Pure Experience

https://www.partiallyexaminedlife.com/2012/02/16/pure-experience-and-dynamic-quality/

https://archive.org/details/essaysinradicale00jameuoft

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Release the Speech! (Trumpian Arche)

DerSpiegelTrump

Trump-Opposite

IMG_8766

IMG_8743

IMG_8742

IMG_8738

TrumpSteveBell

Listen to the beginning, to about 15 minutes, to appreciate “deplorability.” Hey, the signs are everywhere.

Sidenote: “God” is a trickster, yes?!

200

prophetic

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“Golden Mean” has the same letters as “demon angel!”

The Golden Ratio calculated to a record 2 trillion digits, on Ubuntu, in the Cloud!

fibonacci-composition-cats-furbonacci-91__700

Golden Ratio/fibonacci poetry is a thing.

Aurea Mediocritas!

1.618 ad infinitum!
Never repeating, always intriguing
Fibonacci born; phi!

Golden Section behold!
Creation sequence, nature’s frequence
Mathematical phenomena; phi!

Heaven’s divine proportion!
Ancient mystery, living history
Infinite and eternal; phi!

-John Sarber

GoldenNumber.Net/Poetry

Poetry Prompt: The Golden Ratio

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Too Schematic, Nevertheless, Livingry

RBF-Livingry

You don’t think Buckminster Fuller’s idea that the problem is just one of mismanagement and lack of distribution and lack of intelligent use of the available energy makes sense?

GB:I don’t really believe that, no. Because I don’t think the problem is primarily an energy problem. I think it is much more a minor constituents problem. All the other things you need in your food besides calories, practically every element in the table: vitamins, phosphorus, mineral components, so on. These are much more awkward than energy.
And that has to do with complexity.
GB:Has very much to do with complexity, has to do with things being in a scattered state in the world. What we do is to comb the surface and concentrate them. Then having concentrated them, we put them in places where we will never be able to get them back again.
In that light, can you relate Buckminster Fuller to the notion of purpose?
GB:I can relate Buckminster Fuller very easily to the notion of purpose. Have you ever worked on geodesic domes?
Yes, they leak.
GB:They leak, that’s right. Why do they leak? Because they are much too purposive. Because they’ve got no tolerance. The only purpose of a dome is to be a dome.
The people who build them think their purpose is good residence.
GB:I know all that, but Bucky doesn’t have any idea what living in something is like.
After all, he lives in airplanes, he says.
GB:That’s probably right. But those bloody domes are a very good paradigm for the whole of engineering adaptation.
You might be interested to know that one of the fellows who developed the dome idea at first and who published a number of books, gave it up completely, and went through a long drawn-out ethnological survey of living quarters all over the world, and has decided that the whole approach was much too schematic.
GB:Much too schematic. Straw is much better material to make houses with. Straw and mud make quite good houses.

(A Conversation with Gregory Bateson. Loka: A Journal of Naropa Institute (1975) Garden City, NY: Anchor Press/Doubleday)

The Sun

bonus: Evonomics: The Next Evolution of Economics

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A Myth of Isolation and a Fairy Tale of Causation

The notion of the individual entity having agency is confused by a paradox. The confusion lies with the idea of individuation. The entity (organism, person, or organization) is bound to its unique perspective or epistemology, and in that sense is identifiable as a separate source of responsibility. But, there is no aspect of that entity that is uninfluenced, uninformed, or unbound to the larger contextual interactions. On closer examination we begin to see that agency is diffused into the larger contextual processes that are shared by the entire community. Agency is a paradoxical product of mutual learning within and between people, nature, and culture.

Leadership does not reside in a person but in an arena that can be occupied by offerings of specific wisdom to the needs of the community. So leadership is produced collectively in the community, not the individual. The individual’s responsibility is to be ready and willing to show up, serve, and then, most importantly, stand back. Leadership for this era is not a role or a set of traits; it’s a zone of interrelational process. Step in, step out.

Nora Bateson LEADERSHIP WITHIN THE PARADOX OF AGENCY

ADD EIGHT MORE RIGHT NOW!

ADD EIGHT MORE RIGHT NOW!

ADD THE HIDDEN OPPOSITES!

ADD THE HIDDEN OPPOSITES!

Context transcends causality.
Causality transmits content.
‘A Content’ turns over to reveal ‘an’ other side.
This other side reveals a hidden context.
Do this over and over.

example of inferring causality from content:

context

Context is hard. Contexts are much harder.

