Tuesday 28 October 2014

Homeric Values

The poet Homer is said to have lived during the eighth century BC just after the Dark Age. To him we attribute two great epic poems, the Iliad and the Odyssey, which helped shape the Greek identity. For centuries, Greek youngsters grew up reciting the Homeric epics and admiring the Homeric heroes, who strove for honour and faced suffering and death with courage.

For centuries in the West, it was believed that Homer was a great poet, and that his epic tales were just that: stories with no basis in historical fact. However, at the end of the nineteenth century, archaeologists began to uncover evidence that the civilisations Homer described might actually have existed. In 1868 a German archaeologist named Heinrich Schliemann claimed to have found the ancient city of Troy, location for the Iliad, on a hilltop on the Turkish coast near Istanbul. Later, he uncovered a vast walled city, a palace and a wealth of treasures at another site in the south of Greece which he claimed was the palace of Agamemnon, leader of the Greek army in the Iliad.

The significance of Schliemann’s discoveries, though undeniably dramatic, have yet fully to be explored by modern scholars, and there is no final decision on whether Homer was poet or historian. For the ancient Greeks, however, the answer would have been clear: Homer was both an individual speaking to them about their great and glorious past while simultaneously revealing their deepest thoughts, feelings, and conflicts in a few brilliant lines. For this reason, Homer's poetry became not simply a treasury of ancient history but also a vital source of moral instruction for the Greeks. Achilles and Odysseus, the two heroes of the two epics, became the great role models in traditional Greek thinking about how one should live one's life.

Homer’s Humanity
As an account of war, much of the Iliad is devoted to descriptions of combat. However, interspersed between these scenes of action and drama, Homer includes scenes of simple domesticity which serve to remind us of our shared human values. One of the most famous takes place as Trojan warrior Hector and Greek warrior Achilles prepare to do hand-to-hand combat outside the city walls. Hector is well aware that the time has come for him to fight and die and Homer includes a long scene in which Hector says a final farewell to his wife and child. Another scene takes place during a large scale battle between the Greek and Trojan armies in which two opposing soldiers discover that their grandfathers enjoyed a friendship. Laying down their weapons, they each swear to continue their ancestors’ bond.

Such depictions of humanity are typical of Homer’s style, which often lingers on the simple, sensual pleasures of being human. As one commentator observes: “Just how much of this poem is taken up with eating, drinking, storytelling, listening to music, intimate conversations, warm beds, perfumed baths, dancing, beautiful architecture and silverware—all the sensuous detail that transforms everyday events into something joyful and worthwhile.”

Strife and Conflict
As the Iliad begins, the Greeks have just destroyed a town allied to Troy. Achilles has taken a woman, Briseis as his lover but his commander Agamemnon claims her for his own. Angry with his commander, Achilles refuses to fight. It may seem odd to devote the opening scene of an epic account of war to what amounts to a petty argument, but strife and conflict are central to the Greek worldview world and play a symbolic role at the heart of the Iliad itself.

Achilles' life begins with an unsuccessful attempt to avoid strife. His parents, the goddess Thetis and the mortal Peleus, invite all the gods to their wedding except Eris, the goddess of strife. Eris, however, like the evil witch in fairy tales, attends anyway and throws out a golden apple marked, "For the Fairest." The introduction of the apple has the desired effect and the three major goddesses, Aphrodite, Hera and Athena argue over who should be allowed to keep it. In the end, they consult future prince of Troy, Paris, who at this early stage is a lowly shepherd boy. Each goddess offers him a bribe to win his favour, and in the end Paris is won over by Aphrodite’s promise to give him the most beautiful woman in the world. Unfortunately, the woman in question, Helen, is already married to Menelaus, King of the Greek city of Sparta. In helping Paris to steal Helen away from the Greeks, one can argue that it was Aphrodite who started the Trojan war. However, it was Eris the goddess of strife who originally set the story in motion.

