Recently in sacred space Category

We’re neurologically, physiologically predisposed to engage our senses, experience a fullness, in natural settings—overwhelmed by the vastness of the ocean but also startled, cleansed, awakened by so many minute details—a nook in the woods, a perch by the river, the enclosure of a cave, the prominence of a mountain peak. Getting there is part of making room for the shift in awareness, part of the preparation—the exertion, the effort, quickening the pulse, breaking a sweat in the climb—clearing away heaviness, stagnation, the goop that otherwise mires us in confusion or resentment. Immersion in a stream or the ocean is often part of this clearing process. Simply exercising may accomplish some of this physiologically, but jogging on a treadmill (especially with headphones piping in the morning stock market report) isn’t really reaching it.

Human-made religious structures, the most basic, intuitive varieties at least, begin with making altars and offerings. These gestures of relatedness and gratitude (or possibly of appeasement—feeding a hungry beast so it doesn’t make your life yet more difficult) can be a way of thanking the place for being welcoming—a gracious host—and attempting to give something back. This in turn becomes a mandate in many cultures to become gracious hosts to our own guests, this being the most direct means of returning the favor that is simply the fact of our existence—the original act of generosity.

Witness Trauma

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Original Forest

I lived for the first half of 1989 in a tiny cabin in the heavily wooded mountains of Southern Oregon, a mile or so by well-rutted dirt road and footpath above a ghost town called Golden and a cold stream known as Coyote Creek. The nearest town with a post office was another three or four miles away.[1]

I needed a place to go where I could be still for a while. I’d lost two friends the previous year and was at a bit of a loss for what to do, where to go. After finishing college I’d taken a ride from Portland to Alaska to work in the fisheries of Valdez, Prince William Sound (which were more or less intact when I was there, until an incompetent swindler let 12 million barrels of oil drain out of the tanker he nominally controlled that following spring, as I stewed in my canyon), and come back without any plan to speak of.

Ecstatic moments and grieving moments clenched into a tangled knot, though not necessarily a tight knot. In fact there was a good deal of looseness in the uncertain antics of those days.

For lack of a better plan, and because I was distrustful of plans at that point, I let myself follow the pull toward the anti-industrial protests of the so-called timber wars of the Northwest. We came from everywhere, true, but this is where we belonged: in the woods, willing to sacrifice comfort and safety, at least temporarily, to hinder the twisted intentions of junk-bond liquidators and petty tyrants as best we could, by legal means or otherwise.[2] One friend whom I met at a small gathering, and then at the logging road blockade that followed, invited me to stay at his place above Coyote Creek. By the middle of January I was ready for a place where I could unravel.

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The dirt road snuck in through shady mixed conifer and second-growth Douglas fir trees (this south slope had been logged in the 1950s), and crossed a small wooden bridge at a level spot along a year-round stream fed by clear springs higher up. From here a narrow path wound its way up the small bowl-shaped canyon. My cabin was about halfway up the slope, a half-hour walk from the bottom, in a small clearing with a plywood platform to one side and the steep drop into the canyon at the back. The view from cabin and deck was immense, multidimensional, deeper than anything else I’ve encountered. The entire west and north slopes of the canyon were alive with a quiet stand of the original forest, the ancient trees that once blanketed the entire region, of which only scattered islands remain.

There was snow on the ground when I arrived. I had never set foot in this place before but it all felt familiar and right. I had no trouble finding my way up the winding path. When I stepped between two trees near the top, I sensed that I had passed through some sort of barrier, into a set-aside zone, a sanctuary, where everything was somehow more present than in the outside world. In one sense I’d come here to hide, but from the first moments it was clear that in this place, in my grief and uncertainty, I would also be greeting someone or something that had a fullness I might have barely glimpsed before.

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No electricity, no phone. No running water to my cabin, though a two-minute walk brought me to an old bath house, where a spigot piped water down from the steady spring.

Removing myself so completely from the world of social interaction and technology[3] gave me an opportunity to tune in to the rhythms and beings of the place, to sharpen my senses. To live deliberately (as a long-departed surveyor from the Northeast once said), though not really free of the ebb and flow of intense yearning—which would, however, subside more or less of its own accord, tiresome to the point of irrelevance, after a few hours or days. I learned to meditate, forced by necessity (though I would have benefited from the sort of training I later received in Thailand), learned to discern the varieties of breezes and degrees of agitation or calmness they inspired.

