Verticalis Lingualis: Tongue of The Earth    It is sometimes believed that speaking is formed in the stomach, building in the lungs, pushing air over our tongues and through our formed mouths.  These mechanisms and movements are essential for communicating thought into action, for exchange, and dialogue - for telling stories.  And of the languages we speak, how do they define our world in the present moment of thought?  And, does it matter that thoughts and sound create form.  Is it possible that things have been this way forever, when our ancestors were born from light, and pushed through the strata of mountains, and given us this place to live?  Excerpt:  Millions and Millions of Rocks  (hiking blog)  “In the morning we set off toward Sis Naajini (Blanca Peak.)  The weather had been mild through the night and it looked as if it would continue throughout the morning.  From Como Lake we quickly moved through the trees up to higher elevations. Tall trees became short shrubs and the vegetation all around became more unfamiliar as we moved along. Tiered levels of semi flat earth held small turquoise blue lakes, which created cold flowing creeks through lower elevations. Huge boulders lay resting in piles around a base of rising slate rocky cliffs. The grass was fading in most areas, but patches of spike-covered flowers soon appeared.  This was a strange and beautiful place.   Once we got through this section of the hike, we found ourselves at Crater Lake, the bottom of the saddle between Sis Naajni (Blanca Peak) and Ellingwood Point. The hike from here became a small series of switchbacks through shaky boulders of all sizes.  The pitch was around 45 degrees, but exceeded that closer to the top.  There were numerous Verticals in this area along the route, and had I not been moving, they would be lost against the rocky mountainside.  As my head tingled with less oxygen and my steps were sloth like, I thought of the Verticals, of the stories from this place, and what being Navajo is supposed to mean. I had never seen so many Verticals in one area, and I was slightly confused by the shear number.  At one point looking up to the saddle above I thought there was someone standing there watching us, but as I focused in, I realized it was just another pile of rocks.  Still its anthropomorphic state felt unnerving, calling us in like a familial ghost.       When we reached the saddle, we sat and rested.  It’s at this location where folks with more common sense contemplate turning around.  It is by any stretch an accomplishment at around 13,700 ft.  From the saddle to Blanca Peak we moved upward bridging oddly shaped boulders in a sort of bear crawl scramble, being careful to focus on every point of contact.  We stayed on the right side of the saddle as we traversed up, as there was a sheer drop on the left side, hundreds of feet to a rocky abyss. The last few feet before reaching the summit were a little difficult, mostly because we were exhausted and poor decisions often get made in these situations, so we continued to be careful and patient.  About the time we reached the summit, the mountain was good to us, allowing us a glimpse of incredible views of the world below and around us. However it lasted only a few minutes, and mountain spoke again; light fog and sleet moved in all around us, letting us know it was our time to leave…”  Within the narrative of this journey there is a mountain (natural world) and the story of the tongue.  The vertical muscle of the earth speaking through piled stones, a mechanism functioning and forming semiotic language, between the external and internal stories of specificity. Eurocentric terminology defines these structures as “Cairns”, or “trail markers”, and any number of culturally weighted associations and a fare share of new age mystic derivatives.  I know them only as the Verticals.  Ver^ti^cals (^^^^)  adj.  Being or situated at right angles to the horizon; upright  Situated at or between the vertex; directly overhead  Relating to or composed of elements at different levels, as of culture within society  Having polymorphous characteristics.  n.  Organic and non-organic materials arrangements perpendicular to the horizon (vertical fashion), conical, rectangular or anti-symmetrical in nature.  Having polymorphous characteristics.  The Vertical has functioned through the strata of histories for numerous cultures and activities.  It would be pointless to quantify any of these ‘Cairns’ beyond my personal experience and assumptions through hypothetical quandary of alternative meanings would prove fruitless.  So, outside of this point I will only address the Verticals I’ve observed in a limited scope of my art practice.  In the natural world it’s common to find a Vertical in rock form, likely because rocks are a common sense material available at the surface of the earth.  If land is the true origin of personal reflection then the choices in rock color, size, numbers in usage, and general arrangement can be directly connected to the hands that created them.  Color is site specific, but combinations and ocular centric perceptions can sometimes be misleading; does the white rock go on the top or the bottom, and so on.  Size of a rock in Verticals may relate to strength, power, or the coordination and balancing ability of the creator. There is nothing forceful or penetrating about a minor Vertical, but as the saying goes, does size matter? Availability of specific rock selections (material) is another issue, as I’m defining the surface of the earth in broad strokes I realize that rock availability is also subjective to forms of premeditative or impulsive actions, so therefore cannot be fully understood from this vantage point.  