Jungian analyst Melanie Starr Costello, complaining of jet-lag, of leaving time behind, delivered a talk titled, "The Archetype of the Outsider: Fragmentation and Containment in a Shrinking World." She began by stating that the archetype of the Outsider is behavior driven toward "a totality that is trying to make itself conscious to us." [Something is wrong here. The intonation of a totality is like physicists searching for a "Theory of Everything," which halters the play of alternatives. So Costello added that any archetype "can constrict the way we see."]

She had been introduced as a scholar of Medieval Christianity, and, indeed, I saw animals were seen as belonging to their own nation and to be bearers of messages and gifts of meat from a sacred domain. In the village they became possessions. Yet ancient avatars, they remained fascinating in human eyes. A select and altered little group of animals, filtered through the bottleneck of domestication, came in human experience to represent gargoyles grinning again, guarding their Frankensteinian underworld god.

Costello's rhetoric is of inside and outside, sacred and profane, dreams that appear with conflicting images wed in the process of creating the appearance of an individualized self.

I've seen Giacometti's tall emaciated walkers that Jean Genet placed "in the depths of time, at the origin of everything, they keep coming near and moving back, in a sovereign immobility." Only the art of ancient cultures exhibit such uncanny elegance. What Giacometti had struggled to achieve had been realized centuries before by artists whose work has been relegated to natural history museums, where it is "exhibited as proof of strangeness, not attainment." This pre-scribes a relationship, for example, between Giacometti's famous sculptures and the petroglyphs of anonymous primal artists.