Some fatal attraction: (Flaubert, 1985)

nun:"Schizophrenics pass beyond ordinary language (the language of the reality-principle) into a truer, more symbolic language: 'I'm thousands. I'm an in-divide-you-all. I'm a no un (i.e., nun, no-un, no one).'" Quoting, M.A. Sèchehaya, A New Psychology in Schizophrenia. New York, 1956. (Brown,1966)

between forbidden:  J. Weishaus, "Nun."

the woman becomes: (Grossinger,1971). The writer is a scion of Grossingers, which was the largest hotel on the Borsht Circuit, "summer resort hotels in the Catskills and White mountains, where entertainment was provided for the guests." (Webster's New World Dictionary, 1980.)

the growing number: (Sigimoto,1994). Much earlier than this, we'd find a different kind of refuse:

Tamalpais: Located in Marin Co., CA., just north of San Francisco.

Konocti: Located in Lakeport, CA., by Clear Lake, the largest lake entirely within the state. An extinct volcano there gave rise to the myth of the lake's creation by Flame-man.

Konocti's flame not from Tamalpais,
doubting a corpse cremated by Clear Lake,
mountain whose lover is Flame-man's daughter
she's his sun, rising, drowning each other...
(J. Weishaus. From, "Konocti")

Atalaya: The four years I lived in Santa Fe I hiked this mountain, which climbs from 7,500 ft. to a little over 9000 ft., sometimes twice a week. One year, on Buddha's birthday, I organized a climb, hoping it would become a tradition such as the circumambulation around Mt. Tamalpais that took place during the late 1960s and early 1970s. It didn't.

actress: "Movie star Shirley MacLaine has decided against building her much-maligned dream house on Atalaya Mountain east of Santa Fe...MacLaine's property is part of about 600 acres of private real estate surrounded on at least two sides by the Santa Fe National Forest that would be affected by a proposed development moratorium....she is asking $1.5 million dollars for her four lots comprising 35 acres of mountainous real estate..." (Hayes,1993)

must be able:(Daumal,1986)

Orient Express: "This is the train that was the setting for Alfred Hitchcock's thriller film, The Lady Vanishes; it was the 'hero', so to speak, of Carol Reed's great film, The Night Train; it appeared again in Graham Greene's breathless novel, Stamboul Train. Writers of crime and detective fiction, like Agatha Christe, Simenon, Eric Amber and Leslie Charteris, have used it in their trans-European spy cases. In real life it has been used by emperors and crooks, by diplomats and maharajahs, by millionaires and dubious financiers, by adventurers and adventuresses, by abdicating monarchs and by famous men and women attempting for reasons of their own to travel incognito. (Hogg,1968)

the broad-brimmed: G. Snyder. From, "Smokey the Bear Sutra".

for the Iroquois: (Bierhorst,1985). "Among myths, the most impressive candidate for Old World origin has been the famous Earth Diver, the story of water creatures who take turns diving for a piece of solid land. The duck, the muskrat, the turtle, the crawfish, so some other animal succeeds but has had to dive so deep that by the time he returns he is half drowned or dead. In his claws, however, the others find a bit of mud that they magically enlarge until it becomes the earth. Not every Indian tribe has a myth about the creation of the earth. But of those that do, most have this one." (Ibid.)

they don't recognize: (J. Weishaus, "Gunning for it."). At Ettawa Springs, during the winter months, she was hired to watch over the usually empty summer homes. It was also hunting season in the neighborhood, the deer, too, on guard.

temple: (Eliade,1959). "The ziggurat was literally a cosmic mountain; the seven stories represented the seven planetary heavens; by ascending them, the priest reached the summit of the universe. A like symbolism explains the immense temple of Borobudur, in Java; it is built as an artificial mountain. Ascending it is equivalent to an ecstatic journey to the center of the world; reaching the highest terrace, the pilgrim experiences a break-through from plane to plane; he enters a 'pure region transcending the profane world." (Eliade; Ibid.)

if a man: L. Wittgenstein.

