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[ by Charles Cameron — reflections on cognitive empowerment by selective noticing ]
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I just realized that I take notice of details at the level of “geometry aka logic” which I would miss if I were more focused on content. In effect, I treat idiosyncracies and hiccups of expression — such as paradoxes — as indicative of condensed or distilled meaning.

What triggered this realization was the way my interest was aroused by this phrase:

The parallel universes may soon become perpendicular.

I found that today in an FP piece, Will June 30 be midnight for Morsi’s Cinderella story?

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Paradox? Geometry? Contradiction? Figure of speech?

It’s the irregularity in the pattern used to describe the events in question that catches my eye here, however you care to name it. And something very similar is going on when I flag the weird juxtapositions of imagery and music in Taylor Swift, Sara Mingardo, JS Bach and a quiet WTF, or the koan-like tensions and reconciliations inherent in such inseparable pairs as war-and-peace in Of dualities, contradictions and the nonduality.

Here’s the full paragraph, discussing the increasing polarization of the Egyptian public, and some ways in which “the current situation differs more in degree than in kind from the recent past”:

Second, violence is on the table. The parallel universes may soon become perpendicular. Of course, Egyptian politics has had its victims over the past two and a half years, but violence has seemed episodic and almost self-limiting since those who have deployed it have paid a heavy political price. Nobody advocates violence now, but many expect it and it is not uncommon to hear from both sides that they will not shrink from self-defense. And the line between self-defense and offensive action can become thin for each camp for opposite reasons. The opposition is hardly centrally controlled and rogue elements have already been involved in attacks on Brotherhood offices as well as those of its political party. For the Brotherhood, its discipline has led it to prepare for what it sees as defensive action in a manner that understandably appears threatening to outsiders (especially after the events of December 2012 when Brotherhood cadres constituted themselves as a vigilante force to confront those demonstrating at the presidential palace).

Okay, so I’m already reading the article, ergo I must already have been interested enough in what’s going on in Egypt to click through to it. So why the fuss about paradox and geometry in what is, after all, only one turn of phrase in a piece whpose subject already interests me?

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I’m still feeling my way towards and understanding of how my mind works, how I pick up on things, how I populate my mind with rich and interesting memories, how I make my small and large creative “leaps” — my means of collecting and connecting dots, if you will. Because there’s a cognitive skill there that I haven’t seen taught, and I believe it offers an “outside the box” alternative mode of monitoring topics of interest.

You know, of course, that most every time you read the words you know, of course, that it’s a dead giveaway that the speaker or writer is skimming quickly past a cherished assumption that he or she wouldn’t want you to examine too carefully? Of course you do. It’s one of those psychological “tells” that should alert you, like a facial tick, a hesitation, or that curious (and paradoxical) tight grip on one arm of the chair with one hand while the other rests almost disdainfully relaxed and gracious on the other, in El Greco’s masterful portrait of a Cardinal, now in the Metropolitan in New York:

How very telling that sort of detail can be!

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And intersections.

I talk quite a bit about juxtapositions and parallelisms, because they’re the elements of “creative leaps” (and Sembl / Hipbone moves) and I “practice” noting them for my DoubleQuotes. But one way to clear the xlutter from mind is to concentrate on places where two fields intersect. I’m interested in apocalyptic, for instance, so I take particular note when someone from a Christian apocalyptic POV (Joel Richardson, Joel Rosenberg, eg) writes about Islamic eschatology, or when someone from an Islamic apocalyptic POV (Sh. Safar al-Hawali, eg) writes about Christian eschatology. Reading wherever I notice this kind of overlap means that I learn in two contexts — effectively doubling my knowledge value — where most reading that’s not “targeted” this way only allows me to learn in one…

Again: parallelisms, overlaps, paradoxes, perpendiculars, contradictions — these are all “formal properties” of a given text rather than “contents” — that’s the level of abstraction at which you can make the details sing.

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Hey, I’m not alone. As I was cleaning this post up, Adam Elkus tweeted a link to a post about the CTO of Intel, Intel Labs: Assuring Corporate Immortality by Rob Enderle, which contains this phrase:

This is very orthogonal thinking

There we go! The word orthogonal is so important to me, and is so often on the tip of my tongue but out of reach of immediate memory, that I have a file on my computer consisting solely of the words “opposite oblique orthogonal congruent incongruous antithetical obtuse parallel asymptotic perpendicular right angles” — so if I can remember any one of them, I can easily find “orthogonal”.

