Philosophy

A Baghdad DoubleTake and other matters

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[ cross-posted from Zenpundit ]

Zenpundit recently posted a video of a terrific hour-plus-long speech by Doug Hofstadter one of the best videos I’ve ever taken the time to watch in which Hofstadter, the guy who brought us Godel Escher Bach and much more, talked about analogy and suggested that it’s at the very core of human cognition.

I posted a poem and some comments in response — they got a bit mangled in terms of formatting, which may be fixed by the time you read this and Zen then posed a question:

Charles – there’s a large portion of visual imagery in the passage you cite: do you think the incorporation of imagery (thus activating a powerful region of the brain) enhances or distorts the underlying conceptual connection in an analogical construction?

That’s what set me off this time…

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I think of a poem as a braiding of three strands: a strand of sound or music, a strand of image, and a strand of meaning. For convenience, I’ll usually include a fourth wit but it’s actually more like a pearl that can be threaded on the strand of meaning.

From my POV, the poem is thus essentially a screenplay for the mind’s eye and if a poem begins with strong music, at the very least I’d like it to end with strong music, if it starts with wit or wordplay, I’d like it to end with that too, and if it has imagery, I’d like the images to unspool in a way not unlike the images in a movie…

When I’m reading poems by others, and particularly if I’m teaching a poetry class, I’ll sometimes notice a sudden disjunction in one of the three strands. If it’s clearly for effect, all’s well and good but if it’s unconscious, unintended, it will always reveal an aspect of the poem that hasn’t been worked through yet, and applying conscious attention to it will result in the emergence of new material from the unconscious store that enriches the final product. Sometimes, that kind of attention reaches something that was psychologically difficult, a disjunction in soul if you like and the result of moving through it to the finished poem can be very much like a breakthrough insight in therapy.

But “poetry is not a hospital” if Apollinaire didn’t say that, and I used to think he did, I shall.

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From my POV, therefore, there are analogies of sound, analogies of meaning, and analogies of image. There’s an analogy of sound between tomb and womb we call it rhyme. There’s certainly an analogy of meaning whence we come at birth, whither we go at death. And if you like, there’s an analogy of image when I think of the “twinning” of those two words, I see life itself as running across a brief stretch of grass between two caves…

When as here, the analogy runs across all three braids, you have a very powerful “conceit” or poetic device.

The graphic match, together with sonic rhyme, between the visuals of a hotel room fan and the rotors of a helicopter at the beginning of Apocalypse Now parallels the sense of explosive heat and frustrated inaction of Captain Willard trapped in Saigon with the sense of freedom and clarity he feels when sent on mission up-river again, an analogy in three strands.

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But analogy can also cut across the senses in a different way. Here’s Hermann Hesse‘s view of the Glass Bead Game:

Throughout its history the Game was closely allied with music, and usually proceeded according to musical or mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement . A Game, for example, might start from a given astronomical configuration, or from the actual theme of a Bach fugue, or from a sentence out of Leibniz or the Upanishads, and from this theme, depending on the intentions and talents of the player, it could either further explore and elaborate the initial motif or else enrich its expressiveness by allusions to kindred concepts.
 
Beginners learned how to establish parallels, by means of the Game’s symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combination.

That’s analogy cutting across disciplines, and across sensory modalities too.

There was a period of about a dozen years when I almost completely stopped writing poetry, and concentrated on devising a variant on Hesse’s game that would be playable on a napkin in a café conceiving of it as an art that would combine tight form (think: sonnet, sonata) with the entire spectrum or palette of human thought, visual, verbal, numerical, aural.

Hesse again:

The Glass Bead Game is thus a mode of playing with the total contents and values of our culture; it plays with them as, say, in the great age of the arts a painter might have played with the colors on his palette. All the insights, noble thoughts, and works of art that the human race has produced in its creative eras, all that subsequent periods of scholarly study have reduced to concepts and converted into intellectual values the Glass Bead Game player plays like the organist on an organ. And this organ has attained an almost unimaginable perfection; its manuals and pedals range over the entire intellectual cosmos; its stops are almost beyond number. Theoretically this instrument is capable of reproducing in the Game the entire intellectual content of the universe.

And that was written before the world wide web allowed us to mingle visual, verbal, numerical and aural elements so directly in a single presentation.

