Category Archives: reading

sources and sensibilities

I’ve been reading Mark Dery’s Born to Be Posthumous: The Eccentric Life and Mysterious Genius of Edward Gorey and finding all sorts of relevant things within. Here’s one that seems to shed useful light on photographic issues of the moment:

E.Gorey’s Great Simple Theory About Art
the theory … that anything that is art … is presumably about some certain thing, but is really always about something else, and it’s no good having one without the other, because if you just have the something it is boring and if you just have the something else it’s irritating.
(in Floating Worlds: : The Letters of Edward Gorey and Peter F. Neumeyer, pg 39)


DI26x1825

Thinking it over, it’s difficult to gauge how very much of my sensibilities I owe to Edward Gorey, whose work I think I first encountered in 1962, thanks to Laura de la Torre Bueno (The Curious Sofa was the gateway drug).



The groundwork before that was surely laid by Charles Addams and other New Yorker cartoonists (via The New Yorker Album: 1925-1950) and of course by Walt Kelly’s Pogo (which I first imbibed in the early 1950s, and have never been without ever since), Don Marquis’s Archy and Mehitabel
and before all Abner Dean’s What Am I Doing Here?
and Heinrich Hoffman’s Struwwelpeter.
Some would diagnose a very odd childhood, and I suppose that’s true, but I thank the gods for it.

Form Finds Form

I’ve been seeking subsetting and organizing principles to cope with the vast complexities of wood and rock portraits I’ve been collecting, and yesterday an interesting candidate presented itself as I was reading Rudolf Arnheim’s Visual Thinking (1969):

A concept, statistically defined, represents what a number of separate entities have in common. Quite often, however, a concept is instead a kind of highspot within a sweep of continuous transformations. In the Japanese kabuki theatre, an actor’s play suddenly petrifies into an immobile, monumental pose, the mi-e, which marks the climax of an important scene and epitomizes its character. (pg 182)



Mi-e generally follow a pattern, serving to focus our attention on a particular character or characters at an important moment during the play. Mi-e crystallize the action into a formal picture. More than mere focal points, mi-e are used to express to the audience a climax of great emotional tension. To perform a mi-e the actor must physically and emotionally wind himself up to the desired emotion, be it anger, fear, indignation, or surprise. Most mi-e are accompanied only by the beating of the wooden clappers (tsuke) … struck in a pattern called ba-tan, the two beats of which serve as a framework for the climax of the mi-e, in which the actor, while holding the pose rotates his head toward his adversary and crosses one eye, the other looking straight ahead.

The first beat, the ba, is hit as the actor strikes the pose. Then, as he rotates his head and glares, the mie is completed by the second, tan beat. The tsuke beater, or tsuke uchi as he is called, has the great responsibility of not only timing his beats to the actor’s movements but also feeling the emotional climax of the mi-e with the actor. (from Ronald Cavaye Kabuki: A Pocket Guide)

“How very like the moment of photography!” I thought. And sure enough some of my creatures are caught in mi-e, communicating directly to the viewer.


Apppier46x2adj

More commonly, the creatures appear self-absorbed, going about their business, brooding or just being grumpy or dozy or fey, not interacting with the watchers, or simply being unaware of their audience. I’ve assembled a gallery of some that seem to me “immobile, monumental” and performing for the viewers

Form Finds Form is a phrase I’m continuing to unpack and trying to more completely grok. My mother was wont to say it, and via Ann Berthoff it has crept into the field of Rhetoric and Composition. It seems to resonate with many things I’ve done over the years (photographic projects, surname mapping, improv music…), even though I can’t fully explain just what it Means. In this instance, my almost accidental discovery of the Form mi-e educed the subset of images, each an exemplar of that Form. But which found which?

a lesson learned

The Just A Rock book is beginning to come together, slowly, and is of course accompanied by discoveries and diversions of many flavors. I’ve been photographing at Drift Inn almost daily for the last 6 weeks or so, and each time I discover new rocks and often enough re-photograph ones I’ve already collected. A few days ago I was paying more attention to smaller rocks, those that fit in the hand and are rolled back and forth by the tide. One that I picked up seemed especially characterful, so I set it on a flat granite surface and photographed it:


DI3ii1842

…and tossed it back onto the rocky beach.