I stayed at Golden for six months, broken up by some trips to visit friends but mostly alone in my canyon. During those months I would walk or catch a ride into town (really little more than a stagecoach stop) for supplies every few days—sometimes not for a week or two or three. I spent my hours walking, reading, carving faces in small scraps of wood, just watching the trees or the hawks, making a fire, foraging for edible plants, cooking rice, dismantling fences, writing, playing guitar, gardening. I left after the place was destroyed by logging, after I determined I had learned as much as I was able to from solitude and desolation.

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The presence of that forest was indescribable.

I would go for days, sometimes weeks at a time with no human contact. The dimensions of loneliness were unfathomable. Yet somehow, within a couple of weeks after returning from any excursions into more inhabited zones, I would awaken to a presence in the place. A Presence. Really. A pervasive experience of communion with a vast ancient being contained in that physical canyon, a moody jealous majestic empress,[4] a non-human non-animal life whose intense demand for attention sharpened all senses. Comfort and discomfort intermingled. No spite, no judgment, but deep sorrow and yearning.

Yes, the human mind concocts fantastic visions when stressed by extreme solitude. Yes, she was real. Yes, she was there. And then mercenaries of absent industrialists killed her.

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It’s not as if the place had been untouched by humans, even by possibly inconsiderate, self-serving humans, in the past. For a few thousand years at least the area had been within the wider hunting and fishing grounds of peoples who were displaced and largely destroyed between 1803 and the 1950s, including through an official, recent policy of “termination” which stripped tribal status from most groups in the region, essentially to impoverish and demoralize the people whose ancestors had been there, and who were the legitimate inhabitants of the place.[5]

Coyote Creek had been mined by Euro-Americans since the 1850s, and the town of Golden was incorporated in 1890. At some point this spot on the creek had a population of two hundred or so, and was known for having two churches (one of which still stands) and no saloons.[6] Gold mining continued to be the mainstay of the small settlements here well into the 20th century.[7] By the 1950s logging had surpassed gold mining economically. But it was not until the late 1980s (and particularly the first week of May 1989) that some of the steeper slopes of the original forest were cut.

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In the two decades since I left that place, I've meandered and bounced down a few different roads. But I always come back to that moment, that sense of presence and sanctuary, even though the literal place was destroyed. Perhaps it's more accurate to say I left part of myself there, and at the same time some piece of it got stuck in me.



[1] There was a pay phone in front of the general store that I’d make use of every week or two or three, mostly to reassure my parents I was doing fine—which I suppose I was, overall, though it’s more complicated than that.

[2] In some sense this was and is the devotional renunciate path available to the youthful transitions in the fragmentary cultural swirl of contemporary North America.

[3] I did have a battery-powered radio I turned on occasionally, which informed me, among other things, of the oil spill in Prince William Sound and of the demonstrations and massacre in Tiananmen Square.

[4] I do recognize that using feminine pronouns here has intimations of an old and not necessarily accurate convention. I’m not contending that nature is somehow more female, and culture somehow more male. I’m only referring to this particular presence in this particular place, based on getting to know a living being directly, and sensing the character of that being as feminine. Other people who have known the place concur with this perception. I realize there’s no objective standard for evaluating the truth of the assertion, or of my direct experience whatsoever. I can only say that many people through the ages, of practically every background, have had similar experiences, and that certain features of these experiences will be recognizable as familiar, to the point where consistencies could be charted. What makes it possible to experience such phenomena is not a matter of abandoning a scientific skepticism—in fact that remains a crucial navigational tool—but simply clearing away the chatter of a restless mind.

[5] Though some groups have revived in recent decades (notably the Klamath and Modoc, themselves confederations of smaller bands), for the most part the end of the world is something that already happened for the indigenous peoples of the region. Of the Takelma, Latagwa and Calapooya who likely traversed this creek and canyons—there were once salmon up here, within the memory of living residents—and tracked deer through the hills, the Latagwa at least are resisting reports of their own demise.

