Picture Post # 31: Small Chains and Big Chains

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'


Posted by Tessa den Uyl and Martin Cohen

Picture credit: 'We Buy Gold' by Robert Saltzman

In the mirror, hanging on the right wall inside the shop, the salesman is physically reflected. He examines a piece of jewellery. Our eyes are then led diagonally to the hand of the woman in the foreground, who touches her face. And then we discover the girl in the midst holding her hand on her left shoulder. In this way, a triangle is drawn by the gestures of three persons, or rather four, because the man reflected in the mirror is diagonally redrawing a line with the two women and vertically with himself.

The image binds its three main characters in a particular way. Each gesture links in a long chain with another. Similarly one may say that a smaller circuit chains a bigger one.

In the foreground, the woman looks as if she is looking into a mirror of memories. In the midst, the younger woman looks at us through the camera lens, which forms ‘a mirror’ through which we can see her, and she can see ‘us’. The shop window mirrors reflections of the merchandise. The merchant ‘mirrors’ the value of a piece of jewellery.

In this landscape of glittering tokens, of symbols and expressions concerning desire, in these obvious links, there are gaps. We have to move towards the unseen within the image to skip the self-evidence of the trust in our sight.

 For where do we start or end?

Do we end in the outline of our body, or in the ring on our finger, or perhaps in the person who gave that ring to you? Or maybe in looking at this picture, in the depicted person’s or in the merchandise made by other hands, other gestures, in other living materials?

An image moves between an inner and outer world and backwards in time and presents a chain of messages in which we might, if we could follow them all, discover a vaster world.

Picture Post No. 6: The Croquet Game

'Because things don’t appear to be the known thing; they aren’t that what they seemed to be neither will they become what they might appear to become.'

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Posted by Martin Cohen and Tessa den Uyl

New Mexico, 1874

This peaceful scene (the whole right part looks almost like a romantic painting) of a game of croquet set in the American South, generated considerable media interest, once it was established that one of the men pictured was none other that the notorious outlaw, Billy the Kid. Billy, it should be explained, was considered to be both ruthless and dashing, and had a dramatic end at an early age involving a shoot out with the sherifs.

Juxtaposed, then, as art critics might say, with this quintessentially genteel act, the game of croquet, redolent of English afternoon teas and cucumber sandwiches, we have a powerful perhaps slightly piquant reminder that even a murderer, a desperado, can have another, gentler  side. (Even if, as anyone who has actually played croquet knows, the game is actually quite cruel and remorseless, as players wreck the hopes of their opponents by blasting their wooden balls into the shrubbery.)

Billy himself, looking just a little bit dangerous?

Diet Tips of the Great Philosophers ≠92: Henry Thoreau and Green Beans

Posted by Martin Cohen

Many of the philosophers whom we rely on to represent little oases of good sense and rationality in a disorganised world, disappointingly turnout, on closer inspection, to be not only rather eccentric, but downright irrational. David Henry Thoreau, an anarchist who eked out a living by making pencils while living in a shed by a pond, on the other hand, appears even at first glance to be rather eccentric. Short, shabby, wild-haired and generally rather unprepossessing, he nonetheless seems to have anticipated much of the ecological renaissance that today’s philosophers (and diet gurus) have only just begun to talk about. Oh, and yes, he was always rather thin.

In his Journal entry for January 7, 1857, Thoreau says of himself: 

'In the streets and in society I am almost invariably cheap and dissipated, my life is unspeakably mean. No amount of gold or respectability would in the least redeem it - dining with the Governor or a member of Congress! But alone in the distant woods or fields, in unpretending sprout-lands or pastures tracked by rabbits, even in a bleak and, to most, cheerless day, like this, when a villager would be thinking of his inn, I come to myself, I once more feel myself grandly related, and that cold and solitude are friends of mine.

I suppose that this value, in my case, is equivalent to what others get by churchgoing and prayer. I come home to my solitary woodland walk as the homesick go home. I thus dispose of the superfluous and see things as they are, grand and beautiful. . . I wish to . . . be sane a part of every day.'

He is famous for having spent two years living in a small wood cabin by a pond, and living off, not so much three fruits of the woods, but his own allotment. Naturally, Thoreau was a vegetarian. He remarks how one farmer said to him: ‘You cannot live on vegetable food solely, for it furnishes nothing to make the bones with;’ even as the farmer:

‘... religiously devoted a part of his day to supplying himself with the raw material of bones, walking all the while behind his oxen, which, with vegetable-made bones, jerk him and his lumbering plow along in spite of every obstacle.’

