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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So Humbling, Together

MoonWereOnePixel

If the Moon Were One Pixel

One real world is enough! (G. Santayana)

Bonus enlightenment:

Interactive Journey up Mount Everest

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Tying It All Together?

I am sometimes asked why I pay attention to astrology. Actually, I don’t pay much attention to it, but, for some, any attention paid to astrology begs the question of why a so-called pseudoscience could attract someone’s, or my own, attention.

If I sense that this question is hiding the questioner’s desire to hold me to some rational account, I have a tried-and-true response.

You do understand that as matter of a priori development with respect to Baconian science and its successors that astrology is demonstrably necessary to the later development of astronomy and cosmology?

The history of the development of stuff presents a chain of primitive precedents, and, over the span of a future, our current knwoledge might well be someday viewed as being itself primitive. This goes along with what I call my favorite bias, you know the one that captures the brute fact that as one figuratively steps backward in time, all precedents of any sort disappear.

(The epistemic value or utility of astrology in any of its useful forms is determined as a matter of a psychology of practical heuristics. As I have previously written, the astrological chart captures a projection of psyche inasmuch as dealing with its information invokes learning about the Self.)

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Desse and Kate

Judith Buerkel, great friend, squareONE partner

Judith Buerkel, great friend, squareONE partner

I agree that the heart of creativity is self-expression. Following one’s own soul, so to speak. Perhaps that is only half of the picture; for creativity to provide the self with substance, it must, in some way, be reciprocal. By this I mean that there needs to be some way of gaining feedback, response from others, interaction. If not, it seems to me that the creative urge has no object, only endless input into a void. (Judith Buerkel, email to Walter Logeman’s Psyber-L email listserv, 1997)

Stephen calhoun, artist

Desse’s Dream II (2016) Stephen Calhoun

As only people who know me well, well know, I am an advocate on behalf of the value of friendship, close relationships, and, collaborative exploring. Starting late, I grew into myself, and next into the small number of relationships, that were, are, able to vigorously support these ambitious interpersonal objectives. I have written at length on this blog about this endeavor, the one bit of writing here that is essential if the stranger wants to begin to get a grip on what my soul the most.

Tomorrow is Thanksgiving. I am not a ‘holiday person,’ yet, this year, as a matter of this brutal year, 2016, I am thankful that there are several persons who have embraced the call wholeheartedly to be my close friend. I suppose everybody in this tiny group knows who they are, with my wife Susan, my closest pal, exemplifying the total dedication that literally is grace.

A Valediction: Forbidding Mourning
As virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say
The breath goes now, and some say, No:
So let us melt, and make no noise,
No tear-floods, nor sigh-tempests move;
‘Twere profanation of our joys
To tell the laity our love.
Moving of th’ earth brings harms and fears,
Men reckon what it did, and meant;
But trepidation of the spheres,
Though greater far, is innocent.
Dull sublunary lovers’ love
(Whose soul is sense) cannot admit
Absence, because it doth remove
Those things which elemented it.
But we by a love so much refined,
That our selves know not what it is,
Inter-assured of the mind,
Care less, eyes, lips, and hands to miss.
Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to airy thinness beat.
If they be two, they are two so
As stiff twin compasses are two;
Thy soul, the fixed foot, makes no show
To move, but doth, if the other do.
And though it in the center sit,
Yet when the other far doth roam,
It leans and hearkens after it,
And grows erect, as that comes home.
Such wilt thou be to me, who must,
Like th’ other foot, obliquely run;
Thy firmness makes my circle just,
And makes me end where I begun.

Last month I walked in the back door of our house and, like I do many times, I spied the mix media piece made by my friend, mentor, associate, co-explorer, Judith Buerkel. She passed away in 2007. In the aftermath of Judith’s leave-taking at the end of a grueling illness, I retrieved Judith small art piece with the help of Holly. I met both Judith and Holly in 1995. Holly remains one of my very closest friends, or, as I am want to structure, Holly is in the innermost devotional circle. In a way, Judith tied Holly and me together.

This piece I spied has a place of honor in the back hallway gallery, a corridor hung with my own, older, art works. On the day I spied the piece–yet, again–I had an idea, that I could use the piece as part of the subject matter, or scene, of a photograph! Even though for a long time I had understood that Judith’s superior artistic eye had fashioned this fine piece out of some of the similar materials, sticks, and dried leaves, which draw my own eye, it never struck me that I might collaborate with her, nine years after she slipped away from the mortal coil.

