Seeing the Wood Through the Trees

Reconciliation ecologist Pete Yeo celebrates Blake’s testimony to nature as ‘imagination itself’ with an exploration of how our ‘plant blindness’ is perhaps giving way to a ‘probiotic turn’ and the vegetal realm’s role in our need to more fully engage our individual and collective imaginations with the challenges of our times.


The tree which moves some to tears of joy is in the eyes of others only a green thing which stands in the way. Some see nature all ridicule and deformity, and by these I shall not regulate my proportions; and some scarce see nature at all. But to the eyes of the man of imagination, nature is imagination itself. As a man is, so he sees.

– William Blake, from his communications with the Reverend John Trusler, 1799

Having found Finding Blake during the pandemic my sensitised perception kissed this joyful quote as it flew, a passing mention by writer Robert Macfarlane during an online literary event about old-growth trees. It reminded me of my own experiences over the years with people who have only seen green things standing in their way, or wilder expressions of vegetation as a mess, as human control lost. It also brings to mind the sentiments of some researchers, like plant neurobiologist Stefano Mancuso, who have highlighted our general ‘plant blindness’, plants and vegetation too often being taken for granted as the backdrop to human affairs.

Plant blindness - seeing the tree

From plant blindness towards vegetal agency

One notable green obstruction was not ‘just a tree’ but a local hawthorn, a plant known to the imagination of any experienced rewilder as ‘mother of oak’, the protective nurse for spontaneous woodland regeneration. Just as the latter process is gaining popularity ahead of conventional tree planting, so we hear of a weed garden winning at a premier garden show, and not simply for its benefit to endangered pollinators. And then there’s the rise of creative pavement chalking for wildflowers (formerly ‘weeds’). All are examples of what Jamie Lorimer calls the ‘probiotic turn’, a nascent move away from antibiotic (against life) human agency, toward a mutualistic modus operandi.

In From What Is to What If, the Transition movement’s leading advocate Rob Hopkins asks what if we could more fully engage our individual and collective imagination with the challenges of this era? It’s an enticing question, made more interesting by recent insights into the nature of consciousness that are leading us to see this as an emergent phenomenon pervading the scalar cosmos. Nature as imagination itself; indeed, alive with it. Our human brains aren’t the prime generators of such music after all it seems; as physicist Nassim Haramein puts it, you wouldn’t go looking inside the radio for the presenter. Unlike indigenous cultures, the self-imposed boundaries of modern society have largely dulled our senses to external (and even internal) signals. For the sake of the music, now’s a good moment to give up the self-aggrandisement and return to harmony with the rest of the band.

In recent decades, playful research into plant sentience has reimagined these beings, so vital to our presence on stage, to the extent that there are now very active global conversations on plant ethics and rights. “Where will it end!” some might cry. Where everything is felt to be sacred, I would suggest, including any harvest thereof. Yet, in this example, I wonder if we have truly seen beyond our boundary thinking. Could the “optical delusion of consciousness”, as observed by Albert Einstein, wherein we see the world individualised, be limiting the imagination of this progressive research? Are we seeing the full proportions of vegetal sentience, and by extension, that of Nature as a whole?

Studies on plant cognition have already established plants as ‘supra-organismic ensembles’, to borrow from philosopher Michael Marder. Every plant is a form of swarm intelligence arising from its modular parts and devolved functioning. This agency features more senses than humans (15, compared to our five, or six), problem-solving, memory, kin recognition, and communication and sharing within and across species ‘boundaries’ (explore the work of Mancuso, Monica Gagliano and Suzanne Simard for instance). Such self-organisation, creativity and altruism are impressive enough, yet it’s their outward-facing behaviour in particular that hints at something more. Beyond being drops in the land-bound vegetal ocean, might we also see that ocean through every plant-formed drop?

Complexity and creative adventure

We can see that the evolution of life continually strives beyond the so-called individual, self-organisation (or greater coherence) emerging at ever-larger scales along with new properties that can’t always be explained via the sum of constituent parts. Think of the rise of nucleated cells or multicellular organisms, the swarming or flocking of animals, and certain aspects of human society. Such complexity appears to be born of efficiency and pragmatism, though possibly also creative adventure. In this light, can vegetation, viewed as a whole, be imagined as sub-organismic tissue within the living body of Gaia, with its own emergent properties aligned with the dynamic functioning of its host and other sub-parts?

