melody: Most sensory information
travels through the brain via primary sensory pathways that
converge in the thalamus, which is a sort of "central relay station." Here
it is sorted out, then sent on to "relatively specific
and localized receiving areas in the higher (cortical) levels
brain. On their way from the sensory receptors to the thalamus,
the signals pass an area of the brain stem and midbrain to
which the sensory pathways have lateral connections." Encylopedia
shape: The main function of the hypothalamus is homeostasis,
or maintaining the body's status quo of blood pressure, temperature,
fluids and electrolytes, and body weight. All are held to a are
held to "set-point." The set-point can change over time,
but normally remains remarkably steady. To achieve this, the hypothalamus
receives information from all over the body, and initiates "compensatory
changes if anything drifts out of whack."
vague: O. Paz, Marcel Duchamp--Appearance Stripped
Bare. New York, 1978. p.36
Bride: At the upper end of the brain stem "are
the thalamus and hypothalamus, once poetically
compared to the inner or bridal chamber of the house, and the room
immediately beneath it." R.M. Restak, Brainscapes.
New York, 1995. p.17.
The Bride Stripped Bare
by Her Bachelors, Even is a double glass, 109¼" high by
69¼" long, divided horizontally into two halves by double lead
wire. It was "finally unfinished" in 1923. In 1926, it
had its first public exhibition, at the Brooklyn Museum. Broken in
transit, Duchamp said, "I see in (the cracks) a strange purpose
for which I'm not responsible, a design ready-made in a way that
I respect and love."
French, the title ends with 'méme', which is always translated as the
adverb 'even'. Of course, as has often been noticed, phonetically it
could also mean 'm'aime', that the bride 'loves me'. (This interpretation
has supported an incest theory coupling Duchamp with his sister Suzanne.)
It appears Duchamp added the 'méme' to the title after his arrival
in the United States in 1915, when he was experiencing the disjointedness
of the French language from the point of view of someone trying to
teach it to Americans. If 'méme' were understood as an adjective (Duchamp
himself said it was an adverb), it could mean 'the same', such as 'Vest
la méme chose' (that's the same thing), 'Vest moi-mémé' (it's me),
or 'quand plusieurs verbes ont un méme sujet' (when several verbs have
the same subject). In any case, it does seem possible that Duchamp
hints the bride and the bachelors could be diverging facets of the
single person who invented them." J. Mink, Marcel Duchamp,
1887-1968: Art as Anti-Art. Benedikt Taschen, 1995.
to (Paul) MacLean, the thalamus is the first evolution of life from
reptile to mammal associated with mother-child communication as well
as maternal instinct. E. de Beauport, The Three Faces of Mind.
Wheaton, IL., 1996. p.79.
again: "In the complex vertical composition,
Duchamp's bride remains forever isolated on the top, his bachelors
ever celibate on the bottom....what connections exist between the
two sexes has the function of alternations." C.A.
Jones, "The Sex of the Machine: Mechanomorphic Art, New Women,
and Francis Picabra's Neuraesthenic Cure." In, C.A. Jones
and P. Galison, Editors, Picturing Science Producing Art.
New York, 1998. p.171.
doesn't: For an opposite view: "For the most
part, we do not subject scientists to literary criticism, and the
fact that we don't tends, I think, to dehumanize them. I think
it tends, for example, to perpetuate the sense that the scientific
profession consists of interchangeable parts. Nobody would think
of the literary community that way. Nobody would think that if
a poet were to die, somebody else would automatically step into
his shoes and continue his work." E. Manier, "At The
Intersection of Knowledge and Values: Fragments of a Dialogue in
Woods Hole, Massachusetts, August 1990. In, A. Harrington, Editor, So
Human a Brain: Knowledge and Values in the Neurosciences.