Very orthogonal thinking — terrific!

[ by Charles Cameron — on the basis, the mathematics, the essence of conflict and resolution ]
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This DoubleQuote features two great masters on duality and the coincidentia oppositorum: the upper quote is Yogi Berra at his best, a koan worthy of a discourse by John Daido Loori, Roshi, while the lower image a still from Andrei Tarkovsky‘s first feature film, Ivan’s Childhood — which I stole from the ever-bountiful Gwarlingo.

Two is one and one is all and evermore shall be so.

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Two into one won’t go, they told me in my schooldays — though not with nearly as much rigor as I presume is found in this article in Physics B…

Questions of the two and the one are always of interest, because they are played out in the tensions we are faced with in daily life, and specifically in the tug of war with peace.

Thus, from my miscellaneous readings these past few days, they feature everywhere from a headline like Demonizing Edward Snowden: Which Side Are You On? in the New Yorker, who seem to feel that one should take a side, preferably the one with the least guns:

I’m with Snowden — not only for the reasons that Drake enumerated but also because of an old-fashioned and maybe naïve inkling that journalists are meant to stick up for the underdog and irritate the powerful. On its side, the Obama Administration has the courts, the intelligence services, Congress, the diplomatic service, much of the media, and most of the American public. Snowden’s got Greenwald, a woman from Wikileaks, and a dodgy travel document from Ecuador. Which side are you on?

to some relatively arcane areas of theological debate, in this case Fussing Over the 15th of Sha‘ban:

Question: Is marking out the 15th night of Sha’ban (laylat al-nisf min sha’ban) with extra prayers and devotion sanctioned by Islam, or is doing so judged to be a reprehensible innovation (bid’ah)?

Answer: Each year, a fair amount of fussing and fighting takes place over this issue. Yet the truth of the matter is that scholars have long-held this issue to be one over which there is a valid difference of opinion. The first group considered the night to have no specific virtues over and above any other night of the year, and believed that singling the night out for extra acts of worship is unsanctioned. Another group begged to differ and held that the middle night of Sha’ban does possess special merits and should be earmarked for extra prayers and devotion.

All those who hold the shari’ah to lack nuance and variety, incidentally, would do well to note (a) that it is far from exclusively devoted to the chopping off of hands or feet, and (b) combines within itself debates worthy of the Tannaim and Amoraim, or of the medieval scholastics of the Roman church…

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By way of closure, here’s the koan from Alice in Wonderland that Loori Roshi studies in his discourse:

The caterpillar said, “One side will make you grow bigger, and the other side will make you grow smaller.” “One side of what? The other side of what?” thought Alice to herself. “Of the mushroom,” said the caterpillar. Alice looked at the mushroom, trying to make out which were the two sides of it, as it was perfectly round.

If you love your enemies [Matthew 5.44], Who’s side are you on?

And here’s what the great Cardinal Nicholas Cusanus had to say about dualities and opposites in his Of the Vision of God:

I have learned that the place wherein Thou art found unveiled is girt round with the coincidence of contradictories, and this is the wall of Paradise wherein Thou dost abide

[ by Charles Cameron — the art of memory, with a sidelong glance at swans, typhoid and theodicy ]
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Thomas Harris (and by extension Hannibal Lector) has been interested in memory palaces for a long time. We can begin to infer this this because Lector describes his hobby in Red Dragon (1981) and again in Silence of the Lambs (1988):

So — church collapses?

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As you can tell from that last comment in the Silence of the Lambs quote — to my mind the most brilliant presentation of the problem of theodicy for our day — if there’s a God worth defending, it has to be a God who allows sparrows to fall, typhoid to accompany swans in the vast ecology of existence, churches to collapse on worshipers, and “bad things to happen to good people” from time to time.

And such things, specifically including collapses of religious buildings atop worshipers, do indeed happen in fact as well as fiction.

