Showing posts with label breath. Show all posts
Showing posts with label breath. Show all posts

Sunday, 21 October 2018

the sea: wave 6


Lulled by the Sea’s roll and curl, its breath synced with mine, I return to my dream of floating far from land, the boat long gone, just me and the Sea and the sky. A me-shaped hole in the vastness of the Sea, two turbulences enmeshed with each other in a nameless place on no known map. The tight breath and anxious splash and oh-my-God of my earlier corkscrewing desire to stand up and out of the water and see where I am, to orient myself, are now released. Soft. My thoughts are fluid, nomadic, provisional: they flutter and drift and unravel in a waking that is brushed by wet sleep, carried on the currents of association, very small, very quiet, a slow swarm, the little by little suddenly. I have the impression the Sea can somehow hear my thoughts.

In the Mandaean sect in the region of the Iran-Iraq border, newly ordained priests marry a cloud, a stand-in for a wife in the other world. The Mandaeans’ holy scriptures tell the story of Dinanukht, half-man, half-book, who sits by the waters between the worlds and reads himself … (1)

Movement and transformation. The resilient persistence of matter, its survival, its memory - and yet the bottom line is that the only constant is mobility, change. It’s all circuits and flows in the mortality of forms, and the unpredictable migrations of their constituent parts. There are the remains of sea creatures in deserts and on mountain tops. Shells on Everest. And a tiny bead of sweat on a forehead might contain something of the exhaled vapour of another person or creature from long ago and far away. A glass of water here now is informed by the past. Perhaps it holds molecules evaporated from a glacier, a tree, tears, mist, snow, fog, ice, a cough, the gurgle of a new-born child ‘trailing clouds of glory’ or someone’s final sigh. Maybe even molecules from Archimedes’ bath water. Countless micro-moments of time, from yesterday or centuries ago on the other side of this blue ball, potentially co-existing in the same small container. The glass itself was once sand. It’s almost promiscuous, this co-mingling, and there’s joy in that thought.

I was born by the river in a little tent
Oh and just like the river I’ve been running ever since
It’s been a long, a long time coming
But I know a change gonna come, oh yes it will (2)

Researchers estimate that 12 million tons of Sahara dust drops out of the air onto the Brazilian rainforests of the Amazon basin every year. Great plume-like vortices of aeolian sand that rise from the desert and drift west, only the finest phosphate-rich particles making it across to South America. Shamans too ride on whirlwinds; the way out of the world, or into another world, is through the vortex … (3)

If we could only let go of our compulsion to dress transience in mourning, and instead confer value on impermanence and change, might we not inherit the earth? Why not lament (briefly) the very notion of permanence and move on? ‘God’, ‘Truth’, ‘Progress’ - looks to me like these are all cover stories, formative human delusions. Funny stories to tell ourselves, aren’t they – funny peculiar if not funny ha-ha. Let their heart-break go. Why not? It would be an act of kindness. Of realistic optimism. And an occasion for invention. We’ve been pointing in the wrong direction. Let’s use the fact of transience for our fictions. That’s the way to turn a death story into a life story. If you want to be remembered, give yourself away. La la laaaa la laaaa lalalaaaa, oh yes it will.

The words of Meister Eckhardt: ‘the humble man is he who is watered with grace’ …

Beginnings and endings, all endings in reality new beginnings. Hourglasses eternally emptying out and being turned over again and again. At first the Earth was a smouldering sphere condensed from interstellar gas, its atmosphere a toxic soup of hot vapour. For maybe half a billion years. Then eventually as the Earth began to cool it rained for maybe 12,000 years, and the Sea came into being ... As we fade and die, us humans, the hot-house internal fever of our living bodies begins to cool from its regular 98.6 degrees Farhenheit, and eventually we become food, then soil, then … The spilling of seeds …

In the past, when people died at home, a lighted match was applied to the big toe. The toe would blister whether the person was dead or still alive; but if they were dead, the blister would fill with gas and burst.

After he died, Alexander the Great was shipped back from Babylon in a vat of honey. Nelson came back to England from Trafalgar in a keg of rum. A temporary suspension, of matter and time.

