So you think you’re a red-hot dancer?! Check this!

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What is ‘reason’?

What the Man of Reason (linguistic, conceptual, propositional and academic) refuses to acknowledge

…it is also inadequate to…(say) vaguely that it is only in the waking state that man thinks. For thought in general is so much inherent in the nature of man that he is always thinking, even in sleep. In every form of mind, in feeling, intuition, as in picture-thinking, thought remains the basis.

G.W.F.Hegel, Hegel’s Philosophy of Mind, Part Three of the Encyclopaedia of the Philosophical Sciences (1830), Trans., William Wallace, Clarendon Press, Oxford, 1971, 69

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A dance written not only in the stars – congratulations NASA!

每日天文一图(北京天文馆镜像)

Astronomy Picture of the Day

探索宇宙!每天发布一张迷人宇宙的影像,以及由专业天文学家撰写的简要说明。

2020-03-04

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星系NGC 5394和NGC 5395的双人慢舞

影像来源及版权:GeminiNSFOIR LabAURA文字:Ryan TannerNASA/USRA

说明:如果你喜欢慢舞,那么你可能会喜欢上这幅图。图中的这支舞,一个转身就需要几亿年。两个星系NGC 5394和NGC 5395在引力的相互作用下围着对方缓慢绕转,一些新的恒星得以形成,像是点缀在其间的火花一般。这张由位于美国夏威夷莫纳克亚山上的双子座北8米望远镜拍摄的图片,是四个波段的照片叠加处理而成。来自氢气的辐射用红色表示,那里是恒星诞生的温床。这些新恒星的诞生将推动着星系的演化。同样可见的还有暗尘带,这里将最终演化成恒星诞生地。如果观察仔细,你将在背景中发现更多的星系,它们中的一些正在上演属于自己的宇宙舞蹈

(翻译:北京天文馆杨斌)

明日一图预告:open space

‘Let us, then, make a mental picture of our universe: each member shall remain what it is, distinctly apart; yet all is to form, as far as possible, a complete unity so that whatever comes into view, say the outer orb of the heavens, shall bring immediately with it the vision, on the one plane, of the sun and of all the stars with earth and sea and all living things as if exhibited upon a transparent globe.’  Plotinus, The Enneads, V.8.9

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The one absolute – change

Why does the Sun’s surface keep changing? Solar granules at record high resolution.

‘The counter-thrust brings together, and from tones at variance comes perfect attunement, and all  things come to pass through conflict.’  

Heraclitus, The Art and Thought of Heraclitus, LXXV

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Plato, the poet, inspiration and change

Raphael’s imagining of Plato and Aristotle, The School of Athens, fresco, 1509-11, Apostolic Palace, Vatican City

Plato believed that art is essentially mimetic and used ‘mimesis’ in different ways to express what the product of a craftsman is on a scale of diminishing degrees of reality and knowledge (from knowledge [pure thought and reason] to opinion [belief and illusion]), in relation to the true objects of knowledge – the Forms. Using the example of a bed: the eidos of Bed, made by the god is a unique, eternal and unchanging and therefore fully real essence, embodied in all beds.

A bed made by a carpenter participates in the essence of Bed, but because it is in the world of change, is less real. An artist’s painting of the bed is a mere image or illusion because it is only of the appearance of the bed – the bed painted from one perspective, as though seen in a mirror – so the painting is thrice removed from true reality and knowledge. Similarly, the mimesis produced by the poet (who creates pictures with words) is the re-presentation of life – mere imitation.

While an artist can paint a bit and bridle he does not understand the form that is proper to these objects, he has neither knowledge nor correct belief of what he depicts because he has no experience of them. The smith and leather-worker can make them – but even they don’t have the understanding of them that the horseman has. As with the soul, the tripartite Platonic divisions apply in the arts: here – the art of use, the art of making and the art of representation. The implied equation between ‘art of use’ and (knowledge of) eternal reality is on the basis of ‘complete engagement with’ – developed in Neoplatonism. The poet is the counterpart of the painter – their work too is thrice removed from reality, for the same reasons. The poet knows nothing more than their own craft – how to re-present appearances. They have no knowledge on the basis of experience of what they write about but employ their mere imagination.

