Locke's phrase, "the real essence of substances" is forever unknowable. We can only progress by discussing the laws which govern the changes of substances, and so produce the phenomena of the external world. These we can compare with the abstract creations of our own minds.

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It does not matter whether objects 'exist in my mind, or that of any other created spirit' or not; their objectivity arises from their subsisting 'in the mind of some Eternal Spirit.'"

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

Memory is strange

"Memory is strange. Scientifically, it is not a mechanical means of repeating something. I can think a thousand times about when I broke my leg at the age of ten, but it is never the same thing which comes to mind when I think about it. My memory of this event has never been, in reality, anything except the memory of my last memory of that event. This is why I use the image of a palimpsest - something written over something partially erased - that is what memory is for me. It's not a film you play back in exactly the same way. It's like theater, with characters who appear from time to time."

 - Gore Vidal (1925 - 2012)

What's a Photographer to Do Without a 'Real' Camera?

"The best camera is the one that's with you."
- Chase Jarvis (1971 - )

As I wrote about in my last blog post, my wife and I recently visited our youngest son in college. Since the trip was only for a few days (cross-country, no less: we live in northern Virginia, but our son's college is in California), and our ostensible purpose was to attend "Parent's Day," I reasoned - foolishly, as it turns out - that there would be zero time for "real photography" (meaning: photography with what I call my "real" camera). Note that I intend no disrespect either to my iPhone (which I always have with me) or to anyone who's "real camera" is an iPhone. The iPhone is a great photographic tool and is more than capable of capturing wonderful images! I use this phraseology only to convey a truth of my own reality: if I am without the camera(s) that I am usually armed with when I go on my photo safaris I somehow feel less than whole - disarmed, as it were - photographically speaking (which in hindsight of course is, again, rather foolish). Which is not to say that my "eye" is not constantly searching for something to photograph (even as the brain behind the eye laments not having my "real camera"). 

The (abstract) triptych above is an assembly of a few miscellaneous "shots" I took with my iPhone while waiting to board one of our planes. A few other "quick grabs" I managed to take during the trip included: (1) a shot of the ceiling at an American Airlines' Admirals Club (the "upside down" view of which I much prefer over the "straight" version) ...

(2) a shot of a chandelier at LAX ...

(3) a series of "fire abstracts" (captured while waiting for our dinner to arrive at a restaurant close to our son's college) ...

... and (4) - my personal favorite - a Wynn-Bullock-like "abstract energy-field" (that is really just a part of the tree ring structure I found in an old stump while hiking with my son in a local park):

So, what is a photographer to do without a "real" camera? Exactly what the photographer would have done with a real camera: look for pictures and capture them as best as possible given whatever camera happens to be with you 😊

One Model of Reality

"The world in which you were
born is just one model of reality.
Other cultures are not failed
attempts at being you; they
are unique manifestations
of the human spirit."

- Wade Davis (1953 - )

Random Mutations

"At this moment, in this place, the shifting action potential in my neurons cascade into certain arrangements, patterns, thoughts; they flow down my spine, branch into my arms, my fingers, until muscles twitch and thought is translated into motion; mechanical levers are pressed; electrons are rearranged; marks are made on paper.

At another time, in another place, light strikes the marks, reflects into a pair of high-precision optical instruments sculpted by nature after billions of years of random mutations; upside-down images are formed against two screens made up of millions of light-sensitive cells, which translate light into electrical pulses that go up the optic nerves, cross the chiasm, down the optic tracts, and into the visual cortex, where the pulses are reassembled into letters, punctuation marks, words, sentences, vehicles, tenors, thoughts.

The entire system seems fragile, preposterous, science fictional."

- Ken Liu (1976 - )

The Paper Menagerie and Other Stories

Organized Patterns

"Perhaps our creative forays, from the stags at Lascaux to the equations of general relativity, emerge from the brain’s naturally selected but overly active ability to detect and coherently organize patterns. Perhaps these and related pursuits are exquisite but adaptively superfluous by-products of a sufficiently large brain released from full-time focus on securing shelter and sustenance… What lies beyond question is that we imagine and we create and we experience works, from the Pyramids to the Ninth Symphony to quantum mechanics, that are monuments to human ingenuity whose durability, if not whose content, point toward permanence.

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Whereas most life, miraculous in its own right, is tethered to the immediate, we can step outside of time. We can think about the past, we can imagine the future. We can take in the universe, we can process it, we can explore it with mind and body, with reason and emotion. From our lonely corner of the cosmos we have used creativity and imagination to shape words and images and structures and sounds to express our longings and frustrations, our confusions and revelations, our failures and triumphs. We have used ingenuity and perseverance to touch the very limits of outer and inner space, determining fundamental laws that govern how stars shine and light travels, how time elapses and space expands — laws that allow us to peer back to the briefest moment after the universe began and then shift our gaze and contemplate its end."

- Brian Greene (1963 - )

Until the End of Time

Associative Play

"The words or the language, as they are written or spoken, do not seem to play any role in my mechanism of thought. The psychical entities which seem to serve as elements in thought are certain signs and more or less clear images which can be 'voluntarily' reproduced and combined.

There is, of course, a certain connection between those elements and relevant logical concepts. It is also clear that the desire to arrive finally at logically connected concepts is the emotional basis of this rather vague play with the above-mentioned elements. But taken from a psychological viewpoint, this combinatory play seems to be the essential feature in productive thought — before there is any connection with logical construction in words or other kinds of signs which can be communicated to others.

The above-mentioned elements are, in my case, of visual and some of muscular type. Conventional words or other signs have to be sought for laboriously only in a secondary stage, when the mentioned associative play is sufficiently established and can be reproduced at will."

- Albert Einstein (1879 - 1955)

Ideas and Opinions

Ideas and Perceptions

"We create the world that we perceive, not because there is no reality outside our heads, but because we select and edit the reality we see to conform to our beliefs about what sort of world we live in. The man who believes that the resources of the world are infinite, for example, or that if something is good for you then the more of it the better, will not be able to see his errors, because he will not look for evidence of them. For a man to change the basic beliefs that determine his perception - his epistemological premises - he must first become aware that reality is not necessarily as he believes it to be. Sometimes the dissonance between reality and false beliefs reaches a point when it becomes impossible to avoid the awareness that the world no longer makes sense. Only then is it possible for the mind to consider radically different ideas and perceptions."

- Gregory Bateson (1904 - 1980)

Creative Energy

"The thoughts, words, and emotions that human beings emit from moment to moment are constantly streaming forth from their bodies, forming creative fields that are visible in various colors, forms, and shapes. Some of these creative fields are hazy and cloudy in appearance, and they hover around the person in indeterminate patterns. Others are extremely tenacious, and they twine tightly around the person like a resilient string.

Each thought or emotion holds its own unique form of creative energy, and thoughts having a similar frequency band together to form a homogeneous creative field around the person who emitted them.

Where does our creative energy come from in the first place? Pure energy is always emitting from the source of the universe, brimming with infinite potential. This energy supports all forms of life, big or small. Each human being receives a steady supply of this same universal energy, and each of us assigns a shape to that energy by means of our words, thoughts, and emotions. This is the process of creation. The energy of any thought, whatever it might be, holds the potential for generating a creative field."

- Ervin Laszlo (1932 - )