Tribal Art Quotes

Modern man has lost the sense of wonder about the unknown and he treats it as an enemy.

Where does this openness to the “other” come from in artists? Some may grow out of empathy earned because artists are themselves often exiled from a normative tribal identity. There is also training to extend that empathy. In art, we constantly train ourselves to inhabit or portray the “other.” Artists learn to be adaptable and blend into an environment while not belonging to it, which also requires learning to speak new tribal languages.

In order to be effective messengers of hope, we must begin by trusting our inner voice, an inner intuition that speaks into the vast wastelands of our time. This process requires training our imagination to see beyond tribal norms, to see the vista of the wider pastures of culture.

Ethnicity and tribe began, by definition, where sovereignty and taxes ended. The ethnic zone was feared and stigmatized by state rhetoric precisely because it was beyond its grasp and therefore an example of defiance and an ever-present temptation to those who might wish to evade the state.

I am about tribal feminine power. As a leader, I may stumble but my essence lives to the future-- of my people, of my literature, of my art. And when a tribesman turn against its leader, that tribe will become two. It may faulter my course, but it will not stifle my ending. I rule only among my believers.

Yes, I hate blown glass art and I happen to live in the blown glass art capital of the world, Seattle, Washington. Being a part of the Seattle artistic community, I often get invited to galleries that are displaying the latest glass sculptures by some amazing new/old/mid-career glass blower. I never go. Abstract art leaves me feeling stupid and bored. Perhaps it’s because I grew up inside a tribal culture, on a reservation where every song and dance had specific ownership, specific meaning, and specific historical context. Moreover, every work of art had use—art as tool: art to heal; art to honor, art to grieve. I think of the Spanish word carnal, defined as, ‘Of the appetites and passions of the body.’ And I think of Gertrude Stein’s line, ‘Rose is a rose is a rose is a rose.’ When asked what that line meant, Stein said, ‘The poet could use the name of the thing and the thing was really there.’ So when I say drum, the drum is really being pounded in this poem; when I say fancydancer, the fancydancer is really spinning inside this poem; when I say Indian singer, that singer is really wailing inside this poem. But when it comes to abstract art—when it comes to studying an organically shaped giant piece of multi-colored glass—I end up thinking, ‘That looks like my kidney. Anybody’s kidney, really. And frankly, there can be no kidney-shaped art more beautiful—more useful and closer to our Creator—than the kidney itself. And beyond that, this glass isn’t funny. There’s no wit here. An organic shape is not inherently artistic. It doesn’t change my mind about the world. It only exists to be admired. And, frankly, if I wanted to only be in admiration of an organic form, I’m going to watch beach volleyball. I’m always going to prefer the curve of a woman’s hip or a man’s shoulder to a piece of glass that has some curves.

In the usual proto-Art-Nouveau style, the sculptor follows through on an ethnographic hunch that surprising numbers of the tribal womenfolk would be in their late teens and free of clothing.

We’ve made it private, contained it in family, when its audacity is in its potential to cross tribal lines. We’ve fetishized it as romance, when its true measure is a quality of sustained, practical care. We’ve lived it as a feeling, when it is a way of being. It is the elemental experience we all desire and seek, most of our days, to give and receive. The sliver of love’s potential that the Greeks separated out as eros is where we load so much of our desire, center so much of our imagination about delight and despair, define so much of our sense of completion. There is the love the Greeks called filia—the love of friendship. There is the love they called agape—love as embodied compassion, expressions of kindness that might be given to a neighbor or a stranger. The Metta of the root Buddhist Pali tongue, “lovingkindness,” carries the nuance of benevolent, active interest in others known and unknown, and its cultivation begins with compassion towards oneself.

In the Babemba tribe of South Africa, when a person acts irresponsibly or unjustly, he is placed in the center of the village, alone and unfettered. All work ceases, and every man, woman, and child in the village gathers in a large circle around the accused individual. Then each person in the tribe speaks to the accused, one at a time, each recalling the good things the person in the center of the circle has done in his lifetime. Every incident, every experience that can be recalled with any detail and accuracy, is recounted. All his positive attributes, good deeds, strengths, and kindnesses are recited carefully and at length. This tribal ceremony often lasts for several days. At the end, the tribal circle is broken, a joyous celebration takes place, and the person is symbolically and literally welcomed back into the tribe.