Boston, MA., 1992. p.286.
devil: James Clerk Maxwell. (1831-1879) During
his early days at the Edinburgh Academy he was given devil
- on - two sticks, a toy which he always had with
him from that time on when he was on holiday at Glenlair, on holiday
in Glasgow, and he even took it with him when he went to study
at Cambridge University. James quickly became an expert at making
the devil do wonderful tricks, which almost seemed to defy the
laws of physics. This toy, and others he was given as a child,
must have had a profound effect on Maxwell. Later he was to apply
his mathematical skills to a study of the dynamical top, doubtless
still trying to understand the behaviour that had filled him with
so much wonder as a child. J. J. O'Connor and E F Robertson, A
Visit to James Clerk Maxwells House. http://www-groups.dcs.st-andrews.ac.uk/~history/HistTopics/Maxwell_House.html
intralaminar: S. Blakeslee, "How the Brain Might
Work: A New Theory of Consciousness." In, N. Gade, Editor, The
Science Times Book Of The Brain. New York, 1998. p.235.
people: "Perhaps the most distinctive feature
of the Indians of the northern part of the Willamette Valley as
well as along the lower Columbia River was their head shape. These
people bound their children as infants in cradleboards. They fastened
a moss or cedar bark binding against the child's skull and tightened
the pressure to mold it. All high born Indians of good social standing
in the northern Willamette Valley as well as the Chinook along
the Columbia had these distinctive flattened heads. Only poor people
or perhaps slaves had ugly round heads!" S.D. Beckham, The
Indians of Western Oregon: This Land Was Theirs. Coos Bay,
OR., 1977. p.48
is a very: M-L Von Franz, Alchemy. Toronto,
Canada, 1980. p.174.
names: "these names make themselves available
to the diverse meanings given them by passers-by; they detach themselves
from the places they were supposed to define and serve as imaginary
meeting-points on itineraries which, as metaphors, they determine
for reasons that are foreign to their original value but may be
recognized or not by passers-by." M. de Certeau, "Walking
in the City." In, The Practice of Everyday Life.
Berkeley, CA., 1984.pp.104.
streets: "Imagine that you are standing at a
busy intersection watching car drive by. Your eyes send information
to two peanut-size clusters deep in the brain known as the lateral
geniculate bodies of the thalamus. This structure is segregated
into parvocellular (parvo) and magnocellular (mago) divisions.
The parvo, or slow-processing system, appears to process information
about color, while the magno, or fast-processing system, appears
to process information about movement, location, and spatial organization.
The parvo system 'sees' what color a fast-moving car is, and the
magno system 'sees' how fast a car is moving. It is then the responsibility
of the cortex, working with the cerebellum, to piece this information
together and give us the seamless perception of a red car whizzing
past us." J.J. Ratey, A User's Guide To The Brain.
New York, 2001. p.63.
strange: "Scientists and philosophers seek to
make (the brain) into an orderly citizen of the new suburbs of
knowledge, but at some point it invariably darts back into the
maze of ancient city streets where maps prove almost useless and
where you know your way around if at all, by feel." D.B. Morris, The
Culture of Pain. Berkeley, CA., 1999. P.15.
bride: J. Mink, Marcel Duchamp, 1887-1968: Art
as Anti-Art. Benedikt Taschen, 1995.
Bride's names are Motor-Desire, Wasp, and Hanger Female...For H.P.
Roché the Bride is a mixture of dragonfly and praying manis." O.
Paz, Marcel Duchamp: Appearance Stripped Bare. New York, 1978.
greed: Limbic structures such as the amygdala, and
the hippocampus project to the hypothalamus, and probably have
a function in regulating limbic behaviors, such as anger, violence,
eating, and reproduction.
thalamo-amygdala pathway is a "quick and dirty" system. Because
it doesn't involve the cortex at all, it allows us to act first and
think later. Or, rather, it lets evolution do the thinking for us,
at least in the beginning, buying us time....Thus we can have have
emotional reactions to something without knowing what we're responding
to--even we start responding to it. In other words, we're dealing with
the unconscious processing of emotion." J. Le Doux, "The
Power of Emotions." In, R. Conlan, Editor. States of Mind.
New York, 1999. p.135.
"A man shot on
his front porch by Rio Rancho (NM) police late Thursday was brandishing
a wooden cross officer's thought was a gun. (David Allen) James
had threatened suicide to officers at least four times previously
and had a history of asking police to shoot him, (Capt.) Force
said." R. McClannahan, Albuquerque Journal, 7 February
tone: Khoomii is the local term meaning 'thread.'
Mongolian for the singers of Tuva who are able to produce two distinct
tones simultaneously. T. C. Levin and M.E. Edgerton, "The
Throat Singers of Tuva." Scientific American. September
rational: "We're much more complex critters than
those portrayed in the model of 'economic man.' But we're accepted
that vision of ourselves at the expense of a full, mature, human
identity. We are capable of courage, virtue, and altruism, and
we can die for each other. None of these, however, are economically
rational." D.Orr. In, D. Jensen, Editor, Listening to
the Land: Conversations About Nature, Culture, and Eros. San
Francisco, CA., 1995. p.30.