in his studio: (Dupin,1962). "At that moment I woke up, but I woke up in the dream, which went on. I was in the same place at the foot of the bed and at the very moment when I was saying to myself, 'It was a dream,' I noticed, even as I involuntarily searched for it, I noticed, as if spread out on a mound of earth and broken dishes or flat little stones, a yellow spider, ivory yellow and far more monstrous than the first nut smooth, and as if covered with smooth yellow scales and with long, thin, smooth, hard legs which looked like bones. Terror-stricken, I saw the hand of my mistress reach out and touch the scales of the spider; apparently she felt neither fear nor surprise. Crying out. I pushed her hand away and, as in a dream, I asked for the creature to be killed. A person I had not yet seen crushed it with a long stick or shovel, striking violent blows, and, eyes averted, I heard the scales cracking and the strange sounds of its soft parts crushing..." (Giacometti, 1985)

nature seems: (Anier,1991)

backpacking in: J. Weishaus, "Plumbing It"

The time: (Mazonowicz,1974))

St. George's Gallery: "The story is an ancient Oriental legend, absorbed into Christian hagiography, expanded and enriched by popular tales, and medieval stories of knights-errant and their adventures. In the earliest Greek legends (St. George) is a martyr, and the story of the princess rescued from a dragon was added during the late Middle Ages....Some examples show the saint in the act of striking down the dragon, often represented as a winged serpent-animal composite; others show the princess obeying the command of the saint. He has overpowered the monster and ordered her to bind it with her belt, and lead it like a tame dog into town, where it is finally slain." (Porter,1978.)
    "Chuang Tzu tells us of a determined man who at the end of three thankless years mastered the art of slaying Dragons, and for the rest of his days was not given a single chance to put his art into practice." (Borges,1969)

reproducing: (Butterick,1984)

twins: "Mineola, N.Y.C A man charged with impersonating his twin in order to have sex with the brother's girlfriend was cleared by a jury that deliberated just five minutes....(He) admitted having sex with the woman last year but said he had not pretended to be his brother Lenny. The woman said she called the police when she realized that the man she had had sex with was not her boyfriend. (The defense attorney) said the jury did not believe the woman was fooled."

the unmappable: (Wigley,1992)

fetishes: "Here I am less concerned with repeating the commonplace usage of fetishism as applied to monumental objects than suggesting what is perhaps a less obvious model of reification, one applicable to the low life of objects. This would reverse the monumentalization hierarchies implicit in, say, the obelisk as fetish by concentration on the insignificant and the trivial as material for fetishization. In other words, one might shift the focus from that which is enduring, timeless, and culturally hegemonic to that which is ephemeral--the temporally marked effluvia of culture subject to the continuous erosion of time. Fetishization in this context would certainly reify, but in a way that would freeze the transient and preserve what is normally cast off." (Apter,1992)

letter bombs: "In diagrams of nuclear warheads a tiny speck is labeled 'initiator.' If we seek its analogue in the letter we may ask either what initiated the letter, the literary work (or the visual symbol); or we can ask what is initiated by it. In the first case we have an endless recession, or a past origin initiated retrospectively by the present. In the second case we have something more useful; for although we may maintain that there are no beginnings, we cannot deny that there are changes, differences; and some differences are more critical than others, setting off further changes." (Schwenger,1992).
    Here the "Stone Age Painting of Eastern Spain" becomes an "initial condition," as in Chaos Theory, and "accurate copies" a "sensitive dependence upon" paleolithic art. The letter bomb is of course the explosive nature of creativity, imagination that our ancestors posted to us on the sensitive walls of caves. Robert S. McCully speculates that the cave walls may have stimulated the imagination in the way some Africans "became mute through being frightened at the (Rorschach ink blots') capacity to stimulate imagery they identified with aspects of their religion." (McCully,1984). Or did paleolithic numinality project from the cave walls themselves? In which case, all spiritual semiotics trace back to suggestive rock formations. Thus, "The Rock of Ages."

