Tag: friends

  • From the Dead Centre of the Present

    From the Dead Centre of the Present

    It seems that we were following similar hunches, for years, before we were introduced. The crisis of 2008 had set us on these tracks – or rather, it meant that the tracks we were following anyway seemed suddenly relevant to people who hadn’t noticed them before, so that we found ourselves needing to reformulate, to express what it was we thought we had caught sight of.

    In my case, this took the form of Uncivilisation: The Dark Mountain Manifesto, written with Paul Kingsnorth and published in 2009. The hunch that we tried to put into words was that the crisis went deeper than almost anyone wanted to admit, that it went culture deep, that it was a crisis of the stories by which our culture has been living. And if this is true, we thought, then might it not follow that the work of telling stories and making culture becomes central to the task we face, the task of living through dark times and finding possibilities among the ruins.

    The tumbling weeks of crisis turn into months, years, and a new normal establishes itself, but it is never the promised return to normal. Eight years on, Dark Mountain has become a gathering point for people trying to work out what still makes sense, in the face of all we know about the depth of the mess the world is in.

    A mountain is not exactly an urban thing, though! Sometimes I tell people, it’s not a place you live the whole time: it’s a place you go to look back and get a longer perspective, maybe even to receive some kind of revelation, but you still have an everyday life to return to, back in the city or the village. That’s what I enjoy about this friendship and collaboration with STEALTH – and joy is a word that should be mentioned here, you know! I still remember the night we were first brought together for dinner by a mutual friend and we laughed so much all night we said, we have to do this again tomorrow, and we did. That’s how we got tangled up with each other.

    Now, tracing our tangled trajectories across these past eight years – you bouncing between cities, me wandering up and down a mountain of words – I see two stories that we seem to have in common. The first is spatial, the second temporal.

    The spatial story concerns a negotiation between the edges and the centre. I need to be careful how I say this, because we have all been told about the way that whatever is edgy, new, avant-garde gets metabolised, made palatable, made marketable and becomes the next iteration of the centre. That’s the story of selling out, or buying in: the great morality tale of counterculture.

    The story I’m trying to tell, here – the one I say we have in common – starts with the claim that the centre as we know it is already ruined beyond saving. This is what I see in that image of the burnt-out architecture faculty in Delft in ARCHIPHOENIX. In the manifesto that Paul and I wrote, we speak about this: “None of us knows where to look, but all of us know not to look down. Secretly, we all think we are doomed: even the politicians think this; even the environmentalists…” And then we ask, “What would happen if we looked down?” What if we admit that the centre is already a burnt-out ruin? Might we need to ask ourselves what it is, exactly, that is doomed: what version of ourselves, what set of things (structures, institutions, customs) with which we have identified?

    If this is the kind of mess we’re in, then the challenge for those of us at the edges is neither to retain our countercultural purity, nor to negotiate good terms on which to cash in with a centre that is already collapsing – nor even to try to shore that centre up and prevent its collapse (too late!) – but to offer something that could take its place.

    “Sometimes you have to go to the edges to get some perspective on the turmoil at the heart of the things,” writes Paul Kingsnorth, my co-founder in Dark Mountain, in late 2016. “Doing so is not an abnegation of public responsibility: it is a form of it. In the old stories, people from the edges of things brought ideas and understandings from the forest back in the kingdom which the kingdom could not generate by itself.”

    The arrival at the centre of a figure from the edges is the opening move in many an old story. But the negotiation cannot set anything in motion, so long as the pretence is maintained that business can go on as usual, that a return to normal is on the cards.

    So when STEALTH asks how those practices which already showcase possible directions could be “made to work… on a scale that answers the challenges ahead?”, what is in question is not ‘scaling up’ for the sake of profitability, but what might take the place where the centre used to be. How do we find ways of going on making things work when – as in The Report – the all-powerful operating system breaks down. Like Anna Tsing, we are looking for the possibilities of life within capitalist ruins.

    “The end of the world as we know it is not the end of the world, full stop,” we write, on the last page of the manifesto. The ruins are not the end of the story. Ecologically, the species present (our species included) go on improvising ways of living together, even with all the damage. There are things to be done: salvage work, grief work, the work of remembering and picking up the dropped threads.

    This is where we slip from the spatial to the temporal. What is at stake in the temporal story is how we find leverage on the dead centre of the present. Not so long ago, the future served as a point of leverage: a place from which to open up a gap between how things happen to be just now and how they might be. That gap was charged with possibility.

    Here I think of the work of Tor Lindstrand, to whom you introduced me in that project in Tensta, ‘Haunted by the Shadows of the Future’. He tells the story of the disappearance of the future in urban planning: the evaporation of any vision or belief in the possibility that things could be different, as the development of cities is subsumed into the operation of the market and marketed with bland identikit images and words. The role of financialisation in this reminds me of William Davies’ description of the consequences of monetary policy under
    neoliberalism:

    The problem with viewing the future as territory to be plundered is that eventually we all have to live there. And if, once there, finding it already plundered, we do the same thing again, we enter a vicious circle. We decline to treat the future as a time when things might be different, with yet to be imagined technologies, institutions and opportunities. The control freaks in finance aren’t content to sit and wait for the future to arrive on its own terms, but intend to profit from it and parcel it out, well before the rest of us have got there.

    If the future is already plundered – and if, as Dark Mountain points out, the consequences of related kinds of plundering for the ecological fabric stand in the way of any revival of the confident future of modernity – how else can we open up that gap in which the possibility of change, the non-inevitability of present conditions, can be located?

    The great improvisation teacher Keith Johnstone says that, when telling a story, you shouldn’t worry about what’s coming next: you should be like a person walking backwards, looking out for the chance to weave back in one of the threads from earlier in the story. We move through time backwards, like Walter Benjamin’s ‘angel of history’: we cannot go back and fix the mistakes of the past, but at least it is there for us to see, in a way that was never true of the future. Ivan Illich writes of ‘the mirror of the past’: if we look carefully into it, without falling into romanticism and without dismissing it as simply a poorer version of the present, then the past too can serve as a source for a sense of possibility. In a time of endings, one of the forms of possibility it offers is the dropped threads of earlier endings – the way of life which is now falling into ruin was built among the ruins of earlier ways of life.

    I see this as central to the method by which you seek to build possible futures, in Bordeaux and Vienna, in Rotterdam and Belgrade, and elsewhere. I remember sitting in a seminar room in Gothenburg as you showed us images of that mutual aid society in the Netherlands in the 1860s, created by workers to build their own homes. A trajectory can be traced from this initiative to the grander state projects for welfare of the mid-20th century, to the hollowing out of those projects under the neoliberal period of marketisation, to the crisis of 2008 in which they are revealed as ruins. Even as you go about improvising practical strategies to bring these ruins to life, you are always looking back to the beginnings of the story and asking what has been lost or written out, in the way that it has been told.

    In THE REPORT, you reveal the pattern by which the role of bottom-up initiatives in the building of the city have been written out of Vienna’s story. What emerges from these researches and the future narratives which they inform is the realisation that, in many parts of Europe, the achievements of social democracy were born out of movements which looked far more like anarcho-syndicalism than those who later consolidated these achievements into top-down state systems would be willing to admit.

    Those movements were born out of necessity, operating within the ruins of the commons, devastated by the early phases of industrial capitalism; now, after 40 years of neoliberalism, as we look for ways to operate within the ruins of the welfare societies of the 20th century, their histories can help us open the gap between how things are and how they might be.

    We meet in the conviction that telling stories is not just a way of passing the time, but the way that we find our bearings in the world. A story opens a space of possibility into which we can invite others and when the work of building new projects among the ruins is at its hardest, when we wonder if it is worth going on, it is by retelling the stories that we connect ourselves to the past and the future, place ourselves within time. The right story, told from the heart, can be the difference between going on and giving up.

    First published in Upscaling, Training, Commoning (Jovis, 2018), a book by the Dutch-Serbian architecture duo STEALTH.unlimited.

  • Extending the Glide: A Conversation with Jem Bendell

    I first met Professor Jem Bendell at a festival in the middle of a Swedish forest. This was back around the beginning of the 2010s, and he wasn’t a professor in those days, and to be honest we didn’t find that much in common.

    The festival was called Future Perfect. The organisers had brought together sustainability thinkers, ecologically-minded designers, organic food entrepreneurs and a whole smorgasbord of buzzwords. At several points, I was provoked into forceful interventions, which led to the invention of the role of ‘difficultator’ – a kind of anti-facilitator or heckler-in-residence – in which capacity they invited me back the following year.

    My impression of Jem from that event was of a big NGO, sustainable development, Corporate Social Responsibility guy. He was living in Geneva, working as a consultant to the UN. He’d done things: the Marine Stewardship Council was one of his projects, and he’d been in at the beginning of the UN Global Compact. He was all about getting big business to drive sustainability. He struck me as driven, ambitious, serious, but I didn’t get much sense of someone wrestling with the existential implications of the mess in which we find ourselves. And fair play, he was too busy for that.

    So it came as a surprise when we crossed paths again last year and he told me that Dark Mountain had been much on his mind. I’d been aware of the ripples made by a keynote that he had given at a climate change conference in Australia, setting out an agenda for what he calls Deep Adaptation, based around the three ‘R’s of Resilience, Relinquishment and Restoration. It’s been picked up in places like the Planet B festival in Peterborough last summer and a forthcoming season of events at the NewBridge Project in Newcastle – while Charlotte Du Cann wrote about it in the call for submissions for the next Dark Mountain book.

    When I caught up with Jem over Skype a few weeks ago, I mentioned that I’d been struck by how far he had travelled since our first meeting, so I was curious to know what had set him on that journey.

    JB: I gave my inaugural professorial talk in March 2014 at a big literary festival in Cumbria. I’d already become aware of some of the latest science on climate change, so I decided to frame sustainability as an adventure – to say that we have to let go of our incremental, non-ambitious, conformist approaches. I gave a speech about that, because it was a frame that could be palatable to my colleagues, my employer, my academia and my audience. But I was coming down with the flu during the speech. And for the week after, I was in bed ill.

    There’s something emotional about a conclusion – that’s what you do in an inaugural lecture, you try and synthesise twenty years of your work, and by summarising, you’re also concluding it. So I spent that week in bed, with a fever, not doing much apart from reading scientific papers and watching traumatising videos from the Arctic. And I actually went into despair.

    It took years before I became more deliberate and public about this, and in a way it’s taken me until now to realise that I’ve been going through a professional catharsis which goes back to March 2014.

