Seemingly deceitful

“The Devil’s Trident” et al.

Simply put an illusion is something that is not real. But we most of us want to believe in things that science and reason tell us, by verifiably replicable experiments and observations, are not real; are “illusionary.” They say we see with our eyes, but let us be clear here, our eyes simply act as conduits to our brains, it is our brains that decipher and decide. For those fortunate enough not to be blind, we do like to be titillated by objects of beauty, panoramic views, the flickering of a fire, the waves rolling in and, optical illusions. The latter are a subject of much interest, writing in 1976, Coren et al. (1976, p. 129) pointed out that in the 120 years since Johann Joseph Oppel published the first systematic work on visual geometric illusions, “nearly a thousand papers have appeared that deal with distortions evoked by simple two-dimensional patterns of lines.” In the past 20 years with the aid of computers (to analyse) and social media (to share) the interest in optical illusions has grown further still (Alter, 2013; Hogenboom, 2015; Schultz, 2013). In this short essay I will discuss a number of such illusions, the way/s in which they trick the brain (alongside the human visual system) and the psychology behind them. But first I will discuss the workings of the eye and how it, like the human brain, is very susceptible to chicanery and trickery—to being deceived.

In the beholder’s eye

We know that the human eye works like a camera. When we look at something, light reflected from that thing enters the eyes through the pupil. Bizarrely it comes in upside down and this light and colour info is focused through the optical bits and bobs within the eye (see Appendix A). As Whitaker et al. (1996, p. 2957) point out in relation to the typical functioning of the human eye:

Judgment of the relative position of objects is an important feature of the human visual system. We seem able to perform this task effortlessly across spatial scales. Thus, whilst we can view two objects and estimate their separation, we are also aware of the relative position of internal features of the objects themselves.

However, the human eye, as with the human mind can easily be tricked. Optical illusions occur because our brains automatically try to interpret and make sense of what we see, usually they get things right, that Apple iPad ‘is’ an Apple iPad but, magicians and sellers of snake oil (and psychologists and visual artists) have long known eyes can be tricked because the human brain is partial to seeing myth as fact and fact as fake. Optical illusions fool our brains into seeing things which are there when they are not actually there or are not seemingly there when, in fact, they actually are.

Perception—what we think, what we think we see—is the interpretation of the things that enter our minds including via our eyes. They say beauty is in the eye of the beholder. Beauty is subjective. Therefore, the same object will not be seen as the same thing by any two people. As pointed out by Hogenboom (2015) Aristotle wrote that, “our senses can be trusted but they can be easily fooled.” This was in the context of him looking (not into Nietzsche’s abyss, but) into a waterfall for too long. He observed that, if we watch something moving quickly for too long, and then look at an inanimate object next to it — like the rocks beside a waterfall — they will appear to move in the opposite direction; a phenomena now classified as the “motion aftereffect” or, “the waterfall illusion.” Neuroscientists have argued that this can be explained by the fact that it takes a lot of energy and effort for the eye to compute fast moving and continually ‘forward’ moving objects so that when it suddenly switches to seeing a stationary object if over emphasises the lack of movement and moves the object slowly ‘backward’ (Hogenboom, 2015).

There is a theory attached to all of this and it is called the Centroid Hypothesis. It states that judgments of distance between visual objects are influenced by the brain’s computation of the “centroids of the luminance profiles of the objects” (Whitaker et al., 1996). Concerning the Devil’s Trident (see Appendix B), the Müller-Lyer arrows (see Appendix C), the Penrose triangle (see Appendix D) and similar illusions, the pattern of neural excitation evoked by contextual flank overlaps with that caused by the stimulus terminator, thereby leading (due to the shift of the centroid of summed excitation) to its perceptual displacement. The relative displacement of all stimulus terminators leads to misjudgement of distances between them; that is, the illusion occurs as a side effect due to necessarily low spatial resolution of the neural mechanism of assessment of the relative location of the visual objects.

The Devil’s Trident 🔱

Devil's Trident -- an optical illusion
Figure 1: “The Devil’s Trident,” Masterton and Kennedy (1975, p.107).

The Devil’s Trident (a.k.a., “The Impossible Trident”) was first noted in the academic press by an American psychologist—Donald Schster—who is said to have been inspired by an advert he saw in a magazine (Schuster, 1964). Accounts of the “Devil’s Trident”—see Appendix B—stress that the middle prong, “appears to be in two places at the same time” and that it involves, “incompatible surface depth cues linked as though they were compatible” (Masterton & Kennedy, 1975, p.107).

