The Marginalian
The Marginalian

The Kiln and the Quantum of Relationships

The Kiln and the Quantum of Relationships

Anything you give your time to and polish with attention will become a lens on your search for meaning, will lavish you with metaphors that become backdoors into the locked room of your most urgent reckonings.

In my nascent adventures in pottery, I have observed with great fascination how two different glazes, when combined, produce an entirely unpredictable result — something not greater than the sum of its parts but of a wholly different order. In the extreme conditions of the kiln, which can reach the temperature of a red star, chemistry and chance converge to make a third glaze that may turn out to be infinitely more beautiful than either of the two, or disastrous, discolored, hideously cracked with exposed impurities and cratered with burst bubbles.

Consolations from the kiln.

This, of course, is what happens in our most intimate relationships, themselves the product of chemistry and chance. Under the extreme pressures of expectation and the high heat of need, something reacts with something, impurities are exposed and bubbles burst, each person activating dormant potencies in the other, so that a distinct third entity comes alive — the dynamic reality of the relationship — incinerating the notion of the individual self as a set of inherent properties, hinting at the relational nature of reality itself.

A century after the Indian poet and philosopher Rabindranath Tagore observed that “relationship is the fundamental truth of this world of appearance,” physicist Carlo Rovelli traces the scientific path to that same truth in his excellent quantum primer Helgoland (public library), titled after the windswept North Sea island on which the twenty-three-year-old Werner Heisenberg arrived at the idea that became the mathematical blueprint for the staggering cathedral of quantum field theory: that revolutionary description of how one aspect of reality — one object, one entity, one part of nature — manifests itself to any other. Because every description of a thing is a claim about its nature, at the heart of the theory is the claim that interaction is the fundamental reality of the universe, that there are no entities as such — only dynamic manifestations of which we catch an evanescent glimpse and call that flashing image entity.

Rovelli writes:

The world that we know, that relates to us, that interests us, what we call “reality,” is the vast web of interacting entities, of which we are a part, that manifest themselves by interacting with each other.

[…]

The properties of an object are the way in which it acts upon other objects; reality is this web of interactions.

This is why objectifying — the impulse to reduce something or someone to a set of properties — always misses the point of the objectified, and why we always draw closer to reality when we instead “subjectify” the universe, as Ursula K. Le Guin put it in her magnificent meditation on the interplay of poetry and science. The intersubjective — the dynamic reality that arises from the interactions between objects with seemingly fixed properties — is the essence of the quantum world, and it is also the essence of human relationships. Who you become in a particular relationship is not any more you or less you than who you are in your deepest solitude, because there is no you — the self is not the container of your interactions with the rest of the world but the contents.

Observing that the “phantasmal world of quanta is our world,” Rovelli writes:

The world fractures into a play of points of view that do not admit of a univocal, global vision. It is a world of perspectives, of manifestations, not of entities with definite properties or unique facts. Properties do not reside in objects, they are bridges between objects. Objects are such only with respect to other objects, they are nodes where bridges meet. The world is a perspectival game, a play of mirrors that exist only as reflections of and in each other.

Card from An Almanac of Birds: 100 Divinations for Uncertain Days, also available as a stand-alone print.

With an eye to quantum entanglement, he articulates what I learned at the kiln:

Even if we know all that can be predicted about one object and another object, we still cannot predict everything about the two objects together. The relationship between two objects is not something contained in one or the other of them: it is something more besides.

The great paradox of this subject-object approach to modeling reality is that all of our descriptive models are inherently claims of an outside perspective on it, and yet they all arise from our mental activity, which is inherently interior. In a passage that calls to mind quantum pioneer Erwin Schrödinger’s koan-like insistence that “this life of yours which you are living is not merely a piece of the entire existence, but is in a certain sense the whole,” Rovelli writes:

If the world consists of relations, then no description is from outside it. The descriptions of the world are, in the ultimate analysis, all from inside. They are all in the first person. Our perspective on the world, our point of view, being situated inside the world… is not special: it rests on the same logic on which quantum physics, hence all of physics, is based. If we imagine the totality of things, we are imagining being outside the universe, looking at it from out there. But there is no “outside” to the totality of things. The external point of view is a point of view that does not exist. Every description of the world is from inside it. The externally observed world does not exist; what exists are only internal perspectives on the world which are partial and reflect one another. The world is this reciprocal reflection of perspectives.

