Before arriving to the thing itself, I instruct myself to regard the 9-acre suite of Japanese gardens on the grounds of the Huntington not only in cynical terms, as a tourist site and a marker of social status, but also in more hopeful terms, as a site for encounter and self-actualization: manifestations, in other words, of Amida Buddha’s Western Paradise, enabling rebirth on a path toward enlightenment. Our observations, these gardens teach us, are always contingent, based on changing points of view. In the library itself, I request access to the “Aldous Huxley Oral History Papers, 1985-1990” and several rare books by Huxley’s friend and fellow mystic Gerald Heard. I also browse old issues of a journal called Aldous Huxley Annual. Consciousness airdrops into an altogether different Earth, however, some postindustrial world, an Earth of a different geological period, once the Subject exits the library and actually enters, sets foot into, the desert garden. Curvilinear profusion, flesh of the Earth thorny, prickly, and hairy. Morning doves and amber-bellied fox squirrels in the trees, lizards scurrying up the torsos of cacti. This is my Utopia, my garden at the end of time: this hot, wet, earthy, noisy, citrusy, fruit-bearing, sun-absorbing, multi-scented surround. I’m swept with the conviction in this moment that, whatever the details of this Utopia (apart from “full communism now”), our presence in it should be airy, minimal — an attentiveness to life’s formal richness that nonetheless remains light in its imprint. Let us be great lovers, tending only to our role as gardeners, nurturers, machines of loving grace, I’s who preside over the self-presentation of being. In these gardens and their surrounding bungalow heavens, this gift, this experience my love has given to me, LA prefigures its nickname “City of Angels.”
The generator of language produces one’s script. Always and forever a blind spot in one’s thinking, an intuited absent cause. The murmur at the back of one’s throat. Birdsong at a distance, as if at the end of a long tunnel. Images acquire being in the mind’s eye: the cover of an album by the band Yes, but with the letters of the band’s name pulled ‘Google Maps’-style from a database of urban signage. The professor and his audio twin. A woman in the neighborhood who I’ve never met before tours Sarah and I and some friends of ours through her garden with its carnivorous pitcher plants and its handsome wooden torii. Flowers everywhere, sprouts bursting from the soil. Friends come away gifted with helleborus and Japanese knotweed. Afterwards I lumber contentedly along the sidewalk licking a Blue Dream lollipop made by a friend’s poet-friend. The night serenades me with Arthur Russell’s “The Platform On The Ocean.” I then harsh the vibe by descending into the scrambled command lines and subroutines of Gwilly Edmondez’s Trouble Number.
Misery won’t suit us, I decide — not among such beauty. I imagine myself growing plants on the floor of an elevator: a dream, a strange mirage.
The star of a popular TV show paints dollar signs on her fingernails to demonstrate her love for former US president Barack Obama. She and her fellow Democrats don’t seem to have learned much since last year’s election. Insulated by their money and their privilege, they remain clueless as to why they’ve lost control of all branches of government.
My mind, however, is elsewhere. I continue to dwell upon psychedelic imagery from one of the performances I caught this weekend. Washed Out teamed up with Brainfeeder-affiliated visual artist Timeboy to create music videos for each track on the band’s latest album, Mister Mellow. The videos utilize several forms of animation: everything from stop-motion and claymation to hand-drawn cartoons. The band projects and modifies all of this dynamic imagery in real-time during live performances using Kinect 2.0 devices: motion-sensing “depth” cameras, basically, designed by Microsoft for use with Xbox One. Sarah joined me for a beautiful late-afternoon stroll through a garden yesterday, where we were graced by magnificent monarch butterflies, a pink wildflower anemone named “Queen Charlotte,” a fence post covered in flowering snail vine. We imagined ourselves entering and exiting zones filled at once with the romantic drama of the strolling couple, and at a different scale, observable only when the couple peers down on occasion, a world teeming with ecosystem narratives: complex interactions between predators and their potential prey. Perceived at this level, suffering and decay seem almost painterly in their abstraction. I realize that I spend too much of my life torn between warring impulses. Should I spend my life immersed in texts or in nature? I commit myself fully to neither speech nor phenomena. Broad City more than makes up for past crimes, by the way, with its latest episode, an animated shroom-and-cannabis-fueled extravaganza by artist Mike Perry.
The alarms, the intensities, objects melting and reforming: together, it amounts to a grand de-reification of reality. So much more pleasurable than the gritty nicotine-crack-alcohol police-and-criminal-class hustle-drama dished out by David Simon’s The Deuce.