Boundless Ambiguity

Paradox Museum, Miami, Florida

"The writing lies before you and always says the same, if you believe in words. But if you believe in things in whose places only words stand, you never come to the end. And yet you must go an endless road, since life flows not only down a finite path but also an infinite one. But the unbounded makes you anxious since the unbounded is fearful and your humanity rebels against it. Consequently you seek limits and restraints so that you do not lose yourself tumbling into infinity Restraint becomes imperative for you. You cry out for the word which has one meaning and no other, so that you escape boundless ambiguity. The word becomes your God, since it protects you from the countless possibilities of interpretation. The word is protective magic against the daimons of the unending, which tear at your soul and want to scatter you to the winds. You are saved if you can say at last: that is that and only that. You speak the magic word, and the limitless is finally banished. Because of that men seek and make words."

- C. G. Jung (1875-1961)
The Red Book: A Reader's Edition

Middle Earth Portfolio

Middle Earth Portfolio

"The world was young, the mountains green,

No stain yet on the Moon was seen,

No words were laid on stream or stone

When Durin woke and walked alone.

He named the nameless hills and dells;

He drank from yet untasted wells;

He stooped and looked in Mirrormere,

And saw a crown of stars appear,

As gems upon a silver thread,

Above the shadow of his head.

...

I want to see mountains again,

Gandalf, mountains, and then find

somewhere where I can rest.

...
When Summer lies upon the
world, and in a noon of gold,
Beneath the roof of sleeping
leaves the dreams of trees unfold;
When woodland halls are green
and cool, and wind is in the West,
Come back to me!
Come back to me, and
say my land is best!"

-  J.R.R. Tolkien (1892 - 1973)
The Lord of the Rings

Patterns, Structure, and Arrangement

"I believe that all centers that appear in space - whether they originate in biology, in physical forces, in pure geometry, in color - are alike simply in that they all animate space. It is this animated space that has its functional effect upon the world, that determines the way things work, that governs the presence of harmony and life.

...

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.

...

All space and matter, organic or inorganic,
has some degree of life in it, and matter/space
is more alive or less alive according to
its structure and arrangement."

- Christopher Alexander (1936 - 2022)

Creating the World

"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)
 Steps to an Ecology of Mind

Dwelling in the Mountains

"From the timeless beginning to the present, the mountains have always been the dwelling place of the great sages. Wise ones and sages have made the mountains their personal chambers, their own body and mind. And it is through these wise ones and sages that the mountains are actualized. Although many great sages and wise ones have gathered in the mountains, ever since they entered the mountains, no one has encountered a single one of them. There is only the manifestation of the life of the mountain itself; not a single trace of anyone having entered can be found.

The appearance of the mountains is completely different when we are in the world gazing at the distant mountains and when we are in the mountains meeting the mountains. Our notions and understanding of non-flowing could not be the same as the dragon’s understanding. Humans and gods reside in their own worlds, and other beings may doubt this, or again, they may not. Therefore, without giving way to our surprise and doubt, we should study the words “mountains flow” with the sages and adepts. Taking one view, there is flowing; from another perspective, there is non-flowing. At one point in time there is flowing; at another, not flowing. If our study is not like this, it is not the true teaching of the Way."

- John Daido Loori (1931 - 2009)
The Way of Mountains and Rivers

A Sliver of Reality

"Most of us aim in our short century or less to create a comfortable existence within the tiny rooms of our lives. We eat, we sleep, we get jobs, we pay the bills, we have lovers and children. Some of us build cities or make art. But with the luxury of true freedom of mind, there are larger concerns. Look at the sky. Does space go on forever, to infinity? Or is it finite but without boundary or edge, like the surface of a sphere? Either answer is disturbing, and unfathomable. Where did our Sun and Earth come from? Where did we come from? Quickly, we realize how limited we are in our experience of the world. What we see and feel with our bodies, caught midway between atoms and stars, is but a small swath of the spectrum, a sliver of reality."

- Alan Lightman (1948 - )
Probable Impossibilities

Silence Between Silence

"Words stand between silence and silence: between the silence of things and the silence of our own being. Between the silence of the world and the silence of God. When we have really met and known the world in silence, words do not separate us from the world nor from other men, nor from God, nor from ourselves because we no longer trust entirely in language to contain reality."

