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Showing posts with label Philosophy of Mind. Show all posts
Showing posts with label Philosophy of Mind. Show all posts

Sunday, April 3, 2011

On Anthony Peake and Patrick Harpur

Into The MysticImage by digitalART2 via FlickrPosted in late Feb. by the Tao of Dog on Bohemian Babies blog:
Have you ever experienced that much discussed near-death phenomena of your entire life ‘flashing before your eye’s? Experienced Déjà vu and pre-cognitive dreams and visions? Maybe you’ve felt a sense of the uncanny by a ‘meaningful coincidence’ or synchronicity as Carl Jung called it? If you have an unhealthy interest in Quantum Mechanics too, you might enjoy Anthony Peake’s book ‘Is there life after death? The extraordinary science of what happens when we die’. 

According to Peake, at the penultimate moment of brain death our entire lives are resurrected and 'flash before us' - every sight, sound, taste, smell etc. Nothing is lost. But what appears to us on one level, as a rapid, kaleidoscopic flicker of images and sensations at death, is, on another level of our awareness, a ‘slowed down’ awareness, experienced in REAL TIME (It may be helpful here to remember the stories of Zeno's time paradoxes, for example, the arrow that takes forever to reach its target if its trajectory is plotted at each point).

Peake explains how this ‘slowing down’ mechanism may occur on a biological level by citing clinical and anecdotal evidence of temporal lobe seizure epileptics who often experience a violent flooding of the brain by certain neurotransmitters (including dopamine and glutamate) in the pre-seizure ‘aura’ state; imagine watching grains of sugar taking minutes to fall into a tea cup, while the people around you experience everything in real time.
The second, and most important example that Peake uses to bolster his argument, is the evidence gained from near-death experiences - again, both medical and anecdotal.

Research has shown that the same neurotransmitter flood occurs in the brains of those who believe or intuit that they are literally seconds away from death and so experience a ‘dropping out of time’ very similar to temporal lobe epileptics. The classic example that Peake uses is the car crash victim who watches, almost serenely, as the bonnet of their vehicle blisters and buckles in slow motion before the final impact.
To experience the past life recall in its entire, miniscule, real time detail (slowed down) indicates that our brains must record our complete lives like a DVD; and the research included in Peake’s book appears to show empirical evidence for this.
Studies done on stimulating certain memory area’s of the brain reveal how subjects will recall certain events from their lives, often mundane, in exquisite sensory detail – not like a dream, but identical to conscious lived reality.
When the artificial stimulation stops, the person is brought back to the present…when the stimulation is reapplied in precisely the same place, the previous memory will start off again from the exact point where it ceased before - like a You Tube clip restarted after a pause.

But, where does some modicum of free will enter this theory of consciousness? Wouldn’t we be condemned to a permanent ‘ground hog day’ forever if we could never change any details of the replay? Wouldn’t all the people around us be merely actors in our own unique, self-generated (or regenerated) world?
By expanding Hugh Everett’s Many worlds theory, David Bohm’s Holographic universe, and the ‘Participatory principle’ of John Wheeler; Peake illustrates how it might be possible for personal choice to intervene and change aspects of the replay through a process of ‘enfoldment’ and the splitting off of our narrative replays into parallel universes…I know, I know, it sounds like Sci-fi (which in a way, as a theory, it is) and is pretty complicated trying to hold all this stuff in your head!

The summation of all this theorizing is the postulation that we never in fact die, or reach death, but endlessly branch off or bifurcate into endless, eternal fractals of the original, primary blueprint of our lives. Like a fractal, we replicate into an identity that is self-similar but never identical.

Going back to the brain stimulation studies again, when the person who is being stimulated is supposedly reliving the past, they are in fact – according to Peake – actually there in that place now, living it in the present.

Peake explains this consciousness splitting with a discussion of Split-brain research, right/left hemisphere dominance and so on - we are never really a single unified being, but have two selves: the Eidolon, which is equivalent to the conscious ego, and a more hidden, instinctual aspect. Peake calls the latter the ‘Daemon’, after the creatures of Greek myth, similar to guardian angels, an aspect of self outside of the normal constraints of linear time and causality.

