zenpundit.com

[ by Charles Cameron — pretty sure there will be black swans between here and 2050 ]
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We’re beginning to see visual expressions of the implications of climate change that can perhaps help shift our awareness — comparing London, for instance, with Barcelona:

The climate in Barcelona (right) isn’t always a good thing – the city suffered a severe drought in 2008

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The thing is, Barcelona’s weather isn’t exactly desirable in all respects:

London could suffer from the type of extreme drought that hit Barcelona in 2008 – when it was forced to import drinking water from France at a cost of £20 million.

And London in 2050 experiencing weather conditions analogous to those of Barcelona today is a projection based on a 2? rise in temperatures globally: that’s considered “actually quite optimistic, imagining a future where action has been taken to reduce greenhouse gas emissions.”

Ouch.

Here’s one professor’s comment on the report:

The University of Reading’s Professor Mike Lockwood warned about the damage that could be done to infrastructure.

“Bringing Barcelona’s climate to London sounds like it could be a good thing – if you don’t suffer from asthma or have a heart condition, that is – except London clay shrinks and is brittle if it gets too dry and then swells and expands when very wet.

“As ever, there is destructive and unforeseen devil in the details of climate change.”

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The study, published in the journal PLOS One, suggests summers and winters in Europe will get warmer, with average increases of 3.5C and 4.7C respectively.

It’s the equivalent to a city shifting 620 miles (1,000km) further south – with those furthest away from the equator being most affected.

Southern California weather moves to Northern CA, Northern CA weather becomes the weather inj Northern Oregon and Washington, and on up to Canada and the once frozen north..

And real estate values will shift accordingly.

And transnational, climate driven migration patterns will emerge: US into Canada, and oh boy, Mexico into the US?

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Well, analogues are pretty close cousins to what I’ve called DoubleQuotes, and the visual example above of London and Barcelona is joined in the BBC article I’ve been quoting from by twoi more examples:

Edinburgh could look very different by 2050

and:

People say Melbourne can experience four seasons in one day – something people in Leeds might be used to

— and since the authors of the study, Understanding climate change from a global analysis of city analogues, “found that 77% of future cities are very likely to experience a climate that is closer to that of another existing city than to its own current climate.”

Since they examined “520 major cities of the world,” roughly 400 cities would have analogue cities, climate-wise, which I suspect means 200 would experience shifts to 200 other cities, though heaven knows, the Venn diagram might show quite a few overlaps, giving us strings like “Edinburgh will be like Paris will be like Marrakesh will be like nothing we’ve ever seen”

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DoubleQuotes all. Analogues. duels and duets, climate-counter-climate, city-counter-city, point-counter-point..

But see climate predictions, and how black swans will almost certainly distort them, and my related poem about Mecca in 2050, Mourning the lost Ka’aba

[ by Charles Cameron — whatever you may think of religion, the artwork in these images is stunning ]
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There’s this phrase in the Apostles Creed, the shortest and most basic of the three creeds which mainstream Christians accept: the communion of saints. The hymn known as the Te Deum is more explicit, while describing basically the same companionship:

The glorious company of the Apostles : praise thee.
The goodly fellowship of the Prophets : praise thee.
The noble army of Martyrs : praise thee.
The holy Church throughout all the world : doth acknowledge thee;

But this image of that company, from Louis de Laval‘s illuminated Book of Hours, ca 1480, is the first I’ve seen that suggests the membership of this communion is innumerable —

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— wave on wave, saint upon saint, halo on halo into the distance — until they constitute a veritable sea of gold.

Nor that the company includes many females, also innumerable–

— some of whom must have caused a ferment in their own day, or at least in the creative imagination of a court artist, likely Jean Colombe, in the 1480s..

Nor had I seen until now that there were vacancies for saints as yet unknown, perhaps unborn, their halos vacant —

— unless perchance these are saints so deeply meditative that they have lost all face, as the Zennists might say, save the original face alone..

Glorious.

[ by Charles Cameron — two instances of somewhat unexpected balance ]
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Here, first, something you’ve already seen — the Maastricht bookstore in a restored church, arguably an instance of word being made flesh:

and the gardens now surrounding the clay court on which the French Open is played:

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Sources:

Marcus Fairs, A shop in a church by Merkx + Girod Architecten

Gerald Marzorati, How the French Turned a Tennis Court Into a Garden

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I say alchemy because marriages of hard and soft, above and below, word and flesh, have it in common that they bridge significant metaphysical divides — like the fall of the Berlin wall, to take a political equivalent within living memory — and thus perform a healing work.

Tikkun olam.

[ by Charles Cameron — logic, the arts, and technology offer an Easter, resurrection corrective, philosophically speaking, to the ruin of the cathedral of Notre Dame ]
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For the terrible fire that consumed so much of Notre Dame de Paris this week, grief is great. Here, I wish to recall some of the ways in which the essence of the great cathedral has been saved.

Above, Piero della Francesca‘s Madonna della Misericordia. Our Lady of Mercy, for whom the cathedral was named, continues to shelter us all..

