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Origins of the Sacred?/Introduction/p.XXXVIII—Primitive Imagination

One of this book's major purposes is to commend the concreteness of the primitive imagination as an antidote to the bodilessness of modern abstraction.

Language is word explained as the significations of icon, index and symbol. Music is the music, instrument or player playing it, as play or dance, i.e., the leaping of pneuma, and confirmed by blaming humanity for the junkism, zombism and crazyism that it is, as human junkie fallacy, zombie self-deception and crazy mental disorder.

The bodilessness of the modern abstraction nevertheless dimensional or geometric, is the abyss that the holy paradox is. However, primitive imagination is the original substitute, namely language (nonword word). Music is wonderful and terrible as the scapegoating of the pathetic, pathological and empathically paradoxical substitute for word. That God or the Devil do not exist is the same error as the idea that they do. It is the error, existence.

As body is word, language is its awesomeness/awfulness of wondering at and about explanation. Word being done and had (infused with pneuma, spirit, soul, psyche) is the self-contradictory nonword word, "control." It is the autocratic explanation of word from the farcical dualisms (paradoxes) of the holy abyss, "existence" as if it is esoteric magic. As such language (someone doing and having word) is the steady beat of mutilation of word by the fearmongering petrification of mutual human scapegoating.

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