Consider how European beech forests equalise resources, supporting disadvantaged trees via below-ground mycorrhizae, whilst facilitating closed canopies above. Or, that they synchronise their masting (fruiting) every few years to overwhelm herbivory and safeguard young saplings, we know not how (The Hidden Life of Trees). Wonder at the infamous albino redwoods in California that some researchers now believe to be sacrificial elements of their forest communities, rather than parasitic freeloaders, acting as toxicity sinks. On the same continent, marvel at Douglas firs, in terminal decline along the warming southern fringes of their range, shunting their remaining resources, again via shared mycorrhizae, into the young ponderosa pine moving north (Mycorrhizal Planet). All for the sake of a resilient green mantle we might imagine.

Further to the mention of beech in particular, there are the observations of ecologist Jean-François Ponge. He has described a forest, seen three-dimensionally, as an emergent, collective structure akin to the bubble-like form of the human being. Above and below ground canopies form the ‘skin’, trunks and branches the ‘skeleton’. My own studies, inspired by the work of herbalists Stephen Harrod Buhner and Timothy Lee Scott, have explored the idea that certain plants, often called weeds or invasives, might actually represent this green mantle’s immune response. Intriguingly, plant colonisation of grossly disturbed land is rather similar to the process of skin healing following wounding (substitute water loss for blood), even down to the healing substances deployed by respective ‘immune cells’.

Then there’s biotic pump theory, which seeks to show that continental interior forests, where they remain, create low-pressure systems above themselves that act to draw in moisture-laden air from the oceans (as winds blow from high to low). Indigenous wisdom already knew this as ‘forests attract rain’. Similarly, some now believe that trees allow a degree of herbivory in order to benefit from insect excrement, a useful fertiliser. We know that the web of life crawled out of the ocean, but did the ocean also crawl onto the land? Given the remarkable – if controversial – insights from a number of contemporary scientists, relating to the properties and powers of water molecules, this might not be such an outlandish idea. As Gaia theorists would put it, life creates the conditions for life.

A new old story

This unified perspective I’ve attempted to sketch out for the vegetal realm is reflected across the sciences, not least in physics (the holofractographic cosmos) and biology (the holobiont). It doesn’t end there of course; our boundary delusions are being challenged across society. The ‘Story of Separation’, as writer Charles Eisenstein puts it, our modern cultural mythos, is as a veil now wearing thin. A more compassionate, relational ‘Story of Interbeing’ is re-emerging; fertile ground, perhaps, for a unified field of phytology (botany), somewhere out beyond all notions of right and wrong. A field from which we might see the wood through the trees, and onward to a more regenerative existence within the ‘Ocean of Being’.

Until such an arising, I sense Blake and our Muse – nature as imagination itself – at my shoulder.


Notes

All photographs by Pete Yeo. In his first Finding Blake post, An Evergreen and Pleasant Land?, Pete takes inspiration from William Blake’s poem that later became the hymn Jerusalem to contemplate the impacts of our changing climate on Britain’s evergreen plantlife. And in Auguries of Innocence: the Connected and Consequential Cosmos, he shares his appreciation of Blake’s words and their popularity for how they speak directly to the heart of the matter.

For more from Pete, see his website, Future Flora, and his similarly-named Facebook page for weekly musings. Lately, he’s felt a call to write more expansively on the need for a more holistic and reverential relationship with the plant realm (and hence all Life). At times the muse has felt rather Blakean.

You can read about and view William Blake’s letters to the Reverend John Trusler here at the British Museum, in which Blake explains that “I feel that a man may be happy in this world, and I know that this world is a world of imagination and vision. I see every thing I paint in this world, but everybody does not see alike.”

A forthcoming issue of The Blake Society’s Vala journal will focus on Blake and Nature (Issue 2, released in November 2021, features original art from our previous Finding Blake contributor, Tamsin Rosewell), and the Society has this callout for contributions to a seminar on the topic: Nature Is Imagination Itself.

Pete mentions a number of sources on plant consciousness, including plant neurobiologist Stefano Mancuso. You can watch a TEDx talk Are plants conscious? where he talks about our ‘plant blindness’. In Why ‘plant blindness’ matters — and what you can do about it for the BBC Future site (29/4/10), Christine Ro looks at how humans succumbed to plant blindness and advocates for everyday interactions with plants.

