Friday, 19 December 2014


Fairies comb goats' beards every Friday.

Source: Denham Tracts, Vol.II, a collection of folklore by Michael Aislabie Denham, published for the Folklore Society, London 1895, 

Documentation of Goat-combing attempt
Friday 19th December 2014

Thursday, 27 November 2014

27.11.2014 bis

U Bednji, u Hrvatskom zagorju, kazu:
"Nosi uvujek sa sobom komadic vucjeg mesa, pa ces biti zdrav kao vuk, ne samo ti, nego sve sto imas, a svaki ce ti posao poci mnogo brze od ruke".

In Bednja, in Croatian Zagorje, they say:
"Carry always with you a piece of wolf meat, then you'll be healthy as a wolf, not just you, but all you've got, and any job you take up will be much easier."

Source: Zle oci u verovanju Juznih Slovena, Tihomir R. Djordjevic, first edition 1938; 
Prosveta, Belgrade 1985



In the Balkan folk medicine and apotropaeic magic, the destructive aspect of the wolf’s mouth is symbolically turned around and used against demonic forces and diseases. 
The magic act of pulling children through the wolf’s mouth in the context of birth ritual and infant care shows that the symbolism of the wolf’s mouth is connected with the female reproductive organs. 
The wolf appears at the most important transitory moments in the human life cycle (birth – marriage – death). 



The ability to change into a wolf by the power of certain rituals is connected with lycanthropy properly speaking-an extremely widespread phenomenon, but more especially documented in the Balkano-Carpathian region-or with a ritual imitation of the behavior and outward appearance of the wolf. 

Source:Descended from wolves: Wolf Symbolism Around the World


The Keeper of the Mountain
Acrylic, graphite and ink on paper
145 x 183cm


Thursday, 13 November 2014


Process work: Connections
Photographic documentation
Sierra de San Francisco
Baja California Sur
23 & 24 October 2014

Photograph of ancient cave painting, detail from cueva Las Flechas, Santa Tereza Canyon. (23.10.2014)
Photograph of shadow while I carry the "Goat".  (24.10.2014)
Connection made 10.11.2014.


Work in Progress: The Goat
Travelling with Goat 
Sierra de San Francisco
Baja California Sur
24th October 2014

113° 4'34.39"W
1101m above sea level

See also: 15.08.2013

Saturday, 1 November 2014


113° 0'57.93"W
1132m above sea level

Rancho San Francisco de la Sierra, 
B.C.S., Mexico
Buenaventura Hostal

See also: Inroduction

Introduction to the Sierra de San Francisco Great Mural Site

"The peninsula of Baja California is a region
of Mexico that concentrates one of the most
extraordinary repertoires of rock art in the
country. Its condition, almost insular, kept the
native people relatively isolated from continental
influences, allowing the development
of local cultural complex. In particular, one of
the most significant features of the peninsular
prehistory is that these people promoted
here the mass production of rock art since
ancient times."

"Of the central mountain ranges, the Sierra de
San Francisco is the one that concentrates the
most spectacular and best-preserved Great
Mural sites, Inscription in the World Heritage
List was based on these exceptional rock paintings1.
It is a small volcanic mountain range located
in the northern extreme of Baja California
Sur, M.xico. It has high mesas sectioned by
deep canyons that extend in a radial pattern.
The sierra reaches a maximum altitude of 1590
m. over the sea level and has an approximate
area of 3600 km.. Their western slopes descend
to the vast plains of the Vizcaino Desert
and the Pacific lagoon systems; to the east,
the mountains meet abruptly with the Gulf
of California. Its climate is generally dry and
warm, receiving an average less than 100 mm.
of precipitation per year."

"Although it is considered as one of the more
marginal environments of the earth, there
were here the optimal conditions for the development
of hunter-gatherers-fishers groups.
Using the wide variety of coastal, plains and
mountain environments, the natives followed
an intense pattern of mobility in search of
food, raw materials and water. Because of
this pattern, archaeological sites are many and
varied. The rock shelters with rock paintings
are the best known, though petroglyphs also
have a wide distribution."

"The Jesuits' impression who at some point
visited the Great Mural sites was that the
paintings were “old”2. This impression is based
not only on the assessment of the physical
characteristics of the imagery, but more definitively,
in the answers they got from their
informants when asked about the paintings.
Cochimìes local groups denied any knowledge
about the imagery and its origins, attributing
the work to an ancient and now extinct race of giants from the north3."