Owl: "the owl which terrifies folk by gazing
at them with its two great eyes or by wailing or shrieking like
a soul in torment may be enlisted against the many powers of evil
with which it is associated. The visible object of fear may be
employed to inspire fear in the invisible powers which are feared.
Thus the evil can be transformed into an ally by enlisting it against
evil." E.A. Armstrong, The Folklore of Birds. New
York, 1970. p.124
over: "Birds fly upwards and defecate downwards.
There is no better way of confusing the world than by turning it--or
us--upside down. Head and heart belong above, where one thinks
and loves, whereas in the lower regions of the body our darker
lusts nestle and steaming waste is discharged." M. Dekkers, The
Way Of All Flesh. New York, 2000. p.1.
eyes: Fibers from the optic nerve go directly to a
small nucleus within the hypothalamus called the suprachiasmatic
nucleus, which regulates and couples circadian rhythms to the light/dark
before: The tree is a Douglas Fir.
could: R. Lawlor, "Dreaming the Beginning: An
Interview with Robert Lawlor." Parabola (Summer 1993)
retrieve: D. Bohm. R. Weber, The Enfolding-Unfolding
Universe: A Conversation with David Bohn. In, K. Wilber, Editor, The
Holographic Paradigm. Boulder, CO., 1982. P.45.
a glass box: "The ultimate beauty of psyche is
that which even Aphrodite (Venus) does not have and which must
come from Persephone, who is queen over the dead souls and whose
name means 'bringer of destruction.' The Box of Beauty which
Psyche must fetch as her last task refers to an underworld beauty
that can never be seen by the senses. It is a beauty of the knowledge
of death and the effects of death upon all other beauty that does
not contain this knowledge. Psyche must 'die' herself in order
to experience the reality of this beauty, a death different from
her suicidal attempts." J. Hillman, The Myth of Analysis:
Three Essays in Archetypal Psychology. New York, 1978.
alchemist's endeavors to unite the opposites culminate in the 'chymical
marriage', the supreme act of union in which the work reaches its consummation.
After the hostility of the four elements has been overcomes, there
still remains the last and most formidable opposition, which the alchemist
expressed aptly as the relationship between male and female. We are
inclined to think of this primarily as the power of love, or passion,
which drives the two opposite poles together, forgetting that such
a vehement attraction is needed only when an equally strong resistance
keeps them apart." C.G. Jung, The Collected Works of C.G.
Jung. Vol. 14, Mysterium Coniuctionis. Princeton, NJ.,
reticular nucleus is "a gauze meshwork of long dendrites draped
all over the outer surface of the thalamus.The network is designed
to sample the signals which pass to and fro between thalamus and cortex." J.H.
Austin. Zen and the Brain. Cambridge, MA., 1998. p.267.
the figure of Persephone, the stately Queen of Hades, we glimpse
the Gorgon,' Kerényi asserts. The Gorgon represents the most horrific
aspect of death: the aspect of nonbeing that is also the essence
of Persephone as Queen of the Dead. 'It is not, of course, pure nonbeing,'
he elaborates, 'rather (it is) the sort of nonbeing from which the
living shrunk as from something with a negative sign; a
monstrosity that has usurped the place of the unimaginably beautiful,
the nocturnal aspect of what by day is the most desirable of all
things.'" K. Carlson, Life's Daughter/Death's Bride.
Boston, MA., 1997. p.100; E. Kerényi and C.G. Jung, Essays on
a Science of Mythology. New York, 1963. p.127.
steady state: D. Hickey, "Frivolity and Unction." In,
D. Chasman and E. Chiang, Editors, Drawing Us In: How We Experience
Visual Art. Boston, MA., 2000. p.116.
Through the process
of allostatis (stasis means 'stability,' and allo means
'variability), the hypothalamus stimulates the pituitary gland,
which, in turn, stimulates the adrenal glands to produce cortisol,
a hormone that not only increases glucose, to make more energy
available, and stimulates the immune system, but also creates a
feedback loop to the hypothalamus, insuring that overreaction to
stress won't result in damaging the body, and thus maintains a
relatively stable state, called homeostatus.
