Showing posts with label I: Solid and Liquid. Show all posts
Showing posts with label I: Solid and Liquid. Show all posts

Land and Sea
















................................................................................................................................................................................


STATE - What is it: solid, liquid, or gas? Or something in between?


................................................................................................................................................................................


Change - Becoming - The Sea - Shaking Up - Absolutes


................................................................................................................................................................................


Life                           -                      Death
Solid                         -                      Liquid
Stability                    -                      Plasticity
Certain                      -                      Uncertain
Permanence              -                      Change
Rigid                         -                      Flexible
Cohesive                   -                      Random
Fundamentalism        -                      Relativism
Order                         -                      Chaos


................................................................................................................................................................................


Change is in the nature of all things. Like the Sea, nothing stands still. It is speculated that all life began in the sea; and without water there would be no life. The land stands as a counterpoint to the sea. Nothing is permanent. All of our structures are castles made of sand, destined to one day be washed away. Everything is forever becoming, but nothing ever truly is.

To get from one state to another you must be prepared to sail the turbulent seas; to abandon your structures, say goodbye to the land beneath your feet, and journey to somewhere new. From certainty to uncertainty; known to unknown.

The Sea is a fertile place. It is the place from which new structures emerge, and into which old structures fall. It is the negative space between our structures. It eludes definition, and cannot be pinned down. It is a place from which alternatives emerge; where other things can be tried out.

1. Solid and Liquid

Every thing is composed of other things. Imposing order is like telling a story, weaving together separate elements to create something new. Order is, then, synonymous with fusion; and whenever we make connections between things we are creating order. The stronger the connections the more solid the totality.

I use the image of Land to represent this idea of order and solidity. If we want to build structures then we need Land - solid ground - to build upon. Our structures act as bulwarks against the uncertainty and chaos of the outside world, sheltering us from the elements, and providing safety, security and familiarity. They are sanctuaries in which we can express ourselves - our view of things - without fear of rebuke. They are predictable places, where things are arranged just as we like them. Each structure is a little ordered world, with its own set of rules, preferences and meanings; its own culture.

For a structure to feel safe, it must be well built. Each element - from the foundations up to the roof - must be put in place with a crucial amount of care and attention, by trustworthy builders. Faulty foundations can cause paranoia and insecurity, a constant worry that at any moment our structure could crumble to the ground. They necessitate an inwards looking mentality, a pathological need to support, defend and maintain. Every blow becomes potentially life-threatening. Firm foundations, on the other hand, allow us to look - and venture - outwards, safe in the knowledge that our structure will remain standing, in spite of our lack of vigilance. A strong, resilient structure allows the odd blow to be absorbed here and there.

We may be so afraid of the outside world that we become reluctant to travel beyond the familiarity of our own four walls; at which point our little world becomes the whole world, and we see everything through its prism. Our vision becomes monocular, and all meanings are conflated with our own. If red is our colour, then all we see is red.

Entering someone else's structure can be like a trip to a foreign land, a place of strange sounds, smells and tastes. When the 'otherness' of foreign structures becomes threatening, then our santuary may become a castle, a fortified position from which we go to war. With its reinforced walls and elaborate defences, a castle is the zenith of solidity: its purpose is to endure; to keep the inside in, and the outside out.

To prevent an embattled mindset, lines of communication must stay open. We must allow an opening in our defences - an entry and exit point - through which we give and receive messages. Dialogue is an invisible thread that connects us to the outside world, allowing a mutual exchange of influence. It stops us from taking our little world too seriously, by reminding us of its relativity.   

Our sanctuary can also become a prison: comforting familiarity can slide into dull habituation. Sometimes things need to be shaken up, constricting bonds loosened.

The Sea stands as a counterpoint to Land. A return to the Sea means a breaking apart of what was held together. Looser bonds allow more movement, and so as things come apart they become more fluid and flexible, and less solid. Water is formless and adaptable, assuming the shape of whatever vessel it is placed within. It is an antidote to the fundamentalism of solid matter.

However, we cannot build upon, or with, water. It is indecisive, enamoured with novelty - here, then there; this, then that - and so cannot be relied upon. In this sense, solid matter stands as an antidote to the relativism of liquidity.


................................................................................................................................................................................


"stuck in your ways," "firmly rooted"


................................................................................................................................................................................

Main posts:-
All is Change
Status Quo
Escaping Uncertainty
Solid Ground
Everything and Nothing



The Healing Process

................................................................................................................................................................................


[...] life cannot tolerate a standstill [...]

[C.G. Jung]
Psychological Types (CW 6, 1991), p. 479

................................................................................................................................................................................



There is pattern when it comes to things like Fracking protests. It goes like this:

When this new thing is announced - in this instance Fracking - there are those who are against it. They protest its arrival, in a bid to prevent it from happening. It is key that they get it at its inception, before it becomes assimilated and generally accepted as part of the landscape. This is a tipping point, or so it seems. Things could go either way. Once it is established it will be much harder, if not impossible, to uproot.

And so there is initial protest. This protest is reported in the press and provokes a peak of interest from the general mass of people. Some make up their minds, some remain undecided; some don't care either way.

The masses tolerate this disruption because it is a novelty. But soon the novelty wears off and the issue overstays its welcome. 'Soon' being the operative word, because the contemporary attention span is at an all time low.

After time the issue becomes at best an annoyance, and at worst forgotten about. At this point the issue falls off the radar and the protest becomes a battle that can't be won.

Why is this?

The body can only tolerate tension for so long. Protest is tension, a stalling voice that says 'maybe we shouldn't go in this direction.' But a direction must be taken, and sooner rather than later.