You can imagine how delighted I was, therefore, to stumble upon Sven Birkerts‘ writing:

There are tremendous opportunities, and we are probably on the brink of the birth of whole new genres of art which will work through electronic systems. These genres will likely be multi-media in ways we can’t imagine. Digitalization, the idea that the same string of digits can bring image, music, or text, is a huge revolution in and of itself. When artists begin to grasp the creative possibilities of works that are neither literary, visual, or musical, but exist using all three forms in a synthetic collage fashion, an enormous artistic boom will occur.

That’s what the HipBone Games were all about…

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That’s what I was reaching for, back in the days before I even called my games the HipBone Games — when they were still TenStones Games played on a board whose geometry I borrowed from the Sephirotic Tree when I played TS Eliot‘s poem, The dove descending, in juxtaposition to Vaughan Williams‘ piece for violin and orchestra, The lark ascending…

…matching music with poem, descent with ascent, dove with lark, and the natural world of the English countryside with the “wrought” world of Eliot’s London in the pentecostal Blitz.

I don’t think Stephen or I had web browsers at the time we played that game using AOL’s early texting function, so the music was entirely in the mind…

And I still think of that game as one of the loveliest expressions of the “hipbone” art.

Hesse’s game really is, for me, the continuation of poetry by other means…

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But then it turns out that analogy is an incredibly powerful aspect of human thought and one that, IMO, we haven’t explored very deeply, perhaps precisely because it jumps silos and disciplinary boundaries, and creates fresh insight…

…which is pretty much as Doug Hofstadter was suggesting in that video Zen posted.

And so this fundamentally analogical frame of mind — which I had developed in a poetic and aesthetic context and applied to the symbolism so dear to the poets, cultural anthropologists, analytical psychologists, and comparative theologians and the like — turned out to be highly applicable and seen as highly creative when applied to real world issues, when I got a job for a couple of years at a small think-tank just outside DC.

Because if linear causality is the warp of the weave of the world, acausal patterning is its woof (or weft) and frankly, our current techno-civilization is hopelessly warped in the direction of warp, and has very little understanding of woof, of weft, of pattern — of what can only be learned from analogy.

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Not that there doesn’t have to be enormous care taken to avoid over-reading parallels. But consider the immediacy of the impact of this DoubleQuote, which I composed in 2003:

QUOBaghdad 1917 2003

Eh, Zen?

Santayana echoes Marx refracts Hegel:

Hegel remarks somewhere that all great world-historic facts and personages appear, so to speak, twice. He forgot to add: the first time as tragedy, the second time as farce.
 
Those who cannot remember the past are condemned to repeat it

Seen from another angle: history has rhymes to match its reasons…

North Korea, Juche and “sacred war”

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[ cross-posted from Zenpundit ]

Okay, I am now clear that the correct translation of the Korean phrase that has sometimes been rendered “holy war” in recent news reports is in fact “sacred war”.

I’d been wondering just what an atheist state was doing threatening “holy” or “sacred” war…

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Juche is the state philosophy of North Korea, and is considered to be the 10th largest religion in the world by the Adherents.com portal, ranking above Judaism, Baha’i, Jainism and Shinto. It developed out of Marxist-Leninism and has more recently incorporated Confucian elements.

Sunny Lee, writing in a 2007 article in Asia Times titled God forbid, religion in North Korea?, quotes Han Sung-joo, a former South Korean foreign minister, as saying “There is a deification and a religious emotional element [in juche] in the North. The twinned photos of Kim Il-sung and Kim Jong-il are everywhere. Every speech says Kim Il-sung is still alive. I think if I stayed another two weeks, I might even see Kim Il-sung. The country worships someone who is deceased, as if he were alive.”

One Christian site goes so far as to call Juche a “counterfeit Christianity:

Recognizing the power of Christianity, Kim wanted it to be directed at himself. So he took Christianity, removed God the Father, Jesus Christ and the Holy Spirit, set up himself, his wife and son as the new trinity, and called it Juche. At its core, Juche is a counterfeit Christianity that is deathly afraid of true version, and rightfully so.

I suppose a close comparison here would be with the cult which Robert Jay Lifton described in Revolutionary immortality: Mao Tse-tung and the Chinese cultural revolution.

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In On Juche in Our Revolution, vol II (published in English, 1977), Kim Il Sung writes:

No military threat of the US imperialists, however, can frighten the Korean people. If, in the end, the US Imperialists and their stooges unleash a new war against the DPRK, in defiance of our people’s patient efforts to prevent a war and maintain peace and the unanimous condemnation of the peace-loving people of the world, the Korean people will rise as one in a sacred war to safeguard their beloved country and the revolutionary gains. They will completely annihilate the aggressors.

