Tuesday, December 3, 2013

His Dark Materials

Because we talked briefly about the mythological merit of Philip Pullman’s Dark Materials Trilogy, I decided to read them over Thanksgiving break. It was crazy the difference between reading them as a kid versus a semi-adult who has taken this seminar. Basically Pullman takes Milton’s Paradise Lost and gives it a twist. What is good and what is evil is overturned. Pullman’s trilogy is critiqued as anti-religion, but I don’t think that’s true. I think Pullman is instead against those who blindly believe in what he deems lies, religion. However, he doesn’t get rid of blind belief, he merely replaces Christianity with a magical science (travelling through parallel universes and dealing with conscious dark matter). Also, the Divine Creator wasn’t malicious or powerful, he was a frail and mentally incapacitated old guy who’s image of power was kept alive by power hungry angels. I feel as though this book was mostly against the hierarchy of those believing in religion, that a higher intermediary is needed between people and their gods, that there is a rigid structure of how to believe in a god, and against all the truly awful things done in the name of a false God.

I grew up in a non-religious family, have never been to church, and before researching various creation myths recently, was pretty ignorant of Christianity’s mythologies. The first time I read this book, I was young, and didn’t follow the myth part of the book, I simply thought it was a good series and thought it ruined a bit by bringing in angels and god. Now reading the trilogy, armed with knowledge of the Christian myths, I was making connections and insights with each chapter.

In these books, the rebel humans, angels, and other beasts, who have unchained themselves from believing in the power of the Church, build a fortress in the North just as Milton’s rebel angels physically unchain themselves and build the fortress Pandemonium. The rebels of Pullman’s book build a bridge spanning universes, as Milton’s build a bridge spanning Heaven and Earth. The rebels in both works fight the Church. Milton’s God calls a council in which the Son volunteers as a sacrifice while Pullman’s religious council calls an assembly where Father Gomez volunteers himself. In Paradise Lost the angel, Raphael, dines with Adam and tells him the story of the creation of the universe, just as the angels Baruch and Balthamos tell Will about the story of creation in the trilogy. In His Dark Materials, Mary acts as the snake, the temptress, unknowingly helping Lyra recognize her love for Will. In Milton’s work, Satan in toad and then later snake form comes to Eve, tricking her into eating from the tree of life. In both works, both Adam and Will choose to follow Eve and Lyra into sin because of their love and lust for her. Both pairs go hand in hand into a new world full of pain, hardship and death. However, here is where they differ. Milton’s Adam and Eve repent to God and get to stay together, but Lyra and Will must part forever, never giving in to the Church.

There are three creation myths told in this trilogy. The first is the Church’s version, similar to Paradise Lost, basically the central creation myth of Christianity in our world, but it is a lie. The second is the truth of creation in this trilogy “The Authority, God, the Creator, the Lord… those were all names he gave himself. He was never the creator. He was an angel like ourselves-the first angel, true, the most powerful, but he was formed of Dust as we are, and Dust is only a name for what happens when matter begins to understand itself… He told those who cam after him that he had created the, but it was a lie. One of those who came later was wiser than he was, and she found out the truth, so he banished her…” (His Dark Materials: pg 596). Both of these myths are told negatively, however there is a third creation myth, of the Mulefa, highly intelligent being that hook their claw into hard seedpods to use as wheels. There was a serpent who asked a young, female creature about her knowledge of the past, present, and future, to which her reply to each was nothing. The serpent advises her to stick her claw in the seedpod to gain knowledge, and suddenly she gains wisdom and goes to share it with the other beasts, transforming them into a people.  “So they [the Mulefa] had a language, and they had a fire, and they had society. And about then she found an adjustment being made in her mind, as the word creatures became the word people…it’s not them, they’re us.” (His Dark Materials: pg 639).

In this trilogy, Daemons are the souls of the humans, and are separate from their spirit and body. In Christian Mythology, a Demon has a very negative image, however in Greek mythology, the word Daemon is a “benevolent or benign nature spirits, beings of the same nature as both mortals and gods, similar to ghosts, chthonic heroes, spirit guides, forces of nature or the gods themselves” (Wikipedia: Daemon (Classical Mythology)).

In this book, half of anything that happens is out of fear. All this fear boils down to the basic fear of the unknown. The death of themselves, of friends, of the world they know. The ghosts are initially afraid of dissipating into the world. Mrs. Coulter from what would happen if Lyra fulfilled the role as Eve, “She wasn’t only hiding Lyra: she was hiding her own eyes.” (His Dark Materials: pg 551). They shield themselves because accepting the unknown is too hard to bear.

