Un miroir au coin de l'Univers

J'écoutais à la radio un jeune philosophe américain anthropique, David Chalmers, affirmer que nous avons une raison d'être. Nous serions la conscience de l'Univers. Nous en serions les peintres, les poètes, les musiciens, les philosophes. Sans nous, l'Univers ne saurait pas qu'il existe.

 Cette proposition nous brosse les poils à rebours. Après des siècles où le Christianisme a mis l'homme au centre de l'Univers, enfant chéri de Dieu, nous avons fait le dur apprentissage de l'humilité, étape après étape. La terre n'est pas au centre de l'Univers et le soleil ne lui tourne pas autour. Les animaux ont aussi des droits. Nous ne sommes pas la création ultime de Dieu, mais un accident de parcours dans l'évolution biologique. Le monde est aléatoire et non voulu par Dieu. Voilà notre crédo, en tant qu'intellectuels européens. Il a été forgé au XXème siècle par Heidegger, Sartre, Lévy-Strauss et les autres.

Arrivent des penseurs et scientifiques qui bouleversent ces certitudes. D'anthropocentrisme, ils passent à l'anthropisme. Leur théorie peut être interprétée de deux manières. D'une part, on peut la prendre simplement comme une vision de la réalité, une optique. Il est indéniable que nous ayons une conscience qui nous permet d'avoir conscience, justement, de l'univers. J'apprécie le côté poétique de cette version de l'humanité, nous autres femmes, hommes minuscules sur notre minuscule planète dans une des innombrables galaxies du cosmos, que nous en soyons le miroir. Sans nous placer au centre de l'univers, au contraire, nous sommes dans un coin, à refléter l'émerveillement de l'univers. S'il n'y avait pas de conscience, l'existence de l'univers, ainsi que son essence seraient ignorés. C'est assez facile à accepter. 

Le second aspect de la proposition, que notre raison d'être soit notre rôle de miroir est plus difficile à avaler. Même s'il est intéressant d'aller à contre courant et de considérer la possibilité que nous ayons une raison d'être. Si notre existence a un but, cela présuppose une entité supérieure qui l'ait choisi. Evidemment, le candidat de choix pour ce poste est dieu, ce qui ferait plaisir aux Créationnistes. Dieu ou autre, il présuppose une conscience qui gère et alors nous ne sommes plus les seuls à être conscients de l'univers.

Certains de ces philosophes affirment aussi, statistiques à l'appui, que nous serions les seuls êtres dans notre univers, mais qu'il y aurait d'autres univers qui produiraient aussi des êtres conscients. Je trouve cette interprétation des statistiques douteuses. Par contre, assez sympathique d'imaginer ces autres univers avec ces autres consciences, comme nous voyons nos compagnons humains dont nous savons qu'ils ont chacun une conscience sans pouvoir jamais en faire l'expérience. Mais quant à moi, j'espère fermement que nous ne sommes pas les seuls dans notre univers et qui nous allons faire connaissance tout bientôt.

Cette théorie présuppose aussi que les animaux n'ont pas conscience de l'univers. Je consulte mon chat. Il est assis à la fenêtre. Il regarde l'univers. Peut-être que sa perception sans mots, sans imagerie, sans théories, dans une ontologie pure, est plus adaptée à ce qu'est vraiment l'univers que la nôtre.

Publié par  - - Arabella Hutter

 

24hrs with Performa & nycbike: the pictures

Started in Times Square. Academia Ruchu happening. When asked what they were doing, the performers replied: "We're measuring people".  Reminded me of an installation on 42nd St when they were starting to haul it up, Nam June Paik had installed a dozen copies of famous statues: Statue of Liberty, Rio De Janeiro's Christ, Michelangelo's David, Venus de Milo. They were all the same size, human size,  made out of an artificial resin, in bold colors, green, blue, red. Tourists loved the installation, they would have their photo taken with each statue. A great way to engage people with a contemporary installation.

I promised myself this blog entry would be about pictures, not words. Here's the first one, of performers with their measuring tape:

Got on my nycbike to reach the next show.

Went past the Church of Scientology, right in the middle of the Theater District, an appropriate location.

Next: The Great and Secret Show at the Post Office on 8th Ave & 34th. An unused outlooking gallery was transformed into an installation by artist Krakowiak. She was there, discussed her work. It was eery (most of the post office is not in used anymore, when thousands of employees used to work there, when people used snail mail), some features were ambiguous: were they part of the building or set up by the artist? Spooky and intriguing.

The artist with her special, alien eyes

As I cycled back through Times Square, another happening, protesting repression in Egypt -  not part of Performa or maybe it was, maybe everything happening in NYC yesterday was part of Performa:

I had my schedule, I had my nycbike key (I will not call it its soulsoldtodevil name, the c***bike). I stopped at an anonymous, soulless cafe, undoubtedly an installation part of Performa:

Then I went to Grand Central Station, to witness a Performa wedding:

The Grand Station Terminal tour with bold, beautiful, brilliant Marthe Ramm Fortun:

She talked poetically on a number of themes. As she took us around the Station, it became clear how the themes related to its features: the ceiling mosaic, a fresco of flowers, a dedication to Jackie Kennedy Onassis. She changed the space for us, it will always have her imprint whenever I will pass through to take the train. Performa at its best.

Hear her speak:

Some Performa attendees:

I was hoping to make it to a show at the Kitchen, but it was too late. I went straight to the Performa Hub for a Kundilini sleep over: the 8 large gongs went on all night, from 9:30 until 5am when we had a yoga session, then breakfast at 7.

I slept a little. I was home by 8:30am.

An Enemy of The People at BAM - an enemy of the audience?

Directed by Thomas Ostermeier

In the first part of the staging of An Enemy of The People, the play moves along fine, people say their lines properly, the sets are good. The audience enjoy some good musical moments, and a few precious silent moments when instead of coughing, the audience is eagerly waiting for what is going to happen next on stage. 

The direction is not unlike Lepage's work, in the sense that the actors' delivery of their lines and their gestures are played down, they do not constitute the focus of the direction. The tone, the mood brought on by the modulation of the scenes are more important in conveying the essence of the play. In a stunning new interpretation which once more conveys the modernity of Ibsen drama.

Enemy of the People at BAM: the public meeting goes awry.

Things get more interesting as the play progressed. The main character Stockmann wants truth to prevail. He's the only one, all the other characters are gained little by little by the cause of personal interest. A public meeting is organized, and Stockmann gives a bewildering speech. Up to that point, our liberal hearts are clearly on his side. But his ranting causes an unease, suddenly we are maybe not so sure we totally support him. His opponents jumps on the opportunity to address the audience directly, trying to enlist opposition to Stockmann. The play turns into a public forum where everyone is invited to voice their opinion, after the house lights go on. It is mind boggling. Risky. Unsettling. Stimulating. Everything I hope for when I go to the theater. 

Enemy of the People at BAM: audience leaving (apologies about poor quality of smartphone pic)

Last night it was too challenging for a good number of members of the audience who left, indignant, during the meeting. A member of the cast who ran after them to  convince them to stay contributed to the breaking of the 4th wall, and to comic relief. 

The direction of the play then succeeded in a tour de force: the political speakers became actors again, and the meeting turned back into a play. But it was a different play, now, because of what had happened, with a different tone. No more charming musical interludes, instead, passion and conflict.

Published by  -  Arabella Hutter