zenpundit.com

[ by Charles Cameron ]

Zen recently posted a video of a terrific hour-plus-long speech by Doug Hofstadter – one of the best videos I’ve ever taken the time to watch – in which Hofstadter, the guy who brought us Godel Escher Bach and much more, talked about analogy and suggested that it’s at the very core of human cognition.

I posted a poem and some comments in response — they got a bit mangled in terms of formatting, which may be fixed by the time you read this – and Zen then posed a question:

Charles – there’s a large portion of visual imagery in the passage you cite: do you think the incorporation of imagery (thus activating a powerful region of the brain) enhances or distorts the underlying conceptual connection in an analogical construction?

That’s what set me off this time…

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I think of a poem as a braiding of three strands: a strand of sound or music, a strand of image, and a strand of meaning. For convenience, I’ll usually include a fourth – wit – but it’s actually more like a pearl that can be threaded on the strand of meaning.

From my POV, the poem is thus essentially a screenplay for the mind’s eye – and if a poem begins with strong music, at the very least I’d like it to end with strong music, if it starts with wit or wordplay, I’d like it to end with that too, and if it has imagery, I’d like the images to unspool in a way not unlike the images in a movie…

When I’m reading poems by others, and particularly if I’m teaching a poetry class, I’ll sometimes notice a sudden disjunction in one of the three strands. If it’s clearly for effect, all’s well and good – but if it’s unconscious, unintended, it will always reveal an aspect of the poem that hasn’t been worked through yet, and applying conscious attention to it will result in the emergence of new material from the unconscious store that enriches the final product. Sometimes, that kind of attention reaches something that was psychologically difficult, a disjunction in soul if you like – and the result of moving through it to the finished poem can be very much like a breakthrough insight in therapy.

But “poetry is not a hospital” – if Apollinaire didn’t say that, and I used to think he did, I shall.

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From my POV, therefore, there are analogies of sound, analogies of meaning, and analogies of image. There’s an analogy of sound between tomb and womb – we call it rhyme. There’s certainly an analogy of meaning – whence we come at birth, whither we go at death. And if you like, there’s an analogy of image – when I think of the “twinning” of those two words, I see life itself as running across a brief stretch of grass between two caves…

When as here, the analogy runs across all three braids, you have a very powerful “conceit” or poetic device.

The graphic match, together with sonic rhyme, between the visuals of a hotel room fan and the rotors of a helicopter at the beginning of Apocalypse Now parallels the sense of explosive heat and frustrated inaction of Captain Willard trapped in Saigon with the sense of freedom and clarity he feels when sent on mission up-river – again, an analogy in three strands.

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But analogy can also cut across the senses in a different way. Here’s Hermann Hesse‘s view of the Glass Bead 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 combination.

That’s analogy cutting across disciplines, and across sensory modalities too.

There was a period of about a dozen years when I almost completely stopped writing poetry, and concentrated on devising a variant on Hesse’s game that would be playable on a napkin in a café – conceiving of it as an art that would combine tight form (think: sonnet, sonata) with the entire spectrum or palette of human thought, visual, verbal, numerical, aural.

Hesse again:

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.

And that was written before the world wide web allowed us to mingle visual, verbal, numerical and aural elements so directly in a single presentation.

You can imagine how delighted I was, therefore, to stumble upon Sven Birkerts‘ writing:

There are tremendous opportunities, and we are probably on the brink of the birth of whole new genres of art which will work through electronic systems. These genres will likely be multi-media in ways we can’t imagine. Digitalization, the idea that the same string of digits can bring image, music, or text, is a huge revolution in and of itself. When artists begin to grasp the creative possibilities of works that are neither literary, visual, or musical, but exist using all three forms in a synthetic collage fashion, an enormous artistic boom will occur.

That’s what the HipBone Games were all about…

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That’s what I was reaching for, back in the days before I even called my games the HipBone Games — when they were still TenStones Games played on a board whose geometry I borrowed from the Sephirotic Tree – when I played TS Eliot‘s poem, The dove descending, in juxtaposition to Vaughan Williams‘ piece for violin and orchestra, The lark ascending…

…matching music with poem, descent with ascent, dove with lark, and the natural world of the English countryside with the “wrought” world of Eliot’s London in the pentecostal Blitz.

