Log24

Friday, May 22, 2026

For Mert Lawwill, Champion Motorcylist —
Zen and the Art of Metaphysics

Filed under: General — Tags: , , , — m759 @ 4:29 am

Lawwill reportedly died at 85 on May 6, 2026, in Meridian, Idaho.

From this journal on that date (Oz Space. . .

"And let us finally, then, observe the
parallel progress of the formations of thought
across the species of psychical onomatopoeia
of the primitives, and elementary symmetries
and contrasts, to the ideas of substances,
to metaphors, the faltering beginnings of logic,
formalisms, entities, metaphysical existences."

— Paul Valéry, Introduction to the Method of
    Leonardo da Vinci

Robert M. Pirsig,  Zen and the Art of Motorcycle Maintenance ,
Ch. 6 (italics are mine) —

“A classical understanding sees the world primarily as underlying form  itself.
A romantic understanding sees it primarily in terms of immediate appearance .”

Illustration

Diamond theorem illustrations

Tuesday, December 16, 2025

Zen and the Art: Tools

Filed under: General — Tags: , — m759 @ 12:35 pm

Earlier . . .

Wednesday, September 3, 2025

Zen and the Art

Filed under: General — Tags: — m759 @ 9:31 pm

Wednesday, May 11, 2022

Zen and the Art . . .

Filed under: General — Tags: — m759 @ 11:02 pm

    … in the Multiverse of Madness

Bartley's Gourmet Burgers, the former Harvard Spa


 

Para los muertos —


 

"Where's my Bible?"

Sunday, February 16, 2020

Zen and the Art

Filed under: General — m759 @ 5:18 pm

(Continued)

Friday, January 31, 2020

Zen and the Art…

Filed under: General — m759 @ 2:02 pm

Continues.

Tuesday, June 4, 2019

Zen and the Art

Filed under: General — Tags: , , — m759 @ 6:13 pm

Or:  Burning Bright

A post in memory of Chicago architect Stanley Tigerman,
who reportedly died at 88 on Monday.

Tuesday, February 21, 2017

Zen and the Art

Filed under: General — m759 @ 12:12 pm

From today's print version of the New York Times —

“He eliminates anything that’s not essential
from the face of this little rabbit until it’s really
reduced to the absolute minimum,”
Mr. Dibbits said. “And he does the same for
the text of his children’s books. He uses a
language that’s not simple or stupid, but he
reduces to the bare essentials.”

About his own work, Mr. Bruna once said,
“I spend a long time making my drawings
as simple as possible, throwing lots away,
before I reach that moment of recognition.”
He added, “I leave plenty of space for children’s
imagination.”

The result is a series of “Zen-like” tales,
Ms. Vogt said, “and that’s also part of the
universal appeal.”

The passage above is from an obituary for an artist who
reportedly died on Feb. 16.

See also, in this journal, "How deep the rabbit hole goes."

Monday, October 19, 2015

Zen and the Art

Filed under: General — Tags: — m759 @ 4:40 am

According to René Guitart in May 2008 —

"In fact, in concrete terms, the Mathematical Pulsation  is
nothing else but the thing that everyone does when doing
mathematics, even the most elementary ones. It is a very
special gesture in understanding ('geste de pensée'), well
known by each mathematician. The mind have to go to
and fro between to antinomical postures: to have the
situation under control, to leave the door open. To master
and to fix (a clear unique meaning) or to neglect and to
change (toward other possible meanings). Because of the
similarity of the pulsation of inspiration and expiration in
breath with the pulsation of closing and opening phases
in mathematical thinking, at the end of [Guitart (2003/a)]
I suggested to consider the famous book 'Zen in the Art
of Archery' [Herrigel (1997)] as a true treatise in didactic
of mathematics: just you have to replace everywhere the
words 'archery' by 'mathematical proof'."

Related material: Heisenberg on Beauty and the previous post.

