Norway’s Philosopher

I first encountered Arne Naess’ work in 2012 (see this post), and I regret that I failed to follow up by reading more of his “ecosophy T” (deep ecology) and philosophy. I am finally getting around to his very late book Life’s Philosophy, and I love how it speaks to me on many levels. His claim that human emotions can and should be components of human reason makes so much sense that I wonder why so few researchers look into it; some folks on the edges of neuroscience and psychology seem to venture there, but few others. The concept of “relationism” resonates for me, too. It reminds me of the Dali Lama’s teachings that all things in the world are intertwined and valuable, even non-sentient beings.

Relationism, as Naess uses it, acknowledges the vast and impossibly infinite complexity of the universe, more strictly life on earth, and–can I use the word “celebrates”?–the interwoven strands of animal, vegetable, mineral, bacterial, cosmological, emotional, rational aspects of a life in the world: ecology on steroids (he would not have phrased it like that). My urge for balance in my own life makes this philosophy relevant: the opportunities for play and for imagination as well as for seriously abstract concepts, for the importance of emotions as felt in the human body and as interpreted or contained in the human intellect; the necessity of listening to even the tiniest sounds, of savoring the small moments, of not needing to be big or grand or successful but to be mature in how one feels with the world.

The incredible difficulty of saying any of this. Which Naess also acknowledges, saying the difficult job of conveying being felt in the world leads to music, to art, to sitting with the natural and sensing beauty. I might add: Poetry. Though poems are made of words, they often operate through images and felt moments rather than intellectual logic.

The wonderful paradoxes of this book delight me, but then, I always have enjoyed paradoxes. Naess was, indeed, a philosopher, a mathematician, a person who valued logic, reason, and analysis, an analysand himself and briefly a psychological researcher, a mountaineer, a teacher. What to do with the inherently analytical side of himself? Treasure and use it to find wonder! That’s what makes him different from so many thinkers. Wonder. He writes, “To me, the ability to analyze the experiences of the moment is a source of wonder: wonder at human creativity and the result of evolution during hundreds of millions of years. That which happens within us–in our minds and hearts–is so complicated that the psychoanalytical instruction to express everything that occurs to one becomes…and exhortation to to the impossible.”

He opposes Cartesian mind-body separation not just within the body itself (as medical science has proven) but in terms of landscape, natural environment, places. He posits that people need deep thinking about values that move us emotionally just as much as we need to think about rational, pragmatic, socially-pressured values that are based on intellect or the empirical. Place matters, and we need to consider our fundamental place, Earth. Naess’ oppositional stances are, however, never a fight. Instead, discourse, compassion, patience with what is complex. A sound life philosophy requires stillness sometimes, and listening, even–especially–to the “tiny, tiny things,” he urges: “The art of living is to be able to work with small things in a big way.”

How do you feel yourself and the world? is the title of one chapter. I read the question with emphasis on different words and began to realize what a complicated and interesting question it is, though it seems (at first) so simple. Naess says that humans have hewed to the idea that there’s a gap between reason and emotion, and that the gap is an artificial one; a change in perspective, and an understanding that the mind and the body live in a physical world where emotions play a huge role in human communication, might help us to enjoy our lives more–and maybe, while we are at it, treat the earth one which we depend with more love and respect. But we have to feel we are not just ourselves but the world: of it, from it, in it.

mapio.net/pic/tvergastein

Complexity & simplicity

I revel in complexity. Yet I seek simplicity.

Are the two incompatible?

I think not, if one is comfortable with paradox and ambiguity and remains willing to view experiences from various perspectives.

Anyway, if a person is not willing to encounter complexity, that person is essentially trying (hopelessly) to escape life. Exhibit A, the Stanford Encyclopedia of Philosophy’s delicious entry on “Life,” by Bruce Weber:

Living entities metabolize, grow, die, reproduce, respond, move, have complex organized functional structures, heritable variability, and have lineages which can evolve over generational time, producing new and emergent functional structures that provide increased adaptive fitness in changing environments. Reproduction involves not only the replication of the nucleic acids that carry the genetic information but the epigenetic building of the organism through a sequence of developmental steps. Such reproduction through development occurs within a larger life-cycle of the organism, which includes its senescence and death. Something that is alive has organized, complex structures that carry out these functions as well as sensing and responding to interior states and to the external environment and engaging in movement within that environment.

Interior, exterior, replication, variability…a look at computational complexity models shows us that the possibilities are indeed endless.

No matter how complicated the specifics become, however, there are these simple phenomena: birth, death; with (usually) some sort of transformation/transition or action occurring in the gaps. While I do not think that most of the questions human beings ask are “simple”–indeed, even the process of asking “do you want cake?” is more complicated at the physiological and cognitive levels than most of us would care to explore–it may be possible to quiet the mind and heart a bit to a level closer to simplicity.

