1/ Subject vs. Object
of the basic principles which distinguishes something as either
an "object" or a "subject" will help to reveal
the hidden implications and assumptions in our verbal descriptions,
and in our thoughts and speech. This is naturally the means by which
we interpret to our own minds the unfolding or occurence of events
in the forward moving flow of time.
context of what it is which forms an objection in the rhetorical
sense, or an objective condition in the practical dimension -- and
that which predicates a subject or a subjective situation in a verbal
statement -- seems to underly the very critical issues in our civilization
of property, the differential of power and privilidge in gender
discrimination, and of sexual expression and communication.
Two major senses of the word "object" are understood:
(1) as a noun, something that is capable of being seen, touched,
or otherwise sensed, or which arouses emotion in an observer, and
(2) as a verb, to cite something firmly in opposition, and usually
with words or argument, or to regard something in distaste. Both
of these senses of meaning are derived from the same Latin word
root obicere (having the same root as the word "obscene"),
meaning "something which is thrown in the way."
the word "subject" derives from the Latin subicere, "to
throw under", with the meaning of one which is placed under
authority or control. Within this denotation, there are several
typesof meaning in use in general language: (1) one that is placed
authority or control, (2) one under the rule of a monarch and governed
by his law, or lives in
a territory, enjoying the protection of, and owing allegiance to
a sovereign or state; (3) that
of which a quality, attribute or relation may be affirmed or in
which it may inhere;
(4) a substratum as a material or essential substance; (5) the mind,
ego, or agent of whatever sort that sustains or assumes the form
of thought or consciousness; (6) a department of knowledge or learning;
(7) one that is acted upon, or an individual whose reactions or
ponses are studied; (8) a corpse used for anatomical study; (9)
something indicated or represented in a work of art; (10) the term
of a logical proposition that denotes the entity of which something
is affirmed or denied; (11) a word or word group that of which something
is predicated; (12) the principal melodic phrase on which a musical
composition or move-ment in based.
In all of these definitions, it is denoted or at least clearly implied
that the subject is not the primum mobilum, but itself sub- servient
to a greater entity, be it the state, the monarch, the mind, the
affirmation, the representative, the art, the ego or the superego.
can be considered objective function also is defined in several
is that which is (1) of or relating to an object of action or feeling;
(2) only known in relation to an existing subject or willing agent;
(3) that which is existent independent of mind; (4) belonging to
the sensible world and being observable or verifiable especially
by scientific methods.
As it is related
to the "subject", the objective is that which emphasizes
or expresses the nature of reality as it is apart from personal
feelings or reflections; it is the entities which have no lives
of their own, but are the side-products of the Social Contract.
An object is defined also as something physical or mental of which
a subject is cognatively aware. Even while the multiple meanings
of the adjective "subjective" differ widely regarding
its political source of control, exterior or interior, the noun
"subject" stands for a sentient entity which acts or perceives:
the active noun in a statement.
As strictly described by the current state of 20th Century science
and theology, sentience is a faculty attributed only to the "voluntary"
behavior of Human Beings and the higher species of the "Animal
Kingdom." In the case of humans, at least in Western thought,
questions of ethics, morality and evil are inevitably associated
with these voluntary behaviors.
actions taken by "lower forms" of animal life are normally
attributed to the effects of involuntary energies which are called
the "instincts", such as hunger, repro-ductive drives,
and colonizing organization. In the "Plant Kingdom" kinetic
actions are normally attributed to growth, breakage or decay.
In the "Mineral
Kingdom," activity is considered due to external elements such
as weather or erosion, interior geologic pressures such as in volcanic
magma or petroleum deposits, and crystalization. It is thus that
existent forms considered non-sentient are viewed as virtual "objects."
Any suggestions of sentience in these organic and inorganic forms,
except in the current speculations of biophysicists about viral
colonial behavior, are most often regarded with skoffing scepticism.
It is also
thus that these forms are forgiven their faults.
Argument of the Dream
of my creative writing in two novels, "Fires Eternal Morning",
and "Rain of the Tiamat", is the exploration of the link
of the dream with the archetypes of human history. Archetypes can
be defined as the personal images and scenes which seem to undertake
mythic proportions. In this essay I wish also to explore the link
of the dream with religious propitiation, and with the anticipation
and unconscious precipitation of events.
the meaning of archetypal experience is to evaluate the perceptual
faculties and come to a recognition of the forms and patterns which
are recurrent in the sounds and visual structures of our world,
or recurrent in the smells and tastes present in
our towns or homes as related to organic processes, or from the
elements, from cooking, flowering plants or sexual activity, from
excretive functions, refuse matter, or other unidentifiable sources.
