Tuesday, March 26, 2013

Blinded By The Light

Note to visitors:  This post's title recalls
a Bruce Springsteen song of the same name off his 1973 album, Greetings From Asbury Park, N. J.  However, the post is not about that estimable song, being partly about the conversion of Saul of Tarsus on the road to Damascus, partly about the nature of any significant character change.

There is art and there are two music playlists: a green-bordered PodBean player, a red-bordered Spotify one.  Most songs describe those who have not been blinded by transformative light, those in the grip of urges, but a few songs (Spotify: 23 - 26) describe those who have found faith and resolve.   Biblical quotations are from the King James Version, and I acknowledge the possibility of scriptural misreadings.  I also acknowledge the opacity of certain verses cited in Romans 7:14 - 23.  Forty-seven scholars translated the 1611 Version, with a seven-man committee specifically assigned to the New Testament Epistles, and I'm sure they did their best ... plus King James probably understood it.  But as for the rest of us, some of it is heavy sledding.



Around 33 - 35 AD Saul of Tarsus was traveling from Jerusalem to Damascus, some 135 miles to the northeast.  A Jewish Pharisee, he hated the early Christian church, its message and its missionaries, and he zealously persecuted Christians –– this being the purpose of his trip.  (I am not suggesting that persecutory practices routinely informed Pharisaic doctrine in the 1st century, a period of diverse religious sects and amalgams.)

Saul's journey was traumatically interrupted by a flash of light that caused him to fall to the ground. He then heard a voice (Acts 9:4), asking:  "Saul, Saul, why persecutest thou me?"  The voice was that of Jesus, and Saul was blinded by the experience for three days, during which time he neither ate nor drank.  Afterwards, with the intercession of Ananias, Saul's sight was restored, he was baptized and transformed –– into a Jewish believer in Christ, the promised Messiah.  The conversion proper occurred not on the road to, but in Damascus, at Judas's house (no, not that Judas) on Straight Street.

Michelangelo: The Conversion of Saul (c. 1542 - 1545)
Wikimedia Commons: Public Domain

I will skip the various explanations, theological, neurocortical, psychological, that attend Saul's conversion from hateful Pharisee to the Apostle Paul, to focus on the poetry of the event.

Caravaggio: The Conversion of St. Paul (1600/1601)
Wikimedia Commons: Public Domain
Here you have Saul, blinded by the light, knocked off his perch, evacuated of that which previously had sustained him (food, drink, ideology, hate) –– after which he sees again, only differently, having been straightened out on Straight Street.  His three days' blindness is a kind of death, followed by rebirth as the Apostle Paul.
That the process took three days evokes Jesus's crucifixion and transformation in the tomb from bodily self to abiding spirit.  And as with Jesus there was no pleasure in the process:  Saul's conversion was an affliction, a painful gestation into a new identity.

Paul never forgot the before-and-after of this, who he was, what he became, how hard it was, the imitation of Christ that inaugurated it. Meaning: the replacement of bodily imperatives by a spiritual faith in what he calls the "law of God," a faith always at odds with corporality (Romans 7:14 - 23):

   14  For we know that the law is spiritual: but I
   am carnal, sold under sin.
   15  For that which I do I allow not: for what I
   would, that do I not; but what I hate, that do I.
   16  If then I do that which I would not, I
   consent unto the law that it is good.
   17  Now then it is no more I that do it, but sin
   that dwelleth in me.
   18  For I know that in me (that is, in my flesh,)
   dwelleth no good thing: for to will is present
   with me; but how to perform that which is
   good I find not.
   19  For the good that I would I do not: but the
   evil which I would not, that I do.
   20  Now if I do that I would not, it is no more I
   that do it, but sin that dwelleth in me.
   21  I find then a law, that, when I would do
   good, evil is present with me.
   22  For I delight in the law of God after the
   inward man:
   23  But I see another law in my members,
   warring against the law of my mind, and
   bringing me into captivity to the law of sin
   which is in my members.