from the process: L. M. Silko, "Landscape, History, and the Pueblo Imagination." (Haplern, 1986). With reference to paleolithic caves: "Without clear frames or backgrounds, the individual subjects and subject groups seem to float in free space unencumbered either by earth or sky. Animals are sometimes drawn upside down relative to the floor and are often left incomplete...in the flickering light of a torch or tallow lamp, the unearthly qualities of the game animals on the cave walls must have been dramatically enhanced." (Dickson,1990).
    Human imagination was born of synesthesia from saltating cave walls, where frames, or lack of them, scumbled their contents across migratory fractures, hackles, and humps, so that the psychic prey that nourished our nascent souls could be successfully brought down. These techniques were carried forth over continents and cultures, most recently recovered as the "abstract movement" of contemporary art.

Martineau: (Martineau 1973). Martineau basically contends that many rock art inscriptions are pointers or signs, quite simple when one knows the language, which is, in many instances akin to still understood Indian sign languages. Young, however, points out that because "many of the unknown depictions are from the older Anasazi rock art tradition...with the exception of certain highly representational figures such as fluteplayers, deer, and mountain sheep, Zunis were generally unable to identify older Anasazi pictographs and petroglyphs." (Young,1988.)

masked by time: "The mask--perhaps we shall thus best indicate its function--is an instrument of unifying transformation: negatively, in that it annuls the dividing lines, e.g. those between the dead and the living, causing something hidden to be manifested; positively, in that through this liberation of the hidden, forgotten, or disregarded, the wearer of the mask becomes identified with it." K. Kerényi, "Man and Mask." (Campbell, 1960)

pending show: Nuclear Enchantment was originally exhibited at the Albuquerque Museum, May 19-August 11, 1991. In that show, all forty texts were on the wall alongside Nagatani's photographs. The paratexts were in five booklets, (two of which were stolen). At The Stanford University Museum of Art, October 19-December 12, 1993, the texts were displayed in manuscript form. These are the texts and paratexts collected under the title, the "Deeds and Sufferings of Light."

imperceptible: (Deleuze, 1987)

life's stripped: J. Weishaus, "Out There. "

    "Hair is a source of magic power or mana. Ringlets of hair, preserved as keepsakes, are believed to connect one individual with another over a distance. Cutting the hair and sacrificing it often means submission to a new collective state--a giving up and a rebirth. The coiffure is frequently an expression of a cultural weltanschauung. Primitive folk tales speak of demons being deloused and combed when they are caught, which means that the confusion in the unconsciousness has to be straightened out, ordered, and made conscious. (Von Franz,1987).
   "The belief that anything that binds or in any way implies a binding may have a restrictive or harmful effect is widespread in ancient and modern superstition. It has found its way into Jewish folklore (for example) in such precautions as to loosen the bride's hair before the marriage, to untie all the knots in the clothing of bride and groom, and to be careful that no knots are found in a shroud. These precautions were based not only on the general superstitious dread of knots, but equally on the fear that such knots might have been the subject of a sorcerer's interest." (Trachtenberg,1939).

a young woman: "(Rapture) comes, in general as a shock, quick and sharp, before you can collect your thoughts, or help yourself in any way, and you see and feel it as a cloud, or a strong eagle rising upwards and carrying you away on its wings....(At) times it was impossible to resist at all; my soul was carried away...and now and then the whole body as well, so that it was lifted up from the ground." (St. Teresa,1987)

Sailing up: "In the ninth century, Chu Ch'ing-yü, admiring Lake Tung-t'ing with the assistance of a flagon of wine, wrote:" (Schafer,1980)

"Yesterday, at the hour when the reddened sun touched the horizon, I was walking alone beside the lake, drinking in the perfumed breath of spring. Struck with admiration by the splendor of the sky, the mother-of-pearl tints reflected in the water, the soft green of new leaves and the fresh hues of the flowers, I strolled on until the gold and purple died out and the moon, goddess of love, poured floods of molten silver upon the earth.

