"When I get new evidence I change my mind. What do you do?" John Maynard Keynes
- Work In Progress: The Problem of Peace In the Context of Religions
- Teaching Cartoon: Secret of a Long Life
- Sitting On the Bay
- Free Play Means Free Plus Play
- ARK Pieces; and About Process
- Google Glass Chamber Music Mix
- Scrappers Edge Freeplayers 6-5!
- Painting on a Pad
- The Adolescence of the Tubes
- Gods of the Abstract Social
- Twenty Six Zeroes! The Oldest Sound
- Rep ‘n’ learnin’
- Ding Dong
- Another Grid; A Green Man
- Doorkeepers of the Heart
- If, during the long course of ages and under varying conditions of life, organic beings vary at all in the several parts of their organization, and I think this cannot be disputed; if there be, owing to the high geometric powers of increase of each species, at some age, season or year, a severe struggle for life, and this certainly cannot be disputed; then, considering the infinite complexity of the relations of all organic beings to each other and to their conditions of existence, causing an infinite variety in structure, constitution, and habits, to be advantageous to them, I think it would be a most extraordinary fact if no variation ever had occurred useful to each being’s own welfare, in the same way as so many variations have occurred useful to man. But if variations useful to any organic being do occur, assuredly individuals thus characterized will have the best chance of being preserved in the struggle for life; and from the strong principle of inheritance they will tend to produce offspring similarly characterized. This principle of preservation, I have called, for the sake of brevity, Natural Selection. [Charles Darwin (1859) On the Origin of Species]
- “It is essential to such a government, that it be derived from the great body of the society, not from an inconsiderable proportion, or a favored class of it; otherwise a handful of tyrannical nobles, exercising their oppressions by a delegation of their powers, might aspire to the rank of republicans, and claim for their government the honorable title of republic.” James Madison
- All the property that is necessary to a Man, for the Conservation of the Individual and the Propagation of the Species, is his natural Right, which none can justly deprive him of: But all Property superfluous to such purposes is the Property of the Publick, who, by their Laws, have created it, and who may therefore by other laws dispose of it, whenever the Welfare of the Publick shall demand such Disposition. He that does not like civil Society on these Terms, let him retire and live among Savages. He can have no right to the benefits of Society, who will not pay his Club towards the Support of it. -Benjamin Franklin
- Totally Astonishing Images from the 2013 Art of Science Contest May 21, 2013This isn't an alien world — it's a representation of the winds traveling from East to West (in blue) and West to East (in red) here on Earth. And this is just one of the fantastic images that won the 2013 Science As Art contest at Princeton University. See a few more below.Read more... […]
- Damon Lindelof admits the Star Trek underwear scene was "gratuitous" May 20, 2013Still scratching your head over the random underwear scene with Alice Eve in Star Trek Into Darkness? Head producer and writer Damon Lindelof has finally "copped" to the fact that the nudity was completely gratuitous.Read more... […]
- Teen Wolf trailer unleashes the Alpha Werewolf Pack May 20, 2013Here it is — the very first Teen Wolf trailer with footage from the new season, and it's stuffed with hairy man-candy. Read more... […]
- Read This Week’s DVDs or this catbus will eat these children May 20, 2013He’ll do it, too! This catbus is a monster! A giant, furry, adorable monster who stars in the greatest kids’ movie of all time! Plus sexy vampires, underage werewolves, badass bike messengers and more, all in this week’s DVD and Blu-ray releases!Read more... […]
- If Earth Had a Ring Like Saturn May 20, 2013Our planet is lucky enough to have a large moon orbiting not too far away, which makes for very pretty moonlit nights. But for spectacular skies it might almost be worth trading in our moon for a ring like Saturn's. Read more... […]
- Totally Astonishing Images from the 2013 Art of Science Contest May 21, 2013
- LA Times: Maker Faire may be Silicon Valley’s Most Important Export May 21, 2013
- Pirate Pancake Follows Captain Crepe May 21, 2013
- Sensing Color With a LED and Op Amp May 20, 2013
- Instant Giant Tetrahedron May 20, 2013
- Making Maker Scholarships May 20, 2013
Category Archives: visual experiments
I avoid–usually–top heavy titles for my creative experiments. However, in this case the piece resonated with a recollection and so the new title actually would title this recollection too.
I’ve recently been printing dye giclée proofs on inappropriate paper stocks. This is a sign of my departure from rote advice: “use Canon hi-res and art papers on Canon printers.” The local Utrecht store has all sorts of stock but no stock whatsoever of ink jet papers. At first I was surprised the inappropriate stock printed so well. This piece benefits from using a rough and heavy paper.