Mask: Made by Kwakwaka'wakn artist Bean Dick. "The
mask is shown in the open position, revealing the face of the first
human being being nestled between the split image of a bird. Painted
on the inside panels, above the face, are two supernatural Wolves.
When the mask is closed it turns into a Raven." - www.civilization.ca/cmc/cmceng/gh13eng.html
delay: Cabanne: You
called "The Bribe" a "delay in glass."
It was the poetic sense of the words that I liked. I wanted to give 'delay' a
poetic sense that I couldn't even explain.
(P. Cabanne, Dialogues
with Marcel Duchamp. New York, 1971. p.40.)
thalamus has another important connection with the cortex, which is
that all the body's sensory systems send their inputs to replay stations
of nerve cells and then to their own regions of the cortex. These relay
stations are located within the thalamus, which is able to influence
their firing patterns. S. Blakeslee, "How the Brain Might Work:
A New Theory of Consciousness." In, N. Gade, Editor, The Science
Times Book Of The Brain. New York, 1998. p.235.
is, after all, primarily a depressive Goddess. At one point, it is
true, she leaps in Maeadic delight at the return of her daughter, but
that is short-lived. Her basic, underlying method is heavily earthy
and under-earthly. Not for long is she an enthusiast, nor I believe
is she one who searches for 'meaning' and 'truth'...She searches merely
for her daughter---that underworld component which belongs by birth
to her. And with this kinship tie comes her significance, and the significance
of everything she does." P. Berry, "Demeter/Persephone and
Neurosis." Spring (1975).
communications: Derrick de Kerckhove, "Network
Art and Virtual Communities." Parallel (1995).
shield was believed to impart immunity from harm or to provide supernatural
assistance to the carrier. The latter attribute is the most consistently
held belief, and because of this supernatural potency, the shields
were kept covered lest this power leak away. Both Navajo and the Apache
followed the tradition of the Southern Plains Indians by having a shaman
make their shields, imbue them with his supernatural protection and
then cover them with buckskin." B. Wright, Pueblo Shields.
Flagstaff, AZ., 1976.
field: "For Duchamp's work, strange as it is, is art,
albeit of a very special kind; an art of living as well as an art
of mechanisms and a nonsense of machines. By mechanisms and a nonsense
the contingent into a field of nonsense, Duchamp devalues its depreciative
power on his essential self-esteem; by the conversion of psychic
pressure into tautology, he transfigured it into absurdity, an
absurdity he could deride. In this way Duchamp could be both master
of his destiny and never out of touch with what 'really mattered'
to him, as long as what mattered was filtered through his nonsense
and his pride." L.B. Steelfel, Jr., "Marcel
Duchamp and the Machine." In, A. D'Harnoncourt and K. McShine,
Editors, Marcel Duchamp. New York, 1989. p.77.
hypothalamus sends axons to the pituitary gland, inducing the secretion
of at least six hormones."Ultimately the hypothalamus can control
every endocrine gland in the body."
wind: "The deeply mysterious powers and entities
with whom the shaman enters into a rapport are ultimately the same
forces--the same planets, animals, forests, and winds, that to
literate, 'civilized' Europeans are just so much scenery, the pleasant
backdrop of our more pressing human concerns." David Abram, The
Spell of the Sensuous. New York, 1996.
if: L Downer, On the Narrow Road: Journey into
a Lost Japan. New York, 1989. p.72.
consider: M. Berenguer, Prehistoric Man and His
Art. London, 1973.
gas is drawn: M. Sanouillet and E. Peterson, Editors,
The Writings of Marcel Duchamp. NY 1973. p.53.
uroboros is the serpent that's biting it's own tail, "the 'Great
Round,' in which positive and negative, male and female, elements of
consciousness, elements hostile to consciousness, and unconsciousness
elements are intermingled. In this sense, the uroboros is also a symbol
of a state in which chaos, the unconsciousness, and the psyche as a
whole were undifferentiated--and which is experienced by the ego as
a borderline state." E. Neumann, The Great Mother: An Analysis
of the Archetype. Princeton, NJ., 1963. p.18.
vibrations: "Some information about smell passes
directly from the olfactory organs to a part of the cortex, but
information from all the other sense organs (and also information
from other parts of the brain) reaches the cortex almost exclusively
via one or other thalamus." I. Glynn, An Anatomy of Thought.
