Monday, July 21, 2014

OPM 156, July 20th Meditation (commemoration)

The prompt for my commemorative commentary comes straight from the writing made this day ten years ago.  The meditation begins by asking “How does the ‘hidden harmony’ appear?”  And continues, “We might respond to this question by referring to Heraclitus’ fragment ‘Sound thinking is to listen well and choose one course of action.’” 

These first two lines prompted me to revisit the question I have been exploring the past week that has emerged from my attempt to understand what is actually involved in the turn from the mind to the heart.  The opening lines on ‘hidden harmony,’ ‘listening,’ and ‘sound thinking’ made me curious about the writing of yesterday’s commentary, specifically that moment when I was overwhelmed by the songs of birds resounding off the tall trees on this very steep hill that lead straight down into Casco Bay.   A moment before I was inundated by these songs I was intending to address the irony of writing about the deeper relationality from a place of solitude.   In that moment I envisioned I would muse on the aporia of writing from the place of solitude.  Yet, before I could begin that musing the bird songs overwhelmed me and I was reminded that solitude is an anthropocentric modality; indeed, a modality that comes from that singular subjectivity that this post-humanist project has viewed with suspicion.   This suspicion is precisely what Foucault expresses when he arrives at his distinction between ‘philosophy’ and ‘spirituality,’ identifying the former with the Cartesian meditation that ‘discovers’ the human mind is already capable of knowing the truth.    While there are certainly important implications for politics and ethics, the danger that I see in this perspective is the presumption that this cogito ego is self-sufficient, and, further, always on the brink of placing itself at the center of reality: not simply capable of knowing the truth, but in fact representing the Protagorean ‘measure’ of such truth, which is almost implying being the ‘maker’ of truth.   The danger of overestimation otherwise known as hubris is one that has lead to devastating consequences throughout human history.

With Heraclitus and most the ancients we always have the thinker diminished before the truth, which is to say, the ancient philosopher was not just reverential but a deeply perceptive and receptive thinker.  The question was one of finding the best way of receiving the truth.  And for Heraclitus the best way was listening.  Returning to his fragment: “Sound thinking is to listen well and choose one course of action.”  The translation tempts me to do something with the phrase ‘sound thinking,’ which would be a repetition of the path I took ten  years ago today when I explored the connection between Heraclitus’ ‘sound thinking,’ and the bodhisattva Wondrous Sound.  Today, however, after re-reading the meditation and placing the writing within the context of the question I have been pursuing this past week, I believe it’s unnecessary for me to make things more complicated than need be.  It seems enough to write: sound, listen.  And then the following fragment, distilled from this day’s meditation:


To think from the heart one must begin with listening.  Listening first to the rhythm of the heart, next to one’s breathing, and, finally, with ears focused, to Nature’s consonance.  To write from the heart would then entail writing detailed descriptions of the display of this sonic power.  And perhaps it would also entail composing melodies and rhythms that would be inspired by and express that power of sound.

3 comments:

  1. writing, thinking, hearing the disclosure of the hidden harmony in solitude

    ReplyDelete
    Replies
    1. 3.0b- Exactly!! Although today I would describe it as: Study: turned around toward solitude - listening, learning, hearing the disclosure of the hidden harmony.

      Delete
  2. 3.0 (Saturday, Portland, ME) I want to respond to what I wrote 10 years ago about solitude, which is the opposite of what I have written this summer. Solitude has been a central theme in the sabbatical book writing. So much that I have thought of retitling the book something like: A Dialectical of a Philosophical Education: Study, Solitude and Dialogue, or Study, Solitude and Community, or Solitude and Community. Taking a moment to think about that retitling reminds me of the problem of the Individual and Society, which is a version of Plato's One and the Many. I wrote my MA thesis on Hegel's Phenomenology of Spirit on this problem. So the dialectical of the individual and community is one I've been working on for some time! As for solitude, in contrast to what I wrote above, this summer I have been describing it as relational autonomy. And the modality of solitude is most definitely not the self-certain Cartesian cogito ego. Because it only emerges when the student is turned away from that modality. The modality of study is one of solitude. Here's one way that I describe it: "The student is ‘alone’ in the sense that they are apart from others, and as I described it in part 1, also apart from themself. The provecho of solitude is the ‘success’ and joy experienced when one is liberated into a relation with the work of art, the significant object of study. Solitude is the existential modality that might be described as the necessary condition for the possibility of cultivating a poetic voice, which is both style and substance. The poetic voice emerges in dialogue with the book/text." All that to say, in response to the question “How does the ‘hidden harmony’ appear?” a response would indeed rely on Heraclitus’ fragment ‘Sound thinking is to listen well and choose one course of action.’" The hidden harmony is the relational autonomy, the dialectical of solitude, between the student and the object of study. The student encounters the essential solitude, which is not the isolation of the Cartesian self-certain subject, not loneliness. It is the solitude of the Moment of being-with, study as being present to receive the presence of the work of art. In sum, the hidden harmony is a manner of the aesthetic experience.

    ReplyDelete