c o – c r e a t e A n d r e w C a m p b e l l In the eye of the storm Sunday 13.53 pm

1. co– c r e a t e A n d r e w C a m p b e l l In the eye of the storm Sunday 13.53 pm

2. Hamlet. Do you see yonder cloud that’s almost the shape of a camel? Polonius. By the mass, and t’is like a camel indeed. Hamlet. Methinks it is like a weasel. Polonius. It is backed like a weasel. Hamlet. Or like a whale? Polonius. Very like a whale.

3. “At, I'm intrigued by the idea of turning 'love' and 'art' into mathematical formulae, but i must admit, however, that it takes some of the fun out of it for me;-)  Just the same, your description did make me curious about the nature of relationship mappings.  In your deep understanding of things, do you envision a 'moment' between 'what was' and 'what will be' where/when there may exist a many-to-many mapping?  Metaphorically speaking, I envision such a moment as 'holding' an infinite number of possibilities that can/may resolve into something different than what existed prior to that event (eg. new/previously unrealized one-to-one and one-to-many mappings.)  My own sense of this moment is that it is much more than simply being a one-to-many phenomena.  Other mental images that hold for me in such a scenario include 'inversion points', 'turning points', 'bifurcations', 'inflections', etc. There are many writings in religious belief systems that speak of such a concept in various ways, as well as in the science of folks such as David Bohm, etc..  Any thoughts? Cheers, Arnold-----Original Message-----Arnold Wytenburg writes: Not that I'm an expert, but love does seem to share this dimension with artistry:  it requires 'letting go'.  Not entirely necessarily, but at least enough for new possibilities to emerge. By new possibilities, I mean new connections between and among seemingly familiar things.Greetings Arnold, In your "letting go" I sense what is for me two different things. The one is what I call the "creative collapse". Here is a biological example. In meiosis (for sexual reproduction), (the) diploid (chromosome dublets) cell first produces two daughter diploid cells which then divides into four (2 + 2) granddaughter haploid (chromosome singlets) cells, also called gametes. The "creative collapse" is the step leading to the gametes. Later two gametes (egg + sperm/pollen) may then fuse to form the sigote (first offspring) cell which is again diploid. There is some wonderful changes in entropy during this process. The other one is what I call the "one-to-many-mapping". Here is an explanation with numbers. We have for the mathematical relation "=" ("is equal to") the following property: 2 = 2,  3 = 3,  4 =4,  5 = 5 but never, for example, that 2 could be related to 3, 4, 5 like2 = 3,  2 = 4,  2 = 5 This property is a one-to-one-mapping. But for the mathematical relation "<" ("is smaller than") we have the following property:2 < 3,  2 < 4,  2 < 5Here, 2 is related through the < to 3, 4, 5. Thus the "=" affords a "one-to-one-mapping" while the "<" affords a "one-to-many-mapping". Guess what? The Law of Entropy (S) Production affords us the "one-to-many mapping" since its mathematical form is  0 < /_\S and not 0 = /_\E as in the case of the Law of Energy (E) Conservation. Love involves creative collapses and one-to-many-mappings, "letting go" of the self into the not self so as not to stay the same. (one-to-one-mapping.) One of the reasons why I love Beethoven's music so much is his mastery of "creative collapses" and "one-to-many-mappings" in them.At 'Man Brings All that he can have Into the World with him. Man is Born like a Garden ready Planted and Sown.' Will'm Blake