Update of 6:20 AM Oct. 19, 2015 —

„Ich begriff plötzlich, daß in der Sprache oder doch
mindestens im Geist des Glasperlenspiels tatsächlich
alles allbedeutend sei, daß jedes Symbol und jede
Kombination von Symbolen nicht hierhin oder dorthin,
nicht zu einzelnen Beispielen, Experimenten und
Beweisen führe, sondern ins Zentrum, ins Geheimnis
und Innerste der Welt, in das Urwissen. Jeder Übergang
von Dur zu Moll in einer Sonate, jede Wandlung eines
Mythos oder eines Kultes, jede klassische, künstlerische
Formulierung sei, so erkannte ich im Blitz jenes
Augenblicks, bei echter meditativer Betrachtung,
nichts andres als ein unmittelbarer Weg ins Innere
des Weltgeheimnisses, wo im Hin und Wider zwischen
Ein- und Ausatmen, zwischen Himmel und Erde,
zwischen Yin und Yang sich ewig das Heilige vollzieht.“

— Hermann Hesse, Das Glasperlenspiel.
Berlin:  Suhrkamp Taschenbuch Verlag, 2012. p. 172,
as quoted in a weblog.

For a version in English, see Summa Mythologica (Nov. 3, 2009).

Saturday, February 5, 2011

Zen and the Art of Philosophy

Filed under: General,Geometry — m759 @ 12:00 pm

Wallace Stevens Concordance

An Ordinary Evening in New Haven
line 540 (xxx.18): In which hundreds of eyes, in one mind, see at once.

The cover art of a 1976 monograph, "Diamond Theory," was described in this morning's post.

As Madeleine L'Engle noted in 1976, the cover art resembles the character Proginoskes in her novel A Wind in the Door.

A search today for Proginoskes yields a description by Brendan Kidwell

http://www.log24.com/log/pix11/110205-KidwellProginoskesArt.png

A link at Kidwell's site leads to a weblog by Jeff Atwood, a founder of Stack Overflow, a programmers' question-and-answer site.
(Stack Overflow is said to have inspired the similar site for mathematicians, Math Overflow.)

Yesterday Atwood discussed technical writing.

This suggests a look at Robert M. Pirsig on that subject in his 1974 philosophical novel Zen and the Art of Motorcycle Maintenance.

(See also a document on Pirsig's technical-writing background.)

Pirsig describes his novel as "a sort of Chautauqua."

This, together with the Stevens and Proginoskes quotes above, leads back to the Log24 Feb. 1 post The Search.

An image from that post (click to enlarge)—

http://www.log24.com/log/pix11/110201-TwoViews-300w.jpg

Here the apparently fragmented nature of the set of
images imagined as rising above the podium of the
Hall of Philosophy at Chautauqua rather naturally
echoes Stevens's "hundreds of eyes" remark.

Sunday, August 18, 2024

Heart of Weir’d . . . For Mr. Kurtz

Filed under: General — Tags: , — m759 @ 4:15 am
 

A brief excerpt from a 2018 book about the woman who inspired Zen and the Art of Motorcycle Maintenance . . .

"There is a passage in Joseph Conrad’s novella, Heart of Darkness (1899), which exemplifies much about what Quality means . . . .

the narrator, Marlow is in an environment he finds malign, sinister, macabre, chaotic, indifferently cruel, and nightmarishly meaningless. What saves him is his accidental discovery of a dry old seamanship manual . . . ."

Conrad, as quoted in the book cited below:

It was an extraordinary find. Its title was An Inquiry into some Points of Seamanship, by a man Towser, Towson – some such name – Master in his Majesty’s Navy. The matter looked dreary reading enough, with illustrative diagrams and repulsive tables of figures, and the copy was sixty years old. I handled this amazing antiquity with the greatest possible tenderness, lest it should dissolve in my hands. Within, Towson or Towser was inquiring earnestly into the breaking strain of ships’ chains and tackle, and other such matters. Not a very enthralling book; but at the first glance you could see there a singleness of intention, an honest concern for the right way of going to work, which made these humble pages, thought out so many years ago, luminous with another than a professional light. The simple old sailor, with his talk of chains and purchases, made me forget the jungle and the pilgrims in a delicious sensation of having come upon something unmistakably real.

— From pp. 36-37 of James Essinger and Henry Gurr's

A Woman of Quality:
Sarah Vinke, ‘The Divine Sarah’, and the Quest for the Origin of Robert Pirsig's 'Metaphysics of Quality' in his Book Zen and the Art of Motorcycle Maintenance .

See also earlier posts tagged  Weir'd.

