Nonfiction


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Essay on Poetic Speleology (an excerpt)


 



A brief description of the work: Essay on Poetic Speleology explores the symbolic treasures of caves as a pretext to talk about life, civilization, truth. Its structure imitates a cave. Sentences are molded with a sculptural approach. Two reading modes are recommended: the first superficial, the second deep. It will be noticed no fundamentals are detectable on the surface.

This work was translated to English from Italian by the author.

 
 

 
 


Introduction. The root g̑hđem-.


0.0 The adjective chthonic refers to things that exist under the surface.

0.1 It draws its etymology from the ancient greek word χϑόνιος, cthónios, underground, derivative of χϑών, cthón, earth.

0.11 What we name earth, γῆ, ge (see ‘Gaia’), is an ancillary entity of χϑών. In Pherecydes of Syros’s theogony, it’s the wedding present Zeus offers to his bride, Cthonie.

0.111 Pherecydes narrates that when Cthonie takes off her wedding veil, and appears in front of Zeus, naked, he covers her with Ge and Ocean.

0.1111 Since Cthonie is an infernal creature, made of the substance of the abyss, she cannot show herself in her nakedness. The gift of Zeus, Ge, is what we call modesty.

0.2 The origin of χϑών resides in g̑hđem-, an Indo-European root.

0.21 Root shared with words like bonhomie, chameleon, chamomile, exhume, humus, homage, humble, transhumance.

0.22 And with the word Homo.



 

 

#1. ENTRANCE.



1.1 The first question is why Humans, superficial beings, want to descend. The second is why they re-enter. Within the space-time traced between the two questions is enclosed the human experience of the cave.

1.11 Visiting just one cave doesn’t exhaust the speleological act. One doesn’t stand for everyone. What does the second chthonic exploration unveil? What do Humans discover re-joining the same cave?

1.2 Here is the first point: analytic observation, acts like surveying or geological assessments, are just the surface of the relationship between Humans and the cave. Others are the exact and salient chthonic phenomena, superior to bare scientific observation.

1.21 This is because, despite the tendency to forget it, scientific truth occupies only one, and among the least decisive, subsets of Truth. It could maybe illustrate certain fundamental phenomena, but it can't read them.

1.22 (Since scientific truth cannot but remain silent on what is sacred.)

1.3 Natural light hasn’t citizenship in the cave. 

1.31 It’s tautological: as far as the light reaches, there is surface.

1.311 The Myth of the Cave does not exist. It is said we would see reality as a projection on a wall (and cinema is its lovely metaphor). The point is that light and cave diverge with indescribable exactness—except in the first few meters, where however the cave is not yet a cave.

1.312 Light and cave are insoluble.

1.32 The act of bringing light underground is absolute sacrilege; the smallest torch demands to ingratiate with the chthonic divinities. But when light is made, the perfection of a different clarity opens up: that contrary to Plato, in the cave there is no fiction, there is no deception.

1.321 If the act of bringing light pushes man beyond the boundaries of the surface (we could say: of everyday life), turning it off in the cave to savor its darkness projects Humans beyond the boundaries of life.

1.33 Before he marries the Father of the Gods, the Earth is Χθονίη (Cthonie). She becomes Gaea only by virtue of her wedding veil, dowry of Zeus himself: it is the vegetation and the emerged lands covering, sublimating them, the original infernal features, her inaccessible carnality. The creation of modesty is the story of the creation of the living world and the threshold.

1.331 Where modesty veils, there Eros comes to life.

1.3311 That is to say, the promise to transcend the pure biological act.

1.3312 (Just as Cthonie transcends Ge.)

1.332 Life and modesty come to life in the same instant. Life and threshold are both definitions of Eros.

1.333 In Humans, the first layer of modesty is called skin.

1.3331 The Speleologist covers himself with a layer of artificial leather: suit, helmet, gloves, boots. Descent and ascent tools are extensions of limbs. Light is the consubstantiation of the divine spark, artificial skin the mantle aimed to seduce Cthonie.

1.3332 Thus equipped, the Speleologist can descend.

1.3333 Only the face preserves the Speleologist’s recognizability.

1.33331 Humans hardly ever touch the cave with their real fingers. Contact is not naked, almost never.

1.4 The underworld is half the world.

1.41 Proserpine is the Roman version of the Greek goddess Persephone.

1.411 It is thought its name derives from the Latin proserpere, meaning to emerge, referring to the growth of wheat. The archetypal emergence, however, the foundational one, is what happens inside the cave. Concretions emerge. Faults emerge. It emerges what on the surface is kept silent.

1.42 The etymology of the term grotto, κρύπτη, a hidden place, the root of crypt, evokes the mediation of the sacred, the secret, what is accessible only to the elect.

1.5 The tourist cave is a deprived cave, a tiger sedated for human amusement. The tourist cave is by its very constitution an insulted cave. The presence of tourists’ aerosol corrupts the water film on the walls that leads to the karst phenomena. No more stalactites, no more concretions.

1.51 Speleology must be practiced by a few.

1.511 Where, for once, the elite is a necessity and not a privilege.

1.52 The tourist cave tells of a murder.

1.6 The cave frames the Speleologist's patience. It hinges on waiting, it orders the ideal pace of human time. Slower is starvation. Faster is lifeless technique. The Speleologist can’t wait to arrive / to enter / to arm the well / to reach the bottom / to eat / to exit / to disarm.