Oxford, England. p.166.
former time: "'I love a wide margin to my life,'
Thoreau remarked, quaintly, referring to the space--the silence--requisite
for contemplation, or, more quaintly, the forming of a self. A
century and a half later, aural text covers the psychic page, spills
over; the margin is gone. Walking to work, we pass over rumbling
pipes and humming cables, beneath airplane flight corridors and
satellite broadcasts, through radio and television transmissions
whose sounds, reconstituted from binary code, mix and mingle, overlap
and clash, and everywhere drifts the aural refuse of our age." M.
Slouka, "Listening for Silence." Harper's Magazine.
he got older he preferred quiet spaces and time at home as opposed
to being out in the noisy crowds. He said that was partly why he started
making visual art and drawings--because art was personal whereas music
was social--the solitude and quiet of objects as opposed to the social
requirements of processes." C. Shultis. Personal correspondence.
Christopher Shultis is the author of Silencing the Sounded
Self: John Cage and the American Experimental Tradition. Boston,
body, we are learning, contains multiple pain pathways. It's resources
include not only the central nervous system but the sympathetic and
parasympathetic system as well, which influence the limbic system governing
our emotions and thus make chronic pain always a psychological state.
We still do not understand fully what happens to the nociceptive impulse
at the level of the cerebral cortex, but it is certain that the thalamus
relays the signal it receives to the higher cerebral centers of consciousness.
Pain, in effect, is no mere physiological event. It is simultaneously
emotional, cognitive, and social." D.B. Morris, The Culture
of Pain. Berkeley, 1991. p.269.
(the) ascending reticular activating system is operating, the individual
is alert, aroused, and attentive. Reduction of its activity results
in somnolence or inattentiveness; extreme reduction (for example, by
anesthesia or concussion) may lead to confusion or unconsciousness,
even though the senses still pass messages to the brain over the direct
pathways. The reticular system seems to account physiologically for
the sustained, tonic shifts in an individual's level of involvement
with the environment, including the control of sleep-wakefulness. One
nonspecific route to the cerebral cortex via the thalamus, the diffuse
thalamic projection system, appears concerned with moment-to-moment
fluctuations in the focus of attention. Collectively the primary sensory
pathways, associated areas of the cerebral cortex, and these more diffuse
projection systems cooperate in the process of registering the incoming
sensory signal, evaluating its contents, and mobilizing brain resources
in response to the demands made." Encyclopedia Britannica
too often, anatomical structures are viewed as static, frozen things.
However, if we start to think of structure as a continuously dynamic
process in its own right, then we are no longer asking the question
how far anatomy must constrain speculations in psychology. Instead
we are looking directly into anatomical or psysiological process for
insights about the way in which new patterns of cognitive process may
be formed. I assume there has to be a link between the cognitive realm
and the neurophysiological process mediating cognition." J. Brown, "At
the Intersection of Knowledge and Values: Fragments of a Dialogue in
Woods Hole, Massachusetts. August 1990." In, A. Harrington, Editor, So
Human a Brain: Knowledge and Values in the Neurosciences. Boston,
MA., 1992. p.253.
Glynn, An Anatomy of Thought. Oxford, England. p.166.
face: "As late as the Middle Ages, the witch
was still the hazazussa, a being that sat on the Hag,
the fence, which passed behind the gardens and separated the village
from the wilderness. She was a being who participated in both worlds.
As one might say today, she was semi-demonic. In time, however,
she lost her double features and evolved more and more into a representation
of what was being expelled from culture..." H.P. Dueer, Dreamtime:
Concerning the Boundary Between Wilderness and Civilization.
Oxford, England, 1985. p.46.
demons who had been chased into the wilderness, far away from people,
then proceeded to return
changed shape and in a much more threatening form. They were
not content to squat on the fence anymore, they sneaked up
steps at night and knocked on the doors. The witch no longer
threatened from the outside, she awoke inside." Ibid.
around place: Naturalist Loren Eiseley recalls how,
when he was a boy, he saw Halley's Comet from his father's shoulders,
who said to him: "If you
live to be an old man you will see it again...I'll be gone,
but you will see it. All that time it will traveling in the dark,
but somewhere, far out there...it will turn back." Eiseley
died a short time before the comet returned. L. Eiseley, "The
Star Dragon." In, The Invisible Pyramid. New York,
Large Glass: D. Joselit, Infinite Regress--Marcel
Duchamp 1910-1941. p.112.
