I watched a classic film the other day: The Oxford Murders (2008), based on the 2003 book written by Argentine mathematician Guillermo Martinez. The subplot was the clash between genius minds, one a physics major claiming that “If we manage to discover the secret meaning of numbers, we will know the secret meaning of reality” – and a Lichtenstein-ian professor who said the only absolute truth is that “everything is fake.”
The student is psyched about proving his theory, while the professor insists, “Whereof we cannot speak, thereof we must be silent.” From there a “who dunnit” murder mystery ensues. These two characters could have been photo-shopped over the faces of Aristotle and Plato in Raphael’s The School of Athens.
I have to confess a personal bias in watching this film. Age proves itself over youthful exuberance, even before the film finishes its first scene. I go with Lichtenstein (and Heisenberg, also mentioned) every time over hard science. What all those brilliant mathematicians and physicists do is to always begin with an absolute they assume to be indisputable and inviolate – as in 2+2=4. From there they claim to uncover the mysteries of the universe.
But the biggest distinction between the “uncertainty” philosophers and math wizards is that uncertainty needs no defense. The wizard’s argument does. The latter is in constant pursuit of an answer which can be empirically stated. He’ll never find it. Because his first mistake, his first chess move, is to move forward. He doesn’t look back to question that which invents the absolutist principle in the first place. There’s nothing absolute about “the source” from which it comes.
It’s the old split between Eastern and Western philosophy, and for some reason the West refuses to surrender its ego/geocentricism in matters of cosmic meaning. And here we are – living lives, running governments, nations, religions, and societies based on rules we know (at some level) to be absolutely “conditional.” Paul Tillich could have been the Oxford student’s father, a mathematician pledged to his search for absolutes – only to come away years later with a conclusion of “relative absolutism.” The only real absolute is that everything is relative. The oxymoron would be comic if it weren’t so serious.
And serious, it is. The cosmic conspiracy is, we might say, the reverse of the “Aquarian Conspiracy” theory coined by Marilyn Ferguson back in 1980. She at least pointed to the “conspiracy” of leading us out of our geocentric thinking. It resists the other conspiracy of keeping us trapped in a solipsistic orbit, thinking we’re being objective and unattached to the “self.” It’s kinda like rowing a boat beached on land. No one looks down to see that we’re beached, and we think we’re moving forward.
Just to exhaust that metaphor, if land is the fallacy of moving forward, then water is the reality of drowning into deeper fathoms, of sinking backwards. It’s giving up the ship, the final breath of life as we’ve known it. Which also means surrendering our foundations of reality. It’s changing the entire human focus.
What was in focus previously is now out of focus, and visa versa. Outlines are inlines, figure is ground, and “viewpoints” are the camera obscura (upside down). But it’s more than that. It’s no longer “either/or. It’s both – because there is no more center. I think of the words of St. Bonaventure: “God is that presence whose circumference is everywhere and center is nowhere.” This isn’t to invoke the subject of God. But the forfeiture of “self” has no choice but to cross into the subject of spirituality. Science and the “uncertainty” philosophers all dance on the perimeter of “G-D.”
A clearly pathological view entails seeing things out of focus, which we call “in focus.” It’s putting on very thick prescription glasses to see what’s out there. If someone decides to take them off, he’s struck with “diagnoses” and “symptoms” needing corrective action.
With creative types, there is an uncanny tolerance for ambiguity, for the rests between the sounds, voids between the plenum. There’s also an interest in “unrelated” fields, in novel combinations, images, and symbols. For every problem solved they end up with three more problems, more questions than answers.
Creative types also fit a somewhat predictable profile. A study in 1904 (by Havelock Ellis) noted that most came from fathers older than 30, mothers younger than 25, were sickly, introverted, uncomfortable churchgoers, and celibate (Copernicus, Descartes, Galileo, Newton, to name a few). But that was 1904, and we’re careful today not to get stuck in typologies.
The question for today is one of matching creativity with an anamorphic lens, or intentional distortion. Creative types doff the thick glasses and see what isn’t supposed to be seen. Cogito (“I think”) originally meant “shake together,” while intelligo (“intelligence”) meant “select among.” The truly creative select differently.
