yoga bear…

Thursday, February 17th, 2011

bear demonstrating yoga posture "dancing bear"

bear doing yoga © Meta Penca


Upavishta Konasana

© Beryl Bender Birch doing merudandasana

This picture is one of several taken by Meta Penca, a 29 year old web programmer from Slovenia, of Santra the bear doing her exercises at the Ahtari Zoo in Finland. Strangely, or not so strangely, this is exactly the same as the yoga posture Merudasana, Balancing Bear Posture (rather more prosaically also known as Upavishta Konasana, Seated Angle Posture.) Taking this name into account and comparing the two photographs, it seems obvious to me where the idea came from – it seems unlikely the bear is copying some human.

In the past humans learned a lot from animals. Yoga is filled with examples, then so is T’ai Chi (a part of one form is called White Crane Flaps Wings). Now you might say that the reason for this is because our forebears (*grin* no pun intended) were much closer to nature. However, I imagine that bears were no easier to watch then than they are now in our zoos, books or TV. I would suggest the real difference is that our forebears actually considered animals worth learning from. For them, the gap between us and animals was much smaller. Clearly by the time our civilizations began industrializing this gap had grown almost unbridgeable (some of this is down to religion, but that’s another issue).

If it had not it is hardly to be supposed that Darwin’s revelations about our origins would have caused quite so much consternation. In spite of now knowing that we are directly descended from apes (and they from other creatures all the way back to the first organism), we still have an ‘us and them’ attitude to our fellow animals. That we no longer feel we have anything to learn from them is an example of our hubris, and is not just our loss, but also theirs…

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Ming vases…

Wednesday, January 19th, 2011

Wen Zhengming painting

Philosopher by a Waterfall by Wen Zhengming

Even in childhood I was baffled as to why oil paintings sold in auction houses for countless millions, while equally exquisite works of art from other cultures seemed lucky if they fetched thousands. One exception is the ubiquitous ‘Ming vase’… examples of which appear in everything from Tin Tin to baroque palaces across Europe. Another is ancient artefacts, though these again seem to be valued less for their aesthetic qualities than for how close they fall to the traditionally accepted path of ancestry of Western culture.

Surely, what this is all about is some kind of bigotry… There are schools of painting in China, for example, that are as sophisticated, as accomplished, as those in Europe, and yet – though most will have heard of Van Gogh or Rembrandt – who among us can name any Chinese painters?

The strange anomaly of the Ming vase perhaps only helps to further make this point. Chinese porcelain as an object of admiration and desire dates from a time when Europe was somewhat in awe of China – and it seems to me that human beings, when they respect others – and nothing breeds respect quite like perceiving that the other appears to be rich and successful – that they also respect their art; what is art after all but an incarnation of a people’s soul…?

Well it seems that as the ‘developing’ world becomes richer, people there become interested in reclaiming their heritage. Nothing draws attention to something quite as much as someone paying a lot of money for it. No doubt Western art critics will now begin to ‘discover’ this other art and their reappraisal will see it slowly raised to a comparable status with Western art.

About time is what I say!

(I have made a resonant point about ‘manners’ in an earlier post.)

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angels and visitations…

Tuesday, January 4th, 2011

Angels and Visitations by Rautavaara © Ondine


detail from The Garden of Earthly Delights by Hieronymous Bosch

When I am ‘actually’ writing I rarely listen to music, finding that its rhythms can interfere with those of the prose I am composing. However, when I am working on planning I often have something on in the background. I use playlists to accompany general ‘thinking’ – Harold Budd, Brian Eno, etc – and much baroque – Bach, Rameau, Couperin, Byrd etc. During more intense ‘thinking’ I might listen to Tangerine Dream, Piazzolla, Varese, Philip Glass.

When more focused on actual scenes, I have developed a habit of assembling pieces into a ‘soundtrack’: sometimes music that represents a specific theme or character in a process somewhat analogous to Wagner’s leitmotifs; or that I use to accompany a particular chapter. It is one of these last that I would like to present here.