"Suddenly I beheld a marvelous vision--a sleeping fairy appeared before me, reclining near the water on cushions of dark brocade. Her superhuman beauty, the supple elegance of her figure, her slender-fingered hands, the expression of her face--everything proclaimed a creature of the Upper Regions. In her slumber, her spirit appeared half detached from her like a halo of light. My own spirit, before this splendor, seemed to leave my body in ecstasy and to mingle deliciously with this indefinable radiation, and I was conscious of myriad sensations, at once glorious and most delicate. It was as though innumerable lights were all about me, now dancing, now disappearing." (de Morant,1928)

by an old cemetery:

What is difficult is easy if one sees with eyes of truth.
Ignore the peril to your own lives and draw near--
The world is strewn with skulls in the cold!
(Lan-hsi Tao-lung, "Poem on the Koan 'Joshu's Dog")

    The translator goes on to explain: "The poem might not seem to have much to do with the famous koan 'Joshu's Dog' (Mumonkan, case 1) in which the Chinese monk Ch'ao-chou (Joshu, 778-897), asked whether or not a dog has Buddha-nature, replied 'Mu!' The answer is neither an affirmation nor a denial, but an utterance that rejects entirely the duality implied by the question. Mumon's own poem on the case, however, contains the lines

The moment you deal with 'has' or 'hasn't'
You lose your life and perish!

    "Such poems about 'dharma battle,' the give-and-take between two Zen monks, are frequently full of the imagery of weaponry and death." (Pollack,1985)

towards the altar: (Burckhardt, 1984) "Far from being an attempt to stand in opposition and defiance against nature and its rhythms, Islamic architecture remains always in harmony with the environment. It always uses the lightest touch possible in creating a human ambience, avoiding that titanic rebellion against the created order that characterizes Promethean man and his artistic creations." (Nasr,1987).
    While, with the Gothic cathedral, "The Impulse behind the cathedral building was to provide the established church with imposing edifices which would consolidate and demonstrate the outer worldly masculine power of organized Christian religion." (A. McLean,"Alchemical Transmutation in History and Symbol." [Matthews,1984]).
    Japanese aesthetics, stemming from the Zen Buddhist tradition, in their following of the flow of natural shapes, are thus closer to Islam than Christianity.

Michael Davidson writes: (Davidson,1989)

The sun shines on me, I'm thinking about all of us
How we have and haven't survived but curiously famous
Alive or dead--X has become a great man, Y very nearly
Greater, perhaps in some other dimension, Z apparently
Still in a frenzy pursuit of universal admiration, fame & love
(P. Whalen. From, "International Date Line, Monday/Monday 27:XI:67")

systems that make: Ibid; Hayles.

the Arabic language: (Burckhardt) "The idea of formulating images out of a system of logic (using mathematical codes rather than photographically captured light waves) is intrinsically the same as that of Oriental and Islamic art. In these ancient traditions, representation of an object is not always depicted as it appears to the eye. Rather, it is a diagrammatic or schematic image of a concept." (Lovejoy,1989).

To Indians: B. Toelken. "The objective or manifested comprises all that is or has been accessible to the senses, the historical physical universe, in fact, with no attempt to distinguish between present and past, but excluding everything that we call future, but not merely this; it includes equally and indistinguishably all that we call mental--everything that appears or exists in the mind, or, as the Hopi would prefer to say, in the heart, not only the heart of man, but the heart of animals, plants, and things, and behind and within all the forms and appearances of nature in the heart of nature." (Wharf,1956)

extraordinary vigor: M. McClure, "The Artist as Endangered Species: Beat Ecology & Mutual Bio-Support." (Interview conducted by G. Nicosia, July, 1978. [Montgomery,1986]).

by the time: (Johnson,1983).

shared philosophy: What makes artists like Picasso, Matisse, Giacometti, et al. so extraordinary is that they subsumed the manifestos that spawned them. like motes, in the public eye. None of the Beats who became major poets have successfully done this. Like the Beatles, they are still who they were, not who they became; stories about them are most always prefaced by a reference to the Beats.

