An Element of Absolute Chance

"We must...suppose an element of absolute chance, sporting, spontaneity, originality, freedom in nature. We must further suppose that this element in the ages of the past was indefinitely more prominent than now, and that the present almost exact conformity to law is something that has been gradually brought about... If the universe is thus progressing from a state of all but pure chance to a state of all but complete determination by law, we must suppose that there is an original elemental tendency of things to acquire determinate properties, to take habits. This is the third or mediating element between chance, which brings forth First and original events, and law which produces sequences or Seconds... This tendency must itself have been gradually evolved; and it would evidently tend to strengthen itself... Here then is a rational physical hypothesis, which is calculated to account, or all but account for everything in the universe except pure originality itself."

- Charles Saunders Peirce (1839 - 1914)
The Monist (1890-1893), quoted in Truth, Rationality, and
Pragmatism: Themes from Peirce by Christopher Hookway

Forms and Shapes

 "Although our modern way of thinking has, of course,
changed a great deal relative to the ancient one,
the two have had one key feature in common:
i.e. they are both generally ‘blinkered’ by
the notion that theories give true knowledge
about ‘reality as it is’. Thus, both are led to
confuse the forms and shapes induced in
our perceptions by theoretical insight with
a reality independent of our thought
and our way of looking."

- David Bohm (1917 - 1992)
Wholeness and the Implicate Order

Energy of Thought and Matter

"There is a relationship between what we think is out there in the world and what we experience as being out there. There is a way in which the energy of thought and the energy of matter modify each other and interrelate. A kind of rough mirroring takes place between our mind and our reality. We cannot stand outside this mirroring process and examine it, though, for we are the process, to an unknowable extent. Any technique we might use to 'look objectively' at our reality becomes a part of the event in question. We are an indeterminately large part of the function that shapes the reality from which we do our looking. Our looking enters as one of the determinants in the reality event that we see. This mirroring between mind and reality can be analyzed, and more actively directed, if we can suspend some of our ordinary assumptions. For instance, the procedure of mirroring must be considered the only fixed element, while the products of the procedure must be considered relative. William Blake claimed that perception was the universal, the perceived object was the particular. What is discovered by man is never the 'universal' or cosmic 'truth.' Rather, the process by which the mind brings about a 'discovery' is itself the 'universal.'"

- Joseph Chilton Pearce (1926 - 2016)
The Crack in the Cosmic Egg

Chrono-Synclastic Infundibula

"Just imagine that your Daddy is the smartest man who ever lived on Earth, and he knows everything there is to find out, and he is exactly right about everything, and he can prove he is right about everything. Now imagine another little child on some nice world a million light years away, and that little child’s Daddy is the smartest man who ever lived on that nice world so far away. And he is just as smart and just as right as your Daddy is. Both Daddies are smart, and both Daddies are right. Only if they ever met each other they would get into a terrible argument, because they wouldn’t agree on anything. Now, you can say that your Daddy is right and the other little child’s Daddy is wrong, but the Universe is an awfully big place. There is room enough for an awful lot of people to be right about things and still not agree. The reason both Daddies can be right and still get into terrible fights is because there are so many different ways of being right. There are places in the Universe, though, where each Daddy could finally catch on to what the other Daddy was talking about. These places are where all the different kinds of truths fit together as nicely as the parts in your Daddy’s solar watch. We call these places chrono-synclastic infundibula. The Solar System seems to be full of chrono-synclastic infundibula. There is one great big one we are sure of that likes to stay between Earth and Mars. We know about that one because an Earth man and his Earth dog ran right into it. You might think it would be nice to go to a chrono-synclastic infundibulum and see all the different ways to be absolutely right, but it is a very dangerous thing to do. The poor man and his poor dog are scattered far and wide, not just through space, but through time, too.  Chrono (kroh-no) means time.  Synclastic (sin-class-tick) means curved toward the same side in all directions, like the skin of an orange. Infundibulum (in-fun-dib-u-lum) is what the ancient Romans like Julius Caesar and Nero called a funnel. If you don’t know what a funnel is, get Mommy to show you one."

- Kurt Vonnegut (1922 - 2007)
The Sirens of Titan

Postscript. Do you see a "dog" in the image above? The photo is a rather straightforward shot of a stain on a piece of driftwood captured at the appropriately named "Driftwood Park," just down the road from the Coupeville Ferry Terminal on Whidbey Island, WA. My brain's strange lifelong affliction of conjuring associated memories of stories and books whenever an abstract image presents itself to my camera's viewfinder (the phantasmagoric mystical visions of Borges are a particular favorite of mine, as kind followers of my blog well know!) was in full force when this "dog-like stain" (or, more precisely, this "dog-like stain caught in an energy field") caught my attention. Why, that's "Kazak-the-dog running into the Chrono-Synclastic Infundibula!" I thought to myself, as I clicked the shutter with a smile (well, I almost remembered it correctly; I had to look up the reference later - but my brain got the gist). I'm not sure that this association - now that I've confessed it - makes the image any better (it's a very simple abstract), but I'll bet you can't now see anything else except "Kazak-the-dog running into the Chrono-Synclastic Infundibula!" :)

Oysters, Beyuls, and Palimpsests

"We are surrounded and embraced by her;

powerless to separate ourselves from her,
and powerless to penetrate beyond her.

We live in her midst and know her not.

