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Forgive

In a book chapter titled “The Psychology of Forgiveness” (2002), psychologists Charlotte vanOyen-Witvliet and Michael McCullough write: “Many of the world’s religions have articulated the concept of forgiveness for millennia. Indeed, the proposition that people have been forgiven by God and, as a result, should forgive their transgressors is common to all three great monotheistic traditions” (p. 447).

Perhaps due to its clear enunciation throughout religion, social scientists had ignored forgiveness as a topic of study for several centuries. However, nowadays “it crosses cultures and continents, disciplines and dogmas… (and) is a much discussed subject in anthropological, sociological, political, and psychological circles” (2000, p. 1143).

In a paper titled “Forgiveness: A Review of the Theoretical and Empirical Literature” (1998), James N. Sells and Terry D. Hargrave highlight a Jungian perspective on forgiveness, both in relation to others and in regard to the self, that defines it as a restorative instrument which can relieve guilt and help with the integration of archetypes, “particularly themes from one’s shadow, into a transcending self” (p. 26).

Does becoming fully human, becoming whole, demand that we overcome a deeply ingrained tendency to retaliate or seek retribution? McCullough states that the “forgiving personality” includes aspects of agreeableness, emotional stability, and a positive correlation with spiritual well-being (2001, p. 195). As part of its redemptive benefits, the “forgiveness response” accordingly enables the cultivation of virtue, and the development of “prosocial” capital (2001) “that helps social units such as marriages, families, and communities to operate more harmoniously” (2002, p. 454). These important traits become “channelized” into characteristic human adaptations which, “as an interdependent people, we simply have too much at stake to ignore the promise of… as a balm for some of our species’ destructive propensities”. Research further suggests that forgiveness may foster coronary health by “reducing the adverse physical effects of sustained anger and hostility”, while people who do not forgive their offenders could incur emotional and physiological costs (2002, p. 452, 453, 455).

Although a forgiving response may garner “psychophysiological benefits, at least in the short term” according to vanOyen-Witvliet and McCullough (p. 453), the picture is more complicated as certain sensitive people will nonetheless suffer health costs despite their offering forgiveness, or that forgiving an abuser might yield negative “psychological sequelae” (p. 454). Sells and Hargrave declare that the dangers of such “pseudo-forgiveness” could include avoidance, denial, injustice, manipulation, or perpetuation of injury (1998, p. 25).

Scholars Frank D. Fincham and Julie H. Hall conceptualize “self-forgiveness” as a set of motivational changes through which individuals learn to accept themselves and become less likely to engage in self-punishing behaviours (2005, p. 622). However, in cases of “pseudo-self-forgiveness”, where feelings of guilt or regret and a corresponding acceptance of responsibility are not fully acknowledged, a tendency towards self-centeredness, and disrespect towards the victim, may be evident (p. 626 – 628).

Author and doctor Aaron Lazare recognizes that in contrast to the often difficult work of apology, forgiveness tends to provide an unburdening, both to the transgressor and to the victim:

“We experience forgiveness as a gift that releases us from the twin burdens of guilt and shame. In addition, if we are the ones doing the forgiving, we are proud of our generous behavior in forgiving the offending party. We had the power to forgive and we used it benevolently” (2004, p. 228 – 229).

Fincham, F. D., & Hall, J. H. (2005), Self-Forgiveness: The Stepchild of Forgiveness Research, in the Journal of Social and Clinical Psychology, Volume 24, Number 5, (pp. 621 – 637).

Hargrave, T. D., & Sells, J. N. (1998), Forgiveness: A Review of the Theoretical and Empirical Literature, in the Journal of Family Therapy, Issue 20 (pp. 21 – 36). Oxford, United Kingdom: Blackwell Publishers.

Lazare, A. (2004) On Apology. New York, United States: Oxford University Press.

McCullough, M. E. (December 2001), Forgiveness: Who Does It and How Do They Do It?, in Current Directions in Psychological Science, Volume 10, Issue 6 (pp. 194 – 197). American Psychological Society, Blackwell Publishers Inc.