There’s an invisible haze in the air and in the water – the water in that glass, this Sea, that sky-mountain cloud, in all water – a haze of stuff too small for these eyes to see: the dust of anything and everything, the ghostly traces of what is carried in the wind and the rain and the rivers and here, right here in the Sea. Dancing sediment. Ejecta. Dejecta. Rejecta. A kind of soil, life’s compost. Trace elements of Newton’s apple. Or of Darwin’s busy worms, their castings the source of his consolation and inspiration in his final years of life: blind machines for making soil (aren’t we all?); digestion as restoration, the life destruction makes possible. (‘Never say higher or lower’, Darwin once wrote in the margins of a book).  We regularly inhale air-borne fragments of vehicle tires. Possibly dinosaurs. Dodos. Certainly powdered insects’ wings. Powdered people. Debris dispersed and afloat and en route to who knows where. How to read and map and re-member these atomised histories, and our place in their foldings and unfoldings and becomings.  ‘Galloping horses of the departed century, I will consult ashes, stars, and flights of birds’. (4)

‘Air routinely carries intimate fragments of rug, dung, carcasses, leaves and leaf hairs, coral, coal, skin, sweat, soap, silt, pollen, algae, bacteria, spores, soot, ammonia, and spit, as well as salt crystals from ocean white-caps, dust scraped off distant mountains, micro bits of cooled magma from volcanoes and charred micro-fragments from tropical forest fires. These sorts of things can add up. At dusk the particles meet rising water vapour, stick together, and fall: that is when they will bury you. Soil bacteria eat what they can, and the rest of it stays put if there’s no wind. After thirty years, there is a new inch of topsoil … We live on dead people’s heads […] Time: you can’t chock the wheels. We sprout, ripen, fall, and roll under the turf again at a stroke: Surely, the people is grass […]’. (5)

A thousand years ago, in silent-order Benedictine monasteries, monks communicated through hand signals. If you wanted honey, you put your finger on your tongue. If you needed a candle, you blew on your index finger … Where are those breaths now?

It was said of Confucius, and there was no higher praise: He knows where the wind comes from. It was said of Lao-Tzu that he spent 81 years in the womb before being born …

Everything is still, everything moves. Floating here, treading water, pulled down by my body’s weight, buoyed up by a cushion of liquid. Up-down, gravity and lightness. The im/possible dance. Everything that is dances this dance. The structure of a day. Organic life cycles. Weather systems. Social histories. Religions. Civilisations. Mushroom cloud. Smoke from a cigarette. A glance. A memory, bursting to the surface like the fin of a fish, then gone. Every breath is in itself a wave, a weather system, a life cycle of rising up and falling away. The inhalation can be a falling away, the exhalation an effortless rising up. Body weather. The wind in my heart – the dust in my head. Internal oceans, deserts, fronts, cloud formations, floods, droughts, turbulences, seasonal lows and highs. A synoptic chart of the soul, written in and on the body. Upside down, inside out.

The wind in the trees, the oxygenated ocean of air in which we swim or sink; an economy of exchange, inside and outside touching and blurring, like lovers. The tree-like structures of the lungs, of blood vessel and nervous systems, of river deltas and tributaries, of lightning strikes, synaptic connectivities and divisions. The arc of a thought. Like lovers.

Resemblances, analogies, metaphors: ‘like’ does not collapse difference and create the same, for the in-between is unstable, potential, the coexistence of near and far, like and not-like, identity and difference. The Sea is like the sky, the desert like the Sea, only … different. Like is a gap. Everything happens in the gap. Mind the gap, you could fall into it.

It is said that when the philosopher Empedocles (the originator of the concept of the four elements: fire, air, water, earth) dived into the spurting liquid magma of Mt. Etna’s crater, his own ‘Eureka!’ moment at the age of 60 or was it 109, the volcano promptly spat out one of his bronze shoes …

Falling down. Falling sick. Sinking. Coming up for air.  Climbing back up. Standing up. Settling down. Falling in love. Free falling. Rising into love. Defying gravity. Gravity rises, lightness falls.

‘We don’t fall in rows like hay, but we fall. Once we get here, we spend forever on the globe, most of it tucked under. While we breathe, we open time like a path in the grass. We open time as a boat’s stem slits the crest of the present’. (6)

Oh there been times that I thought I couldn’t last for long
But now I think I’m able to carry on …

Treading water. Leaving no trace. A little dance written on the wind.

Did you know that camels, the great anomalously-shaped, grace-ful ‘ships of the desert’, the two-humped Bactrian model like mobile model mountain ranges, leave oh so delicate lotus pad-prints in the sand for the wind to wipe away? (7)

Everything is still, everything moves. Sea. Sand. Sky. Air. Pulse. Breath.

