A little bird told me about tradition

I took this photo late last month when we visited some friends of mine from back home. They knew I had a recently found afinity for trees, and told me they knew of a tree much older than most. Sure enough, when we arrived, just as the sun was setting, there it was. As you can see by the sign, it had been labelled to mark some symbollic occasion in 1980, when I assume a core sample indicated it was 350 years old. Of course the Original Forest that marked the location had been removed to allow for the CSX rail tracks and an industrial complex that looks like it had been empty since shortly after the occasion marking the tree's 350th birthday.

I had thought about posting an image of the tree, but held back for the sole reason that the mind can probably well imagine what a now 376 year old Oak Tree from the Original Forest looks like. But then again, maybe not. There were some interesting characteristics about this tree that might escape the imagination, and this is good, because it has to be seen to understood. These characteristics have appeared in every single post I've made up to this point, they are divisions between industry and the land and between the sky and the earth.

It has been some time since I posted, and since my last post I knew the Oak Tree from the Original Forest had to be the next subject. It was just lacking context. I thought about some rubbish about frames, how we look at the world, blah, blah, blah, but every idea seemed to be just a little self important, until now.

Yesterday I was looking on the internet, and wanted to find the different names for a particular Norse Goddess. I guess my first mistake was thinking the internet might offer some assistance. Without getting too much into a review of the website I found from wikipedia (maybe this was my problem), the page appeared rather sophisticated, with plenty of flash, celtic knotwork and a depth of knowledge not often found on the net. Being a little curious, I decided to look further into the page to see what the host thought of other matters dealing with culture, religion, politics, etc... all important precursors to one's beliefs. Well, one thing I've learned is it never takes too long for racists to reveal their hand, they must horrible at poker. The host offered all sorts of veiled attacks toward many non-white people, rap music, and anything that was out of the realm of strict Eurocentric ethnicity.

This made reading the site much easier. I had been hesitant to give the author the benefit of the doubt to begin with, mainly because Nazism had a foundational history that was falsely based on Nordic tradition. However, when the great ancestral storytellers were spinning their yarns, I think it would be a great insult to them if one were to say their stories were based on the eugenic identity of their culture. Since when was culture based on eugenics? I think the answer to this goes straight to 19th century Imperial ideas of commerce and empire building that justified the suppression of Indigenous peoples from the Great Horn of Africa to the Great Wall of China. Viewing tradition from that perspective is the great colonial hangover.

What then is traditional knowledge, and what are the gifts offered to us from the ancestral storytellers who mapped the cosmos just as they mapped the human experience? Considering I sit in front of a computer, I am one of the great deconstructers of ideas, a way of life that has its own problems, but reading my last post I think its quite appropriate to say I tired of always digging. However, I did see the Oak Tree from the Original Forest, and it was equally quite a sight and site to take in. I think, then, that tradition is that Oak, but what you see in the photo above is all we really know of it: a blurred descriptive monument that says more about us than it says about the tree, leaving only a faint hint of the actualy tree, all 376 years of it, in the very corner.

A swirling mass of trash

Second stanza of Robert Bringhurst Poem “Uddalaka Aruni: A Song for the Weavers”

The sea has no end, in spite of its edges.
The seed is the tree’s thought. The seed
Is the speech of the tree. The seed is the tree
Thinking and speaking its knowledge of trees.

Every now and then I’ll pick up a book, turn to a random page, and see if there is anything illuminating, and this is the stanza I found, satisfying a previous post I made where I was ready for a fight with Cartesian determinism. Of course, I was ill prepared, because I only had a vague hint of something I had once read about an acorn possessing the knowledge of the oak that had gone before it. So, driving to southwestern Ontario today, staying at a friend’s house, and turning to a random page in Bringhurst’s collection of poems Pieces of Map, Pieces of Music (LINK), I found that indeed the sea has no end and that the seed is indeed speaking its knowledge of trees.

It was an interesting drive, as there is a certain point between Toronto and Windsor where you know you’re entering a new territory. There is a wall of trees, just as you enter Elgin county; walnut, butternut, oak and maple, it envelops you. But, just as you enter Elgin county, the one notable aberration is a large hill marking a landfill. It rises like the oak tree that is the axis mundi, it claims presence not just through the visible incline, but through the smell of rotting eggs.

This place is an interesting doorway for the region, as it demands the presence of those passing by, this is where you are, below the circling gulls and vultures. This place speaks its knowledge of us. Shrouded by the Carolinian growth, the place could easily become a sacred shrine of toxic tourism, the site that educates the many people who have absolutely no connection between the field that feeds the cow and the half eaten sirloin steak that is fed to the gull, to whom the smell of rotten eggs is a promise.

