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[ by Charles Cameron ]

It seems my intuition of a Lovecraft connection with WikiLeaks was right, as was Jean’s suggestion that the MARUTUKKU quote is “more specific and extensive and ‘mythological'” than the translations of Enuma Elish she’d found on the net. I dropped Anders Sandberg a line letting him know I’d quoted him in my earlier post, and he graciously responded with this clarification of the mystery:

I think the MARUTUKKU name/description is from the Simon Necronomicon, which did its best to shoehorn mythology into the mythos, and might explain the different translation. Of course, one might argue that that book is a real, a hoax posing as real, real posing as a hoax, or both at the same time.

Anders, currently a staff member with the Future of Humanity Institute at Oxford (which name strikingly reminds me of the Bright Futures Institute in Qom, Oxford’s parallel in the Iranian universe), is also known for his writings on Mage: the Ascension and other role-playing games — see for instance this account of the Asatru in M:tA.

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The bearded, theremin-wielding mage Steve Burnett [left] also noted the origin of the MARUTUKKU quote in the Simon Necronomicon in his comment on my no-less-bearded mage-friend [right] Bryan Alexander‘s blog Infocult — which features a rich vein of gothic imaginings and runs with the subtitle “We haunt every medium we make”.

Delighted to find an excuse to post that photo, btw. My warm regards to all…

[ by Charles Cameron ]

Jean Rosenfeld of the UCLA Center for the Study of Religion just posted a comment on an earlier Zenpundit post of mine, opening up a topic which may interest some readers here: that of Wikileaks founder Julian Assange’s mythological associations.

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Jean had earlier pointed me to Assange’s use of the name “Marutukku” to describe his encryption program, and a little fishing brought me to these two Assange-related documents:

One Man’s Search for a Cryptographic Mythology
Enuma Elish

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I’d been idly wondering about cryptographic mythology myself, as it happens, nudged by vague memories of a cache of porno images tweaked by jihadists as encoding devices for steganography.

Steganography is the cryptographic – or is it kabbalistic? — art devised by one Abbot Trithemius, whose 1518 Polygraphia is the first work on cryptography printed in Europe, and whose Steganographia was known in MS to such hermetic philosophers as Cornelius Agrippa, Giordano Bruno and John Dee. Jim Reeds captures the ambiguity of Trithemius’ work nicely in his paper, Solved: The Ciphers in Book III of Trithemius’s Steganographia, when he asks:

Is it [the Steganographia] primarily an exposition of cryptographic techniques disguised as angel magic, or is it primarily a magic work disguised as cryptography?

Readers of Frances Yates and Ioan Couliano will be somewhat familiar with these matters.

And jihadist steganography? The technique itself is described in the al-Fajr Information Center’s Technical Mujahid magazine of Feb. 2007 according to a Jamestown Foundation Terrorism Monitor piece, but the reports of actual jihadist use of the technique may turn out to be fabrications.

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But it was Julian Assange‘s bliss we were trying to follow, right?

Assange sidekick Suelette Dreyfus wrote The Idiot Savants’ Guide to Rubberhose — which is the manual for Assange’s crypto program… but this business of naming the program gets complicated, eh?

Dreyfus explains:

If you’re wondering about the name of this program, Marutukku is the internal development name (it’s spelled Ru-b-b-e-r-h-o-s-e, but it’s pronounced M-a-r-u-t-u-k-k-u)

In case you didn’t get it, there may be a play on Lewis Carroll there, and the exchange Alice has with the White Knight in Through the Looking-Glass as to what the name of a certain very sad song is called.

Alice aside – and such detours are in fact the very method of discovery in non-linear thinking – Dreyfus offers as an epigraph to her piece the following quote:

The third name is MARUTUKKU, Master of the arts of protection, chained the Mad God at the Battle. Sealed the Ancient Ones in their Caves, behind the Gates.

which she attributes to “The Akkadian Creation Epic”. That would be the Enuma Elish.

Assange, in his One Man’s Search for a Cryptographic Mythology, attributes his choice of the name Marutukku to a conversation he had with a friend concerning the Enuma Elish, telling us (after much other curious and wandering stuff) that his friend recommended the god Marduk’s third name to him, saying

The third name is MARUTUKKU, Master of the arts of protection, chained the Mad God at the Battle. Sealed the Ancient Ones in their Caves, behind the Gates.

Assange liked the idea, observing, “Even the very word MARUTUKKU looked like it had been run through a product cipher”.