Then, a few days ago I picked up a print order from OfficeMax and spied a Canon iPF 6300–a large format printer they no doubt use for banners and signs. I inquired about running full resolution tiffs. “Sure, and we have different papers to choose from.”
Okay, this leaves one unanswered question: can the printer’s operator select the correct profile? This isn’t a difficult ‘ask’ because I use Adobe RGB 1998, the basic 8 bit profile. Still, the most expert print master at Kinko’s had no idea what I was speaking of when I asked him to plug in a profile on their laser printer. A friend of mine who worked there dared to open up the print dialogue on the device’s ripper and, sure enough, we selected the profile.
I don’t assume people know how to work their machines, or, for that matter, assume they know how the machine works; thus would know why the color profile is crucial.
Mythic Figure; 19×13″ for dye print; part of series of experiments in symmetry (2013)
Mythic Figure – detail of symmetry
Gardening the Universe (2013) 24×16″ proof for giclee. Large piece.
Source is captured generative frames, so, by my definition Appropriated Random Kitsch. Then heavily processed in Photoshop–so much so, that you wouldn’t be able to see that the original frame is the same frame. The mostly black and white version of Mythic Figure (top) helps this figure pop out, but the experiment is aimed to ‘occult’ the figure. The second version may be finished.
I look forward to setting Gardening the Universe in an antique frame and mat I picked up for $10 at a rummage sale a few weeks ago. We made it to Spring, and the new house and its garden-in-potentia, and into the season of garage sales and pushing the reel lawn mower, and, all the poppin’ blossoms.
A Prayer in Spring
Oh, give us pleasure in the flowers to-day;
And give us not to think so far away
As the uncertain harvest; keep us here
All simply in the springing of the year.
Oh, give us pleasure in the orchard white,
Like nothing else by day, like ghosts by night;
And make us happy in the happy bees,
The swarm dilating round the perfect trees.
And make us happy in the darting bird
That suddenly above the bees is heard,
The meteor that thrusts in with needle bill,
And off a blossom in mid air stands still.
For this is love and nothing else is love,
The which it is reserved for God above
To sanctify to what far ends He will,
But which it only needs that we fulfil.
Another Grid – 2013 S.Calhoun – ARK (appropriated random kitsch) and fx – proof for 12×16 giclee
The good news is: I have put back together the nogutsnoglory sound and visual studio for the fourth time since last August, after having to temporarily abandon the new location in the aftermath of an electrical system failure. The challenge is figuring out what I wish to create most–because grievous disruptions throw my orderly creative projects and explorations into new ‘arrays.’
A Green Man – 2013 S.Calhoun – photos via Automatic app (for iPhone); manipulation and effects – proof for 12×12 dye print
And, I worked up the cover for new Kamelmauz production, now released via Bandcamp.
Cave, proof for giclee, 2013 S. Calhoun
More Egypt, 2013, SCalhoun
Graph, proof for giclee, 2012, SCalhoun
Persons have offered several comments about the growing home gallery collecting on our new home’s walls a small selection of my visual experiments.
A longtime buddy simply remarked, “You need to edit more.” I get that. I responded, “Each is mainly an experimental result.”
Another visitor asked if “You ever sell your art?” I’m thinking about it.
Dr. Bill, when he learned I produce current work on the computer, said, “That explains why there is so much.”
Finally, my adorable wife Susan observed, “We’re going to run out of space on the walls.”
Actually, I have confined my own experimental results to the stairway, upstairs hallway, topmost stairway and third floor studio, and, soon enough, to one wall of the record library. I’ve done so out of respect for the lovely other spaces of our fine new house.
Should I run out of room, I have promised myself I will buy some bagpipes.
as always, online presentation: my naive art
2012 S.Calhoun Bamako No. 1
Work-in-progress; digital collage; generative source via Automatic Art app
Similar theme; ARK; Tuareg guitar figure (2011); now proofed and finished for giclee … sitting on the framing table.
bonus atmosphere from the now saddened Mali.
A selection of my visual experiments are now present on the walls of the front stairs, of the second floor hallway, finally, on the walls of the stairs to the new creative cave.
This is a very exciting moment for me because a computer is a great tool for experimenting but is a lousy tool for presentation. Also, the final post-production process is aimed at realizing a ‘reproduction’ at a scale not available on the laptop. The Pixma Pro-100 large format dye inkjet printer comes into my workflow here and allows me to both reproduce displayable results of my visual playfulness, and, proof pieces for Giclée, (a fancy archival printing process done by experts elsewhere.)