And in The ‘messy’ alternative to tree-planting for the BBC Future Planet feature (25/5/21), Catherine Early explores how trees are excellent at taking carbon out of the atmosphere and trapping it in their trunks, roots and leaves, but asks what if planting them wasn’t the solution? A brief BBC News item (25/7/21), Weed garden wins RHS gold at Tatton Park flower show, explains that the team behind the garden wanted to show that native plants are not just beautiful but essential for wildlife, while in ‘Not just weeds’: how rebel botanists are using graffiti to name forgotten flora in the Guardian (1/5/20), Alex Morss describes how Pavement chalking to draw attention to wild flowers and plants in urban areas has gone viral across Europe.

Jamie Lorimer’s book The Probiotic Planet: Using Life to Manage Life is published by University of Minesota Press (2020), and you can download the introduction an hear an interview with the author at the link. And Rob Hopkins’s book From What Is to What If’: Unleashing the power of imagination to create the future we want is available from the author’s website.

In Does Consciousness Pervade the Universe? for Scientific American (20/1/20), philosopher Philip Goff explores panpsychism and the possibility that consciousness is not something special that the brain does but is instead a quality inherent to all matter?

The Hidden Life of Trees: What They Feel, How They Communicate by Peter Wohlleben (published by Harper Collins, 2017) makes the case that the forest is a social network. And in Rare Albino Redwoods May Hold Clues to Ecosystem Health, at Atlas Obscura (9/7/21), Marina Wang describes how these ‘ghosts of the forest’, once thought to be a burden to neighbouring trees, may actually benefit them. And Michael Phillips’s book, Mycorrhizal Planet: How Symbiotic Fungi Work with Roots to Support Plant Health and Build Soil Fertility (Chelsea Green Publishing, 2017) explores the science of symbiotic fungi and sets the stage for practical applications across the landscape. 

Editing Blake – and Revealing Our Film Trailer

Finding Blake creator and filmmaker James Murray-White announces the completion of the film behind the project, reveals the trailer for the film, celebrates the inspiration behind this work — and asks what Blake would make of the changes we are seeing in the world today.


So — we have a film: a 90-minute feature doc, Finding Blake: meeting William Blake in the 21st Century, or – memorialising the vegetal ephemeral. It was completed, fittingly, on Valentine’s Day. And it’s been a long labour of love — three years, and all my life and experience before that: poured into this.

Announcing the trailer for the film, 'Finding Blake'
Trailer for the film, ‘Finding Blake’.

It’s been a long wild ride. As Patti Smith sings in My Blakean Year:

“all that I envisioned, all that I had held dear, met with grave derision.” — Patti Smith

So I write this with a sense of reflection, and both an opening to the new, and an ending of the old. I’ve been coming and going with this project over these three years: having to put it down to focus on commercial work and pay the bills; deepening my activism and my engagement with the human community in doing so, equally emphasising a deeper connection with the Earth and the soil and engaging in the work of rewilding, inner and outer. And yet, always mindful of returning to the layers and levels of understanding of Blake’s zoas, and seeking to integrate so many aspects of life and the love and joy and horror of it all coming at me constantly, so that I can truly exist somewhere within these four levels of spiritual development.

That is what Blake’s life was all about, and why he still is such a strong source of inspiration. As Luis Carrido, Blake scholar — and, with his wife Carol, the re-discoverer of Blake’s final resting place underneath the plane tree in the Bunhill Fields ‘dissenters graveyard’ — says early in the film:

“It’s a movement of spiritual enlightenment. Blake helps us reach up to the infinite.” — Luis Carrido

Luis Garrido is one of the experts featured in our film, 'Finding Blake'
Luis Garrido, featured in the film ‘Finding Blake’

So, remembering this, and constantly working with Luis and his words and the other interviewees on screen, and the ever-present solid, calm craft of Lida Kindersley, the constant tap-tap-tapping of chisel hitting stone in her workshop — which I hope I’ve used to good measure in the film as a sound experience as well as a visual metaphor, chipping away at the fixedness of life — I’ve brought all the material to the editing chipping block. Chipped away, always trying to reach up to the infinite, with all its beautiful and wrathful manifestations we find upon the way.