Saturday, December 19, 2020

Classic Romantic

Filed under: General — Tags: — m759 @ 9:38 pm

Robert M. Pirsig,  Zen and the Art of Motorcycle Maintenance ,
Ch. 6 (italics are mine):

“A classical understanding sees the world primarily as underlying form  itself.
A romantic understanding sees it primarily in terms of immediate appearance .”

Illustration

Diamond theorem illustrations

 

Thursday, May 7, 2020

Kant as Diamond Cutter

Filed under: General — Tags: , , , — m759 @ 4:26 am

"He wished Kant were alive. Kant would have appreciated it.
That master diamond cutter."

— Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance , Part III.

Kant's  "category theory" —

"In the Transcendental Analytic, Kant deduces the table of twelve categories, or pure concepts of the understanding….

The categories must be 'schematized' because their non-empirical origin in pure understanding prevents their having the sort of sensible content that would connect them immediately to the objects of experience; transcendental schemata are mediating representations that are meant to establish the connection between pure concepts and appearances in a rule-governed way. Mathematical concepts are discussed in this context since they are unique in being pure but also sensible concepts: they are pure because they are strictly a priori  in origin, and yet they are sensible since they are constructed in concreto . "

— Shabel, Lisa, "Kant's Philosophy of Mathematics", The Stanford Encyclopedia of Philosophy  (Spring 2016 Edition), Edward N. Zalta (ed.), URL = <https://plato.stanford.edu/archives/spr2016/entries/kant-mathematics/>.

See also The Diamond Theorem and Octad.us.

Friday, October 27, 2017

To Forge a Head

Filed under: G-Notes,General,Geometry — Tags: — m759 @ 12:25 pm

The title was suggested by a 2014 Vanity Fair  piece
by James Toback (Harvard '66).

"He squinted at this vision of a Qualityless world for a while,
conjured up more details, thought about it, and then squinted
some more and thought some more and then finally circled
back to where he was before.

Squareness.

That's the look. That sums it. Squareness. When you subtract
quality you get squareness. Absence of Quality is the essence
of squareness."

— Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance

And when you add  quality?

A related Zen joke from Final Club (June 19, 2017) —

.

Monday, May 2, 2016

Quality

Filed under: General,Geometry — Tags: , — m759 @ 3:48 pm

The previous post, on subjective  and objective  quality,
suggests a review of Pirsig

     “And finally: Phaedrus, following a path
that to his knowledge had never been taken before
in the history of Western thought,
went straight between the horns of
the subjectivity-objectivity dilemma and said
Quality is neither a part of mind, nor is it a part of matter.
It is a third  entity which is independent of the two.
He was heard along the corridors
and up and down the stairs of Montana Hall
singing softly to himself, almost under his breath,
‘Holy, holy, holy…blessed Trinity.’ “

See also Guitart in this journal, noting esp. Zen and the Art.

Sunday, November 8, 2015

Sunday School

Filed under: General — Tags: — m759 @ 7:59 am

Zen and the Art

Monday, October 19, 2015

Now and Zen

Filed under: General,Geometry — m759 @ 12:00 pm

I found today that the following reference to my work —

Steven H. Cullinane.
Geometry of the I Ching. 2006 [text]

— was placed by Anthony Judge in a draft webpage
dated 24 August 2015.

Today's previous Log24 post, Zen and the Art,
suggests some context I prefer to the colorful
remarks of Judge — namely, a Log24 search for

Quality + Pirsig.

See esp. a post from the date of the Judge webpage,
24 August 2015, titled

Quality Report: The Wrench and the Nut.

Saturday, August 29, 2015

Quality Revisited

Filed under: General — m759 @ 11:14 am

From earlier this month —

Related material —

1991 Swiss commemorative stamp with painting by Wolf Barth

Monday, August 24, 2015

Quality Report:

Filed under: General,Geometry — m759 @ 12:00 pm

The Wrench and the Nut

From Schicksalstag  2012

The Quality
with No Name

And what is good, Phaedrus,
and what is not good —
Need we ask anyone
to tell us these things?

— Epigraph to
Zen and the Art of
Motorcyle Maintenance

Related material from Wikipedia today:

See as well a search in this journal for  “Permutation Group” + Wikipedia .

Thursday, April 23, 2015

The Good

Filed under: General — m759 @ 6:29 pm

"… they didn't really know
what was good
and was not good…."