[6]  “Perhaps unique among Western annals” according to the Josephine County Historical Society, though it seems fair to suspect that other settlements in the West may have been similarly influenced by Temperance Societies and their ilk. The extant church building was originally established by a group of Campbellites, who were among the millennarian sects of the 1870s (largely in the northeastern U.S.), who believed either that Jesus would arrive momentarily or that he in fact had already arrived, though he only appeared to a select few.

[7] “Placer activity on Coyote Creek began in the 1850s. Abandoning these claims during the Idaho Gold Rush of 1860, the men returned to find them being worked by about five hundred Chinese for ten cents per day plus rice. The Chinese contractor yielded possession.” Josephine County Historical Society.


When Gertrude Stein wrote about Oakland that "there is no there there," she was, as far as she presumed, talking specifically about the house she had grown up in, which was, in fact, no longer there when she returned to visit after many years in Europe. So for once at least she felt the peculiar unease of exile, of the disappearance of her childhood home. 

Of course many presumably sensible, reasonable people have imagined she was referring to Oakland in general. And even if they're aware of the detail, they may consider this the correct interpretation, in spite of her intention. 

There's a certain vagueness that's discernible in Oakland, a disorientation, a sense of placelessness. A palpable malaise that isn't simply an artifact of economic hardship or race politics, though of course those are both factors. (Here the proud defenders of Oaktown will commence to harangue me, so before you slam me against a concrete wall, let me just say I'm not trying to insult the place, I'm actually yearning for the possibility of healing it. Of course there are many reasons to love Oakland--all sorts of funky, even some swanky, neighborhoods with various laid-back attitudes or shiny urban intentions, great Cambodian food, a fabulous record store that never gave up on vinyl, the grandest Art Deco theater remaining anywhere, one of the premier jazz venues in the country, all sorts of homegrown art, music, atmosphere, culture, what have you.)

I'm actually getting at something deeper than the everyday traffic and slander, something underneath all the politics and struggle. Because whoever feels like there's something missing has a point. There is something missing. It starts with a pair of trees.

In the early days of the place, the tallest redwoods ever known stood on the ridge of Oakland's hills among a grove that spanned a swath from East Oakland to Moraga Valley. There were two particularly grand redwoods that towered into the sky so prominently that mariners making their way into the Golden Gate would get their bearings, twenty miles out at sea, by aligning their sights with the two trees to follow a clear path through the treacherous rocks and shoals. So the pair of trees were a beacon, a landmark in the most literal sense, guiding pilgrims and opportunists eastward into the safe haven.

We don't know what those particular trees meant to the tens of thousands of inhabitants who lived along these shores for thousands of years, but it's safe to say that removing them--they were logged by 1860--was one detail in the ongoing devastation of this land, which has left it contaminated, buried beneath layers of concrete and indifference, to the point where good intentions will not be sufficient to correct the damage. And that damage is psychic and spiritual fully as much as it is physical. We need a focal point to return to, to orient us, remind us of the non-human dimension. Disorientation is a disease, a displacement, a version of exile. We are unsettled, homeless.


The impetus for building the cottage was not a single factor. You might say it was a confluence of streams. We wanted a guest room, an art studio, a meditation hut, a music studio. Also a rooftop deck. Also we wanted to replace the eyesore of a storage shed we'd inherited with something that would be more pleasant to look at.

Azazel


The so-called scapegoat was originally never actually blamed for causing any problem. In fact the source ritual brings forward a pair of equally unblemished goats and selects, at random (by lottery), one of them to be sacrificed on the temple altar. The other goat is the "scape" goat, given a transmission by the high priest, who lays his hands on the goat's head in a sort of magical act of transferring the sins of the nation, to carry the pollution away ... to Azazel, the desert, wilderness, wasteland. 


The goat is simply a messenger--again, he's never considered responsible for committing the transgressions of the nation (or of anyone, really--he's just a goat, after all, capable of capricious mischief but nothing comparable to what humans can do). He carries his burden away from the community, out to the harsh, uninhabitable zone, where he's set loose to wander and survive as well as he can (or, according to some accounts, pushed off a cliff--but even then, goats are excellent climbers...). 


