Then, on the averruncate vector the middle piece would represent the chryskokkopterophasian, the truculent bird of a personality with impenetrable edges never to be bested, the monster of last July for me. The fact that this figure stands on grass or a piece of sod speaks as well to the horse reading of it.
#THREE STUDIES FOR FIGURES AT THE BASE OF A CRUCIFIXION PRO#
This would posit that each represented some sort of stage of the “averruncate” aversive response to pursuit, either in the form of a Palinurus figure, a Proesthete figure, an Apsyrton figure, or a Castor Figure, the first figure would seem to me to represent the rage of a Palinurus figure, named after the sailor the Odyssey threw overboard as a sacrifice to the sea, to calm the sea and save the rest of them, a pars pro toto sacrifice, as per Burkert.Īdded to that, I see a certain horse character to the muscularity of the demon, and for that it all but becomes a hippalektryon, that is, a monstrous god of day, representing in abstract figured form the insanity of the moment, in this case part horse, part….well rooster, but in Bacon he blocks that out with an iconic use of the chatterbox as a sign of getting power in the world (the hippalektryon was the first god of day monster I saw emerge in 2020 in America’s insane response to the pandemic, barging out in May like a braying horse, in fact a chicken with its head cut off). That also means that they are, as they are, “demons,” my terms for any “body tunnel” that takes form in the activation of vectors of the mind, in this case, the averruncate vector targeted on a figure on the splat spot, such as this It will therefore seem forced but in general I would place the three figures.Ĭertainly not in consciousness, or vigilogogy, but in hypnagogy, perhaps lattice figure whoosh splat, under the bed. Especially important is that it argued that after the wake up into the second dream, one is in another state, syngogy, where, frozen, as if in sleep paralysis, one tries to put things together, even as they struggle to do so and, then, beyond that, there is the opisoentoptogogic, that is, something more intense that happens behind the eyes, involving constructs recently hypothesized, With the pisoentoptic, the Heaven Gate, the Tannhauser Gate, the Antaeus point, and then the cenote, this is the front of my recent interest. Then, even more involved, there are specific dream formations by which the mind lights up pathways that reach from the surface to the depths to places such as what I call the Hippocampus Hall, or Amphitrite’s Cave, and of these I have found the Eldritch formation, the Night Mirror, the, well, I don’t want to itemize them all.īut recently, in writing of the Amityville movies, and their strange hypnagogy, I reviewed a model of the Eldritch zone and found it to be a 13 step model that I have simplified over the years. But there is also, laterally, at, say, the latitude of the second, the hypnagogic, which sees inside the head the ambient, brain parts that pick up vibes circling about and then, even the sentient, a kind of interior tinnitus which can work all but as a radar to pick up signals from the dark universe. In my model of mental interiority, there is, below workaday consciousness, vigilogogy, or altered states hypnagogy, or light sleep stages, the visual language of which was made use of by modern film makers to record their emotional reality and then REM. Though such things can certainly frame where an artist gets to at any given time, it does not map out where in fact they do get to in their mind in their art. Though the biography is entirely enjoyable, it has not quelled my concerns and questions about traditional artist biographies in that they make use of scene painting to set the stage for the artist, which includes passages of things done by other people which have little to do with the artist and then where the artist is at in terms of his or her art is seen as a response to the same in their emotional or love life. Reading the Mark Stevens/Annalynn Swan biography of Bacon, I come finally to make an attempt to place his Three Studies for Figures at the base of the Crucifixion (1945) in the mind of the artist, and of human beings.
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