Knowledge of optical illusions is not a recent thing. Like all good things, we can go back to Ancient Greece to find initial thinking on the subject: Aristotle and the waterfall (as mentioned above). Indeed, as Bach and Poloschek (2006 p. 21) say, Plato also alerted us to the discrepancy between perception and reality in his “Allegory of the Cave.” Philosophers remain intrigued to this day. As Donaldson (2017) argues that impossible figures prove problematic for sense-data accounts of perception that contend that, corresponding to every visual human experience, there are mental objects (sense-data) that we are aware of—and that sense-data have the properties that the objects that our experiences tell us they do. The problem is that sense-data would have to be impossible objects … surely, impossible objects can’t exist!” There are other explanations. For example, illustrations like the Müller-Lyer arrows (see Appendix C) confuses the brain (in some cultures, according to Alter (2013), not all) and it overcompensates, “making the line appear bigger — as it would have to be in real life to produce those kinds of proportions” (Hogenboom, 2015).

Concluding remarks

To sum up, we can assume that we will never be able to suddenly see true reality with crystal clear clarity and 20/20 vision, be it the waterfall’s rock, the shadow play in the cave or the Devil’s Trident. But this is the magic of reality. This is something we should embrace and revere, not fear. Just because we do not know what lies within black holes or what exists beyond the edge of the universe does not mean we need to create myths to fill in the gaps and then dogmatically and religiously follow them (see Dawkins, 2011). Personally, I like that art can trick us it actually says to me we are human. Also, I feel that visual illusions are actually logical and explainable by reason and science: our brains have evolved to need to constantly predict what is about to happen so, illusions demonstrate our brain being logical and telling us what we should ‘typically’ see not what we rarely physically see.


Alter, A. (2013). Are These Lines the Same Height? Popular Science. Retrieved,

Bach, M &, Poloschek, C. (2006). Optical Illusions. Visual Neuroscience, 6(2), 20-21.

Coren, S., Girgus, J., Erlichman, H., &, Hakstian, A. (1976). An empirical taxonomy of visual illusions. Perception & psychophysics, 20(2), 129–137.

Dawkins, R. (2011). The Magic of Reality: How We Know What’s Really True. London: Bantam Press.

Donaldson, J. (2017). “Impossible Trident” in F. Macpherson (ed.), The Illusions Index. Retrieved,

Hogenboom, M. (2015). How your eyes trick your mind. BBC. Retrieved,

Howey, T. (2016). “How the eye works” Retrieved,

Masterton, B. &, Kennedy, J. (1975). Building the Devil’s Tuning Fork. Perception, 4(1), 107–109.

Schuster, D. H. (1964). A new ambiguous figure: A threestick clevis. The American Journal of Psychology, 77(4), 673.

Schultz, C. (2013). Are Optical Illusions Cultural? Smithsonian. Retrieved,

Whitaker, D., McGraw, P. V., Pacey, I., & Barrett, B. T. (1996). Centroid analysis predicts visual localization of first-and second-order stimuli. Vision Research, 36(18), 2957–2970.

Wikipedia (2020a). “Impossible trident.” Retrieved,

Wikipedia (2020b). “Müller-Lyer illusion.” Retrieved,

Wikipedia (2020c). “Penrose Triangle”. Retrieved,

— § —

Appendix A

How the Eye Works
(Howey, 2016)

— § —

Appendix B

Devil's Trident -- an optical illusion
Note: The devil’s trident (or ‘tuning fork’) is a drawing of an impossible to physically construct object. As articulated by Wikipedia (2020a), “it appears to have three cylindrical prongs at one end which then mysteriously transform into two rectangular prongs at the other end” (see also: Masterton & Kennedy, 1975, p.107).

— § —

Appendix C

Note: The Müller-Lyer illusion typically comprises of three arrows and we think the stems of these arrows are different lengths but, as the diagram shows, they are in fact the same length; as far as we know it was first devised by the German sociologist Franz Müller-Lyer in the late 1800s (Wikipedia, 2020b).

