The Crossing Point / Edition 1 available in Paperback
The Crossing Point / Edition 1
- ISBN-10:
- 0819560294
- ISBN-13:
- 9780819560292
- Pub. Date:
- 01/01/1973
- Publisher:
- Wesleyan University Press
- ISBN-10:
- 0819560294
- ISBN-13:
- 9780819560292
- Pub. Date:
- 01/01/1973
- Publisher:
- Wesleyan University Press
The Crossing Point / Edition 1
Paperback
Buy New
$21.95Overview
Product Details
| ISBN-13: | 9780819560292 |
|---|---|
| Publisher: | Wesleyan University Press |
| Publication date: | 01/01/1973 |
| Edition description: | 1st ed. |
| Pages: | 258 |
| Product dimensions: | 7.50(w) x 9.25(h) x 0.55(d) |
About the Author
Read an Excerpt
CHAPTER 1
This talk was given at Haystack Mountain School of Crafts on Deer Isle in Maine, in August of 1964. It is low key, and expresses, I think, a tenacious respect for feeling, even at wit's end — and the need to be nourished by Haystack's supportive environment. Thus, Feeling, and Community — and the intimacy of its tone. It was an informal occasion, for a group of sixty to eighty people who were there during the summer to participate in various handcrafts. Hal Riegger, David Van Dommeln, Fred Mitchell, whom I mention, were craft masters in pottery, stitchery, and graphics. For the talk, I had surrounded myself with some of my own works in clay. These were handled and discussed at the end.
I first taught pottery at Haystack in 1961, and have been on the Board of Trustees ever since. It is an environment in which my own efforts to integrate poetry, pottery, inner development, community, education, have been encouraged. The natural setting on the coast of Maine is the ground under our feet. The architecture of the school, a continuum of ramps and porches and studios and stairs leading to the sea, designed by Edward Barnes, made the project I proposed in this talk seem not only feasible but enchanting and serious — like a MAKING TOGETHER of Us IN THIS PLACE, an imaginative documentary, a revelation of WHO WE ARE, multileveled, multimedia. One doorway. The Portal did not come into being. But the image of A Door, A Doorway, A Threshold, A Crossing Point, which haunts this book, makes its invisible appearance here.
Karma and Craftsmanship: Feeling and Form
I'D like to introduce myself. I've brought a few of my pots, and a few sculptures, which I hope will create a kind of image of the way I work and the kind of forms that seem to be extensions of the tips of my fingers, of somebody who lives inside.
Tonight I want to talk about a project we could do together, about feeling, and about karma and craftsmanship.
Here at Haystack Mountain School of Crafts we have a very special opportunity to relate to each other personally and to relate to the various media of the studios. Hal Riegger and David Van Dommeln and Fred Mitchell and I got together last night, and found ourselves talking quite spontaneously in the direction of a common project — something we could all do together — preferably during this week, although quite possibly extending beyond. It is the idea of a DOOR. We would create a PORTAL where there is now only a wooden slab: a portal, a threshold, a closing, an opening — a secret — an open secret — a sliding door turned into an open secret. This appeals to me, this idea of polarities, that something can be both open and secret; the fusing of opposites is at the very heart of the spirit of poetry. And the fusing of elements: earth, air, water, fire, is at the very heart of alchemy, a spiritual science, the art of nature and man.
Francis Merritt, the director here and my friend, told me last winter that I am full of hot air. I thought a long time about what he might mean! I knew it wasn't a totally negative insult because after all he was inviting me to come here. I pondered on the image, and decided that it wasn't a bad thing to be full of — heat and air, warmth and air — they are in some sense the basis of life. But you see, this is just what he meant, I think. I take some simple little idea and pretty soon it's the basis of life!
And this is true: this is a truth I sense everywhere: that every little idea contains within it a microcosm of a big idea. I feel this way about people, every little one contains a big one. Just as every cell of the body enacts the life processes of the whole: digestion, circulation, metabolism, reproduction, etc. The ONE, the WHOLE BODY, is enacted in all the parts. If we listen to the little words, we will learn a lot about the big ones. Musicans are very attentive to silence and to soft sounds.
And so I find the potter's craft of centering the clay enacted in all realms of life: a bringing into center of all the elements of experience and the creating of forms out of that centered condition. And I find poetry also expressed by the media of craftsmen. This will be the subject of my next talk: Poetry and Craftsmanship. And I find the religious impulse also expressed in all realms of life. I'm not officially religious; I'm not institutionally religious. But I take my cue from the word religio, religere. It's a Latin word, and it means "to bind together, to bind together again, to be concerned."
Now it's not so easy to do this in a natural and sincere way — not just sort of pasting and nailing and soldering things together in a huge collage effort in which separate elements are all somehow forced to hang together by some great commercial adhesive. As a friend of mine said recently, "It is not enough to bring them together, they must come together."
