[{"id":"5356","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Reading in BC Collection"],"source_collection_label":["Reading in BC Collection"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Reading in BC collection was assembled during the late 1970s and ‘80s. There are approximately 1000 tapes in this collection. It consists of the recordings of Canadian and American writers, mostly poets, reading poems, talking, being interviewed, participating in panel discussions, and so on. Most of the recordings were made in BC, but there are some made elsewhere in Canada or the USA. Quite a few of these recordings are unique copies, not to be found elsewhere."],"collection_source_collection_id":["MsC 199"],"persistent_url":[""],"item_title":["The Upper Paleolithic Imagination and the Construction of the Underworld: Clayton Eshleman lecture at Vancouver Art Gallery on February 27, 1992 #747"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Eshleman, Clayton","Maud, Ralph"],"creator_names_search":["Eshleman, Clayton","Maud, Ralph"],"creators":["[{\"url\":\"http://viaf.org/viaf/79046419\",\"name\":\"Eshleman, Clayton\",\"dates\":\"1935-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/66537561\",\"name\":\"Maud, Ralph\",\"dates\":\"1928-2014\",\"notes\":\"Introduction to post-modern nature of Eshleman’s lecture and writing by Ralph Maud\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"contributors":["[]"],"Performance_Date":[1992],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/1224/Reading in BC_MsC199_747.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Stereo\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"T01:25:00\",\"physical_condition\":\"Good\",\"track_configuration\":\"2 track\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"747-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:34\",\"precision\":\"\",\"size\":\"46.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"747-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:42:37\",\"precision\":\"\",\"size\":\"41.0 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1992-02-27\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/69701736\",\"venue\":\"Vancouver Art Gallery \",\"notes\":\"\",\"address\":\"750, Hornby Street, Downtown, Vancouver, District of North Vancouver, Metro Vancouver Regional District, British Columbia, V6Z, Canada\",\"latitude\":\"49.28292\",\"longitude\":\"-123.12056\"}]"],"Address":["750, Hornby Street, Downtown, Vancouver, District of North Vancouver, Metro Vancouver Regional District, British Columbia, V6Z, Canada"],"Venue":["Vancouver Art Gallery "],"City":["Vancouver, British Columbia"],"content_notes":["SFU BC Readings formatting"],"Note":["[{\"note\":\"Clayton Eshleman (university of Eastern Michigan) sponsored by the institute of the Humanities, SFU\\nThe Upper Paleolithic Imagination and the Construction of the Underworld \\nVancouver Art Gallery\\nFebruary 27 1992\\nDOLBY B\\n#747\",\"type\":\"General\"},{\"note\":\"the length of the digital file's side 1 is T00:46:34 and side 2 is T00:42:37, but the performance only takes 44 minute on side 1 and 41 minute on side 2 and the rest of audio is empt\",\"type\":\"\"},{\"note\":\"Carol Eshleman is also present and she's introduced at the beginning of the program \",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670553061163008,"timestamp":"2026-01-07T14:59:57.525Z","contents":["Side\tTrack\tNo.\tComments\nOne\t\t006\tClayton Eshleman & Carol Eshleman introduced\n\t\t049\tIntroduction to post-modern nature of Eshleman’s lecture and writing by Ralph Maud\n\t\t080\tCharles Olson and origins of the term post-modernism.  Post modernism requires a delving into the ‘primitive’ pre-western thinkers.  This is a post-modern travel lecture\n\t\t116\tEshleman lecture begins (based on trips to northern Spain and southwestern France between 1974 and 1986)\n\t\t146\t34 slides accompany lecture (not present in CLC’s collection)\n\t\t150\t“The seeds of narrative in upper paleolithic art” see talk in Clayton Eshleman, “Seeds of narrative in Upper Paleolithic art” (published form).  Antiphonal swing.  Selected prose 1962/1987 New York : McPherson & Co., 1989.  P. 161-173\n\t\t165\tEvidence of the beginnings of the liberation of autonomous imagination (south central France and northern Spain)\n\t\t508\tPoetry – “Fecality wants to be born—“\n\t\t542\tEnd of lecture\n\t\t548\tEssay, originally had as epigraph a passage from a letter which Antonin Artaud wrote to Henri Parisot from Asylum in Rodez in 1945.  Artaud envisions from poem by Baudelaire a shaft involved with fecality and death that relates in a bizarre way to the shaft at Lascaux.  Eshleman reads passage\n\t\t572\tSide One ends\nTwo\t\t007\tEshleman begins description of slides\n\t\t014\tSpear-thrower from Le Mas D’Azil dated 9000 BC end of upper paleolithic.  Eshleman entertains question\n\t\t051\tFrontal view of the Venus of Lozelle\n\t\t071\tSigfried Giedion’s The Eternal Present : the Beginnings of Art.  Giedion claims that if you stand at the bottom of the shaft and look up, the shaman is standing upright\n\t\t087\tRotunda and Axial Gallery in Lascaux – symbols discussed\n\t\t135\tAnimal figure has now become a consort, the figure of the god is now identified as a human being\n\t\t160\tDiscusses drawing by Abbe Breuil in the sanctuary at Les Trois Freres cave in the Ariage, southern France.  Breuil claims cave painting is also an engraving\n\t\t200\tBison man playing an instrument and wearing a mask dancing behind the animals.  Appears to be a narrative alignment between the human and the animals\n\t\t254\tEshleman calls for a critical reading of the paintings which for many years have been literally translated in terms of animals and the hunt, with no psychic or psychological reading of the material.  This is the time of the beginning of image-making, the construction of the underworld of the Cro-Magnon people, upon whose shoulders we stand\n\t\t265\tDiscussion of the Venus symbol anatomy\n\t\t315\t“Hand negatives” – many hands are anatomical and raise the mystery of their origins\n\t\t345\tGouged slabs (30-35000 BC) represent earliest form of image-making\n\t\t383\tQuestion period begins\n\t\t385\tQuestion – if the Shaman figure is only 2 feet tall, yet is 20 feet up the cave wall, is that the original interval between audience and image?\n\t\t389\tEshleman responds with “conjectural information” – formation of the cave may have been different at 13000 BC than it is now; scaffolding could have been used; there seems to be a fascination with placing images in virtually inaccessible spots\n\t\t398\tGives such an example of cave painting in Le Portel in the Ariege\n\t\t403\tQuestioner draws correlation to medieval cathedrals in France and England decorated with “roof art” of hundreds of intricate medallion designs not visible to the human eye, yet revealing many formal experiments\n\t\t425\tQuestion of cave audience for the wall paintings is purely conjectural.  Generally people lived outside of the caves, occasionally sleeping inside.  Caves seem to be used for initiation purposes.  Eshleman describes first free-standing sculpture 16000 BC likely used in such rites.  Refers to poem written about his experience of it, “Notes on a visit to Le Tuc D’Audoubert”\n\t\t444\tIn response to question of how Eshleman regards the human/animal hybrid figure, he sees it as a tension, with no clear-cut statement about human or animal.  As we move from pre-history into history, there is a progressive de-garbing of animality, of a freeing of human anatomy\n\t\t464\tDiscussion of python worship and endurance of animal symbology being cast off from the human form\n\t\t515\tEshleman responds to a question about his personal experience of the cave.  He refers to hallucinogens in use of cave paintings.  His unwillingness to impose a 20th century perspective on the abstract work.  Read The Dream and the Underworld by Hillman and found it useful to carry into the caves at Dordogne.  Hillman’s treatment of Underworld and underground, underworld as opposed to hell"],"score":4.706565}]