A little later in the same document, he quotes from the Enuma Elish, and the phrases given above appear in the quoted excerpts from that text – although they are not present in the version “Based on the translation of E. A. Speiser, with the additions by A. K. Grayson, Ancient Near Eastern Texts Relating to the Old Testament, third edition, edited by James Pritchard (Princeton, 1969), pp. 60-72; 501-503, with minor modifications” that Assange offers us on the sibling-page at Enuma Elish.

As Dr. Rosenberg pointed out to me, “the quote — if it is a translation — differs from other translations I found on the Internet. It is more specific and extensive and ‘mythological.'”

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Okay, I’ve kept what may be the most practical (ie 21st century) “creative leap” made by my skittish and wandering mind for this, my penultimate paragraph.

Oxford’s Anders Sandberg blogs today about Assange’s application of network theory to conspiracies, quoting Assange as saying:

Conspiracies are cognitive devices. They are able to out think the same group of individuals acting alone Conspiracies take information about the world in which they operate (the conspiratorial environment), pass it around the conspirators and then act on the result. We can see conspiracies as a type of device that has inputs (information about the environment) and outputs (actions intending to change or maintain the environment).

And Anders’ summary of Assange’s position? “In short, conspiracies are a kind of collective intelligence enhancement.”

[ admission: I associate the name Anders Sandberg with some brilliant early net writings on role-playing games and the hermetic tradition – I’m hoping this is the same guy ]

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Finally, let’s go back to that enhancement of the Enuma Elish text. That phrase, “Sealed the Ancient Ones in their Caves, behind the Gates” struck me, too – it reminded me of the Chthulu Mythos of HP Lovecraft, and its apocalypse:

That cult would never die until the stars came right again and the secret priests would take Cthulhu from His tomb to revive His subjects and resume His rule of earth. The time would be easy to know, for then mankind would have become as the Great Old Ones; free and wild, and beyond good and evil, with laws and morals thrown aside and all men shouting and killing and revelling in joy. Then the liberated Old Ones would teach them new ways to shout and kill and revel and enjoy themselves, and all earth would flame with a holocaust of ecstasy and freedom.

And with that quote from Lovecraft, courtesy of Erik Davis, we have returned by a commodius vicus of recirculation back to the hermetically sealing and revealing world of John Dee.

by Charles Cameron

Norwegian photographer Arne Nævra took second prize in the “Our world” category of the Shell Wildlife Photographer of the Year 2007 competition with this photo

Bruce Sterling‘s State of the World 2010 conversation with my online friend Jon Lebkowsky on the Well’s “Inkwell” forum this year was rich in concept and language as one might expect. This in particular caught my eye:

It’s like looking at your SUV and seeing drowning polar bears. Just a minority viewpoint.

Two concepts, two dots to connect: SUVs and polar bears. Sterling chose those two concepts, no doubt, because the connection between them is non-obvious in the sense that a dictionary definition of SUV won’t contain a reference to polar bears, heck, even an encyclopedia article is unlikely to, and the reverse is also true — and obvious, in the sense that the “minority” in question can easily connect these two otherwise quite distinct and separate dots, the connection being “climate change” aka “global warming” or more specifically an entire complex dynamic systems analysis incorporating the process by which an aggregate of comparatively large and frequently used gasoline-powered internal combustion engines adds incrementally to a trend in the global weather…

Not that any of this should surprise us: Sterling’s readers presumably know that SUVs are a convenient stand-in for “gas guzzlers” and thus for the whole panoply of cars and trucks, and more abstractly for our planetary tendency to technologize our environment into greater convenience and less sustainability — and polar bears, while Sterling may like the look of them in photos, documentaries, zoos or on the occasional visit to the Arctic, serve here as a marker for the entire notion of environmental degradation, a massive die-out of species and such other non-Arctic phenomena as the loss of mountain tops in Appalachia and of rain forests in the Amazon and elsewhere.

So Sterling has played two “concepts” on the board of “connect the dots” and asserted that for some people the connection will be obvious, while for others it will be invisible — which in term of connecting the dots means it might as well not exist.

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Indeed, some will argue that while both dots — SUVs and polar bears — exist, the connection implied between them does not.

But that’s not the topic of my consideration here.

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Bruce Sterling’s interview gives me the pair of dots I intend to focus on today – SUVs and polar bears – but there’s another pair of dots that Sterling’s remarks forms part of, a pair in which Sterling stands at one pole (science, fiction) of the debate on climate change, with Rep. John Shimkus, R- IL, at the other (scripture, fact).

