Monday, September 28, 2015

eigenvalues: influence of hyparchic folding via the backward arrow of time...,

parabola |  For thousands of years people have wondered about creative power. All this world around us was believed to have been made and did not just happen. Yet humans themselves make things. Are we then creators within a meta-Creation or mere “apes of god”? A primary realm of experience in which these and far more profound questions played out was in the making of words, or poetry. The authenticity of our poetry had to be granted us. This was the origin of the idea of the muse. The word itself has origins associated with mind, deriving from the proto-Indo-European root men “to think.” 

Mousika, from which we get our word “music,” was performed metrical speech. The speaking of verse was once the recognized form of intelligence and Plato had to argue it should be superseded by philosophical discourse (prose one might say) to open up to sceptical enquiry. This had vast implications since the very meters of verse were considered gods. (The secularization of language was completed only about five hundred years ago with the emergence of the form we call “sentence.”) Practically, for example in Norse poetry, there were different meters for different purposes, such as Fornyrðislag or “meter of ancient words” and Malahattr or “meter of speeches”.  By following and excelling in the forms, the bards were in tune, we could say, with the gods. The idea of intelligence and even “sacredness” residing in language itself rather than in people (capable only of temporary ableness) came down through the ages to Giambattista Vico and James Joyce and continues in modern commentators such as R. Calasso and George Steiner.

The making of verse and other manifestations of the Muses were expressions of making as such, including the making of the world and even evolution (in its various senses over the ages) once identified by the idea of the demiurge as in the writings of Plato and Aristotle. The demiurge became the arch-villain in Gnostic writings because he was seen as tied to the material world and creating a “prison-reality” such as depicted in the film The Matrix.

In many cultures the role of the demiurge was symbolized by the potter. Pottery and its art were deeply revered and appear to go back at least to Palaeolithic times. The abstract idea of it is that the demiurge has to use already existing material to fashion a world in contrast to the higher creation of ex nihilo, “out of nothing.”

On a personal level, the early Greeks had the idea of the daimon. It is mentioned in the Symposium that Socrates had problems with his daimon because it would indicate dangers but never tell him what to do–which is rather as we picture the unconscious these days.

R.B. Onians, who comments extensively on the terminology of early Greek thought, avers that the daimon had a personal physical location in the head and was associated with sex. It was only later, around the time of Plato, that the idea of thought originating in the brain was entertained. It is possible then to see the daimon in the head as a placement of creativity beyond the conscious mind. Onians traces the image into later times and links it with the appearance of energy around the head that became the “halo” of sacred individuals. The daimon as sexual and creative was also considered “irrational” and then became the “evil” demon. There are a myriad of evolutes of the idea including its translation in Roman times into the term “genius.” This very multiplicity of meaning is essential to its meaning. Just consider that special people (such as Lamia the queen of Libya) could become a daimon. Philip Pullman turned daimons into animals in his novels.

The people we imagined around their camp fire look to their artificial blaze and cannot see the deeper light in the “black” that surrounds them. Creativity has to be beyond consciousness. Yet, only in the world of consciousness can we seem to have choice and will. In the practical world–such as in industry or in psychotherapy–we strive to find ways of co-operation between the conscious and trans-conscious realms.  Nobody knows what happens at the critical moment which makes a process creative; consciousness is always somewhat downstream from reality. When Christ said while on the Cross, “Forgive them for they know not what they do,” it was the declaration of the central human predicament.

Commonly, people have located higher intelligences in the atmosphere or inside the sun. A more interesting “location” is the future, or at least in some order of greater time than our own moment. Until quite recently these intelligences were located in the “far-past” as in the days of creation. Bennett places them in a special time he called the hyparchic future, a phrase which means what is ahead of us capable of altering present time. Such a quasi-scientific view carries a sense of dealing with the higher intelligence and ourselves as a system. 

There is an aspect of all this that is mathematical and technical with no particular stake in spirituality. This is to look into process or action when they are self-reflective. An action that feeds into itself is infinite and requires no entity to “do” it but will exhibit what are called eigenvalues that appear as entities (that can be named). Speculatively, then, higher order operations or actions will incur higher beings. One of the most intriguing speculations in modern physics is that the very existence of the universe requires a multitude of what are called “Boltzmann observers.” And, as far as the reality of “I” is concerned there is a parallel in the singularity at the heart of a black hole in that it remains uncertain whether it can ever be observed.