Ideas Animate Democracy

Keith Tidman 

The philosopher Soren Kierkegaard once advised, ‘Life can only be understood backwards … but it must be lived forward’ — that is, life understood with one eye turned to history, and presaged with the other eye turned to competing future prospects. An observation about understanding and living life that applies across the board, to individuals, communities, and nations. Another way of putting it is that ideas are the grist for thinking not only about ideals but about the richness of learnable history and the alternative futures from which society asserts agency in freely choosing its way ahead. 

As of late, though, we seem to have lost sight that one way for democracy to wilt is to shunt aside ideas that might otherwise inspire minds to think, imagine, solve, create, discover and innovate — the source of democracy’s intellectual muscularity. For reflexively rebuffing ideas and their sources is really about constraining inquiry and debate in the public square. Instead, there has been much chatter about democracies facing existential grudge matches against exploitative autocratic regimes that issue their triumphalist narrative and view democracy as weak-kneed.  

In mirroring the decrees of the Ministry of Truth in the dystopian world of George Orwell’s book Nineteen Eighty-Four — where two plus two equals five, war is peace, freedom is slavery, and ignorance is strength — unbridled censorship and historical revisionism begin and end with the fear of ideas. Ideas snubbed by authoritarians’ heavy hand. The short of it is that prohibitions on ideas end up a jumbled net, a capricious exercise in power and control. Accordingly, much exertion is put into shaping society’s sanctioned norms, where dissent isn’t brooked. A point to which philosopher Hannah Arendt cautioned, ‘Totalitarianism has discovered a means of dominating and terrorising human beings from within’. Where trodden-upon voting and ardent circulation of propagandistic themes, both of which torque reality, hamper free expression.

 

This tale about prospective prohibitions on ideas is about choices between the resulting richness of thought or the poverty of thought — a choice we must get right, and can do so only by making it possible for new intellectual shoots to sprout from the raked seedbed. The optimistic expectation from this is that we get to understand and act on firmer notions of what’s real and true. But which reality? One reality is that each idea that’s arbitrarily embargoed delivers yet another kink to democracy’s armour; a very different reality is that each idea, however provocative, allows democracy to flourish.

 

Only a small part of the grappling over ideas is for dominion over which ideas will reasonably prevail long term. The larger motive is to honour the openness of ideas’ free flow, to be celebrated. This exercise brims with questions about knowledge. Like these: What do we know, how do we know it, with what certainty or uncertainty do we know it, how do we confirm or refute it, how do we use it for constructive purposes, and how do we allow for change? Such fundamental questions crisscross all fields of study. New knowledge ferments to improve insight into what’s true. Emboldened by this essential exercise, an informed democracy is steadfastly enabled to resist the siren songs of autocracy.

 

Ideas are accelerants in the public forum. Ideas are what undergird democracy’s resilience and rootedness, on which standards and norms are founded. Democracy at its best allows for the unobstructed flow of different social and political thought, side by side. As Benjamin Franklin, polymath and statesman, prophetically said: ‘Freedom of speech is a principal pillar of a free government’. A lead worth following. In this churn, ideas soar or flop by virtue of the quality of their content and the strength of their persuasion. Democracy allows its citizens to pick which ideas normalise standards — through debate and subjecting ideas to scrutiny, leading to their acceptance or refutation. Acid tests, in other words, of the cohesion and sustainability of ideas. At its best, debate arouses actionable policy and meaningful change.

 

Despite society being buffeted daily by roiling politics and social unrest, democracy’s institutions are resilient. Our institutions might flex under stress, but they are capable of enduring the broadsides of ideological competitiveness as society makes policy. The democratic republic is not existentially imperiled. It’s not fragilely brittle. America’s Founding Fathers set in place hardy institutions, which, despite public handwringing, have endured challenges over the last two-and-a-half centuries. Historical tests of our institutions’ mettle have inflicted only superficial scratches — well within institutions’ ability to rebound again and again, eventually as robust as ever.

