brushing: "When the tip of the brush moves down the page, it traces a series of characters; vertical columns of characters unwind across the page from right 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 as temple gates). Still, regardless of right-left or horizontal-vertical variations, inscription tends to striate. In some instances, Heian poetics attempts even to smooth the striation of writing." T. Lamarre, "Diagram, Inscription, Sensation." In, B. Massumi, Editor, A Shock to Thought. London, 2002. pp.154-55.

monsters: M. 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.

hybrids: "For 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.

pales: "The 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.

vagrancies: "lhy 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.

meander: "The 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.