OPM 134 Day 7 on Mt. Desert Island, Pine Cone Cabin, Hodgon
Pond
I’ve just finished reading the meditation from
today, and there are at least three things that call for some reflection.
But first I want to write down some reflections
after my final full day here on Mt. Desert Island. Two prompts from today. The first is the non-productive estrangement
I experienced at the anthill of tourists that is the Jordan pond parking area,
which is not only the nexus for the vast network of trails and carriage roads,
but also the site of Acadia’s only full service dining area. There are hundreds of non hiking nor biking
visitors, who come for the restaurant, the inspiring view of Jordan pond and
the mountains surrounding it, and, perhaps, and leisurely walk around part of
the pond trail. On our two visits
through the area when we were making a combined bike and hike trip I was
overwhelmed by the ‘whiteness’ of the crowd.
Although Maine is a largely ‘white’ population, they are many of the
funky, crunchy, and hipster variation that are posses the kind of openness
and mindfulness that I write about in
these meditations. Portland also has a
good number of African immigrants, and this adds to the feeling of diversity
and cultural dynamic. All that to say
that one feels life is happening in Portland.
Here on Mt. Desert Island, one can certainly feel that energy in Bar
Harbor, where there are a good number of coffee houses, some cool restaurants,
and even the Hemporium gift store.
Combine that will all the Acadia park focused business and energy, not
to mention Acadia itself, and I feel very much ‘at home’ here. Until I encounter the crowds of gringoes that
somehow make me feel not ‘at home’ I my home state. How is that?
I don’t want to spend lots of energy speculating, but I do feel the need
to document the very unusual contrasting feeling of coming down from one of the
mountain trails only to be met with hostile and inhospitable eyes, as if we
were replaying some tragic drama from
the 1600’s between the Wabanaki and the English ‘settlers’ who managed to
decimate 95% of the population of Indigenous people from this island and the
surrounding area. Perhaps these ‘white’
people are reminded of this genocide and how ‘they’ are thrown onto the side of
the villain’s history, and perhaps, at some deep unconscious level, they feel a
complex set of modalities that only registers at the top as hostility and
resentment. Whatever the case, it sets up anything but the kind of relationality
I have been writing about in these meditations, the kind of relationality that
creates the condition for peace and freedom, the kind of relationality that
arises from a dialogic learning community that dwells together in the clearing
of meditative thinking.
The second prompt for reflection happened when we
were canoeing on Hodgon pond where our cabin is located. On the eastside of the pond the forest rises
quickly, and it was from somewhere in those trees that we heard the loud call
of a moose earlier this week. Today the
pond was without humans, aside from us.
We were twice visited by an osprey hunting in the pond, heard the songs
of many birds, the croaking of frogs in the lily pads, some blossoming with
lotus flowers, and also shared the pond with a small turtle who was swimming
around near the entrance of the mountain brook that drains into and floods the
pond. When we weren’t paddling the only
sounds to be heard were those of Nature.
As I listened I wondered why any philosophy was necessary at all when
all was already given. Art yes, to
imitate the songs, rhythms, colors, shapes, given by Nature. But philosophy? A speculative system? It seemed to me a paltry work at that
moment. I felt that somewhat awkward
sense of emptiness when I was walking back up the dirt road to the cabin. And during that walk, which I took alone
because I lingered behind to tie up the canoe and drain the small kayak we
towed with Jaime on board, I fell into some kind of meditative state listening
to the song of a bird I’ve been hearing during this week, but can’t recall
hearing before. The song is a dissonant
phrase, and sound almost like a question or a commentary or even a
judgment. I’m hearing it now, as dusk
ends its slow finale on these longest days of the year. As I listened to the song this afternoon, I
wondered about this drive or urge to think, to make sense of the life we are
given, and, what’s more, to do something with that offering. Isn’t that all just a set of cultural
expectations? I wondered what I’d think
and feel if I’d lived my whole life on this island, and never attended a
college, and new some of the literary and philosophical world through the
little I gained at school, but was focused and quite excellent at some trade,
say, wood working, or even fishing, or boat repair. I’m not sure I actually got that far in my
stream of consciousness, but I certainly did wonder about the arbitrariness of
the work I had taken up, and, what’s more, the almost paradoxical and
self-contradictory nature of that work, which, on the one hand, is so
self-assured about the question it raises and the manner it takes up those
questions, yet, on the other hand, couldn’t be less impactful, and as all who
do it seem to agree, it is the most urgent yet useless endeavor undertaken by
human beings. Yet, somehow, it feels so
natural to be writing philosophical reflections at the end of a long active
day, in the quiet of the early evening, when everyone has fallen asleep!