— § —

Appendix D

Impossibility in its purest form” is how the so-called Penrose Triangle is described. It is another of these object which can be drawn but cannot exist as a solid object -- just like this paper’s 'Devil’s Trident'
Note  “Impossibility in its purest form” is how the so-called Penrose Triangle is described. It is another of these object which can be drawn but cannot exist as a solid object (Wikipedia, 2020c) — just like this paper’s “Devil’s Trident” (see Appendix B, above).


feisty, fervid & all-consuming

All hushed and still within the house;
Without – all wind and driving rain;
But something whispers to my mind,
Through rain and through the wailing wind,
Never again.
Never again? Why not again?
Memory has power as real as thine.

Emily Brontë

Simonetta and Dante

I never really came alive until,
I more or less died —
I’d floated along by hushed breeze and sail
I’d slept whilst they rowed.
You’d emerged in a place so far away
You’d grown in harsh heat —
You felt real thunder and deep disarray
You searched hard for light.
We locked eyes and made our haven from all
We found our true selves
We then got split, but vowed this bond won’t quell
We’ll find by inked delves. . .

“Simonetta Vespucci as Nymph” (c. 1480) and “Dante Alighieri” (c. 1495)
by Sandro Botticelli (c. 1445–1510).

“The Birth of Venus”
by Sandro Botticelli (c. 1445–1510) (c. 1485) @ The Uffizi Gallery, Florence.
Left to right: Mercury, the Three Graces, Venus, Flora, Chloris, Zephyrus
by Sandro Botticelli (c. 1445–1510) (c. 1482) @ The Uffizi Gallery, Florence.
“Venus and Mars”
by Sandro Botticelli (c. 1445–1510) (c. 1485) @ The National Gallery, London.

Literature — art at its most sublime.

“Pallas and the Centaur”
by Sandro Botticelli (c. 1445–1510) (c. 1482) @ The Uffizi Gallery, Florence.

Now I don’t pretend to know much ado about nothing but Pallas is meant to be a Greek God, one of the Titans: a male. A centaur is a mythical half man half horse and thus, male too. So, who’s the lady depicted in the picture above? My inept investigations took me via a typo from the mythical Titan to the Italian painter Titian (a.k.a., Tiziano Vecellio) (c. 1488–1576) who also painted Venus (et al.). . .

“Venus of Urbino”
by Titian (1534) @ The Uffizi Gallery, Florence.
Self-Portrait, c. 1567; @ The Museo del Prado, Madrid
by Titian (c. 1567) @ The Museo del Prado, Madrid.

. . .who lest we forget is the god of Love (the subject of this posting). Titian, incidentally and interestingly was called by his contemporaries, “The Sun Amidst Small Stars” (which is the last line of Dante’s (see ^ up) poem Paradiso), According to the art scholar Gloria Fossi (2000) Titian’s technique of the application and usage of colour has had a profound influence on Western art. From Titian I got to Bronzino (a.k.a., Agnolo di Cosimo) (1503–1572), well because, he also painted Venus (et al.) and like Titian was of the Venetian school. . .

“Venus, Cupid, Folly and Time”
by Bronzino (c. 1544) @ The National Gallery, London.
. . . they say Bronzino’s somewhat elongated figures always appear to be calm and a little too reserved (i.e., lacking the agitation and emotion of those painted by some others) and believe it or not I sensed that in her fingers and in the leggy long-backed cheeky cherub. Well from there I found my way to Western painting (hovering over the link on the Bronzino page I saw a pic of the girl with the pearl…) and just had to see what was included in this, the people’s canon:

Ancient Roman wall art, artist unknown (c. 6 BCE – 9), prosaically titled: “Herakles finds his son Telephos” @ The National Museum, Naples.
— this mural depicts the discovery of the child Telephos by his father, Herakles. Telephos, a minor figure mentioned in Trojan War stories (painted here being suckled by a doe). To the left sits a colossal personification of Arcadia, an impressive female figure who stares off into the distance (oh yeah, that ‘far-away-stare’ look). Follow the lion’s gaze, see where the lightening rod is striking (air-brushed out or added as a salacious afterthought?), see the udder suckling and the tender fawning of the knee…