Yevtushenko: Born in 1933 in Zuma Junction, Siberia,
Yevtushenko published his first book of poems in 1952. He
was expelled from the Young Communist League for "individualism," and
has been a torn in the side of Soviet, then Russian, governments
ever since, protesting their wars, and defending the civil rights
of the Russian People. From 1988 to 1991 he served in the first
freely elected Parliment of the USSR, using his position to fight
against censorship. Yevtushenko is presently the Poet Laureate
Eleanor Wachtell: [Babii
Yar] may be the single work by which youre remembered. Can
you tell me about that poem, how you came to write it?
Yevgeny Yevtushenko: I
met [--------] 1960, first I met one young prose writer, Anatoly
Kuznetsov [writer of book "Babii Yar"]. And he was witness
of this massacres when Nazis killed. Many thousand soldiers, nobody
knows exact number. Probably between sixty and seventy thousand.
I know when he told me this story, I was so moved, that I wrote poem
same day. Very quick. I wrote it very quickly. And the next day,
I already had poetry reading and I recited this poem. It was shock.
Because Ukrainian authorities, they were trying to keep this fact
hidden. Why? Because some Ukrainian politzei, politzeis, people who
collaborated with Germans, and police, special police. They participated
in this massacre too. Thats probably why. They try not to talk
about it openly. So after this...
EW: So it wasnt
just a critique of the Nazis, it was...
YY: ...No, it was a poem
against antisemitism in general, you know...So I was summing up many
different facts from many different areas...Babii Yar itself, Dreyfus,
pogrom, Jewish pogroms in Russia, everything. It was not my protest
against only the cruelty of the Nazis. Against general: against chauvinism,
against nationalism. So, and I was...afterwards, I was not permitted
during more than twenty years to read my poetry in the capital of
Ukraine, Kiev, despite that I had many admirers, and supporters amongst
the Ukrainian readers.
So when I came back to Ukraine for what is anniversary of Babii Yar, in nineteen-ninety
first, jogging that morning, I discovered some nasty slogans on the fences,
on the monuments, dedicated to Ukrainian-Russian friendship..."Yids
and Russians, get out from Ukraine"
(Interview with Yevgeny
Yevtushenko on the Canadian Broadcasting Corporations program,
Writers and Company with Eleanor Wachtell. Taped in 1995, transcript
by J.P.Niven. http://www.geocities.com/Athens/Delphi/3096/writersco.html)
thalmo-cortical signals have been found in a variety of brain diseases,
all of which share a strange connection. They have in common several
unexplained symptoms such as hand wronging., deep sadness, ringing
in the ears, unrelenting tremors..." T.B. Czerner, What Makes
You Tick? New York, 2001. p.162.
snakes: "the initiate approaches Demeter....The
goddess sits on a pleated basket, about which a snake may be seen
winding. Demeter looks back in the direction of a young woman hurrying
toward her with a torch: this is Persephone (Kore) coming back
from the underworld. The divine myth is presented here in connection
with a ritual instrument, the kiste, and a very general
symbol, the snake. These hints for those with knowledge betray
nothing to the uninitiated. The basket remains covered. The snake
arouses both a fear of death and a secret sexual fascination. For
the initiate, however, the snake is no longer dangerous. He can
touch it without fear. Approaching Demeter, experiencing Kore's
return, transforming the fear of death into quite confidence--these
are the themes of the night of the mysteries at Eleusis." W.
Burkert, Homo Necans: The Anthropology of Ancient Greek Sacrificial
Ritual and Myth. Berkeley, CA., 1983. p.269.
neurons: T.B. Czerner, What Makes You Tick? New
York, 2001. p.162.
mean to him: "Why must we exchange the living
image for an interpretative concept? Are interpretations really
psychological defenses against the presence of a God? Remember:
most of the Greek Gods, Goddesses, and heroes had a snake form--Zeus,
Dionyses, Demeter, Athene, Hercules, Hermes, Hades, even Apollo.
Is our terror of the snake the appropriate response of
a mortal to an immortal? J. Hillman, "A Snake Is Not A Symbol." Dream
Animals. San Francisco, CA., 1997. p.26.
silent: "In evolution, the forebrain of human
beings and other advanced mammals has expanded as a triune structure
consisting of three neural assemblies that anatomically and chemically
reflect an ancestral relationship to reptiles, early mammals, and
late mammals. What this amounts to is an inheritance of three mentalities,
two of which lack the capacity for verbal communication." P.D.