Addressing the House Subcommittee on Energy and Environment’s hearing on Preparing for Climate Change on March 15, 2009, Rep. Shimkus made the following now-celebrated remarks:

The right of free speech is a great right that we have in this country. Very few times we use it to espouse our theological religious beliefs, but we do have members of the clergy here as members of the panel. So I want to start with Genesis 8, verses 21 and 22. “Never again will I curse the ground because of man even though every inclination of his heart is evil from childhood, and never again will I destroy all living creatures as I have done. As long as the earth endures, seed time and harvest, cold and heat, summer and winter, day and night will never cease.” I believe that is the infallible word of God, and that is the way it is going to be for his creation.
 
The second verse comes from Matthew 24. “And he will send his angels with a loud trumpet call, and they will gather his elect from the four winds, from one end of the heavens to the other.” The earth will end only when God declares it is time to be over. Man will not destroy this earth. This earth will not be destroyed by a flood.
 
And I appreciate having panelists here who are men of faith, and we can get into the theological discourse of that position. But I do believe God’s word is infallible, unchanging, perfect.

I have characterized Sterling’s stance as “science, fiction” and Rep. Shimkus as “scripture, fact” – but the connection between these two dots is far from clear, and it is at leasdt arguable whether the designations shouldn’t instead be “science, fact” for Sterling, and “scripture, fiction” for Rep. Shimkus.

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There’s a certain elegance to that – in fact it begs to be made into one of those diagrams that Jung and Levi-Strauss were fond of…

Of course, fact and fiction may not be exclusive, opposed categories, and the same is true of scripture and science. Consider, for example, Kathleen Raine’s comment:

myth, when a real event may be the enactment of a myth, is the truth of the fact and not the other way around”

or the similar idea that CS Lewis once wrote to her

What flows into you from the myth is not truth but reality (truth is always about something but reality is about which truth is) and therefore every myth becomes the father of innumerable truths…

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To return to Sterling… The game of connect the dots that Sterling plays here could be made into a simple systems diagram of the sort that Peter Senge used to illustrate his book, The Fifth Discipline, or the more elaborate form of systems dynamic model that Jay Forrester pioneered at MIT and Donella Meadows so eloquently preached in her essay, Places to Intervene in a System — complete with feedback loops in which shifts in global weather patterns and the exquisitely-patterned trails of SUVs dance the dance of complexity and emergence…

Sterling’s version of the game is verbal, minimalist, and suggestive: two phrases, not often found next to each other, quietly juxtaposed, in such a way that the mind can supply the connection that makes the leap between them. In short: the man can write.

The point I am laboring to make here has to do with communication: with getting an insight across to other people.

Writers do this by dropping verbal markers (“SUVs” and “polar bears”) into sentences. Mostly, they write many such sentences in sequence (a blog post, an article, a book), so the reader skims or skips lightly from one marker to the next, like a stone skipping across a pond in the childhood game. Individual leaps and single connections between pairs of dots are not important here, the reader’s mind half-notes them as it passes to the next dots and the next, and such things as “conclusions” and “actionable items” or in some cases “character” and “plot” far outweigh the largely subliminal links and connections triggered along the way.

From an analytic point of view, however, it is the connections that make the difference — whether those connections are causal, as in the steps of an argument; dynamic, as in the workings of a homeostatic system with feedback loops; emergent, as in the discernment of pattern at the edge of chaos; or associative, as with creative insight, metaphor and analogy.

And in each of these cases, some form of language, diagram or model can spell out the connection, some form of software can embody that language, diagram or model, and some form of human insight can assimilate its meaning and apply it to further tasks of observation, orientation, decision and action…

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We may connect the dots for pleasure, as in one of those games that chains of restaurants print up to keep children busy while their parents talk over pancakes and bacon, or for benefit: and here the issue is not only to connect “past” dots correctly so as to understand what has already happened and can be viewed with twenty-twenty hindsight, but to make the great conceptual leap from past and present and propose connections with dots that will arise in the “future” (that zone of uncertainty): we write scenarios, we plan, we attempt to intuit an enemy’s next move, to make our own OODA loop tighter and meaner than his.

And while in the short term we may succeed, in the mid and long term we may fail.

At which point, as a depth psychologist might say, our projections tell us more about ourselves than about the reality we are attempting to grasp.

I’d include here those moments when we “see” connections that don’t exist, as well as those in which we miss connections that do: hallucinatory links, and blind spots, both.