Meisje met de parel
“The eyes”
by Johannes Vermeer (1632–1675), titled: “Girl with a Pearl Earring” (c. 1669) @ The Mauritshuis, The Hague, Holland.
— sometimes referred to as the Mona Lisa of the North… oh wow, you see into my soul don’t you. You, the finest pear of pearls the waters of the Persian Gulf ever did relinquish to the arid surrounds of the oasis of the soul.
soul meets soul
“The bum”
by Jean Auguste Dominique Ingres (1780–1867), titled: “The Valpinçon Bather” (1808) @ The Musée du Louvre, Paris.
— I didn’t get it at first but this is the chap who got titillated by notions of the Orient.*  Oh Edward Saïd! Oh Wilfred Thesiger!
“The kiss”
by Gustav Klimt (1862–1918), titled: “The Kiss” (c. 1907) @ Österreichische Galerie Belvedere, Vienna.
— it certainly once, A3 sized and lovingly laminated, hung above the very epitome of my very own Delta of Venus (a.k.a. the Nymph of Nizwa).
“The connotation and the implication”
by Grant Wood (1891–1942), titled: “American Gothic” (1930) @ the Art Institute of Chicago.
— don’t dig, in this instance ignorance is bliss.

Literature — art at its most sublime.


*   Orientalismus and them — who am I? who r U? Ways of Escape, wanting to be somewhere (anywhere?) other than here, but here’s not a geographic location, it’s a mindset that cannot, I fear, be vacated until the end of days. Ingres, who evidently had a penchant for the Orient, painted these paintings also:

“Odalisque with Slave” (L’Odalisque à l’esclave) **
by Jean Auguste Dominique Ingres (1780–1867) (1839) @ Fogg Museum, Boston.
“La Grande Odalisque”
by Jean Auguste Dominique Ingres (1780–1867) (1814) @ Musée du Louvre, Paris.
Hard to marry such colour and enchantment with this photograph of Ingres; yet in the self-portrait said to be by him in his 78th year, I detect an amazing head of youthful hair and a hint of a cheeky flair:

Jean Auguste Dominique Ingres
“Self-Portrait at Seventy-Eight”
by Jean Auguste Dominique Ingres (1780–1867) (1858) @ The Uffizi Gallery, Florence.
sketches by Jean Auguste Dominique Ingres
“Look into my eyes, look into my eyes, don’t look around the eyes, look into the eyes”
Sketches by Jean Auguste Dominique Ingres. (1780–1867)

**   An odalisque (اوطه‌لق) was said to be a, hmm, let us say ‘chambermaid’ in the time of the Ottoman empire. And on I’m driven to forage and dig, an internet hunter and gatherer am I. I subscribe to this self-imposed penitence, relentless is the yearn, incessant is the burn, bereft of zest, I am. So here (the anonymous) you(s) go:

by Jules Lefebvre (1834–1911) (1874) @ Art Institute of Chicago.

بس خلاص

بس خلاص

بس خلاص

Just saying…

Life is short /
chill the duck out.

See no evil, hear no evil, say whatever “The F” you want so long as it ain’t
argumentum ad hominem
Let’s remind ourselves just how very much the Brits love the F word.!.

I will be queen
And you
You will be king

We can beat them
Just for one day

We can be heroes
Just for one day

David Bowie

{ A Correction }
We may wanna say: “courses for horses” as opposed to, “horses for courses.”

English dogs

Quite why the British love dogs so much I dunno, maybe it’s cos they like to boss people around — dear reader I joke! I’m a proppa anglophile. Dogging is one thing (I’ll let you look up this pastime yourself) but, what’s it mean to be called a “poodle” or a “lapdog”?

Private Eye
Private Eye — subtext: The U.K.’s Prime Minister is a ‘control freak,’ he only appoints Ministers who will agree with whatever he does or says.

In politics, “poodle” is an insult used to describe a politician who obediently or passively follows the lead of others. It is considered to be equivalent to lackey. Usage of the term ‘poodle’ is thought to relate to the passive and obedient nature of this breed of dog.

A weak person who is controlled by someone else.

Here’s one more but it’s Chinese in origin:

Running dog
This is a pejorative term for a person who unquestioningly helps more powerful people. It is like being called a ‘yes-man’ or a ‘lackey.’ Usage of the term ‘running dog’ is thought to relate to the tendency of dogs to ‘blindly’ follow after humans in the hope of receiving food or a favour of some kind (e.g., shelter or a pat on the back).


More Private Eye covers etc.

Political satire
Subtext: The U.K.’s PM is being pulled in two different directions.