This fundamental axiom of being is, to me, the first and final proof that the measure of our lives is the light between us.

BP

How to Live Fully: Ursula K. Le Guin’s Remedy for Our Resistance to Change

How to Live Fully: Ursula K. Le Guin’s Remedy for Our Resistance to Change

The most assuring thing about life is that we can change, that things can change, that they are always changing. The most maddening is that despite living in a universe that is one constant transmutation of energy and matter, despite living in bodies and minds whose cells and ideas are constantly being replaced, we so vehemently resist change, too afraid to unsettle the structure of our lives — even when it doesn’t serve us. “People wish to be settled,” Emerson wrote, “[but] only as far as they are unsettled is there any hope for them.” In another epoch, another prophet consecrated the elemental: “All that you touch you change,” wrote Octavia Butler. “All that you change changes you. The only lasting truth is change. God is change.”

If suffering is the magnitude of our resistance to reality, and if change is the fundamental constant of reality, then our resistance to change is our self-directed instrument of suffering.

Ursula K. Le Guin

Half a lifetime before her brilliant meditation on menopause as a microcosm of the human animal’s hostility to change, Ursula K. Le Guin (October 21, 1929–January 22, 2018) offered a perfect refutation of the central fallacy at the heart of our resistance to change — our tendency to mistake stasis for equilibrium and to mistake the complacency of equilibrium for contentment — in a passage from her 1971 novel The Lathe Of Heaven (public library).

Speaking to a part that lives in all of us — the “self-cancelling, centerpoised personality” that leads us “to look at things defensively” — one character urges another:

Why are you so afraid of yourself… of changing things? Try to detach yourself from yourself and try to see your own viewpoint from the outside, objectively. You are afraid of losing your balance. But change need not unbalance you; life’s not a static object, after all. It’s a process. There’s no holding still. Intellectually you know that, but emotionally you refuse it. Nothing remains the same from one moment to the next, you can’t step into the same river twice. Life — evolution — the whole universe of space/time, matter/energy — existence itself — is essentially change… When things don’t change any longer, that’s the end result of entropy, the heat-death of the universe. The more things go on moving, interrelating, conflicting, changing, the less balance there is — and the more life.

Observing that life itself, like love, is “a huge gamble against the odds,” he insists that, just as we must love anyway, we must live anyway:

You can’t try to live safely, there’s no such thing as safety. Stick your neck out of your shell, then, and live fully.

Complement with Henry James on how to stop waiting and start living, Terry Tempest Williams on the paradox of change, and Nathaniel Hawthorne on how not to waste your life, then revisit Le Guin on suffering and getting to the other side of pain.

Art from An Almanac of Birds: 100 Divinations for Uncertain Days
BP

Enchantment and the Courage of Joy: René Magritte on the Antidote to the Banality of Pessimism

Enchantment and the Courage of Joy: René Magritte on the Antidote to the Banality of Pessimism

In a world pocked by cynicism and pummeled by devastating news, to find joy for oneself and spark it in others, to find hope for oneself and spark it in others, is nothing less than a countercultural act of courage and resistance. This is not a matter of denying reality — it is a matter of discovering a parallel reality where joy and hope are equally valid ways of being. To live there is to live enchanted with the underlying wonder of reality, beneath the frightful stories we tell ourselves and are told about it.

Having lost his mother to suicide, having lived through two World Wars, the Belgian surrealist artist René Magritte (November 21, 1898–August 15, 1967) devoted his life and his art to creating such a parallel world of enchantment.

The Lovers II by René Magritte, 1928

In a 1947 interview included in his Selected Writings (public library) — the first release of Magritte’s manifestos, interviews, and other prose in English, thanks to the heroic efforts of scholar Kathleen Rooney — he reflects:

Experience of conflict and a load of suffering has taught me that what matters above all is to celebrate joy for the eyes and the mind. It is much easier to terrorize than to charm… I live in a very unpleasant world because of its routine ugliness. That’s why my painting is a battle, or rather a counter-offensive.

Magritte revisits the subject in his manifesto Surrealism in the Sunshine, indicting the cultural tyranny of pessimism and fear-mongering — a worldview we have been sold under the toxic premise that if we focus on the worst of reality, we are seeing it more clearly and would be prepared to protect ourselves from its devastations. A quarter century before the great humanistic philosopher and psychologist Erich Fromm insisted that “pessimism [is] an alienated form of despair,” Magritte writes:

We think that if life is seen in a tragic light it is seen more clearly, and that we are then in touch with the mystery of existence. We even believe that we can reach objectivity thanks to this revelation. The greater the terror, the greater the objectivity.

This notion is the result of philosophies (materialist or idealist), that claim that the real world is knowable, that matter is of the same essence as mind, since the perfect mind would no longer be distinct from the matter it explains and would thus deny it. The man on the street is unknowingly in harmony with this idea: he thinks there is a mystery, he thinks he must live and suffer and that the very meaning of life is that it is a dream-nightmare.

In his art and the worldview from which it springs, Magritte presents an antidote to this warped thinking — a backdoor out of our elective suffering. An epoch before we began to understand the neurophysiology of enchantment, he echoes his contemporary Egon Schiele’s exhortation to “envy those who see beauty in everything in the world,” and writes:

Our mental universe (which contains all we know, feel or are afraid of in the real world we live in) may be enchanting, happy, tragic, comic, etc.

We are capable of transforming it and giving it a charm which makes life more valuable. More valuable since life becomes more joyful, thanks to the extraordinary effort needed to create this charm.

Life is wasted when we make it more terrifying, precisely because it is so easy to do so. It is an easy task, because people who are intellectually lazy are convinced that this miserable terror is “the truth”, that this terror is knowledge of the “extra-mental” world. This is an easy way out, resulting in a banal explanation of the world as terrifying.

Creating enchantment is an effective means of counteracting this depressing, banal habit.

[…]

We must go in search of enchantment.

Complement with Viktor Frankl on saying “yes” to life in spite of everything and Walt Whitman on optimism as a force of resistance, then revisit Rebecca Solnit on hope in dark times.

BP

Is This Blue: Chilean Philosophers Humberto Maturana and Francisco Varela on Love and How We Know the World

Is This Blue: Chilean Philosophers Humberto Maturana and Francisco Varela on Love and How We Know the World

Once, in an extreme of despair, I posed to my therapist a version of the haunting thought experiment Mary’s Room: How, I asked her, can a person who has never been modeled healthy, secure, steadfast love even recognize it when it comes along — to what extent is this knowing teachable, learnable? If a person has never seen the color blue, never experienced blueness in their creaturely sensorium, there are certain things you can do to convey to them a knowledge of it — give them the electromagnetic wavelength of the color and examples of blue things and a conceptual portrait of what blue feels like — but all they will ever do is run around the world with this checklist of criteria in hand, asking: “Is this blue? How about this?”

She paused for a moment, then said: “Maybe they will never see blue the way you or I see it, but they can have an experience that is entirely new and entirely wonderful — and that will be their blue.”

Color chart by Patrick Syme for Werner’s Nomenclature of Colours: Adapted to Zoology, Botany, Chemistry, Mineralogy, Anatomy, and the Arts. (Available as a print and as stationery cards.)

In 1672, holding up his finger in the shadow between the light from his candle and the rising sun, the German polymath Otto von Guericke was astounded to see his flesh turn an “azure blue of the utmost beauty.” Shadow, produced by the absence of light and therefore the absence of color we call black, suddenly had a hue — an optical effect caused by the contrast between different light sources.

