The eye that sees the things of today, and the ear that hears, the mind that contemplates or dreams, is itself an instrument of antiquity equal to whatever it is called upon to apprehend … and perhaps … we are aware of … time in ways too difficult and strange for the explanation of historian and zoologist and philosopher. -Edward Thomas, writing in 1909 .
Typical of many sites in arid juniper-and-sage basalt uplands in the northern Great Basin, Long Lake is a seasonal shallow lake pan, or playa, bordered on its western edge by a basalt rim, outcrops, and tumbled boulders. Within a six-to-eight mile radius of this place, dozens of other sites hold thousands of petroglyphs spanning many social and environmental phases. Long Lake, a rich and well-regarded rock art location, is located on public lands (BLM) between Warner and Guano valleys, and north of highway 140. (Caution: make sure you have a solid vehicle, lots of water, and optionally, a way to reach the highway by phone or foot.)
Photographers and researchers during recent decades have recorded and studied this terrain, its places, stones, and images, with a variety of approaches and understandings. However, the immensities – and intensities – elude. In part I think because boundaried and linear frameworks can’t contain the cyclic fusing of time and space. An observer may choose to look, then see. Further, may participate. Then, hopefully, with a mind’s eye equal to the apprehension.
 Edward Thomas, The South Country (1909), in the chalk hills of southern England, as cited by Robert MacFarlane in The Old Ways : A Journey on Foot (2012).