She is incessantly speaking to us,

but betrays not her secret.

- Johann Wolfgang von Goethe (1749 - 1832)

As I - finally! - jump back into the practice of posting an image or two with accompanying quotes (I've been busy with "day job" activities and travel for what seems like forever! - for those kind readers who are still with me, a humble bow and "Thank you!" for your patience), there is no better place to start than by explaining what the title of this blog entry ("Oysters, Beyuls, and Palimpsests") is referring to.

I have written before of viewing old subjects with new eyes (that summarizes how a Kauai I thought I knew well after multiple visits that began in the early 1980s, gradually revealed new truths about herself, but only after I changed my own way of "looking"), but never before have I experienced this as deeply as I did on the most recent trip my family and I took to the Pacific Northwest; specifically, the eastern part of the Olympic Peninsula that opens into the Hood Canal. As on myriad past trips, my reading material played an unexpected but vital part in steering my eye/I toward specific elements of the physical environment. In Scotland, I was "accompanied" by a biographies of William James (in 2009) and of Jon Schueler (2016), and both shaped the photography I did on those trips; likewise, in Kauai (in 2014), my compositions arose in part from a book about the island's history that I was immersed in on that trip; and the same in Alaska (in 2018), when a book on Alaska's history gently fueled my imagery. On our first trip to the Northwest (in 2019), I was reading histories and biographies of 19th century Western/U.S. photographers (William Henry Jackson and Carleton Watkins), and my photographs from that trip tended toward the Ansel-Adams-ish "epic" macro landscapes. But, on this most recent trip, my lens was almost always trained on far quieter and subtler kinds of micro-landscapes.

To be sure, part of the reason was the weather. While July's "heat dome" (that descended over much of the Pacific northwest) had dissipated by the time we arrived, it had not gone entirely, and the area was blanketed in unseasonably high temperatures and perfectly clear skies (i.e., far from ideal conditions for landscape photography). Luckily, the book I chose to accompany me on this trip provided both solace (from the physical conditions) and nourishment (of a spiritual kind), that together compelled me to view an old subject with astonishingly new eyes. 

The book is called The Heart of the World, one of seven that Ian Baker has written on Himalayan and Tibetan cultural history, environment, art, and medicine. This particular book - written in 2004, and one of the very best adventure/spiritual-quests I have ever read (!) - is ostensibly about finding a fabled colossal waterfall deep within an unexplored part of Tibet’s Tsangpo gorges in the Himalayas (Baker has subsequently been honored by the National Geographic Society as one of six ‘Explorers for the Millennium’ for the ethnographic and geographical research he was a part during his quest to find this waterfall), but is really an extraordinary (and extraordinarily spiritual) account of how one's state-of-mind/reality determines access to Beyul, or "hidden lands where the essence of the Buddhist Tantras is said to be preserved." 

Writing of Beyul, the Dalai Lama asserts in the book's introduction, that "...such sacred environments ... are not places to escape the world, but to enter in more deeply. The qualities inherent in such places reveal the interconnectedness of all life and deepen awareness of hidden regions of the mind and spirit. Visiting such places with a good motivation and appropriate merit, the pilgrim can learn to see the world differently from the way it commonly appears..."

While in the Pacific northwest, I read small bits of The Heart of the World each day, cherishing and relishing it's quiet insights and deep wisdom before drifting off to sleep, and anticipating the next day's activities. The result was that my attention was drawn far less to "Wagnerian epic"-like vistas, and more (so much more!) to the timeless essence of place - such as the Oyster-shells seen in the triptych above. Why Oysters? For one thing, our Airnb rental was close to the Hamma Hamma oyster saloon near Lillywaup, WA; so - given the "non photographer's weather" - my wife and I wound up having a lot of time to kill during the day enjoying local quisine. For another - in dreams at least - oysters are associated with quiet meditation and “going within." And, since like palimpsests, oysters record both time and events, their ubiquity in Lillywaup (heck throughout the Hood canal) entwined with my nightly excursions into Tibetan Beyuls. Oysters became my own palimpsests of spiritual and aesthetic journeys, both real and imagined. I was utterly mesmerized by their siren call; the elegance of their form, and the numinous quality of their decaying shells. And on those rare occasions when I was lucky enough to have particularly "good motivation and appropriate merit" - such as when I chanced upon a small deserted beach strewn with oyster shells - the results were pure magic! I caught brief glimpses of the preternatural luminescence that permeates an ineffable Beyul-of-the-mind. 

For those of you interested in viewing a few more examples of what I'm tentatively calling "Numinous Palimpsests," I have posted a small portfolio on my main website.

A Mere Hint of Outer Meaning

"This essential connection between color and form brings us to the question of the influences of form on color. Form alone, even though totally abstract and geometrical, has a power of inner suggestion. A triangle (without the accessory consideration of its being acute — or obtuse — angled or equilateral) has a spiritual value of its own. In connection with other forms, this value may be somewhat modified, but remains in quality the same. The case is similar with a circle, a square, or any conceivable geometrical figure [which has] a subjective substance in an objective shell…

The mutual influence of form and color now becomes clear. A yellow triangle, a blue circle, a green square, or a green triangle, a yellow circle, a blue square—all these are different and have different spiritual values.

...

Form often is most expressive when least coherent. It is often most expressive when outwardly most imperfect, perhaps only a stroke, a mere hint of outer meaning.

...