"It has been proposed elsewhere contextualizing
Great Mural imagery, including shamanic
associations, based on the consideration of
religious concepts and peninsular ritual practices.
Archaeological research carried out in
this mountain range allows us to point out
that the practice of painting and engraving
was a long-term phenomenon of essential
importance in the indigenous worldview European
missionaries and chroniclers described
a few ritual practices and artifacts that were
used in them. Some of these devices have been
recognized in rock art panels, but also found
in archaeological excavations or described in
the ethnography of the northern tip of the
peninsula, made during the first half of the
twentieth century (Gutierrez & Hyland 2002;
Ochoa-Zazueta 1978). This speaks of the relevance
of these paintings and their roots in ritual practices of these complex small-scale societies." 

Source: The Great Murals of the Sierra de San Francisco, Stone Memory of a Missing People;
Maria de la Luz Gutiérrez Martinez;Centro INAH, Baja California Sur

"Se localiza hacia la parte central de la Península de Baja California, en la región conocida como Aridoámerica, consiste en un conjunto de pinturas rupestres pertenecientes al estilo Gran Mural.  Las cuevas que albergan conjuntos de pinturas son: La Pintada, Las Flechas, Los Músicos, La Soledad, Boca San Julio, Cuesta Palmarito y El Ratón.

Es probable que este estilo haya sido desarrollado por un grupo étnico antecedente de los cochimis.  Sin embargo, no hay estudios lingüísticos suficientes para ligar a los productores de los murales con el grupo étnico.  Los motivos representados en estas pinturas son en su mayoría, figuras humanas y animales de tamaño natural y aún mayor, además de motivos abstractos, en colores negro y rojo, aunque también las hay en amarillo y blanco.  La interpretación general de estas representaciones pictóricas asume que se tratan de marcadores territoriales y expresiones mágicas y religiosas, así como de relaciones sociales entre los antiguos cazadores recolectores que habitaron esta zona hace por lo menos  5,000 años.  Ubicación cronológica principal: Cenolítico Superior.  Además, se debe mencionar que es la única zona arqueológica de Baja California Sur que cuenta con el Decreto de Patrimonio Mundial por la UNESCO desde 1993."

Source: Zona Arqueològica de la sierra de San Francisco

Tuesday, 7 October 2014


Powerful old women's opposition to military heroes appears throughout the tales and sagas of barbarian Europe, and survives in modern peasant folklore. The hags in these stories have the power of shapeshifting, transforming themselves into wild animals or stunningly beautiful maidens. Their power reaches to the sun, moves rocks and earth and wind. 

The Scottish Muilearteach, who raised winds and storms, came in the form of a hag to Scottish heroes, begging to be allowed near the fire. As she warmed herself, she grew large and aggressive. [Briggs, 304] The same story is told of theglaistig, protector of the deer, who comes to a highland cabin where hunters are gathered. She hunkers down by the fire and begins to swell in size. The hag demands snuff from a hunter, and if he is not canny enough to offer it to her on the point of his dirk, she jumps him and begins to choke him. 

The hunting dogs spring at her, and she tells the hunter to keep them back. She pulls a gray hair from her head to tie them up, but the wise hunter will use his garter instead. The glaistig goes after him the minute the hounds are tied, saying “Tighten hair.” But the hunter says “Loosen garter.” With the dogs after her, the glaistig backs out the door. They pursue her like a deer until suddenly she turns and fights. The hounds come back mangled and plucked clean of hair. Without these animals and their own cunning the hunters do not fare well in combat with the glaisteag.

The Tale of the Strath Dearn Hunter shows the influence of the witch hunts. The supernatural glaistig becomes a human witch. After appearing first as a hen, then as a hag, she ends up fighting the dogs. They return to the hunter in very poor shape. He returns home to find his wife has gone off to attend a neighbor woman who seemed to be in terrible pain. The hunter is suspicious, goes to the house and tears the covers off her. Her breasts have been torn off by hounds' teeth. The hunter denounces the woman as a witch and kills her with his sword. [Craigie?]

Source: Crones,Excerpt from Secret History of the Witches, copyright 2000 Max Dashu

Monday, 6 October 2014


Night-scapes series
ink and graphite on paper

"Verrà la notte
  e avrà i tuoi occhi"
Roberto Vecchioni

Saturday, 2 August 2014


" Jacobson notes that the compression of historical stages within a belief system such as this one and the complementary tension between human and animal, male and female, which accompanies it are reflected in another Evenk concept, that of the cosmic elk. Kheglen the cosmic elk is identified with the Big Dipper constellation, while the Little dipper is regarded as her calf. The two are said to go into tundra thickets by day and to reappear at night when the movements of the constellations enact the great hunt.