Angels and Visitations is by the Finnish composer Einojuhani Rautavaara, one of several modern composers that I have found myself gravitating towards more and more as I have grown older. He creates soundscapes that I find exquisitely atmospheric and that mesh fruitfully with the images in my mind.

I listen to all my music from hard disks and have been unable to find the original CD with its booklet, however, what I remember (perhaps erroneously) is that Rautavaara wrote this piece as a reaction to a time when he was lying ill and perceived an angel to be standing at the foot of his bed; a being that utterly terrified him. This story found strange resonance with the Masters in my Stone Dance trilogy who consider themselves angels and are a terror to those they rule. Angels and Visitations formed part of a particular constellation of themes, but became the dominant soundtrack for the chapter Blood Gate in my book The Third God in which my trilogy reaches a final crisis of the utmost violence and atrocity.

Angels and Visitations is in itself a drama that it seems to me could only have been written post Freud. For beneath its Hieronymous Bosch surface (The Garden of Earthly Delights perhaps?) I sense there moves the leviathan of what Jung would call our collective unconscious, so that this piece does with sound what I feel works of fantasy seek to do with words.

(I have included a link above (and here) to Angels and Visitations because it seems to me rather pointless to discuss a piece of music without it being possible to listen to it. I realize that this may be seen as breaching copyright, however, I do this with the hope that it may cause people to go out and buy some Rautuvaara and thus that what I am actually doing is promoting his work)

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Calabi-Yau manifolds…

Tuesday, December 14th, 2010

cover of Shing Tung Yau's book...

Having emerged in recent years from gestalt therapy, the Stone Dance (my own copyrighted version of auto-therapy *grin*) and a general focus on the internal world of the psyche (thus much interest in Jung) – all pursuits that favour subconscious over conscious, intuition over cognition, I have found myself becoming increasingly interested in looking outwards (as far indeed as the Universe) towards science and mathematics. No doubt this is part of some process of achieving balance between the outer world of light and logic and the inner world that is hidden in mythic shadow. The book I am going to talk about here might be seen by some as a rather extreme swing ‘the other way’ – but if so it seems to me the application of the T’ai Chi precept that if you want to move right, first move left; if left, first move right.

Now a book about string theory might appear at first to be only of interest to those of a rather esoteric turn of mind. That Shing-Tung Yau’s book seeks to explain this theory through mathematics might have you on the verge of surfing off to a more reasonable webpage, beginning a scream or simply fainting away with the sheer terror of such a thought. Please do none of these things, but give me a chance to explain.

The Shape of Inner Space is a truly remarkable book. It seeks to explain perhaps one of the most subtle and complex adventures that the human mind has ever attempted. It explains the way in which mathematicians, exploring abstract worlds of many dimensions, have seduced physicists with a vision of a solution to the rather thorny problem of how to reconcile two theories, both deliriously successful: Einstein’s General Relativity and Quantum Mechanics. Each of these theories beautifully describe, respectively, what we observe of the very large (planets, galaxies), and the very small (atoms and sub-atomic particles)… The bizarre thing, the thorny problem, is that there seems to be no way to reconcile the two. And yet, there must be some way… because these two worlds: the very large and the very small, clearly must form a single continuous world…

Some twenty years ago, Yau discovered a geometry, a ‘shape’ (really a family of very closely related shapes) that is called a Calabi-Yau Manifold. This shape exists in 6 dimensions. Mathematicians regularly explore geometries of any number of dimensions – what makes this one different is that it is claimed that it ‘actually’ exists. In an argument that for me recalls the maddest and most eccentric theological discussions of the ‘how many angels can dance on the head of a pin’ variety, Yau and his maths confederates came up with a solution to the ‘thorny problem’ that requires 10 dimensions: the 3 of space and 1 of time we live in and another 6. Where, may you ask, are these mysterious 6? Well, of course, since we can’t see them, they must be somehow hidden. In fact they must be so small, so tightly bound, that they are actually VASTLY smaller than the radius of an electron. These extra 6 dimensions, ladies and gentlemen, form an exquisite convolution of the most infinitesimal size that is some flavour of Calabi-Yau manifold.

