How a crow gave us hope after election day

crow-ecuTuesday afternoon, Nov 8, 2016: “There’s a crow that’s been trapped in the school since yesterday, perched atop the media gallery.” The email was from Matt Stephanson, a technician at Emily Carr University. The US election day was already filled with anxiety, and this message added a sense of urgency. I headed to the school.

The crow was perched 15 feet up, in a space between the top of the gallery and the roof of the building. The cramped area was filled with ventilation ducts, pipes and metal boxes. He looked down at me, and all the students walking to their classes. It was the busiest corner in the University. Over the course of minutes, hundreds of people passed beneath him. His mouth was open and he held his wings away from his body. He was thirsty and hot. Matt had provided a bowl of water and peanuts on a ledge below him, but they were too far away for him to comfortably reach.

”… the crow flew right by my window” said Mindy Bains in facilities. He had entered by the front door, flew through the atrium, up the stairs, through the door at the top, and landed on the Gallery. The University had brought in a ‘pest control’ company, and called the SPCA. The former had frightened the crow and failed to do anything constructive. The latter referred them to Wildlife Rescue. I requested the hydraulic lift be used to move the bowl of water and peanuts to the top of the wall where the crow could reach them. Nic Hubines from engineering did this. In a few moments the crow moved towards the water. He drank. He hopped back to his position on the wall and wiped his beak on the corner. He seemed grateful. He was perkier, had a closed mouth, and his wings were properly folded against his body. Some students stopped and admired him; some asked about his welfare.

I called Wildlife Rescue and they advised on how to lure the crow out of the building. I sent emails and texts to people on campus who might want to help. Mindy and I discussed the shortest route out of the building. The main door is hundreds of feet away. He needed a closer exit. The large photo studio, only 20 feet away has an opening window. The crow wouldn’t be able to see the window from his perch, but perhaps he could sense the outside air coming through it. We used tarps to block all other hallways. We blocked doors and directed the students away from the area. I placed a light in the photo studio to draw the crow in. Ideally, we would also turn off all other lights, but this was not possible in the situation. I put a bit of food at the entrance to the studio.

I pulled up a chair and sat beneath him, looked up and talked to him. This providing a familiar friendly face. Trudy Chalmers from the dean’s office arrived and we discussed the plan. Earlier, she had called the Public Market to ask what they do when birds enter the huge building. “We wait for them to die,” they said. Someone was listening to our conversation, “so be it!” she said.

In the evening Alex Phillips, a faculty member, came to help. Alex and Trudy arranged the window wall of the photo studio; placing screens in front of the non-opening glass so the crow wouldn’t fly into them. The screens framed the opened window to clearly indicate it as the only exit. We talked nicely to the crow, flirting with him, and pointed to the photo studio. We played crow calls from bird apps on our phones. He made a short flight over to a pipe outside the studio, but then returned to his perch. He was comfortable and not ready to leave. He cracked peanut shells and ate the nuts. After a few hours, he headed higher up onto the pipes to sleep. At 9:30pm, we decided to go home, hoping he’d make a dash for the studio during the night. I reassured myself that wild animals have wisdom from previous experiences, and that we’d help him figure things out.

At home that night, I watched news headlines in disbelief—Clinton 215/ Trump 245. The election results were being called. Friend and collaborator Simon Overstall made a Facebook post: “FUCK”

7:00am, Wednesday. The first morning of the Trump presidency. Greg and I were quiet as we drove to the University. Our hearts sank further when we saw the crow. He was in the same place on the top of the wall. We made a few more attempts to lure him. We cawed, whistled, and gave him little pep talks. He seemed interested in us but he didn’t budge. I located executive Janice Wong and Nic and we discussed Plan B.

10:45am, we met back at the gallery. Trudy, Nic, Greg and myself were joined by Terry Plummer in technical services and Matt Skinner in audio visual. The plan was to gently but directly guide the crow into the photo studio. We secured the area from any other people. The hall leading to the studio was clear. Nic turned on the hydraulic lift and the crow started agitating. Greg and Nic, both on the lift, used long bamboo poles to make small gestures behind the crow. Matt, Trudy and I each held a long pole pointing into the rafters. These would discourage him from moving onto a new perch. The crow got the message. He flew, circling around the ceiling. He did this with astonishing accuracy between the complex mechanical systems. We held our breaths! He landed on the beam just outside the entrance to the photo studio. We froze. Together we sensed that he knew this was his only option. He headed through the door. BANG! Matt dropped his pole and ran behind the crow, chasing him further into the studio. I followed. Matt quickly closed the partition drapes as the crow perched on a duct inside. The drapes secured the crow in a smaller space by the window.

It all happened so fast, we almost couldn’t believe it! We all laughed and shared our excitement. We double checked that that crow was indeed in there. He safely sat on the duct and looked around. He would have to figure out how to leave by the open window. Matt set up a laptop and webcam inside the space so that we could watch the crow but leave him in peace to examine the space.