If you use the above as an overlay to an investigation of Déjà vu and/or precognition, it is possible to understand how we may experience an overlap of previously lived experience in our dreams and waking lives. This may explain those uncanny synchronicity’s that pop up in our lives now and again too.
Anthony Peake explains precognition by seeing it not as an indication of a future event, but as a 'memory' from a past life - as something that has already happened in the old consciousness and has sneaked into the newly replayed pre-death movie. We don't really see the future; we see the past.
According to him and philosophers like Nietzsche (who Peake discusses) our lives are cyclic and spin through many quantum/holographic ‘incarnations’ in what Nietzsche called 'The Eternal Return'.
But, as I explained earlier, Peake differs from Nietzsche in that he believes we still have something approaching ‘free will’: there is a continuity of self but it changes with each incarnation. Remember that this type of thinking drove Nietzsche insane eventually!

Something about Peake’s model of consciousness reminds me of something I read by Patrick Harpur in his book ‘The philosophers Secret fire: A History of the Imagination’. In the book Harpur talks about the importance of imagination and memory as the central creative motor between mind/ego and body/matter. Without memory we are nothing, just empty vessels, creatures of habit. By drawing on memory and imagination we commune with the soul of the world, the storehouse of the archetypes and mythical imagery from the present to antiquity (Harpur is a Jungian), we are possessed by the Daemons of yore to play out our unique life-paths in the here and now.

One thing from Harpur’s book that has really stuck in my mind in relation to Anthony Peake’s theory, is his retelling of the Greek myth pertaining to the River of forgetfulness.
Before birth, as the tale goes, we are made to drink from the waters of Lethe (the river of forgetfulness) and we spend the rest of our lives ‘re-collecting’ and relearning what we really already know.
Harpur’s ideas on the collective unconscious, the ‘Otherworld’, daemonic manifestations and the difference between literal reality and mythical reality may be developed even more by being filtered through Peake’s quantum prism.

I’d like to see Harpur and Peake collaborate on a book together - that would be really ‘hermetical’. Peake would broadly represent the healthy ‘Spirit’ (curious, open science, non judgmental empirical data – the horizontal axis), Harpur would represent ‘Soul’ (Depth, mythical verticality and the importance of imagination and memory in perception from an anthropological and poetic point of view).
Between the two, some kind of cultural Individuation may be achieved: the macrocosm meets the microcosm, ‘as above so below’.
Maybe Hermes could set up a meeting or a synchronicity?
I need my tea now, my brain hurts.

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Saturday, May 29, 2010

Daniel June: Practicing to Master

Practicing to Master

 
This is an essay I’m writing out to help structure my practicing schedule. I am going to sit on it for a while—just a rough draft. Your feedback is welcome.

