Perfect

18. “cloud, finally dark”

“Clouds and darkness are round about him: righteousness and judgment are the habitation of his throne.”

– Psalm 97:2

Moses’ vision of God began with light; afterwards God spoke to him in a cloud. But when Moses rose higher and became more perfect, he saw God in the darkness.

– Gregory of Nyssa: ‘Life of Moses’

This cloud, mist, darkness, or ignorance into which whoever seeks your face enters when one leaps beyond every knowledge and concept is such that below it your face cannot be found except veiled. But this very cloud reveals your face to be there beyond all veils, just as when our eye seeks to view the light of the sun, which is the sun’s face, it first sees it veiled in the stars and in the colours and in all the things which participate its light.

– Nicholas de Cusa: ‘The Vision of God’, Chapter VI 21

I want to ask you to close your eyes

for a few moments and to image:

I want you to follow me

into a dark cloud,

a mist so dense

we are hidden from each other,

and although we can see,

there is nothing to be seen

except the darkness.

– Thomas Merton: ‘A Guided Meditation on “The Face”’, based on Chapter VI 17-21 of Nicholas de Cusa’s ‘The Vision of God’ (De Visione Dei)

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32. “supreme principle”

The Supreme must be an entity in which the two are one; it will, therefore, be a Seeing that lives, not an object of vision like things existing in something other than themselves: what exists in an outside element is some mode of living-thing; it is not the Self-Living.

– Plotinus: ‘The Six Enneads’

Plotinus has given its fullest development to Neo-Platonism. We will follow his working out of the two fundamental ideas which, in his view, sum up all philosophy.

(1) The Process of Emanation from a Supreme Principle, the one source of all existing things, explains the physical and the metaphysical worlds. According as this principle gives out its energy, it exhausts itself; its determinations follow a descending scale, becoming less and less perfect. The following are the successive steps in the process:

The One

At the head of the intelligible world, far removed from the world of sense (Plato), reigns One Supreme Essence. To safeguard its transcendence, Piotinus states it to be absolutely indeterminate (apeiron). No quality marks or defines it; nothing can determine it, for all determination implies limitation (negative theodicy). The Supreme Being has no attribute, not even intellect or will: knowledge and volition suppose a duality of knower and thing known, of that which wills and that which is willed; and all duality is irreconcilable with the infinitely perfect. However, as this negative concept has for basis the Divine perfection, Plotinus has recourse to positive descriptions, the insufficiency of which, moreover, he fully recognises. By preference he describes the Supreme Being as the First (to prôton), the One, the Universal Cause, Goodness (Plato), Light. Immutable in itself, this First Unitary Being does not diffuse its substance into other beings, as the advocates of substantialist pantheism maintain; but it permeates them by its activity (dynamic pantheism); and what we call the proper, specific substantiality of things is simply the product of this activity. Furthermore, this outflow of the Divine activity into all other beings is not direct and immediate; it is effected through the agency of intermediary forces which emanate successively from one another. And as the effect is always less perfect than the cause, these activities are arranged in gradation according to their respective degrees of perfection, each one occupying a position which is lower the greater the number of intermediate steps by which it communicates with the Divine energy. What are these intermediaries into which the Divine energy flows, as it were, by cascades? Plotinus reduces them to three: Intelligence and the World-Soul in the suprasensible order; and, in the sensible order, Matter.

– Maurice De Wulf: ‘History of Medieval Philosophy’, 1909

Only blankness, complete awareness, distinterestedness; the “artist-as-artist” only, of one and rational mind, “vacant and spiritual, empty and marvelous,” in symmetries and regularities only; the changeless “human content,” the timeless “supreme principle,” the ageless “universal formula” of art, nothing else.

– Ad Reinhardt, ‘Timeless in Asia’, Art News, January 1960