I know “professional” historians like to talk about how Yonkers represented a “catastrophic failure of the modern military apparatus,” how it proved the old adage that armies perfect the art of fighting the last war just in time for the next one. Personally, I think that’s a big ’ole sack of it. Sure, we were unprepared, our tools, our training, everything I just talked about, all one class-A, gold-standard clusterfuck, but the weapon that really failed wasn’t something that rolled off an assembly line. It’s as old as…I don’t know, I guess as old as war. It’s fear, dude, just fear and you don’t have to be Sun freakin Tzu to know that real fighting isn’t about killing or even hurting the other guy, it’s about scaring him enough to call it a day. Break their spirit, that’s what every successful army goes for, from tribal face paint to the “blitzkrieg” to…what did we call the first round of Gulf War Two, “Shock and Awe”? Perfect name, “Shock and Awe”! But what if the enemy can’t be shocked and awed? Not just won’t, but biologically can’t! That’s what happened that day outside New York City, that’s the failure that almost lost us the whole damn war. The fact that we couldn’t shock and awe Zack boomeranged right back in our faces and actually allowed Zack to shock and awe us! They’re not afraid! No matter what we do, no matter how many we kill, they will never, ever be afraid!

My poor scapegoat, I almost love you but would have cast, I know, the stones of silence. I am the artful voyeur of your brain's exposed and darkened combs, your muscles' webbing and all your numbered bones: I who have stood dumb when your betraying sisters, cauled in tar, wept by the railings, who would connive in civilized outrage yet understand the exact and tribal, intimate revenge. -"Punishment

It’s about what we can learn from tribal societies about loyalty and belonging and the eternal human quest for meaning. It’s about why—for many people—war feels better than peace and hardship can turn out to be a great blessing and disasters are sometimes remembered more fondly than weddings or tropical vacations. Humans don’t mind hardship, in fact they thrive on it; what they mind is not feeling necessary. Modern society has perfected the art of making people not feel necessary. It’s time for that to end.

Why were the Jews so restless? It was not because they were a difficult, warlike, tribal and essentially backward society, like the Parthians, who gave the Romans constant trouble on the eastern fringe, rather as the Pathans and Afghans worried the British on the North-West Frontier of India. On the contrary: the real trouble with the Jews was that they were too advanced, too intellectually conscious to find alien rule acceptable. The Greeks had faced the same problem with Rome. They had solved it by submitting physically and taking the Romans over intellectually. Culturally, the Roman empire was Greek, especially in the East. Educated people spoke and thought in Greek, and Greek modes set the standards in art and architecture, drama, music and literature. So the Greeks never had any sense of cultural submission to Rome.

These are serious fears. But they're not the real fear. Not the Master Fear, the Mother of all Fears that's so close to us that even when we verbalize it we don't believe it. Fear That We Will Succeed. That we can access the powers we secretly know we possess. That we can become the person we sense in our hearts we truly are. This is the most terrifying prospect a human being can face, because it ejects him at one go (he imagines) from all the tribal inclusions his psyche is wired for and has been for fifty million years. We fear discovering that we are more than we think we are. More than our parents/children/teachers think we are. We fear that we actually possess the talent that our still, small voice tells us. That we actually have the guts, the perseverance, the capacity. We fear that we truly can steer our ship, plant our flag, reach our Promised Land. We fear this because, if it's true, then we become estranged from all we know. We pass through a membrane. We become monsters and monstrous. We know that if we embrace our ideals, we must prove worthy of them. And that scares the hell out of us. What will become of us? We will lose our friends and family, who will no longer recognize us. We will wind up alone, in the cold void of starry space, with nothing and no one to hold on to. Of course this is exactly what happens. But here's the trick. We wind up in space, but not alone. Instead we are tapped into an unquenchable, undepletable, inexhaustible source of wisdom, consciousness, companionship. Yeah, we lose friends. But we find friends too, in places we never thought to look. And they're better friends, truer friends. And we're better and truer to them. Do you believe me?

Despite our efforts to be practical and logical, humans remain emotional beings, and we all crave meaningful emotional interaction with other humans. We don’t just want meatballs, we want Grandma’s meatballs; we don’t just want a smartphone, we want to Think Different; we don’t just want to go to any old amusement park, we want to go to the Magic Kingdom; and we don’t want water, we want artesian water from Fiji. The story, the experience—that’s what is critical to creating, and the emotional connection established through that art is what drives commerce in the contemporary market.