Finally to address arrangement; verticality as a core symbol is evident the moment on one object is on top of another. But, the variations and combinations are so deeply embedded in the subconscious that to late a fully viable understanding of the personalized monolith would discredit its creator or creators.        In the urban context the meta-narrative continues with countless organic and inorganic material, available for Vertical constructions. The metaphor of the Vertical within an overtly colonized location (city, suburb, town, municipality) on one level is a very non-indigenous expression of dominance and control over nature, and many activities with these vicinities are reaffirming this notion.  The Vertical in its orientation to the urban surroundings are often observed in their practical forms of usage, and more or less related to everyday ritual practice of private and civic action, most of which are existing in the realms of efficient production and post-productions strategies.  Consciously or not, the 21 st  century man when confronted by nature is still very much an embodiment of conflict.  Man struggles to get to a place he has no reason to go, marking undefined trails in his wake.  Along the way we insert our meanings into the materials and the environments we inhabit.  Relationships are developed to specific space in the transient exercise of internalizing and action.       The Vertical in all space; natural, urban, or otherwise is still an abstract projection of realities through the materials that make its shape.  The form of the vertical is transcendent, meaning whatever shape the Vertical takes; it carries an expression, a lineage of that shape with it.  The most common examples of shape design follow basic shapes: cylindrical, triangular, rectangular, or anti-symmetrical. The notion of verticality in the essence of the form in some instances however could occasionally be subjective at times to a hetero patriarchy lens.  This tendency by most genders is normal, since many people think of a penis before a tongue to describe extended phallic forms.  This aside, the Vertical in relationship to its form and its social bearing should be negotiated internally. While the Verticals as objects are established Archetypes, they are not perfect models in the sense that they can only exemplify the form.  They are not the true form, which is perfect and unattainable because of temporality.  What is attainable and in our control is how one can experience the Vertical and its form at the same time.  Consider the common Vertical, found in high use areas, on public, private, and sovereign lands.  They often appear at points of demarcation, or variance, and their directional value is only important for the disorientated traveler.  Now consider the Vertical again, within the framework of time and space and abstract reality.  The Vertical is articulated earth tongue, protruding upward, revealing the dynamic relationship between man and the source. It is the sublime muscle of communication with multidimensional interpretations, connecting tangible with otherness, joining the fleeting experiential and the innocuous encounter. The Vertical shares a universal lineage of communication since time immemorial, standing motionless and weighted as one of history, knowledge, and power.     - SJY
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   Verticalis Lingualis: Tongue of The Earth    It is sometimes believed that speaking is formed in the stomach, building in the lungs, pushing air over our tongues and through our formed mouths.  These mechanisms and movements are essential for communicating thought into action, for exchange, and dialogue - for telling stories.  And of the languages we speak, how do they define our world in the present moment of thought?  And, does it matter that thoughts and sound create form.  Is it possible that things have been this way forever, when our ancestors were born from light, and pushed through the strata of mountains, and given us this place to live?  Excerpt:  Millions and Millions of Rocks  (hiking blog)  “In the morning we set off toward Sis Naajini (Blanca Peak.)  The weather had been mild through the night and it looked as if it would continue throughout the morning.  From Como Lake we quickly moved through the trees up to higher elevations. Tall trees became short shrubs and the vegetation all around became more unfamiliar as we moved along. Tiered levels of semi flat earth held small turquoise blue lakes, which created cold flowing creeks through lower elevations. Huge boulders lay resting in piles around a base of rising slate rocky cliffs. The grass was fading in most areas, but patches of spike-covered flowers soon appeared.  This was a strange and beautiful place.   Once we got through this section of the hike, we found ourselves at Crater Lake, the bottom of the saddle between Sis Naajni (Blanca Peak) and Ellingwood Point. The hike from here became a small series of switchbacks through shaky boulders of all sizes.  The pitch was around 45 degrees, but exceeded that closer to the top.  There were numerous Verticals in this area along the route, and had I not been moving, they would be lost against the rocky mountainside.  