June 29, 2010

From Santa Monica to Santa Fe – Part 2

The Century of the Non-Self
by Guy Zimmerman

Talk to people about sustainability and you might notice them recoiling into a resigned stoicism. The momentum in the direction of over-consumption seems vast and formidable, as indeed it is. Better, when caught picnicking between the hi-speed rails, to avert your eyes from the onrushing bullet train, and focus instead on how the honey drips off the baklava. You can invoke Thomas Malthus while you do so. Malthus, the 18th century economist, who, extrapolating food supplies against population growth, predicted mass famine in Europe in the not-too-distant future. The resourcefulness of human beings in their economic activities has proven Malthus wrong again and again, and perhaps we will sidestep disaster this time too.

Indeed there are many places where human ingenuity continues to show bright magic – the sustained, exponential up scaling of our ability to process and convey information, for example. With such dramatic increases in interconnectivity, un-guessed at solutions to challenges like global warming and peak oil could be right around the corner. But perhaps we shouldn’t count on it.

Speaking of interconnectivity, right now, on your computer, you can find “Century of the Self” and watch a riveting four-part BBC documentary by Adam Curtis that sheds light on how we got here. Curtis illuminates a vast, decades long campaign, begun by Edward Bernays in the 1920s, to reshape human behavior so that it suited the aims of a vanguard elite. No, Bernays was not a Bolshevik. Rather, “fast Eddie” was the American nephew of the great Sigmund “Uncle Siggy” Freud, and his field was public relations, marketing, advertising. Bernays, working with colleagues equally schooled in how to manipulate unconscious drives, used psychological insights to shift America from an economy based on need to an economy based on desire.

As you might guess, Bernays and company did not lack for funding; Curtis quotes Paul Mazer, a Wall Street banker working for Lehman Brothers in the 1930s: “We must shift America from a needs- to a desires-culture. People must be trained to desire, to want new things, even before the old have been entirely consumed. [...] Man’s desires must overshadow his needs.” Creating the churning engine of the consumer economy was every inch a conscious project, which also suggests it can be consciously reversed or, at least, seriously revised.

The Century of the Self follows the evolution of Bernay’s ideas as the post war paradise of an oil-fat America proceeded. The reductive Orthodoxy of the circle around Anna Freud and the crude behaviorism of BF Skinner gave way to the deeper, eros-based critique of Reich and Marcuse. And marketers hung on for the ride, reaping the benefits as the generation of the 1960s shifted from social rebellion to the life-style consumerism of the famous “me” generation. The series concludes with the focus group-based politics Bill Clinton and Tony Blair brought to the world in the 1990s.

While as a whole quite strong, Curtis’ series can only cover such a large historical arc by engaging in historical shorthand. There’s the issue of Curtis’ starting point, for example. While Bernay’s certainly seems to have engineered a huge economic pivot toward desire, America was from the start pre-disposed in that direction. Amor is the root of our name, after all, and we have always been a land of desire, a garden of dreams. When the Enlightenment cut the roots of religion, heaven toppled westward and unfurled toward the blue Pacific, and all the hungry souls of Europe felt the sudden tug of self-invention. Happiness, freedom from lack, could be theirs, if not tomorrow, then the day after tomorrow. The secular religion of progress was born long before clever young Eddie climbed up onto Uncle Siggy’s knee.

What Curtis does very well in this series is to underscore how responsive entire populations can be when their dream lives are massaged and stimulated in the right ways. Here we encounter the plasticity of social relations I mentioned in Part 1 of this post. It’s a correlate, on the collective level, of the plasticity of the neuronal structures in our brains that determine how we behave and the choices we make in the world. All the experts agree: change comes through steady persistent effort lit up now and then by shattering, transformative breakthroughs.

At the science writers workshop in Santa Fe a generational shift seemed clear to me. There was Tanya Elliott herself, speaking with focused passion about new approaches to the issue of sustainability. And the younger people in the group seemed to react differently to her presentation. About Elliott’s dire prognosis many older attendees expressed skepticism tinged with an oddly anxious condescension, while in private comments a number of the younger people spoke to me about how large the problem looms for them. They seemed more than prepared to re-examine established habits in return for a new and more sustainable paradigm. Sensibly enough young people want to know that their choices make sense in terms of irreplaceable resources. And the shadows of Exxon Valdez and BP are never far from their minds.

The key value in the consumer economy is progress, for which you need energy. To shift to sustainability, we must move toward balance as a core value. Respecting the motivational energy of desire while insisting also that the needs of the future must also be kept in mind? Call it the “middle way” economy. And just as the psychology of Freud fueled the shift to a desire-based economy, the neurology of happiness may be what fuels the shift to an economy of balance. Delusions of all kinds need to be left by the wayside. Elliott, for example, cited plenty of empirical evidence that, beyond a relatively low threshold, wealth ceases to provide well-being. Being the object of other people’s envy and seeing yourself as part of an elite – these emotions may feel good, but only if you presuppose an underlying neurosis of chronic, soul-consuming lack. This is the great, dirty secret of La Dolce Vita – it’s full of empty calories and leaves you unprepared and flabby in the face of death, which is, famously, no picnic.