The existence of archetypes has a great deal of evidence in the
commonality and persistence of the visual images of patterns which
often seem to be outside of the individual's own range of experience.
Images, such as the subdued view within an extensive interior of
low arched columnades in dreamy mist, the mouth of a stone grotto,
or the still surface of a pond surrounded by quietly inhabited stone
dwellings, seem to have been present also in ancient and Renaissance
times, often appearing as the background motives in paintings or
One may also
vaguely remember spending times with a relative or childhood friend
whom one cannot name or see clearly in the memory but might have
had similar likes to one's own mature tastes in reading or music.
Perhaps these impressions could be actual genetic echoes of the
personality traits of one's own ancestors, but as inner images of
unknown source, I will consider such occurrences to be possible
proto-types in the greater category of archetypes.
body is often the focus of archetypal images: in my own memory there
is a view of myself lying on a sandy beach, seen as though from
standing above my own head, overlooking my body with my feet pointed
out to sea, the interior of my featureless silhouette, filling with
endless waves rolling and undulating and washing slowly to shore.
speculate whether these references are echoes of the individual
self, strains of childhood memory, or possibly the shadows of ineffable
of this sort seem to carry a relaxing effect, akin to opiate-induced
visions, and these effects are basically tonic to the nervous system.
* * * *
question remains unanswered by all fields of psychology, by science
or medicine, and all the worlds major religions : What is the nature
and the significance of dreams? As demonstrated by all sleep experiments,
(in my own knowledge for example, those of the late Dr. Robbie Watson,
at the Sleep Research Center at Griffin Hospital
in Derby, Connecticut during the 1970's and 1980's,) there is a
compelling importance of R.E.M. sleep to the physical and mental
health of the organism. Without the free activity of dreaming, the
function of the system on many levels, physiological and psychological,
rapidly goes out of balance, including the measurable distortion
of brain-waves often resulting in psychosis.
Most of the world's primitive and aboriginal religions believe the
dream to be a specific doorway to the experience of an "Outer-Life",
a dimension having different proportions and contingencies to the
activity of waking life. For instance, the first excursion into
the altjurenga, or "dream-time", by the young Australian
Aboriginal male, marks the rite of passage into manhood as a solitary
journey through the wilderness : a test of survival in terms of
both the resourceful location of sustenance and the learning of
of spiritual propitiation of the elemental forces who appear to
control the land and sky.
Even in civilized
life, the time sense of the dream is rarely set in any conscious
continuity with the memory of the moments just prior to passing
into the sleep state, and this is consistent with the measurements
of alpha waves in an inactive phase in the cycle
of moments following the lapse into the sleep state. By contrast,
during the more active cycle following, the anticipation of tasks
to be performed upon awakening often filter in to the semi-conscious
mind, and sometimes act as a trigger to the illogical or horrific
events which may take place in the dream story.
Excepting in reports of shamanic self-projection into the dream
sequence, it seems that literally anything can happen in the dream.
Psychoanalytic explanations of the source of the dream story, most
notably Freud's theories of sexual fantasy and Oedipal wish fulfill-ment,
remain insufficient to the broader subjective symbolism and personality
associations often presented.
is the most ultimately personal form of experience, it would seem
to require a highly democratic and individualized form of description
and association. It has been intriguing to me from a self-psychological
point of view, that over various periods in my life (and similarly
that of late 20th Century history), I have detected a certain alternation,
or an overlapping parallel of styles, as I construct these dream
narrations into a "fictional device," between the two
modes of : (1) chronology and (2) selective determination.
In the former
mode, chronology, as reflected in natural behavior, the manifestation
of the instincts takes place and is later viewed in a retrospective
of events described in the grammatical present-tense, if considered
in words at all.
as in the writing of medieval chronicles (agrarian village histories
and gathered news reports spanning periods of decades), the unfolding
of events is recorded in
a basic personal style. In the chronicle, only limited descriptions
of the historical significance of present circumstances are related,
as though they were commonly known to all. Yet there is a kind of
hypnotic fascination with detail which tends to override the natural
capacity to foresee the logical consequences of actions taken.
society, previous to the introduction of print and newspapers, the
passage of time was marked socially by those experiences held in
common by their unusual nature: the births, marriages or deaths
of prominent persons or loved ones, or by the extremes of
war or weather resulting in permanent changes to the environment.
