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Time In all his tuneful turning (i)

Thursday, March 15th, 2018

[ by Charles Cameron — Stephen Hawking, RIP, and synchronicity? ]
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Connsider these high-popularity responses to Stephen Hawking‘s death:

Sources:

  • USA Today, Hawking’s death, Einstein’s birth, and Pi Day: what does it all mean?
  • Time, People Think It’s an Interesting Coincidence That Stephen Hawking Died on Pi Day
  • **”

    The Time article focused on the internet:

    Some people on the internet think Stephen Hawking couldn’t have calculated a better day to die.

    Calculated. Like it.

    The 76-year-old theoretical physicist, one of science’s most famous luminaries died on March 14, also known as National Pi Day — an annual day for scientists and mathematicians around the world to celebrate the value of pi that even includes deals on pizzas and actual pies. Suffice it to say that the noteworthy coincidence was not lost on the internet.

    The date of Hawking’s death — 3/14 — is significant because 3.14 are the first three digits of pi, a bedrock of geometry. Specifically, it’s the ratio of a circle’s circumference to its diameter. Naturally, the fact that science’s big celebration overlapped with the day the life of the party left us is making people geek out about the details.

    As soon as news spread that Hawking died early Wednesday morning in London, people were quick to connect the dots.

    Connect the dots, eh?

    **

    And here’s the complete USA Today article:

    So, is there some mystical theory explaining how noted astrophysicist Stephen Hawking died on the same day Albert Einstein was born, which also happens to be the day we honor the mathematical constant Pi?

    Nope. It’s just all one giant coincidence.

    Hawking died at 76, his family confirmed early Wednesday. He was considered one of the world’s foremost theoretical physicists, developing critical theories on black holes and writing A Brief History of Time to explain complex scientific concepts to the masses.

    That’s it. Nope, in a word. Nope. There is no “mystical theory explaining how noted astrophysicist Stephen Hawking died on the same day Albert Einstein was born, which also happens to be the day we honor the mathematical constant Pi”.

    That’s decided without consulting Pythagoras, Newton, Johann Valentin Andreae, Hermann Hesse‘s Joseph Knecht, or any of a dozen other worthies I might name..

    **

    But note: Warren Leight adds another datapoint and brings the circuit to completion:

    Galileo, ooh.

    It seems worth recalling at this point that pi is an irrational number.

    **

    Where do we go from here?

    First, note that Warren Leight posts that Hawking died on the 14th, in a tweet dated the 13th.

    One of Leight’s commenters challenges the whole coincidence chain:

    He died March 13th

    Leight’s response to that challenge could also serve as a response to mine:

    It depends on how and where you measure time

    Time is circular, date is relative..

    **

    God save us, here’s a game ref:

    Is that Johann Sebastian Bach?

    Kidding.

    **

    May the extraordinarily, ceaselessly curious mind of Stephen Hawking rest at last in the balm of peace.

    **

    And my title, Time in all its tuneful turning?

    It’s from Dylan Thomas, approximately. He wrote, in this masterpiece, Fern Hill:

    And nothing I cared, at my sky blue trades, that time allows
    In all his tuneful turning so few and such morning songs
    Before the children green and golden
    Follow him out of grace…

    I want to suggest that Dylan Thomas is at least as great a thinker about time as Stephen Hawking, and Fern Hill is my proof text to that effect. I’ll explain why in part ii of this post.

    Jacquelyn Schneider at War on the Rocks Plus One

    Saturday, January 13th, 2018

    [ by Charles Cameron — jazzing on WotR plus Hesse’s GBG ]
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    Towards the end of her fine War on the Rocks piece, Blue Hair in the Gray Zone, Dr. Jacquelyn Schneider, Assistant Professor at the U.S. Naval War College (and lucky they are to have her) wrote:

    The U.S. military has devoted immense resources to technology, but the future forces will fail without humans designing, adapting, operating, and maintaining the technology.

    That’s pretty much the thrust of her whole piece — towards the beginning she’s already said it:

    With the pace of current technological change, future force architects should care just as much about the people that man the forces as they do the machines.