So where then for happiness? The pragmatic approach to mindfulness practice that is flourishing in the West is based on empiricism, the direct observation of sensations, feeling, thoughts – the content of experience moment-to-moment. Stripped of unnecessary cultural baggage, it turns out that the wisdom traditions of Asia share a core value with scientific inquiry, an underlying faith in the world, and an embrace of the notion that we have to start any form of engagement with what is verifiably true. Both traditions have a healthy regard for how our picture of the world can be deeply distorted by the brain-structures and biases laid down by prior experience. As meditation teacher and writer Ken McLeod puts it, science and awareness practice both begin with the faith that we need to look at the truth and open to what we find there.

I began this two-part post describing being haunted by a memory of the cement stairs of the apartment complex my family rented in Santa Monica right before my parents split up. As a child I could already read how the patterns at work in my life might play out. It was certainly cause for some alarm. Indeed, for many years our summers came to resemble the close of one of those Antonioni films, full of mute devastation, the catastrophe extending out toward a distant, flat horizon. Or like a Joan Didion essay right at the end, when she has rolled you out into a thin ribbon of alienated sensitivity exposed beneath a hot SoCal sun. Divorce and dislocation, as we all now appreciate, can be hard on youngsters.

But there was also, standing there looking up at the stairs, already the recognition, hard to articulate but always close by, that on a deeper level I was entirely unaffected by what was unfolding in my family’s life. The sun was shining. The August sea was warm, and if you dug down into the sand with your toes you could feel the small sand crabs there, burrowing away. The world was alive and everywhere vibrant, and at moments I knew myself to be profoundly free. Comfort, for me, would lie not in some remembered security, but in the possibility of a more complete connection to that energized field of experience. This sense of being non-separate is what thinkers like David Loy and Francisco Varela describe as the actual truth of our situation. Learning to embrace the mystery of how this non-separation could be true opens toward an energizing sense that we are, moment by moment, participating in the story of how the material of the universe emerges upwards into self-awareness.

And so I have to note in passing that, wherever you are right now, whatever you’re doing, the world around you is luminous. In the name of social progress, Loy asks us to recognize that this luminosity is a crucial part of what we fundamentally are. We tend to forget this fact more or less completely, and identify instead with what limits and constricts us. Such limitations are, of course, real enough too, but we need to continue to investigate how they may be expressing themselves in the larger dysfunctions that threaten our common future.

No doubt correcting this massive imbalance seems unlikely…but then from the start life itself is utterly unlikely. As is the fact that a collection of splitting, looping protein strands would give rise to the kinds of thoughts I am expressing now, or to the fingers that tap these thoughts out into words…or to the optic nerves that, many miles away, carry these improbable symbol-marks up into your neocortex where they bloom out into something that approaches meaning. If it is miracles we need, we might begin noticing when they arise around us. It’s a task that might keep us surprisingly busy, and that might balance somewhat the other efforts we are now called upon to make.

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June 26, 2010

Romancing the Ring

The Ring Festival Los Angeles April 15 -June 30, 2010
by Nancy Cantwell

For ten weeks this spring more than 115 cultural partners and Institutions have gathered round the Los Angeles Opera’a first complete Ring Cycle and mounted in support an amazing array of events, symposia, art exhibitions, lectures, theatrical performances and film presentation. This is a great time to experience the depth, breath and enthusiasm of this city’s artistic community. Not only are all committed to the cooperative ideal of festival, but they are wholeheartedly embracing the labyrinth of material that The Ring poses for critical study: Political Allegory, Epic mythological archetypes, philosophical inquiry ranging from classical Greek to contemporary French, in depth Psychological debate and most of all the musical explorations into influences preceding Wagner and those on whose Wagner’s musical genius left its indelible mark.

Two such exemplary venues I was privileged to attend were the Prussian Blues program staged at Jacaranda and the Myth, Wagner and the Human Brain, lecture featuring Antonio Damasio, Peter Sellars and Bill Viola, hosted at REDCAT. While Prussian Blues tackled, through the music of Hindemith, Schubert, Wagner and Mahler, histories including Hitler’s Entartete Kunst (degenerate art), the origins Wagner’s anti-semetic predisposition and the emergence, after the 18th century era of Enlightenment, of “Romanticism” embedded with “hero seeking authenticity”*, Myth, Wagner and the Human Brain concentrated on the story behind the Ring, examining the nature of Myth, memory and sentience.

The concept behind Jacaranda’s Prussian Blues was to explore the musical and historical context of the Wagnerian experience. The first selection, Paul Hindemith’s (1895-1963) Septet for Wind (1948) was a backwards look at the composer’s struggles to find an artist home in the Third Reich and the aftermath of “the grim consequences of a re-imagined Twilight of the Gods, a final conflagration conceived by the biggest German ego to follow Richard Wagner.”* Second on the bill was a selection of Franz Schubert (1797-1828) songs, a Wagnerian prelude that explored the Romantic Zeitgeist and it’s contribution “to creating the language of German music drama.”* After intermission Richard Wagner’s (1813-1883) own Siegfried Idle (1870) was performed and gave cause to examine the personal and tumultuous life Wagner shared with the then Cosima von Bulow. Well known for her Anti-Semetic leanings Cosima’s views on “racial purity” was said to influence Adolph Hitler who conscripted Wagner’s music in service of the ideals National Socialist Germany. Coming full circle, the final performance of the evening was Gustav Mahler’s (1860-1911) Adagio from Symphony No. 10 (arr. Hans Stadlmair 1911/1970). Mahler had adopted Wagner’s love of Carl Maria von Weber as his own, completing Weber’s unfinished opera The Three Pintos whose premiere established Mahler as both a critical and financial success. And not unlike Wager he shared a profound, but far more tortured relationship with the femme fatale Alma Schindler who was twenty-three, pregnant, and two decades younger than Mahler when they married in 1902.