It wasn’t until I was processing the image that I noticed that it was a portrait, and my first thought was “Zen Patriarch” since it reminded me of Japanese paintings I’d seen of those worthies. I wasn’t immediately sure which Patriarch, but put that question aside to explore later.

I’ve lately been reading The Gateless Gate: the classic book of Zen koans, and yesterday morning arrived at Number 4:

Wakuan said, “Why has the western barbarian no beard?”

The commentary explains that the koan has to do with the vexed and fundamental question of the distinction between the essential and the phenomenal, which bears directly upon what I’ve been trying to write about in the case of rocks [relevant to the distinction between rock as an abstract and a rock as something with character and personality]. The “western barbarian” in the koan is often personified as Bodhidharma, the First Zen Patriarch, who was indeed an Indian monk who went to China in the 6th century:



So I realized that I wanted to find that rock with Bodhidharma on it; I wanted to possess it (I do have a modest collection of especially evocative rocks…). I went back to Drift Inn to try to find it again. And didn’t. And went back twice more, trying to reconstruct where I might have tossed it. No Bodhidharma.

A haiku came to me, as haikus are wont to do:

seek Bodhidharma
among the ten thousand rocks
alas, he’s moved on

The quick-witted will note that my Drift Inn beach Bodhidharma has no [evident, phenomenal] beard. Teisho’s commentary on the koan includes this:

Pictures of Bodhidharma are well known, and not only does he always have a beard but a very thick beard indeed! Wakuan was well aware of this. Why then does he say that Bodhidharma has no beard?

Everything has two aspects, phenomenal and essential. The phenomenal Bodhidharma has a beard, but the essential Bodhidharma has no beard. To realize this, you must grasp by experience the essential nature of Bodhidharma.

The essential nature [of anything] cannot be destroyed, even by karmic fire. If the whole universe were to be completely destroyed, the essential nature would continue to exist because it is empty. It is nonsubstantial. It cannot be seen with the eyes, heard with the ears, or touched with the hands. No one can identify the spot where it is.

So here’s what I was writing about rock before all the above happened:

The essence of rock is mineral, molecular, elemental, time-encapsulating, entropic [in the process of returning to its chemical origins], crystalline, cooled to a solid phase of a material derived from and still encapsulating its liquid phase.

The essence of a rock, such as one might hold or photograph, is revealed via the phenomenal engagement with a mind: the mind discerns (makes, constructs) form. The mind of a geologist attaches labels and associations and temporal structure; the mind of a wall builder sees mass and shape and fit; the mind of a sculptor may see the form that dwells within; the mind of an artist abstracts and transforms the visual appearance of the rock…

So you can see why the progress on Just A Rock is slow…

One of today’s rock creatures:

DI7ii059

Make of it what you will

From time to time I happen upon a bit of text that just has to be passed around. Here’s today’s:

Wake words*

Perhaps he was mothersmothered
(born into the muddlecrass, at a time when wimwin).
The mamafesta delivered when he was yung and easily freudened.

For a while, a tenorist who saw the world cycloptically—
in his bachelure flat, the life lamatory, listening to ladies’ lavastories—
bewilderblissed and inn sane, he mistributed the unfacts alcoherently.

Nowanights, he looks at the fadographs with violet indigonation.
An iciclist who fell on a pineapple but still climbs the bannistars
With his tellavicious langurge (or langwedge) points a colliderorscope
at the chaosmos, tells with puerity his rheumaniscences
and awaits a funferall, barks like a duck “quark quark”!

