Time | contemplativeinquiry

March 9, 2023

POEM: THIS TURNING WHEEL OF TIME

I have a mixed response to this poem. I find it insightful, and I want to share it. I also find it theatrically harsh and sweeping. It feels like being shaken awake by an over zealous friend whilst gradually emerging into daylight at my own pace. I am not sure whether this is mainly due to Kabir or to his followers and successors, right down to translator Andrew Harvey. For Kabir never wrote anything himself – his songs were written down by others before being copied and circulated far and wide.

Make your own choice, friends.

Seek Truth while

You’re still in a body.

Find your own place.

When you’re dead

What house will you have?

O my friend,

You just don’t get

Your one true chance.

Don’t you see

In the end

No-one belongs to you?

Kabir says: it’s brutal

This turning wheel of time.

(1) Kabir Turn Me To Gold: 108 poems of Kabir Unity Village, MO: Unity Books, 2018 Translations by Andrew Harvey Photographs by Brett Hurd.

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November 17, 2022

THE ALBION SAILS ON COURSE (NOVEMBER 2016)

“The Albion sails on course. Black script on white wall. The spill-zone around Corbridge Crescent, the painted devil heads and hybrid monsters, the bare-breasted pin-ups from naughtier times mouthing Situationist slogans, are captured and made fit for purpose by film crews and television set-dressers, lighting technicians and catering caravans, responding to dissent as exploitable edge.

“LOADED WITH/ MEMORIES/ I WAS NOT AFRAID/TO SET OFF/ AN ADVENTURE/ ANY MORE.

“14 November 2016: the words I copied into my notebook yesterday are painted over with white undercoat, so that professionals can create rebellion suitable for television. For example, a Worholist head of Che Guevara – CHE GAY – inflated to cover an entire wall, with fake yelps about eating the rich to replace the groundwork of RIP and the Secret Society of Super Villains and Artists. NO PIGS ….

“The outlaw in his shack on the ledge by the canal sleeps through the entire fuss. He learnt his lesson after the first Immigration Enforcement raid. Now his shelter looks like the detritus of a lumberyard. ….

“A young boy cycles uncertainly to school, in the wake of his mother, wearing a silver skull mask. Welcome to the comic world, Hackney. At the base of the image swamp we find the sinister clown: child-catcher, grinning molester. The public joke, the big-haired politician who dissolves into the Joker of DC Comics.

“Extinguish fire with petrol. One of the latest Andrews Road defacements is a poster: SILENT BILL MUSE WANTED. Silence against the noise of imagery? The meditation of a hooded man sitting all day on a bench? Or another who dreams the fading city through all the hours in an Arsenal-branded sleeping bag? ‘Be silent in that solitude,’ said Edgar Allan Poe. ‘Let them come. The restless spirits of the dead are in death around thee’.” (1)

Iain Sinclair has a reputation as a leading figure in the practice of psychogeography, though he has now somewhat distanced himself from the word itself. He is quoted as saying (2) that “I buy into a union of writing and walking” and identifying with “the kind of writers who very definitely have, within their writing, this rhythm of journeys and walks and pilgrimages and quests”.

Sinclair’s work often celebrates London’s neglected and overlooked spaces, and draws on a visionary tradition of London writers from William Blake to Arthur Machen as well as the French situationists who developed psychogeography as a concept. His early reputation rests on the prose poem Lud Heat (1975) which was also influenced by Alfred Watkins and the earth mysteries school that followed in his wake. This work describes lines of force between Hawksmoor’s London churches to reveal the hidden relationship between the city’s financial, political and religious institutions. Peter Ackroyd drew on these themes for his later Hawksmoor (1985).

Last London (2017) is grittier and more concerned with a November 2016 witnessing of social breakdown in Hackney, a London borough that is being simultaneously gentrified. In the UK, it is also the year of the Brexit referendum (the Albion sails on course?) and in the US the month, November, of Donald Trump’s election as president (“at the base of the image swamp we find the sinister clown”).

Why am I drawn to this work? I lived in London for 17 years, from the late 1970s to the mid 1990s: there’s an element of nostalgia, and also of grief. Beyond that, my contemplative inquiry has led me in recent years to a practice of walking and writing. Are there lessons for me in Sinclair’s tradition?

My contemplative inquiry is not just about resting in the eternal moment – it also concerns life in place, time and culture. I’ve always liked walking meditation, mobile and open-eyed. Ideally, the still point and the moving line are both present, together as one. Often I stumble around between them, but that’s part of the journey: learning to be present in a field of living presence. I have a lot to learn.