There is quite a difference between hearing certain pieces in concert settings and experiencing them in environments devoted to other worldly concerns. Jacaranda resides at the First Presbyterian Church of Santa Monica where the acoustics allow the music to ascend. Certainly there were no religious intentions behind in the programming of Prussian Blues, but listening to the Schubert performed by an all male choir with accompaniment, and sitting in the balcony, where the voices scaled perfectly, I was taken back to the St. Augustin Church in Vienna, hearing Anton Bruckner’s Grosse Messe in F-Moll, to the Eglise Saint Germain des Pres hearing Charles Gound’s Messe Solennelle en l’honneur de Sainte-Cecile and to the Eglise de La Madeline hearing Puccini’s Messa de Gloria. Divine.

Across town at REDCAT where the atmosphere couldn’t be more secular Wagner was getting the thrice over. Antonio Damasio from USC’s Brain and Creativity Institute acted as an emcee of sorts and started the discussions by setting the ground work with his understanding of what myths are and how they behave in the culture. His ability to distill and relate the basic precepts was professorial and put me in a mood to learn. He began by quoting Paul Ricouer, whose anthropological inquiries and philosophies, lead Ricouer to conclude “there is no self-understanding that is not mediated by signs, symbols, and texts; in the final analysis self-understanding coincides with the interpretation given to these mediating terms.” Wagnerian indeed. To which Mr. Damasio added a few more simple tenets such as “[myths] are about Beings, Events and have no verification, substantiation nor proof” or “[myths] are Brain ingredients” and “[myths] are autobiographical, personal histories.” These prompted our gray matter to commence synapsing and acted as guides for the “Pictorial” and “Theatrical” contributors to follow.

Three Women

Bill Viola, representing the Pictorial, was next at the microphone and seemed a bit uncomfortable at the table. Adding to the basics concepts of Mr. Damasio, Viola spoke of  “root systems”, “events outside of time” and taking up the technical baton (clearly a comfort zone), “[myths] function like a computer’s operating system – below the horizon, as infrastructure.” Another metaphor Viola explored was that of myth functioning as an intake form; a tablet where life’s primary informations are stored. He advanced his thought process further by stating that within the context of form vs content – the last century’s art being preoccupied with form, his hope for the 21st century was to lead us to a new content driven humanism. A welcome postulate.

By now the audience was pretty pumped for some substantive Wagnerian insight, and although Peter Sellars’ delivery was hyper-emotional and divaesque, he did eventually wipe his tears and bear down on the subject at hand. Bottomline, the story line of Der Ring Des Nibelungen is a cure for Optimism, where, in worlds of conflagration, transcendence equivocates to inaction. Characters, charged with great questions to answer and dauntless tasks preform, dramatically fail, unable to bridge the gap between their beliefs and actions. Gods and man alike require superior talents, impeccable moral fortitude, pure ambitions and heroic determination to police, not just world order, but inner rectitude. And while, the dialog and plot lines of the Ring are infused with character flaws, greed, avarice and delusions that ultimately undermine Nietzsche’s “Will to Power” the music that Wagner creates is seminal, valorous, and the consummate force that infuses the Ring with its preternatural power.

Still with Mr. Sellars, but now returning to myth and memory. If myths are a repository for explanations of origination, good and evil, power, governance catastrophe, love, war and death, and as each new generation experiences new encounters with these old informations, they in turn re-inhabit the collective memory pool to create a their own future. Wagner’s generous use of leitmotif throughout the Ring is a powerful memory tenant, a musical manifestation of each occupant. Each leitmotif is replayed, woven in and out of every opera, expanded upon over and over. Every leitmotif becomes its own language that builds and sustains the collective mythologies of the Ring.

When the discussion opened to the floor, Mr. Damasio seized the chance to comment on the science of how the brain actually functions with memory’s recall. He states that memories are repeated constructions, images are rebuilt and used to re-connect within the current syntax. Memories can degrade and/or the brain can introduce novelty into the process thus the memory can be re-modeled. The brain can make real, that which has not occurred; a persistent impediment for establishing the veracity of forensic testimony.