Tension will be tolerated at first. There is a grace period, albeit limited. But then a verdict must be reached. An ongoing protest is like an open wound. The body wants to heal and to go about its everyday business.

In this sense, all that a corporation like Cuadrilla need do is play a waiting game. They simply wait for the issue to go out of fashion. Weather the initial storm of public interest, whilst playing on the defensive. Sit back and block the opposition.

In time, the inevitable process of normalisation - the disappation of tension - will win the battle for them.

From being initially receptive to those voices of protest, the culture begins to grow weary of them. Counter arguments surface, if only to help get the issue off the table and close up the wound. By this point the mass of people are looking for this voice, for the first opportunity - the first convincing excuse - to dismiss the issue and get back to business as normal. In the end, the voice of protest is discredited. A lot of fuss about nothing. 

The wound closes. Life goes on.


................................................................................................................................................................................


Related posts:-
Tension
Still Waters
Status Quo 
Do Not Disturb
Negative Capability
Escaping Uncertainty 

Assuming a Position



............................................................................................................................................................
....................


"The kind of blogging I do has to be based in personal obsession, in spats and rivalry, in a kind of light, oblique but perpetual autobiography. There has to be a subject for all this data to make any sort of situated sense, and that subject has to be seen to have a body, clothes, a way to wear those clothes, and so on. As soon as I get tugged out of that embodied, situated world I get bored and anxious and mistrustful. I want to know always who's speaking, how old they are, what culture they were raised in, what their vested interests are, and so on.

For me, the Anon is suspicious because I can't see what s/he looks like or what life his/her comment is rooted in. For the Anons (or some of them), I'm the suspicious one, because my comments are far too obviously rooted in an ego, a persona. The Anon's habitual mode of attack is therefore ad hominem, but since it comes from -- apparently -- no-one it could also be described as ab nemo."

[Momus]

"To disagree with three-fourths of the British public is one of the first requisites of sanity"

[Oscar Wilde]


................................................................................................................................................................................


What is a "position"?

Psychologist Eric Berne described a position as a "simple predictive statement which influences all of the individual's transactions [...] Unless something or somebody intervenes, [a person] spends the rest of his life stabilizing his position and dealing with situations that threaten it: by avoiding them, warding off certain elements or manipulating them provocatively so that they are transformed from threats into justifications."1

We could see a position as a castle. We may live within it, and we may, when we need to, man the barracks and defend it against attack.

When we look for someone's position we are looking for their epistemology; the ideas and beliefs that lead them to think and act the way that they do. To see their castle is to see the individual bricks that it is composed of, and, if we look hard enough, it is to see the foundations upon which it rests.

In understanding a person's position we bring perspective to our image of them, framing their behaviour within a larger picture. When their thoughts and actions no longer clutter the foreground, we are able to relativise their claims to truth; instead of being the whole truth - transcendent, impersonal - they become someone's truth. A person's position is the centre of their individual mythology, and both influences, and is influenced by, the stories that they tell themselves about the world. To see a position is to see a person's fictions, the meanings and values that are guiding them.

When we can see a story, and when we can frame this story within a network of alternative fictions, we may feel less threatened by its otherness. For example, when Oscar Wilde tells us that "The first duty in life is to assume a pose", we may find his words incommensurable with our own experience, and may reject his statement as false. If we understand Wilde's background - his fiction - and can see his position, then we may be less tempted to reject his statement on the grounds of its truth. For Wilde, the idea of the pose may have been an important one in giving meaning to life, and it may be that it could also mean something to us. Be if we take his truth as literal - as objective, as transcending the realms of subjective fiction - then we are forced into a corner, into either accepting his truth and modifying our own position accordingly, or rejecting it outright. If, on the other hand, we are able to relativise his truth, and to frame it within his position - and this position within a system of multiple positions - then our tight corner disappears. His truth can exist without threatening to annihilate ours.

Because it is no longer in the foreground, making claims to universality and thus threatening our own truth, we may feel more able to approach, and entertain, Wilde's idea; to visit his castle, look around, note the structure, the decor. To see his position, and to frame it within a landscape of alternative positions, is to allow it room to exist.



............................................................................................................................................................
....................


Monotheism & Polytheism

............................................................................................................................................................
....................


We may often fool ourselves into thinking that there is such a thing as a definitive position, a castle of castles, and that we may inhabit it, or that someone else may. This belief springs from what we could call a monotheistic view: it has in mind a "perfect castle" and measures all others against this standard. When we're in a monotheistic mode (thinking with the mono-view) then we may come to think that we'd prefer it if there was only one castle. The fact that there appear to be many becomes something of an inconvenience - how, after all, do we know which one is the "right" one? Perhaps we can see from a distance whether a castle fits the bill or not, but appearances may be deceptive. We may have to visit each one and check. This is, of course, to assume that we've managed to make it out of our front door in the first place. It may, after all, be easier to decide that ours is the "right" one and leave it at that. That way we won't have to get tired wandering around, and we won't risk getting lost on the journey.

The monotheistic view has its roots in the Christian tradition, and the idea that there is one God, and one way (thus, one castle - "God's castle"). This one way - the "true path" - is exemplified through the figure of Christ, and to deviate from it is to live erroneously.

We find an alternative view in the form of polytheism, which has its roots in the Greek tradition, and the idea that there are many gods, each representing different facets of the human psyche. The polytheistic view invites us to think in terms of modes.

If we consider our castles with the polytheistic view, then we see that there is no such thing as a definitive castle. Instead of being inconveniences, the differences between castles can become points of interest. We may marvel at how much other castles seem to differ from our own, and from each other. We may find that when we are in a certain mood we prefer one castle and not another, that our different moods (or modes) seem to draw us towards different castles. Above all, we are able to appreciate this difference between castles, and our journeys and visits give us occasion to celebrate it.

