ࡱ> 241@ >bjbjFF (,,, r>>>>>>>R 8 <J Rmr r r r r r r r  $]R >r r r r r >>r r 't t t r >r >r t r t t >>t r f 0LX t =0mt  t RR>>>>>t xt r r r RR R "RR When one tugs at a single thing in nature, he finds it attached to the rest of the world John Muir Exploring the Interior Landscape Interior Landscape is both a metaphor and a description of personal reality. There are several features There is the geography: the topographical features. Our personal hills, valleys, Our plains and water features. There are the paths and caves. These are the landscapes weve inherited and developed. There is also the weather of our landscape. It changes. We can learn more about all this through objects and particularly object-making. We are going to try mapping some of out interior landscapes by making two different kinds of objects: 1. small map cards : 2 x 3 reminders of where we have been 2.. directional tools or intuitive or magical technologies which help orient us in our landscapes. The major way into the interior landscape is the sixth sense, The Imagination and its components: intuition, accident, coincidence, patience, impatience and affinities. Why are we doing this? A mans work is nothing more than to rediscover, through the detours of art, those one or two images in the presence of which his heart first opened. Albert Camus How to do this? 1. Ask to quiet the chattering mind. We are not being logical or practical. This is an experiment in play . neither asleep nor awake 2. Enter/Contact your interior landscape: What things, people, stories, events seem to be yours. What are familiar patterns in your life? What things often seem to happen to you or follow you? 3. Find a portal or way of workingthat seems right for you at this time. Such portals might include: Just combine three or more of the materials together Making something about your mother, father, children or a representation of your family Making something that expresses a need you feel; Making something to represent a concern, a worry, an annoyance, a discovery, a truth Making a tool or map for a personal task Making a connection with someone or some element. Putting things together that seem unlikely. Making affinities of opposites. All beauty is making one of opposites and the making one of opposites is what we ar going after in ourselves. Eli Siegal, aesthetic realism Consider your choices: light-dark, smooth-rough, old-new, safe-dangerous, color, perhaps smell. Work with the moist, vegetative, receptive, indirect and ambiguous Activity: study/being Collect/Arrange Transform Stone crannogs, geomancy paths, cairns, dolmen etch, sculpt Earth Sit- hike-smelling mudmarks, pots Trees sit-touch-watch huts, bound sticks, wands, furniture Water Air Light Fire More Portal Thoughts: Patterning with materials Creating Harmonies and dissonances, affinities Work with Materials: BarksNestsStonesWater Adornment Marking: with muds Mapping Thin Place Visits/Hiking Book Making Flower Pressing/Pounding Color Gardens/Ikebana/Pleaching/Arborsculpture Poetry Read and Write Magical technology/ science of causing change in conformity with will Work on body, mind, soul, heart Intuitive technology almost no physical component pendula Divination Tools: Tarot, Pendula Masks Printing latexboock Daniel Mack 14 Welling Avenue Warwick, NY 10990 rustic@warwick.net 845 986 7293 www.danielmack.com fghiw վp_N_N=_=_ h5CJOJQJ\^JaJ ht!J5CJOJQJ\^JaJ h}T5CJOJQJ\^JaJ h55CJOJQJ\^JaJ)h5h556CJOJQJ\^JaJ&h5h55CJ(OJQJ\^JaJ(&h5h}T5CJ(OJQJ\^JaJ(,h5h556CJOJQJ\]^JaJ&h9H56CJOJQJ\]^JaJ,h5h9H56CJOJQJ\]^JaJghG J Z [  4 h 22igdXZgdQUgd]= J K  # Y Z [    ʹۀoo[J6&hh]6CJOJQJ]^JaJ h]6CJOJQJ]^JaJ&h]h]6CJOJQJ]^JaJ ht!J5CJOJQJ\^JaJ&hh]5CJOJQJ\^JaJ&ht!Jh]5CJOJQJ\^JaJ h55CJOJQJ\^JaJ h]5CJOJQJ\^JaJ hH5CJOJQJ\^JaJ h}T5CJOJQJ\^JaJ&hh}T5CJOJQJ\^JaJ 7 8 B K g h k ǶuaSE4u hQUh 'CJOJQJ^JaJhCJOJQJ^JaJhXZCJOJQJ^JaJ&hg h '5CJOJQJ\^JaJ&hg hQU5CJOJQJ\^JaJht!JCJOJQJ^JaJhQUCJOJQJ^JaJ h9H5CJOJQJ\^JaJ h '5CJOJQJ\^JaJ&hQUh]5CJOJQJ\^JaJ h]6CJOJQJ]^JaJ&h]h]5CJOJQJ\^JaJ ,025B|7h )-/X]`yӁssssssesӁsh9HCJOJQJ^JaJhXZCJOJQJ^JaJhg CJOJQJ^JaJhyCJOJQJ^JaJ&hg hQU5CJOJQJ\^JaJ hQUhXZCJOJQJ^JaJ hQUht!JCJOJQJ^JaJht!JCJOJQJ^JaJhQUCJOJQJ^JaJ hQUhQUCJOJQJ^JaJ'i)z p3agdBigdHRgd9HgdXZyz KMXYZopԶ䗉{jYG5#hH56CJOJQJ\^JaJ#hXZ56CJOJQJ\^JaJ hHR5CJOJQJ\^JaJ h9H5CJOJQJ\^JaJhS\ CJOJQJ^JaJhXZCJOJQJ^JaJ hXZhXZCJOJQJ^JaJhg CJOJQJ^JaJ hg hg CJOJQJ^JaJh9H5OJQJ\^Jh9Hhg 5OJQJ\^Jh9HCJOJQJ^JaJht!JCJOJQJ^JaJ389agvle^WSKSh<hE3d6hE3d h<hS\ hS\ 56 hE3d56h<hE3d56hE3dhE3d5CJ$OJQJaJ$ hE3d5hE3d5CJ$OJQJaJ$hBi5CJ$OJQJaJ$hBihBi5hBihBi5CJ$OJQJaJ$hBi hBihBi&hBihBi5CJ$OJQJ\^JaJ$ hBi5CJ$OJQJ\^JaJ$#h556CJOJQJ\^JaJDNai2S;<=> !gdE3d:;<=>h hS\ KHhS\ hS\ CJKHaJ&hHRhE3d5CJ$OJQJ\^JaJ$&00P/ =!8"8#$%L@L Normal1$5$7$8$H$KH_HmH sH tH DA@D Default Paragraph FontRi@R  Table Normal4 l4a (k@(No List > ,ghGJZ[ 4h22i)z p 3 a  D N a i 2 S ; < ? 00x0000000000000000000000000000000000000000 00000000000000000000x0000x@00@0@0@0x@0x@0@0x@0@0@0x@0@0x@0x00@0@0@0@04qqqt y> i> = agR Z - B \ ` < ? 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