It's hard to be good, hard to stay the course.  Willpower wars with an implacable internal enemy and proves insufficient to the task:  Paul doesn't do what he should but instead does what he shouldn't.   Continuously in the grip of competing "laws," he easily falls short of the mark, as do we all in Pauline theology.

What helps?  For the most part, we are saved by faith; or in Paul's phrasing, a resolute hope in the unseen:

   24  For we are saved by hope: but hope that is
   seen is not hope: for what a man seeth, why
   doth he yet hope for?
   25  But if we hope for that we see not, then do
   with patience wait for it.

This is interesting.  Transformational hope is of a special kind, one that exists in the absence of evidence, one that exists because of absence of evidence.  There is no roadmap to salvation that demonstrably and visibly works: no self-help program, no steps or levels, no laws of the Torah that if scrupulously observed will succeed in expunging indwelling"evil."  Paul's Epistle to the Romans is not Dr. Paul's Guide To A Cleaner, Healthier, Holier You.

Rather it is a call to faith, with emphasis more on faith than correct religious practice.  It is as if you've hit a reef, are shipwrecked, find yourself swimming against the tide toward a faraway shore.  You can focus on your strokes and their tempo, your breathing, the resistance of the water; or if you're Paul, you can focus on the certainty of your eventual arrival on land.  This is not just a shift of attention or, cynically, a distraction from immediate peril.  It is a shift of attention that alters the experience of passing time; that is, it becomes possible to patiently wait because you feel confident in the outcome.

Forget shipwrecks.  Say you're tackling some bodily craving, and are growing frustrated by the day with your modest progress toward a seemingly unreachable goal.  It's sensible to keep up the good work, follow this or that program –– but it's wiser still to relegate methodology and rate of progress to the background, while sustaining and making foreground an image of an improved you.  It won't hurt, it will bolster willpower, and time will pass more easily.

I am at best nominally Christian but I like elements of Paul's story: that conversion begins with being knocked silly, shocked out of the habitual; that death of one state precedes rebirth into another; that the rebirth process is painful; that willpower may not be enough; that movement away from blindness rouses resistance from an inertial "law" of familiar, instinctive behavioral tendencies; that faith –– a steadfast vision of a new you –– lightens waiting-time, undergirds patience and dedication; that bonds of cohesive fellowship can maintain one through this process (this last, in that Paul was addressing and fostering nascent Christian communities after the death of Jesus).

Finally, should faith waver and dedication flag, there is this spur:




Thursday, March 7, 2013

The Theocosmic Diagram

Ever heard of Arvid Reuterdahl?  Perhaps not ... and me neither until last fall.

He made this drawing:
It is The Theocosmic Diagram, the frontispiece of Reuterdahl's 1928 book The God of Science, and it graphically distills that book's theory –– a Theory of Everything whereby Reuterdahl demonstrates the essential harmony of Religion, Philosophy, Science, and proves the existence of God and immortality.  Deeply interested in religion and "scientific theism," Reuterdahl rigorously explored these subjects in The God Of Science, using as his organizing paradigm forms and transformations of energy, and the overarching concept of "cosmoenergy."

Visitors may want more data than that provided above –– which admittedly is a teaser –– and they are encouraged to click on The God of Science, its full text being available online.

Arvid Reuterdahl (1876–1933)
Photo: Minneapolis Tribune, 4/10/21
Returning to the Diagram, its meaning seems clear enough so it warrants little if any explication from my editor Todd and me.  We concede that aspects of the space-time kinematrix may prove thorny, but in greater measure Todd and I have faith in the analytic faculties of our readers.  (We also confess that we ourselves have not read the entirety of The God of Science, and further allow that were we true researchers we would have fully stayed the course on these Theocosmic waters.)

