Virat Swarup

Trinity blast
Los Alamos National Labs

Today is the 67th anniversary of the first successful atomic explosion, in the in section of the southern New Mexico desert known as Jornada del Muerto, “Journey of the Dead Man,” or more precisely, day’s journey through the landscape of death.

J. Robert Oppenheimer, the director of the Trinity Project and father of the A-Bomb, is supposed to have quoted the Bhagavad Gita as he witnessed the explosion: “I am become death the destroyer of worlds.” More likely, his actual words on the dead man’s ground were “It worked.” (The Trinity Test Director, physicist Kenneth Bainbridge, is supposed to have remarked, “Now we are all sons of bitches.”)

J Robert Oppenheimer
J. Robert Oppenheimer, public domain.

The quotation from the Gita was a retrospective word-shaping during an interview afterwards, perhaps the only way for this erudite man to express the power of the singular experience. That these words were uttered in the Jornada del Muerto is now a modern-era myth — and an apt one. Making myths is an ongoing human psychic activity, and has a name: mythopoiesis, meaning “myth-making.” The more exact etymology to the Greek words from which the term was coined in the 19th century would be: “mouth-making” — the creation of inspired, memorable and therefore powerful words. All of the ancient Vedas are about powerful word-making, the poetry of creation and, even before eyes were present to see, about the powerful primacy of sound, of vibration, of energy waves.

Virat Swarup is the Sanskrit term meaning, “divine appearance of the god, in unimaginable power.” It appears in the Bhagavad Gita, which is a long dialogue between the hero Arjuna and his charioteer and friend, Krishna, who is an avatar of the supreme god Vishnu, who is both world-creator and destroyer. Arjuna is tired of so much death, and is questioning the ethics of his participation in the continued and seemingly endless killing in the long and bloody family war that is the center of the massive epic Mahabharata. At the climax of their extended dialogue, Krishna reveals himself in his exalted god-form, the Virat Swarup. It is Krishna who speaks the words that Oppenheimer remembered, then or later, as the only words that could express his experience.

The message that Krishna conveys to Arjuna in the Gita is that we all have the responsibility to act in accordance with our gifts  — Arjuna was the best killer — within the context of the unimaginably huge tapestry wherein which each of our destinies is but a single yet significant thread.

Consider too, that mythopoeisis  — the creation of new myths  — is divinely inspired as well. Nor is Arjuna’s story quite so simple as his decision, in that moment, to honor the commitment to kill, for now, and to honor the logic of that particular talent. Arjuna’s story was not complete, and ultimately, he chose a different ending.

Nor is any of our stories quite so simple, nor, for now at least, at an end. And, we can choose how we commit to continue, or alter, it. And, how we wish it to end.

Simurgh by Cheryl De Ciantis
“Simurgh” by Cheryl De Ciantis

The Artist is Present

Presence has become a management concept. Otto Scharmer’s Theory-U, otherwise known as Presencing, has grown into a small and vital industry, training organizational practitioners worldwide. The U can be mapped onto the Hero’s Journey – take a look at Ginger Grant’s book, Finding Your Creative Core, to understand more fully what this means.

The psyche of organizational culture is action-oriented. This means doing. Meeting, talking, getting results, reporting, achieving the objective. Too, we think of the Hero’s Journey as a myth, ultimately, of doing: questing, and reaching the objective of the quest, by whatever expected or unexpected means.

But what does it mean have presence? To, simply, be present?

As part of her recent retrospective exhibition at the Museum of Modern Art in New York, the performance artist Marina Abramović sat, each day for the duration, with any visitor who wished, for as long as they wished. The encounters were silent. They lasted as little as about one minute and as long as twenty or more. Each encounter was documented with a single photograph of the visitor’s face, and occasional photographs of the artist’s. These photographic documents are available to view on MoMa’s flickr page, and on the artist’s page. Please visit them (links below). If you choose to look, the photographs reveal a great deal about presence.

Looking at the photographs closely is a way of being present in itself. There are nearly 2,000 images, showing a moment of presence on the part of individuals of all ages and races. You will recognize a few faces, of Lou Reed, Björk, Viggo Mortensen, and these are rather startlingly free of makeup and revealing of wrinkles and natural flaws. One dark-eyed man shows up, again and again. Nearly all the rest are anonymous. Some are tearful. Some seem impassive. Some heads are tilted backward, some forward. Jaws jut or are drawn inward. Lips are relaxed, or compressed, or upturned slightly into a  Mona Lisa smile. Eyes are shining, dull, wide, narrowed, or focused with what seems like perplexity. All mesmerizing. So much information in a collection of moments.

None of these expressions will be unfamiliar. Our brains are exquisitely wired to perceive facial signs. And, these are the kinds of things one can only experience consciously, actually see, when simply looking, closely, for an extended moment. Uninterrupted. Just being there. Just being present.

One may say that the museum is a far safer place for presencing than the workplace. Even sitting in the presence of a recognized master, witnessed by other strangers waiting behind a rope, penetrated by a democratically unforgiving illumination, and risking being revealed in a close-up photograph that will become a public document.

Pause for thought.

MoMa flickr page (selections from the photo documents)

Marina Abramović The Artist is Present (the document in its entirety, showing the length of each sitting)

Feature film, “The Artist is Present,” to be released June 1