Ebru, the art of crafting images and pictures with special paints on the surface of water, originated on the continent of Asia, spread to Anatolia, and from there to the rest of the world. Ebru has long been the name given to the original Turkish art of “paper marbling” [1].

Enchanted by their interaction with water, human beings started practicing the art of paper marbling. By practicing Ebru, one may interpret the time on the marbling tray as a sort of time travel in which the wiggles of the water take a journey between the past and the future.

For ages, people have been using long-lasting rock surfaces to transfer information to future generations. These artworks and writings are reminders of past civilizations and they have always gained the attention of mankind around the world.

Some natural ingredients for traditional Ebru art include rose branches, dust paint, bile juice, and gum from a wild licorice plant. This natural combination of each ingredient of Ebru art ensures its uniqueness.

Each careful sprinkle of a color on the surface of the water is the reflection of the emotions that are felt by the artist yet are difficult to express otherwise.

Ebru is a delicate reflection of a civilization in which water is exalted as glorious and precious. It is one of the major elements of our world, that are essential for existence, along with soil, air, and fire. Ebru is the art of enthusiasm presented with sincere feelings.

Ebru gives a new perspective to the world of art and to cultures that are not familiar with it, since the concept of water serving as a base might initially seem impossible.  Throughout history, eastern and western civilizations were established around sources of water. Water in fact attracts human beings to its vibrancy like a magnet. It is the source of life for all the people from different ethnic groups, colors, languages, and religions. The mosaic appearance of Ebru art reflects human diversity in its tank with harmony and coherence [2].

In the past, people used to write thing they didn’t want to remember on water. Anything is doomed to disappear on the surface of water other than Ebru.

Using water as a medium is paradoxical because water signifies change as opposed to permanence. However, embroidery on the surface of the water is not something to be planned beforehand but rather an art form that the Ebru performer comes up with at the moment. A single stroke can be transformed but not reversed.

Once the artist has reflected his or her soul’s shape, and the colors have taken their place, the paper is gently laid on the water.

Ebru is like life itself; even if we think we do the same things every day, every moment differs from the others and is unique in its own way.

Ebru is either in the sky or on the Earth [3];

“O eye, do not sprinkle tears into my heart’s fierce fire, for there will be no way you can put out such a fire.
Is the revolving sky’s color the color of water? Or is it my tears that cover up the sky, I cannot know.”

Those who are interested in the art of Ebru and put their hearts into it will connect with a feeling of spiritual serenity and tranquility. Life in contemporary times is a never-ending wave of turmoil. Those who want to escape the hustle of the routines of life will never be rejected and will be welcomed to the ambiance of serenity by the peaceful waves of Ebru.

It takes people from their own world and brings them to another world of imagination where they can reflect on their feelings and get rid of the negative emotions within them.

For those who are stuck in the modern cycle of never-ending tasks, it is a way for them to reach a peaceful state of mind and relax.

Ebru art might take the artist back to their childhood when they used to play with dirt and mud. Perhaps the lack of preserving their childhood feelings can be remedied.

Ebru craftsmen use the biz, a tool used like a pencil to write on the surface of the water. In Ebru, every move on the water gives color patterns.

The art of Ebru in such a small container can take a human to anywhere that they wish to be or can be a canvas for any image that they wish for, such as a garden of flowers or a limitless sky. It will be anywhere other than any negative emotions inside.

Ebru art eventually makes the performer, as well as those that enjoy it, joyful once it is placed onto the wall of a house or at work and is thus able to begin emanating its bliss.

* This article was based on the speech given by Mualla Yazici in the Fountain Talks meeting at Fishers Public Library, Indiana.

References

1. Saracoğlu M. “Ebru or Water Marbling.” The Fountain 72 / November-December 2009.
2. Refik İ. “Uçsuz Bucaksız Bir Okyanusta Renklerin Dansı: Ebru.” Yağmur 3 Nisan, Mayıs, Haziran.1999.
3. “Su Kasidesi – Altın Nefesler,” Yeni Ümit Ekim, Kasım Aralık 1998.

Some insight for leaves

Leaves are in charge of respiration in plants. They consist of the main mechanism producing food for plants, using sunlight via photosynthesis through which food for many more organisms, animals, and humans are provided. Having been assigned to convert solar energy to food, which they’ve been doing for millions, perhaps billions, of years, plants have been a significant instrument for sustaining life on or planet. It is as if plants turn their leaves upward in prayer to ask for food on behalf of all living things.

Morphology of a leaf

Leaves are composed of three sections: the base, blade, and petiole. The blade is the most important part of the leaf; it is wide and flat. The exact shape of leaves vary according to climate, geographical conditions, life span and risk of consumption by other organisms. In tropical climates, the blade is often very wide. In drier climates, it is usually smaller, in order to reduce water loss.

Leaves of some plants undergo a transformation called “metamorphosis” to fulfill different tasks. For example, some leaves have a thorny shape and protect the plant form herbivorous animals. Some leaves are designed to store water, and some are converted into a trap in order to capture insects to nourish the plant.

On the cross section of a leaf, one can observe that four layers constitute the inner part. The first one is the epidermis, which covers the leaf from top to bottom. This layer protects the leaf against external elements and is lined with a waterproof, waxy substance.

The palisade parenchyma is located on the upper side of the inner tissue and it houses chloroplast rich cells, which are lined up densely and carry out photosynthesis. The spongy layer under the palisade tissue forms the intercellular air spaces and this layer is responsible for the respiration of the plant.

For photosynthesis to occur, the leaf needs to receive the maximum amount of sunlight. The sun must hit the leaf at a perpendicular angle; thus, the leaf must be amply wide and must sit level. Because the sun hits different latitudes at different angles, plants have branches of different lengths facing different directions, and leaves have different curvatures. Furthermore, leaves are also lined up in a way so as not to block the sun’s rays. For this to happen, it is required for the leaf base to be thin and the leaves to be lined up in a spiral fashion that enables both lower and higher ones to harvest sunlight in the most efficient way. This type of arrangement exemplifies the golden ratio, which is observed among many structures in nature.

Each leaf sprouts at an angle of either 222.5 or 137.5, derived from division of 360 degrees, from the previous leaf under. This spiral leaf growth provides them with the most suitable place to harvest sunlight maximally. This way the gaps around branches are minimized and a maximum number of leaves is positioned without reducing the light capture capacity of the plant.

Seasons and leaves

Plants work like factories during spring and summer, producing a great deal of food through photosynthesis. Some of these foods help the plant grow and some are stored as starch for winter. With the onset of autumn, a majority of plants outside tropical zones go through hibernation, like many organisms do, and enter a dormant period. In order for plants, like trees and bushes, to survive the cold, their leaves are shed to minimize their surface area and conserve energy. Perennial green plants lose their aerial parts, too, including stems and leaves, and hibernate underground as roots, bulbs, and tubers. They sprout back from their roots once spring brings warmer weather.