(1) Iain Sinclair The Last London: True Fictions from an Unreal City London: OneWorld Publications, 2017

(2) Merlin Coverley Psychogeography Harpenden: Oldcastle Books Ltd, 2018 (first edition 2006) In his last chapter, Psychogeography Today, the author devotes a section to Iain Sinclair and the Re-branding of Psychogeography.

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August 4, 2022

THE GATEWAY TO TWILIGHT

High summer becomes late summer, in my world, with a gentle movement into the evening of the year. In the picture above, taken a little after 8 pm, I at first feel, as much as see, a suggestion of muting light. On looking up, the blue of the sky seems influenced by a subtle greying effect that is independent of the clouds. Looking down, the buildings are shadowy and their reflections in the water are set within a gathering darkness.

The picture below was taken at 9 pm on the following day. The grey in the sky owes everything to clouds, whereas the orange and yellow are connected to sunset. The latter is reflected in the water, and electric lighting is now also present. The day is changing, but not yet into night. This is an in-between time, twilight. It is its own, extended moment, quietly shifting in the physical world, profoundly influential in my psychic world.

I feel joy with an edge of melancholy. It is a familiar feeling that stretches deeply into my early life, prior to language, older than memory itself. It seems to come from deep time, and to be pre-personal, not just about ‘me’. I am any finite being, moving from day towards night, from summer towards winter, from life towards death. Having shifted decisively away from the zenith, I find myself, for now, in a beautiful moment. The Gloucester docks provide me with a magical space for walking, standing still, experiencing and recording this time.

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July 27, 2022

LUGHNASADH 2022: RE-ENCHANTING TIME

A familiar sight at this time of year: a family of swans, adolescent cygnets with their parents. A superficial glance at the picture gives me a satisfying sense of near completion, of an annual cycle showing its results. It is a still image, literally a snapshot. Nothing in it can change.

Yet when I took the photo, the swans were highly mobile, constantly shifting their relative positions while sometimes gliding elegantly along the canal and sometimes pausing to investigate its banks. I also foresaw their likely passage through a more extended time. Soon enough, the cygnets will be grown up and on their own. A new beginning enabled by an ending.

I live in southern England, where daylight hours have begun noticeably to shorten. Lughnasadh (Lammas) marks the beginning of August. This festival initiates a quarter that moves through the autumn equinox and ends at Samhain. These three months embrace decline, decay and eventually death, whilst also celebrating grain and fruit harvests and (in past times) the culling of livestock to see us through the winter. The themes belong together.

I treasure this attunement to cycles of time. Part of my contemplative life rests in the timeless. Another part, more worldly, enriches my experience of time. By contrast mainstream western culture characterises time as a limited resource to be measured and priced; to be ‘spent’ productively and not ‘wasted’. The phrase ‘time is money’ comes to mind. This time hurtles onwards like a runaway train into a future always packaged as better, even redemptive, but now looking increasingly dystopian.

But any time we can know is a matter of human perception, and therefore malleable. There are, and have been, many ways for humans to live in time. For me, living the cyclical time of the eightfold wheel of the year, widely practised in Druid and Pagan culture, continues to be a re-enchanting experience.

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May 21, 2022

PEONIES IN LATE MAY

As I look at these peonies, I delight in their lushness. But the word ‘poignant’ also comes to mind. Delight is mixed with sadness, and a sense of time slipping away. These are probably the last pictures of these peonies that I will take. They are in the back garden of our old home on the day it was emptied of our remaining possessions. Historically they have ushered in the first fullness of summer. They have confirmed a warm sense of home, year after year, as the wheel turns.

But now I am leaving a place Elaine and I called home for many years, at a time when the future remains uncertain on many levels. The stability of the wheel itself, or at least of its local manifestations, is palpably in question. You have to work perversely hard, now, to maintain an ignorance and denial of the climate crisis. Even here, in a cool temperate island.

I cannot dwell in sadness alone, potentially drawn down into a stuck and demobilised distress. The health and viriditas in my bodymind won’t allow it. I find myself staying open to a delight in what is given, here, in these seasonal images. The invitation to celebrate the bounty of nature in an everyday modest setting is very strong, and I respond. The nudge to make a record is likewise strong. Records and memory matter. They change any living moment to which they are invited. The opportunity to contemplate this image of peonies, knowing the context of the picture-taking, is a resource for future times.

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May 5, 2022

A CELTIC MIRROR

“About 2,000 years ago a very important woman was buried high on Birdlip Hill overlooking Gloucester. This was the time of the Roman invasion and Gloucester’s farmland was turning into a dangerous frontier between the Celtic Britons and the Roman Empire.” The mirror and bowls on display above are part of her grave goods. I used a mirror of my own to read the Gloucester Museum’s information about what has now become an ‘exhibit’.