It’s been a long, a long time coming
But I know a change gonna come, oh yes it will …


(1) Eliot Weinberger, ‘Mandaeans’, An Elemental Thing, New York: New Directions, pp. 100, 103.
(2) Sam Cooke, A Change is Gonna Come, 1964.
(3) Eliot Weinberger, ‘The Vortex’, An Elemental Thing, op. cit., 2007, p. 126.
(4) Czeslaw Milosz, ‘The Unveiling’ (from The Rising of the Sun), in Collected Poems: 1931-1987, London: Penguin, 1988, pp. 124, 153.
(5) Annie Dillard, For the Time Being, New York: Vintage Books, 1999, pp. 124, 153.
(6) Annie Dillard, For the Time Being, op. cit., p. 203.
(7) Eliot Weinberger, ‘The Sahara’, An Elemental Thing, op. cit., p. 186.

Friday, 29 September 2017

other fires


Later that evening, a long, energising conversation in a café on via Notartbartolo near the Falcone tree, with Gianni Gebbia – the renowned Palermitan saxophonist, stalwart of a second generation of Freimusik improvisers in Europe and Japan, and the city of Palermo’s curator for music and dance over a three-year period towards the end of Leoluca Orlando’s Palermo Spring in the late 1990s (1). He groans audibly, and comically, when I tell him what I’ve been doing. “These are extraordinary people of course, and it’s essential to remember them; but a singular focus on the mafia creates a partial perspective that overlooks a great deal, and there’s a real risk of losing other memories, extinguishing other fires in this small city. We also have to look elsewhere and remember differently. Palermo may be sad and “third world”, but it is so much more. We have to give other things their rightful place too”.

Gebbia is at pains to stress Palermo’s historical importance as cultural meeting point, and his sense of the imperative to help restore that line; “for me, this is antimafia”. He reminds me that it was in this city that Lampedusa’s wife Alessandra was one of the early pioneers of psychoanalysis, and that Gruppo 63, the influential group of Italian avant garde writers, was founded in Palermo in the 1960s. He reflects on his contact with Pina Bausch and her company in the city during work on Palermo, Palermo – “such deep research on the ground, an extraordinary happy time “ – as well as visits by Kantor and other Polish artists, and a stream of young French choreographers, Butoh practitioners and experimental musicians. 

“All these forms make a significant difference in Palermo, while political forces insist on trashing the city. Here one sees the effect of political choices in such an impolite, rough way. The extreme de-culturation of Italy during the Berlusconi years means that it has to be re-invented from the ground up. And this is a new phase, the city is really broke now. I’m concerned that Sicily is unprepared psychologically and practically for the current situation, but complaining is a very low level of political action and approach. We have to do things, find new models in this time, and without art simply becoming ideology”.

Finally Gebbia describes two related video films he has made recently that propose other topographies of memory. The first film emerged from archival and field research into the first Christian missionaries to land in Japan in the 15th century: Sicilian, Portuguese and Spanish Jesuit monks trained in Sicily. The second film concerns the Japanese painter Otama Kiyohara, who worked and taught in Palermo with her husband, the sculptor Vincenzo Ragusa, from the 1880s to the 1920s. 

“Both films were triggered by Sicily’s largely overlooked historical relations with Japan. I want to break the myth of there being no connection. For me, this is also antimafia. As is my determination not to abandon Palermo. Playing in my own city has always been a mission, even if it’s difficult now; and I still try to present unusual, quality things for Palermo audiences, that’s part of its participation”.


(1) As a saxophonist, Gebbia is known for a circular breathing technique that he learnt in particular from Sardinian masters of the launedda (bagpipe) tradition. As well as programming many festivals of performance and music in Sicily, Gebbia is also a long-term practitioner of Katsugen Undo and an ordained lay Zen Buddhist monk. For further details of his many musical recordings and collaborations (with Evan Parker, Fred Frith, Butoh artists and others), and the film projects described here, Nanbanjin (2011) and O’tama monogatari (2012), see his website here

Images: (top) photograph of Gianni Gebbia by Claudio Casanova/AAJ Italia; (bottom) Otama Kiyohara self-portrait, 1884. 

Saturday, 10 December 2016

last post (wind wound)


Images from Susan Philipsz' poignant and exquisitely realised sound work War Damaged Musical Instruments, installed at Tate Britain, London, 2015. The installation's extraordinary sonic material and its affective spatialisation of course wholly resist photographic documentation of this kind ...

The three photographs of damaged instruments included above (from the Berlin Museum), two bugles and a silvered brass alto saxophone salvaged from the Alte Munz bunker in Berlin in 1945, are all used in the work. Other instruments include a bugle from the Battle of Waterloo in 1815, found beside the body of a 14-year-old drummer boy; the 'Balaclava Bugle', used to sound the Charge of the Light Brigade in 1854; a coronet played in the Boer War, 1880; a cavalry trumpet salvaged from the wreck of the SS Pomeranian, torpedoed off Portland Bill in 1918; and a tuba recovered from German trenches in 1915.