Many leaves begin to fade and fall once autumn arrives. The leaves of some hardy plants – like cypress, pine, and spruce trees – continue to function through winter. In some of these trees, like the bay tree and the Indian sandalwood, there are protective layers covering the leaves against the cold. Other leaves, like pine needles, are created in a spiny shape to resist the cold.

Colors of autumn

Leaves seem green during the spring and summer months because the chlorophyll found in them absorbs all wavelengths other than green. The other major pigments found in leaves are carotene (orange) and xanthophylls (yellow). These two pigments are the most common pigments in nature.

As autumn approaches, and photosynthesis begins to end, chlorophyll starts to degrade and the other pigments begin to show. Thus, leaves turn yellow and bright red.

As the weather gets colder, the chloroplasts that are near the leaf’s bottom are broken apart, and sugar levels begin to elevate. The sugars produced during this season accumulate in the leaves day by day due to lower photosynthetic speed and reduced transportation to other parts of the plant. These sugars are converted into anthocyanins. At first, leaves appear yellow. A couple weeks before they fall, most leaves shift from yellow to red. Under abundant sunlight, due to concentrated anthocyanins, leaves seem brighter and more colorful – and thus red. Once the live tissues die completely, all leaves turn brown. This is due to the high concentration of tannin.

Leaf color varies not only because of plant genetics and external factors, but also because of climate. Temperature, humidity, soil composition, and levels of sun exposure all affect color. There is a higher degree of color change in the leaves of trees that grow in lower temperatures.

The composition of soil plays a major role in the color of leaves. Leaves that turn yellow early indicate a nitrogen shortage; on the other hand, the presence of a strong red color indicates very acidic soil. A high alkaline ratio is present in places where leaves are purple.

Walking among fallen leaves and the colorful scenery in a forest in autumn can trigger unique emotions. Depending on the psychological state of a person, the colors of autumn sometimes remind us about the briefness of this world, but they can also hint at the infinite life to come.

The motifs and patterns of leaves

Receiving sufficient sunlight is a significant matter for leaves. Therefore, they are created differently. No two plant leaves are the same.

Some of the leaves are simple and some are compounds. According to their arrangements, opposite, alternate, whorled, and rowed forms exist. Leaf blades can be ovals, kidneys, triangles, or even hearts. Edges can be smooth, serrated, toothed, or lobed. Leaf veins can also have many different motifs.

Each plant species has its own leaf motif. The alfalfa leaf has a triple pattern of specific angles; walnut leaves have an opposite arrangement of eight to ten. A hand-like motif, like the fingers of a praying hand, formed of seven leaves, can be observed on chestnut trees.

Octopuses are equipped with a very powerful sensing system in addition to their sharp vision. For example, an octopus whose vision is obstructed can sense the size of objects and the distance between them. Regulation and synchronization of vision is realized with internal and external movement of the lens contrary to human beings. When it faces a threat, the octopus releases dark blue-black ink and tries to repel its enemy. Immediately after the spray, its color changes and it carefully leaves that spot. The secretion glands found in the inner face of the bladder have been programmed to secrete ink the moment the animal becomes frightened. Another function of the ink is to blunt the attacking animal’s sense of smell. Even if the animal touches the octopus at this time, it cannot recognize it.

Another striking and important ability given to the octopus is its ability to camouflage. In some situations it tries to protect itself from danger by hiding itself with this capability. If it has not been able to find a suitable place to hide, the octopus swims among the corals and, taking on the color and shape of its surroundings with the help of color cells comprised of richly colored matter (chromatophores) found under the skin, it camouflages itself perfectly.

At first glance the suckers of an octopus are no different from suction cups vacuum pressed onto smooth surfaces. However, in reality this organ is more complex than it appears to be. This organ was not created just for the purpose of sticking on objects. By means of muscles unique to it, the octopus is able to make various maneuvers.

There are approximately 200-250 suckers in two lines on each arm of the octopus. This means there are approximately 2 thousand suckers on its eight arms. There are two small chambers on each sucker. The external chamber is called a cone and the internal one is called a pot. When it sights its prey, the muscles of the external cone take the shape of the surface of the prey and completely cover it. The muscles of the internal pot structure are full of water and, disconnected from the outside world, decrease the inner pressure. This difference from the outside pressure has the effect of a vacuum. The external muscle structure enables the octopus to turn from an erect or parallel angle by decreasing the pressure difference around the object and without destroying the functional structure of the sucker.

In addition to possessing the complex muscle structures explained above, the suckers have an amazing nerve system. The chemical receptors found on the edge of the suckers (chemo-receptors) give feedback regarding the taste of the object, and the pressure and position receptors give information regarding pressure and touch. The nerves of these receptors, gathered in a node, act as a tiny brain. The chain structure extending the length of the octopus’ arm connects the suckers and nodes and synchronizes them. This structure enables the animal to lift and raise its arms without need of a command from the main brain. How this amazing task is accomplished by the brain, arm and suckers is a subject that needs investigation.

Only considering its suckers, the octopus appears before us as a creature adorned with perfect artistry and special capabilities. The characteristics of these animals being in a wise and most appropriate form is one of the clearest proofs of the blessings and benefaction of a compassionate and merciful Creator.

Canoglu is a freelance writer from Turkey with a degree on zoology.

In order to answer these questions, let’s first take a closer look at the nature of leaves and how they function. Simply put, leaves are nature’s food factories. During spring and summer the leaves serve as factories where most of the food necessary for tree growth is manufactured. The process of transforming water and carbon dioxide into sugar is called photosynthesis, which means literally “putting together with light” (Figure 1). This food-making process is performed by the chlorophyll molecules that are present in the leaf cells. Chlorophyll absorbs energy from sunlight. While the water is sucked in from the soil by the roots and carbon dioxide is inhaled through the pores of the leaves, chlorophyll synthesizes carbohydrates, such as sugars and starch. During winter, when this process cannot continue due to lack of light or water, the trees rest and live off the food they stored during the summer.

What is most astonishing is that it is again chlorophyll that gives the leaves their green color. Along with the chlorophylls (green pigment), spectrums of pigments, such as carotenoid, anthocyanin, and xanthophyll, give different colors to the leaves (Figure 2). When chlorophyll is abundant in the leaf cells, as it is during the growing season, the green color of chlorophyll dominates and masks the colors of any other coloring pigments that may be present in the leaf. Thus, the leaves of summer are characteristically green. When for some reason the number of chlorophylls decreases significantly, the color of other pigments paint the leaves, such as in the fall. For example, maple and acer leaves turn to bright red because of the carotenoid and anthocyanin pigments while sugar maple leaves turn yellow due to xanthophyll pigments.

Time to change colors

At the end of summer and the beginning of autumn, the length of days and the average temperature begin to decrease. Then the trees “know” that it is time to get ready for winter, their sleep-time, and the leaves stop making food. Since there is no longer a need for them, the chlorophyll molecules break down, and so the green color begins to fade. As we, the grieving viewers of this process, say farewell to the color of life, we are surprised by the splendor demonstrated by vibrant colors ranging from yellow to orange.