The moment of awe offers, to my way of thinking, a kind of simplicity we can access on even the most ordinary days, even as we relish the amazing complexity of the phenomena of the physical world with its fractal tree branchings, its crystalline-structured cloud formations, and the elements in the atmosphere that, through the processing of light (about 4400 angstroms) through the rods and cones of human eyes, make up the quality we call sky blue.

Simply beautiful. Breathe in. Breathe out.

May Moon Ann E. Michael

Mixed/media

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From J. M. Barrie’s Peter Pan: “Fairies have to be one thing or the other, because being so small they unfortunately have room for one feeling only at a time.”

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From W. H. Auden: “…poetry might be defined as the clear expression of mixed feelings.” For Auden, this communication of mixed feelings didn’t mean ambiguity; it referred to double focus–seeing or feeling or otherwise knowing two conflicting feelings simultaneously. Something that, according to Barrie, fairies could not do.

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The mixed-ness of life presents many of its irritants, but also many of its joys. Think about the amazing complexity of a human being, a consciousness, a sentience: the mish-mash of experiences filtered through a mish-mash of other experiences and through unique neurological channels. I relish the fringes and edges of things such as meadows, rivers, horizons, roads, neighborhoods, and cultures. Combinations are more interesting than homogeneity. Paradoxes are more exciting than indelible rules.

I appreciate the design of formal gardens, or swaths of tulips; but a cottage garden interests me for longer, as do bogs and wetlands and the borders of woodlands. Most of the poems I love best, those that resonate the deepest and longest, express multiple and mixed possibilities. I enjoy poetry that can be interpreted several ways, or that twists back on itself and points out a paradox or a different focus, poetry that opens up perspectives and challenges expectations and perceptions. Mixed media, mixed expression, mixed feelings, mixed perennial borders, mixed forests, mixed neighborhoods…these juicy collages of experience keep the brain lively and interested.

They also pose good challenges for meditation. One can concentrate or focus on the unity of the disparities, for example. Lose yourself in a meadow.

 

Consciousness & cosmology

"Syntax" by Steve Tobin. Copper, bronze.

“Syntax” by Steve Tobin. Copper, bronze. What can be said about all the things we think make up an “I”?

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I’ve completed I Am a Strange Loop and Why Does the World Exist? and found, not entirely to my surprise (but to my delight–braiding and synthesis!), that the existential, metaphysical, and cosmological aspects of both authors connect intriguingly. Thomas Nagel, an important “philosopher of mind,” appears as an influence in both of these writers’ books, and Einstein and Plato and Heidegger. Both authors end up citing Derek Parfit’s work, and Holt even interviews him! It turns out that trying to determine the “reason” the world exists at all is not that different from trying to understand what consciousness is made of and where it resides.

After taking up mathematical proofs and several philosophical arguments, as well as neurological science as a basis for the evolution of “mind,” Hofstadter’s book gradually takes apart the mind-body problem that Descartes made so iconic for Western civilization’s thinkers. He keeps returning–and that’s an appropriate word–to the metaphor of looping. He looks at the strange loops of Escher’s drawings and of string theorists’ rolled-up dimensions and alerts us to how crucial the concept of self-reference is to the theory of consciousness.

The need for self-referentiality in a fully “human” consciousness gets him to the idea of “small-souledness” (among, say, such beings as mosquitoes). What portion of our selves makes us able to think about thinking, for example? Is that identity, or consciousness? What’s the difference? Here is where Parfit comes in. Hofstadter writes that Parfit “staunchly resists the idea that the concept of ‘personal identity’ makes sense. To be sure, it makes sense in the everyday world we inhabit…we all more or less take for granted this notion of ‘Cartesian Ego’ in our daily lives; it is built into our common sense, into our languages, and into our cultural backgrounds.”

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If we care at all about what there may be beyond our everyday lives–and certainly people like Hofstadter, Holt, Bachelard, and me, among others, do care–we need to get “meta” in our meditations, which invariably leads to paradoxes and thorny tangles. Hofstadter’s book also engages with his ‘personal life’ (if, indeed, a personal identity or personal life exists). When his wife died, he found himself engaged in the seemingly unanswerable question of “Where did Carol go?” Did “Doug-and-Carol,” the shared dreams and lives and understandings of two people who knew one another intimately, simply vanish when Carol’s body died? Hofstadter cannot fathom that this shared identity “goes poof” when the body stops. He, after all, still feels connected to the Doug-and-Carol shared consciousness.

It feels real to him. So–what is consciousness? From whence does it emanate, or originate? Is it real, or is it an illusion–is there no such thing as the personal identity we hold so dear that we cannot even imagine ourselves any other way than as an “I”? (Are feelings real?)