In our own day, a
famine, severe hurricane, flood, or blizzard is often spoken about
for 100 years or more.
television news reporting -- where the anchorperson speaks into
the all-knowing, un-informed eye of the public archetype -- the
style of chronology unconsciously employs the system of Darwin's
Theory of Evolution: Daily developments, natural and anthropological,
are boiled down to the depiction events as isolated individual pheno-mena
-- categorizing the objective case, without regard to any pattern
recognition or subjective correlation to related events, except
in the moralistic sense based on the commonality of
its consensual audience. The sense of the perceived reception is
based on the internal
recognition by the speaker in the present tense that people of all
stripes of the moral and everywhere on the political spectrum are
simultaneiously listening to the live broadcast..
This actually is a specific pattern of the so-called morphic resonance
of events whic take
place in contemporaneous time.
of the fabric of a minor culture, or the forced adaptation of an
isolated individual are subliminally viewed under the two dimensional
closure of the television screen, encapsulating a panorama of emotions
displayed by interviewed participants, witnesses, and onlookers.
when writing in the latter mode, that of selective determination,
my selections of particular dreams to construct a story line are
seemingly more representative of the exercise of making choices
by a unified psyche. But to examine the dynamics of the term "determination",
outside of a strict literal reading, still raises questions regarding
the relation-ships of personal and biological motivations.
Where is the dividing line between the use of the intellect for
such purposes, and the benefit of ulterior motivations of contrivance
such as sexual and sensual desire and power, by the manipulation
of the behavior of written characters ?
faculties of the rational Will of "thought" are themselves
a microcosm of all other instincts and processes. Thought is also
at times conscious of itself: 'it's "Self"' : "Who"
is thinking about "what" ? It would seem, moreover, that
the "self" which represents the instinctual/intuitive
being, the physical/ mental person as witnessed in the dream, is
the most integrated, or seamless of the inner personalities.
style : "dream of consciousness"
In my youth
I determined to design a form of composition which would blend and
arrange my own nocturnal visions and experiences into a working
plot, and since then I have developed a style which is both a purely
sequential chronology of my morning records, and alternatively,
a selective organization, a combination of poetry and prose.
of that composition at the beginning, to record the symbolism of
erotic, morbid and mysterious dreams, dictated a perhaps casual
use of form: an experiment of poetic phrasing and sense of time,
an enclosed or abrupt scope of episode, culminating in a resolution
of emotion with prophecy in a form akin to epic.
the midst of that experiment of form, a recognizable pattern quickly
emerged to my understanding, showing several parallel threads of
continuity of action and purpose, and also showing the similarities
of circumstance and mood.
* * * *
the energies and events of life -- that is, the undercurents of
motivation, facets hormonal/emotional/spiritual, and those mental/
intellectual/ commercial -- are often developed in literature as
an unfolding of the narrator's experience. However, the recurrence
of dreams over a period of time also strongly implies that there
are recurrent messages in the deeper psyche. The "stream"
if regarded by the above described principles of chronology and
determination, would appear more as a concentrated view from a raft
into the forest of trees on either bank as one passed downstream,
or perhaps the focus of attention on the brightly colored stones
seen on the bottom : Linear drift or propulsion is forward in time,
the lateral perceptions the activity witnessed along the way. One
stands walking backwards into forward time, visible of the past,
the rest still cloaked in shadow.
is in slow-motion the same as the sensation which Albert Einstein
a young man experienced on his famous tram-car ride through Berne,
Switzerland in 1900 when, on his way to work at his clerical job
in the patent office, he noticed that the activities on the busy
avenues, and the widths of buildings passed by, seemed com- pressed
together to his view by the forward velocity of the car in which
he rode. His question: "What would the world look like if I
rode on a beam of light?" His concluding observation: "The
hands on the clock tower would be frozen. I, the tram, this box
riding on the beam of light, would be fixed in time. Time would
have a stop."
Even if the dream "plot" is merely the faculty of pattern-recognition
applied to the random firing of photon images in the synapses in
the visual cortex of the brain during sleep, as suggested by some
researchers, one might still wonder if that "pattern-recognition"
has its own discernable psychological elements. If these elements
are representative of both hemi-spheres of the brain, then both
linear and non-linear perceptions and motifs are at work.
In my two novels, separate experiences of historical and primal
myth are explored, attempting to address problems of survival and
Eternal Morning", works with the element of psychic fire in
the dream and the possibility of material annihilation that its
use poses, the sense of loss of family and safety, the environment
returned to primitive hostility: the setting of a middle American
social fabric such as it existed in the Cold War Period, disrupted
by an apocalyptic political upheaval triggering natural catastrophes.
of Ti'amat" describes a modern society undermined by the elemental
forces that its own contemporary politics, therapeutics, and goods
have sought to suppress and send to oblivion. It is an atavistic
resurgence of the nightmare powers of the unbelievable primordial
mother dragon remembered from the dawn of civilization, the Monster
of the Id, which threatens anew to sink it into an irresistible
entropy of darkness and control.
of prolepsis often comes into play in the course of the plot of
a dream as it unfolds, where emotional or mental anticipation or
certain fears or phobias sets or foretells events or behavior, or
establishes the recognition of another person. The anticipation
may be concerned with an emotional response to an experienced feeling,
or to the expectation of another's actions.
an important role in the experience of dreams; the dream content
may be animated by vivid color, or may be dark and sinister
to invoke anxiety...
model which represents the most seamless and integrated of forms
is that which is called the "Monad", proposed by the mathematician
G.F. Leibniz (1646-1716), also the inventor of infinitesimal calculus.
