When I was an undergraduate, one of my professors (and later my supervisor) steered me in the direction of propaganda analysis. He had been a resistance fighter in Belgium during the Second World War and had been mightily impressed by the power of propaganda to mobilise the energies of the nations for collective mass suicide. Having lived through that period, he came to see the propaganda weapon as the chief danger and threat to the realisation of any kind of human or humane social order.
So, I dived right into the question of propaganda with a sense of mission, both here in Canada and in Germany, where I eventually went to continue my studies and most especially to research the social legacy of the Nazi propaganda system in terms of its current impacts on the German language.
Most dystopian literature depicts a future society in which humanity has ceased to be effectively creative. “Expect poison from the standing water”, as Blake put it in one of his Proverbs of Hell in his The Marriage of Heaven and Hell. Another one of Blake’s very wise Proverbs of Hell, related to this, is especially poignant today: “The man who never alters his opinion is like standing water, and breeds reptiles of the mind”. Indeed, “reptiles of the mind” is pretty much an accurate description of contemporary man’s state of mind, as we witness it daily — the irruption of the so-called “Lizard Brain” (which is probably what the alt-right’s adopted mascot “Pepe the Frog” signifies — the Lizard Brain associated with the Shadow). You may take these proverbs about the standing water as even the essential problem of the “point-of-view” consciousness structure now functioning, in Gebser’s terms, in “deficient mode”.
This effectively gives us another way of understanding Gebser’s distinction between the “effective” and “deficient” modes of a consciousness structure or civilisational type. Effective means creative; deficient means destructive. “Effective” means “generative”; deficient means “degenerative” or decadent. The one is associated with “Genesis” and the other with the Nihil, or Ens and Non-Ens.
Some of you may be Game of Thrones aficionados. For my part, it’s one of the most curious things I’ve ever seen — the magical, the mythical, and the historical all mixed up, pretty much as it really is in post-modernity. Despite being “fantasy” it is, in many ways, brutally realistic about the human condition. I see Game of Thrones as a metaphor for a world going through “chaotic transition”. There are already a lot of places on Earth today where it is not fantasy, but the daily reality. “Winter is coming!” has even become something of a meme among those who already feel or sense that we are on the brink of succumbing to a new Dark Age.
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.
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”.
“You never really know a man until you understand things from his point of view, until you climb into his skin and walk around in it.” — Harper Lee, To Kill a Mockingbird
“Don’t judge a man until you have walked a mile in his moccasins” — translated from an indigenous proverb
Today, I’ld like to spend a little time speaking to cultural philosopher Jean Gebser’s approach to knowledge, which will facilitate understanding and appreciating his major work, The Ever-Present Origin and what he means by the “aperspectival” or “integral” consciousness which he himself practiced. Gebser’s hermeneutics, or “method”, has nothing essentially “mystical” about it. That’s a judgement from the confines, or perspectivism, of mere rationalism. Aperspectival or integral consciousness is an eminently pragmatic and practical matter, manifestly so in Gebser’s own case. I would prefer to describe Gebser’s approach as “empathetic epistemics” rather than “hermeneutics” for various reasons. I hope to demonstrate here why I believe Gebser is an archetype or prototype of the aperspectival or integral consciousness structure that he believed was already in the process of “irrupting” more generally.
Or, The Real Problem with “Post-Historic Man”.