Plato held that the only poetry that should be allowed in the commonwealth is that which praises the gods and ‘good’ men. He had particular hostility to ‘imitative’ poetry because it was to this that the Greeks had traditionally looked for moral and intellectual guidance (his prime target was Homer). He wanted to establish philosophy as that sole source, denying not only the parallels between poetry and philosophy – that they were both art forms that could be literary and pedagogical, but also the cognitive potential of poetry and the arts. He believed that ‘wisdom’ could be gained not through the study of the poet’s portraits of heroes but only through rigorous dialectic.

He argued that whereas (his) philosophy had as its summum bonum true knowledge on the basis of reason’s engagement with what was most real through strict training, the poet’s (particularly tragic) aim was to appeal to the ‘non-rational’ part of the soul and the arousal of emotion in their audience, on the basis of the poet’s imitation of appearances. The experience of the emotions aroused would then carry over into the daily lives of the citizens, to their detriment.

What was particularly threatening to Plato (because of his sensitivity to and capacity for inspiration and his determination to deny lived emotions and change with his controlled, rationalist system, and whom Guthrie correctly described as a philosophical theologian) was that the poet is ‘divinely inspired’. Poets work from inspiration not (linguistic) reason, they don’t understand the meaning of their language, they present a semblance of life with no grasp of reality. Such poetry, like all art, is play and not to be taken seriously. Thus Plato argued that the poet should be not allowed into a just commonwealth ‘because he stimulates and strengthens an element which threatens to undermine the reason.’

Driven by his antipathy to change and his incapacity to accept its necessity and by the manifestation of this in his division and opposition between ‘reason’ and ‘emotions’, Plato banished from his republic (from what was in effect his model for the perfection of self) that which, as evidenced by his own writing, he had the deepest appreciation of – poetry – and those whose business it was – including, by implication and most particularly, himself.

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These words foretell the passing of capitalism with the certainty of my own death

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M16 and the Eagle Nebula

Only when the manifold terms have been driven to the point of contradiction do they become active and lively towards one another, receiving in contradiction the negativity which is the indwelling pulsation of self-movement and spontaneous activity. …when the difference of reality is taken into account, it develops from difference into opposition, and from this into contradiction, so that in the end the sum total of all realities simply becomes absolute contradiction within itself.


G.W.F.Hegel, Hegel’s Science of Logic, Trans., A.V.Miller, Humanities Press, New York, 1976, p. 442

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A fundamental difference between China and Australia: vision and the lack of it

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‘Light rail construction in the CBD. Secret document warns vision for Sydney’s light rail ignored realities.’

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Chinese-passenger-drone

2018-Range-Rover

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Images: 1st/2nd/3rd ‘China Watch’/China Daily, The Sydney Morning Herald, 26.10.18/4th

 

Some thoughts on mysticism

M100: A Grand Design Spiral Galaxy

M100: A Grand Design Spiral Galaxy

Hello Moshe,

I’m sorry I haven’t replied to you earlier. I wanted to sit with your question. And I could sit with it a great deal longer.

Mysticism for me is the deepest feeling for and orientation to the whole, yet sensitivity to the parts that comprise it (in each part is the whole), to the relationship between whole and parts, to their infinite complexity and unceasing motion – and that awareness is essentially ineffable, yet intuitively understood.

If you remove ‘feeling’, ‘the ineffable’ and ‘intuition’ from this statement you have the description of a relationship that bears comparison with the first words of Lenin’s ‘On the Question of Dialectics’ – ‘The splitting of a single whole and the cognition of its contradictory parts…is the essence (one of the ‘essentials,’ one of the principal, if not the principal, characteristics or features) or dialectics. That is precisely how Hegel, too, puts the matter (Aristotle in his Metaphysics continually grapples with it and combats Heraclitus and Heraclitean ideas).’