Thoreau himself cultivated, not so much an allotment, as a small bean farm, of two and a half acres, which provided for himself the bulk of the food he ate –peas, corn, turnips, potatoes and above all green beans, the last of which crop he sold for extra cash. During the second year, he reduced his crops, if anything, writing:

‘ … that if one would live simply and eat only the crop which he raised, and raise no more than he ate, and not exchange it for an insufficient quantity of more luxurious and expensive things, he would need to cultivate only a few rods of ground, and that it would be cheaper to spade up that than to use oxen to plow it, and to select a fresh spot from time to time than to manure the old, and he could do all his necessary farm work as it were with his left hand at odd hours in the summer.’

He drank mainly water, writing that it was ‘the only drink for a wise man; wine is not so noble a liquor’ and worrying about the temptations of a cup of warm coffee, or of an evening with a dish of tea!

From life in the woods he learned, among other things, that it ‘cost incredibly little trouble to obtain one’s necessary food’ and that ‘a man may use as simple a diet as the animals, and yet retain health and strength.’

In a chapter of his most famous book, Walden, entitled simply, ‘The Bean Field,’ Thoreau records how:

‘I came to love my rows, my beans… They attached me to the earth, and so I got strength like Antæus. But why should I raise them? Only Heaven knows. This was my curious labor all summer — to make this portion of the earth’s surface, which had yielded only cinquefoil, blackberries, johnswort, and the like, before, sweet wild fruits and pleasant flowers, produce instead this pulse. What shall I learn of beans or beans of me? I cherish them, I hoe them, early and late I have an eye to them; and this is my day’s work.’

For Thoreau, buying food, allowing others to grow food for him, would have disconnected him from the land, from direct contact with Nature, the source of both his bodily and spiritual nourishment. It was not enough to just have something to eat; he also wanted the experience of growing it.

Diet tips:

Food that you’ve grown has a special quality
You don’t need to eat a huge range of things to be healthy 

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Maybe our life is not that personal...

Posted by Tessa den Uyl

 We think, act and feel without understanding precisely what it is that makes us act, feel or think the way we do. It is difficult to understand why we became accustomed to our visions of, and opinions about, life. We find ourselves into narratives others have created for us and have to find ourselves within these accustomed stories that maybe are not as familiar as we would like to believe. To extract ‘the impersonal’ out of this familiarity and bring it towards the narrative we identify with is difficult. 

As physical beings, we become a person and during life we try to keep up with that conception. We are conceived to then conceive ourselves. When we are born, someone else has already imagined us. This pre-imagination initiates a life to become your life to then be re-imagined as a life somehow different from that one. The better the ‘proper’ narrative fits, the less conflict will occur; the idea of exclusion fits an idea of inclusion in safeguarding experiences of certain values and goals.

In the routine of daily life rarely attention focuses on the premises that gave raise to those values. We might say that the value doesn’t remember where it came from and neither can it be understood why it is believed, though those values seem to constitute a rather important playground for our narratives. Previous ideas are exactly those we use to inhabit our narratives and comprehend the narratives of others - the abstract building blocks we identify with.

Strangely, we are tempted to identify with something we didn’t imagine ourselves but are willing to see ourselves, and others, in that picture. The picture is to always have a picture: without a picture we fall out of identification, one of the greatest human fears. In the absorption of many narratives deposited into many values, a person has to find, create and become in a universe. In such situations we start to understand the difficulty involved in coming to ones senses. ‘We are born as a person but it is difficult to die as a person.’

Changing your personal narrative means taking considerable responsibility while undertaking a flight into the unknown. A change of narrative doesn’t solely involve doubt and questioning life as a whole; it means searching to apply those doubts into a life for which there are no alternatives at hand. Altering ones narrative is a struggle with estrangement. Somehow the narrative is pulled into a need to not safeguard former descriptions; it is a profound surrender towards the unknown. This is why such change provokes perplexity, a state of being that is needed to avoid ending thinking (too quickly). Perplexity indicates a pause to identify things and put them into the proper narrative, inevitably postponing the identification of those narratives thought by others.

Imagining narratives is our tool to relate ourselves in a world; our capability to weave things together. It is the human way to give a sense to Life. Now if this weaving is used to confirm the best copy of what we think is a good picture, we are not truly weaving the relations ourselves but only those that serve a particular purpose: the picture orders the weaving. Any perplexity that arises during this kind of weaving is due to estrangement from that picture; it cannot but pull the proper confusion back into that picture.