In the monotheistic mode multiplicity may have a tendency to become a nuisance. If our way is the right way, then theirs musn't be. Likewise, if theirs is the right way, then we must be in the wrong. By defining a "right" path, monotheism also creates a "wrong" path, and when we see the world through its lense we may be tempted to categorise what we see in terms of this opposition, amongst others. But slip into the polytheistic mode of thought and we suddenly become open to the multiplicity of possible positions, realising that one may be no more "true" than another.

............................................................................................................................................................
....................

Remembering the Balance

............................................................................................................................................................
....................



Society is, at best, a system that manages to combine many disparate elements whilst maintaining some sort of balance between them. If this balance was not maintained then the system would degenerate in one way or another, before either finding a new balance, or collapsing. In this sense, we can see society as an eco-system, much like the kind that we would find in a forest. Balance between its various elements is key, not only to the survival of the system, but to the survival of the individuals within the system.

Now, let's imagine that within our forest there is a badger that has somehow managed to get it into its head that to be a badger is the "right" way to be, and that all other forms of existence are inferior and irrelevant compared to his. Not only does our badger have a monotheistic view, but he also has a rather militant spirit and has somehow acquired destructive technology and the know-how to use it. Suffice it to say, the fragile balance of his forest will not last long. Perhaps what our badger doesn't realise is that without his environment to sustain him, he will soon be a goner too (or perhaps he is a nihilist to boot).

Of course, destruction may not be the only way our badger may go about his path of domination. If he can't abide the thought of killing, he may instead choose to convert all those around him to his position. Suddenly the palette of the forest become dominated by two non-colours, as everything is painted in black and white. Hole digging and meat-eating likewise become the norm. In no time our badger has managed to implement a forest-wide monoculture, saving himself the bother of investing in all that expensive weaponry.

Our badger has made the mistake of taking his "badgerness" literally. His belief in the correctness of his own position has blinded him to the fact that he lives within a balanced system, one that requires its multiplicity - the difference between its elements - for its survival. He is short-sighted, unable to understand things beyond the four walls of his castle, the confines of his position. When he looks out of his windows he sees only confusion, and deviation.

His confusion is, perhaps, understandable. He has become so accustomed to the look and feel of his castle that all others naturally appear foreign and deviant. He has forgotten the truth of his castle: that it hasn't always been around, that it was built brick by brick. Perhaps he built it, or perhaps someone else did, but it was built.

To avoid confusion, let's leave our badger in his castle and return to the human world. Within a forest we are talking about the differences between species, whereas within a human society we are talking about the differences between people. The badger is confined to his castle, his position as "badger" - he has no choice but to take his position literally. He would probably find it very difficult to start flying if commanded to do so by a domineering bird. As humans we have freedoms that the badger does not; we can imagine other ways of being, and we can, within limits, move between them. So whilst the badger may be confined to his four walls, the same is not, strictly speaking, true of us.

Much of the time we may forget that we also live within a balanced eco-system. To truly believe in the sovereignty of one position over another is to overlook this balance. It is a belief founded on a confused epistemology. For example, in the popular Western consciousness, certain values often appear to be held in higher esteem than others. Our consciousness is entrenched in a rationalist perspective; we see the value in things like science and commerce because their projects appear to make sense: in other words, the logic that underpins them is easy to identify. Science cures diseases, and gives us new technology - it answers questions, and solves problems. Commerce makes the world go round. Things like art and religion seem to make less sense; they often raise more questions than answers, and any answers they do provide are generally not certifiable by "scientific" standards. Their logic is, from the rationalist perspective, obscure and confusing.

If we are too entrenched in our position, and if that position has at its roots these rationalist ideas and values, then we are bound to overlook the necessity of things like art and religion to the balance of the system. We may not believe that we need these things at all, that they are an aberrance, and we may wish that they did not exist. If we were able to act on this belief, and if we had the means to eradicate these ideas, then we would be making the same mistake as our badger; from a simple lack of insight into the wider balance of the system, we would be tipping it into a potentially disastrous imbalance.


................................................................................................................................................................................

Battles and Challenges

............................................................................................................................................................
....................


It is our contention that within a monotheistic framework we are more tempted to preserve the sanctity of our position - to arm the battlements - when faced with the position of the Other. Another castle represents a threat to our own, and more often than not a battle ensues. Battles are a form of game-playing: if our interest lies solely in preserving our position, then we will play to win and nothing more. A battle is a very specific and narrowed form of communication; its main messages are, "I am right and you are wrong" and "I will show you that you are wrong". It is not a place for indecision, vulnerability or doubt - and if we decide that these things are requisites for a constructive dialogue then we cannot see a battle as "constructive."

Yet, a battle, like a game, can also be enjoyable. It structures time, gives us something to do, and can be exciting. It allows us to exercise certain aspects of our being, to flex and thrust. But we would be mistaken in thinking that we are engaging in anything other than the reification of our own position. Once arms are laid down - the pose seen through - a more nuanced form of communication can begin.

A polytheistic outlook allows us the room to be more amenable to foreign words and deeds. Of the two, the polytheistic view appears the wiser, but, because it can lead to relativism, it must also go hand in hand with a willingness to have our own position challenged. It can become all too easy to use a position to dismiss the thoughts and actions of others - "Of course he would say that, because of who he is (but I needn't take heed, because my position is different.)" - and so we become immune to the challenge that is posed by 'otherness'. In avoiding conflict like this, we would again be making a mistake similar to that of our badger earlier on, an error based upon a limited view of the ecosystem. We would be overlooking the possibility that contact (in its varying forms; conflict, negotiation, exploration) is a necessary and healthy occurrence. In avoiding conflict entirely we have essentially tipped the balance in the opposite direction; where formerly our badger sought to assert the sovereignty of his position through the annihilation of all other positions - through sameness - he would here be asserting his sovereignty through relativism, through difference. Both paths have in common the refusal to have his own position challenged.