McCullough, M. E., & vanOyen Witvliet, C. (2002), The Psychology of Forgiveness, in Lopez, S. J., Snyder, C. R., (Eds.), Handbook of Positive Psychology, (Chapter 32, pp. 446 – 456). New York, United States: Oxford University Press.

Taft, L. (January 2000), Apology Subverted: The Commodification of Apology, in The Yale Law Journal, Volume 109: 1135, (pp. 1135 – 1160). New Haven, United States: The Yale Law Journal Co.

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Enfoldment

Dr. Carl Jung, proponent of the concept of synchronicity which hints at some deeper, interconnected realm, recognized that much of what went on in the human subconscious was invisible to any form of direct observation; not only by outside observers, but often also invisible to the subjects themselves. Nowadays, imaging technology has changed some of this, and is opening all kinds of interesting scientific research doors.

Jung’s study of patients’ dream states demonstrated that a whole other world was perceived by them under certain conditions. It could be said that these dreams were buried or enfolded within their subconscious minds. Jung encouraged his patients to illustrate their visions through art and narrative. Often, strikingly common themes and motifs would emerge from such recollections, despite there being any rational, earthly connection to account for them. He called these recurrent phenomena archetypes and they could, for example, be roles assumed by the dreamer or actors within the dream such as that of a hero or heroine, or objects, such as totems or icons, which themselves became symbols for something metaphysically salient. When studied in this light, recurrent phenomena within stories from dreams become connecting threads of similarity across both time and space. These raise the potential for some deeper interconnecting fabric; invisible, but underlying and intrinsically woven with that which we know as reality.

Jung, despite the acclaim with which he and his work are now held, was perhaps regarded as being on the fringe of science by many of his contemporaries. Another favourite big thinker is David Bohm, who was similarly on the fringe during his time, and whom I will be continuing to write more about in future posts.

Dr. David Bohm was a theoretical physicist who became disillusioned and was eventually exiled as a result of McCarthyism during the U.S. postwar era following his work on the Manhattan project. Living abroad, he delved deeply into quantum mechanics; the study of the smallest particles and their fascinating behaviour. This began as an effort to reconcile some of the questions he felt had not been adequately addressed by his peers and colleagues, namely on the topic of the wave-particle duality. Particularly, how tiny photons, the constituents of light, behave as though they are particles under some conditions, while also behaving as though they are waves under other conditions. This apparent conundrum continues to lie at the heart of much of particle physics to this day. Bohm wanted to reconcile commonly held views by offering a new interpretation.

Bohm worked on developing a theory of an implicate, or enfolded order. Particles, and how we perceive them, may be regarded as an unfolding (an ongoing process), or an unfoldment and their attributes in the unfolded state are indicative of activity that is, or has taken place, on some deeper, enfolded level. To illustrate this notion in the simplest of fashions, he described folding a piece of paper up, taking a pair of scissors and making some arbitrary cuts in it, and then unfolding it to reveal the pattern created by the cuts. This revealed pattern is said to be enfolded; bound up, or implied within the higher implicate order of the folded-up piece of paper, and despite its invisibility to us whilst in the folded-up state, the pattern is nonetheless there. Thus, in reality, what we perceive through our various sense gates, and oftentimes instruments, is merely the explicate order (from ‘to explicate’, ‘explain’, reveal, unravel, etc.) or unfoldment that has derived from the invisible, enfolded, implicate one.

Bohm was not satisfied with the prevailing reductionist scientific approach to further develop his theory of the implicate order, and instead sought to apply his insights on a more tangible, macroscopic level. Rather than study individual particles, he wondered instead about the very nature of perception, consciousness, and reality itself. From this, he went on to develop a format of public dialogue which explored new approaches to communication in order to make the best use of both it and thought, particularly within interpersonal and group contexts. This was an effort aimed at helping lay the groundwork needed to address some of humankind’s most pressing challenges, at whose roots are often issues of incoherent thought and communication.