A writer once said, “I write to find out what I’m thinking.” He found that writing had a “powdery quality to it, a light… shining through the haze and heat.” He “collected words that suddenly seemed to have new meaning… in contexts I have never thought before.” Creativity is the ability to make juxtapositions that elude us most of the time. It’s about connecting the unconnected. A chemistry Nobel Prize winner, Roald Hoffmann, said, “The imaginative faculties are set in motion by mental metaphor. Metaphor shifts the discourse… with a vengeance.”
Inspiration, said writer Sharon Begley, “does not lounge under apple trees waiting for fruit to fall or lightning to strike.” When it did not come for Freud, he said “I go halfway to meet it.” It means that creativity goes in any direction it desires. We have no control over it. And from any one fixed perspective, it can produce just as much “bad” work as “good.” But again, the lesson is about the detachment from all perspectives. I often think of the books I hated ten years ago for failing to inspire, only to magically come alive today. The book hasn’t changed, my perspective has. It’s as if it was patiently waiting for me to come around.
Einstein also made an interesting observation, saying that his own “intellectual development was retarded,” until he started thinking like a child again, especially about space and time. He made creativity bond with “expertise” – the child with the old man. The child’s mind is uncluttered by the intentional distortions (anamorphisms) of cognitive learning.
Logic and reason get twisted. “Seeing more” is counter-intuitive to our social needs. One’s curse is, as Howard Garner put it, having a “temperament that seeks arousal.” Biologically, it’s having too many “helper cells” that speed neural communication. Whatever the reasons for it, the problem isn’t with the person but society, as it gets more and more specialized, categorized, and narrow in its tolerance for “odd” juxtapositions. Those who have no choice in what they see find themselves as members of a “freak show.” As one young prodigy of the violin said, “While dazzling technique may carry a youthful career, it cannot support an adult one.” Being a “freak” is tempered with being young and “dazzling.” But then we grow up and enter the human fray.
The tragedy is spelled out in the case of the “loner” grade schooler who didn’t play with the other kids. She stayed inside and drew pictures of rabbits. She spoke only Spanish and kept average grades. Then she took a test, and a Spanish-speaking psychologist said she had an IQ of 175. No one is more lost and alone than that.
What actually distinguishes a creative type (or genius) from someone who is simply “schizophrenic” is the fortunate ability to translate one’s thoughts into a language everyone can relate to and understand (music, painting, dance, science, literature). It challenges and inspires. Minus that facility, one is basically doomed to the custody of psychiatrists and hospitals. — What’s interesting here is the fact that the term schizophrenia means “split-minded.” In recent years researchers have had to concede that the mentally “insane” aren’t split from anything, but just the reverse. They’re actually connected to something with which we are not. The “normal” mind maintains itself by staying safely extricated from dimensions of consciousness which obstruct socially-approved thoughts and behaviors. In other words, it is we who are “split-off.”
The mental diagnosis thus becomes the good metaphor for the distortion that “treats and corrects” what isn’t distorted. We had better don the prescription glasses, or else we end up alone drawing pictures of rabbits. It’s okay to doff the glasses for brief moments (or privately), but then we’d better cover up again and/or bring what we know into a (safely) recognizable language for others, as Einstein did. – It was said that Einstein would “leave his mind” to ask questions (like a child free of the debris of age). Somewhere he knew that in creating the question automatically created the answer. He could then consciously meet where that convergence happened. He could then bring it down and transform it into an equation.
The same experience happens to creative song-writers. When John Lennon and Bob Dylan were asked where their songs came from, they both responded “I don’t know.” It just channeled through them, they said. They essentially did the same thing Einstein did. They opened up and became conduits, transmitters, which turned into lyrics. Unfortunately for Dylan, his channel abruptly closed in the late 1960s. He didn’t do it. It closed by itself. And when asked if he could ever write like that again, he said, “no way.” His lens locked back into its distorted position, and he knew it.
For those creative types not gifted enough to translate what they see or know into a safe language, there are only the words (again) left by the professor as a warning: “Whereof we cannot speak, thereof we must be silent.” There’s nothing left to do except to know what one knows – and to draw rabbits.
© 2023 Richard Hiatt