For the Greeks, to live in the real world was to accept the inevitability of strife and conflict: to try to avoid strife was to avoid life itself. It should therefore come as no surprise that although the Iliad begins 10 years after the abduction of Helen, it nevertheless begins with another argument.

Arête, or Human Excellence
In ancient and classical Greece, a hero was something quite specific. The interest for these heroes was not the common man, but themselves. They lived for a single moment to prove their status, an instant where they could stand out from the rest. The word for this moment, in Greek, is arête, and it is perhaps the strongest and clearest value of Homeric Greek culture. Translated as "virtue" the word actually means something closer to "being the best you can be", or "reaching your highest human potential". It also has strong associations with effectiveness, or getting the job done. As Homer shows us through the two contrasting heroes of Achilles and Odysseus, intelligence and cunning as much as strength, bravery can be effective means of meeting with success. The importance of arête implies that the Greeks saw their universe as one in which human actions are of extreme importance – that the world is a place of conflict and difficulty, and human value and meaning are measured against how effective each individual is in the world.




Saturday 8 March 2014

Oh, deliver us from the virulent, pathogenicity of cliche: In praise of "Synecdoche, New York"

Last nite I had the pleasure of watching 'Synecdoche, New York' at the Univeristy of York's World Cinema Society. While I can appreciate it won't be everyone's cup of tea, it did get me reflecting on some fairly big questions about the function of abstract or surreal art.




I would stick my neck on the line and say this is primarily a self-referential flick in the sense that it takes for its subject matter the making of a piece of theatre. As such it enters into the deeper questions of the status and function of the dramatic mode.

Watching this film feels like you are swimming in a dream. Why the surrealism?

There is a qualitative difference between the randomness say of the numbers which follow the decimal point in the mathematical constant 'pi' and the theatre of the surreal. That difference is the presence of intention, a fundamentally human category. There is a pure green painting in Leeds Art Gallery that you cannot stop looking at, precisely because it has not been made by painters and decorators but by an artist of sufficient worth that their work is hung in a public space. In this way, all art is framed in that we come to it with certain fundamental assumptions, chief among which are its origin in complex human intentions and its wider social and economic value. Standing in front of the Victorian moonscapes of that same gallery, these categories are  effaced in the illusion of reality. Which explains both the origin and the function of abstract or surreal art: it arises from the need to bring to the fore these assumptions and encourage that mood of contemplation necessary to explore them.

Why the theme of doubleness?

All representational art seeks to perform the mimetic function, and in this sense is grounded in observation of the world. However, it is difficult truly to "see" when you have looked at the same thing day in day out for 37 years. As creatures of habit, our neurological hardware is so set up that the processing of repetitive and familiar stimuli migrates from the neo- to the sub-cortex, disappearing from the radar of consciousness. While this might make us very efficient machines, capable of multi-tasking without distraction, we lose a great deal in terms of the sensation of a life lived. As William Blake reminds us, we humans are perhaps at our happiest when we pause long enough to re-kindle that quality of fascination that characterised our first encounters with the world:

To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of your hand,
And eternity in an hour.
(William Blake, "Auguries of Innocence", c. 1803)

There is then the very real danger that art will fail to move us. Indeed, what is a cliche but a story told once to often?

How to regain this sensation of a life lived? Well, in his essay 'Art as Technique' (1925), Soviet literary critic Viktor Shklovsky called this dulling of the senses 'habitualisation' and describes it as if it were a ravenous monster "devouring work, clothes, furniture, one's wife" and even "the fear of war". For Shklovsky, the redeeming power of art was that it allowed one to "recover the sensation of life" by imparting "the sensation of things as they are perceived and not as they are known". "Art exists to make one feel things, to make the stone stony".

Shklovsky's great theoretical contribution to art criticism was the concept of "defamiliarisation", or the representation of a slightly warped reality for the purpose of effecting us with that sensation of fascination and curiosity for a life lived. Whether the post-impressionistic brush strokes of van Gogh, Stravinsky's dissonant textures of sound, or a movie representing reality at one step removed: all these forms of art exist to deliver us from the virulent, pathogenicity of cliche and into the arms of an intimate, authentic and reactive proximity to the world.

