zenpundit.com

“What you think, you become”

    – Buddha

“We are what we frequently do”

    – Aristotle

There has been a lively and still evolving debate in the milblogosphere regarding “disruptive thinkers”, starting with Benjamin Kohlman’s post at SWJ whose editor Peter J. Munson has done a fine job steering, collecting and commenting upon. A selection:

The Military Needs More Disruptive Thinkers by Benjamin Kohlman

Disruptive Thinking, Innovation, Whatever You Want to Call It is Needed for a Military in Crisis by Peter J. Munson 

Disruptive Thinkers: More Thoughts on Disruption and National Security by David Wise 

….We need to improve, for example, in the detail and specificity of critical and creative thinking methodologies that we integrate into the curriculum.

[ by Charles Cameron — simultaneity in art, life, theology, war and thought ]
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We rip up the past to make room for the present, we staple the present onto the past, we lose much of the meaning our words and images once had in fragments, snatches and colors…

image credit: MR McDonald

Even the staples eventually rust.

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Still the past can at times be seen in the present, as earlier writing can still be seen in a palimpsest.

The Archimedes Palimpsest is [and I paraphrase] a Byzantine euchologion or prayer book manuscript, thought to have been completed by April 1229, and probably made in Jerusalem. Much of the parchment the scribes used in making the prayer book came from a earlier book of works by Archimedes, including his “On Floating Bodies” – a treatise of which no other copy survives. It seems the Archimedes manuscript dates back to tenth century Constantinople.

image credit: Archimedes Palimpsest Project

Erase Constantinople from your parchment, cut it and rotate it 90°, and you can build Jerusalem in its place. Peer deeply into prayer using multispectral imaging several hundred years later — and you may find combinatorial mathematics dating back more than two millennia…

What you are seeing in this image above is the workings of a mind two centuries BCE, transcribed in the tenth century CE, and made visible beneath and through other writing from the thirteenth, by twenty-first century tech.

So it is that Archimedes speaks to us today.

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A palimpsest, then, is a layering of time on time, and the world we walk and talk in is itself a palimpsest.

image credit: MR McDonald

The enduring, you might say, can be seen through the transient — the zebra crossing through the snow.

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To see two times at once — to see history, accurately or otherwise, as a metaphor for today — is to see simultaneously.

As in Sergey Larenkov‘s celebrated photos, in which World War II and the present day coexist:

image credit: Larenkov, Wrecked tank “Tiger” in Tiergarten park

[ edited to add: Larenkov takes black and white photos from WW II, shoots the same scene in color from the same position today, and masterfully stitches them together digitally to create an image that allows the ghost of the past to seen in the present — brilliant! ]

Here again, as in the magically surreal sculptures of Nancy Fouts, we see the power of mapping one thing onto a kindred other of which Koestler wrote.

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To tie all this back into the question of Which world is more vivid? This, or the next? — Stanley Hauerwas in his book, War and the American Difference: Theological Reflections on Violence and National Identity, suggests:

There is another world that is more real than a world determined by war: the world that has been redeemed by Christ.

He then clarifies his intent in saying:

The statement that there is a world without war in a war-determined world is an eschatological remark. Christians live in two ages in which, as Oliver O’Donovan puts it, “the passing age of the principalities and powers has overlapped with the coming age of God’s kingdom.” O’Donovan calls this the “doctrine of the Two” because it expresses the Christian conviction that Christ has triumphed over the rulers of this age by making the rule of God triumphantly present in the mission of the church. Accordingly the church is not at liberty to withdraw from the world but must undertake its mission in the confident hope of success.

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Indeed, both Christianity and Zen would say that the greatest palimpsest is the palimpsest in which the transient circumstances of one’s life can all but obliterate the imperishable truth that underlies them — a palimpsest whose deepest layers may be read not with x-rays but by insight.

Christ lived in two times, or more accurately, time and eternity — to him the palimpsest was transparent, and thus he spoke (in John 8:58) what I suspect are the most profound five words in the Gospels:

Before Abraham was, I am.

Happy Easter!