(Semi) Final test:

Ford Clitaurus from MP Cunningham on Vimeo.

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Legacy Art Works #10: Epiphany #1 (Celestial Stage)

Stephen Calhoun, artist
EPIPHANY #1 (CELESTIAL STAGE) 2006 20×16

This is one of my favorite older art works. Just for me to still feel it successful is saying something because my motivation over the years has focused on the process of creation as against securing the sense that a piece is successful. This generative piece required a lot of attention and this means a lot of ‘iterating.’

Legacy Art Works (1993-2013)

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Addenda: Zeitgeist

I was asked by someone why I thought President-elect Trump was mentally ill. During the campaign I was chastised by someone, by a few someones, for stigmatizing the actually mentally ill by casting mental illness as an insulting description.

Cluster B: flavors of anti-social personality disorder, narcissistic personality order, with some inflections of both sociopathy and paranoia; (plus, how else might we describe Trump’s birther fantasy except as a delusion?) Just sayin’.

Will he successfully bully people into doing his bidding? Will he threaten Iran with tactical nukes? Over on the alt-right, there are some who think a state of emergency might afford Trump the opportunity to do something about all those pesky hippies, tree huggers, SJW’s, feminists, snowflakes, and ivory tower elitists. I won’t locate another source, but there is a blog I frequent that has reached a fever pitch in anticipation of either the defeat of the deep state, DC insiderism, progressivism, collectivism, and both “very similar” political parties, or, alternately, the victory of these same parties over their Drumpf problem.

For my own part, besides understanding how population density is the real explainer here, it strikes me our current government is hoping to etch a black chapter in the future history books. After all the newly fashioned white nationalist Trump/GOP Inc. hopes to to erase the output of the first black U.S. President, and, dial back the policies of the New Deal, (the deal that came to eventually rescue many of the elderly from poverty, while, at the same time, making it possible to visit your elderly parents rather than feed and clothe and take care of them.)

Healthcare, everybody eventually needs it! How to square Christianity with Paul Ryan’s dream of ending some of what he believes is mooching, with this same end also promising literal killing fields–except these fields will be defined by not being located in the homes of GOP congresspersons? Luckily, Trump has promised the new Trumpcare will be cheaper and offer better coverage.

The ACA is spilt M&Ms compared to the bigger eats on the agenda. Trump has come to vanquish the antichrist! Or, he is the antichrist! Maybe not.

Parachute.

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Lesson Ideas

Every day is a god, each day is a god, and holiness holds forth in time. I worship each god, I praise each day splintered down, and wrapped in time like a husk, a husk of many colors spreading, at dawn fast over the mountains split. (Annie Dillard)

The fundamental premise of alchemy is that there are precise correspondences between the visible and invisible worlds, the worlds of matter and spirit, inner and outer, heaven and earth.

Stephen Calhoun artist cleveland ohio

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Fission and Fusion

Stephen Calhoun Cleveland Ohio USA photographer

Cleveland artist Gary Dumm noted that I’m engaged with infinite possibilities, and this is true enough, especially in that I allow an expansive ‘ecology’ to contribute mightily to my creative process. ‘Allow’ and ‘Contribute’ conceal aspects of process which are not under my control.

All three of these pieces use an identical Mandelbrot fractal filtered into a tessellation, or, sparked into an “interesting phenomena.”

TW-Manual-Soul-Massager,-Horizontal-&-Vertical-Axis(1200px)2017-Stephen-CAlhoun

Gregory Bateson: What has happened is that the use of a system of geometric met­ aphor has enormously facilitated understanding of how the mechanical trick comes to be a rule or regularity. More important, the student has been made aware of the contrast between applying a trick and under­standing the necessity of truth behind the trick. And still more impor­tant, the student has, perhaps unwittingly, had the experience of the leap from talking arithmetic to talking about arithmetic. Not numbers but numbers of numbers.

TW-ROLLING-&-TUMBLING-48x48(2017)Stephen-Calhoun-Cleveland-Ohio-USA

Gregory Bateson: “We are searching for criteria whereby we can recognize those traits that are appropriate candidates for ongoing truth in the hurly­ burly of evolutionary process.”

. . .cybernetic inflection of aesthetics?