    DH: I read a piece that you wrote for openDemocracy later that year, arguing that the mainstream debate around climate change had become detached from the facts that were now coming in from the science. You highlight four different conversations going on around the edges which you say have more to do with the reality of where we find ourselves, one of which is a conversation you identify with the radical end of Transition Towns, the work of people like Charles Eisenstein, as well as with Dark Mountain.

    JB: The reason I wrote that article was that after the experience I’d had that year, I couldn’t help but have conversations with friends about this topic, and I found that I just left people sort of staring into space with their jaws wide open. So I wanted to give them something that would help them think things through, and then they could end up with whichever of those agendas that I mapped out in the piece – and working on any of those agendas would be better than the mainstream denial of how things are.

    DH: That brings me to the speech where you presented what you call the Deep Adaptation agenda. Can you say a bit about how you arrived at that framing?

    JB: Looking back over the last few years, I didn’t really know what to do about this realisation that we can’t fix climate change, that so much of the impact for our civilisation is already locked in. I didn’t know how to work on that. And I realised that one of the reasons was the lack of a framework to get your head around all this. So I thought it might be useful to come up with a map for people who are climate experts, policymakers, researchers about what this might mean. A map that would sound approachable, but would actually be the thin end of a wedge, in terms of where it would take them.

    This coincided with an invitation to a place in Australia where I used to work, Griffith University. It was the tenth anniversary of their centre and they invited me to give the keynote. They are at the centre of the climate change adaptation network of Australia, so they had hundreds of climate change policymakers coming from across the country, and researchers and academics. And I couldn’t justify flying down there and just giving a speech about, you know, the latest great ideas about investment in solar, and so on.

    I was a bit scared, because I knew the guy who was organising the conference and I knew he’d want me to be dynamic. Everyone who’s organising a conference wants to be upbeat – and suddenly the keynote person is going to give a speech about the end of the world, or that’s how it might come across, anyway.

    It was a bit of a coming out. Standing in front of these climate experts who work with this all day and saying: well, this is my reality, this is what I’m struggling with, and this is a map that I have that I think we could use to work on it.

    I called it Deep Adaptation. I introduced the three ‘R’s: Resilience, Relinquishment and Restoration.

    DH: So this is where you’re trying to say, OK, what kind of stuff is worth working on, if you start from climate change as an unfolding tragedy, rather than as a problem that can be fixed and made to go away. Can you just elaborate on what falls within each of those three spheres?

    JB: Sure, well the first one – Resilience – I chose because it’s so mainstream already in the adaptation field. Even in the business schools and the sustainability field, the term resilience had become popular. Because businesses have been experiencing, through their supply chains in particular, disturbances and disruptions through weather events correlated with climate change. But I talked about resilience in a deeper sense than just, ‘How do we diversify our suppliers so that if one gets knocked out by a hurricane, we’ve still got something else?’ So for example, I was talking in a hall which was next to the Brisbane River, which had had flood water lapping at its doors just a year previously – and I pointed out that the place had been refurbished with the electric sockets still near the ground. We need to think again, to switch our mind-sets. These once-in-a-century events will be happening every five years, so resilience needs to wake up to that.

    That brings you into Relinquishment which is about not just, how do we preserve what we want to preserve, but what do we need to let go of? Because if we don’t let go of it, we’ll make matters worse. And I felt that the discourse of sustainability would have seen that previously as peculiar and defeatist – and I wanted to say that, we’re going to have to let a whole lot of things go, ways of life, cultural patterns. You know, in that room we were all wearing suits with ironed shirts and ties, with blasting air con. There are patterns of behaviour which we have to let go of – and I thought, give it a fancy name and you recode it as something interesting, rather than defeatist.

    Then the third one, Restoration – again, it exists already, with people talking about the restorative dimension of environmentalism, restoring ecosystems. Not just stopping the damage, but improving things. But for me, I wasn’t saying that in terms of how we can fix everything, but that you rewild because it is going to happen anyway and you build that into your thinking. But it’s also about restoration in terms of how did people have joy, fun and love, and wonder, celebration and meaning, prior to this hydrocarbon civilisation?

    So Resilience is ‘how do we keep what we really want to keep?’, Relinquishment is ‘what do we need to let go of?’ and Restoration is ‘what can we bring back to help us through this?’

    DH: So you said you were nervous in the run-up to that speech. What kind of reaction did you get?

    JB: I was surprised and delighted at the warm round of applause and the things people were saying to me afterwards. I remember one lady came up to me and said she used to be a pilot in the Outback of Australia and in her training, they used to do quite a spooky exercise which was called ‘extend the glide’. And it’s about, if the aircraft has a problem with the engines and they cut out, how do you then extend the glide to just give yourself more time to find yourself a safer place for the crash landing, but also on the off-chance that the engines might kick in again. And she said, that’s what you’re inviting us to start working on: how do we extend the glide?

    There were other people coming up to me and what I understood was that they had already been talking about these things in their own ways, making sense of it, but not really in their day-jobs, despite being paid to be environmental professionals.

    DH: How has this changed the work you’re doing – that experience of despair and catharsis that you described, going back to 2014, and then creating a framework for those who want to work with this professionally – where has that taken you in the years since?

    JB: Well, in 2017 it took me into politics, writing speeches for Jeremy Corbyn and John McDonnell, because it seems to me that we need a cultural shift towards compassion and a spiritual awakening, an awakening from the delusion of materialism. We don’t see much of that in politics, but Corbyn was saying something similar in a secular way.

    Meanwhile, I decided to approach education in a very different way, as a sort of emancipation from your received assumptions and received wisdom, as a preparation for people to be able to approach these very disturbing and troubling times. But also to see it as an amazing – it’s kind of crazy to say, isn’t it – an amazing opportunity for reflection into the true meaning of being alive. Because climate change is holding up a severe mirror to our consciousness: it means we have to really ask why we are here. Because somehow, we delay that question, and now we can’t.

    So on the one hand, I see that I’ve been doing quite a lot of stuff that I’m OK with that flows from that point in 2014, but I also realise that part of this has been getting busy in order to distract myself, because I didn’t have a good way of living with this knowledge. My sense of self-worth as a good guy, working hard, becoming an expert, becoming a professor – along the way, I made sacrifices in order to achieve that, and then suddenly I had a loss of a sense of self-worth, my role, my identity in life. So I think quite a bit of what I’ve been doing over the past years has been reconstituting a sense of self.

    So thank you for inviting me to talk about this, because it made me reflect in the last few days, and I realise that maybe it’s useful to share this. Because this cathartic process that I went through, some of it conscious and some of it actually only making sense to me looking back, is perhaps something that other people will go through and need to go through. And maybe it’s something we can go through together and help each other.

    I guess I’ve gone through a grieving process and now I realise that it was pretty damn obvious that I will die, everyone I know will die, any community or culture I could ever contribute to will die out, this human species will die out, and the Earth and everything on it will die – well, that’s just obvious, we all knew that, anyway.

    DH: Yes, all of those things were true before the great hydrocarbon episode in humanity’s history. Arriving at that is an important part of the journey of making sense of what it means to be alive right now.

    JB: I feel free of some forms of delusion, some forms of social pressure, and I am approaching things with fascination and playfulness. And what I didn’t have over the past few years were fellow travellers and community, and now I’m realising that I do need a community around this very realisation that we’ve been talking about. And what will emerge from that, I don’t know, but there will be love within it, there will be creativity within it, there will be a sense of wonder at being alive at this incredibly strange moment in human history.


    This conversation with Jem Bendell was published on Dark Mountain’s Online Edition in March 2019, four months prior to the publication of the Deep Adaptation paper.

  • Believing in Holidays: A Conversation with Elizabeth Slade

    Believing in Holidays: A Conversation with Elizabeth Slade

    An extract from ‘The God-Shaped Hole’ by Elizabeth Slade

    We sit on cushions in a circle, about 25 of us surrounding one lit candle. Each of us is invited to place a personal object in the middle. Some put jewellery, a hat, a piece of quartz. I stay still, very conscious of being in a minority: not wearing yoga pants, not barefoot, no piercings or tattoos. I’m wearing a top from Whistles, for fuck’s sake.

    I feel the stiffening in my shoulders as a wave of discomfort passes over me. My cheeks flush with embarrassment – what would the me of just a few years ago have made of this situation?

    Now, I’m able to notice the discomfort, let it go (mostly), or just be OK with noticing it. I know that through the discomfort the good stuff lies. I notice my desire to stay in a safe, practical, intellectual, rigid, mask-wearing state, and I gently try to put these elements down.

    The work involves sharing meaningful personal stories with each other. Gazing into the eyes of strangers. Exploring political issues that we care deeply about and retelling them from different personal angles. We’re firmly in the emotional and out of the intellectual.

    This is London, days after the Grenfell Tower fire. Everyone has a lot of pain.

    And when the workshop is over, back in the circle around the candle and altar of objects, we all feel connected. It’s like our hearts are bigger than they were at the start. There is an undeniable connection between all people, all life. Afterwards, it occurs to me that this is the third role of the sacred: between the sky of possibility and the ground of being held, to encourage the felt knowledge of connection.

    When big events come, a hunger for connection breaks the surface of our current way of living. I remember the 7/7 bombings in London back in 2005, long before I had any interest in the sacred. That sunny day, after news of what happened spread, everyone left work early to slowly make their way home and it was inarguably apparent that we’d all go to the pub. I look at something I wrote back then: ‘In earlier days (or in America), people would have gathered their families together and prayed. In London, we got our mates together and drank.’ It was a kind of communion, I guess.

    Last November, on the day we learnt that Donald Trump was going to be president, my minister opened the church for the evening. About fifteen of us sat in candlelight and shared how we felt, and a violinist played exactly the right music, and we wept. Brits, Americans, people in their twenties and their eighties, all feeling the need to be together.

    On days like that, people recognise the need to be close to others, to gather together while they’re hurting or scared, for their emotions to be held in the right way, whether oiled by beer, or by candlelight and violin and the work of an experienced minister. It feels like a very basic human thing, so I assume we had the words for it long before the language of church.

    A conversation

    DH – What you’re saying in the piece is that, until the last fifty or sixty years, in our part of the world, it was very normal that lots of people were part of a local church. That was part of the fabric of society, and it went away pretty quickly. And maybe we haven’t got the measure of some of what was lost, things that aren’t necessarily to do with your big cosmic beliefs about the Universe, but about some basic human needs. You draw on your own experiences with new kinds of non-religious gathering spaces like Sunday Assembly, as well as your local Unitarian church, where the minister is an atheist who used to be a scientist at MIT – but you’re also looking at it from the perspective of the work you’ve done with public health?