Every object has its own life and therefore its own appeal; man is continually subject to these appeals. But the results are often dubbed either sub- or super-conscious. Nature, that is to say the ever-changing surroundings of man, sets in vibration the strings of the piano (the soul) by manipulation of the keys (the various objects with their several appeals)."

- Wassily Kandinsky (1866 - 1944)

Postscript. My apologies to subscribers who expect - rightfully - to receive an image, quote, and/or other musings on a regular basis! Due to the inevitable vagaries of "day job" responsibilities, it has been difficult to find time to re-acquaint myself with my camera ... so, please be patient, as I'll likely be "offline" for the next few weeks as well 😞 In the meantime, the lone image(s) I've managed to expose in well over a month, and arranged in triptych form above, provide a bit of solace. They are each (almost) undisturbed patterns I found under my feet as I was reading a research paper in my mother-in-law's garden in Florida. Followers of my blog may recall that I had - up until the age of 10 (i.e., 50 years ago!) - the most common form of synesthesia (a "crossing of the senses"), wherein I "saw" even numbers as "warm tones," and odd numbers as "cold" tones. But I also have a vestigial remnant of perceiving certain patterns as sound. It has never been as pronounced as my memory of the "visual/number - color" crossing, but it has been with me throughout my life. However, never have I had as intense a synesthetic experience as I did in mother-in-law's garden when eyes/brain glanced at the arrangement you see up above. I literally hear jazz-like music as I look at them. The Kandinsky quote appears of necessity in this context, since he was an acknowledged synesthete (and whose abstracts the natural “random” assemblies shown above remind me so much of!). For those of you who want a quick and fun read about what is currently known about synesthesia, a good place to start is a non-technical discussion by one of synesthesia's pioneer researchers, Richard Cytowic.

Universe as a Whole

"It would be indeed unusual if it turned out that the set of orders that our mind is able to construct and accept, having as it does a deep sense of 'understanding the essence of things,' matches precisely the set of all possible orders to be detected in the Universe as a whole. We should admit that this is not impossible, yet it does seem highly improbable. This way of thinking, so modest in its assessment of our abilities, is probably the only way recommended, given our lack of knowledge, because we are not aware of our limitations.

...

As long as Nature’s actions in the animate and inanimate world fill us with wonder and offer an unmatched example for us, a realm of solutions that exceeds in its perfection and complexity everything we can achieve ourselves, the number of unknowns will be bigger than our knowledge. It is only when we are eventually able to compete with Nature on the level of creation, when we have learned to copy it so that we can discover all of its limitations as a Designer, that we shall enter the realm of freedom, of being able to work out a creative strategy subordinated to our goals."

- Stanislaw Lem (1921 - 2006)
Summa technologiae

Withered But Still Strong

 "All that is gold does not glitter,
Not all those who wander are lost;
The old that is strong does not wither,
Deep roots are not reached by the frost.

From the ashes a fire shall be woken,

A light from the shadows shall spring;

Renewed shall be blade that was broken,
The crownless again shall be king."

- J.R.R. Tolkien (1892 - 1973)
The Fellowship of the Ring

And He Built a Crooked House

"I don't think of a house as an upholstered cave; I think of it as a machine for living, a vital process, a live dynamic thing, changing with the mood of the dweller—not a dead, static, oversized coffin. Why should we be held down by the frozen concepts of our ancestors? Any fool with a little smattering of descriptive geometry can design a house in the ordinary way. Is the static geometry of Euclid the only mathematics? Are we to completely disregard the Picard-Vessiot theory? How about modular system?—to say nothing of the rich suggestions of stereochemistry. Isn't there a place in architecture for transformation, for homomorphology, for actional structures?"

...

"'Blessed if I know," answered Bailey. 'You might must as well be talking about the fourth dimension for all it means to me.'"

...

"...the house was no longer there. There was not even the ground floor room. It had vanished. The Baileys, interested in spite of themselves, poked around the foundations with Teal. 'Got any answers for this one, Teal?' asked Bailey. 'It must be that on that last shock it simply fell through into another section of space. I can see now that I should have anchored it at the foundations.' 'That's not all you should have done.' 'Well, I don't see that there is anything to get down-hearted about. The house was insured, and we've learned an amazing lot. There are possibilities, man, possibilities! Why, right now I've got a great new revolutionary idea for a house—'Teal ducked in time. He was always a man of action.'"

- Robert A. Heinlein (1907 - 1988)
And He Built a Crooked House

A Borgesian Window

"As afternoon progresses and I look up from my work to gaze out this window, I may be invaded by springtime, or if it’s summer, by the perfume of jasmine or the scent of orange blossom, mingled with the aroma of leather and book paper, which brought Borges such pleasure.

The window has one more surprise. From it, I can see the garden of the house where Borges once lived, and where he wrote one of his best-known short stories, “The Circular Ruins.’’ Here, I can move back and forth between two worlds. Sometimes, following Borges, I wonder which one is real: the world I see from the window, bathed in afternoon splendor or sunset’s soft glow, with the house that once belonged to Borges in the distance, or the world of the Library of Babel, with its shelves full of books once touched by his hands?"

- Maria Kodama (1937 - )
Mr. Borges’s Garden

A Mere Door

"How concrete everything
becomes in the world of
the spirit when an object,
a mere door, can give
images of hesitation, temptation,
desire, security, welcome
and respect. If one
were to give an account
of all the doors one has
closed and opened,
of all the doors one
would like to re-open,
one would have to tell the
story of one's entire life."

