Click here to learn about my mind-bending epic mythology A Conspiracy of Wizards!!!

No automatic alt text available.

An alternative representation, to emphasize the “flor”

The Flor de Luz, the Flower of Light, is both a symbol and, potentially, a tool. It is the symbol of Transcendental Politics (and logo of The Transcendental Politics Foundation) found in the middle of this Venn diagram, and the diagram itself. The name is, in part, a play on words of the French “Fleur de Lis” (a stylized lily), recognizing the incidental similarity of the original logo to a luminescent lily. It is also in part a reference to the concentric flower patterns formed by the overlapping circles of the Venn Diagram, with five small petals surrounding the logo, five larger ones surrounding those. and five larger ones still surrounding those (see the alternative representation). Most importantly, it is a reference to what both the logo and the Venn Diagram represent: Transcendental Politics, the flowering (“flor”) of a new Enlightenment (“luz”).

The Flor de Luz is, in one sense, a simple graphic with a simple purpose. It represents how Transcendental Politics resides at the confluence of our various overarching social institutions, how it aspires to be a distillation and synthesis of what is best in each of them, what has thus far worked well for humanity, leaving out what is least useful in each of them, what has thus far not served humanity well, an ongoing social movement that recognizes and respects the cumulative product of human history and humbly but proactively builds on it, weeding and pruning and watering portions of our social institutional landscape with new layers of conscious cultivation, continuing the human enterprise of transforming the wilderness of what time and numbers have produced into a garden of intentionality that better serves human welfare.

But the Flor de Luz is, in another sense, potentially (in a dynamical form discussed below) something more subtle and complex, a conceptual tool to assist in the identification stage of that ongoing endeavor of social institutional distillation and synthesis, a tool that is only partially and statically represented by the Venn Diagram above. Let’s explore, step-by-step, how it might be transformed into a dynamical tool.

First, consider possible variations of the Venn Diagram above. A different arrangement, or sequence, of the same five circles could be chosen, different pairs overlapping in the outermost petals (e.g., placing politics and activism next to each other, and religion and science next to each other, producing in their overlaps “campaigning” and “pursuit of universal paradigms,” respectively); or different overarching institutions altogether could be chosen (e.g., economics, family, technology, energy, environment, fine arts, etc.), creating a proliferation of possible combinations and sequences. (For instance, one product of the overlap of activism and economics might be “entrepreneurialism,” and of entrepreneurialism and technology “innovation,” leading to one of the already identified smaller petals by a different route.) Different aspects of what their convergences create can be highlighted, illustrating, in a sense, how “all roads lead to Transcendental Politics,” to the commitment to foster a more rational, imaginative, empathetic, humble and humane world.

We can create a completely different kind of Flor de Luz comprised of cognitive and emotional modalities instead of social institutions, with, for instance, reason, imagination, empathy, humility, and humanity (the five core values of Transcendental Politics) as the five overlapping circles, producing social institutions and types of behaviors and endeavors. We can even include such emotions and modalities as anger, fear, and tribalism, things we usually identify as that which we are striving to transcend, to acknowledge that they too have evolved for reasons, and that they may well have something to contribute to our garden of intentionality. Or we can combine cognitive and emotional modalities with social institutions from the outset, testing our minds to identify, for instance, what good can be harvested from the distillation and synthesis of anger, reason, and activism, or of imagination, fear, hope, and science, or of the convergence of those two sets. The possibilities are nearly limitless.

The purpose of presenting ourselves with these nearly limitless combinations is to guide our minds in an exploration of what is, in pursuit of what can be, by facilitating consideration of how we can work to leverage what is into something more beneficial. This can occur both in the abstract, imagining possibilities without worrying about how to attain them, and in the particular, identifying viable pathways to implementation and devising first steps that can be taken now in service to that end. It is, if nothing else, a tool for taking our minds out of the tumultuous onslaught of the perpetual urgency of now, and providing them with a space defined by a more synoptic view, in which we are guided not only in “thinking outside the box,” but in redefining “the box” as something far more expansive.

(I should insert here a response to the criticism, that I imagine has arisen in the minds of at least some readers by now, of “what does this have to do with anything? How does combining names of social institutions and cognitive and emotional modalities accomplish anything?” The answer is that it displaces our tendency to think in fixed ways determined by ideological narratives and ingrained habits of thought with a set of semi-random but also subtly systemic prompts to think in new ways. That can be remarkably useful, and it is integral to the meaning of “Transcendental Politics,” which is about institutionalizing the ongoing effort to transcend our ideological tribalisms and false certainties.)

Let me guide you through a consideration of how this design (five overlapping disks representing distinct social institutional, cognitive, and emotional modalities) can be utilized in the manner described above.

Imagine a narrated animation in which, first, the diagram is explained as representative of how Transcendental Politics is that which resides where our social institutional modalities overlap, each mitigating the others’ defects and reinforcing the others’ strengths, a sort of distillation of the best of what we’ve produced over the millennia, the product of the spinning lathe of trial and error. Then, the outer sections labeled “science, politics, education, activism, religion” are removed and the largest flower pattern is revealed, the narration stating that even though the various institutional modalities themselves are not precisely what Transcendental Politics is (because they exist independently), those aspects of their synthesis that are relevant to serving our shared humanity most effectively are distilled into the Flor de Luz. Then the next layer of petals is removed, and the next, and the narration continues, focusing on the distillation down to those essential ingredients that define Transcendental Politics, bringing the narration to a focus on precisely what Transcendental Politics IS, that quintessence at the center of this convergence of social and cultural evolution.