For a discourse on Wagner, the evening was oddly bereft of music. However the finale, Bill Viola’s Three Women, supplied visuals worthy of the Wagner mantle. An exquisite film, Three Women is a meditation on the states of being, unborn (inert), living, the dead or infinite. Viola has been collecting video cameras since 1970 and one of his prized possessions is an early B&W surveillance camera that creates a barely recognizable image somewhat akin to listening to a scratched up 78. Three Women juxtaposes this technology, with which Viola identifies preconsciousness, with the hyper-real quality of HD. Soundless and moving three women, representing the three stages of life slowly come into view. As they materialize they cross over emerging through a curtain of water, become colorized, highly defined and “born” only to return from where they came. For this attendee, the Three Women was an fitting conclusion to this mosaic of an evening. It’s investigation of origin, archetypes, the prolonged, deliberate tempo and grand scale touched on many a Wagnerian moment.

*Patrick Scott, Artistic Director, Jacaranda – Program notes for Prussian Blues

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June 21, 2010

From Santa Monica to Santa Fe – Part 1

Slowly we discover how we are.
By Guy Zimmerman

On a visit to Santa Fe recently I read up on neuroplasticity and found myself haunted by the memory of a set of cement stairs. These stairs I encountered briefly when I was eight years old and my parents were hurtling toward their final separation. The stairs belonged to a monthly rental in Santa Monica where we had traveled for the summer from the East. They led up to a hallway and, at the far end, an apartment I never wanted to enter. At night the thin walls would shake with my father’s wounded bellowing and the sound of things breaking. We children would gather in the corner of the bedroom, the three of us, around our youngest sister as she cried from an ache in her chest that wouldn’t ease. There was no safety in the world for us, huddled there in the dark, and we knew it and were filled with fear.

I’ve come to Santa Fe to attend a workshop in science writing and I have been reading the recent books authored by the instructors. Sandra Blakeslee, one of the country’s top science writers, is leading the workshop, the 15th of its kind. Working with her is George Johnson, a writer duly celebrated for his ability to explain things like Quantum Chromodynamics in elegant, simple prose. On the first night the attendees gather in the courtyard of the Ghost Ranch for dinner and drinks. As I say hello I keep catching little glimpses of those cement stairs, the somatic charge of old remembered fears traveling up through my body.

You can’t pursue a meditation practice nowadays without bumping into a book on neuroscience. Advances in the technology of brain imaging have opened the inner realm of meditative states to empirical study. The Embodied Mind by Francisco Varela, Evan Thompson and Eleanor Rosche, first published in 1991, was a seminal text. A Buddhist himself, Varela, along with his co-authors, reviewed recent developments in the neuroscience of perception to buttress the core Buddhist concept of non-dualism. After The Embodied Mind, the stream widened considerably. Psychopathologist Richard Davidson began hooking Tibetan monks up to brain scan machines and recording the results. Davidson was soon joined by a growing circle of accomplished scientists and meditators including Jon Kabat Zinn, Daniel Goleman and more recent authors such as Daniel Siegel. Sensing the opportunity, the Dalai Lama lent his considerable weight to the endeavor, helping to create the Mind-Life Institute in Boulder, Colorado, where these investigations continue today. The controversies surrounding this research will continue for a time, no doubt. In the end we will arrive at a closer understanding of the underlying reality of how experience and neurology interweave. Also significant in this ongoing inquiry are non-Buddhist researchers into mind-body issues and brain science, such as Antonio Damasio, Vilayanur Ramachandran and Jeffrey Hawkins.

Dan Siegel’s book, The Mindful Brain, published in 2006, begins with an overview of the emerging field of contemplative neuro-science. Siegel then focuses in on how negative emotional experiences get hard wired into the brain, and how this wiring restricts our freedom and insures neurotic suffering. He presents a new explanation for how specific social and emotional circuits in the brain can be harnessed to transform our experience through basic meditation practices such as mindfulness. Here, I note in passing, are the Buddha’s Four Noble Truths – suffering, its cause, its cessation, and the way to achieve its cessation – in modern dress.

Change comes hard, but it can come, is the message. Affective Anxiety disorders, like the one that sends images of the cement stairs reeling through my mind, can be addressed through concerted effort. When somatic emotional charges are fully felt in the present they release their grip. We no longer confuse such strong emotions with who we are in any real sense, and after a while the conditioning ceases to express itself in neurotic behavior. Engaging with experience in this kind of non-dual mode begins to cultivate within us a sense of inter-connectivity with other beings, and an authentic concern for their welfare. And over time the momentum of practice calls upon us to engage with a larger effort to ease suffering in the world.

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On our first day together the group of us visit Santa Fe Institute which overlooks Santa Fe on a hilltop just outside of town. Founded in 1984, SFI is devoted to the study of complex adaptive systems. This study of “emergent” phenomenon widens the scientific gaze to include those complex processes that arise out of the interactions of much simpler elements. SFI’s Nobel-winning patriarch Murray Gell-Mann has summed up this view with elegant concision: “you don’t need more to explain more.” Whatever mystery there is in the universe resides below, in other words, in the basic particles and forces and how they interact, giving rise to miraculous complexities such as Gell-Mann’s intelligence.

