If you don’t accept the story of miracles and divine intervention as the reason, then on sheer rational grounds it’s hard to explain why Pharaoh lets the Hebrew slaves go. When else in history has a powerful ruler let his slave population leave in the middle of a large public works project, one dedicated to his glorification, no less? Imagine the impact on the economy, let alone the damage to his public image and vanity.
The default assumption of Judaism is that there is only one Torah. It is eternal and immutable because God is its Author. Yet slowly revealing and understanding the meaning of what God told Moses on Sinai is also the essence of Judaism. Clearly, our understanding of the Torah evolves over time, dancing with the God of Becoming Who constantly creates the universe. Along the way, thousands of years of commentary, without challenging the integrity of a God-given Torah, worry the bone of precisely who composed the Torah at which point. How and when did Moses transcribe God’s words? How did it look? How were its chapters, verses, words, and letters laid out on the page? Did the layout change?
“Now therefore write down for yourselves this song [shirah], and teach it to the people of Israel; put it in their mouths, that this song may be my witness … for it shall not be forgotten out of the mouths of their seed” – Deutoronomy 31:19-21
“Sing every day, sing every day,” – Rabbi Akiva quoted in Sanhedrin (99a)
The first letters of the Torah when rearranged say שיר תאו [‘shir ta’ev’] “A song of desire.” – Attributed to R. Isaac Luria
When great poems get canonized in anthologies for college courses, they usually come thick with stuff that is supposed to help the student: short introductions, footnotes, annotations, guides, accent marks. They disambiguate inscrutable lines, point out cross-references and themes within the poem, and note the allusions to other texts and events that make the poem otherwise impenetrable. But the very density of these aids may have the opposite effect on the poor student. It also says, There’s even more of this out there. You gotta be a pro to really get it. Maybe that’s why most people can go very merrily through their whole lives without reading another poem after graduating high school.
The Torah is also like this. The newbie coming on the scene of the Jewish interpretive tradition stares down 73 volumes of the Schottenstein Talmud and millions of pages of other commentaries. Where do you begin? How can any human scale the mountain of interpretation?
But what if we approach the Torah, that densest of texts, like music? What if we treat it not first and foremost as a history of the birth of a nation or as a collection of dos and don’ts, or not even an elaborate assemblage of narratives, myths, and laws in prose, but rather as one very long song? And what if it even tells us so itself, I’m a song. Write me down and sing me through all your generations? Our assignment, to achieve enlightenment, becomes easier, less discouraging, and even joyful. Continue reading “Torah as Song”→
If you piece the clues together, the Torah tells us pretty clearly that Moses received the alphabet from God on Sinai. It happens during the same sequence of revelations that begin with the burning bush and the revelation of God’s Name during their first encounter. God tells Moses to return to Egypt and instruct the elders of Israel in “the signs” or “ the letters” that God shows him. Moses quails at his assignment.
But don’t worry, God reassures him, “If they don’t heed the voice of the first sign, they will listen to the voice of the last sign.”
The first and last signs might refer to the silent conjuror’s tricks that God has just shown Moses: a rod turns into a snake and Moses’ hand turns leprous and back again.
But more sensibly, the “voice of the signs” refers to the core breakthrough that made the phonetic alphabet a monumentally disruptive invention: signs, instead of being pictures for words as in hieroglyphics, are instructions for the voice to make sounds, like musical notes. The first and last symbols refer to the aleph and the tav, the beginning, the whole of this new invention. God is telling Moses: show the Israelites back in Egypt this new explosive technology, these letters, and with them you shall set them free. Continue reading “Hearing vs Reading the Bible”→
Mind to mind metaphysics in alphabet and cyberspace
The brain is a sur-rational machine for bringing worlds into collision, a metaphor device, a translation circuit for closing and opening the loop between incommensurate and mutually incomprehensible universes. In my view, it is already “meta-physical.”
Nature was finished when it invented the human brain
What is the brain? At its very simplest it is an entity that takes impressions from out there in the form of energy striking different nerve endings in the organs of the body (eyes, skin, ears, nose, mouth/tongue), converts the energy into information, shuttles the information to a central processor, a black box homuncular body without organs sitting in an ecology of incomprehensibly frothing and turbulent hormones, and somehow translates them into wholly different things in here – sensations, thoughts, flocks of birds, schools of fish, swarming, buzzing. The brain is intrinsically a sur-rational machine for bringing worlds into collision, a metaphor device, a translation circuit for closing and opening the loop between incommensurate and mutually incomprehensible universes. It is already “meta-physical.”