    ES – Absolutely. So some of the work that I’ve done has been around the limitations of the health care system. You know, if you’ve broken a leg or something, it’s really well geared-up to treat you. But doctors have known for a long time that so much of what makes us healthy happens outside of biomedical health. It’s more to do with how we live – and that’s so much more than just, take more exercise, stop smoking, don’t eat as many doughnuts! We can live in ways that create health and that has a lot to do with how we live in our communities and the sense of purpose that we have in our lives. All those things that are not well provided for either by the state or the market. And right now, we can’t see what we’re missing, because there’s been this sort of generational gap there. There’s not a lot of common language to talk about these aspects of our lives.

    DH – You’ve been thinking about the role of serving a community that might have been played once upon a time by somebody who wore a strange collar and stood up in front of a building full of people on a Sunday morning. And it’s not necessarily a desire to herd everybody back into churches that you’re talking about, but a sense that there is a role there that we need in other ways and haven’t necessarily got good at recovering?

    ES – Yeah, definitely. And the language does get in the way and I’m really conscious that I use a lot of church-based language which to a lot of people is either alien or meaningless. But yes, there is a kind of role of ministry. I don’t think there’s an appetite in our culture to have someone who stands up in front and has all the answers – I think there’s something a bit repulsive about that idea – but we can be equipped to support each other, to be each other’s ministers and spiritual guides and help each other through life. And people are doing that, but it’s not yet a role that’s really valued in our culture. It’s not really something that’s seen. So you know, back when I went into the church for the first time, I didn’t feel: oh, I really need some kind of counsel from a minister. I didn’t really know what it was I wanted, I just had a sense of a gap, but it feels like it would be a hugely valuable thing if it was like, oh, I need a bit of guidance – I need to go and speak to someone who is in one of these community leadership roles with certain skills and knowledge. It would be good if we had some understanding, some way of talking about this, as a culture.

    DH – It strikes me there are skills that in other times and places would have been regarded as something that you spent twenty years of your life learning how to do, before you were let loose as somebody could practice, where now we think you can go on a few weekend courses and get a certificate that allows you to sell your services – and that’s true whether we’re talking about some of the things that go under the name of ‘hosting’ and ‘facilitation’ these days, or whether we talk about some of the more New Age spiritual services that are on offer. So I wonder, without simply copying and pasting from the way things have been done in the past or in other cultures, how do we home in on a less flimsy way of dealing with these parts of being human?

    ES – Thinking about the health care example, there’s been a lot of discussion in the last few years, reminding nurses and doctors alike, ‘Oh, we should be caring and compassionate.’ And you know a lot of people go into those roles because they are caring and compassionate – but actually, if the culture of the organisation loses its way and focuses on the hard clinical outcomes and the costs and all of that stuff and forgets ‘Oh, we’re here to be caring and compassionate’, then you have to remind people to do it. And so, in this sort of new, post-church spiritual world, there’s a sense of there not being much of an appetite for dogma. You don’t really want to say, ‘Oh yes, we all believe this, we all believe the same thing and these are the rules.’ But there is a danger of exploitation, people using powerful tools and techniques from the world of the sacred for their own gain, or just using them clumsily.

    DH – We’ve been talking about how removed our culture has become from the experience of what you’re saying the church, at its best, used to provide. But there’s also a rediscovery going on in lots of places of what you might call the technology of the sacred – ritual, the mountaintop experience, the things that take you to those wild beautiful moments of meaning – which is often drawing on knowledge and practice that has existed within religious or spiritual cultural traditions. Maybe it’s tempting for us, as these things are being rediscovered, to focus on these ecstatic experiences?

    ES – Yeah and you can see why, because it feels like that’s where the action’s happening. It’s exciting to be part of a ritual where you enter a different world for a little while and you know that the people around you are also entering that different world, that different mind-set, for a little while. And all of that stuff is hugely valuable – and still I think it’s a very tiny slice of the whole picture and actually the value is much more in the slow, gentle, day-to-day engagement with the sacred. Which can’t be these euphoric experiences, you know. You can’t have Christmas every day.

    DH – You can’t live on a mountaintop. You go there to spend four days in retreat and have a powerful experience, but you still come back, hopefully to somewhere more sheltered.

    ES – If the thing that you’re looking for is the euphoric experience and you’re looking to find it in a way that fits your everyday life in a sustainable way, I don’t believe that’s possible. So it’s more about accepting the slow and gentle, day-to-day, and having the things in your life that make that sustainable. Rather than just like, oh, if I can just get through to Christmas, then I can get through all of this difficult stuff that I know I’ve got on, but you know, just around the next corner, I’ll be OK. A lot of our culture at the moment is – oh, get through to your next holiday, get through to the weekend. You know, wait till you get home and you can have a glass of wine. And yeah, I guess I was totally in that pattern of living, pre-church, and I’m not entirely not within that pattern of living now, I guess! But I totally see that those bits of cultural infrastructure that you can bring into your day-to-day, just help us cope with this brilliance of being human so much better. Because it feels like we’re missing a lot of the sort of struts and supports that would really help us, I guess, stay level.

    DH – Where I’m sitting, it’s also about coping with – or just not cutting ourselves off from – some of the darkness of what it means to be living at this moment. Living with the paradox that our ways of life are tangled up with processes that we’ve set in motion that are making it hard to imagine that we’ll be able to go on living like this – you know, it’s hard to imagine that this is going to be made sustainable. And at the same time, as you describe it, there’s a lot within even the privileged, successful version of that way of life which is not worthy of being sustained. Because living for the weekend, living for the next holiday, that doesn’t seem much like making a good job of being a culture.

    ES – Exactly, it’s just deferring, isn’t it? It’s like, we don’t believe in heaven anymore, but we do believe in holidays.


    Published on Dark Mountain’s Online Edition to accompany the release of SANCTUM, a special issue on ‘the sacred’.

  • Three Seasons With CEMUS

    Three Seasons With CEMUS

    It’s early spring. I’m taking a language course for immigrants with a higher education. Eight years is the average time it takes before an immigrant to Sweden gets to work in a job that matches their professional qualifications: this course was created to shorten that time. I am not the person the course is aimed at, but I graduated from the basic Swedish for Immigrants programme two months ago and my classmate Sepi told me about this, so here we are.

    Here we are in Uppsala – because, as part of the course, we’re on a half-day outing by bus from Västerås to sit in one of the lecture theatres in Blåsenhus and be taught about Swedish history and culture. At the break, the lecturer is having an animated discussion with some of the other students. It seems they are arguing about climate change. I don’t know how it started, but as I wander over, I hear him explaining insistently that climate change is not a catastrophic threat and anyone who tells you it is – whether they are a scientist or anything else – is saying this because they are making money out of it. 

    Even if I wasn’t angry, I’d have struggled to hold my end of an argument in Swedish, and I am angry. This guy isn’t actually Uppsala faculty, he’s a freelancer with a PhD who’s been drafted in for the occasion, but to hear someone stand up in the role of lecturer in a place like this and tell students that climate science is driven by ulterior motives strikes at some deep faith I have in the university as an institution. (Not to mention that half my classmates are here having made unimaginable journeys to flee the civil war in Syria, a war which was preceded by five years of drought; like any single event, that drought can’t just be pinned on climate change, but it is the kind of event which climate change makes more likely and it is a catastrophe.)

    So I try to argue with him – and he says, ‘Ah, I guess you’re planning to make money out of this stuff’ – and I say, ‘I’m a writer and if you think I’m motivated by making money, you should tell my bank manager, because he could use the laugh.’ I don’t say this, obviously, because I’m trying to make myself understood in broken Swedish while angry and upset. But whatever I actually say, his comeback is, ‘Well, there are other kinds of currency than money.’

    Half an hour later, I’m in a cafe on a side street in the centre of the city, meeting Isak Stoddard and Ingrid Momrisr from CEMUS for the first time. We’ve been in touch by email for a few weeks, though when we arranged to meet, I couldn’t have guessed how raw I would be feeling. My writing has been tangled up with climate change for years, going back to before Paul Kingsnorth and I wrote the Dark Mountain manifesto. It was that manifesto which put me on the radar at CEMUS, Isak tells me. After writing about this stuff for years, you get inured to the various flavours of denial – until one day you’re caught off-guard by an encounter like the one I just had, and suddenly you’re peeled right open.

    And if you have luck, at that moment, you walk into a cafe where you’re welcomed by people you’ve never met before, but who listen while you tell them what just happened, and you know they understand.

    *   *   *

    It’s summer now. The sun is hanging over the lake behind me, a group of young people sit on the grassy slope running down to the shore and I am perched on a rock by the water’s edge. It’s one of those endless hot June evenings and if there is anything closer to paradise than a Swedish lakeside on an evening like that, then I’ve yet to meet it. To sit here talking about darkness seems a little absurd – but still, everyone is listening.

    The group are all staff from CEMUS who have come away together for a night before the summer. I’ve been invited to give a talk, so I’m telling the story of how Paul and I came to start Dark Mountain. How it grew out of a loss of faith in the stories we had been telling within the environmental movement. You’d hear leading figures in this movement give the same speech they had given five years earlier – the same calls to action, the same insistence that we can do this – and then if you talked with that person quietly over a drink later in the evening, you’d find they were in fact pessimistic to the point of despair. That gap disturbed us.

    Now, as I write this, it strikes me – how different was the claim we were making about the environmental movement from what that lecturer who so incensed me in Uppsala had been saying? Aren’t we both doing something rather similar: calling into question the honesty of those who stand up and speak about climate change? ‘The environmental movement needs to stop pretending’ ran the headline on an early article that Paul and I wrote for The Guardian. It reminds me that, in our first attempts to articulate these thoughts and get them heard, we seemed to position ourselves as the lone truth-tellers, which is a dangerous way of behaving.

    But that headline started with a slightly different phrase, a question which I used to frame the first Dark Mountain festival: ‘What do we do, after we stop pretending?’ This is not an allegation about some other group on whom one is passing judgement, it is a confession – and anyone who recognises their own experience here can step within the circle of that undefined ‘we’. In the days when we started Dark Mountain, I wasn’t used to standing on stages in front of rooms full of people – that came later – but in the gap between the uplifting speech and the quiet conversation at the end of the night, I recognised something I had struggled with myself.