[* Almost all of these words were invented by James Joyce and used in Finnegans Wake]

Peter Kennedy, Literary Review Dec 2016/Jan 2017 pg 58

Not My Circus; Not My Monkeys [but surely some nearby somebody’s]

I’m forever finding things that seem to apply to people and situations that aren’t precisely my own but do need rediffusing in some medium. Here’s one that just snuck up on me:

Imagine a world where speaking or writing words can literally and directly make things happen, where getting one of those words wrong can wreak unbelievable havoc, but where with the right spell you can summon immensely powerful agencies to work your will. Imagine further that this world is administered: there is an extensive division of labour, among the magicians themselves and between the magicians and those who coordinate their activity. It’s bureaucratic, and also (therefore) chaotic, and it’s full of people at desks muttering curses and writing invocations, all beavering away at a small part of the big picture. The coordinators, because they don’t understand what’s going on, are easy prey for smooth-talking preachers of bizarre cults that demand arbitrary sacrifices and vanish with large amounts of money…

The analyst or programmer has to examine documents with an eye at once skeptical and alert, snatching and collating tiny fragments of truth along the way. His or her sources of information all have their own agendas, overtly or covertly pursued. He or she has handlers and superiors, many of whom don’t know what really goes on at the sharp end…

(from Ken MacLeod’s preface to Charles Stross’ The Atrocity Archives)

balm in Gilead?

Trump connected to the segment of the population that was prepared to believe that racism was realism, misogyny was locker-room talk, inconvenient facts were media myths, and viciousness was the new normal. Just as surely as he has redrawn the electoral map, he has radically altered the Overton window. No Presidential candidate before him had ever mocked a disabled reporter, or bragged about his penis size during a debate. What kept every other candidate before him from stooping to these tactics, presumably, was deference to social norms. But norms can be swept aside.

(Andrew Marantz, in New Yorker news blog)

I wrestle with the personal means to come to terms with the new sociocultural reality, and consider employing tools like Colin Woodard’s recent books (which deserve a careful rereading: American Nations: A History of the Eleven Rival Regional Cultures of North America and American Character: A History of the Epic Struggle Between Individual Liberty and the Common Good), and the prescient writings of Thomas Frank in The Baffler and in his Listen, Liberal: Or, What Ever Happened to the Party of the People?, and George Packer’s The Unwinding: An Inner History of the New America. As so often before, Christopher Lydon’s Radio Open Source is helpful in reminding me to think more broadly about what’s in front of my nose.

I’m not sure that gnawing old bones of socio-political argybargy is good for the blood pressure, let alone the soul, though I can’t entirely ignore what comes at me via New Yorker and NYRB and various lefty blogs I follow. As an antidote, I’ve found it soothing to read Ursula Le Guin’s novellas and short stories (The Found and the Lost: The Collected Novellas of Ursula K. Le Guin and The Unreal and the Real: The Selected Short Stories of Ursula K. Le Guin), and I’ve just picked up the beloved Canticle for Leibowitz (Walter Miller Jr. –can you believe it first appeared in 1958???) for the fourth or fifth time.

I’ve also been deeply into Thomas Rid’s Rise of the Machines: A Cybernetic History, and via that engagement I’ve dipped into Gregory Bateson again, via Steps to an Ecology of Mind: Collected Essays in Anthropology, Psychiatry, Evolution, and Epistemology, a book I tried to read maybe 20 years ago but bounced off of, feeling discomfort with Bateson’s concept of epistemology (I basically didn’t grasp what he was talking about). This morning I ventured to the Auxiliary Library in the barn and quarried my copy of Bateson’s Naven and what did I find but

What has happened has been the growth of a new way of thinking about organization and disorganization. Today, data from a New Guinea tribe and the superficially very different data of psychiatry can be approached in terms of a single epistemology—a single body of questions.

We now have the beginnings of a general theory of process and change, adaptation and pathology; and, in terms of the general theory, we have to reexamine all that we thought we knew about organisms, societies, families, personal relationships, ecological systems, servo-mechanisms, and the like.