The late Bernard Stollman,
     who reportedly died at 85
     on Monday, April 20, 2015

"And what is good, Phaedrus,
And what is not good—
Need we ask anyone to tell us these things?"

— Epigraph to
    Zen and the Art of
    Motorcyle Maintenance

Wednesday, December 26, 2012

Roots

Filed under: General — Tags: — m759 @ 10:10 am

This journal on June 24, 2006—

Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance , 1974:

"But what's happening is that each year our old flat earth of
conventional reason becomes less and less adequate to handle
the experiences we have and this is creating widespread feelings
of topsy-turviness. As a result we're getting more and more people
in irrational areas of thought… occultism, mysticism, drug changes
and the like… because they feel the inadequacy of classical reason
to handle what they know are real experiences."

"I'm not sure what you mean by classical reason."

"Analytic reason, dialectic reason. Reason which at the University
is sometimes considered to be the whole of understanding. You've
never had  to understand it really. It's always been completely
bankrupt with regard to abstract art. Nonrepresentative art is one of
the root experiences I'm talking about. Some people still condemn it
because it doesn’t make 'sense.' But what's really wrong is not
the art but the 'sense,' the classical reason, which can't grasp it.
People keep looking for branch extensions of reason that will cover
art's more recent occurrences, but the answers aren't in  the
branches, they're at the roots."

See also an exhibition at the Museum of Modern Art that opened Dec. 23—

— and an exhibition in this journal of the image "Root Circle."

Friday, November 9, 2012

Wrench

Filed under: General — m759 @ 5:24 am

The New York Times  top online front page story this morning—

   more »

"A version of this article appeared in print 
on November 9, 2012, on page 
B1 of
the 
New York edition with the headline: 
An Innovator vs. a Follower." — The Times

Some related material from this  journal

The Quality of Diamond,
Log24 entries from Feb. 2004:

The Quality
with No Name

And what is good, Phaedrus,
and what is not good…
Need we ask anyone
to tell us these things?

— Epigraph to
Zen and the Art of
Motorcyle Maintenance

Friday, October 8, 2010

Starting Out in the Evening

Filed under: General,Geometry — Tags: , — m759 @ 12:00 pm

… and Finishing Up at Noon

This post was suggested by last evening’s post on mathematics and narrative
and by Michiko Kakutani on Vargas Llosa in this morning’s New York Times.

http://www.log24.com/log/pix10B/101008-StartingOut.jpg

Above: Frank Langella in
Starting Out in the Evening

Right: Johnny Depp in
The Ninth Gate

http://www.log24.com/log/pix10B/101008-NinthGate.jpg

“One must proceed cautiously, for this road— of truth and falsehood in the realm of fiction— is riddled with traps and any enticing oasis is usually a mirage.”

— “Is Fiction the Art of Lying?”* by Mario Vargas Llosa, New York Times  essay of October 7, 1984

My own adventures in that realm— as reader, not author— may illustrate Llosa’s remark.

A nearby stack of paperbacks I haven’t touched for some months (in order from bottom to top)—

  1. Pale Rider by Alan Dean Foster
  2. Franny and Zooey by J. D. Salinger
  3. The Hobbit by J. R. R. Tolkien
  4. Le Petit Prince by Antoine de Saint Exupéry
  5. Literary Reflections by James A. Michener
  6. The Ninth Configuration by William Peter Blatty
  7. A Streetcar Named Desire by Tennessee Williams
  8. Nine Stories by J. D. Salinger
  9. A Midsummer Night’s Dream by William Shakespeare
  10. The Tempest by William Shakespeare
  11. Being There by Jerzy Kosinski
  12. What Dreams May Come by Richard Matheson
  13. Zen and the Art of Motorcycle Maintenance by Robert M. Pirsig
  14. A Gathering of Spies by John Altman
  15. Selected Poems by Robinson Jeffers
  16. Hook— Tinkerbell’s Challenge by Tristar Pictures
  17. Rising Sun by Michael Crichton
  18. Changewar by Fritz Leiber
  19. The Painted Word by Tom Wolfe
  20. The Hustler by Walter Tevis
  21. The Natural by Bernard Malamud
  22. Truly Tasteless Jokes by Blanche Knott
  23. The Man Who Was Thursday by G. K. Chesterton
  24. Under the Volcano by Malcolm Lowry

What moral Vargas Llosa might draw from the above stack I do not know.