The battle, then, becomes the refusal to be challenged, and the challenge can only take place when the battle ends.

................................................................................................................................................................................

Common Ground

............................................................................................................................................................
....................


A wise man once said, "those who are awake have one world in common, those who are asleep live each in a private world."2 Perhaps this one world, this common ground, is that area outside of our castles; and when we are able to step out of our front door - to leave our position behind - we become truly "awake." Awake in this sense would mean untangled from self-interest, from the concerns that go along with living in a castle. After all, a castle can often be self-perpetuating; it provides comfort, a place to live - but if we are to continue living within it then we must maintain it, and, when necessary, we must defend it. To step outside of the castle is to put its demands in perspective, to see that looking after our castle may not be the be-all and end-all. Thus, in many ways, to enter the common ground is to become liberated.

With this in mind, when we are faced with the behaviour of others we can ask; does this behaviour come from within a position, or does it come from without - are they still standing in their castle, or are they in common ground? In short, is their behaviour entrenched or transcendent? Because to understand where behaviour comes from, is to be able to form a more nuanced approach towards it.

We've seen that we all have our positions, our castles within which we exist. We've examined the ideas of monotheism and polytheism and how these outlooks can affect the way we see others' positions as well as our own. We've seen that understanding a person's position can make us more amenable to their 'otherness', but we've also seen the importance of having our own position challenged. Having seen these castles, our own and those of others - and having seen the distance between them - we must be willing to leave our structures for a while, and to take a trip. We must be willing to knock on some doors, and to ask to come in.

In the last, it may be that no-one has a sovereign position, that no-one is so enlightened so as to see the full workings of our ecosystem. The monotheistic view may make us believe that this view does exist, but it leaves us in no doubt that there is only one who is able to see this way: God. With its pantheon of gods, polytheism blows this model apart, allowing us to structure our thought in a different way; one that may be more in line with a world that has at its heart no certainties, and no definitive positions.

................................................................................................................................................................................

1 Games People Play, p.42
2 Heraclitus, as paraphrased by John Fowles in The Aristos, p.216

................................................................................................................................................................................


In fact, how can we let ourselves be moved to pity unless by transporting ourselves outside ourselves and identifying ourselves with the suffering animal, by quitting, so to speak, our own being in order to assume his?

The commiseration will be the more energetic, the more intimately the spectator identifies himself with the sufferer [...] It is therefore quite certain that compassion is a natural feeling which moderates in every individual his self-esteem, and contributes to the mutual preservation of the entire race.

[Jean-Jacques Rousseau]
Émile, p.115-20
Discourse on the Origin of Inequality, p. 92, 94


................................................................................................................................................................................


My announcement at the end of September that Click Opera would end in February elicited some interesting reactions. The bit that seemed to spark the most empathy with Simon Reynolds and Mark Fisher was my anti-dialectical, anti-democratic point (if by dialectics and democracy we mean OMG WTF Web 2.0 ghost-sparring) that "Click Opera has been a sort of karate course, and its comment facility has taught me to be more dialectical and -- above all -- the skill set of prolepsis, of anticipating reader objections.

But is a more moderate, accessible and dialectical me really what the world needs? Doesn't the world need an immoderate, outrageous and concentrated me, just laying out things that only I could think, no matter how wrong they may be?"

Simon Reynolds on his Blissblog responded: "Yeah I agree prolepsis sucks, it seems to have taken a lot of the categorical oomph and thrust out of writing, unless you're just utterly bullheaded you will inevitably find yourself riddling what you do with qualification and nuancing... Strangely, prolepsis rarely seems to afflict comments boxers... but i guess they can shelter under aliases or "anonymous," they don't have to own their utterances in the same way."

Mark Fisher makes a similar point on his K-Punk blog: "For me, the answer is clear - I certainly don't want writers who "respond to criticisms", who patiently deal with "feedback", no matter how hostile and uncomprehending. I want writers who have the courage to pursue their own lines. What's interesting, I suppose, is the libidinal impulses at work in those who don't want that - who would rather have a writer spending their time on discussion boards and in comments boxes defending themselves, nuancing their position into innocuous irrelevance, or effectively abandoning it altogether in the name of some vacuous commitment to "debate".

[Momus]
'Tactics, not skirmishes'


............................................................................................................................................................
....................


Related posts:-
Escaping Uncertainty
Do Not Disturb
Rules of Engagement
Being open to the new 
This, Not That 
[Anonymous]
The Eternal Ideas
You ought to be more like me 
Walk a Straight Line 
Left Out

The Nymph and the Oak

Once upon a time there was a forest that was inhabited by nymphs. The nymphs took pleasure in hopping from tree to brook, from plant to fungus, from animal to insect, bringing inspiration and vitality to each and every thing. We could say that these nymphs were the soul of the forest, and their shape-swapping dance somehow seemed to play a part in its fragile balance.

Now, whilst most nymphs found joy in their hopping about, it would sometimes happen that a nymph would tire of his dance, preferring instead to to choose a suitable form in which to come to rest. It is with one such wearisome traveller that our story will concern itself ...