    A common reaction to Dark Mountain in those early days was to say, ‘You guys have burned out, it happens to us all – but you shouldn’t be making such a noise about it, you’ll put other people off.’ That reaction was sincere, but it didn’t feel adequate. The idea that a movement uses people as fuel – that the experience of uncertainty, fear and despair should be swept away like the ashes from last night’s fire, while we stack up a new row of fresh green optimists in the hearth – is widespread, but not wise. Dark Mountain was born out of the desire to create a space where we could talk to each other about uncertainty, fear and despair, without a rush to action or to answers. It was born out of our own need for such a space.

    And we had a feeling that art had an important role to play in this. Not as a communications tool to deliver a message or raise awareness, but as a way of holding such a space, making it possible to face the darkness without shutting down or running away. A large part of my work in the years since we started the project has been learning more about these roles that art can play.

    So yes, in a sense, we started by questioning the honesty of the way climate change is presented – but not the motives of the people doing the presenting, nor the integrity of the scientific work that produces knowledge about a thing like climate change. Rather, it was a question about the struggle to tell true stories about what these facts mean, about the way they collide with our idea of how the world ought to be, the shape of history and our place within it. The gap towards which we were pointing has to do with the question of despair. If despair is a thing to be avoided at all costs, then it is right to hold onto whatever straws of optimism one can find, so you end up emphasising these, however feeble they feel to you. But something I’ve learned through this work is how much energy can get tied up in avoiding despair at all costs, so that letting go of our attempts to cling to optimism can release a surprising sense of relief and even hope. Something else I’ve learned is that despair does not have to be an end in itself. For a lot of people, Dark Mountain has been a journey to the far side of despair, though none of us emerges from such a journey unchanged.

    So these are the things we are talking about, in the endless sunshine of a June evening, by a lake, at a time of year when it is hard to take the idea of winter seriously. And later, we grill corn cobs over a barbecue in the woods and share cans of beer, and I start to understand a little more about the community that gathers around CEMUS, the atmosphere which brings the centre to life.

    *   *   *

    The next time I arrive in Uppsala, the sun is shining, but there’s an edge to the air. It’s the first of September. Autumn is coming.

    We are in the same lecture theatre where I’d had that argument, six months earlier. A cavern of a room with no windows, it could be any season, any time of day or night. But this time I am standing at the front. I’ve been asked to give the opening lecture of the year.

    ‘What can we say about the future?’ I ask. ‘This talk won’t involve any charts or projections. I don’t have one of those scenario planning models with four different ways the world might look in 2035. I’m not going to wrap things up with a list of ten things we can do that will make everything turn out OK. I only have one prediction for you, and I don’t think there’s anything we can do about it, and it’s this…’

    Click to the next slide, huge letters filling the screen behind me:

    WE ARE ALL GOING TO DIE.

    A ripple of laughter passes around the room – and I go on to talk about the need to come to terms with the undramatic reality of personal extinction that waits for all of us, somewhere down the road, if we’re going to see clearly when we try to talk about the larger kinds of loss which frame the time in which we’re living. This seems like a good place to start, for a room full of people who will spend the year ahead thinking hard and learning from many different disciplines about the mess the world is in.

    And for me, these three seasons mark the starting point of a relationship with CEMUS and the people who make up the centre which has been unique in my experience. I have been a guest lecturer at many institutions across Europe, but nowhere has come to feel more like home. Through formal and informal collaborations with CEMUS, I have been able to bring people I admire greatly to Sweden – Keri Facer, professor of social and educational futures at the University of Bristol, or the mythographer Martin Shaw who created the Oral Tradition course at Stanford. Over a day or two in Uppsala, they will lecture to students, take part in a research seminar and a public event, and they go away speaking warmly of this particular corner of Swedish academia. Under the auspices of CEMUS, I’ve sat on stage at Sigtuna Stiftelsen, holding a conversation with the philosopher and animist David Abram and the Archbishop of Uppsala, Antje Jackelén – and I’ve met within the same walls, when Kevin Anderson brought together twenty of us for three days to go deep into the role of arts, humanities and social sciences in the quest for rapid decarbonisation. And every time I’ve walked into the offices on Villavägen, I’ve been received with the same warmth that Isak and Ingrid showed me that first day we met, and caught a sniff of that atmosphere which Ivan Illich once wrote of:

    ‘Learned and leisurely hospitality is the only antidote to the stance of deadly cleverness that is acquired in the professional pursuit of objectively secured knowledge. I remain certain that the quest for truth cannot thrive outside the nourishment of mutual trust flowering into a commitment to friendship.’

    Thank you, my friends, for inviting me to be a part of CEMUS in the past few years – and may you continue to thrive in the next twenty-five.


    First published in The CEMUS Diaries, a series to mark the 25th anniversary of the Centre for Environment & Development Studies at Uppsala University.

  • Upscaling, Training, Commoning: a collaborative PhD

    Upscaling, Training, Commoning: a collaborative PhD

    I still remember the night we were first brought together for dinner by a mutual friend and we laughed so much all night we said, we have to do this again tomorrow, and we did. That’s how we got tangled up with each other.

    It’s a strange experience to go to a friend’s PhD defence and hear them present words that I wrote. Together, Ana Džokić and Marc Neelen form the architecture practice STEALTH.unlimited. Since we met in 2012, our friendship has been an ongoing collaboration – and so it was an honour to be asked to contribute to the collaborative doctoral thesis which they have now successfully defended at the Royal Institute of Art in Stockholm.

    It was an opportunity for celebration – and also to glimpse the territory we want to go further into together. It was also a chance to meet Katherine Gibson, who took on the role of ‘opponent’ in a rather gentler fashion than the term would suggest, and whose work on rethinking economies has long been a source of inspiration to me.

    Here’s the main section that I contributed to the thesis.

    From the Dead Centre of the Present

    It seems that we were following similar hunches, for years, before we were introduced. The crisis of 2008 had set us on these tracks – or rather, it meant that the tracks we were following anyway seemed suddenly relevant to people who hadn’t noticed them before, so that we found ourselves needing to reformulate, to express what it was we thought we had caught sight of.

    In my case, this took the form of Uncivilisation: The Dark Mountain Manifesto, written with Paul Kingsnorth and published in 2009. The hunch that we tried to put into words was that the crisis went deeper than almost anyone wanted to admit, that it went culture deep, that it was a crisis of the stories by which our culture has been living. And if this is true, we thought, then might it not follow that the work of telling stories and making culture becomes central to the task we face, the task of living through dark times and finding possibilities among the ruins.

    The tumbling weeks of crisis turn into months, years, and a new normal establishes itself, but it is never the promised return to normal. Eight years on, Dark Mountain has become a gathering point for people trying to work out what still makes sense, in the face of all we know about the depth of the mess the world is in.

    A mountain is not exactly an urban thing, though! Sometimes I tell people, it’s not a place you live the whole time: it’s a place you go to look back and get a longer perspective, maybe even to receive some kind of revelation, but you still have an everyday life to return to, back in the city or the village. That’s what I enjoy about this friendship and collaboration with STEALTH – and joy is a word that should be mentioned here, you know! I still remember the night we were first brought together for dinner by a mutual friend and we laughed so much all night we said, we have to do this again tomorrow, and we did. That’s how we got tangled up with each other.

    Now, tracing our tangled trajectories across these past eight years – you bouncing between cities, me wandering up and down a mountain of words – I see two stories that we seem to have in common. The first is spatial, the second temporal.

    The spatial story concerns a negotiation between the edges and the centre. I need to be careful how I say this, because we have all been told about the way that whatever is edgy, new, avant-garde gets metabolised, made palatable, made marketable and becomes the next iteration of the centre. That’s the story of selling out, or buying in: the great morality tale of counterculture.

    The story I’m trying to tell, here – the one I say we have in common – starts with the claim that the centre as we know it is already ruined beyond saving. This is what I see in that image of the burnt-out architecture faculty in Delft in ARCHIPHOENIX. In the manifesto that Paul and I wrote, we speak about this: “None of us knows where to look, but all of us know not to look down. Secretly, we all think we are doomed: even the politicians think this; even the environmentalists…” And then we ask, “What would happen if we looked down?” What if we admit that the centre is already a burnt-out ruin? Might we need to ask ourselves what it is, exactly, that is doomed: what version of ourselves, what set of things (structures, institutions, customs) with which we have identified?

    If this is the kind of mess we’re in, then the challenge for those of us at the edges is neither to retain our countercultural purity, nor to negotiate good terms on which to cash in with a centre that is already collapsing – nor even to try to shore that centre up and prevent its collapse (too late!) – but to offer something that could take its place.

    “Sometimes you have to go to the edges to get some perspective on the turmoil at the heart of the things,” writes Paul Kingsnorth, my co-founder in Dark Mountain, in late 2016. “Doing so is not an abnegation of public responsibility: it is a form of it. In the old stories, people from the edges of things brought ideas and understandings from the forest back in the kingdom which the kingdom could not generate by itself.”

    The arrival at the centre of a figure from the edges is the opening move in many an old story. But the negotiation cannot set anything in motion, so long as the pretence is maintained that business can go on as usual, that a return to normal is on the cards.

    So when STEALTH asks how those practices which already showcase possible directions could be “made to work… on a scale that answers the challenges ahead?”, what is in question is not ‘scaling up’ for the sake of profitability, but what might take the place where the centre used to be. How do we find ways of going on making things work when – as in The Report – the all-powerful operating system breaks down. Like Anna Tsing, we are looking for the possibilities of life within capitalist ruins.

    “The end of the world as we know it is not the end of the world, full stop,” we write, on the last page of the manifesto. The ruins are not the end of the story. Ecologically, the species present (our species included) go on improvising ways of living together, even with all the damage. There are things to be done: salvage work, grief work, the work of remembering and picking up the dropped threads.

    This is where we slip from the spatial to the temporal. What is at stake in the temporal story is how we find leverage on the dead centre of the present. Not so long ago, the future served as a point of leverage: a place from which to open up a gap between how things happen to be just now and how they might be. That gap was charged with possibility.

    Here I think of the work of Tor Lindstrand, to whom you introduced me in that project in Tensta, ‘Haunted by the Shadows of the Future’. He tells the story of the disappearance of the future in urban planning: the evaporation of any vision or belief in the possibility that things could be different, as the development of cities is subsumed into the operation of the market and marketed with bland identikit images and words. The role of financialisation in this reminds me of William Davies’ description of the consequences of monetary policy under
    neoliberalism:

    The problem with viewing the future as territory to be plundered is that eventually we all have to live there. And if, once there, finding it already plundered, we do the same thing again, we enter a vicious circle. We decline to treat the future as a time when things might be different, with yet to be imagined technologies, institutions and opportunities. The control freaks in finance aren’t content to sit and wait for the future to arrive on its own terms, but intend to profit from it and parcel it out, well before the rest of us have got there.