Blake was born for this time

Having dived into Blake’s life and legacy, and responded to it all with this project, I wonder what Blake would have made of the massive cultural shifts and rise in consciousness we are seeing manifest. It is deeply encouraging to see folk — young and old, from every walk of life — rising to challenge vested power and political corruption.

Capitalism stifles and kills. Land ownership excludes and divides. Carbon production and emission destroys. And creativity, stilling the mind, listening, looking deeply — these are what re-invigorate and produce love and beauty and compassionate care. 

Blake would love this time in the human story. He was born for it, and we thank him for the legacy of life that has helped bring this shift into being. I wonder if his energy truly went beyond, or if it was re-incarnated: to keep returning as bodhisattvas to guide us humbler mortals to enlightenment…

Malcolm Guite is one of the experts featured in our film, 'Finding Blake'
Malcolm Guite, featured in the film ‘Finding Blake’

Wild weather and deep inspiration

Sitting down to edit often feels to me like sitting in the dentist’s chair and having my wisdom teeth pulled (I’ve had two out and still remember the pain and the size of the needles). There is an ominous phrase in the film world, often used by editors and all of us crafting away with cameras: ‘kill your babies’ — which really translates as ‘does your best material hold the story together and would the story survive without it?’ I’d much rather hand projects over — and I’ve worked with a few good editors on pieces of this — but ultimately it’s been my responsibility and I knew I must see it through.

“I must create a system, or be enslav’d by another mans I will not reason & compare: my business is to create”

It’s been wild weather outside the door: Storm Ciara was in full force when I arrived, and knocked out some of Cumbria’s water supply and left the land water-logged, cold, windy, and snowy up on the higher hills. And Storm Dennis is just coming up the land now as I finish the edit and write these words. Wonderful, wild weather to inspire my looking deep into this screen and allowing Blake to unfold…

Carol Leader is one of the experts featured in our film, 'Finding Blake'
Carol Leader, featured in the film ‘Finding Blake’

I’m grateful to two dear friends who have been closely involved with Finding Blake since the beginning. Poet Clare Crossman and filmmaker Jonnie Howard both have been giving me constant advice and good guidance on this visual telling, and whose wise words I took with me to the editing retreat high up in the Cumbrian wilds.

Using film to find William Blake

To get my creative juices going, I took myself to see the new Terence Malick film A Hidden Life: a masterly telling of a true story of conscientious objection, and the soul-felt struggle of the individual who chose this path. The film isn’t about words, as with much of Malick’s recent work. He uses huge-scale cinematography to conjure emotions. Sweeping shots of mountains and the vast rolling (Austrian) landscapes, with beautiful intimate detail of grass and corn, and the vast deep joy of all of it.

One of the disappointments I felt at the big Blake exhibition at Tate Britain that finished at the top of this month, alongside the lack of A/V material, is that the big scale film panning across an artwork didn’t go into enough detail. What I would love to do with Blake is to use special lenses to really scrutinise some of the images — prints and paintings — in deep detail. Access to the images to do this requires a vast budget, and the institutions that hold the bulk of Blake’s oeuvre frown upon such deep scrutiny. There was a very fine film doing the rounds last year looking at Picasso’s early life, with magnificent slow close-ups of some of his work — a powerful way to really look at an image. Blake’s work would really benefit from this close observation by those with eyes to see.

I was up at Clare’s cottage a year ago last winter, and cut all the sequences in draft form. I have sat on them since, adding other bits of footage and doing more interviews, but wondering what was lacking in the overall project. Jonnie — a great filmmaker who has done some of the early camerawork for the project (including the beautifully shot David Whyte interview in the Ashmolean Museum in Oxford, where Blake quite literally sat upon our shoulders) has been continually saying I should inject more personal input: Why have I been doing this? What’s my story here? And so I have. I hope it works: it was never going to be all about me — that thought abhors me, but I realise that ultimately it’s both the personal and the wider perspective that tells the story, and this is where the craft of telling is, whatever the story.

David Whyte, featured in the film ‘Finding Blake’

Clare, a fine poet, highly capable of soul-diving to heft out words of the Earth to bring ethical diamonds to us — has also been telling me to work deeper with the Blakean words: pull out the wisdom of his legacy and craft them visually. So I’ve crafted small film-poems (one of my favourite art forms indeed — and I hope this entire film and project is in itself a larger film-poem to creativity and the human spiritual journey itself: from womb to soil).