One must consider
a diagramic structure of thought itself, in the same sense as in
the lesson of diagramming a sentence in elementary grammar class
(a nasty example, to be sure) in order to discuss the perpendicular
geometric effect of thought as it comes into convergence with relativistic
I would like
to compare the effect of tangential lines with this earlier protypal
model which Leibniz has created of an egg-shaped or indefinate column-shaped
integral form. I would also like to begin to show how these models
are both mathematically and conceptually related in a historical
relationship which has been at work beneath the threshold of perception.
In the late medieval period, as scientific experimentation had become
more wide-spread in the West, especially with the refinement of
clocks, telescopes and other optical instruments, one of the most
important issues of discussion in theology and philosophy had become
the concept of the Absolute, the formula of an Aristotelian static
universe that had been adapted and expanded over the centuries as
the foundation of the dimensions of astronomy, geometry, and social
prominence of foreign trade with the East from the late Thirteenth
Century on had brought about the emergence of a mer-chantile class
whose wealth began to surpass that of the landed gentry of the ancient
patrician and feudal aristocracy. Spices were greatly desired in
order to improve the taste and preservation of meat; silks as a
relief from the coarseness of European textiles.
towns and cities job opportunities arose in the many levels of commerce
which would allow an escape from the static, landlocked worlds of
peasant and vassal alike.
In the North
countries, removed from the strongest influence of the Church's
sovereignty over the moral and economic order of society, the old
finite universe of feudalism seemed ready to disintegrate and lay
bare its essentials and underpinnings to the eyes of mathe- matical
scrutiny. Johann (Meister) Eckhart's writings on Christian symbolism
in the 13th Century, proposed direct communion with God, bypassing
the catechistic authority of the Church. Such also was the visual
understanding later contained in the artworks of Albrecht Durer,
Pieter Brueghel, and Hieronymous Bosch.
Writing on the sense of the Absolute around the turn of the 18th
Century, Leibniz derives from Plato and Plotinus this model to discuss
the spatial aspects and distinctions between the concepts of object
of objectification was descended from the philosophy of Aristotle
(Analytica Posteriora). The egg of the deductive process of syllogism
was hatching in Leibniz' time as the scientific (post-alchemical)
methods of experimentation and forensics. As an alter- native, Leibniz
incorporated two other principles of Aristotle: the inductive process
(also Analytica Posteriora) and (via Descartes and Thomas Aquinas)
the soul (De Anima).
exist in the Absolute of Time/Space (that is to say, outside of
space/time) each as an "singular" entity, reflect all
other Monads from all of their facets, as well as all of the entire
formula: "the Monad is the integral unit of activity, mirroring
all other monads, but incapable of fusion or interface. Each Monad
exists as in a series, each in its own place mirroring all the others,
the last in the series being the most active, therefore God."
abstract theory, proposed during the same period as the finite mechanized
universe of Sir Isaac Newton, was to gradually submerge in the subsequent
layers of conceptual philosophies build upon its basis of the symbolic
logic of 18th Century scientists, until its reapplication to the
conceptual structures of "logical entities" and the communication
of parameters utilized by the digital computer. Norbert Wiener,
one of the builders of the first working computer, the ENIAC, gives
Leibniz' principle of the calculus ratiocinator the credit of the
first reasoning machine design, the machina ratiocinatrix.
the pair of corresponding elements, mind and matter, proposed in
Spinoza's geometry as the self-contained attributes of God, with
a continuum of correspon-ding elements: the monads. In his 1949
book Cybernetics: Control and Communication in the Animal and Machine,
Norbert Wiener (himself a pupil of Bertrand Russell) explains :
"While these are conceived after a pattern of the soul, each
monad lives in its own closed universe, with a perfect causal chain
from the creation or from minus infinity in time to the indefinitely
remote future; but closed as they are, they correspond to one another
through the pre-established harmony of God. Leibniz compares them
to clocks, made with God's perfect workmanship, which have been
so wound up as to keep time together from the creation through all
In his Monadology
(1714), Leibniz addresses this theory to a theological issue: "It
is impossible that there should be no souls because souls are the
simple substances of which the universe consists and therefore were
there no souls there would be no bodies. Bodies are composits, and
the simples of which composits consist are the monads. All the monads
are not souls, but souls only differ from simple monads by their
position in the hierarchy. The reason there can be no interaction
between mind and body is not because they are sub-stantially different,
but because the monads which constitute the reality of the body
do not give it the status of the body. It is only for the dominant
monad or mind that the body is body, the mind therefore could only
act on the body by acting on the monads which constitute the body,
and there is no interaction between monads."