I don’t think Stephen or I had web browsers at the time – we played that game using AOL’s early texting function, so the music was entirely in the mind…

And I still think of that game as one of the loveliest expressions of the “hipbone” art.

Hesse’s game really is, for me, the continuation of poetry by other means…

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But then it turns out that analogy is an incredibly powerful aspect of human thought – and one that, IMO, we haven’t explored very deeply, perhaps precisely because it jumps silos and disciplinary boundaries, and creates fresh insight…

…which is pretty much as Doug Hofstadter was suggesting in that video Zen posted.

And so this fundamentally analogical frame of mind — which I had developed in a poetic and aesthetic context and applied to the symbolism so dear to the poets, cultural anthropologists, analytical psychologists, and comparative theologians and the like — turned out to be highly applicable and seen as highly creative when applied to real world issues, when I got a job for a couple of years at a small think-tank just outside DC.

Because if linear causality is the warp of the weave of the world, acausal patterning is its woof (or weft) – and frankly, our current techno-civilization is hopelessly warped in the direction of warp, and has very little understanding of woof, of weft, of pattern — of what can only be learned from analogy.

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Not that there doesn’t have to be enormous care taken to avoid over-reading parallels. But consider the immediacy of the impact of this DoubleQuote, which I composed in 2003:

Eh, Zen?

Santayana echoes Marx refracts Hegel:

Hegel remarks somewhere that all great world-historic facts and personages appear, so to speak, twice. He forgot to add: the first time as tragedy, the second time as farce.

Those who cannot remember the past are condemned to repeat it

Seen from another angle: history has rhymes to match its reasons…

Took the children, who had a fistful of gift cards, to Barnes & Noble’s yesterday and picked up a couple of books for myself:

The Spartacus War by Barry Stauss

Marcus Aurelius: A Life by Frank McLynn

The legendary slave rebellion of Spartacus has yielded a relatively thin book by Strauss but it is an opportunity for me to get a fresh interpretation of “Roman COIN” (as if Caesar were not clear enough about how Romans dealt with insurgency in his Commentaries). Marcus Aurelius too has acheived almost mythic status, the stoic philosopher-Emperor who is the gold standard to whom other rulers are compared, and frequently found wanting.

Not sure when I will get to these…into the antilibrary pile they go 🙂

The Grand Strategy of the Byzantine Empire by Edward Luttwak

Just starting reading this magnum opus by eminent strategist Edward Luttwak and I am thoroughly enjoying it; particularly, the context-building historical digressions that enrich the text.  Highly recommended.

Just picked up a few new reads…..

Brute: The Life of Victor Krulak, U.S. Marine by Robert Coram

Bloodlands: Europe Between Hitler and Stalin by Timothy Snyder

Robert Coram, whom I had the pleasure of meeting at Boyd ’07, has a new biography of the legendary military visionary and Marine Lt. General Victor “Brute” Krulak, reviewed here by Max Boot and here by Tony Perry (Hat tip to Dr. Chet Richards). Having thumbed a few pages, Krulak appears a complicated man – gifted, dauntless and extremely driven but also possessed of a mean streak, edging at times toward petty cruelty.

Bloodlands I intend to read in a “Hitler-Stalin/Nazi-Soviet Comparison” series along with Richard Overy’s The Dictators: Hitler’s Germany, Stalin’s Russia, Robert Gellately’s Lenin, Stalin, and Hitler: The Age of Social Catastrophe , Richard J. Evans’ The Third Reich at War and Alan Bullock’s classic dual biography Hitler and Stalin: Parallel Lives.  I’d also recommend, for those with the stomach for historiographic commentary, Robert Conquest’s Reflections on a Ravaged Century and John Lukac’s The Hitler of History

CURRENTLY READING:

Human Face of War by Jim Storr

After reading approxmately a third of The Human Face of War by  Dr. Jim Storr, a retired Lt. Colonel, King’s Regiment and an instructor at the UK Defence Academy, I will say that if you are going to read only one book on modern military thought this year, it should be The Human Face of War. It’s that good.