(Gregory Bateson, Preface to the second edition [1958] Of Naven)

“And the like” indeed. So: back once again to General Systems Theory, which beguiled me 45 or so years ago, abstractions high-flown enough to calm the yammer of daily helpings of News of Fresh Disasters.

As Adam Fish just put it:

What is needed are new modes of counter-hegemonic governance. Towards that goal I am going to do nothing. Social evolution is slow and silent not obvious and obnoxious. It is time for a break into scholarship and away from reactionary tabbing back and forth from The New York Times and Breitbart, The Guardian and Drudge.

lots of little bits

The strangest things float through the mind unbidden. As we were driving back from a day at Acadia National Park, the phrase “he shot him into doll rags, naturally” drifted in and then out again. Mmmm, I thought, I know I read that somewhere sometime… but how could I find it again? 20 years ago it would have been impossible, but with Google a search for “doll rags naturally” got one single hit, a certified BINGO: IF Science Fiction March 1961, in a story by Julian F. Grow, “The Fastest Gun Dead” … I was a high school senior then, and must have happened on that issue of the mag (though I don’t remember doing so), or maybe I read it a couple of years later in 7th Annual Edition: The Year’s Best S-F (1963).

I don’t advise a Google search for “doll rags shot” (too many distressing results, pro- and anti-gun). Take it from me that the phrase means lots of little bits…

argybargy du jour

All those years ago I was drawn to Anthropology because I thought it was a comprehensive and comprehensible way to MAKE SENSE of the world around me; and in my years as a prof I approached teaching Anthro in the same spirit, looking at the great variety of solutions to the practical problems of living that people had developed over the vastnesses of time and space (well, 10,000 years or so; and terrestrial space, but still…), returning again and again to the observed Fact that the Emperor was Naked. And now I find myself looking to one particular/peculiar strain of the discipline to, once again, [try to] make sense of the contemporary world.

Lately I’ve been reading a number of things that have fundamentally the same message. Much seems to emanate from David Graeber, and is concerned with bamboozlement in many forms:

…a kind of strategic pivot of the upper echelons of US corporate bureaucracy — away from the workers, and towards shareholders, and eventually, towards the financial structure as a whole… corporate management became more financialized, but at the same time, the financial sector became corporatized with investment banks, hedge funds, and the like largely replacing individual investors. As a result the investor class and the executive class became almost indistinguishable… (19)

…the last two centuries have seen an explosion of bureaucracy, and the last 30 or 40 years in particular have seen bureaucratic principles extended to every aspect of our existence… (27)

What was being talked about in terms of “free trade” and the “free market” really entailed the self-conscious completion of the world’s first effective planetary-scale administrative bureaucratic system. (30)

…public and private bureaucracies finally merged together in a mass of paperwork designed to facilitate the direct extraction of wealth. (35)

If one gives sufficient social power to a class of people holding even the most outlandish ideas, they will, consciously or not, eventually contrive to produce a world organized in such a way that living in it will, in a thousand subtle ways, reinforce the impression that those ideas are self-evidently true. (37)

…what we call “the public” is created, produced through specific institutions that allow specific forms of action — taking polls, watching television, voting, signing petitions or writing letters to elected officials or attending public hearings — and not others. (98)

(The above from The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy. There’s much more I’d transcribe from Graeber’s writings, including Fragments of an Anarchist Anthropology and of course Debt.