Naturally enough, people want to know more than this. Stories connect ‘the very important woman’ to Boudicca, whose campaign against the Romans two decades after their initial takeover was well-documented and is well-remembered. But the location and manner of her death after her eventual defeat are not clear and have provided space for all manner of speculation. This gives improbable possibilities a certain amount of traction.

I turn my attention back to the mirror, as the undoubted product of an iron age culture with a wealthy aristocracy who spoke a Brythonic Celtic language. The designs on the back of the mirror (below) reflect the tastes of that culture. To me, they seem almost alive. They give me a tenuous sense of connection with a real person who was in this neighbourhood (and I would guess came from it) 2,000 years ago.

Being connected by place but separated by time is an odd feeling, even more complicated for me than being connected by time and separated by space. I have to be careful not to let my imagination colonise the past. It can be a distorting and invasive mirror. At the same time I do want a relationship with the past. I want to acknowledge it and be open to what it might teach me. In this case, perhaps, a commitment to beauty in a time of turmoil and danger. Or a commitment to different ways of looking, in a world where past and future may not exist in quite the ways that they appear to do.

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March 13, 2022

A HEALING DREAM

I’ve been unwell for most of this month so far. But now I seem to be mending, and this is partly due to a dream.

I don’t have deeply healing dreams very often, but when they come they affect my whole bodymind. They don’t require much roof brain interpretation. I find it more important to tune in to shifts under the surface, and intuit guidance there. The dream feels like part of my inquiry, offering itself for contemplation, so I have decided to share it here:

“A grey shadow space, unformed … out of which comes a desire, rightly or wrongly framed as a necessity, for an important encounter. Perhaps a revelatory one.

“Now, the descent into a well-defined yet dark (because night-time) space. I am in a large city, which I know to be coastal. There is someone I have to meet within the next 48 hours. I know their name and neighbourhood, but not their address. I have hope, if not confidence, that I will find them. Nonetheless, I am anxious in this night.

“Walking out in the morning, I feel simple pleasure in being at large in the city. An unfamiliar locality approached from a beach suddenly becomes familiar when I realise that I have been here before from another direction. I am on a wide street, actually an avenue with trees. There are shops and businesses of various kinds on both sides. I could eat anything that the world offers, here.

“Later, still in a flaneur rather than questing mode, I become aware that time is passing, and indeed is running out. But instead of becoming anxious, I remain attentive to the scenes in front of my face. They seem like blessing enough, as long as my openness and attention are engaged.

“Now the scene has shifted again. I am in bed in a room, watching a clock with a severe Gothic face. It is two minutes to the midnight on which my time runs out. Then 10 seconds – (it no longer matters about meeting anyone). Ticking down – the clock becomes simpler and friendlier. I’m curious. At the very end I am relaxed and happy.

“Then I wake up, check out my surroundings, and enjoy the feeling of being blessed with a healing dream. I deeply believe that I am on the road to recovery, whatever recovery turns out to mean.”

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January 2, 2022

WELCOMING 2022

Bright Blessings to everyone at the turn of the calendar year. With some fears and greater hopes, I have crossed the threshold into 2022. I have welcomed it into my life and declared myself ready for the journey.

In a way, ‘2022’ is a fiction woven from our human experience of linear time and a cultural decision about numbers. But these things are thoroughly ingrained in me and feel like givens, completely natural. I remember clocking this, or signing up to the tribal custom, in the new year of 1957, when I was 7 years old and found myself remembering 1956 as a full, known year. It was the first time I had been conscious of such a thing. Now I was somewhere new and exciting (1957) though the feel of my bedclothes was familiar in the very dim early morning light. I remember this vividly and, truth be told, better than I remember waking up yesterday.

Flowing water is often used as an image for the passing of linear time. On my walk yesterday morning, I checked this out in nature and made two brief videos of a stream. Standing on the bridge at slightly different times, facing in opposite directions, I filmed a stream flowing both towards me and away from me. My feelings about the two were a little different.

The water coming towards me felt fresh and energised. I was curious about the patterns on the surface both from the flow itself and from the rain. I was drawn in, more meditatively, by the sound. I was also interested in what stories the water might hold. But I didn’t follow these up, out of concern for losing the immediate experience. Above all I, felt invigorated. I enjoyed this flow.

