La Lenteur


The rush and pressure of modern life are a form, perhaps the most common form, of its innate violence.  Thomas Merton


In the opening chapter of Milan Kundera`s novella La Lenteur (Slowness) he describes in philosophic detail the ecstasy of driving a car:

"I am driving, and in the rearview mirror I notice a car behind me. The small left light is blinking, and the whole car emits waves of impatience. The driver is watching for the chance to pass me; he is watching for the moment the way a hawk watches for a sparrow... he is caught in a fragment of time cut off from both the past and the future; he is wrenched from the continuity of time; he is outside time; in other words he is in a state of ecstasy. In that state he is unaware of his age, his wife, his children, his worries, and so he has no fear, because the source of fear is in the future, and a person freed of the future has nothing to fear. Speed is the form of ecstasy the technical revolution has bestowed upon man... Why has the pleasure of slowness disappeared? Ah, where have they gone, the amblers of yesteryear?"


The ecstasy...

and the agony.































Spacing Out on Pacific Quay


Science without conscience is the soul's perdition. Francois Rabelais, Pantagruel

It is poetry which recreates lost paradises; science and technology alone are not enough. M. François







Pacific Quay in Glasgow is a rather pacific place to space out, listen to the river, and watch the slow-flowing Kilpatrick hills melt away to the north-west. It's a place of poetry, of process and flow...

But it is also, thanks to the Science Centre and the new BBC studios, a place of science and media...


Science:  from Latin scientia "knowledge," scire "to know," related to scindere "to cut, divide," (cf. Greek skhizein "to split, rend, cleave").

Medium: substance through which something is conveyed -

Where the scientist looks out the poet looks in.

Poetry:   from Greek poesis "composition, poetry," from poein, poiein "to make or compose"

Compose: from com- "with" + poser "to place,"

The scientist: science, media

The poet: con-science...immedia...

Observer and observed are inextricably bound

conscientiously 

immediately

like wings on a gull.





'Poetry Vanquishing Science on Pacific Quay'  

[The science tower, which stands on these steps, has been fraught with problems since its inauguration and is now shabbily cordoned off with the whole area beginning to show signs of 'poetic' decay. The gulls however, having been evicted from their flotilla on the neighbouring cantin basin (the flotilla was used as a training module for the emergency services but has now been removed), have made it their new chill-out site! Note the art deco 'spinster flats' of Crathie Court (completed in 1952) in the background contrasting nicely against the 'steel barn' in front of it, the outlandish new Museum of Transport (completed in 2012) designed by Zaha Hadid].





Kensho in Kinning Park



Value is perishing from the earth because no-one cares to fight down to it beneath the glowing surfaces so attractive to all. Der Weg stirbt.   

Charles Olson, Human Universe


There are no parts. 

Fritjof Capra, The Web of Life 



One of the great problems of today is that people take things too literally...

...take too much at (sur) face value...

accept the glowing surfaces

'refuse to fight down to it' -

into the tangled root system.

Nothing exists a priori.

There are no parts.


Excavate the self. Fight down to it.

Become nothing...

no... thing...

Fight
down
to
it...


... Die seele erwacht. 







Illuminations in the Bluebell Woods


No I ain't doin' much, doin' nothing means a lot to me....  

AC/DC, Down Payment Blues


Man is the only animal that has to work. 

Immanuel Kant


Now we know as the result of work which Fabre first published in 1853 that in fact doing nothing is quite an important animal activity.

Jacob Bronowski, the Origins of Knowledge & Imagination



Whilst reading Jacob Bronowski's The Origins of Knowledge & Imagination this evening in the bath (the bath and the bicycle are vehicles of revelation!) I was a little perturbed to see how often he used the words 'advantage' and 'gift' to describe how man had evolutionarily distanced himself from (ascended beyond) that state of the animal... To be sure, Bronowski still believed man, at the fundamental level, to be animal  but it was the implication through these particular words that somehow man was superior, or at the very least privileged to be in such a state. He even went as far to commend man on his 'foresight' which he stated was one of the defining characteristics that led man to this exalted (one might even say transcendent) position beyond the animal.

Whilst walking through Garscadden Wood (the ancient 'bluebell woods' demarcating Bearsden from Drumchapel) this fine April afternoon, my companion asked me what I did all day (when I wasn't employed abroad as a Teacher of English as a foreign language). Of course he had some idea but he wanted me to lay it out for him.... The idea, let alone the practice, of doing nothing all day, every day, is, quite rightly for many, perplexing, if not downright alarming!

I laid out the rhythm of the day: writing, reading, walking, cycling, bathing, the occasional painting... and told him that the days passed often without my noticing. This, I told him, was my 'doing nothing'....

'But that's not nothing', one might have retorted. 'I know', I would have said. 'But to many, who correlate 'work' with 'paid employ', it is'. 

I might have added that, furthermore, since I am not at the beck and call of some puppetmaster (who, albeit inadvertently, solidifies one's liquid rhythm of being into a concrete 'making a living'), this 'doing nothing' (which is not doing nothing at all) is at least a type of listening and singing - call it a spontaneous breathing in and breathing out - on a more expansive-dissipative scale. A song of the self let's say, and its great web.

Many, however, and quite tragically, are pre-vented (their wind has been taken from them) from tuning into their song. 'Work' and obligation, (the self has been committed), interfere with and dis-attract the self from its true commitment, from the beautiful truth of emptiness. The idea of metaphysics (and lightness) appears almost repulsive. One no longer dissipates and inter-acts but accumulates and does. Diversion and a horror vacui, benchmarks of the modern culture of clutter, are the dark beacons to which many, if not most, people are attracted.