4. Subj: painting on glass Date:02/08/2003 To: -- i have been painting for the first time in a long time -- with intent --- and on glass --- and with a full spectrum of colours --- and after the period was over --- i looked and looked and looked again from every angle and all i could see was a sheet of glass with my nervous system spread over it -- visceral ---yes --- metaphysical ---yes --- movement and agitation --- yes --- lumps and bumps and accretions --- yes --- and yet on the other side of the glass...perfect peace...like some slightly mad but peaceful magic carpet ...no! a shroud...a shroud of many colours...as if i had seen my life from the silent side...we cannot do that painting in any other way than on a perfectly transparent surface...how many people will ever notice that transparency in some of the Varela suite? I suggest one or two out of a hundred thousand...and such an eye. with what innered peace would it, the eye, have to operate to 'see' that, and at such a thrice remove?I am concerned right now for your friend...i would like to know if he has ever read the book i am currently digesting...Blackfoot Physics by David Peate. I would offer the suggestion that you buy him a copy...and... if you wish... print out your painting that you made with me and on it write your greeting to him and place it in the book...i have something for you...there is some ''magic'' in it...;-) What happens inside the man who learns  02/08/2003 15:39:30 GMT Standard Andrew, Interesting you pointed that out... Minutes - yes, minutes ago... this: "When my younger brother died of cancer a couple of years ago, my motherkept asking, Why? Why? And I told her I believe that the world istotally orderly. Cells are constructed so sensitively that a cosmicray, a harsh chemical, or even self-destructive thoughts over time cantrigger cancer. That is why he died. Not because God is vindictive orwanted him to die. But because the world is extremely, relentlessly,unalterably orderly in a way we cannot understand." Whack! Love, …. ----- Original Message ----- From:ACampnona@aol.com To:Sent: Saturday, August 02, 2003 10:18 AM Subject: Re: Beginning the morn... >Question: What happens inside the man who learns to feel and see cancer >not as a misfortune 'unfortune' ...Love,>Andrew>>one who so unfortunately has serious cancer... ----- Original Message ----- From:ACampnona@aol.com Sent: Saturday, August 02, 2003 10:43 AM Subject: (no subject) "Whack!""Interesting you pointed that out...""Beginning the morn... ""Whack!"I know nothing ;-)Love,AndrewPS..How shall I come to you, meekly -- or in power?

5. Shrouded No. I Saturday 2nd August 2003 This is my minds kin ;-) you may read it. Please address the underlying movement of its nature in any of the three pages. “Why can’t we talk to rocks?” -With the exceptions of artists, poets, mystics and mad(e)men -;) Indigenous folk may fly in the air converse with rock and tree, negotiate with energies and spirits. “Parents are the people that raise you. Parents can be anything – material, vegetable or mineral, that has taught you something. A person can look at a rock and learn something from it, so a rock is a parent”(Standard Diagnostic definition from American Psychiatric Association) Rocks are ‘resting points’, ‘stopping off points’ for aboriginals. It is the weak mind that penetrates to rock logic;-) Angels sing when we are silent enough to hear their song. The silence needs a specific reason. (Therese Schroeder-Sheker) Oils and acrylics in glass.Saturday 2nd August

6. Dear Organlearners,Andrew Campbell < ACampnona@aol.com > writes:>>"-or s flame ingathered in love?" > --The "s" instead of "a" was a typographical error made when writing to a friend>last night, and the quote refers to Dante's writing, it's a fragment in a passage he authored.Greetings dear Andrew,I can understand why you are struggling with the relationship between chance and choice. I will now commit myself to the luxury of employing some mathematics to the indignation of many fellow learners who find mathematics horrible. But I soon hope to show why I am doing it.Scientists tried hard to give a sound interpretation to entropy S. One of the more than a dozen (!) different interpretations given to it, is that of Boltzmann, namely . S = N x k x ln P where the "k" is a universal constant (called Boltzmann's constant) multiplied(the "x") by the natural logarithm (the "ln") of the probability P of the system to exist in a state which has the entropy S. The N is the number of identical building blocks (elementary systems) in terms of which the system exists.The natural logarithm "ln X" is that function which transforms the exponential growth of some quantity "X" in any natural phenomenon in a linear manner. In other words, is a change in x is exponential and thus nonlinear, the changein "ln X" will become linear.Soon afterwards Gibbs connected the total energy E of a system, its temperature T and its entropy S as follows:. F = E - T x SThis equation says that should we take away all the energy (T x S) used up by the system to exist in a particular state, then the remainder is the "free energy“ F. The system has to use this free energy F to change into a future state. Thetemperature T here has no other significance than to cancel out its use in the original definition for calculating entropy changes.Should we now combine these two equations, we get. F = E - (T x k x N) x ln (P)I have grouped T, k and N and put them in brackets so that we can picture the form of this equation, namely. F = E - something x ln (P)Let me translate it as closely as possible in words. "free energy" is equal to the. "total energy" minus "something" x linearing function of Probability

