You can just see a little peep of the passage in Looking-glass House, if you leave the door of our drawing-room wide open: and it’s very like our passage as far as you can see, only you know it may be quite different on beyond Oh, Kitty, how nice it would be if we could only get through into Looking-glass House! I’m sure it’s got, oh! such beautiful things in it! Let’s pretend there’s a way of getting through into it, somehow, Kitty. Let’s pretend the glass has got all soft like gauze, so that we can get through. Why, it’s turning into a sort of mist now, I declare! It’ll be easy enough to get through. Lewis Carroll, Through the Looking-Glass, and What Alice Found There (1871)
If you’re alive, you can’t be bored in San Francisco. If you’re not alive, San Francisco will bring you to life…… San Francisco is a world to explore. It is a place where the heart can go on a delightful adventure. It is a city in which the spirit can know refreshment every day. William Saroyan
To great dreamers of corners and holes nothing is ever empty, the dialectics of full and empty only correspond to two geometrical non-realities. The function of inhabiting constitutes the link between full and empty. A living creature fills an empty refuge, images inhabit, and all corners are haunted, if not inhabited. Gaston Bachelard, The Poetics of Space
Doc was collecting marine animals in the Great Tide Pool on the tip of the Peninsula. It is a fabulous place: when the tide is in, a wave-churned basin, creamy with foam, whipped by the combers that roll in from the whistling buoy on the reef. But when the tide goes out the little water world becomes quiet and lovely. The sea is very clear and the bottom becomes fantastic with hurrying, fighting, feeding, breeding animals. Crabs rush from frond to frond of the waving algae. Starfish squat over mussels and limpets, attach their million little suckers and then slowly lift with incredible power until the prey is broken from the rock. And then the starfish stomach comes out and envelops its food. Orange and speckled and fluted nudibranchs slide gracefully over the rocks, their skirts waving like the dresses of Spanish dancers. And black eels poke their heads out of crevices and wait for prey. The snapping shrimps with their trigger claws pop loudly. The lovely, colored world is glassed over. Hermit crabs like frantic children scamper on the bottom sand. And now one, finding an empty snail shell he likes better than his own, creeps out, exposing his soft body to the enemy for a moment, and then pops into the new shell. A wave breaks over the barrier, and churns the glassy water for a moment and mixes bubbles into the pool, and then it clears and is tranquil and lovely and murderous again. Here a crab tears a leg from his brother. The anemones expand like soft and brilliant flowers, inviting any tired and perplexed animal to lie for a moment in their arms, and when some small crab or little tide-pool Johnnie accepts the green and purple invitation, the petals whip in, the stinging cells shoot tiny narcotic needles into the prey and it grows weak and perhaps sleepy while the searing caustic digestive acids melt its body down. Then the creeping murderer, the octopus, steals out, slowly, softly, moving like a gray mist, pretending now to be a bit of weed, now a rock, now a lump of decaying meat while its evil goat eyes watch coldly. It oozes and flows toward a feeding crab, and as it comes close its yellow eyes burn and its body turns rosy with the pulsing color of anticipation and rage. Then suddenly it runs lightly on the tips of its arms, as ferociously as a charging cat. It leaps savagely on the crab, there is a puff of black fluid, and the struggling mass is obscured in the sepia cloud while the octopus murders the crab. On the exposed rocks out of water, the barnacles bubble behind their closed doors and the limpets dry out. And down to the rocks come the black flies to eat anything they can find. The sharp smell of iodine from the algae, and the lime smell of calcareous bodies and the smell of powerful protean, smell of sperm and ova fill the air. On the exposed rocks the starfish emit semen and eggs from between their rays. The smells of life and richness, of death and digestion, of decay and birth, burden the air. And salt spray blows in from the barrier where the ocean waits for its rising-tide strength to permit it back into the Great Tide Pool again. And on the reef the whistling buoy bellows like a sad and patient bull. John Steinbeck, Cannery Row
An artist is the magician put among men to gratify–capriciously–their urge for immortality. The temples are built and brought down around him, continuously and contiguously, from Troy to the fields of Flanders. If there is any meaning in any of it, it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities. What now of the Trojan War if it had been passed over by the artist’s touch? Dust. A forgotten expedition prompted by Greek merchants looking for new markets. A minor redistribution of broken pots. But it is we who stand enriched, by a tale of heroes, of a golden apple, a wooden horse, a face that launched a thousand ships–and above all, of Ulysses, the wanderer, the most human, the most complete of all heroes–husband, father, son, lover, farmer, soldier, pacifist, politician, inventor and adventurer… Tom Stoppard
At 6:25 a.m. on April 24th, 2015 I performed a site specific production of Aeschylus Daughters of The Sun in the waves off Año Nuevo State Park. The piece is part of a larger project called IOTA that sets out to perform the existing fragments for the lost plays of Aeschylus, Sophocles, and Euripides.
