[ by Charles Cameron — cross-posted from BrownPundits in response to a friend’s comment there ]
I’d written a response to @AnAn and included a quote from the Chuang Tzu’s chapter on Lord Wen-hui and what he learned from his Cook Ting, and wanted to throw in the following DoubleQuote — but graphics seem to be discouraged in the Comment sections here, so I’ve opened this post for the purpose:
The thing is, Lao Tzu offers us the ideal statement, formulated in terms of an impenetrable absence of space, and an absence of substance to the point of non-existence — while Chuang Tzu, peering over Lord Wen-hui’s shoulder right there in Cook Ting’s kitchen, offers us the same insight, couched in terms of there being “spaces between the joints” and his knife having “really no thickness” — Chuang Tzu’s measureless insight penetrates Lao Tzu’s impenetrable absolutes to show us there’s room for play there — “room — more than enough for the blade to play about in”.
If we bear these two versions of the same idea — formulated ideally and in practical terms by the two principle philosopher-poets of the Taoist school — in mind when our thoughts run up against the impracticality of an ideal, we may find, like Cook Ting, that we too have room enough room to play in.
[ by Charles Cameron — the ability to recognize similarities across wide conceptual or memory distances is what Cindy Storer calls “magic” in analytic practice — here we examine it in terms of advertising ]
You could almost learn how to write poetry by watching the commercials on TV — or learn a bit more about how the ads themselves work.. come have some fun.
Consider rhyme for a moment. There’s a rhyme between the car that’s too small for comfort and the shoe that’s too tight to fit in this ad, and there’s an analogy between the larger, more comfortable — luxurious, even — car and the wide and comfortable — “like a luxury ride for my feet” — Skechers wide fit shoes that the ad is all about:
The rhyme here between today’s American fisherman and his Irish fisherman ancestor is stunning — and plausible. This, after all, is genetics, which is often said to rhyme from one generation to another:
And even when the analogy between an image and the product it’s supposed to resemble (“rhyme with”) is weak, making a successful rhyme between two such images is a delight in itself, and makes the weak rhyme seem plausible. Here, a two-thirds shaved dog rhymes with a two-thirds mowed lawn:
Allstate piles the rhymes on — drawing on powerful similarities between widely different parts of the country — in its brilliant Park Road / Street / Avenue commercial:
Here’s a beautiful rhyme between cement and sand — it’s not so great to find you’ve stepped unexpectedly in wet cement — but what a delight to feel sand on the beach between your toes!
Look, Exxon wants to make it’s industrial plants more closely resemble living, breathing, green plants: it’s not a bad idea, laudable really — but the rhyme is a bit of a stretch, eh?
One form of rhyme that’s worth noting falls under the heading of Opposites:
In this case, the equation would be something like blue plus red equals unbiased. I haven’t checked the product, but the math is clean, and the divide the ad bridges is very real and quite perilous for democracy:
So opposites can be powerful. But it’s worth considering, too, the mind-numbing effect of seeing opposing commercials:
That’s not the kind of opposition you want if you’re Roundup, but exactly the kind of opposition you seek if you’re the legal opposition!
Rhyming — twinning — as it’s dreamed up in the creative agencies of Madison Avenue, and no doubt Madison Wisconsin too, requires horizontal, associative thinking — thinking based on pattern recognition, thinking that makes creative leaps where similarities can be found in the midst of difference. Metaphors and analogies are woven of the same kind of thinking, rhyme in poetry, graphic match or match cut in enema, canon and fugue in music — and it’s the type of thinking my HipBone Games are designed to teach and practice, until they’re strong reflexes in your intellectual arsenal.
When readers or movie-goers, or just people watching commercials on TV, recognize patterns or rhymes — shaving a dog, then mowing a lawn, okay — it may elicit a chuckle the first time you see the ad, but you’re not sitting there to learn about dogs or lawns, or even Flonase unless you happen to need that kind of medicine. No, you’re there to see the next installment of the movie you’re watching, the next entertainment — which was almost certainly put together with less cash and care per minute or per frame than the commercials that slip into your mind almost subcutaneously.