In any event, instead of text explication, we offer relevant songs to accompany your perusal of the Diagram.  In different ways, this music speaks to complexities surrounding the understanding of natural phenomena:

Care to know more about Reuterdahl?  He was born in Sweden and came to America as a boy, subsequently earning bachelor's and master's degrees from Brown University.  An academic, Reuterdahl taught engineering at various universities, eventually heading the Department of Engineering and Architecture at the College of St. Thomas (now University of St. Thomas), St. Paul, Minnesota.  Among his publications was an influential 1908 text, Theory and Design of Reinforced Concrete Arches: A Treatise for Engineers and Technical Students.  (Click here for online acccess to the permanent collection of Reuterdahl's papers at the University of St. Thomas.  Curious readers will discover that Reuterdahl invented a world alphabet, was founder of the Inter–Church Theistic Alliance, and was awarded an Honorary Doctor of Science degree in 1923 by the College of Fellows of the Academy of Nations –– an honor arguably offset by Reuterdahl's having founded and being Chancellor of the Academy of Nations.)

All this notwithstanding, Reuterdahl may be more remembered for having spent years attacking Albert Einstein's theory of relativity –– in 1921 referring to Einstein as the "Barnum" of science and accusing him of being, if not an outright plagiarist, someone whose theory had been antedated by others.

Henry Ford c.1919 
Library of Congress: Public Domain
But here we are sorry to report that Reuterdahl may have been anti-Semitic in his anti-Einsteinism, in part through association.  That is, Reuterdahl was science editor of Henry Ford's anti–Semitic journal The Dearborn Independent –– yes, that Henry Ford, the industrialist who in the early 1920s published The International Jew: The World's Foremost Problem: a four-volume compilation that propagated conspiracy theories linking Jews to Russian Bolshevism and control of numerous sectors of American life: finance and the Federal Reserve; the theater, music, and motion picture industries; the so-called Jewish Liquor Trust, etc.  Ford also funded the publishing of 500,000 copies of The Protocols of the Elders of Zion, a repellent 1903 anti-Semitic hoax presented as truth by Adolf Hitler and the Nazi party.

Now I was thinking it perhaps unfair to judge Reuterdahl by the company he kept ... until I came across Einstein's sceptics: Who were the relativity deniers?, a 2010 New Scientist article by Milena Wazeck, PhD.  Dr. Wazeck is Associate Research Scholar of Environmental Studies, New York University, and below is an article-excerpt that addresses anti-Semitic conspiracy theories.  It specifically cites Reuterdahl:

     For a start, someone's views about whether time could 
     be stretched were not defined by ethnicity, nationality, 
     religion or political convictions.  Einstein's opponents 
     included people who held progressive views, and some 
     who were of Jewish descent.  So it would be simplistic 
     to characterise the fight against relativity theory in the 
     1920s as a one-sided nationalistic or anti-Semitic 
     campaign.  Nevertheless, those who opposed the theory 
     were not above attacking Einstein the person--the 
     democrat, the pacifist, the Jew.  Lenard, for instance, was 
     an early adherent of Nazism and a proponent of the 
     nationalist and anti-Semitic "German physics".  By 1922, 
     he was  already ranting about the Jewish "alien spirit"  
     that he claimed the theory of relativity incorporated.
   
     Aware of their marginalised position, many of Einstein's
     opponents turned to anti-Semitic conspiracy theories.
     "Our trouble in America is that all scientific journals are
     closed to the anti-relativists through Jewish influence.
     The daily press is almost entirely under the control of
     the Jews," Reuterdahl wrote in 1923.  From this position,
     it was easy for Einstein's opponents to see themselves as
     victims rather than aggressors.  In their interpretation of
     reality, the mere existence of relativity theory and the
     non-acceptance of arguments against it qualified as an
     attack on them.  (Vol. 208, Issue 2786, p.51)


Reuterdahl's tie to Henry Ford is sobering, but this last passage makes me aware how much happier I was when I knew less.  Because up to this point Todd and I were, frankly, just playing:  We genuinely enjoyed the obsessive abstraction and pseudoscience of the Diagram, and goofing with it.  But now we feel as if we had been absorbed in an intricate rock design, only to find something slimy on the other side.