    **

    I applaud Dr. Schneider’s article, obviously — but to my mind’s eye it sums to a tiny, concentrated, powerful relationship:

    technology : humans

    We have the technology, the relation says, we need the humans.

    I’m with that, but as always when I see writings that sum to that relation, I think of my own, repeated, obsessive equivalent:

    humans : ideas

    That’s my obstinate Plus One.

    **

    It began, I suppose, with Hermann Hesse, who described his Glass Bead Game in a poem as a game played in a garden:

    In the title poem of his book, Hours in the Garden .. is the Game as he played it himself, while raking leaves in his garden and burning them. In this simpler form, the great Game consists in imagining the great minds and hearts of the past — “wise men and poets and scholars and artists” — meeting across the centuries and talking…

    That’s the game as an interaction between humans. In his great, Nobel-winning novel The Glass Bead Game, however, he has abstracted the game, and it is now played with ideas, rather than people:

    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.

    Hence for myself, once and always:

    humans : ideas

    **

    But that’s my background motif, the ostinato of my passacaglia, always running in the background of my mind, even when I’m reading War on the Rocks.

    And then I’m reading Dr. Schneider, and in the overlap of concepts —

    technology : humans meets humans : ideas

    or more simply:

    technology : humans : ideas

    **

    That’s what I’m impelled to say: just as we need the people to give algorithms to meaning and extract meaning from them, so we need the algorithms, and their contexts on a range of scales from tactical issues to the great questions of war and peace, conflict and resolution, pacifist’s and warrior’s codes…

    What say your heart and mind?

    A counterpoint in buildings, statues, ideas

    Monday, June 26th, 2017

    [ by Charles Cameron — Dylann Roof’s trial, the New Yorker, and the scorable music of opposing voices ]
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    On the way to taking us Inside the Trial of Dylann Roof, Jelani Cobb makes an observation that interests me, describing the architectural features surrounding the trial asa point-counter-point in ideas:

    Mother Emanuel, as the church is known, traces its roots to 1816. It was a center of clandestine anti-slavery activity and, in 1822, when city officials discovered that congregants were planning a slave revolt, they burned the church to the ground. The current building was erected in 1891, on Calhoun Street, named for Vice-President John C. Calhoun, the intellectual progenitor of secession. The Calhoun monument, a column eighty feet high, topped by a statue of the statesman, is half a block away. The monument and the church, which came to play a central role in the Southern civil-rights movement, stand like a statement and its rebuttal.

    Counterpooint — the musical technique whereby two or more melodies are juxtaposed, now clashing, now harmonizing, but with their melodic integrity uncompromised — is a technique which I believe has application beyond music, in verbal thought.

    **

    Different voices, offering different opinions and perspectives — now clashing, now harmonizing, but with their conceptual integrity uncompromised — are precisely what we find at the heart of all debate, from town hall meetings and parliamentary procedues to maritalspats and the conversations of genius — the letters of Max Born and Albert Einstein come to mind, as does the film My Dinner with Andre.

    My gambit, borrowing from the brilliant game that lies at the heart of Hermann Hesse‘s novel The Glass Bead Game, is to suggest that we take Johann Sebastian Bach‘s use of melodic counterpoint and adapt it to its conceptual equivalent — thus opening the way to (a) thinking many contrasting thoughts as a single conceptual music, and (b) developing fresh means to score such a polyphony — or multitude of voices.

    Essentially, the ability to think in counterpoint is the ability to hold in mind another voice beside one’s own — the capacity, if you will, to listen as well as to think. Seen thus, it is the basic skill necessary for us to make progress away from the terrible divisiveness of our times, and into a more convivial and ecumenical future.

    **

    I watched my son come into this world and I watched my son leave this world.

    This sentence, uttered by the other of one of Roof’s victims, gains power from its closely observed parallelism between birth and death, womb and tomb.