Aside from a reflexive hostility toward John Boyd’s OODA Loop ( though not, strangely enough, toward the substantive epistemology advocated by Boyd that the diagram represented), Storr’s tome is an epistle of intellectual clarity on military theory that deserves to be widely read.

ADDENDUM:

NDU Press recommends, and I concur, this review of The Human Face of War by Col. Colonel Clinton J. Ancker III. Ancker, like Storr, is an expert on military doctrine, so it is a well-informed review by a professional peer.

by Charles Cameron
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It’s easily missed. It’s part of the “small print” that most small-format paperbacks carry on the copyright page:

The sale of this book without its cover is unauthorized. If you purchased this book without a cover, you should be aware that it was reported to the publisher as “unsold and destroyed.” Neither the author nor the publisher has received payment for the sale of this “stripped book.”

Here’s the picture that AQAP took of the copy of Dickens’ novel Great Expectations they inserted into one of their bombs recently – which they then published in issue 3 of their English language magazine Inspire:

And here’s the explanation that accompanies that photo, in a piece titled “The Objectives if Operation Hemorrhage” by their “Head of the Foreign Operations Team”:

This current battle fought by the West is not an isolated battle but is a continuation of a long history of aggression by the West against the Muslim world. In order to revive and bring back this history we listed the names of Reynald Krak and Diego Diaz as the recipients of the packages. We got the former name from Reynald de Chatillon, the lord of Krak des Chevaliers who was one of the worst and most treacherous of the Crusade’s leaders. He fell into captivity and Salahuddeen personally beheaded him. The name we used for the second package was derived from that of Don Diego Deza, the Inquisitor General of the Spanish Inquisition after the fall of Granada who along with the Spanish monarchy supervised the extermination and expulsion of the Muslim presence on the Iberian Peninsula employing the most horrific methods of torture and done in the name of God and the Church. Today we are facing a coalition of Crusaders and Zionists and we in al Qaeda of the Arabian Peninsula will never forget Palestine. How can we forget it when our motto is: “Here we start and in al-Aqsa we meet”? So we listed the address of the “Congregation Or Chadash”, a Gay and Lesbian synagogue on our one of our packages. The second package was sent to “Congregation B’nai Zion”. Both synagogues are in Chicago, Obama’s city.
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We were very optimistic about the outcome of this operation. That is why we dropped into one of the boxes a novel titled, Great Expectations.

They may not have read the book or seen the movie, as Ibn Siqilli comments at the link above, but they do have long memories and/or a taste for history, and they are indeed sending signals with small details like the fictitious names of their addressees.

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This is in line with one of the basic premises of Islamic thought: that the world we inhabit is a world of ayat or symbols (the singular is ayah, and the word is also used to refer to the verses of the Qur’an, each of which is viewed as a symbolic utterance). Here, for instance, is a passage from Fazlun Khalid’s paper, Islam and the Environment, from the website of Jordan’s Royal Aal al-Bayt Institute for Islamic Thought:

The Qur’an refers to creation or the natural world as the signs (ayat) of Allah, the Creator, and this is also the name given to the verses contained in the Qur’an. Ayat means signs, symbols or proofs of the divine. As the Qur’an is proof of Allah so likewise is His creation. The Qur’an also speaks of signs within the self and as Nasr explains, “… when Muslim sages referred to the cosmic or ontological Qur’an … they saw upon the face of every creature letters and words from the cosmic Qur’an … they remained fully aware of the fact that the Qur’an refers to phenomena of nature and events within the soul of man as ayat … for them forms of nature were literally ayat Allah”. As the Qur’an says, “there are certainly signs (ayat) in the earth for people with certainty; and in yourselves. Do you not then see?” (Adh-Dhariat, 51:20, 21).

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BTW, I don’t think Penguin (or, for that matter, Charles Dickens) got paid for that book… whatever their expectations may have been.