Here are some quotes I thought were radical in both connotation and denotation of the word…
pg 244 “There is a correspondence between the microcosm and the macrocosm… there are grand purposes abroad… The universe is full of intentions, you know. Everything happens for a purpose.” ----- Fate is prevalent in the trilogy, there are those who can read the future, there are prophecies, is there a fate in our universe? On one side we are free to make decisions, but on the other how do we know if these are predestined decisions that we just think are free will.
pg 276 “’Now that world, and every other universe, came about as a result of possibility. Take the example of tossing a coin: it can come down heads or tails, and we don’t know before it lands which way it’s going to fall. If it comes down heads, that means the possibility of its coming down tails has collapsed. Until that moment the two possibilities were equal. But on another world, it does come down tails. And when that happens, the two worlds split apart… one moment several things are possible, the next moment only one happens, and the rest don’t exist. Except that other worlds have sprung into being, on which they did happen.’”------ This is awesome, I’m not sure about the physical truth of it, but these parallel universes certainly exist in our minds as “what-ifs”.
pg 489 “I never trusted children any more than grownups. They’re just as keen to do bad things.”------ This is nuts to think about, and true, it’s just the exact things they do that separate the kids from the adults. Stealing toys vs money, lying about who broke the vase vs who cheated in a relationship, bulling another kid to get all the awesome colored crayons vs bullying coworkers in order to move up in the corporation ranks.
pg 740 “…pale, unremarkable figures in shabby clothes. “These are your deaths?” said Tialys. “Indeed sir,” said Peter. “Do you know when they’ll tell you it’s time to go?” “No. But you know they’re close by, and that’s a comfort.”------ This is such a different approach to death, not one in any culture I’ve heard of before. Death is a friend, a comfort, and they come to take you gently. However, the people are still afraid of it.
pg 871 “The Christian religion is a very powerful and convincing mistake, that’s all.”------- This is a quote from an ex-nun who realized that the Church does nothing but try to suppress all that they can’t control. And it’s true, somehow people started basing their lives on a book voted to be holy by a group of men in power centuries ago.
pg 875 “When you stopped believing in God,” he went on, “did you stop believing in good and evil?” “No. But I stopped believing there was a power of good and evil that were outside us. And I came to believe that good and evil are names for what people do, not for what they are.”-----------This is fantastic, and again, totally true. We are these forces, the embodiment of our perceptions of morals.


I just can’t understand why people that believe in Christian Mythology don’t question what is good and what is evil. Adam and Eve are toiling in this garden under a higher power that tells them what to do. Christianity is so set in their ways that the serpent was evil and brought pain and suffering upon Adam and Eve. I look at it as Adam and Eve under brainwashing by some “god” to ignore the true nature of their bodies. Why can’t the serpent have been bestowing freedom and knowledge upon the two? They were free of monotonous gardening, though this freedom came at a price of pain and hard work. But without this temptation, the human race would have never begun. We would know no happiness because we would have no suffering. Why was God so good and the serpent so bad? To me it seems like God had brainwashed the two into free labor, and the serpent set them free to pursue whatever they wished.  

Friday, November 15, 2013

Synchronicity



Coincidence is a function of the human mind. It exists only as a blend with synchronicity in our consciousness. Both words denote as an “occurrence of events that happen at the same time by accident but seem to have some connection” (Merriam-Webster), yet they differ greatly in connotation. Coincidence can exist without a human mind to recognize the relatedness of the two events: two different boulders could have split because of frost, revealing the same species of fossil. Synchronicity needs a mind to create meaning in coincidence, to find in the connection something more than physical phenomenon. The act of assimilating events is enough to push the events from the realm of coincidence into synchronicity. Everyone has different ratios of synchronicity to coincidence in their minds, and the ratios are what define their approach to reality. 

Making inferences stimulates the creation of ideas, the connections between them, and discussions on their merit. A reading from the fairy tale “Rapunzel” draws from botany, mythology, biology, sociology, language, all to create a synchronous fable. The effects of these interpretations are positive up to a point: William Irwin Thompson draws from and connects all bases of his knowledge to create a holistic elucidation. 

"She [the sorceress] is the midwife, which in French is more appropriately called la sage femme and as such she represents the knowledge of the old lunar cosmology. As an archaic of lost time, however, she also becomes a symbol of the vast reaches of time… but also the prokaryotic order that stood for a billion years before the eukaryotic. In seizing the child, the sorceress is at once regressing back from patriarchy to matriarchy…" (Thompson).

