Hatshepsut the 8th in a line of revealed characters known as The Bhubezi Women. To set the Scene:
James Henry Breasted was born on Aug. 27, 1865. His mother, Eunice had been contacted by Magenta with the news that James would break the news of Hatshepsut to the world. Being a skeptic, but of nervous disposition, Eunice decided to push James (as per her orders) on leaving Yale to continue his studies at the University of Berlin where Adolf Erman had just established a new school of Egyptology, concentrating systematically on grammar and lexicography. The study of hieroglyphics (13 in particular) would finally prove to be the nzuzo isi.
It was here that James realized that Hatshepsut (Foremost of Noble Ladies) was actually a Bhubezi Woman, and he is known to have exclaimed that she is “the first great woman in history of whom we are informed.” See http://www.nbufront.org/MastersMuseums/JHClarke/HistoricalPersonalities/hp3.html
Hatshepsut is said to have reigned for 22 years – but of course we know this is not the case (refer Chronicles of Lyrehc). In EXACTLY 1510 BC Hatshepsut, had the vision of the loss of the Bridges Between. Together with Ineni the great architect it became her ambition to build structures which would house articles needed for Bridge repair. The buildings and their important contents would need to last (human time) until the appearance of the Red Giraffe and the Traveller (See # 65, # 66, #67). But lest I overwhelm you at this stage, I’ll leave the story here – after all, another portrait of this Bhubezi Queen WILL be found and the chronicle will continue, as its doing while we watch and wait.
Well, all good things come to an end I’m told, with the exhibition very well attended, and receiving good write ups. While taking it down, Carol Brown (a well known curator) came and borrowed about 15 books which are going on exhibition as a section of An Encyclopedia of Everything on a paper art exhibition in Reunion. She took books by Stephanie Turnbull (UK), Martine Rastelllo (France), Petru Viljoen (South Africa), Catherine Mc Cue Boes (Australia), TICTAC (Germany), Marcela Peral (Argentina) and myself. There were of course many other books she wanted but these were easiest to display as most were accordion format and very sturdy. It was HARD parting with them let me tell you! The first part of the catalogue is finished and I am waiting for my web controller (is that what he’s called?) to put it up on my book site. It is 222 pages long and is a list, text and image of all the books received from participants. My books will come as document 2 as I was afraid of a file explosion! Photographs taken on the last day and while taking down.
This time courtesy of Paulo Menezes – many thanks Paulo. Website: paulomenezes.co.za
Book 11 in a series of collaborative writing endeavours.
This poetry book was a real Work In Progress for quite a while, beginning in March this year. I had said I would not use the same verse again, but this had already begun – and in a way, I am glad it continued as this collaboration provided further insight into the path words take in the minds of different Wordsmiths. In verse two, TICTAC’s immediate response was the metaphor of a mirror. There are many philosophers who have used analogy. Take these two examples:
Søren Kierkegaard (1847) wrote: “as the sea mirrors the elevation of heaven in its pure depths, so may the heart when it is calm and deeply transparent mirror the divine elevation of the God in its pure depths”, and Richard Rorty, too, makes use of the mirror metaphor in his work, Philosophy and the Mirror of Nature (1979), arguing that “the picture which holds traditional philosophy captive is that of the mind as a great mirror, containing various representations—some accurate, some not—and capable of being studied by pure, non-empirical methods.”
Our collaboration went like this:
…The mirror lies
Emptiness has no face
But a fascinating blankness
Like Walking Along
The suspension points…
reality and a marginally
illusory perception of now
the mirror lies
For the full version of this work see http://collaborativecanto.blogspot.com
Another book not blogged prior to setting up, but which forms part of the Encyclopedia:
Meditation Boards All Pal’s visual work I have seen is expressive and his books really well made. Much of his work is abstract in nature and in this instance, the use of the word ‘meditation” indicates his continued awareness of the unconscious. I found evidence of this interst and preoccupation on his wordpress site where his most current exhibition is written of in the following terms:
“What is reality and what is the reality of our response, (to any) internal reaction. The human soul is full of unconscious desires and emotions. They often run ‘contrary’ to our world outside. Opposition due to the inner world, the consciousness of the elements of interest. The internal forces such as resistors come up against them and “incompatible” desire to expel from consciousness. These elements ousted then we know nothing. I’m looking for and would like to express these unconscious elements.” I can see such thoughts at work in this book – “the unknown in the known”. see http://palcsaba.wordpress.com
Erika sent two books that I just HAD to include in the Encyclopedia as they are beautifully made and I don’t have any subjects like this so far. One gets inventive when having to make things work – I just turned the books around and they fitted the A6 format (mostly). London! Oxford has a haunting array of beautiful photographs overlaid with notes on ‘butchers’ paper which document various thoughts and experiences. (The book is up in the gallery as I write this, so I am going from memory).
Tango guide to a great dance experience in Buenos Aires
This is Erika’s “personal take on what to do, how to do it, and where to go when on a tango journey in Buenos Aires. I read through the small books slowly, Erika’s writing is informative and snappy – my two favorite ways! A sample quote from her book: “This note taking at the milonga is an opportunity to rest my feet. It is an opportunity to watch dancers, to think about where I am, and to enjoy other people dancing. I know that every time I come back from here, my dancing has changed. But as I watch some tourists take to the pista and dance oblivious to the rest of the dancers, I wonder if they will go home a changed dancer. Or will they keep all their bad habits and lack of etiquette?… I saw some awful tourists just walk through the crowd of dancers to get to the center, right in the middle of a song” – (that made me cringe).
There are notes on buses to take, vendor etiquette )if you don’t want to end up in trouble), how to behave in order not to be taken advantage of – many interesting tips on travel in Buenos Aires “when you get there, Milongas, Shoes, classes and other things”. I’m dying to ask of course – is Erika a professional tangoist??