Gregory Bateson: “Interesting phenomena occur when two or more rhythmic pat­terns are combined, and these phenomena illustrate very aptly the en­richment of information that occurs when one description is combined with another. In the case of rhythmic patterns, the combination of two such patterns will generate a third. Therefore, it becomes possible to in­vestigate an unfamiliar pattern by combining it with a known second pattern and inspecting the third pattern which they together generate.” both excerpts from Mind and Nature. A Sacred Unity.

artiststephencalhoun.com

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Zeitgeist 2017

SelfiePoint

h/t thinkingoutsidetheagora.blogspot.com

Alexey Kodakov

Alexey Kodakov

photo

Tellitlikeitis

TrumpBoss

pc

Durga Slaying the Buffalo Demon, Raktabij, and Kali

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Jerome Bruner

Jerome Bruner will be 101 years old October 1.

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Legacy Art Works #9 Graph

Graph13.5x10
GRAPH 14×11″ Digital Art

fortuitous (adj.) via etymonline
1650s, from Latin fortuitus “happening by chance, casual, accidental,” from forte “by chance,” ablative of fors “chance” (related to fortuna; see fortune). It means “accidental, undesigned” not “fortunate.” Earlier in this sense was fortuit (late 14c.), from French. Related: Fortuitously; fortuitousness.

There’s no explaining why a possibility pops up in the head, so-to-speak. This art work from 2012 was created by my deciding to follow an idea. But the idea itself just came from following another idea: I got to looking at raw generative images at very extreme close-up. In a sense I wondered, What is down there?

In 2012, I was using built-in video screen recording to capture generative streams, and, then, inspecting the frames of the recording. I would save frames that seemed interesting. But, I rarely inspected the frames closely. One day I zoomed in on a 72dpi frame. I realized that parts of frames might be interesting in their own right.

I also understood that this presented an endless possibility because there might be interesting areas in otherwise rejected screens. I decided to do an experiment and just take one interesting clip of a frame and take it through the creative process.

To do this I enlarged the clip by resampling it and increasing the pixels-per-inch. But then I did something not in the experimental workflow. I zoomed into the denser, resampled image. What I saw was the raw bones of Graph.

I took the clip of a clip and did some manipulating for the sake of accentuating its painterly qualities. This was the last zoom and resample image I ever produced.

More Legacy Art works 1993-2013

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Stirring Together, In the Midst of the Unending Stream

I traced a circle on the ground,
It was a mystic figure strange
Wherein I thought there would abound
Mute symbols adequate of change,
And complex formulas of Law,
Which is the jaws of Change’s maw.
My simpler thoughts in vain had stemmed
The current of this madness free,
But that my thinking is condemned
To symbol and analogy:
I deemed a circle might condense
With calm all mystery’s violence.
And so in cabalistic mood
A circle traced I curious there;
Imperfect the made circle stood
Thought formed with minutest care.
From magic’s failure deeply I
A lesson took to make me sigh.

Alexander Search (Fernando Pessoa)
July 30th. 1907. [1]

artist Stephen Calhoun b1954 USA

Twin Study I. (2016) Stephen Calhoun

“I have always been particularly interested to see how people, if left to their own devices and not informed about the history of the [Mandala] symbol, would interpret it to themselves. I was careful, therefore, not to disturb them with my own opinions and as a rule I discovered that people took it to symbolize themselves or rather some- thing in themselves. They left it as belonging intimately to themselves as a sort of Creative background, a life-producing sun in the depths of the unconscious mind. Though it was easy to see that it was often almost a replica of Ezekiel’s vision, it was very rare that people recognized the analogy, even when they knew the vision -which knowledge, by the way, is pretty rare nowadays.” C.G. Jung, The Terry Lectures

Gemini with respect to psyche, broadly conceived, brings into ‘co-motion’ the regressive chthonic and the transgressive totality. At a higher, finer grain, the twin–as image–represents the prospect of the alchemical marriage. As Gemini, its transformative operations take up scattered elements and brings these back into order.

The Twin is the archetype of recursion. With this repetition, the twin holds the potential for any reassembly, be it playful or serious or trial-and-error. The gesture bends back. Its sound is the yielding reassembly of harmony, via sonic palintropos.

Overnight contents separate, and come to be stirred back together. Gemini.

Cleveland artist Stephen Calhoun

Twin Study II. (2016) Stephen Calhoun

What gets hatched at night, in the lunar phase?

Sometimes the organic pair is subject to fierce moralizing. For example, what of the facile distinction oft made between thinking and feeling, or, head and heart? Their deep structure is blanketed. Heavy associations weigh one of the poles down, like a cinder block tied to a victim’s ankles.

