Feeling It With Integrity

Practically the theory of effort amounts to nothing. When a child feels that his work is a task, it is only under compulsion that he gives himself to it. At the least let-up of external pressure we find his attention at once directed to what interests him. The child brought up on the basis of the theory of effort simply acquires marvelous skill in appearing to be occupied with an uninteresting subject, while the real heart and core of his energies are otherwise engaged. Indeed, the theory contradicts itself, (it is psychologically impossible to call forth any activity without some interest. ) The theory of effort simply substitutes one interest for another. It substitutes the impure interest of fear of the teacher or hope of future reward for pure interest in the material presented. The type of character induced is that illustrated by Emerson at the beginning of his essay on Compensation, where he holds up the current doctrine of compensation as virtually implying that, if you only sacrifice yourself enough now, you will get to indulge yourself a great deal more in the future ; or, if you are only good now (goodness consisting in attention to what uninteresting,) you will have, at some future time, a great many more pleasing interests — that is, may then be bad. -John Dewey, Interest As Related to Will, 1895

Art and Aesthetics – Stanford Encyclopedia of Philosophy
Art As Experience – Having An experience pdf (John Dewey)
Dewey and Everyday Aesthetics – A New Look (Kalle Puolakka)

Second hand observations suggest that some people do walk up to my art and try to figure out what it going on, (as I have described this,) in its folds.

This is by design. The design method is straight-forward. I cut into an original photograph or generative image that pictures a heap of small abstract, or mostly abstract, multivarious details, and, through the simple transformations provided by throwing half the cut out, doubling or quadrupling the remaining part, and then matching the identical edges together, I capture order and set this into the new picture.

What is produced is a vertical, or horizontal, or quadruple, mirror symmetry, and, order. My hope is there come to face a piece a viewer able to experience the piece in integrity.

. . .esthetic experience is experience in its integrity. Had not the term “pure” been so often abused in philosophic literature, had it not been so often employed to suggest that there is something alloyed, impure, in the very nature of experience and to denote something beyond experience, we might say that esthetic experience is pure experience. For it is experience freed from the forces that impede and confuse its development as experience; freed, that is, from factors that subordinate an experience as it is directly had to something beyond itself. -John Dewey, Art As Experience (hat tip to Daniel Green, The Reading Experience)

If I’m standing with you, facing a piece, the possibility of having a pure experience will be fouled up! For me, now by both design and artistic intention, the best outcome for my experiments is a viewer’s dosie-doe, first is the pure experience, then comes the unique capture, or grasp of order.

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Healthy Solipsism II.

INABOX

My working assumption is that when I’m learning about another person, I am learning about their personal culture and their sense of their identity and about their narrative and about all the weaving and stitching which provides the sensible and explanatory interconnects between culture/identity/story. However, I have introduced here my own terms, terms popular on planet Stephen C.C., but not in anyway presumptively are these same terms popular on your own planet.

And, even if some of the terms are in use on your own planet, the terms might not mean the same to you as the terms mean to me.

It would be much better for me to start out learning what are your terms, what are the terms commonly used on your planet; you know, the planet you live on.

If you and me are beginning the task of knowing one another, of engaging an interpersonal process of mutual construal, how do we collaborate to do the initial sorting? On my planet, one can also meta-sort; how about on your planet?

Here’s a mundane example. Take the developmentally normative imperatives given by the Experiential Learning Theory of David A. Kolb. These norms are the lingua franca of the community of practice. Three such norms are: flexibility, balance, and resilience. Each of us comes (away) from our unique planet to speak in common terms–and we have worked to cause such terms to be common and shared.

Yet, at the same time, (from the perspective of what my colleague Kenneth Warren termed “your promethean thrust,”) come counter-normative theoretical imperatives, conceptions, or injunctions. With respect to Kolb’s ELT, among these are: intuition, serendipity, enantiodromia, poetics, energetics, polarization, antipathy, inversion, paradox, abduction, and autopoiesis.

These ideas are part of the background, part of my background. For example, the force of enantiodromia–conversion into the opposite–may countermand balance.

