Category Archives: buoys

Erasure of the Unseen

Now comes the estimable Rebecca Solnit elucidating how degrees of power shape, distort and often obliterate what experiences, and whose experiences, become publicly visible and acknowledged. The entire essay is worth close consideration; a couple of brief excerpts below, with images from the studio of Lesley Dill.

˜˜˜˜˜

ONLY

I ENVY LIGHT

˜˜˜˜˜

Though Solnit focuses mostly on sexual abuse of women by more powerful men, we would suggest that the identical dynamic applies to a more distant form of violence. Jill Stauffer, author of Ethical Loneliness: The Injustice of Being Heard, directed us to a remarkable analysis of drone warfare in an essay titled Phenomenology of a Drone Strike, in which Nasser Hussain traces how the military power to obliterate “unseen” civilian bodies becomes inscribed within the perceptual parameters of the weapon itself:

“We have become too accustomed to seeing from the air, which violates all the familiar geometry and perspective of our mundane, grounded vision. The exhilaration of the bird’s-eye view, or the god’s-eye view, so palpable in early accounts of flying, stems from the possibility of outstripping human limitations. But in another respect, aviation is very much tied to the modern mode of seeing, because from the very beginning it has been linked to photographic and cinematographic representation. Shooting a film, or focusing on a target, are not cheap puns, but reminders of a shared genealogical origin. Indeed, this way of looking is so naturalized that we forget that seeing through an aperture produces a particular and partial visual construction.

Aerial vision at once expands the range of view and hones in on a perceived target. But this focus inwards, this claim of precise aim, is not just one among other ways of looking. Rather, the accuracy of the drone’s eye structures more than vision; it shapes the way we think about, talk about, and evaluate a bombing. We focus on the target, the moment of impact. We dispute how contained or collateral the damage was, how many civilians died alongside the chosen target. These questions begin to eclipse all other questions about the global military apparatus that makes the strike possible or about civilian injury that goes beyond body counts.”

EXPLODING WORD HORSE

˜˜˜˜˜

“Inequality makes liars of us all.”

 

˜˜˜˜˜


Words In Freedom

We lament the silencing, in this world at least, of that infinitely playful and protean voice named Ursula Le Guin. From her A Few Words to a Young Writer:

 

 

From her 2014 acceptance speech at the National Book Foundation:

 

 

ULGfin

˜˜˜˜˜


The Fierce Urgency

 


Under the Ice

As in 2016, we close our 2017 navigations with a few words that bear repeating, offered by composer John Luther Adams in his 2003 essay, Global Warming and Art. Emphasis in bold added by DP.

˜˜˜˜˜˜

What does global climate change mean for art? What is the value of art in a world on the verge of melting?

An Orkney Island fiddler once observed: “Art must be of use.” By counterpoint, John Cage said: “Only what one person alone understands helps all of us.”

Is art an esoteric luxury? Do the dreams and visions of art still matter?

An artist lives between two worlds – the world we inhabit and the world we imagine. Like surgeons or teachers, carpenters or truck drivers, artists are both workers and citizens. As citizens, we can vote. We can write letters to our elected officials and to the editors of our newspapers. We can speak out. We can run for office. We can march in demonstrations. We can pray.

Ultimately though, the best thing artists can do is to create art: to compose, to paint, to write, to dance, to sing. Art is our first obligation to ourselves and our children, to our communities and our world. Art is our work. An essential part of that work is to see new visions and to give voice to new truths.

 

IN A WORLD ON THE VERGE OF MELTING

 

Art is not self-indulgence. It is not an aesthetic or an intellectual pursuit. Art is a spiritual aspiration and discipline. It is an act of faith. In the midst of the darkness that seems to be descending all around us, art is a vital testament to the best qualities of the human spirit. As it has throughout history, art expresses our belief that there will be a future for humanity. It gives voice and substance to hope. Our courage for the present and our hope for the future lie in that place in the human spirit that finds solace and renewal in art.