Although a youth culture was in evidence by the 1950s, the first obvious and dramatic manifestation of a culture generated by peer-orientation was the hippie counterculture of the 1960s and 1970s. The Canadian media theorist Marshall McLuhan called it “the new tribalism of the Electric Age.” Hair and dress and music played a significant part in shaping this culture, but what defined it more than anything was its glorification of the peer attachment that gave rise to it. Friends took precedence over family. Physical contact and connection with peers were pursued; the brotherhood of the pop tribe was declared, as in the generation-based “Woodstock nation.” The peer group was the true home. “Don't trust anyone over thirty” became the byword of youth who went far beyond a healthy critique of their elders to a militant rejection of tradition. The degeneration of that culture into alienation and drug use, on the one hand, and its co-optation for commercial purposes by the very mainstream institutions it was rebelling against were almost predictable. The wisdom of well-seasoned cultures has accumulated over hundreds and sometimes thousands of years. Healthy cultures also contain rituals and customs and ways of doing things that protect us from ourselves and safeguard values important to human life, even when we are not conscious of what such values are. An evolved culture needs to have some art and music that one can grow into, symbols that convey deeper meanings to existence and models that inspire greatness. Most important of all, a culture must protect its essence and its ability to reproduce itself — the attachment of children to their parents. The culture generated by peer orientation contains no wisdom, does not protect its members from themselves, creates only fleeting fads, and worships idols hollow of value or meaning. It symbolizes only the undeveloped ego of callow youth and destroys child-parent attachments. We may observe the cheapening of cultural values with each new peer-oriented generation. For all its self-delusion and smug isolation from the adult world, the Woodstock “tribe” still embraced universal values of peace, freedom, and brotherhood. Today's mass musical gatherings are about little more than style, ego, tribal exuberance, and dollars.

He orders a batch of handmade tiedyed shirts from Guizhou province and takes them to a graduate student at the Central Authority Fine Arts School to find out what to charge. The graduate student swings his long hair back and forth and tells Hao An these shirts are not authentic enough, not tribal enough. No way are young Beijingers going to be interested in them: there’s no art, no attitude. “What should I do now then?” asks Hao An. The graduate student tells him to head to the bars in Sanlitun and sell them to drunken foreigners and pretentious businessmen with art collections.

Gifts Make the Tribe The biblical proscription against usury goes all the way back to Moses. The rule was simple: you couldn't charge interest on a loan to anyone in your tribe. Strangers, on the other hand, paid interest. This isn't a matter of ancient biblical archeology; the edict against interest stuck for thousands of years, until around the time of Columbus. It's worth taking a minute to understand the reasoning here. If money circulates freely within the tribe, the tribe will grow prosperous more quickly. I give you some money to buy seeds, your farm flourishes, and now we both have money to give to someone else to invest. The faster the money circulates, the better the tribe does. The alternative is a tribe of hoarders, with most people struggling to find enough resources to improve productivity. Obviously, there's another force at work here. When I make an interest-free loan to you, I'm trusting you and giving you a gift at the same time. This interaction increases the quality of our bond and strengthens the community. Just as you wouldn't charge your husband interest on a loan, you don't charge a tribe member. Strangers, on the other hand, are not to be trusted. Going further, strangers don't deserve the bond that the gift brings. It would turn the stranger into a tribe member, and the tribe is already too big. If I loan money to a stranger, I'm doing it for one reason: to make money. I risk my money, and if all goes well, we both profit. But there's no bond here, no connection. One reason that art has so much power is that it represents the most precious gift we can deliver. And delivering it to people we work with or connect with strengthens our bond with them. It strengthens the tribal connection. When you walk into your boss's office and ask for advice, she doesn't charge you an hourly fee, even if she's a corporate coach or a psychoanalyst, even if you want help with a personal problem. The gift of her time and attention and insight is just that--a gift. As a result, the bond between you strengthens.