This is like mashing two things together, pulling them back apart, and, finally deciding one has to go! The shadow of the twin is found in the demonization and suppression of the organic opposite, in the making of, and, next, sanctioning against this fallen angel, and finally turning it out (or away.)

(Gemini forensics! Where is the antimony buried?)

A theory of recurrence, such as that of Yeats, in exemplifying the cycling between lunar Antithetical and solar Primary tinctures is a twin study. Fusion with the ideal, and disavowal of the organic opposite provides for the violent dismissal and covering over of this other side.

Where feeling reigns ‘apart,’ this may move vast numbers of voters toward the light cast by the idealized father, concretized to be, well. . .

rather

Leaving, returning. Turning back. . .

[2]

Uncovering bends back the cover.

They do not understand how, though at variance with itself, it agrees with itself. It is a backwards-turning attunement like that of the bow and lyre. -Heraclitus

It lifts up the buried: part, aspect, inferior. The twin is at once separate and a unifier.

Gemini’s hidden holistic relationship to all the houses, tracks the pairings which are the relations discoverable in all projections. Cast from to you.

The phenomena of the twin anchors the resurrection and recovery of the opposites.


see:
The Rhizome and the Flower: The Perennial Philosophy, Yeats and Jung, By James Olney

The Harmonia of Bow and Lyre in Heraclitus Fr. 51 (DK)
Jane McIntosh Snyder, Phronesis Vol. 29, No. 1 (1984) JSTOR

[1] Sacred Geometry of Being: Pessoa’s Esoteric Imagery and the Geometry of Modernism
Patrícia Silva McNeill, Pessoa Plural 6, 2014 (pdf)

[2] Beyond Fascism: W.B. Yeats’s A Vision and the Complexities of His Authoritarian Politics
Justin Abel, Eastern Washington University (pdf)

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Looking Around, Called to Attention

Juno Goes to the Getty from Hammer Museum on Vimeo.

My own artistic goals include a first order objective: that the art work bring the potential viewer to a full stop and motivate this viewer to use their vision and presence to seek further experience. This moves into the second order goal: to have the ecology of this interaction support the joining of enactive resources to the task of deeper seeking.

Yet, the slightly less pretentious aim is to inspire a viewer to spend a considerable amount of their time with the art work. I’m very pleased when the time adds up to over a minute, and have been overjoyed when it adds up to five minutes, ten minutes or more.

As the creator of the art work, I go into it knowing that the secret to inspiring seeking is embedding both accessible and obscure patterns into the image, and, inflecting the greater patterned context with the gravity of archetypes.

As my own experiments have developed along new vectors of hypothesizing about patterns and pattern recognition and the ecology of enactive experience, some of these experiments have gone about reducing complexity and dialing up the archetypal impact. Mandalas, circles, spheres, fourness.

The other crucial aspect is scale. Somewhere between four and seven feet demands attention.

Stephen Calhoun, artist

Both these pieces, by design, are effective attention ‘grabbers.’

This post has links to a lot of interesting articles about viewing and viewing in museums. Some know of the “seven second rule,” a rule derived from research into the average time a museum goer spends in front of an art work. Many museums devote considerable resources to learning about the behavioral propensities of their audience. Of course this results in an informed response and has led to an increasingly sophisticated ‘technics’ of presentation.

How do you view?

from this article:
“The difference between a good and bad work of art is how long it detains us. When you walk into an art gallery there is no start or finish, no interval. You walk around, look at what takes your fancy, move on, stop, go away, come back. It’s a cruel, casual blood sport. Piles of rubbish forming the silhouette of faces, or a photograph of the artist naked in a beach hut are nice ideas but essentially one-liners – you move on quickly. The simplest, most final way to dismiss a work of art is to say it does not reward serious attention.”

Are ten objects better than one?

Classic Vs. Contemporary Art: A Test Of Museum-Goers’ Interest

We know what we like, and it’s not modern art! How gallery visitors only viewed work by Damien Hirst and Tracy Emin for less than 5 seconds

The Art of Slowing Down In a Museum

Evaluating the Practical Applications of Eye Tracking in Museums

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Systematic Ways to Look at Seeming Chaos

'Flying Dutchman' Draft Film Trailer by Alan Nguyen and Sutu from Alan Nguyen on Vimeo.

This Electrified Pirate Ship Was Made with a Virtual Reality Paintbrush

h/t Peter Kirn at Create Digital Music

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A Magic Trick: Explain By Creating

In trickster’s case, how did mental fakery come to replace incarnate fakery?