The assumption that the use of a common language is not differentially connected to the hidden “it is just so” of personal culture (etc.) is an incorrect assumption–and is so even if such differentials are smoothed over by a presumption of solidarity.

That we are not trapped in our subjective cosmos is obvious enough. However, the ability to stand outside of one’s own cosmos means of course that something personal comes along for the ride! The intentional act of relational intermediation carries with it the possibility of also being a wise enaction of intermediation, where we step outside, and also step into, the common ground knowing fully what aspects of our self-system remain with our self.

In the cybernetic sense, interpersonal intermediation requires reconfiguration which is configurable by choice or by choiceless feedback.

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Standing Alone

Staring Down the Old Problem (2016)

Staring Down the Old Problem (2016)

A Human Circuit (2015)

A Human Circuit (2015)

Dervish Free Dance (2013)

Dervish Free Dance (2013)

While I develop and refine my artistic style based in symmetries, I also produce creative works which fall outside the outsider’s box. I stash these pieces in a folder: [STANDALONE] I produce a handful every year–most reflect accidents.

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Healthy Solipsism I.

universe-timeline

Solipsism and the Problem of Other MindsInternet Encyclopedia of Philosophy
Solipsism is sometimes expressed as the view that “I am the only mind which exists,” or “My mental states are the only mental states.” However, the sole survivor of a nuclear holocaust might truly come to believe in either of these propositions without thereby being a solipsist. Solipsism is therefore more properly regarded as the doctrine that, in principle, “existence” means for me my existence and that of my mental states. Existence is everything that I experience — physical objects, other people, events and processes — anything that would commonly be regarded as a constituent of the space and time in which I coexist with others and is necessarily construed by me as part of the content of my consciousness. For the solipsist, it is not merely the case that he believes that his thoughts, experiences, and emotions are, as a matter of contingent fact, the only thoughts, experiences, and emotions. Rather, the solipsist can attach no meaning to the supposition that there could be thoughts, experiences, and emotions other than his own. In short, the true solipsist understands the word “pain,” for example, to mean “my pain.” He cannot accordingly conceive how this word is to be applied in any sense other than this exclusively egocentric one.

On occasion I am presented, again, through the offices of other minds, and for good reasons, with my sense that this other person may not readily embrace the idea that she is living in her own little universe, and, that this other person, couldn’t grasp I am living in their own universe.

Tacit and fixed ‘normativities’ do not, and cannot, rule. If such mild and possibly, and sometimes potently, conceded folk dispositions can be spoken of as ‘holding,’ nevertheless, such intersubjective fixations are not objective, and also are not able to be entertained in a discussion about that which may be objective.

Once upon a time, I listened to a friend go on about family systems and the pernicious developmental effects caused by a person being in or from a toxic family systems.

She asked me, “what do you think?”

“Twin studies.”

Another way I like to refer to this unique universe constituted for each of us to inhabit is: PERSONAL CULTURE. This culture’s facts are reflexive, and so, in fact, to some extent every person can tell the story of the development of their own personal culture. This means to do auto-ethnography and recover the genesis of one’s own culture and outlook.

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Unhealthy Solipsism

Tourist-In-Your-Head

“What you do not seem to recognize is that I am telling you about what has long interested me and what I did about being interested in this way. It seems to me you want to wave it all away because this story I’m telling you cannot be realized by you to be the ‘it is just so,’ about me.”

I was recently reminded how useless a single rotten assumption can be in the context of relationship.

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Color Vision and Seeing Ourselves

Confucian Feminine Conduction V. (Stephen Calhoun - 2015)

Confucian Feminine Conduction V. (Stephen Calhoun – 2015)

Dr. Beau Lotto, Reader in neuroscience and founder of Lottolab at University College London, talks about how colour, vision and seeing ourselves can contribute to a richer, more empathetic view of nature and human nature.

