Interpreting the INTERP[REATIPONS OF wENGER AND Maltwood in relation to the landcapes of the Oshun Forest and Glastonbury respectively,in terms of the creation of cosmographies within the lnadscapes through which they explore questions that are suggested to them by the intersection between lamdscape,individual consiusness and the interperive tradions in relation to which they work/or and through which the resreacher could explore questions that are suggested to them by the intersection between lamdscape,individual consiusness and the interperive tradions in relation to which they work
The thesis couls make expliocit thses interparetive sdesings on the part of both artsits,dsinbns which are more self cobscouly an act of interpertice contrauction in the case of Wenhger than of Matwood but in both cases,thre is a converegence of what they see themselves as compleed to witness to by the expressive qualities of the landscape.In the case of Wenger this is closer to a numnious poresences thgat inhere in the lnadsape,coexietnt with titrs naural and boilogical forms while oin the case of Matwood it could be related to a notion of mystery as to correlations between lanmdscape and huamn concsousness that enbvales lanfssacpe to dsemoinstrate vqualities that are suggestive of forms which correspond rto image making and ideational possibilities of huamn concsousness.
The reserch and its writing could proceed,therefore,at wto levels.at one level,the scholar folows the artsit on the act of cognitive and artsitic reconstruction,faithfully noting their won staed conceptions oif what they are doing.
At another level,the resarch could also adapt the cetral navogtional and congnitive meathpors froregrounded by the endeavpours of both aretists as a framework to guide the analysis and synmtsis the rerserach inmcbolvers.The central metaphors could be undersatod to be that of a relationship toi amtrix of tramsfolrmation.This mtransformational matrix is resented by the imnage of a void in relation to its encapsulating form,in which te question of the relationship of temporal and functional primacy invkoeed by Wenger under the inspiration of Lsao Tzu and the pottery of Iya Mopo is correalted with Maltwoods evocation of the Grail motif and its assocaition with tranformation of being,both individual and cosmic.[see the theology of the cathol.ic mass where the chalice of the mass is idetical with rthge cup of the last supper and with the grail-see also nrelationships between the grail and the cauldron of ceridwen-again a claim about the transformative process at play where motifs are tranformed from pagan to chrtisyian contexts][see also burckhradt and other traditionalists on sacred art in arts of islam etc]
The conception of tramsformation,whther in relation to wqengers thgeroiries emerging from refelections ofg correlations between physical spoace-landscape,consructed space-p[ottery-and biological space-the womb and the vagina-or from maltwoods conceptions of the relationship between the glstonbury landscape and the grial quest,where her discovery of the glastonbury zoidiac through tracing the path of the knights questing after the holy grail in the high history of the holy grail,could be understood as expressive of her own interp[retive processes,not so much in the discovery of imsagistic configurations of landsacpe froms,as if thses exist onbjectibvely bin space,but as the creation of thses imagistic forms,thereby rseting a ytamformation effected through the dynasmic intereaction beyween landscape,individualm mind and associated interpretive communities/those that most influence the artist.maltwood,therefore,could be unbdetstood as herself undegfoing a grail quest in her work on the high history of the holy grail,whther this is concsuosly acknowleged or not by her-a visual and cognitive itinerary through which a cogntive transformation was ewffected in her relationship with the gastonbury landscape and the interpretive communities in relation to which she work3ed,a transfrormation that enabled her to arrive at a thesis through which she unfified her life long interests in the esoteric and establish a vocation to which she was able to devote a god part of her energies and in relation to which she is best known.her imagitive itinerary in her study of relationships between the somewrset landacape ands the grail quest,becomes therefore,a transfrorative itenery for her,which ramifies in terms of a converegence between her professional interests in illutrating the high hisytory of the holy grail,her larger intrtests in esoterica and the inytegreation of her esoteric avocation and her artisyic vbocation in a imagistic and ideational conception which uinfied all thses trands of her life and througjh which her name has become most closely associated.
The thesis couls make expliocit thses interparetive sdesings on the part of both artsits,dsinbns which are more self cobscouly an act of interpertice contrauction in the case of Wenhger than of Matwood but in both cases,thre is a converegence of what they see themselves as compleed to witness to by the expressive qualities of the landscape.In the case of Wenger this is closer to a numnious poresences thgat inhere in the lnadsape,coexietnt with titrs naural and boilogical forms while oin the case of Matwood it could be related to a notion of mystery as to correlations between lanmdscape and huamn concsousness that enbvales lanfssacpe to dsemoinstrate vqualities that are suggestive of forms which correspond rto image making and ideational possibilities of huamn concsousness.