If there is a pathway into the minds of human beings that bypasses consciousness and absorbs the emotions of others; and if this pathway can be activated by the sight of a bloody uniform, a hair-raising tribal dance, or just a deep stare; and if these displays can propel a team to run faster, jump higher, hit harder, and push through pain and exhaustion, then these captains must have been masters of the art.

crouched a bit until I couldn’t see Cob and his agents, and then at the top of my lungs, I shouted, “Oh sick! There’s a rat in the room! It’s as big as a potato!” Everyone in the art class, including Cob and the Glitch agents, freaked. Desks were turned over as students panicked, running wild in every direction. The muffled screams and shouts coming from behind the tribal art masks made things even crazier. It was like a mosh pit at a rock concert. I stood tall in the middle of the chaos because I knew there wasn’t really a rat in the room. It felt a bit like I was wearing some kind of invincibility shield from a video game. It was the only time in my life that I was completely calm in a roomful of crazies, which was the total opposite of how it normally would’ve been. As I made my way to the exit, I let the tribal mask drop to the floor. Checking to see if Cob was following me wasn’t even necessary. His voice was the loudest in the room, screaming something about “potato rats” being the grossest things ever.

Resistance feeds on fear. We experience Resistance as fear. But fear of what?   Fear of the consequences of following our heart. Fear of bankruptcy, fear of poverty, fear of insolvency. Fear of groveling when we try to make it on our own, and of groveling when we give up and come crawling back to where we started. Fear of being selfish, of being rotten wives or disloyal husbands; fear of failing to support our families, of sacrificing their dreams for ours. Fear of betraying our race, our ’hood, our homies. Fear of failure. Fear of being ridiculous. Fear of throwing away the education, the training, the preparation that those we love have sacrificed so much for, that we ourselves have worked our butts off for. Fear of launching into the void, of hurtling too far out there; fear of passing some point of no return, beyond which we cannot recant, cannot reverse, cannot rescind, but must live with this cocked-up choice for the rest of our lives. Fear of madness. Fear of insanity. Fear of death.   These are serious fears. But they’re not the real fear. Not the Master Fear, the Mother of all Fears that’s so close to us that even when we verbalize it we don’t believe it.   Fear That We Will Succeed.   That we can access the powers we secretly know we possess.   That we can become the person we sense in our hearts we truly are.   This is the most terrifying prospect a human being can face, because it ejects him at one go (he imagines) from all the tribal inclusions his psyche is wired for and has been for fifty million years.   We fear discovering that we are more than we think we are. More than our parents/children/teachers think we are. We fear that we actually possess the talent that our still, small voice tells us. That we actually have the guts, the perseverance, the capacity. We fear that we truly can steer our ship, plant our flag, reach our Promised Land. We fear this because, if it’s true, then we become estranged from all we know. We pass through a membrane. We become monsters and monstrous.   We know that if we embrace our ideals, we must prove worthy of them. And that scares the hell out of us. What will become of us? We will lose our friends and family, who will no longer recognize us. We will wind up alone, in the cold void of starry space, with nothing and no one to hold on to.   Of course this is exactly what happens. But here’s the trick. We wind up in space, but not alone. Instead we are tapped into an unquenchable, undepletable, inexhaustible source of wisdom, consciousness, companionship. Yeah, we lose friends. But we find friends too, in places we never thought to look. And they’re better friends, truer friends. And we’re better and truer to them.   Do you believe me?

Healthy nasal breathing started at birth. Mothers in all these tribes followed the same practices, carefully closing the baby’s lips with their fingers after each feeding. At night, they’d stand over sleeping infants and gently pinch mouths shut if they opened. Some Plains tribes strapped infants to a straight board and placed a pillow beneath their heads, creating a posture that made it much harder to breathe through the mouth. During winter, infants would be wrapped in light clothing and then held at arm’s length on warmer days so they’d be less prone to get too hot and begin panting. All these methods trained children to breathe through their noses, all day, every day. It was a habit they would carry with them the rest of their lives. Catlin described how adult tribal members would even resist smiling with an open mouth, fearing some noxious air might get in. This practice was as “old and unchangeable as their hills,” he wrote, and it was shared universally throughout the tribes for millennia.

He felt nothing in the presence of art. He found religion absurd. He thought both right-wing and left-wing political opinions kind of dumb, less a consequence of thought than of their holder’s tribal identity. He and his family ignored the rituals that punctuated most people’s existence. He didn’t even celebrate his own birthday. What gave pleasure and solace and a sense of belonging to others left Sam cold. When the Bankman-Frieds traveled to Europe, Sam realized that he was just staring at a lot of old buildings for no particular reason. “We did a few trips,” he said. “I basically hated it.” To his unrelenting alienation there was one exception: games. In sixth grade Sam heard about a game called Magic: The Gathering. For the next four years it was the only activity that consumed him faster than he could consume it.