The desert, for this culture, was a demonic realm--people forced out into it go crazy, wandering lost and alone, have nightmarish visions, uncertain if they are alive or dead. As such it's entirely receptive to the gift the goat conveys, especially considering that the "sins" of the people probably originated in the demonic realms in the first place. And considering that the proportion of wilderness to habitable land is heavily weighted to the wild, there's little danger of the sins returning within the first day or so (though of course demons travel quickly, not necessarily confined to the rocky path).


The removal of the collective sins (if effective at all) is temporary--just because you washed the floor, in no way is it protected from the crap you track in the following day, though you may be inspired to be a bit more careful for a brief moment. It's an annual attempt to clear a ritual space for a specific purpose, to enter a direct unification with divine reality without being dangerously distracted. 


It's also worth remembering that the displacement of the collective pollution does not absolve individuals of their responsibility for wrongdoing. It's still necessary to correct one's own misdeeds in the usual tiresome ways, such as paying fines and seeking forgiveness from the person you were rude to. Whether it's successful in clearing the collective is another question entirely. It may constitute a sacrifice, but the goat gets the worst end of the deal.


Gateway

The holy of holies was considered a portal, a conduit unifying heaven and earth, a very potent spot where matter and energy are actively interchangeable. Attempting to enter the without attending to every preparatory detail would not only defile the space, but would make the the people susceptible to immolation, insanity, plague. That's the sort of danger they were worried about. Not simply whether they had been disproportionately grumpy that morning, but whether they would be competent to withstand the enormity of their lapses.


Without veering too far into superstitions about the dangers of psychic pollution, I'll just mention that, though metaphorical, there's also reasonable evidence suggesting that people are susceptible to physical (as well as emotional, social, psychological) ailments as a result of psychic toxins. And certainly, to be effective in one's endeavors, it's important to have clarity of purpose, but also to not be bogged down by too much unresolved trauma, grief guilt and other distracting, soul-clogging flotsam. So even from a purely practical standpoint, finding ways to clear up the debris--at least once a year--would seem important. A goat's life might depend on it.

When I was around 12 years old I had a dream of a fantastical horn, a sort of curly shofar-like instrument with two mouthpieces and perhaps a dozen branching, spiraling tubes extending out, up and down. I'm not sure how such an instrument would function in the waking world, but in the dream world I was able to produce immense and complex polyphonic music with it.

Since that time (and perhaps before, though I don't have a distinct recollection) I've had hundreds, perhaps thousands, of vivid dreams along these lines. In some I'm in a workshop, or the back room of an out-of-the-way junk shop. In others I'm onstage (perhaps with Miles or Dylan or Mingus--wish fulfillment, you might say), or at a house party or outdoors somewhere, jamming on a horn or stringed instrument--some relatively mundane, some amazingly fantastical. Some of the instruments are ones I own and play in waking life (including, particularly, ones I have made). In any case, there's an ecstatic buzz connected with the experience, which is actually not so different from what it's like in waking life.

I started playing trumpet when I was 10 years old, in school. At times my feeling for the instrument was ambivalent, and I put it down for a year or so on a couple of occasions. When I was 21 or 22 I discovered Don Cherry and felt like I'd stepped into an open field where before I'd been in a tunnel. His use of a pocket trumpet inspired me to pick one up, and I found that the experience of playing it was completely different than the standard trumpet (which I never played again afterward). Functionally everything is the same between the two instruments: they have the same range (same length of tubing, only the pocket trumpet is wound in an extra loop to make it more compact), use the same mouthpiece (though some pocket trumpets use a cornet mouthpiece, which is practically the same but not identical). For me, the crucial difference is not simply the sound--the pocket trumpet actually tends to have a slightly rougher tone, and is slightly harder to keep in tune--but the placement, the location of the sound. With this instrument, I feel like it comes directly out of me--from my gut, my lungs, my lip--instead of something happening at a distance, over there somewhere...

This may seem tangential, but actually it's at the heart of any approach to the idea of sacred space--not just because music has always been associated with every sort of sacred experience (never mind the Taleban--the brutality they promote is the opposite), but because any activity that doesn't bring you into a direct experience has lost the game. Why do kids occasionally act bored? Because they can tell the difference between something happening away from them and something they're inside of. 