Our hero had for a long time played his part, hopping from one thing to another. He had come to notice, however, that he was never more comfortable then when within the sturdy frame of an old oak tree. And so it was that one day he decided to quit his jumping about, choosing the oak as his resting place, his "form of forms." He grew close to the tree, and began to understand its rustling and creaking, its slow and steady breath, its silence. As time passed the two grew ever closer, and our hero began to forget where the tree started and he ended. "I am a proud oak," he thought, "these branches are my branches, these roots my roots." He forgot what it was like to have been a nymph, to have hopped from one form to another. His tree seemed to him his natural form, and any thought of dancing and hopping had long since vanished from his mind.

There were many things that our hero liked about being a tree. His sturdy trunk was immune to the strongest of winds, and provided a stable resting place for the weary back of many a traveller. His thick canopy provided shelter from storms, and his strong branches a home to birds and insects. His bark was rough and durable, and his roots reached deep into the earth. Yes, it was a fine thing to be a tree, especially one as proud and powerful as he!

As the seasons went by his leaves turned a lovely shade of orange, and eventually found their way down to the forest floor below.

Many seasons went by, and as they passed the inhabitants of the forest began to notice a change in the old oak tree. Where once its branches had reached far into the sky, rustling and chattering along with the other trees, they were now cast downwards, and had become gnarled and rigid, indifferent to the breeze that flowed through them. Any birds that had once made their home here had long since disappeared. Not only that, the bark of the tree seemed rougher, full of jagged edges, and no travellers dared risk their backs against its trunk. Where once the oak had seemed at the centre of things, it now stood alone, the life and energy of the forest passing it by.

It so happened that one day a pre-occupied young nymph, reveling in the newly discovered joys of bird-form, alighted upon the twisted branches of our oak. No sooner had he landed than his thoughts were back with flying, and he readied himself to take off. As he spread his wings, a strange noise caught his attention and stopped him in his tracks. He cocked his head and listened intently. Sure enough he heard the sound again - it seemed to be coming from the tree that he was perched on. Bringing his head even closer to the tree he began to make out the very faint sound of weeping. How strange! A crying tree! He'd heard of Weeping Willows, but never Weeping Oaks.

He hurried off and quickly convened a group of his young nymph friends. "I think someone is trapped in that old oak tree! Its branches are so twisted and rigid that it cannot talk when there is a breeze, like the other trees! Its bark is too thick for hopping through, and its trunk is so sturdy and its roots so deep that we can't possibly move it! What is there to do?!"

Another of the group spoke up. "I've heard tales that there is a nymph within that tree, and he's been there for many a season."

"Perhaps he has been there so long that he has grown tired of being a tree," spoke another.

"Perhaps he is lonely," spoke a fourth, "And that is why he is weeping."

"We must do something," said the bird-nymph. "We can't leave him in there, sad and alone".

And so it was that our young nymphs formed a plan.

The bird-nymph flew off, collecting the seeds from as many trees as he could find. Upon finding one he would fly back and drop it near the lonely old oak. Another of the nymphs would hop into the seed, and within no time a shoot would break through the soil. After a while a fine collection of young trees had began to appear around the oak, their energetic rustling and chattering filling the air. Whenever a breeze came by, they would bend their flexible trunks, reaching their branches toward the oak and caressing its rough surface.

Other nymphs hopped into the brook, and when the sun shone down upon them they travelled up within the water droplets toward the clouds. In no time they were raining down upon the oak, drop after drop, soaking its leaves and branches, tracing the furrows of its trunk, and tickling its roots.

It was in this way that life was brought back to the oak.

Having made his nest within its branches - not the most comfy of spots, but nest-worthy none-the-less - our bird-nymph listened carefully day after day. To his relief he could no longer hear any weeping. Only the soft music of the wind, as it made its way through the forest.

................................................................................................................................................................................

Related posts:-
Come on Youth
Look Again
The Oak and the Stream 
Testing new opinions and courting new impressions
Don't Commit to It
Adventure on Life
Shedding Skin
New Look
Status Quo
Monotheism & Polytheism

Separations and Bridges


Blake noted that "A tear is an intellectual thing," and Pascal asserted that "The heart has its reasons of which the reason knows nothing."

We need not be put off by the fact that the reasonings of the heart (or of the hypothalamus) are accompanied by sensations of joy or grief.

These computations are concerned with matters which are vital to mammals, namely, matters of relationship, by which I mean love, hate, respect, dependency, spectatorship, performance, dominance, and so on.

These are central to the life of any mammal and I see no objection to calling these computations "thought," though certainly the units of relational computation are different from the units which we use to compute about isolable things.

But there are bridges between the one sort of thought and the other, and it seems to me that the artists and poets are specifically concerned with these bridges. 

It is not that art is the expression of the unconscious, but rather that it is concerned with the relation between the levels of mental process.

From a work of art it may be possible to analyze out some unconscious thoughts of the artist, but I believe that, for example, Freud's analysis of Leonardo's Virgin on the Knees of St. Anne precisely misses the point of the whole exercise. Artistic skill is the combining of many levels of mind - unconscious, conscious, and external - to make a statement of their combination. It is not a matter of expressing a single level.

Similarly, Isadora Duncan, when she said, "If I could say it, I would not have to dance it," was talking nonsense, because her dance was about combinations of saying and moving.

[Gregory Bateson]
Steps to an Ecology of Mind, p.470

................................................................................................................................................................................

Related posts:-
Small Mind/Large Mind
A Different Difference
A Difference that makes a Difference
Digging Deeper
Dreams from Dreams
Up with intuition!
In-between
Making Connections 
Where language ends and art begins
Levels of Meaning
Everything is Connected

A Friendly Challenge

Because of the split archetype, destructiveness in the sense of the archetypal shadow, the unconscious, etc., is no longer primarily the therapist's problem; he has shaken it off and experiences it only in projections, so that by and large he enjoys something resembling inner peace.