At the Institute we gather around a very long table to hear Omidyar fellow Tanya Elliott talk about her current efforts to construct a model for sustainable development. Elliott is an inter-disciplinary researcher with a doctorate in theoretical physics and an on-going interest in language and cognition. The subject of her talk is how patterns of dysfunction have been hard-wired into the economic and social structures that are reducing our chances of survival. The coordinated, sustained effort required to undo this collective “wiring” clearly echoes the efforts we make as individuals to liberate ourselves from neurotic patterning. The tension between reductive patterning and expansive opening holds true across different scales, including the one where we live and breathe.

In his TED talk on Beauty and Truth in Physics, Gell-Mann points out the remarkable fact that beauty is actually a very successful criterion for choosing the right theory in physics. By beauty, Gell-Mann is talking about the distillation of complex phenomenon into equations with an elegant simplicity to them, E=MC2, for example. Our gradual approach toward a unified theory is like the peeling of an onion where the successive layers resemble each other. The equations derived to make sense of the last layer come close to explaining the new one: approximate self-similarity holds true across the different scales.

Listening to Tanya Elliott I wonder again what self-similarities underlie the long elaborate drama Freud called “Civilization and Its Discontents.” Psychologists often act as if emotional trauma were the exception to the rule, but perhaps trauma is, quite literally, our birthright. More so than any mammal we are dependent on our mothers for survival. The huge neocortex that provides our capacity for awareness is to blame. We can’t stay in the womb a moment longer than we do or our heads would grow too big to emerge. And so our sensitive brains are immature when we enter the world. A colt can get up and run at the end of its first day, while we must cling for dear life to our mothers into our second year. Whenever this external life-support system is unresponsive, even for a brief interval, we are viscerally traumatized, literally in fear for our lives. As they form, our brains are flooded again and again by this intense emotion, which shapes our neural pathways. Our sense of being an independent self is infused from the start by anxiety, and is perhaps entirely an expression of this anxiety.

Unflattering though it may be, embracing this view allows us to understand how the pursuit of “normal” happiness might lead to the collection of ills – nuclear proliferation, peak oil – that currently darken our horizons. Perhaps we need to redefine the paradigms of what constitutes “normal” if we are going to gain any traction over the large scale imbalances that threaten us. Perhaps it is this “background” anxiety hidden behind the “normal” self that is expressing itself in environmental degradation and our addiction to unsustainable levels of consumption.

In books such as A Buddhist History of the West, historian David Loy unpacks the issue of “lack” as a historical and cultural force driving human history. The history of the West, to Loy, is defined by our ongoing attempt to escape or explain away our experience of groundlessness in the world. We are not “real,” in the way we long to be, Loy writes in a remarkable essay titled “Self Transformation and Social Transformation” (Tikkun): “the sense-of-self is a psychosocial construct, it is ungrounded and ungroundable—hence always insecure… we try to bolster an illusory construct by focusing on something outside ourselves, which cannot provide the grounding we seek from it…no matter how much money I may accumulate, it will never be enough. The same is true for fame, power, beauty, and so forth.”

The foundation of Western political thought is the recognition by the ancient Greeks that political systems were themselves social constructions. Loy points out that this is, in fact, an invitation to rearrange our collective life so that it works better for us. Surveying our current situation Loy laments the mass suffering that arises when the “three poisons” of greed, ill will and delusion provide the foundation for social interaction. “Today,” he writes, “our economic system has institutionalized greed, our militarism institutionalizes ill will, and our corporate media institutionalize delusion.” Such a situation might seem daunting and unworkable, but, as many of us know from direct experience, change truly is possible if we first have the courage to look at dysfunction in all its lurid glory.

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June 16, 2010

Thoughts Regarding Alice Neel

Alice Neel: Paintings, LA Louver Gallery, Venice, California, May 20-June 26, 2010
by Tom Wudl

Alice Neel’s biography confirms what all true artists know. There will be pain at either end of the equation that attempts to reconcile creativity with survival. For all true artists it is create or die. The difficult negotiation between the need to create and the longing for the promise of domestic stability and companionship has been a source of pain for both artists and their families always. Even the stoics who tough it out by themselves don’t escape loneliness. And for Neel there too existed a marginalization by the declared professionals of the day; the same sycophants who now cannot find praise enough, ignored her work within the confines of her own generation. An unkind adversity many an artist is condemned to suffer.

When standing in front of her paintings I get the sense that everyone who posed for her is implicated in her suffering. When you sat in the chair you enlisted to have your fortune told by a diabolical mind reader who could and would penetrate every barrier unconditionally. When you got up you could not possibly have the same pretensions about yourself that you had before the sitting (Linus Pauling excluded; still deluded by his own insipid smile). And as viewers we too are implicated in this seance of truth and see a particular part of ourselves clearly in the faces on the canvas. With the exception of a few sympathetic children and other chosen innocents, no one is given a pass.