Thirty minutes later, Mark Canning from AV called. He’d been watching the webcam feed. “I thought you’d like to know that the crow just left the building.” I felt a rush of joy! The crow would join his family and friends, and fly with them tonight to the roost in Burnaby. I shared the news with everyone. We were happy and energized.

The crow gave us a ray of hope.

_____

Thanks to Leslie Bishko, faculty member, for the photo and for #emilycarrcrow

Zen + Dogs: Dog Bowl Aesthetics

Nov 25

  • Lesson from Sugi: Even dog bowls can be “shibui”
  • Sugi says, “I enjoy a lovely piece of pottery from which to sip water”

robson bowljohnson bowl

In the summer of 2012, Greg, Tom and Sugi and I were enjoying our camping holiday on Saltspring Island touring the studios of local potters. We had visited Meg Buckley, known for her beautiful and useful large bowls and tea pots. She was spending her last summer in the house on Saltspring, moving into a condo in order to be less tied to the maintenance of a large property. She urged us to visit the Saltspring market on the weekend and to look for a small stand of pots by Lari Robson. Although we had started to avidly collect Westcoast pottery, we weren’t yet familiar with Robson.

The morning was cloudy and a bit chilly even though it was the middle of summer, so Lari was huddled over a hot water bottle wearing a toque and scarf. He tried to talk us out of buying anything, saying that, with the exception of a few mugs and cups. the pots were no good. He explained some of his techniques: wood firing and salt glazing—a particularly difficult and toxic form of glazing. Wood firing allowed for unexpected patterns and colors to grace the pots. We ignored his attempts at dissuasion and bought a bunch of things including this small gray tea cup.

Recently I’ve been reading about Japanese aesthetics in relation to pottery. Robert Carter writes about Shoji Hamada, the renowned potter and Living National Treasure of Japan. Hamada, and the English potter Bernard Leach, had profound influences on Westcoast potters: Wayne Ngan, John Reeve, Tam Irving, Michael Henry, and later Charmaine Johnson, Lari Robson and others. Robson called himself a “slave to the Leach/Hamada tradition” (Carr 2012). In the language of Japanese aesthetics Robson’s pots are examples of shibui: austere, subdued, plain, simple, serene. The wood fire kiln and the use of salt glazing allowed for unexpected irregular qualities to emerge in the final pot, events that recall mushin (no-mind). The wood kiln provided an uncontrollable atmosphere, therefore overcoming the authorship of the potter.

Soetsu Yanagi, a Japanese philosopher and friend of Hamada, writes eloquently about the inherent qualities of particularly auspicious pots from Korea, China and Japan. Yanagi discusses the differences in Song era pottery in China, and the everyday use pots made in Korea during similar periods. Song pots are especially renowned for Ru ware, a style characterized by delicacy, exact shape and flawless celadon glazing which has a color close to “the blue of the sky after rain”. (Krahl 2012). An auspicious Ru dish using the name Taizhen Woshi Pen (Great Perfected Little Dog’s Dish) dated to 1761 was used by the emperor’s dog as described in the poem inscribed on the bottom of the dish by poet Yuzhi Shiji. Charmian Johnson’s azure bowls—an example shown here—follow the tradition of Ru, having perfect form, gentle texture and translucent opulence of an after-rain sky like those we experience in Vancouver. Korean ware from the Yi dynasty (17th century) used hakeme technique to brush on a light slip as a glaze, with swift brush energy. Robson used the hakeme brush technique on this unassuming little gray cup.

A few weeks after we got back from Saltspring, we got a call from Charmian Johnson who told us that Robson had recently died! We were shocked and saddened by the news and realized that the little table he had set up at the Saltspring Market probably displayed his last sale of pots. I felt extremely fortunate to have met Robson and had come to love the humbleness of his pots.

references:

Carr, Diane. “Remembering Lari Robson” in the Potters Guild of British Columbia, Sept 2012, Volume 48 No.7.

Carter, Robert. Becoming Bamboo: Western and Eastern Explorations of the Meaning of Life. Montreal & Kingston: McGill University Press, 1992

Krahl, Regina. Ru From a Japanese Collection. Hong Kong: Sotheby’s, 2012

Yanagi, Soetsu. The Unknown Craftsman: A Japanese Insight into Beauty. New York: Kodansha USA, 1972.

Zen + Dogs: Stone Wisdom

dogs-and-rocksThis post is Inspired by Robert Carter’s and Graham Parkes’ writing on Zen aesthetics specifically the role of rocks in Zen landscape design.

