Many not in order on list
Finnegans Wake Iterates Wake Finnegans
REMINDER: any artists that borrows public dream songs does not need to be self-aware of the collage art they have created. What an artist says about the meaning not having these specific meanings does not matter. Even if thge artist claims a song choice was made due to cost / licensing restrictions (Nina Paley: copyright is brain damage), the mass mind influence / global brain influence (Howard Bloom, August 2000) kicks in. Self-wareness not required by any person on writing team. Economic historic factors are weaved into licensing of art.
MOYERS: Do you ever look at these primitive art objects and think not of the art but of the man or woman standing there painting or creating? I find that I speculate—who was he or she?
CAMPBELL: This is what hits you when you go into those ancient caves. What was in their minds as they created these images? How did they get up there? And how did they see anything? The only light they had was a little flickering torch.
And with respect to the problem of beauty—is this beauty intended? Or is it something that is the natural expression of a beautiful spirit? Is the beauty of the bird’s song intentional? In what sense is it intentional? Or is it the expression of the bird, the beauty of the bird’s spirit, you might say? I think that way very often about this art. To what degree was the intention of the artist what we would call “aesthetic” or to what degree expressive? And to what degree is the art something that they had simply learned to do that way?
When a spider makes a beautiful web, the beauty comes out of the spider’s nature. It’s instinctive beauty. How much of the beauty of our own lives is about the beauty of being alive? How much of it is conscious and intentional? That is a big question.
MOYERS: Tell me what you remember when you first looked upon those painted caves.
CAMPBELL: You don’t want to leave. Here you come into an enormous chamber, like a great cathedral, with all these painted animals. The darkness is inconceivable. We were there with electric lights, but in a couple of instances the man who was showing us through turned off the lights, and you were never in darker darkness in your life. It was—I don’t know, just a complete knockout. You don’t know where you are, whether you are looking north, south, east, or west. All orientation is gone, and you are in a darkness that never saw the sun. Then they turn the lights on again, and you see these gloriously painted animals. And they are painted with the vitality of ink on silk in a Japanese painting—you know, just like that. A bull that will be twenty feet long, and painted so that its haunches will be represented by a swelling in the rock. They take account of the whole thing.
MOYERS: You call them temple caves.
CAMPBELL: Yes.
MOYERS: Why?
CAMPBELL: A temple is a landscape of the soul. When you walk into a cathedral, you move into a world of spiritual images. It is the mother womb of your spiritual life—mother church. All the forms around are significant of spiritual value.
Now, in a cathedral, the imagery is in anthropomorphic form. God and Jesus and the saints and all are in human form. And in the caves the images are in animal form. But it’s the same thing, believe me. The form is secondary. The message is what is important.
MOYERS: And the message of the caves?
CAMPBELL: The message of the caves is of a relationship of time to eternal powers that is somehow to be experienced in that place.
Before the Trainng Wheels of 2-dective "buddy cop" characters... of Seasohn Two deepest dives seasoning / spiked punch_ing up / salted bomb Bohemian Grove salting of Manhattan Project. Writers Intentionals or otherwise (sing along, singsong).
My USA Hollywood Civic Ditty against Surkov.
https://www.youtube.com/watch?v=4eHc0pqj2v8