MacLean, "Obtaining Knowledge of the Subjective Brain (Epistemics)" In,
A. Harrington, Editor, So Human a Brain: Knowledge and Values
in the Neurosciences. Boston, MA., 1992. p.58. (Note: Most
of the scientists and philosophers at this conference spoke out
strongly against this view, except as a possible, or impossible,
Micronesians have a saying: 'When you're tattooed, your bones are
tattooed.' Maybe someday that's all that will remain of the human race'
all the dreams, myths, and buildings will have vanished, leaving only
bones, a few bearing tattoo marks to show that the people who lived
on this planet also once did art." D. Thome. In, Re/Search
#12. San Francisco, CA., 1989.
temple: C. Downing. In, C. Downing, Editor, The
Long Journey Home: Re-visioning the Myth of Demeter and Persephone
For Our Time. Boston, MA., 1994. p.50.
a woman: "Duchamp's female alter ego emerged
in 1920. Wanting to change identity, he first thought of taking
a Jewish name. 'I was a Catholic,' he told (Pierre) Cabanne, 'and
it was a change to go from one religion to another!' Then the idea
came, as he put it, to 'change sex:. It was much simpler.'" D.
Ades, n. Cox and D. Hopkins. Marcel Duchamp. London, 1999. p.134. "In
fact, Duchamp's cross-dressing (as Rrose Sélavy)...is atypical
of homosexual drag in general, which tends to take on the signifiers
of a particularly lower-class type of femininity in its description
of mainstream, bourgeois masculinity." A. Jones, Postmodernism
and the En-Gendering of Marcel Duchamp. Cambridge, England,
character of morphing is genetic, not surgical, more like genetic cross-breeding
than transplanting. Where collage emphasized differences by recontextualizing
the familiar, the morphing operation blends the unfamiliar in ways
that illuminate unsuspected similarities and becomings." M. Novak, "Transmitting
Architecture: The Transphysical City." CTHEORY, Vol 19,
sculpture: "John Chamberland, known for his crushed
auto-body sculptures, describes a wall piece he was working on
that just wouldn't come together. 'I tried this and tried that.
Nothing worked.' One night he came home drunk and hurled a sledgehammer
at it. 'It just fell into place,' he says. 'But the next problem
was to get the sledgehammer out." C. Lovelace, "Oh No!
Mistakes into Masterpieces." ARTnews, January 1996.
several: Encyclopedia Britannica. "However,
in general terms, the hypothalamus has more to do with the expression
(symptomatic manifestations) of emotions than with the genesis
of the affective states. When the physical symptoms of emotion
appear, the threat they pose returns, via hypothalamus, to the
limbic centers and, thence, to the pre-frontal nuclei, increasing
anxiety. This negative feed-back mechanism can be so strong as
to generate a situation of panic. (Ibid.)
Pan: "A cry went through late antiquity: 'Great
Pan is dead!" Plutarch reported it in his 'On the Failure
of the Oracles,' yet the saying has itself become oracular,
meaning many things to many people in many ages. One thing was
announced: nature had become deprived of its creative voice. It
was no longer an independent living force of generativity. What
had had soul, lost it: or lost was the psychic connection with
nature." J. Hillman, "An Essay on Pan." In Pan
and the Nightmare. New York and Zurich, 1972.
"Plutarch tells a
yarn of a boat whose captain was named Thamous. As they were sailing
close to the island of Paxi he heard a voice calling, 'Thamous'.
The voice told them to announce at a late stage in their journey,
'Great Pan is dead'. They did, and the announcement was greeted with
sorrow and anguish. This lamentation was typical of the annual mourning
for Tammuz, and it seems that what they heard was not 'Thamous' but
Tammuz'--''Tammuz the All-great is dead.'" (Tammuz
is a vegetation-spirit, the escort is the Assyrian goddess Ishar.)
J. Ferguson, The Religions of the Roman Empire. Ithaca,
NY., 1970. p.15.
Wall: Hebrew HA-KOTEL HA-MA'ARAVI, also called,
Wailing Wall in the Old City of Jerusalem, a place of prayer and
pilgrimage sacred to the Jewish people. It is the only remains
of the Second Temple of Jerusalem, held to be uniquely holy by
the ancient Jews and destroyed by the Romans in AD 70.