Saturday 25 January 2014

Organising an ultralight backpacking trip. Responses to some FAQs

UL Backpacking on the HRP trail in the Pyrenees, 2012.

Today I was asked a few practical questions about how I go about organising an ultralight backpacking trip. I thought I would share the response more widely for anyone who is interested in taking up this activity. It should be mentioned that the inquiry was made in response to this kind of video on my youtube page.

How do you find these treks?

I basically like 2 kinds of environment: the high Alpine zone and the rocky limestone coastal regions of the eastern Mediterranean. As you can see from my youtube page, most of my treks are in these regions, with the majority in the Alps, the Pyrenees or Greece. There are many classic long distance treks in these areas, and I always check out the route and trip reports on the internet before I make up my mind to go.This page is especially useful.

For the alpine region, I am looking to spend as much time as possible above the tree line, with the possibility of covering about 25 km horizontally and 2000 m vertically per day. This is a good website to use to find out what long-distance alpine trails are available.

For the eastern Mediterranean, the choice is more limited. There are few long distance trails in Greece, but Kate Clow's series of books about walking in Turkey are worth exploring.

How do you navigate?

In the Alps there are many good maps you can use. However, if you are a long distance walker, you end up buying a lot of these and they are surprisingly expensive and heavy! Best I have found is to use a GPS and load the maps and waymarks onto to it before you go. A simple handheld GPS unit (like my Garmin eTrex Vista) weighs the same as a map or two actually so it makes sense.

How do you preplan everything? How do you know what kind of clothes you need or how much food/water you need?

Most alpine regions in Europe have the same weather and the same terrain for any particular time of year. So in the summer walking season no matter where you are you can expect the odd thunder storm and burning sun when up above the tree line on a clear day (suncream ESSENTIAL). For me, I walk for 10 to 12 hours a day, so I always keep moving. This means that I only really need to make sure that I have enough equipment to keep warm at night. Most days, I walk with a long sleeved synthetic baselayer, summer pants and a light rain jacket to act as a windbreaker when up high (Outdoor Research Helium Rainjacket is my current favourite: 192 grams). At the end of the day in camp. I will add a down insulating layer under my windbreaker (Montbell UL Down Jacket 218 grams) and a buff head band if I am sitting outside. But mostly, I get into my sleeping bag (Alpkit Pipedream 400, 750 grams) which has kept me toasty warm even at minus 2. That was one night in high wind at 2,700 m under a glacier and I do not think that I will ever experience anything colder than this in the summer walking season. 

Full details of my summer alpine equipment here.

One thing I should add: I do not carry a spare set of clothes. I watch the weather very carefully and always think about where the nearest shelter is. If I get stuck in bad weather, I know that I can always put up my tent, take off wet clothes, dry myself with a towel, get into my sleeping bag and sit it out.

Trekking in the European mountain ranges you are never more than half a day from some form of habitation: a refuge, a village a farm. Also, the lighter you are, the faster you can move and the more frequently you come across such places. Normally, I carry oats and sugar which I mix with water and eat for breakfast and lunch. I never carry a stove. Water is available EVERYWHERE. After all, the terrestrial half of the water cycle begins in the mountains with rainfall as well as melting snow and ice. Nevertheless, I always bring chloride tablets to purify water when I cannot see the source from which it has come. 

Almost every day I will come across a refuge or town and pick up something nice like a sandwich or cake to go. This will be my evening's treat. Naturally I tend to pig out when I find a shop: food seldom tastes so good than when you are hungry and exhausted!

More careful planning is needed in Turkey or the Moroccan Atlas which are wilder locations. Still, I have never needed to carry more than 3 days food even there.

I hope this helps to answer your questions. Just let me know if there is anything else I can help you with!