I shall study…

for what else can I do?
❝(Ⅲ+Ⅲ) ⅋ (Ⅲ*Ⅲ)❞

Heronimus Bosch
^ Known as a triptych. This one consists of oil daubed, with meticulous masterstrokes, on three oak panels. It was painted some 500 years ago, by a lowlands gentleman called, Hieronymus Bosch.

“Garden of Earthly Delights” is the contemporary title given to Hieronymus Bosch’s mesmerising work. It was painted in around 1499 and is currently on show at the Museo del Prado in Spain.

Before digging and delving a little deeper, lets enjoy each panel in turn (click each of the three below to greatly expand the image); together, the three parts of a triptych are intended to tell a story which is read from left to right:

A. “Left-hand panel”
B. “Central panel”
C. “Right-hand panel”

As so little is known about Bosch, opinions and interpretations of his work have ranged from, “an admonition of worldly fleshy indulgence,” through, “a dire warning on the perils of life’s temptations,” to, “an evocation of ultimate sexual joy!” Look again at the myriad of things going on in the central panel; there is a surfeit of symbolism. Contemporary scholars are divided as to whether the triptych’s central panel is a moral warning (good 😇) or a panorama of paradise lost (bad 😈). But come on YOLO (( Jae: WOLO )) bad is good ain’t it. We say wicked to mean good and sick to mean wow. I, for one would rather wallow in the last days of Rome, than be a prudish restrained human, living not for today but the mythical afterlife.

“Hidden meanings in The Garden of Earthly Delights”
by Fiona Macdonald (9 August, 2016)
“Facts You Need to Know About the Delightfully Weird ‘Garden of Earthly Delights’”
by Jessica Stewart (6 July 6, 2019)
“Decoding Bosch’s Wild, Whimsical “Garden of Earthly Delights”
by Alexxa Gotthardt (18 October, 2019)


Etymology: From Latin tri- (“three”) and Ancient Greek τρι- (tri-, “three”).

A triptych is a work of art that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works.

A group of three related novels, plays or films etc.

A vehicle similar to a bicycle, but having three wheels, two at the back and one at the front.

[1] (in surveying) the tracing and measurement of a series or network of triangles in order to determine the distances and relative positions of points spread over an area, especially by measuring the length of one side of each triangle and deducing its angles and the length of the other two sides by observation from this baseline. — “The triangulation of Great Britain.”
[2] The formation of or division into triangles.
[3] (In American politics) the action or process of positioning oneself in such a way as to appeal to or appease both left-wing and right-wing standpoints.

Adjective: Existing in three copies or examples.
Noun: A thing which is part of a set of three copies or corresponding parts.
Verb: To make three copies of something; to multiply by three.

A three-legged stand for supporting a camera or other apparatus.

The branch of mathematics dealing with the relations of the sides and angles of triangles and with the relevant functions of any angles.

[1] Shared by three parties. — “a tripartite coalition government.”
[2] Consisting of three parts — “a tripartite classification.”

Adjective: Something that has three colours.
Noun: A flag with three bands or blocks of different colours, especially the French national flag with equal upright bands of blue, white, and red.

With reference to the trio of trilogies introduced above:

* AESCHYLUS [1 of 3]
Aeschylus (524–456 BC) was an ancient Greek tragedian and is today described as the father of tragedy.

Orestes Pursued by the Furies, by William Adolphe Bouguereau (1862)
My X man, a sensitive soul but also a *_fucking_* player
Greek text
“It’s all Greek to me”
(i.e., double Dutch, gibberish, gobbledygook, mumbo jumbo)

It’s all Greek to me
An English idiom — which may be construed as rude by some — meaning that something is difficult to understand. The metaphor makes reference to Greek as an archetypal foreign form of communication both written and spoken. The idiom is typically used with respect to something of a foreign nature. We may choose to use it to refer to texts containing too much jargon etc. The idiom/metaphor’s roots may well be a direct translation of a similar phrase in Latin: “Graecum est; non legitur” (“it is Greek, [therefore] it cannot be read”) a phrase increasingly used by monk scribes in the Middle Ages, as knowledge of the Greek alphabet and language was dwindling among those who were copying manuscripts in monastic libraries. Recorded usage of the metaphor in English traces back to the early modern period. It appears in 1599 in Shakespeare’s play Julius Caesar.