All these colors are due to the mixing of varying amounts of the chlorophyll residue and other pigments in the leaf becoming visible during the fall season. For the realization of this beauty, mixtures of pigments give rise to the reddish and purplish fall colors of trees such as dogwoods and sumacs, while others offer the sugar maple its brilliant orange or yellow. In some trees, like the maple, a red pigment will be formed in the fall if the days are warm and the nights cold. These trees produce sugar in the leaves during the day, but this sugar cannot move out when the nights are cold, and the leaf’s connections to the tree begin to break down. After that the high sugar concentration favors the formation of a class of pigments called anthocyanin, which is red. Thus, the leaves left out in the sunlight turn red through this process. The brown color of trees (like oaks) that appears after chlorophyll breaks down comes from plant wastes left in the leaves. The autumn foliage of some trees is only yellow, so it is the combination of all these things that makes the beautiful colors we enjoy in the fall.

Thanks to scientific research, today we know the details of leaf color change. The approximate size of these pigments is so small that hundreds of millions of them, put edge to edge, could measure only 1 meter. Isn’t it amazing how the beauty of autumn is exhibited through the hands of such small and blind painters?

Abdullah Akpinar is a graduate student in Planning and Landscape Architecture at Clemson University, Southern Carolina.

Scientifically known as Daucus Carota, carrots categorically are in the same family as fennel, cumin, dill, celery and parsley. They mainly originated in geographies of Central Asia and Middle East and their original flavor were somewhat different to the contemporary ones. The carrot as a plant stores its foodstuff in its roots. Besides their common use for consumption, they can be juiced or grated. They bring a distinct flavor when used in salads and meals. Although generally considered to be orange, yet carrots’ color can be as diverse as green, red, white and even purple.

Some astounding medical benefits

Created rich in Vitamin A carotene, carrot is an excellent source of antioxidant for the treatment of cancer and protection from some cardiovascular diseases. They are also instrumental for the regulation of sugar in our blood. The findings of a survey conducted on 1,300 patients, reveal those who eat carotene-rich foods such as carrot or squash, at least once a day, have about 60% less risk of cancer than those deficient in their carotene intakes. In specific terms, while the regular consumption of carotenoid reduces the risk of post-menopause breast cancer by an estimated 20%; on the other hand esophageal cancer, bladder cancer, uterine cancer, prostate cancer, colon cancer, throat cancer and lung cancer are believed to reduce the risk by an astounding 50%.

Scientists state that the risk-reducing influence of the carrot comes not only as a result of its beta-carotene ingredient but also from its alpha-carotene and some other elements.

How does carrot improve the quality of vision?

Unsurprisingly carrots are known for the goodness they bring to the eyes; particularly valuable for improving night vision. The beta carotene has been made to play a pivotal role in this respect. An incredibly sophisticated process eventuates as Vitamin A is converted in the liver into beta-carotene and is then carried to the retina of the eye. It is here when beta-carotene is converted to rhodopsin, imperative pigment that aids night vision. It is with rohdopsin that vision is sharpened and sight becomes possible in darker environments. On the contrary however, when there is Vitamin A deficiency in the body, night sight is adversely impacted. Moreover the antioxidant in beta-carotene has been equipped with an additional protective role against macular degeneration as well as cataract.

Carrot’s falcarinol and colon’s well being

The natural pesticide (falcarinol) found in carrots is believed to reduce the risk of cancer. In order to ascertain this relationship between falcarinol and cancer risk reduction, the Journal of Agricultural and Food Chemistry, conducted an experimental study on the subject. Three different groups of laboratory animals had been given precancerous colon lesions. The first group was fed with standard diet, the second group with freeze-dried carrots that contained a natural level of falcarinol while the third group was exclusively fed falcarionol/g derived from carrots. After 18 weeks period, the number of lesions which were given to potentially increase the class size, significantly decreased in those rats fed with one of the two experimental treatments. The finding demonstrated that dietary treatments with carrot’s falcarinol caused delay and in some cases the retardation in the development of large tumors.

This established a significant relationship between those critical endowed carrot contents and the risk-reduction of cancerous tumors.

Carrots and lung protection

Overtime a number of studies have been conducted and research have established direct link between Vitamin A and its role in the protection of lungs. The scientifically established relationship between Vitamin A, pneumonia and emphysema, found that the benzo(a)pyrene, the main carcinogen in cigarette smoke causes the Vitamin A to diminish. This is especially true when long term smoke addicts who have also had poor Vitamin A diet, causes more cancer-related diseases and emphysema.

Earlier studies have also demonstrated that a diet poor in Vitamin A causes emphysema. Subsequent studies have further substantiated that a diet rich in Vitamin A can help reduce emphysema. Indisputably carrots are rich in their Vitamin A reserves. Carrots have been also made with the capacity to aid and protect our lungs.

Experts are therefore of the opinion that carrot is stomach and intestines’ close friend. It can be said that their overall benefits can range from blood-formation, to strength, from diarrhea control, to being laxative, to their help with bile discharges and the strengthening of the liver brings to attention the remarkably latent benefits within carrots and makes them an indispensable vegetable beyond the immediate value of taste and color.

This discovery about carrots, amongst innumerable other vegetables, virtually makes the earth a mighty pharmacy which is orderly fashioned with numerous therapeutic qualities in the form of vegetables and herbs spread out in abundance. Quite substantially it appears that not only do they attract with their beauty and color the gazes of our eyes; not only do they afford us with innumerable varieties of tastes and flavors but in addition with the use of their innate given potentials they work extraordinarily and in remedial manner whilst in our bodies.

All this appropriately recalls to mind the Might and Power of God Almighty as eloquently expressed in the Quran “Who is it that provides for you from heaven and earth?” (Quran Al-Yunus, 10:31)

The innovations implemented in nature have the potential to improve the way we do everything, from desalinating water, gluing things together, to streamlining cars. Where there is a design problem, there is a solution for it in nature created by nature’s Designer. We can distinguish the levels in biology that technology can be modeled after as i) mimicking the natural methods in the manufacture of chemical compounds to create new ones, and ii) imitating mechanisms found in nature. There are a few examples of biomimetic materials that are already part of our daily lives. Velcro, for instance, is a brand name of a fabric that consists of hook and loop fasteners used to connect objects. It was invented by Georges de Mestral, a Swiss engineer/inventor. The idea came to him after he took a close look at the Burdock seeds which stuck to his clothes and his dog’s fur on their daily walk in the Alps. He closely examined the hook-and-loop system that the seeds used under a microscope, and realized that the same approach could be used to join other things together. Velcro is commonly used in many different areas, such as in the automotive industry, clothing, shoe making, and for bringing rigid or soft surfaces together. The lotus, which possesses tiny wax crystals on the surface of its leaves, remains pristine and white, even in the midst of swampy, contaminant-rich conditions. For some, the lotus plant is even a symbol of cleanliness.

