trees, animals, mountains: G. Snyder, "Knots in the Grain." Interview with the New York Quarterly. (n.d.) In, The Real Work: Interviews & Talks 1964-1979. New York: New Directions, 1980.

love(s) both the object and the Dream: M. Rothko, Writings on Art. New Haven: Yale University Press, 2006.

what does not appear: "And Moses and Aaron, Nadav, Avihu and the seventy elders went up. And they saw the God of Israel and under His legs it was like a paving of sapphire and bright like the sky. And unto the nobles of the Israelites He did no damage, but they saw God and they ate and drank." Exod.24. Boyarin continues: "Normally one is not permitted to see God, and it is very dangerous to do so, which is why here the Torah makes explicit the fact that in this special moment the people were vouchsafed this vision without there being any danger." D. Boyarin, "The Eye in the Torah: Occular Desire in Midrashic Hermineutic." Critical Inquiry Spring, 1990.

At arm's length the image: C. Eshleman. From, “Placements."


shadows slide over rock walls: "Nearly all, if not all, European Neolithic solstice sites of ancient dolmens, cairns, tombs and stone circles formed events such that light was channeled to penetrate and dominate shadow. This sun-penetrating template was not always the case in the Chumash cosmological landscape nor did they form sites with dolmens, cairns, tombs and stone circles. While there are many events with light penetrating shadows, there are other events where shadow penetrates light. There are additional events where light and shadow meet as equals; one does not dominate the other. It appears these types of balanced events can be interpreted that light and shadow are equals." K. Kempton, "Yak Tityu Tityu, Northern Chumash, and the Chumash: A General Overview." The Slo Coast Journal, September 2011. http://www.slocoastjournal.com/docs/archives/2011/sept/index.html

How shall I name you: W.B. Yeats. From, "Introductory Lines."

begin as an unknown: M. Rothko, "'The Romantics Were Prompted,' 1947." In, Writings on Art. New Haven: Yale University Press, 2006.

we are witnessing: C. Tilley, Introduction to, C. Tilley, Editor, Interpretative Archaeology. Oxford: Berg Publishers, 1993.

I arrrive at the end of the path: "Following a path means following an already established order, or at least acknowledging such as order—hence, the importance of the path as an agent in certain myths. The idea of procession appears pervasively in the customs of many societies, and without a path there is no procession." R.L. Castro. In, A Perez-Gomez and S. Parcell, Editors, Chora Three: Intervals in the Philosophy of Architecture. Montreal: McGill-Queen's University Press, 1999.


Ethnological: Ethnology essentially is the same discipline as Cultural Anthopology in the US, Social Anthpology in the UK.

To read or to attempt: Ibid, Tilley. The physicist Niels Bohr wrote, "It is wrong to think that the task of physics is to find out how nature is. Physics concerns what we can say about nature." Quoted in, H. Atmanspacher and H. Primas, Editors, Recasting Reality. New York: Springer, 2009. From still another viewpoint: "The key to understanding this new state of being is language: the understanding that language is not merely a device for communicating ideas about the world but rather a tool for bringing the world into existence. Art is a form of world building, of mind construction, of self-creation, whether through interactive or psychoactive systems, molecular modelling or nano-engineering. Art is the search for new language embodied in forms and ehaviours, texts and structures." R. Ascott, "Moistmedia, Technoetics and the Three VRs" 2/28/2012. http://www.hz-journal.org/n16/ascott.html

exaggerated erection: See my "The Original Model For Adam." http://www.cddc.vt.edu/host/weishaus/Art/adam-1.htm
When the anthropologist Felicitas D. Goodman retired from university teaching, she moved to northern New Mexico and began experimenting with body postures, on the theory that the various postures assumed by shamans, yogis, Zennists, et al., affected not only the body but also the mind. She found that the Lascaux 'shaman' was drawn on the wall on a thirty-seven-degree angle; and so, "using chairs, pillows, sleeping bags, and the like," placed her volunteers at that angle. As they were in a comfortable position, she expected them "to have a restful fifteen minutes in that posture. Instead, things quickly became quite dramatic," with energy rushing around their bodies, one reporting "an orgasm in my head." F.D. Goodman, Where the Spirits Ride the Wind. Bloomington: Indiana University Press, 1990.

the vizier's language: The refer's to the "Creationist poet," Vicente Huidobro, (1893-1948) who called himself Altazor (a compound word from alto (high) and azor (hawk). "Like the shaman who unites all nature into a single moral order, the Creationist poet also incorporates every aspect of reality, recreating it, 'humanizing it,' and letting it speak through him." D.M. Guss, Editor, The Language of the Birds. San Francisco: North Point Press, 1985. "Huidobro claimed that this cornerstone to the Creationist aesthetic derived from the statement of an Aymara shaman who said: 'The poet is a God. Don't sing about rain, poet. Make it rain!.'" [Footnote 2.)

Here and now I have to dilute: V. Huidobro. From, "Altazor, Canto 5."


a celestial ocean: T. Hudson and K. Conti, “The Aquatic Motif of Chumash Rock Art.” Journal of California and Great Basin Anthropology. 3(2) 1981.

The tides are in our veins, we still mirror the stars,
  life is your child, but there is in me
Older and harder than life and more impartial, the eye
  that watched before there was an ocean.
R. Jeffers. From, “Continent’s End.”

by placing the dead: G. Bachelard, "The Charon Complex, The Ophelia Complex." Spring Journal, 1982.

Was death not: Ibid.

When the moon's rocks: J. Hillman, "Silver and the White Earth." Spring Journal, 1981.


Joseph Campbell: In particular, see Campbell's theory of the "monomyth," in The Hero With a Thousand Faces. Novato: New World Library, 2008.

I saw Allen Ginsberg: D. Rogerson, Poetics @ Listserv.Buffalo.edu. December 14, 2004.

I like the idea: S. Beckensall, Prehistoric Rock Art in Britain. Sermons in Stones. Amberley: Stroud, 2009.