The demands placed on the participants of course would be quite anthropocentric. The Carolinian doorway opens, allowing the tourist to climb the axis mundi (from which a changed character descends), and once at the summit the site reveals its immensity, a vast pit of garbage. If centuries of litter teach us anything, it’s that garbage does not stay still. Garbage moves. In the case of the dump, this movement is the constant addition of new garbage, the picking through by hands, beaks and paws, as well as the terrestrial, aquatic and temporal morphology of space that shapes and reshapes everything. This, as the poet Wallace Stevens may suggest, speaks of much more than us.

All the dead warriors of old Whales were to be reborn in such a place. A place of equal industry and infinite cosmology, a place held within burning hot iron walls, guarded by a family of giants. They had been brought there by their king who had them thrown into a boiling cauldron, the giants stirred them round and round, and one by one the warriors were then pulled out. But of course there is always a catch.

How far should one dig beneath the garbage in search of the dump’s foundation? What if the dump has no foundation, but reveals more layers of garbage beneath more layers of garbage, with each layer more degraded the further down one digs? Could it be possible that the foundation is the garbage itself, centuries of garbage cast off centuries of seeds speaking trees, speaking leaves, speaking dirt? When the warriors were pulled out of the swirling mass they were deaf and could not speak ever again. They had witnessed things so fantastic they could never be described and they had witnessed nothing at all.

The mind is the white of the egg in its opening
Shell, the mind is the ripening
Meat of the seed. Out. In. Out. In. What is
is the weaving. We with our breathing

are working here, carding and spinning the air.

(Final stanza of Robert Bringhurst Poem “Uddalaka Aruni: A Song for the Weavers”)

Axis Mundi

I remember last winter, December 21st, to be exact (shortest day of the year), I had been visiting my family for Christmas, actually spending it away from Renee (something I will not repeat). This had been an interesting time because it was the first time I had been home for any extended period of time since the death of my good friend Dave, who was from the same town. We may have even missed each other if things had been different and he had been in town, and neither of us may have made the effort to visit, being busy with family etc... the fact is that this was my first extended visit to the place where we grew up since he died.

It was also during this extended visit that I really started to notice the trees for the first time, not for some particular attachment or memory to Dave, for there is none that I can specifically think of. The first thing that drew me to the trees was an effort undertaken by the museum to draw people’s attention to them for the fact that they are all endangered in southwestern Ontario. The specific species all belong to the Carolinian zone, of which southwestern Ontario is the northern most reach. The more common trees in question are the deciduous walnut, maple, ash, elm, and sycamore. Some of the uncommon ones are the butternut, the tulip tree, the Ohio buckeye and the Kentucky coffee tree.

Paying attention to the trees is also an exercise in paying attention to their histories. I believe it is only appropriate that they become designate "heritage" beings; after all, the only other route the town could have followed is their ultimate extirpation. I recall visiting one of the trees, a giant Swamp White Oak, with my Father, who told me there had been an Oak that was equal to if not larger than the one we were looking at. A friend of his bought the land the tree was on, and apparently the tree was in the way of where his shed was supposed to be, so up came the tree for the shed.

There is a sense of being occupied by the oak we had looked at, the one I first approached on December 21st of last year. This tree has sidewalks built around it. I took a couple photographs of it, noting when I uploaded them that the houses behind it appeared much smaller than they were in person. I nearly fell off my seat when I observed this because in person, the houses seemed larger, human size. I think the houses are the appropriate size; it is the tree that is so larger than life that the houses are transformed into specs. Those houses are the living spaces of the people who occupy them, but the tree in their front yard is of a whole other order, it is that ancient axis mundi, the pole that connects the sky to the ground, everything else rotates around its presence. This may or may not be the Sequoia that John Muir climbed in Hetch Hetchy during a thunderstorm. It could also be the sacred Ash in Der Ring Des Nibelungen, or the Maypole in Britain, the Oak in Math the Son of Mathonwy or many others. It is curious that I first came upon the oak after attending Catholic Mass with my Grandparents. They proceeded to the rectory and I walked down the block to the tree. The church has its steeple, demanding the attention of people who drive by, while the oak waits a block away, for people who notice it.

The axis mundi for Christians is inside the steeple, down the aisle, in the center, above the tabernacle; it is the crucifix that the Christian world gravitates around. The maypole, the ash and many others have fulfilled similar roles in many other places, so it is fitting to see an oak as large and ancient as this one a block away. I would think that this is fluke if the sidewalks weren't built around it, or if it did not have the plaque on it, placed discreetly for anyone curious enough to seek it out. Though the town, like the majority of the western world has substituted oak, ash and crucifixes with the north and south poles, the secular axis by which the world rotates, the memory is there.