Last but not least is technique: To the uninitiated the paintings may look like the casual improvisations of a well meaning yet untutored primitive. But to those who are in possession of a visual syntax, Alice Neel’s virtuosity is striking and it makes me think of shorthand; shorthand as used to encode quantities of information into a symbolic economy that when deciphered discloses every word and every letter representing the contents of the subject, in its completeness. That’s exactly what she did. She invented a shorthand that permitted her to record every detail of her clinical analysis of what is visible and invisible to the eye and that in turn in the fullness of time unfolds itself in the eye of the viewer.

alice-neel-painting-richard-gibbs-1968-oil-on-canvas alice-neel-painting-abes-grandchildren-1964-oil-on-canvas alice-neel-painting-frank-gentile-1965-oil-on-canvas alice-neel-painting-linus-and-eva-helen-pauling-1969-oil-on-canvas alice-neel-painting-sam-1940-oil-on-canvas alice-neel-painting-horace-cayton-1949-oil-on-canvas alice-neel-painting-peggy-ca-1949-oil-on-canvas
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June 12, 2010

A Lamentation for the Gulf

Exquisite Corpse, Photography by Naomi Pitcairn
by Nancy Cantwell

On this the 55th day of BP Deepwater Horizon disaster, as tens of thousands of gallons of oil continue to pour into the Gulf of Mexico, the heartbreaking vandalism of the sentient ocean’s population is unimaginable. According to the Center for Public Integrity, BP accounted for “97 percent of all flagrant violations found in the refining industry by government inspectors.” This willful and egregious trespass against wildlife of the Gulf Coast of Mexico amassed in the name of high speed gross profit is truly unconscionable.

I have been holding on to these Exquisite Corpse photographs by Naomi Pitcairn, waiting for larger meditation to take shape in my mind, but I keep returning to these portraits of prematurely deceased animals for their simple beauty and sympathetic tone. They are a fitting elegy to all those who will fall prey to the waste of this heedless corporate catastrophe.

There are further associations that come to mind as I examine Pitcarins’s work, that feel appropriate in light of the Deepwater Horizon tragedy. The Exquisite Corpse series closely resonates with the Schiller poem and subsequent Brahms choral work Nänie Op. 82, 1881, whose opening line reads, “Auch das Schöne muß sterben!, Even Beauty must perish!” Brahms set to music Schiller’s text to honor the death his friend, artist Anselm Feuerbach, a painter of classical antiquity. The title derives from the ancient Latin term noenia, a funeral song traditionally sung by the surviving parents of the deceased, implying that the lamented dead were not only beautiful, but most likely young. This Brahms is no torpid dirge, it is, in fact, most remarkable for its loveliness. The opening solo oboe affects a calling to another world, a fearless crossing over. The music of Nänie invites the listener to contemplate ceaslessness, with acceptance.

Please find the Schiller poem and Brahms Nänie .mp3 directly below the Exquisite Corpse presentation.

Exquisite Corspes

© Naomi Pitcairn

Johannes Brahms
Nänie for Choir and Orchestra Op. 82,
Bamberger Symphoniker – Bayerische Staatsphilharmonie, with the Bavarian Radio Chorus, Conducted by Robin Tocciati

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Nänie, poem by Friedrich Schiller

The beautiful, too, must die! that which subjugates men and gods
Does not stir the brazen heart of the Stygian Zeus
Only once did love melt the Lord of shadows,
And just at the threshold, he strictly yanked back his gift.
Aphrodite does not heal the beautiful boy’s wound,
Which the boar ripped cruelly in that delicate body.
Neither does the immortal mother save the dive hero
When, falling at the Scaean Gate, he fulfills his fate.
She ascends from the sea with all the daughters of Nereus,
And lifts up a lament for her glorious son.
Behold! the gods weep; all the goddesses weep,
That the beautiful perish, that perfection dies.
But to be a dirge on the lips if loved ones can be a marvelous thing;
For that which is common goes down to Orcus in silence.

Auch das Schöne muß sterben! Das Menschen und Götter bezwinget,
Nicht die eherne Brust rührt es dem stygischen Zeus.
Einmal nur erweichte die Liebe den Schattenbeherrscher,
Und an der Schwelle noch, streng, rief er zurück sein Geschenk.
Nicht stillt Aphrodite dem schönen Knaben die Wunde,
Die in den zierlichen Leib grausam der Eber geritzt.
Nicht errettet den göttlichen Held die unsterbliche Mutter,
Wann er am skäischen Tor fallend sein Schicksal erfüllt.
Aber sie steigt aus dem Meer mit allen Töchtern des Nereus,
Und die Klage hebt an um den verherrlichten Sohn.
Siehe! Da weinen die Götter, es weinen die Göttinnen alle,
Daß das Schöne vergeht, daß das Vollkommene stirbt.
Auch ein Klagelied zu sein im Mund der Geliebten ist herrlich;
Denn das Gemeine geht klanglos zum Orkus hinab.

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June 8, 2010

Tim Hawkinson’s Eternal Return

Tim Hawkinson at Blum and Poe Gallery, Los Angeles, May 22-June 26, 2010
by  Michelle Plochere

In contrast to the morbid formality and enforced quietude of the Blum and Poe gallery space, the cold, dead hand (culled from rotten apples and banana peels), that greets the visitor at the start of the Tim Hawkinson show, seems comparatively warm and welcoming as it emerges, zombie-style, from its hygienic white display column, more alive in its organic state of decomposition than anything else that is to follow. This literal reveal of the hand is a thematic precursor for the show, as it foregrounds the play between the animate and inanimate, motion and inertia, the useful and the useless, entropy and evolution, craft and junk.

