right in front of me a salty leaf embraces the light it and the light are one happening it and the light and I are one happening this one happening is embracing the light but so much more as well
the leaf is an idea of the light or maybe the light is an idea of the leaf regardless they are both my idea of themselves but so much more as well
somehow – no, it is spaceless – somewhere – no, it is timeless – is an idea of me do I have that idea, or does it have me? regardless, we both have each other but so much more as well
I’m fading into myself I peer deeply into my peering I am my own peer, mirrored across the threshold of myself looking and looked, embracing and embraced and so much more as well
now the leaf is looking at me it embraces my embracing it’s striving becomes my becoming one happening is happening newly like the leaf itself but so much more as well
we are seeing with one bright seeing because the light sees through my eyes sees the Earth rise up in my hands tastes the air on my lips and so much more as well
out of the nowhere the light and I are born out of no-where the leaf and the light and the love between us is born and borne through me we see what seeing sees in the spaces in between and so much more as well and so much more as well
This post is about bringing forth a different way of speaking about ethics, which is usually bogged down with a load of ridiculously unquestioned Western philosophical THOUGHT baggage, which keeps ethics locked nicely away in principles which themselves are never acted, only known.
For this reason, Varela’s idea that perception is based in ACTION is profound. Passive perception is not possible – we are not capable of being ‘only’ receivers; we are always embedded in our perception through its enactment. This enactment helps co-create the very world that is perceived through its selection — through recurrent sensori-motor feedback loops — out of the infinitely vast number of possible ways to perceive.
THEN: Thoughts are not divorced from the world either, but arise from the recurrence of sensori-motor feedback loops — the very same loops that constitute the enactment of our perception and the (re/co)discovery of the world, now not only perceptually, but CONceptually. The ability to perceptually guide action leads to the formation of CONCEPTS. !?!?!? “The cognitive self is its own implementation: its history and its action are of one piece.” (p. 54)
Hence: “experience both makes possible and constrains conceptual understanding across a multitude of cognitive domains.” (p. 16)
This provides the lynchpin by which Varela connects cognitive science to ethical know-how. The coupling between self-world-percept-concept that occurs within our sensori-motor feedback loops provides a habitual basis for our future interactions with ourselves and the world. We are autopoetical morphisms arising spontaneously in a given environment out of the evolving background of previous sensori-motor-cognitive couplings. We continually enact our enactment… Varela calls these microworlds and microidentities, because they are completely context-dependent; the type of action, the mode of thinking, the quality of sensation: all these are predicated on their past instantiation.
For this reason it is not enough to ‘think about’ ethics, for ethics can never be divorced from the acts which constitute it. Each microworld calls forth something new (or something old) from our microidentities, just as our microidentities uniquely call forth new microworlds. But to speak of microworlds and microidentities is too reifying. There are no such things, as Varela well knows.
Nevertheless, ethics requires cultivation. We are gardens in which seeds for ethical know-how must be planted and grown with care; we cannot depend solely upon the coupling strategies we have inherited from our own past. Cultivating ethical know-how is synonymous with the dispersal of our reliance upon these very couplings through the realization of their emptiness. We move from unknown knowing to known knowing, and onward to unknowable knowing. To get there (where there IS no there), requires practice. Not practice of injunctions, but of their essential dissolution into the same emptiness that the self no longer occupies.
How does this relate to ethical action? By allowing it to make its appearance out of the uniqueness of the moment. When we are full of everything that we have been, we obscure what we might be; because we always encounter more in the world than we have put there ourselves, it is not enough to remain oneself. By practicing the pattern of patternlessness, we become keyed to the unfolding of the uniqueness of the moment. It is a paradox: we must habitute ourselves to ahabituation, we must practice not practicing…
Goethean phenomenology acts as a transformative bridge between the researcher and a topic of inquiry. The method is unique not in that it attempts to work through the subject/object split, but rather in the WAY it attempts to do this.
Doing Goethean phenomenological research requires that one be completely open to what presents itself, while at the same time recognizing that one’s perceiving is an active force with regards to the topic of inquiry; the topic changes researcher, and the researcher change the topic.
The Goethean phenomenological method (GPM) asks that one address the topic in a complex way; it must be approached from many angles in order to gather as much potentially relevant data as possible. The data are continually taken inward and addressed, particularly with attention to the sequencing, timing, and subtle morphological differences. The goal is in part to be able to re-create, inwardly, an exact sensory imagination that moves with the same gesture as the phenomenon when observed ‘outwardly’.
Normally, one takes as an ‘object’ of inquiry some outer phenomenon such as a plant species, a location, or a natural form or process. This restriction is not required, however addressing the alternative does require the researcher to change somewhat the way in which the method has heretofore been conceptualized and practiced. It is possible to begin with a topic of inquiry that is not phenomenologically perceptible to the outer senses: love, for example, or relations between imaginary numbers. All the same methods are used to work with the phenomenon, but different challenges arise when taking an ‘inward object’ as the focus of inquiry.
