Chumak was inside your home long before you clicked the link above. Consider, for instance, a resonance with a viral strain of American spirituality wrought of the fascination with national collectivity, media technologies, and gods. There is a dream here, utterly familiar. A voice that can only imagine itself in terms of everything or nothing, with little in between. Think, for example, of Whitman penning the following lines in 1855, five years prior to the Civil War:
I SING the Body electric;
The armies of those I love engirth me, and I engirth them;
They will not let me off till I go with them, respond to them,
And discorrupt them, and charge them full with the charge of the Soul.
These and other alignments of spiritual uptick and political-economy suggest that Chumak speaks to a history redolent with spirit, technology, and empire, a history shared by Cold War adversaries, a history of mutual collapse.
I cannot help but watch Chumak. His wordlessness. The opening and closing of his jaw. The motion of his head, moving side-to-side, nodding, but bent on being still. He is intentional about not making sound, and so there are sounds of silence—lip smacking, throat clearing, the just-detectable sound of breathing. A knocking in the studio and a door closes—the lifting of the veil for a moment, reminding us the there are others there in studio, behind camera—a whole crew, perhaps, involved in this production.
The viewer is not a viewer. In asking us to close our eyes, Chumak has asked us to shuffle the sensorium. He has turned the clock back on modernity’s forward march of the gaze. TV is here meant to be experienced through the ears, on the skin, by the nose, and finally in the viscera. As I close my eyes now, I can recollect hearing my own 1980s television—its sound that is no sound: that high-pitched squeal of household appliances that only reach the ear from another room. I can feel the dancing dust on the screen under my fingers and the hair standing up on my arm. I cringe with anticipation at the crackling that gathers under the finger until the electrical shock! And I can smell it—that distinctive combination of household particle and arcing electricity. Don’t stand so close to the television!—not just an admonishment to protect the eyes, but also, perhaps, a warning born of suspicion of the industrial everyday. The TV was to deadly electrification as the microwave was to nuclear warhead.
Watch it again.
A typology of Chumak’s hand movements:
1. Fine-tuning: Tweaking the miniscule mechanics. Smaller movements are required.
2. Stroking: While holding one hand still, the other moves outward, as if petting a cat.
3. Gathering up and drawing out: An invisible sphere is constituted with both hands. Once constituted, one hand periodically pulls some threads out of it.
4. Tending to the sphere: The hands pack and repack the sphere.
5. The sign of the cross: Reminiscent of the Christian rite, the right hand draws a plus sign (usually several times vertical followed by several times horizontal).
6. Straightening up: Again, smoothing that which has been conjured.
7. Equalization and balance: The hands move as the hands of a scale, seeking equilibrium.
8. Silence: The hands punctuate action with inaction. Resting in midair, the hands await further instruction.
There has always been an interesting convergence between faith, media and power. Yet here it is not just very much like, but in fact asserted, the mundane gesture, captured by electricity and projected through a TV tube can carry with it an unseen “energy”—an energy with a power to cure from afar, bypassing the gaze. A metaphysics of morning television. An energy that is not an effort. An energy that doesn’t make a sound. An energy that comes as much, if not more so, from within as without. In this way, Chumak becomes the channel for your soul—your soul channel.
Watch it once more. When I turn the youtube transmission up, I hear two tracks now—the hiss of television, and what could be the bleeping of digital information.
Can I still place a jar of cream next to my computer monitor to charge it up? Was the TV the necessary medium for distance healing? Or does it have to do with the experience of late Empire and the failure of our language to articulate the decline? Or maybe it was some combination of naïve fascination with the television, only just making its way into the households of the world as an everyday object? We can’t know, and the ingredients of spiritual experience of this type seem scattered like electrons in search of a screen.
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