The memory of the place it had occupied, at least in southwestern Ontario, is as troubled as the current threats the Carolinians face. I find myself referring to a section in nearby Essex County's website, in which the full force of Cartesian dualism and the new inquisition of the environment was acted out as wide scale land rape. The historical section of the site (LINK)
offer us this historical piece of trivia:

Did You Know...

The Loyalists who moved here had to chop through one of the thickest walls of forest in North America to reach the soil. The settlers developed a hatred for trees and they "killed" these natural enemies by setting fire to them or by cutting a deep gash through the bark right around the tree to stop the tree from being nourished; the tree gradually died. For fifty years the pioneers of Essex County competed in a race to destroy the dense forest that kept them from the fertile soil. Fire became a symbol of material progress. Citizens of Chicago, 300 miles away, admired the glow in the sky on several occasions when millions of cords of Essex County hardwood (oak and walnut) went up in smoke as the settlers struggled to clear at least five acres as stipulated for their first year improvement, and then to enlarge their farms as each year went by.

The claim for space here is no different than the butternut hickory I previously wrote about. Here there is an erasure not only of space, not only of sentient thought as exhibited by the natural world, but also of the very fabric that informs (or weaves?) the world. The space that replaced it is one defined by what Locke refers to as the mixing of ones labour with the earth by a way of ensuring ones freedom. So, humans obtain freedom by razing the earth? This seems entirely contrary to what the oak and ash, as the axis mundi would dictate. So now, instead of an ancient being as the center of the world, we have places so remote from our every day lives as to be in the north and south poles. But, we now know that even these poles of the axis mundi are being burnt down! This is just as tragic as the removal of the original poles that the world spins around. I believe the effort for some time has been to replace that numinous center with ourselves, the entirely anthropocentric desire to be the only things that matter. But I still think that when Adam was given the charge of naming everything, it may not have necessarily been to claim them for his project of patriarchal dominion. I think the responsibility with such a task may have been to humbly acknowledge their own presence, even the presence of the Apple Tree, not as an act of aggression against, but as an acknowledgement that there are things outside the purview of understanding and domination. I'm sure some theologians would disagree, and could very well prove that wrong, but I can't help but think of what this cultural path, joined with the centralizing authority of Cartesianism has resulted in.

Is the acknowledgment of the Swamp White Oak's presence a block away from the church make me a pagan? Or is there room for dialogue among the many religious, secular and poetic lines about the presence this tree demands of willing and humble observers? St. Francis, for one, might agree, and I know of many others from other faiths and traditions that would agree with him. But if it does make me a pagan, I'd have to say the oak has a certain pull to it that calls the world to follow a different path.

Butternut Hickory - A Glossary of ideas

(Image is from the Website "State of Eastern Ontario's Forests" LINK .)

Monuments: The creation of a sense of space that is defined against its environment. For Christianity, the greatest monument is the crucifix, a seemingly permanent sign of sacrifice and promise to anyone of the faith. To people of other faiths, it can be either a benign or malignant signpost on the path of history. To others it is not Christian, but an intersection of ideas, discourse and most importantly of the direction of the cosmos. The significant thing about monuments is the idea that they outlast the living, they are signs of humanity's strive for immortality. Don McKay writes in Deactivated West 100:,

"One of our strongest and most primitive claims on land is probably the gravesite, a piece of property devoted, presumably in perpetuity, to the memory of one person, and to that person's story; it becomes, literally, a plot."

Graves: A few years back James Lovelock pointed David Suzuki to a 19th century gravestone in Britain, and they meditated on the lichens that had consumed the story of the person whose name had been etched into the stone. Whose monument is it now? I found part of the top piece to an old headstone on the ground, by the boundary of the cemetary. It sat by the fence, the border between the monumentalization of space for the dead and the utilization of space for the living. I looked for it's bottom section but couldn't find it, is it on the other side of the fence? I thought, buried beneath the field?

Border: The line or intersection between two or more spaces that are divided. Sometimes the division is political, sometimes it is economic, and sometimes it is metaphysical, say in the division between a cemetary and a field. Sometimes the borders do not intersect, sometimes they are physically defined and sometimes they are imagined. Sometimes borders define the utilization of space, say between monumentalization and food production. Other times borders are drawn by hedgerows, fences, or trees. Other times borders are so valued over other spaces that the borders are flexed, not fixed. Other times they are arbitrarily erased as new lines are drawn because of differing value systems. At other times borders are fluid.

Trees: Monuments carried by seed through wind, wing and gravity define borders that exist beyond the purveiw of human instruction. Human necessity creates lines by border design, say in the case of a cemetary, when a fence is bent over a line of trees is planted to reinforce the monuments of humanity. Where the trees fail to articulate their presence to unnatentive humans, signs are placed on them, a monumentalization that memorializes not humanity, but the tree itself. The tree marked with the designation "Heritage," that act of cosmological wonder that defines who we are.