[ by Charles Cameron – extended analytic game on Israeli-Palestinian conflict — for those who wish to catch up, our game thus far consists of an intro to the game and game board, followed by moves 1-5, 6-9, then moves 10-11 which together constitute a meditation, moves 12, 13-15, 16-17, and most recently before this, move 18 with cadenza ]

Move 19: The view from above

Move content:

Discussing strategy, the very canny LTG (USMC, Ret’d.) Paul Van Riper had this to say:

What we tend to do is look toward the enemy. We’re only looking one way: from us to them. But the good commanders take two other views. They mentally move forward and look back to themselves. They look from the enemy back to the friendly, and they try to imagine how the enemy might attack them. The third is to get a bird’s-eye view, a top-down view, where you take the whole scene in. The amateur looks one way; the professional looks at least three different ways.

A bird’s-eye view, a hawk’s eye view, a top-down view, an overview, a view from 30,000 feet, a God’s eye view, a view from above, a zoom…

If move 18 and its cadenza gave us a view of the depth of vision or insight that is necessary for a full and rich understanding of the world we live in — its qualitative or spiritual scope, if you like — this next move, with its picnic and drone-sight, addresses its breadth in space and time — materially and quantitatively speaking.

The classic expression of the sheer material scope of the universe was put together by Charles and Ray Eames in their justly celebrated film, Powers of Ten, from which the lower of these two images is drawn:

Here are some other relevant scans of the scope of things, in terms of time and space:

The Scale of the Universe 2
A Brief History of The Universe
The Known Universe
A Time-Lapse Map of Every Nuclear Explosion Since 1945

These are impressive videos to be sure, but as an aside I’ll invite you to ask yourselves how well they compare with this zoom in words, a poem by the zennist, ecologist, essayist and poet Gary Snyder, from his book, Axe Handles: Poems:

Such breadth of vision, such craft.

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If this “material scope of things” too has a cadenza, it would be that all of this is shot through with some primary oppositions, dappled as the poet Gerard Manley Hopkins would have it, with swift, slow; sweet, sour; adazzle, dim — as indicated in the drone-sight and picnic double image at the head of this move.

This dappling, this constant flux of opposites, takes many forms — day and night lead to the more abstract light and dark, which can then be interpreted morally as good and evil, to which we respond with repulsion and attraction as the case may be, building our worldviews from love or fear…

At different scales the opposites that matter most to us may have different names and shadings, but here I’d just like to draw attention to the dappling of our world with:

competition and cooperation
Darwin‘s natural selection and Kropotkin‘s mutual aid
duel and duet (ah! — a favorite phrasing of mine)
war and peace

Provocatively, we find this dappling in scriptures, too, wherein the ripples of such verses as “The LORD is a man of war: the LORD is his name” (Exodus 15.3) dropped like a stone into the pond of the human mind, meet with the ripples of other verses such as “God is love; and he that dwelleth in love dwelleth in God, and God in him” (I John 4.16).

There are times when we take such oppositions literally, perhaps too literally, and times when we begin to see oppositions as abstract and theoretical end-points to what is in fact a yin-yang process continually unfolding…

Which brings me by a commodius vicus of recirculation to this image of the great opposition between war and peace, its dappling, its unfolding:

Links claimed:

To the Lamb, move 18: this move presents the material scope of the universe in counterpoint to its visionary scope as laid out in move 18 with its cadenza.

To Revelation, move 17 — the word revelation means unveiling, as we have seen, and our sciences and technologies, with their spectra of telescopes, microscopes, cameras and zooms, are unveiling and revealing to us much about the physicality of the world we live in — much that was accounted for in other times and places through intuition, vision and poetry.

This scientific and technical revelation of material existence, for many of us moderns, has largely eclipsed the mode of visionary revelation of move 17 — yet it cannot eradicate it. Implicit in this move, then, is the sense that we carry with us both subjective and objective, inner and outer, qualitative and quantitative understandings — though the data that “sight” and “insight” provide us with may be different in kind, and resolving them may be something of a koan to us, the deep problem in consciousness as philosophers of science have named it — and that we can discount neither one if we are to have and maintain a rich sense of our situation.

Comment:

If the two previous moves have shown us the scope of the universe we co-inhabit, perhaps we should now make our own zoom in, much as James Joyce did when he had the schoolboy Stephen inscribe his name and address in his geography book as Stephen Dedalus, Class of Elements, Clongowes Wood College, Sallins, County Kildare, Ireland, Europe, The World, Universe – an address that Stephen then read both forwards and backwards, finding himself in one direction, and finding in the other that he had no means of knowing what might lie beyond the universe…

Imagine then, skipping rapidly from (unimaginable) cosmos via such things as the intriguingly named End of Greatness to galaxy or nebula…

…solar system and planet — whence we can slow down and zero gently in on the Middle (or as my friend Ralph Birnbaum would call it, the Muddle) East, Israel / Palestine, Jerusalem / Al Quds / the Temple Mount / Noble Sanctuary – and to such matters of contemplative vision and tribal passion as the first, second and projected third Temples, the al-Aqsa mosque.