A similarly resonant voice: Tariq Ali in the latest London Review of Books:
The New World Disorder (Vol. 37 No. 7 · 9 April 2015)

But social democratic reforms have become intolerable for the neoliberal economic system imposed by global capital. If you argue, as those in power do (if not explicitly, implicitly), that it’s necessary to have a political structure in which no challenge to the system is permitted, then we’re living in dangerous times. Elevating terrorism into a threat that is held to be the equivalent of the communist threat of old is bizarre. The use of the very word ‘terrorism’, the bills pushed through Parliament and Congress to stop people speaking up, the vetting of people invited to give talks at universities, the idea that outside speakers have to be asked what they are going to say before they are allowed into the country: all these seem minor things, but they are emblematic of the age in which we live. And the ease with which it’s all accepted is frightening. If what we’re being told is that change isn’t possible, that the only conceivable system is the present one, we’re going to be in trouble. Ultimately, it won’t be accepted. And if you prevent people from speaking or thinking or developing political alternatives, it won’t just be Marx’s work that is relegated to the graveyard. Karl Polanyi, the most gifted of the social democratic theorists, has suffered the same fate.

and this announcement by William Arkin, via Gizmodo, of a Twitter feed covering a lot of the same dolorous but important ground:

o here’s what I plan to do: Expose. Explain. Secrecy and euphemisms are carpet-bombing us into submission. I’m sick of the parameters of the sanctioned debate. So instead I will try to treat the secret world like a sports league: There are coaches, players, commentators, bookies, and marketing geniuses. We’ll have something to say about all of them, something to reveal every week. The teams are the NSA, the CIA, FBI, Army, Air Force, Navy, Marine Corps, Department of Homeland Security, TSA, ICE; and that’s just Division I. There’s a Division II playing somewhere else, far more obscure but nevertheless influential and odious, populated by billion-dollar institutions like the Counter-Narcoterrorism Program Office or the Defense Threat Reduction Agency or U.S. Army North, real parasites on the American spirit, survivors because what they do festers in the dark. Each has a history and personality, a lineup, a budget cap, a general manager, a narrative to sell.
(much more and very worth reading)

Smacked upside the head

Sometimes it’s a bit of text, sometimes a phrase in a tune, sometimes a (photo-)graphic, but the experience is pretty much the same: a brief guffaw loosed at the sheer excellence/audacity/brio of the thing. Case in point, this from the end of a piece by Charles Simic, from New York Review of Books, which just rolled in via RSS:

Here, to give you an idea, is the beginning of a story called “Water Liars” from a collection of [Barry Hannah’s stories] called Airships:

When I am run down and flocked around by the world, I go down to Farte Cove off the Yazoo River and take my beers to the end of the pier where the old liars are still snapping and wheezing at one another. The line-up is always different, because they are always dying out, or succumbing to constipation, etc., whereupon they go back to the cabins and wait for a good day when they can come out and lie again, leaning on the rail with coats full of bran cookies. The son of the man the cove was named for is often out there. He pronounces his name Fartay, with a great French stress on the last syllable. Otherwise, you might laugh at his history or ignore it in favor of the name as it’s spelled on the sign.

I’m glad it’s not my name.

This poor dignified man has had to explain his nobility to the semiliterate of half of America before he could even begin a decent conversation with them. On the other hand, Farte, Jr., is a great liar himself. He tells about seeing ghost people around the lake and tell big loose ones about the size of the fish those ghost took out of Farte Cove in years past…

Having previously read the story and knowing what was coming, reading this far was all that was required for my purpose, which was to close my eyes and go to sleep with a smile on my face.

Maybe epiphany is a sufficiently weighty word to bear this freight of delight. I guess I could say that I live for such moments of glee, and this one sent me directly to Amazon to snag Hannah’s book on the Kindle.

A photographic example from the just-concluded trip to France is another suchlike, a scene I glimpsed for just a moment while ankling around in Pont-Aven (on the south coast of Brittany) and had the wit to capture:


Everything about this is just right: the apparent transparency of some of the figures, the dim reflection in the window glass through which I shot, the illusion of depth in the room, the moments of movement transfixed… I took a lot of pictures that I like in that fortnight, but this one seems to me the most glorious. I might never have seen the opportunity if I hadn’t just been to the Florence Henri exhibit at Jeu de Paume…

addendum: it occurred to me to try a bit of manipulation, inspired by the Qu’est-ce que la photographie? exhibit: