The art of witches is that of a resistance to this submission, a resistance to the ‘we have tos’ that minions make into a principle of legitimacy. … The witches learned this art in the moment of great distress, during the election of Ronald Reagan in 1980. It is then that the mutation of a tradition, the Wicca tradition (re-)born in England and exported to California, was produced. It then became a field for experimentation, cultivating the art of rituals able to give the inheritors of feminist, non-violent, anti-imperialist, ecological struggles the strength to resist the ordeal. …those who have made the choice of calling themselves witches and activists have posed the hypothesis that to resist such a system, to learn to struggle against it, imposed the rediscovery/reinvention of old resources, the destruction of which has probably contributed to our vulnerability.
Pignarre, Phillipe and Stengers, Isabella. Capitalist Sorcery: Breaking the Spell. Palsgrave Macmillan, 2011. 136
Like many of Tesla’s inventions, the Tesla coil exploits the principle of resonance which has become such a common trope in contemporary thought as to warrant a brief description here. Not so much a law of nature as a deep habit, resonance pops up across the board, emerging in electrical systems, steam engines, and molecular dynamics, as well as Tuvan overtone chanting and the tuning of TV sets. Everything vibrates, and when the oscillating vibrations of different systems coincide, or resonate, large quantities of energy can be exchanged from one system to the other.
Davis, Erik. TechGnosis: Myth, Magic, and Mysticism in the Age of Information. New York: Harmony Books, 2004. 86-7.
The mathematics itself suggest a movement in which everything, in which any particular element of space may have a field which unfolds into the whole and the whole enfolds into it. So you have this movement, and I call this the implicate or enfolded order which unfolds into the explicate order where everything is separate. now the implicate order, everything is internally related to everything. Everything contains everything.
Bohm, David. Wijers, Louwrien. Art Meets Science and Spirituality in a Changing Economy – Pt. 1 – From Fragmentation to Wholeness, 1999. (film of panel discussion. “This film, part one of the series, features the Dalai Lama speaking on the nature of mind and on his personal feelings as leader of the Tibetans in exile, the physicist David Bohm, who explains his theory of the “implicate order”; and interviews with artist Robert Rauschenberg and Russian economist Stanislav Menshikov.”)
The spiral is a spiritualized circle. In the spiral form, the circle, uncoiled, unwound, has ceased to be vicious; it has been set free. I thought this up when I was a schoolboy, and I also discovered that Hegel’s triadic series (so popular in old Russia) expressed merely the essential spirality of all things in relation to time. Twirl follows twirl, and every synthesis is the thesis of the next series. If we consider the simplest spiral, three series may be distinguished in it, corresponding to those of the triad: We can call “thetic” the small curve or arc that initiates the convolution centrally; “antithetic” the larger arc that faces the first in the process of continuing it; and “synthetic” the still ampler arc that continues the second while following the first along the outer side. And so on.
Nabokov, Vladimir, Speak Memory, 275.
The constellation is the simplest possible kind of configuration in poetry which has for its basic unit the word, it encloses a group of words as if it were drawing stars together to form a cluster.
The constellation is an arrangement, and at the same time a play-area of fixed dimensions.
The constellation is ordered by the poet. He determines the play-area, the field or force and suggests its possibilities. the reader, the new reader, grasps the idea of play, and joins in.
In the constellation something is brought into the world. It is a reality in itself and not a poem about something or other. The constellation is an invitation.
Gomringer, Eugen in Concrete Poetry: A World View. Ed. Solt, Mary Ellen. Bloomington, IN: Indiana University Press, 1968.
That this text is designed to interpolate itself into emptiness/silence—to let emptiness/silence in—gives it remarkable breath: possibilities of in- and exhalation to writer and reader alike. I’d like to suggest that it is a woman’s feminine text (denying any redundancy) that implicitly acknowledges/creates the possibility of other/additional/simultaneous texts. This is a model significantly different from Bloom’s competitive “anxiety of influence.” It opens up a distinction between the need to imprint/impress one’s mark (image) on the other and an invitation to the others discourse as necessary to an always collaborative making of meaning. Collaboration with the reader is unnecessary only when meaning is being reported rather than made.
Retallack, Joan. The Poethical Wager. Berkeley: University of California Press, 2003. 125.