If a line is crossed into the territory of truly believing these suppositions without proof, all of the benefits quickly flip to obstructions. “An answer is always a form of death” (Fowles). 

Those who take the interpretations of literature and life literally lose the imagination and creativity that comes with refusing to accept an answer or accepting all answers. By focusing only on the synchronistic, a mind closes itself to the multitudes of possibilities of the unknown that exist by shifting to the coincidental.

The decision in how to approach reality, from the coincidental or synchronistic side, has strong influences from the state of the mind. Perspective based on emotions and experiences cause the mind to pay attention to different details. Events contributing to synchronicity must breach certain levels of similarity, importance, and probability. Once a coincidence is recognized it gains prevalence in the subconscious and the mind is on the alert for more alignments to this synchronous pattern.

"On April 1, 1949, I made a note in the morning of an inscription containing a figure that was half man and half fish. There was fish for lunch. Somebody mentioned the custom of making an “April fish” of someone. In the afternoon, a former patient of mine, whom I had not seen in months, showed me some impressive pictures of fish. In the evening, I was shown a piece of embroidery with sea monsters and fishes on it. The next morning, I saw a former patient, who was visiting me for the first time in ten years. She had dreamed of a large fish the night before." (Jung)

Reading more than can be proven in life is inevitable. Humans desire the enchantment of synchronicity over the severity of all the unknowns that come along with coincidence. It is easier to choose a world where events happen for a deterministic reason instead of attempting to understand the immensity of grief and pain experienced by the Darfurian refugees. 

In choosing a higher proportion of synchronicity to coincidence, the mind invokes a shield from reality. It is a dance along the ridge of a steep roof, both sides leading to delusion. One steep side leads to the insanity of facing complete reality; the other to an utterly ignorant life. In For The Time Being, Annie Dillard writes of intelligent but grossly disfigured children, the deaths of 138,000 Bangladeshi in a typhoon, the terrible power of the Emperor Qin “… he burned every book in the empire… He ordered his far-flung soldiers to kill anyone who quoted books, and, for good measure, anyone who sang old songs.” (Dillard) These topics that Dillard writes of are intensely depressing. It is difficult, perhaps impossible, to truly focus on the pain, grief, suffering that she speaks of because insanity looms. 

"Of the thousand or more photographs in the book, this one most terrifies me… Symptomatically, she cannot straighten her elbows…Her legs are pathologically short… No plastic surgery could help. Intelligence: normal…The confident girl and the sorrowing boy, facing each other on opposite pages, make it appear as if, at some time between the ages of three and five, these kids catch on." (Dillard) 

This is where the shields rise: shields of myth, science, or numbers. Myth lets the reader imagine that a higher purpose invoked these terrible things to teach a lesson; that they are not meaningless. Science lets people focus on the causes of typhoons or disfigurements or death instead of facing truth. Numbers shield the staggeringly huge amounts of suffering. These shields are a function of synchronicity, a way to avoid facing reality. Connections are made between reality and knowledge to allow for a distancing from the objective reality. 

"Chance drowns the worthy with the unworthy, bears up the unfit with the fit by whatever definition, and makes the night-sea journey essentially as haphazard as well as murderous and unjustified." (Barth) 

Chance is what humanity is avoiding: it is reality, it is the unknown cause of unknown purpose. The stripping away of higher powers, of scientific explanation, of the numbness that comes from reading statistics, leaves nothing but the inexplicable. Synchronicity lends an ease to life’s rawness and terror in the unknown. 

All of humanity’s angst stems from the basic fear of the unknown. The uncertainty of the unknown - of perhaps there being no purpose in life - implicates us in the deaths of children or the eradication of a species. It is a heavy load. Synchronicity is the mechanism of this burden. Man inherently desires meaning in order to shift responsibility of his species off his shoulders. 

The only certain destiny that is to survive long enough to die. All adaptations, physical traits, responses to stimuli, have all evolved in order to continue and expand the human species. This is the only fate, inscribed in DNA; the inherent core of life. 

"I continue to swim - but only because blind habit, blind instinct, blind fear of drowning are still more strong than the horror of our journey." (Barth)

Only individuals can give their own lives meaning. Self-generated ambitions are integral pieces and are crucial to learning and expanding the base of knowledge, which increases chances of survival. Synchronicity, the function of believing that there is something more in life, is how humans rationalize purpose in life in order to continue expanding knowledge. Contrastingly, coincidence, is the very thing that inspires fear, reality, the unknown. 