- Gaston Bachelard (1884 - 1962)
The Poetics of Space

Entropic Melodies

"The law that entropy always increases holds, I think, the supreme position among the laws of Nature. If someone points out to you that your pet theory of the universe is in disagreement with Maxwell's equations - then so much the worse for Maxwell's equations. If it is found to be contradicted by observation - well, these experimentalists do bungle things sometimes. But if your theory is found to be against the Second Law of Thermodynamics I can give you no hope; there is nothing for it to collapse in deepest humiliation."

- Arthur Stanley Eddington (1882 - 1944)

Postscript. One of the first major publications that some of my work was featured in was Black & White magazine, way back in issue #41 (Feb 2006). The images were from what I called my "entropic melody" series. But the "melody" part applies equally to the images (as in "living melodies of otherwise visibly decaying parts") as it does to the - still ongoing - process of creating them (on a vastly different space and time scale). Though I like to think of my "synesthetic landscape" series as my longest "in progress" portfolio, the truth is that - having started "only" in 2009 - it takes a back seat to something I believe I'll never tire of: finding "life" in lifelessness. And so, on a recent "long weekend" vacation with my wife and youngest son (also a photographer), and armed with this spur-of-the-moment self-reflection, I found my eye and lens trained not (entirely) on the natural beauty in the West Jefferson area of North Carolina (of which there is plenty to be had, to be sure!), but rather on the regions' splendors of human-created and now neglected decaying beauty. Looking over the 30 or so "keeper shots" I returned home with, no less than 25 of them are of nothing but "withered but beautifully decrepit" sentinels - and occasional palimpsests - of  times past. And, for the photographer, a glimpse of a longer-term "melody" playing out in an always evolving aesthetic landscape. I will be featuring a few of my favorites from this short-much-too-short trip in the coming days.

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)

Postscript #1. The triptych consists of images I captured one day last summer after my wife parked her car in a garage near a local farmer's market. I was mesmerized by the "organized cacophony" of shimmering reflections off other car's hoods and hubcaps that arranged - and revealed - themselves to anyone interested in looking. Though I lamented not having my "real" camera, I was happy to have my iPhone to capture this lovely visual feast! Yet another gentle reminder that we must always be on alert to the universe's ceaseless wonders. And, though I rarely talk about the "nuts-and-bolts of photography on my blog (and much prefer posting images and musings than highlighting what f-stop I used), here's a small - hopefully useful - foray into the "nuts-and-bolts" department: to better prepare for unpredictable contingencies (i.e., for when I'm out and about without my usual shoulder and/or back-breaking warehouse-in-a-bag assortment of cameras, lenses, and filters), I recently purchased a tiny - almost babyish-looking - camera; albeit one that is fully functioning! Since it is designed to fit in even a child's pocket (!), I've resolved to always have it on my person when leaving the house for any reason. For those of you curious, it's Canon's G1X Mark III, which is best described as an ultra-miniaturized mirrorless version of their (older) 80D DSLR. While its fixed-lens is neither particularly bright nor sharp, the sensor is effectively the same one used on the 80D; yep, an APS-C sensor in a body that fits inside a shirt pocket! You can check out a review here. So far, I'm loving it, though have yet to post any pictures captured by it. But I suspect that'll soon change :)

Postscript #2. For those of you saddened by not having Oliver Sacks' sage wisdom around anymore (though his books forever enshrine his genius), there is a wonderful new biography available, called Oliver Sacks: His Own Life. Highly recommended!

The Awe of a Flower

"I have a friend who’s an artist and has sometimes taken a view which I don’t agree with very well. He’ll hold up a flower and say “look how beautiful it is,” and I’ll agree. Then he says “I as an artist can see how beautiful this is but you as a scientist take this all apart and it becomes a dull thing,” and I think that he’s kind of nutty. First of all, the beauty that he sees is available to other people and to me too, I believe. Although I may not be quite as refined aesthetically as he is … I can appreciate the beauty of a flower. At the same time, I see much more about the flower than he sees. I could imagine the cells in there, the complicated actions inside, which also have a beauty. I mean it’s not just beauty at this dimension, at one centimeter; there’s also beauty at smaller dimensions, the inner structure, also the processes. The fact that the colors in the flower evolved in order to attract insects to pollinate it is interesting; it means that insects can see the color. It adds a question: does this aesthetic sense also exist in the lower forms? Why is it aesthetic? All kinds of interesting questions which the science knowledge only adds to the excitement, the mystery and the awe of a flower. It only adds. I don’t understand how it subtracts."

- Richard Feynman (1918 - 1988)
The Beauty of the Flower

Cognition

"Cognition and emotion cannot be separated. Cognitive thoughts lead to emotions: emotions drive cognitive thoughts. The brain is structured to act upon the world, and every action carries with it expectations, and these expectations drive emotions. That is why much of language is based on physical metaphors, why the body and its interaction with the environment are essential components of human thought. Emotion is highly underrated. In fact, the emotional system is a powerful information processing system that works in tandem with cognition. Cognition attempts to make sense of the world: emotion assigns value. It is the emotional system that determines whether a situation is safe or threatening, whether something that is happening is good or bad, desirable or not. Cognition provides understanding: emotion provides value judgments. A human without a working emotional system has difficulty making choices. A human without a cognitive system is dysfunctional."