viewing the universe in a mechanized model, Leibniz turns an organic
insight: "Each portion of matter may be conceived of as a garden
full of plants, and as a pond full of fishes. But each branch of
the plant, each animal is also such a garden or pond."
In this statement
he refers to living organisms as plenum, wherein other living organisms,
such as blood corpuscles have many if not all of the attributes
of living matter.
In form, the
Monad can be visualized as an impervious, impene-trable chromium
spheroid, reflecting with a precision that is mercurial with warmth
and depth. The universe of monads can be thought of as a line of
endlessly rising marble columns coming around in a chain to form
a vast circle, each a pillar of space supporting the history of
Time, in this case of the planet Earth, beginning in the mists of
the void, and crowned by the dewy, unfolding petals of the scarlet
Were the Monads
to be named in chronological order, as if they were a pond full
of gardens, we might call them: ...the void...the origin...the past...the
physical present...the potential...the ideal...the eternal...the
In the mechanized universe according to Isaac Newton, the law of
gravity (the force pulling all objects inward towards mass density)
determines that the planets must move along elliptical orbits around
the sun in agreement with the empirical laws discovered by Johannes
Kepler. Einstein, seeing gravity in perspective stipulated that
all movements should be con-sidered in a four-dimensional world
(length, height, width, and time), which is "curved" if
a gravitational field is present.
A simple model
of comparison between a three- and a four-dimensional structure
would be to estimate the position of the Earth on a certain day
of the year. Astrophysicists have determined that our sun is moving
at a rate of approximately 200 miles per second
in the relative direction of the constellation Virgo.
is also the area in intergalactic space which measures the warmest
in the background field of "radio-activity" considered
to be left over from the BIG BANG, the Singularity before symmetry.
It is also the direction in which all galaxies appear to be moving,
as they mutually expand, according to the evidence of the red-shift
of the doppler.
The fact that
our sun follows its own orbit in the turning galaxy, and the galaxy
itself is moving out into the void of space, would require us to
trace a "world-line" of the Earth's location, spiraling
forward into time, much as our own Moon follows its own orbital
path around the Earth in motion.
the monads as occurring in a series, the last being the most active.
However, in the light of 20th Century theories we will attempt to
begun in 1929 by Edwin Hubble at Mount Wilson Observatory are currently
continuing to determine whether the number of galaxies within various
distances from us increases in (1) direct proportion to, (2) faster
than; or (3) more slowly than, the cubes of these distances. If
the first possibility is true, the space of the universe is Euclidean
(static); in the second case, the universe has a negative curvature,
being wide open in all directions; in the third case, space has
a positive curvature and must eventually close upon itself.
In the first
case, in a static universe, the series of monads would indeed form
an endless straight line forward into time. Both of the other possibilities
would require us to consider all of the monads forming a circle
along the edge of the curvature of space.
In the second
case, a negative curvature strongly suggests the ancient Gnostic
vision of "The Pleroma", described by Valentinus in the
Second Century: the sense of the Absolute of the "fullness"
of a universe of totally expansive depths, such as an unfathomable
ocean, indeed the well of the subjective cosmic/oceanic experience
spoken of by diverse mystics over the ages.
the third case, that of a positive curvature, as pre-dicted by Einstein
in his Theory of General Relativity, the diameter of this circle
of monads would measure the Conceptual times the Speed of Thought
There are various
parallels to the modes of chronology and determination which will
further illuminate these effects. The effects themselves of these
two measurements of dimension must be understood as being perpendicular
and interactive, that is to say, with one moving into a forward
continuum, and meanwhile being connected with -- by tangential data
which is either arriving to or departing from any given point along
that forward line of movement.
illustrate this metaphor, I will recall the example of a photograph
of a widely smiling young man. Noting the unusually ecstatic face
frozen in time, I was suddenly prompted to wonder whether in the
next moment his face smiled more widely or less -- that
the young man's life had gone forward to greater or less happiness.
This is to say that all of the flowing current of vital energies
were revealed in that frozen moment, and that moment becomes a window
that opens to a corridor in time.
I recall Immanuel Kant's Critique of Judgement (1793) in which he
describes the rational classification of knowledge by a comparison
of the concepts of nature and freedom.