It is one thing for trypanosomes to change their skins; another for Raven to become a leaf floating in spring water; another still for storytellers to have imagined Raven in the first place, or for one of us to reimagine him. Before picking these strands apart, however, we should remember that the mythology itself asks us to confuse them. Coyote stories point to coyotes teaching about the mind, the stories themselves look to predator-prey relationships for the birth of cunning. These myths suggest that blending natural history and mental phenomena is not an unthinkable conflation, but on the contrary, an accurate description of the way things are. To learn about intelligence from Coyote the meat thief is to know that we are embodied thinkers. If the brain has cunning, it has it as a consequence of appetite; the blood that lights the mind gets its sugars from the gut.
-Lewis Hyde, Trickster Makes This World: Mischief, Myth, and Art.

Creating Is Explaining

in Jonas, see (*) below

The subject becomes a game that hides through and in his cause from his cause, the (external) precondition laying bare the (internal) foundation. – Julie Kristeva

FB-Wild-Dialog

The tracking that any [image] instrumentalizes is an adventure that is always immediate, happening now, registering the dynamics of belief.

(adapted, substituting |image| for |text|) via, -Elaine Jahner, “Trickster Discourse and Postmodern Strategies.”)

Stephen Calhoun, Cleveland artist experimental photographer

The Jester (2016) Stephen Calhoun

“Play around with it, intentionally.” That would be the clue. I’m wandering around the following: participation, experience of art, play, cleverest trick.

If you could give up tricks and cleverness, this would be the cleverest trick! (version of Rumi, John LeMoyne)

An example of a clever trick in the experience of art is any expert critical opinion that is by (socially-constructed) necessity blinded to, unbounded from, the actuality of the embodied knowing which emerges from consciousness being aware and present as a matter of experiencing art, or, experiencing any ‘scene,’ so-to-speak.

Opinions like this are like standing at the end of the diving board and not wanting to dive in.


Do playful systems know that they play? [pdf]
Michael Straeubig, Plymouth University
The Philosophy of Computer Games Conference, Malta 2016

From autopoiesis to neurophenomenology: Francisco Varela’s exploration of the biophysics of being [pdf]
Antoine Lutz, et al 2003

Toward a neurophenomenology as an account of generative passages: A first empirical case study [pdf]
Antoine Lutz
LENA – Neurosciences Cognitives et Imagerie Cérébrale 2002

(*) A cybernetic model of design research: Towards a trans-domain 1 of knowing
Wolfgang Jonas, The Routledge Companion to Design Research 2014

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Legacy Art Works #8 Desert Blues

Figure Two

inspiration:

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End of History Illusion

This idea upends a cognitive bias that may well have been valuable 100,000 years ago.

Add the actuality of contingency and the fragility of the appearance of stability of the personality is obvious.

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Working Away From the Center


Family Synergy Mandala(Stephen Calhoun)

Virgins with T-squares
and compasses, guarding
the heavenly blackboards.

And the angel of numbers
reflective, flying
from the 1 to the 2, from the 2
to the 3, from 3 to the 4.

Dead chalk and sponges
rule and erase
the light of the heavens.

Not the sun, moon or stars,
not the sudden green flash
of the lines and the lightning,
nor the air. Only haze.

Virgins without T-squares,
without compasses, weeping.

And on the dead blackboards,
the angel of numbers,
lifeless, laid out
on the 1 and the 2
on the 3, and the 4…

(The Angel of Numbers, Rafael Alberti, translated by Jerome Rothenberg)

The First Snow, Ever(Stephen Calhoun)

Only gradually did I discover what the mandala really is: Formation, Transformation, Eternal Mind’s eternal recreation. And that is the self, the wholeness of the personality, which if all goes well is harmonious, but which cannot tolerate self-deceptions. (Carl Jung, Memories, Dreams and Reflections)

FB-Quiet-Window-Mandala-Film

So you see, in a moment during a patient’s treatment when there is a great disorder and chaos in a man’s mind, the symbol can appear, as in the form of a mandala in a dream, or when he makes imaginary and fantastical drawings, or something of the sort. (Carl Jung)

TW-Loosening-Mandla-I-Stephen-Calhoun

A mandala spontaneously appears as a compensatory archetype during times of disorder. (Carl Jung) [h/t carljungdepthpsychology.wordpress.com]

There are four notes, (suppose these to be notes-to-self,) that come all the way up and to the center when I reflect on why it is that the mandala has taken over my creative practice.