The lotus effect in material science is defined as the observable self-cleaning property found in the lotus plant. The characteristics of the lotus brought about a new application of biomimetics to the self-purification of surfaces, such as paints and roof tiles that maintain a clean surface like the lotus, by creating a surface that is similar to that of the lotus plants.1 The figure shows that dirt particles are unable to adhere to the paint and simply flow away with the rain. Everybody knows about the vivid colors of butterflies. But where does this color come from? One would naturally think that butterflies must use pigments, as in the paint industry. Actually, there are two fundamental mechanisms by which color is produced on butterfly wings. One leads to what we call ordinary color, and the second leads to the spectacular iridescent color. The ordinary color is due to the presence of chemical pigments, which absorb certain wavelengths and transmit or reflect others. The iridescent color is produced not by pigmentation, but by the interference of light due to multiple reflections within the physical structure of the material. The parts of a butterfly wing are shown in the Figure 3 in the following order, from left to right: Wing > Scales > Veins > Ridges. The size and periodicity of arrangement of the features on the wings causes interference with the visible light, creating color. Using this concept, structures and physical mechanisms that produce a shining color, like that found on the wings of butterflies, have been reproduced in carbon by an international team based at Allied Signal in Morristown, N.J. These highly periodically patterned novel carbon materials possess unique and potentially useful properties. 2 Another striking example that inspires design principles is the box-fish. These are rigid-bodied marine fish that live predominantly in shallow-watered, highly energetic, tropical reef environments. They are remarkably stable and agile swimmers.

They are able to maintain smooth swimming trajectories with minimal pitching, rolling, or yawing, even in highly turbulent waters. Moreover, they are capable of swimming rapidly (> 6 body lengths s-1), can spin around with a minimal turning radius, and can maintain precise control of their position and orientation.3 What applications could these types of properties be used for? In fact, one of the leading car manufacturers produced a bionic concept car that is based on the contours of the boxfish carapace and takes advantage of its drag reduction benefits. Not only the shape, but also the organizational composition of living organisms is highly advanced.

Therefore, great efforts are made to study and understand the formation of the hierarchical structures of these creatures. The shell of the abalone, for instance, is known for being exceptionally strong. It is made of microscopic calcium carbonate tiles that are stacked like bricks. Between the layers of tiles is a sticky protein substance. Even though calcium carbonate is one of the softest materials in nature, when the abalone shell is struck, the tiles slide, instead of shattering and the protein stretches to absorb the energy of the blow. Material scientists at the University of California, San Diego are studying the tiled structure for insight into stronger ceramic products, such as body armor. Researchers at Princeton, working on a grant from NASA, are analyzing the remarkable strength of abalone shells to help make impact-resistant coatings for thermal tiles. There are numerous groups that are working towards a better understanding of the structure and the governing mechanisms involved in the assembly of natural composite systems that have amazing mechanical properties. In synthetic composite structures, the hardness of the material is proportional to the inorganic/mineral content. However, there are striking examples of design in nature in which almost negligible amounts of minerals are used in a specially tailored environment, and very high levels of hardness, comparable to human dentine, can be achieved. An interesting example is sea-worms. Although mainly consisting of soft tissue, these worms have very hard jaws that have an exceptionally low amount of inorganic consistency. The jaw material is of particular interest because of its hard, lightweight and abrasive-resistant properties due to some gradient elements. The chemical surrounds and forms of these elements are not clear enough to be able to identify or mimic the arrangement/structure. These jaws, in addition to their extraordinary mechanical properties, are very good examples of natural gradient materials that have a perfect interface between the hard and soft tissues. Although many high-tech analysis techniques have been devised to understand how such a composite could be formed, particularly in highly unfavorable salty sea or ocean water, and how they have such great mechanical strength, the findings are still incomplete.

The information gathered is like the scattered pieces of a puzzle; to finish the puzzle, the missing pieces must be found with new advancements in analytical tools. What about mussels then? “If we have Batman and Spider-Man, why don’t we have any mussel super heroes?” asks Professor Herbert Waite of the University of California, Santa Barbara. Mussels may not be the biggest or the flashiest creatures in the sea, but they do one thing exceedingly well. They make a glue that lets them anchor themselves firmly to a rock and remain there-drenched by water, buffeted by the ocean’s waves. “I don’t know any other adhesive that can do that,” says Waite.6 Not only the glue, but the threads they make to attach themselves to the rocks are very significant in terms of both their composition and complexity, according to Niels Holten, who is conducting research on these systems at the University of California, Santa Barbara. These threads can elongate and relax with extraordinary mechanical flexibility under great impacts from ocean waves. The Waite group research on these thread cuticles reveals a very important aspect of material science, the significance of which has only very recently been understood: interface engineering. These threads have a very low amount, ca. 1-2 wt%, of metal ions in a polymeric matrix holding together large polymeric chains, which is possibly what gives the structure its flexibility and extensibility. Man-made structures cannot compete with the mechanical performance of these threads, especially at such a low volume of metal ion ingredients.

The ultimate goal of ongoing research is to understand the formation principles of these features so that similar structures can be made, using the same set of principles in laboratory conditions. In fact, the perfections of designs that are implemented in nature turn out to be an enormous fountain of ideas. Jewel beetles, which lay their eggs in freshly charred trees, can detect fires from miles away; the defense industry is studying these beetles for clues to design new low-cost, military-grade infrared detectors. Meanwhile, one of the leading car manufacturers is tapping the locusts’ famed ability to fly in dense swarms without colliding for a possible key to anti-collision devices in cars. And the Defense Advanced Research Projects Agency is funding development of a robot that can climb vertical surfaces, using the same principle that geckos use to walk up walls and saunter upside down across ceilings. There are several examples that could be given on this matter, but, due to limited space, we can only briefly summarize some of them. However, our understanding of the mechanism in nature is very limited, and it is expected that better insight will be gained with the advancement of available analytical tools. The great diversity of product designs in nature is produced from only a few common components, whereas we use a great number of materials and components to achieve new designs. Such high control and hierarchy in design in nature can only be attributed to an artist or designer who hides the perfection of his creation in the details. It is up to us to find out, see, and appreciate these perfections. Material scientists, of course, have the duty of transferring the findings from nature for the service of humankind by turning them into applicable forms in our daily lives.

Notes

1. Lotusan Paints. (2002). Retrieved 12 Nov, 2003, from http://www.lotusan.de Translated by http:// www.google.com.
2. Anvar A. Zakhidov et. al., Science, 282, 897 (1998).
3. URL: http://www.gharib.caltech.edu/bioinspired_ design/index.html
4. http://www.daimlerchrysler.com/dccom/0-5-7154-1-503504-1-0-0-503518-0-0-135-7145-0-0- 0-0-0-0-1.html
5. http://en.wikipedia.org/wiki/Abalone#_note-0
6. Anne Underwood, “Nature’s Design Workshop,” Newsweek, U.S. Edition, September 26 (2005).

The human eye can identify colors within a 360-760 mm distance. The limits of a curved sight cover the yellow-green field. Every leaf and blade of grass reflects light in this field (540-560 mm), and the human eye can detect thus detect green more clearly than any other color. In other words, God, the All-Knowing, made our eyes see the peaceful and lively color green more easily than other colors, and He granted us the ability to distinct over fifty hues of green – more hues than any other color.