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Bruce Sterling, in the same forward-looking piece that contains that quick verbal aside about polar bears and SUVs, asks himself how anyone can give “a coherent picture of where your future is heading”. Without some such picture, indeed, we are at the mercy of vicious feedback loops and unintended consequences.

Here’s how he thinks about what we might call medium term scenarios:

Let’s imagine you’re three years old again. You want to give your Dad, back in 1974, a coherent picture of what 2010 looks like. You know, something very actionable, lucid and practical, where he can just slap the cash on the counter and everything works out great for the family. Okay: given what you know now about the present, tell me what you oughta tell him about 2010, back in 1974.

Forrester-style modeling won’t carry us forward thirty five years: there are simply too many shades of grey and black swans between “now” and “soon”.

And so task number one is an “ornithological” task — to peer into our own blind-spots, to see the invisible, to have what is called “vision”.

And I don’t mean a gosh-darn brand-new marketing strategy. I mean a sense of the great tides that underlie epochal changes — the kind of vision that William Blake had, which allowed him to rail on about the “satanic mills” long before the word “ecology” was a dim spark in the mind of the fellow who coined the word. The sort that Leonardo da Vinci had.

The sort, in fact, that contemplatives (all those Zen and Tibetan and Benedictine monks) and shamans (Lakota and Huichol and !Kung and all the rest) and artists (in words, in images, in sound, in film, in concept) all know about.

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Which is to say, the sort Einstein knew about — so that when the mathematician Jacques Hadamard asked him about his thought process, he answered:

The words or the language, as they are written or spoken, do not seem to play any role in my mechanism of thought. The psychical entities which seem to serve as elements in thought are certain signs and more or less clear images which can be “voluntarily” reproduced and combined.
 
There is, of course, a certain connection between those elements and relevant logical concepts. It is also clear that the desire to arrive finally at logically connected concepts is the emotional basis of this rather vague play with the above mentioned elements. But taken from a psychological viewpoint, this combinatory play seems to be the essential feature in productive thought – before there is any connection with logical construction in words or other kinds of sign, which can be communicated to others.
 
The above mentioned elements are, in my case, of visual and some of muscular type. Conventional words or other signs have to be sought for laboriously only in a secondary stage, when the mentioned associative play is sufficiently established and can be reproduced at will.

That’s quite a mouthful, so I’d like to pick out a few points that maybe of relevance here.

Let’s clear the word “muscular” out of the way first. Some of the ideational germs of Einstein’s most brilliant work, he tells us, are “muscular”. Many of us know that visual thinking is an important component of understanding: Einstein adds thinking “of muscular type” into the mix. His body is part of his mind, and he knows it. That’s important: Einstein is, in fact, connecting dots for us here linking mind and body. But he doesn’t just link dots in his response to Hadamard — he actually talks quite a bit about making connections.

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Einstein links to Tagore

Let me rephrase his response to Hadamard the way I see the process he describes unfolding.

He has a strong emotional desire to understand, in the way that “physics” understands — which is to say, “to arrive finally at logically connected concepts” of the nature of nature. He then turns away from logic and concepts, and — still under the sway of that desire — attends to the sensations of his body and to his internal field of vision. In response to that desire and from regions of the body and mind unspecified, certain “psychic elements” of a visual and some of muscular sort arise. These he says can be “combined” — he says also that he can “play” with them — but the play is, at least at first “vague”. Indeed it is precisely this “combinatory play” which appears to Einstein to be “the essential feature in productive thought”. It is only when these elements have been voluntarily played with and satisfactorily combined that Einstein begins, internally, to verbalize and “translate” the combinations he has perceived into some form of “logical construction in words or other kinds of sign, which can be communicated to others”.

So we have three sorts of connection going on here: (i) an associative connectivity between imagistic and muscular “psychic elements” in the mode of play (ii) their “connection with logical construction in words or other kinds of sign” and (iii) the connections he can then present to others in the language of “logically connected concepts” — ie mathematical physics.

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In all of this, I would like to highlight (i) the (perhaps unexpected) importance of the body’s connection with the mind in human thinking, (ii) the significance of a deep desire for understanding as the attractor for the largely unconscious motions of body and mind, (iii) the role of play as the mode of thinking in which creative linking occurs, (iv) the ubiquity of connectivity as the ruling imperative in all phases from the initiation of play to the communication of theoretical physics.

All four — body-mind, desire, play and connection — are key components in anything worthy of the name of vision.