7. OK, let us leave the mathematics by translating what it says. Said in words, should we remove from the "total energy" E all of it which is needed to maintain present "chance events" in the system, then the remainder is the "free energy“ F. The system has to use this "free energy" F to make a "choice event" and then to follow it. Thus "chance" and "choice" are the two "sides" (complementary duals) of one and the same "coin".Our mind as a system works the same!! The more we imagine the system's "coin" as an omnibus of "chance events", the less the coin leaves us with "free energy" to imagine its future as a "choice event". On the other hand, the sooner we deal with each "chance event" as an actual opportunity rather than stacking it together with other "chance events" of the past, the more the coin leaves us with "free energy" to imagine MANY "choice events" following from this ONE "chance event".I myself try to convert every "chance event" as soon as possible into as many as possible "choice events" so as to nurture my "free energy" and the one-to-many-mapping" of my creativity. I know that these words of mine sounds crazy, but this is how it is with me and how I can articulate it. Thinking of too many "chances" and too few "choices" makes my spiritual battery flat. I learned this lesson the first time as pre-school kid from my grandfather. He was too poor to give me a "coin" after having learned this lesson. He gave me four small pieces of dried peach.As a Christian I often questioned why it is wrong to "fill the cup of the goddess of fortune". Whenever I mentioned this question to someone else, the answer was usually "God says it is wrong and who are you to question God?" Later I got the wisdom to understand that with this answer the person actually wants to articulate "I say it is wrong and who are you to question me?" I have no right to say somebody is wrong when saying something is wrong. I also have the right only to question myself freely. To question somebody else, I need that person's permission before doing it. It took me almost fifty years to realise that in the Bible I get the permission to question God. The fact that dogma and tradition concealed this clear permission for me is something that still astonishes me.>Reading it again it became a question to ask>you At...so here is my question. In what ways>are entropy "s" and entropy-production like a>flame? And a supplementary question, Do all>flames have to burn?

8. The "entropy production" /_\S causes the flame to burn -- the movie. In other words, the burning flame through the passage of time is like "entropy production" /_\S. It is impossible to fix the entropy S during a burning flame, except by making a static picture of the burning flame. In other words, at any instant of time the burning flame is like the entropy S. The art of the painteris to make a static picture of a burning flame to look like a dynamical movie. Every instant when a viewer looks at it, it has to suggest a different image.Yes, all flames have to burn. But not all flames have to emit visible light to show that they are burning. The more complete the combustion of any organic substance, the fewer colours it will have. Contamination with many inorganic substances will give a colour to the flame, even when the combustion of the organic part is complete. For example, sodium will give a yellow colour while copper will give a green colour. The desert is rich in trace elements because so little rain is available to leach them out and eventually transport them into the sea. One of the most awesome desert experiences to me is to make a small fire in the night, wait for the colourful flames to disappear and then to look at the glowing embers. By looking for the faintest of colours in the hot air above the embers, I can sometimes spot some of the geological makeup of the desert ground on which that fire has been made. Doing this is much morefun than to operate an instrument of analytical chemistry called a flame photometer.My first experience with "technical flame photometry" was in 1963. My first experience with "natural flame photometry" was some fifteen years later (ca 1978)! I was alone in the deep Bushmanland. By "chance" I made a fire on some ground, which had bare pieces of copper ore on it. As soon as the flames died away, the glowing embers became surrounded by agreen aurora. The "choice" of making a mental construct out of it that night as sheer magic.Dear Andrew, thank you for the following remarkable quote:"We must dare to think 'unthinkable' thoughts. We mustlearn to explore all the options and possibilities that confrontus in a complex and rapidly changing world. We must learnto welcome and not to fear the voices of dissent. We mustdare to think about 'unthinkable things' because when thingsbecome unthinkable, thinking stops and action becomesmindless."Best wishes-- At de Lange <amdelange@gold.up.ac.za>