1.61 To be the first to discover new caves.

1.62 Preparing for the cave means predicting the entire probabilistic spectrum of a discrete segment of future. In the chthonic world, there are no shops, no land, no plants. In other words: everything is missing, starting with the light. Whatever you want to have down there, you’ll have to carry.

1.7 Every cave owns its personal darkness.


 

 

#2. ENTRANCE (2).





2.1 By entering the cave the Speleologist inseminates the chthonic world.

2.11 Insemination is what always happens when modesty is pierced.

2.12 Whatever form the insemination takes, and what happens in the cave, are decided by the Question the Speleologist brings with him.

2.121 The man who enters the cave always carries a Question with him.

2.122 The cave, in this sense, is always the interrogation of an oracle. And oracles always give a Response. Every single entrance of every single Speleologist is ruled by rituals that in return lead to a Response to their Question.

2.123 Questions are mostly implicit, unspoken. And they’re defined at the exit, in front of the Response.

2.13 Each cave would give a different Response to the same Question, just as Orpheus’ oracle in Lesbos compared to Delphi’s Pythia or Dodoni. But even the same cave in two different moments would give different Responses. Here we need to shed light on a decisive detail. Related to human perception of time, the cave is an immutable entity. Except for disruptive events, such as earthquakes or collapses, in the course of life Humans can only grasp the irrelevant changes, the little things, as long as they do the very rare action of visiting the same cave again after some time. However, the cave never ceases to move, even when its geological phenomena are interrupted. The incessant mutation of the chthonic world does not speak an alphabet detectable by human senses but is rather a matter of thought, whose investigation dates back the phenomenology of wells and meanders along a path of tens of millions of years. In this apparent stillness, however, one can see a very pure and dizzying fact: if, entering the same cave for the second time, the Speleologist is surprised to see it different, this is not because it has changed its features; rather, it is different the person who entered the cave.

2.14 Caves, museums, and libraries measure the variance of human beings over time.

2.2 Several are the types of chthonic entrances. It is not so much worth underlining the taxonomy, as well as the relationship between the prevailing narrowness of the entrance and the immensities that can be encountered inside, when, unexpectedly, a vault reveals itself that even the most powerful torch fails to fully grab.

2.3 The Speleologist is never a loner. He always enters the cave at least in pairs. The sociability and the camaraderie often seizing them lighten the matter of fact that those who entered the cave alone and got hurt almost certainly would not escape.

2.4 Janus is the god of beginnings, material and immaterial, one of the oldest and most important divinities of Roman, Latin, and Italic religion.

2.41 He is depicted with two faces, one opposite the other (Ianus Bifrons, the Two-faced Janus), because it is a power of the god to look at both the future and the past but also because, being the god of the door, of the entrance, of the transition, he can both look inside and outside. He gives the name to January, for example. He gave the name to doors, ianuae, to passages, iani, and to the porters, ianitores, from which the Italian term for parent, genitore, derives: the one who lets a child into the world.

2.42 According to the myths, Janus received from the god Saturn the gift of seeing both the past and the future. The entrance to the cave is located at that exact point: after the past, before the future. It is present, untouched. Just like every moment, it could be said. Here it is important to say that the entrance of the cave is time, not space. And as an instant, it happens where it is impossible to observe it: in the now.

2.421 (Since observation, any observation, literally travels the instant, it passes through it, resulting in no aspect different from any other action.)

2.4211 (This indistinctness sets off, once and for all, axiologically, the defenseless superficiality of the act of observing).

2.5 Every Human who enters the cave is not just a body. He is an object of n dimensions. He carries memories, the people he knows and has known, his unresolved problems, life in its becoming: past and future. Studies. The games he played when he was a child.

2.51 With a limitation.

2.52 Entering the cave, each being reveals itself in its complete volume, in the encumbrance given by the sum of body, thoughts and experiences. How does all that load made of life fit in, in such narrow spaces?

2.53 As a matter of fact, the most remains outside. If so, what is the law that defines what is allowed to enter and what must be left on the surface?

2.53 There is no law. Once inside, the Speleologist perceives what he’s carrying with him. During the pauses, along the walkways, even hanged in the middle of a well, the images still attached to him emerge by irrational associations. Faces, architectures, regrets.

2.54 Meanwhile, the precise moment when the surface gives way to Cthonie, the body breaks free from many things. It lets them out. The Speleologist seems to be able to see them, to understand them with a single glance as a multidimensional cube of thoughts, problems, memories, bonds that will not have citizenship inside and from which the body agrees to detach for a while. Aware that in the meantime, while he is in the cave, in his absence, they will change, leave, become subdued or exacerbate like poorly trained horses. When it happens that the Speleologist calls back inside what he’s left out, he performs an impious act that puts him in danger, and then the only thing he has to do is drive them back. Man can become, even for a partial time, part of the cave only if what he’s left outside remains outside, and what he’s brought inside is tamed. If that balance is affected, even breathing becomes difficult.


(…)



 
 

Nicola Zucchi, Italian, defines himself as an outlier artist. He values eclecticism and multidisciplinarity. He worked as a theater director and playwright for years while making documentaries brought to many festivals. During the last years, he split his interests into opposites: pure analogic art, such as this Essay, originally written with an old Olivetti typewriter, or recycle design, and pure digital experimentation, that led him to create, in 2017, Papagna Experience, the first invisible geolocated museum in Apulia, Italy. Actually, he’s into both exploiting the artistic implications of neural networks and the creation of a real Maze, carved into the Mediterranean wild scrub, that he will use as an artistic tool.


 
Nicola Zucchi