In addition to green, the human eye also perceives the color red, the color of of begonia and barberries, which are colored with antocyan. But there is a chlorophyll layer with its distinctive green under the red layer on top of the leaves. Only a human can see a begonia like this – for example, a bee sees it in black.

Biologists found out that greenblue seaweed, which is really spread all over the world, used to provide our planet with oxygen billions of years ago, contains not only “A”- type chlorophyll, but also other pigments. The human eye, however, is “determined” to see only the green seaweed component created in order to saturate the environment with vital oxygen.

Claiming that “mother nature” has executed such a complicated selection, for the sake of Charles Darwin’s principles, is impossible – it would be more realistic to expect a typewriter to write the encyclopedia Britannica by chance.

We must, however, concede a very important detail. Energy absorption of phototrophic organisms, which is dependant the Sun, is adaptively connected with continuously changing levels of solar radiation. As it is known, the latter comes into soil, which then nourishes plants by facilitating the absorption of energy in a selectively narrow diapason (400-900 to 400- 700 nm). It is impossible to modulate an optimal situation for a plant to be nourished through evolution. A blind evolution would not achieve that in a time span much more time than the multibillion age of our Universe. This leads to the conclusion that the Creator made the specific system of energy absorption in plants via rays projected to the Earth by the Sun.

Aside from the fact that green is created and chosen by God, one more detail deserves listing. Objectively a plant’s leaf and its pigment are connected with selective spectral energy absorption. Emanation with different quanta outside of this precise and narrow “adjustment” could have any influence – negative or positive. Pigment of another kind would not function to fulfill its purpose to be vivifying. Is not turning the ruthless solar radiation into a life-giving flow a manifestation of His wisdom and of the love He has for His creations?

In our everyday life, we engage in amateur garden work or we just admire trees and bushes in bloom. This wonderful event, this miracle, appears to us as something routine. Pigments are highly organized; they are “adjusted” to radiation, which means that their spectrums permit them to absorb radiation in the diapasons at their limit intensity. Moreover, a plant’s organism is always able to increase/decrease this intensity.

For sure, there is one more obvious thing – the issue of the maximum solar radiation is relative. The problem is that according to every scale of wave length, maximum radiation is registered at 578 nm., and at 1015 nm. It would be even more, 1804 nm, if read according to the quantum quantity scale.

From the point of view of basic quantum physics, the most prominent authority on understanding of the role of God in the act of creation, the green color of a leaf is understood to be connected with the features of the pigment itself, the most suitable for the function of absorption and transformation of ray energy.

Another issue is also very important – what determines the diapason of a ray’s energy is its FAR and its photosynthesis diapason accordingly. If we do not accept God as Creator, it is hard to imagine how nature, through all its stages of development led the only source of inner energy, the ATF molecule – through anaerobic, then aerobic breathing and ultimately to all the forms of photosynthesis. This molecule with the energy of its chemical compound in the living system of some 10 Kcal/mole remained in the green plant, but it was not only the breath that was the source of its creation.

I would like to share my observations of over fifty years. As the solar ray energy has become the most important source of energy for plants, simplifying a number of arguments, I can say that the plants are granted a mechanism able to form universal inner quanta divisible to ATF in energy as well as to a photosynthetically important compound named NADP.H (50 kcal/mole each). This is based on the features and spectrum of chlorophyll. The quanta are one of the strongest donors of “his majesty the electron!” Please tell me who will speak of blind evolution after considering these “coincidences”…

I would like to share my observations of over fifty years. As the solar ray energy has become the most important source of energy for plants, simplifying a number of arguments, I can say that the plants are granted a mechanism able to form universal inner quanta divisible to ATF in energy as well as to a photosynthetically important compound named NADP.H (50 kcal/mole each). This is based on the features and spectrum of chlorophyll. The quanta are one of the strongest donors of “his majesty the electron!” Please tell me who will speak of blind evolution after considering these “coincidences”…

“Let all the breathing praise the Lord!”

There is a simple conclusion that could be made from all the above. If such “portions,” or quanta, are formed from solar energy absorbed by plants, then means the primary products of the same type can be also formed. “The quality of light” is of no metabolic importance for the process of synthesis in the limits of ray energy. The Word of God, once spoken out, is realized in a determined way, far distant from Darwinian theory.

Long years of experiments, research, and consultations with colleagues from around the world persuaded this author to change his opinion from vulgar materialism to a deeper understanding. Properties in plants are not the result of “calculabilitive” photosynthesis “touched” by science; like all things, these properties are of a manifestation of His, just as are the lives of humans.

This is the irrational choice of my soul. Nonetheless, as it was admitted in the works on the general problems of science and historic knowledge by the Chief of Department of Civilization Problems at the Russian Academy of Natural Sciences by Prof. V.I. Sheremet -the real breakthrough can be reached with faith in God and exploring the undiscovered. So I offer a second conclusion devoid of materialist explanation. The pigment apparatus of a plant is a complicated chlorophyll-protein complex that functions jointly with its intended object. Who determined this program of compatibility? The plant – the main hero of this article – is given the ability to form a physiological quantum of 50 kcal by itself. Moreover, a high intensity green quantum from outside cannot be used by a separate chlorophyll- protein compound.

The conclusion is obvious and simple: a plant’s life cycle is realized only according to His will and in the regime determined by Him. “Monochromatic” sources of ray energy are not suitable, nor welcomed, by God for the full-fledged artificial raising of plants, but it can be of use for the photosynthesis regulation. So, hotbeds are useful and necessary. The generalized summary is as follows. The green color of leaves and, the blue of the cloudless sky, are not random, they are the work of intelligent design.

So let the green color – the color of plants, of nephrite, malachite, and beryl – beloved and honored both in the East and in the West. Let the mysterious “green ray” of a seaside sunset, let the green stripe of the rainbow, the bridge to Heaven for the righteous, remain the symbol of His Will, His Life, His Awakening of spring in the peace of the heart.

May peace be with all of you, dear readers! 

Light reveals a world of colors by painting everything it touches. Our plain and soulless furniture gains meaning. Our brown bookshelf, gray study table, green mug carpets, rugs, curtains the yellow wheat fields in the harvest picture, the blue china vase, our favorite brown sweater the striking green of a tree surrounded by concrete buildings, the blue sky, and the carousel of life that becomes worth living by being embellished with colors.

Let’s travel through the wonderful world of colors. Each color conceals a story. Some virtuous and sensitive eyes see the truth through them, while others see rage, anger, and all the evils dictated by the alter ego. Colors carry such feelings as anger and hope, and symbolize such concepts as sinfulness and innocence. They are abused or sacrificed, and widely preferred or despised.

Literally, color is a phenomenon of light or visual perception that enables people to differentiate otherwise identical objects. Being one of matter’s distinguishing characteristics, in a sense its meanings are the meanings of life. As truth is interwoven with life, truth might be viewed through colors.