Geometry of Anticipation
Until routine laboratory experiments, at the turn of the 20th Century,
produced puzzling results, the Uniform Wave Theory of Radiation,
an aspect of Newton's wave mechanics, had been accepted as a given.
This theory stated that, as space and time were uniform, a regular
continuity was the principle at work in the behavior of radiant
energy where the size of the wave narrows as the frequency of the
waves is incremented. (This relationship can be easily illus- trated
to anyone who uses both AM and FM radio receivers: At 880 in the
AM band [880,000 wave cycles of electro-magnetic energy per second]
the approximate distance between the crest of each wave is 180 meters.
But at 100.1 in the FM band [100,000,000.1 wave cycles per second]
the approximate distance between wave crests is only 4 meters. --
Imagine a child swinging a skip-rope, slowly at first, up and down
in wide arcs, then faster and faster, shortening the arcs more and
more until the rope stings his or her own nose.)
experiments at the turn of the 20th Century, in- struments called
black bodies (dense metallic objects) were used to guage the release
of emissions in electro-chemical reactions. The black body is a
useful testing apparatus as its composition will completely absorb
all radiant energy focused onto it with no reflection and should
naturally give off a continuous spectrum of heat and light, as opposed
to the testing characteristics of various other chemical elements.
It was then
detected that when heated to a given temperature the black body
itself gave off a maximum amount of energy at a particular wavelength,
decreasing as the temperature was increased.
presented a dilemma to experimenters, because previous theories
had stated specifically that if electromagnetic oscillations were
given out by naturally vibrating materials, the quantity of energy
released would increase indefinitely as the wavelength of the radiation
was decreased, thus according to the principle of frequency undulation.
In 1900, Max
Planck derived a solution to the phenomenon by suggesting that if
the radiation from the black body were given out discontinuously
in quanta, where the energy of a single quantum was proportional
to the frequency of the radiation, the emission of the longer wavelengths
towards the red end of the spectrum would be favored at low tem-peratures,
as the energy of the quanta would be small. At higher temperatures
more energy would be released, with the emission of larger quanta
at the shorter wavelengths. Thus a maximum amount of energy (the
"quanta") was emitted at a certain wavelength, and the
wavelength shifted towards the short end of the spectrum as the
temperature was increased.
It is as if
a dam were built without gates and so perfectly level that the water
accumulating in its deep resivoir would eventually fill to the brim,
inching out over the wall until the resistance of surface pressure
were suddenly exceeded, and the water released, spilling out in
a massive rush, uniformly over its top.
Until the existence of electrons had been demonstrated by J.J. Thompson
in 1897, the atom had been considered indivisible. Planck's inductive
finding later proved the key in revealing the deeper structure of
the atom, leading at first to the understanding of the shell
of electrons orbiting around a nucleus, and thirty years laterto
the distinction of the con-stituent parts of the nucleus as positively
charged and neutral particles: protons and neutrons.
Expectations of scientific certainty in the finite sciences of the
past have come up woefully inadequate and counterproductive to new
understandings of the working principles of physics of astronomy
and particle science. It is the certainty of the expected results
of experimentation which has failed, the identification of the behavior
of a thing with the nature of the observer himself.
But in scientific
experimentation and in the language of mathematical formula, the
meaning of probability directly counteracts the anticipation of
If seen in
its geometric perspective, the concept of prolepsis is the basis
of the simple (normal) duality of object vs. subject.It proposes
the subject as a figure (the interior, contained body), in mutual
or parity orbit with its object (the exterior, other body) --
But this principle is directly challenged by the theory of Probabality
which accepts that the interior contents of any object cannot ever
be definitively known according to any rational principle of absolute
location. In other words, the single identity or the mirror image
of "subject" (first-person) with object (second- or third-person
singular) can only be considered of incidental correlation.
So the whole
nature of anticipation becomes transformed from the possibility
of the possession of a fixed object, and raised to a scientific
level, in terms of the question of probability to:Where is anything?
Whitehead, writing an admonition to physicists and philosophers
in Science and The Modern World, 1928, and Adventures in Ideas,
1954, elaborated a phenomenon which he called "The Fallacy
of Absolute Location," warning that the logic
of mathematics indi-cates, (and that the science of Quantum Mechanics
would foreseeably demonstrate), that two objects could and sometimes
do occupy the same "space", and that a single object can
exist in two places at once. This principle definitively occurs
on a microscopic scale.
In 1979, physicists Abdus Salaam, Yogesh Pathi and Sheldon Glashaw
won the Nobel Prize for their work in formulating the Electro-Weak
Theory, uniting the Weak and the Electromagnetic Forces in one model.