 

Yet, as Aristotle importantly pointed out by way of a caveat to democracy’s sovereignty and survivability, 

‘If liberty and equality . . . are chiefly to be found in democracy, they will be attained when all persons share in the government to the utmost.’

A tall order, as many have found, but one that’s worthy and essential, teed up for democracies to assiduously pursue. Democracy might seem scruffy at times. But at its best, democracy ought not fear ideas. Fear that commonly bubbles up from overwrought narrative and unreasoned parochialism, in the form of ham-handed constraints on thought and expression.

 

The fear of ideas is often more injurious than the content of ideas, especially in the shadows of disagreeableness intended to cause fissures in society. Ideas are thus to be hallowed, not hollowed. To countenance contesting ideas — majority and minority opinions alike, forged on the anvil of rationalism, pluralism, and critical thinking — is essential to the origination of constructive policies and, ultimately, how democracy is constitutionally braced.

 

 

Where Do Ideas Come From?

By Keith Tidman

Just as cosmic clouds of dust and gas, spanning many light-years, serve as ‘nurseries’ of new stars, could it be that the human mind similarly serves as a nursery, where untold thought fragments coalesce into full-fledged ideas?

At its best, this metaphor for bringing to bear creative ideas would provide us with a different way of looking at some of the most remarkable human achievements in the course of history.

These are things like Michelangelo’s inspired painting, sculpting, architecture, and engineering. The paradigm-shifting science of Niels Bohr and Max Planck developing quantum theory. The remarkable compositions of Mozart. The eternal triumvirate of Socrates, Plato, and Aristotle — whose intellectual hold remains to today. The piercing insights into human nature memorably expressed by Shakespeare. The democratic spread of knowledge achieved through Gutenberg’s printing press. And so many more, of course.

To borrow from Newton (with his nod to the generations of luminaries who set the stage for his own influences upon science and mathematics), might humbler souls, too, learn to ‘stand on the shoulders of such giants’, even if in less remarkable ways? Yet still to reach beyond the rote? And, if so, how might that work?

I would say that, for a start, it is essential for the mind to be unconstrained by conformance and orthodox groupthink in viewing and reconceiving the world: a quest for patterns. The creative process must not be sapped by concern over not getting endeavours right the first or second or third time. Doubting ideas, putting them to the test through decomposition and recomposition, adds to the rigour of those that optimally survive exploitation and scrutiny.

To find solutions that move significantly beyond the prevailing norms requires the mind to be undaunted, undistracted, and unflagging. Sometimes, how the creative process starts out — the initial conditions, as well as the increasing numbers of branching paths along which those conditions travel — greatly shapes eventual outcomes; other times, not. All part of the interlacing of analysis and serendipitous discovery. I think that tracing the genealogy of how ideas coalesce informs that process.

For a start, there’s a materialistic aspect to innovative thought, where the mind is demystified from some unmeasurable, ethereal other. That is, ideas are the product of neuronal activity in the fine-grained circuity of the brain, where hundreds of trillions of synapses, acting like switches and routers and storage devices, sort out and connect thoughts and deliver clever solutions. Vastly more synapses, one might note, than there are stars in our Milky Way galaxy!

The whispering unconscious mind, present in reposed moments such as twilight or midnight or simply gazing into the distance, associated with ‘alpha brain waves’, is often where creative, innovative insights dwell, being readied to emerge. It’s where the critical mass of creative insights is housed, rising to challenge rigid intellectual canon. This activity finds a force magnifier in the ‘parallel processing’ of others’ minds during the frothy back and forth of collaborative dialogue.

The panoply of surrounding influences helps the mind set up stencils for transitioning inspiration into mature ideas. These influences may germinate from individuals in one’s own creative orbit, or as inspiration derived from the culture and community of which one is a part. Yet, synthesising creative ideas across fields, resulting in multidisciplinary teams whose members complement one another, works effectively to kindle fresh insights and solutions.