Their Influence on People

The most important aspect of color in daily life is probably the aesthetic and psychological responses that they evoke”our psychological perception”and the resulting influences on art, fashion, commerce, and even physical and emotional sensations. For example, reds, oranges, yellows, and browns are warm, whereas blues, greens, and grays are cold. Reds, oranges, and yellows are said to induce excitement, cheerfulness, stimulation, and aggression; blues and greens to induce security, calm, and peace; and browns, grays, and blacks to bring sadness, depression, and melancholy. However, we can only generalize about such subjective perceptions.

Age, mood, mental health, and other factors affect color perception. People sharing distinct personal traits often share color perceptions and preferences. For example, schizophrenics are said to have abnormal color perception, and very young children learning to distinguish colors usually prefer red or orange. Many psychologists believe that analyzing one’s use of and response to color reveals relevant physiological and psychological information. Some even suggest that specific colors have a therapeutic effect on physical and mental disabilities.

In China, India, and Japan, colors are used in alternative medicine. Orange is considered good for depression, yellow for diabetes, green for ulcers and spiritual fatigue, and blue-violet for epilepsy. What is important here is the body’s receptor of color, such as eyes or skin. Each color’s wavelength carries and transmits energy to the bodily part having that color. This energy removes physical and emotional disorders, and colorful rays directly influence the neural system. Thus, different illnesses are treated with different rays of colors having different tones and impacts.

Although these medical benefits are still in question, color does cause definite physical and emotional reactions. Rooms and objects that are white or have light shades of cool colors may seem larger than those with intense dark or warm colors. As designers and decorators know, black or very dark colors have a slimming or shrinking effect. A cool room decorated in pale blue requires a higher thermostat setting than a warm room painted pale orange to achieve the same sensation of warmth.

People viewing unusual colors produced by special illumination may experience headaches and nervous disorders. Tasty wholesome food served under such conditions appears repulsive and may induce illness. Other colors induce pleasure. When an affectively positive or pleasurably perceived color is viewed after a less pleasant color, it produces more pleasure than when viewed by itself. This effect is known as affective contrast enhancement.

What Colors Have Experienced

Colors are not universal. Some languages do not have separate words for green and blue or yellow and orange, whereas Eskimos use 17 different words for white to describe different snow conditions. Comparing color terminology reveals certain consistent patterns. All languages have designations for black and white.

If a third hue is distinguished, it is red; next comes yellow or green, and then other colors.

Consider soccer fanatics who so love their team’s colors that they tear and burn the other team’s flag. They dye their hair and faces yellow-red, blue-white, or red-white to match their team’s colors, but cannot stand the opponent’s colors. They taunt the opposing team with clothes in their own team’s colors, even to the extent of injury or death. Most important, they gain identity, send a message, and enjoy the confidence that comes with belonging to a peer group.

Colors are gifts, not a cause of separatism. As sociologist Orhan Kologlu points out, people of different religions and nations chose different colors. In the Balkans, blue and white are considered to be Greece’s colors (its flag is blue and white). During conflicts, people do not use the colors of other nation’s flags. But this is emotional and irrational, for no nation owns a color. During a time of Turkish“Greek tension, red-white clothes were despised in Greece, and blue-white clothes in Turkey. Bulent Ecevit (current prime minister of Turkey) broke a taboo with his poem Blue Magic, which contains the lines: Like a blue magic, lies a warm sea between us / We are two nations, as beautiful as the other, at its shores. He also chose blue and white as his political party’s colors. Ironically, this party whose emblem is in Greek (!) colors now is now in power Turkey.

A nation’s color choices change over time. Ancient Turks considered blue as sacred, for it was the color of the sky. Some Turkic nations still use it as their national color. In medieval Europe, blue stood for nobility and aristocracy, and the latter were believed to have blue blood. But in America, blue is associated with low spirits, melancholy, and depression (a blue funk). For women it means learned and intellectual, while in morality it means puritanical. It also means profane or indecent (blue movies), off-color or risqué (blue jokes), and a kind of music (the Blues) dominated by sad and melancholic themes.

Red and black are most commonly associated with sociopolitical conflict. For years red symbolized violence, pillage, murder, oppression, anti-democracy, and terrorism. In emotional terms, it means a face flushed with anger or embarrassment (red in the face), or bloody (red eyes).

In politics, it means inciting or endorsing radical sociopolitical change, especially by force, as in red uprising or anything associated with communism (the former USSR’s Red Square). There are even two Red armies: the Soviet army established after the 1917 Revolution, and the Japanese Red Army formed in 1969. The first was renowned for its strict penal codes and discipline, such as punishing battalions by sending them on suicide missions. New regulations in 1960 considerably lightened the Soviet Army’s redness. The second army, a small-structured Japanese terrorist organization, remained active until 1990.

Italy’s Red Brigades, an extreme left-wing terrorist organization, chose red and violence as it sought to prepare 1970s Italy for a Marxist uprising. Chinese revolutionaries seeking to end China’s traditional culture chose red and violence, as did Cambodia’s radical Khmer Rouge (Red Khmers). This latter group massacred an entire generation, an estimated 1.5 million people out of an estimated population of 5.7 million, during their 3.5-year reign. 

It is used for heavy or serious (black intrigue); dirty and soiled (black hands); thoroughly sinister, evil, or wicked (black deed); negative (a black mark in one’s record); the supernatural or Satan (black magic); very sad, gloomy, or calamitous (black despair); a disaster (black Saturday); hostility, angry discontent, sullenness (black resentment); grim, distorted, grotesque satire (black humor); or covert intelligence operations (black government missions).

Although we associate black with negative meanings, we cannot deny that it also symbolizes seriousness, respectability, and nobility. There are occasions when white, the symbol of purity and innocence, is inappropriate says social psychiatrist Ibrahim Ballioglu. Colors should be used with the proper tones and combinations. He claims that it is logical to associate white with positive and black with negative concepts. Black and white are like night and day. The dark of night scares people, whereas the light of day relieves them. The colors hidden at night come forward in daytime. People are inclined to like light and bright colors. We apply white light in our depression patients’ therapy. One’s interest in dark colors gives clues about one’s mood. A patient’s wearing white signals that he or she is getting well.

In history, such groups as the Black Hand,1 Black Faces, and Black Shirts favored violence and vandalism. Mussolini’s fascist Black Shirts group is the most interesting. After his overthrow 1943 and the Black Shirts’ dismissal, people avoided wearing black shirts.

White means free of color; light or pallid (white hair, lips white with fear); without spot, blemish, or moral impurity; innocent or chaste (white wedding); harmless (white lie, white magic); and favorable or fortunate (white days of life). It also means politically conservative or reactionary people who undertake counter-revolutionary measures (white terror). In music, it is associated with a musical tone quality characterized by a controlled pure sound and a lack of warmth, color, and resonance.

Green means mild and clement (green winter); pleasantly alluring; youthful and vigorous; not ripened or matured (green apples, tender green grasses); fresh and new; marked by a pale, sickly, or nauseated appearance; envious (green with envy); somehow deficient or unsophisticated; and an environmentalist political movement (Green Peace) or individual working to preserve environmental quality.