    If the future is already plundered – and if, as Dark Mountain points out, the consequences of related kinds of plundering for the ecological fabric stand in the way of any revival of the confident future of modernity – how else can we open up that gap in which the possibility of change, the non-inevitability of present conditions, can be located?

    The great improvisation teacher Keith Johnstone says that, when telling a story, you shouldn’t worry about what’s coming next: you should be like a person walking backwards, looking out for the chance to weave back in one of the threads from earlier in the story. We move through time backwards, like Walter Benjamin’s ‘angel of history’: we cannot go back and fix the mistakes of the past, but at least it is there for us to see, in a way that was never true of the future. Ivan Illich writes of ‘the mirror of the past’: if we look carefully into it, without falling into romanticism and without dismissing it as simply a poorer version of the present, then the past too can serve as a source for a sense of possibility. In a time of endings, one of the forms of possibility it offers is the dropped threads of earlier endings – the way of life which is now falling into ruin was built among the ruins of earlier ways of life.

    I see this as central to the method by which you seek to build possible futures, in Bordeaux and Vienna, in Rotterdam and Belgrade, and elsewhere. I remember sitting in a seminar room in Gothenburg as you showed us images of that mutual aid society in the Netherlands in the 1860s, created by workers to build their own homes. A trajectory can be traced from this initiative to the grander state projects for welfare of the mid-20th century, to the hollowing out of those projects under the neoliberal period of marketisation, to the crisis of 2008 in which they are revealed as ruins. Even as you go about improvising practical strategies to bring these ruins to life, you are always looking back to the beginnings of the story and asking what has been lost or written out, in the way that it has been told.

    In THE REPORT, you reveal the pattern by which the role of bottom-up initiatives in the building of the city have been written out of Vienna’s story. What emerges from these researches and the future narratives which they inform is the realisation that, in many parts of Europe, the achievements of social democracy were born out of movements which looked far more like anarcho-syndicalism than those who later consolidated these achievements into top-down state systems would be willing to admit.

    Those movements were born out of necessity, operating within the ruins of the commons, devastated by the early phases of industrial capitalism; now, after 40 years of neoliberalism, as we look for ways to operate within the ruins of the welfare societies of the 20th century, their histories can help us open the gap between how things are and how they might be.

    We meet in the conviction that telling stories is not just a way of passing the time, but the way that we find our bearings in the world. A story opens a space of possibility into which we can invite others and when the work of building new projects among the ruins is at its hardest, when we wonder if it is worth going on, it is by retelling the stories that we connect ourselves to the past and the future, place ourselves within time. The right story, told from the heart, can be the difference between going on and giving up.

  • We Love Holocene IV

    We Love Holocene IV

    Well, here’s a thing. My friend Emelie Enlund is a choreographer who has taken the Dark Mountain manifesto as the starting point for a whole practice of ‘uncivilised dance’. We got to know each other when she was part of the Dark Mountain Workshop which I hosted at Riksteatern in 2015-16 – and now the latest phase of her project is on stage at Dansens Hus in Stockholm, under the banner of We Love Holocene IV (12-13 April, 2017).

    That’s the official trailer from Dansens Hus – and here’s another video from an earlier phase of We Love Holocene, a residency at Skarpnäcks kulturhus in Stockholm last year.

    Of all the unexpected consequences flowing from that text which Paul and I wrote almost a decade ago, I can’t think of one that’s more unexpected – or more pleasing – than that our words should feed into work like this.

    Image: Klara G.

  • Pockets: A Story for Alan Garner

    Pockets: A Story for Alan Garner

    There was a jigsaw we had when I was five, a map of Britain with illustrations of the places that matter. Two of these lodged in my imagination: the limestone wonder of the Cheddar Gorge, and the great dish of the radio telescope at Jodrell Bank. ‘We know the people who live next to Jodrell Bank,’ my mum told me, and this seemed a magical proposition. It was.

    By the time I started piecing together the jigsaw, our families were just about in Christmas card contact, but for a while in the early seventies, my mum had been a regular guest at Toad Hall. Her friendship with the Garners began on a children’s ward in Manchester, where she was nursing one of Alan’s daughters. Later, their hospitality became a place to turn in a dark moment of her life. The pieces of that story have come out slowly over the years, but from the way she spoke, I had the sense that these people and this place had shown her a great kindness. And when I finally found my own way up the bumpy track to Blackden, by which time I must have been about the age she was when she found refuge there, I knew that I was arriving at a place of sanctuary.


    Before that, there were the books. The Weirdstone, read for the first time on a rainy holiday in Swaledale, then racing on to the end of The Moon of Gomrath where the afternote was a first clue to the thoroughness behind the momentum of the telling. (‘The spells are genuine,’ Alan noted, ‘though incomplete: just in case.’) Like so many others, I was hooked, waiting for the arrival of the later books, returning to their pages and always finding more. There is something here that feeds a hunger in us, a hunger that is hard to name in the words our culture has to offer.

    There are no favourites, but one book stands out because I find it hard to know who I would be if it hadn’t turned up when it did. The Voice That Thunders was published the summer I was about to go up to Oxford and I carried it like a secret through the next three years. Under the bombardments of the graduate recruitment brigade, I would find shelter in Joseph Garner’s quietly brutal careers advice: ‘Always take as long as the job tells you’ and ‘If the other feller can do it, let him!’ (There was another spell, only this time with no safety catch, no words left out.) The effect of reading that book that summer was to awaken a sense of loss that was also a coming alive. As if a grief that had been a background greyness, taken for reality itself, was lifted into focus, could now be felt, honoured, lived through.

    For a bewildered young man from the north of England, entering the unforgiving world of Oxford, this was a kind of armour. It didn’t matter that I was unable to explain to my tutors or my peers why Alan’s work mattered so much. My explanations would have been too personal, unintelligible within the language we were being taught to use. When I suggested to Craig Raine that I write on Garner for the 20th century paper in Mods, he said it was a touching thought, but I should really focus on authors of the first rank, which revealed his ignorance and saved us both a deal of pain. (Though another tutor, the great Shakespearean A.D. Nuttall, gleamed when I mentioned Alan’s name.)

    A first-rate academic education often resembles a half-complete shamanic initiation. The initiate’s body of beliefs is cut to pieces, the head severed from the heart. She is taught to analyse or deconstruct anyone’s way of making sense of the world, including her own. Yet the institution overseeing this operation scarcely recognises the reconstruction that must follow, if the young person passing through its care is to emerge whole.

    In the depths of that initiation, little of what had come with me to Oxford still made sense, but these books did. They offered a refuge of meaning that I knew was not escapism. That their author had proven himself in the tutorial room and then chosen to walk away from this world was part of their power. What followed, in the journey from The Weirdstone to The Stone Book, was evidence that the severing need not be final, that head and heart could be brought back together, within our culture, even if the cost of this was indeed “total war, by which I mean total life, on the divisive forces within the individual and within society.”


    Later, by the fireplace at Toad Hall, Alan told me about the meeting with his tutor when he had made the decision to leave Oxford and try to write. ‘Do it,’ the tutor said, ‘and if you find that you don’t have what it takes, then come back next year, and no one will think the less of you. But if you find that you do, then you will have to create a Magdalen of your own.’

    That was what he had done, I thought — he and Griselda — in the net of fellowship that gathers around their kitchen table and stretches to the corners of the world. I was drawn into the net after a talk that Alan gave at the Temenos Academy in London. I had asked a question that caught his attention, then stayed behind to pass on greetings from my mum to Griselda. When she recovered from bouncing with excitement and discovered that I was working on something called the School of Everything, Griselda decided that I must be enlisted to assist the Blackden Trust.

    So I found myself bumping up that track to the house in the middle of a field, the telescope looming like a great white Grail behind it. As we walked from room to room, Alan told the stories of the place and handed me objects that I knew without ever having seen: the stone book, the little whizzler, the Bunty. Just as awe was in danger of taking over, the thought struck that this shy, funny, brilliant man was also still the boy in the wartime photograph, that he was sharing these treasures just the way a small child will make friends by sharing his toys.

    On the visits that followed, I got to know the Trust in action. It is a school in the truest sense: a place that offers the leisure to slow down, to deepen your attention, to notice the unexpected and to draw out its implications with rigour. Young people learn to look hard, to ask a question and follow where it leads, to test ideas and always to pursue the anomaly. They do so in the company of experts of the highest standing who are unafraid to display the limits of their knowledge or to explore their disagreements with good humour.

    I have sat in its grounds as we knapped flint, under the guidance of a professor of archaeology, listening as the conversation gave way to silence, as the rhythm of our tapping fell into unison and the realisation spread among the group that this sound was being heard on this spot for the first time in ten thousand years. Another time, when Ronald Hutton led a seminar on the Civil War and one of our group was moved to tears, I understood that it was possible to carry out the work of the historian, with all academic diligence, and at the same time to perform an older and more universal task: to honour the dead in such a way as to give meaning to the living.

    Ivan Illich once described the climate which he had sought to foster in the meeting places he had helped to create, and it is a description that makes me think of Blackden: ‘Learned and leisurely hospitality is the only antidote to the stance of deadly cleverness that is acquired in the professional pursuit of objectively secured knowledge. I remain certain that the quest for truth cannot thrive outside the nourishment of mutual trust flowering into a commitment to friendship.’


    Around that table, you never know what field the conversation will enter next, and it was on one of those evenings that I first heard talk of ‘cryptic northern refugia’. Once upon a time, a species like the oak was thought to have survived the last Ice Age only at the southern edges of Europe, from where it marched out again across the continent in waves, over centuries, to reseed the warming landscape. Now we know how fast that warming came — seven degrees in a decade, at the end of the Younger Dryas — and the palaeoecologists keep finding traces of plants and animals in times and places where they should not have been. So the old model has given way to a new hypothesis: in certain places, pockets of leafy woodland endured, protected by their own microclimates, harbouring isolated communities of creatures which would otherwise only have survived far to the south. These northern refugia were cryptic, so small as to barely leave a trace in the record, but the sites identified lie in steep-sided valleys, where high and low ground meet. Places such as Cheddar Gorge, or Ludchurch.

    There is a path that leads from here to Boneland, but I want to turn back instead to The Voice That Thunders and a glint of that vein of creative anger that runs through Alan’s work: an anger, by his own description, ‘at once personal, social, political, philosophical and linguistic.’ Addressing an audience of headteachers, invited to speak on ‘The Development of the Spiritual’, he issues a warning against the rise of a materialism which can see the world only through the lens of accountancy, which turns all to commodity, which appropriates competence in all fields of human affairs, from the classroom to the publishing house, and which, if unresisted, will usher in ‘a spiritual Ice Age’.