Heritage: A tradition, cultural trait, or way of being that is passed down for generations. Heritage may divide cultures or it may unite them. Heritage may not even belong as the sole possession of humanity, say in the case of the Butternut Hickory, in a cemetary, by a broken piece of tombstone, defining the border between monuments and production, with a sign with specificity for unnattentive mourners. A heritage onto its own, you might say, that dictates the terms of engagment to someone who can read the language of lichens and butternuts, say as the nearby squirells and jays.

Butternut: A sense of presence in a crowded space that seeks occupation of the earth both above and below. On the border it is a thing to be sought, something that will only make its presence known to those who seek it out. It defines the terms by which the earth and sky are both connected and divided, a border between ideas both terrestrial and celestial. When sought out, its width demands attention. While fences bend by wind and water, the Butternut is fed by these ideas. As a border it is also an intersection, say as in a crucifix, a temporal sign of both sacrifice and promise.

The Lion in the waves

I've wanted to write about the sea for some time now, not just as a narrative piece for this blog, but as a larger cathartic piece to exercise the ghosts of anxiety. I find there is something of a grander resonance when myth and contemporary life find a matching syncretic pattern, this to me is true serendipity. For me, at least, I find this in the motto of my Grandfather's home province of Zeeland, in the South of Holland. Zeeland, of course, translates as "Sea land," that land that has been precariously taken from the sea (or perhaps looking at it climatically, it vould be land the sea has willfully given up), and it is land precariously threatens to become the sea again.

The motto of Zeeland is "Luctor Et Emergo," in Dutch this translates to "Ik worstel en kom boven," and in English, "I struggle and I emerge." The crest of Zeeland:














The evocation of this image is one of the classical lion icon fighting like hell to stay above the water. An interesting representation of what is otherwise cast as a very powerful animal in practically every other crest it appears on in Western European iconography. Waves above, waves below and all around, even the crown that surrounds the lion is surrounded by waves. There is another representation of the logo that evokes an even greater sense of struggle, and this was from an early 20th century stamp:






















This second image considers not just the waves the lion is fighting against, but also the tangled mess of everything that threatens to pull it down. I am uncertain of the lion's representation in this context, but I know that in other Occidental myths it appears as the sun God. Without attempting to assign this designation to a lion that might just be a dutch fish monger, I think there could be some resonance with the mythic Occidental sun god as lion and the lion in this image. This is based solely on my wondering, but I often imagine (and we'll leave it at that... imagination) that the lion here is the sun, and it is fullfilling it's daily duty by looking to the west (it faces left) and is swallowed by the sea (which it would appear to do if you saw it from the banks of the North Sea on Walcheren or from Breskens). But, as the motto boldly declares "I EMERGE!" meaning it rises again in the morning, like the precariously positioned land itself, from the eastward flow that moves west.

So, is this some cleverly hidden gem of dutch traditional knowledge, encoding a lowland cosmology into a crest? If it is, I think there is a timeless quality to the story it speaks to Zeelanders, stating that we struggle to pull earth from the water so it can face the sun and we can live. It also speaks to the great anxiety faced by anyone living by a sea that threatens to swallow whole everything. To this I see characters like Beowulf, the northern cousin to some lost Dutch equivalent, after all, the epic does speak of wars against the Frisians. Beowulf possess that enigmatic quality of heros that are able to go into the sea, that place where no mortal dare. He is able to not only go into the sea, he is also quite able to wrestle with its beings, which he does so quite effectively, coming back to tell the tale over and over again, repeating the sacred repetition of myth. Beowulf, however, being written (and that is the key) at some point (was it 12th century?) suddenly becomes a story about how those undersea beings and the beings the woods lack the timeless presence of the sun, the sea, the earth. Suddenly, this cloak is given to the one celestial God and away from what would have been the timeless biological, terrestrial, aquatic, and celestial truth.

Could the lion in the waves be a remembrance of those timeless qualities, placed on a crest before they too were slain by a single and uniform cosmology? Who knows, all we have is our imagination to wonder.

Something about the way we fall.

An interesting article came my way this morning titled "Imagine the world without humans," from an internet friend I play video games with. Though I guess when we play video games we are occupying a world without humans, because the humans are in their escapist imaginations. Anyway, the article (read it HERE) was in yesterdays online edition of New Scientist, and reads as though it were a Romantic meditation on the sudden absence of humanity, asking the question, 'what would the world look like?' An interesting question, and one that has been asked many many times with many different answers.