    **

    Forgiveness as a consequence iof counterpoint:

    The Civil War began in Charleston. The Ordinance of Secession was signed in Institute Hall, on Meeting Street, in December, 1860; the first shots were fired at Fort Sumter, in the harbor, a few months later. The reaction of many Charlestonians to the extraordinary moment, at a bond hearing the day after Roof’s arrest, when, one by one, family members stood and forgave him, was an outgrowth of the city’s relationship to that past. Forgiveness was not just an example of how to metabolize hatred directed at you, or just a demonstration of Christian faith, though it was both of those things. It stood for a broader redemption, an exoneration from history itself.

    **

    A counterpoint in statuary:

    Herb Frazier, a black journalist who grew up in the city and has attended Emanuel since childhood, told me that black Charlestonians have always hated the Calhoun monument. “He looks down with this scowl on his face,” he said. Then, in 1999, Charleston’s Holocaust Memorial was erected just fifty feet from the base of Calhoun’s column. That proximity suggests either a wishful denial of Calhoun’s legacy or a level of irony not typically found among municipal planners.

    **

    A counterpoint of races and ethical stances:

    Those moral calculations, as with everything else associated with the case, were refracted through the lens of race. In a statewide poll, two-thirds of African-Americans favored sentencing Roof to life in prison, while sixty-four per cent of whites believed that the death penalty was warranted. That result mirrored the general division between blacks and whites on the issue of capital punishment, which is driven, at least in part, by the fact that it has disproportionately been used against black defendants.

    ^^

    A counterpoint in colors and sentences:

    For David Bruck, Roof’s case represented another chance to address the unjust imposition of the death penalty. At certain moments in the trial, though, his belief that he could diminish a racist practice by saving the life of a white supremacist appeared idealistic to a fault. During his cross-examination of Joseph Hamski, the F.B.I.’s lead investigator in the case, Bruck asked, “What became of Denmark Vesey?” Vesey, a slave who had bought his freedom and become a carpenter, was the lead plotter of the 1822 revolt at the church. “He was hung,” Hamski replied. Bruck was suggesting that the death penalty is irrevocably tainted by racism, but he had seemed to equate Vesey, a man who was prepared to kill for the cause of black freedom, with Roof, a man who had killed because he thought that blacks were too free. The families murmured uneasily at the comparison.

    **

    Black and white, crime and punishment, death penalty and life sentence, good and evil, forgiveness and justice, even Union and Confederacy — these binaries rise in counterpoint in the trial and sentencing of Dylann Roof.. offering us a mappable display of cognitions past and present, normative and extreme.

    War Books, local version

    Tuesday, April 25th, 2017

    [ by Charles Cameron — saved from a slush pile]
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    A while back, I presumptuously submitted my effort for Modern War Institute‘s War Books Profile series, where it has languished on the slush pile for a few months now. No need to waste a decent post, though, so I’m posting it here, locally, on Zenpundit, for any who may be interested.

    **

    Name: Charles Cameron

    Brief Biography:

    Charles Cameron is the managing editor of the strategy blog Zenpundit, and a past Principal Researcher with the Center for Millennial Studies at BU and Senior Analyst at The Arlington Institute. He is a three time finalist in the Atlantic Council Brent Scowcroft Center’s Art of the Future challenges, and author of the essay “The Dark Sacred: The Significance of Sacramental Analysis” in Robert J Bunker, Blood Sacrifices (a Terrorism Research Center Book). He is the designer of the HipBone family of conceptual games, and is currently working on a book on religious sanctions for violence titled Landmines in the Garden.

    Top Five Books:

    Mustafa Hamid & Leah Farrall, The Arabs at War in Afghanistan. Respectful enemies – he, a friend of UBL and Mullah Omar, she, a counter-terrorism expert for the Australian Federal Police – debate and confer across battle lines to draw a detailed picture of AQ structure and history. A unique collaboration.

    William McCants, The ISIS Apocalypse. The key to ISIS intensity has to do with what then-Chairman of the Joint Chiefs Dempsey called their “apocalyptic, end-of-days strategic vision.” McCants masterfully reveals that apocalyptic driver, and the somewhat obscure scriptures on which it is based.