As I would soon learn, every arrangement at the Barnes carried meaning. The entrance theme represented the debt modern Western art owes tribal Africa.

Because of that, we’re biologically programmed to identify with the people who look, act, dress, talk, and think the way we do. The downside of this is a universal human tendency to mistrust anyone who seems different from our in-groups. Many tribal groups, from the South African Khoikhoi to the Siberian Yupiit, call themselves by names that in their languages mean “the real people.” This implies, of course, that folks from outside the group are not real people. This is called “othering,” and everyone does it. From early childhood, we see anything unfamiliar as weird and unnerving. The eighteenth-century social reformer Robert Owen pointed this out in his famously ironic statement, “All the world is queer save thee and me, and even thou art a little queer.

By some quirk of fate, I had been chosen—along with five others—as a candidate to be the next equerry to the Princess of Wales. I knew little about what an equerry actually did, but I did not greatly care. I already knew I wanted to do the job. Two years on loan to the royal household would surely be good for promotion, and even if it was not, it had to be better than slaving in the Ministry of Defense, which was the most likely alternative. I wondered what it would be like to work in a palace. Through friends and relatives I had an idea it was not all red carpets and footmen. Running the royal family must involve a lot of hard work for somebody, I realized, but not, surely, for the type of tiny cog that was all I expected to be. In the wardroom of the frigate, alongside in Loch Ewe, news of the signal summoning me to London for an interview had been greeted with predictable ribaldry and a swift expectation that I therefore owed everybody several free drinks. Doug, our quiet American on loan from the U.S. Navy, spoke for many. He observed me in skeptical silence for several minutes. Then he took a long pull at his beer, blew out his mustache, and said, “Let me get this straight. You are going to work for Princess Di?” I had to admit it sounded improbable. Anyway, I had not even been selected yet. I did not honestly think I would be. “Might work for her, Doug. Only might. There’re probably several smooth Army buggers ahead of me in the line. I’m just there to make it look democratic.” The First Lieutenant, thinking of duty rosters, was more practical. “Whatever about that, you’ve wangled a week ashore. Lucky bastard!” Everyone agreed with him, so I bought more drinks. While these were being poured, my eye fell on the portraits hanging on the bulkhead. There were the regulation official photographs of the Queen and Prince Philip, and there, surprisingly, was a distinctly nonregulation picture of the Princess of Wales, cut from an old magazine and lovingly framed by an officer long since appointed elsewhere. The picture had been hung so that it lay between the formality of the official portraits and the misty eroticism of some art prints we had never quite got around to throwing away. The symbolic link did not require the services of one of the notoriously sex-obsessed naval psychologists for interpretation. As she looked down at us in our off-duty moments the Princess represented youth, femininity, and a glamour beyond our gray steel world. She embodied the innocent vulnerability we were in extremis employed to defend. Also, being royal, she commanded the tribal loyalty our profession had valued above all else for more than a thousand years, since the days of King Alfred. In addition, as a matter of simple fact, this tasty-looking bird was our future Queen. Later, when that day in Loch Ewe felt like a relic from another lifetime, I often marveled at the Princess’s effect on military people. That unabashed loyalty symbolized by Arethusa’s portrait was typical of reactions in messhalls and barracks worldwide. Sometimes the men gave the impression that they would have died for her not because it was their duty, but because they wanted to. She really seemed worth it.

Who are we the most comfortable with? People who are the most like us! The “Similarity-Attraction Hypothesis” (Newcomb, 1956) found that similar (real or perceived) personalities are a major determinant of our likability and friendship choices. It is simply human to gravitate toward people like us. This tribal inclination runs the gamut across demographics of age, ethnicity, culture, education, religion, and even personality style. Mirroring will enable you to find ways to create the comfort of familiarity through similarity.

La salud mental va unida a la perdida de la vida tribal, la desconexión de la naturaleza y de las artes.