Lottolab: Experiment 1.0

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Moral Perception

Paysage avec Orion aveugle cherchant le soleil - Nicolas Poussin -  1658

Paysage avec Orion aveugle cherchant le soleil – Nicolas Poussin – 1658

What can we learn from Buddhist moral psychology? Jay L. Garfield (excerpt from Engaging Buddhism: Why it Matters to Philosophy

It is hard to avoid the conclusion that perception itself is morally charged. If I see women as tools, or Latinos as fools, the damage is done. That perception involves the formation of intentions that are morally problematic on their face, and that lead to harms of all kinds. Perceiving in that way makes me a morally reduced person. If, on the other hand, I perceive people as opportunities to cooperate, or to provide benefit, I perceive in a way that involves the construction of morally salutary intentions, good on their face, and productive of human goods. For this reason, much Buddhist ethical discourse eschews the articulation of duties, rules or virtues, and aims at the transformation of our mode of perceptual engagement with the world. Moral cultivation, on this view, is the cultivation of a way of seeing, not in the first a instance a way of acting.

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Autopoiesis Checklist

Dr. Randall Whitaker, Observer Web: AUTOPOIESIS CHECKLIST

1 Determine if:

The unity has identifiable boundaries (via interactions with it)

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Pragmatic Turning

On February 13, 2013, Richard J. Bernstein, the 2013 Selzer Visiting Philosopher gave this lecture at Beloit College. Dr. Bernstein is the Vera List Professor of Philosophy at The New School for Social Research.

The standard philosophical conventions that divide philosophy into such “schools” as pragmatism, analytic philosophy and Continental philosophy obscures [their] common pragmatic themes. Once these ideological blinders are removed, the philosophical investigations of the classical pragmatists, Heidegger, and Wittgenstein take on a fresh and more
exciting character. If we bracket the standard and misleading philosophical classification and look at what these philosophers are actually saying and doing, then a very different panorama emerges. We discover commonalities in what pragmatists, Wittgenstein and Heidegger are all reacting against, in their critique of traditional epistemology and metaphysics, and especially in the sea change in philosophical orientation that they seek to bring out. The Pragmatic Turn, 2010

Richard Rorty: RR: [There have been in our century] three conceptions of the aim of philosophizing. They are the Husserlian (or ‘scientistic’) answer, the Heideggerian (or ‘poetic’) answer, and the pragmatist (or ‘political’) answer.

In the comments section attached to this video is a fundamentalist’s view: I just to want to know “Did our Prophet and his companion ever dance like this way to call almighty Allah” If yes, what is the proof?. If not, this is an innovation. Prophet (PBUH) said, every innovation is misguidance , and every misguidance leads to Jahannam / hell fire.” ?

As Bernstein argues in his book, Violence: Thinking Without Banisters, religious certainty is naturally violent.

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Double Rolls

artist.stephen.calhoun

artist.stephen.calhoun on Instagram features pieces characterized by their not being in either of my catalogues.

CubeOProbe2

The above Cube-O-Probe reflects the reverse side of the Cube-O-Probe rolled December 31, 2015. The latter probe was used as novel data for a contemplation about How Best to Work With a New Team. The reverse sides given in a single roll are, potentially, no less valuable. However, I don’t use this so-called double roll often because of the challenge posed by too much random data.

I usually get around to the double roll. In this case I waited sixty days. The roll reminds me of a Sufi hot tip: keep it clean.

The Grasp of Order – Stephen Calhoun
recent photographic and generative art

The Gallery at Gray’s Auctioneers
10717 Detroit Ave
Cleveland, Ohio
M-F 10-5p
otherwise open by appointment
216 226-3300

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Cloudy Daze and Catty Ontologies

Lost Memories 2.0 from Francois Ferracci on Vimeo.

Catumentary from Lizz Dvorsky on Vimeo.

Robert Anton Wilson Channel on youtube

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Yet, We Converse With Each Other

Hexagram44
Hexagram 44
Your name or your person,
Which is dearer?
Your person or your goods,
Which is worth more?
Gain or loss,
Which is a greater bane?
That is why excessive meanness
Is sure to lead to great expense;
Too much store
Is sure to end in immense loss.
Know contentment
And you will suffer no disgrace;
Know when to stop
And you will meet with no danger.
You can then endure.

QUESTIONS

What is your personal ideology, and, how does it track back to its source in your personal culture?

Do we not construct somewhat congruent collections of best explanations?

Everybody lives in their own subjective world, or, not?