Strolling through the royal gardens a century later, Goethe stopped to admire a yellow flower in the bright midday sun. When he blinked and looked away for a moment, a blue flower appeared before his closed eyes — he was seeing the opposite of the real flower, even though he was looking at nothing. (This negative after-image, we now know, when an image is too bright and brief for the retinal ganglion cells that carry signals from the brain to adapt to the changing stimulus.) Here was color not just as a function of light, as Newton had decreed upon unweaving the rainbow with his optics, but a function of the perceiving brain — a collaborative creation of the mind and the world.

Blue is not what we see but what we co-create with ourselves and each other.

Illustration by Margaret Cook for a rare English edition of Walt Whitman’s Leaves of Grass. (Available as a print.)

Chilean philosophers Humberto Maturana (September 14, 1928–May 6, 2021) and Francisco Varela (September 7, 1946–May 28, 2001) explore this with uncommon subtlety and rigor in their 1984 classic The Tree of Knowledge: The Biological Roots of Human Understanding (public library) — a timeless investigation of “why the apparent firmness of our experiential world suddenly wavers when we look at it up close,” and a timeless invitation “to let go of [our] usual certainties and thus to come into a different biological insight of what it is to be human.”

They write:

The experience of color corresponds to a specific pattern of states of activity in the nervous system which its structure determines … All knowing depends on the structure of the knower [but] the biological roots of knowing cannot be understood only through examining the nervous system… It is necessary to understand how these processes are rooted in the living being as a whole.

Our cognitive understanding may explicate blue, but our embodied experience implicates us in it, binds us both to our biology and to each other:

All cognitive experience involves the knower in a personal way, rooted in their biological structure. There, their experience of certainty is an individual phenomenon blind to the cognitive acts of others, in a solitude which… is transcended only in a world created with those others.

With the central premise that “every act of knowing brings forth a world,” they write:

Our experience is moored to our structure in a binding way. We do not see the “space” of the world; we live our field of vision. We do not see the “colors” of the world; we live our chromatic space… We are experiencing a world. But when we examine more closely how we get to know this world, we invariably find that we cannot separate our history of actions — biological and social — from how this world appears to us. It is so obvious and close that it is very hard to see.

René Magritte. The False Mirror. 1929. (Museum of Modern Art.)

Love, of course, is the deepest way we have of knowing one another. More than a psychological construct, more than a moral imperative, it is part of our creaturely inheritance. Defying the hollow dogma that questions of love are antiscientific, Maturana and Varela write:

To dismiss love as the biological basis of social life, as also the ethical implications of love, would be to turn our back on a history of living beings that is more than 3.5 billion years old… Love is a biological dynamic with deep roots. It is an emotion that defines in the organism a dynamic structural pattern, a stepping stone to interactions that may lead to the operational coherence of social life.

In a lovely biosocial echo of Iris Murdoch’s abiding formulation of love as “the extremely difficult realisation that something other than oneself is real,” Maturana and Varela add:

Biology also shows us that we can expand our cognitive domain. This arises through a novel experience brought forth through reasoning, through the encounter with a stranger, or, more directly, through the expression of a biological interpersonal congruence that lets us see the other person and open up for him room for existence behind us. This act is called love, or, if we prefer a milder expression, the acceptance of the other person beside us in our daily living. This is the biological foundation of social phenomena: without love, without acceptance of others living beside us, there is no social process and, therefore, no humanness. Anything that undermines this acceptance of others, from competency to the possession of truth and on to ideologic certainty, undermines the social process because it undermines the biological process that generates it… Biologically, without love, without acceptance of others, there is no social phenomenon. If we still live together that way, we are living indifference and negation under a pretense of love.

A generation after the paleontologist, philosopher of science, and poet Loren Eiseley arrived at the same conclusion in his breathtakingly beautiful meditation on the first and final truth of life, and a generation before philosopher Iain McGilchrist explored how we render reality through love, they conclude:

We have only the world that we bring forth with others and only love helps us bring it forth.

BP

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