He is merely confirmed in what he already knows. His blind spot prevents him from seeing the decisive dark areas of his own being; or, if he grasps them intellectually, he is still not emotionally gripped by his self-knowledge.

In order to break free of this vicious circle the therapist must expose himself to something which touches him deeply, something un-analytical (he is already too much the master of analytical technique) which repeatedly throws him off balance, stimulates him, shows him time and again who he is, how weak and pompous, how vain and narrow.

It is surely not by chance that Socrates sang the praises of friendship.

Friendship

Friendship, loving but forceful encounters with one's equals, to attack and be attacked, to insult and be insulted - all of this strikes again and again at the psychic center of those involved. What the analyst needs is symmetrical relationships, relationships with partners who are up to his mark, friends who dare to attack him, to point out not only his virtues but his ridiculous sides.

Many analysts maintain that they cultivate intensive friendships, when what they actually do is gather a circle of disciples around them and bask in the admiration [...]

Friendship intensely lived - and intensely suffered - saves many a therapist from inextricable entanglement in his own dark and destructive side. Hatred and love flow back and forth between friends; love circles around the positive potential, and hatred around the negative.

The psychotherapist must be challenged by something which cannot be either mastered or fended off by his analytical weapons and techniques. Works of art may shake one, the study of history may stimulate, an interest in natural science may lead to tortured questions. But the clever analyst finds it all too easy somehow to press all such things into the analytical framework.

Friends both male and female, wives or husbands, brothers and sisters, children, relatives - all of these often have the power to challenge the analyst and the ability not to fall victim to his clever attempts at deterrence.

But in these cases there must be awareness of the danger that therapist-friends often become therapist-accomplices, cleverly assisting in the battle against individuation, careful not to challenge the other in order not to be challenged themselves, and thus providing additional weapons against further psychological development.

An analyst may have the most serious confrontation with those closest to him; and as long as he remains open within the love relationship, he must take these reactions seriously. This brings him into ever-renewed contact with his own shadow.[Contact with the shadow stimulates the individuation process] by bringing new movement to a psyche grown rigid. The soul opens up once again.

The experience of eros between two people, and its fructifying effect on the psyche, cannot be described in dry psychological terms, but only represented artistically. Once it has taken place, of course, it can again be put into analytical terms and grasped that way. But those psychological concepts must in turn be repeatedly relieved by the immediacy of erotic experience. And this can only be effective - fully and deeply effective - when it takes place between people who love each other, rather than between doctor and patient, analyst and analysand, or master and pupil.

The point is that he must actively, painfully and joyfully come into direct contact in his dealings with his fellow men. He must somehow find a way to once more expose himself to the most difficult challenges. He must be shaken. The senile "I know, I know" must become the Socratic "I don't know."

The tools with which he can aid others may spell his own psychic doom. He can fend off any challenges; his patients are no match for him, and even the challenge of religion can be depotentiated by his mastery of analytical concepts.

Only through the emotional interchange with those to whom he stands in a relation of love can a new dimension be brought into his benumbed world. If he fails to achieve this, if he succeeds in using his psychology to drain and empty his interpersonal relations he becomes a tragic figure.

[Adolf GuggenbĂ¼hl-Craig]
Power In The Helping Professions, p.134-6, 148-155

Related posts:-
Friendship
Creative Partnerships
You've changed
What are the people saying?
Watch the way you're acting
Status Quo
Do Not Disturb
Whats Your Position?
You laugh at my back, and I'll laugh at yours
Escaping Uncertainty
Incursions of the Unknown 
Know it All?

Creative Partnerships

What is the other, the partner? He is never something static; he is life, development, past, present and future. To comprehend another person means relating not only to his present but to his past and his future.

Relationship always involves something creative. In using the word "creative," I mean the following: The human psyche is always full of new possibilities. It is constantly re-creating itself, so to speak, and is perpetually being re-created. An individual's psychic potential is limited, of course, but it is highly varied and many-faceted.

When we meet someone, it is unrelated and uncreative to see him as a snapshot, a fixed image.  

To encounter a person creatively means to weave fantasies around him, to circle around his potential.

Various images arise about the person and the potential relationship to him. Such creative fantasies are often quite far removed from so-called reality; they are as unreal, and as true, as fairy tales and myths. They use imaginative images to grasp the nature of the other person.

Even if they are not expressed, fantasies also influence the other person, awakening new living potential in him [They] are related to the nature of the other person; they represent, in symbolic-mythological form, his life potential.

These creative fantasies, this imaginative circumambulating of one's partner, are of the greatest importance in every human relationship [...] 

Everyone needs to fantasy about himself, to circle about and awaken his own potential in mythological or fairy tale form.

[Adolf GuggenbĂ¼hl-Craig]
Power In The Helping Professions, p.45-7

................................................................................................................................................................................


Related posts:-
Friendship
Shedding Skin
Make Yourself Up
Saturn's Blessings
Watch the way you're acting
Soul-making
Memory Lane
Guiding Fiction

Playing With Your Self

................................................................................................................................................................................


Serious                              -                      Playful
Solid                                 -                       Liquid
Actuality                           -                       Potentiality
Closed                               -                      Open
Rest                                   -                      Motion


................................................................................................................................................................................


We realize that what we like and what our tastes are don’t necessarily define the spirit of what we truly are deep down inside. And that we should have fun with our tastes.

Those pursuits—searching out songs, finding out about artists, or just experiences that entertain us, that delight us — that’s what makes life fun and worth living.