PROVISIONS

Every individual is dedicated in explicable and inexplicable ways to their favorite: dispositions, habits of thinking and feeling, heuristic tools, automatic responses, etc..

Individual comprehension of what are apparently objective features of the world are: variable, often warrantless, and, these comprehensions are, finally, usually subjective..

The common ground is not itself beyond the intersubjective field.

Each person over time develops, tests, refines, and deploys, their unique folk psychological ideology and toolset.

Often this bundle of suppositions and provisional abductions about, for example, how one’s own mind and other mind’s work, is utilized as the first->second order means to understand another person. It is deployed as if it is comprehensive and commensurate to the task of understanding this other person.

This normal attitude and approach is used by many people who are innocent of its origins (from within their personal culture, subjectivity.)

As a practical matter, eventually meeting the challenge posed by hoping to develop accurate interpersonal and intrapersonal construal requires the negotiation of each other’s self conception, self conception in contexts, language, concepts, suppositions, and, linkages and intrinsic networks, and, all the other potential features of subjective deep beingness. Hey, these considerations are truly, mine alone!

Hexagram 44. Don’t negate me bro for the sake of flattening me so that I may tumble along in your own 2D world. If I wanted to be in your world, I’d have to have been you.

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Remedios Varo

In the previous post I mentioned my being turned, by a serendipitous contact’s suggestion, toward the artistry of Remedios Varo. It was my good fortune to find the two most important books of her work at The Cleveland Public Library.

The Magic of Remedios Varo – Luis-Martin Lozano (2000) – National Museum of Women In the Arts
Remedios Varo: The Mexican Years – Masayo Nonaka (2012) – Editorial RM

Remedios Varo (December 16, 1908 – October 8, 1963) was a Spanish-Mexican surrealist painter. She was born in Anglés Cataluña, Spain in 1908 and died from a heart-attack in Mexico City in 1963. During the Spanish Civil War she fled to Paris where she was largely influenced by the surrealist movement. She met in Barcelona the french surrealist poet Benjamin Péret and became his wife. She was forced into exile from Paris during the Nazi occupation of France and moved to Mexico City at the end of 1941. She initially considered Mexico a temporary haven, but would remain in Latin America for the rest of her life.

In Mexico she met native artists such as Frida Kahlo and Diego Rivera. However, her strongest ties would be to other exiles and expatriates, and especially her extraordinary friendship with the English painter Leonora Carrington. Her last major relationship would be with Walter Gruen, an Austrian who had endured concentration camps before escaping Europe. Gruen believed fiercely in Varo, and gave her the support that allowed her to fully concentrate on her painting.

After 1949 Varo developed into her mature and remarkable style, which remains beautifully enigmatic and instantly recognizable. She often worked in oil on masonite panels she prepared herself. Although her colors have the blended resonance of the oil medium, her brushwork often involved many fine strokes of paint laid closely together – a technique more reminiscent of egg tempera. She died at the height of her career.

Her work continues to achieve successful retrospectives at major sites in Mexico and the United States. (Wikipedia)

Well worth your time:

REMEDIOS VARO: Round Table Discussion Part 1 – Hosted by Frey Norris Contemporary & Modern, San Francisco from Gallery Wendi Norris on Vimeo.

(My own art is sometimes very surreal, but, my artistic outlook is not intentionally surrealistic. The surrealism sometimes evident in some of my pieces results from the meta-aesthetic given by my creative aspiration, in its aim to provide a praxis for the viewer. This experience is instantiated by a combination of chance visual elements, underdetermination, symmetry, complexity, and, the aspect that most supports ‘surreality,’ occulted patterns/forms/symbols/shapes/faces/masks/beings. However, this occultation is, overwhelmingly, not a matter of my choosing what is to be hidden.)

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Touch Recognition

Stephen Calhoun, artist

Gemini’s Sense of Humor (2016) 38×44″

Around the middle of January I received an email from a stranger. This happens often. The question about such emails is: will it sort into the box labeled Serendipitous Contact, or, Internet Scammer?