This is also fundamental to addressing global warming. Pollution that people experience directly is much more likely to generate action. People have visceral reactions when they witness a sludge-filled river, when the air stinks and their eyes burn, when their children can't breathe. They may feel constrained from resolving the problem (it's beyond their apparent means) but if given an opportunity they're relatively likely to be motivated to do something about it. But global warming occurs at a distance--certainly a displacement in time, if not location. It is not personally immediate. Even highly intelligent, educated, socially engaged people, while they may take the issue seriously, are subject to more immediate concerns--health and economic survival, for example--that will always displace something occurring at a distance. As it becomes closer to direct experience, the motivation will increase.

Direct experience--full engagement with the activity--does not actually require a nonstop high-intensity focus. It requires a steadiness of attention, receptivity, a flexible ability to seep beyond the edges of the linear melody to absorb the overtone resonances that create the fullness of a full sound. It's an interweaving of absorption and agility. Both the particle and the wave. Sometimes one predominates for a moment, but the ability to deeply hear what your fellow musicians are playing and contribute something not just complementary but harmonious in a way that pulls the whole sound beyond the physical constraints of the mundane world, requires a kind of devotion to the act of creation itself. (Not just an expectation of future reward, though that's been known to motivate people up to a point.)

Actually, the gratification is immediate, when everything weaves together in that magical-seeming way. But it takes hours of practice to get there, even for someone who starts out with above-average capacity (a.k.a. talent, which is helpful but not necessarily the deciding factor). According to a currently popular notion, mastery requires ten thousand hours of dedicated practice to reach. Which sounds about right, but the notion does have some flaws (for example, implications that it's applicable to any activity; that "mastery," or expertise, is quantifiable; that there's an identifiable endpoint to development). 

When I was 14 or 15 I started playing guitar. I spent a lot of time with it, and by my mid-twenties I suppose I'd become a passably competent musician, with some rough edges that didn't bother me too much (still don't). By sometime in my thirties I'm sure I'd put in something like ten thousand hours between the horn and guitar, though with all sorts of gaps, so I'm not sure how that adds up. In order to hold my own as a serious professional horn player I'd have to average (by my own estimation) at least four hours a day practicing, and I realized long ago I'm not committed enough to do that. 

But what I'm getting at is a bit different from the notion of mastery. The few times I've held to that sort of intensive practice schedule (for three or four months at a stretch, at most--it's sort of hard to maintain if you happen to be employed in some unrelated way, or if you want to see any friends who aren't also standing next to you on stage or sipping a drink alone at a table halfway across the room--sorry, can't talk right now, gotta boo-dap, bdoo-dap, beetu bweetu battadoo-bdap) I have managed to tap into something that I've also experienced from intensive practice in other activities (martial arts, meditation, luthery, writing and house building, at least). This is an experience of cracking a code, of suddenly (or sometimes gradually) noticing that I have an extra set of ears, a new language, a momentary unnameable connection with the original source of energy and consciousness. That's what I mean by engagement. That's an inkling of the idea of "sacred."

Among the better known stories of our species is one that begins in a garden. Not wilderness--which in the particular tradition of this origin story is a harsh desert that may inspire visions but is not really habitable. The garden is a more or less domestic setting. It is full of life, all the animals and plants, fruit-bearing trees (the Hebrew word pardes, orchard, is the origin of the English word "paradise"), the source of abundant living water. It has a place and purpose for people. They tend it, study and categorize animals, talk to a serpent. It is contained. The dangers are ambiguous.


Never mind the reasons. The punishment is exile. Struggle and toil, hard labor and uncertainty. The worst part is being cut off. Longing to return, never being able to return to the source of life, the place of undifferentiated bliss (and easy pickings), no longer assured that the universe is a friendly place. The original suffering. 


Of course there are still gardens, there are places we can go, ways we can train ourselves to experience that sense of connectedness, return from exile. In North America, the original inhabitants have always known that the land is alive. Actually, indigenous peoples everywhere have always known this, only (too often) to be dissuaded by swindlers and brutalizers. But the land is alive.


