the tip of the brush moves down the page, it traces a series
of characters; vertical columns of characters unwind across the page
to left. In this respect, writing always constitutes a striation
of smooth space, for it introduces distinct orientations. Striation
need not always proceed vertically; there are environments
in which characters are written horizontally from right to left (such
gates). Still, regardless of right-left or horizontal-vertical
variations, inscription tends to striate. In some instances, Heian
even to smooth the striation of writing." T.
Inscription, Sensation." In, B. Massumi, Editor, A Shock
to Thought. London, 2002. pp.154-55.
Uebel, "Unthinking the Monster: Twelfth-Century Responses to Saracen
Alternity." In, J.J. Cohen, Editor, Monster Theory. Minneapolis,
MN., 1996. p.266. "Monsters
are in the world but not of the world. They are paradoxical personifications
of otherness within sameness. That is, they are threatening figures
of anomaly within the well-established and accepted order of things." T.K.
Beal, Religion and Its Monsters. New York, 2002. p.4.
this perspective, 'overcoming the opposites' is a transcending, mystical
experience. For it to abandon thinking in opposites is to lose consciousness,
whose very definition (by this perspective) is the clarifying mode
of seeing, knowing, and ordering. Such a loss feels like an ontological
shaking of the foundations, because it means also losing the belief
that being is finally accountable in terms of simple abstract pairs
in mystical tension." J. Hillman, The Dream and
the Underworld. New York, 1979. p.83.
Brown Stagemaker...lays down landmarks each morning by dropping leaves
it picks from its tree, and then turning them upside down so the
paler underside stands out against the dirt: inversion produces a
matter of expression." G. Deleuze and F. Guattari, A
Thousand Plateaus. Minneapolis, MN., 1987. p.315.
qdm in Hebrew -- might be translated 'the God of Before.'
The God of before what? The God of before the time when God came
to seem omniscient and omnipresent and the world came to seem a
single thing in which he could always be imagined as present but
from which he would always be experienced as absent. God imagined
and experienced in this way is the God of the later books of the
Hebrew Bible as well as of the New Testament; and he remains, by
and large, the 'standard' God of our culture. J.
Miles, "'The God of Old': Recovering Theological Imaginings." Review
of J.L. Kugel's The God of Old. The New York Times,
11 May 03.
constant flow of movement, broken at rhythmic intervals by
rather sudden, but not necessarily jerky, changes of motion-direction,
characterizes both the dance and art of the Northwest Coast." B.
Holm, Northwest Coast Indian Art: An Analysis of Form. Seattle,
WA., 1965. p.92.