This one ends up in the former box. Its author had been urged to visit my art web site by a friend from my Vermont chapter. In her email she wrote: I have not begun to plumb the depths of your site, but I am grateful to learn the word pareidolia. I create art and music that is pareidolic (word?) in process. Previously, I have just called it “clarifying the images”. Thanks for the new vocabulary. When I googled pareidolia, I also learned the word apophenia. Also a great phenomenon.

J.S. hipped me to the artist Remedios Varo. Fantastic!

via Wikiart

via Wikiart

She suggested I might correspond with her friend, Genese. She described her friend: She has a great mind, and the spirit of a wild sprite.

Pareidolia, Seeing Patterns, Making Meaning – Genese Grill

Here are two excerpts from longer, and essential, posts. Ms. Grill doesn’t publish posts often, but when she does, her consciousness lights up her subject matter.

AN APOLOGY FOR MEANING The artist, as the “creative subject” par excellence, re-vivifies stale images and ossified words, dissolving the fixed relations and drawn boundaries around entities and forging new meaningful connections between materiality and imagination, individual particularity and archetypal abstraction.

CORRESPONDENCE AND DIFFERENCE A sense of what is beautiful, evidently, is at least somewhat natural and universal. And the works of art or ritual made with this sense of what is beautiful still resonate with a mysterious significance, even if we today cannot fully understand or believe in the things that were sacred to the people who made them. Translation across time and cultures is needed for a more approximate comprehension of the objects, but something very powerful, something powerfully familiar is present even without a struggle. What we want is to maintain the strangeness, while approaching a comprehension. What we must avoid is to diminish difference in the interest of a complete and total correspondence.

I haven’t taken up L.S.’s suggestion. I will. The outreach recently coming my way through the serendipitous transmission has tipped a bit, and so it will be my own effort which brings it back in balance.

Why? Is the highest artistry given in the penetrating and receptive engagement of intracommunicating being?

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Marco Rubio’s Dance Wit Me

Deborah De Luca

Marco Rub-bot, the Little Prince, tells anther interviewer that he enjoys EDM, electronic dance music, because the music has clean lyrics, where hip hop. . .

Burning Man 2015

The EDM web site reports in an article from November:

Sadly, a Republican who likes EDM is not the most ludicrous comment coming out of the GOP in recent weeks.

In a recent interview with CNN, junior United States Senator Marco Rubio revealed that he not only listens to dance music, but he actually appreciates and respects it. His interviewer gives him quite the side eye (“Party music?!”) when says it, and continues to be baffled when he uses Tiësto as an example. It’s hard to believe that a conservative Republican like Rubio would dare to open his mouth and align himself with a culture that’s anything but straight-laced (he opposes legalizing weed and gay marriage), but Rubio is from Miami, a major hub for EDM.

While I doubt we’ll be seeing him popping bottles at LIV anytime soon, I don’t mind temporarily entertaining the thought that Rubio uses Tiësto’s tracks as his rally music. Who knows? Maybe Tiësto could be the first DJ to play the Inaugural Ball if Rubio somehow wins the election in 2016.

Tiesto

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Spinning

Blooms: Strobe-Animated Sculptures from Pier 9 on Vimeo.

Circle Game
by Joni Mitchell

Yesterday a child came out to wonder
Caught a dragonfly inside a jar
Fearful when the sky was full of thunder
And tearful at the falling of a star

Then the child moved ten times round the seasons
Skated over ten clear frozen streams
Words like when you’re older must appease him
And promises of someday make his dreams

And the seasons they go round and round
And the painted ponies go up and down
We’re captive on the carousel of time
We can’t return we can only look
Behind from where we came
And go round and round and round
In the circle game *

Sixteen springs and sixteen summers gone now
Cartwheels turn to car wheels thru the town
And they tell him take your time it won’t be long now
Till you drag your feet to slow the circles down

And the seasons they go round and round
And the painted ponies go up and down
We’re captive on the carousel of time
We can’t return we can only look
Behind from where we came
And go round and round and round
In the circle game

So the years spin by and now the boy is twenty
Though his dreams have lost some grandeur coming true
There’ll be new dreams maybe better dreams and plenty
Before the last revolving year is through

And the seasons they go round and round
And the painted ponies go up and down
We’re captive on the carousel of time
We can’t return we can only look
Behind from where we came
And go round and round and round
In the circle game

© Siquomb Publishing Company
source with additional notes

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The Very Soaked, Very Dry, World

via The Guardian, UK

via The Guardian, UK

Cleveland Heights, Ohio, USA, is 950 feet above sea level. We could probably take tens of thousands of climate refugees. I do not know what the effect of climate cahnge will be on the great lakes. Hey, I can look it up!