    Twenty years on, the ice has spread further across the social landscape, and few institutions are untouched. ‘The new world economic order,’ as John Berger terms it, is a totalisation of the process of enclosure which the land man brought to Thursbitch. What is the shape of hope in such a landscape? ‘The shape of a pocket,’ Berger answers. ‘A small pocket of resistance.’ The image is borrowed from Subcomandante Marcos of the Zapatistas. Its smallness reflects the distance both men have travelled from the grand historical expectations of revolution, their Marxism tempered by the experience of the peasants of the Haute Savoie or the indigenous people of Chiapas. Perhaps because Berger writes in the same book about the cave art of the Palaeolithic, I hear a rhyme between the political and the prehistoric. If there is hope left, in this Ice Age, it is in the hidden pockets, the refugia too small to seem significant.

    ‘Resistance is growing,’ Alan tells the headteachers. ‘Especially amongst artists.’ The enclosure is never quite total; the hills will outlast the walls. That which is supposed to be lost often turns out only to be dormant, marginalised, walking the edges, or gone underground. In the darkest hour, that which is meant to be obsolete may yet make all the difference. The Trickster spirit will always get aback of those who only see the things that can be measured, counted and priced.

    And in the meantime, there are always the pockets, the hidden corners of conviviality, the cryptic northern refugia, the places that matter. If that long-inhabited patch of ground across the railway tracks from the telescope at Jodrell Bank is such a place, the same is true of the pages of the magical books that have been written there.


    Published in First Light: A Celebration of Alan Garner, edited by Erica Wagner (Unbound, 2016)

  • The Limits to Measurement: A Conversation With Christopher Brewster

    The Limits to Measurement: A Conversation With Christopher Brewster

    These days, people talk a lot about ‘the art of hosting’, but that is only one half of the dance of hospitality: there is an art of guesting, too. I can say this with conviction, because I have been a lousy guest, in my time, and lately I’ve had the luck to live with someone who teaches me to notice the things that make a person easy to have around: the moments at which an artful guest steps forward with a gentle insistence, the moments of well-timed withdrawal. Perhaps because he is one of life’s wanderers, Christopher Brewster has mastered this art. If I picture him now, it is standing in our kitchen, chopping vegetables at speed and maintaining an unbroken conversation while preparing a lunch that will show the influence of the years he lived in Greece.

    He could be a classicist or a philosopher—either of those things seems more probable, from his manner, than that he should be a computer scientist working in a business school. In fact, as he touches on near the start of this conversation, his route into computer science came through the philosophy of language, and it was his feel for the ways of thinking embedded in digital technology that suggested the theme around which we wandered together.

    It was the spring of 2014, my first year in Västerås, a middle-sized city by a lake in central Sweden. A string of friends had invited themselves to visit, so that I had taken to telling people, ‘We’re running a residency programme in our spare room.’ It occurred to me that a residency programme should really include a public events series, so one afternoon, I wandered into the local branch of the Workers’ Learning Association and a week later sixteen of us were gathered in their foyer for the first of what became eight weeks of Västerås Conversations. Our first guest was Anthony McCann, talking about tradition, the commons and the politics of gentleness. From week to week, certain themes would loop back: hospitality; friendship; the challenge of speaking up for things that are hard to measure or adequately define.

    What follows is an unfaithful transcript of the fourth of those conversations. We have taken the opportunity to straighten out our more crooked sentences and to fill in details where memory failed us at the time. Still, what emerges from this process should be read as a sample from a larger conversation: both the relay of stories and ideas that ran over those eight weeks in Västerås and the ongoing conversation that is my friendship with Christopher. 

    It is a friendship that began at one of the handful of conferences I have been to where people seemed to be there to listen to each other; a conference whose theme was ‘the university in transition’ and the possibility of new, radical spaces of learning growing at the edges of a dysfunctional system. It seems appropriate, then, that our friendship should have become a strand in a web of convivial conversations that form a kind of ‘invisible college’ in which many of us have found nourishment over the years since. This text and the other Västerås Conversations are among the visible manifestations of that web.

    DH: If we’re going to talk about the measurable and the unmeasurable, perhaps we could start with this observation: to a computer, the world is made up of numbers, while to a human being, that is not the case. Yet the more inseparable they become from our lives, the more likely we are to fall into ways of thinking which do treat the world as made of numbers, even though this is not our experience. 

    Now, do you agree with that as a starting point?

    CB: As a starting point, yes, but the story is more complex. When I first set out on my PhD, I remember meeting a man who said, ‘Wouldn’t it be nice if we could make human language behave like a programming language—if we could reach that level of precision?’ And my response is that this would be a complete loss, because it’s exactly the ‘failures’ of human language that are its virtue. So the fact that human language is ambiguous and vague is a feature, rather than a bug.

    Computers are precise. It’s the digital nature of computers that gives the particular effect that we observe. They require everything to fit into either-or categories. This goes back into the intellectual heritage of computer science, which originates partly in logic and partly in mathematics. And because of this logical heritage which is physically embodied in the transistors and the physical hardware, it has been natural for computer scientists to wish to analyse the world in logical terms. They have been deeply influenced by thinkers like Frege and Carnap who believed that one could represent the world completely in logic. That remains to this day a fundamental, if very often tacit, assumption about all activity in computer science, whether at the theoretical end or in the development of business systems where you believe that you can have an enterprise resource management system that can put people into different categories and then describe the world in a perfect manner.

    DH: So what you’re saying is that the way that computers represent the world has a heritage in particular areas of philosophy—particular ways of thinking about the world that are by no means the only ones available. Yet since these machines are now everywhere and intertwined with our lives to such an extraordinary extent, they carry these ways of thinking into our lives, they shape the way we see the world and the way that we reshape the world?

    CB: Yes. Each computer, each system we use, each piece of software embodies a particular model, a particular perspective on the world—and we tend, in the end, in using these systems to believe the model rather than the world. Whether it’s an accounting system or a personal fitness management system, what happens is that you create a set of categories, a model, and then either things fit or, if they don’t, they tend to be ignored.

    DH: And when you’re interacting with these machines, you either agree to act as if the world is like that, or the interaction with the machine quickly becomes difficult. So, to the extent that we spend a lot of our time dealing with these machines, we have to spend that time agreeing to pretend that the world is more logical and more capable of being reduced to things that can be measured than the full range of our background experience might suggest. And for as long as our focus is held by the machine, that way of seeing the world is being affirmed.

    CB: Part of the problem here is the plasticity of the human mind: our own native ability, agility, flexibility to deal with things. 

    Several years ago I was a reviewer on a research project that concerned the analysis and production of emotions by computers. The idea was that you would construct computer systems that could detect emotions in the voice or gesture of people and that would then produce something that would represent an emotion. They had an example, a system which would have an artificial tree on a screen, and if you spoke to it nicely it would grow and if you spoke to it harshly it would slowly shrink. And they were terribly pleased with this because they said, ‘Look, we have managed to capture human emotion and analyse it in a way so that the tree grows when people are nice and happy and positive…’

    DH: And it will shrink if people are being nasty?

    CB: The trouble is, they didn’t really think about the likelihood that human beings would observe the tree and, within seconds, respond appropriately and figure out how to control the tree. So it had nothing to do with your real state of emotions, but technically it was a brilliant success!

    DH: So, to go back to that conversation from when you were starting out on your PhD, there is this utopian ambition—which people who are enamoured of the ways of thinking embedded in these machines tend towards—which is a belief that the world would be better if we could get rid of the vagueness and achieve the same kind of precision that these machines are capable of?

    CB: Well, this tendency has deep intellectual roots. You can trace it back to Descartes and the Enlightenment, or all the way back to Aristotle’s attempt to enumerate all the possible kinds of things within a fixed set of categories. There has been a repeated attempt throughout western intellectual history to develop a total system of categories that will cover all of human experience. My favourite example is in England, in the mid-17thcentury, when you have people like Francis Lodwick with his project for A Perfect Language. There was a whole movement of ‘philosophical languages’ and at the centre of it was John Wilkins, one of the founders of the Royal Society, who produced this extraordinary taxonomy of every known scientific concept. He founded the Royal Society to ensure the longevity of his project and when he had produced his taxonomy, he told everybody, right, now you have to keep it up to date! And, of course, everybody ignored it. But the tendency continues—and the next step, in the 18thcentury, is Linnaeus from Sweden who produced a taxonomy of all animals and plants, the foundation of the modern biological naming system. So you have a growing sense that, yes, we can describe the world completely.

    DH: We can know the world by having a box for everything!

    CB: In the late 20thcentury, there are innumerable failures. There’s a wonderful project which began in the mid-80s called Cyc which has put hundreds of man-years of work into constructing a logical system to represent the whole of the world. Now, there are some fantastic examples of people trying to use the system and failing completely, yet it carries on—it’s a recurring human ambition. 

    And of course, if you pin a computer scientist to the wall, they will say ‘Well, no, of course we don’t mean to describe the whole world.’ But you see it creeping out in all kinds of ways, even if it’s just a small corner of the world, even if there’s an acknowledgement that we won’t describe the wholeworld in our set of categories—there is still an assumption that those categories will represent reality perfectly.

    The other thing to say is that there is a lot of money riding on this assumption. If you want to find the current version, it goes under the name of ‘smart cities’ or the ‘Internet of Things’, a vision of a world in which everything we interact with is connected to the network. But it has consequences, socially, that people have not yet fully worked out, because what it means is that we are trying to construct systems that will model every aspect of reality. And you need to tell your story of trying to use the electronic toilet…

    DH: Yes, this is about what that interconnected vision looks like in practice. It was six weeks ago. I was at the railway station in Borlänge—a small city in Dalarna, which is Sweden’s answer to Yorkshire—and I needed to use the toilet. There was a toilet there, it was vacant, and there was a keypad on the door. To open the door, you had to put in a code and a notice on the wall explained that, to get a code, you needed to pay 10kr by sending a text message to the number provided. So I sent a text message to pay my 10kr. After a couple of minutes, I got two replies. The first was from the toilet company, telling me my payment had failed. The second was from my Swedish mobile provider, explaining that, in order to make the mobile payment, I needed to download an app. So now I had to get online, find the app, download and install it, then give it my bank card details and approve the safety request from my bank, allowing me to transfer 10kr from my current account into the ‘virtual wallet’ that now existed on my phone and, presumably, somewhere out there in a data-centre. At which point, I could send the text message again, pay my 10kr and get texted back with a code that would open the door—and finally, after twenty minutes, I had access to the toilet. In among all this technological wizardry, the real miracle is that I had managed to perform all these tasks whilst keeping my legs crossed.