 

Charles Cameron is the regular guest-blogger at Zenpundit, and has also posted at Small Wars Journal, All Things Counterterrorism, for the Chicago Boyz Afghanistan 2050 roundtable and elsewhere.  Charles read Theology at Christ Church, Oxford, under AE Harvey, and was at one time a Principal Researcher with Boston University’s Center for Millennial Studies and the Senior Analyst with the Arlington Institute:

A Hipbone Approach to Analysis III.

by Charles Cameron

I’ve been slowly prepping this series of pieces about my analytic approach — and the mysterious business of “connecting the dots” — for a while, but.. Jeff Jonas, whose work I only recently ran across, has given me “another piece of the puzzle” and a slew of new dots to connect, so here’s a quick impression of some new (for me) terrain that connects with other areas I have long been familiar with.

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What it comes down to in my post today is this: I would like to reconcile “connecting the dots” with “putting together the pieces of the puzzle”.

Both metaphors have to do with “seeing the big picture”, and one of them (“connecting the dots”) has to do directly with nodes and edges, i.e. with those systems we call graphs and networks, while the other suggests a far subtler set of connections.

Consider this: n+1 is the next dot in the series of integers after n, with “+1” being the only link necessary — you can represent that on a graph with two nodes and an edge. But if you had the sky of the northern hemisphere in one hand (hey, this is a thought experiment) and five square miles of landscape around Winchester Cathedral in the other, finding just where to fit the cathedral (and the surrounding, branching, leafy trees nearby) snugly into the sky would be a far trickier business, and the links between air and leaf and stone molecules would be very many — we should be grateful for the ease with which the sky accommodates itself in reality to the cathedral and the trees (and the cathedral and the trees to the sky) — and for the ease with which a painter like Turner can capture the effect…

Two puzzle pieces, I mean, may have to fit along many aspects of their intersection, while dots can be connected by a single common thread.

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I’ve only recently “met” the mind of Jeff Jonas, but he has some remarkable things to say about puzzles — for one thing, he writes about the levels of, well, computation involved in solving a jigsaw puzzle:

The first piece you take out of the box and place on the work surface requires very little computational effort. The second and third pieces require almost equally insignificant mental effort. Then as the number of pieces on the table grows the effort to determine where the next piece goes increases as well. But there is a tipping point where the effort to determine where to place the next piece gets easier and easier … despite the fact the number of puzzle pieces on the table continues to grow.

That in itself is a fascinating thought to dwell on, in fact it’s the sort of piece of the puzzle that gives me an epiphany — Jonas talks about puzzle pieces that provoke epiphanies, too:

Some pieces produce remarkable epiphanies. You grab the next piece, which appears to be just some chunk of grass – obviously no big deal. But wait … you discover this innocuous piece connects the windmill scene to the alligator scene! This innocent little new piece turned out to be the glue.

I’m processing this as a theologian / philosopher / poet, and Jonas has just given me a new angle on the theme of the intersection of frames of reference that Arthur Koestler in The Act of Creation takes to be the fundamental element in insights ranging all the way from casual jokes about rabbis to — let me give you a more powerful example — the Taniyama-Shimura Conjecture which, if I’ve understood the layman’s version correctly, began as a hunch that the otherwise entirely distinct mathematical zones known as “elliptic curves” and “modular forms” could be mapped onto each other – and wound up once proven, successfully bridging algebra with analysis.

Now, I am no no no no mathematician — but I am a student of conceptual bridges, so if I’ve phrased myself poorly here, please bear with me. The point is to think freshly about how one idea connects with another.

Koestler’s insight at the intersection between two fields (for this is essentially a matter of multiple-frame, and thus cross-disciplinary, thinking) is, I’d suggest, Jonas’ epiphanic piece of the puzzle.

Awesome.

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But as we are trying to figure out the puzzle pieces — and this applies to “what is the meaning of life?” as much as to “what threat should be uppermost in our concern?” — Jonas has more to throw at us:

There may be more than one puzzle in the box, some puzzles having nothing to do with others. There may be duplicate pieces, pieces that disagree with each other, and missing pieces. Some pieces may have been shredded and are now unusable. Other pieces are mislabeled and/or are exceptionally well crafted lies.

I would like to add that puzzles may not be the only thing in the (universal) box. There’s a quote that originates somewhere in Heidegger, to the effect that “A puzzle is the unknown, to be solved, while a mystery is the unknowable, to be entered into and dwelt within.” As I say, I’ve only just run into Jonas’ thoughts, but I’d like to integrate that piece of the puzzle in with the ideas he’s providing – why not have a go at the mystery too while we’re about it?