In Eastern philosophy there are two types of truths, or satya, but instead of differentiation based on how factually correct they are, each has a metaphysical differentiation. Paramārtha-satya is “that which pervades the universe in all its constancy” (Lusthaus), the absolute truth of reality. Saṃvṛti-satya is “the truth based on the common understanding of ordinary people” (Lusthaus); generally accepted things that people use to connect and to communicate what may or may not be true. All humans have an aversion to facing absolute truth, the paramārtha-satya, and they use all manners of methods to avoid it. Credit cards or religion or television or drugs or cheap novels are all powerful shields. Just as synchronicity shields from coincidence, saṃvṛti-satya shields from paramārtha-satya. 

Everyone has his own perspective and interpretations, creating his own universe. Both types of satya tie individual universes into one. There are invisible forces that keep humans, the earth, the universe, in existence. These forces of paramārtha-satya are the ones that physicists and chemists try to explicate, the unchanging facts of a common reality, that connect all of time. The forces of saṃvṛti-satya are that of language and emotion and the media, the fluid connection between universes only in the present. The things that we understand as the laws of the universe, are what govern what is probable in every moment, but not socially predetermined. 

"Every action is an interaction and so nothing is random" (Newton). The roll of a die is not chance, the surface area and friction and curve of our palm, the orientation and force and distance the dice is rolled from, the friction and orientation of the surface on which it lands, all are the variables that create this seemingly random effect. Nothing is free of influence. The forces that we explain with physics and chemistry are the very same that governed the very birth of this universe. This doesn’t prove the existence of fate however. Everything that has ever occurred in the past has interacted and built the present, but the future is fluid and the choices and interactions made are constantly shifting it. Humans have as much of an effect on the universe as it does on them. 

The universe is a construct of these natural forces, the ones that keep the atoms of trees from dissolving into energy particles or things from falling upward instead of down. Yet this confinement is completely necessary for invention. 

Nuns fret not at their convent's narrow room; 
And hermits are contented with their cells; 
And students with their pensive citadels…
…In truth the prison, unto which we doom 
Ourselves, no prison is…
…Within the Sonnet's scanty plot of ground; 
Pleased if some Souls (for such there needs must be) 
Who have felt the weight of too much liberty, 
Should find brief solace there, as I have found.
(Wordsworth)

A world without structure, without synchronicity, is a world with infinite possibility. How could anyone even begin to create structure out of chaos. “The weight of too much liberty” is hobbled by the rules of the sonnet just as in knowing that the laws of the universe exist, the freedom of invention is known. Humans need a structure to begin from in order to experience eleutheria. The creation of order is difficult, it requires much more effort than simply accepting that there is a higher power, a synchronicity, a structure in place already. The mandatory twelve years of schooling are essential to teach the exact forces that constrain our lives so that when the schooling has finished, students can work within the limitations to pursue knowledge and freedom. 

Every human interprets the occurrences of life through a fusion of coincidence and synchronicity. Recognizing a coincidence as synchronicity, even if it is wrong, is vital to a functional mind. “Characters occupy the designed time and space of their creators… their paths may cross in sheer ‘coincidence.’”(Frye) Man wants to believe that life is not deterministic, that there is an author of his life who has created all life’s interactions. The reality of coincidence and synchronicity is that every action tends to be an unknown pull of life’s slot machine. Most of the time, the results are mismatched. Sometimes, inevitably, the jackpot symbols match, a synchronicity. 

"Scientists have calculated that the chances of something so patently absurd actually existing are millions to one. But magicians have calculated that million-to-one chances crop up nine times out of ten." (Pratchett) 



Bibliography 

"coincidence." Merriam-Webster.com. 2013. http://www.merriam-webster.com/dictionary/coincidence

“synchronicity.” Merriam-Webster.com. 2013. http://www.merriam-webster.com/dictionary/synchronicity

Thompson, William Irwin. Cosmology Lost. Imaginary Landscape. Macmillan. 1990.

Fowles, John. The Magus. Little, Brown and Company; New York, NY. 1978, 2001. 

Jung, C. G. On Synchronicity. Man and Time. Princeton University Press. 1949, 1951. 

Dillard, Annie. For The Time Being. Random House; NY. 1999.

Barth, John. Night-Sea Journey. Rakuten, Inc. 1997-2013. http://plaza.rakuten.co.jp/heren/2002/

Lusthaus, Dan. The Two Truths (Saṃvṛti-satya and Paramārtha-satya) in Early Yogācāra. The Two Truths in Early Yogācāra. 

