WORKING IN IRON, AND HAMMERING IT,
OR POURING IT MOLTEN
INTO THE CRUCIBLE, ONE LIQUID
BECOMES HARD AND FAST —
LASTING FOREVER.
BUT THERE IS MORE.
I’m thinking about the cast in two ways — one, the molding itself, and by the form, what is poured into it. But what is cast is also a throw — a casting, the stone that is thrown and formed in the hurling — it is changed in the motion.
To each there is a measure of the way in which this is done — the art of the cast.
I thank Douglas Harper for his explorations, that — as ever — deepen the seeing into the heart of language.
For the casting is also about the art of weaving — which, unto itself, is a mystical interlacement of warp and weft.
See here, that drawing back of the word, that means so much, for hundreds of years — the casting. And that casting is a rich furrow in the mind of what is above and what is below. A cast in the eye — the sense of the turning of the “warp.” From the 1200s that word came from the Old Norse, kasta — “to throw,” passing on to the idea of “a form the thing takes after it has been thrown.”
I think of the centering of the thrown cast of clay, hurled and thrown on the spinning wheel of the potter. That one cast, the formed throw — on the wheel. It spins out and in — and it means everything to the nature of the toss.
Thrown wrong, and it’s forever out of warp. And whatever the cast, it shall truly found the meaning of what lies ahead.
Tim | G R A N V I L L E I S L A N D
INNOVATION + CROWDWEAVING STRATEGIES
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