There are a couple interesting things I found in the article. For starters, it really downplays the anticipated effects of nuclear radiation, something I was not expecting. The author draws us to look at how ecosystems rebounded following the Chernobyl disaster, both small and large animals (mice and wolves). It would only be speculative for me to to suggest otherwise, because I'm not an expert on nuclear radiation and its effects on ecosystems. Secondly, I found the author's comments on the durability of concrete rather interesting. A quote from a Chernobyl expert notes that the 'most pervasive thing about the structure is how plant life has found it's way through cracks,' further splitting buildings and turning the place into ruins.

I know that during the enlightenment a number of European philosophers (guys like Descartes and Hegel) saw ruined buildings, clogged cities, and what they deemed to be an entirely cluttered landscapes, and they were absolutely petrified. They believed that the mission they were on would prevent humanity from slipping into chaos, that they were literally crafting an accelerated path to progress. History was the space of darkness and ruination and the future was the place of light and reason. The past literally represented that chaotic zone that acted as a vaccuum for all the nations and peoples that got it wrong. I think this idea has a certain amount of hubris to it does not acknowledge what the earth actually does at the end of the day, and that is it reclaims us and everything. This is why I appreciated the author's description of how ecosystems would take on a rather interesting integrated form.

I do have to take a step back from the romantic sentiments of the article and the pull of deep ecology, because I do rather enjoy being alive. However, there is something valuable to consider when we think of what Robert Pogue Harrison meant when he wrote in Dominion of the Dead that built,
architecture actually creates the places where human time, in its historical and existential modes, takes place. Such places - be they homes, buildings, cities or landscapes - are recesses of mortal time in which we go about inhabiting the earth histrocially rather than merely naturally.

As a society, I think Westerners by and large do not meditate on the implications of geological time and what it really represents to humanity. Instead, we've undertaken a process of building as high and as wide as possible, but even Gilgamesh, that first conqueror striving for immortality, had been told that 'Man the highest cannot reach the stars, and man the widest cannot cover the earth.' Of course once he goes beyond the city walls and into the Underworld he realizes that this is true and decides to take a permanent vacation.

Donald Fixico wrote that 'The arms on the clock have a stranglehold on the Indian mind,' and Hakuin wrote that 'from the nothingness there is a path that leads away from the dust of the earth,' but then again Rilke had meditated on these things, "if the earthly has forgotten you, say to the still Earth: I flow. And tell the flowing stream: I am." As a process though, the linear progress of time, the built structures that are meant to eclipse the flow of geological time, in fact, to conquer our own mortality, are the only processes that Western civilization enshrines. The sight of Ruins, Harrison quite rightly notes, fills us with a reflexive and a figurative and literal unsettling experience.

I guess it is appropriate that this article is published in the autumn, maybe the author had an unintended resonance with the Earth's annual reclamation of everything green. After all, he does note how the green reclaims the grey. I took this photo of an Ash (Yellow) and Maple (Red) last weekend when Mzin and I were in Jackson Park.

Cosmic wonder and cosmic blunder

I once heard that is nothing more annoying than having to sit and listen to someone describe a movie you have not seen. Well, maybe that is an exageration, after all, if someone is very visual and can describe scenes in wonderful detail, then I often want to go out and watch the movie myself. I do think there is some truth to the sentiment, however, and know first hand how awkward it can be describing a movie to someone who has not seen it and probably has better things to do then listen to my half-baked description of it.

A couple weeks ago I was in my colloquium and felt myself drawn to a great discussion on the exploitation of nature for medicines, foods, etc... and vice versa the militant preservation of such areas that prohibit people the freedom to use the resources they may have previously enjoyed. Other issues such as bio-piracy and commodification were brought up as well. Many contributors to the discussion were bringing in excellent examples to help the student who initiated the discussion. Various sources and different ways to approach the subject were offered. Well, not wanting to be left out of the discussion (which I absolutely hate, and have to learn to temper myself), I proceed to take one of my points of reference to the discussion, a music video... not even a movie, and proceed to describe the video frame by frame to the class. A music video... When I finished I looked around to notice about a dozen silent faces staring my direction. Needless to say the conversation moved on to another subject. I normally am one who relishes these awkward moments, actually I think its funny even if you initiate awkward moments, its kind of like the temptation one feels as a kid when you have a stick in your hands and your friend rides by on a bicycle. One of those cause and effect situations that throws everything over the handle bars.

