mountains: G. Snyder, "Knots in the Grain." Interview with the
New York Quarterly. (n.d.) In, The Real Work: Interviews
& Talks 1964-1979.
New York: New Directions, 1980.
love(s) both the
object and the Dream: M. Rothko, Writings on Art.
New Haven: Yale University Press, 2006.
what does not
Moses and Aaron, Nadav, Avihu and the seventy elders went up. And
they saw the God of Israel and under His legs it was like a paving
of sapphire and bright like the sky. And unto the nobles of the Israelites
He did no damage, but they saw God and they ate and drank." Exod.24.
Boyarin continues: "Normally one is not permitted
to see God, and it is very dangerous to do so, which is why here
the Torah makes explicit the fact that in this special moment the
people were vouchsafed this vision without there being any danger." D.
Boyarin, "The Eye in the Torah: Occular Desire
in Midrashic Hermineutic." Critical Inquiry Spring, 1990.
At arm's length
the image: C. Eshleman. From, “Placements."
over rock walls: "Nearly
all, if not all, European Neolithic solstice sites of ancient dolmens,
cairns, tombs and stone circles formed
events such that
light was channeled to penetrate and dominate shadow. This sun-penetrating
template was not always the case in the Chumash cosmological
landscape nor did they form sites with dolmens, cairns, tombs and
stone circles. While there are many events with light
penetrating shadows, there are other events where shadow penetrates
light. There are additional events where light and
shadow meet as equals; one does not dominate the other. It appears
these types of balanced events can be interpreted that light and
shadow are equals." K. Kempton, "Yak Tityu Tityu, Northern Chumash,
and the Chumash:
A General Overview." The Slo Coast Journal, September 2011. http://www.slocoastjournal.com/docs/archives/2011/sept/index.html
How shall I name
Yeats. From, "Introductory Lines."
begin as an unknown: M.
Rothko, "'The Romantics Were Prompted,' 1947." In, Writings
on Art. New Haven: Yale University Press, 2006.
we are witnessing: C.
Tilley, Introduction to, C. Tilley, Editor, Interpretative
Oxford: Berg Publishers, 1993.
I arrrive at the
end of the path: "Following a path means following an
already established order, or at least acknowledging such as order—hence,
the importance of the path as an agent in certain myths. The idea
appears pervasively in the customs of many societies, and without
a path there is no procession." R.L. Castro. In, A Perez-Gomez and
S. Parcell, Editors, Chora Three: Intervals in the Philosophy
of Architecture. Montreal: McGill-Queen's University Press, 1999.
Ethnology essentially is the same discipline as Cultural
Anthopology in the US, Social Anthpology in the UK.
To read or to
attempt: Ibid, Tilley. The physicist Niels Bohr
wrote, "It is wrong to think that the task of physics is to
find out how nature is. Physics concerns what we can say about
in, H. Atmanspacher and H. Primas, Editors, Recasting
New York: Springer, 2009. From still another viewpoint: "The key
to understanding this new state of being is language: the understanding that
language is not merely a device for communicating ideas about the
world but rather a tool for bringing the world into
existence. Art is a form of world building, of
mind construction, of self-creation, whether through interactive
or psychoactive systems, molecular modelling or nano-engineering.
Art is the search for new language embodied in forms
and ehaviours, texts and structures." R. Ascott, "Moistmedia,
Technoetics and the Three VRs" 2/28/2012. http://www.hz-journal.org/n16/ascott.html
exaggerated erection: See
my "The Original Model For Adam." http://www.cddc.vt.edu/host/weishaus/Art/adam-1.htm
When the anthropologist Felicitas D. Goodman retired from university
teaching, she moved to northern New Mexico and began experimenting
with body postures, on the theory that the various postures assumed
by shamans, yogis, Zennists, et al., affected not only the body but
also the mind. She found that the Lascaux 'shaman' was
drawn on the wall on a thirty-seven-degree angle; and so, "using
chairs, pillows, sleeping bags, and the like," placed her
volunteers at that angle. As they were in a
position, she expected them "to have a restful fifteen
minutes in that posture. Instead, things quickly became quite dramatic,"
with energy rushing around their bodies, one reporting "an orgasm
in my head." F.D. Goodman, Where the Spirits Ride the Wind.
Bloomington: Indiana University Press, 1990.
the vizier's language:
refer's to the "Creationist poet," Vicente Huidobro, (1893-1948)
who called himself Altazor (a compound word from alto (high)
and azor (hawk).
"Like the shaman who unites all
nature into a single moral order, the Creationist poet also incorporates
every aspect of reality, recreating it, 'humanizing it,' and letting
it speak through him." D.M. Guss, Editor, The Language
of the Birds. San Francisco: North Point Press,
1985. "Huidobro claimed that this cornerstone
to the Creationist aesthetic derived from the statement of an Aymara
shaman who said: 'The poet is a God. Don't sing about rain, poet.
Make it rain!.'" [Footnote 2.)
Here and now
I have to dilute: V. Huidobro. From, "Altazor, Canto 5."
a celestial ocean:
Hudson and K. Conti, “The Aquatic Motif of Chumash Rock
Art.” Journal of California and Great Basin Anthropology.
The tides are in our veins, we still mirror the stars,
life is your child, but there is in me
Older and harder than life and more impartial, the eye
that watched before there was an ocean.
R. Jeffers. From, “Continent’s End.”
by placing the
Bachelard, "The Charon Complex, The Ophelia Complex." Spring
Was death not: Ibid.
When the moon's
rocks: J. Hillman, "Silver and the White Earth." Spring
Campbell's theory of the "monomyth," in The Hero
With a Thousand Faces. Novato:
New World Library, 2008.
I saw Allen Ginsberg:
Poetics @ Listserv.Buffalo.edu. December 14, 2004.
I like the idea: S. Beckensall, Prehistoric
Rock Art in Britain. Sermons in Stones. Amberley: Stroud,