Architecture and Construction by Sapata Fofana-Dura and Santigie Fofana-Dura; electronics by George Lee, Zeal Mayfield, and me; concept and painting by me. Composed of about 1200 bricks cut from wood salvaged from multiple sources, including a from house fire, The Shrine of Humility was made to exist for only three months of 2019, and is now no more. The unsuspecting, possibly reluctant supplicant would enter the shrine alone and be cast into darkness, enduring this for some time, when at last they are granted a vision.
The relevance of any undertaking can only ever be proportional to its purposiveness.
The Shrine of Humility, or ANIMVS·SVMMISSVS is a reaction to the affronts to consciousness and dignity we face in a world of ever greater depersonalization and isolation. Technology has allowed us to consume more than what we could ever hope to actually assimilate, more than what our own native sensorial metabolic rate can sustain, whether speaking about the merely material, or sensation, or thoughts and ideas. It’s expected that we will consume many hundreds of images and impressions in any single minute of any day, a single image only commanding perhaps at most some few seconds of direct attention. In this way, impressions and thoughts remain only the constituent parts of unformed ideas, and may then never go on to ever being anything more than assumptions which cannot be consciously attended to, where no inquiry is possible. This sort of overloading of the faculties induces a psychological state of passivity, somnambulance, confusion, and purposelessness. Life is thus proportionally less lived.
What if we were to have an image which is only seen by one observer, in a liminal space, for longer than a few seconds, yet perhaps only for as long as any reasonable directed attention might last, knowing that the image is not extant elsewhere in any form and that sharing the experience is not possible. Neither artist nor viewers are looking for “followers” because there is no association of images to be had. And the image may only ever be experienced once. The purpose of this exercise is to remind us that this is in fact always the nature of any experience: an image that can be seen by only one observer does not possess an objective reality— objective experiences are the varying attempts to share what is ineffable, observed as a functional state by any present consciousness. Only you know for sure what you have seen, and of course even that is impossible.
Take back your Subjective Truth because it is the only Truth. Here is a humble shrine where we hope you may find a moment of illumination and awakening.
For further elaboration on these ideas and how this relates to the message of the Encyclical theme, please see the accompanying project monograph.
My attempts to find out the origin of the word garmonbozia, and whatever ideas informed its use in Twin Peaks, surprisingly turn up nothing, just like in 2011 when watching the series for the first time, so I’ve decided to create my own. (All bold is mine)
Loosely speaking, “garmonbozia” is a negative spiritual energy of pain and suffering, or perhaps created from pain and sorrow. The bad spirits who inhabit the Black Lodge, such as BOB, intentionally manipulate people in Twin Peaks into negative situations in which they will experience emotional pain and sorrow, in order to generate garmonbozia.
The denizens of the Black Lodge are evil personified; they consume garmonbozia— creamed corn— in order to instantiate themselves into corporeal form (or because of this).
One of the most plausible explanations is that it is derived from “ambrosia”, not the fruity dessert, but the “food of the gods” in Greek and Roman mythology. This is merely speculation, but fits well with what is seen in FWWM.
Shortly after seeing the series in 2011, I was watching a travelogue show of some kind where the destination was the various Baltic countries. Consider this local treat that was mentioned, with regard to the -bozia root:
Boza, also bosa (from Turkish: boza ), is a popular fermented beverage in Kazakhstan, Turkey, Kyrgyzstan, Albania, Bulgaria, Macedonia, Montenegro, Bosnia and Herzegovina, Azerbaijan and other parts of the Caucasus, Uzbekistan and parts of Romania, Serbia. It is a malt drink made from maize (corn) and wheat in Albania, fermented wheat in Turkey, and wheat or millet in Bulgaria and Romania. In Egypt where it is known as “būẓa” (بوظة) it is usually made from barley.  It has a thick consistency, a low alcohol content (around 1%), and a slightly acidic sweet flavor.
The etymon boza is also known from the Bulgar drink buzá, ‘a grey kvass-like drink’, borrowed from Turkish and perhaps the source of English booze, ‘an alcoholic beverage’ via Romani (cf. also Chagatai, Ottoman Turkic, etc.; boza, ‘drink made of camel’s milk’ and Chuvash pora, its r-Turkic counterpart, which may ultimately be the source of the Germanic beer-word).
Garmon- is probably the word hormone (гармон in Russian is what came to mind), but the root is greek:
1900-05; < Greek hormôn [ὁρμῶν] (present participle of hormân to set in motion, excite, stimulate), equivalent to horm(ḗ) horme + -ōn present participle suffix, with ending assimilated to -one
If gods consume ambrosia, then demons would consume ambrosia that was in some way corrupted, so surely garmonbozia is a corruption of ambrosia, and given its purpose I think it a plausible kind of portmanteau, meaning “hormone-booze”. Maybe this describes David Lynch’s aesthetic adrenal overdrive too?