So the “sacred war” phrasing has been around for a while.

I hope to learn more — these in the meantime are some clues to be going on with…

Martyrdom, messianism and Julian Assange

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[ cross-posted from Zenpundit ]

Martyr and messiah are two of the more intense “roles” in the religious vocabulary, and unlike mystics and saints, both martyrs and messiahs tend to have an impact, not just within their own religious circles but in the wider context of the times.

Martyr and messiah are also words that can be bandied about fairly loosely — so a simple word-search on “messiah” will reveal references to a third-person platform game with some gunplay and the white messiah fable in Avatar, while a search on “martyr” might tell you how to become a martyr for affiliate networks, just as a search on “crusade” will turn up crusades for justice or mental health my search today even pointed me to a crusade for cloth diapers.

1. Martyrdom and messianism in WikiLeaks

Unsurprisingly, perhaps, both terms crop up occasionally in WikiLeaks, with the Government of Iraq, for instance, banning use of the word “martyr” for soldiers who died in the war with Iran, and US diplomats wiring home a report by an opposition psychiatrist to the effect that “Morally, Chavez [of Venezuela] combines a sense of tragedy and romanticism (a desire for an idyllic world) to project a messianic image.” Indeed, the whole paragraph is choc-a-bloc with that kind of imagery, and worth quoting in full:

Ideologically, Chavez wants to project an image of a “utopian socialist,” which de Vries described as someone who is revolutionary, collectivist, and dogmatic. In reality, de Vries argues, Chavez is an absolute pragmatist when it comes to maintaining power, which makes him a conservative. Coupled with Chavez’ self-love (narcissism), sense of destiny, and obsession with Venezuelan symbolism, this pragmatism makes Chavez look more like fascist, however, rather than a socialist. Morally, Chavez combines a sense of tragedy and romanticism (a desire for an idyllic world) to project a messianic image. De Vries, however, said Chavez is a realist who uses morals and ethics to fit the situation.

PM Netanyahu of Israel was using the term “messianic” with a little more precision when he described the Iranian regime as “crazy, retrograde, and fanatical, with a Messianic desire to speed up a violent ‘end of days.'”

2. Julian Assange in the role of martyr

The words martyr and messiah, then, carry a symbolic freight that is at the very least comparable to that of flags and scriptures so it is interesting that both terms crop up in the recent BBC interview with Julian Assange.

My reading of the interview suggests that it is Assange himself who introduces the meme of martyrdom, though not the word itself, when he answers a question about the impact of the sexual accusations against him, “What impact do you think that will have on your organisation and what sort of figure do you think you, Julian Assange, cut in the face of all this. How will you be regarded? What will it do to you?” with the response, “I think it will be quite helpful for our organisation.”

In the follow up, interviewer John Humphrys twice uses the word “martyr” explicitly:

Q: Really? You see yourself as a martyr then?
 
JA: I think it will focus an incredible attention on the details of this case and then when the details of this case come out and people look to see what the actions are compared to the reality of the facts, other than that, it will expose a tremendous abuse of power. And that will, in fact, be helpful to this organisation. And, in fact, the extra focus that has occurred over the last two weeks has been very helpful to this organisation.

and:

Q: Just to answer that question then. You think this will be good for you and good for Wikileaks?
 
JA: I’ve had to suffer and we’ve had incredible disruptions.
 
Q: You do see yourself as a martyr here.
 
JA: Well, you know, in a very beneficial position, if you can be martyred without dying. And we’ve had a little bit of that over the past ten days. And if this case goes on, we will have more.

3. Julian Assange in the role of messiah

If the role of martyr implies, at minimum, that one suffers for a cause, that of messiah implies that one leads it in a profound transformation of the world. Both terms are now found in association with the word “complex” which applies whenever a individual views himself or herself as a martyr or messiah but a “messianic complex” is presumably more worrisome than a “martyr complex” if only for the reason that there are many more martyrs than messiahs, many more willing to suffer for a cause than to lead it.

It is accordingly worth noting that it is the interviewer, John Humphrys, who introduces both the word “messianic” and the concept of a “messianic figure” into the interview, although Assange makes no effort to wave it away…

Q: Just a final thought. Do you see yourself… as some sort of messianic figure?
 
JA: Everyone would like to be a messianic figure without dying. We bringing some important change about what is perceived to be rights of people who expose abuses by powerful corporations and then to resist censorship attacks after the event. We are also changing the perception of the west.
 
