Monthly Archives: July 2016

Throw Back What You Catch

Throw Back What you Catch (3 Panel Version)

Throw Back What you Catch (3 Panel Version)

Garage sales are a primary source for the raw material for my photographic and generative art work. The process of gathering these materials together is part of my creative process.

In late June I ventured down the driveway of a beautiful Georgian style house in Shaker Heights, and arrived at the point of sale, where several portable tables were set up. Yet, what caught my eye as I scanned the large backyard were several desiccated peonies. On closer inspection I observed a really well thought out landscape and flower garden, centered on a tiny cabin and pond. To myself, I went, “Hmmmmm.”

Turning my attention to the tables full of cast offs and objects, I spotted a plastic bag with small figures in it. I looked inside and discovered it was the oddest chess set I have ever seen. Its motif was fishing and hunting, so, for example, the pawns were depicted by leaping fish, and, apparently, the King was a hunter with a rifle at his side, and the queen was a fisherman with rod and reel at his side, or visa versa.

Making the purchase, I told the older woman, of the two presiding over the sale, that I had a question for her, but, that I had to go out to my car to get a card to show her something.

In short order I came back with the post card for my art opening, handed it to her, and asked her,

“Would it be alright if I cleaned up your peaked peonies. I’m an artist and I use dried out flowers and stuff in photographs?”

She looked at the card, and told me that she too was an amatuer photographer. She looked at the art work depicted on the card.

“Wow!”

She thought for a moment and told me,

“You may help yourself to anything past its peak in my garden.”

(Bingo!) Then she got up and gave me a tour to show me where the goodies were in her beautiful garden.

Over the next few minutes I gathered up fallen roses and peonies and lilies and dried out ferns and other botanicals. As I did so I hatched an idea.

“Ma’am, I have had an inspiration. I am going to build a new piece out of this chess set and all the stuff I have picked up in your garden. This piece will use only stuff from this visit.”

She was surprised and then pleased. I told her she would be the second person to see the finished piece. It was at this point that we introduced ourselves to each other, exchanged contact information.

This all resulted in a bunch of excellent raw photographs. I finished two pieces several weeks ago. Titled, Throw Back what You Catch, it comes in a three panel small size, and in a six panel large size. The large size is four by six feet (and would be printed to aluminum.)

I presented her with a signed, framed paper proof of the three panel piece this week. She was tickled and reminded me I could hunt and gather through her garden “any time!”

***

My human encounters while garage ‘sailing’ provide me with great joy, just as well as tromping around the neighborhoods of the east side of Cleveland helps me stock up on vital artistic resources. For example, when people learn that I want to buy junky costume jewelry to put in photographs, sometimes they will tell me to ‘hold on,’ and go into their house and come back out with what they fetched, and then give it to me for free. This happens all the time.

Upon reflection I understand that my creative aims make room for my art being participatory in the way my goals allow for a friendly and serendipitous conjunction of human interaction, enacting/transacting, recycling, and, ‘reversioning’ of botanicals, junk, and objects.

In this way, art pieces come to embed: social processes, objects with specific origins, and the many stories about how stuff comes to end up in my hands.

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Free Play Weird Regression

IMG_0086

IMG_0085

Packing up on a very hot day, after a fourth one-run outcome in a row.

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Missing Contingency

Ouroboros (Stephen Calhoun - 2016)

Ouroboros (Stephen Calhoun – 2016)

This motivational tendency is a creative process through which the agent approaches new solutions, and enacts new meanings (Arnellos et al. 2007). As we have argued so far, aesthetic emotions provide the agent with the capacity to enact even before learning, by assigning values to current interactive conditions as pro- visions of the enacted meaning. Thus, aesthetic experience motivates the agent to avoid situations, for which the valuative signals are negative (or aversive), and to seek situations for which those signals are positive (or rewarding). This is what we call motivational tendency of aesthetic experience. Accordingly, we suggest that a minimal aesthetic experience should be considered as an aesthetic emotional eval- uation that forms an anticipation for a certain interaction, thereby reducing the interactive uncertainty. Aesthetics as an emotional activity that facilitates sense-making: Towards an enactive approach to aesthetic experience (Ioannis Xenakis and Argyris Arnellos)

Richard Shusterman – Somaesthetics Youtube

I believe that philosophical thinking is not confined to professional philosophers with Ph.D.’s in this subject. This brings me to a further point about the somaesthetics-philosophy relationship. If we conceive philosophy broadly as an ethical art of living that is guided by critical inquiry aimed to promote a more aesthetically satisfying form of life for both self and society, then the various disciplines and forms of knowledge that contribute to this art of living (even if they are not distinctively or professionally philosophical) can be related to the broad philosophical project of the quest for wisdom in how to live better lives. Somaesthetic research in forms outside the normal disciplinary bounds of philosophy surely can contribute to this overarching philosophical project. Interview: Richard Shusterman in Budapest

Somaesthetics at www.interaction-design.org, Encyclopedia of Human Computer Interaction

Richard Shusterman on Somaesthetics and the Middle Way

Cube-O-Probe: Point to clues about the circuit of, Body / Serendipity / Creative Process

CUBEOPROBE-aesthetics

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Time Will Tell

The Art Market (in Four Parts): Galleries from Artsy on Vimeo.

The business of fine art and the music business are in certain aspects very similar and in other aspects very dissimilar. I’ve been thinking about these relations recently.

Galleries are the equivalent of record labels.

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The Plan

ABC from Alan Warburton on Vimeo.

An old Zen master always told this fable to unserious students: Late one night a blind man was about to go home after visiting a friend.

“Please,” he said to his friend, “may I take your lantern with me?”