And they don’t only happen to Christians, either… Bon is the shamanistic religious tradition of Tibet, prior to — and later, somewhat assimilated by — Buddhism…

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The thing is, when I read that Hannibal Lector collected church collapses, it not only made me start to take note of them myself, it also made me think of Simonides. As Frances Yates tells us in her book, The Art of Memory:

At a banquet given by a nobleman of Thessaly named Scopas, the poet Simonides of Ceos chanted a lyric poem in honour of his host but including a passage in praise of Castor and Pollux. Scopas meanly told the poet that he would only pay him halfthe sum agreed upon for the panegyric and that he must obtain the balance from the twin gods to whom he had devoted half the poem. A little later, a message was brought in to Simonides that two young men were waiting outside who wished to see him. He rose from the banquet and went out but could find no one. During his absence the roof of the banqueting hall fell in, crushing Scopas and all the guests to death beneath the ruins; the corpses were so mangled that the relatives who came to take them away for burial were unable to identify them. But Simonides remembered the places at which they had been sitting at the table and was therefore able to indicate to the relatives which were their dead. The invisible callers, Castor and Pollux, had handsomely paid for their share in the panegyric by drawing Simonides away from the banquet just before the crash. And this experience suggested to the poet the principles of the art of memory of which he is said to have been the inventor. Noting that it was through his memory of the places at which the guests had been sitting that he had been able to identify the bodies, he realised that orderly arrangement is essential for good memory.

And by way of reinforcing my Lector-Simonides conjecture, Lector certainly had a remarkable interest in memory, as we learn from his dialogue with Clarice Starling:

“Did you do the drawings on your walls, Doctor?”
“Do you think I called in a decorator?”
“The one over the sink is a European city?”
“It’s Florence. That’s the Palazzo Vecchio and the Duomo, seen from the Belvedere.”
“Did you do it from memory, all the detail?”
“Memory, Officer Starling, is what I have instead of a view.”

A belvedere, from the Italian, is “a structure (as a cupola or a summerhouse) designed to command a view” — and a beautiful view at that. Belvedere is also, ironically, the name of the town in Ohio where Buffalo Bill, Lector’s serial killer ex-patient, lives…

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So it didn’t surprise me to discover that in Hannibal (1999), the book that follows Silence, this brilliant man who as we have seen collects church collapses and has an exquisite memory in place of a view, is revealed as a practitioner of Simonides’ art:

The memory palace was a mnemonic system well known to ancient scholars and much information was preserved in them through the Dark Ages while Vandals burned the books. Like scholars before him, Dr. Lecter stores an enormous amount of information keyed to objects in his thousand rooms, but unlike the ancients, Dr.Lecter has a second purpose for his palace; sometimes he lives there. He has passed years among its exquisite collections, while his body lay bound on a violent ward with screams buzzing the steel bars like hell’s own harp.

Hannibal Lecter’s palace is vast, even by medieval standards. Translated to the tangible world it would rival the Topkapi Palace in Istanbul for size and complexity.

We catch up to him as the swift slippers of his mind pass from the foyer into the Great Hall of the Seasons. The palace is built according to the rules discovered by Simonides of Ceos and elaborated by Cicero four hundred years later; it is airy, high-ceilinged, furnished with objects and tableaux that are vivid, striking, sometimes shocking and absurd, and often beautiful. The displays are well spaced and well lighted like those of a great museum. But the walls are not the neutral colors of museum walls. Like Giotto, Dr. Lecter has frescoed the walls of his mind.

Brilliant. And a delight, years later, to have my hunch connecting the church collapses and prison cell with only memory for a view with Simonides and the Art of Memory confirmed by the third book and film in the series…

You’ll note, btw, that the Lector (caveat lector) of the first two books has now become Lecter in alignment with the films starring Anthony Hopkins.

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I love symmetries, so let’s move from the most monstrous criminal mind in literature, to the greatest detective…

Sherlock Holmes — in his latest television incarnation — builds memory palaces of a sort, though I’m not sure Simonides would recognize them.