Yet you cannot simultaneously weave a picture while not affirming it, even though you’re still weaving. Such weaving is of changing phenomena and every confusion that arises cannot be drawn back into the picture but only into the weaving. When you no longer work with static images, you are forced to dismantle the rigidity of your perception. This is the moment that imagination can truly break loose.

Long ago, we identified with the mammoth we killed to provide shelter, clothes, food and sacrifice: however the mammoth was standing next to us. Our relation was then rather direct. Today, when we’re asked to give opinions about world politics and economics, we witness visions from others all over the globe; but this is an abstraction of which our lives have become another instantiation. It seems awfully frightening to become aware of this picture; the awareness involves envisioning your proper narrative placed onto those ‘impersonal’ building blocks that have become more abstract then ever before and of which it seems we don’t want to separate ourselves. What tricks us is that the picture enigmatically provides an idea for the worthiness of our life. But upon what exactly have we placed that worthiness?

An important question to pose might be whether we are capable to keep track with those narratives that gave raise to our visions about life? We identify with those abstractions, we have feelings, opinions about, one might say, almost everything. Maybe we overestimate what we know in those narratives and lack humility in recognising what we can know.

Is the vision of our lives in which we overcome (and thus embrace) insecurity something too abstract to be imagined? Must we accept to live lives based on an abstraction that is far beyond our own imagination? Or dare we enter into a deep crisis of the kind hinted at by Nietzsche when he has the madman warn:

 “ ...what did we do when we unchained this earth from its sun?”

The challenge, as Zarathustra might have expressed it, is to try to relate our own, proper narratives to our suns.

Picture Post No. 2: The Blue Dot

'Because things don’t appear to be the known thing; they aren’t that what they seemed to be neither will they become what they might appear to become.'

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Posted by Martin Cohen

Image courtesy of NASA

There's a famous image, taken by the Apollo 17 astronauts, of the Earth as a swirling, 'blue marble' hovering over the desolate, grey soil of the Moon. The image is reputed to have created a new consciousness of humankind's fragility and transience - and inspired a new determination to look after our planet... Well, that didn't last long!

When I first saw the 'Blue Marble', to be honest, it didn't have any kind of effect on me. After all, I was familiar with the idea of planets in space, from numerous paintings and drawings - but this image just accidentally caught the Earth in the background.

Somehow, this time, I caught a hint of who those first space images might have changed perceptions back on Earth.


October 25th 2015 

Unfortunately, the original comments, from July 2015,  on this post are unable to be displayed -  for 'technical reasons'.

Particles Dreaming

 By Pierre-Alain Gouanvic

What do particles know?

The original intution of Thomas Young (1802) was to reproduce the cancellation of water waves, but with light; the double slit was simply used to yield two exactly identical light sources (the same, divided in two). Notice the straight lines that seem to radiate from the source of the water waves: they are made of the cancellation of each other, and are analogous to the dark regions on the five-step picture on the right, a true depiction of the impact of electrons in an experiment made by Tanamura.

The double-slit experiment is a demonstration that light and matter can display characteristics of both classically defined waves and particles. It is also said that it displays the 'fundamentally probabilistic nature' of the universe at the quantum scale.

In the Bohm interpretation of quantum physics, the reason why single particles seem to interfere "with themselves", in other words, the reason why, in the double-slit experiment, even single particles ultimately form a figure of interference despite of the fact that they are not emitted as beams but one after the other (see the 5-step process, right), is because each of these particles have a kind of pilot wave which does interfere with itself in some circumstances like the double slit apparatus. The analogy of the sonar helps to explain the phenomenon : picture a dolphin who would have to echolocate through two holes and you get the picture!

Bohm had many analogies for the quantum potential, his revised version of the pilot wave. The sonar is one of them. The information given by the surroundings guides the dolphin, it is called 'active information'

However, what this analogy leaves unattended is the fact that particles do not "send" signals to the surrounding and do not "wait" for this signal to bounce back. Another analogy far remote from the sonar one, was given by Bohm : each particle is like a piece of an hologram, each contains information about the whole, but each is concretised in a specific context.

The 'echolocation' process would be more like a pulsation between the particle as a located entity and the particle as one concretion of the whole. Pulsating infinitely rapidly between being-discrete and being-the-whole, the particle would be more like a process taking the form of an object.
What kind of "thing" can be everything half of the time and something the rest of the time?

Humans, for starters. We, as particles, tend to forget that we also are the whole, each night. We dream.