Forbes Magazine tells me “the great lakes are benefitting from climate change.”

Nature Geoscience, February 8, 2016 – Cooling and societal change during the Late Antique Little Ice Age from 536 to around 660 AD

PDF: Confronting Climate Change in the Great Lakes Region – Union of Concerned Scientists, Ecological Society of America

Glacial Isostatic Adjustment (i.e.,Glacial Rebound): The Great Lakes basin is, in effect, tilting over time as the result of the land rebounding after regional glaciers retreated about 10,000 year ago. The southwestern end of the basin is falling relative to the center of where the past glacier existed. This makes water levels in Milwaukee, Wisconsin, for example, appear to be rising. At the same time, water levels in the northeastern portion of the basin (e.g., Georgian Bay, Ontario) appear to be dropping. This rebound accounts for about one foot of water level change (rising or dropping) in a person’s lifetime (International Upper Great Lakes Study 2009).

Climate change: Annual average air and water temperatures are rising and future climate models
project continued warming, which contributes to higher rates of evaporation. Projected future
precipitation amounts, rates, and annual variability in timing of wetter and drier periods vary by
model.

PDF: What Could Changing Great Lakes Water Levels Mean for our Coastal Communities? The Nature Conservancy

But what does all of this mean for water levels in the Great Lakes? This is an important question; after all, our current infrastructure around the Lakes, from ports and canals to beaches and boardwalks, were designed and built based on the water levels experienced throughout the Twentieth Century. This is a far more complicated question than the one facing coastal cities along the oceans that are contending with sea level rise due to glacial melt and thermal expansion of water. Water levels in the Great Lakes will be determined almost entirely by levels of precipitation and evaporation, as well as by the quantities of water removed from the watershed through consumption or diversion. A further consideration is that water levels are controlled at two points; at the outflow from Lake Superior, and at the outflow from Lake Ontario, as regulated by the International Joint Commission. This suggests that the Lake Superior, as the upstream lake, will serve as the bellwether for the rest of the lakes. How Will Climate Change Affect the Great Lakes? Earth Institute, Columbia Univ.

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By Hand

A Thousand Hands Ago from S Ensby on Vimeo.

The dramatic form is reached when the vitality which has flowed and eddied round each person fills every person with such vital force that he or she assumes a proper and intangible esthetic life. The personality of the artist, at first a cry or a cadence or a mood and then a fluid and lambent narrative, finally refines itself out of existence, impersonalizes itself, so to speak. The esthetic image in the dramatic form is life purified in and reprojected from the human imagination. The mystery of esthetic, like that of material creation, is accomplished. The artist, like the God of creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.—Stephen

—Trying to refine them also out of existence—said Lynch.

A fine rain began to fall from the high veiled sky and they turned into the duke’s lawn to reach the national library before the shower came.

—What do you mean—Lynch asked surlily—by prating about beauty and the imagination in this miserable Godforsaken island? JAmes Joyce, Portrait of An Artist As a Young Man

[Wikipedia] Microcosmos (original title Microcosmos: Le peuple de l’herbe — Microcosmos: The grass people) is a 1996 documentary film by Claude Nuridsany and Marie Pérennou and produced by Jacques Perrin. Set to the music of Bruno Coulais, this film is primarily a record of detailed interactions between insects and other small invertebrates.

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Accidental Artist

Stephen Calhoun, artist

My one man show is hung and ready for the public to ‘have experiences’ at The Gallery at Gray’s, 10717 Detroit Avenue, Cleveland, Ohio. Yes, there will be an opening, and an associated catalog, an online gallery, and, some other initiatives. Fortunately for me, I am greatly benefitted by the enthusiasm of Deba Jean Gray, the gallery owner and the person who saw I was up to something artistically intriguing.