You are my other self

What can I get for you, Princess?” a low, deep voice rumbled. Maddie’s head shot up and a man blinked into focus. Her mouth dropped open. In front of her stood the most gorgeous man she’d ever seen. Was she hallucinating? Was he a mirage? She blinked again. Nope. Still there. Unusual amber eyes, glimmering with amusement, stared at her from among strong, chiseled features. She swallowed. Teeth snapping together, she tried to speak. She managed a little squeak before words failed her. A hot flush spread over her chest. Men like this should be illegal. Unable to resist the temptation pulling her gaze lower, she let it fall. Just when she’d thought nothing could rival that face. Shoulders, a mile wide, stretched the gray T-shirt clinging to his broad chest. The muscles in his arms flexed as he rested his hands on the counter. A tribal tattoo in black ink rippled across his left bicep. Oh, she liked those. Her fingers twitched with the urge to trace the intricate scroll as moisture slid over her tongue. For the love of God, she was salivating. Stop staring. She shouldn’t be thinking about this. Not now. Not after today. It was so, so wrong. But she couldn’t look away. Stop. She tried again, but it was impossible. He was a work of art. “You okay there?” The smile curving his full mouth was pure sin. That low, rumbling voice snapped her out of her stupor, and she squared her shoulders. “Yes, thank you.” His gaze did some roaming of its own and stopped at her dress. One golden brow rose. Before he could ask any questions, she said, “I’ll have three shots of whiskey and a glass of water.” His lips quirked. “Three?” “Yes, please.” With a sharp nod, she ran a finger along the dull, black surface of the bar. “You can line them up right here.” When he continued to stare at her as if she might be an escaped mental patient, she reached into her small bag and pulled out her only cash. She waved the fifty in front of his face. “I assume this will cover it.” “If I give you the shots, are you going to get sick all over that pretty dress?” He leaned over the counter, and his scent wafted in her direction. She sucked in a breath. He smelled good, like spice, soap, and danger. She shook her head. What was wrong with her? She was so going to hell. She pushed the money toward him. “I’ll be fine. I’m Irish. We can handle our liquor.” “All right, then.” The bartender chuckled, and Maddie’s stomach did a strange little dip. He

They were statues, apparently of iron, black and shining as if continually polished. They were life-size, depicting tall, lithely powerful men, with cruel hawk-like faces. They were naked, and every swell, depression and contour of joint and sinew was represented with incredible realism. But the most life-like feature was their proud, intolerant faces. These features were not cast in the same mold. Each face possessed its own individual characteristics, though there was a tribal likeness between them all. There was none of the monotonous uniformity of decorative art, in the faces at least.

ENOUGH IS ENOUGH for many years shall we suffered from a war in my motherland, now it’s time to say enough for five years of civil war in my motherland, enough for political instabilities. enough for ethnic discrimination. enough for corruption. enough for injustices. enough for tribalism. enough for unknown gunmen. enough for rape, torture and looting of civilian properties. enough for all these crimes. let’s give peace chance. let’s stand up for our country. lets stand up for democracy. lets stand up for equality. lets stand up for justices. let’s stand up for unity. let us stand up for love. lets stand for freedom. let freedom rings from all corns of the country. let us raise our flag with pride. let our flag waves in the air. its time for Education. its time for cultivation. its time for development. its time for togetherness. salute to Dr. John Garang. salute to all those who died for our freedom. salute to our heroes. salute to our fathers who died for the seek of our country. salute to our soldiers who fought for our freedom. let southerners be southerners again. let us get rid of all this our problems. I am proud to be a southerner. I am proud to be an African. I am proud to be black. I am proud to be born in Sudan and raise up in South Sudan as a South Sudanese. I am proud to raise our own flag for the world to see. because the time has come for us to raise the flag of our motherland under one nation one people and ultimately we say bye to War.