                Postmodern writing lacks content, other than its obfuscating style, and this is consistent for Derrida, Lacan, Delueze, where the main message is in how it is side, not in important ideas, but in a sneering attitude. The tone is clear, though the ideas are not, a sort of mood music, an incantation or magical spell over the intellectuals, a style aiming to paralyze, bully, and ultimately seduce the weak to join the intellectual bully. Postmodernism, which could be called the rise of the mediocre, or slave morality gone intellectual, is best ended by the tyranny of a master morality and its discipline: great art requires great practice – and greatness is the only proper goal to a noble man.
            Great prose takes much practice, and not only practice at writing, but the creation of a strong consciousness able to face the biting truth of reality, and sooth it into eloquence. Style is the setting of a piece, the tone and mood. More than anything else, a world is defined by the consciousness which creates it, the style of consciousness that structures it into an experience. Within one universe, there may be as many worlds as there are perspectives. The strongest minds will be able to reduce it to simplicity, to directly express its nature. In this, ornament is central, for just as syntax and grammar imitate the moves and attempts of a mind in time, so too does ornament and rhetoric evoke the heart that supports and feeds the mind in action.
            A walk through the woods is richer if you know the names of trees: names allow a man to see individual things separate from their surroundings. The ability to name a thing requires eyes that see without words, a vision that knows how to paint an object into existence by naming it.
            Language becomes a playing field, a recess of the mind from the work of life, with the joy of syntax, the idiosyncrasies of diction, the poetical densities, the genius of the perfect word, and the resonance of words with words, the long strong focus required to construct a period, balanced with antithesis, climax, and even teased out with rhymes, puns, and subtle games of self-reference, such as a sentence within a sentence, a play within a play, a god before the mirror, a child giving birth to herself.. What is deep speaks to what is deep; what is superficial speaks to what is superficial: we must be masters of both: the depth of truth, and the superficiality of beauty.
            Read your work out loud several times, and read your favorite authors the same way. Combine all the senses, especially voice and vision. Style is joy, the joy of personality. A personality is nothing more than a conscious style. Mind is a willing, unified, changing, self-owned focus, but it is language insofar as it thinks in time, through images, and the handles it places on them, words, names, or images, so to skip from one to the next easily.
            Master morality requires the antidemocratic morality, the morality of subordinating that which produces more subordinated, and ordinating that which produces more ordinated. This is de facto life, each man resolves into his place, like a marble down a hill, finding his nook to perch, as high as he can, but more importantly, as stable as he can.
            Cut your works by 50%, read them aloud, construct your sentences in parallel construction, plan your essays as an architect plans a building, prefer the thing to the commentary of the thing, and show thing in such a way that the commentary silently shows itself, be specific, be likeable if you can, but authentic even if you cannot, write about people, use anecdotes, examples, quotes, and quotations. Over years of work, develop a theme.
            It becomes apparent over an author’s career the undersense of a theme in his work. More and more his novels resolve to retelling the same story over and over again. Melville’s quest repeats through all his work, Whitman’s motherdeath romance never leaves him.
            Aristotle wrote that “no great genius was ever without some mixture of madness, nor can anything grand or superior to the voice of common mortals be spoken except by the agitated soul.” You must take your whole life, subordinate the difficult, but do not cut it off nor cut off the best in deference to it. The allistic method is to use all, leave each part as much itself as possible, but relate all things to a larger schema. Your goals must be cemented together into one goal, hardened into a unified purpose.
            Each man shines brightest in one narrow direction; his success is in aligning that light to the world, and working especially through that aspect. Every style is based on a trick, a sort of metatrope, by which, once mastered, you could predict him. In the same way, the skeleton of a situation is transparent enough to the piercing eye, but a full ambience requires a lifetime of study.
            True practice is struggling at the edge of your ability, to continually test yourself, to plan on it, to stretch yourself further and further, to set yourself to make many honest mistakes, and to continually wrestle to overcome them. In this way, your skill circuits in your brain will be well-myelinated, and you can exact the best effect from a little bet of practice. Practice a new style, a new trick a new idea, slowly, perfect, and then build up moment. Set yourself for immediate critical feedback, a ruthless commentary on your work – get that coach and internalize him. Practice deeply and obsessively. Practice in the boiler room: make conditions as difficult as possible. Minimize the slack space, so your practice is much harder than the performance you must make.
            See the gestalt, and break it into smaller bits, which you can repeat each till you have mastered them. Break a skill into small circuit – cut up your poems, memorize the small parts. Slow your sentence down – take a day on a single phrase. Observe, judge, and strategize your performance: coach yourself. Learn to feel what optimum practice is, and sink into it every time.
            Your long term self image, how you imagine yourself in the end, determines your success more than anything: let this image become your eidolon, a symbol of your purpose.
            The unconscious can compute 11 million pieces of information per second, the conscious only 40 pieces: so practice continually to make it all second nature. Acquire that one powerful idea that moves everything else in your life, and tie it into your primal drives for survival, importance, and love.
            Even Whitman, a loafer who slept late, and was lax with his schedules, was “all urgency and strain when it came to his writings.” So you must economize your mental energy, herd it away even from duty, and let your slowly building reservoirs of stay energy by directed again to the same goals. Energy slowly builds until it is ready to burst, and we seldom get excited about what we expected to, but if we learn to reinterpret every novel excitement as a part of the same immortal goal, we will have maximized our effort towards it. The ability to interpret a book becomes again our greatest tool in structuring our own lives.
            It takes 10, 000 hours of deliberate practice to master an art: monomania wins the day. Learn to practice as effectively as possible.


~~
Perfection
Is
Easy

www.msu.edu/~junedan
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