And so for our common project of creating a doorway for Haystack, which will celebrate its spirit, our spirit, we shall need to move gently together, sensing the center, sensing each other, sensing relatedness of materials — creating out of a common dedication to a common center — letting ourselves flow into that and out, breathing, in and out, inspiration-expression, reading-writing, uniting-separating-uniting-separating-uniting: the moods of a single organism made up of many souls.
We will work on one of the sliding doors — probably the one on the weave shop because of the way light lives in that area; or the graphics shop, visible from the dining hall. We will use fibers, yarns, all the materials of weaving; canvas, paper, color, the materials of graphics; clay; wood; metal; words.
Let's make a start. Fred Mitchell has some canvas he will size for outdoor use. Barbara has some rice paper. Hal has made some hanging slabs. David is weaving on shingles. Let's begin to gather our materials and to compose together. The image will grow, it will invite participation. Let's enter the mystery, let's work with the known, and use everything we know to equip us for the effort.
And this brings me to another aspect of my subject — what I want to say while I am here, and why I have brought these pots with me as part of what I have to say.
I want to talk about Feeling as a mode of knowledge. I want to talk about Feeling and Forms — and Community and Art. They are all linked together in my experience and in my imagination.
I want to talk about Feeling in the sense that we mean it when we say that we have the Feel of a thing — we have the Feel of a moment — we have a Feeling for material. This Feeling is a kind of relationship. It's not love, exactly, though I am sure it is akin to it. It is not even very personal. Actually it seems to be physical and intuitive. It is a point where we enter into an object or a situation outside ourselves, we flow with it, we know it. We somehow know it in our organisms, we have the Feel of it. To have the Feel of a thing is to identify with its truth.
Those of you who have read Bernard Leach's book Potter in Japan will remember that he talks a lot in that book about Truth of Being. He is trying to point to a very special quality that he finds in pots. He says they may contain a truth of being. This sounds abstract. It is hard to do anything with if we try to translate it into other words. But I think we know what he means when we think about what we mean by saying that we have a Feeling for something. And how it is that it isn't exactly personal, it isn't exactly that we like it or don't like it. It's that somehow we are involved with the truth of its being. We know it — we know what it is.
It's not an intellectual experience. It's something between ourselves and another person, between ourselves and an object, something in each wakes to the other. A claim of life wakes to the life in the other.
The capacity for this kind of feeling is related to an ability to live in forms. To enter into forms with our spirit — to catch on. To be with it. The formative potential in matter, its ability to take form constantly, begins to be a constant flow in our own conscious experience. We open to it. We help to create it. We are more than spectators, passive and responsive and sensitive. We also create and impress our spirit upon matter. Constantly. We are continually creating nature.
Now what is this but an artistic process? Creating forms. Living in forms, with our feeling. And what is community but the experience of living in the forms of our relatedness — not withholding ourselves, but flowing in the forms of our relatedness at all levels and creating, by our participation, new forms? What is this but an artistic process?
We behold the world of men and nature as a vast artistic process to which we belong. The specific craft we practice is part of that vast process.
The artist may see himself as the most responsible citizen, holding in trust a vision and a skill — seeking freedom in his perception, freedom in his initiative, freedom in his participation. He may be impelled by a commitment to inner quality, and to making his dreams come true. Giving shape to his dreams.
Our world is in trouble, and we are tempted by discouragement, confusion, rivalry, loneliness, cynicism — all the temptations of ignorance and weakness. And our society is jeopardized by forces of ignorance and weakness. We make a few beautiful pots or poems or pictures or fabrics or windows or sculptures or ornaments, and appease our conscience, which is raising questions about justice and survival and freedom and decency. I know this because I attended the First World Craft Congress, as did others here, and we know that when craftsmen discuss crafts they discuss as well business, politics, religion, philosophy, esthetics, scientific research, inner growth, communication, education, and all the other arts. In other words, craftsmen are people living the richly varied lives that people do, and their craftsmanship is involved with everything else, whether they are conscious of it or not.
It became clear at that conference of fifty-three nations that certain craftsmen may not be allowed to join the Congress because of the politics of their countries. Certain craftsmen will turn to other pursuits because they cannot come to a reasonable economic solution. The Mexican craftsman, representing millions of indigent peasants, quarreled with the studio artist of the American affluent society. The sophisticated American angrily justified himself and wished to quit the Congress. And vice versa. Mutual accusations flew, there as on any warring front: "bunch of rich female hobbyists, unrealistic, spoiled ..."; "political hotheads, arrogant, self-seeking ..."
To be able to live in the different forms imaginatively — to feel the form of the other man, the other place, the other necessity. To flow together as the many persons of the one god. To initiate new forms, bearing upon all life's necessities — to be artists — is this not our task?
