The more I looked: C. Juliet, Giacometti. New York: Universe Books, 1986.

Man is 'ein Wesen der Ferne’: W. Barrett, Time of Need: Forms of Imagination in the Twentieth Century. New York: Harper & Row, 1972.

What engages Heidegger: J. Sallis, Stone. Bloomington: Indiana University Press, 1994.

that ‘Ngulumun changed: H. Morphy, “Landscape and the Reproduction of the Ancestral Past.” In, E. Hirsh & M. O’Hanlon, Editors, The Anthropology of Landscape. Oxford: Oxford University Press, 1995.


At an exhibition: "Picasso and Braque: The Cubist Experiment, 1910–12." Santa Barbara Museum of Art, September 17, 2011 – January 8, 2012. Picasso and Braque met in 1908, and collaborated until 1914, when Braque marched off to World War I. But 1911-12 was a particularly intense period.

The mountaineer's creative despair: D. Roberts, "Alaska and Personal Style: Some Notes in Search of an Aesthetic." M.C. Tobias and H. Drasdo, Editors, The Mountain Spirit. Woodstock: The Overlook Press, 1997.

filled with suggestions: M. Brenson, ''Picasso and Braque: Pioneering Cubism.'' New York Times, Sept 22, 1989.

dangerous and transformative: "Ultimately, feminist archaeology should be dangerous and transformative, questioning fixed disciplinary arrangements, including the basis of knowledge itself." K.A. Hays-Gilpin, Ambiguous Images: Gender and Rock Art. Walnut Creek, CA: Altamira Press, 2004.


isolated, abstract, and symbolic: A. Marshak, The Roots of Civilization: The Cognitive Beginnings of Man's First Art, Symbol, and Notation. New York: McGraw- Hill, 1972.

the stories, characters, processes: Ibid. "Certainly, shamans say they acquire their knowledge directly from spirits, but they grow up in cultures where shamanic visions are stored in myths." J. Narby, The Cosmic Serpent: DNA and the Origins of Knowledge. New York: J.P. Tarcher/Putnam, 1998.

the idea of immutable biological gender: K.A. Hays-Gilpin, Ambiguous Images: Gender and Rock Art. Walnut Creek: Altamira Press, 2004.

we live in a world: J.Lehrer, “Trials and Error—Why Science is Failing us.” Wired Magazine, January, 2012.

the cave as womb: Womb Rock is "a fertility shrine in the Providence Mountains of California's Mojave Desert...one of several large boulders fallen from a cliff and sculpted into organic shapes by erosion...It is decorated with many petroglyphs, some of which resemble male and female genitalia." There is "a Chemehuevi myth about a Woman of the Cave who became pregnant by the rays of the rising sun....Shamans may have passed through the birth canal of Womb Rock as part of a seasonal effort to renew the world." D. Slifer, The Serpent and the Sacred Fire: Fertility Images in Southwest Rock Art. Santa Fe: Museum of New Mexico Press, 2000.


help us understand: K.A. Hays-Gilpin, op .cit.

how shall we think of time: W. Bronk. From, "We Want the Mark of Time."

mountains I'll never see: T. Santōka. The entire poem is: "falling away  mountains I'll never see again." In, B. Watson, Translator, For All My Walking. New York: Columbia University Press, 2003. Santōka (1882-1940), an alcoholic who "failed" at everything except making poems, lived on the road for most of his life.

Enigmatic fluting: Speaking of Austrailan Aboriginal art, Robert Lawlor said: "Their traditional art consists of geometric patterns, purely geometric patterns. In these they could read vast amounts of information about plants, animals, landscape, and Dreamtime stories." According to one of Lawlor's informants, "'We had to put the animals there so white people would know that this is lizard dreaming place or that this other is kangaroo dreaming country.'" "Dreaming the Beginning: An Interview with Robert Lawlor." Parabola, Summer 1993.

visual hallucination: D. Lewis Williams and S. Challis, Deciphering Ancient Minds: The Mystery of San Bushman Rock Art. New York: Thames & Hudson, 2011.

the integral characteristics: D. Ley and R. Cybriwsky, "Urban Graffiti as Territorial Markers." Annals of the Association of American Geographers. December, 1974. Parentheses around 'kings' are mine.


While there are disagreements: .” T.M. Green, “Archaeological Evidence for Post-Contact Native Religion: The Chumash Land of the Dead.” Journal of California and Great Basin Anthropology, 23(2) 2001.

For example: From, "Willow." In, A. Garner, Collected Folk Tales. London: HarperCollins Children's Books, 2011.i

the burr: J. Beach. From, “Goathead.” In MS. Rev. 5/22/08