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So what happens with ideas? How do they connect?

Hermann Hesse, the Nobel laureate in literature who gave us Siddhartha and Steppenwolf and The Journey to the East, won his Nobel for his most ambitious novel, The Glass Bead Game (Das Glasperlenspiel, also known in English as Magister Ludi). It is an amazing piece of work that inspired at least one other book by another Nobel laureate — Manfred Eigen’s Laws of the Game: How the Principles of Nature Govern Chance — gave John Holland (he of genetic algorithms) the ruling metaphor for his life’s work, was an early and profound influence on Christopher Alexander’s thinking about pattern languages, and in general serves as a catalyst for grand scale creativity among a disparate crowd of very bright minds.

It is about a game — a game on the order of the complete works of JS Bach. And the essence of the game is the juxtaposition of thoughts.

It is about “connecting the dots” and “putting together the pieces of the puzzle” on the grand scale, to create not a single link between ideas, not a small “bigger picture” deploying a half-dozen or so insights, but a vast architecture of ideas that encompasses all “deep” human thought and connects all “beautiful” cognizable patterns. Hesse uses the image of an organist playing an organ to describe the play of ideas that composes his Game, writing:

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.

And in Hesse’s central, musical metaphor, the myriad thoughts that comprise what he terms the “hundred-gated cathedral of Mind” are linked one with another by likeness — by identity, isomorphism, homology, symmetry, parallelism, opposition, analogy, metaphor…

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I’ll have to move us deep into the territory of the arts and humanities here, because Hesse himself was supremely versed in those areas, but in doing so I would remind you that John Holland wrote of his life’s work, “If I could get at all close to producing something like the glass bead game I can’t think of anything that would delight me more.”

Here’s Hesse on the analogical / isomorphic nature of the moves that connect ideas — “only connect!” said EM Forster — in his great Game:

Throughout its history the Game was closely allied with music, and usually proceeded according to musical or mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement. A Game, for example, might start from a given astronomical configuration, or from the actual theme of a Bach fugue, or from a sentence out of Leibniz or the Upanishads, and from this theme, depending on the intentions and talents of the player, it could either further explore and elaborate the initial motif or else enrich its expressiveness by allusions to kindred concepts. Beginners learned how to establish parallels, by means of the Game’s symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combinations. For a long time one school of players favored the technique of stating side by side, developing in counterpoint, and finally harmoniously combining two hostile themes or ideas, such as law and freedom, individual and community. In such a Game the goal was to develop both themes or theses with complete equality and impartiality, to evolve out of thesis and antithesis the purest possible synthesis.

It is Bach, it is Hegel, it is the very essence of creativity, it is the associative, metaphoric nature of mind and brain (and I won’t get more than toe-deep in the “deep problem” of consciousness here).

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And it does involve combining the understanding of both puzzle and mystery, to return to that distinction from Heidegger:

I suddenly realized that in the language, or at any rate in the spirit of the Glass Bead Game, everything actually was all-meaningful, that every symbol and combination of symbols led not hither and yon, not to single examples, experiments, and proofs, but into the center, the mystery and innermost heart of the world, into primal knowledge. Every transition from major to minor in a sonata, every transformation of a myth or a religious cult, every classical or artistic formulation was, I realized in that flashing moment, if seen with a truly meditative mind, nothing but a direct route into the interior of the cosmic mystery, where in the alternation between inhaling and exhaling, between heaven and earth, between Yin and Yang, holiness is forever being created.

Hesse is proposing his intuition that the world of ideas is a mandala-form array of symmetries with a “vanishing point” in the center.

Well, I have leapt far from my original topic, Jeff Jonas’ comments on piecing together a puzzle, but I hope the bungee-cord I’ve been depending on has held your attention, and now as always, at the far end of the extension there’s a bouncing-back.

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The human mind “connects the dots” and “pieces together the puzzle” by recognizing likenesses — pattern recognition, if you like.

