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Lines
and correspondances
a line is an arc in time
Gavin Morrison and Alec Finlay
I have become convinced that most lines don’t exist.
I’m sitting overlooking the sea and out there is a line, the great
curve of the extent of the visible. It’s commonly talked of in the
definite article: the horizon. But mine is not yours; it is not a line but
a limit in line form, a boundary generated by a parallax of bodily position
and geography. And so what happens when no-one is gazing upon its fictive
truth, where does the line truly dwell? And there are other such lines,
even more deeply imbedded within the collision of the universe and individuated
being. Take the famous paradox that Zeno of Elea devised of the race between
a tortoise and Achilles. In the spirit of fairness Achilles allows the tortoise
to start further along the racecourse, but the result, according to Zeno,
is that Achilles can never overtake the tortoise. For when Achilles reaches
where the tortoise started the tortoise will have progressed a little further
and when Achilles reaches the point where the tortoise had progressed to
the tortoise must be further than that. So the tortoise can never be overtaken.
This failure of the fleet-of-foot Achilles is also a line. It is an asymptote;
a line that progresses nearer and nearer to a limit but never reaches it.
It is a line based in the infinite, perfect in its ideal existence. These
great arcs, the horizon and the asymptote, incise through and beyond time
substantiating our precipitous existence on the edge being.
Marseille,
March 2005
each of brushed by pollen written in dust
Dear Mr Finlay, it is raining in the Alps as I write this, and your poem
confounds my spirits. The last of the snow and ice is being stripped from
the surrounding precipitous rocks. The coming of spring here is not the
bucolic idyll of blossom on trees and rabbits in the meadow; it’s
dirty and ravishes these already mournful mountains. This seasonal moment
of transience is imbued with the substance of pessimism, and one I feel
your work often shares in. This is not meant as derogatory, it is the
fundamental unsettlement that change brings, a sense of hollowness in
the present and the uncertainty of the future. Your work is like this,
always moving that is and never deferring to an ideal. Sometimes literally
as with the Letterboxing but also internally like in the circle-poems:
where the end dissolves into the beginning. And from this arises your
solemn realism typified in a commitment to express the brute facts and
the myriad of their connectivities. Perhaps the word pessimism may be
slightly unpalatable to you but there is an undeniable darkness that is
layered through your work, at times it arises from a solitude that edges
towards loneliness but even in the group works you instigate (such as
with the Renga Platform) the individual is accentuated, still ultimately
alone though not lonely. Throughout this I see you transcending the base
negativity of pessimism by this commitment to the individual and the resultant
weighting of responsibility upon them. This is what occurred to me yesterday,
while climbing on the mountain, when I noticed in a few of the remaining
snowfields that the surface was sprinkled with a fine film of pollen;
the speculative endeavors of nature towards a possible future.
La Grave, March 2005
alone inside an illness
can the rain not rain?
wind through the branches becomes the silences
Yes, Dear Eck,
Your reply – almost verbose within our correspondence – casts
your presence in increasing clarity and the content of those words reminds
me of the first poem that I can remember writing. It totaled five words,
which caused my teacher to suspect that I was swinging the lead somewhat.
The poem ran: ‘Always rain in my brain.’ and it still raises
a sardonic smile with me; it is comfortably far from good poetry so as
to allow its naïve commitment to the internality of existence to
be brutally expressed. And this clutch of lines, which I received from
you this morning, truly enlivens that territory of melancholy on the cusp
of solipsism which I so longed for with my juvenile verse. Your words
are undoubtedly strong, and strongly felt, and resound through us all.
Yet it is often easier for us to obviate the impact of their sentiment
through generating a cacophony of distractions. But you are a voyager
who casts off the reassurance of everyday dalliances to venture deep into
the aural void that is flawlessly fractured by the wind in the branches.
Like John Cage’s commitment to silence or, even better, the humming
of Glenn Gould as he played Bach you are one of a community that realizes
the world is not a defective version of an ideal but rather the ideal
is a rarified version of the actual. The distinction may be felt to be
slight but it is actually momentous. As we understand silence as the null
value, the baseline reading where no signal is present you turn up the
levels, amplifying the residual noise, articulating the tension between
the ideal and the actual but you also make tangible the character of that
silence. You reveal it as the silence within, the nothingness which constitutes
us but one which is in actuality a tightly woven matrix that renders us
as essentially composite beings; products of our slightest histories and
circumstantial contexts. So continue forth on your intrepid expeditions
into and through the terror of silence, and as you pass, letting the music
that the silence contains escape, please remember to send back missives
of your discoveries from those inner-lands.
Aberdeen,
April 2005
us as we are
the spiral intaglio of the ear
this is my listening face
Eck, this morning, while drinking weak coffee in a decrepit railway hotel
and musing over your most recent correspondence, it occurred to me that
your work’s loneliness is mitigated by a haphazard creation of communities.
I touched on it before but I feel stirred to deliberate further on the
arbitrary means which result in disparate individuals becoming the narrators
of your forms and ideas. It is often started by a postcard solicitation
asking for a contribution to a future anthology: a photograph of a section
of the sky to appear in a book of Wind Blown Clouds, or a poem in a slightly
mutated haiku form on the subject of soccer for Football Haiku. Those
postcards say just enough, their elegance in form is in perfect symmetry
to the ideas they articulate; a simple proposition that almost anyone
can partake in. And once they are released into the world you partially
abdicate responsibility, it rests with the world to whether anyone is
so moved to contribute and what they contribute. In allowing just enough
conceptual space for the respondents to personalize their submission there
is a melding of authorship through these books; your presence never totally
recedes but never dominates. I know that through this method unexpected
correspondences and friendships have been generated, but this is not an
imperative of the process. Rather it seems sufficient that anyone so moved
to collaborate does so within the confines of the project, their presence
is complete in their submission. And within that gesture of contributing
there is a tacit acknowledgement of the validity of the project idea and
a desire to share. But with this generative strategy there is an inherent
risk; it is poised on the brink of failure. It is quite possible no one
will reply. But such is the risk for one who goes into the world asking,
listening and waiting.
Aberdeen,
April 2005
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