as a way to control: P.
Devereux, The Long Trip. New York: Penguin/Arkana, 1997.
to become animal:
Deleuze and F. Guattari, Kafka: Toward a Minor Literature.
Minneapolis: University of Minnesota Press, 1986.
Pagel, "Infinite Stupidity: A Talk with Mark Pagel." [12.15.11] http://www.edge.org/
And as he sees: T.
Hughes. From, "Crow's Battle Fury."
pecking through: C.
Grant, Rock Art of the American Indian. New York: Thomas
Y. Crowell, 1967.
some of the finest: Ibid.
from the stone
I lay cultivating the borderline between sleep and wakefulness,
night and day, wondering about the shapes I will soon see.
I try to recall my dreams, but I've slept like the stone
itself." B. Monsma, "Seeing Through Stone: Visions of Chumash Rock Art."
Interdisciplinary Studies in Literature and Environment.
Lewis-Williams and D. Pierce, Inside the Neolithic Mind.
Thames & Hudson, 2005.
the color of bone;
Momaday, "Octopus." In, The Man Made of Words. New
York. St. Martin's Press. 1997.
so little: "There are the interests about which one dreams; they are not those
about which one makes calculations. These are mythical interests."
G. Bachelard, "The Charon Complex, The Ophelia Complex." Spring
including rocks: “The
mineral life multiplies its images despite the voice of reason. The
most stable forms begin to change their shape as soon as they are
imagined to be alive.” G. Bachelard, Earth and Reveries
of Will. Dallas: The Dallas Institute Publications, 2002.
not loud: M. Oliver. From,
in our modern: N.S. Momaday,
the most important: G.B.
Magical Level on Consciousness." Journal
of Jungian Theory and Practice. Vol. 5 #1, 2003.
Dreams form: A.
Gorky, (Vostanik Manuk Adoyan.) Quoted in, B. Hess, Abstract
Los Angeles: Taschen, 2005.
The Materiality of Stone. Oxford: Berg, 2004.
by sacred I mean: J.S.
Bernstein, Living in the Borderland. Hove: Routledge, 2005.
someone there: T. Santōka.
I(n, For All My Walking. B. Watson, Translator. New York: Columbia
University Press, 2003.
Site triumphed: E.S.
Casey, "Reality in Representation." Spring Journal,
1993. Casey points out that "The Dutch masters of the seventeenth century—van
Ruysdael, Rembrandt, Hobbema—worked within a few score miles of
Descartes and Huyghens. The triumph of Space in Cartesian philosophy
(in which Matter = Space) went hand in hand with the ascendancy of Place
in painting." Ibid.
extended by the
dreams: G. Bachelard, Earth and Reveries
of Will. Dallas: The Dallas Institute
"The notion that 'reality' is somehow the prerogative
of experience in contact with a world of sense-data there are personal
and objective, and that dreams, visions, and fantasies belong to
a realm that is less solid and correspondingly interior or 'subjective',
is a familiar theme in philosophy and science. But these commonplace
assumptions are the result of an historical development, in which,
while the idea of an objective science concerned with quantifiable
aspects of phenomena develops, so the more elusive and qualitative
aspects of experience come to be assigned to a private and subjective
realm. If, in reverie, dream, or some other imaginative mode, images
emerge from the realm, they must be derivative and secondhand -
supposedly more reproductions of what was originally an authentic,
perceptual experience." D. Maclagan, "Fantasy and the Figurative."
In, Pictures At An Exhibition. A. Gilroy & T. Dalley,
Editors. London: Routledge, 1989.
salt water: C.
Tilley, op. crit.
beside the path:
the Narrow Road: Journey into Lost Japan. New
York: Summit Books, 1989.
The hermit said:
Bly. From, Listening."
one of the best
Whitley, A Guide to Rock Art Sites. Missoula: Mountain Press
Publishing Company, 2001.