It may turn out –- if we ever get around to thoroughly reading The God of Science –– that the text is merely wacky, and not malignant.  Still, it doesn't seem so amusing now, and maybe Reuterdahl should have stuck to concrete arches.

At least you'll like the music.




Sunday, March 3, 2013

Wilbur of Buenos Aires

My wife and I are in Buenos Aires, where we are fortunate to have friends Polly and Marco as close neighbors –– so close that we punched an opening through our kitchen wall into their garden.

Two days ago Marco told me that their old dog Wilbur –– who died months back and is buried in the garden –– used to piss on the flowers of a certain plant (next to which he is buried).  We wondered about this, the peeing on the flowers versus the stalks of the plants, since as Marco observed dogs usually aim for the uprights.

Impatiens Walleriana

The plant Wilbur watered is named Alegría del Hogar (happiness of the home), and a new plant of that species now flourishes atop his spot.  Alegría carries the botanical title of Impatiens Walleriana:  Native to East Africa it somehow found its way to Buenos Aires.

Wilbur c.1998 on a day trip to Puerto Madero
Native to Buenos Aires, Wilbur was far less traveled, but where he went he went with authority for all his sixteen years –– including our house, which was his house so far as he was concerned.  (At birth, Wilbur was the one male of five puppies:  I'm not sure about this but it's possible that a guy growing up with four sisters might possess a certain confidence, and it is a fact that he was one for the ladies and held no truck with males.)

Wilbur was named after the celebrated pig in E.B. White's Charlotte's Web.  He was a Schnauzer who kept things close to the vest while being (it seemed) a deep thinker, so he took his flower-watering motives to his garden grave.  Still it should be noted that the flowers on which he peed never died; nor in some sense did Wilbur, as his presence abides.

Saturday, March 2, 2013

Wilbur

Note to visitors:  The music in this post is delivered by Spotify, a service that may not be available in Argentina, ironically since the post is set in Buenos Aires.  For this reason, an identical companion post (Wilbur of Buenos Aires) –– with a different music-delivery system –– follows this one.



My wife and I are in Buenos Aires, where we are fortunate to have friends Polly and Marco as close neighbors –– so close that we punched an opening through our kitchen wall into their garden.

Two days ago Marco told me that their old dog Wilbur –– who died months back and is buried in the garden –– used to piss on the flowers of a certain plant (next to which he is buried).  We wondered about this, the peeing on the flowers versus the stalks of the plants, since as Marco observed dogs usually aim for the uprights.

Impatiens Walleriana

The plant Wilbur watered is named Alegría del Hogar (happiness of the home), and a new plant of that species now flourishes atop his spot.  Alegría carries the botanical title of Impatiens Walleriana:  Native to East Africa it somehow found its way to Buenos Aires.

Wilbur c.1998 on a day trip to Puerto Madero
Native to Buenos Aires, Wilbur was far less traveled, but where he went he went with authority for all his sixteen years –– including our house, which was his house so far as he was concerned.  (At birth, Wilbur was the one male of five puppies:  I'm not sure about this but it's possible that a guy growing up with four sisters might possess a certain confidence, and it is a fact that he was one for the ladies and held no truck with males.)

Wilbur was named after the celebrated pig in E.B. White's Charlotte's Web.  He was a Schnauzer who kept things close to the vest while being (it seemed) a deep thinker, so he took his flower-watering motives to his garden grave.  Still it should be noted that the flowers on which he peed never died; nor in some sense did Wilbur, as his presence abides.


Monday, November 26, 2012

MixPod Playlists Vanished

This is a message I received yesterday from MixPod, whose service I've been using to supply all the music playlists on this blog:

MixPod Logo

The time has come to shut down MixPod.com. We'll have some information on exporting your playlist information soon. In the mean time, check out the app below.