This is the union of two very different principles at work in the
micro- and macro-scopic worlds: the symmetry patterns combining
both immen-sely charged particles, such as the polarized and massive
iron atom, with the so-called "Charmed Quark" which carries
virtually no charge at all nor possesses any mass. We might suggest
that these forces operate in succession as they did when the Universe
was in its early stages of explosion, unmanifested expansion, chaos
of elements, and organization of its
cooling and crystalizing particulate matter.
The so-called "Weak Force", formerly described as "the
cosmic alchemist" due to its property of inertia which merely
organized the resultant field after the expression of the stronger
forces, gravitational and nuclear. The Weak Froce would now be described
in its secondary effect as "the star breaker" by its provision
of a dynamic equilibrium to the field.
In the 1970's,
speaking of the Quark particle, now believed to constitute the basic
building blocks of the proton, three to each, Salaam argued against
the so-called "Dogma of Exact Confinement" advanced by
certain physicists working in the field who had predicted that any
evidence of the quark would only be detected by experiment within
of the proton, and that the electric charges carried by the associated
electrons would be measured at one-third and two-thirds the charge
of their proton nucleii.
In order to
state the probability of a nonconfined pattern of quark particles,
and their hypothesis that quarks and electron particles were directly
related in their display of so-called
"color" ("up", "down", "strangeness",
and "charm"), Salaam and his camp, with tongues firmly
in cheek, formed the "Quark Liberation Front."
In Alfred Whitehead's thinking, the accepted idea of the "absolute
location" of any object reflects a distinct dualism between
the space where the object is situated and "other" space
wherein that same object is not situated.
of a so-called "space" wherein an object is situated had
been challenged in 1935 by Werner Heisenberg's "Uncertainty
Principle," stating that particles are contained in predictable
positions only according to the laws of Probability, rather than
any temporal observation through an electron microscope. This means
that a given particle is nearly unobservable in a predictable location.
09. The Theurgy of Matter
The use of
Abstraction in the imagery of 20th Century painting poses the question,
to human comprehension, of a visually represented expression of
qualities which are apart from the nature of discernable or existent
objects. -- Nearly a contradiction in terms.
is literally that having only intrinsic form, with little or no
attempt at a "pictorial" representation. (Were I to have
composed the previous sentence as "that subject having"
I would have effectively perverted the meaning of subjectivity into
its opposite, objectivity.) The essence of the subject is that which
is only one step above the self, that is, its envelope of self-consciousness;
or else its compliment, the next monad in the endless series.
is that belonging to the essential nature or constitution of a thing,
the inner architecture or amorphous parts of a thing. The thing
itself might be an objective object or it might be a subjective
entity. At least in the case of the latter, as the development of
the entity expands in terms of its own growth, some of those constituent
parts might be shown to be subjective factors, that is simply, the
individual's own specific experiences, having occured or being later
viewed in a particular emotional color or light.
In terms of
painting, the principle of abstraction must by definition denote
the indivi-dual experience of the artist expressed by the artist,
whether that experience be of their own perception of a geometrical
or mathematical space in his own terms, or of an amorphous, polymorphous,
or metamorphous space.
In art history,
many of these forms of expression have already been demonstrated
and applied. Geometric; Op-Art and Photo-Realism have demonstrated
the geometric and mathematical experience. Amorphous representation
has been illustrated by Impressionism, Indian Space Painting, and
Abstract Expressionism. Polymorphous art has been created by Pointillism,
Fauve, Bauhaus design, Dadism, Futurism, Pop-Art, and the Anachronistici.
And metamorphic representation has been demonstrated with Cubism,
Surrealism, and many examples of so-called "Outsider Art."
(not a style or movement):
--> Baroque --> Post-Modernism
10. The Dream Reflection in the Face of the Deep
then is more than a doorway into fantasy or other times: It is a
mani-festation of the possibilities intrinsic in the various realities
that we know. These images are the reflections of reality upon the
chromium surface of the monad, as detected or organized by the eye
of the unconscious mind.
time/space which must obey the equation of E=MC2, each monad that
exists eternally, or one that is actually created from nothingness,
reflects everything which surrounds or confronts it, but does not
manifest its internal contents.
are these internal contents?
mean that the contents are oblique and/or opaque to external reality?
whether it is representative or perfect actually carries two separate
forces in operation:
(1) The external
force, which in a "representative mode" may also be non-objective,
abstract, or figurative (of the figure's postural model), but yet
remains in each sense a simile or a copy -- or in a "perfect
mode" is prismatic, or absolutely reflective only of another
is the principle by which the activity of growth proceeds by extension,
and/or recognition, and/or abridgement.
is the effect of elongation and return to itself. Recognition here
is the conscious realization of likeness in another or in the self.
is the principle of (2) The internal force, which is entirely organic
of itself, and operates without given revelation only according
to its own structure of chemically balanced secretions, electrically
active pulsations, and ultimately according to its own encodations
of matched linkages.