Perhaps it is confusing to use the terms 'work' and 'doing nothing'. Work for many has ceased to become work, instead becoming toil and coarse superfluous labour. This extraneous rock-breaking is, furthermore, and contrary to what we might think, not at all devoid of meaning, rather, its meaning is at complete odds with who we are quintessentially as universal and divinely immanent (and empty) beings. It is this toil (and our effecting it) that causes tremendous existential angst, for we cannot see our own place within it. It pushes us into a corner, and estranges the self from itself. It is effectively work that is irrelevant (that does not lighten, from the Latin 'relevare'), that does not nourish, and does not dignify; it is a soil that dehumanizes (takes the humus right out of us) instead of universalizing. Unlike the ancient soil here in the bluebell woods of Drumchapel perennially pushing forth a mysterious green chaos, the soil of the seduced self has been run down to the point where nothing really grows upon it at all, and if it does, it is so ordered and 'logical' that the mystery of it all is nowhere to be seen.

This is where I disagree - at the root level - with Bronowski's sentiments. Man does not have foresight. One could even go so far as to say that he doesn't even possess the gift of sight. What man does have is a particularly limited if not a wholly selective type of seeing, one which actually verges on a deep-seated blindness. The particular brand of foresight that Bronowski champions is not a blessing as he makes out, but in fact a curse. It has thus led man out of nature and into the machine with disastrous consequences for both 'man' and animal. If man could simply see, (the doors of perception cleansed), all his problems would be solved. His wind would return, his soil would nourish, and with it, ineluctably, would come his song.

In order to regain his sight, and perhaps even to transcend it and welcome vision, man needs to stop committing the self to obligation. He needs to stop kneeling before false economic idols and a conventional status quo that relies on second-hand thinking, and which piles upon the self so much clutter that the divine oracle within all of us is almost permanently silenced. In short, man needs to make work relevant. When this occurs, work, in turn, will make man relevant. As Bronowski said to two thousand children as part of a United Nations address... '[Y]ou are going to have to stop listening to your parents....'

The result of all this will be a mind which is 'belligerent, contrary, questioning, challenging...' Work will then find man, uncover and discover him from beneath all that heaviness. With his soil now nourished, and his humus returned, man will begin to grow and flourish like the delicate (yet hardy) bluebell throughout these woods. It will only be a matter of time before the wind ventilates him once again.

Man will thus become animal. For no animal has ever had to toil.

Doing nothing is quite an important animal activity






























A red fox on Camstradden Road next to Garscadden Wood.


Looking north along Peel Glen Road. The Romans built a fort here at the most elevated point as part of the Antonine Wall's fortifications. Just to the right is Garscadden Wood, part of the ancient woodland that, once upon a time, covered most of this land.



Being There


In Hal Ashby's film of Jerzy Kosinski's novella (I came across it today in Hillhead Library) and screenplay Being There, Chance the gardener (played impeccably by Peter Sellers) is quickly evicted by unscrupulous lawyers, when the old man dies, from the big house where he has lived all his life as the gardener. He suddenly finds himself outside the high-walled garden and the even higher-walled brownstone house in Washington D.C. which has up until now been his world.

We watch amusingly as the simple and socially inept Chance (everything he knows he has learned from television and his garden) makes his way through the streets of late 70s Washington to the sound of Deodato's funk version of Richard Strauss' Also Sprach Zarathustra. The music is strangely appropriate.

Within hours of setting foot outside he is fortuitously taken in by a wealthy industrialist whose chauffeur inadvertently hits him with his car. Within days, Chance's simplicity and slowness (words that have, sadly, in a world obsessed with speed and sophistication, become pejorative terms) are (mis)taken for profundity, which in a way, emulating the deep-rooted plants he once tended, they are. Some days later, Chance, through having been introduced to the President through the wealthy industrialist receives a presidential nomination. His frugality of form and austerity of speech (in short, his naturalness) have led him to what is considered the most powerful post in the world. Passing through a gauntlet of paparazzi in the hallway of the big house where he now lives, Chance goes out into the (Edenic) garden where he is caressed by a gentle breeze. He sees the fresh shoots and slender stems of taut branches, and listens to the wind whisper through the bushes. 'Not a thought lifted itself from Chance's brain. Peace filled his chest.'

The film version's coda sees Chance in a more overt pose, taking the most direct route to a drowned tree, and walking across the water of the pond. This is the same peace as we find in Chance's chest at the end of the novella, though now it is televisual. He is the master of his self.

It is no coincidence that the names Chance and Christ share a similarity. Christ's walking on water was a metaphor for levity and living lightly. Like the birds in the sky, they had escaped karma and the cycle of birth/rebirth through a genuine forgiveness forged out of simplicity and slowness. Chance, in his naturalness, left no trace, and his footsteps left no mark. He walks on water because his un-captive mind does not profess to know....

It is curious to note that this was Sellers' last performance (if you can excuse his appearance in The Bride of Fu Manchu the folowing year) before dying at the tender age of 54. When he was offered the part of Chance, Sellers immediately knew what he was up against:

Most actors want to play 'Othello', but all I've really wanted to play is Chance the Gardener. I feel what the character, the story is all about is not merely the triumph of a simple man, an illiterate. It's God's message again that the meek shall inherit the earth.

Perhaps the paradox of the novella/film is that in being 'not all there' (in being 'unworlded', in not conforming to the rush and roar of progress, and to the coded constructs of a topsy-turvy society) you are in truth 'all there'...



A 'down-to-earth' philosophy leads Chance to new heights...