Generally, I prefer the sorts of books in a different nearby stack. See Sisteen, from May 25. That post the fanciful reader may view as related to number 16 in the above list. The reader may also relate numbers 24 and 22 above (an odd couple) to By Chance, from Thursday, July 22.

* The Web version’s title has a misprint— “living” instead of “lying.”

Sunday, October 18, 2009

ART WARS for the Feast of St. Luke

Filed under: General — m759 @ 11:00 am

A Sermon from Christchurch
in The New York Times

Related material:

Zen and the Art
and
For the Burning Man

Thursday, August 20, 2009

Thursday August 20, 2009

Filed under: General,Geometry — m759 @ 4:00 pm

Sophists

From David Lavery’s weblog today

Kierkegaard on Sophists:

“If the natural sciences had been developed in Socrates’ day as they are now, all the sophists would have been scientists. One would have hung a microscope outside his shop in order to attract customers, and then would have had a sign painted saying: Learn and see through a giant microscope how a man thinks (and on reading the advertisement Socrates would have said: that is how men who do not think behave).”

— Søren Kierkegaard, Journals, edited and translated by Alexander Dru

To anyone familiar with Pirsig’s classic Zen and the Art of Motorcycle Maintenance, the above remarks of Kierkegaard ring false. Actually, the sophists as described by Pirsig are not at all like scientists, but rather like relativist purveyors of postmodern literary “theory.” According to Pirsig, the scientists are like Plato (and hence Socrates)– defenders of objective truth.

Pirsig on Sophists:

“The pre-Socratic philosophers mentioned so far all sought to establish a universal Immortal Principle in the external world they found around them. Their common effort united them into a group that may be called Cosmologists. They all agreed that such a principle existed but their disagreements as to what it was seemed irresolvable. The followers of Heraclitus insisted the Immortal Principle was change and motion. But Parmenides’ disciple, Zeno, proved through a series of paradoxes that any perception of motion and change is illusory. Reality had to be motionless.

The resolution of the arguments of the Cosmologists came from a new direction entirely, from a group Phædrus seemed to feel were early humanists. They were teachers, but what they sought to teach was not principles, but beliefs of men. Their object was not any single absolute truth, but the improvement of men. All principles, all truths, are relative, they said. ‘Man is the measure of all things.’ These were the famous teachers of ‘wisdom,’ the Sophists of ancient Greece.

To Phaedrus, this backlight from the conflict between the Sophists and the Cosmologists adds an entirely new dimension to the Dialogues of Plato. Socrates is not just expounding noble ideas in a vacuum. He is in the middle of a war between those who think truth is absolute and those who think truth is relative. He is fighting that war with everything he has. The Sophists are the enemy.

Now Plato’s hatred of the Sophists makes sense. He and Socrates are defending the Immortal Principle of the Cosmologists against what they consider to be the decadence of the Sophists. Truth. Knowledge. That which is independent of what anyone thinks about it. The ideal that Socrates died for. The ideal that Greece alone possesses for the first time in the history of the world. It is still a very fragile thing. It can disappear completely. Plato abhors and damns the Sophists without restraint, not because they are low and immoral people… there are obviously much lower and more immoral people in Greece he completely ignores. He damns them because they threaten mankind’s first beginning grasp of the idea of truth. That’s what it is all about.

The results of Socrates’ martyrdom and Plato’s unexcelled prose that followed are nothing less than the whole world of Western man as we know it. If the idea of truth had been allowed to perish unrediscovered by the Renaissance it’s unlikely that we would be much beyond the level of prehistoric man today. The ideas of science and technology and other systematically organized efforts of man are dead-centered on it. It is the nucleus of it all.

And yet, Phaedrus understands, what he is saying about Quality is somehow opposed to all this. It seems to agree much more closely with the Sophists.”

I agree with Plato’s (and Rebecca Goldstein’s) contempt for relativists. Yet Pirsig makes a very important point. It is not the scientists but rather the storytellers (not, mind you, the literary theorists) who sometimes seem to embody Quality.

