Rewiring the System


Fire In The Stone

Posted in Uncategorized by rewiringangel on April 3, 2010

The Fire In The Stone

I had a relationship with a remarkable woman. When she was in the country, she was ‘the country’. When she was in the city, she was the Hottest Hippest Manhattan-ite, with her energy alight with the sophistication and culture that is part and parcel of a great city. M.C. was a multi faceted brilliance within the human family of beings. Today I call her forth with love and tenderness. She lived with John Cage and Merce Cunningham. I did not get to know John Cage personally though now one of the ceramics from his collection sits on a bookshelf in my bedroom. M.C. gave me this 10,000-year-old ceramic piece when she was disassembling deconstructing and dissolving their physical connection all those many years ago back in 1992 or 93.
How, she queried, by putting this form in my hand, heart and life, can I
move my obstacles sufficiently? Can I learn to think into 10,000 year blocks of time? What will it take to understand life and see our lives as a flash in the rush of rainbows?
I have photographs I took at a large show of her paintings at a Chester Springs Art Center. My daughter was 9 or so and in fourth grade.

M.C. wrote books and published her poetry over her vital career I read her book ‘Centering’ when I was taking ceramics at the Tyler School Of Art on the palatial Tyler home. The grounds and building Mrs. Tyler gave to Boris Bly to cement their relationship publically. This gift opened real old world art education to generations of creative people. My Great Aunt Edith, affectionately known as Bunny studied there in the 1940’s.

Mary Clair gave of herself freely. She shared her inspiration, both joy and sorrow. One afternoon she handed me a page with copied poems that supported her vision of the spiritual nature of life. I will re type them here later today in a separate posting.
A Ritual to Read to Each Other by William Stafford, Stone by Charles Simic, and The Clay Jug, by Kabir.

John Cage
His father showed the way to dance and John continued the thinking and acting as a revolutionary and against the scientific norms, such as the “electrostatic field theory” of the universe into his 1952 composition 4′33″, the three movements of which are performed without a single note being played. The content of the composition is meant to be perceived as the sounds of the environment that the listeners hear while it is performed, rather than merely as four minutes and thirty-three seconds of silence. The piece became one of the most controversial compositions of the twentieth century.
I actually had long conversations and a heart to heart kind of knowing communication with Merce. I remember with great fondness the evening after opening night at the Annenberg Theater, (built byWalter Annenberg, (died 2002) former U.S. Ambassador to Great Britain, billionaire publishing magnate, and philanthropist) on the University of Pennsylvania, sitting on the steps just at the rise of seating in the orchestra center isle reminiscenceing about the Black Oak School of the Arts and the migration of M.C. to the Island of the Red Hood. The three in one!

By ALASTAIR MACAULAY
Published: July 27, 2009
Mr. Cunningham ranks among the foremost figures of artistic modernism and among the few who have transformed the nature and status of dance theater, visionaries like Isadora Duncan, Serge Diaghilev, Martha Graham and George Balanchine.
In his works, independence was central: dancers were often alone even in duets or ensembles, and music and design would act as environments, sometimes hostile ones. His movement — startling in its mixture of staccato and legato elements, and unusually intense in its use of torso, legs and feet — abounded in non-sequiturs.

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