basilyok, the machete dance
significance of rhythms?
"It is a feeling which he would like to call a sensation of ‘eternity’, a feeling as of something limitelss, unbounded-as it were, ‘oceanic’. This feeling, he adds, is a purely subjective fact, not an article of faith; it brings with it no assurance of personal immortality, but it is the source of the religious energy which is seized upon by the various Churches and religious systems, directed by them into particular channels and doubtless also exhausted by them. one may, he thinks, rightly call oneself religious on the ground of this oceanic feeling alone, even if one rejects every belief and every illusion."
Sigmund Freud, Civilization and Its Discontents
tim hecker, “dungeoneering”
Specifically, I embarked upon a career in writing blithely undismayed by the fact that, as a writer, I was primarily interested in that which writing obliterates: in the living atmosphere of all that is shown, seen, touched, felt, smelled, heard, spoken, or sung. I knew this was a peculiar obsession, of course, but I thought writers were supposed to be peculiar. I thought it was just a “problem,” that it could be solved, and that, once solved, the enigmatic whoosh of ordinary experience would become my “great subject”—that I could then proceed to celebrate the ravishing complexity and sheer intellectual pleasure of simply being alive in the present moment forever after. I thought.
So I began by writing poems, quickly shifted to fiction, abandoned that for pharmaceutically assisted pastiche, and abandoned that for gonzo reportage—always trying to get out of the book, trying to get closer to the moment, and always floating farther from it, slamming myself up
against the fact that writing, even the best writing, invariably suppresses and displaces the greater and more intimate part of any experience that it seeks to express. Ultimately, I would be forced to admit that all the volumes of Proust were nothing, quantitatively, compared to the twenty-minute experience of eating breakfast on a spring morning at a Denny’s in Mobile—and that the more authoritatively and extensively I sought to encode such an experience, the more profoundly it was obliterated from the immediacy of memory and transported into the imaginary realm of remembrance, invested with identity, shorn of utility, and polished up as an object of delectation.
Dave Hickey, Air Guitar
"Hence religious man lives in two kinds of time, of which the more important, sacred time, reversible and recoverabe, a sort of eternal mythical present that is periodically reintegrated by means of rites. This attitude in regard to time suffices to distinguish religious from nonreligious man; the former refuses to live solely in what, in modern terms, is called the historical present; he attempts to regain a sacred time that, from one point of view, can be homologized to eternity."
Mircea Eliade, The Sacred and the Profane
Maya Deren, Cheryl Ito, The Divine Horsemen