A few months ago, I wrote about how each dominant partnership gives rise to a philosophy that attempts to explain all aspects of existence in terms derived from its two member visions.
In that entry, I focused on the philosophy of science-and-democracy, whose core belief was that everything in existence could be reduced to simple universal laws like those of physics, and I identified Isaac Asimov’s Foundation stories as an epitomal early example.
I also suggested in passing that the philosophy of democracy-and-chaos, which arose in the 1980’s, was structured around a belief that “the democratic model of dynamic interactions among different interest groups” provided a better basis for understanding the universe than the mathematical formulas of science.
Since then, however, I’ve realized that I was mistaken — if only because any model based on “dynamic interactions” has to be an aspect of multiculturalism. The actual philosophy of democracy-and-chaos is both simpler and broader, and the best way I know to explain it starts with the Foundation stories.
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The closer I get to the present, the more difficult it is to make out exactly what’s been going on with the visions — and I’m finding creative imagination particularly challenging. This is partly because it’s still in its proto-stage, overshadowed by holism and multiculturalism, and has yet to take on a fully distinctive form.
But even the initial crystallization of creative imagination remains obscure. I’ve pegged it as falling around 1978-81, because I see those years as being equivalent to 1936-39, when multiculturalism emerged, but I haven’t been able to come up with any literary or artistic examples from that time. My suspicion is that visions based on inner experience, being the most esoteric, take longer than social or scientific visions to make a significant public impact.
I do see clear signs of a shift reflected in Alexei’s and my own work. In the late summer of 1979, as we were embarking on the final version of The World Beyond the Hill, Alexei wrote an introductory chapter that pulled together much of what we had been attempting to say since the early 70’s. It was so full of strange new ideas, however, that we soon realized it didn’t fit into our history of science fiction. We wound up detaching it from the book and submitting it separately for publication under the title “Science Fiction and the Dimension of Myth.”
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Every vision encounters a pivotal moment early in its development when it helps midwife the birth of the vision immediately following it and in the process becomes able to shake off the influence of earlier visions and discover its own true shape and purpose.
For holism, that moment came between about 1936 and 1939. Multiculturalism was born in those years as an extension of the holistic understanding of the natural world to human society, and in return it provided holism with the means to move beyond its original philosophical and scientific roots and become a complete vision of existence.
The proto-holism of the 1920’s and early 30’s was deeply concerned with abstract questions of matter, life, and mind, but it didn’t have much relevance to everyday life. It took the social ideals of multiculturalism to reinvent a holism that did not merely dream of getting back to nature but was ready to provide blueprints for how human beings might live in a more organic relationship to one another and to their environment.
That unsuccessful Frank Lloyd Wright project of 1939, in which seven unique houses were related organically to each other and to a central farming area, was one such blueprint. But there have been others since — all of them showing a strong family resemblance — as holism and multiculturalism have continued to develop and mature together.
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It often appears that once your attention is drawn to something, you start to see it everywhere. No sooner had I finished writing about the rat brain story earlier today than I found myself reading a Washington Post story about the notorious message board 4chan — which turns out to reflect many of the same organizational principles.
Created seven years ago by a 15-year-old, 4chan is a vast web of anonymous, uncensored message boards. No one’s in charge, but the site’s users have managed to pull off some of the highest-profile collective actions in the history of the Internet. …
The 4chan “hive mind” has been credited with — or blamed for, depending on your perspective — urging tween idol Justin Bieber to head for North Korea as part of his upcoming world tour (as part of an online poll allowing fans to select which country he should visit), spreading a story that Steve Jobs had a heart attack (which caused Apple’s stock to fall precipitously) and starting a rumor that there was a bomb at New York’s JFK airport (triggering an evacuation). …
How 4chan — a site built for fun by a teenager that barely ekes out a profit from online ads — manages over and over again to outwit the systems that multibillion-dollar corporations use to make money on the Internet is one of the great mysteries of the capricious online world.
“The community self-organizes, decides on goals and achieves them in an ad hoc, undirected manner,” said [Joshua] Schachter, who invented the social bookmarking tool called Delicious. “I see it like the financial markets — sort of chaotic. It’s hard to understand, but incredibly vital to understanding out how people operate together on very, very large scales.” …
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As each socially-based vision develops and broadens in scope, the abstract model that it offers for society comes to be applied to other areas as well.
Case in point: Three days ago, I put up an entry suggesting that the “inverted pyramid” model underlying the democracy vision — in which authority comes from the base but power is still exerted from the top down — is giving way to a multiculturalism-derived model of society as a flexible network of relationships with no center of control.
Today, I find an article at Science Daily saying exactly the same thing — but with respect to a new study of brain organization in rats:
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As we plow our way through this hot and dismal summer of 2010, the democracy vision is collapsing about our ears.
It’s not so much that we’ve ceased to believe in the core values of democracy as that we’ve grown disillusioned with the ability of our supposedly democratic system to uphold those values. By almost any measure, we Americans are less free and equal now than we were a generation ago, and have far less control over our own government.
At the same time, our misadventures in Iraq and Afghanistan have undercut our faith that Western-style democracy is a universal human norm which can be exported as easily as blue jeans and Coca-Cola. Perhaps the clearest lesson of those two misbegotten wars is that a system of free elections and majority rule — though adequate to resolve the minor differences of opinion that arise in a relatively homogeneous society — only creates turmoil when applied to the power struggles of well-organized and heavily armed minorities.