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Jim Holt’s book likewise gets more personal as the chapters progress and as he wrestles with his existential inquiry through texts and interviews. That seems quite appropriate: how can we use language to untangle what language itself makes vague and confusing? (See Tobin’s sculpture “Syntax,” above, for a physical view of loopy entanglement and potential words). Holt’s inquiry initially seems based on the abstract, mathematical, physics of why/how the universe got here; but he ends on the metaphysical and philosophical…whereas Hofstadter entertains the metaphysical from the get-go but employs mathematics, psychology, and brain physiology as well as philosophy. And they encounter similar quandaries, paradoxes, and uncertainties. Both authors essentially come to a similar conclusion about the mystery of existence, though they accept or compromise with their conclusions in slightly different ways. Then again, they are different people who have lived different experiences. Reading both books has been, for me, a valuable experience and one that’s made me examine my own thinking about being.

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Apropos of these musings, and thanks again to Popova of Brainpickings, here’s a few more words on some contemporary thinkers who have theorized as Holt has (in particular, Lawrence Kraus) in the debate on Something vs. Nothing: “What is Nothing”

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…And, apropos of nothing in this post, but to lighten the mood, here’s an amusing little blog from The New Yorker about pilcrows & pound signs & ampersands.

Grief, poetry

I think it is important that people read Mark Doty’s deep and appropriate comments on whether (or, possibly, how) poetry can console “a grieving public.” It’s on the Poetry Foundation’s website.

Doty’s poetry has always struck me as particularly powerful at evoking, and embodying, the way the world that is (physical, phenomenological) intersects with the world of the mind (both intellectual and emotional). He is likewise an excellent, reflective, poetic prose writer and memoirist.

On this day, which still sears pretty heavily into the collective and individual consciousness of many U.S. citizens, Doty’s observations about public and private shared grief, and how we “process” such emotions are apt and compelling. Doty begins with Wislawa Szymborska’s heartbreaking, and controversial, poem “Photograph from September 11.” In his commentary, he asks, “What can the artist do, in the face of the dreadful, that which can’t be assimilated?” and says that

To name it is to diminish it and, in the process, to come head to head with the inadequacy of the tools of poetry to circumscribe such experience. It is a gesture recognizable from Neruda’s great poem occasioned by the Spanish Civil War, “I Explain Some Things,” in which he writes that the blood of the children ran in the street “como el sangre de ninos”—“like the blood of children.” There is no adequate gesture, nothing in the arsenals of figuration that will serve; only a terrible plainness of saying, or of pointing toward what cannot be said, can rise to these occasions.

He observes–and I have to agree with him here, “I understand the human need…to give shape to grief, but surely the first response to such a rupture in the fabric of the world ought to be a resonant, enormous silence. To come too quickly to words is, ultimately, a form of arrogance; the easy poem suggests that loss is graspable, that the poet has ready command of speech in the face of anything.”

Elegy takes me awhile. Silence and the awe of disbelief and the need to think come first; indeed, are necessary. For me, perhaps the most stunning September 11 “elegy” is, surprisingly, from Blue Man Group: the mostly wordless video “Exhibit 13.”

Doty moves on: he says, “All poems of public grief are private poems first. If, that is, they are any good, and not merely occasional pieces that serve to mark a moment and reinforce what people already think.” True. And then, these words, which artists are more likely to understand than no-artists, because there is potentially something “hard” in them–

The act of making a poem is a movement from private feeling and perception, the inchoate stuff of experience, into the shared realm of language. At some point along the way, the poet usually becomes less interested in understanding or naming experience, and more intrigued by the words themselves, by the patterned arrangement of sound and silence on the page and in the ear, the pleasures of giving form. And it is a pleasure, poetic making, even when what is being shaped is dreadful.

The aesthetic, the gorgeous, emerging from horror. Isn’t that almost–almost–manipulative? Doty recognizes and disabuses us of that notion by citing his own experience of writing about AIDS:

I was setting things down for myself because I needed to, and then experiencing…that progress toward impersonality which comes with the making of poetry. That must be among the strangest of poetry’s many paradoxes: that we are driven to write by fire and then must distance ourselves to a cool dispassion in order to make those flames burn for anyone else. That is not a heartless thing, or an opportunistic one, to turn your experience into art.

Yes, please read his essay if you are interested in what art is and what it does and how it relates to public experience of any kind.

“I think what the poet must do is pay attention to the nature of subjectivity, to the experienced, lived hour, and trust the paradox that if we succeed in representing that, we may approach speaking to our fellow citizens. I hope so.”  ~Mark Doty

More posts on grieving and art:  Despair&Fear, December 24