9. “The temporal has to dismantle itself so as to enter the eternal.” Mnr. At de Lange Torso and folded wings of a dead hawk, found in my garden- Midday Sunday 3rd August 2003

10. Creativity is defined as the 'capacity for transforming the chaotic aspect of undifferentiation into a hidden order that can be encompassed by a comprehensive (syncretistic) vision, and he argues that 'conscious surface coherence has to be disrupted in order to bring unconscious form discipline into its own'. However, because this 'unconscious form' cannot be consciously analysed in rational terms, we must rely on our 'low level sensibility' to distinguish 'irresponsible arty-crafty gimmicks from truly creative art ruled by an inner necessity'. Thus, for Ehrenzweig creativity is inseparable from his account of aesthetics: creative or 'depth' perception is the source of authenticity, and it is the same kind of creative perception which characterises the spectator's aesthetic experience. Although this (1949) paper is mainly with the relationship between the origin of guilt and the Western scientific tradition, his account of guilt and causality, combined with the insights from his later work (such as The Hidden Order of Art) have significant implications for Ehrenzweig's implied view of art history. For his work continually stresses that the order of time, as we conceive it, exists only in our surface experience, while the depth mind is able to perceive without regard to this temporal ordering; and it is this illusion of temporal sequence which is perhaps the most cogent of all externality illusions. As Freud also emphasised, time is the mode in which the ego works, and this mode is externalised into the outer world and perceived there as an objective order in time which all natural events have to follow. Thus, it follows from Ehrenzweig's account of guilt, that any historical explanation should abandon notions of continuity, of sequential linkage, of influences - not only between one culture, school or artist and another, but between artistic institutions and their social contexts. A history which is 'freed from guilt' (although Ehrenzweig does not himself express it in these terms) would present a formulation like, for instance, Pater's conception of the 'House Beautiful' which 'the creative minds of all generations ... are always building together'. Here, says Pater, 'oppositions cease' - like the classic-v-romantic distinction, for in effect, this means that all forms would be co-present or even within one another, and where, consequently, at any 'period' as determined by secondary chronology there could be found a large number of completely different, 'anachronistic' and incompatible musical or pictorial objects, and transformational linkages criss-crossing throughout. The history of art would be (to use Ehrenzweig's terms) like an historical surface, itself scanned, undifferentiated, and syncretic at every point. A (non-hidden) order would be only become manifest through the operation of various blocking and channelling devices which would work to assert the predominance of one stylistic genre over another. With this account there would be available at any period a wide array of devices. Indeed, although not made explicit in his writings, it is strongly implied that there can be no suggestion of attempting through some kind of 'explanation', to reduce the arbitrariness of this pattern. “O investigator, do not flatter yourself that you know the things that nature performs herself, but rejoice in knowing the purpose of those things designed by your own mind.” Leonardo da Vinci MS G 47 r

11. “The origin of the Iroquois masks seems to lie in the stories of creation. After the Creator had finished making the world, he came across a being who asked him what he was doing. The Creator said he was looking at his handiwork, but the being replied that this was actually his world and had belonged to him ever since it had existed. To demonstrate his power the being commanded a mountain to move. However, while he was looking away the Creator also caused a mountain to move with great rapidity. “Turn around,” said the Creator, and at that instant the mountain moved so fast that, as the being turned he struck his face against the mountain and became disfigured. The being then begged for forgiveness, but the creator banished him and placed upon his people the obligation that, whenever humans should wear the masks and call for help, the beings with the twisted faces should return and teach their knowledge and healing powers.” Peate, Blackfoot Physics Image Kari Palm, Alaska June 2003 [ with reference to Bohr, Heisenberg and Pauli]

12. Dear At, -- At dawn this morning, 5th August there was a dove, dead in the front garden. I picked it up and carried it to the place where i have buried the hawk. There seems a sufficient balance;-) It has been very hot here in England. i am wearing sandals. When i got home to make these last pages i looked down and saw a tiny feather, overleaf ;-) had stuck into their cross- straps ;-) Love, Andrew