The animation can then grow back outward, with new petals labeled with new virtues distilled from other arrangements, both in sequence and in selection, of overarching institutions and modalities until a new completed Flor de Luz is constructed, the narration describing along the way how the petals of the concentric flowers, which in the other direction were derived from the larger overlapping petals, in this direction are emergent from the smaller ones (and ultimately from the center, from Transcendental Politics), illustrating how it inherits the cultural material of the past and helps create the cultural material of the future. The animation can then proceed to to a sliding around of the overarching circles, with the petals formed by their new overlaps changing accordingly, and then to a changing of the overarching institutions and modalities themselves, exploring some of the many different permutations of the Flor de Luz.

Now imagine a physical artifact, with five overlapping translucent plastic or glass colored circles in the form of the Flor de Luz, each rotatable around its center and able to switch positions by pivoting around the center circle containing the TPF logo and snapping into a new position. Each disk would contain perhaps three related social institutions or cognitive or emotional modalities that can be rotated into place, creating the possibility for 15 different arrangements without moving the relative positions of the disks, and some multiple of that by moving the relative positions of the disks. A complete set of disks can include far more than five, with the ability to switch out individual disks for others, removing all limits on how many arrangements can be explored. Of course doing so only suggests the combinations; the work of thinking about what that implies, what productive uses those combinations have, remains. But that work, too, can be cataloged and accumulated, in a kind of ongoing “social institutional genome project.”

(We can even create disks whose overarching categories are the finer ones produced by the confluence of other disks, and take their confluence into deeper, finer, and subtler levels.)

In an online version, that cumulative work can result in different combinations leading to different implied products of those combinations appearing in the various petals of the flower (much as they do in the graphic above). The physical artifact might accomplish the same through symbols visible in each petal in each rotational position of the disk, depending on which overarching principle is in effect, forming a sequence with the others, and then using a reference manual to interpret different sequences of symbols, the reference manual itself being a cumulative compendium of previous thought about the various possible combinations. Thus, this device could be used to explore different configurations of overlapping social institutional, cognitive, and emotional modalities, as a useful analytical and practical tool for thinking about how we can create different kinds of collaborative projects using those modalities in service to working our way toward the convergence in the center (Transcendental Politics).

(I can imagine turning it into a game as well, one that exercises the mind in certain ways that are aligned to what we are trying to cultivate, in which in each player’s turn they are challenged to take the set of social institutions and cognitive modalities they get from their “spin” of a Flor de Luz designed for that purpose and either create something from it following a set of rules and in pursuit of a defined goal, or build on what previous players have created. This is, obviously, not a fully fleshed out idea yet; just a glimpse of another possible use.)

What the Flor de Luz thus represents is that we have inherited an enormous quantity of social institutional, technological, cultural, cognitive, and emotional material, that is blended and can continue to be blended in complex ways, and that forms an evolving shared cognitive landscape of enormous complexity, subtlety, and power. It represents that we are not merely passive recipients of this material, but rather active participants in its ongoing formation, in how we combine and distill it, in what we derive from it, in how we employ it, in short, in what kind of world we choose to create together.

The Flor de Luz provides us with a relatively simple but elegant tool for thinking about this, for focusing our thoughts in productive ways. It reminds us of the possibilities, of how religious material and scientific material can combine beneficially, of the need to draw on reason and imagination and empathy all at once and not to pretend that anger and tribalism can (or should) just be wished away, of where our shared stories come from and what purposes they can serve. It reminds us of the fractal geometry of the anthrosphere, of how social institutional and cognitive and emotional materials are tributaries to larger streams; it helps us to reconstruct those tributaries and streams and rivers of possibilities in endless combinations. It is not a necessary tool; we can engage in the same contemplations without it. But it assists us in doing so more comprehensively and more precisely. Think of it as a social institutional kaleidoscope, with mechanisms for considering every set of combinations of every set of cognitive, emotional, and social institutional materials, and thinking about what those combinations imply, what challenges and possibilities they pose, what opportunities they present.

While potentially useful, it is certainly not a sufficient tool in and of itself; in the forthcoming book, “Transcendental Politics: A New Enlightenment,” I go into considerable detail exploring some small portion of the corpus of analytical and practical tools that are relevant to our endeavor. The need to continue to gather, produce, and synthesize them is perpetual. But the Flor de Luz is a reminder that at the core of all of that intellectual and material and practitioner expertise are the lessons of our ongoing history, the convergence of a history of past experiments, and the cumulative products of human genius forming the foundation of present and future innovations. It is up to us to design those innovations to most effectively serve the ever fuller realization of our consciousness and of our shared humanity.

Our various personalities and affinities are reflected in which petals of which variations of the Flor de Luz resonate most with our own predispositions, talents, and desires; it becomes a way of locating ourselves in this shared endeavor of ours, of thinking about who our social institutional neighbors and natural partners are, of who we can reach out to to create new synergies in service to our shared humanity, to the greatest realization of our consciousness and our well-being, individually and collectively. It recognizes both diversity and coherence, facilitates both, draws upon both. The Flor de Luz is a way of thinking about our various roles in this shared story we are living and writing together, and how we can each individually and in cooperation with others, consciously and conscientiously, ensure that we are writing it and living it well.

To learn more about Transcendental Politics and The Transcendental Politics Foundation, visit our Facebook group, our Facebook page, or our website (still under construction).

Comments are closed.