As my head tingled with less oxygen and my steps were sloth like, I thought of the Verticals, of the stories from this place, and what being Navajo is supposed to mean. I had never seen so many Verticals in one area, and I was slightly confused by the shear number.  At one point looking up to the saddle above I thought there was someone standing there watching us, but as I focused in, I realized it was just another pile of rocks.  Still its anthropomorphic state felt unnerving, calling us in like a familial ghost.       When we reached the saddle, we sat and rested.  It’s at this location where folks with more common sense contemplate turning around.  It is by any stretch an accomplishment at around 13,700 ft.  From the saddle to Blanca Peak we moved upward bridging oddly shaped boulders in a sort of bear crawl scramble, being careful to focus on every point of contact.  We stayed on the right side of the saddle as we traversed up, as there was a sheer drop on the left side, hundreds of feet to a rocky abyss. The last few feet before reaching the summit were a little difficult, mostly because we were exhausted and poor decisions often get made in these situations, so we continued to be careful and patient.  About the time we reached the summit, the mountain was good to us, allowing us a glimpse of incredible views of the world below and around us. However it lasted only a few minutes, and mountain spoke again; light fog and sleet moved in all around us, letting us know it was our time to leave…”  Within the narrative of this journey there is a mountain (natural world) and the story of the tongue.  The vertical muscle of the earth speaking through piled stones, a mechanism functioning and forming semiotic language, between the external and internal stories of specificity. Eurocentric terminology defines these structures as “Cairns”, or “trail markers”, and any number of culturally weighted associations and a fare share of new age mystic derivatives.  I know them only as the Verticals.  Ver^ti^cals (^^^^)  adj.  Being or situated at right angles to the horizon; upright  Situated at or between the vertex; directly overhead  Relating to or composed of elements at different levels, as of culture within society  Having polymorphous characteristics.  n.  Organic and non-organic materials arrangements perpendicular to the horizon (vertical fashion), conical, rectangular or anti-symmetrical in nature.  Having polymorphous characteristics.  The Vertical has functioned through the strata of histories for numerous cultures and activities.  It would be pointless to quantify any of these ‘Cairns’ beyond my personal experience and assumptions through hypothetical quandary of alternative meanings would prove fruitless.  So, outside of this point I will only address the Verticals I’ve observed in a limited scope of my art practice.  In the natural world it’s common to find a Vertical in rock form, likely because rocks are a common sense material available at the surface of the earth.  If land is the true origin of personal reflection then the choices in rock color, size, numbers in usage, and general arrangement can be directly connected to the hands that created them.  Color is site specific, but combinations and ocular centric perceptions can sometimes be misleading; does the white rock go on the top or the bottom, and so on.  Size of a rock in Verticals may relate to strength, power, or the coordination and balancing ability of the creator. There is nothing forceful or penetrating about a minor Vertical, but as the saying goes, does size matter? Availability of specific rock selections (material) is another issue, as I’m defining the surface of the earth in broad strokes I realize that rock availability is also subjective to forms of premeditative or impulsive actions, so therefore cannot be fully understood from this vantage point.  Finally to address arrangement; verticality as a core symbol is evident the moment on one object is on top of another. But, the variations and combinations are so deeply embedded in the subconscious that to late a fully viable understanding of the personalized monolith would discredit its creator or creators.        In the urban context the meta-narrative continues with countless organic and inorganic material, available for Vertical constructions. The metaphor of the Vertical within an overtly colonized location (city, suburb, town, municipality) on one level is a very non-indigenous expression of dominance and control over nature, and many activities with these vicinities are reaffirming this notion.  The Vertical in its orientation to the urban surroundings are often observed in their practical forms of usage, and more or less related to everyday ritual practice of private and civic action, most of which are existing in the realms of efficient production and post-productions strategies.  Consciously or not, the 21 st  century man when confronted by nature is still very much an embodiment of conflict.  Man struggles to get to a place he has no reason to go, marking undefined trails in his wake.  Along the way we insert our meanings into the materials and the environments we inhabit.  Relationships are developed to specific space in the transient exercise of internalizing and action.       The Vertical in all space; natural, urban, or otherwise is still an abstract projection of realities through the materials that make its shape.  