Yellow is associated with sensationalized scandal items or distorted ordinary news (yellow journalism), and cowardice (a yellow streak up one’s back). Pink signifies moderately radical and usually socialistic political or economic views, as well as emotional excitement (tickled pink).

Do Nations or Religions Have Their Own Color?

Color harmony, preferences, symbolism, and other psychological aspects are culturally conditioned and vary with time and place. For instance, American and Japanese concepts of warm and cold colors are essentially the same. However, Japanese consider blues and greens good and the red-purple range bad, while Americans consider the red-yellow-green range good and oranges and red-purples bad. In the West, black signifies mourning; other cultures use white, purple, or gold.

Orhan Kural says that societies tend to use colors that comply with their culture and belief: In Indonesia’s Banggai Islands, people believe that their ancestors arrived in brown canoes. Their houses look like brown-painted canoes. They sacrifice a water buffalo and hang its head at their doors to make funerals more elaborate. During these rituals they wear red. Since the streets are filled with blood, red is dominant in their culture. In Mongolia, green is dominant. Mongolians has five times as many animals as people. I think they paint their tents and furniture green due to their love of animals and nature. In Guatemala, the Spanish invaders forced each clan to wear a different color in order to differentiate them. This seems to be welcomed and accepted by the people, for it remains in force. All women I saw in the bazaars wore the same color. The city of Varanasi in India and the sacred Ganj river reminds me of orange, and the Taj Mahal reminds me of white.

Nevval Sevindi, who lived in Iran for some time, says that Iranians consider black to be holy and noble. According to her, Iranians and Westerners both see black as a symbol of mourning. Iranians use black to commemorate their Imams, and Westerners wear it at funerals and to commemorate their saints.

It seems that they are always mourning, since they keep Karbala’ alive in their memories.2 Red is a color of disgrace in Iran. However in Turkey, China, and India, red is the color of weddings. In Turkey, the bride wears a red veil over her head on the eve of the wedding day and a red belt on the wedding day. Women wear a red ribbon after giving birth. Red means a new future and abundance. Turks do not consider black the color of mourning. They attend funerals in ordinary clothes, for death is an ordinary part of life. Africans and Asians like to wear many colors. I associate this with their living in bright and sunny countries and within nature. Sunlight affects their clothes and moods. Violet is the Byzantine Empire’s color, for only the emperor wore it. This tradition continued after the emperor’s death, for his grave was built with violet porphyry stones, says Sevindi.

Tumulus-hillock excavations in Tekirdag, Turkey, reveal that Alexander the Great’s father wore mostly purplish colors, like that of a judas-tree. Maybe this is why Byzantine emperors valued purple tones so much. Other researchers give different reasons. For instance, historian Haluk Dursun states: There is a belief in Christianity: Judas Iscariot, one of the 12 apostles of Jesus Christ, betrayed him at the Last Supper. Romans arrested and crucified Jesus. Judas, full of regret, hung himself from a tree full of white flowers. This tree felt so ashamed that it reddened. Hence it is called judas-tree. It also is said that the Byzantines recaptured Constantinople from Latin invaders when the judas-trees were blossoming, and so value this color.

Do religions have colors? Yes and no. Muslims favor green, as the covers of tombs and sarcophagus are green, and green is common in mosque decorations. Otherwise, Islam does not have its own color. Perhaps people associate green with Islam because Prophet Muhammad liked green, as it relaxes the eyes and connotes nature. In fact, he advised people to dress in plain and clean color-compliant clothes that would please the eyes.

Eastern Orthodox priests dress totally in black and wear a black cap. But this is probably not a religious color, for black is favored by Catholic priests and nuns as well, maybe for its simplicity and sobriety. Some Protestant (e.g., Lutheran) priests wear white or gray, which might be a reaction to the Catholic Church. Also, many Orthodox Jewish sect members wear long black coats and hats, usually during religious or important events to signify the occasion.

Conclusion

Colors are used for many purposes, ranging from medicine to art, politics to anthropology. They are an indispensable ingredient of our lives. But no matter how they are used, the best use of colors is observed in the works of the Great Artist.

Footnotes

1. The Black Hand is associated with two groups: immigrant Sicilian and Italian extortion rackets in America’s Italian communities (roughly between 1890 to 1920), and a secret Serbian terrorist society that promoted the liberation of Serbs outside Serbia from Habsburg or Ottoman rule.
2. Karbala’: A place in southern Iraq where Imam Husayn’s forces were defeated and killed by the Umayyad caliph Yazid I in 680.

References

• Akagunduz, Ulku Ozel. Freedom to Colors.
• Zaman North America 267 (8 Nov. 1999).
• Soylemez, Hasim. Diseases Are Treated by Colors. Aksiyon 242 (24-30 June 1999).
• Sahin, M. A. Truth through Colors (Izmir: 1992).
• www.britannica.com/bcom/eb/.
• www.m-w.com/cgi-bin/dictionary (especially the shades of meaning for different colors).

How Does God Hear and See?

This question raises certain difficulties. If treated improperly, it can lead to denying that God hears or sees, as in St. Anselm’s meditations on God’s Attributes.1 In his Proslogion, he introduces his famous ontological argument for God’s existence and asks: If only corporeal things perceive, because the senses exist in a body and are directed towards bodies, then how can you perceive? For you are not a body but the highest spirit, which is better than any body.(2)

He replies: But if to perceive is just to know, or is aimed at knowledge”for whoever perceives knows according to the appropriate sense, as, for example, we know colors through sight and flavors through taste”then it is not inappropriate to say that whatever in some way knows also in some way perceives. Therefore, Lord, although you are not a body, you are indeed supremely percipient in the sense that you supremely know all things, not in the sense in which an animal knows things through its bodily senses.(3)

The crucial points here are that perceiving is possible through bodily senses and that for God to perceive means to know. He seems to explain how God perceives without bodily senses by claiming that the essential outcome of perceiving is knowing. Therefore, if something were known with all details of its properties and qualities, all consequences resulting from perceiving it already would be obtained. If this were true, St. Anselm’s solution would make perfect sense. However, I argue that this is far from being true.

Perceiving and Knowing

To understand his flawed reasoning, recall the definitions of perceiving and knowing. Since we perceive only through our senses, and whatever we realize through our senses’ operation is perception, we define perceiving as a sensory-based experience. Constructing a precise definition of knowing is somewhat harder, for the word is used for too many purposes and in too many contexts. However, as a working definition of knowing something, we can say that it is having a representation of the object of knowledge in our minds.

The difference between perceiving and knowing something, if we take their meanings in the most general sense, becomes clear if we consider these processes’ temporal properties. We perceive something only when exposed to the sensory data caused by the perceived object. But if we know something, we can access this knowledge at will, provided that we do not forget it. In broad terms, perceiving is dynamic while knowing is static.

St. Anselm is right in the sense that we can know what we perceive, as expressed in: I know how banana tastes or in: I know how it feels But we can know these feelings only because we experienced them before. This is why we cannot explain color to a blind person or sound to a deaf person. Besides, knowing how it feels to see a red rose is not the same as seeing it. Let alone their dynamic versus static character, knowledge of an experience is a faint impression of the experience held in our memories.