Our increasing focus will bring us, then, to that the rock which Jews believe marks the place where Abraham bound his son Isaac (the Akedah), and which Muslims believe to be the place of ascent of the Prophet to the celestial realms (the Mi’raj) on his Night Journey (Qur’an, Al-Isra).

Here again myth and history collide, and both visionary and material considerations merge in the heart of the what my friend the Israeli journalist Gershom Gorenberg has justly called “the most contested piece of real estate on earth”.

[ by Charles Cameron — more on the graphical mapping of heresy, radicalization, decision points, multiple ideas and complex issues, and some illustrations from railroad land ]

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Here’s a railway track illustration of, say, the difference between true Islam (the straight track) and bida (the introduction of new ideas into the religion, deviation, heresy).

This graphic could equally represent the radicalization process, with the “point switching” occurring when the decision is made to switch from sympathizing to active participation, or from participation in the virtual dimension (say by posting on the forums) to the preparation and execution of acts of violence.

Locating the “switching points” would then be a significant part of a successful de-radicalization program, and I’d suggest that the concept of jihad as a matter of obligation (fard ‘ayn) would be one such.

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What follows is essentially a quick-and-dirty pattern language of train tracks, switching points, marshaling yards, etc — I’ve even included one water-slide — to stir creative insights about linear thinking, multiple voices, multiple lines of thought, elegance and the polyphony of ideas…

I’m posting this because any strategic and / or creative thinking that includes the perspectives and voices of multiple stakeholders will require polyphony, as will any approach to the complex dynamics in play in wicked problems…

And much else besides.

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First, we have linear thinking — and a dilemma:

Then, there’s complication — not the same as complexity, and not nearly so hard to figure out —

— and a wicked problem, where the issues are indeed complex, and the problem itself may shift unexpectedly if, for instance, there’s another bombing run just as you are fixing things up after the last one…

And finally, by way of inspiration, there is always the possibility of elegance —

— and (here’s where I switch to the water-slide) — there’s always the possibility of playfulness…

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Finding ways to think graphically, elegantly and a bit playfully about wicked problems is what I’m after here…
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Addendum

Friend JM Berger aka @intelwire sent me a link to this image:

and commented, “I think it’s more like this, no single point of departure, no single destination, loopbacks, dead ends” — nice one, JM!

[ by Charles Cameron — iconic images, riot police, compare and contrast, repetition with variation ]

First, let’s be clear that both these images have been widely considered iconic.

Thus NPR reported of the first photo:

There have been countless accounts of violence recorded during the uprisings in Egypt but the image that perhaps has captured the most attention is the most recent. The image has been widely referred to as the “girl in the blue bra.”

While Real Clear Politics quotes Michael Moore on the second:

“The images have resonated around the world in the same way that the lone man standing in front of the tanks at Tiananmen Square resonated. It is an iconic movement in Occupy Wall Street history,” Michael Moore declared on MSNBC’s “Last Word” program.

Moore was referring to police pepper spraying students at an “Occupy” protest at UC Davis.

So we have two similarities between the two images: they both show police in riot gear taking action against demonstrators, and they have both caught the public eye as somehow being representations that can “stand in” for the events they seek to portray.

Beyond that, it’s all compare and contrast territory — or variations on a theme, perhaps — and different people will find different reasons to attack or defend the demonstrators or the police in one, the other, or both cases.

1.

These are, for many of us, “home” and “away” incidents, to borrow from sports terminology, and some of our reactions may reflect our opinions in general of what’s going on in Egypt, or in the United States.

We may or may not know the rules of engagement in effect in either case, on either side.

In a way, then, what the photos tell us about those two events, in Tahrir Square and on the UC Davis campus, may tell us much about ourselves and our inclinations, too.

2.