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Perhaps the most extraordinary, as well as the most abstract, form of Notre Dame to survive fire, war, and the French Revolutionary idea — to replace Mary with the goddess Reason enthroned in her place — is the logic embedded in the theology that accompanied its building and — lex orandi, lex credendi — the worship within it, for which purpose it was designed and built

The American philosopher CS Peirce was among the first to propose a kinship between Gothic architecture and the logic of the Paris schoolmen:

Art felt the spirit of a new age, and there could hardly be a greater change than from the highly ornate round-arched architecture of the twelfth century to the comparatively simple Gothic of the thirteenth. Indeed, if any one wishes to know what a scholastic commentary is like, and what the tone of thought in it is, he has only to contemplate a Gothic cathedral. The first quality of either is a religious devotion, truly heroic. One feels that the men who did these works did really believe in religion as we believe in nothing. We cannot easily understand how Thomas Aquinas can speculate so much on the nature of angels, and whether ten thousand of them could dance on a needle’s point. But it was simply because he held them for real. If they are real, why are they not more interesting than the bewildering varieties of insects which naturalists study; or why should the orbits of double stars attract more attention than spiritual intelligences?

Erwin Panofsky‘s work, Gothic Architecture and Scholasticism, is the central presentation of the parallels. Pierre Bourdieu, who translated Panofsky into French, characterizes the work:

The parallelism between the development of Gothic art and the development of scholastic thought in the period between about 1130–1140 and about 1270 cannot be brought out unless one “brackets off phenomenal appearances” and seeks the hidden analogies between the principles of logical organization of Scholasticism and the principles of construction of Gothic architecture. This methodological choice is dictated by the intention of establishing more than a vague “parallelism” or discontinuous, fragmentary “influences”. Renouncing the semblances of proof which satisfy intuitionists or the reassuring but reductive circumstantial proofs which delight positivists, Panofsky is led to identify the historical convergence which provides the object of his research with a hidden principle, a habitus or “habit-forming force”.

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Rachel Donadio, Witnessing the Fall of Notre-Dame for the Atlantic, depicts the ruin of the cathedral with incredulityn–

How could Notre-Dame be burning? How could Notre-Dame, which had survived for eight centuries—survived plague and wars of religion, survived the French Revolution, survived the Nazis—be falling? Notre-Dame, the heart of Paris, not only a Catholic site but the preeminent symbol of European cultural consciousness, the heart of France, the kilometer zero from which all its farthest villages are measured—how could this majestic structure collapse so fast

— Oh, ruin, from the Latin ruere, meaning to fall.. John Milton, Paradise Lost:

                                                          Hell saw
Heaven ruining from Heaven, and would have fled
Affrighted

Viollet-le-Duc‘s 19th century spire, in this archaic sense of the word, ruined.

Resurrection:

The competition is already afoot to rebuild it.

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Fortunately, a few years back the entire structure was mapped with ferocious accuracy by Vassar professor Andrew Tallon, using advanced laser photography to capture detail — wear and tear included, to an accuracy of a tenth of an inch:

Vassar College/AFP Photo / Andrew TALLON

Alexis Madrigal, in the Atlantic:

Now, with the building having sustained untold but very substantial damage, the data that Tallon and Blaer created could be an invaluable aid to whoever is charged with rebuilding the structure. Ochsendorf described the data as “essential for capturing [the structure] as built geometry.” (He added, however, that the cathedral, no matter what happens now, “is irreplaceable, of course.”)

Tallon and Blaer’s laser data consist of 1 billion data points, structured as “point clouds,” which software can render into images of the three-dimensional space. Stitch them together, inside and out, map the photographs onto the precise 3-D models, and you have a full digital re-creation of incredible detail and resolution.

Professor Tallon died less than six months ago, in November 2018, age 49. If you’re looking for another Easter parallel, Tallon may be metaphysically resurrected with the promised rebuilding of the cathedral he so loved and diligently studied.

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It appears that the great Rosace Nord (north rose window) survived the fire —

As Incunabula commented:

By far the greatest blessing – a miracle – is that the Rosace Nord has survived. The South and West windows were very extensively restored in the 18th and 19th century, but the North Rose Window has stood basically unchanged for 800 years, the glass is the 13th century original.

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To close with a blaze..

In January of this year, Olivier Latry, titular organist of Notre Dame, made what is very likely the final recordings of music on the cathedral’s great organ, for a recording which was released in March, just weeks before the terrible fire. The organ, as built by Aristide Cavaillé-Coll in the nineteenth century, houses some 8,000 pipes; it seems the fire has left it largely intact, though with damage to its electrical systems and wind-chest.

Olivier Latry plays Johann Sebastian Bach‘s Toccata and Fugue in D minor, BWV 565 on the Cavaillé-Coll organ of Notre-Dame de Paris::

[ by Charles Cameron — winds blowing east from Notre Dame ground zero fans the brush-fires of fear, prejudice and concpiracy — this, and a poetic and sacred alternative ]
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It’s often said, and has no doubt been said many times since the horrific fire at Notre Dame began, that fire rages. By the same token, rage inflames. It is rage, and not truth, that brings us these horrific Twitter posts, which I can bring here courtesy of Buzzfeed:

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A great beauty DoubleQuoted:

The Loss of Notre Dame is horrific enough without pouring hatred onto the flames.

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May I refer you to Thomas Merton‘s great poem of sacred, sacrificial fire, Elegy for the Monastery Barn, and to these brief but potent lines from TS Eliot‘s Four Quartets?

The dove descending breaks the air
With flame of incandescent terror
Of which the tongues declare
The one discharge from sin and error.
The only hope, or else despair
Lies in the choice of pyre or pyre—
To be redeemed from fire by fire.

Who then devised the torment? Love.
Love is the unfamiliar Name
Behind the hands that wove
The intolerable shirt of flame
Which human power cannot remove.
We only live, only suspire
Consumed by either fire or fire.