I’m posting the clip from the series here to honor my son Emlyn, with whom I have been watching the series…

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And then there’s the Jesuit whose use of the Art is explored in Jonathan Spence‘s The Memory Palace of Matteo Ricci:

In 1596 Matteo Ricci taught the Chinese how to build a memory palace. He told them that the size of the palace would depend on how much they wanted to remember: the most ambitious construction would consist of several hundred buildings of all shapes and sizes, “the more there are the better it will be,” said Ricci, thought he added that one did not have to build on a gradiose scale right away. One coul create modest palaces, or one could build less dramatic structures such as a temple compound, a cluster of government offices, a public hostel, or a merchants’s meeting lodge. If one wished to begin on a still smaller scale, then one could erect a simple reception hall, a pavilion, or a studio. And if one wanted an intimate space one could use just the corner of a pavilion, or an altar in a temple, or even such a homely object as a wardrobe or a divan.

You’ll note that in this early example of virtual reality as an pedagogical technology, Ricci doesn’t start with the easy stuff, the single wardrobe or divan — he begins with “the most ambitious construction”…

Enough for now. When I want to talk about in a follow up post is detail… the crucial importance of detail.

Friend of the blog, commenter L.C. Rees, likes to point out that one of the most important part of a grand strategy, particularly one that is maintained despite evidence of being a geopolitical failure, are the domestic political effects that work to the advantage of the faction supporting it.  In my view, grand strategy usually has a political or cultural evolutionary component and, human nature being unchanging, Rees’s cynical observation has merit.

Last year, a couple of JCS aides/field grade officers wrote a grossly overpraised paper that was pushed by Anne-Marie Slaughter, Thomas Friedman and assorted worthies, that purported to be about a new grand strategy with which America could navigate the world. Mostly it centered on a preference for an America being run by a vaguely EU-like, technocratic, regime under the rubric of “sustainment”, in which the authors wisely folded in a number of  shibboleths popular with the corporate-liberal upper class who write large donation checks to think tanks or make their living in public policy and academia.

The talk of this nature died down when the election cycle began, but the themes were recently revived by the New America Foundation’s Grand Strategy Project whose director had an op-ed in Foreign Policy to reintroduce this agenda to the chattering classes now that the pesky voters are out of the way until 2014:

A New U.S. Grand Strategy 

….Walkable communities: The first pool of demand is homegrown. American tastes have changed from the splendid isolation of the suburbs to what advocates are calling the “five-minute lifestyle” — work, school, transit, doctors, dining, playgrounds, entertainment all within a five-minute walk of the front door. From 2014 to 2029, baby boomers and their children, the millennial generation, will converge in the housing marketplace — seeking smaller homes in walkable, service-rich, transit-oriented communities. Already, 56 percent of Americans seek this lifestyle in their next housing purchase. That’s roughly three times the demand for such housing after World War II.

[ by Charles Cameron — on straight shooting, but more about logic than guns ]
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If you tie me down across some railroad tracks (no, that’s not me) and I can feel a train coming and you say you’ll cut me loose if and only if I vote for or against “gun control” I’ll hastily but reluctantly admit to being for it.

The haste, you’ll understand, comes from my not wishing to be cut in three or four by the onrushing train, while the reluctance comes from my sense that my political opinions, such as they are, are usually more indicative of my generally kindly nature than of any rigorous analysis of likely first, second, third and nth order impacts of whatever it is we’re discussing.

But okay, my sympathies are with gun control — while my awareness of my own ignorance prompts me not to put much stock in those sympathies.

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But then I come across this article in Forbes, which disturbs me enough to prompt me into a new idea, a novel use for my SPECS or DoubleQuotes format.

I’ll use that format to present you with two paragraphs from that article, one of them slightly abridged, which follow one another directly. And my question for you, as you read them, is how can the authors get from the top paragraph, with all its questions and cautious qualifications, to the one immediately below it, with its claim of unquestioning certainty.

I’d say that the paragraph that immediately follows the first one doesn’t follow from it at all, logically speaking — I’d say there’s a non sequitur in there. And for me, that’s a novel use of the two quotes format — to suggest that someone is taking an impermissible leap.

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Because as far as I can see, the only way to get from the first paragraph to the second is via a leap of hope — a determination, present from the beginning, to arrive at a fixed conclusion, in this case, that firing guns is addictive.

As I’ve said, I have some sympathy with gun control legislation — but I don’t much like it when sympathies masquerade as science, even when I share them.

So what do we call that kind of leap?

Leaping to a hasty conclusion? Jumping the gun, perhaps? Jumping the shark?