But just how human analogical thinking functions is not exactly an easy question…

Charles Cameron is the regular guest-blogger at Zenpundit, and has also posted at Small Wars Journal, All Things Counterterrorism, for the Chicago Boyz Afghanistan 2050 roundtable and elsewhere.  Charles read Theology at Christ Church, Oxford, under AE Harvey, and was at one time a Principal Researcher with Boston University’s Center for Millennial Studies and the Senior Analyst with the Arlington Institute:

Zen here – I think Charles has hit upon a primal psychological mechanism that comes into full flower as societies break down and war begins to shade into warlordism. We have seen this repeatedly in history from Tamerlane’s mounds of skulls to Khmer Rouge killing fields. Mad Barons, Dogmeat Generals, Friekorps kapteins and butchers long since forgotten by history- there’s a gravitational pull toward atavistic, symbolic, destruction as social norms erode under the corrosive effects of escalating violence.

Mexico, Africa, Zarqawi?

by Charles Cameron

I’ve been struck by a couple of passages I’ve run across in my reading recently that remind me of what I can only call “brutality with religious overtones”.
1. Mexico

There have been a fair number of articles about the various Mexican cartels, but the excerpt from Ed Vulliamy’s book, Amexica: War Along the Borderline that’s now online at Vanity Fair is the one that caught my eye yesterday.

Here’s Vulliamy’s account of a conversation with Dr. Hiram Muñoz of Tijuana:

He explained his work to me during the first of several visits I have made to his mortuary. “Each different mutilation leaves a message,” he said. “The mutilations have become a kind of folk tradition. If the tongue is cut out, it means the person talked too much—a snitch, or chupro. A man who has informed on the clan has his finger cut off and maybe put in his mouth.” This makes sense: a traitor to a narco-cartel is known as a dedo — a finger. “If you are castrated,” Muñoz continued, “you may have slept with or looked at the woman of another man in the business. Severed arms could mean that you stole from your consignment, severed legs that you tried to walk away from the cartel.”<¶>Earlier this year, 36-year-old Hugo Hernandez was abducted in Sonora; his body turned up a week later in Los Mochis, Sinaloa, but not in a single piece. His torso was in one location, his severed arms and legs (boxed) in another. The face had been cut off. It was found near city hall, sewn to a soccer ball.

That’s the brutality — I haven’t see the book itself yet, but I gather it also gets into the narco-corrida music and the “quasi-Catholic cult of Santíssima Muerte” — which brings me to the second part of my interest – the religious aspect.

As Vulliamy mentions, there’s the cult of Holy Death, to be sure, a sort of shadow or inverse of the Blessed Virgin — a Dark Mother for dark times, or perhaps a revival of the ancient Mictlancihuatl, lady of the Dead? — with her own liturgy, too:

Almighty God: in the name of the Father and of the Son and of the Holy Spirit, we ask for your permission to summon Saint Death. Welcome, White Sister: we find ourselves gathered here at this altar of the Romero Romero family and of each one of us, to offer you a Mass that we hope you will like…

Which brings us to the Robin-Hood-like bandit and folk-saint, Jesus Malverde, to whom prayers such as the following [FBI .pdf, see p. 20] are offered:

Lord Malverde, give your voluntary help to my people in the name of God. Defend me from justice and the jails of those powerful ones. Listen to my prayer and fill my heart with happiness. For you shall make me fortunate.

There are even miracles attributed to him:

Oh Malverde! The Vatican did not believe you to be holy and would not canonize you, but when they brought the Caterpillars to tear down your hood, you broke one machine and nobody could move you away, you broke another, leaving those who disrespect you speechless — and when the third one broke, they said, “Let Malverde’s chapel alone.”

Right beside the syncretistic quasi-Catholicism, there’s also a Protestant angle: La Familia is the group that, in Vulliamy’s words, “made its ‘coming out’ known in a famous episode: bowling five severed heads across the floor of a discotheque.” Time magazine reported on what it termed Mexico’s Evangelical Narcos:

Federal agents seized one copy of La Familia’s Bible in a raid last year. Quoted in local newspapers, the scripture paints an ideology that mixes Evangelical-style self-help with insurgent peasant slogans reminiscent of the Mexican Revolution. “I ask God for strength and he gives me challenges that make me strong; I ask him for wisdom and he gives me problems to resolve; I ask him for prosperity and he gives me brain and muscles to work,” Moreno writes, using terms that could be found in many Christian sermons preached from Mississippi to Brazil. But on the next page, there’s a switch to phrases strikingly similar to those coined by revolutionary Emiliano Zapata. “It is better to be a master of one peso than a slave of two; it is better to die fighting head on than on your knees and humiliated; it is better to be a living dog than a dead lion.”