As for hanging a sign outside the shop, I suggest (particularly to New Zealand’s Cullinane College) that either or both of the following pictures would be more suggestive of Quality than a microscope:

Alfred Bester covers showing 'primordial protomatter' (altered here) from 'Stars' and Rogue Winter from 'Deceivers'

For the “primordial protomatter”
in the picture at left, see
The Diamond Archetype.

Sunday, December 16, 2007

Sunday December 16, 2007

Filed under: General — Tags: , , — m759 @ 1:09 pm
 
Mad Phaedrus
Meets Mad Ezra

"Plato's Good was a fixed and eternal and unmoving Idea, whereas for the rhetoricians it was not an Idea at all. The Good was not a form of reality. It was reality itself, ever changing, ultimately unknowable in any kind of fixed, rigid way." –Phaedrus in Zen and the Art of Motorcycle Maintenance

This apparent conflict between eternity and time, fixity and motion, permanence and change, is resolved by the philosophy of the I Ching and by the Imagism of Ezra Pound.  Consider, for example, the image of The Well

as discussed here on All Saints' Day 2003 and in the previous entry.

As background, consider the following remarks of James Hillman in "Egalitarian Typologies Versus the Perception of the Unique," Part  III: Persons as Images

"To conceive images as static is to forget that they are numens that move.  Charles Olson, a later poet in this tradition, said:  'One perception must immediately and directly lead to a further perception… always, always one perception must must must move instanter, on another.' 80  Remember Lavater and his insistence on instantaneity for reading the facial image.  This is a kind of movement that is not narrational, and the Imagists had no place for narrative.  'Indeed the great poems to come after the Imagist period– Eliot’s The Waste Land and Four Quartets; Pound’s Cantos; Williams’s Paterson– contain no defining narrative.' 81  The kind of movement Olson urges is an inward deepening of the image, an in-sighting of the superimposed levels of significance within it. 82  This is the very mode that Jung suggested for grasping dreams– not as a sequence in time, but as revolving around a nodal complex.  If dreams, then why not the dreamers.  We too are not only a sequence in time, a process of individuation. We are also each an image of individuality."

   80  The New American Poetry (D. M. Allen, ed.) N.Y.: Evergreen, Grove, 1960, pp. 387-88. from Jones, p. 42.

81  Jones,* p. 40.

82  H. D. later turned narration itself into image by writing a novel in which the stories were "compounded like faces seen one on top of another," or as she says "superimposed on one another like a stack of photographic negatives" (Jones, p. 42).  Cf. Berry,** p. 63: "An image is simultaneous. No part precedes or causes another part, although all parts are involved with each other… We might imagine the dream as a series of superimpositions, each event adding texture and thickening to the rest."

    * Imagist Poetry (Peter Jones, ed.) London: Penguin, 1972

    ** The contrast between image simultaneity and narrative succession, and the different psychological effects of the two modes, is developed by Patricia Berry, "An Approach to the Dream," Spring 1974 (N. Y./Zürich: Spring Publ.), pp. 63, 68-71

Hillman also says that

"Jung’s 'complex' and Pound's definition of Image and Lavater's 'whole heap of images, thoughts, sensations, all at once' are all remarkably similar.  Pound calls an Image, 'that which presents an intellectual and emotional complex in an instant of time'… 'the Image is more than an Idea.  It is a vortex or cluster of fused ideas and is endowed with energy'… 'a Vortex, from which and through which, and into which, ideas are constantly rushing.' 79 Thus the movement, the dynamics, are within the complex and not only between complexes, as tensions of opposites told about in narrational sequences, stories that require arbitrary syntactical connectives which are unnecessary for reading an image where all is given at once."

79  These definitions of Image by Pound come from his various writings and can all be found in Jones, pp. 32-41.  Further on complex and image, see J. B. Harmer, Victory in Limbo: Imagism 1908-17, London: Secker & Warburg, 1975, pp. 164-68.

These remarks may help the reader to identify with Ada during her well-viewing in Cold Mountain (previous entry):

"She was dazzled by light and shade, by the confusing duplication of reflections and of frames. All coming from too many directions for the mind to take account of. The various images bounced against each other until she felt a desperate vertigo…."

If such complexity can be suggested by Hexagram 48, The Well, alone, consider the effect of the "cluster of fused ideas… endowed with energy" that is the entire 64-hexagram I Ching.
 