I have to leave that to you, dear viewer, to judge for yourself. Feedback, of course, is welcome, when you get to see the whole thing on a screen someplace. We welcome reviews here, or email me directly. I’ll probably be out on a moor someplace or lugging cameras to film beavers or wild bogs, and it might take a while to respond (most of the film projects this year are responses to, reflections upon, and recording elements of this beautiful natural world, so far from the inner reflectiveness that Finding Blake has been).

Bringing Finding Blake into the world

There is a preview screening next month for those closely involved and those who chipped in to the crowdfunding campaign to get Finding Blake up and running all those centuries ago … Space is extremely limited but if you’re keen to come, email me and I’ll see if we can squeeze you in.

I’m talking to a prestigious venue about an official launch event, probably late Spring, and also to other venues around the land to take Finding Blake on a mini-tour later in the year. All details will be released here in good time. If you’d love to bring Finding Blake to a screen near you, with or without me to introduce it and do a Q&A, do shout — happy to negotiate.

For now, until Finding Blake manifests onto a screen near you, here to whet your Blakean appetite is the trailer for the film. 

Finding Blake – trailer, February 2020 from Finding Blake.


Notes

You can see many other film clips from our project, including footage that is included in the final film, over at our Finding Blake films at a glance page.

Exploring the Divided Brain

Finding Blake creator and filmmaker James Murray-White checks in from a four-day retreat in Tewksbury, where he’s been Exploring the Divided Brain with fellow participants and been sharing Finding Blake.


I’ve been lucky to have been invited to come and film this deep immersion into the divided brain with renowned neurosceptic philosopher and noted Blakean Iain McGilchrist.

Organised by powerhouse trainer and facilitator Samantha Field of Field & Field, this retreat has run for the past four years, and participants gather for four days to go on a deep journey with Iain into the thinking and research behind his work looking at our divided brain hemispheres, its relevance to modern life, and the implications of left-hemisphere dominance for our humanity, health, and happiness.

Iain McGilchrist with James Murray-White
Iain McGilchrist with James Murray-White at Exploring the Divided Brain.

Iain has been taking us on a journey through fourteen detailed lectures, ranging from ‘The value and limits of Intuition’, ‘ The value and limits of Imagination’, ‘What is language for?’, ‘Are we becoming machines?’, and so much more. The days are long and intense, and the thirty of us participants roll into bed late in the evening full of stimulation and questions; Iain’s talks are complemented by a range of optional workshops from within the group.

I offered a workshop on the first day, explaining the Finding Blake project, showing a few clips of the film so far, talking about why Blake feels so relevant now, and encouraging the participants to respond creatively to Blake in their own way, using a quote from Iain that very morning: “attention is how you dispose your consciousness into the world”. One participant wrote a magnificent poem about a tree, which she has given permission to share later.

Feedback from James's workshop
Feedback from James’s workshop

I’m delighted to have been invited to come and film and participate in this retreat. It has pushed at the edges and given the tools to see and sense the world in new and exciting ways, ever mindful of this divided way of thinking; and some new tools to heal this split, which clearly manifests in humanity and the external world. Iain is a big believer that the arts stimulate the imagination, and without that we are nothing, hence the relevance of Blake. I’ve been invited to do a few more Blakean workshops across the summer, including one in early July in Nenthead in Cumbria with the noted poet Josephine Dickinson.

The media from the retreat will be available once Samantha and I have had time to work through the images and footage and decide how best to use it to promote the next retreat, next year. But I can give Finding Blake readers one wonderful shot, of Iain discussing Blake’s use of the spiral in his work.

Iain McGilchrist on William Blake
Exploring the Divided Brain: Iain McGilchrist on William Blake

Notes

Iain McGilchrist gave the 2016 Blake Society Lecture, The Infinite Brain and the Narrow Circle. You can explore Iain’s ideas and work at his website — including a download of the introduction to his 2009 book The Master and His Emissary. There is a 2015 interview with Iain McGilchrist at Interalia Magazine. 

Kevin Fischer drew on Iain’s work in his Finding Blake post Imagination, Experience and the Limitations of Reason.

You can find more about the workshop Exploring the Divided Brain at the Field & Field website.

Update: Another participant at the event, Jenny Mackness, has also blogged about her experiences there, including her workshop exploring the implications of Iain’s work for education.