- Donald A. Norman (1985 - )
The Design of Everyday Things

Postscript. The triptych consists of "iPhone snapshots" of staircases (OK, not quite head-on views of staircases) inside the office building I used to go before the pandemic hit. They were taken in 2017.

Focal Points

"...there seems to be at least two distinct forms of identity that consciousness can take on, both of which we recognize as the 'I.' The first, and the one usually experienced during ordinary states of consciousness, is the 'I' of the ego; the 'I' of the cognitive models constructed by the brain. The second is an 'I' that seems to be independent of the ego and of life in linear time; a transcendent 'I' that seems to exist entirely beyond time, space, and life itself, and whose identity is more profoundly recognized as the true 'I' than the relatively provincial and flattened notions of the ego. The implication of this is that a hypothetical, universal field of consciousness must somehow 'clot' into multiple, separate 'focal points' in a realm of reality beyond that of the physical brain. Each of these focal points must then correspond to a transcendent 'I' that is coupled, in awareness, to the electrochemical signals of an individual brain and its ego constructs."

- Bernardo Kastrup
Dreamed Up Reality

Postscript. As I alluded to a few blog posts ago, owing to this will-it-ever-end-pandemic, my photo-safari opportunities are - as for most of you - few-and-far-between. Thus, quality "photography time" nowadays amounts to either immersing myself in an unfathomably deep gorge of unprocessed raw files or looking to make this gorge even more unfathomably deep by saving an endless stream of impromptu "experiments" with light and form in my home studio (i.e.,  my day-job work desk after I clear it of my day-job notes and scribbles). The diptych above (as well as the one from yesterday) combines these two practices; i.e., they are "experiments in abstraction" captured a few years ago with my iPhone. Yesterday's images are of two ceilings, one in a local grocery store, the other at a local department of motor vehicles (where I sat, bored, one day in 2017, while waiting for one of my sons to test for his driver's permit). Today's images come courtesy of a local mall. There is appreciable comfort (from my otherwise omnipresent angst over few-and-far-between photo opportunities) in knowing that there are always wonders to be discovered, even if such "discoveries" are of discoveries made long ago!

Geometry and Space

"It is well known that geometry presupposes not only the concept of space but also the first fundamental notions for constructions in space as given in advance. It only gives nominal definitions for them, while the essential means of determining them appear in the form of axioms. The relationship of these presumptions is left in the dark; one sees neither whether and in how far their connection is necessary, nor a priori whether it is possible. From Euclid to Legendre, to name the most renowned of modern writers on geometry, this darkness has been lifted neither by the mathematicians nor the philosophers who have laboured upon it."

- Bernhard Riemann (1826 - 1866)

Other Worlds

"Is there anything on earth which would have meaning
and would even change the course of events not only on
earth, but in other worlds?” I asked my teacher.
“There is,” my teacher answered me.
“Well, what is it?” I asked.
“It’s...” began my teacher and suddenly fell silent.

I stood and waited intently for his answer.
But he was silent.
And I stood and was silent.
And he was silent.
And I stood, silent.
And he was silent.
We’re both standing and silent.
Ho-la-la!
We’re both standing and silent.
Ho-le-le!

Yes, yes, we’re both
standing and silent!"

-  Daniil Kharms (1905 - 1942)

Postscript. Daniil Kharms is one of my all-time favorite authors of the "absurd." The best, purest form of absurdist literature - such as its uniquely Russian incarnation (called the Oberiu) in the 1920s and 1930s, which included such luminaries as Alexander Vvedensky, Nikolai Zabolotsky, and  Konstantin Vaginov - shares much with its spiritual cousin, the Zen koan. Its twists of logic, humor, and hallucinatory distortions of babble and reality often - unexpectedly - point to the deepest truths. For those of you who share my affection for these kinds of inner journeys of discovery, a great place to start is with this collection of Kharms' writings: Today I Wrote Nothing, from which the following passage is quoted (from the story, “The Werld”):

"I told myself that I see the world. But the whole world was not accessible to my gaze, and I saw only parts of the world. And everything that I saw I called parts of the world. And I examined the properties of these parts and, examining these properties, I wrought science. I understood that the parts have intelligent properties and that the same parts have unintelligent properties. And there were such parts of the world which could think. And all these parts resembled one another, and I resembled them. And I spoke with these parts. And suddenly I ceased seeing them and, soon after, other parts as well. But then I understood that I do not see parts independently, but I see it all at once. At first I thought that is was NOTHING. But then I understood that this was the world and what I had seen before was NOT the world.

And then I realized
I am the world.
But the world -  is not me.
Although at the same time
I am the world.
But the world's not me.
And I'm the world.
But the world's not me.
And I'm the world.
But the world's not me.
And I'm the world.
And after that
I didn't think anymore more."

Abide in Quietude

"Into the mind of the Exalted One, while he tarried, retired in solitude, came this thought: I have penetrated this deep truth, which is difficult to perceive, and difficult to understand, peace-giving, sublime, which transcends all thought, deeply-significant, which only the wise can grasp. Man moves in an earthly sphere, in an earthly sphere he has his place and finds his enjoyment. For man, who moves in an earthly sphere, and has his place and finds his enjoyment in an earthly sphere, it will be very difficult to grasp this matter, the law of causality, the chain of causes and effects: and this also will be very difficult for him to grasp, the extinction of all conformations, the withdrawal from all that is earthly, the extinction of desire, the cessation of longing, the end, the Nirvana. Should I now preach the Doctrine and mankind not understand me, it would bring me nothing but fatigue, it would cause me nothing but trouble! And there passed unceasingly through the mind of the Exalted One, this voice, which no one had ever before heard. 