So far, so crazy. It gets crazier. It is inconceivable that we could ever find a way of actually directly perceiving these tiny hidden realms. And yet, as you read this book, and you glimpse (for only delving directly into the fiendishly complex mathematics could you hope to ‘see’) the strange and bizarre landscapes described, you begin to see how one theorem is strung together with another, when you begin to get some understanding of the interplay of maths and physics, of the interactions between the practitioners of one and the high priests of the other – an astounding picture begins to form in your mind of this most breathtaking of ventures. Nothing less than an understanding of the universe.

What also comes across is how desperately ambitious this venture is. Even if at every point in our spacetime a Calabi-Yau is attached – and it may not be this kind of manifold – it could be something more ‘complex’ – there are, apparently, 10 120 (that is 10 followed by 120 zeroes) possible Calabi-Yau – each incredibly complex – so how do we find out which one describes our universe uniquely?

Ok, enough rabid enthusiasm. I can’t hope to explain here what I’ve gleaned by reading this book. What remains to do is to encourage you to read it. I won’t pretend to you that I fully understood what was going on all the time. However, Yau is aided by Steve Nadis, a brilliant science writer. Together they make great efforts to explain what is going on in ways that a reasonably intelligent person can cope with. Throughout there are many excellent diagrams and examples are given that really help clarify things. What is perhaps most important is that Yau comes at this from the point of view of a geometer. That means that he is constantly focusing on ‘visualizing’ the maths. Focusing on this topological approach certainly worked for me.

Most importantly, I read this book with my mind slightly out of focus – that is, not ‘clinging’ to the text too hard – if there is something you don’t grasp – reread it – if it still doesn’t ‘go in’ – just move on. I don’t think it’s the details that matter here, but the general drift of the argument.

Perhaps I’ve lost my marbles in trying to encourage you to read this book. Of course it’s a difficult thing to attempt. On the other hand it is trying to give you an insight into perhaps one of the most complex and bizarre ventures humanity has thus far attempted. Ultimately, I found it simply the most exhilarating trip imaginable.

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sunflower seeds…

Sunday, October 31st, 2010
Ai Weiwei's sunflower seeds...

Ai Weiwei's sunflower seeds at the Tate Modern...

(postscript Just heard that Ai Weiwei has been arrested… news article here)

Ai Weiwei’s Sunflower Seeds is currently showing at Tate Modern. A Chinese artist who has suffered severely for being politically outspoken, and who was the artistic consultant on the glorious Bird’s Nest Stadium at the recent Olympic Games, Ai Weiwei has produced a work that says much about China today and in the past. Consisting of 100 million sunflower seeds handmade from porcelain, fired at a high temperature, handpainted, then fired again. According to him:

“Seeds are a household object in China and a revolutionary symbol at the same time”

Conceptually (I’ve not actually seen it), I read in it several layers of meaning.

Porcelain, an industrial and artistic product with which China supplied the rest of the world, links China’s past with today when she has become the workshop of the world.

I am reminded of the Terracotta Army – another example of Chinese labour being lavished to produce something beyond the capacity of almost any other people (excepting perhaps the ancient Egyptians). These are at the same time displays of what humans can achieve if bent to a single goal, but also the dehumanization involved: when we look at the Terracotta Army we are thinking of the brilliant but megalomaniacal First Emperor. Similarly with another of his megaworks – the Great Wall. With the rise of Mao, once again it is an individual who looks out at us, while his people, identical and beneath notice, lie beneath his feet.

However, my first reaction to Sunflower Seeds was one of recognition. I saw in my mind’s eye the beach of turquoise and jade pebbles each exquisitely carved (like netsuke) that appears in The Chosen. Here too I was making a point about how the grandeur of a vast concentration of human labour, however beautiful, reflects the gulf between those who rule and those who are forced to bear the intolerable weight of that rule…

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