Jun 012012
 

Sunk deep in the night.  As one sometimes sinks one’s head in meditation, thus utterly to be sunk in the night.  All around people are asleep.  It’s a harmless affectation, an innocent self-deception, to suppose that they are sleeping in houses, in safe beds, under a safe roof, stretched out or curled up on mattresses, in sheets, under blankets; in reality they have gathered together as they once did of old, and again later, in a desert region, a camp in the open, a countless number of men, a host, a people, under a cold sky on cold earth, cast down where they had earlier stood, forehead pressed upon arm, face towards the ground, peacefully sleeping.  And you are watching, are one of the watchmen, you find your nearest fellow by brandishing a burning stick from the brushwood pile beside you.  Why are you watching?  Someone must watch, it is said.  Someone must be there.

- At Night by Franz Kafka, from The Great Wall of China and Other Short Works

Scenes from a telescope/

The night planet electric/

 

With all the trade routes of the world lit up/

 

However, since nothing confutes the assumption that lines and forms and colours exist on innumerable other planets and suns as well, we are at liberty to feel fairly serene about the possibilities of painting in a better and different existence, an existence altered by a phenomenon that is perhaps no more ingenious and no more surprising than the transformation of a caterpillar into a butterfly or of a grub into a maybug.

The existence of a painter-butterfly would be played out on the countless celestial bodies which, after death, should be no more inaccessible to us than the black dots on maps that symbolize towns and villages are in our earthly lives.

Science – scientific reasoning – strikes me as being an instrument that will go a very long way in the future.

For look: people used to think that the earth was flat.  That was true, and still is today, of, say, Paris to Asnières.

But that does not alter the fact that science demonstrates that the earth as a whole is round, something nobody nowadays disputes.

For all that, people still persist in thinking that life is flat and runs from birth to death.

But life, too, is probably round, and much greater in scope and possibilities than the hemisphere we know.

- Vincent van Gogh, from The Letters of Vincent van Gogh

Such science will go a very long way in the future/

 

Perhaps to the moon on a ladder of light/

And back in an all-too-brief freefall…/

Inevitably, what seems realest to us is what gets activated most often.  Our hangnails are incredibly real to us (by coincidence, I found myself idly picking at a hangnail while I was reworking this paragraph), whereas to most of us, the English village of Nether Wallop and the high Himalayan country of Bhutan, not to mention the slowly swirling spiral galaxy in Andromeda, are considerably less real, even though our intellectual selves might wish to insist that since the latter are much bigger and longer-lasting than our hangnails, they ought therefore to be far realer to us than our hangnails are.  We can say this to ourselves till we’re blue in the face, but few of us act as if we really believed it.  A slight slippage of subterranean stone that obliterates 20,000 people in some far-off land, the ceaseless plundering of virgin jungles in the Amazon basin, a swarm of helpless stars being swallowed up one after another by a ravenous black hole, even an ongoing collision between two huge galaxies each of which contains a hundred billion stars – such colossal events are so abstract to someone like me that they can’t even touch the sense of urgency and importance, and thus the reality, of some measly little hangnail on my left hand’s pinky.

We are all egocentric, and what is realest to each of us, in the end, is ourself.  The realest things of all are my knee, my nose, my anger, my hunger, my toothache, my sideache, my sadness, my joy, my love for math, my abstraction ceiling, and so forth.  What all these things have in common, what binds them together, is the concept of “my”, which comes out of the concept of “I” or “me”, and therefore, although it is less concrete than a nose or even a toothache, this “I” thing is what ultimately seems to each of us to constitute the most solid rock of undeniability of all.  Could it possibly be an illusion?  Or if not a total illusion, could it possibly be less real and less solid than we think it is?  Could an “I” be more like an elusive, receding, shimmering rainbow than like a tangible, heftable, transportable pot of gold?

- from I Am A Strange Loop by Douglas Hofstadter

…from a rock to a hard place.