The reserch and its writing could proceed,therefore,at wto levels.at one level,the scholar folows the artsit on the act of cognitive and artsitic reconstruction,faithfully noting their won staed conceptions oif what they are doing.
At another level,the resarch could also adapt the cetral navogtional and congnitive meathpors froregrounded by the endeavpours of both aretists as a framework to guide the analysis and synmtsis the rerserach inmcbolvers.The central metaphors could be undersatod to be that of a relationship toi amtrix of tramsfolrmation.This mtransformational matrix is resented by the imnage of a void in relation to its encapsulating form,in which te question of the relationship of temporal and functional primacy invkoeed by Wenger under the inspiration of Lsao Tzu and the pottery of Iya Mopo is correalted with Maltwoods evocation of the Grail motif and its assocaition with tranformation of being,both individual and cosmic.[see the theology of the cathol.ic mass where the chalice of the mass is idetical with rthge cup of the last supper and with the grail-see also nrelationships between the grail and the cauldron of ceridwen-again a claim about the transformative process at play where motifs are tranformed from pagan to chrtisyian contexts][see also burckhradt and other traditionalists on sacred art in arts of islam etc]
The conception of tramsformation,whther in relation to wqengers thgeroiries emerging from refelections ofg correlations between physical spoace-landscape,consructed space-p[ottery-and biological space-the womb and the vagina-or from maltwoods conceptions of the relationship between the glstonbury landscape and the grial quest,where her discovery of the glastonbury zoidiac through tracing the path of the knights questing after the holy grail in the high history of the holy grail,could be understood as expressive of her own interp[retive processes,not so much in the discovery of imsagistic configurations of landsacpe froms,as if thses exist onbjectibvely bin space,but as the creation of thses imagistic forms,thereby rseting a ytamformation effected through the dynasmic intereaction beyween landscape,individualm mind and associated interpretive communities/those that most influence the artist.maltwood,therefore,could be unbdetstood as herself undegfoing a grail quest in her work on the high history of the holy grail,whther this is concsuosly acknowleged or not by her-a visual and cognitive itinerary through which a cogntive transformation was ewffected in her relationship with the gastonbury landscape and the interpretive communities in relation to which she work3ed,a transfrormation that enabled her to arrive at a thesis through which she unfified her life long interests in the esoteric and establish a vocation to which she was able to devote a god part of her energies and in relation to which she is best known.her imagitive itinerary in her study of relationships between the somewrset landacape ands the grail quest,becomes therefore,a transfrorative itenery for her,which ramifies in terms of a converegence between her professional interests in illutrating the high hisytory of the holy grail,her larger intrtests in esoterica and the inytegreation of her esoteric avocation and her artisyic vbocation in a imagistic and ideational conception which uinfied all thses trands of her life and througjh which her name has become most closely associated.
Along similar lines,Wengers development of a philosphical diosacpurse and a correlative artistic oeuvre that interperts the oshun forest in cosmographic terms could be understood in terms of a proicess of interaction between the numinopus chracter of the otherworldly ambience of the oshun forest and the ritual and artistic tradtions,both verbal and maTERIAL as well as the influence oif the inpirational personal;ities associated wuith the yoruba orisha tradition as she encounrtted it in oshogbo and her own cosmollitan backgrpound and rtange of rerefrence,an interaction further intensified by her immersion not only in the ;life style of the people but in the practice of their esoteric religious discliplines.An interaction through which she developas a cosmnography which emerges for her in relation to the landscape and which is reaLIZED THROUGH THE LANDSACPE,BOIT TH IN ITS fprm before her s=reshaping efforts anfd after as well as through her own development of a conception of the cosmos and her own place in it that enefges fromn thses interactions.her experince wiyth and work witrh the orisha tradition which crstallises in her work at the oshun sforedst,resents thetrefopre,a transformative process,a quest embarked upon unwitting;ly but progressively enaged with with inhjcreasing passion that enabled it to have fateful consequences for the history of nigerian art and the orisha trtadition,a tranformative proiess that is not only symb.losed by the harmony bewyween disctive but interreelated forms as the pot abd the void at its centre but by the generative possibilkities suggsted by the nortion of void as not emptiness but