Of the three pieces above, Celestial Stage, is the one that earned a make-over in the post-production process. Once out of the box, the screen views become the inferior presentation and lead to mistaken assumptions–such as the one that would assume the above three pieces are the same width in their out-of-the-box formats. No so!
For the sake of my so-called naive art, the next milestone will be the first successful experiment started and completed in the new crib.
2012 S. Calhoun Birds of a Feather (ARK) 1′x1′ proof for giclee
from forthcoming (in January) Kamelmauz EP, Rainbringer
(This piece was created on an iPad using Gestrument a generative sampler, and, Loopy, a sample player.)
See latest post, and videos, at noguts noglory studios blog.Kamelmauz Finds Little Bits of Slow Time
2012 S.Calhoun; proofed now for 2′ square and giclée. I like this one very much. Grid Study
2012 S.Calhoun; not having much time to mess around with my naive art, nevertheless I have been hoarding “ARK,” Appropriated Random Kitsch, themed by the concept of observers. This is Observer No. 7.
2012; Self-portrait with noise.
2012 S.Calhoun – The Rush version 3a
2012 S.Calhoun – The Rush version 2
…still working this one out through different permutations. Incidentally, version 2 comes after version 3a. I’m not spending much time in any concentrated creative zone, but this series has stuck in my eye, umm, so-to-speak.
These pieces are experiments drawn from photographs taken deep in a friend’s backyard, where an old truck was abandoned and left behind with its load of framed windows still on it.
As always, new additions to the archive of My Naive Art are presented one at a time in the order of posting in the gallery.
This turned out nice. Yellow Zebra reflects a pass through FX in Photoshop. The source material was a captured frame from streaming image discovery and manipulation programmed by Leonardo Solaas, and, keyed and initiated by me. This is the basic search and retrieval methodology constituting what I term Appropriated Random Kitsch.
However, Leonardo’s automated manipulation is too close to the source in this instance, so this image ends up a discard, or, is it just a remix?
Desert Discussion, 2012, S.Calhoun
‘Recycling’ 2012, S.Calhoun
all the above from 2012 – not all have been posted in the gallery
I’m posting new arrivals and archival restorations, as always, at My Naive Art. (Incidentally, one alternative way to navigate the gallery is to click on the year in the list of tags on the main page. Each piece is best viewed on its individual page.)
2012 S.Calhoun – The Transcendent Function
…a concept from Analytical Psychology.
From the activity of the unconscious there now emerges a new content, constellated by thesis and antithesis in equal measure and standing in a compensatory relation to both. It thus forms the middle ground on which the opposites can be united. If, for instance, we conceive the opposition to be sensuality versus spirituality, then the mediatory content born out of the unconscious provides a welcome means of expression for the spiritual thesis, because of its rich spiritual associations, and also for the sensual antithesis, because of its sensuous imagery. The ego, however, torn between thesis and antithesis, finds in the middle ground its own counterpart, its sole and unique means of expression, and it eagerly seizes on this in order to be delivered from its division.["Definitions," C.G. Jung CW 6, par. 825.]
h/t lexicon, New York Association for Analytical Psychology
note on the art: this piece, when reproduced, will be quite large, and the intention is that it offer several viewer perspectives between the up-close and stepping-farther-back standpoint.
Dogwood; photographic series, 2012, S.Calhoun – large version
Driveway Abstract #2; photographic series, 2012, S.Calhoun – large version
Driveway Abstract #3; photographic series, 2012, S.Calhoun – large version
Hibiscus Petals #3; photographic series, 2012, S.Calhoun – large version
Continuing apace with casual photographs taken on the iPhone and in these instances manipulated through Google editing FX and Photoshop. My G+ account is set-up to automatically upload my iPhone photos into a private album. From this album I can initiate an actual work flow in the cloud. I suppose this could be done with Facebook’s tools too, except I have gravitated toward and resonated much more strongly with the community of photographers and visual artists on Google+. This community is much more accessible on G+.
“The title of Ken Warren’s selective and provocative history of
American poets and poetry over the past thirty years comes from an
incident partially narrated in Tom Clark’s Charles Olson. The Allegory
of a Poet’s Life  in which Gregory Corso makes a disruptive
appearance in Olson’s afternoon seminar on myth, 1964. I say
“partially” because as a member of that class and a witness to the
events of that afternoon it seems to me Clark omits a few important
facts, e.g. that after challenging the assembled students to match him
in reciting from memory lines of Shelley (or perhaps by extension any
poet) and hearing only universal silence, Corso began pointing out
with increasing intensity that “we are all on death row” and that he
was “Captain Poetry”. Finally he turned to Olson: “Aren’t I Captain
Poetry, Charles?” “Yes,” Olson replied. “Then what should I do?”