Even worse, that same kind of turmoil could lie in the future of the United States — where our increasing cultural diversity is already giving rise to seemingly irreconcilable tensions — unless we can develop a more flexible way of operating.
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When I was a kid in the 50’s and early 60’s, everyone in my generation knew for a fact that our world was radically different from the world of our parents and that there were things about it they would never understand.
Fifty years have passed since then without a similar youth culture arising to challenge the expectations of its elders, and the memory of what it was like is fading. Our own kids tend to minimize the importance of the “generation gap” and some dismiss our belief in it as a form of boomer exceptionalism. But the gulf was very real — and it was almost entirely a result of the technological revolution that began to transform society after World War II.
The first half of the 20th century had introduced numerous technological innovations, but none that resulted in sweeping social change. If you look at movies or cartoons from the 1920’s and 30’s, or even old family photographs, you get a strong sense that the wave of invention which began in the 1870’s hadn’t affected everyday life all that much.
People might go for a Sunday drive in the family car, but they never strayed very far from home. They might take in a Hollywood movie or listen to Roosevelt’s fireside chats on the radio, but those things merely opened a narrow window on an outside world that they weren’t part of themselves. Their own lives revolved around their home town or neighborhood, the local stores and businesses, and a familiar circle of family and friends.
But things started to change about the time of World War II. As I suggested some months ago, Bugs Bunny cartoons from the early 40’s are set in a fast-paced, modern, technological world, very different from the world of Betty Boop cartoons less than a decade earlier. And after the war, as soldiers returned home with a broader viewpoint and new possibilities in their heads, the changes accelerated.
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It’s been fun chasing after the more dramatic consequences of the “romantic break,” but it occurs to me that I’ve been neglecting the details of the break itself — what triggers it, how it unfolds, and what the basis is of the distinctively romantic mood that accompanies it.
The answers to all these questions turn out to involve a complex interplay between the two established visions which form the dominant partnership and the three younger emergent visions. And that, in turn, means that those emergent visions must play a significant role at a far earlier point than I had previously realized.
When I started working with the cultural cycles back in the 70’s, I interpreted what I was finding in the simplest terms possible — as a linear sequence of “worldviews,” with each new worldview displacing the one before it.
By the late 80’s, I’d developed a more elaborate model in which worldviews were the product of an overlapping sequence of visions of three different kinds — scientific, social, and inner experience. But I was still thinking in very linear terms and believed that only one vision of each type could be active at any given moment.
For example, I identified the period from the 1930’s to the 1960’s as the Era of Science and Democracy — with chaos developing on the sidelines and eventually bursting out in the 60’s counterculture. Even though I was aware that holism had also begun emerging during this period, I did not see it as playing an independent role until the very end of the 60’s.
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If what I’ve written previously about the “romantic break” that gave rise to late 19th century occultism is correct, it ought to be possible to find an equivalent in other cycles.
There should, for example, have been a moment in the late 18th century when the increasing subordination of the hierarchy vision to the reason vision triggered an attempted reversal — one in which an updated version of hierarchy was seen as superior to reason, and society was regarded as holding an almost magical power to improve human nature.
According to the comparative timetables I worked out years ago, the period equivalent to 1877-83, when occultism emerged, would have been around 1783-94. And there was, of course, precisely such a reversal during those years: the French Revolution.
The French Revolution was a product of the era of hierarchy-and-reason, during which the old medieval notion of society as a pyramid — with the king at the top and the peasants at the bottom — was increasingly displaced by appeals to rationality.
When the hierarchy-and-reason partnership was created in the 1760’s, for example, it seemed perfectly acceptable for kings to continue to rule, as long as they did so as “enlightened despots.” But by 1776, the mood had changed to the point where even a parliamentary monarch like George III of England could be described in the Declaration of Independence as “marked by every act which may define a Tyrant.”
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During the last week, I’ve been looking over the work I did in the 1970’s on the cycle of static and creative phases, hoping to come up with clues as to the nature of the “romantic break.” But instead of finding answers, I keep being reminded of puzzles I was never able to resolve at the time.
By far the most significant of these has to do with the role played by changes in fashion.
I suggested in the previous entry that the concept of a recurring cycle of cultural phases grew out of my study of the development of science fiction — and that is true enough as far as it goes. Between January and August of 1972, Alexei and I wrote a series of columns on the history of SF, in the course of which I began toying with the notion that periods of major thematic innovation, like the 1930’s-40’s, seem to alternate with periods like the 1960’s when authors are mainly concerned with fine points of style and attitude.
That idea was only half-formed, however, when we finished the historical series and turned to other things. Alexei spent the fall of 1972 working on an essay about SF as modern myth, and I took up one of my other interests, the history of fashion.
But I must have brought some of my new historical perspective with me, because as I pored over images of 18th and 19th century styles, I was suddenly hit with an insight that women’s clothing seemed to alternate every few decades between two basic silhouettes, which I dubbed “organic” and “geometrical.” And when I jotted down my initial observations, I casually noted at the bottom of the page that “there seem to be marked correspondences with periods of modern science fiction.”
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