Interestingly, over just the past few years, David Bohm’s insights in the study of particle physics are seeing a resurgence of attention within the recent work of several of the world’s top physicists, including Lee Smolin, who references him in his book, Einstein’s Unfinished Revolution. Perhaps a renewal of interest in Bohm’s approaches overall will herald a more thorough re-examination and re-evaluation of this important thinker.

Smolin, L. (2019) Einstein’s Unfinished Revolution: The Search for What Lies Beyond the Quantum. Toronto, Canada: Alfred A. Knopf – Penguin Random House

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Synchronicity

Serendipity may be considered an analogue of synchronicity, a term used by analytical psychologist Carl Jung, who described it as events that are “meaningful coincidences” if they occur with no causal relationship yet seem to be meaningfully related to one another. If one is open to such concepts on a broader level, it is not a far stretch to then consider the possibility of some underlying fabric that provides a source from which all phenomena arise. Perhaps what sometimes appear to be unique phenomena are in fact snapshots from such a deeper, invisible realm. As an artist, part of the exercise must therefore be to turn oneself into an antenna of sorts, so that as much of this realm as possible can be apprehended.

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Serendipity

Serendipity is a phenomenon that reveals itself in both art and life. According to Wikipedia, “Serendipity is the occurrence of an unplanned fortunate discovery” (Wikipedia, retrieved January 2020).

This photograph of the Cadillac Motel sign on Victoria Street in Kitchener, Ontario, taken back in the mid-nineteen-nineties, reminds one of how much things have changed in a relatively short span of time. Not only is the content of the image itself emblematic of change; a fifties-era motel sign sitting abandoned in an empty field, but its recording using film and subsequent printing onto photographic paper are now processes reminiscent of a bygone era.

The photo, taken with Kodak high speed infrared film using my father’s appropriately-designated fifties-era rangefinder 35mm camera, required precise handling and developing in total darkness, as well as a degree of guesswork when it came to making the actual exposure. This latter fact was not only due to the camera’s tiny viewfinder which sat outside and parallel to the lens and necessitated intense squinting at the subject, but also because it was difficult to predict, unlike with the case of more modern imaging technology, how the finished photo would turn out. There was no “preview” mode other than what could be seen through the tiny viewer, and even this did not show what this particular film would ultimately reveal; the infrared light and heat radiating from a scene, similar to, but uniquely different from what would be imaged in the visible spectrum. Compounding this were the unpredictability and idiosyncrasies of this variety of film itself, where slight adjustments to the camera angle in relation to the subject, or exposure under subtly differing lighting conditions, could dramatically affect the result. The film’s interesting attributes included its ability to create dark, dramatic skies, and to capture green plants’ “chlorophyll effect” (greenery becoming white, often glowing, in black and white infrared recording) when the camera was appropriately oriented in relation to the subject and direction of the sunlight.

This uncertainty is very often prized by artists and photographers. Having an element of surprise in the production of an image or an artwork can enable the creation of magical, serendipitous “happy accidents”, where added beauty is revealed by a confluence of factors, often unforeseen and sitting outside the creator’s control. Elements within the frame can become unexpectedly highlighted, perhaps imbuing an otherwise plain image with a unique, vibrant appeal. Granted, this uncertainty would have contributed to a larger share of “not-so-happy accidents”; instances where the frame wound up being simply blown-out, drastically dark, some measure between, or perhaps another variable would intrude into the process and destroy any potential aesthetic value.

A state where events and outcomes can be predicted with increasing accuracy, often as a result of the influence of technology, is of obvious benefit to many aspects of modern life. Does a collection of data pointing to some future outcome mean it will necessarily happen? Do some predictions defy any margin of error? Is complexity guaranteed to play a role in confounding the results in some way? Despite our technological advancements, the ability to make accurate predictions often remains elusive. As in the case of creating art or a photographic image, are there places where serendipity can arise in forecasting within the complexity of the wider world to reveal new facets of a subject or topic when precision and prediction fail?