Lo,
the Nightingale of Paradise singeth upon the twigs of the Tree of Eternity,
with holy and sweet melodies, proclaiming to the sincere ones the glad tidings
of the nearness of God,
(Compilations, Baha'i Prayers: 208)
The extraordinary point is that in
all the arts—painting, poetry, fiction, music—the modernist impulse has a
common syntax of expression underlying the diverse nature of the genres. It is, as I have said, the eclipse of
distance between the spectator and the artist, between the aesthetic experience
and the work of art. One sees this as
the eclipse of psychic distance, and aesthetic distance. The loss of psychic distance means the
suspension of time.
(Daniel
Bell, The Cultural Contradictions of
Capitalism: 116)
Last post discussed the end of time as the irruption
of divine Revelation, which Baha’u’llah describes in the quote above as
bringing Paradise or God near, into the already established rhythm of human
life that is known within a particular mental space of consciousness. A new Revelation both brings this rhythm to
an end and initiates a new one, and abolishes the mental space that knew
it. It does this by joining and knitting
together the opposites Spirit and Matter into a system of new universal
relationships, creating a new Reality to be known by the consciousness that can
know it and which it gives birth to within those who recognize it. Direct connection of the opposites B and E
in a new configuration, embodied in a new Revelation, which is the nearness of God, reconfigures
all levels of understanding and gives people the sense of an
eclipse of distance in many spheres of life and thought. When the spiritual
Paradise is brought nigh, a powerful current of spiritually electric energy
pulsates through all creation.
Spiritually,
within the human world, the eclipse of distance means that for those who have
recognized the new Reality the higher nature of humanity has eclipsed the
ego. Intellectually, it renders obsolete
all non-essential knowledge in human life, those concepts and modes of
understanding that cannot deliver accurate knowledge of the new Reality, but
which, in fact, act as veils to the comprehension of the new
configuration. This is not to go back to
a more primitive state in history, but to return to essential humanity in order
to integrate and advance.
Baha’u’llah dismissed
the claims to knowledge of a “learned” but arrogant man of His time by writing:
“In this day, they that are submerged beneath the ocean of ancient Knowledge,
and dwell within the ark of divine wisdom, forbid the people such idle
pursuits. Their shining breasts are, praise be to God, sanctified from every
trace of such learning, and are exalted above such grievous veils. We have consumed
this densest of all veils, with the fire of the love of the Beloved—the veil
referred to in the saying: 'The most grievous of all veils is the veil of
knowledge.' Upon its ashes, We have reared the tabernacle of divine
knowledge. We have, praise be to God, burned the 'veils of glory' with the fire of the beauty of the Best-Beloved. We have driven from the human
heart all else but Him Who is the Desire of the world, and glory therein. We
cleave to no knowledge but His Knowledge, and set our hearts on naught save the
effulgent glories of His light.” (The
Kitab-i-Iqan: 187)
For
most people, however, the spiritual event of Paradise brought nigh is
experienced historically, psychologically and aesthetically as an eclipse of
distance, but without knowing the source. That is, many who do not believe or
recognize the new Reality or the Source of it nonetheless know that something
significant is happening and respond to it as they know how. In all examples where the human heart is
inspired or becomes restless and seeks new experience, but does not know or
recognize the source of its search and unrest, it sees itself as the originator
of the spirit animating human life. Here
eclipse of distance is attempted by the imperial self, who wishes to be
God. It is the eclipse of distance as
the eclipse of God Himself, at least the need for Him to advance one’s
consciousness, by the enshrouding ego fantasy.
For
them the eclipse of distance is a new conception of space. But it is, too, a
new dynamic of speed. This has emotional
reverberations, for the speed of change in human life and society does not
encourage people to think and contemplate but, rather, to seek the immediacy of
intense experience, ecstasy, and peak experiences. The emphasis on sensation, immediacy,
simultaneity, disjunction, impact and action provide the formal cultural syntax
for the arts. The goal is to reach an
identity between emotion and object. The
transitive elements come to be emphasized.
Such art and the theory of it is discussed in such books as The True Voice of Feeling by Herbert
Read.
This
modern cultural and artistic syntax reflects the new social reality brought
about by technology such as the internet, social media, and jet transport which
manifest the eclipse of distance geographically and culturally. As Daniel Bell describes it: “In the new
conception of space, there is an inherent eclipse of distance. Not only is physical distance compressed by
the newer modes of modern transportation, creating a new emphasis on travel and
the visual pleasure of seeing so many different places, but the very techniques
of the new arts, principally cinema and modern painting, act to eclipse the
psychic and aesthetic distance between the viewer and the visual experience.” The modern arts, he goes on, “are efforts to
intensify the immediacy of the emotion, to pull the spectator into the action
rather than allow him to contemplate the experience.” (The Cultural Contradictions of Capitalism: 104)
That
is, the eclipse of distance in the arts is the dissolving of aesthetic form in
order to involve the observer in the work itself, to invite him through his
response to be a co-creator of the work, to obliterate any supposed gap between
art and life.
The
eclipse of psychological distance occurs with the collapse of the intellectual
space between subject and object that is characteristic of cognition and
language. It is the dissolving of a
dominant form of objective rational thought and mind and, in part, a return to
feeling and the heart to erase the traditional distinction between subject and
object—to create a new interactive, shared unity. This compressing, almost
fusion, of the subject and the object breaks down old identities and opens up
new spaces of involvement.
The physics of quantum mechanics has determined that the observer changes what he
observes and is thus, really, a participator.
Observation of things becomes the on-going observation/participation in
reality through observation of oneself observing things.
A like movement in theoretical thought occurs in the
humanities and social sciences with the notion of reflexivity. Reflexivity
is the name given to a mode of thought in which the person engages in
self-consciousness monitoring of his behavior. Reflexivity per se is not peculiar to
a post-traditional society. It has
always formed an integral part of the self and social relations of some
individuals. However, some sociologists,
like Anthony Giddens, argue that a different sense of reflexivity can be
attributed to post-traditional societies.
In today’s world, reflexivity consists also in the fact that social
practices are also constantly examined and reformed in the light of incoming
information about those very practices, thus constitutively altering their
character. Only in the modern era is reflexivity
applied, at least in principle, to all aspects of human life. The self is also further changed in this
reflexive activity. The hold of tradition loses its salience irretrievably and
the self is continually interrogated. It
becomes separated from the meaningful, if relatively unquestioned, context
it had in previous times been immersed in.
New identities are forged, new social relations are tried. But, without any new context to transform
into, the experiments are groping in the dark for a new anchor.
For me, without the overarching
context of life, order and thought provided by the Revelation, all these social,
technological, artistic and intellectual innovations are the
soul’s attempt to experience and understand the new reality directly, but
without any guide or mediation. It is the human attempt to fuse what only the Manifestation
can bring together. For the human
reality can never achieve the station of divinity and join and knit together
the opposites B and the E. It can only
discover their connections.