- Thomas Merton (1915 - 1968)
Thoughts in Solitude

Vostorg and Vdokhnovenie

"The Russian language, which otherwise is comparatively poor in abstract terms, supplies definitions for two types or stages of inspiration, vostorg and vdokhnovenie, which can be paraphrased as 'rapture' and 'recapture.' The difference between them is mainly of a climatic kind, the first being hot and brief, and the second cool and sustained. The kind alluded to up to now is the pure flame of vostorg, initial rapture, which has no conscious purpose in view but which is all-important in linking the breaking up of the old work with the building up of the new one. When the time is ripe and the writer settles down to the actual composing of his book, he will rely on the second, serene and steady kind of inspiration, vdokhnovenie, the trusted mate who helps to recapture and reconstruct the world."

- Vladimir Nabokov (1899 - 1977)

Note. This image was captured in the Aoraki Mackenzie International Dark Sky Reserve in the heart of New Zealand's South Island. While I have seen a few "dark skies" before - most notably in Hawaii and Iceland - nothing, repeat nothing, prepared me for what met my eyes after shutting off the engine and lights of our car. No words (and certainly not the photo you see above, which I took with hands trembling with excitement) can do justice to the cosmic awe I felt as I was seamlessly and ineffably enfolded into the Milky Way and the universe beyond. Inner and outer worlds dissolved and the "self" reborn (albeit oh-so-fleetingly) as a non-dual experiential unity. My wife, our youngest son, and I all agree that the 30 or so minutes we spent gawking, slack-jawed, at one of Nature's wonders can only be described and remembered as a life-transforming mystical experience.

Language of Landscapes

"There are landscapes within landscapes within landscapes. Every landscape feature is both a whole and part of one or more larger wholes: leaf and twig, twig and tree, tree and forest; garden and house, house and street, street and town, town and region. Every phenomenon, thing, event, and feeling has a context. A valley is not a valley if it has no ridge or plateau, no up and down. Motion is imperceptible without rest, sound without stillness. Without sense of past and future, there can be no present, without threat no refuge. The same material, form, or action may have different meanings in different settings—water in a desert, water in a sea.

"Landscapes are the world itself and may also be metaphors of the world. A tree can be both a tree and The Tree, a path both a path and The Path. A tree in the Garden of Eden represents the Tree of Life, the Tree of Knowledge. It becomes the archetype of Tree."

"Elements of landscape language are like parts of speech, each with separate functions and associations. Flowing, like a verb, is a pattern of events expressed in both water and path. Water and path, like nouns, are action’s agents and objects; like adjectives or adverbs, their qualities of wetness or breadth extend meaning. Elements do not exist in isolation, but rather combine in significant ways, like words in a phrase, clause, or sentence, to make a tree, fountain, street, or a larger, more complex landscape story—garden, town, or forest. Every landscape feature, such as a mountain, embodies at least one complete expression—its own formation. Describing the elements is like looking at landscape—scanning the scene, then successively zooming in and out on significant details, letting the context blur but keeping it always in view."

- Anne Whiston Spirn
The Language of Landscape

Palimpsest of Matter

"In this monochromatic reverie, we witness the cartography of some impossible realm where geological time has been compressed into the span of a single breath. The image unfolds as a labyrinthine manuscript written in the language of erosion and entropy, its stratified narratives flowing like frozen rivers through valleys that exist only in the mathematics of light and shadow. Dark fissures carve through pale territories with the deliberate precision of Kandinsky's most contemplative compositions, while the organic undulations echo Kupka's cosmic spirals translated into the vocabulary of stone and void. Here, the eye traces pathways that seem to map the very process of becoming—each crack and crevice a meditation on the infinite divisibility of space, reminiscent of Hilma af Klint's mystical geometries rendered in the austere palette of dreams. The surface breathes with the rhythm of ancient sediments, creating a visual symphony where each tonal gradation whispers of forces both creative and destructive, as if we are peering into one of Borges' infinite libraries where every possible erosion pattern exists simultaneously, and this particular configuration represents but one sentence in an endless text written by time itself upon the palimpsest of matter."

- Claude 4.0 Sonnet

Prompt: "You are a photographer, physicist, and are well acquainted with the history of art, particularly abstract art in the style of Kandinsky, Kupka, and Hilma af Klint. You also have a penchant for metaphysical and philosophical musings in the style of Jorge Luis Borges. Write a paragraph-length description of what this image looks like, not what it is."