pootetiality,whther in archtectyural[lao tzus image of the house-pawsons image of empty space]mechanical-lao tzus image of the nbicycl;e wheerl-metaphysical-lao tzus ideas on the tao in relatrion to the metahors of constructed forms and the gelogical metapohor of the vally of the mysterious female-and thge buddhist conceprtion of the vpoid,which wenger uses in a life with the gods-and her conception of oldumares transcendence suggsested in the absence of his operson from discurse-dsee if you can telate this to osanobuas absence in the bibi story with olokun-in terms of my interpretation of relasyionships bty narrative form,particularly chraterisation and thematic posasibilkities-relate too to kabala-or as developed by kunene in relation to zulu thgougjht-see also on pots in his anatsui essay-
all these ideas about the symbolism of empty space in relation to a comnpelx of influencing factors and the manner in which the self mavigates in relation to thsresc fcators,within t franeowrk where outcomes are uncdertain,or where the relkationship between outcomes and inhtial intentions emerhges in terms of whart eliots dewxribes in wrting that the outcome is beyond the end you figured and is altered in fulfillment[see the poem for moee cl;ues and eliots place in relation to ther western esoteric tradition in relation to hgis systhesis of sources-western and nonwestern in his own quest-from wastelend to ashwednesday to chorues to 4 quyaetets]vcould be sy,blosed by the crrtal metahysical assumptions that undrlkie the ifa divinatry process and the iconographic forms of the doivination tray and the hermenutiuc proicedures through which thses metaphysical assumptions RE MOBILSED IN EXPLORINBG concrete HUMAN CHALLENGES.
At another level,the resaecher is also understood as enged on a cogntive iterary,conducted through the bodily,visual[through images-puictures] navogation of the physical terrain thgat has inspired the artists,the navigation of the ideas that have meged in relation to thses physical olocations fromn the artists and their assicayed interpretive communities as well as theose that emerge from other interpretive communities that have a brearing on these-at greater or lesser dsrees orf direct re;lationbship-and as moving towards a cogntive synthgesis similar in some ways,to the closmographic integration that the artisats have created between landscaope,ideas from interpretive communities and their own ideas emerging from direct enckunters with both the landscapes and idead relating to them.so thgat the resrracher also attemps to develop an integrative understyading,in thise case not only by the examination of the artists efforts but through the efforts not only to prsent tgeir accounts of their efforts,but to do this in rtelkastion to brAOD QUESTIONS THAT EMEGGE FROM THE SUBJECY MATTER OR WHICH THRE RESECHER IS PREDSUIPOSED TO EXAMINE IN RELATION TO THE RESRACH;Questions about agency in relation to interaction between huamn and nonhuam,n forms,whther the latter are rresented by landscape or by odeas,questiomns about self direction in relation to direction by factors external to the self and questions aboit the degree to which the ground of being as resented by the peceeding questions among others,is constoituted by the self or by human agency,whther invidual or in groups or exists indepdenedent of the awareness and activity constituted by human existence.
At another level,the resaecher is also understood as enged on a cogntive iterary,conducted through the bodily,visual[through images-puictures] navogation of the physical terrain thgat has inspired the artists,the navigation of the ideas that have meged in relation to thses physical olocations fromn the artists and their assicayed interpretive communities as well as theose that emerge from other interpretive communities that have a brearing on these-at greater or lesser dsrees orf direct re;lationbship-and as moving towards a cogntive synthgesis similar in some ways,to the closmographic integration that the artisats have created between landscaope,ideas from interpretive communities and their own ideas emerging from direct enckunters with both the landscapes and idead relating to them.so thgat the resrracher also attemps to develop an integrative understyading,in thise case not only by the examination of the artists efforts but through the efforts not only to prsent tgeir accounts of their efforts,but to do this in rtelkastion to brAOD QUESTIONS THAT EMEGGE FROM THE SUBJECY MATTER OR WHICH THRE RESECHER IS PREDSUIPOSED TO EXAMINE IN RELATION TO THE RESRACH;Questions about agency in relation to interaction between huamn and nonhuam,n forms,whther the latter are rresented by landscape or by odeas,questiomns about self direction in relation to direction by factors external to the self and questions aboit the degree to which the ground of being as resented by the peceeding questions among others,is constoituted by the self or by human agency,whther invidual or in groups or exists indepdenedent of the awareness and activity constituted by human existence.
