3. No longer any sea: Beast Rising

Aral Sea, 4th largest lake, Aug  '14: gone.

And there was no longer any sea. Rev 21.1
Fifty States of Leviathan
The opposition against the sea, war on the sea, things that come out of the sea, the taming of the sea are bigger than singularity.

Images of Dagon, the fish god:
CTHULHU
RISING FROM THE SEA
LYING UNDER THE WAVES
The demonic is foisted upon the creation, upon fish and fowl, but these images do not come even from  the weird tales, so called, not even from Breughel, for the Fall of the Rebel Angels takes from Revelation  12.2-9 (detail here).

  Psalm 74 says, "you broke the heads of the dragons in the waters, you crushed the heads of leviathan." Behemoth from land, Leviathan from the sea. Egypt is like a dragon in the sea, Egyptians and Babylonians together, Pharaoh king of Egypt, great dragon Ez 29.3-5, "on that day Yahweh with His sore and great and strong sword shall punish leviathan, the piercing serpent, even leviathan that crooked serpent, and He shall slay the dragon that is in the sea." Isaiah 27.1.

We should not fail to mention the end of Psalm 8, he gave him to have dominion over...whatsoever passes in the paths of the sea.

 "He that cut down Rahab and wounded the dragon. Art thou not He which has dried the sea, the waters of the great deep, that made the depths of the sea a way for the ransomed to pass over. Isaiah 51. 9,10

Detail of Bruegel’s painting The Fall of the Rebel Angels:

“Pieter Bruegel the Elder’s painting The Fall of the Rebel Angels shows us there really is a force to subtraction: you subtract from an angel until you end up with a demon. If you download an image of the painting onto your computer, or better yet see it hanging in the Royal Museum of Arts in Antwerp, you will notice how the rebel angels fall from heaven at the top left of the canvas to hell at the bottom right. Their wings are at first subtracted for the lesser wings of bats and dragons. Towards the earth they are reduced to moths, frogs and other soft things. They are driven together by the golden angels of heaven armed with effulgent discs, lances and swords, whose task it is to sanitise our world. You will see how the rebel angels continue to change their forms as they are driven into a sea, whose opening is an obscure drainpipe. They lose their legs, wings, all hope of surfacing, and become fish, squid, spawn and seeds of trees never to be planted. Underwater they continue to be subtracted from their former selves until they are at last incorporeal and see-through at the bottom.” J. M. Ledgard


compare Hieronymus Bosch’s “The Fall Of The Rebel Angels” as here:

Look, for instance, at the lone angel (or demon, now) sitting on a tree-branch or root, coming out of a weird and perfectly round formation, as if — unlike his associates, all around him — he’s been through this, now, and is ready to think things through. The root/branch that he sits on reminds the viewer of some niche or corner they, themselves, might attach to, whether it’s a favorite place at work, or a memory from childhood, and while this seems to be “his” spot, it doesn’t seem to be very comfortable. In this way, the viewer is discomfited, as well, due to the disconnect between associations and reality. To the left, figures are hiding, and their occlusion is both technically and ideationally unique. Technically, because, in a more traditional setting, evil is given a face, or at least a presence that is meant to scare. Ideationally, because if demons are in hiding, there must be something even worse that this scene implies, but never really shows. And that, by itself, is probably even more terrifying, since it touches upon human fear as it ACTUALLY is: an inability to cope with the unknown, as these demons clearly cannot. In this way, technique and intellectual heft are mutually reinforcing, which is really where art moves.

The actual forms of the demons, near the bottom, are also quite arresting. One has a face whose mouth has been replaced by a far larger ‘O’, giving the odd quality of both a scream (the trite thing to do in such a painting) as well as an object stifling that same scream, thus making the whole arrangement that much more disturbing. One demon is seemingly being eaten by another, while another looks on, either laughing, or expressing some other emotion altogether. And still others figures have been so manipulated, at this point, by their own transgression, that they are merely heads attached to legs, arms, and tiny bodies. Below, there’s the look of fire, and yet, instead of being tortured by such — again, as would happen in more cliched paintings — it is completely ignored, since the tortures, above, touch much deeper fears, of more abstract, less definable things. This is why there is an emotional impact, here, that the far more stale representations of God, angels, demons, etc. etc. etc. rarely capture. As I said in my analysis of a great Wallace Stevens poem, there are two ways to enter the heart: by tugging at it, and only it, and hoping for the best, or the more predictable (yet much harder to follow) route of the brain, which requires some stimulation before a connoisseur’s more base parts open up to be played with. This painting — and Hieronymus Bosch, in general — takes the latter approach, succeeding on on terms that the High Renaissance had not even defined yet." Alex Sheremet

"Many of the falling angels are hybrids, carefully composed of closely observed

naturalia (things made by nature) and artificial a(things made by man), as they were then collected in art and curiosity cabinets. Among the swarming falling angels we discover rare and exotic animals such as the armadillo and the blowfish, a Native American attired with colourful feathers." here

 When Psalm 94 says the floods have lifted up their voice, their waves, that Yahweh is mightier than the noise, than the waves of the sea, and this refers to the parting of the Red Sea to let Israel escape from Egypt in hot pursuit--

All the people of the earth will worship the beast rising out of the sea. Then the second beast from the land will force everyone to take its mark that is its name. The ocean depths embody these chaos sea monsters, called Leviathan and Rahab.

 
Fugitives in alaska, deep net, poison soils, catching the underground el.