As it happens, most of us spend at least half our time in buildings. In the industrialized worlds, the amount is likely to be much higher--perhaps 90 percent. When you factor in the time we spend in vehicles of some sort, the number is higher still. And if you look at the time we spend in the built environment in general, it's approaching 100 percent.


So it stands to reason that our built environment should be something more satisfactory than the boxes and cubicles that so often try to pass for homes and workplaces. If most of our lives are spent in dead and deadening physical environments, there's little surprise that people would seek out the seductions of television and other stupeficants, or of hysterical religious practices and mass spectator sports. In the first case, it's tuning in to oblivion (which is to say, tuning out). In the second, the attraction is the fervor--the excitement of being part of something beyond the limits of the self. In both cases it's a setting aside of the ego, temporary though that may be. There's an unspoken recognition that the ego arises with exile, is the source or product of it, or at least the recipient of it (a standard Buddhist definition of self is "experiences suffering"--which explains the preference for ending the cycle of rebirth).


The Hebrew word kadosh--typically translated as "holy"--really means set aside, separated. Apart. Not mundane. The idea is that we innately seek ways to move beyond our mundane material struggles and strivings (exile), and make a place for receptivity--for receiving the fullness of life that flows through and around us (the garden). But if deadness surrounds us, there's not much chance of a genuine receptivity. 


Deadness = exile. Aliveness = connection. Connection to fellow beings, to ground, spirit, soul. 


In this aliveness, this sense of connectedness, is the beginning of a working definition of "sacred." Without it we are vacant automatons capable only of craving excitement or oblivion.



If you do a search with the phrase "sacred architecture" you're likely to come up with academic monographs on churches, Buddhist temples, mosques and the like, as well as a hodgepodge of neopagan geomancy and dowsing, perhaps a reference to Egypt or the Mayans, books on the Golden Proportion, vaastu, feng shui and Le Corbusier. All of which have their merits (though in the last case, not many). But I'm interested in something arguably more subtle, less likely to be defined by any institution or particular tradition--though again, a number of ancient and traditional religious buildings are among the most available examples of the nugget I'm digging for. 

Essentially, a sacred place is a place conducive to a particular sort of experience. The experience may take on a variety of permutations, from ecstatic bliss to a quiet nanosecond of fully present awareness. There's bound to be at least an element of the subjective in the mix, but one of my contentions is that there's a consistency throughout the whole range of these experiences, and that it's possible to establish a set of patterns that enable confident design and construction of places that serve this purpose.

In due course I'll address in detail implications that arise from that contention. For example, Arvin Knettle may have found, while swigging his eighth cup of coffee after midnight under the blaring fluorescent lights of Dancing Donut at Tenth and Clement in San Francisco, a reasonable facsimile of the mind he'd previously lost at the Left Luggage desk of Chhatarpati Shivaji International Airport untold months ago. He stared into the groundless, bottomless cup and felt that, indeed, this was the moment he (or whoever it was inhabiting his body) had been waiting for.

Does this qualify the donut shop as a sacred place? You or I might be skeptical. We would likely imagine ourselves in the place and (if we didn't reject the claim outright) would suggest that our experience would not likely resemble Arvin's. Which brings us to a primary principle of sacred places: to some degree, any reasonably sensitive person (and even the occasional insensitive churl) will be susceptible to their effect--just as it is no surprise that many people experience some degree of stress (if not indiscriminate rage) when stuck in traffic. A notable (and I think supportable) corollary is that the presence of other stressed commuters compounds the stress of simply being stuck in traffic. Which holds a convenient negative implication that a community of revelers at the bacchanal (or, if you prefer altered states of a more sedate flavor, meditators in the temple) will increase the effect of the place. Not simply by bumbling in as oblivious tourists, but (actually almost as simply) by entering the place with an intent of being altered. That is, by participating in the transformative effect of the place, simply by being receptive to the possibility of such an experience.

So far we're nowhere near defining, or even really much in the way of describing, the properties of this effect. So far just tracking a scent, a hint of a scent.

Here's a twist, though not really so surprising: for most people throughout our meanderings as a species, and still now (if we're honest), an experience of the sacred is most likely to occur in a natural setting. Out away from buildings and human-made structures of any sort. Not in them.

Earth Day

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I like to make things. I like to make things better.