owl saw me

Museum of Vancouver

trap trap trap trap trap

 wasp/ wineglass/ factum/ 2015
Caza con reclamo / goya/ prado / 1775
schady/ photosculpture/ factum 2015

wol

talk with the animals

sint rødrev hjelp! hjelp! ulv hjelp! ugle HJELP! bjørn hjelp!

sandman

Most curious to know more of this Sandman and his particular connection with children, I at last asked the old woman who looked after my youngest sister what sort of man he was. 'Eh, Natty,' said she, 'don't you know that yet? He is a wicked man, who comes to children when they won't go to bed, and throws a handful of sand into their eyes, so that they start out bleeding from their heads. He puts their eyes in a bag and carries them to the crescent moon to feed his own children, who sit in the nest up there. They have crooked beaks like owls so that they can pick up the eyes of naughty human children.'

the veiled image at Saïs

the veiled image at Saïs


turn at the statue of Champollion, says the guide

Lacan / ecrits/ 160

Apocalypse:
late 14c., "revelation, disclosure," from Church L. apocalypsis "revelation," from Gk. apokalyptein "uncover, disclose, reveal," from apo- "from" (see apo-) + kalyptein "to cover, conceal"

Calypso


Sheet of paper has gone missing must look for it at home. It contained:
1. The discussion of the concept of “system” and the doctrine of the extinguishing of intention in the truth, explained in terms of the veiled image of Sais.
2. Discussion of the concept of “essence” as the mark of truth.’

WB 1913-1926 /272

M. Champollion paid a visit, in his way, to the ruins of Sais, ... That part of the enclosure might well have contained great temple of Neith, the chief goddess of Sais, and we drove away, by our musket-shots, some owls, ...

The Asiatic journal and monthly register for British and foreign India, China and Australasia Vol 27







Novalis Die Lehrlinge zu Sais 1799

I. The Pupil. — Men travel in manifold paths: whoso traces and compares these, will find strange Figures come to light; Figures which seem as if they belonged to that great Cipher-writing which one meets with everywhere, on wings of birds, shells of eggs, in clouds, in the snow, in crystals, in forms of rocks, in freezing waters, in the interior and exterior of mountains, of plants, animals, men, in the lights of the sky, in plates of glass and pitch when touched and struck on, in the filings round the magnet, and the singular conjunctures of Chance. In such Figures one anticipates the key to that wondrous Writing, the grammar of it; but this Anticipation will not fix itself into shape, and appears as if, after all, it would not become such a key for us. An Alcahest seems poured out over the senses of men. Only for a moment will their wishes, their thoughts thicken into form. Thus do their Anticipations arise; but after short whiles, all is again swimming vaguely before them, even as it did.


TO ENVISION ✴ 39 Flusser / technical image
And so it looks as though our historical development in the West has reached a final stage that does not look significantly different from a Buddhist worldview: a veil of Maya surrounds the yawning nothingness of nirvana. From this standpoint, the powerful stream of Western history is about to empty into the ocean of the timeless Orient.
There is considerable evidence that such a suicidal view of Western society is justified. And yet this view largely overlooks what is significant in the current cultural revolution. That is, the visionary power that we are beginning to use and that we owe to technical images makes us capable of calculating and computing the whirring nothingness around us. Therefore our illusions are not things we should abandon to fall into nirvana but rather are quite the opposite, our answer to the yawing nothingness that threatens us. The veil of technical images that surrounds us, as similar as it may appear to an Oriental veil, challenges us to an engagement neatly opposed to the Oriental. Our veil is not to be torn but rather woven more and more closely. The following chapters are dedicated to looking at this increasingly dense mesh.

blodeuwedd

Blodeuwedd
formed out of blossoms of the oak, blossoms of the meadowsweet, blossoms of the broom


















The old men said their fathers told them that soon after the fields were left to themselves a change began to be visible. It became green everywhere in the first spring, after London, so that all the country looked alike.

Jeffries / After London / 1885 [BL / Out of this world - closes 25 Sept…]

anti-histamine world

The Phenomenon of the Future

The sky above the port was the color of television, tuned to a dead channel.
Gibson / Neuromancer

Over the world as it ends in decrepitude is a pale sky that may perhaps dissipate with the clouds - streaks of used sunsets that bleed into the dormant waters of a river, submerged beneath rays and drops. The trees are bored, and beneath their whitened foliage [whitened by the dust of time, not by the dust of roads], rises the tent of the Revealer of Things Past…
Mallarme / Divagations / 11

The sky is thin as paper here.
Burroughs / Cities of the Red Night


The narrow staircase pushes me into the attic where the wall paper is loose. There are no images because the room is itself an image.
The yellow-orange cloth wrapping the skylight seems to hold a fallen sun; a softly illuminating sun of about one meter diameter, flat like a coin. I sweat and dream, washed up on a cold beach at midday.

A screaming comes across the sky. It has happened before, but there is nothing to compare it to now.

Pynchon / Gravity's RAINBOW


‘The sea had receded and the ground was grey and brownish like the sky. Abstraction grey. Calmly, intensely, hopelessly, the ultimate abstraction took hold of me.’ It seems to me that the ‘abstraction grey’, which recalls Hegel’s ‘grey on grey’ of theory, is the place to begin not so much thinking the ‘future’ as thinking the present.

noys/ beradi 

"When philosophy paints its grey on grey, then has a shape of life grown old. By philosophy's grey on grey it cannot be rejuvenated but only understood. The owl of Minerva spreads its wings only with the falling of the dusk." Philosophy of Right ( (1821), translated by T. M. Knox, (1952)) p. 13 

1

The sky had lifted at least thirty feet.

I sat there, not moving. The shock must have cracked the

pavement, my right hand fumbled in the rubble. As I breathed,

the silence stilled the explosion of stars whose sparks still

crackled in my head. The white lines in the pavement showed

dimly in the darkness: my hand left the ground, felt up my left

arm, up to my shoulder, back down my ribs to my hips: noth-

ing, I was intact, I could go on.

I stood up. Falling flat on my face, sprawled out like a cross, I

remembered that I had forgotten to check over my legs as well.

ASTRAGAL /sarrazin

athene noctua

(☉˛☉)




the owls are not what they seem

Nadja

… the Manoir d'Ango where I was offered the hospitality, when I wished to be undisturbed, of a hut artificially camouflaged by shrubbery, at the edge of the woods; here, while in other respects occupying myself with whatever I liked, I was able to hunt owls as well.

Nadja/ 23/ Breton