Thoughts may be collaboratively exchanged within and among teams, pushing boundaries and inciting vision and understanding. It’s incremental, with ideas stepwise building on ideas in the manner famously acknowledged by Newton. Ultimately, at its best the process leads to the diffusion of ideas, across communities, as grist for others engaged in reflection and the generation of new takes on things. Chance happenings and spontaneous hunches matter, too, with blanks cooperatively filled in with others’ intuitions.

As an example, consider that, in a 1959 talk, the Nobel prize winning physicist, Richard Feynman, challenged the world to shrink text to such an extent that the entire twenty-four-volume Encyclopedia Britannica could fit onto the head of a pin. (A challenge perhaps reminiscent of the whimsical question about ‘the number of angels fitting on the head of a pin’, at the time intended to mock medieval scholasticism.) Meanwhile, Feynman believed there was no reason technology couldn’t be developed to accomplish the task. The challenge was met, through the scaling of nanotechnology, two and a half decades later. Never say never, when it comes to laying down novel intellectual markers.

I suggest that the most-fundamental dimension to the origination of such mind-stretching ideas as Feynman’s is curiosity — to wonder at the world as it has been, as it is now, and crucially as it might become. To doggedly stay on the trail of discovery through such measures as what-if deconstruction, reimagination, and reassembly. To ferret out what stands apart from the banal. And to create ways to ensure the right-fitting application of such reinvention.

Related is a knack for spotting otherwise secreted links between outwardly dissimilar and disconnected things and circumstances. Such links become apparent as a result of combining attentiveness, openness, resourcefulness, and imagination. A sense that there might be more to what’s locked in one’s gaze than what immediately springs to mind. Where, frankly, the trite expression ‘thinking outside-the-box’ is itself an ironic example of ‘thinking inside-the-box’.

Forging creative results from the junction of farsightedness and ingenuity is hard — to get from the ordinary to the extraordinary is a difficult, craggy path. Expertise and extensive knowledge is the metaphorical cosmic dust required in order to coalesce into the imaginatively original ideas sought.

Case in point is the technically grounded Edison, blessed with vision and critical-thinking competencies, experiencing a prolific string of inventive, life-changing eureka moments. Another example is Darwin, prepared to arrive at his long-marinating epiphany into the brave world of ‘natural selection’. Such incubation of ideas, venturing into uncharted waters, has proven immensely fruitful.

Thus, the ‘nurseries’ of thought fragments, coalescing into complex ideas, can provide insight into reality — and grist for future visionaries.

Picture Post #21 Where Do Ideas Come From?

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'Because things don’t appear to be the known thing; they aren’t that what they seemed to be, neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

Le lac El Mansour Eddahbi, Morocco Photo credit: Tessa den Uyl

An horizon, form, movement and colours softly scale to inspire the poet, incidentally but gently. Or is it the composer, the scientist, the choreographer, the sculptor - or the philosopher? The muse carries along inspiration naturally between the old and the new world.

To be inspired is of such subtlety, like a breath indeed, that we can hardly understand how it happens. In its place, we simply recognise the sensation when it comes to us, like a thin thread, solidly spun, that triggers a powerful, yet uncontrolled sensation and offers the mind an opportunity to float on the ribs of the river, to muse thereupon.

Innocent and timeless is that moment in which the muse breaks down the schism between the real and unreal and in this ‘lawless’ state of being she unfolds something unnoticed that is suddenly seen, felt, appreciated, related. The muse chains creativity like toppling dominoes, yet touches the one ahead, in the space of time.

To receive a vision is an experience of great excitement.

Originally, nine Greek goddesses protected the arts and the sciences and were called upon by their name to draw forth different pieces for the poets' verses. The name of Mnemosyne (the mother of the muses), like the word muse, both derive from the verb mnaomai, meaning to be mindful.

Seen through more modern eyes, the muse seems connected with something sensual, passive - perhaps like a model posing for the visual artist. The meaning of memory, in its juxtaposition to remembering (the verse) and becoming future reminiscence, it has been transformed. Within this certainty, it is this uncertainty, to not be certain:

How will the memory source for an artist’s inspiration, the muse, survive in a cybernetic world?