As Epstein himself later put it in his autobiography: "I made and mounted a machine-like robot, visored, menacing, and carrying within itself its progeny, protectively ensconced. As the devastating results of machine warfare in WWI became clear, however, Epstein's outlook on the future of humans and machines changed (in a way that was typical of many members of the Vorticist movement). It presented an image of the future of humanity as cyborgs, a celebration of the merging of man and machine, a vision of the frightening yet exciting possibilities made possible by the machine age. The result was a towering, menacing figure with great phallic power. In 1913, Epstein created a plaster cast of an abstracted human body - angular and hard - with an embryonic form in its abdomen and placed it astride an industrial mining drill. It gives an impression of a moment of stillness in a whirl of motion in the busy Metro, recalling the Vorticist search for the static center of the moving vortex of life.ġ913-14 Torso in Metal from 'The Rock Drill'Įpstein's Torso in Metal from 'The Rock Drill' was born of the destruction wreaked by the First World War. Pound's short poem similarly emphasizes the careful arrangement of words to create a pared-back but highly vivid effect. I realized quite vividly that if I were a painter, or if I had, often, that kind of emotion, or even if I had the energy to get paints and brushes and keep at it, I might found a new school of painting, of "non-representative" painting, a painting that would speak only by arrangements in color." This "new school of painting" is a reference to the Vorticist movement, which tended to abstraction and emphasized the use of form and color. Here he elaborated on the relationship between Vorticist poetry and visual art: "In a poem of this sort one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective. Good endings mean taking responsibility for the whole journey, distilling wisdom from our experience so that we may begin the next wave or cycle clean and not carrying the past with us.This tiny poem by Ezra Pound contains only one "image." While the poem is usually associated with Pound's Imagist era, in which he strove to a precise clarity without extraneous verbiage, Pound discussed the poem extensively in his 1914 essay on Vorticism. This carries through to all of our endings in life-the end of this dance, this day, this relationship, or this life cycle. Eventually we dissolve into sitting meditation, where all the other Rhythms of our journey converge in the vital resonance of Stillness.Įach time we dance into Stillness, we practice the art of making humble and mindful endings interpreted by our higher connected self.
Moving in Stillness and being still in motion fuses the accumulation of our bodies’ life experiences into our true wisdom. Shapes from the past, the present and the future come through us-shapes of the Feminine and the Masculine and the magic dance they do together. Physically, in the dance of Stillness, we move in slow motion-like highly unpredictable meditative Tai Chi masters. The dance is our vehicle, our destination is the Rhythm of Stillness our challenge is to be a vessel that keeps moving and changing. Stillness moves, both within and all around us. Being Still and doing Nothing are totally different.
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