As I’ve indicated before, I am very interested in the process of comparison and contrast that the juxtaposition of two images — or two quotes — seems to generate. And I’ve quoted my friend Cath Styles, too:

A general principle can be distilled from this. Perhaps: In the very moment we identify a similarity between two objects, we recognise their difference. In other words, the process of drawing two things together creates an equal opposite force that draws attention to their natural distance. So the act of seeking resemblance – consistency, or patterns – simultaneously renders visible the inconsistencies, the structures and textures of our social world. And the greater the conceptual distance between the two likened objects, the more interesting the likening – and the greater the understanding to be found.

I’d like to examine these two particular photographs, then, not as images of behaviors we approve or disapprove of, but as examples of juxtaposition, of similarity and difference — and see what we might learn from reading them in a “neutral” light.

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What I am really trying to see is whether we can use analogy — a very powerful mental tool — with something of the same rigor we customarily apply to questions of causality and proof, and thus turn it into a method of insight that draws on our aha! pattern recognition and analogy-finding intuitions, rather than the application of inductive and deductive reason.

And that requires that we should know more about how the mind perceives likenesses — a topic that is often obscured by our strong emotional responses — you’re making a false moral equivalence there! or look, one’s as bad as the oither, and it’s sheer hypocrisy to suggest otherwise!

So among other things, we’re up against the phenomenon I call “sibling pea rivalry” — where two things, places, institutions, whatever, that are about as similar as two peas in a pod, have intense antagonism between them, real or playful — Oxford and Cambridge, say, and I’m thinking here of the Boat Race, or West Point and Annapolis in the US, and the Army-Navy game.

Oxford is far more “like” Cambridge than it is “like” a mechanic’s wrench, more like Cambridge than it is a Volkswagen or even a high school, more like it even than Harvard, Yale, Princeton or Stanford — more like it than any of the so-called “redbrick universities” in the UK — so like it, in fact, that the term “Oxbridge” has been coined to refer to the two of them together, in contrast to any other schools or colleges.

And yet on the day of the Boat Race, feelings run high — and the two places couldn’t seem more different. Or let me put that another way — an individual might be ill-advised to walk into a pub overflowing with partisans of the “dark blue” of Oxford wearing the “light blue” of Cambridge, or vice versa.  Not quite at the level of the Zetas and the Gulf Cartel, perhaps, but getting there…

4.

So one of the things I’ve thought a bunch about is the kind of analogy that says a : A :: b : B.

As in: Egyptian cop is to Egyptian protester as UC Davis cop is to UC Davis protester.

Which you may think is absolutely right — or cause for impeachment — or just plain old kufr!

And I’ve figured out that the reason people often have different “takes” on that kind of analogy — takes so different that they can get extremely steamed about it, and whistle like kettles and bubble over like pots — has to do with the perceptual phenomenon of parallax, whereby some distances get foreshortened in a way that others don’t.

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So my thought experiment sets up a sunken garden — always a pleasure, with two video cameras observing it, as in this diagram:

And from the two cameras, the respective views look like this:

In this scheme of things, Aa (Oxford) seems very close to Bb (Cambridge) seen from the viewpoint of camera 1 — but from camera 2’s standpoint, Aa (Oxford) and Bb (Cambridge) are at opposite ends of the garden, and simply couldn’t be father apart.

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Now, my thinking here is either so obvious and simple as to be a platitude verging on tautology — or one of those subtle places where the closer examination of what looks tautological and obvious leads to the emergence of a new insight, a new “difference that makes a difference” in Bateson’s classic phrase.

And clearly, I hope that the latter will prove to be the case here.

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What can we learn from juxtapositions? What can we learn from our agreements about specific juxtapositions — and what can we learn from our specific disagreements?

Because it’s my sense that samenesses and differences both jump out at us, as Cath Styles suggested — and that both have a part to play in understanding a given juxtaposition or proposed likeness.

Each juxtaposition will, in my view, suggest both a “sameness” and a “difference” — in much the same way that an arithmetic division of integers, a = qd + r, gives both quotient and dividend.

And then we have two or more observers of the juxtaposition, who may bring their own parallax to the situation, and have their own differences.

8.

Tahrir is to Tienanmen as Qutb is to Mao?

Or is pepper spray just a food additive?

And how do icons become iconic anyway? Are they always juxtapositions, cops against college kids, girl vs napalm, man against line of tanks?  Even in the iconic photo of Kennedy from the Zapruder film, the sudden eruption of violence into the stateliness of a presidential parade is there — a morality play in miniature.

Any thoughts?