And without missing a beat Olson said calmly and with some humor,
“report for duty.” David Posner, the Curator of the Lockwood Poetry
library, never stepped into the room – the fracas happened after Corso
had fled Olson’s class. It did not then and has never since seemed to
me that Olson asked Corso to report to him, though the exchange might
be interpreted so; rather, I took Olson to mean report to Poetry.
Certainly that’s what Olson was teaching. And it’s worth mentioning
here because Ken Warren’s work over the past three decades, both as
editor and publisher of House Organ (an occasional magazine in which
some of these pieces first appeared) and as a freelance essayist and
critic outside academic writing, constitutes the sort of discipline,
dedication, and persistence which Poetry has demanded from him, not as
a maker of poems but as a friend, an ear, a receptive mind.”
- Albert Glover, editor of Letters for Origin, 1950—1956 by Charles
Olson, (Cape Goliard, 1969)
“Kenneth Warren thinks the world through the poetry of those poets who
have thought the world through their poetry. When working on Olson,
for instance, Warren travels every path opened by this multitentacled
explorer, and goes farther, with the poet, to the places he suggested
but pursued only in part. Warren is one of the few and great readers
of American poetry who accompanies poets on their missions and takes
their work to where their “sunflower wishes to go,” serving in this
way not just Poesy, but the regions Poesy herself aims for. Warren is
the philosopher-friend of poets who imagine the sublime, a fearless
companion who serves out their sentences with vigor, aplomb, and even
delight. He is a masochist, a poet, and a star.”
- Andrei Codrescu, author of Whatever Gets You Through the Night: a
Story of Sheherezade and the Arabian Entertainments (Princeton, 2011)
“If you have any interest in poetry, the poetry that matters, Ken
Warren’s Captain Poetry’s Sucker Punch needs to be your constant
companion. It is a critical examination of the past thirty years of
poetry ( plus some film & music), and it’s a language event in itself,
a poetic mirroring of the occasion for its writing of not only what’s
new but what’s news worthy. The list of writers, essential but too
often ignored, is impressive: Kerouac, Snyder, Corso, Wakoski, Acker,
Eshleman, Doubiago, Eigner, d. a. levy, Susan Howe, Hirschman, Oppen,
Tarn, as well as cultural figures like John Cage, Simone Weil, David
Lynch, Bo Diddley, and including the major revision of the Charles
Olson and Vincent Ferrini relationship, the importance of Jack Clarke,
teacher, scholar, poet, all set in the human context (the Homeric
subtitle) that makes even the archaic contemporary.”
- Joe Napora, author of Sentences and Bills—1917 (Wind, 2011)
“If Kafka is correct, when he says that impatience is mankind’s worst
sin, then the high accomplishment of Captain Poetry’s Sucker Punch can
be taken as a lesson in virtue. The divine madness that stirs at the
surface of these pages, written across a span of thirty years, recalls
Coltrane’s intent “to start in the middle… and move both directions at
once.” Here, those directions point to Olson, on one end, and to Jack
Clarke (the author’s teacher at Buffalo, along with Bob Creeley), on
the other. More than an extraordinary taikyoku that reviews certain
“avant-garde” trends in American writing—from Reagan to the Tea
Party—the present collection, arranged in a-chronological sequence and
organized along a fourfold axis, shows a mind in the process of
self-discovery—at the intersection (“hole”) of what Henry Corbin, in
his writing on Ismaili gnosis, has described as linear (“Punk”) time
and cyclical (“Homeric”) time. The effect is like reading Jung’s
recently (re-)published Red Book, and finding echoes in it of Pere
Ubu’s Datapanik in the Year Zero.”
- André Spears, author of Fragments from Mu (A Sequel) (First Intensity, 2007)
Born in New York City in 1953, Kenneth Warren is the editor of House Organ, a quarterly letter of poetry and prose. His two collections of poetry are Rock/the Boat: Book One (Oasis Press, 1998) and The Wandering Boy (Flo Press, 1979).
· Paperback: 460 pages $16
· Binding: Perfect-Bound?
· Publisher: BlazeVOX
· ISBN: 978-1-60964-063-7
I’ll have more to say about my close friend’s hot-off-the-presses opus after I wander through its lands.
The function of active imagination in Analytical Psychology provides intuitive impetus for my artistic representation of persons qualified to be those with whom I have acquired a lot of shared soulful experience. Ken qualifies. Here’s his symbolic totem.