And analogy — this type of analogical thinking — works. Analogy is the very heart of magic:
Do you have time for another example?
Here we have analogy across time, as we did in the case of the Donegal fisherman, but this time woven into the telling of a very simple short story: he wants a Heineken, looks in the fridge, no luck, goes out onto the street, flags down a cab, takes a short ride, steps down from his Hackney Carriage about a century earlier, and gets the Heineken he was looking for. Plus ça change!
The Heineken’s the same — the six-pack at the end is the essence of difference!
[ by Charles Cameron — and some, high lamas, emanations of Avalokiteshvara, become poets of the erotic.. ]
You know my early mentor Fr Trevor Huddleston CR? I posted three photos of him here, one with Louis Armstrong and a trumpet, one with Nelson Mandela, and one exactly as I knew and now remember and honor him:
Well, today I saw for the first time an image of the stained glass window dedicated to him in Lancing College chapel:
Father Huddleston was a pillar of wisdom, humility and sacrifice to the legions of freedom fighters in the darkest moments of the struggle against apartheid.
His fearlessness won him the support of everyone. No one, neither gangster, tsotsi nor pickpocket would touch him. Their respect for him was such that they would have tried – and if they did it could have cost them their lives. His enormous courage gave him a quality that commanded the respect of the place
No white person has done more for South Africa than Trevor Huddleston.
He was a giant.
All of which got me thinking about stained glass as an alternative destination to ashes..
Desmond Tutu was another whose life was decisively influenced by Fr Trevor — and he too can be found in stained glass:
MaryAnn Randolph writes:
This, in St. Mark’s, Minneapolis, is what is called the Peacemaker’s Window. In this magnificent stained glass you will find: Mother Theresa of Calcutta, Dr. Martin Luther King, Jr., Archbishop Tutu, Mahatma Gandhi, the Dalai Lama and many others.
Giants, all — and inspirations, inviting us to join them!
Ah, Gandhi-ji and the Dalai Lama — it delights me to see stained glass extending to peacemakers regardless of their religious affiliations!
I’ll leave you with an image of Green Tara, female Buddha to whom the “Great Fifth” Dalai Lama — who unified Tibet, established Lhasa as its capital, and worked to bring together the various lineages of Tibetan Buddhism together with the earlier shamanic Bon tradition — was devoted:
The Dalai Lama himself, in each of his incarnations, is considered an emanation of the Buddha of Compassion, Avalokiteshvara.
It was the Sixth, beloved successor of the Great Fifth, who was the rascal poet, writer of such gently erotic verses as:
This white bow in its cloth cover,
On whom shall I bestow it?
I will place it gently inside
My lover’s tiger-skin quiver.
Ah, but he’d be hard to capture in stained glass —
[ by Charles Cameron — btw, it would make sense for language to be half the world topic, since it is — or we attempt to make it — half the world ]
Danny Cevallos, a legal analyst for MSNBC:
What happens when Congress wants to hold someone in the Executive branch in criminal contempt? Well, a rift opens in the space-time continuum, because that same Executive branch you want to hold in criminal contempt is the Executive branch that has to prosecute that contempt. There’s no other way to do it.
A rift in the space-time continuum? Really? That’s the best instance***** of exaggeration I’ve seen so far, and yes, there’s an implicit ouroboros therein.
And now I feel obliged to find a literary equivalent to that New Yorker header, to remove the taste of politics from our mouths with a pleasant DoubleQuote..
Here we go — TS Eliot, no less:
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish,
Decay with imprecision, will not stay in place,
Will not stay still.
[ by Charles Cameron — logic, the arts, and technology offer an Easter, resurrection corrective, philosophically speaking, to the ruin of the cathedral of Notre Dame ]
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..
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”.
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:
Heaven ruining from Heaven, and would have fled
Viollet-le-Duc‘s 19th century spire, in this archaic sense of the word, ruined.
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:
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.
It appears that the great Rosace Nord (north rose window) survived the fire —
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.
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::
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