My comparison is appropriate, because mystical philosophy, as Marx acknowledged (particularly its Germanic current culminating in the philosophy of the ‘German Proclus’, Hegel), is the philosophical core, stood by Marx on its feet, of dialectical materialism.

Lenin went on: ‘the correctness of this aspect of the content of dialectics must be tested by the history of science.’ This can be simply demonstrated – if you hold a rock in your hand, you hold a unity. While it looks utterly still – in its composition, in its parts, it is in unceasing motion. The contradictory motion of those infinitely divisible parts is the very thing which results in the apparently stable unity you hold in your hand (I am reminded of Plotinus’ profound and profoundly poetic position regarding his One – that it is the greatest activity in the greatest stillness).

And the interaction of this rock, this material composition, with the greater, infinite material whole will one day result in the passing of the form and contents of that stone into other material structures.

Thus everything passes, and only matter (objective reality) driven by the (theoretical) absolute of change remains.

While capitalist ideologues treat mysticism like pornography as they secretly study and draw from it, claiming, as true patriarchs, that their appropriations are the result of the most rigorous conceptual ‘reason’, materialists should be proud of their philosophical heritage and continue to mine it for more philosophical gems.

Intuition’ is one such. I believe it is a form of reasoning far more holistic and connected to our ‘emotions’/our ‘feelings’, our ‘sense of self’ than is the reason of language and concept. The latter, while its benefits and the achievements made with it are obvious, comparative to intuition (which is always functioning in the background), is plodding.

An example: suppose you were to walk around a corner while another did the same thing walking towards you. You bump into each other. Your eyes meet. Without doubt you would both have an instantaneous wealth of thoughts and feelings so rich and complex that thinking linguistically in and of that moment would not only be an impediment, it would be an impossibility.

Gian Lorenzo Bernini (1598-1680), ‘Ecstasy of Saint Theresa’, marble, 1647-1652, Santa Maria della Vittoria, Rome

Gian Lorenzo Bernini (1598-1680), ‘Ecstasy of Saint Theresa’, marble, 1647-1652, Santa Maria della Vittoria, Rome

Yet the thoughts and feelings you both have in those few seconds will be formative, evidence of a type of reason which I think is central to our sense of self.

When the monotheist prays to God – ‘God, give me guidance’, they are calling on that other form of reason which requires emotional ‘stillness’ to be heard and listened to. They speak of ‘stillness’ and ‘listening’ at such times.

It is a flux of reason that draws on their life’s experience, on their spiritual connection to the world, on all that comprises them.

‘Spirituality’ – a concept I rejected for many years – for me is the feeling for and knowledge of profound material connectedness.

Intuitive reason is like ‘another’ to that of our usual, linguistically conditioned self.

There is certainly nothing of the patriarch to it, yet if you fail to listen to that ‘voice’, you do so at your peril. You will be like the man in the toothpaste aisle at the supermarket – reading all the labels, unable to choose, looking for an impetus and answer only in words, his linguistic ‘self’ disconnected from that other, deeper, more holistic, intuitive ‘self’.

In this unity of self (both linguistic and intuitive) and the world is to be found the unity of both mystic and materialist – it is one, unwilled yet profoundly dialectical, profoundly ‘poetic’ world.

When I am presented with any problem, I first try to intuit a way forward or a solution, then I apply my ability to reason linguistically. And although the results are usually different (my intuition seems consistent with necessity – which supports my understanding of intuition), I play those two results against each other to arrive at my answer.

These are a few of my thoughts on the subject of mysticism.

What are some of your thoughts on the subject?

Best regards,

Phil

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Images: 1st/2nd

Cherry Blossom — Angelart Star

☆☆☆ Tanka ☆☆☆

Cherry blossom in bright spring

Peaceful dancing petals for pure elegant girl

Eternal dreamy mind smiles secretly

Vibrant spirit harmonizes with hopeful gentle heart

Gorgeous undying love shines by floral magic

via Cherry Blossom — Angelart Star

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‘Galaxies form, galaxies spin, galaxies collide and merge’

The only absolute is change.

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