A few moments ago, I posted a quotation from the artist Maurice Grosser’s The Painter’s Eye to the comments section of the previous post on Holonic Awareness. The quote is excerpted from Edward T. Hall’s The Hidden Dimension, which is also a book I highly recommend to students of Jean Gebser’s cultural philosophy. I found the quote so deeply meaningful, significant, and revealing in relation to what Gebser calls “the mental-rational” or “perspectival” consciousness structure that I have decided to comment on it at even greater length than could be done in a short comment.
The passage appears on pages 77 and 78 or Hall’s The Hidden Dimension. Here, Grosser is describing the proper distance — not just physical but psychological — for the proper visual rendering and representation of a subject or model in perspective space, just as the Renaissance artists would have approached the problem.
I recently spent another enjoyable afternoon of coffee-drinking and conversation with Chris Kutarna, co-author (with Ian Goldlin) of The Age of Discovery: Navigating the Risks and Rewards of Our New Renaissance. The conversation was pretty wide-ranging — anything from the meaning of the “zombie” as cultural meme, to Game of Thrones, to contemporary politics (local and global), to the limits of Cartesianism and dialectics (and thus to perspectivisation or the “point-of-view” consciousness and mode of perception). Always stimulating, these conversations over coffee help me articulate what is my “Holy Grail” in terms of any prospective “New Renaissance” or “Age of Discovery” — that is to say, that which remains to be “discovered” (rather than simply invented) and why we must move from a triadic or tripartite logic to a four-term or quadratic logic. My “Age of Discovery” thus involves the realisation of holonic awareness and perception.
There have been a number of such “Ages of Discovery” in human history — the “discovery of the soul”, the “discovery of the will”, the “discovery of the mind“. The discovery of a new “dimension” to our reality was always coincident with the disclosure of some new potency or faculty in the human form and configuration leading to a radical reconstruction of perception and to the meanings of “truth”, “human nature”, or “cosmos” — literally a “new Heaven and a new Earth”. This is what Gebser refers to as the “irruption” of a new consciousness structure and the self-revelation of what was previously a hidden dimension or domain.
In yesterday’s posting on Giotto, Picasso and Aperspectival Consciousness, we briefly (perhaps all-too briefly) traced the turbulent unfolding — in “agony and ecstasy”, as it were — of the third dimension of space (or, rather, the tripartition of space into spaces) to consciousness and perception that was prefigured in the Early Renaissance/Late Middle Ages and represented in the works of Giotto and Petrarch; proof that very big things often arrive in very small packages — or on little dove’s feet.
The unfolding (or “evolution”) of a new “dimension”, as I mentioned, also involves a corresponding “in-volution” befitting the law of dynamics that states: every action has an equal and opposite reaction — that is to say, a coincidentia oppositorum. Standard histories of the Renaissance and Late Middle Ages very seldom pay attention to the “in-volution” aspect of the transition — the restructuration of consciousness, perception, and cognition — although this is now what is usually intended to be understood by the term “co-evolutionary” — the co-evolution of cosmos and consciousness. Or, as the great Sufi mystic and poet Rumi once put it, “the whole universe is a form of truth”.