    CB: So, this is a perfect example of smart cities! And one consequence is, now the mobile phone company and the app company and possibly the company operating the toilet door all know who has gone to the toilet and when!

    DH: I guess so—or maybe there is some way in which the controlling of access to the toilets is saving the local council money? But I wonder if it’s really that rational, or if it’s just that the idea of the Internet of Things sounds so shiny and new, and whoever was responsible for deciding that the bathroom of Borlänge railway station should be part of it couldn’t envisage the reality of how it would turn out, the reality of the Internet of Toilets?

    I guess what I’m asking is, did anyone ever know what the problem was that this was meant to solve? And maybe we could extend this to the whole project that you’ve been describing, this recurring project to come up with a complete set of categories for describing the world—is it a problem that we don’t have a complete set of categories like that?

    CB: I think it’s very important that we don’t have that set of categories! I’d argue that it’s actually a positive thing. 

    But I think what we’re getting to now is this concept of ‘legibility’, which comes from James C. Scott’s book, Seeing Like A State. And this construction of categories is part of the need that organisations in authority have to describe their territory, to describe their universe. That’s where the ‘problem’ comes from.

    DH: Yes, Scott’s concept of legibility, that the modern state has a great desire and demand for the ability to see and read activity of all kinds from above. He’s talking about the kind of centralised political systems that came about in the past two or three centuries in Europe and were gradually extended across the world. To meet this demand, you need to standardise things, to reduce the complexity to a manageable model. And the classic example that Scott uses is forestry in Germany.

    CB: So in the 18thcentury, in Prussia and Saxony, forests were a major source of income to the princely states. They developed ‘scientific forestry’ as an attempt to rationalise the revenue: new measurements were developed, trees were categorised into different size categories and their rates of growth were charted, so that the output of the forest could be projected into the future. But everything else that made up an actual living forest had vanished from these projections, all the other species, all the other activities—as Scott says, they literally couldn’t see the forest for the trees. Then, in the next phase, they began planting ‘production forests’, monocultures with trees all the same age, lined up in rows. And of course, with our ecological perspective, we know where this is heading: as the soil built up by the old growth forest becomes exhausted, the trees in the new rationalised forests no longer grow at the rates projected, the forest managers get caught up in needing fertilisers and pesticides and fungicides, trying to reintroduce species that had been driven out, struggling to reproduce something like the living forest that their way of seeing had destroyed.

    DH: And at the root of this, there’s a ‘problem’ that was only there from the perspective of the office at the centre of a huge area of territory that wants to be able to ‘know’ what is going on everywhere and then improve the numbers in the model that has come to stand for the forest. There was no ‘problem’ from the point of view of the old-growth forest, or the people who were actually living and working there.

    CB: Scott uses the concept of legibility to explain a number of seemingly disparate phenomena. Things like surnames, which only arrived in some parts of Europe as late as the Napoleonic period—they give the state a way of knowing who is who, how many people there are in a population, so that they can be taxed or conscripted effectively. Standardised weights and measures—the metric system was invented in France at the end of the 18thcentury and then gradually imposed upon the whole of Europe, replacing measures that varied from one market town to the next. The introduction of passports is another example. And you see this desire for legibility, too, within companies. The whole concept of Taylorisation and time-and-motion studies is another form of increasing the ability to read activity from above. 

    Now, one of the origins of computing is in the construction of machines to do some of this work. It took seven years to process all the data that had been collected in the 1880 census in the United States. Between 1880 and 1890, the population was growing so fast that, not only was the data from the last census out of date, it was reckoned that it would take 13 years to process the data from the next census. But right on time, you get the Hollerith machine, a punchcard database system that allows all the data to be processed within six weeks.

    That was a huge improvement from the point of view of the state’s ability to understand what’s going on—and it fits right into the story that we’ve been talking about of the intellectual origins of computers in the desire to measure, observe, count and categorise. 

    But we mustn’t only view this as negative, it has produced wonders.

    DH: I think this is why I wanted to frame this conversation in terms of ‘the limits to measurement’, rather than ‘the problem with measurement’. Because you’re right, however anarchistic our instincts might be, I don’t know many people who would honestly choose to forego all of what the state provides for them. I remember Vinay Gupta saying, ‘I’ve stopped worrying about the power of the state, I’ve started worrying that the state is going to collapse before we’ve built something to replace it.’

    And I remember the first time I tried to speak about this question of the measurable and the unmeasurable, realising that there were people who heard what I was saying as an argument against measurement. Actually, what I would like to bring into conversation is this: under what circumstances is measurement helpful and appropriate? Under what circumstances does measurement become problematic? And how do we develop a language for talking about these things more subtly?

    And perhaps one way of approaching that subtlety is to bring in an idea from Ivan Illich. In his early books, in the 1970s, he talked a lot about counterproductivity and ‘the threshold of counterproductivity’: the point beyond which increasing the intensity or the amount of a given thing begins to produce the opposite of the effect that it has been producing so far. Beyond a certain point, he argued, our schooling systems end up making us stupider as societies, our health systems end up making us sick, our prison systems end up creating more criminality. Illich brought together a lot of detail to make those arguments, but I think the general principle of the threshold of counterproductivity can be a good tool for thinking with, because it gets us free of thinking in either-or terms, without replacing that with slacker relativism. Instead of debating whether X is a ‘good thing’ or a ‘bad thing’, or claiming that it’s all just a matter of opinion, you can say that, up to a certain point, X tends to be helpful—and beyond that point, it becomes actively unhelpful.

    This doesn’t have to be particularly esoteric. Think about food: we can pretty much all agree that food is a good thing, but once you’ve eaten a certain amount, it’s not just that you get diminishing returns, it’s that you’re going to make yourself ill.

    CB: I think this is an excellent concept. I think there’s a complete lack, though, of applying anything like this to technology and asking at what point one reaches the level of counterproductivity. I’m thinking of the kind of software that is imposed to track accounting in an organisation: where you used to just get a piece of paper and hand in your receipts and somebody would sort it out, you now have to fill in all kinds of forms online, collecting far more information than used to be the case. Now, as far as the accountants are concerned, this is wonderful: they can analyse exactly what’s going on in the system. The trouble is, you’re getting a huge counterproductivity effect because it becomes so complicated to do something. Now, where in the system can one actually make that decision to say, actually, we don’t want to have that type of accounting system, because the effect on the core activity of the organisation is going to be negative? That’s missing.

    DH: Even the possibility of that being a legitimate conversation is missing. But I wonder whether we can look at small, grassroots organisations as spaces within which you don’t have the requirement for the level of measurement and legibility—and, in its absence, certain kinds of human flourishing tend to be more likely to happen than they are in most institutional spaces. Equally, within institutions, you often find pockets within which people seem to be coming alive. If I think of the examples that I’ve experienced, those living corners within larger institutions, what is going on is usually that you have one or two individuals who are smart in a particular way—and they are effectively holding up an umbrella over this human-scale space.

    CB: Hiding it!

    DH: Yes. They are producing the necessary information to feed upwards and outwards into the systems, to keep the systems off people’s backs…

    CB: Strangely, in the business world—where I have half a foot—there’s a whole vast literature about the wonderful energy and passion and creativity that occurs in startups. There’s a slightly smaller literature on what are called ‘skunkworks’, these hidden projects that occur in large organisations that sometimes then emerge as being very important. There are some classic inventions that were invented by somebody working in a big organisation, a little part-time project that they were pursuing out of curiosity, and eventually it becomes their best-seller. Post-It notes is the example that always gets used.

    DH: So what you’re saying is, within the business school world, there’s at least a partial recognition of the need for spaces in which the rules are off people’s backs…?

    CB: But there’s a cognitive dissonance, because then there’s a whole other literature which develops all these systems for tracking and tracing, Taylorizing and managerialising things.

    DH: So, the thing that we’re talking about, when we talk about the kinds of spaces in which people come alive—spaces in which there is room for human flourishing—we’re asserting that one of the characteristics of such a space is that there is less pressure for reality to be reduced to things which can be measured. Things which can’t be measured are allowed to be taken seriously—and, somehow, some individual or group has built an interface to the systems that require measurement, that keeps those systems satisfied, without reducing the activity within the space to activity to satisfy those systems. 

    So, the thing that goes on within those spaces, I think, is very closely related to what Anthony McCann is getting at when he talks about ‘the heart of the commons’. His starting point is Irish traditional music, the field where he started his studies, and he’s talking about what it is that matters to people within the traditional culture and that goes missing from the version of that culture that you find in the archives of the folk song collectors. Those archives are the legible version of the culture, but you won’t find any people there, and you won’t find the thing that matters most, what it feels like to be there. And when Anthony was here a few weeks ago, he was talking about the need to develop language for this thing that matters. And I guess that means developing a sufficient degree of legibility, so that this is not completely invisible, in order to defend it. In order for it not to be crushed. 

    And this is where it gets uneasy, especially when we’re talking about business schools trying to put their finger on this. How do you describe ‘the thing that matters’, how do you word it, is it even possible to do so…

    CB: Without destroying it?

    DH: Yes, exactly. That’s the paradox, isn’t it? What’s the answer?

    CB: Well, if you look at many spiritual traditions, they would say that you can’t word it. And you get this in philosophy, Wittgenstein’s ‘Whereof one cannot speak, thereof one must be silent.’ 

    So what could function in the formal world? Again, I’m thinking back to the business literature, where there’s a contrast in this fascination with top managers. There’s this obsession: what gift do top managers have that makes an organisation really work? And they really talk about it as some kind of magical property. ‘We don’t really know what it is, but if we can find somebody who’s got it then we’re going to pay him a lot of money!’ All kinds of people try and describe it, one way and another, but there is a language there about—whoa, this is something that we can’t really measure, but we know it exists.

    DH: Maybe it would be interesting to start looking for the different examples from different places where we do seem to have some common vocabulary left for talking about things that can’t be reduced to that which is measurable. I say that, because I listen to you and I realise that this is what you’re doing, with your half a foot in the business world—you’re spotting the places within the literature of a rather unlikely field where there is language for talking about this. And I’ve come across a completely other example in the ideas that I’ve been working with around commons and resources. 