Available in the app store 

That's it ... no explanation, no way to contact them, just puzzlement, frustration, and a link to an app that has nothing to do with what has been taken away.

All of the playlists have vanished from blog posts, leaving them half-dressed.  I'm exploring other playlists (perhaps via Spotify).  While I reconstruct alternate music players, these posts will look incomplete.

My apologies to visitors.

Wednesday, November 7, 2012

Post-Election Playlist

Todd and I are relieved at the results of the presidential election.  After so much falsity, muck and spin, we could tolerate only small bits of post-election coverage this morning, including news we might otherwise have liked and to which we will surely return later.  Just now though, the radio is off and we have made this playlist.

We are erring here on the side of a dangerous emotion, hope:

1. "Get Together" (1967), by The
    Youngbloods
2. "Learning To Fly" (2000), by
    Tom Petty & The Heartbreakers
3. "I'll Be Glad" (2005), by Elvin
    Bishop
4. "Why Can't We Live Together"
    (1974), by Timmy Thomas
5. "Anything's Possible" (2006),
    by Jonny Lang
6. "Second Wind" (1995), by
    Claire Lynch: You may want to
    hike the volume on this.
7. "Let's Work Together" (1970),
    by Canned Heat
8. "Family Affair" (1971), by Sly & The Family
     Stone
9. "I Am Part Of A Large Family" (2007), by
     Great Lake Swimmers
10. "Starting A New Life" (1971), by Van
      Morrison
11. "Pickin' Up The Pieces" (1969), by Poco
12. "We'll Be Together Again" (1955), by
      Cannonball Adderley
13. "Unison In Harmony" (1999), by Coope,
      Boyes & Simpson

Monday, October 8, 2012

Some Happy Songs #3

This is the third in a series of posts to feature happy songs, and it is more annotated than the first two.  Although limiting these playlists to ten songs, I added four more here (#s 5, 6, 9, 13) for History's sake. Most songs are on the red-bordered playlist, while the last song (#14) is on a separate podcast music player:
 


1. "Wonderful World" (1960), by
    Sam Cooke:  One of the great
    songs of the 20th century, it
    was #373 in the 2004 listing of
    Rolling Stone magazine's
    500 Greatest Songs Of All Time.
    But the subsequent 2010 listing
    shows it losing ground, now
    being #382.  It could have
    been worse:  The Kinks' "Lola"
    (1970), previously #422, fell off
    the list entirely, as did Little
    Richard's "Keep A Knockin'"
    (1957), previously #442, and
    Fleetwood Mac's "Rhiannon"
    (1975), previously #488.

2. "The World Is What You Make It" (1995/2002), by Paul Brady.

3. "Have You Seen Her Face" (2010), by Chris Hillman & Herb     Pedersen:  A live version of a song written by Hillman in 1966, that     first appeared on the Byrds' 1967 album Younger Than Yesterday.       His friend and fellow country-rock pioneer Herb Pedersen joins him     here at a barn-concert charity fundraiser in Nipomo, California.  In his     introduction to the song, Hillman comes across as a nice guy.  (See     Los Angeles Times for interesting write-up.)

1976 Album Cover by R. Crumb
4. "Make My Cot     Where The Cot-Cot-     Cotton Grows"     (1976/1993), by     R.Crumb: Crumb is     better known as the     transgressive artist,     illustrator, cartoonist     who did the art work     for Cheap Thrills,     the 1968 album by     Big Brother & The     Holding Company     (and lead singer     Janis Joplin), and     who created the     iconic underground comix figure, Mr. Natural.

Mr. Natural
    Some may recall how widespread
    Mr. Natural's image and "Keep On
    Truckin'" adage were in the 1970s.     That phrase first appeared in a
    mid-1930s Blind Boy Fuller song,
    "Truckin' My Blues Away," but
    acquired a truckin' momentum of its
    own via Mr. Crumb's adaptation and
    artwork.

