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"The earth
is our home—we have no other—yet we do not
feel at home
in it. Alterations have
to be made."
Y-F Tuan, "Strangers and Strangeness." Geographical
Review, January 1986.
There
are homes with no walls, no roof,
no electricity, no internet connection. Here one's reveries
are brightened as if by votive candles lighting
a cathedral
that has been under construction for millions
of
years. Are we dwelling in
the nave of a numinous copse concealed in a poem?
On the path's verge,
A dead field mouse
Is ready to be eaten.
After
the postmodernist surge had run its course, modernism
had survived, and artists resumed the pursuit of their
masterpiece. Not
to make it, as every creation is
ultimately
a failure;
but to pursue it as if tracking prey that's invisible
except for its tracks, and they are nothing
like anything seen before.
Suddenly I see that I've
aged! Some somatic systems have become rabid in their mission,
others are slowly wearing down. While many of my contemporaries
are burnishing the biography of their youth, I will try to
live
by the myth that awoke as me this morning.
"It sometimes
feels as if there's a new shape of the Sacred that is trying
to be born." But this time, no "rough beast slouches
towards what
the finished work would look like. The work emerged from
a region which could
not be penetrated by consciousness.
This approach to the production of the work of art is most
significant, and may explain, in large part, what gives Giacometti’s
work its enormous emotional power. His hands modeled a quivering,
tremulous unknown Bethlehem." What
may be human, animal, plant, mineral or fish blends
into a single shadow. What kind of riddle is this?
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It sometimes feels: D. Abram, "The
Environmental Crisis and the Psyche: A Conversation with David
Abram and
Patricia Damery." Jung Journal: Culture & Psyche.
Winter 2013.
rough beast. W.B. Yeats. From, "The Second Coming."
what the finished work: C. Juliet, Giacometti. New
York, 1986. |