The Tate's web page about Philipsz' work offers the following contexts:

"War Damaged Musical Instruments features fourteen recordings of British and German brass and wind instruments damaged in conflicts over the last 200 years.

The notes recorded are based on the tones of the military bugle call ‘The Last Post’, but the tune is fragmented to such an extent that it is almost unrecognisable. The tune signaled to lost and wounded soldiers that it was safe to return to base and is used today as a final farewell in military funerals and Remembrance ceremonies.

The artist has worked with the architecture of the space devising a sequence of sounds that travel the length of the Duveen galleries. Philipsz explains:
I am less interested in creating music than to see what sounds these instruments are still capable of, even if that sound is just the breath of the player as he or she exhales through the battered instrument. All the recordings have a strong human presence."
For a review by Adrian Searle in the Guardian, see here 

For a pdf that maps the location of the megaphone-like speakers (in part structurally similar to wind instruments), see here

Tuesday, 21 June 2016

shuttle 5: duster

'Between the earth and that sky I felt erased, blotted out' (Willa Cather)

'Dust allowed him a perception of time as a kind of seamless duration in which past and future could not be sundered' (Carolyn Steedman)

'Dust storms in three shapes. The whirl. The column. The sheet. In the first the horizon is lost. In the second you are surrounded by "waltzing Ginns". The third, the sheet, is "copper-tinted. Nature seems to be on fire" (Michael Ondaatje, The English Patient)
_________________________

'Nobody knew what to call it. It was not a rain cloud. Nor was it a cloud holding ice pellets. It was not a twister. It was thick like coarse animal hair; it was alive. People close to it described a feeling of being in a blizzard - a black blizzard, they called it - with an edge like steel wool ... 'Did you see the color of that monster? Black as the inside of a dog' ... 'The earth is on the move'. 'Why?' 'Look what they done to the grass. Look at the land: wrong side up' ...

The rains disappeared - not just for a season but for years on end. With no sod to hold the earth in place, the soil calcified and started to blow. Dust clouds boiled up, ten thousand feet or ore in the sky, and rolled like moving mountains - a force of their own. When the dust fell, it penetrated everything: hair, nose, throat, kitchen, bedroom, well. A scoop shovel was needed just to clean the house in the morning. The eeriest thing was the darkness. People tied themselves to ropes before going to a barn just a few hundred feet away, like a walk in space, tethered to the life support centre. Chickens roosted in mid-afternoon ...

Many in the East did not believe the initial accounts of predatory dust until a storm in May 1934 carried the wind blown shards of the Great Plains over much of the nation. In Chicago, twelve million tons of dust fell. New York, Washington, even ships at sea, three hundred miles off the Atlantic coast - were blanketed in brown.

Cattle went blind and suffocated. When farmers cut them open, they found stomachs stuffed with fine sand. Horses ran madly against the storms. Children coughed and gagged, dying of something the doctors called "dust pneumonia". In desperation, some families gave away their children. The instinctive act of hugging a loved one or shaking someone's hand could knock two people down, for the static electricity from the dusters was so strong ...

On the skin, the dust was like a nail file, a grit strong enough to hurt. People rubbed Vaseline in their nostrils as a filter. The Red Cross handed out respiratory masks to schools. Families put wet towels beneath their doors and covered their windows with bed sheets, fresh-dampened nightly. The sheets turned a muddy brown ...

A Sunday in mid-April 1935 dawned quiet, windless, and bright. In the afternoon, the sky went purple - as if it were sick - and the temperature plunged. People looked northwest and saw a ragged-topped formation on the move, covering the horizon. The air crackled with electricity. Snap. Snap. Snap. Birds screeched and dashed for cover. As the black wall approached, car radios clicked off, overwhelmed by the static. Ignitions shorted out. Waves of sand, like ocean water rising over a ship's prow, swept over roads. Cars went into ditches. A train derailed ...

'It was like I was caught in a whirlpool. All of a sudden it got completely dark. I couldn't see a thing'.

That was Black Sunday, April 14 1935, day of the worst duster of them all. The storm carried twice as much dirt as was dug out of the earth to create the Panama Canal. The canal took seven years to dig; the storm lasted a single afternoon. More than 300,000 tons of Great Plains topsoil was airborne that day ...