Q: I’m talking about you personally.
 
JA: I’m always so focussed on my work, I don’t have time to think about how I perceive myself… I had time to perceive myself a bit more in solitary confinement. I was perfectly happy with myself. I wondered what that process would do. Would I think “my goodness, how have I got into this mess, is it all just too hard?”
 
The world is a very ungrateful place, why should I continue to suffer simply to try and do some good in the world. If the world is so viciously against it ,why don’t I just go off and do some mathematics or write some books? But no, actually, I felt quite at peace.
 
Q: You want to change the world?
 
JA: Absolutely. The world has a lot of problems and they need to be reformed. And we only live once. Every person who has some ability to do something about it, if they are a person of good character, has the duty to try and fix the problems in the environment which they’re in.
 
That is a value, that, yes, comes partly from my temperament. There is also a value that comes from my father, which is that capable, generous men don’t create victims, they try and save people from becoming victims. That is what they are tasked to do. If they do not do that they are not worthy of respect or they are not capable.

4. Julian Assange, martyr and messiah?

I think it is clear that both Assange and his interviewer are in effect reframing the religious terms “martyr” and “messiah” in non-religious, basically psychological senses — although I don’t suppose Assange is exactly claiming to have the two “complexes” I mentioned above.

Here’s what’s curious about this reframing, from a religious studies point of view:

Assange’s implicit acceptance of a “messianic” role undercuts the specific force of the role of “martyr” one who gives his life for the cause. “Everyone” he says, “would like to be a messianic figure without dying.” Assange wouldn’t exactly object to being a martyr without dying, too.

The WikiLeaks paradox

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[ cross-posted from Zenpundit ]

Since my “HipBone” analytical approach, like the HipBone Games which inspired it, is based on networks of linkages between one “representable” (concept, fact, quote, anecdote, sound, musical phrase, image, video clip, statistic, cultural form, person) and another, there’s a special place in my analytic thinking for those representables which are self-referential the category that gave rise to Douglas Hofstadter’s celebrated book, Gödel, Escher, Bach.

Indeed, I have a special glyph that I use in my games to notate ideas that are self-referential:

dragon eats

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Okay, enough poetry for now.

The WikiLeaks business gives rise to one such self-referential puzzle the one famously minted in classical times under the Latin tag: Quis custodiet ipsos custodes?

Just how you tend to interpret the tag in English may depend on whether you read “custodes” as “guards” or “watchmen” who shall guard the guards, who shall oversee the overseers, who shall watch over the watchmen…

But what does this have to do with WikiLeaks?

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Let me rephrase it: Who will leak the leakers?

I mean, if transparency is so universal a good, will Julian Assange drop his encryption and allow us all (IC and foreign equivalents included) to access WikiLeaks databases at any time, leaking whatever we think might be of interest without consulting him?

Or is the point that some opacity, some secrecy is good — and Julian Assange believes he knows which secrecy that is, and can be trusted to reveal that which should be revealed and keep secret that which should be kept secret?

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Perhaps the WikiLeaks paradox is a koan.

Update: Wikileaks and Cryptographic Mythology

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[ cross-posted from Zenpundit ]

It seems my intuition of a Lovecraft connection with WikiLeaks was right, as was Jean’s suggestion that the MARUTUKKU quote is “more specific and extensive and ‘mythological'” than the translations of Enuma Elish she’d found on the net. I dropped Anders Sandberg a line letting him know I’d quoted him in my earlier post, and he graciously responded with this clarification of the mystery:

I think the MARUTUKKU name/description is from the Simon Necronomicon, which did its best to shoehorn mythology into the mythos, and might explain the different translation. Of course, one might argue that that book is a real, a hoax posing as real, real posing as a hoax, or both at the same time.

Anders, currently a staff member with the Future of Humanity Institute at Oxford (which name strikingly reminds me of the Bright Futures Institute in Qom, Oxford’s parallel in the Iranian universe), is also known for his writings on Mage: the Ascension and other role-playing games — see for instance this account of the Asatru in M:tA.

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Bryan Alexander Steve Burnett

The bearded, theremin-wielding mage Steve Burnett [left] also noted the origin of the MARUTUKKU quote in the Simon Necronomicon in his comment on my no-less-bearded mage-friend [right] Bryan Alexander‘s blog Infocult — which features a rich vein of gothic imaginings and runs with the subtitle “We haunt every medium we make”.

My warm regards to all…