Nov 12

  • Lesson from Tom: Dogs like rock energy
  • Tom says, “I love to jump from rock to rock and run on the uneven surface”

Living on the Westcoast, one can’t help but appreciate the power of mineral world: the grand wall of Seymour and Grouse Mountain to the north; the diverse shapes and textured rock formations on the water’s edge of each Gulf Island; the rock outcrops, small mountains in themselves, emerging from Victoria’s front yards. Athletic dogs like Tom, and timid but adventurous dogs like Sugi, like to get to know stones by exploring the boulders on shorelines, and navigating the rocky hills of hiking trails.

In Zen Buddhism, rocks are particularly auspicious sites of kami, the vital energy of the universe present in all things. Shinto, the ancient belief of indigenous Japan, practices ‘the way of Kami‘, a belief in the wondrous and divine nature of the universe. Zen Buddhism adapted the aesthetic practice of garden design developed by Shinto masters, to produce the Zen rock garden. The rock garden is specifically designed as a meditative aesthetic form where rocks can be seen as sources of understanding.

In Zen, it is thought that mountains are particularly strong sites of kami, and the rocks in a Zen garden take on the specific role of attracting kami. These rocks may also function as scaled representations of specific individual mountains, a practice influenced by ancient Chinese landscaping practice. In the Zen rock garden, no water and very little plant life participates. Instead, the absence of these are emphasized through the arrangement of ‘dry’ elements: fields of raked, patterned sand; cascades of rocks recalling waterfalls; and rock paths seen as dry stream beds. In the practice of creating the rock garden, according to the classic treatise Sakuteiki, the master gardener would dialogue with the site and elements at hand, understanding the fuzei, “wind” and “feeling”. Following the principle of kowan ni shitagau (“following the request of the rock”) he would choose the most powerful rock as the starting point and dialogue with it and the rest of the rocks about their placements.

The Zen garden serves as a site of attention, where the observer can partake in a harmonious arrangement of living and nonliving organics, and participate in the contemplation of “dependant co-arising”, the interdependence of all things. The great Zen Master Dogen (“Valley Sounds, Mountain Sights”) said that all sentient beings and non-sentient things have the Buddha-nature and therefore all are equally divine. In this dharma discourse all of nature, including rocks, have something to say and teach us about existence.

references:

Carter, Robert. The Japanese Arts and Self Cultivation. Albany: State University of New York Press, 2008.

Parkes, Graham. “The Role of Rock in the Japanese Dry Landscape Garden”, from Reading Zen in Rocks: The Japanese Dry Landscape Garden. Chicago: University of Chicago Press, 2005

Zen + Dogs: Enso Meditation

ensoThis post is Inspired by Robert Carter’s writing on Zen aesthetics ¹‚ ² specifically on enso sumi-e (ink painting) ³ and the energy of the brush.

Oct 12

  • Lesson from Sugi: Dogs are attuned to the moment and sensitive to energy from others.
  • Sugi says, “I feel good when Julie is practicing art or mindfulness.”

Calligraphy and other Zen arts, such as landscape design, ceramics, tea-ceremony, and aikido are seen as a practice in self-culitivation; as forms of meditative practice towards cultivating a positive state of mind leading to compassion, benevolence and equanimity. One key aspect of Zen arts practice is that the mind become “unattached” so that the body can move freely with energy.

The image is a photo of a mark I created based on enso* (circle), a stroke traditionally made in sumi-e. I enacted an ‘enso’ session by meditating on mark making, with Sugi’s assistance of course. I made numerous marks trying out different relationships with energy, brush and mindfulness. The most successful marks had a represented energy, a balance of elements, and fluidity. I noticed that these ones were created when I did not think about controlling the brush, but instead focused on the energy needed.

I sent this one to my dear friend Sandra (who also designed the stamp image in the photo) as a birthday wish.

 

References

1. Carter, Robert. The Japanese Arts and Self Cultivation. Albany, NY: State University of New York Press, 2008.

2._____________. Becoming Bamboo: Western and Eastern Explorations of the Meaning of Life. Montreal & Kingston: McGill University Press, 1992.

3. from wikipedia: In Zen Buddhism, an ensō (  ), “circle” is a circle that is hand-drawn in one or two uninhibited brushstrokes to express a moment when the mind is free to let the body create.The ensō symbolizes absolute enlightenment, strength, elegance, the universe, and mu (the void). It is characterised by a minimalism born of Japanese aesthetics. Drawing ensō is a disciplined practice of Japanese ink painting—sumi-e (墨絵)“ink painting” . The tools  and mechanics of drawing the ensō are the same as those used in traditional Japanese calligraphy: One uses a brush to apply ink to washi (a thin Japanese paper). Usually a person draws the ensō in one fluid, expressive stroke. When drawn according to the sōsho (草書) style of Japanese calligraphy, the brushstroke is especially swift. Once the ensō is drawn, one does not change it. It evidences the character of its creator and the context of its creation in a brief, contiguous period of time.