Double Dutch
[Informal • British]
Language that is impossible to understand. — “The instructions were written in double Dutch.”

Unintelligible or meaningless speech or writing. — “Our Doctor for English Literature often talks a load of gibberish.”

Language that is meaningless or is made unintelligible by excessive use of technical terms. — “His essay on Plato was pure gobbledygook.”

Mumbo jumbo
Language or ritual causing or intended to cause confusion or bewilderment. — “A maze of legal mumbo jumbo.”

Read more :
Poetry & ProseWritersAeschylus


Dante Alighieri was born in 1265 in the Italian city of Florence. “Abandon hope, all ye who enter here,” is the famous phrase written above the gate of Hell in the 14th c. poem by Dante; the poem is called the “Divine Comedy” and Hell is known as “Dante’s Inferno.”

Love moves the sun and the other stars.

Read more :
Poetry & ProseWritersAlighieri Dante


*** CHINUA ACHEBE [3 of 3]
Achebe is said to be the father of African literature in English. In spare and lucid prose, he writes of the universal tale of personal and moral struggle in a(n ever) changing world. In his most notable and accomplished work, Things Fall Apart, the individual tragedy of Okonkwo, ‘strong man’ and tribal elder in the Nigeria of the 1890s is intertwined with the transformation of traditional Igbo society under the impact of Christianity and colonialism. In No Longer at Ease, Okonkwo’s grandson, Obi, educated in England, returns to a civil-service job in colonial Lagos, only to clash with the ruling elite to which he now believes he belongs. Arrow of God is set in the 1920s and explores the conflict from the two points of view – often, but not always, opposing – of Ezuelu, an Igbo priest, and Captain Winterbottom, a British district officer.


& illuminating

Quintin Blake
Dear those troubled with dark thoughts
Quintin Blake
Let’s try together to lighten your load.

Illustrator: Quentin Saxby Blake

While Quentin is an author in his own right, he’s probably best known for illustrating Roald Dahl’s (1916–1990) novels; which have now sold over 250 million copies — yep Jay, that’s a quarter of a billion innit.

Roald Dahl
Roald Dahl: author and smoker
Roald Dahl
Roald Dahl

James and the Giant Peach is a popular children's novel written in 1961 by British author Roald Dahl
James and the Giant Peach (1961)
“A young orphan boy enters a gigantic, magical peach, and has a wild and surreal cross-world adventure with seven magically-altered garden bugs he meets.”
Charlie and the Chocolate Factory (1964)
“The adventures of young Charlie Bucket inside the chocolate factory of eccentric chocolatier Willy Wonka.”
The Twits is a humorous children's book written by Roald Dahl and illustrated by Quentin Blake.
The Twits (1979)
“A hideous, vindictive, spiteful couple known as the Twits continuously play nasty practical jokes on each other out of hatred for one another.”

After finishing my Children’s Literature course, I did read this book to my younger sisters and brother:

Author: Quentin Blake
“When eccentric Professor Dupont tries to track down his troupe of brightly-coloured cockatoos, they’re always just one step ahead of him.”

I shall read…

for what else to do now?

This mournful and restless sound was a fit accompaniment to my meditations.

— Joseph Conrad, Lord Jim

Oh 2 be b’side the c-side with u write now! Can you hear it, can you hear me, can you hear the sonorous, no searing, sounds of the redolent, no relentless, sea.

Read The NYT Book review

Download a PDF copy here:
BooksNYT Book Review (Jan. 2020).

There is an ocean of silence between us. . . and I am drowning in it.
“No one compares to you, but there’s no you, except in my dreams tonight.”
— Lana Del Rey

Though lovers be lost, love shall not /
And death shall have no dominion.

— Dylan Thomas

There is an ocean of silence between us. . . and I am drowning in it 013
“It hurts to breathe. It hurts to live. I hate him, yet I do not think I can exist without him.”
― Charlotte Featherstone

There is an ocean of silence between us… and I am drowning in it.

— Ranata Suzuki

There is an ocean of silence between us. . . and I am drowning in it 012
“You can love someone so much… But you can never love people as much as you can miss them.”
― John Green

Ever has it been that love knows not its own depth until the hour of separation.

— Kahlil Gibran

There is an ocean of silence between us. . . and I am drowning in it 010
“When the sun has set, no candle can replace it.”
― George R. Martin

It’s painful, loving someone from afar /
Watching them – from the outside.