  An older version of the myth casts the hunter as the bear, Mangi, who nightly chases and devours the sun-elk of the Great Dipper. Anisimov notes that in Evenk, mangi, as well as meaning "bear", designates "spirit of the ancestors," "master of the lower world," and "devil." Here the elk and the bear appear as quintessentially important cosmic animals while the bear conveys a complex duality role of challenger to the primary animal, the cosmic elk."


Goddesses in World Culture, Volume 1

edited by Patricia Monaghan; pp164

2nd August 2014, Ilindan.

Friday, 1 August 2014


In legends from Europe and Siberia, an elk steals the Sun in her antlers and is chased by the three hunters, one carrying a pot all night until they kill the elk and restore the Sun to rise again next morning. Next evening her daughter begins the hunt all over again.

These legends are pictured in rock drawings in places in Europe and Siberia. In Italy and Spain too far south for elk, there is a deer.


Female elk do not have antlers, and surviving Siberian legends, in which the part of female elk or female bear is played by the Great Mammoth Mother, gives a clue to the origins of both elk and bear stories with the mammoth hunters across the steppe tundra of Europe and Siberia, from 55,000 years ago to about 12,000 years ago. (The last mammoths died out about 4,000 years ago).

Another clue to the ancient origins of this legend is that the mammoth dips into the sea and becomes half fish symbolically between the upper and lower worlds.

The myth must date from a time and latitude when Ursa Major dipped below the horizon for part of the year, as Cygnus does now.

When mammoths had become an ancient myth - the memory of a shaggy beast became the bear, and the memory of the tusks catching the sun became the antlers of a female elk.

In Europe and Siberia, this constellation was seen as a mother elk with antlers. Amongst recorded legends are several in which the Cosmic Elk steals the Sun and is chased through the night by a hero/god, or twin heroes, or three hunters, the middle one carrying a cooking pot (the double star). They kill the Elk and the sun rises again. Although the Elk is dead, her daughter (Ursa Minor) survives and the hunt begins again. (Anisimov: 1963).


Saturday, 19 July 2014


Located at the top of the heavens the stars of the two bear-constellations, Ursa Major and Ursa Minor, never set, i.e., they never disappear below the horizon, they are always visible in the night sky, all night, every night, throughout the year. One of these stars, Polaris, the Pole Star in Ursa Minor, appears to stand still making it a good reference point for navigators at sea to identify, while the other stars in these two constellations, called circumpolar stars, revolve around it.


The Ursa of Ursa Major is from the Indo-European root *rtko, 'Bear'. Derivatives: arctic (meaning north from Latin arcticus, from Greek arktikos), ursine (bear-like), from Latin ursus, Greek arktos. [Pokorny rktho-s875. Watkins]. 


In the northern branches of the Indo-European languages, the name of the bear was subject to a taboo and there was a proliferation of euphemisms; 'honey-licker', 'honey eater', 'shaggy', etc. The word for bear in Russian is 'medved', and the same in Czech. In Polish, bear is a similar word 'niedzwiedz', and in Old Church Slavonic, bear is 'medvedi'. All of these words mean something like 'honey-eater' and are derived from the common Slavic words 'medu' = 'honey' (PIE *medhu-, from which we also get the English word 'mead', an alcoholic beverage made from fermented honey and water) plus 'ed-' = 'eat' [2]. Our word bear2appears to be another taboo term, from Dutch 'bruin', meaning 'the brown one', French 'brun' and 'brunette'. Related to the Norse name Bjorn, and place-names BerlinBerne

Our word bear, the animal, comes from the Indo-European root *bher2, 'Bright, brown.' Derivatives: brown(one meaning of brown was 'shining', and it was often used to describe swords in Old English poetry), bruin(a bear), Bruno (name), brunetburnetburnish (meant to make something brown.), from Old French brun, shining, brown, beaver (a semiaquatic rodent noted for felling trees to build dams and partially submerged dens called lodges), Bernard (name, 'bold bear'), bear² (the animal), from Old English bera, bear, from Germanic *ber, 'the brown animal'), berserker, from Old Norse björn, bear, from Germanic *bernuz. [Pokorny 5. bher- 136.]