As I commented on Zenpundit a while back,

What’s troubling here is that there is only one undoubtedly “evangelical” phrase in all those that Time quotes, and it is one of then ones said to resemble the aphorisms of Emilio Zapata. “It is better to be a living dog than a dead lion” is a pretty direct borrowing from Ecclesiastes 9.4 in the King James Version: “To him that is joined to all the living, there is hope: for a living dog is better than a dead lion.”

But that’s not actually all. I didn’t mention it at the time, but “I ask God for strength and he gives me challenges that make me strong; I ask him for wisdom and he gives me problems to resolve; I ask him for prosperity and he gives me brain and muscles to work” is almost word-for-word the same as a poem attributed to Islam — or Judaism for that matter. Indeed, it can be hard to tell who is borrowing from whom – but one final source for the La Familia bible is known – it’s the book Wild at Heart by John Eldredge, the pastor of a ministry in Colorado Springs, who must have been surprised at the uses to which his writings were being put.

In any case, as I said on Zenpundit: These people have a theology, and we should be studying it.
2. Africa

My thoughts turned to Africa when I read another paragraph recently, this one from Johann Hari’s review, The Valley of Taboos, of V.S. Naipaul’s new book, The Masque of Africa: Glimpses of African Belief:

I have stood in a blood-splattered house in Tanzania where an old woman had just been beaten to death for being a “witch” who cast spells on her neighbors. I have stood in battlefields in the Congo where the troops insist with absolute certainty they cannot be killed because they have carried out a magical spell that guarantees, if they are shot, they will turn briefly into a tree, then charge on unharmed. I have been cursed in Ethiopia by a witch-doctor with “impotence, obesity, and then leprosy” for asking insistently why he charged so much to “cure” his patients. (I’m still waiting for the leprosy.) Where do these beliefs come from? What do so many Africans get out of them? Can they be changed? These are questions that are asked in Africa all the time, but we are deaf to the conversation.

That sent me in search of some early military anthropology related to guerrilla warfare I’d come across in earlier readings.

James R Price and Paul Jureidini’s 1964 Witchcraft, Sorcery, Magic, and Other Psychological Phenomena and their Implications on Military and Paramilitary Operations in the Congo, and Roger D Hughes’s 1984 Emergency in Kenya: Kikuyu and the Mau Mau Insurrection are both of considerable interest here — but it is LSB Leakey, the world-class British archaeologist initiated as a boy into the Kikuyu ways, who has written the most provocative summary of the relationship between political and religious violence and ritual that I’m interested in tracking.

I’m quoting here from the chapter on “The Mau Mau Religion” in Maj. Hughes paper:

Leakey’s original hypothesis in Mau Mau and the Kikuyu: “Mau Mau was nothing more than a new expression of the old KCA … a political body that was banned … because it had become wholly subversive.” Furthermore, “Mau Mau was synomomous with the new body called the in school, Kenya African Union…” However, Leakey admits to a reversal of his original hypothesis in Defeating Mau Mau, and goes on to say, “Mau Mau, while to some extent synonymous with these political organizations, was in fact a religion and owed its success to this fact more than to anything else at all.”<¶>He then proceeds to attribute the origin of Mau Mau to an “ideology transfer,” wherein the religious beliefs of the Kikuyu transitioned from their ancient tribal religion to Euro-Christianity to Mau Mau. The first transition took place artificially, as the missionaries stripped away the traditional beliefs and supplanted them with “20th Century Europe’s concept of Christianity.” The second transition was more natural and evolutionary than the first. A reactionary hybrid of the old and the new developed, because the supplanted concepts would not hold up in their society. There were too many contradictions between the old and the new, mainly due to the 20th Century European “add-ons.”

Most of us have a pretty fixed view of what religion is, should be, or isn’t. Some of my readers no doubt hold to a evangelical Christian position, some are Catholic, some perhaps Buddhist, agnostic or atheist, and some perhaps Muslim. Each of us tends to take our own view of a particular religion as normative, but the reality is that the history of each of the great world religions contains sanctions for both peace-making and warfare — and human nature itself encompasses a range of behaviors that run from the kind of atavistic violence described above to the forgiving and compassionate impulse behind the Beatitudes…

And while economic pressures and political frustrations may be enough to power great struggles, when religious rituals, beliefs and feelings are added into the mix, it can quickly become even more lethal.
3. And Zarqawi?

All of which leaves me wondering how close the parallels are between the Mau Mau in LSB Leakey’s account, La Familia and the other Mexican cartels — and the brutalities of jihadists such as Abu Musab al-Zarqawi.