Art embraces beauty. But beauty is not the object of art, it’s merely a by-product. The object of art is truth. That which is true is that which is whole. In a time when human consciousness has become dangerously fragmented, art helps us recover wholeness. In a world devoted to material wealth, art connects us to the qualitative and the immaterial. In a world addicted to consumption and power, art celebrates emptiness and surrender. In a world accelerating to greater and greater speed, art reminds us of the timeless.

In the presence of war, terrorism and looming environmental disaster, artists can no longer afford the facile games of post-modernist irony. We may choose to speak directly to world events or we may work at some distance removed from them. But whatever our subject, whatever our medium, artists must commit ourselves to the discipline of art with the depth of our being. To be worthy of a life’s devotion, art must be our best gift to a troubled world. 

˜˜˜˜˜

And finally, a link to Adams’ composition, Under the Ice:

 

Onwards to 2018……


Obedience and Dictatorship

As plutocracy gradually transitions into the full-blown tyrannical kleptocracy which Trump both signifies and embodies, we have been reflecting on an essay by Hannah Arendt written in 1964, shortly after her witnessing of the Eichmann trial. Images are from a 2014 installation by Wilfried Gerstel.

˜˜˜˜˜

NOBODY HAS THE RIGHT TO OBEY

˜˜˜˜˜˜

refusal


In A World Thus Diminished

While politicians obey their corporate masters and cheat future generations through the sale of oil, mining and other rights within public lands and national monuments, we turn to Eileen Crist and her brilliant illumination of the heavy price we pay when we think of the natural world as a “resource” to be used by humans, excerpted from a longer essay.

Images are from the exquisite portfolio “Endangered”, by master photographer Tim Flach.

LICHEN

 

PolarBearTracks

POLAR BEAR TRACKS


Nothing More Difficult

This week we lament the death of William Gass, though his writings will surely bubble and boil through the thickening karst of American literary culture for many years to come. To our ears (for he is at his most vivid when read aloud), Gass ranks as one of our truly great essayists, even when writing fiction. Fearless, vexing, elusive, partisan and polyphonous; an artist giving voice to the multitudes that swim – and sometimes drown – within the self. Below, two of these voices, the first from On Being Blue (1975) :

 

And second, from his richly mined essay on the challenges of autobiography, dating from 1994:

WILLIAM GASS: HONEST EXCAVATOR OF THE SELF

˜˜˜˜˜

Finally, a blue salute from book artist Morgan Lennox Whitehead:

˜˜˜˜˜


In Grace and Reverence

In recent years, the values embedded in a classical liberal arts education have come under sustained attack, cannibalized from within and degraded from all sides. Deep explorations of philosophy and art are considered worthless in the labor markets of the vast data mine that increasingly dominates every aspect of our economies, our behaviors and eventually our souls. In order to remain “competitive” in the global rat race, we must – or so the prevailing narrative goes – accept our fate as rats in the labyrinth of an inverted utopia, where we can no longer imagine the implications of our increasingly lethal inventions.

This toxic narrative sustains and justifies both market economies that increasingly reward a minuscule percentage of the world’s population and authoritarian political movements where even mild civic engagement is criminalized and suppressed in the name of “national security”. The stakes for a defense of the classical “arts of freedom” have never been higher; thus we were delighted to come across the lucid eloquence of Marilynne Robinson in a recent edition of the New York Review of Books. The entire essay is worthy of careful consideration from DP readers; we relay a couple of excerpts below.

˜˜˜˜˜

In the history of the West, for all its achievements, there is also a persisting impatience with the energy and originality of the mind. It can make us very poor servants of purposes that are not our own. A Benthamite panopticon would have radically reduced the varieties of experience that help to individuate us, in theory producing happiness in factory workers by preventing their having even a glimpse of the fact that there could be more to life. Censorship, lists of prohibited books, restrictions on travel, and limits on rights of assembly all accomplish by more practicable means some part of the same exclusions, precluding the stimulus of new thought, new things to wonder about. The contemporary assault on the humanities has something of the same objective and would employ similar methods. Workers, a category that seems to subsume us all except the idlest rich, should learn what they need to learn to be competitive in the new economy. All the rest is waste and distraction.