his world: (Merleau-Ponty,1964). "Both Camoin and Larguier display a wholesome skepticism towards the fantastic accounts of Cézanne's misanthropy, which they dismiss as part of the Cézanne legend. To them the old painter showed nothing but gentleness and a slightly quaint old-fashioned courtesy. Larguier writes: 'For two years I saw Paul Cézanne constantly, almost every day, and there was never a shadow between us. He has been called a barbarian, morose, and persecuted; in reality he was only shy and one had to gain his confidence.' To which must be added the testimony of Cézanne's brother-in-law, Maxime Conil: 'Paul was not a savage; he was a solitaire'." (Mack,1935).

who he was: "At about this same instant I found myself before a full-length mirror and, looking into it, was confronted by a huge, magnificent specimen of a tiger! Simultaneously, I think, with my perception of the image, I became aware of my tiger's body...I was in this body, and felt this body as I never have been in or felt my own. Yet even with what seemed my complete immersion in my tigerness, I did retain some infinitesimal human awareness." (Masters,1966).

This is to say: (Blanchot, 1982) "For the writer, tracing the boundaries of an aesthetic space would involve the impossible task of achieving mastery over a language that is all he has but doesn't belong to him; it never stops engendering meanings alien to his aesthetic designs." (Bersani,1993).

no footprints: "it's what that single footprint meant to Robinson Crusoe, in Defoe's mind. It's there, physically, without question. What Defoe then realizes, by means of Crusoe, is the informational crises it provokes in another human." (Creeley,1979).

The sharpness of reality: (Turner,1984)

lack of initiation: "The traditional idea of initiation combines an introduction of the candidate into the techniques, duties, and prerogatives of his vocation with a radical readjustment of his emotional relationship to the parental images. The mystagogue (father or father-substitute) is to entrust the symbols of office only to a son who has been effectually purged of all inappropriate infantile cathexes--for whom the just, impersonal exercise of the powers will not be rendered impossible by unconscious (or perhaps even conscious and rationalized) motives of self-aggrandizement, personal preference, or resentment. Ideally, the invested one has been divested of his mere humanity and is representative of an impersonal cosmic force. He is the twice-born: he has become himself the father." (Campbell,1973). In this book, Campbell is of course addressing initiatory practices of tribal societies, and patriarchal ones at that. This information is useful as a datum, but doesn't directly offer solutions to the present crisis of neoteny in industrialized societies, whose religions have so corrupted myth and spirituality (thus, the "hero's journey") that any moves in this direction are apt to be undermined for profit. What is left is personal (re)discovery, and covert teaching by the example of one's life.

the change from: J. Weishaus. From, "Notebook."

"initiatory objects: "when he was made into a medicine man, a very old doctor came one day and threw some of his atnongara stones ("small crystalline structures") at him with a spear-thrower. Some hit him on the chest, others went right through his head, from ear to ear, killing him. The old man then cut out all of his insides, intestines, liver, heart, lungs--everything in fact, and left him lying all night long on the ground. In the morning the old man came and looked at him and placed some more atnongara stones inside his body and in his arms and legs, and covered over his face with leaves. Then he sang over him until his body was all swollen up. When this was so he provided him with a complete set of new inside parts, placed a lot more atnongara stones in him, and patted him on the head, which caused him to jump up alive." (Spenser,1904).
   In the Western tradition, "The Self is not already present from the beginning in a comprehensible form but manifests itself only through the outer and inner realizations of a life lived to its end. For this reason (C.G.) Jung has likened it to the crystal lattice present as a potential form in a solution but which first becomes visible in the process of crystallization, although crystallization does not necessarily take place. The Self is therefore not complete but is present in us as a potentiality which can become manifest only in the course of a specific process. (Jung,1970)