Perceiving and Knowing in Relation to God

Our considerations about perceiving and knowing are based on circumstances relevant to human subjects. Due to the immense difference between the Supreme Being and us, we must remember that we can never know how our concepts apply to God. We only can assume that the essence of these concepts are shared by us”God knows and we know, but our knowing is a shadow of a shadow of a shadow of His knowing. So we can talk about God only through metaphors and analogies. Nevertheless, we can talk about God in a meaningful way, for we are taught about the Divine Attributes through Divine Revelation and are told that God created us in His image. Thus, being human lets us at least speculate about His nature.

In the light of the above, my main point concerning the relation between God’s perceiving and God’s knowing is that they are both existent and different Attributes, for the essence of perceiving differs from the essence of knowing. The former is a temporal experience; the latter is a nontemporal Attribute. Hence it follows that perceiving cannot be substituted for by knowing.

Realizing this, we see that St. Anselm’s solution to how God perceives without bodily senses is fallacious. To say that God perceives since He knows everything confuses the meanings of perceiving and knowing, and thus is a veiled denial of God’s seeing and hearing. Since St. Anselm’s explanation for the existence of God’s Attributes of All-Seeing and All-Hearing is invalid, or at least unsatisfactory, we must ask how God perceives without a body.

The Sense Organs

The above-mentioned question presupposes that perceiving is possible only through a body’s sense organs. This seems natural, as it is verified by daily experience. We do not witness people seeing without eyes or hearing without ears. Even though it appears obvious, the connection between perception and the sense organs is tricky. While we can say that the sense organs are somehow necessary for perception, we cannot say that they are sufficient.

To clarify this subtle point: A knife is sufficient for cutting bread, and a calculator is sufficient for multiplying 174 by 303. In other words, apart from discussing the absolute necessity in causal relations and given our universe’s physical laws, it is sufficient to have a knife or a calculator to perform those tasks. However, it is quite doubtful and even impossible for the sense organs to provide such a conscious experience as hearing a sound or seeing a color.

This may sound strange if we do not consider several stages and aspects of perception. Observations and experiments show that perception is a process initiated by the sense organs with incoming sensory data, such as a light pattern (an electromagnetic wave) or a human voice (a kind of pressure wave), and followed by evaluating such sensory data at the appropriate specialized areas in the brain. All stimuli arriving at the sense organs are transformed into nerve impulses”various patterns of electrical activity propagated through nerve cells (neurons).

Even though we do not know exactly how this sensory data is evaluated, all perceptions eventually are correlated with nothing but patterns of firing neurons in the brain. Thus, the brain represents and stores all data (e.g., color, shape, taste, softness), regardless of form, in terms of its neurons’ positions and firing rates. This is verified by stimulating various regions of the brain appropriately and watching the subject experience the corresponding sensations or feelings.

Brains and Computers

Analogous to a brain, a computer can represent and store data on its chips in terms of various electrical potentials. For example, an image can be loaded and stored by transforming its pixels’ brightness and color data into numbers so that a computer can distinguish colors and recognize patterns. Since different numbers represent different colors or color tones, a computer sees them as different objects and can discern them easily.

But unless a computer is programmed to signal when it sees green, it cannot perceive that green. It is not our recognizing, discriminating, representing, or responding to a color that makes us conscious percipients, but rather our experiencing a color. A brain or computer can have the necessary parts or circuits to represent, evaluate, and respond to a color or any other sensory stimulus. However, experiencing something, such as greenness, is a totally different and extraordinary phenomenon of perception.

Conscious Experience

How is it that anything so remarkable as a state of consciousness comes about as a result of irritating nervous tissue, is just as unaccountable as the appearance of the Djin, when Aladdin rubbed his lamp.(4)

To realize fully the essential unaccountability of conscious experience in terms of physio-chemical processes or the organization of brains and sensory organs, this kind of thought experiment might be very useful: Might your experience of red be the same as my experience of green? Sure, you might label grass as ˜green’ and the tomatoes as ˜red’, just as I do, but perhaps you actually see the grass as having the color that I would describe, if I were in your shoes, as red.(59

Considering such unique and intractable aspects of conscious experience, the most reasonable conclusion would be to treat the sentience and feelings in our perceptions as belonging to a distinct domain beyond the realm of this physical universe. Sense experience cannot be reduced to physical activities or replaced by each other. In this sense, they are simple and fundamental, such as the dimensions of space“time or the fundamental forces in physics. They are not produced, but just happen to be correlated with stimulating bodily senses and the nervous system’s resulting activity. This is just as bizarre as correlating a supernova’s explosion with my pushing the button of my pen. The only difference is that we have been accustomed to the former since we were children.

Given this, how can we explain why we have conscious experience? Science gives us no hint. One may deny sentient experience, as some philosophers of the mind do, but this is not satisfactory. The only clue comes from Divine Revelation, which teaches us of an Ultimate Creator Who is Compassionate and Merciful. Reminding us of his bounties, God says in the Qur’an: Say: He has created you and made for you faculties of hearing, seeing, feeling and understanding: little thanks it is ye give (67:23).

Once the true character of perception as a special gift of God is understood, our eyes and ears and other bodily organs cannot be considered the real sources of our bodily senses; rather, we will understand that they are just like windows of the human soul that God breathes into each person: (Remember) when thy Lord said unto the angels: Lo! I am creating a mortal out of potter’s clay of black mud altered, so, when I have made him and have breathed into him of My Spirit, fall down and prostrate unto him (15:28-29).

Only in the light of this profound truth can we have an idea of why we have so many remarkable qualities and capabilities. Being human, we are like mirrors on which the manifestations of God’s Attributes are focused. Of course, we have only the faintest copy of His Attributes, such as All-Seeing, All-Hearing, and All-Knowing. As all our knowledge is like a drop in the ocean with respect to His knowledge, our seeing and hearing are insignificant with respect to His seeing and hearing.

Since such elements of perception as seeing and hearing are not products of bodily senses but rather faculties of the human soul breathed into us by God from His Spirit, the perfect modes of seeing and hearing naturally belong to God as the Attributes of All-Seeing and All-Hearing.

Conclusion

As a final point, we stressed that seeing and hearing are temporal experiences. This raises the following question: How can an eternal God have temporal experiences? However, since investigating God’s actions in relation to time is a huge issue, we will consider it as a possible subject of future research. Here, I remark that God’s greatest Attribute is that of All-Living.

Footnotes

1. St. Anselm (1033?-1109) was an Italian prelate, Archbishop of Canterbury, Doctor of the Church, and a founder of Christian scholasticism.
2. St. Anselm, Monologion and Proslogion, trans. Thomas Williams (Indianapolis: 1996), 102.
3. Ibid.
4. Thomas Huxley, in Nicholas K. Humphrey, A History of the Mind: Evolution and the Birth of Consciousness (New York: Simon & Schuster, 1992).
5. Stephen Pinker, How the Mind Works (New York: Norton, 1999), 146.