Related material: St. Augustine's Day 2006

Friday, December 14, 2007

Friday December 14, 2007

Filed under: General — Tags: , , — m759 @ 9:00 am

“Well, it changes.”

Nicole Kidman at a press conference
for the London premiere of
“The Golden Compass” on November 27:

Nicole Kidman'-- kittens and tiger

A related Log24 link from
that same date, November 27:

Deep Beauty

See also Zen and the Art of
Motorcycle Maintenance

“Plato hadn’t tried to destroy areté. He had encapsulated it; made a permanent, fixed Idea out of it; had converted it to a rigid, immobile Immortal Truth. He made areté the Good, the highest form, the highest Idea of all. It was subordinate only to Truth itself, in a synthesis of all that had gone before.That was why the Quality that Phaedrus had arrived at in the classroom had seemed so close to Plato’s Good. Plato’s Good was taken from the rhetoricians. Phaedrus searched, but could find no previous cosmologists who had talked about the Good. That was from the Sophists. The difference was that Plato’s Good was a fixed and eternal and unmoving Idea, whereas for the rhetoricians it was not an Idea at all. The Good was not a form of reality. It was reality itself, ever changing, ultimately unknowable in any kind of fixed, rigid way.”

— as well as Cold Mountain

Page 48: “It’s claimed that if
you take a mirror and look
backwards into a well, you’ll
see your future down in the water.”

“So in short order Ada found herself bent backward over the mossy well lip, canted in a pose with little to recommend it in the way of dignity or comfort, back arched, hips forward, legs spraddled for balance.  She held a hand mirror above her face, angled to catch the surface of the water below.

Ada had agreed to the well-viewing as a variety of experiment in local custom and as a tonic for her gloom. Her thoughts had been broody and morbid and excessively retrospective for so long that she welcomed the chance to run counter to that flow, to cast forward and think about the future, even though she expected to see nothing but water at the bottom of the well.

She shifted her feet to find better grip on the packed dirt of the yard and then tried to look into the mirror.  The white sky above was skimmed over with backlit haze, bright as a pearl or as a silver mirror itself.  The dark foliage of oaks all around the edges framed the sky, duplicating the wooden frame of the mirror into which Ada peered, examining its picture of the well depths behind her to see what might lie ahead in her life. The bright round of well water at the end of the black shaft was another mirror.  It cast back the shine of sky and was furred around the edges here and there with sprigs of fern growing between stones.

Ada tried to focus her attention on the hand mirror, but the bright sky beyond kept drawing her eye away.  She was dazzled by light and shade, by the confusing duplication of reflections and of frames. All coming from too many directions for the mind to take account of. The various images bounced against each other until she felt a desperate vertigo, as if she could at any moment pitch backward and plunge head first down the well shaft and drown there, the sky far above her, her last vision but a bright circle set in the dark, no bigger than a full moon.

Her head spun and she reached with her free hand and held to the stonework of the well.  And then just for a moment things steadied, and there indeed seemed to be a picture in the mirror.”

— and Log24 on December 3 —

I Ching Hexagram 48: The Well
The above Chinese character
stands for Hexagram 48, “The Well.”
For further details, click on the well.

Saturday, December 1, 2007

Saturday December 1, 2007

Filed under: General — m759 @ 2:45 am
Rhetoric, 1; Dialectic, 0.
 
— Robert M. Pirsig,  
Zen and the Art of
Motorcycle Maintenance

(Pirsig is describing the response of Phaedrus to an obnoxious member of the Academy in a discussion of Plato’s figure of the horses and charioteer.)

NY Times: Evel Knievel and Norman Mailer

Wallace Stevens,
opening lines of 
The Necessary Angel:

“In the Phaedrus, Plato speaks of the soul in a figure. He says:

Let our figure be of a composite nature– a pair of winged horses and a charioteer. Now the winged horses and the charioteer of the gods are all of them noble, and of noble breed, while ours are mixed; and we have a charioteer who drives them in a pair, and one of them is noble and of noble origin, and the other is ignoble and of ignoble origin; and, as might be expected, there is a great deal of trouble in managing them. I will endeavor to explain to you in what way the mortal differs from the immortal creature. The soul or animate being has the care of the inanimate, and traverses the whole heaven in divers forms appearing;– when perfect and fully winged she soars upward, and is the ruler of the universe; while the imperfect soul loses her feathers, and drooping in her flight at last settles on the solid ground.