In the next room, a sculpture of cardboard tubes, cylinders and wheels made from rolls of tape and other useful products, almost casually tossed in the corner, suggests not the dog of the title so much as a kinetic sculpture waiting to be spun and twirled – an improvisational toy harvested from trash cans in an alleyway. A large pen and ink drawing becomes a meditation on circular forms, suggesting an elaborate four-level freeway interchange to nowhere – a closed system in which the mark of the hand and the process itself are left visible through penciled outlines; it is decidedly imperfect in its ode to rationalist form – rationalist form in service of the irrational.

The hands appear again in a collage piece, as clasped fingers become the tread of a tire in Bike, and the body is re-made into machine, but again, the closed system, of possible/impossible motion, is represented – wheels will spin, but go nowhere. And another piece presents entwined fingers and toes —rough, frayed and imperfect yet insistent on their grooves and rivulets — echoing circularity turning inside itself.

But there are two major set pieces in the show, that, along with the opening hand (a proper pun), form a Gothic narrative for the 21st century that slowly unwinds itself through the gallery rooms as such aforementioned ancillary pieces build upon one another.

Orrery, taking its title from the word for a mechanical model of the solar system, utilizes the leitmotif of the spinning wheel and makes it literal, if not functional: an 8 foot tall crone sits at a wheel, her dress pattern kaleidoscopically rotates, the bun in her hair spins, her eyeballs turn in their sockets, and the mechanical movements are sticky and imprecise. Her skin is made of melted plastic grocery bags, that, in spite of the still-visible logos, coalesce into an eerily realistic color, and the entire cross breed of sculpture – construction – engineered attraction is made from what are, to all appearances, entirely recycled materials. And even as it is the detritus of consumer product that is put on display, it is process and craft that are revealed – much is left undone in this piece in which the works are exposed, even though a tautology of motion is the only thing being produced.

The denouement of the show, a bookend to Orrery, is Candle, an over-scaled mechanized candle of dripping foam, in which cascading material is taken in at the bottom, and returned through a pulley system. A door at the back shows us the mechanical contrivances inside, and the interior it exposes is shiny and gold, reminiscent of Hansel and Gretel’s oven/crematorium. The candle holds symbolic value, but its flame is inert and stagnant, in spite of its constant machine-driven flickering. In its perpetual, relentless “recycling,” it serves in memoriam to a wasteful and onanistic consumer-driven culture that is less dying than undead; the narrative is brought full circle and a hand again reaches up from its grave.

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June 2, 2010

Sacrifice and the Dream of Form

A Prophet (Un prophète), 2009, a film by Jacques Audiard
By Guy Zimmerman

…in time it would come: the killer instinct
unleashed among in-laws, the blood-lust rampant.

Beowulf —  Trans: Seamus Heaney

A culture like ours, rooted in the worship of a man whose hands and feet have been nailed to beams of wood, should be open to possible links between violence and the sacred. And yet in recommending A Prophet (Un prophète), the prison noir by Jacques Audiard that won the Palme D’Or at Cannes last year, I feel compelled to warn you about scenes of violence in the film. A Prophet is not a movie for the faint of heart. But part of what’s refreshing about the film is how it treats human violence with depth and integrity, rewarding our attention with some valuable insights.

There’s a premeditated murder early in A Prophet that is particularly harrowing. The protagonist, Malik, a prisoner of French-Arab descent, visits the cell of another Arab prisoner, an informant named Reyeb, for a sexual exchange. Malik arrives with a disposable razor blade concealed in his mouth and we have seen him coached by members of the Corsican mob on how to transfer this razor to his teeth, where it can be used to sever Reyeb’s jugular vein. Malik himself will surely be killed if he fails in his mission, and his visceral fear of the Corsicans overrides any compassion for his victim, whom he scarcely knows. The murder when it comes is brutal and messy, but Audiard has also given it the disturbing intimacy of a sacrificial rite.  As James Joyce famously wrote about the tragic effect, pity and terror here combine to “arrest” our minds, uniting them with the sufferer, but also with the secret cause of the suffering.

In many ways the subject of the film is the odd intimacy that now develops between Malik and his victim. As the story unfurls, Reyeb returns in ghostly form, seeming to confer almost magical powers on the forlorn Malik. Malik begins to display remarkable talents as he navigates the power structure of the prison. Tutored by the Corsican gangster in charge of things, Malik forges alliances with Arab gangs on the outside. After a second spasm of violence, he takes control of the entire enterprise.

Violence on screen, or in any other art form, is upsetting. Adrenalin flows, our breathing turns shallow. It’s impossible to argue with people who don’t embrace to such material…unless it’s a pretext for a more general philistinism. From Homer to Sarah Kane, great art tends to wound us in one way or another. Moreover, our staggering gift for violence is perhaps our defining feature as a species, so it’s hard to know what is being served by avoiding its representation in art. If executed effectively and with integrity, depictions of violence offer glimpses of mysteries that return us to our lives in a more vital and urgent way. In scenes throughout A Prophet, the camera hovers close to Malik as he ponders such mysteries, as do we, rooted to our seats in the movie theater.

