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
the artefact in
the text: C. Tilley, “On Modernity and Archaeological
Discourse.” .Meta Archaeology Project. http://archaeology.kiev.ua/meta/tilley.htmlre:
a celestial ocean:
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.
Through Stone: Visions of Chumash Rock Art." Interdisciplinary
Studies in Literature and Environment. Summer 2001.
certain rock art
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
I love the earth: G.
Kinnell. From, "Middle of the Way."
density of meaning:
Hillman, "Alchemical Language." Dragonflies: Studies
in Imaginal Psychology. Fall 1978.
seem to have lived: Monsma,
that his informant: T.
Child: A Book of Chumash Oral Narratives. Collected
by J. P. Harrington. Berkeley: University of California Press,
the spirits: "Katchinas
are benevolent anthropomorphic supernaturals vaguely considered
ancestral and associated with clouds and rain. They very often personify
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
Buddhism and Taoism were at their height, as were the arts.
a loud and colorful
the evidence indicates: Whitley,
op.cit. See, M. Lorblanchet, "Spitting Images: Replicating the
Spotted Horses at Pech Merle." Archaeology, Vol. 44,
a campfire: J. Serfustini, "$4,000 reward for info on 9-mile vandalism." Sun
Advocate, (Price, UT) March 23, 2012.
Casey, "Reality in Representation." Spring Journal
the modern: J. Clifford, The Predicament
of Culture. Cambridge: Harvard University
is entirely contingent on the historical sequence of discoveries,
and on numerous other factors that have
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
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
I want to stay
here: From, "How the Animals Chose Their Places." (Northern
Paiute). English version by J. Ramsey, after I. Kelly.