The authenticity of the Western Wall has been confirmed by tradition,
history, and archaeological research; the wall dates from about
the 2nd century BC, though its upper sections were added
at a later date
As it is seen today, the Western
Wall measures about 160 feet (50 m) long and about 60 feet (20
m) high; the wall, however, extends much deeper into
the earth. Jewish devotions there date from the early Byzantine period
and reaffirm the rabbinic belief that "the divine Presence
never departs from the Western Wall." Jews lament the destruction
of the Temple and pray for its restoration. Such terms
as Wailing Wall were coined by European travelers who witnessed
the mournful vigils of pious Jews before the relic of the sacred
Temple. -Encyclopedia Britannica.
example a wailing wall is the "Klagemauser," located in the
Nazi Death Camp at Mauthausen, Austria. Newly arrived prisoners were
subjected to an initiation ritual: standing at attention facing this
wall while chained to iron rings, sometimes days, while being interrogated
and brutally beaten. The Nazis established Mauthausen in 1938, to imprison
their ideological opponents. It was the only camp classified as a "Level
III Camp," which meant that for the prisoners, there should be
no return. More than 190,000 people of different nationalities became
imprisoned there, the Gusen Branch Camp and the subcamps, which numbered
over 40. Systematic terror, deliberate killings, exploitation of labor,
deficient feeding, inadequate clothing and lack of medical care led
to the deaths of about 100,000 prisoners.
New Arrivals at Mauthausen, standing in front of the Klagemauser. National
Archives, USHMM Photo Archives
of tiny caves: "It is as if the human psyche
were continually feeling along the surface of a great rock face,
in search of the slightest fissure, a discontinuity that might
afford entry beyond the rock to a numinal reality which both underlay
and transcend the stone." B.C. Lane, Landscape of the
Sacred: Geography and Narrative in American Spirituality.
New York, 1988. p.16.
several intralaminar nuclei nestle like hummingbird eggs within the
bands of white matter that split the thalamus. These nuclei are part
of the nonspecific system. This means that they exert a more
general influence, broadcasting diffusely both up to the cortex and
forward to the striatum." J.H. Austin. Zen and the Brain.
Cambridge, MA., 1998. p.266.
glass: "I think the mirror played an important
role in the conceptual development of virtual space. How many Parisian
cafés can only exist because of that false, fractional dimension
of the space reflected on the mirrored walls of the café's interior.
One can even go back to the Roman's. Celebrating their parties
during the night, they would cover the walls with glass (less reflective,
obviously, than our glass today) to multiply the light flicker's
in the reflections on the walls. The reflected light illuminated
the night as an artificial setting for the orgies. Thus there were
two societies: one living at day time (i.e., the poor), under the
sun, without virtuality and within a concrete corporality--and
another society living at night time (i.e., the rich), in the excess
and the virtuality of an artificial light that was very expensive
at that time." P. Virilio, "Architecture in the Age of
its Virtual Disappearance." In, J. Beckmann, Editor. The
Virtual Dimension. New York, 1998. p.185.
details: S.T. Champion@soton.ac.uk
higher one ascends on the mammalian tree, the larger becomes the back
of the thalamus. Finally it puffs out so much that anatomists gave
it the Latin name of pulvinar, meaning 'cushion." In present-day
humans, a massive pulvinar now occupies one quarter of the thalamus....Stimulating
the left pulvinar impairs speech (also the) subject's finding the words
to name objects. The disturbance erases even the names of objects which
had been earlier identified just before the stimulation began. Such
findings may be relevant to the inexpressibility of brief mystical
states." J.H. Austin. Zen and the Brain. Cambridge, MA.,
1998. pp. 271,72.
verge: "The demons who had been chased into the
wilderness, far away from people, then proceeded to return in a
changed shape and in a much more threatening form. They were not
content to squat on the fence anymore, they sneaked up the cellar
steps at night and knocked in the doors. The witch no longer threatened
from the outside, she awoke inside." H.P. Dueer, Dreamtime:
Concerning the Boundary Between Wilderness and Civilization.
Oxford, England, 1985. p.49.
only: R. Bernoulli, "Spiritual Development as
Reflected in Alchemy and Related Disciplines." In, Joseph
Campbell, Editor, Spiritual Disciplines. Princeton, NJ.,