About this blog

  • In Shakespeare's The Tempest, Prospero, Duke of Milan, is ousted by his brother and exiled to an island. With the help of a friend, Prospero manages to take with him his beloved library.

    Prospero, like his creator, lived in a time when boundaries between disciplines were not as rigid as they are today. Prospero's books would have dealt with the cosmos—spiritual and material, inner and outer—as a whole.

    In this blog, I try to do the same. I'm not Prospero, just a student rummaging through his library and writing in the margins. Prospero's Books is a blog about seeing the world as a whole, by looking at

    • signs, especially the relationships between signifiers and what they signify
    • stories, especially big-picture stories, such as myths and the works of Dante, Shakespeare, and Joyce
    • systems, especially complex, nonlinear systems
    • spirit, especially as understood by the Christian and Western esoteric traditions

    Welcome! Please join the conversation.

    —Kenneth W. Davis

    (Note: Although I admire Peter Greenaway's film Prospero's Books, this blog is not directly about that film. )

    Who, and Some of What, I Am

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203 posts categorized "Systems"

15 May 2008

Whither it goes

Reene_windynight_from_wikipedia_2 Chapter One of Meditations on the Tarot: A Journey into Christian Hermeticism begins with an epigraph from the Gospel of John:

The wind blows where it wills, and you hear the sound of it, but you do not know whence it comes or whither it goes; so it is with every one who is born of the Spirit (iii,8).

The field of chaos theory began with an almost identical observation by Edward Lorenz, that the nonlinear system we call weather is utterly determined yet utterly unpredictable. For the author of John, the Spirit, too, is a nonlinear system, far from equilibrium, on the very edge of chaos.

08 May 2008

It's called literature

Walk_of_ideas_berlin_from_wikipedia From John Horgan's response to a letter in the May-June 2008 issue of Science and Spirit:

Many so-called emergent phenomena can be understood, at least partially, through conventional reductionist methods. Particle physics has yielded extraordinary insights into the origin, composition, and evolution of the entire cosmos. Molecular biology has illuminated once opaque mysteries such as conception, heredity, and speciation. But some emergent phenomena, notably that of the human mind, stubbornly resist reductionist analysis. Fortunately we do have a "different methodology" for understanding ourselves. It's called literature (6).

05 May 2008

Shakespeare behind Bars

Shakesbehindbars Last month, in my "Shakespeare, Systems, and Intertextuality" course, I showed Hank Rogerson and Jilann Spitzmiller's film Shakespeare behind Bars, a 93-minute documentary on a production of The Tempest by inmates in Kentucky's Luther Luckett prison. Four observations:

  • A prison, by definition, is a "closed system," increasing in entropy unless it can draw energy from outside. The introduction of The Tempest into the lives of the cast brings such energy, allowing for growth.
  • The production process shown in the film is a remarkable example of how living systems grow and evolve by moving from organization through disorganization to reorganization. (The very word tempest suggests the necessary slip into chaos, and "chaos theory" can be said to have been born in Lorenz's study of complex weather systems.)
  • With so little to distract them, the cast members--during several months of production--study and "live" their roles at a depth I've never seen before, in students or in actors. Shakespeare's fractal complexity constantly repays this effort.
  • As the cast members perform a play that centers on forgiveness and redemption, they collectively and individually struggle with those issues in their own lives.

Shakespeare behind Bars is one of the best half-dozen Shakespeare films I've ever seen. I recommend it highly.

07 February 2008

Alas, poor Yorick

Sarah_bernhardt_as_hamlet_from_wiki Perhaps the most recognizable image from all of Shakespeare's plays is that of Hamlet contemplating a skull--the skull of Yorick, the court jester.

Why Yorick? While rereading Hamlet for my current "Shakespeare, Systems, and Intertextuality" course, I've come to understand one possible reason. The court of Claudius, the elder Hamlet's murderer and usurper, is a court without a jester--a court without anyone who can (to quote an old Quaker phrase) "speak truth to power."

One of the ways that Claudius's Denmark is corrupt is that information flow--essential to the continued existence of any system--has been distorted or blocked. (I count at least seven instances in the play of an attempt to gather information through deceit.)

I'll bet that after Yorick's death, the elder Hamlet's court continued to include jesters. But Claudius's court does not--until young Hamlet comes home. Hamlet's "Mousetrap" play can be seen as a replacement for the jests of a court fool. When this play-within-a-play restores some information flow, showing Claudius as he really is, Claudius panics and stops the show.

Something is rotten in the state--the system--of Denmark. Hamlet tries to restore that system to health by opening communication channels again. But he's too late, and the system collapses. Systems are often defined by contrasting them with mere heaps. The heap of bodies at the end of Act V provides a perfect illustration of the difference.

22 January 2008

Leaving out a lot of reality

Fludd_from_wikipedia Sunday's LA Times carried a fascinating op-ed piece, by Seed magazine editor Jonah Lehrer, on the limitations of contemporary neuroscience. He writes:

The success of modern neuroscience represents the triumph of a method: reductionism. The premise of reductionism is that the best way to solve a complex problem -- and the brain is the most complicated object in the known universe -- is to study its most basic parts. The mind, in other words, is just a particular trick of matter, reducible to the callous laws of physics.

