Syntax

“… the basic grammar and syntax of rock art respond to universal patterns of cognition, logic and communication. Rock art appears as the expression of a primordial language, with different dialects, and can be read disregading the language in which one thinks and communicates. It takes us back to a universal pictographic proto-script, once deciphered, can be read and understood in any spoken language. To reactivate the use of a method of pictographic and ideographic writing which can be read in any language would open up a new horizon for human communication and may appear as a sort of utopia. ” Emanuel Anati, Rock Art, the Primordial Language.

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The word Syntax originates from the Greek words uυν meaning “together” and taxis meaning “sequence, order, arrangement”.

Syntax refers to word order and sentence structure. In the English language the normal syntax used is subject – verb – object. In Literature and poetry, the order of the words, or syntax can be changed around for an artistic effect, or to emphasise a meaning. Thus words become the raw material to sculpt new meaning, express new vistas that cannot usually be expressed using the correct grammatical order.

Rock art seems to have a metaphorical associative syntax, one that speaks directly to the primordial mind. Research into rock art reveals various types of symbols that when ‘read’ together form a sentence-like sequence.

In his book, Rock Art – The Primordial Language, Emanuel Anati defines three types of symbols found on rock faces:

Pictograms – often the Subject part of the sentence, are identifiable forms of real or imaginary objects. Anthropomorphic. Zoomorphic. Implements. Topographic elements.

Ideograms are considered the verbs and adjectives – repetitive signs like zoomorphic or anthropomorphic schemes sticks phalic and vulval signs discs dots etc. The three main types of ideograms are: anatomic such as vulvas hands etc, conceptual such as discs or crosses and numerical groups of dots or lines. For example dots seem to depict a verb of action like to do – when it appears near the foot of a person it means to go, when it appears near a penis or vulva it means to have sex, and near a bow and arrow to shoot.

Psychograms are signs that are not recognisable and do not seem to represent objects or symbols. They appear to be the conceptual exclamation marks. Psychograms are more abstract ‘working at a subconscious level as do certain archetypal signs that our conscious memory is no longer able to define but which deep within the self release associative and sensory processes on wavelengths that escape the band of ordinary transmission. They are remarkable for their immediacy.'(Anati). 
Pondering over examples of archaic syntax on rock faces here in Andalucia, makes me curious about the state of consciousness the ancient ones lived in. It seems obvious they were in deep connection with their surroundings, and in magical conversation with nature for their livelihood. What were they saying?  Are their messages relevant to us today? Can we, with our own language structures, decipher and learn something about the evolution of consciousness from the study of Rock art?  I will be exploring some of these themes next week in my talk about La Janda (Thursday 13th March – 7:30 pm, Steiner House, Park Road, London.)

Language

“If we are serious about rediscovering ourselves in Nature, we are going to need a language that speaks of science and soul, that narrows the gap between subject and object, that slips between yes and no. We will need a language that continually reminds us of where we have come from and what we have to do if we are to become ecologically intelligent. …”   Ian Mccallum, ‘Ecological Intelligence – Rediscovering ourselves in Nature’.

I Recently read somewhere the sentence ‘Re-imagining civilisation in the age of Nature‘ And immediately the words ‘Age of Nature’ conjured in me a picture of a future, when society will be awake and immersed in the consciousness of Nature. These words triggered in me a knowing of something I had never thought of quite like that before and brought together my experiences of communicating with living aspects of the landscape and my ever growing ecological awareness, creating a clear sense of what this age of Nature might be like.  Such is the beauty of language, that words can come together in new ways to create a whole new meaning, giving us a different vantage point, opening up new possibilities in our ways of thinking.

In my work I am often experiencing an inter-relationship and inter-communication within living systems. I ‘meet’ our planet as a conscious entity full of life and stories. And yet often when I speak about it I need to choose carefully my vocabulary in order to communicate these experiences which exist in the realms of my inner knowing. I  need to use a language that describes my intuitive knowing to my rational mind and the words often come out as poetic descriptions of that which is invisible yet tangible, and wishes to be acknowledged.

When we ‘speak’ with Nature we speak through our body, our senses, our heart. We open ourselves to a communication that bypasses rational thinking, and makes use of our animal instincts. The first language we need to become proficient in is the one that precedes formulated words. The one that can communicate with the creative forces of a plant, for example. It is the language of energy movement. It is a language that we all speak, to some degree whether we are aware of it or not. Translating energy movement into concepts that our rational mind can work with is the next step. That calls for a vocabulary that bridges the abyss and distrust between our rational and intuitive minds. A language that communicate and makes sense of our sensorial perceptions.