Before we were homo sapiens and the brain was simple, there was a neat Kantian fit between animal and environment: The rules of the world out there, its physics, were not challenged by the rules of the world in here; there was a nice match. But then through some urgency that it is just as easy to talk about metaphysically or teleologically as in terms of some deterministic chaotic evolution, the brain exploded, human-like hominids started walking upright about 100,000 years ago, looking forward, using tools, colonizing the world, creating new social structures. The brain, like some imperial culture exploding off a remote island, started projecting itself onto the world, terraforming the Earth in its own image and leaving in its wake a trail of non-bio-degradable tools and waste. Nature was finished. It was finished in the sense that it reached a fulfillment and a culmination, but it had also committed suicide, finished itself off. Not only did humans begin to massively alter the environment, but the brain also started talking, depicting, enacting versions of its experience in cave paintings, ritual dances, gestures, and a grammar of grunts. It became self-conscious. It recognized a mismatch between the world out there and the world in here: Hey! The world persists; we die! Self-consciousness and the idea of death were born in one fatal stroke. Finally, the brain framed everything it looked at: nature became a pastoral scene in the cognitive museum. The cosmos seen through human eyes was an artifice, always already available for use.
The C3 Loop
On the flip side, the human brain is a prisoner of the loop of cognition, culture and communication, caught in its virtuous cycle. We call the cybernetic device that initiated and grew in this loop language or symbolizing. Frances Hellige in his book on cognition and the brain, Hemispheric Asymmetry, describes this loop initiated by the development of language, with feed-forward and feedback components, as a sort of “snowball effect,” a cycle of ever-widening gyres that eventually embraces and creates everything between the poles of culture and the biology of the brain itself, including physiological changes in structure and size of different regions.2
In cybernetic terms, we call this a positive feedback loop. The cybernetic system (in this case, human brain) sends information out into the world-culture-environment, which feed newly intensified signals back into the (brain) system to destabilize the system anew, which in turn re-amplifies its message, like an over-sensitive microphone, and again re-broadcasts this message back onto the world until the universe screeches with the noise of the human brain echoed back to it, in it, a cyborg rock concert. It also changes the brain itself. Another researcher, Charles Lumsden, calls this process “the selective stabilization of the synapses” as a result of continuous exposure to cultural effects or stimulation, a collaboration between cultural invention and inherited genetic characteristics,” or “Gene-Culture Coevolution.”3
Neurophysiologists and cognitive scientists who study the alphabet note that its effects on the brain can even be seen in the lifetime development of individual people. The use of language reshapes the brain from womb to tomb. A whole new discipline of neural plasticity has emerged in the last few decades, showing that the brain is not the static, genetically-determined machine we once thought it to be. In other words, ontogeny recapitulates phylogeny in culture-gene co-evolution as well. Studies of aphasics and dyslexics show that the brain changes physiologically and progressively after injury, suggesting that parts of the brain grow even in the lifetime of individual humans.
Fun with your new brain: the rise of the alphabet
Using different alphabets (or losing the capacity to read the alphabet), even within the lifetime of an individual, is a bit like growing a new brain. Trying a new alphabet must have been (and still is) tantamount to an ongoing progressive hallucination. It lets you think things that you couldn’t have thought before, makes connections that simply didn’t exist physiologically – for which your brain wasn’t wired – and forces your brain into different information processing patterns, which presumably involve different mental events or experiences (as physiological-cognitive research overwhelmingly shows). It’s like having a whole new brain, or at least, a brain with whole new faculties, new circuits, new wetware. Now imagine the mass hallucination of an entire culture learning how to use an alphabet for the first time. Whole tribes of people, or important segments of them, put on this new cybernetic headgear, or what I have been calling a new form of telepathy, virtually all at once. We can imagine this mass cybernetic experiment would be accompanied by social, epistemological, and metaphysical revolutions, apocalyptic prophesies, and re-definitions of the self in relation to body, mind, others, and the invisible. In short, it might provoke the emergence of a new religion.
