actions within one's local community. It is only then that the computers and
even books will really begin to nourish us in a way that is more benevolent than it is destructive.
Oral cultures are necessarily storytelling cultures, which are inevitably place-based cultures -
because the stories that thrive and live in this valley will be very different from the ones being told
on the other side of this mountain range. Rejuvenating the primacy of the sensuous world -
renewing our solidarity with the more-than-human locale - is only going to happen by
rejuvenating oral culture. Face to face storytelling, and all the things that go with it. Rituals,
community festivals, collective and good-hearted initiations of the young men by the older
men, and of the young women by the elder women, community celebrations honouring the
seasonal changes.
David Abram during an interview with Derrick Jensen entitled ... Alliance for Wild Ethics || The Perceptual Implications of GAIA
…
an change the world. Indeed, it is the only thing that ever has.”
As Elisabet Sahtouris has said in - Ecosophy: Nature’s Guide to a Better World
In this truly cosmic model, the Greeks believed that if we knew how
the greater cosmos was organized, we would know how to organize
our human cosmos. The greater cosmos came out of chaos, which was
not seen as the disorder for which we use the word chaos, but as the
unpatterned no-thing-ness of the universal source, the infinite
potential (chaos, more as in today’s chaos theory) within which all
arises. Thus, the matter of how cosmos-as-order arose and functions
is of supreme importance for human life.
Although ‘The Great Wave’ is often seen as typically Japanese, in fact
it mixes influences from both east and west. Hokusai’s imagination
had been captured in his youth by his discovery of European-style
perspective. Now, aged about seventy, he adapted European
perspective in a very inventive way, playing games in the image
between the relative sizes of the large storm wave in the foreground
and tiny Mount Fuji in the distance. Japanese prints such as 'The Great Wave' influenced Western artists
such as Whistler, van Gogh and Monet. During the 20th century and
beyond, the image has spread even more widely into popular culture
and has been frequently replicated and adapted. It is even painted as
a mural on a house in Camberwell, South London. This British
Museum Exhibit is a unique opportunity to delve into the story
behind this iconic work, learn how Hokusai made ‘The Great Wave’,
and discover how the print has become a truly global inspiration.
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t readily, in the
materials of which that artifact is made. In the wood
of the telephone pole, which was once standing in a
forest, in the clay bricks of the apartment building,
even in the smooth metal alloy of the truck door that
you lean against -- there, in those metals originally
mined from the bones of the breathing earth, one can
still feel the presence of patterns that are earthborn,
and that still carry something of that wider life. But if
I look at the truck purely as a truck, what I see is not
something that is born, but something that is made.
And there is surely an important distinction between
the born and the made. But even with that
distinction, the made things are still made from
matter, from the flesh of a living cosmos.
David Abram during an interview with Derrick Jensen entitled ... Alliance for Wild Ethics || The Perceptual Implications of GAIA
…