But when the agricultural villages of the Neolithic expanded into larger towns that grew to more than two thousand inhabitants, the capacity of the human brain to know and recognize all of the members of a single community was stretched beyond its natural limits. Nevertheless, the tribal cultures that had evolved during the Upper Paleolithic with the emergence of symbolic communication enabled people who might have been strangers to feel a collective sense of belonging and solidarity. It was the formation of tribes and ethnicities that enabled the strangers of the large Neolithic towns to trust each other and interact comfortably with each other, even if they were not all personally acquainted. The transformation of human society into urban civilizations, however, involved a great fusion of people and societies into groups so large that there was no possibility of having personal relationships with more than a tiny fraction of them. Yet the human capacity for tribal solidarity meant that there was literally no upper limit on the size that a human group could attain. And if we mark the year 3000 BC as the approximate time when all the elements of urban civilization came together to trigger this new transformation, it has taken only five thousand years for all of humanity to be swallowed up by the immense nation-states that have now taken possession of every square inch of the inhabited world. The new urban civilizations produced the study of mathematics, astronomy, philosophy, history, biology, and medicine. They greatly advanced and refined the technologies of metallurgy, masonry, architecture, carpentry, shipbuilding, and weaponry. They invented the art of writing and the practical science of engineering. They developed the modern forms of drama, poetry, music, painting, and sculpture. They built canals, roads, bridges, aqueducts, pyramids, tombs, temples, shrines, castles, and fortresses by the thousands all over the world. They built ocean-going ships that sailed the high seas and eventually circumnavigated the globe. From their cultures emerged the great universal religions of Christianity, Buddhism, Confucianism, Islam, and Hinduism. And they invented every form of state government and political system we know, from hereditary monarchies to representative democracies. The new urban civilizations turned out to be dynamic engines of innovation, and in the course of just a few thousand years, they freed humanity from the limitations it had inherited from the hunting and gathering cultures of the past.

In all of the languages of the five hundred original North American Indian cultures, and in most of the southern hemisphere, there is no word for "art" apart from the spiritual or tribal functions that any esthetic creation might serve. This creation is non-mimetic, that is, it is not a copy or shadow of the real but incorporates reality, in essence, and becomes the thing itself. For the word-sender, the singing of the poem is sacred and practical rather than secular and artistic. The purpose is to name, mythify; initiate, heal, unify, or psychically transport, rather than, as we understand the artistic function, for individual self-expression, entertainment, or purely esthetic pleasure. Beauty is not a secondary reflection of goodness, but, as with the Pueblos, "good" and "beautiful" are the same word.

Raven moaned at the sensations ripping through her, like the first splash of color on a monochrome canvas.

Since the evolution of the human race shifted from a mother-centered to a father-centered structure of society, as well as of religion, we can trace the development of a maturing love mainly in the development of patriarchal religion. In the beginning of this development we find a despotic, jealous God, who considers man, whom he created, as his property, and is entitled to do with him whatever he pleases. This is the phase of religion in which God drives man out of paradise, lest he eat from the tree of knowledge and thus could become God himself; this is the phase in which God decides to destroy the human race by the flood, because none of them pleases him, with the exception of the favorite son, Noah; this is the phase in which God demands from Abraham that he kill his only, his beloved son, Isaac, to prove his love for God by the act of ultimate obedience. But simultaneously a new phase begins; God makes a covenant with Noah, in which he promises never to destroy the human race again, a covenant by which he is bound himself. Not only is he bound by his promises, he is also bound by his own principle, that of justice, and on this basis God must yield to Abraham's demand to spare Sodom if there are at least ten just men. But the development goes further than transforming God from the figure of a despotic tribal chief into a loving father, into a father who himself is bound by the principles which he has postulated; it goes in the direction of transforming God from the figure of a father into a symbol of his principles, those of justice, truth and love. God is truth, God is justice. In this development God ceases to be a person, a man, a father; he becomes the symbol of the principle of unity behind the manifoldness of phenomena, of the vision of the flower which will grow from the spiritual seed within man. God cannot have a name. A name always denotes a thing, or a person, something finite. How can God have a name, if he is not a person, not a thing? The most striking incident of this change lies in the Biblical story of God's revelation to Moses. When Moses tells him that the Hebrews will not believe that God has sent him, unless he can tell them God's name (how could idol worshipers comprehend a nameless God, since the very essence of an idol is to have a name?), God makes a concession. He tells Moses that his name is 'I am becoming that which I am becoming.' 'I-am-becoming is my name.' The 'I-am-becoming' means that God is not finite, not a person, not a 'being.' The most adequate translation of the sentence would be: tell them that 'my name is nameless'. The prohibition to make any image of God, to pronounce his name in vain, eventually to pronounce his name at all, aims at the same goal, that of freeing man from the idea that God is a father, that he is a person. In the subsequent theological development, the idea is carried further in the principle that one must not even give God any positive attribute. To say of God that he is wise, strong, good implies again that he is a person; the most I can do is to say what God is not, to state negative attributes, to postulate that he is not limited, not unkind, not unjust. The more I know what God is not, the more knowledge I have of God. Following the maturing idea of monotheism in its further consequences can lead only to one conclusion: not to mention God's name at all, not to speak about God. Then God becomes what he potentially is in monotheistic theology, the nameless One, an inexpressible stammer, referring to the unity underlying the phenomenal universe, the ground of all existence; God becomes truth, love, justice. God is inas much as I am human.