Stephan Harding, when writing about language as a key aspect in the work of holistic science in his book Animate Earth says “…Language is a key aspect in this work and so in this book we will experiment with a new kind of narrative that tries to explore the dynamics of our living earth in a way that uncovers beauty, way of being and vitality of her processes without falling into the dull mechanistic style that so dominates modern science, and so deadens the world with its desiccating touch. This language is still struggling to be born, and so I ask you to be patient with my faltering efforts to articulate it in various ways.”

How do we best describe the Nature of Nature? How can I tell you about the essence of a particular bird or tree and the messages their biology and behaviour relay to us? Can the information that speaks directly to our soul through movement, sound, image, archetype be accepted as valid data by the rational mind?  Can an experience of the mythical dimension of a landscape, for example, be accepted as an integral understanding of the place? Can we find the right words to speak about the presence of a sacred part of a land where it would be unadvisable to build a road? (Seers Protest New Road, Fear Wrath of Dwarves).

Our rational mind has to rediscover a respect towards the language of the soul in order to arrive to a place where it accepts the way the soul communicates it’s knowing. It has to accept that apart from thinking we also have the faculties of sensing, feeling and intuiting, and that those have a distinct vocabulary that wishes to be integrated in the consensual way we communicate in the western world. Poetic and symbolic vocabulary that often comes through in dreams, in wonder tales, myths, gestures and songs are also spoken by the earth and all her beings. We would be wise to reeducate ourselves in her language and lend her our voice when needed, as part of our evolving ecological awareness.

Conversations with Nature, centro Anayansi May 2013. Photo by Jesus Garcia

Conversations with Nature, centro Anayansi May 2013. Photo by Jesus Garcia

Earth Speaks – thoughts about the art of geomancy and storytelling

 ‘We are all the eyes and ears of the Earth; and we think the world’s thoughts.’ (Lyall Watson biologist / anthropologist, Gifts of Unknown Things, 1976)

A good friend of mine was a nature conservationist for most of his working career. When he speaks about his work, it is always in scientific jargon, measurable and quantifiable. But when I press him with questions, he lets out a secret known to very few, that his love for Nature holds within it a rich Soul experience that is very difficult to articulate. And when I press even further he begins to tell tales of encounters with birds, plants and forests that leave his audience spellbound and resonate something that we all know and yearn for; an intimate connection with Nature that occurs on those rare moments when she opens up to us, revealing more than meets the eye about Herself…

An intimate relationship with the landscape indeed reveals a wealth of encounters that seek to be expressed. In this context it is wise to consider our senses, feelings and intuition as parameters for understanding Nature, as a complement to the measuring, quantifying, assessing, that we are used to in the scientific world. This is what geomancy is about. Allowing our sensorial self to open and receive impressions so we can perceive the subtle as well as the physical aspects of a place. Siberian shamans call it ‘listening with our little ears’.

In my work I offer the possibility to explore a heart based observational approach, which enables us to experience in a simple and down to earth way the subtle layers of the land and it’s ‘conscious’ aspects. I find it very rewarding to assist people who are new to this work to awaken to their innate ability to hear, sense and respond to the elements in Nature and thus enter into a deeper communication with the land itself.  I am greatly curious about the interface between People and Land. About the conversation that occurs between the creative forces in the land and our human will. Nature, especially in these times of social transitions, can inspire us to new ways of thinking about ourselves and the world.

Recently while working with a group on Cape trafalgar in the South of Spain, we witnessed the waves of the Atlantic Ocean meeting the currents coming from the Mediterranean. On the surface of the water this meeting was very visible and as we focused our attention on it a few of us felt that this encounter had a story to tell and that the story had to be heard for the healing to take place. Similarly, while working with two rivers that used to feed an extended wetland area in Andalusia, we ‘listened’ to the sources of these two rivers and allowed our voice, touched by the fire of Spirit, speak of the essence and life they had in them. By simply witnessing, listening and speaking these stories, a great deal of healing to the energetic and emotional landscape occurs. Touched by the magic imbued in the natural landscapes, we can speak up, inspire a new vision to support the global process of Awakening. It is the gift of the Artist to capture the spirit of the moment and to inspire. To act as a mediator of the Sacred.

 

My work is energetic in it’s nature, and because of the abstract nature of working with energy fields , I am very excited about connecting geomantic work with storytelling. It holds the promise of finding a new, contemporary language to describe the invisible and the intangible. Creating healing stories for the land itself. Finding stories that will inspire environmental policy makers and conservationists. I am looking forward for us to speak the quiet whispers of a stream, the burly presence of a hillside, the heart qualities of a certain grove, and tell of our growing capacity to truly understand Nature’s intricate language.