let's say ayahuasca: In particular, J. Narby, The Cosmic Serpent. New York: J.P. Tarcher/Putham, 1998.

describes as: J. Glass, "Tales of the Ethnosphere." Utne, March/April 2004. http://www.utne.com/2004-03-01/Tales-of-the-Ethnosphere.aspx

the artefact in the text: C. Tilley, “On Modernity and Archaeological Discourse.” .Meta Archaeology Project. http://archaeology.kiev.ua/meta/tilley.htmlre: http://www.utne.com/2004-03-btEbj


a celestial ocean: T. Hudson and K. Conti, "The 'Aquatic Motif' in Chumash Rock Art." Journal of California and Great Basin Anthropology. Vol. 3 No. 2, 1981.

The spider, outlined: B. Monsma, "Seeing Through Stone: Visions of Chumash Rock Art." Interdisciplinary Studies in Literature and Environment. Summer 2001.

certain rock art sites: D.S. Whitley, Introduction to Rock Art Research. Walnut Creek: Left Coast Press, 2005.

when a Haida woman: P.M. Locke, “The Liminal World of the Northwest Coast.” In, S.L. Cataldi and W.S. Hamrick, Editors, Merleau-Ponty and Environmental Philosophy. Albany: State University of New York Press, 2007.

I love the earth: G. Kinnell. From, "Middle of the Way."


density of meaning: J. Hillman, "Alchemical Language." Dragonflies: Studies in Imaginal Psychology. Fall 1978.

seem to have lived: Monsma, op. cit.

that his informant: T. Blackburn, December's Child: A Book of Chumash Oral Narratives. Collected by J. P. Harrington. Berkeley: University of California Press, 1975.

the spirits: "Katchinas are benevolent anthropomorphic supernaturals vaguely considered ancestral and associated with clouds and rain. They very often personify the power in objects such as the sun, earth, corn, and so forth, and bring rain and well-being to the people. Although it is these supernaturals which are personified in the masked dances, the dancers also are referred to as katchinas." P. Schaafsma and C. F. Schaafsma, "Evidence for the Origins of the Pueblo Katchina Cult as Suggested by Southwestern Rock Art." American Antiquity, Vol. 39, No. 4. Oct., 1974. The Schaafsmas contend that, from rock art evidence, the katchina cult didn't appear among the Anasazi, the ancestors of Pueblo societies, until after 1300 C.E. (Also spelled kachina.)

masks of infinite possibility: N.S. Momaday, "The Native Voice in American Literature." In, The Man Made of Words. New York: St. Martin's Press, 1997.

I remembered that when: Personal email, 3 August 2008. [Name withheld]

one evening: E. Guillevic. From, "Terraqué."


delivers signs: T. Lamarre, "Diagram, Inscription, Sensation." In, B. Massumi, Editor, A Shock To Thought. London: Routledge, 2002. During The Heian Period (794-1185 C.E.), Buddhism and Taoism were at their height, as were the arts.

a loud and colorful voice: Graffiti artist, Mear.

the evidence indicates: Whitley, op.cit. See, M. Lorblanchet, "Spitting Images: Replicating the Spotted Horses at Pech Merle." Archaeology, Vol. 44, 1991.

someone built a campfire: J. Serfustini, "$4,000 reward for info on 9-mile vandalism." Sun Advocate, (Price, UT) March 23, 2012.


recognizably the same: E. Casey, "Reality in Representation." Spring Journal 1993.

reclassified in the modern: J. Clifford, The Predicament of Culture. Cambridge: Harvard University Press, 1988.

science's taxonomy: "Archaeology is entirely contingent on the historical sequence of discoveries, and on numerous other factors that have nothing to do with objectivity, but are random forces producing a mythology of the human past. The divisions of the Upper Paleolithic are entirely based on perceived tool styles, they have no historical validity whatsoever, they are simply a fantasy of archaeologists. If discoveries had occurred in a different sequence, these divisions would be totally different today. One should not expect these entities to be scientific or objective or valid." R.G. Bednarik, "Boundaries" The Semiotic Review of Books, Vol. 10 No 1., 1999.

I want to stay here: From, "How the Animals Chose Their Places." (Northern Paiute). English version by J. Ramsey, after I. Kelly.