    To summarise the problem, first: a resource is something that can be measured, something that is seen in the way that those German princes were looking at a forest. There is a very dominant idea, when people talk about commons—whether they’re talking about the ‘information commons’, the environmental commons, or whatever—that what we’re talking about is a pool of common resources. Again, this is something that Anthony McCann has directed attention towards. We are so used to thinking of things in terms of resources—our organisations have Human Resource departments—but a resource is something to be exploited. And there are very few areas of modern existence where we have a good vocabulary for talking about the idea that some things just shouldn’t be exploited. But one place where we have it is friendship. Because when somebody who you thought of as a friend treats you as a resource, you say, ‘I feel used.’ And everyone knows what you mean. It’s an everyday expression, you don’t have to get into a long explanation of why everything shouldn’t be treated as a resource. We still have that as common knowledge.

    So I’m getting this idea that there might be a project to document, to gather together, the unlikely mixture of pockets where there is still shared vocabulary for talking about the importance of the part that can’t be measured.

    CB: I think that good organisations are aware of this. They are aware of the community that is built within the organisation and the dependence of the organisation on non-contractual relationships, on collaboration, on the ability of people to do favours for each other at a friendship level, even though it’s in a workplace.

    DH: This is what David Graeber calls the ‘everyday communism’ which subsidises the world. The whole world system that we’re in, which might look like this globalised, capitalist, neoliberal system, would grind to a halt without the everyday communism of people doing things for each other without asking, ‘What’s in it for me?’

    CB: So good organisations recognise this. The thing is, because it’s not measured, because it’s not worded, it’s often difficult to defend. It can be very simple things, like cancelling Christmas parties. Good managers know that the best way to get their team to work is to take them out, get them all drunk and next time they meet have the problems will be solved! 

    DH: That sounds like a rather culturally-specific approach to management…

    CB: There are certainly variations on the theme! But the basic concept applies. And that’s really creating a space for illegible activity, illegible conversations, which then can break down barriers, can break down categories and solve problems. But that needs to be defended, because it’s very easy for the Christmas party or the social space to be the first luxury that gets cut.

    Where these things work, it’s very often, as you say, those particular people who create an umbrella, who create a protected space. So perhaps there is an opportunity there to try and teach people who are in positions of leadership that there is a particular aspect which has to do with creating these special spaces. Developing a language for that can make them work much better as organisations.

    DH: There is a difficulty here—and I suppose one way into talking about it might be through a lovely story that I came across. I met a guy who had been the managing director of a company with about 200 people working for him. The company was taken over and the nature of the takeover was such that this company was going to be wound down, none of these people were going to work for the new company, but everyone continues to be employed for the next year until the process is complete, with relatively little to do. And he thought, what are we going to do, for the next year? And, in particular, so that these people are in the best position possible to go off and find new work or do whatever it is they do next. And he decided that they would just get out on the table everything that people were interested in, the things that they did, the things that they had never told anybody at work about, that were really important to them in their lives—and just get everyone’s skills and talents and ideas out there, and see what would happen as they started matching things up together. And he said it was the most amazing year of his career—and I could see it, in the way he talked about it.

    So, here’s the problem: things can become amazing when we can bring more of ourselves into the workplace, the school, whatever space it is that we spend most of our waking hours. But… the shadow side of this is that, you’ve talked about Taylorist management and we think of Henry Ford and the production line, that whole model of 20thcentury capitalism, but there is this whole other thing of the post-Fordist, post-industrial economy, where we are absolutely expected to bring more of ourselves to work, because it’s not just our bodies but our emotions that our employers want to use as resources.

    Once upon a time, I used to work as a corporate spy. Well, really I was a struggling freelance radio journalist, taking bits and pieces of other work to pay the bills, and every few weeks I used to get paid to go and sit in Starbucks, drink a coffee, make various observations, then buy a takeout coffee and run round the corner to weigh it and take its temperature, and fill out a twelve-page form that went back to Starbucks headquarters to tell them how their staff in this local branch were doing. The bit that sticks in my mind was that, not only did I have to stand in the Starbucks queue with a stopwatch in my pocket, timing the process and remembering whether the staff were following the different stages of the script—I also had to report whether, over and above the script, I had observed staff recognising and acknowledging regular customers and initiating spontaneous conversations. So Starbucks was essentially trying to write the computer program for how you simulate, systematically, the friendly local cafe, only with precariously employed staff who have no real connection to the place they are working and are at the mercy of this mystery shopper who is sent once a month to check up on them.

    At the same time, I was living around the corner from an independent cafe run by a couple of old hippies who were seriously grumpy. You went in there for the first time and you’d get a good cup of coffee, but they would be surly with you. If you kept coming back, though, they would begin to acknowledge your existence and you would begin to notice that they had their regulars who got to sit at the table at the back and play chess with them and decide what music went on the stereo and smoke a joint together when it was quiet in the afternoon. 

    And I realised that the one thing that Starbucks couldn’t attempt to simulate was customer unfriendliness—and that there was something about this customer unfriendliness that felt right. If we think in terms of thresholds, again, maybe it’s kind of OK to use money to pay for a good cup of coffee, but if I’m paying for someone to act like they’re my friend, we’ve crossed one of those lines?

    But this is the thing: we want to create spaces in which we can bring more of ourselves to what we do, in which we can be more than just getting through the day, trying to avoid drawing any unwanted attention and trying to satisfy the requirements of the system that we’re plugged into—yes, we want to be doing something more meaningful with our lives, bringing more of ourselves into the situation. But if we try to make legible ‘the stuff that matters’, the stuff that would bring more of ourselves into the situation, how do we do it without it becoming another resource to be harnessed, allowing the extension of exploitation even further?

    CB: I don’t know. I think that’s a real danger and I think, equally, in creating the vocabulary that we might develop, we are in danger of formalising it. And even if our terms are very vague and abstract, somebody will say, ‘Ah, here I have a collection of categories and I will construct a form or an application that will then be used to describe that.’ Just like your Starbucks example: is the barrista behaving like he is happy?

    DH: Yes, they create the model and then they try to run the model in a way that is as convincing a simulation as possible, whilst extracting as much…

    CB: The aspect of this creation of models that we haven’t really addressed, but is intimately related here, is that we create the models and then we believe the models and don’t believe reality. We see this everywhere around us. The classic phrase is ‘All models are wrong, but some models are useful.’ Models don’t represent reality perfectly: a perfect representation of reality would be a cloned copy. Necessarily, they are abstraction and simplification, in order to be useful. The trouble is, we create a model, typically today on a computer screen, and then what we see in front of us on the screen becomes ‘reality’. 

    My favourite example is a parcel I sent in Britain by Special Delivery, guaranteed to arrive the next day. It didn’t arrive. I rang the Post Office the following day and said, ‘My parcel didn’t arrive.’ The Post Office employee said, ‘Yes it did, it says so on my computer.’ And at that moment, the friend to whom I had sent it rang me on my mobile and said, ‘The postman is just coming and giving me your parcel now!’ I told this to the Post Office employee on the other line and she said, ‘No, that’s not possible, it was delivered yesterday.’

    DH: So that’s the most absurd version of believing the model, rather than the evidence of our experience. But your point is that this is a pattern.

    CB: It’s systematic and it’s very dangerous, because you get a completely warped view of reality, very often. Reality changes, human beings change, and if your model doesn’t change appropriately, you fall into all kinds of pits. Governments collect the wrong data, or miss some major social change that is completely outside their perception at every level. Equally, in organisations, you have this problem. So, as part of the development of this language that we’re talking about, we also need to develop a language for making people aware of the limitations of the model. Making people aware that the model is useful within these limits, but there may be more, and to have a look outside the window occasionally to see what else there is.

    DH: So, this brings us back to the idea of treating the vagueness and imprecision of language as a feature rather than a bug. As not a problem that we need to try and get rid of, but actually as something helpful.

    You mentioned Wittgenstein’s line about remaining silent—and the way that different religious traditions have treated the thing that matters most as incapable of being put into words. But religions haven’t exactly remained silent! One thing that does go on within religious language is the deliberate multiplication of language to keep in mind its inadequacy. So you have the hundred names of God, because one way of speaking about the unspeakable is by never forgetting that none of the language that you use is adequate to it. And, in some ways, we need a hundred names for everything! This, again, recalls something that Anthony talks about—lifting up the words and looking underneath—and I think that part of the way that you avoid forgetting to do that is by using a multiple vocabulary. Rather than using one word all of the time, at which point that word quickly comes to be treated as if it’s a perfect match. 

    So perhaps that’s one principle that we could try to use?

    CB: It sounds like a very good starting point. The challenge is making that acceptable, socially. There is a long history in the religious traditions that you’re talking about of the difficulty of language and the difficulty of spiritual concepts—and that this is OK. You know, if you look at the Talmudic traditions of interpretation, it is OK to struggle with concepts, that is a valid task. Whereas the modern tendency is to want to simplify, to take away effort, to take away difficulty all the time. 

    Nearly every Computer Science paper will start off by saying ‘We wish to reduce the effort involved in doing X and here is the method…’ That’s the basic principle by which you do research. We actually need to write new Computer Science papers which start ‘We are now increasing the effort to do X because this will have beneficial effects.’ I have suggested this in the past, under the heading of ‘slow computing’. 


    Based on our discussion during the Västerås Conversations, this text was first published in Dark Mountain: Issue 7.

  • The Crossing of Two Lines

    The Crossing of Two Lines

    The Virgin of Guadalupe appears before a camera crew on a Mexican hillside. A wooden shrine is hammered to a watchtower on a deserted Soviet army base. A stonemason fixes a cross to the roof of a roadside chapel in his family’s village. Since 2008, the work of Stockholm-based artist duo Performing Pictures has taken an unexpected turn towards themes of Catholic devotion. The results are still sometimes shown in galleries, but their primary function is within the religious lives of the communities with whom they are made.

    Sometimes we use the term religious art or sacred art, but I really prefer venerative art. Because, as I see it, the upper middle class, the good-taste people, they do venerate like hell!

    Robert Brečević

    The book I made with Robert and Geska Brečević (aka Performing Pictures) is a document of this work, but also an enquiry into where it came from and the reactions it was causing among their artistic peers.

    We are used to art that employs the symbols of religion in ways seemingly intended to unsettle or provoke many of those to whom these symbols matter; yet to the consumers of contemporary art, those who actually visit galleries, it is more uncomfortable to be confronted with work in which such symbols are used without the frame of provocation.

    Alongside the hundreds of photographs documenting the making of this work, my contribution is one essay, four conversations with Robert and Geska, and a set of twelve poems.