Regardless, no one went flying over the handle bars, only the conversation. So, in lieu of a conversation thrown over the handle bars a week and a half ago, I think this might be an appropriate place to offer the video, There There: The Boney King of Nowhere by Radiohead. I find myself often only able to relate to conversations in ways that draw me to story, and this is definately the case with the above conversation. I can think of examples that relate to the discussion, but if I have seen or read a story that has that lyrical and magnetic pull on me, I can only think in similar terms if a discussion develops. My first inclination in the above discussion was to talk about the Welsh stories of the Mabinogion in which similar protocols are offered. I can't recall precisely what story it is, but a King knows of a cosmic cauldron that is guarded over by three giants who sit around in an iron house stirring the pot, I assume looking very much the part of mystical hags and horrid trolls. The King wishes to have access to the cauldron so he can revive his army of 100 dead soldiers. He makes a request of the otherworldly beings, too which they all too happily oblige. Of course, you must thinking, 'there has to be a caveat,' well there always is, right? After being stirred in the massive cauldron, the soldiers are all plucked out one by one, fully alive and aware, but with no memory of their time in the underworld nor in the cauldron of cosmic stew. There is always a caveat... and for the King, he now has 100 soldiers who can neither hear nor speak. There be secrets in the otherworlds beyond our confines of home, family, mortality. But, I think the thing I wanted to get across to the colloguium, and Thom Yorke of Radiohead does this quite wonderfully through his storytelling, as well the Mabinogion and a million other myths articulate quite appropriately both the dangers and the protocols of going there and removing stuff out. Notice how Thom Yorke spies on all the animal families going about their daily business, and how he lurks around from home to home much like a thief, he's looking for something, I like to think he's looking for secret and arcane power. Now notice how when he stumbles across the golden shoes and lab coat, the paradigm suddenly shifts, and the animate world around him looks straight at him not as passive recipients of his gaze, but as 100% tooth and claw.

Li Po and Wallace Stevens

I came across this poem a few years ago, Alone Looking at the Mountain by the classical Chinese poet Li Po.

Alone Looking at the Mountain

All the birds have flown up and gone;
A lonely cloud floats leisurely by.
We never tire of looking at each other -
Only the mountain and I.

For some reason I find myself frequently going over it in my head, line by line. For me at least, its a four line meditation that I can't help but get sucked into. The first two lines quite nicely portray an occurence anyone can imagine, there go the birds, and there go the clouds, and then there is this moment in the last two lines that both defies and defines groundedness. I wonder if the mountain and Li Po are still looking at each other, they would have to be because they never tire. But of course we know that Li Po drowned trying to embrace the moon's reflection in the water. For me, at least, the resonance is the moment that is not now, back when, or yet to be, its just Li Po and the mountain.

I found a great website called poet seers that includes Li Po's poetry, and for those visual thinkers, photos that correspond. There was one for Alone Looking at the Mountain, but I'll leave it out, because I already had an idea of the mountain in my mind, as well as the moment when he may have written the poem.

Unfortunately I could not find Rilke on the page, but I did find Wallace Stevens, who I think is by far the best writer to have come from 20th Century America besides Kurt Vonnegut.



Like Li Po, he has a humble appreciation of a moment that both defies and defines what it means to be grounded. For Stevens, I imagine, he may have been looking out at a Pine in the middle of a January blizzard from his study window when he wrote Snow Man, another of those moments where there is a fluidity of being between humanity and the world.

Snow Man

One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;

And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter

Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,

Which is the sound of the land
Full of the same wind
That is blowing in the same bare place

For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.

Bird brains out think Descartes

I've been reading Descartes' Discourse on Method over the past few days for a paper I'm writing, and I'm quite disappointed (though not surprised) that he is one of the foundational thinkers of the enlightenment. He quite effectively described our relationship with nature as the ultimate power struggle. Through his text there is a chasm between humanity and the rest of the world, to the point where he assumed everything that had come before his time came about as if by random accidents. This view, though aimed mostly at the ancients, is also directed at the rest of the world, those Wild and whole beings I talked about in my last post. They defied logic.

It really seems to me as if he had been writing as if he were an abandoned child, which is really striking, because he looks to all traditional knowledge as being suspect, possibly because the process of uprooting French traditional thought had been well underway through imperial and religious institutions by his time. Perhaps this process had merely given him the foundation for looking forward instead of backward, forget about doing both at the same time. Institutions are not only keen about the progressive gaze that carries them forward, but they are also keenly fixated on the past, not as an integrated process, say looking forward and backward at the same time, but in a way tends to memorialize the past through monuments and iconic structures that, as Don McKay argues, 'stand against mortality.' The Church and Empires both do this quite effectively, but then along comes Descartes, and seeing ruination everywhere in the past, sees nothing but uncertainty and decay in all things behind, so better to look forward.

