Looked at another way, this form of thought conceals an unthinkable anti-thought that restricts our view of reality, such that the miraculous is consigned to the black of beyond. You know, sweeps it under the rug that can never pull the room together. Whistles past the graveyard of unexamined ideas. Or puts its hands over its ears and sings LALALALALALALALALALA!
Again, as well-cosmoed students of reality know by now, there are no less than four miracles that cannot be eliminated (but actually many more). At the very least there is existence; there is life; there is subjectivity, and all this implies; and there is salvation.
But there's also love, truth, intelligence, beauty, and science, which iterate in so many directions: music, painting, poetry, faith, virtue, nobility, selflessness, progress; miracles of sound, rhythm, and color; or the sheer miracle of the present, which is to say, conscious awareness, or being-for-itself, the providential loophole in creation, the ultimate guffah-HA! experience.
And being-for-itself doesn't even properly exist, for it is always being-in-relation, which might be the rock-bottom miracle of them all.
Or, to quote W. Norris Clarke, to be is to be substance-in-relation. Behind or within the I AM is always the WE ARE. Being is always twogather in threeness, which is why you need to take existence personally.
mir•a•cle \ [ME. fr, L miraculum, fr. mirari, to wonder at -- more at SMILE]
Yesterday we spoke of scotomas and scotosis, i.e., scientistic holes in the whole of reality, which render it less than wholesome, which is to say, healthy. The failure to appreciate the irredcible WE of the subjective horizon would have to constitute the most conspicuous hole in the materialist metaphysic.
Indeed, even if you disagree with me, you need someone with whom to disagree, AKA ME. I know. Ironic.
Clarke writes of "the experience, without which none of us could be truly human, of knowing other human beings as equally real with ourselves....
"This experience can be condensed as follows: I know that we are, that we are like each other, that we can engage in meaningful communication with each other." In short, subjectivity is always intersubjectivity, so that in a way, love is simply the radical ratification of being. Or in other words, it is good!
And please note that the existence of this WE could never be known unless first lived. To live outside the WE is no more conceivable for us than trying to imagine the consciousness of a reptile, or an MSNBC host. One might say that autism is a failure of the WE, genuine love its crowning achievement.
Reminds us of the old joke about the I asking for directions to the WE: the smiling O-timer responds with a knowing wink, you can't get there from here.
Not that it matters in terms of the truth which cannot not be, but it is interesting that science is catching up with the trinitarian nature of a cosmos that is substance-in-relation, or "self-communicating active presence."
This is laid out in a recent book called Mimesis and Science: Empirical Research on Imitation and the Mimetic Theory of Culture and Religion. I don't know that I can recommend it, since it doesn't affirm anything that isn't covered in our bʘʘk in a much more thoroughly silly manner.
The scientific upshot is that the primordial we of the mother-infant dyad is gateway hug to "more complex social, cultural, and representational abilities." Not I think, therefore I am, but we are, therefore I am, and can think about it to boot!
Speaking of miracles, of the self-expression of being, and of the cosmic journey, yesterday I read a fascinating article in the latest National Review about a contemporary American composer and pianist named Michael Hersch. You'll want to read the whole thing, but here is a man who seems very much in awe of the miraculous gift he has been given:
"He sits down to play his massive and monumental piano work The Vanishing Pavilions.... It is apocalyptic, visionary, and staggering. And it takes approximately two and a half hours to play. Hersch does not play it all, in this pre‑concert concert. He plays excerpts, a little suite. And he plays it with his prodigious technique, one that draws gasps. Apparently, his fingers can do whatever his brain commands."
He was not a child prodigy, and didn't discover his gift until the late age (for classical music) of 18, at which time it was somehow waiting there, not only fully formed but unspoiled by the kind of drudgery that might have been imposed by more agenda-driven, or less child-centered, parents:
“I didn’t look at it as, ‘I have so much to catch up on.’ People sometimes say, ‘You started so late, it must have been daunting.’ But I wasn’t thinking in terms of chronology or lost years. I was just overjoyed at my luck. I had found this world, and I had it all to explore.”
'His parents, he says, have "caught a lot of flak from people who think, ‘What if he had started at four or five?’ Well, maybe I would have burned out.”
Remarkably, he doesn't have to practice in order to play even the most difficult pieces, nor does he "struggle to compose, but he does need time. He cannot be rushed. He works on a piece in his head until it’s ready. Then he writes it down, with no revision. It took almost a year to write down The Vanishing Pavilions, which runs more than 300 pages."
Hersch speaks of how "the music is lying dormant, waiting for you. You can activate it anytime, simply by engaging with it”; and of how "it just anguishes me that there are so many people out there, possibly, who could have been like me, or are like me, who weren’t fortunate enough to have a brother who would say, ‘You need to sit down and listen to Beethoven.’ What about all the people who are just as talented as I am, or more talented, and didn’t have the opportunity?”
Now, there's a guy who isn't wasting his shot at a miraculous journey to the heart of the cosmos.