Replying to LO23508 --
Dear Organlearners,
Andrew Campona < ACampnona@aol.com > writes:
>How much and like what do you find these words Leo?
>
>May I ask that we consider 'gaps' as kinds of 'silences'?
>
>Now Leo, that really may be profound learning and art.
>
>Let me share a moment of metanoia with you.
Greetings Andrew,
Thank you very much for this amazing jewel among the gems of contributions
on the LO list.
You have called this jewel wisdom. Allow me to shine some light through it
so that we can marvel the rythm of entropy production. I will try not to
distort your wisdom by bringing such a contencious issue on this list into
the picture. Sadly, I do have to snip much of what you have written.
You write:
>Then as I withdrew the 'analytical' gaze and comprehended the
>work more whole as a 'synthesised oneness' I realised something
>that would make it impossible (for me anyway) to copy it.
>
>It had not been drawn line by line as I would have laboriously to
>do it at all, but it had been lain down as if by a single exhalation.
>
>It was his stillness in my commotion.
What you perceived, is the incredible emergence at the edge of chaos
(where the entropy production is maximum) which has finally subdued in the
serene and almost reversible changes close to equilbrium (where the
entropy production is minimum). You have formed a mental image in one
sweep of the swing of entropy production from its one asymptote to its
other asymptote so as to drive the rythm of life.
>It seemed that it had not been stretched out linearly along some
>length of measured time but had simply been wrested instantly into
>the paper, and all I could think of by comparison was the gentle
>imprint in the swirl of a fingerprint. It was that uniquely refined
>and
>defined and simply 'there'.
>
>The same hand that made this had painted the Sistine Ceiling. It
>had painted the great scenes of the Last Judgement and it had
>sculpted the Pietas in marble. It had created the space between
>those two fingertips of God and Adam; so nearly touching in the
>Creation scene.
>
>And suddenly I was gripped in the embrace of an inner silence that
>still reverberates. It is inescapable. Like the great 'nothing' that
>fascinated Leonardo as it filled the cosmos he understood.
>(Stood within)
>
>How can I now carry you through?
>
>Maybe we can pass from what is outside to what is inside.
(snip)
What has happened to you in that silence is that you finally have allowed
one of the most precious seed crystals which has emerged long ago within
you, to commence with its digestion. An emergent pattern comes fully from
within, but a digesting pattern has to feed on what the surroundings has
to offer. The higher the order of such an emerging pattern, the more the
openness to the surroundings it requires to commence with its digestive
growth. The Bible knows this great truth. Does David not say: Become quiet
and then know God fully? You have also mastered this wisdom.
Andrew, you write:
>How 'FITTING' and 'DEEPLY CREATIVE'.
I wish to reflect you in your own words. A little bit further you write:
>The silence is the growing space, the possibility space, the
>dwelling place of something larger than material form that only
>the truly (open ended) learningful person can maintain as a living
>place, you can call it 'open heart' or 'open mind'. Indeed you can
>call it anything.
I call it digestive learning which happens completely open.
>Silence is for me a possibility space in people's hearts and minds-
>a form of living emptiness; a forever-openness to the world and all
>its possibilities, a forever waiting for some connecting moment or
>other. More is given than taken in the moment of exchange. Free
>energy?
The emergent pattern (a crystal according to my model) which is now in its
digestive phase, increases quantitatively rather than qualitatively in its
internal organisation and thus entropy as a meausrement of it. Hence its
free energy decreases gradually. In order to regain the free energy which
it has lost by this profitting, it has eventually to give up this pattern
so wel nurtured by digestion into maturity. (Windfried Dressler also seems
to have learnt this wise lesson.) This "giving up" is what I call the
creative collapse. With this free energy as a result of the creative
collapse, it is possible to produce immense entropy, so much that the
system can emergence into an order even higher as the previous one which
has matured.
How else can any creature become a friend of its Creator?
You articulate this in your own words without this complexification of
entropy production by means of free energy:
>Being limitless it is by nature infinite. In this silence there is no
>extinction of thought, feeling or will but there may be renunciation
>of what was and is externally acquired, a detachment that makes
>possible a renewed relation to the (any) unknown without the great
>burdens of fear we normally attach to it.
>
>'Look, look well.' Dante said.
>
>Look well then at the Christ figure in the silence of his final
>moment
>in 'creative collapse', He slips away as she gently holds him, but at
>the same time it is He who supports her. In silence and forever
>attached
>the corporeal mother and son 'hold' each other up in some form of
>eternal agape.
