phaedoe

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Musica Universalis is an ancient philosophical concept that regards proportions in the movements of celestial bodies—the Sun, Moon & planets—as a form of music. This “music” is not thought to be audible, but rather a harmonic, mathematical or religious concept.

[phaedoe]

welcome to the mystery! would you like to join us? well, first you must drink some tea. welcome, maiden. let yourself be taken under the earth’s surface. follow us down the abyss. your heart will go (or stop). your breathing will slow (or not). when you forget this life you will open up your eyes. you can’t remember your name. the light is calling you. you’re stuck deep in the cave. feel your shadow rushing through. when you forget this life you will open up your eyes. your soul will never die so free your mind. do not be afraid. you will never be the same. your soul will never die so free your mind. from caterpillar to butterfly, you’re like the phoenix flying high. we are all light. you are surrounded by love. go into the light. go into the love. we are all light. we’re headed towards a midnight sun. go into the light. go into the love…

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“Into that from which things take their rise they pass away once more, as is ordained, for they make reparation and satisfaction to one another for their injustice according to the ordering of time”

— Anaximander

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blind justice, innocence, with G-d's breath, heaven sent.

purifying, lightning. i am whole. your movement is empty. air listening all around me. i am marble and stone. my darkness is holy. i shadow all the walls. all are floored by my holy throne.

i do not know the future—false are my predictions. i know the future—false are my predictions. do we agree we agree now? false is your question. the truth is my statement. false is your yes question.

i am the ideal. the time is real. i am the truth. the time is sound.

i am time; its symphony beats with me. i am time; the first leitmotifs are what you see.

i am time. i am time. i am time. i am time. ani hazman. ani koach. ashira, ashira. shira shkhina. ashira, ashira. shira shkhina.

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Thus, in an important sense, Peirce’s account of agape deepens and expands his account of developmental teleology and synechism outlined in “The Law of Mind.” Specifically, he distinguishes three different forms of evolution: “anacasm,” “tychasm,” and “agapasm.” Anacastic evolution is evolution by “mechanical necessity.” Tychastic evolution is “evolution by chance or fortuitous variation.” And agapastic evolution is “evolution by creative love.” Peirce argues that, whereas evolution via chance (tychasm), is “heedless” and evolution via inward necessity (anacasm) is “blind,” evolution via love (agapasm) brings Creative Love about change “by an immediate attraction for the idea itself . . . , by the power of sympathy, that is, by virtue of the continuity of mind.” Thus, Peirce explains, agapastic evolution is distinguished from the pure spontaneity of tychasm and the mechanical necessity of anacasm in its “purposive character.” The cosmos is evolving not on rails toward a predetermined end or because of an unintelligible and meaningless randomness, but toward an end which is itself in the process of development.

Brian G. Henning, “Creative Love: Eros and Agape in Whitehead and Peirce”

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Wings of Desire (1987) dir. Wim Wenders

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descendants of time we stand in our holy land. plant seeds in the wicks of its bombs. my heart explodes with rosebuds. together we are chained to a rock. the eagles keep our red strings locked. i am your rib. we are caged. you are my song. this is my pain. i just want to break myself into two every time i consider you. i just want a break (you don’t) please leave me alone. i’m too cold.

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i would much rather ground my beliefs in the observable sciences but my crisis caused by the bizarre entities and counterintuitive behaviors described by theoretical physics, as well as the conflicting grounds of its most eminent branches, is reaching its epistemic turn. the stars shine brilliantly outside but i study them in graphs. i feel the sun on my skin but i know only how long its light took its time to reach me. 

all of life’s uncertainties no matter how distant collide into one another, all its chances i could only have ever gauged by the event of their impact. i am covered in stitches and scars. i notice other movement before i notice my own shaking. and time begins and ends again, replaying only the time it for me had stopped. i cannot stay asleep when every night i meet G-d. 

and i am used to being told that i am sleeping when i know that someone like me could only have ever not. i have always been more inclined to rely on the authorities from within my fields but something strange is grating me and the dust mite wafting eldritch tomes from the library can no longer satisfy me. i can read but i have met Red. i wonder if i can do much more than wonder what that grating is, if a corpuscle like this “that” breathes, if it exists.

and all the logicians keep adding, and all the peers keep publishing. i am brown and i am a jew; all the bombs keep blowing. i could capitalize a “he” but when i write i hesitate to include, cannot capitalize my “i”s. the physicists are measuring, the soft sciences and the mystics, the women, only guessing. 

and here i am trembling before a clock filled with light, seeing how what little can leap, watching what i thought had mattered less swell into an infinity.

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“[There] is no sharp break between the abstractions of immediate perception and those which constitute our knowledge, even if we carry this knowledge to the highest levels reached by science and mathematics. From the very first, our immediate perceptions express a construction…based on a preconscious abstraction of what is invariant in, or active process of coming into contact with, our environment. Each higher level of abstraction repeats a similar process of discovery of what is invariant in lower levels, which is then represented in the form of a picture, an image, a symbolic structure of words and formulas, etc. These higher-level abstractions then contribute to shaping the general structure of those at lower levels, even coming down to that of immediate perception. [Between] all the levels of abstraction there is a continual two-way interaction.”

— David Bohm, Physics and Perception

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“Whitehead’s problem is with the philosophically naive “model-centrism” that leads scientists to equate their favored model with reality in a dogmatically literalistic way. We should never assume the reigning physical models of the universe offer a final account of the way things are (especially when today’s two most successful models, relativity and quantum theory, remain irreconcilable). Science is not ontology: science is a method of inquiry involving the making and breaking of toy models. The dogmatic equation [by Einstein] of a favored geometrical model with physical reality not only undermined the logical basis of measurement, it led Einstein to dismiss our concrete experience of an irreversible flow of time as nothing more than a “stubbornly persistent illusion.” This is Whitehead’s famous “fallacy of misplaced concreteness” writ large. Einstein’s unquestioned commitment to the classical “spectator theory of knowledge” prevented him from grasping the profoundly relational implications of his new theory of space. He upheld the old Galilean-Cartesian view of a bifurcated Nature, construing our consciousness as somehow external to a cosmos that we can only ever confusedly experience. Whitehead offers an alternative, fully relational epistemology and ontology that re-embeds experience in the cosmos: we are creative participants in a cosmogenetic relational nexus.”

— Matthew David Segall, Whitehead’s Radically Empirical Theory of General Relativity

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'Nana, when will adar come back?'

(reference from Xiyouxiu)

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The Kiss by Beneš Knüpfer (Czech painter, 1848-1910)

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The End of All Things by Maximilian Pirner (1853 - 1924)