The Cover For an Engine
In the context I look at him the wild man is a solitary individual on rare occasion’s (one early manuscript) I could refer to him as part of a herd.
The reference here relates to battle and swift herd of wild men passing by. These would be defeated warriors. I can use comparison to get a sense of where that herd like feature comes from as in later sources, the wild man is distinctly deer-like as he flees the battlefield, leaving his humanity behind and takes to the woods.
In the woods he can be distinctly bird-like in his decision to take flight rather than remain in the situation he finds himself in.
These features would appear to be the result of direct observation drawn from life and a comparison with other forms of life which occupy the same space.
I can class the wild man as a solitary individual, part of a group or as a stash of other things.
As its drawn from life and gives enough of a sense of its emotional landscape I can let it contain other ideas and different words.
Fight or flight is one example. As the wild man is also trapped within himself he dwells on the past the present and the future. He is a rather useful container for modern concepts about memory and ideas about classification drawn from both philosophy and cognitive science.
In my mind he refuses to die because I can forever relate him to other things. Family of resemblances.
This may also tell me something about the subject in a general sense, if I wish to give things a sense of time and history. The subject is not going to stand still and say the same thing.
The nature of the historical record may limit my movement, I am dealing with a highly ordered form of Language but it is useful to remember that I am not dealing with something contained in a piece of paper. I can also suspect the subject may have had a life beyond these confines however marginal or fragmentary the evidence may appear.
The wild man has a significant life span in human imagination.
He looks like lots of other things. I think this allows him to occupy people’s minds and allow him to come to mind.
In terms of the space the subject needs to do this. It needs to have a context in which it can come to mind, take a breath and immediately hold the space. A clear relationship allows the breath to be held easily by other minds which also occupy the space.
It looks like other things. Its sense of time is in the telling of it. All it requires is a space in which it can be told.
It can be found in a language that does not have to be complicated. Complexity is not held in the form of words it takes.
It is a living thing, and life is as simple or as difficult a thing as you wish it to be.
I need to lose this I thing. These are the parts that are a compare and contrast from early days at looking at the subject. Taking it out for some fresh air and a bias check as I have not fully let go of the thought.
With an interest in memory and lacking the full resources of a lab I have to experiment closer to home and run with what I can find.
I could have proofed, dressed the language and fused it with a range of secondary sources. But it would start to look like something else.
I will do that and let myself dissolve into something I am not. But I like to remember that it started out as a series of stupid questions and contrasts asked by a small mind that knows very little.
A universe comes into being when a space is severed or taken apart…. The act is itself already remembered, even if unconsciously, as our first attempt to distinguish different things in a world where, in the first place, the boundaries can be drawn anywhere we please. At this stage, the universe cannot be distinguished from how we act upon it, and the world may seem like shifting sand beneath our feet.
I like to maintain a distance from my subject. Some have more fish some have less but all fish swim in the same sea. Sometimes they look little different from one another. I like to be close to my subject.
It’s easy to make simple things look other than they are. Criticism used when dealing with the above text, but perhaps it is just as it seems, a simple thing, an observation that I can make without breaking this rule of things; that error is always a property of things other than ourselves, as these things clearly demonstrate.
We have a talent for finding such things and a need to make them difficult and problematic.
A thing that requires a special language. A particular form of eduction and a quality of mind that can discern the ebb and flow, the subtle movement of language that plays beneath the surface within the pages of the closed book of nature and its secret history.
Not just a simple thing. I like just writing in streams as I see aspects of my thought that would remain hidden.I like using the blog as if I put a very rough draft into word re-write and hit delete immediately, turn it into something else and forget its past life.
I can see the diet of medieval hagiography I live on.
Pop psychology and lifestyle type things a horror to read. More horrifying to make a relationship.
But I can also see what it is not and the complexity of having to put things into words. I don’t have a difficulty making things complicated and dealing with that complexity. I have huge difficulty making them the simple things they often seem to contain.
Sleeping with eyes wide shut with an error I cannot excuse as a property of other people. Although I have no reason to suspect that other things may draw these relationship as well, such things require no more than to sleep, the movement is always effortless after the instruction. It does not require the remembering of it as it is not formed in instruction but in the moment it was created for.
I need a disguise. A phone box and a change into blue underwear and a red cloak would be too obvious.
I few expert opinions and a citation and referencing system will have to do.