But the reductionist method, although undeniably successful, has very real limitations. Not everything benefits from being broken down into tiny pieces. Look, for example, at a Beethoven symphony. If the music is reduced to wavelengths of vibrating air -- the simple sum of its physics -- we actually understand less about the music. The intangible beauty, the visceral emotion, the entire reason we listen in the first place -- all is lost when the sound is reduced into its most elemental details. In other words, reductionism can leave out a lot of reality.

Lehrer isn't a fuzzy-headed idealist. He credits reductionist neuroscience with, for example, great and beneficial advances in pharmaceuticals. "A work of art," he writes, "obviously isn't a substitute for a scientific experiment -- Proust isn't going to invent Prozac." But, he continues:

the artist can help scientists better understand what, exactly, they are trying to reduce in the first place. Before you break something apart, it helps to know how it hangs together.

As a lover of Joyce's Ulysses, which traces many of the thoughts of a character during a single day, I am grateful to Lehrer for a quotation I didn't know about:

Virginia Woolf . . . famously declared that the task of the novelist is to "examine for a moment an ordinary mind on an ordinary day ... [tracing] the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness."

And as a lover of Shakespeare's Tempest, which gives this blog its name, I especially noted Lehrer's conclusion:

Unless our science moves beyond reductionism and grapples instead with the messiness of subjective experience -- what James called a "science of the soul" -- its facts will grow increasingly remote. The wonder of the brain is that it can be described in so many ways: We are such stuff as dreams are made on, but we are also just stuff. What we need is a science that can encompass both sides of our being.

In between the passages I've quoted are many more I could have. In my browser, the essay is less than four screens long; you'll be rewarded for the time you spend.

(Thanks to Seed magazine for the link.)

19 January 2008

Our breaking and slashing of God

Eucharist Kester Brewin, at The Complex Christ, has been posting an interesting series of reflections on, among other things, the shift in power that occurs when hunter-gatherer economies are replaced by agricultural economies. From the latest in that series:

Bread is not the simplest thing to make. Leavened, it requires careful control of yeasts, and to make in any quantity, a good supply of grain and a means of controlled heat.

Wine requires more technology still. Large quantities of grapes need to be harvested, and these need proper storage to age and mature.

In other words, the Eucharist as we know it contains hidden within it symbols of our domestication of the earth and its resources and thus, connectedly, symbols of the domination of one life-style - settled food production - over another - hunting and gathering.

Perhaps this is benign, being so long in our history in the making, but I wonder if, in these times when our relationship to the planet is so fragile we might reflect on the Eucharist as a sort of lament for our abuse of the world, just as we might use it to lament for our breaking and slashing of God.

18 January 2008

The course of true love . . .

Bottom_from_emory_u_collection This week my students and I are reading Shakespeare's A Midsummer Night's Dream and talking about systems. I gave my students a copy of Barry Commoner's "four laws of ecology," from his pioneering 1971 book The Closing Circle:

1. Everything is connected to everything else.
2. Everything must go somewhere.
3. Nature knows best.
4. There is no such thing as a free lunch.

Shakespeare understood all these.The four plots of Dream are intricately intertwined, and what happens at one level of the play affects the other levels. Everything is connected to everything else.

One of the most familiar lines of the play--and arguably the line that best summarizes the whole work--is Lysander's, in the very first scene:

The course of true love never did run smooth.

There is no such thing as a free lunch.

17 January 2008

A twenty-first-century Shakespeare?

Angels_in_america Scott Malia, at The Shakespeare Blog, writes:

While Shakespeare appreciation might be near universal among writers, it begs the question of comparison. Who among today’s writers is what might be considered the twenty first century answer to him?

His initial suggestion: TV and film writer Aaron Sorkin--a great candidate. Over at The Shakespeare Teacher, Bill and his readers suggest others.

In my Conversations with Shakespeare course, I lead students through half a dozen of Shakespeare's plays, as well as later works in explicit "conversation" with them: Stoppard's Rosencrantz and Guildenstern Are Dead, Smiley's A Thousand Acres, Cesaire's A Tempest, Gaiman's Sandman treatment of A Midsummer Night's Dream, and others. The course ends with a play that I find the most "Shakespearean" of recent dramas: Tony Kushner's Angels in America. My students always find lots of ways that Angels is in implicit, if not explicit, conversation with the Bard.

So Kushner's my candidate--not in the quantity of his output, but in his almost unique ability (among many others) to give his subjects both cosmic and fractal dimensions. If you haven't read or seen the play, do so (especially the amazing HBO film of it), and see if you agree.

04 January 2008

Chaos

Baktangwiesenfeld_from_wikipedia At her brilliant blog Changing Places, Donna Woodka has posted a marvelous collection of quotations about chaos, quotations that bridge the traditional and mathematical uses of the word. Here are a few I found especially illuminating, but be sure to read the others as well.

“If we wish to make a new world we have the material ready. The first one, too, was made out of chaos.”—Robert Quillen

"Chaos should be regarded as extremely good news"—Chogyam Trungpa

“Our real discoveries come from chaos, from going to the place that looks wrong and stupid and foolish.” — Chuck Palahniuk

02 January 2008

Mesh and share

Tutu_from_wikipediaFrom beliefnet, Archbishop Tutu on interdependence.

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