The form of the vertical is transcendent, meaning whatever shape the Vertical takes; it carries an expression, a lineage of that shape with it.  The most common examples of shape design follow basic shapes: cylindrical, triangular, rectangular, or anti-symmetrical. The notion of verticality in the essence of the form in some instances however could occasionally be subjective at times to a hetero patriarchy lens.  This tendency by most genders is normal, since many people think of a penis before a tongue to describe extended phallic forms.  This aside, the Vertical in relationship to its form and its social bearing should be negotiated internally. While the Verticals as objects are established Archetypes, they are not perfect models in the sense that they can only exemplify the form.  They are not the true form, which is perfect and unattainable because of temporality.  What is attainable and in our control is how one can experience the Vertical and its form at the same time.  Consider the common Vertical, found in high use areas, on public, private, and sovereign lands.  They often appear at points of demarcation, or variance, and their directional value is only important for the disorientated traveler.  Now consider the Vertical again, within the framework of time and space and abstract reality.  The Vertical is articulated earth tongue, protruding upward, revealing the dynamic relationship between man and the source. It is the sublime muscle of communication with multidimensional interpretations, connecting tangible with otherness, joining the fleeting experiential and the innocuous encounter. The Vertical shares a universal lineage of communication since time immemorial, standing motionless and weighted as one of history, knowledge, and power.     - SJY
Verticalis Lingualis: Tongue of The EarthIt is sometimes believed that speaking is formed in the stomach, building in the lungs, pushing air over our tongues and through our formed mouths.  These mechanisms and movements are essential for communicating thought into action, for exchange, and dialogue - for telling stories.  And of the languages we speak, how do they define our world in the present moment of thought?  And, does it matter that thoughts and sound create form.  Is it possible that things have been this way forever, when our ancestors were born from light, and pushed through the strata of mountains, and given us this place to live?Excerpt: Millions and Millions of Rocks (hiking blog)“In the morning we set off toward Sis Naajini (Blanca Peak.)  The weather had been mild through the night and it looked as if it would continue throughout the morning.  From Como Lake we quickly moved through the trees up to higher elevations. Tall trees became short shrubs and the vegetation all around became more unfamiliar as we moved along. Tiered levels of semi flat earth held small turquoise blue lakes, which created cold flowing creeks through lower elevations. Huge boulders lay resting in piles around a base of rising slate rocky cliffs. The grass was fading in most areas, but patches of spike-covered flowers soon appeared.  This was a strange and beautiful place. Once we got through this section of the hike, we found ourselves at Crater Lake, the bottom of the saddle between Sis Naajni (Blanca Peak) and Ellingwood Point. The hike from here became a small series of switchbacks through shaky boulders of all sizes.  The pitch was around 45 degrees, but exceeded that closer to the top.  There were numerous Verticals in this area along the route, and had I not been moving, they would be lost against the rocky mountainside.  As my head tingled with less oxygen and my steps were sloth like, I thought of the Verticals, of the stories from this place, and what being Navajo is supposed to mean. I had never seen so many Verticals in one area, and I was slightly confused by the shear number.  At one point looking up to the saddle above I thought there was someone standing there watching us, but as I focused in, I realized it was just another pile of rocks.  Still its anthropomorphic state felt unnerving, calling us in like a familial ghost.     When we reached the saddle, we sat and rested.  It’s at this location where folks with more common sense contemplate turning around.  It is by any stretch an accomplishment at around 13,700 ft.  From the saddle to Blanca Peak we moved upward bridging oddly shaped boulders in a sort of bear crawl scramble, being careful to focus on every point of contact.  We stayed on the right side of the saddle as we traversed up, as there was a sheer drop on the left side, hundreds of feet to a rocky abyss. The last few feet before reaching the summit were a little difficult, mostly because we were exhausted and poor decisions often get made in these situations, so we continued to be careful and patient.  About the time we reached the summit, the mountain was good to us, allowing us a glimpse of incredible views of the world below and around us. However it lasted only a few minutes, and mountain spoke again; light fog and sleet moved in all around us, letting us know it was our time to leave…”Within the narrative of this journey there is a mountain (natural world) and the story of the tongue.  The vertical muscle of the earth speaking through piled stones, a mechanism functioning and forming semiotic language, between the external and internal stories of specificity. Eurocentric terminology defines these structures as “Cairns”, or “trail markers”, and any number of culturally weighted associations and a fare share of new age mystic derivatives.  