I made six pieces in two series, Desse’s Desire, Desse’s Dream.

Kate Kuper(image used without permission via Univ. of Illinois, Champaign)

Kate Kuper (image used without permission via Univ. of Illinois, Champaign)

Over the last twenty years, it has been much more likely that my very closest friends have been women. As another friend, the late Ken Warren, would speak of this,

Your anima problem provides enticing tastes of integration.

The first enticing taste, then, came about in seventh and eighth grade, 1966-1968, at Roxboro Junior High, the place where I fell in with a clique of schoolmates, of which three gals came to be among the first close friends I ever had. Kate Kuper was one of the trio, and by the time I graduated from high school in 1972, I counter her as my closest gal friend.

We lost touch after I moved away to Vermont in 1974. But, incredibly, when I came back to our hometown in 1992, my mom reminded me that her parents, Ginger and Al (or Buzz,) played tennis, and that I should look them up. Doing so, I reconnected, and, soon after reconnected with Kate. we caught up by phone, and, enjoyed catching up on several of her visits to Cleveland Heights, and, continued to catch each other up one or two times a year. Kate counts as the longest running relationship I’ve sustained; it marked its fiftieth year this year.

We knew each other’s basic nature fairly well, and, our adult friendship was full of honest exchanges and unconditional acceptance. Kate passed on November 17, a shock to my system I learned about from her older sister a few days after that leave-taking.

About Kate I will tell you several things: she was very brilliant, very self-possessed, very self-effacing, and, very self-critical. She burned brightly, and, her intense drive set her apart from my own hippie boy laid-back, happy-go-luckyness. We both knew that our differences helped our friendly intimacy be dynamic and helped support our friendship over decades.

She told me after her father Al fell ill,

I’m sure glad you came back to Cleveland.

What is my debt to my close friends, and all the great ladies? Immense.

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Legacy Art Works #7 – Table Mountain 1&2

Table Mountain 1
(2010) Table Mountain 1

Table Mountain 2
(2010) Table Mountain 2

Table Mountain looks over Cape Town, South Africa. Because of my association with Abdullah Ibrahim it became one of those places that would arise in dreams.

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Surrender

This fascinating video about generative art supposes that our age will be the age of data. Except for this meaningless statement, this is well worth six plus minutes.

The sound of a bell
struck off center
vanishes in haze.

(Buson)

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Legacy Art Works #6 – Anti-Materialism

Anti-materialism
Anti-Materialism 14×11″ 2007

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Age of the Scary Clown Has Commenced

trump-scary-clown

Ongoing notes on what may transpire now that a literal crazy person is our 45th President are here.

230 Things Donald Trump Has Said and Done That Make Him Unfit to Be President

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Hope and Walking

Vicki and Barb

Vicki and Barb

I haven’t been able to devote anywhere near as much time to volunteering to help elect Hillary Rodham Clinton to be the first woman President of the United States of America. Yet, today is finally the day where the people will make their choice.

I feel confident but know the election is going to be close, because our country is not only polarized, its two polar tribes are close to one another in size.

It has been enjoyable to return to the GOTV staging house in South Euclid and hang out and watch the ladies and the feminine spirit in action. Hat tip to the one million volunteers, to Lucy and Carol and the Shaker Square team, and, over the last several days to Janet, Sherry, Vicki and Barb.

I hope Trump gets squished like a bug!

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Free Play Softball Mercurious

IMG_0116

Did Cap intentionally allow a ball to pass between his legs in the penultimate inning so as to guide the game’s score closer to the promised land of a one-run game?

Later, after the one run game was over, a player remarks to Cap,

I guess this is the ideal game for you, it was decided by one run and your team won.

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Legacy Art Work #5 – The Machine Age

2013 – The Machine Age – 14? x 11? dye proof for giclee

This is loosely associated with what’s termed steam punk. It also fits in a self-termed category of generative art, ARK, that stands for associative random kitsch.

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drawn or repulsed, instant realization of sympathy or antipathy

TOOLS OF IMAGINATION from Kristyna on Vimeo.

I like mathematics because it is not human and has nothing particular to do with this planet or with the whole accidental universe – because like Spinoza’s God, it won’t love us in return. ~Bertrand Russell, 1912

4SymbolsofYWHY

1.01 'Circles Within Circles' from Simon F A Russell on Vimeo.

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