And I want us to remember how playful that should be. And the minute it starts to hold us back or feel stressful, or that we have to cling too hard to any one idea of ourselves, it’s just good to step back and kind of remember that it’s all just supposed to be fun. So I guess that means to not take things too seriously.

[Andrew WK]


................................................................................................................................................................................


In the organizational context, Nevis saw resistance to change--for example, someone's refusing to "join in"--as an expression of the differentiation of opposites (polar differentiation) [...]

Seeing this resistance as an inner conflict - rather than just seeing the loner as being obstinate - the Gestalt practitioner has something to work with [...]

One could, for example, ask the individual to experiment with what it feels like to move in the direction of one pole or the other. In so doing, he can begin to see his resistance as a matter of choices, and become aware that he is being pulled in different directions by opposing (and equally valid) needs.

[Herb Stevenson]
'Paradox: A Gestalt Theory of Change'


................................................................................................................................................................................


Do you believe you can know yourselves if you don't somehow construct yourselves? ... We can only know what we succeed in giving form to.

Ah, you believe only houses are constructed? I construct myself continually and I construct you, and you do the same.

And the construction lasts as long as the material of our feelings doesn't crumble and as long as the cement of our will lasts.

Why do you believe firmness of will is so highly touted, and constancy of feelings? The former has only to waver a little, and the latter has only to be altered by one degree or change ever so slightly, and it's goodbye to our reality! We realize immediately that it was only our delusion.

Firmness of will, then. Constancy of feelings. Hang on, hang on, to avoid these plunges into the void, to keep from encountering these unwelcome surprises.

But, oh! what fine constructions result.

[Luigi Pirandello]
One, No One & One Hundred Thousand, p.41, 42


................................................................................................................................................................................


Sickness, in Pirandello as in many other great writers, is experienced as a situation in which all automatic behavior is suspended and the perceptive faculties, outside of the normal rules, seem to expand and see "with other eyes".

'One, No one and One Hundred Thousand'


................................................................................................................................................................................


Related posts:-
The Colour Wheel
Sailing the Turbulent Seas
The Oak and the Stream
Walk a Straight Line
Incursions of the unknown 
Hold it Still
Don't commit to it
Shedding Skin 
Status Quo
Satisfying Narratives
Guiding Fiction
Creative Partnerships
Do Not Disturb 
Break-down
A Safe Space 

Testing new opinions and courting new impressions

The service of philosophy, of speculative culture, towards the human spirit, is to rouse, to startle it to a life of constant and eager observation.

Every moment some form grows perfect in hand or face; some tone on the hills or the sea is choicer than the rest; some mood of passion or insight or intellectual excitement is irresistibly real and attractive to us, – for that moment only.

Not the fruit of experience, but experience itself, is the end.

A counted number of pulses only is given to us of a variegated, dramatic life. How may we see in them all that is to seen in them by the finest senses? How shall we pass most swiftly from point to point, and be present always at the focus where the greatest number of vital forces unite in their purest energy?

To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life. In a sense it might even be said that our failure is to form habits: for, after all, habit is relative to a stereotyped world, and meantime it is only the roughness of the eye that makes any two persons, things, situations, seem alike.

With this sense of the splendour of our experience and of its awful brevity, gathering all we are into one desperate effort to see and touch, we shall hardly have time to make theories about the things we see and touch.

What we have to do is to be for ever curiously testing new opinions and courting new impressions, never acquiescing in a facile orthodoxy of Comte, or of Hegel, or of our own. Philosophical theories or ideas, as points of view, instruments of criticism, may help us to gather up what might otherwise pass unregarded by us. "Philosophy is the microscope of thought.”

The theory or idea or system which requires of us the sacrifice of any part of this experience, in consideration of some interest into which we cannot enter, or some abstract theory we have not identified with ourselves, or of what is only conventional, has no real claim upon us.

[Walter Pater]
Conclusion, The Renaissance: Studies in Art and Poetry

................................................................................................................................................................................

Related posts:-
Guiding Fiction
The Oak and the Stream
Boxed Off
Don't Commit to It
Hold it still 
Cut to fit 
Shedding Skin
Do Not Disturb 
Adventure on Life

Beware Agapanthus

"Man is always, I think, made fearful by what he does not understand. I heard the other day a story which illustrates the point and which may appeal to garden lovers. A lady wishing to keep people from crossing her lawn put up a notice BEWARE OF THE DOG. It had no effect. She then put one up BEWARE FIERCE DOG - still no effect - but when she put up BEWARE AGAPANTHUS no one dared come near."

Jim Ede - Founder of Kettle's Yard, Cambridge. ('Open House' Exhibition Catalogue)
The degree of aesthetic impact and emotional experience of the above quote varies dramatically depending upon whether or not the reader 'knows' what an 'Agapanthus' is. The quote is useful because it presents a few small challenges; to buy into, or believe in this story, we have to imagine, visualize, think and feel.

For those who do 'not know', the warnings of a dog, and a fiercer dog, set up the Agapanthus as something particularly fierce and dangerous. Finding out that an Agapanthus is a rather beautiful plant diminishes the fear of what it might be and enables us to understand one major point of the story, another point is that the realization also dashes the daydream created by our imagination.

For those who 'know' what an Agapanthus is, the quote presents a different challenge. When one 'knows' it is more difficult to imagine or create a daydream of what an Agapanthus might be. In many ways it is sensible and practical in life to trust in the reality we have tested, know and believe. However, the quote also makes more complex points, one being that there can be gains and benefits from using the imagination.

The 'lady' in the story uses her imagination to enhance reality - by activating the fear and imagination of others she gets the solution she wants. It is a consciously driven movement away from reality, a creative reversal of the process of realization.