This unnerving dimension of human violence, has been explored in depth by the French cultural anthropologist Rene Girard. The author of the seminal Violence and the Sacred, Girard does not flinch from large ideas. His central thesis is that at a certain stage in their development all human communities faced an impending apocalypse of inter-clan violence, and that this blood feud is the terrifying monster vanquished symbolically in every myth (see the Beowulf quote above). Salvation arrived in the scapegoat mechanism, the sacrifice of the Pharmakos in Athens, for example, who would then be worshiped for his very real contribution to the survival of the community. So violent are we as a species, Girard believes, that those cultures which failed to stumble upon the scapegoat mechanism were wiped out in a storm of contagious tit-for-tat killings – the depravity of Rwanda or Bosnia played out to the bitter end.

It would take a very long post to unpack all the evidence Girard marshals and all the implications of his thesis. To Girard our violence is “mimetic,” by which he means it springs from competition for social roles, which are inherently plastic and adoptable. For me, given my engagement with Buddhist thinking, what’s interesting is how mimetic violence relates to the concept of “emptiness.” It is precisely because we lack any intrinsic, enduring form that, in the grip of dualism, we resort to imitation – mimesis. In contrast to our nagging sense of groundlessness, the Other appears fixed and solid. Secretly craving these qualities we seek to become “original” copies of the Other…which can only happen if the Other is eliminated in the process. We find the Oedipal relationship, in which the son seeks to copy and replace the father, so revealing, not because it is special, but because the tangled dynamic of mimesis becomes clearer when lit up by the primal energies of close family bonds.

Paradoxically, aggressive acts temporarily seem to deliver the solidity longed for by the egoic self, and this makes violence as contagious as small pox. Imagine me striking someone you love and feel how definite you become, how liberated from free-floating anxiety. The anger that runs through you is an entirely negative experience perhaps, but you are certainly free from feelings of “lack” or self-doubt. In the grip of anger we truly do become mirror images, replicas, of each other, and our public world becomes a nightmarish echo chamber of reciprocal violence. The mechanism of sacrifice ends the Hobbesian “war of all against all” as the violence is directed at the scapegoat. By common agreement the blood feud is buried with the victim, who is then worshiped as a god, becoming the lynch pin of all culture and myth. But the peace that descends is only temporary, and the seeds of mimetic violence will sprout again.

Certainly, anyone who has spent time working in the dramatic arts recognizes the significance of mimesis and the plasticity of the self, and all tragic dramas are rooted in sacrificial rites. But in Girard’s view social hierarchy in general arises out of the initial, hidden sacrifice. Even the competitive mimesis of the market economy – in which every new product is instantly cloned – is a distant, sublimated echo of the mimetic violence percolating underneath. And whenever we come to resemble each other too closely – when income inequality levels out, for example – the old atavistic anxieties begin to stir. Opponents of the death penalty, for example, miss how the leveling of incomes during the 1970s caused alarm among the defenders of social hierarchy. As recent governors of Texas seem to understand, erroneous executions are to be secretly celebrated; the more innocent the victim the more the execution will function like an actual sacrifice, buttressing the forces of social hierarchy.

There’s much more. The essential narrative of the Old Testament, according to Girard, is the story of the scapegoat mechanism held in abeyance. Abraham comes close to sacrificing Isaac…but then holds back. Joseph’s brothers’ turn him into a scapegoat…but he survives. With Jesus, however, we arrive at the return of the scapegoat mechanism in classic form. In Girard’s view the final lament of Jesus was that with his own sacrifice our bond with violence would only be buried, not broken. The aggression remained, sublimated in the various forms of culture, ready to continue its destructive magic out of view. Seen in this way, the idea that a second reckoning would surely arrive was more the product of clear thinking than prophecy. To survive, Girard suggests, the species must finally and completely shed its bond with violence – both greed and aggression – in its direct and in its sublimated forms.

While Girard may be extravagant in the claims he makes for his ideas, it’s hard to see where he really goes wrong. One reason the issue of mimetic violence is so hard to illuminate is that those who come to understand it directly, like Malik in A Prophet, are rendered mute by what they have experienced. The murderer exists apart, on the other side of language. Whether you define their difference as a form of spiritual insight or as a moral disfigurement, they speak in riddles or remain silent. From Macbeth on the battlements to Raskolnikov on the crowded streets of St. Petersburg, the killer is drawn into the heart of things to his ultimate peril. The genius of A Prophet is how it shows this dynamic operating in a vehicle as unlikely as Malik, an everyman who seems empowered solely by his bond with the would-be lover he murders.

Depictions of violence in art beg the question: what cherished self images are we willing to forgo in order to lessen the actual suffering we are causing? No doubt we would prefer to forget our own shadow material, which today gets played out, not in primal blood feuds, but in gushers of black oil flooding the waters of the Gulf. From a Buddhist perspective, our ultimate opponent is not aggression or greed but ignorance. Artists examine human violence in order to illuminate the Darwinian habits that also explain our current success as a species. But the violence cultivated by the imperatives of natural selection is now a limiting factor when it comes to our continued survival. Evolution itself now calls on us to break our hidden bonds with violence. A first step, perhaps, is to draw them into the light and look at them with an unflinching eye.

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