Competitive with whom? On what terms? To what end? With anyone whose vigor and good fortune allows her to prosper, apparently. With anyone who has done a clever thing we did not think of first. And will these competitors of ours be left to enjoy the miserable advantage of low wages and compromised health? And is there any particular reason to debase human life in order to produce more, faster, without reference to the worth of the product, or to the value of the things sacrificed to its manufacture? Wouldn’t most people, given an hour or two to reflect, consider this an intolerably trivial use to be put to, for them and their children? Life is brief and fragile, after all. Then what is this new economy whose demands we must always be ready to fill? We may assume it will be driven by innovation, and by what are called market forces, which can be fads or speculation or chicanery. Oh, yes, rowdy old capitalism. Let it ply its music.

A music scribbled, we imagine, in what Carl Sandburg once called “the hieroglyphs of the rat footprints”. Then in closing, Robinson writes:

We are, as we have always been, dangerous creatures, the enemies of our own happiness. But the only help we have ever found for this, the only melioration, is in mutual reverence. God’s grace comes to us unmerited, the theologians say. But the grace we could extend to one another we consider it best to withhold in very many cases, presumptively, or in the absence of what we consider true or sufficient merit (we being more particular than God), or because few gracious acts, if they really deserve the name, would stand up to a cost-benefit analysis. This is not the consequence of a new atheism, or a systemic materialism that afflicts our age more than others. It is good old human meanness, which finds its terms and pretexts in every age. The best argument against human grandeur is the meagerness of our response to it, paradoxically enough.

Then how to recover the animating spirit of humanism? For one thing, it would help if we reclaimed, or simply borrowed, conceptual language that would allow us to acknowledge that some things are so brilliant they can only be understood as virtuosic acts of mind, thought in the pure enjoyment of itself, whether in making a poem or a scientific discovery, or just learning something it feels unaccountably good to know. There is an unworldliness in the experience, and in what it yields, that requires a larger understanding than our terse vocabularies of behavior and reward can capture. I have had students tell me that they had never heard the word “beautiful” applied to a piece of prose until they came to us at the workshop. Literature had been made a kind of data to illustrate, supposedly, some graceless theory that stood apart from it, and that would be shed in a year or two and replaced by something post- or neo- and in any case as gracelessly irrelevant to a work of language as whatever it displaced. I think this phenomenon is an effect of the utilitarian hostility to the humanities and to art, an attempt to repackage them, to give them some appearance of respectability. And yet, the beautiful persists, and so do eloquence and depth of thought, and they belong to all of us because they are the most pregnant evidence we can have of what is possible in us.

˜˜˜˜˜˜


Another World Is Possible

Discredited “elites” dither and blather at COP 23 while nearby, activists take direct action against the largest open pit lignite coal mine in Europe. Relayed from their website:

THE FOREST     The Hambacher Forest is counted among one of the last remaining mixed forests with their unique ecosystems in Central Europe. Of its original 5,500 hectares, less than one tenth remains today. The Hambacher Forest was once called a ‘citizens’ forest’. Its history goes back several thousands of years – to the end of the last Ice Age, 12,000 years ago. With its diversity of flora and fauna, the forest offers a habitat to a multitude of species including tawny owls, bats and dormice. In the remaining parts of the forest you will find Hornbeam and English oak that are over 300 years old. Many migratory bird species use the forest as a resting place on their journeys.