The primary challenge arises due to the unequal stages of development of our outer and inner organs of perception. My eyeball provides visual information in a way that is highly correlated with the way in which your eyeball provides you with visual information. Despite the variety of potential sensory differences, on the whole physical human sensory capacities share a high degree of correlation, especially when compared with more subtle (non-physical) senses.
This is not as problematic as it may seem, because implicit in the GPM is a continual oscillation between the subject and the object, and likewise between conceptual and perceptual experience. In fact, part of the goal of the GPM is to create the capacity (we could call it what it is: a soul-capacity) that allows our soul to move with the gesture of the unfolding phenomenon, as if from the inside-out… and then to come ‘back’ to oneself in order to become aware of that experience in a way that is not available when you are ‘in it’. Dennis Klocek, a practitioner of this method, calls this process “soul-breathing.” which is a very accurate description of what is occurring. Indeed, the process of working phenomenologically in this way provides the very training necessary to develop one’s soul-capacities in a way that is commensurate with the phenomenon. The practice of Goethean phenomenology is thus recursive; its practice changes how one can practice it. This recursivity forms a conceptual and perceptual loop which forms the basis for the development of the soul-organ of perception that is keyed to the particular phenomenon in question.
Goethean phenomenology, as Goethe himself stated, is “delicate.” because the role of the inquirer is paramount in the endeavor; one cannot simply follow an established external protocol and expect results. Rather, results arrive through a process of mutual interactivity between one’s own development and the simultaneous ‘unfolding’ of the phenomenon in question.
This method, in many ways, embodies principles from participative inquiry, in that the method actually takes the ‘object’ as a ‘subject’, and treats it accordingly. The researcher is not the ultimate authority on the phenomenon, but rather attempts to give the phenomenon voice. We could actually say that the role of the researcher is to place him or herself in service to the unfolding nature of the phenomenon in all its complexity, so that it can live in an imagination that is exact with respect to the movement, transformation, and unfolding of the phenomenon (which is inseparable from the movement, transformation, and unfolding of the researcher); this allows the researcher to ultimately ‘speak for’ the phenomenon. In a way, the researcher’s agenda is to give up the agenda in favor of the unfolding of the phenomenon. This can only happen when the researcher becomes capable of perceiving in a way that is generally opposed to the dictates of normal human day-waking consciousness, which lives primarily in a constructed boundary called the “self” through which all experience is filtered.
Goethean observation softens this boundary, makes it a semi-permeable membrane, and allows part of our soul to live through its inner movements into the unfolding of the other. In this way, a real ‘dialogue’ begins to take place between the researcher and the phenomenon (rather than a purely self-relating inner dialogue where two aspects of oneself face each other, i.e. a monologue disguised as a dialogue). It truly feels like one is dialoguing with the phenomenon, just as one would with another human being, but through an expanded language of gestures, tones, and subtle feeling-movements, rather than explicit words. This allows for the creation of a shared ‘language’, consisting of inner soul movements that take the form of metamorphosing inner pictures (not simply visual, but tonal, gestural) which are exact analogues to the processes that the chosen ‘object’ of study move through.
In this way, Goethean phenomenology requires and precipitates the transformation of the researcher. Indeed it is only through transformation that a researcher can learn to hear the continual whispering of what Goethe called nature’s ‘open secrets’.
Projective geometry offers a window into the human soul — not as a mere analogy, but directly: projective geometric processes are manifestations of the same archetypes that work through and within human experience.
Doing projective geometry is to move your soul in accordance with these archetypes, and in so doing you start to train your soul so that it can begin to perceive the movement of these archetypes both in your own soul and in the world-processes around you. In effect, projective geometry offers a path towards the development of organs of perception that operate not primarily in a physical way like your eyes or ears, but in a more subtle realm. The development of these soul-organs opens up new realms to your perception, just as if you were in a dark room and then someone turned on a light: now you can see depth, color, and form, where before these were literally non-existent for you.
In this spirit, I offer the following sequence of drawings that illustrate one process in projective geometry: that of Harmonic Points. I suggest, before looking further, that you examine and follow the constructions on your own in this post:
Once you have sufficient experience with the above, feel free to examine the following drawings. Note the context given in this post and the above linked post, and see if you can discern, as an exact soul-perception, the moving gesture that accompanies the sequence, paying special attention to the ‘unique’ moments of the transformation. Feel free to reply in comments to this post about your experience!
Note: the drawings have been placed on a separate page, so that they can be presented unencumbered by the limitations of the blog theme.