At its peak, the Dust Bowl covered one hundred million acres ... '


Extracts from Timothy Egan, The Worst Hard Time: The Untold Story of Those who Survived the Great American Dust Bowl, New York: Mariner Books, 2006
_________________________________

For driving music on this day of the summer solstice, see here: Gillian Welch & David Rawlings, 'April the 14th (Part 1)' - a song that weaves together disparate events that happened on 14 April, 'ruination day': the assassination of Lincoln, the sinking of the Titanic, Black Sunday

Monday, 20 June 2016

shuttle 4: dusting

'[Dust] is not about rubbish ... It is not about Waste. Indeed, Dust is the opposite thing to Waste, or at least, the opposite principle to Waste. It is about circularity, the impossibility of things disappearing, or going away, or being gone. Nothing can be destroyed. The fundamental lessons of physiology, of cell-theory, and of neurology are all to do with this ceaseless making and unmaking, the movement and transmutation of one thing into another. Nothing goes away' 

(Carolyn Steedman, Dust: The Archive and Cultural History, New Brunswick NJ: Rutgers University Press, 2002, 164). 
______________________

'Dust is particulate matter, the dispersed, disordered raw material from which everything ordered and coherent arises, and it is to dust that the complex decays.

From the beginning to the end, dust underlies all existence. It is the species of light one sees flickering in a sunbeam, the molecules of gas dashing randomly in all directions. It is the atoms and molecules of matter that can be recombined and reshaped into something new such as the ordered array of atoms in  crystal or in a living cell, and it is the dusts of interstellar space that condensed to produce the sun and its planets and all the galaxies.

Everything that we understand as consistent, the living creature, the machine, the tree, are dust in its coherent phase, part of its continuous evolutionary cycle from order to disorder, from growth to decay repeated in seemingly endless variations ...

Most dust particles have crystalline interiors, but the microcrystal in one speck of dust cannot coordinate its order with that of another grain, and the dust remains chaotic. Yet it is from these dusts that the complexities of our civilisation are built. Dust on one level is chaotic, and orderly and precise on another.

As the universe evolves it creates new dusts for its various eras ... The dusts of our era, though but a transitory formation in an evolving universe, will persist for many trillions of years. Its great miracle, life, is a cycle of ordered dust that strives to perpetuate itself. The great by-product of life, intelligence, is also like dust, with bits and fragments of coherence being produced out of disorder, but all too often lapses back into chaos again'.

(Agnes Denes, extract from The Book of Dust: The Beginning and the End of Time and Thereafter, Rochester NY: Visual Studies Workshop, 1989: quoted in Graham Gusin & Ele Carpenter (eds), Nothing, London: August, 2001, 84-6).
 ______________________

‘Quick: why aren't you dusting? On every continent, we sweep floors and wipe tabletops not only to shine the place, but to forestall burial.

It is interesting, the debris in the air. A surprising portion of it is spider legs, and bits thereof. Spider legs are flimsy … because they are hollow. They lack muscles; compressed air moves them. Consequently, the snap off easily, and go blowing about.  Another unexpected source of aerial detritus is tires. Eroding tires shed latex shreds at a brisk clip, say the folk who train their microscopes on air. Farm dust joins sulfuric acid droplets (from burned fossil fuels) and sand from the Sahara Desert to produce the summer haze that blurs and dims valleys and coasts.

We inhale “many hundreds of particles in each breath we take” … Air routinely carries intimate fragments of rug, dung, carcasses, leaves and leaf hairs, coral, coal, skin, sweat, soap, silt, pollen, algae, bacteria, spores, soot, ammonia, and spit, as well as “salt crystals from ocean white-caps, dust scraped off distant mountains, micro bits of cooled magma blown from volcanoes and charred micro-fragments from tropical forest fires”. These sorts of things can add up.

At dusk, the particles meet rising water vapor, stick together, and fall; that is when they will bury you. Soil bacteria eat what they can, and the rest of it stays put if there’s no wind. After thirty years, there is a new inch of topsoil ...

We live on dead people's heads’

(Annie Dillard, For The Time Being, New York: Vintage, 1999, 123-4).
______________________

Photo at top (Professor Larry Taylor): lunar dust, including volcanic glass beads and agglutinate, viewed under a microscope.

P.S. Some years ago, an artist friend in England (who shall remain nameless here) told me that he had been invited to set a piece of moon rock in a ring; the owner had worked at NASA, I think. One evening at home, in a moment of alcohol-induced lunacy, he decided to crush the rock fragment, roll it in a spliff, and smoke it. Disappointingly, it seems it didn't help him achieve 'escape velocity'. The following morning, he found a piece of rock of similar size and colour on a local building site and used that for the commissioned ring.