Red spots: "An old woman...died within a few days after the bomb, showing many spots on her body. Dr. S (who had attended her) told me: 'I know it is terrible to say this, but those spots were beautiful. They were just like stars--red, green-yellow, and black--all over her body, and I was fascinated by them.'" (Yoko Ota. [Lifton,1967])

soul-searching: (Basilov,1990)

the views he expressed: (Naxon,1993)

balance: "I first became aware of the significance of the shaman's need for exquisite balance in my contact with the Huichol Indians of North Central Mexico several years ago. For some time I had been working with a Huichol mara'akame, or shaman priest, named Ramón Medina Silva. One afternoon, without explanation, he interrupted our sessions of taping mythology to take a party, Huichol friends and myself, to an area outside his home. It was a region of steep barnacles cut by a rapid waterfall cascading perhaps a thousand feet over jagged, slippery rocks. At the edge of the fall, Ramón removed his sandals and announced that this was a special place for shamans. He proceeded to leap across the waterfall, from rock to rock, frequently pausing, his body bent forward, his arms outspread, head thrown back, entirely birdlike, poised motionlessly on one foot. He disappeared, reemerged, leaped about, and finally achieved the other side....I knew I had witnessed a virtuoso display of balance, but it was not until the next day, when discussing this event with Ramón, that I began to understand more clearly what had occurred. 'The mara'akame must have superb equilibrium...otherwise, he will not reach his destination and will fall this way or that," and his finger plunged into an imaginary abyss. 'One crosses over; it is very narrow and, without balance, one is eaten by those animals waiting below.'" B.G. Myerhoff, "Shamanic Equilibrium: Balance and Meditation in Known and Unknown Worlds." (Hand,1976).

as a young boy: "That is why one will be all the more struck, I think, by the paintings in which a larger part is given to facts that unroll themselves inside the mind of the painter as he works--I mean the most specifically mental facts, foreign to the objects he intends to represent, even when these facts are delirious or absurd. I think the resulting discord, far from weakening the grasp on the existence and life of the object represented, will augment it greatly....I am pleased when life itself is questionable in every part of the painting, I am pleased to see life in trouble, going insane--hesitating between certain forms that we recognize as belonging to our familiar surroundings, and other that we do not, and whose voices astonish--giving rise to ambiguous forms, coming at the same time from both poles. Ambiguous facts have always a great fascination for me, for they seem to me to be located at just those intersections where the real nature of things may be revealed." J. Dubuffet,  "Landscaped Tables, Landscapes of the Mind, Stones of Philosophy." (Selz, 1962).

information: "The Picots have acquired the reputation of being quite the darkest of the peoples of Dark Age Britain. As the formidable enemies of the Romans swarming over Hardpan's Wall the Picots are familiar enough, but before and after this break in the clouds all is obscure and what people remember best about the Picots is that very little is known about them. Virtually no Picnic records have survived and modern scholars can still not provide neat answers to such basic questions as, who they were, what language they spoke, what they called themselves and what happened to them after the Scots took over. There is a large corpus of Picnic monumental art of high quality but it is unfortunate that even here, where the advocate for the interest and importance of the Picots has its strongest case, there should be prominently displayed on these sculptures an elaborate but quite unintelligible symbolism." (Henderson,1967).
   But what is known, what needs to be known, about past cultural projects in order to motivate our present situation? "A postmodern artist or writer is in the position of a philosopher: the text he writes, the work he produces are not in principle governed by reestablished rules, and they cannot be judged according to a determining judgement, by applying familiar categories to the text or to the work. Those rules and categories are what the work of art itself is looking for. The artist and the writer, then, are working without rules in order to formulate the rules of what will have been done. (Leotard,1984)

that the unborn: Review of Steven Pinker's, The Language Instinct. (Coe, 1994).

This is what: (Merleau-Ponty,1964)

low-browed: J. Weishaus, "On Steam-On Line." Written at The Geysers, a large geothermal generating station in Sonoma Co., California, as exploitation of geothermal resources were beginning in Lake Co. "If we could get permits, we'd put holes all over Lake County." (Union Oil spokesman). Already at my cabin in Lake Co., when the West Wind prevailed the stink of sulfur from Sonoma wafted over.
   The commercialization of The Geysers began in 1921, when "J.D. Grant, of Healdsburg, California, began drilling on the hillside to the east of Geyser Creek with the hope of utilizing the steam for power. At the time he was unaware of the fact that a similar project had already been successfully attempted at Larerello in Tuscany, but he had become impressed with the constant escape of steam at The Geysers and its relatively high temperature at the surface and believed that both would increase with depth. The results confirmed his conclusion, though the first shallow bore-hole, when closed, blew out the casting and was abandoned. In the following summer the well now designated No 1 was drilled on the east bank of Geyser Creek and reached its present depth (203 feet) in September 1922.." (Allen,1927).

hanging carpets: (Semper,1989)

no monsters: (Frascari,1990)

everything in this: J. Weishaus, "Night At Sea."