The weather was foggy with some sun over the Santa Cruz Mountains with a temperature of 56℉.
The duration of the performance was 30 seconds (give or take) for an audience of 3 humans and 40 or so Elephant Seals about 100 yards away.
The Fragments…
Rhipae, the setting-place
of our father the Sun.
Where at my father’s setting is the cup fashioned by Hephaestus,
in which he crosses the wide, swelling waters of Ocean, asleep,
escaping the darkness of holy Night with black horses.
Zeus is the aether, Zeus is earth, Zeus is heaven—yes,
Zeus is everything, and whatever there may be beyond that.
And the women of Adria
shall have this manner of lamentation.
It stirred up in you
a flow more abundant than a fountain.
the story of how Phaëthon meet his death
while attempting
to drive his father’s chariot
through the sky.
“his sisters through their grief were transformed into poplar trees, and how every year by the banks of the River Eridanus, which we call the Po, they shed tears of amber, known to the Greeks as ‘electrum,’ since they call the sun ‘Elector’ or ‘the Shining One’—this story has been told by numerous poets, the first of whom, I believe, were Aeschylus, Philoxenus, Euripides, Nicander and Satyrus.”
Pliny the Elder (Natural History 37.31–32)
The Location…
The first known inhabitants of the area were the Quiroste Ohlone.
On January 3, 1603 Sebastian Vizcaino sailed past the point. Father Antonio de la Ascensión, the diarist and chaplain of the expedition, named it Punta de Año Nuevo (New Year’s Point).
The first European land exploration was the Spanish Portolà expedition of 1760-70. The explorers camped at Año Nuevo Creek on November 19th. Franciscan missionary Juan Crespi noted:
“We…halted on a steep rock, in sight of the point which we judged to be Año Nuevo, on the bank of an arroyo which empties into the sea.”
After Mission Santa Cruz was founded in 1791, the Quiroste population plunged on account of diseases brought by the Spanish. After the mid nineteenth century came the development of Año Nuevo Island and agriculture in the surrounding region.
The place was once home to a large population of elephant seals before hunters decimated the population since the mid-20th century.
The seals are now protected and the population has rebounded.
Everything has two aspects: the current aspect, which we see nearly always and which ordinary men see, and the ghostly and metaphysical aspect, which only rare individuals may see in moments of clairvoyance and metaphysical abstraction. Giorgio de Chirico (1919) Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 440
From fairest creatures we desire increase, That thereby beauty’s rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed’st thy light’s flame with self-substantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel. Thou that art now the world’s fresh ornament And only herald to the gaudy spring, Within thine own bud buriest thy content And, tender churl, makest waste in niggarding. Pity the world, or else this glutton be, To eat the world’s due, by the grave and thee. William Shakespeare, Sonnet #1
Don’t only practice your art, but force your way into its secrets; art deserves that, for it and knowledge can raise man to the Divine. Beethoven’s letter to Emilie, July 17, 1812.
A ritual is the enactment of a myth. And, by participating in the ritual, you are participating in the myth. And since myth is a projection of the depth wisdom of the psyche, by participating in a ritual, participating in the myth, you are being, as it were, put in accord with that wisdom, which is the wisdom that is inherent within you anyhow. Your consciousness is being re-minded of the wisdom of your own life. I think ritual is terribly important. Joseph Campbell