As for OPM 134, I wanted only to note the continuity
regarding the receptive modality of the meditative thinker. There is a notable rewriting of an earlier
cited quotation from Aristotle, where the figure of the teacher is redefined as
one who obeys the other because she heeds the directive of the Word, recalling
Heraclitus’ fragment: “for wisdom listen not to me, but to the Word (logos).”
This reminds me that my Sage is my earliest
attempt to describe that particular kind of education that happens when we
study and practice philosophy. Call the
learning we experience ‘wisdom’.
Whatever the case, the claim, which is at the center of my philosophy of
education course – or what I call my ‘education of philosophy’ course – is the
one that insists that philosophy has a particular way of educating because what
we learn from it is a form of thinking – meditative – that gathers us into who we are by way of showing us where we are. I would cite the two examples I describe
above – my experience with the crowds at Jordan pond, and my experience on
Hodgon pond – as two examples of the way philosophy ‘educated’ me by disclosing
quite clearly who I was in relation to where I was. Of course, the question that is begged
is: how is it that you claim it is
‘philosophy’ that is educating you in this way?
Why call these experiences ‘philosophy’ or ‘philosophical’, and if you
do, isn’t this simply your way of describing your own predisposition to have an
acute awareness of your surroundings and the atmosphere you are in? So isn’t it rather that, as Hegel put it so
poignantly, philosophy only spreads its wings at dusk, like the Owl of Minerva,
and is only then a medium through which you then come to think about those
experiences you have had during the day, the significant ones that have
remained with you and that demand to be taken up? Isn’t philosophy then the documentation of
reflection? And isn’t this precisely
what a daily meditation is all about?
And if this is the case, then why were the meditations you wrote so
speculative, and metaphysical, and detached from experience?
The last question is quite devastating, actually,
because it strikes to the heart of the experiment, and where, perhaps, I got it
wrong? Especially if I was claiming to
be doing phenomenology. But here, again,
is where I am indicating a way for that
writing to come!
3.0 - (Thursday, Portland, ME) - On this morning of pain, both physically -- my right knee -- and psychically, I'm relieved to read the commentary from Jordan Pond. It relates well to yesterday's commentary on the artist Jeremy Frey. ("Frey, a seventh-generation Passamaquoddy basket maker and one of the most celebrated Indigenous weavers in the country, learned traditional Wabanaki weaving techniques from his mother and apprenticeships through the Maine Indian Basketmakers Alliance. An important aspect of Frey’s artistic vision is his drive to build upon the past and what was once passed down to him. 'I have refined the teaching of my mother beyond anything I would have considered possible, Frey states. He pushes the boundaries of his work across concept, materials, and technique, adding 'I try to create a newer and more elaborate version of my work each time I weave.'" - from the PMA website description). Frey is an example of the dynamic tension that gives rise to art, and to the refashioning of traditional practices. Each generation needs to reinvent what they have inherited, literally, make it again. The continuity of tradition resides in the continuity of the urge to contribute something to the inherited world. And this urge is also the need to maintain continuity of practice in relation to place, although this is highly problematic given a settler colonial history. Cultural continuity is also a response to the question concerning art and perhaps even philosophy. Arendt says philosophy emerges from the urge to raise fundamental questions that are unavoidable, and that are rooted in our awareness of mortality. On the other side of that coin is the unavoidable need for food and shelter. Again, continuity plays a role. The making of tools to make and fashion objects where the food that has been gathered can be kept. The making of tools for hunting, and then for cultivation. The making of clothing. The making of shelter. Etc. Heidegger emphasizes human hands and there ability to make. At some point historical consciousness emerges and urges documentation, writing. Continuity plays a role. The need to connect one day to the next. In turn, the question concerning art that is raised above in 2.0 is arriving from the place of Modernity, when the original urge and need seems to have been forgotten. But if, on the contrary, Modernity emerges from that original urge, then it is the question that is simply misguided by an misunderstanding of the transcendental moment experienced with Nature. That feeling of harmony, of universal connectivity, of listening to Logos, is the dialectical other of the need to make tools.
ReplyDelete3.0b - Art, like philosophy, is not originally or essentially an expression. It is the response to a fundamental desire that is prompted by necessity. We have to make art in order to survive, in order to be. Humanity begins and ends with art.
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