Newton, Isaac. Propulsion. http://www.qrg.northwestern.edu/projects/vss/docs%20/Pr opulsion/2-every-action-has-an-equal-and-opposite.html

Wordsworth, William. Nuns Fret Not at Their Convent's Narrow Room. ~1806. http://www.poemhunter.com/poem/nuns-fret-not-at-their-convent-s-narrow-room/

Frye, Northrop. The Secular Scripture. Harvard University Press; 1976.

Pratchett, Terry. Mort. Harper Collins; 1987.

Thursday, November 14, 2013

Tips from Gerrit

I gave Gerrit my essay and he figuratively ripped it apart, but into pieces that I could put back together in a much better way. Here's some tips from Gerrit I thought I'd share...


- Most importantly:  BUILD an essay, don’t chip away the universe around what you’re thinking until all you have left is an essay.  Creation, not destruction.
-You are trying to prove something, not to prove something wrong.  The difference is enormous and vital. 

- Don’t put words in “parentheses” (i.e.  “holy”) unless you’re quoting or trying to give it some non-verbalized meaning. 
- NO VALUE JUDGEMENTS:  “...Thompson constructs the most incredible network of interpretation.”  You are analyzing, not judging.
- Make sure you cite things properly.  “Cosmology Lost” should be as follows:  (Thompson, pp. x-y) or (Thompson, p. x), which cites your bibliography….: Thompson, William Irwin. Rapunzel: Cosmology Lost.  In Imaginary Landscape: Making Worlds of Myth and Science.  St. Martin’s Press; New York, NY: 1989.
- Cut out parenthetical statements
- Never use the word “people.”  Really, ever, at all.  There’s no good reason.
- Cultivate authority at every turn; don’t undermine yourself

Wednesday, November 13, 2013

In Maddie's presentation she mentioned the relationship of words and information. How once the information is known, the words become irrelevant. This intrigued me because the position of the adjective and the noun are different in spanish than english. In english we would say "the red house" but in spanish "la casa roja" it would read "the house red". In the spanish language generally only inherent qualities or numbers are placed first, such as "la blanca nieva" (the white snow) or "el tercer día"(the third day).Do we gain something in english by placing our adjectives before the noun? Do we sustain the mystery and make the reader or listener pay more attention to the entirety of the sentence? Hmm...

Sunday, November 3, 2013

Magus Questions

What are Conchis' motives?
What happened to Mitford?
Why did Nicholas slap her?
What's the true story of the shooting of the villagers?
How did Alison get incorporated into the game?

Benefits of Reading?

"What great writers do is to turn you into the writer. In literary fiction, the incompleteness of the characters turns your mind to trying to understand the minds of others." 

This study compares the effects of how empathetic people are who read literary fiction vs nonfiction vs popular fiction vs nothing. Most interestingly, the ones who read literary fiction, by authors such as Chekov, DeLillo, or Obreht scored higher on a series of tests that judge responses to other people's emotions. 

However, there's always the flip side. This link tears apart the paper as having unscientific methodology and Science magazine as publishing based solely on publicity.

 

Thursday, October 31, 2013

Día de los Muertos

Día de los Muertos (the day of the dead) is a mexican holiday where families gather in remembrance of the deceased on October 31 (All Hallows' Eve), November 1 (All Saints' Day) and November 2 (All Souls' Day)In this culture, the dead and the living aren't separated, they are components of a cyclical process of coexistence. On this day, instead of mourning, it's a celebration. They welcome the spirits of the dead with music and dancing and food. They visit the cemeteries honor the dead with stories and trinkets and food. Unlike our culture, they deal with death by living alongside it and almost mocking it. They gives nicknames to death such as la calaca (the skeleton), la pelota (baldy), la flaca (skinny), or la huesada (bony). I think that the US puts too much fear and anger on death. We try to escape or cheat it, as dillard says, no man believes that he himself will die. We have these horrid funerals where everyone has to wear black and sit on hard rows of pews for hours on end. Yes, death sucks and mourning is necessary. But Americans fear the dead, they don't respect or celebrate them. And in this, we also fear old age. In the hispanic culture the elderly are revered and respected. They don't get sent to nursing homes, they are brought into the homes of their children to continue to take part in their lives. I think we need to celebrate both life and death more...


Traditional Dancing 

The costumes portraying death
An elaborate altar to the deceased

An altar in home complete with the pan (bread) and cempasuchil (marigolds)



cempasuchil

papel picado, a traditional craft

pan de muerto, a traditional offering

sugar skulls for offerings

the graveyard

the families stay with the tombstones all night
celebrating death with humor

death isn't looked upon with fear