In his treatise, Descartes becomes so obsessed with the severance between humanity and nature that he borders on the psychotic. It isn't really much of a surprise that as he is looking forward he finds the clock, a machine, to be a suitable metaphor for all things natural. He does, after all, reject traditional knowledge that might suggest otherwise, so the only reference point that he has to build his vessel to carry him forward is the machine. The psychotic detachment expresses itself in the following quote,

It is also very worthy of remark, that, though there are many animals which manifest more industry than we in certain of their actions, the same animals are yet observed to show none at all in many others: so that the circumstance that they do better than we does not prove that they are endowed with mind, for it would thence follow that they possessed greater reason than any of us, and could surpass us in all things; on the contrary, it rather proves that they are destitute of reason, and that it is nature which acts in them according to the disposition of their organs: thus it is seen, that a clock composed only of wheels and weights can number the hours and measure time more exactly than we with all our skin.

We can trust the clock because it moves along a linear path of cogs and gadgets that are more trustworthy than even our own skin. If properly maintained, a clock can exist long into the future, a straight trajectory that defies age, and the ruination of traditional knowledge... I personally don't buy it, and think the process of uprooting the past, memorializing and making iconic everything that becomes ruins is somewhat of a problem. I think it creates a new foundation in which the secular thought becomes the new religion, and new icons are created. We cannot escape the magnetic pull of an integrated mythic time that allows us to think of the past and future simultaenously. To this extent, I tried looking for it, but cannot find the quote (it may have been Hegel, actually), who said the seed bears the knowledge of the tree it will become. To me, this suggests the progressive path forward toward ultimate enlightenment. But it also neglects that the seed also contains the memory of the tree that went before it. It is both past and future simultaneously.

I also think its important to not mistakes ourselves for God, for one its a bit arrogant, it is also quite a responsibility. Nah, I'd rather take a humbler approach and consider those clever clever machines that is the bigger world around us, to be the gods. Its a good idea to take a step back from time to time and observe, as Descartes did, but then I think its also important to not judge based on experimentation and reason alone, but to just let dreams be as dreams and the world be as the world. Its okay if we don't have the world figured out by grid line after grid line. Who knows, maybe if we observe long enough we'll see that outcasts like Assisi were correct, and that most of the world's highly integrated indigenous belief systems were also correct, that indeed there is intelligence in the world that is outside of humanity, and if anything, it is humanity that could learn the terms of dialogue from the world, instead of perpetually dictating the straight lines of progressive thought back to it.

So, here you are, proof that cars, the machines that house humans, do indeed serve as the best nut crackers (voice over complete with that educated British guy):

Pigeon > west by east

This is the story of CU 558, that's him in the above photograph if anybody is wondering. By posting his image I hope put any rumors that I did not catch a racing pigeon to bed. Anyway, I caught a pigeon, and by doing so have unknowingly exposed myself to the bigger-than-Rick world of Racing pigeons, which if you didn't know, may or may not be bigger-than-yourself in the same way that it is bigger than me.

First of all, context is everything... last friday Renee and I were coming home from errands in town when she noticed a pigeon underneath the mailboxes, "that does not look like any ordinary pigeon," says she. Noticing the tags on it's feet, "I think you're right," says I. So, being inquisitive, I gather some bird seed we feed the Chickadees with, and lure said pigeon to me. As I feed it I'm wary to lunge out and grab it, fearing it might fly away. I do, however, get a glimpse of the tags around it's ankles, "CU 558," and "GUELPH," they read.

After phoning the Peterborough and then Guelph Humane Societies, I am suddenly in touch with an entire network of Pigeon people that are very concerned about the well being of this one bird. Apparently, "CU 558" was one of many pigeons released from the nearby village of Fowler's Corners (where the absolute best Apple pies are made). They should have flown west toward Guelph, which I'm sure many did... except CU 558, who decided the best way to go west would be to go east, find a softy like me who would go out of his way to catch it. So west by east it is.

I managed to catch the pigeon simply by pretending it was a chicken... which are easy to catch if you do it right. So he is now beside me eating his millet, waiting for his ride home this evening.

As I was driving home from Toronto today I noticed the grackles and assorted other birds take part in their annual waves of wings, gathering in the sky and just swarming toward the same direction, it made think of a quote from John Livingston, who in Rogue Primate offers this very lovely passage to portray animals as possessing a unique form of intelligence that may or may not be in the grasp of humanity. The reason I say it may is because these type of things may only occur at the subconcsious level, I say it may not occur among people because of my current dissaproval of many things human at the present. So if things like imperialism and over exploitation are part of some subconscious intelligence among humans, I wish I had been a pigeon instead. Anyway, so Livingston indicates that, yes, indeed, animals think in their unique expressions, like pigeons in flight,

There is awareness involved, and that awareness is shared across the collective participating consciousness of the population concerned. Cues come in to the individual, the group, and the community (mixes of many species are often involved at both ends and during the journeys). Those cues are local interpretations or particular versions of greater regional, continental and planetary promptings. Wild, whole beings would appear to have full sensibility not only to local signs, but also to the greater orchestration which they themselves will now perform.