These are simple notes too, and these represent the starkest capture.

(1) Depressed at the rise of Trump and nihilist Trumpism.

(2) Demoralized at the failure to satisfactorily meet my worldly obligations.

(3) Understand the inner order reflected in the enthusiasm for manifesting mandalas is only a potential reordering, and the proof of this is in the outer disorder.

(4) Unhappy and tired in the wake of the sharp arrivals due to the constant processes of death and loss that have struck over the past years.

I wear my depression very lightly. Optimistic. Youthful outlook.

My contemplative practice is the first balancing act. I note my creative agency is powerful too, yet, I haven’t a clue as to what is going on, except to distrust to a niggling degree that I am on the right track. I have to suppose this distrust of my own creativity is something to work through at this rather early yet auspicious juncture. This has nothing to do with my personal qualification of my creative product, it has to do with what this feels like in the context of outer disorder. It comes as no surprise that powerful inner motives are working me over a bit at the expense of outer order.

There is in this a fraught paradox: betwixt the rush and rushing forward of inspiration and ideas, and, the yet to be shaped command to, in actuality, set this aside for the purpose of getting the house in order.

FB-Mandala-Five-One-Fifty---ExLg-Urban-install-(Stephen-Calhoun)

The energetic aspect is clear enough to me. After all, I am not painting mandalas or setting fine grains of sand to a blueprint. Once the mathematics clicked for me, the opportunity presented itself fully: there are all sorts of archival photographs which may lend themselves to manipulation. These photos now come up again to be resuscitated.

(One image in this post presents how this is done.)

Still, am I creating mandalas? What is coming up and out seem to me reductions too, and also pieces symbolize eyes and sphincters. The images that consist of patterns of concentric circles nevertheless are unitary objects. Also, the direction of experimentation already is disrupting the simple concentricity.

Severity Mandala

Yes, creating mandalas is soothing. It occurs to me also that this is of a piece with my artistic mission, and, this also puts in 2nd order cybernetic relations a deeper aspect of the kitschy facile gimmicks I am employing as propositions in various visual experiments. Those relations are about learning.

As for my own psyche, I’m waiting for the dream. The only dream that recently arrived was optimistic, and this seemed to me its fault.

A magical, sacred, and perfected environment of the Buddha, which
denotes the order and harmony of an enlightened mind, and built on their
perfect wisdom. The purified circle of an enlightened being, an environment
wherein the endless compassion of the enlightened one is expressed.”
(C.G. Jung: ‘Mandala Symbolism’)

Oh, there’s this–see its opening and conclusion:

Theoretical Foundation for Jung’s “Mandala Symbolism”
Based on Discrete Chaotic Dynamics of Interacting Neurons
Vladimir Gontar (International Group for Chaos Studies at Ben-Gurion University of the Negev, Beer-Sheva, Israel)

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Unities

Mind-Reading Cartoon

One is the loneliest number that you’ll ever do
Two can be as bad as one
It’s the loneliest number since the number one

No is the saddest experience you’ll ever know
Yes, it’s the saddest experience you’ll ever know

‘Cause one is the loneliest number that you’ll ever do
One is the loneliest number, whoa-oh, worse than two

It’s just no good anymore since you went away
Now I spend my time just making rhymes of yesterday

One is the loneliest number
One is the loneliest number
One is the loneliest number that you’ll ever do

One is the loneliest
One is the loneliest
One is the loneliest number that you’ll ever do

It’s just no good anymore since you went away

(Number)
One is the loneliest (number)
One is the loneliest (number)
One is the loneliest number that you’ll ever do

Nillson/Edwards

Stephen Calhoun artist

I’ve been making mandalas. This represents a regression in both the terms of psyche, and, my own growing artistry. This is a local reconfiguration for the sake of doing different experiments concerned with the singularity given by the whole “O,” the eye, the core, the centrifugal oneness. Empirically, mandalas don’t grip the viewer for the same reasons a complex work chock full of partially hidden patterns and relations grip someone. Yet, as the dictionary tells us, mandala means magical circle.

http://artiststephencalhoun.com/image-sets-and-series/mandalas/

Yet, everybody at times enjoys partaking of some regression! Going backward sometimes means moving back in time toward innocence, or moving to a previous point at which point the bad mojo had not arrived, or been elected.

Mandalas are the warm blanket of the world of created manmade forms.
My mandalas…

Read more: Three Dog Night – One (is The Loneliest Number) Lyrics | MetroLyrics

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