    SH Nasr, ed., The Study Quran. With enemies such as ISIS and AQ that are given to quoting scriptural texts, it is important to have a reputable, non-sectarian translation and scholarly commentary on the Quran. This is that book.

    Hegghammer & Lacroix, The Meccan Rebellion: The Story of Juhayman al-‘Utaybi Revisited. A slim volume, a delight to hold in the hand, and packed with detailed scholarship on what is arguably the seed moment of contemporary Jihadism.

    John Kiser, The Monks of Tibhirine. This book, and Christian de Chergé’s astonishing letter to the jihadists who would shortly martyr him, is an eloquent testament to values we should cherish in a time of brutality and hatred.

    The One That Shaped Me The Most:

    Hermann Hesse, The Glass Bead Game. The human mind, attuned to variety and complexity yet primed to understand complex matters in binary terms, tends to hold war and peace as poles apart. Musically speaking, war is equivalent to discord, peace to harmony. The musical technique of counterpoint, so central to Bach, plays “voices” against one another in a manner that recognizes their variety and individuality and allows for discord while constantly working to resolve it harmoniously. It thus offers us an analogy for the constant interplay of warlike and peaceable motivations, both within the individual human and among the world’s societies and cultures – an invaluable overview of the natural condition. Hesse’s novelistic Game shows analogy rather than linearity as the key to creative insight, and offers a contrapuntal play of ideas as the overarching architectural structure for comprehending a world of conflict and resolution. It won the Nobel.

    **

    **

    Reworking my list today, I might well reckon the McCants book has served its brilliant purpose, illuminating in fine detail the apocalyptic nature of ISIS theology, and substitute a no less valuable but more wide-focus tome, Shahab Ahmed’s What is Islam, which broadens our understanding by offering a comprehensive exploration of “lived Islam” across the centuries and continents, going far beyond “scriptual” Islam as understood by the fundamentalists.

    Ideally, of coure, there’d be room for both McCants and Ahmed, as there is in the tiny bookshelf on my desk..

    Carl Jung on Play

    Monday, April 17th, 2017

    [ by Charles Cameron — all i do is play / to play is to create / I am creature / I am pawn / < bows lifelong gassho >]
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    Here’s a key quote on play from Carl Jung, from Psychological Types, CW vol 6. #197:

    My thanks to Mitch Ditkoff for pointing me to this fine quote.

    **

    The question arises, what is this process in which “The creative mind plays with the objects it loves”? There’s an object, right, and the mind, that much is coear — but does the mind observe the object? absorb it? analyzie it? play around with it?

    If play is what we’re trying to understand, around would be the word sitting right next to it, so around may be what we should think about.

    Around is context. Playing around is seeing in context, seeing from unexpected angels, seeing unexpected close connections. Here’s Arthur Koestler‘s diagram of play, which he thinks of as a diagram of creativity — which he idemntifies with bisociation, or the conjunction of two otherwise separate planes of thought:

    You’ve likely seen it before: that’s my personal Diagram in Chief.

    **

    Okay, more basics. Play is how infants so richly learn and masters so richly express their mastery. It is rich, it masters and is mastered — “Thou mastering me God” says Hopkins in Wreck of the Deutschland, “giver of breath and bread; World’s strand, sway of the sea..”

    **

    As a game designer and a Brit with Jungian sympathies, I am also delighted with this other quote:

    One of the most striking testimonies to the quality of the English spirit is the English love of sport and games in a classical sense and their genius for inventing games. One of the most difficult tasks men can perform, however much others may despise it, is the invention of good games and it cannot be done by men out of touch with their instinctive values. The English did it and, by heaven, they even taught us Swiss how to climb our own mountains and make a sport of it that made us love them all the more. And their Wimbledon, did they but know it, is in sort a modern version of an ancient ritual.

    That’s from Laurens van der Post‘s Jung and the Story of Our Time, and game designer Mike Sellers shares my delight in it.

    **

    Yup:


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