Wild whole beings sensitive to the bigger-than-Rick orchestrations that guide them from Peterborough to Guelph. Is this what draws people into this practice of letting loose hundreds, sometimes thousands of pigeons? Watch the video I posted below of the two guys in California releasing the pigeons. Its an interesting video because of the before and after action, as well as the child like anticipation and elation in the voice of the camera man. Now, I can see the whole commodification of wild whole beings in birds like CU 558, after all they are unseen in a metal crate... and my Grandfather told me last night about a racing friend of his who once famously said, "if the bird gets lost it's best if he stays lost because he's obviously not smart enough to find his way home." Obviously this is the ugly side of pigeon racing, commodities to charm, useless if they find their own paths. I'm sure this same type of efficiency is appreciated by all with a cartesian bent that see no inherent value in life other than the value it gives to their pleasure. Everybody I have talked to over the past few days, however, has expressed nothing but compassion for the well being of the bird, and I assume they share the same sentiments as the pigeon racer in California video.

Wild and whole beings that are bigger-than-many-selves when in a group of a thousand eyes and a thousand wings that can only see their way home. Does this mean that CU 558, separated from it's group is somehow less than whole? If one takes the notion of collapse into mind, then maybe yes, CU 588 is less than the whole now that it is separated from it's kin. This makes me think of something my advisor Ray Rogers once said about the Cod fisheries off the Atlantic Coast, yes they have collapsed, but that does not mean the Cod are extinct? No, the cod are still there, but because all of the larger Cod had been swept up for the commercial fisheries, the younger ones that got through the nets were left without the older generations to teach them (or imprint them) with the necessary information to make it to the spawning beds.

I'm not necessarily saying that my friend CU 558 is lacking in any respect, or is less-than-others because he went east instead of west. Instead, he may be showing an even greater-than intelligence by manipulating me into feeding it millet and arranging to have him chauffered to Geulph. West by East.

Harvest time

Well, first post, not the last, although Nov.11 is approaching. I think this will be a good space to vomit my thoughts into the interworld. Anyway, I think the template looks somewhat classy, all in keeping with the folklorefehr aesthetic. I wondered about the name, but it's been my e-mail handle for a few years now, so why not. After all, I'll likely post some of my rumblings, likely just for my purposes as I work through my PhD... which this is intended to be a record of (my 5 year descend into insanity for anyone who is interested to see). Anyway, I think I need another coffee to get the night cobwebs out, and get the synapses greased.

(goes to get a coffee)

So, I've been commanded by the prof. of my colloquium to write a draft paper on my personal context of inquiry, or what draws me into my research. Being a field that is largely interdisciplinary and directed toward the social sciences, this can mean anything. This can be quite dangerous, and I treat it as such. For me, it can be dangerous because my fear is that the research will become all about me, which it should never be. But, at the same time, you direct your research toward your interests. So I guess I have to find a humbled way of approaching this by taking myself out of the bigger picture of what it is I want to study.

I think a good way to approach it is to research what I am interested, the dissolution of my hometown and the surrounding region (the social, economic and environmental) in the context of the long struggle of resistance throughout Anishinaabe country (namely Bkejwanong Territory - Walpole Island First Nation, next door to my hometown, Wallaceburg). I'm thinking this might actually take on the shape of an environmental and social history of the region... but first I'll need to have sanctioned approval and guidance from the great research community down there. This, along with my team at York University, and who knows. Could be promising.

Right now, however, all I can think of is this one image that is indelibly burnt into mind. When I was home this past summer staying at my grandparents (much of the rest of my family has moved off to find work) I did a fair bit of wondering, visited some friends, visited the cemetary to see my good friend Dave who died in summer '05, and just bascially drove around many empty streets. So, I came to the section of town where the first settler supposedly set up a ship building business on the Sydenham River, and low and behold the only businesses around happened to be a taxi stand, a senior's complex, an oddly situated bar, a mechanic and a strip joint. I guess there are businesses now that I think about it, but there are probably just as many empty storefronts as well, a number of which are boarded up with just the sun burnt letters where there signs were previously. Graffiti has been splashed on many of the wallas and storefronts, but its not the graffiti I've come to expect from unknown artistic masters, instead its from the same hand, with nothing more than a question to ask. What is most fascinating though is that even the question has come out distorted, a backwards "?" making it look eerily like a sickle. I think Mora, my colloguium prof will appreciate the inclusion of this image in my paper tomorrow...