Flowing away was different. It wasn’t raining and I could hear – I think – sea gulls. They are certainly around. Again I enjoyed patterns in the water and the enlivening strength of the flow. But I was strongly aware of it moving away from me. Yes – it was reliably replenished … but for how much longer? And, in any case, a movement away is a movement away. Movements away carry a sense of loss. This isn’t just about my age. It is built into the experience of linear time. Things pass away into a temporal distance. Linear time is the mechanism that allows anything to ‘happen’ at all, but also the guarantor of impermanence. There’s a poignancy in this condition that I allow myself to experience and hold – not, here, seeking comfort in the eternal. I watch the power of a little stream, grateful for the miracle of existence, softly sad about its vulnerable brevity.

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September 27, 2021

AFTER THE EQUINOX

After the equinox comes a deepening of autumn. Light, colour, texture – my sense of the world is different. Images of this moment in the year shape my sense of time as well as of place. I savour the turning of the wheel. All time is transitional, yet every time has its own uniqueness.

Contemplating images like this is for me a way of sustaining what modern Druids sometimes call a re-enchantment with and of the world. Simple attention to the living world is a renewing experience, and protects the heart from what can seem like the half-life of a Wasteland culture. Opening to a living cosmos, I plead guilty, with pride, to the charge of Romanticism.

It is after 9 a.m. on Sunday 26 September, Locally I enjoy orange as a colour of ripening, rich and shiny with life, as the season of bearing fruit moves on.

There are trees whose leaves have already turned, but will stay on their branches for awhile, giving these woods a more mixed, autumnal appearance.

But there is still a preponderance of green, some of it surprisingly fresh. Here it provides a canopy of green light and shade.

The season is also asserting a downward pull, towards the earth and dissolution – a process, however, still in its early stages. The broken fence seems almost to be sharing this, beginning a return to the land.

Then there is the undergrowth, with its mix of living and dead wood, living and dead leaves, and the soil that holds them. The evergreen leaves are defiantly vivid. Taking pictures, I celebrate the time of year.

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February 12, 2021

TIME, SEASON AND TIMELESSNESS

Every process in nature has its season, and its interdependence with other processes and events occurring at the same time. Part of our climate crisis involves the breakdown of long-standing relationships of interdependence. Where I live, the year at least seems, mostly, to move in its time-honoured way, though with an increase in storms and flooding. The flowers of early spring are comforting both in their presence and promise. Yet there are nagging questions about what disruptions the future holds for us, and how soon. This is before I open my awareness to include what other people in other places are already having to deal with.

Such instability impacts my contemplative life. I cannot rely on an externalised ‘nature’ for re-assurance about a world and life that will endure for me, or for beings like me living lives I can recognise. Conceptually, I have always known this, at least since I read H. G. Wells’ The Time Machine when I was eleven years old. It opened me up to the full implications of evolution by natural selection, a memorable moment in my education. I can remember sitting in early summer grass absorbing the insight. Now, both context and understanding are different. I am a lot older, in a time where premonitions of decline and fall can be placed in a near rather than remote future.

Yet the wheel of the year continues to move beautifully around the circumference of my circle. The centre is a different space entirely. I name it, in the About section of this blog, as “an at-homeness in the flowing moment”. This phrase comes out of my own experience rather than from the language of the traditions, and it “is not dependent on belief or circumstances, but on the ultimate acceptance that this is what is given”. I link this with peace and non-separation from source, a groundless ground though the latter might be.

Over the last year I have been influenced Robert Lanza and Bob Berman’s work on Biocentrism (1,2) discussed at https://contemplativeinquiry.blog/2020/02/03/biocentrism/ – I find myself leaning into their view of a cosmos where space and time are removed as “actual entities rather than subjective, relative and observer-created phenomena” thereby pulling the rug “from the notion that an external world exists within its own independent skeleton”. Such cosmology, not yet on the horizon for the Wells of 1895, makes reality more provisional and more ultimately unknowable than the reality of common sense. But for me, common sense reality is not lessened by being relativised, and I remain very busy with space and time. Rather, it becomes richer and more vivid, and more imbued with possibilities and potentials than my blinkered understanding can readily grasp. My contemplative ‘centre’ (ultimately unboundaried) is paradoxically a setting of peace and happiness – and also one of creativity and hope.

(1) Robert Lanza, MD, with Bob Berman Biocentrism: How Life and Consciousness are the Keys to Understanding the True Nature of the Universe Dallas, TX: Benbella Books, 2009

(2) Robert Lanza, MD, with Bob Berman Beyond Biocentrism: Rethinking Time, Space, Consciousness, and the Illusion of Death Dallas, TX: Benbella Books, 2016

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Tag: Time