 Posted by at 8:25 am
Jul 062011
 

I was sad to hear about the death of Cy Tombly today.  In my first year at university, when I was doing fine art, one of the staff noticed that I kept writing on my canvases and suggested that I checked out Twombly, who often incorporated scratchy text into his work.  I loved his paintings right away, especially the ones where he scrawled sentences across them, or bits of script that looked like made-up languages, or strange words half concealed behind thicker layers of paint.  At a later point, the university art staff suggested that I was writing a little too much on my own canvases, and that perhaps I should be writing on word processors on a different course, but it was worth having been there just for the tip-off about Twombly.

untitled_1972

There are good articles about his art in lots of newspapers today, and they will tell you better than I ever could about all the great things he did.  Here and here are two I’ve enjoyed looking at.  The appeal, for me, is all in a kind of gut recognition.  He seemed to understand that the process of a making a mark, be it handwriting or graffiti or frenzied slashing with a palette knife, is as important as the symbolism of the mark itself.  In other words, the shape the word is written in says just as much as the word itself.

I was thinking about this a couple of months ago, and that was what I was getting at here.  When I got stuck – which was often – writing The Man who Rained, I would think about Twombly’s flourishing scrawls and force myself to forget about structure and narrative and all that rigid stuff and just write, write, not even write but just mark-make, be it real words or made-up words or a made-up momentary alphabet, just to enjoy the feel of the nib moving across the surface of the page.  My messy results had nothing of the elegance of Twombly’s – that was the man’s genius, to elevate scribble to a thing of beauty – but they helped me become unstuck and press onward.  So thank you, Cy Twombly.

cy_twombly_untitled_2008

CT: I’m a painter and my whole balance is not having to think about things. So all I think about is painting. It’s the instinct for the placement where all that happens. I don’t have to think about it. So I don’t think of composition; I don’t think of colour here and there. Sometimes I alter something after. So all I could think is the rush. This is in certain things and even up to now, like The Four Seasons, those are pretty emotionally done paintings. And I have a hard time now because I can get mentally ill. I usually have to go to bed for a couple of days. Physically I can’t handle it, and I can’t build myself. You know, my mind goes blank. It’s totally blank. I cannot sit and make an image. I cannot make a picture unless everything is working. It’s like a state.

DS: Like a state. Ecstatic?

CT: Ecstatic, exactly. I’m usually in a very good humour, except that I can be a little violent if it’s going bad. If I’m making a mess I get a little sadistic with the paint, but usually I’m enjoying myself. It’s more like I’m having an experience than making a picture.

- from an interview with David Sylvester, 2001

anabasis1983

 Posted by at 2:49 pm
Apr 152011
 

Twain and Whitman

What great births you have witnessed! The steam press, the steamship, the steel ship, the railroad, the perfected cotton-gin, the telegraph, the phonograph, the photograph, photo-gravure, the electrotype, the gaslight, the electric light, the sewing machine, & the amazing, infinitely varied & innumerable products of coal tar, those latest & strangest marvels of a marvelous age. And you have seen even greater births than these; for you have seen the application of anesthesia to surgery-practice, whereby the ancient dominion of pain, which began with the first created life, came to an end in this earth forever; you have seen the slave set free, you have seen the monarchy banished from France, & reduced in England to a machine which makes an imposing show of diligence & attention to business, but isn’t connected with the works. Yes, you have indeed seen much — but tarry yet a while, for the greatest is yet to come.

- Mark Twain to Walt Whitman

That was Mark Twain writing to wish Walt Whitman a happy birthday in 1889.  At seventy, Whitman had lived through a great deal, and Twain celebrated it all with gusto.  Had Whitman gone on to live the further thirty years Twain requested in the letter, I like to think he’d have proved to be a lucky charm of sorts.  It would have been swell to have had him there in the twentieth century, offering his take on things.

I love Walt Whitman.  I try to read his stuff if I have to go to the hospital waiting room or to see the bank manager.  I’d like a bracelet for my wrist with What Would Whitman Do? stitched across it.  That’s a fun game, actually, and one worth playing if you’re stuck in the bus queue or walking down Oxford Street.  The only rule is this: you have to view each and every person around you, their armpits and all, as a celebration of the human body and soul.  I find this game hardest very early in the morning and easiest after a few glasses of whiskey.

I believe in the flesh and its appetites,

Seeing hearing and feeling are miracles, and each part and tag of me is a miracle.

Divine am I inside and out, and I make holy whatever I touch or am touched from;

The scent of these arm-pits is aroma finer than prayer,

This head is more than churches or bibles or creeds

- Walt Whitman, Leaves of Grass (24), first edition

This letter of Twain’s is kept in the Beinecke, but I discovered it on a great site called www.lettersofnote.com.  You can’t fail to find something that interests you there.  The Beatles, Benjamin Franklin, Kurt Vonnegut, all these are present.  Every day, its curator Shaun Usher updates it with a new letter, providing both a scan of the manuscript and a typed transcription.  It’s such a worthwhile project, a showpiece of what the internet’s good for, and it’s deservedly nominated for the 2011 Webby Awards (you can vote to help it win via a link on the site).

Now here’s my favourite.  This brilliantly ebullient and mistyped missive from Ray Bradbury.

5485512304_c34342a1a4_o

If anybody reading this wants to improve their own writing, I’d recommend a lesson at the hands of Bradbury.  Read Zen in the Art of Writing and take his advice on list-making.  He suggest that you sit down with a blank sheet of paper and fill it with nouns and phrases, anything that kick-starts something in your head.  It helped me tremendously.  I like to stick bits of paper to the walls and write lists on them with paint or marker pen.  The trick is never to stop writing the list.  Just let it flow.

 

Kids, do the same.  Be your own self.  Love what you love.

 Posted by at 6:38 pm
Apr 082011
 

Turns out the cavemen didn’t live like this, after all.

If you live near a cinema that’s showing it, I recommend getting down there to watch the Werner Herzog documentary Cave of Forgotten Dreams.  Herzog has filmed the beautiful cave paintings in the Chauvet Cave and, unless you’re the world’s top paleohistorian, this film is the only way you’re likely to experience them.

In many ways it’s a very straightforward movie.  Herzog shows the paintings in all their prehistoric resplendence and never once masks his own awestruck reaction.  This approach is, of course, entirely to his credit.  He gets the best out of the paintings by devoting the screen to them.

If there is an argument for watching the latest blockbuster at the cinema in order to better enjoy the scope of its special effects, there is an even stronger argument for watching Cave of Forgotten Dreams on the silver screen.  It is, after all, the closest you can get to seeing these bulls, horses and lions as the painters intended them: on a wall.

For me the stand-out image from the cave is an eight-legged bison.  The archaeologists don’t think it represents a mythical beast, but that the eight legs are in fact a cunning form of animation.  This bison would have been viewed under flickering firelight, which in turn would have diffracted off the surface of an underground pool.  All of that light, all a-shimmer, would have turned those eight legs into just four, given the illusion of galloping.

I’ve been bookmarking web sites about rock art for a while, ever since I saw a quote from Picasso saying that ‘after Altamira, all is decadence.’  It turns out that Picasso probably never said anything of the sort, but that’s beside the point.  As this film so fabulously demonstrates, these cave painters were not thugs with clubs.  They were staggeringly precise figurative artists, they were animators, they were human beings just as complicated as those of the twenty-first century.

Pablo Picasso's The Bull

Here are some other bits and pieces about caves that I’ve bookmarked.  I love these underground wonders.  If any of you know of anything similar, I’d love to hear from you.

Lascaux

This is by far and away the best site I have found for prehistoric rock art.  A virtual video tour takes you from The Unicorn Panel to The Panel of the Wounded Man in the Lascaux Cave, France.  You glide from chamber to chamber, and you can pause and examine in detail each image that you pass.  Click on the unicorn to see what I mean.

Lascaux Unicorn

Ajanta

The Ajanta Caves are the rock art equivalent of new-builds, since they only date back to 200BC (Lascaux is about 17,000 years old, Chauvet between 26,000 and 32,000).  Another big difference is that they’re man-made, but they’re beautiful nevertheless, as this NYT article by Simon Winchester describes.  Click on the image below to hear him talk about Ajanta.

Ajanta

UNESCO’s Patrimonium-mundi project has given us the chance to view some of Ajanta’s caves in 360 degrees.  Click here to see cave 6, and click ‘Ajanta’ at the bottom of that screen to go back to the index of Ajanta caves.  Also worth the effort of a finger-click is the green-and-white UNESCO logo in the bottom left, which will transport you to one of 275 random World Heritage Sites that have been photographed for the project.

Han-sur-Lesse

These two old films from British Pathé are good fun.  For the most part they show people carrying flares through underground passageways – a practice which is presumably prohibited these days.  Still, it’s the flares which make these films special, swathing the cave ceilings with smoke.

Pathe - In Caverns Deep

Pathe - Like Alladin's Cave

The Tahtzibichen Labyrinth

These Mayan caves are underwater, but filled it seems with statues and artefacts that may once have demarcated the entrance to the underworld.  It’s hard to find out many facts about the place, but everybody loves a good mystery.  Here is a National Geographic article about the caves.

 Posted by at 6:59 pm
Mar 302011
 

Gosh, it’s been a month since I posted anything.  March has flown by: a month during which I lost my mobile phone and watched with bewilderment and déjà vu as both my computer and television died.  This seems to happen to me every spring.  It’s as consistent as the daffodils.

All of which is a sort of excuse and apology.  I have a big announcement due soon, which I hope will make up for some of the recent silence here.

In the meantime, I have been in the woods.

Silence

And I have been loving Kate MacDowell’s sculpture

Kate MacDowell

And remembering the story behind it

Scarce had she made her prayer when through her limbs / A dragging languor spread, her tender bosom / Was wrapped in thin smooth bark, her slender arms / Were changed to branches and her hair to leaves; / Her feet but now so swift were anchored fast / In numb stiff roots, her face and head became / The crown of a green tree…

- Ovid

Gian Lorenzo Bernini, Apollo and Daphne

A sad and violent story, but consider this…

When Daphne is turned into a laurel tree and a young man called Cycnus becomes a swan, when the fates of Hyacinthus and Narcissus offer a story behind the flowers, the subjects achieve final personality in this new form: from the perspective of creation and the life force, the shape into which they shift more fully expresses them and perfects them than their first form.

- Marina Warner

 Posted by at 4:09 pm
Feb 252011
 

this from William Blake…

William Blake - A Dream

and Walt Whitman…

pn_5504_Image_npg_79_70

Whitman: “Oxen that rattle the yoke or halt in the shade, what is that you express in your eyes? / It seems to me more than all the print I have read in my life.”

Altamira Cave Painting

and Cy Twombly…

Cy Twombly

Twombly: “Paint in a sense is a certain infantile thing. I mean in the handling. I start out using a brush but then I can’t take the time because the idea doesn’t correspond, it gets stuck when the brush goes out of paint in a certain length of time. So I have to go back and by then I might have lost the rest of it. So I take my hand and I do it. Or I have those wonderful things that came in later: paintsticks. Because the pencil also breaks if the canvas is too rough. So I had to find things that I could use, like my hands or the paintsticks. I can carry through the impetus till it stops. It’s continual. I mean, I’m talking about specifics, the heavy kind. And also, when I talked about the Jungian thing…I use earth things and certain human things as symbols for earth – like it might be excrement but it’s earth. And I did those charts, big palettes…two or three paintings with palettes and all of the colours – pink, flesh, brown, red for blood. And I think with most painters you can think and it can change very fast, the impetus of what something is. It’s instinctive in a certain kind of painting, not as if you were painting an object or special things, but it’s like coming through the nervous system. It’s like a nervous system. It’s not described, it’s happening. The feeling is going on with the task. The line is the feeling, from a soft thing, a dreamy thing, to something hard, something arid, something lonely, something ending, something beginning. It’s like I’m experiencing something frightening, I’m experiencing the thing and I have to be at that state because I’m also going.”

and Ahmad Moulla…

Ahmad Moualla

and also this from Tom Waits…

 Posted by at 11:23 am
Nov 192010
 

I got over to the V&A the other day for an exhibition that Midas Crook would have loved.  It’s called Shadow Catchers: Camera-less Photography and it’s about just that.  Every photo on display has been taken without the use of a camera, and the results are fascinating.  The show has a very experimental flavour (at times the pieces are interesting because of how they have been created, rather than how they actually look) but it’s still ingenious and I’d recommend a visit before it finishes on the 20th February.

