Thanks for pointing me to Superbloom, Erik. Your review drew me in—not just to the book, but into a space of contemplation. I don’t usually read book reviews, but yours did more than summarize—it invited intuition. What surfaced for me was the simple truth: we can’t clap with one hand.
This phrase, almost proverbial, echoes something essential about human connection—about the necessity of reciprocity, of presence. Superbloom, as you described it, seems to embody this spirit. It reminded me of a recent study suggesting that humans aren’t built to function beyond a "hyperlocation"—a tight, immediate sphere of community and attention. Digital technologies shattered that natural boundary, giving us real-time access to far-flung people and events. But access doesn’t mean influence, and this mismatch can breed a quiet dissonance.
We feel we should be able to act, intervene, or fix things far away, just because we know about them instantly. But this isn’t what we’re wired for. This modern condition feeds a kind of anxiety that, paradoxically, echoes Khalil Gibran: “Our anxiety does not come from thinking about the future, but from wanting to control it.”
This new research reaffirms Robin Dunbar’s famous number—the idea that humans can only maintain around 150 meaningful relationships. Beyond that, the quality of connection fades. Perhaps, in an age of infinite connection, Superbloom is a timely reminder to return to the real, to the reciprocal, to the small but vital field where we can still reach, touch, and be touched.
Your work verbalizes a critical aspect of my creative process, which I have used for decades. The verbal orientations of visual art curators and critics expect explanations from artists. I can confidently present abductive reasoning in discussions of my work.
Beautiful to read, Erik.
We Can’t Clap with One Hand
Thanks for pointing me to Superbloom, Erik. Your review drew me in—not just to the book, but into a space of contemplation. I don’t usually read book reviews, but yours did more than summarize—it invited intuition. What surfaced for me was the simple truth: we can’t clap with one hand.
This phrase, almost proverbial, echoes something essential about human connection—about the necessity of reciprocity, of presence. Superbloom, as you described it, seems to embody this spirit. It reminded me of a recent study suggesting that humans aren’t built to function beyond a "hyperlocation"—a tight, immediate sphere of community and attention. Digital technologies shattered that natural boundary, giving us real-time access to far-flung people and events. But access doesn’t mean influence, and this mismatch can breed a quiet dissonance.
We feel we should be able to act, intervene, or fix things far away, just because we know about them instantly. But this isn’t what we’re wired for. This modern condition feeds a kind of anxiety that, paradoxically, echoes Khalil Gibran: “Our anxiety does not come from thinking about the future, but from wanting to control it.”
This new research reaffirms Robin Dunbar’s famous number—the idea that humans can only maintain around 150 meaningful relationships. Beyond that, the quality of connection fades. Perhaps, in an age of infinite connection, Superbloom is a timely reminder to return to the real, to the reciprocal, to the small but vital field where we can still reach, touch, and be touched.
Thanks for your recommendation, Eric.
Your work verbalizes a critical aspect of my creative process, which I have used for decades. The verbal orientations of visual art curators and critics expect explanations from artists. I can confidently present abductive reasoning in discussions of my work.