Terry Lindbloom's installation:

Continuing the tradition of the Hoshour Gallery, which brought artists with international reputations to this storefront space near the railroad tracks in downtown Albuquerque, for two months Kathleen Shields loaned three modest rooms of her new project space to the pragmatic imagination of Terri Lindbloom's austere constructions of metal bars welded at right angles, attached to, disappearing into, the limen of the gallery's white walls.

Using also glass, along with photographs of her video stills, Lindbloom, an installation artist based in Tallahassee, Florida, creates airy systems of positive space that realize an aesthetic formed during her three summers in northern Morocco, as well as her studies of church architecture in southern Europe.

Demurely dressed with sheets of sandblasted glass, one etched with Noël Arnaud's abrupt Je suis l'espace où je suis, declaring the artist's relationship with recursive transitional space, the artist imposed a squarely seated structure with anthropomorphic intonations, a sort of skeleton of a Henry Moore woman; her lengthy lap.

In the adjoining room, a similarly constituted work--though we can walk into this one's interior of three sides--is baptized with natural light from the peaked skylight directly above.

Wedded to the straight lines and right angles that grace Western aesthetics, crescent shaped clamps serve to torque Lindbloom's study of Islamic symbolic motivations. This dialogue between transcendent values and local codes continuously marks her work, as with the three empty cradles which, when tipped, describe their arc in the air without losing their ponderous grounding, even while playing off the rigid splayed-out sparseness of their siblings in the other rooms.

Hope is rocked in these gravid crucibles, as the darkest, most violently confusing of times always gestate diffused illumination, as when Lindbloom used batting to cushion the heavy stanchions from scoring the gallery's wooden floor; then seeing stray waves and sprays of the cotton, she incorporated them into the flux of her vision.

With an eye for foundational concerns, and a feeling for sacral space, the brazen activity of Lindbloom's mind is fused with what she constructs, fleshing out the irony of postmodernism's 'difficult unity of exclusion,' by reclaiming the broken bones of our most ancient beliefs as ironically dysfunction spaces."
(J. Weishaus, "Terri Lindbloom at Kathleen Shields/Contemporary Art Projects, Albuquerque, NM.")

The serpent saw him: (Kotzwinkle,1971) Their first encounter: "The serpent pushed him, and roaring with anger, he pushed back, but the stones slid beneath his feet. He slipped backward, and the sharp cold teeth of the serpent came between his legs, knocking him off balance. He struggled to hold on to the serpent with his trunk, but his legs were pushed from underneath him. The ground slipped away, he fell, and bleating furiously, tumbled down the hill.
    "Dumbfounded at the outrage, he struggled to his feet. The serpent passed without further attack. Its tail clicked triumphantly, and its harsh scent filled the air, burning his nose." (Ibid.)

Father needs: "I have a lot of dreams where my dead father is helping me do something or showing me something. In a typical dream I find myself in some trashy polluted place, and he says, "Come through this drainpipe, I'll show you another place.'" Durham, 1993).
    "It's a paradox, but with old age, the more the possibilities diminish, the better chance you have. With diminished concentration, loss of memory, obscured intelligence--what you. for example, might call 'brain damage'--the more chance there is for saying something closest to what one really is. Even though everything seems inexpressible, there remains the need to express. A child needs to make a sand castle even though it makes no sense. In old age, with only a few grains of sand, one has has the greatest possibility." (Beckett,1987)

Meanwhile: F. Hölderlin. From, "Bread and Wine".

joining and untying: M. Pierssens, "Detachment." (Kritzman,1981).

BIBLIOGRAPHY