We recognize at once, in this figure, Plato’s pure poetry; and at the same time we recognize what Coleridge called Plato’s dear, gorgeous nonsense. The truth is that we have scarcely read the passage before we have identified ourselves with the charioteer, have, in fact, taken his place and, driving his winged horses, are traversing the whole heaven.”

Stevens, who was educated at Harvard, adds:

“Then suddenly we remember, it may be, that the soul no longer exists and we droop in our flight and at last settle on the solid ground. The figure becomes antiquated and rustic.”

Many who lack a Harvard education to make them droop will prefer to remember Robert Craig Knievel (Oct. 17, 1938 – Nov. 30, 2007) not as antiquated and rustic but as young and soaring.

Related material:
the previous entry
(a story for Gennie).

See also the entries for
last February’s
Academy Awards night:
Hollywood Sermon and
Between Two Worlds.

Thursday, November 29, 2007

Thursday November 29, 2007

Filed under: General — Tags: — m759 @ 12:00 pm
A Long Story

 
From today's online NY Times:
Obituaries in the News
By THE ASSOCIATED PRESS

 

Published: [Wednesday]
November 28, 2007
Filed at 11:10 p.m. ET

Gennie DeWeese

 

BOZEMAN, Mont. (AP) — Gennie DeWeese, an artist known for her landscape paintings and woodblock prints whose works are displayed at museums across the Northwest, died Monday [November 26, 2007]. She was 86.

 

DeWeese died at her studio south of Bozeman. Dahl Funeral Chapel confirmed her death.

 

Her first oil painting was of her dog, done when she was 12 years old.

 

In 1995, DeWeese received an honorary doctorate of fine arts from Montana State University, and she received the Montana Governor's Award for the Arts.

Robert M. Pirsig in
Zen and the Art of Motorcycle Maintenance

(April 1974) —

"The rhetoricians of ancient Greece were the first teachers in the history of the Western world. Plato vilified them in all his works to grind an axe of his own and since what we know about them is almost entirely from Plato they’re unique in that they’ve stood condemned throughout history without ever having their side of the story told. The Church of Reason that I talked about was founded on their graves. It’s supported today by their graves. And when you dig deep into its foundations you come across ghosts."

I look at my watch. It’s after two. "It’s a long story," I say.

"You should write all this down," Gennie says.


Quod erat
demonstrandum.

Star and Diamond: A Tombstone for Plato

For more information,
click on the black monolith.

Related material:

In the Details
and
Deep Beauty.

Saturday, August 18, 2007

Saturday August 18, 2007

Filed under: General — Tags: — m759 @ 7:20 pm
A Concrete Universal

What on earth is
a ‘concrete universal’?

Said to be an annotation
(undated) by Robert M. Pirsig
of A History of Philosophy,
by Frederick Copleston,
Society of Jesus.

No matter how it’s done,
you won’t like it.

— Robert Redford to     
  Robert M. Pirsig in Lila    


“In chapters 19 and 20 of LILA there is a discussion about the possibility of making Zen and the Art into a movie. It opens with a scene where Robert Redford, who ‘really would like to have the film rights,’ comes to meet and negotiate with Phaedrus in his New York City hotel room. Phaedrus tells the famous actor that he can have the rights to the book, but maybe that’s just because he’s star-struck and doesn’t like to haggle. Under his excitement, Phaedrus has a bad feeling about it. He tells us that he’s been warned by several different people not to allow such a film to be made. Even Redford warned him not to do it. So what’s the problem? As it’s put at the end of that discussion, ‘Films are social media; his book was largely intellectual. That was the center of the problem.'”

David Buchanan at robertpirsig.org

“The insight is constituted precisely by ‘seeing’ the idea in the image, the intelligible in the sensible, the universal in the particular, the abstract in the concrete.”

— Fr. Brian Cronin‘s Foundations of Philosophy, Ch. 2, “Identifying Direct Insights,” quoted in Ideas and Art

See also Smiles of a Summer Evening, the current issue of TIME, the time of this entry (7:20:11 PM ET), and Plato, Pegasus, and the Evening Star.

Older Posts »

Powered by WordPress