It seems to me that all our craft is apprenticeship — a preparation, an unfolding of powers; that we have been blessed with an opportunity to see the possibilities of forms in existence and to develop our powers of enjoyment. These may lead us far in our growth and in the contribution we make by our example. The spirit of the artist-craftsman's community may be offered to the world in our smallest daily deeds. As I began by saying, in the small deeds and thoughts live the highest power and meaning and blessing.
Within the microcosm of our being, the powers of our feelings and our thoughts and our willing take on certain shapes: because we live in a certain kind of body, because we have certain parents, certain childhoods, certain educations — we live in a certain place, we belong to a certain race, and so on.
We know our Feeling life mostly as a stream of likes and dislikes. We like this, we don't like that. We think of Love as personal attachment. And these likes and dislikes, upon examination, turn out to be largely the consequences of our past experience and training. They are not free — they are attached to past influences, usually in very unconscious ways. They are, as I would put it, karmic.
The law of karma is not talked about in the Western world as much as it is in the Orient, but it is no less operative. It is the law of reaping what we sow, of receiving the consequences of past action. And, in most of the world, these past actions are frankly traced far back into past lives — into our past lives.
The life of Feeling concerns me particularly, because Feeling is related to the ability to live in forms — whether we are creating them, beholding them, or moving within them. "The characteristic of really living Feeling is the capacity for living in forms." This important insight was stated by Rudolf Steiner in his book Toward a New Style in Architecture.
As artist-craftsmen here together, we are working every day in forms — forms in clay, in fiber, in metal and glass, in paper and ink and pigment, and the impulse of our study and practice and growth is all toward an ability to live in forms. Isn't this so? It seems to me that our fullest life of form then is our fullest life of Feeling, in the sense in which I introduced it: not as likes and dislikes, but as contact with that primal, macrocosmic spirit realm.
How can we develop our capacity for this freedom of Feeling? I have a few ideas which I have tested out in my own experience, and these I share with you: First, we must be mindful of the nature of our prejudices and our preferences. We must learn to let them float by, at just a little distance, no longer identified with us — we watch them float by. We are able to imagine ourselves without them.
Second, we learn to meditate on the sources of our feelings about things. Where do they come from? Are we really satisfied with them? We learn to recognize our feeling patterns, and to develop a sense of karma.
Third, we may seek a path which will change our karma. We seek the path of liberation. Above all, artist-craftsmen may seek this path, for it is the path of feeling and it lives through forms.
And this brings me to the other question which I want to ask you to consider: it's another face of the same question. And it's this: Where does our art come from?
Where does our art come from? Surely it does not come from the clay nor from the wool. It comes as an impulse from another realm: as a vision, as an unconscious coordination, a conscious study, it comes onto our canvas from somewhere else. This is what Plato was referring to when he said that Art is Imitation, and when he pointed out the dangers in this fact. It is dangerous for poets and painters and sculptors and musicians to think that their image, their composition, is the source of value — instead of the reflection of value, the making conscious of an experience of value otherwhere derived. The paint peels and cracks, the pot breaks, but the realm out of which it comes continues to reveal itself in more works of art and craft.
My interest is in the fact that Life is the realm of art — and that the true source of our images, the original face as it were, moves within life itself. There, if we can but behold it, is the vision, is the form. There are the forms which our feeling, purified, prepares us to live within.
This all seems to me terribly important. I don't know if it does to you.
I have spent a great deal of my life in the academic world. I took my Ph.D. in English at the University of California, and I became a teacher and taught across the country. I was a good student and believed what I read and what my teachers taught me. It was a terrible blow to me to discover that it didn't seem to make much practical difference, that the life of an academic community is not that much superior to other moral slums.
I puzzled about this for years. How was it that I could teach Paradise Lost around the clock, but I couldn't get along with my husband and was impatient with children?
I taught at an experimental college, Black Mountain College, for several years. Terribly experimental, terribly far out. Historic! The whole thing died — deteriorated and died. How could that be? A group of distinguished people, gifted people, artists all: artist-scholars, philosophers, professors of ethics, poets, physicists, economists.
Higher education? What do we learn in "higher" education?
I took all there was. I went until they said, "Go! Go! You're finished. You're through." And they gave me the hat with a gold tassel.
I feel the same way about artists and craftsmen. I feel that there's a connection we ought to make between what we "profess" as creatures sensitive to form, and the forms we practice in community. Should we not learn to extend our ability to live in forms and to feel the authenticity of forms other than those of our likes and dislikes if we are to get on with the tasks of our humanity?
(Continues…)
Excerpted from "The Crossing Point"
by .
Copyright © 1973 Mary Caroline Richards.
Excerpted by permission of Wesleyan University Press.
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