— Ranata Suzuki

“Your smile and your laughter lit my whole world.”



I like the sound of “humanism”
[ hu-man-ism | /hjuːmənɪz(ə)m/ ]
but, it ain’t as simple as it sounds …

“Humanism”, an idol of the marketplace?
— Matthew Sharpe (2015)

… is it a hedonistic trait?
… is it a doctrine for the atheist?

Well, according to Wikipedia et al., as a concept, a theoretical construct, an analytical framework, humanism primarily concerns itself with humankind. Concerns include: human needs, human desires, and human experiences.

Jim Al-Khalili — a British academic who describes himself as a humanist — makes some great documentaries and, thanks to Spark, some of these are on the free side of paywalls 🙂 :

Philosophers today often mark the beginning of humanism with the writings of Dante (1265–1321), nonetheless, it was Petrarch and his musings that more accurately formed the foundations. Petrarch (1304–1374) was an Italian poet who applied the ideas and values of ancient Greece and Rome to questions about Christian doctrines and ethics which were all the rage during his own time. Petrarch was among the first to work to unearth long-forgotten ancient Greek and Roman manuscripts. Unlike Dante, he abandoned any concern with religious theology in favour of ancient Roman poetry and philosophy. He also focused upon Rome as the site of a classical civilization, not as the center of Christianity. Finally, Petrarch argued that our highest goals should not be the imitation of Christ, but rather the principles of virtue and truth as described by the ancients.

Following in Petrarch’s footsteps — so to speak — was Erasmus (1466–1536), a.k.a. Erasmus of Rotterdam. Erasmus was a Dutch philosopher and humanist who is widely considered to have been one of the greatest scholars of the northern Renaissance. Amongst humanists he enjoyed the sobriquet “Prince of the Humanists.” Importantly, he prepared new Latin and Greek editions of the Bible’s New Testament, which raised questions that would be influential in relation to the later reformations that took place in Europe. He also wrote On Free Will and — something I like the sound of — In Praise of Folly.

Holbein-erasmus (2)
‘Portrait of Erasmus of Rotterdam’
by Hans Holbein the Younger (1523)
Hanging @ The National Gallery, London, England, United Kingdom.

Humanism can also be seen as a contemporary philosophical stance that emphasises the value and agency of human beings, individually and collectively, and generally prefers scientific evidence-based critical thinking in preference to blind, sheep-like acceptance of dogma and superstition.

Adam Miller’s paintings explore the intersection between mythology, ecology and humanism.

Adam Miller
Adam Miller, at ease in his New York studio
The Fall of Troy
The Fall of Troy
Adam Miller
‘A painting’
By Adam Miller
by Adam Miller
‘A painting’
By Adam Miller

-ism is a suffix you’ll see in many English words which — as I’ve said before, like most good things — originates from Greece. In Ancient Greek there’s this suffix: ισμός; it came to us via the Latin suffix: -ismus, and the French one: -isme. In a nutshell, words ending with -ism will often mean: “taking side with someone or something.” -ism words are often used to describe philosophies, artistic and political movements and, behaviour (think: psychology).

— An economic and political system in which a country’s trade and industry are controlled by private owners for profit, rather than by the state. Characteristics central to capitalism include private property, capital accumulation, wage labor, voluntary exchange, a price system and competitive markets.

— A philosophical, social, political, and economic ideology and movement whose ultimate goal is the establishment of a communist society, which is a socioeconomic order structured upon the ideas of common ownership of the means of production and the absence of social classes, money, and the state.

📙 The Magic of Reality

O. J. ( as in, “Oh, Jay!” )

This book really and truly fascinated me:

The examples and illustrations are mind opening and mind blowing, respectively.

p. 96

Richard Dawkins (see full profile here) is an English evolutionary biologist, author and professor at Oxford University. His seminal work The Selfish Gene (1976), popularised the gene-centred view of evolution and introduced the term meme. Here are a few extracts from The Magic of Reality that I feel it is okay to share as editable .pdf files:

pp. 12-13 from ‘The Magic of Reality’ (Dawkins, 2011)

pp. 32-52 from ‘The Magic of Reality’ (Dawkins, 2011)

pp. 118-139 from ‘The Magic of Reality’ (Dawkins, 2011)

pp. 246-265 from ‘The Magic of Reality’ (Dawkins, 2011)