In crucial ways–and besides my being in the sociology of artists’ sense, a naive, and outsider, and untrained, artist–I am an accidental artist. Ms. Gray discovered me when she pulled a generative piece off the wall by the stairway in my step mother’s house in 2014. Later, after she toured my private gallery, she invited me to provide two pieces for an auction in May 2015. Those pieces were in a catalog amidst stellar company, such as Frankenthaler, Calder, and Stella. One of the pieces sold.

(It was only late in 2014 that it became possible for me to imagine that thirty years of private visual experimenting, begun first as a designer, then done as a painter, then starting in 2003, done as photographic/generative image-maker, might find my work engage a public.)

Four months later, I was prepared to show Deba and her associates my growing book. My visual experiments were rapidly evolving to become more ambitious. Also, I was learning in leaps and bounds, while dialing in much more technical control. I was spending all my time doing visual experiments, while trying to guide the most successful experiments up and out of the laboratory!

Nowadays, I work in photography or generative modes which integrate essential elements of serendipity. So, I see myself as an auteur of image-making–who dials in a delicate harmonization of the intentional with the fortuitous. Painstaking technical processes are involved in my, in effect, over-enlarging high resolution photographs, and doing the same with low resolution generative pieces.

My art reflects my life long interest in experiential development and a more recent interest in serendipity and contingency. My visual art is also of a piece with my musical experimentation; and it occurs to me I am bringing forth visual potentials which yield to a kind of visual equivalent of the deep listening developed as a holistic conception of sound experience by one of my main creative influences, composer Pauline Oliveros.

Ironically, 2015 was the year I steered my creative energies toward visual art, and away from music and sound design. Nevertheless, my creative process remains deeply musical.

Diver's Dilemma (2016)

Diver’s Dilemma (2016)

“What do you see hidden in the image?”

Each piece, by design, aims to support the viewer going into its complexity and tiny details to discover patterns, objects, symbols, faces, figures, etc. The artist does not program every discoverable feature. Far from it: the experience of each unique viewer, reveals sightings about which the artist is unaware of.

The pieces are intended to be experiential, and, are driven by my own conjoined experiential and experimental creative process. The primary process is a conduction drawn through phases: (1) capture, (2) cut, (3) create, (4) consummate. The last phase introduces the engaged viewer and realizes the culmination of the experiment in the unique experience of this viewer, this deep see’r.

I’m focused on providing experiences for viewers who freely choose to have an experience. For me, this completes the virtuous circle implicit in my substantiating such opportunities. My own creative purpose consequentially relies on the engaged viewer’s projective capacity. These pieces are primarily about enacting discovery.

 

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Evan Thompson, Presentation May 2015

a CONTEXT

According to [Francisco] Varela, an autonomous system can be precisely defined as a system that has organizational closure and operational closure (Varela 1979, pp. 55-60). The term ‘closure’ does not mean that the system is materially and energetically closed to the outside world (which of course is impossible). On the contrary, autonomous systems are thermodynamically far from equilibrium systems, which incessantly exchange matter and energy with their surroundings. ‘Organizational closure’ describes the self-referential (circular and recursive) network of relations that defines the system as a unity. At any given instant or moment, this self-referential network must be maintained, otherwise the system is no longer autonomous and no longer viable in whatever domain it exists. ‘Operational closure’ describes the recursive, re-entrant, and recurrent dynamics of the system. The system changes state on the basis of its self-organizing dynamics (in coupling with an environment), and the product of its activity is always further self-organized activity within the system (unless its operational closure is disrupted and it disintegrates).7 Biological examples abound—single cells, microbial communities, nervous systems, immune systems, multicellular organisms, ecosystems, and so on. Such systems need to be seen as sources of their own activity, and as specifying their own informational or cognitive domains, not as transducers or functions for converting input instructions into output products. In other words, the autonomous nature of these systems needs to be recognized.

Neurophenomenology: An Introduction for Neurophilosophers (pdf)
Evan Thompson, Antoine Lutz, and Diego Cosmelli

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