Introduction: Beside Thinking

Field: Arts and Humanities (Social Sciences)

IntroductionBeside Thinking Sowon S. Park I The most advanced teachings of the Buddha are said to have been conducted in silence. In the Zen world, this mode of communication is known as the ‘heart-to-heart transmission’ (以心傳心), a form of meditative practice that requires the banishment of all words from the mind. By abjuring language and, consequently, conscious thought, adherents believe that they can convey truths more profound than those that logical verbal discourse can express. So the lore goes. It is unlikely that this mythic practice will carry much authority with our readers. For how would one know if the message has been received, if a ‘non-thought’ can be said to comprise something as concrete as a message at all? And where would one begin to assess the depth of the truths thus communicated, check the accuracy of the deductions, analyze the efficacy of the procedure, and test the reliability of the set-up? The transmission cannot be disproved and that would seem to be as much as intellectual inquiry can establish. But before one sweeps aside this putative interaction as pre-modern mysticism or ‘Eastern’ mumbo jumbo that science has eradicated, it might be remembered that it is not only the Zen master who subscribes to and has faith in mental processes beside thinking. It takes but little reflection to note that in our everyday lives we engage in a vast range of non-verbal sense-making of the world of which we have little awareness. From gauging the weather to writing an essay to falling in love, we are all dimly conscious that what may appear as decisive thoughts and deliberate actions are in no small part maintained by the unrevealed mental processes that underlie them. Implicit cognition is also discernable in a wide range of deeply-rooted cultural practices. Dancers, actors and trapeze artists are, for example, just a few of the many [End Page 5] whose shared physical actions rely on non-declarative communication. Though it is difficult to articulate exactly what is being communicated and how, it is evident that both the mythic Zen transmissions and dizzying Cirque du Soleil acts rely upon certain ‘non-thoughts’ and the communication of these ‘non-thoughts’ as an integral part of their task. However, since the implicit mental processes that lead up to, or conflict with, our conscious awareness are not verifiable or even directly knowable, there is immense difficulty in attempting to cover the range of these processes with any conceptual precision. We speak vaguely of having a gut instinct, a hunch, a premonition, an intuition, a ‘sense’ of things. This ‘intolerable wrestle with words and meanings’, as T.S. Eliot put it (23), about the unsaid and the unsayable has always been of great fascination to artists and writers, not least Henry James, whose major novels would unravel without the crucial unspoken messages that hold the epiphanic structure in place. Isabel’s recognition of the role of Madame Merle in the piano scene in The Portrait of a Lady, for example, is all the more real for having been produced out of the unsaid. If the processes of the mind that are not conscious have preoccupied writers and artists, scientists have mostly regarded them with indifference, maintaining what is not testable and falsifiable as an unsuitable topic of inquiry. However, in a strange turn of events, undeclared mental processes have become in the last thirty years a revived area of interest in a number of scientific fields. In psychology, the concern with mental processes besides rational thinking was well represented by Daniel Kahneman’s Thinking Fast and Slow (2011), which advanced the idea that the human mind processes information on two levels–by means of ‘System 1’, the intuitive, emotional and fast; and ‘System 2’, the rational, logical and slow. By drawing distinctions between intuitive and logical modes of thought, Kahneman successfully put rational thought on a par with what was customarily consigned to the Freudian unconscious. Before that Malcolm Gladwell popularized the idea of ‘thin-slicing’–the unconscious and rapid processing of accumulated knowledge–in his bestselling Blink (2005), which went some way to support its subtitle: ‘The Power of Thinking Without...