The Numinous

"Suppose you were told that there was a tiger in the next room: you would know that you were in danger and would probably feel fear. But if you were told 'There is a ghost in the next room,' and believed it, you would feel, indeed, what is often called fear, but of a different kind. It would not be based on the knowledge of danger, for no one is primarily afraid of what a ghost may do to him, but of the mere fact that it is a ghost. It is 'uncanny' rather than dangerous, and the special kind of fear it excites may be called Dread. With the Uncanny one has reached the fringes of the Numinous. Now suppose that you were told simply "There is a mighty spirit in the room" and believed it. Your feelings would then be even less like the mere fear of danger: but the disturbance would be profound. You would feel wonder and a certain shrinking–described as awe, and the object which excites it is the Numinous."

- C.S. Lewis (1898 - 1963)

Spiritual Freedom

"Many colors have been described as rough or sticky, others as smooth and uniform, so that one feels inclined to stroke them (e.g., dark ultramarine, chromic oxide green, and rose madder). Equally the distinction between warm and cold colors belongs to this connection. Some colors appear soft (rose madder), others hard (cobalt green, blue-green oxide), so that even fresh from the tube they seem to be dry. The expression “scented colors” is frequently met with. And finally the sound of colors is so definite that it would be hard to find anyone who would try to express bright yellow in the bass notes, or dark lake in the treble…

Color is a power which directly influences the soul. Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul.

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 work of art is born of the artist in a mysterious and secret way. From him it gains life and being. Nor is its existence casual and inconsequent, but it has a definite and purposeful strength, alike in its material and spiritual life. It exists and has power to create spiritual atmosphere; and from this inner standpoint one judges whether it is a good work of art or a bad one. If its “form” is bad it means that the form is too feeble in meaning to call forth corresponding vibrations of the soul… The artist is not only justified in using, but it is his duty to use only those forms which fulfill his own need… Such spiritual freedom is as necessary in art as it is in life."

- Wassily Kandinsky (1866 - 1944)

Concerning the Spiritual in Art

Transcendence

"Historians who believe in the transcendence of science have portrayed scientists as living in a transcendent world of the intellect, superior to the transient, corruptible, mundane realities of the social world. Any scientist who claims to follow such exalted ideals is easily held up to ridicule as a pious fraud. We all know that scientists, like television evangelists and politicians, are not immune to the corrupting influences of power and money. Much of the history of science, like the history of religion, is a history of struggles driven by power and money. And yet this is not the whole story. Genuine saints occasionally play an important role, both in religion and in science. Einstein was an important figure in the history of science, and he was a firm believer in transcendence. For Einstein, science as a way of escape from mundane reality was no pretense. For many scientists less divinely gifted than Einstein, the chief reward for being a scientist is not the power and the money but the chance of catching a glimpse of the transcendent beauty of nature."

- Freeman Dyson (1923 - 2020)

Order of Things

"There where the weaver

would patch his cloth,

Where an able mathematician

would correct his errors,

Where the artist would

retouch his masterpiece

as yet imperfect

or recently damaged,

Nature prefers to start

all over from clay,

from chaos;

and this squandering is

called the order of things."

- Marguerite Yourcenar (1903 - 1987)

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.

...

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