With this perhaps absurd hypothesis in our minds, let’s take a look at the advent of writing itself. Take (in our imaginations) a time-lapse photograph of the Nile Valley before and just after the advent of hieroglyphics, or (even earlier), the Fertile Crescent of Mesopotamia before and just after the very first invention of writing, Sumerian pictographs around 3200 B.C. These time-lapsed films would show millions of years of desultory animal activity, including the hunting gathering and low-level agricultural activity of upright hominids after 35,000 BC. As we approach 10,000 BC, activity begins to pick up pace and organization. Clusters of hominids show tool use, primitive mound building, expressive cave painting, and cultivation of the earth, though in indifferent and almost-random-seeming patterns. Then, suddenly, around 3200 BCE, BANG! Something leaps across the chaotic bifurcation into a new order of frantic self-organization. Compressed into a few frames is an almost instantaneous transformation; blink and you’ll miss the instant. These fertile regions undergo massive terraforming along rectilinear plots. Rivers are diverted into rectangular irrigation systems. Cities emerge, themselves rectilinear. Zoom in with me now into the square-ish walls of the cities, and into the very square-ish rooms of the city, and we will find the intimate source of this sudden change. There, a row of hard stone benches, arranged regularly. It is a schoolroom for scribes! Hundreds of boys, mostly the sons of privileged nobility, sit for hours hunched over clay tablets, learning to scrawl in regular lines. Indeed, if we superimpose the scratching of these lines they look like the lines of irrigation written on the face of the earth itself, as seen from an orbiting satellite. The harsh discipline of the schoolchildren being tutored in script “canalizes” their thought processes, reinforcing certain pathways. It is hard not to imagine that what’s written on the brain gets projected onto the world, which is literally “canalized,” too.
Looking at a picture of the ancient Sumerian classroom for scribes found in Shuruppak (from ca. 3200 BC),
we see familiar rows of benches and the headmasters desk up front. Then we are seized with a horrible and giddy vertigo, a terrible recognition: Five thousand years later, and we’re still canalizing the brains of our children in the same way, enforcing the discipline of writing in virtually the same methods and with not so dissimilar effects as did these ancient Sumerians, “that gifted and practical people” (as Edward Chiera calls them in his groundbreaking study, They Wrote on Clay). Sumerians invented cuneiform as a perfectly portable means to effect commerce, extend the authority of their kings, preserve metaphysical and transcendent information, and secure the stability of caste and rank.
The invention of pictographic writing by the Sumerians was “a secret treasure’ or mystery which the laymen could not be expected to understand and which was therefore the peculiar possession of a professional class of clerks or scribes,” Chiera writes. Furthermore, the metaphysics associated with this new telepathic technology becomes clear in the priestly functions these scribes served. Neo-Babylonian texts used the same ideogram for priest and scribe. Along with the script came a new mythology that, predictably, placed the power of language in the center of its metaphysics: “As for the creating technique attributed to these [new] deities, Sumerian philosophers developed a doctrine which became dogma throughout the Near East — the doctrine of the creative power of the divine word. All that the creating deity had to do, according to this doctrine, was to lay his plans, utter the word, and pronounce the name.
In fact, everywhere pictographic writing makes its advent, we find the sudden emergence of what we can think of as “tech writing empires”: civilizations geometrically akin in their compulsive rectilinearity to the hexagonal hive structures of bees. In China, among the Aztecs of Mexico or Incas in Peru, in Babylon, Sumeria, and Egypt, we see the same pattern of social, epistemological, and metaphysical organization. Along with these scripts come other inventions so predictably similar that they seem to derive directly from imperatives in the nervous system itself amplified or newly grown by use of the new cyborg device of writing: centralized authority in god/kings; monumental ziggurat-like or pyramidal architecture; hierarchies of priest-scribes; complex, self-perpetuating bureaucracies; fluid but clearly demarcated social/economic classes; trade or craft guilds; imperialism; slavery; “canalizing” educational systems; confederations of tribes into nations; standardized monetary systems and trade; taxes; and so on. Almost every conceivable aspect of empire, in its gross forms, was entailed in pictographic writing. Even the alphabet, with its greater efficiency and fidelity to speech, only seems to add abstraction and speed to what McLuhan described as the “exteriorization of the nerve net”