74. Oath 1

Stress, the state and verb - we all have felt it and rode it yet do we know what we're talking about? Indeed, can we - past Freud/Jung (psyche), load, and our sensual experience abiding its edge - locate it quite (or is it quite there at all)? Whatever it is, we find here an eddy of it among us in words - with a nod to Yoko Ono and David Peel's AMERIKA, their 1972 anthem (with John Lennon abroad), an excerpt of which closes this session.

Here after a long summer, and then some, break we strike to the heart of the matter of what the hell we are doing with this enterprise via the 1992 essay "Theory as Liberatory Practice" by bell hooks. Here's a link to the essay if you want to reach deeper: https://www.uwyo.edu/aded5050/5050unit12/theory%20as%20liberatory%20prac.pdf

The oath has been around, in numerous ways and at different levels of articulation, for a long time, and we will take ours in examining this verbal structure between us - ending now in a listen and look inside John Ashbery's poem "The Tennis Court Oath."

The oath has been around, in numerous ways and at different levels of articulation, for a long time, and we will take ours in examining this verbal structure between us - ending in a look inside John Ashbery's THE TENNIS COURT OATH.

The oath has been around, in numerous ways and at different levels of articulation, for a long time, and we will take ours in examining this verbal structure between us - ending in a look inside John Ashbery's THE TENNIS COURT OATH.

Here we waterlock on "Island" in this third in a series of sessions that seek to explore this geological state that has just as much applicability to our psychic experience as it does to our terrestrial one. We touch not only its linguistic evolution (and the mysterious, silent "s") but also its representations as a trope for a family of our experiences that may go back to the start of consciousness as we intuit it.

Here we waterlock on "Island" in this second in a series of sessions that seek to explore this geological state that has just as much applicability to our psychic experience as it does to our terrestrial one. We touch not only its linguistic evolution (and the mysterious, silent "s") but also its representations as a trope for a family of our experiences that may go back to the start of consciousness as we intuit it.

Here we waterlock on "Island" in a series of sessions that seek to explore this geological state that has just as much applicability to our psychic experience as it does to our terrestrial one. We touch not only its linguistic evolution (and the mysterious, silent "s") but also its representations as a trope for a family of our experiences that may go back to the start of consciousness as we intuit it.

Love, in all its zones, arguably remains the capstone emotion of our mortal journey, which in words - as we seek to prove - is infinite. In this "four-point-five," final number (note previous broadcasts, including a half broadcast combining "void" with the start of "love"), in a series of sessions, we seek among excursions to touch on as many as we are able and unable, from its classical taxonomy to our near-term obsession with its anticipation, making and sustenance.

Love, in all its zones, arguably remains the capstone emotion of our mortal journey, which in words - as we seek to prove - is infinite. In this "three-point-five" number (note previous broadcasts, including a half broadcast combining "void" with the start of "love"), in a series of sessions, we seek among excursions to touch on as many as we are able and unable, from its classical taxonomy to our near-term obsession with its anticipation, making and sustenance.