“Why carry a lantern?” asked his friend.

“You won’t see any better with it.”

“No,” said the blind one, “perhaps not. But others will see me better, and not bump into me.”

So his friend gave the blind man the lantern, which was made of paper on bamboo strips, with a candle inside. Off went the blind man with the lantern, and before he had gone more than a few yards, “Crack!” — a traveler walked right into him. The blind man was very angry.

“Why don’t you look out?” he stormed. “Why don’t you see this lantern?”

“Why don’t you light the candle?” asked the traveler.

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To Run Or Not to Run

To run, or not to run: that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, ’tis a consummation
Devoutly to be wish’d. To die, to sleep;
To sleep: perchance to dream: ay, there’s the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there’s the respect
That makes calamity of so long life;

FB July-10-16_DSC0034

Sitting isn’t the challenge.

If those committed to the quest fail, they will be forgiven. When lost, they will find another way. The moral imperative of humanism is the endeavor alone, whether successful or not, provided the effort is honorable and failure memorable.
–E. O. Wilson

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Another Vector of Contemporary Cultural Intrapsychic Polarization

UFOs

July 7: www.inquisitr.com/3283007/ohio-ufo-chased-by-military-helicopters-gigantic-un-earthly-ufo-filmed-over-cincinnati/

Just the other day, I seem to have taken a photograph in our garden of a UFO no bigger than a marble.

Garden-UFO

So if Hillary Clinton is running for president, why is she talking about UFOs?

Part of the answer may be that the Clintons have ties to a network of influential people who have lobbied the government to disclose the truth about UFOs. This includes the late millionaire Laurence Rockefeller (who funded John Mack’s research) and John Podesta, the chairman of Clinton’s campaign and a long-time disclosure advocate.

But there may also be a broader cultural cycle at work. Sociologists such as Christopher Partridge have suggested that disenchantment leads to re-enchantment. While secularisation may have weakened the influence of traditional churches, this doesn’t mean that people have become disenchanted sceptics.

Instead, many have explored alternate spiritualities that churches had previously stigmatised as ‘superstitions’ (everything from holistic healing to Mayan prophecies). The rise of scientific authority may have paradoxically paved the way for UFO mythology.

A similar change may be happening in the political sphere where the language of critical thinking has been turned against the scientific establishment. In the 1960s, Congress deferred to the Condon Report.

Today, conservative politicians regularly challenge ideas like climate change, evolution and the efficacy of vaccines. These dissenters never frame their claims as ‘anti-science’ but rather as courageous examples of free inquiry.

Donald Trump may have been the first candidate to discover that weird ideas are now an asset instead of a liability. In a political climate where the language of reason is used to attack the authority of science, musing over the possibility of UFOs simply doesn’t carry the stigma that it used to.

Joseph P. Laycock, Assistant Professor of Religious Studies, Texas State University.

excerpt: The Reason Why People Are Believing In UFOs Again

JungUFO

the problem of the Ufos is, as you rightly say, a very fascinating one, but it is as puzzling as it is fascinating; since, in spite of all observations I know of, there is no certainty about their very nature. On the other side, there is an overwhelming material pointing to their legendary or mythological aspect. As a matter of fact the psychological aspect is so impressive, that one almost must regret that the Ufos seem to be real after all. I have followed up the literature as much as possible and it looks to me as if something were seen and even confirmed by radar, but nobody knows exactly what is seen. In consideration of the psychological aspect of the phenomenon I have written a booklet about it, which is soon to appear. It is also in the process of being translated into English. Unfortunately being occupied with other tasks I am unable to meet your proposition. Being rather old, I have to economize my energies. Carl Jung letter to The New Republic’s Gilbert Harrison (1957)

The Symbol of the Hybrid Human/Alien Child in the Abduction Phenomenon: Rebirthing within the Psyche and the Psychosomatic Imagination
Robert J. Williams (pdf)

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The Cybernetics of Discourse and the Discourse of Cybernetics

CyberneticsSocial
source: How cybernetics connects computing, counterculture, and design
Hugh Dubberly and Paul Pangaro
(Originally published by the Walker Art Center in the catalog for the exhibit Hippie Modernism: The Struggle for Utopia.)


Cybernetics in the Future – Introduction by Mary Catherine Bateson


The Cybernetics of Discourse and the Discourse of Cybernetics
Keynote speech by Klaus Krippendorff

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Thick Over Thin, Beyond the Need to Know, Deep Digging

Stephen Calhoun artist

twitter meme series via @sq1learning aiming to cause thinking/feeling

If one wants to get to the absolute bottom of something, presumably for many kinds of human somethings, the journey to reach the bottom will:

(1) take time
(Rule of thumb: if it seems like it will take too much time, you’re at the start of the right path)

[paradoxical dialectic #1]
(2) demand suspension of reactions
(3) cause encounters which elicit antipathy and sympathy

(4) require configuration of viable abductions at ‘ripe’ waystations (during the journey)

[paradoxical dialectic #2]
(5) be advantaged by one feeling through one’s self feeling through the subject
(6) be advantaged by enacted agency removed from the subject’s ideology/personal culture

(7) be advantaged by researcher’s understanding of the imposition provided by their own ideology

(8) be completed by the invocation and instantiation of negative capability

These dispositional elements support deliberate knowing (learning) and stand against the varieties of thin approaches, each of which is anchored in a singular routine to obtain, ‘not really needing to know much more than I can easily know without spending more time, and certainly not challenging myself to learn more–beyond where I habitually like to stop learning.’

(Substitute satisfyingly for habitually to capture the reflexive certainty, “know enough already, thank you!” Enough is equivalent to knowing all one needs to know.

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