I know them only as the Verticals.Ver^ti^cals (^^^^)adj.Being or situated at right angles to the horizon; uprightSituated at or between the vertex; directly overheadRelating to or composed of elements at different levels, as of culture within societyHaving polymorphous characteristics.n.Organic and non-organic materials arrangements perpendicular to the horizon (vertical fashion), conical, rectangular or anti-symmetrical in nature.  Having polymorphous characteristics.The Vertical has functioned through the strata of histories for numerous cultures and activities.  It would be pointless to quantify any of these ‘Cairns’ beyond my personal experience and assumptions through hypothetical quandary of alternative meanings would prove fruitless.  So, outside of this point I will only address the Verticals I’ve observed in a limited scope of my art practice.In the natural world it’s common to find a Vertical in rock form, likely because rocks are a common sense material available at the surface of the earth.  If land is the true origin of personal reflection then the choices in rock color, size, numbers in usage, and general arrangement can be directly connected to the hands that created them.  Color is site specific, but combinations and ocular centric perceptions can sometimes be misleading; does the white rock go on the top or the bottom, and so on.  Size of a rock in Verticals may relate to strength, power, or the coordination and balancing ability of the creator. There is nothing forceful or penetrating about a minor Vertical, but as the saying goes, does size matter? Availability of specific rock selections (material) is another issue, as I’m defining the surface of the earth in broad strokes I realize that rock availability is also subjective to forms of premeditative or impulsive actions, so therefore cannot be fully understood from this vantage point.  Finally to address arrangement; verticality as a core symbol is evident the moment on one object is on top of another. But, the variations and combinations are so deeply embedded in the subconscious that to late a fully viable understanding of the personalized monolith would discredit its creator or creators.      In the urban context the meta-narrative continues with countless organic and inorganic material, available for Vertical constructions. The metaphor of the Vertical within an overtly colonized location (city, suburb, town, municipality) on one level is a very non-indigenous expression of dominance and control over nature, and many activities with these vicinities are reaffirming this notion.  The Vertical in its orientation to the urban surroundings are often observed in their practical forms of usage, and more or less related to everyday ritual practice of private and civic action, most of which are existing in the realms of efficient production and post-productions strategies.  Consciously or not, the 21st century man when confronted by nature is still very much an embodiment of conflict.  Man struggles to get to a place he has no reason to go, marking undefined trails in his wake.  Along the way we insert our meanings into the materials and the environments we inhabit.  Relationships are developed to specific space in the transient exercise of internalizing and action.     The Vertical in all space; natural, urban, or otherwise is still an abstract projection of realities through the materials that make its shape.  The form of the vertical is transcendent, meaning whatever shape the Vertical takes; it carries an expression, a lineage of that shape with it.  The most common examples of shape design follow basic shapes: cylindrical, triangular, rectangular, or anti-symmetrical. The notion of verticality in the essence of the form in some instances however could occasionally be subjective at times to a hetero patriarchy lens.  This tendency by most genders is normal, since many people think of a penis before a tongue to describe extended phallic forms.  This aside, the Vertical in relationship to its form and its social bearing should be negotiated internally. While the Verticals as objects are established Archetypes, they are not perfect models in the sense that they can only exemplify the form.  They are not the true form, which is perfect and unattainable because of temporality.  What is attainable and in our control is how one can experience the Vertical and its form at the same time.  Consider the common Vertical, found in high use areas, on public, private, and sovereign lands.  They often appear at points of demarcation, or variance, and their directional value is only important for the disorientated traveler.  Now consider the Vertical again, within the framework of time and space and abstract reality.The Vertical is articulated earth tongue, protruding upward, revealing the dynamic relationship between man and the source. It is the sublime muscle of communication with multidimensional interpretations, connecting tangible with otherness, joining the fleeting experiential and the innocuous encounter. The Vertical shares a universal lineage of communication since time immemorial, standing motionless and weighted as one of history, knowledge, and power. - SJY
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IMG_6464.JPG
IMG_3011.jpg
IMG_4335.JPG
IMG_6498.JPG
IMG_5234.jpg
photo.jpg
photo copy 3.jpg
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