Waking Life, Conscious Mind
Tuesday, March 16th, 2004In the PBS television series Cosmos, Carl Sagan attempted to describe how humans are trapped into the way we think about our three-plus-one-dimensional universe. He used the analogy of a two-dimensional creature, a being who exists only in height and width, and has no concept of depth. Tootie, let’s call her, lives very happily in her two dimensions, gliding gracefully along the X and Y axes, until one day a creature from a three-dimensional world picks her up about a foot above her plane of existence and lets her fall gently back.
Now, Tootie experiences this sensation, but has no mechanism to understand what is happening to her. She experiences falling through the third dimension, but once she’s back safely at home, she can’t point to where she was, she can’t describe it to her friends, and she can’t mentally process her adventure. She is built to understand the world in two dimensions only.
If Tootie’s race of two-dimensional beings is anything like our own, they’ve probably developed storytelling, myth, and philosophy to try to make sense of their existence. While someone from our world could look at a 2D world and explain it easily, Tootie and her kind can only hope to approximate such a description.
I think of this example in relation to our own attempts to make sense of the world. Heinrich Zimmer said, “The best truths cannot be spoken, and the second best are misunderstood.” And, as Joseph Campbell says, the third best are the things we talk about every day – science, sociology, history, and so on. Philosophy, mythology and storytelling try to point the way to that dimension that is beyond our reach and understanding.
Dreams
A couple of items have put me on this track this morning. For one thing, I just finished watching Richard Linklater Waking Life. Linklater’s films are often packed with philosophical musings, and Waking Life is no exception. In fact, this movie reminds me a lot of Linklater’s first film, Slacker, with its meandering style and “real people” casting. The difference in this film is the juxtaposition of objective and subjective camera styles, and the focus on existential themes.
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