Tabu: Mid-Night II
Photographic documentation

Paraceleus said:

"Many stars have not yet cast their influence, that is why there are many arts and sciences yet to be discovered"


Thursday, 17 July 2014


In Germany the corn is very commonly personified under the name of the Corn-mother. Thus in spring, when the corn waves in the wind, the peasants say, “There comes the Corn-mother,” or “The Corn-mother is running over the field,” or “The Corn-mother is going through the corn.” When children wish to go into the fields to pull the blue corn-flowers or the red poppies, they are told not to do so, because the Corn-mother is sitting in the corn and will catch them. Or again she is called, according to the crop, the Rye-mother or the Pea-mother, and children are warned against straying in the rye or among the peas by threats of the Rye-mother or the Pea-mother. Again the Corn-mother is believed to make the crop grow. Thus in the neighbourhood of Magdeburg it is sometimes said, “It will be a good year for flax; the Flax-mother has been seen.” In a village of Styria it is said that the Corn-mother, in the shape of a female puppet made out of the last sheaf of corn and dressed in white, may be seen at mid-night in the corn-fields, which she fertilises by passing through them; but if she is angry with a farmer, she withers up all his corn.

Source: The Golden Bough: a study of magic and religion; Sir James Frazer;

The Rye-Mother

The rural people of Mark Brandenburg tell the legend of the Rye-Mother who hides in grain fields. For this reason children do not dare to walk into a grain field.

In Altmark children a kept silent with the words: "Hold your mouth or the Rye-Mother, with her long black tits, will come and take you away!"
In the vicinity of Braunschweig and Lüneburg she is called the Grain-Wife. Children seeking cornflowers tell one another stories about how she steals little children; and hence they do not dare go too far into the green fields.
In the year 1662 a woman from Saalfeld told Prätorius the following story: A nobleman from there forced one of his subjects, a woman who had given birth less than six weeks earlier, to help bind sheaves during the harvest. The woman, who was still nursing her baby, took it with her to the field. In order better to perform her work, she laid the child on the ground. Some time later, the nobleman, who was present there, saw an Earth-Woman with a child come and exchange it for the peasant woman's child. The false child began to cry. The peasant woman hurried to it in order to nurse it, but the nobleman held her back, saying that he would tell her the reason in good time. The woman thought that he was doing this in order to make her work harder, which caused her great concern. Meanwhile, the child cried incessantly, until finally the Rye-Mother returned, picked up the crying child, and layed the stolen child back in its place.
After seeing all of this transpire, the nobleman summoned the peasant woman and told her to return home. And from that time forth he resolved to never again force a woman who had recently given birth to work.

Source: Wilhelm and Jacob Grimm, Die Roggenmuhme, Deutsche Sagen, no. 90. (original language)


"Patalena protected the growing or shooting corn. In Germany such a deity was called the Roggenmutter, whence the saying to children:

" 'Leave the flowers standing!
Go not into the corn!
There the Roggenmuttter
Stands from night to morn;
Now adorn she's' ducking,
Now all up she's looking,
She will catch the children all, 
Who look for flowers, great or small' "
                     FRIEDRICH, Symbolik

Source: Etruscan Roman Remains and the Old Religion; Charles G. Leland (1892);

16.07.2014 bis

ta•boo (təˈbu, tæ-) 

adj., n., pl. -boos, adj.
1. proscribed by society as improper or unacceptable: taboo words.
2. set apart as sacred; forbidden for general use; placed under a prohibition or bar.
3. a prohibition or interdiction of something; exclusion from use or practice.
4. the system or practice of setting things apart as sacred or forbidden for general use.
5. exclusion from social relations; ostracism.
6. to put under a taboo; prohibit or forbid.
7. to ostracize.
[1770–80; < Tongan tapu or Fijian tabu]



Tabu: Mid-Night
Photographic documentation

Intertwined with the Roggenmutter (Rye-Mother), and the Great Bear, with peeks of the Roggenwolf (Rye-Wolf).

Friday, 11 July 2014

Monday, 30 June 2014

30.06.2014 (im)pertinent Q&A no.7

(im)pertinent questions no.7
(im)pertinent answers no.7
typewritten postcard - hand written answer


Walking with Dr. B.H. PhD 

30.06.2014 (im)pertinent Q&A no.5

(im)pertinent questions no.5
(im)pertinent answers no.5
typewritten postcard - hand written answer


Walking with Dr. B.H. PhD 

30.06.2014 (im)pertinent Q&A no.4

(im)pertinent questions no.4
(im)pertinent answers no.4
typewritten postcard - hand written answer


Walking with Dr. B.H. PhD 


(im)pertinent questions no.1
typewritten postcards
series of 10
edition of 2


Wednesday, 18 June 2014


(im)pertinent questions no.7
typewritten postcards
series of 10
edition of 2
10.06.2014 and 11.06.2014

...and, why not?

Tuesday, 3 June 2014