Why reveal to the world what I have won by a severe struggle? The truth remains hidden from him whom desire and hate absorb. It is difficult, mysterious, deep, hidden from the coarse mind; He cannot apprehend it, whose mind earthly vocations surround with night. 

"When the Exalted One thought thus, his heart was inclined to abide in quietude and not to proclaim the Doctrine."

- The Mahavagga of the Vinya Pitaka,
The Buddha: His Life, His Doctrine, His Order,
by Herman Oldenberg (1854 - 1920)

Secret from the River

 "Have you also learned that
secret from the river;
that there is no such thing as time?
That the river is everywhere at the same time,
at the source and at the mouth,
at the waterfall, at the ferry,
at the current, in the ocean and
in the mountains, everywhere and that
the present only exists for it,
not the shadow of the past
nor the shadow of the future."

- Hermann Hesse (1877 - 1962)
Siddhartha

Continuous Cloth

 "Time really is one
big continuous cloth, no?
We habitually cut out
pieces of time to fit us,
so we tend to fool ourselves
into thinking that
time is our size,
but it really goes
on and on."

- Haruki Murakami (1949 - )
A Wild Sheep Chase

Light of Skye

 "The light of love, the purity of grace,
The mind, the Music breathing from her face,
The heart whose softness harmonised the whole —
And, oh! that eye was in itself a Soul!"

- Lord Byron (1788 - 1824)

Postscript. As photo-safari opportunities have dwindled (and though I do have a growing backlog of house-studio-facilitated abstracts to work on, as time permits), much of my "photo time" nowadays consists of discovering and reworking old images. This one is from the summer of 2009, captured during the first trip my wife and I took to Scotland; specifically, South Ronaldsay, one of the preternaturally beautiful Orkney Islands off Scotland's northeastern coast. The light there, as in all of Scotland, is not entirely of this world!

Centering

"To have humility is to experience reality, not in relation to ourselves, but in its sacred independence. It is to see, judge, and act from the point of rest in ourselves. Then, how much disappears, and all that remains falls into place. In the point of rest at the center of our being, we encounter a world where all things are at rest in the same way. Then a tree becomes a mystery, a cloud a revelation, each man a cosmos of whose riches we can only catch glimpses. The life of simplicity is simple, but it opens to us a book in which we never get beyond the first syllable."

- Dag Hammarskjöld (1905 - 1961)
Markings 

Living Mirror

 "This interconnection or
accommodation of all
created things to each other,
and each to all the others,
brings it about that each
simple substance has relations
that express all the others,
and consequently, that
each simple substance
is a perpetual,
living mirror of
the universe."

- G.W. Leibniz (1646 - 1716)
Monadology

Waves

 "You are a function of what the whole universe is doing in the same way
that a wave is a function of what the whole ocean is doing."

- Alan Watts (1915 - 1973)

Vibrant Hum

"At a certain point, you say to the woods, to the sea, to the mountains, the world, Now I am ready. Now I will stop and be wholly attentive. You empty yourself and wait, listening. After a time you hear it: there is nothing there. There is nothing but those things only, those created objects, discrete, growing or holding, or swaying, being rained on or raining, held, flooding or ebbing, standing, or spread. You feel the world's word as a tension, a hum, a single chorused note everywhere the same. This is it: this hum is the silence. Nature does utter a peep - just this one. The birds and insects, the meadows and swamps and rivers and stones and mountains and clouds: they all do it; they all don't do it. There is a vibrancy to the silence, a suppression, as if someone were gagging the world. But you wait, you give your life's length to listening, and nothing happens. The ice rolls up, the ice rolls back, and still that single note obtains. The tension, or lack of it, is intolerable. The silence is not actually suppression: instead, it is all there is."

- Annie Dillard ()
Teaching a Stone to Talk

Subterranean Stream

"The landscape of my days

appears to be composed,

like mountainous regions,

of varied materials

heaped up pell-mell.

There I see my nature,

itself composite,

made up of equal parts

of instinct and training.

Here and there protrude

the granite peaks of

the inevitable, but all

about is rubble from

the landslips of chance.

I strive to retrace my life

to find in it some plan,

following a vein of lead,

or of gold, or the

course of some

subterranean stream,

but such devices

are only tricks

of perspective

in the memory."

- Marguerite Yourcenar (1903 - 1987)
Memoirs of Hadrian

Vibrations

"The infinite vibratory levels,
the dimensions of interconnectedness
are without end.
There is nothing independent.
All beings and things are
residents in your awareness."