Yes, the artists are always the first born of a new era to come. They
always find in their art a way to express that which those born later in
that era have to do in words. By then the artists of yet a newer era is
already at work. O, may we have the wisdom to see them working so as to
know what the future holds for us.
The other way is to observe the other creatures of nature as their friend.
>Silence here is reunion and reconciliation.
>
>>Two figures blend but incomplete, '-the master's last word; it is a
>>silent word, and for us it has become synonymous with silence.'
>
>>>Andrew, since you are able to sense my interiors (though
>>>describing the exterior), I need no other words. Silence contains
>>>enough information.
>
>>So very FITTING and BEAUTIFUL Leo-
>
>Silence contains everything. And in everything is in silence.
>
>Silence is not bounded by measure. Small or large is the same for
>it.
Its like sitting in the desert, waiting patiently for help to come --
someone with an air pump to inflate a spare tyre which played a trick upon
one. One has to become completely silent in order to experience all the
sounds which the desert makes. Only then will the sound of a combustion
engine droning a hundred kilometers away reach one's ears. It is simply a
sound which does not fit in with the rest -- it is not case of ears as
sensitive as that of a "dassie". (A "dassie is a small mammal indigenous
to Southern Africa and is sometimes called by English speaking people a
"rock "rabbit". Its closest relative is -- guess what -- the elephant!)
My companion was walking anxiously to and fro as well as up and down the
Huab pass. The sound of his footsteps broke the silence which he needed to
hear that engine. Half an hour after I have announced that a car was
approaching, he was smiling victoriously, even though anxious like hell,
because it seemed to him that for once I was mistaken. (It did not occur
to him that I was mistaken by trusting a spare tyre to remain inflated.) I
simply had to direct his attention to a speck of dust cloud appearing on
the horizon, the first visible reconnaisance of the approaching
vehicle(s). His astonishment and newly found joy was beyond description --
death did not seem to be emminent any more.
The physics of it is rather simple. Waves, whether sound with with very
long wavelengths or light with very short wavelengths, diffract (change
direction) as a result of objects in their paths comparable to the size of
the wave lengths. They bend themselves around the object. Diffection of
light waves (like in a hologram to cause a 3D image) needs objects of
molecular dimensions. Lights waves cannot diffract over the horizon, but
sound waves can as a result of the many hills surrounding the Haub valley.
(Do not picture the usual lushy green valey, but form a picture of a
valley of death where it rains once in a blue year -- the reason for my
companion's anxiety.) Thus, like the smoke signals of Indians in America,
these hills pass on the droning of the combustion engine to an incredible
distance. The same will not happen on the flat Skeleton Coast further to
the west of the Haub valey. There the complete silence reflecting one's
own silence truly numbs the mind. A zillion words cannot describe one
single experience of it.
A mind is needed which has taken in the full richness of the desert's
sounds by maintaining silence itself to detect the one sound alien among
the desert's own natural sounds. What is alien of this sound? Its is made
by something which does not operate on accord of its own self-organisation
-- the key feature of present human technology. It devours free energy
unlike any creature of nature.
>'Behold now the hope and desire of going back
>to ones own country or returning to the primal chaos,
>like that of a moth to the light,
>of the man who with perpetual longing looks forward with joy
>to each new spring and each new summer,
>and to the new months and years,
>deeming that the things he longs for are too slow in coming
>and who does not perceive that he is longing for his own destruction.
>But that this longing is in its quintessence the spirit of the
>elements,
>which finding itself imprisoned in the life of a human body
>continually returns to its source.
>And I would have you know that this same longing is in its
>quintessence inherent in nature
>and that man is a type of the world.'
>
>Leonardo da Vinci.
Thank you Andrew for this most extraordinary citation.
May I add that the days are not far away when humankind has to say
farewell to most of its technologies because they function
non-spontaneously. For if humankind does not enter this creative collapse,
it will perish together with many other higher life forms at its own hand.
The prophet Jeremiah calls these technologies of Babilon scare crows in a
cucumber garden. I long to experience the days when humankind will rejoice
in its newly found peace with nature -- a peace which Beethoven has
expressed magnificently in his ninth symphony.
However, humankind will have to seek a new wave of innovations in a
completely different direction. As you have articulated in the final
sentence to your most glorious contribution:
>Where else have you come from, where else can you go to?
Thank you once again Andrew Campbell for your artistic splendour. You have
said it all in partnership with Leonardo da Vinci such that I feel like a
dwarf in comparison with you two.
With caring and best wishes
--At de Lange <amdelange@gold.up.ac.za> Snailmail: A M de Lange Gold Fields Computer Centre Faculty of Science - University of Pretoria Pretoria 0001 - Rep of South Africa
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