Friday, April 26, 2024 Text is available under the CC BY-SA 3.0 licence.

Gerhard Richter

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The sciences certainly have influenced the arts. To an Aztec, the sunset was an inexplicable event, which he could not cope with or even survive without the imagined aid of his gods. Obvious phenomena of this sort have since been explained. But the sheer unimagined vastness of the explicable has now made the inexplicable into such a monstrous thing that our heads spin, and the old images burst like bubbles. The thought of the totally inexplicable (as when we look at the starry sky), and the impossibility of reading any sense into this monstrous vastness, so affect us that we need ignorance to survive.

 
Gerhard Richter

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The explicable requires the inexplicable. Experience requires the nonexperienceable. The obvious requires the mystical. This is a powerful group of paired concepts generated by the complementarity of conceptuality.

 
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Nature too remains, so far as we have yet come, ever a frightful Machine of Death: everywhere monstrous revolution, inexplicable vortices of movement; a kingdom of Devouring, of the maddest tyranny; a baleful Immense: the few light-points disclose but a so much the more appalling Night, and terrors of all sorts must palsy every observer.

 
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To suppose universal laws of nature capable of being apprehended by the mind and yet having no reason for their special forms, but standing inexplicable and irrational, is hardly a justifiable position. Uniformities are precisely the sort of facts that need to be accounted for. That a pitched coin should sometimes turn up heads and sometimes tails calls for no particular explanation; but if it shows heads every time, we wish to know how this result has been brought about. Law is par excellence the thing that wants a reason.

 
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Otherwise, I know I’m often wasting my breath and electronic ink saying this, but the “real-world” is a pretty weird place where lots of inexplicable things happen all the time, and I like to catch the flavor of that too. It just seems more modern and authentic to me as a storyteller. The “real world” doesn’t come with the neat three-act structures and resolutions we love to impose on it, and if repeated doses of movie and TV-storytelling have convinced anyone that it does, it‘s time to get out and about a bit. The real world is filled with ghost stories, non sequiturs, inexplicable mysteries, dead ends and absurdities, and I think it’s cool to season our comfortable fictions with at least a little taste of what actual reality is like.

 
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The peace the President had made possible at Portsmouth was the result of just such an inexplicable ability to impose his singular charge upon plural power. By sheer force of moral purpose, by clarity of perception, by mastery of detail and benign manipulation of men, he had become, as Henry Adams admiringly wrote him, "the best herder of Emperors since Napoleon."

 
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