There is also an implied warning that accompanies the process of immersing ourselves in the story - when we 'suspend our disbelief' (Coleridge, 1817) and our trust in things that are real, we make ourselves susceptible to being manipulated. It is like our reality anchor has been hoisted and we become vulnerable to the ebbs and flows of the sea. We identify with the lawn trespassers and the story makes us turn back in fear.

Significantly, those who 'know' and those who do 'not know' must both give up a sense of reality and accept the fictionalised story to be able to understand and have access to the benefits of the many points condensed within it.

Jim Ede recounted this viginette so that visitors to museums and galleries would enter and approach art and artefacts with open and creative minds, rather than expecting to find what is already known and what we feel safe with. There is a risk in embracing the unknown, the challenging, and the difficult, but without the risk there can be no development, creativity, or change. It is not difficult to see how crucial these factors are in learning.

The unfamiliarity of the 'Beware Agapanthus' sign forces a re-evaluation of habitual responses, momentarily we reconfigure our existing experiences to address a new set of learning parameters. We are forced to question and consider, or if the challenge is too extreme, we avoid. It is an important skill to 'know what to do, when we do not know' (Claxton 2003, p2) and it is something that is easily overlooked when there are so many prescriptive aspects of compulsory education.

[Karl Foster]

Related posts:-
Negative Capability
Entertaining Ideas
Art Frame of Mind
Are you sure?
Don't commit to it
Look again
Escaping Uncertainty

Hell in a basket

Hillman: My friends talk about decency. Isn't it extraordinary how the world goes on working with decency, in spite of it all? Somebody falls, somebody tries to help them. There's just an immense reservoir of human decency around. It's a great power in the world, for keeping thing going, in spite of all the corruption.

Therefore we can't predict, we can't say the world is going to hell in a basket, it's too easy. You run the risk of being caught in an archetypal fantasy.

Ventura: That's the danger I always run into.

Hillman: Any one of the archetypal fantasies, whether it's "the world is getting better" or "the world is going to hell in a basket" - these are myths that seize us and are comforting, because any single one you get into is comforting.

Ventura: Whoa, how is "it's all going to hell in a basket" comforting?

Hillman: If your nature is dark, you may find the darker fantasy comforting. Another friend of mine's fantasy that comforts him is that everything is senseless and all our systems are attempts to make sense of what is essentially senseless. Therefore you're always in a valley, you can never get out of the valley, no matter which system you set up. I find that a despairing notion, but for him it's a mythological fantasy that gives comfort and safety.

And when you say to him, "Look, you're just hiding in that one," he says, "No, don't you see how despairing it is, there's no safety?" But he's safe inside a fantasy of no safety.

Ventura: If you say it's all beyond prediction or control - that in fact your fantasies don't fulfill themselves in the long run, they contradict themselves in the long run - then you can't control it with your systems, because life is beyond what we can think about it. Life is going to fool us all.

Hillman: Life is beyond what you can think about it. We need, nonetheless, to think about it.

Ventura: We have to, because that's how human beings are made.

Hillman: That's part of life, to think about it.

[James Hillman]
with Michael Ventura
We've Had a Hundred Years of Psychotherapy - And the World's Getting Worse, p.233, 234

Relates posts:-
A necessary lie
Satisfying Narratives
Guiding Fiction
You laugh at my back, and I'll laugh at yours 

Construct it differently

Contexts are learned. Thus most of what provokes emotion is learned. And these emotional contexts are generally learned in a single-minded way. Children are not taught that the way they feel in a particular context could be either fear or delight. Instead children are taught that snakes are frightening, sunsets are peaceful, mothers (and motherlike people) are loving.

Emotions rest upon premature cognitive commitments. We experience them without an awareness that they could be otherwise, without an awareness that this is the way we, albeit passively, constructed the experience.

If someone or something contradicts the "truth" of these emotional associations to which we have committed ourselves, we point out that they feel right. Since they feel right, they are true. But they may feel right simply because of the way they were originally learned, just as a tune first heard a certain way sounds wrong if played differently later.

Without looking closely and noticing that the same stimulus in different contexts is a different stimulus, we become victims of the associations we ourselves constructed. When we are tormented by unwanted emotions, we assume it could be no other way.

[Ellen Langer]
Mindfulness, p.175, 176

Related posts:-
Making it up as we go
Look again
A Familiar Story
Love Thy Neighbour (and his music)

You've changed

................................................................................................................................................................................


Our levels of confidence also relate to how ready we are to accept change, and how able we are to allow our friends to change. To feel secure in ourselves, we need to be able to predict events reasonably accurately. We think we know our friends well, and so can predict what they will do.

We create a mental image of our friends, and we want to keep them within the bounds of that image. Our need to do this can override our ability to see our friends in the way they see themselves. We do not want them to change because then we would have to change our image of them. Change creates uncertainty, and uncertainty can be frightening.

When we seek to understand another person, we can do this only through discussion where we do not judge the other person, but ask for clearer descriptions of how he sees himself and his world.

We need to use two key questions. For example, if your friend says: "My mother died when I was five," ask: "How did you feel about that?" The answer might be: "I was upset because I thought she'd died because I was naughty". From such an answer, we can understand why this person always strives to be especially good.

If your friend says: "I always send friends and family birthday cards", ask: "Why is it important to you to send birthday cards?" Always include the words "to you". That way, the reply has to be a statement of one of the principles whereby the person lives his or her life.

[Dorothy Rowe]
How to Understand People ('With Friends Like These ... '), p.34, 35
Free supplement with Observer newspaper, for full article see here


................................................................................................................................................................................

Related posts:-
Friendship
Shedding Skin