I am delighted to have received my copy of Seascapes: Shaped by the Sea, a book edited by Mike Brown and Barbara Humberstone exploring ‘different perspectives of being with the sea’, in which I have a chapter.
This book aimed primarily at an academic market. The editors use words like ‘autoethnography’ and ‘embodiment’ to frame it. But it seems nevertheless that it would appeal to non-academic readers. I am particularly looking forward to reading my friend Robbie Nichols account of explorations in his sea kayak. (Although its price at over $100 will put a lot of people off. Who pays this kind of price for a book? If you are an academic maybe your can get your University library to buy it!).
My chapter is in many ways a companion to Spindrift and part of my explorations ‘on the western edge’, in that it explores issues of sustainability through eco-literature. I call it Sailing with Gregory Bateson in tribute to that great systems thinker and polymath, a man who has so influenced the way I think. Much of the chapter tells of a passage through the Chenal du Four – the tidal passage on the northwest corner of France that leads from the English Channel down to the Rade de Brest – how the tide turns against us and I chose to stop sailing and push through with the engine.
The whole sensation of moving through the water had changed: we were forcing our way into the wind rather than working with it. A mechanical wake of water stirred up by the propeller streamed out astern; the bows crashed directly into and through the waves rather than riding obliquely over them. No longer balanced against the wind, Coral sat level in the water yet pitched up and down as if irritated by the waves. And instead of the slap of the waves, the hum of the rigging, and the wind in our ears, the steady roar and vibration of the twin cylinder diesel engine under our feet, running at almost maximum power, dominated everything.
I use this story to illustrate the argument Bateson develops in his paper Conscious Purpose vs Nature: how as we humans pursue our purposes, drawing on fossil fuels and advanced technology, we cut through the complex cycles of mutual influence that balance natural ecosystems. In this case it is just me and my little diesel engine, but writ large on the planet this is devastating: it leads to degraded ecosystems, species loss, climate change.
It also makes the world and our experience of it less beautiful and at times even ugly. In his later life Bateson explored a theme he first developed in his early anthropological studies, linking the aesthetic and the beautiful in nature and in human art with the possibility of enlightened ways of being.
Creative activity and appreciation of art is a means of recovering grace, the reintegration of the “diverse parts of the mind” – especially those we (maybe wrongly) call the conscious and the unconscious. And he increasingly began to link these two themes, suggesting that aesthetic engagement is an essential part of a path toward ecological wisdom, for the appreciation of the systemic quality of the natural world is primarily an aesthetic, rather than an intellectual experience.
I have drawn on this notion of grace a bit more in an article that will come out soon in the magazine EarthLines. The appreciation of the systemic quality of the natural world is primarily an aesthetic, rather than an intellectual experience. Aesthetic engagement – through all the arts, and also through just getting out in wonder – is an essential part of a path toward a sustainable human presence on Earth.
Seascapes: Shaped by the Sea. Embodied Narratives and Fluid Geographies, edited by Mike Brown and Barbara Humberstone, London: Ashgate, 2015. http://www.ashgate.com/isbn/9781472424358