DEFORESTATION     The energy company RWE (back then Rheinbraun) bought the forest  from the surrounding parishes in 1978. Since then the forest is being cleared to make space for lignite extraction. Less than one tenth of the once 5,500 hectare forest remains today. Whereas deforestation is only permitted between October and March, RWE has been clearing forest illegally outside of this period in the past years. If the mine continues as planned the remaining forest will be destroyed within the next three years.

RESISTANCE     And this is where economic, political, and the interests of companies meet with resistance. Some people remain in the houses that RWE wants to bulldoze. Others occupy trees and plant vegetables in the soil designated as overburden. During nightly strolls, signage disappears and machines are freed of their electronics. Resistance has a decade-long history and includes projects against forced resettlement, surface damage and fine dust pollution. People interested in their environment and activists are standing up against the destruction with art exhibitions and bike demonstrations, orchard and meadow occupations and blockades of coal trains. This lead to a wave of repression against international activists. From searches to taking of DNA and imprisonment. Resistance continues regardless.

 

˜˜˜˜˜

Now comes a voice from the forest, relayed from Amy Goodman and Democracy Now, a voice that embodies the urgency, courage and resolve that has been largely absent among those engaged in the “official” conference:

RWE is a multi-international company, producing energy from lignite mining, traditionally, but they also have stone coal that they export from, for example, Colombia or China, where it also causes enormous damage also to indigenous people. They also have nuclear power plants. And now they have part of the company that does renewable energies, since it’s where they can make money from now. And the whole thing just works out for them, because they don’t have to pay the costs, but—the costs of the environmental destruction happening because of lignite mining.

They say what they do is legal and what—because it’s like legalized by democracy, so they say what they do is right and what we do here is illegal. And so, they asked the police to evict us, what they have done in the past. But for us, that’s a strong sign that the problem is the system we live in. So, if it’s legal for a company to destruct our whole planet, that means that it’s time to also resist against state power.

I wouldn’t say I’m afraid, because I’m here to fight. So, from the first day I came here, I knew that police can enter all the time. So, it gives me motivation to go on.

Regarding the proximity to COP:

That’s really a sign about how absurd it is that we believe that the people who were actually part of the people who caused this disaster, which is global warming, that we trust in them solving it, even though they are profiting from how the situation is right now, and that, actually, just some kilometers away from there, there’s the biggest CO2 source of all Europe. And yeah, for me, it seems really [hypocritical]. They’re sitting there and talking about global warming and climate justice, because—yeah, it really shows me that it’s time that we take responsibility for our own lives and that we change something and that we create a world which gives us the power to act, instead of hoping that other people will solve problems.

I also don’t believe in technical solutions. I think, like, there is a lot of hope in technical solutions, and it can really help us, but we will not stop destroying this planet if we don’t overcome capitalism and domination. And yeah, it’s definitely no—not a good idea to replace lignite mining with nuclear power. Both cause enormous damage. And for me, it’s one struggle that’s really important for me. I’m not just fighting against lignite mining, but I’m fighting against exploitation in general, and that means fighting against capitalism, and that means fighting against domination. And that’s why I see this as one struggle.

˜˜˜˜˜


Tiny House Warriors

According to a recent report by the UN, the gap between government pledges and carbon emission realities remains potentially catastrophic for coastal cities and communities. Current pledges made by governments and private corporations will increase temperatures by three degrees centigrade by the end of this century, well in excess of the stated two degree limit, as negotiated during the much ballyhooed COP 21.

As we stated at that time, the struggle against burning fossil fuels into oblivion will not be successfully advanced by fatuous elites at feel-good events such as the forthcoming COP 23; only direct action at the local level, such as the long struggle at Standing Rock, will create the necessary changes in behavior and global awareness.

This week, we serve as relay for a statement by the Secwepemc people announcing their action to block the Kinder Morgan Trans Mountain Pipeline, a statement that conveys far more power and meaning than anything that will emerge from the assembled gas bags in Bonn:

 

 

˜˜˜˜˜

For a Greenpeace video profile of the Tiny House Warriors, click below:

˜˜˜˜˜