- Alex Grey (1953 - )

 

Virtual Delights

"Paul uncovered his eyes, and looked around the room. Away from a few dazzling patches of direct sunshine, everything glowed softly in the diffuse light: the matte white brick walls, the imitation (imitation) mahogany furniture; even the posters — Bosch, Dali, Ernst, and Giger — looked harmless, domesticated. Wherever he turned his gaze (if nowhere else), the simulation was utterly convincing; the spotlight of his attention made it so. Hypothetical light rays were being traced backwards from individual rod and cone cells on his simulated retinas, and projected out into the virtual environment to determine exactly what needed to be computed: a lot of detail near the centre of his vision, much less towards the periphery. Objects out of sight didn’t “vanish” entirely, if they influenced the ambient light, but Paul knew that the calculations would rarely be pursued beyond the crudest first-order approximations: Bosch’s Garden of Earthly Delights reduced to an average reflectance value, a single grey rectangle — because once his back was turned, any more detail would have been wasted. Everything in the room was as finely resolved, at any given moment, as it needed to be to fool him — no more, no less.

...

Paul closed his eyes and turned his face to the sun. In spite of everything, it was hard not to take solace from the warmth flooding onto his skin. He stretched the muscles in his arms, his shoulders, his back -- and it felt like he was reaching out from the "self" in his virtual skull to all his mathematical flesh, imprinting the nebulous data with meaning; binding it all together, staking some kind of claim.

...

Existence was beginning to seduce him. He let himself surrender for a moment to a visceral sense of identity which drowned out all his pale mental images of optical processors, all his abstract reflections on the software's approximations and short-cuts. This body didn't want to evaporate. This body didn't want to bale out. It didn't much care that there was another - "more real" - version of itself elsewhere. It wanted to retain its wholeness. It wanted to endure."

- Greg Egan (1961 - )
Permutation City

An Immense Landscape

 "I picture the vast realm
of the sciences as an
immense landscape scattered
with patches of dark and light.
The goal towards which
we must work is either to
extend the boundaries of
the patches of light, or
to increase their number.
One of these tasks falls
to the creative genius;
the other requires a
sort of sagacity
combined with
perfectionism."

- Denis Diderot (1713 - 1784)
Thoughts on the Interpretation of
Nature and Other Philosophical Works

Stirrings of the Soul

"The sea refreshes our imagination because it does not make us think of human life; yet it rejoices the soul, because, like the soul, it is an infinite and impotent striving, a strength that is ceaselessly broken by falls, an eternal and exquisite lament. The sea thus enchants us like music, which, unlike language, never bears the traces of things, never tells us anything about human beings, but imitates the stirrings of the soul. Sweeping up with the waves of those movements, plunging back with them, the heart thus forgets its own failures and finds solace in an intimate harmony between its own sadness and the sea’s sadness, which merges the sea’s destiny with the destinies of all things."

- Marcel Proust (1871 - 1922)

Middle Ground

"We now know that complexity arises in a middle ground—often at the order–disorder border. Natural systems that evolve with and learn from interaction with their immediate environment exhibit both structural order and dynamical chaos. Order is the foundation of communication between elements at any level of organization, whether that refers to a population of neurons, bees or humans. For an organism order is the distillation of regularities abstracted from observations. An organism’s very form is a functional manifestation of its ancestor’s evolutionary and its own developmental memories.

A completely ordered universe, however, would be dead. Chaos is necessary for life. Behavioural diversity, to take an example, is fundamental to an organism’s survival. No organism can model the environment in its entirety. Approximation becomes essential to any system with finite resources. Chaos, as we now understand it, is the dynamical mechanism by which nature develops constrained and useful randomness. From it follow diversity and the ability to anticipate the uncertain future. 

There is a tendency, whose laws we are beginning to comprehend, for natural systems to balance order and chaos, to move to the interface between predictability and uncertainty. The result is increased structural complexity. This often appears as a change in a system’s intrinsic computational capability. The present state of evolutionary progress indicates that one needs to go even further and postulate a force that drives in time towards successively more sophisticated and qualitatively different intrinsic computation. We can look back to times in which there were no systems that attempted to model themselves, as we do now. This is certainly one of the outstanding puzzles: how can lifeless and disorganized matter exhibit such a drive? The question goes to the heart of many disciplines, ranging from philosophy and cognitive science to evolutionary and developmental biology and particle astrophysics. The dynamics of chaos, the appearance of pattern and organization, and the complexity quantified by computation will be inseparable components in its resolution."

- James P. Crutchfield (1955 - )
Between order and chaos

Imagination

"We know,
but cannot grasp,
that above and below,
beyond the limits of
perception or imagination,
thousands of millions of
simultaneous transformations
are at work,
interlinked like
a musical score by
mathematical counterpoint
...a symphony
...but we lack the
ears to hear it."

- Stanislaw Lem (1921 - 2006)

Plural Realities

"Maybe each human being lives in a unique world, a private world different from those inhabited and experienced by all other humans. . . If reality differs from person to person, can we speak of reality singular, or shouldn't we really be talking about plural realities? And if there are plural realities, are some more true (more real) than others? What about the world of a schizophrenic? Maybe it's as real as our world. Maybe we cannot say that we are in touch with reality and he is not, but should instead say, His reality is so different from ours that he can't explain his to us, and we can't explain ours to him. The problem, then, is that if subjective worlds are experienced too differently, there occurs a breakdown in communication ... and there is the real illness."

- Philip K. Dick (1928 - 1982)

Subliminal Knowledge

 "Can we perceive those
inorganic beings,
don Juan?" I asked.
"We certainly can," he replied.
"Sorcerers do it at will.
Average people do it,
but they don't realize that
they're doing it because
they are not conscious of the
existence of a twin world.
When they think of a twin world,
they enter into all kinds
of mental masturbation,
but it has never occurred
to them that their fantasies
have their origin in a
subliminal knowledge that
all of us have:
that we are not alone."

