orthogonality revisited…

Wednesday, April 27th, 2011

brothers quay - little broom

© The Brothers Quay

I have come to realize that a seeking after ‘orthogonality’ is a warning sign that I am slipping into the comfort of relying on a dominant trait in my personality. Having read Iain McGilchrist’s book The Master and His Emissary I have become somewhat convinced that this dominant trait is actually an over-reliance on the left hemisphere of my brain. As such this becomes not only about me, but about a very large number of people out there…

When I first addressed the issue of orthogonality here I was fully possessed by the ‘naturalness’ of my desire for orthogonality, and by it satisfying a feeling of ‘rightness’ (somewhat ironic *grin*). At that time I did not identify orthogonality with the general control freakery that is also a part of my personality. McGilchrist’s book has clarified this for me. So that I now believe that it is likely that the desire for orthogonality and control freakery are two aspects of the functioning of the left hemisphere. Though both seem to be natural emergent behaviours of the left hemisphere, orthogonality – at least as I describe it in its more ‘luminous’ and smiling aspect in my previous post – forms part of the fluid process (described in McGilchrist’s book) of:

right hemisphere generation of an idea; analysis and editing in the left hemisphere; a final passing back to the right hemisphere for idea and analysis to be integrated into a single, vibrant conception.

I imagine that many people will recognize that this is the process that they follow when they are creative in a way that feels ‘healthy’ to them. Certainly, I find this interpretation of the creative process resonant.

What I have termed ‘control freakery’ is what happens when that fluid process stalls, because the left hemisphere insists on obsessing over its analysis and refuses to pass the fruits of this on to the right. That this is happening becomes obvious whenever you feel that your idea, once in vibrant flight, has come down to earth only to have its wings snipped off and be dissected until it feels stale and dead. (The image in my mind is the fabulous Brothers Quay animation This Unnameable Little Broom).

Well before this happens, it seems to me that the feeling that you are seeking orthogonality, or are generally focusing on ‘orthogonal issues’ – right angles, parallel lines, squareness – all of these abstracting to neatness, clinical perfection, issues of ‘right’ alignment – that you can be pretty certain that your left hemisphere is in the ascendent and, if you’re like me, you might want to loosen things up a bit, to stop the machinery clamping down and so to release your idea to fly free into clearer skies…

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cornerstone…

Thursday, March 4th, 2010
a cornerstone at my house...

a cornerstone at my house...

Yesterday I wrote the first scene of my new book. Like laying a cornerstone, this determines the orientation of the entire structure of the book… It’s a big moment for me since it’s the first new text I’ve written for… well, YEARS!!?

Perhaps not incidentally, today the English paperback edition of The Third God has been launched…

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orthogonality…

Friday, November 13th, 2009

five directions - from the Codex Borgia...

five directions - from the Codex Borgia...

I was doing yoga last night and was struck (again) by how the positions I was trying to achieve with my body had parallels with a particular satisfying way of thinking that I am constantly drawn to: the linking factor is ‘orthogonality’. This word is defined by the Shorter Oxford English Dictionary as coming from the Greek meaning “right-angled”… Consider the word “right” – which in turn is defined as being ‘straight’ – and, at least in English, has the meaning of ‘correct’, and even ‘something that is due to a person innately’…

Now this human obsession with ‘right-angles’ – as for example is exemplified in so many of our buildings (round buildings are an obsession for consideration another day)… with their straight edges, their corners, their square doors, windows etc – this obsession does not seem at all surprising to me. Consider yourself standing surveying the world: there is what is in front of you, what is behind, what is to your right, and to your left. This is, I think, likely to be a particularly strong impression to an animal that stands upright. We have a front and a back… and we have eyes, ears, arms, legs etc – right and left of a central axis… This then finds a deep resonance with the world we live in. With its east/west axis defined by the path of the sun and, except on the equator, the sun lies to the south, and thus, behind us, is north. Interestingly, in the Americas (and other places too) there were not only these four directions, but a fifth… the centre… the place you are standing… the place you ‘are’…

Is it surprising then that this omnipresent orthogonality should seep into so much of our thinking? Our writing systems that move horizontally or vertically across rectangular writing surfaces. Our mathematics. Our attempt even to lay out our cities and our fields in grids and rectangles – inscribing them on a planet that, in many ways, we persist in seeing as a massive square – a world with corners…

For me there is an even more subtle consequence. When I do many things, especially writing my stories, I seek a kind of ‘orthogonality’ – that no longer is tied down to rectangles and corners, but rather to an elegance of connection of all the parts so that they span the space (and time) with a minimal elegance; an orthogonality that contains without cramping, leaving the ‘space’ room to breathe…

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