11. The Bridge (back from Paradox)
In the final analysis as sentient beings we must confront the reality
of our own bodies, certainly as they have evolved up to the present
stage. As Sandor Ferenczi, the contemporary and correspondent of
Freud, stated in Thalassa: A Theory of Genitality, "an individual
life, as well as human history, represents the recapitulation of
the entire evolution of life from the first ameno acid, the first
metabolic cell, the tree of life, the phylogeny of all species."
as a species, and to ensure the survival of all the species of life,
we must begin to resolve the dilema and the dicotomy of object and
subject, to form a democracy of beings and of all king doms of existence,
and to accept not only the mechanistic nature of
our biological instincts but also the mystery of our own sexuality.
One basic realization of the scientific mind in the 20th Century
is that the anticipation of predictable phenomena is limited to
a mechanistic universe, the middle dimension between the atomic
microcosm and the cosmological macrocosm.
in this middle domain the ephemeral situation presents itself in
the intrinsic problems of the workings of the psyche, the nature
of emotions, and the confrontations and juxtapositions of both with
It is, however,
non-predictable phenomena which can be antici- pated. This is not
to state the obvious, but to attempt a recognition of the amorphous
quality which cloaks the potentiality, a cloud of dark shadow; and
also to attempt a realization, an unfolding of the seeds of those
of the mind are only the perception of the duality of these amorphous
and overlapping realms, the intersection of two perpendicular planes,
each formed by a pair of orbital circles in planar phase. A geometric
construction of four points, it is some-
times experienced intuitively as the single repetition of an event
within a closed span of time, the "parity" establishes
the "phase" of events along the path of one trip.
the distinctions or the parallels of activity or energy are clearly
revealed with frightening consequences, such as when the sighting
of a dead animal by the roadside occurs coincidentally at the moment
an important consideration or decision in thought. The question
of mortality is somehow affirmed.
sense of the term "confrontation" should be understood
as the adjacent, oppositional, frontal border of two separate entities,
where the biologic stresses provide pressures from the inside of
each border. The most obvious model of this interaction is the model
of sexual behavior in the human, both in intercourse and in the
emotional embrace. The element of time given to the expression,
either protracted or brief, determines the degree and nature of
the systems response and resolution of these intrinsic forces. This
is to say that time is required for the organism to remotivate,
restage, relive and relieve the forces of instinctual energies.
contains an implied recognition of the identity (the sameness in
parity) of the inmost pressuring forces, and therefore an identity
of subject and object, on the most human level of biologic need,
apart from personal differences.
It is often
argued, in both Eastern Yoga and Western contemporary anti-sexist
culture, that the conscious abstinence from sexuality elevates or
liberates the rest of the organism from this need. But many facets
to this theme remain recurrent, which continually frus-
trate this singular purpose of mind. In the East, a resolution is
offered to this problem in the tenets of the Yoga of Action, which
recognizes the objective purpose of an enlightenment of the mind,
as well as a view without prejudice of a "concurrent totality"
of the presence of divine creation and manifestation.
of chronology can be identified as those in biology which compose
the basic sexual drive itself: (1) instinctal attraction and desire
made conscious; (2) common confrontation and affection with the
object; (3) the penetration and/or compression of the sexual organs;
(4) release in orgasm, relaxation, and physiological tonus; (5)
gestation and reproduction; (6) perpetuation of the species; (7)
sleep and dream; (8) aging and progression; (9) death and silence.
There is a
region of correspondence, however, between chronology and determination
in this model of behavior, and this correspondence is clearly expressed
in the Hindu culture with its historical pre- occupation with sensuality,
the erotic, and the languid landscape of the body, suggesting a
transcendancy of chronology.
it is the function of uncertain possibility and its possible reward
of fulfillment that replenishes the motivating spiritual purpose
of all action -- to reconnect the totality of animate souls.
of the intimacy of the emotions is, by contrast to chronology, the
etermination to reveal Time by the opening up of unknown potentialities.
The Bridge represents the equation of the qualities, the constants
and variables of each of the meeting parties, multiplied, divided,
or exponentialized, across the coupula of the is, crossing the short
parallel span of two horizontal lines, the equal sign. Time presses
forward with the urgency of giving birth to the universe itself
The Bridge, employed as the metaphor for life's directions, combinations,
and separations is the same as in the promise: "We will cross
that bridge when we come to it..."