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August 01 ’23
The sweetness of the little face peering over the edge of the sill in Chardin’s “Soap Bubbles.”
The smell of bread baking from somewhere beyond a viny wall.
The low blocky murmuring of a stream when it deepens over large submerged stones.
The droll poise of a turtle’s outstretched neck, as it stands stationary on a rock.
The hypnotic sway of aquatic plants in a current.
The loud silence of the summer sun.
Absently but voraciously eating a bucket of steamed clams on a beach after a long swim.
The welcome warmth of a fresh towel after a long swim.
Feeling surprisingly neutral about typically disturbing thoughts.
Moments when the only sound is a tree’s leaves in a breeze.
The Lilac Road Bridge in Escondido — and bridges generally.
Insoluble, silly sentences like:
the mummy lies in its sarcophagus; he is out of time or no one saw the ghost in the fog; he was missed.
The sound, the scent, the taste and the relative weirdness of microwave popcorn.
The giant, lonely, vulgar-but-charming statue of David at the Forest Lawn cemetery in Glendale.
Any raga recorded by Nikhil Banerjee.
The answers strangers give when asked if they’ve ever seen a ghost.
Not succumbing to inner vitriol.
A dream where the Silver Lake reservoir has been turned into a manatee rescue.
Knowing that there are as many viewpoints, as there are starting points on a sphere.
Sites in Use
The beauty of the site, is that it feels like the tiny stitched-in label has become magnified, that is, it feels like a fun inversion has occurred — the label has become the context for the clothing, rather than the reverse. This is not silly when considering how important/beautiful vintage Helmut Lang and Margiela labels were/are. 🖤
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Goings-On(line)
An offering of pieces and projects
from around the web
from around the web
Hart Crane, Meditation (1918)
Mike Figgis, Timecode (2000)
Roxy Paine, SCUMAK (2001)
Constantin Boym, Searstlye Furniture (1994)
Anne Marie Beretta, Fall/ Winter (1990-91)
Oracle
Each week we consult both the Tarot and the I Ching.
To submit your own question,
send an email to oracle@cargo.site
To submit your own question,
send an email to oracle@cargo.site
29. The Abysmal (Water)
These first few lines are the general aphoristic returns for the week. They are raw and uninterpreted; there to use how you’d like. (The specific readings follow.)
- try to not be afraid to acknowledge death
- consider befriending certain types of big questions (ones that have no answer) rather than trying to fill them in
- give yourself over to your art, let the unknown speak through you
- try to quiet a priori knowledge when it comes to artistic improvisation
- avoid forging ahead in situations of impending structural collapse — take care of the issue before advancing
- be respectful of the help you receive, or risk eventual embarrassment and/or failure.
- enacting the proper measures before a situation becomes out of control, can save much trouble
- be as honest as possible about difficult situations — otherwise they will remain mysterious and costly
- most that is good depends upon consistency and repetition
* * *
From “M.S.”: We love poetic expression — we love to produce it, and we love to consume it. We also find it important, generally. However, knowing the personal causality that pushed our standpoint, we are unsure of its true wider significance. Does the I Ching/tarot have any wisdom as to the role of poetry in the larger scheme of things? [Poetry, in our usage, being something like concentrated, descriptive expressions that stand "outside," or in opposition to phatic or dogmatic (whether religious, algorithmic, scientific, governmental and/or political) language.]
The Hanged Man is quite good as a symbol for the poet/artist, as both willingly put themself in states of suspension.
“Willful suspension” should be thought of as an act where control is not of most importance. Like the sentiment, there is no good art about anything — art is a result of relinquishing rather than a priori knowing. It is likely that most people will not understand this — all mediums (whether words, paint, performance, film, etc.) are false. Generally people simply believe and pontificate, but the artist/poet is in a kind of productive trance with this impurity/unknowing.
Both the following hexagrams center around catastrophes — catastrophes in which ruin can be avoided — should proper care be taken beforehand. In light of this, it’s worth noting the similarity of the image of the dangerously stressed roof beam, of the first hexagram, and the wooden beam from which the Hanged Man is suspended. The Hanged Man’s focused poise, in suspension, is nothing if the support from which they hang, breaks.
Even the artist/poet needs to continually reinforce the structural soundness of their practice (whether financial or emotional).
Ultimately, to us, it seems the oracle is saying that being a poet is a strong way to face the difficulties of the mysteries of life — just make sure you take the proper precautions for such truly outsider-y activities.
* * *
Complete Reading
This week we pulled the Hanged Man. Here we have a character in the act of something like transcendental acceptance (as of death or a willing relinquishment to The Situation generally). “Relinquishment” meaning the acceptance of the known and unknown; there is a connection to The Magician here, in that both are highly aware figures, except that the Hanged Man seems to have acquiesced whereas the Magician is actively seeking.
Our first hexagram this week is #28, Preponderance of the Great. Here we have an image of a dangerous situation, the load on a wooden support beam is too great. The implication is that a situation must be attended to directly or collapse will result. There is an indication though, that timely attention can thoroughly fix the problem — do not delay. There were two changes this week, of which the specific notes are: do not forge ahead in times of structural collapse — take care of the issue before advancing to other tasks, and accept and respect the help you receive or risk embarrassment and failure.
Our second hexagram, the one that suggests how best to meet the challenges (or the changes) is #29, The Abysmal (Water). Water is dangerous if it is not understood. Barring absolute surprise proper measures can likewise be taken in advance of many problems. Repetition, or willfully taking up residence in difficult scenarios, as to better understand them — is one solid way of surviving. “If one is sincere when confronted with difficulties, the heart can penetrate the meaning of the situation.” “The superior person... is concerned that goodness should be an established attribute of character rather than an accidental and isolated occurrence. So likewise... everything depends on consistency, for it is only through repetition that the pupil makes the material their own.”