of making: P. Shepard and B. Sanders. The Sacred Paw-The
Nature, Myths, and Literature. New York, 1985.
Dickson, The Dawn
of Belief. Tucson,
the multiplicity of substances which were poured or placed into the
vessel at the beginning of the opus were lead, vinegar, salt,
quicksilver, iron, blood, poison, hair, sulphur, milk, wine, urine,
dung, or a chaotic concoction of material which the alchemists called femus which
simply means muck." R. Severson, "The Alchemy of Dreamwork:
Reflections on Freud and the Alchemical Tradition." Dragonflies, Spring,
veins: J. Weishaus. From, "Notebook."
and Anti-Art: H.
Richter, Dada-Art and Anti-Art. New York, 1965?
of the need for independence, out of the mistrust for community,
out of the denial of theories, out of the satiation of cubism and
futurism, the Dada Manifesto was blazoned.(Tristan Tzara, "The
Dada Manifesto", Dada Performance, 45. 1916) In, Forward is
Backward: The Progressive Manifesto, by F. Foster & J. Lindquist
(Internet, 1996). "It's not what an artist does that counts,
but what he is. CÚzanne's anxiety is what interests us. That is his
lesson." P. Picasso. In, C. Zervos, Conversations avec Picasso.
Cahiers d'art X. (1935)
Soen: A deep voice
engaged in a phone conversation in another room, breaking the silence.
When the man finally appeared, he seemed too small to bring forth
that bottomless sound, yet he did. This was Nakagawa Soen, Roshi,
whom D.T. Suzuki called "a rather peculiar fellow." J.
Weishaus. From, Reality Dreams.
certain New Guinea tribes a child cannot be named until a man, whose
name is known, has been killed (by being repeatedly clubbed on the
forehead and mutilated head severed from body). The father of the
child extracts the brain, bakes it with sago and eats it, and after
this the infant can bear the name of the dead man." M. Shackley,
Neanderthal Man. London, 1980.