Keep On Truckin' (Zap Comix No. 1, 1968)
 
5. "Truckin' My Blues Away" (c.1935-36), by Blind Boy Fuller:  The
    source song for R. Crumb's popularization of "Keep On Truckin'."
    Crumb also did the album cover for a 1978 compilation of Fuller's  
    music titled Truckin' My Blues Away.

6. "Make My Cot Where The Cot-Cot-Cotton Grows" (1927/2008), by
    Red Nichols' Stompers :  The original 1927 version, and another
    source for R. Crumb.  Red Nichols recorded with bands which went
    through many name changes despite similar personnel.  As Red
    Nichols' Stompers, they recorded "Make My Cot Where The Cot-Cot-
    Cotton Grows" for the Victor label, whereas they were the Arkansas
    Travelers on the Okeh label, and Red Nichols & His Five Pennies for
    Brunswick Records, etc.  The Victor Encyclopedic Discography lists
    the horn-heavy instrumentation on "Make My Cot ..." as 4
    saxophones, 2 cornets, 2 trumpets, tuba, banjo, piano, and traps.
    (Curious about "traps" or the role of the trap-drummer in early jazz?
    Click here, type "ragtime and early jazz" in search window, and
    access "Changing Styles in Light Music," Appendix 3 in Percussion 
    Instruments and Their History [1970/2005], by James Blades.)

7. "Lucky Day" (1974), by Jonathan Edwards.

8. "If You Wanna Be Happy" (1963), by Jimmy Soul.

Roaring Lion
9. "Ugly Woman" (1934), by Roaring 
    Lion:  This song is the ancestor of
    "If You Wanna Be Happy."  Roaring
    Lion was a calypso singer from
    Trinidad; he wrote this song as well as
    "Mary Ann," a mid-20th century
    calypso widely performed at the time.

10. "I Wonder Why" (1958), by Dion & 
    The Belmonts:  The first big hit by
    Dion DiMucci, Carlo Mastrangelo
    (of that bass-baritone intro), Fred
    Milano, and Angelo D'Aleo –– to be
    followed in 1959 by a bigger hit, "A
    Teenager In Love."  Dion & The
    Belmonts were a prime example of
    Italian American doo-wop, and in early
    1959 they nearly lost their lead singer.  Traveling with the Winter   
    Dance Party tour, DiMucci turned down an offer to fly by charter
    from Clear Lake, Iowa to Fargo, North Dakota for the next concert
    in Moorhead, Minnesota.  He hadn't wanted to spend the $36.00
    for the fare and opted for the tour bus.  Then in the early morning of
    February 3, 1959, that plane crashed in a snowstorm, killing all on
    board: pilot Roger Peterson, and passengers Buddy Holly, Richie
    Valens, The Big Bopper  (J. P. Richardson).

    Nor was Dion the only one spared.  Country singer Waylon
    Jennings was to have been on the plane; newly hired as Holly's
    bass player, he had given up his seat to the flu-stricken Richardson.
    And Wikipedia further notes:

    When Holly learned that Jennings wasn't going to fly,
    he said in jest, "Well, I hope your ol' bus freezes up."
    Jennings responded, also in jest, "Well, I hope your ol'
    plane crashes," a humor-driven but ill-considered
    response that haunted Jennings for the rest of his life.

11. "Just One Look" (1963), by Doris Troy.

12. "I Will Move On Up A Little Higher" (1954), by Mahalia Jackson:
    This is a re-recording of a song Jackson first recorded in 1947 as
    "Move On Up A Little Higher."  That song sold eight million copies.

13. "Move On Up A Little Higher" (1947), by Mahalia Jackson:  And
    here it is, the original.


14. "Hilda's Cabinet Band" (1990), by
    The Watersons:  The song satirizes 
    the Conservative cabinet of Margaret Thatcher, British Prime    
    Minister from 1979 to 1990.  Thatcher's middle name is Hilda.