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Thank you for visiting.

Welcome to this blog in which I hope to share some of my thoughts.

I am presenting my self as a living exhibition in this museum and I hope that this blog will give some impression of what is happening inside me, in conjunction with what might be visible on the outside.

It’s amazing how much effort it takes to make your life simple! I’m exhausted. But finally I’ve managed to tie up most of the loose ends, wrap up my affairs in the world and tear myself away. I’ve offered explanations, discharged obligations and said goodbyes. There has been very little time to sleep in the last few days so I’m hoping the first bit of this hermitage will be a chance to rest and decompress.

I will be following a fairly strict timetable while I’m here and I intend to carry out various actions, so there is a lot to do. But right now I just wanted to say hello and to let you know that I am now installed in the Tower .

I don’t have the energy to write much more now, so I hope you’ll forgive me if I just recycle some of my old notes. I wrote these a few months ago, when I was first imagining this project. I hope they serve to give some context for those of you who may be stumbling upon this from far afield.


I feel a deep dismay at the ecological crisis facing humanity, which I experience as a loss of beauty. And I feel challenged to respond using the full weight of my training as a contemplative and an artist. But, along with this strong agenda, I am also interested in an art which is abstract or open-ended.

This tension between purpose and play is also an essential condition of the hermit, who is introverted but has a social role. I am interested in exploring precisely this ambiguity.

The hermit is conventionally a benign and pious figure, but I also want to invoke his destructive aspect. Artistic precedents for this approach are in the auto-destructive art of Gustav Metzger and John Latham. Eremetic forerunners include the great Hindu ascetic Shiva, who is celebrated as the destroyer of the world, and the Christian anchorite, Anthony the Great who burned away his wilfulness in order to surrender himself to the will of God. My own hermetic training is in the Theravada Buddhist technique of vipassana.

Vipassana is essentially an exhaustive cataloguing of every aspect of experience, up to and including the cessation of everything. The vipassana yogi, like the Victorian collector, is engaged in taxonomy – a taxonomy of things which are disappearing. Someone practicing vipassana trains his or her awareness on every minute detail of experience, and observes it while it burns away. At the completion of this enlightenment nothing is left. The literal meaning of the Sanskrit word nirvana is ‘extinguishing’, referring to the going out of a light.


This idea of extinction will be the main organizing principle for me. By my action I hope to sensitize us to the sorrow of loss. My aim is to engage emotionally with the fact of the massive loss of memes, genes and habitats which we ourselves are precipitating on a planetary scale.

I can begin to approach the real enormity of this sorrow if I deliberately  engineer a temporary loss of part of my life. An aspect of the hermit’s work is to physically perform loss, actively embodying death by incarcerating himself and becoming dead to the world.

I will forego the richness and diversity of my life, renouncing it while entombed with the riches of the world’s civilisation, in the heart of a vibrant, living world city.

The museum itself is a library of Babel, a seed bank and an ark. It is Gaia’s memory. At the apex of this body of knowledge, perched in a tower as a brain is perched on a spine, the hermit might symbolise conscious agency. The hermit dramatises the dialectic between deliberate, mindful knowledge and the hidden, or forgotten unconscious. I will use his presence to focus questions of stewardship, storage, and conservation, of profligacy, amnesia, and extinction.

Self destruction

The hermit’s work is to become humble, to erode arrogance to the point that the self itself becomes extinct. This is done by determinedly relinquishing control and clearly cataloguing every aspect of the embodied self. The hermit sees right through himself by fully appreciating the immense variety of phenomena, without either coveting or rejecting any of those phenomena. The hermit examines himself as a specimen. He treats the body as a museum. The sort of museum that should be in museums.

Any hermit reduces the noise of society and treats himself as an archive. The artist makes this act public.

The hermit’s act of recollecting, of remembering himself, places personal experience at the heart of the collection. The artist’s works radiate and interact with the world.

By sampling, mounting and encasing myself in a vivarium, I want to publicly present the ultimate exhibit. But while offering myself up I want to make clear that the real exhibition is not of me ‘Ansuman Biswas’, but the self each of us thinks we have.

As with a well-prepared laboratory specimen, isolation and framing allows fine detail to be examined. In the case of the Manchester Hermit examination is welcomed by anyone with access to the internet.

By stepping outside it for a moment, I want to expose, and interrogate the notion of the network. I am not pretending that it’s possible to cut myself off completely, but neither do I want to be lost in an incessant babble. The hermit hovers in a space between total solitude and unbridled communication, neither rejecting everything, nor being completely dependent.  I hope, by physical isolation, to throw into relief global commerce and connectivity and the fecundity of the metaphysical or virtual environment.

The House of Memory

Museums represent a kind of species memory. The Museum functions in human culture as memory functions within the individual human body, or as the human species functions within the biosphere. Human culture is the planet’s self-consciousness. But now this global sentience is at a critical juncture, being at the dawn of the realization that it is gnawing away at the very branch it is sitting on.

A virulent strain of human culture has irrationally placed itself above nature, collecting, cataloguing and controlling the world out there. Now this culture is being forced to see itself as part of the nature it manipulates. The illusion of a separate self is becoming unsustainable.

In the Victorian ideal of the museum the riches of the Empire were gathered together to be studied. The one thing missing from the collection was the collector himself…

2 Comments leave one →
  1. 02/07/2009 8:24 pm

    So this certainly struck a chord in me:

    Any hermit reduces the noise of society and treats himself as an archive. The artist makes this act public.

    The hermit’s act of recollecting, of remembering himself, places personal experience at the heart of the collection. The artist’s works radiate and interact with the world.

    In my case, however, my body is the thing that did the self-destructing, not my self. I suppose a forced hermitage which I have learned to not only accept, but honestly, I couldn’t imagine being back in the throngs of people society says I should be with. Anyway, I applaud your efforts…and I never said thanks for the follow on Twitter, so thank you Ansuman!

  2. arun kumar dutta permalink
    03/07/2009 3:56 am

    what you are doing is not at all new, indian hermits in past were enagerd in doiing so particularly in the himalayas,however,their motto was achieving personal view is that whether they or how many of them had achieved so,is a big question but a positive aspect of their contemplation yielded something beneficial for all living beings of the earth.i would be happy if i would have work with you.

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