- Carlos Castaneda (1925 - 1998)
The Active Side of Infinity

Enfoldment

 "The essential feature

in quantum interconnectedness

is that the whole universe

is enfolded in everything,

and that each thing
is enfolded in the whole."

- David Bohm (1917 - 1992)

Lines of Meaning

"The library will endure;

it is the universe.

As for us,
everything has not been written;
we are not turning into phantoms.
We walk the corridors,
searching the shelves
and rearranging them,
looking for lines of meaning
amid leagues of cacophony
and incoherence,
reading the history of
the past and our future,
collecting our thoughts
and collecting the
thoughts of others,
and every so often
glimpsing mirrors,
in which we may recognize
creatures of the information."

- Jorge Luis Borges (1899 - 1986)
The Library of Babel

Dreams and Apparitions

"Dreams, as we all know, are very curious things: certain incidents in them are presented with quite uncanny vividness, each detail executed with the finishing touch of a jeweller, while others you leap across as though entirely unaware of, for instance, space and time. Dreams seem to be induced not by reason but by desire, not by the head but by the heart, and yet what clever tricks my reason has sometimes played on me in dreams!"

- Fyodor Dostoevsky (1821 - 1881)
Notes from Underground

Entropy Curve

"There is no logical necessity
for the existence of a unique
direction of total time;
whether there is only
one time direction,
or whether time
directions alternate,
depends on the shape
of the entropy curve
plotted by the universe."

- Hans Reichenbach (1891 - 1953)
The Direction of Time

 

Forms of Things Unknown

 "More strange than true: I never may believe

These antique fables, nor these fairy toys.
Lovers and madmen have such seething brains,
Such shaping fantasies, that apprehend

More than cool reason ever comprehends.
The lunatic, the lover and the poet

Are of imagination all compact:
One sees more devils than vast hell can hold,
That is, the madman: the lover, all as frantic,
Sees Helen's beauty in a brow of Egypt:
The poet's eye, in fine frenzy rolling,

Doth glance from heaven to earth, from earth to heaven;

...
And as imagination bodies forth
The forms of things unknown, the poet's pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.

...
Such tricks hath strong imagination,
That if it would but apprehend some joy,
It comprehends some bringer of that joy;
Or in the night, imagining some fear,
How easy is a bush supposed a bear!"

- William Shakespeare (1564 - 1616)
Theseus, Act V, Scene I, in A Midsummer Nights Dream

Atmospheric Lights

"Terraforming Mars is a primary goal for the twenty-second century. But scientists are looking beyond Mars as well. The most exciting prospects may be the moons of the gas giants, including Europa, a moon of Jupiter, and Titan, a moon of Saturn. The moons of gas giants were once thought to be barren hunks of rock that were all alike, but they are now seen as unique wonderlands, each with its own array of geysers, oceans, canyons, and atmospheric lights. These moons are now being eyed as future habitats for human life."

- Michio Kaku (1947 - )
The Future of Humanity

Islands of Life

"He could not feel that they were an island of life journeying through an abyss of death. He felt almost the opposite--that life was waiting outside the little iron egg-shell in which they rode, ready at any moment to break in, and that, if it killed them, it would kill them by excess of its vitality. He hoped passionately that if they were to perish they would perish by the "unbodying" of the space-ship and not by suffocation within it. To be let out, to be free, to dissolve into the ocean of eternal noon, seemed to him at certain moments a consummation even more desirable than their return to Earth. And if he had felt some such lift of the heart when first he passed through heaven on their outward journey, he felt it now tenfold, for now he was convinced that the abyss was full of life in the most literal sense, full of living creatures."

- C.S. Lewis (1898 - 1963)
Out of the Silent Planet

Abstract Moons

"I distinguish two parts of it, which I call respectively the brighter and the darker. The brighter seems to surround and pervade the whole hemisphere; but the darker part, like a sort of cloud, discolors the Moon’s surface and makes it appear covered with spots. Now these spots, as they are somewhat dark and of considerable size, are plain to everyone and every age has seen them, wherefore I will call them great or ancient spots, to distinguish them from other spots, smaller in size, but so thickly scattered that they sprinkle the whole surface of the Moon, but especially the brighter portion of it. These spots have never been observed by anyone before me; and from my observations of them, often repeated, I have been led to the opinion which I have expressed, namely, that I feel sure that the surface of the Moon is not perfectly smooth, free from inequalities and exactly spherical… but that, on the contrary, it is full of inequalities, uneven, full of hollows and protuberances, just like the surface of the Earth itself, which is varied everywhere by lofty mountains and deep valleys."

- Galileo Galilei (1564 - 1642)
The Starry Messenger

Postscript. I could just as well have called this entry "Homage to White," as in paying homage to Minor White's well-known dictum to always strive to photograph what else a "thing" is. Always on alert for things and light to photograph, I was entranced this morning by the ravioli mold sitting quietly, Zen-like, beside our sink. Though it was "clean" (my wife has recently taken to making pasta and pasta dishes from scratch, including a delicious spaghetti meal she made last night), the play of light revealed distinctive palimpsest-esque patterns of residue. A quick jaunt upstairs to grab my camera and tripod was all it took to transform a simple, ordinary hunk of aluminum into a cauldron of wondrous cosmic delights!