Since the evolution of the human race shifted from a mother-centered to a father-centered structure of society, as well as of religion, we can trace the development of a maturing love mainly in the development of patriarchal religion. In the beginning of this development we find a despotic, jealous God, who considers man, whom he created, as his property, and is entitled to do with him whatever he pleases. This is the phase of religion in which God drives man out of paradise, lest he eat from the tree of knowledge and thus could become God himself; this is the phase in which God decides to destroy the human race by the flood, because none of them pleases him, with the exception of the favorite son, Noah; this is the phase in which God demands from Abraham that he kill his only, his beloved son, Isaac, to prove his love for God by the act of ultimate obedience. But simultaneously a new phase begins; God makes a covenant with Noah, in which he promises never to destroy the human race again, a covenant by which he is bound himself. Not only is he bound by his promises, he is also bound by his own principle, that of justice, and on this basis God must yield to Abraham's demand to spare Sodom if there are at least ten just men. But the development goes further than transforming God from the figure of a despotic tribal chief into a loving father, into a father who himself is bound by the principles which he has postulated; it goes in the direction of transforming God from the figure of a father into a symbol of his principles, those of justice, truth and love. God is truth, God is justice. In this development God ceases to be a person, a man, a father; he becomes the symbol of the principle of unity behind the manifoldness of phenomena, of the vision of the flower which will grow from the spiritual seed within man. God cannot have a name. A name always denotes a thing, or a person, something finite. How can God have a name, if he is not a person, not a thing? The most striking incident of this change lies in the Biblical story of God's revelation to Moses. When Moses tells him that the Hebrews will not believe that God has sent him, unless he can tell them God's name (how could idol worshipers comprehend a nameless God, since the very essence of an idol is to have a name?), God makes a concession. He tells Moses that his name is 'I am becoming that which I am becoming.' 'I-am-becoming is my name.' The 'I-am-becoming' means that God is not finite, not a person, not a 'being.' The most adequate translation of the sentence would be: tell them that 'my name is nameless'. The prohibition to make any image of God, to pronounce his name in vain, eventually to pronounce his name at all, aims at the same goal, that of freeing man from the idea that God is a father, that he is a person. In the subsequent theological development, the idea is carried further in the principle that one must not even give God any positive attribute. To say of God that he is wise, strong, good implies again that he is a person; the most I can do is to say what God is not, to state negative attributes, to postulate that he is not limited, not unkind, not unjust. The more I know what God is not, the more knowledge I have of God. Following the maturing idea of monotheism in its further consequences can lead only to one conclusion: not to mention God's name at all, not to speak about God. Then God becomes what he potentially is in monotheistic theology, the nameless One, an inexpressible stammer, referring to the unity underlying the phenomenal universe, the ground of all existence; God becomes truth, love, justice. God is inasmuch as i am human.

The child starts out by being attached to his mother as 'the ground of all being'. He feels helpless and needs the all-enveloping love of mother. He then turns to father as the new center of his affections, father being a guiding principle for thought and action; in this stage he is motivated by the need to acquire father's praise, and to avoid his displeasure. In the stage of full maturity he has freed himself from the person of mother and of father as protecting and commanding powers; he has established the motherly and fatherly principles in himself. He has become his own father and mother; he is father and mother. In the history of the human race we see -and can anticipate- the same development: from the beginning of the love for God as the helpless attachment to a mother Goddess, through the obedient attachment to a fatherly God, to a mature stage where God ceases to be an outside power, where man has incorporated the principles of love and justice into himself, where he has become one with God, and eventually, to a point where he speaks of God only in a poetic, symbolic sense. From these considerations it follows that the love for God cannot be separated from the love for one's parents. If a person does not emerge from incestuous attachment to mother, clan, nation, if he retains the childish dependence on a punishing and rewarding father, or any other authority, he cannot develop a more mature love for God; then his religion is that of the earlier phase of religion, in which God was experienced as an all-protective mother or a punishing-rewarding father. In contemporary religion we find all the phases, from the earliest and most primitive development to the highest, still present. The word 'God' denotes the tribal chief as well as the 'absolute Nothing'.