My favourite pieces were a pair of photograms (that’s the technical word for a photo of this sort) taken by Floris Neusüss during a thunderstorm at night.  Neusüss left sheets of photographic paper under the rain, then when the lightning flashed it brought the necessary exposure to create images such as the one below.

Floris Neusüss, 'Gewitterbild, Kassel, 1984'

If you’re interested in this, the V&A have dedicated a detailed portion of their website to the exhibition and have included video interviews with the artists.  Click below to head over there.

Shadow Catchers

~

As for me, the lack of recent posts has been due to a lot of work on the new novel, as well as a project for this blog that’s got me very excited.  More soon.

 Posted by at 11:15 am
Sep 132010
 

It’s Roald Dahl Day today.  Probably they should make this a national holiday, during we would all travel the world in giant peaches and glue the possessions of miserly couples to their ceilings.  But until that comes to pass, let’s celebrate with some Dahl goodness.  Here is the great man himself, warning us about witches.

Yes, that was Ian McKellen at the end of the clip.

And here’s Alfred Hitchcock’s dramatisation of Lamb To The Slaughter (which you can also read here).  If you don’t know the story, don’t read this clip’s YouTube video description, since it will give the game away.

Happy Roald Dahl Day!

 Posted by at 7:49 am
Sep 082010
 

For about a year now I’ve been finding it hard to read novels.  I’ve enjoyed a handful of them but have been drawn far more compulsively to non-fiction.  Specifically, I like books about niche subjects I know nothing about.  Most of what I read in this fashion flies straight over my head, but bits of it stay with me as little marooned facts or adrift anecdotes.  These sometimes lead to other non-fiction book purchases, or lengthy Google sessions reading about things I can only hope to half understand.  I take great pleasure in the state of half understanding.  I don’t trust anybody who claims to fully understand anything about the world we live in.

The most recent book I’ve read along these lines is James Kale McNeley’s brief but fascinating study, Holy Wind in Navajo Philosophy.  In keeping with the above explanation, my sincere apologies if this is something you happen to know a lot about already, in which case I will sound like a half-understanding buffoon.  But let me just say that through reading it I have discovered, even though I only half understand it, that the Navajo belief system is downright beautiful.

The Navajo (or Diné, as they term themselves) believe in the Holy Wind (called the Nílch’i), which is essentially the entirety of the atmosphere.  It’s the air we breathe, the thermal currents that propel the birds, the tickling breeze and the destructive hurricane.  It’s a supreme being.  In various guises it enters us and informs our actions, and the whorls on our fingertips and toes are the marks it leaves when it enters or exits.  It carries/blows our speech from tongue to ear, but it can also blow our thoughts and prayers.  The Diné believe in various smaller weather phenomenonen that can advise us or bedevil us, and if my half-understanding doesn’t fail me they conceive of these more situational phenomena as facets of the Holy Wind, a bit like the three aspects of the Christian Holy Trinity.

The Diné’s is a meteorological belief system, a pantheon of weather where dust devils are ghosts and whispering breezes are holy messengers.  McNeley’s book will provide a far better explanation of its intricacies than I could ever hope to, but I mention it on this blog because I want to recommend to you the pleasures of half understanding.  Our culture seems to place a great deal of emphasis on absolute comprehension: we are either experts or idiots.  But I would suggest that if we pick up and read a non-fiction book that we cannot hope to fully understand, then it can lead our minds towards weird and wonderful new places.  And after we have toured enough of those, maybe we’ll know the world better than the experts…

A dust devil, after all, is kind of spooky.

 Posted by at 3:36 pm