Tag Archives: digital art

Creative Workflow – Cat Trying to Swallow Its Own Tail

In the Tariqa note

In zoom mode in Photoshop, while preparing a large new piece to be reduced to a PNG for publishing on the gallery blog, an interesting overall configuration of small details in the edge style of the digital image file.

Edge style

Because I’m nowadays very sensitive to the level of complexity a possibly worthwhile mirror transformation requires to hopefully capture an intriguing symmetry, I moved around the small scale details looking for a candidate. The first image shows the workflow and the second image above is the detail I discovered.

The result is a symmetry I like. (more I like)

Symmetry

The actual details of the 300dpi original are too small to really see in the 16×10″ proof.

The two hallmarks of my creative ethos and artistic experimentation are: generativity and recursion. I work toward a surprising conclusion by implicating those two procedural factors. In the visual realm the manifestation of both is very clearly exemplified in the above example: the discovery of a small scale within the large scale provides a recursive capture and the mirroring manipulation generates the symmetry. I act as a spotter.

Interestingly, the small scale details result from generative manipulations of the original piece, and the original piece itself is the result of blending two layers both captured in different generative procedures that are keyed by programmed search routines. Those generative instrumentalities, then, represent a recursive routine in their own right.

The final recursion is: this all evokes Gregory Bateson. (see: Peter Harries-Jones: Gregory Bateson, Heterarchies, and the Topology of Recursion. Cybernetics and Human Knowing 12(1-2): 168-174 (2005))

Among Bateson scholars, Peter Harries-Jones (1995) is notable for looking at Gregory’s “ecology of mind” in the context of his mature work, using terms for it associated with that period, “recursive epistemology” or “ecological epistemology.” The processes with which Gregory was concerned were essentially processes of knowing: perception, communication, coding and translation. Ergo epistemology. But basic to this epistemology was the differentiation of logical levels, including the relationship between the knower and the known, ergo a recursive epistemology. Ideally, the relationship between the patterns of the biological world and our understanding of it would be one of congruence, of fit, a broader and more pervasive similarity than the ability to predict in experimental contexts that depend upon simplification and selective attention. It seems useful to refer to Gregory’s ecology of mind as an epistemological ecology to contrast it with the largely materialistic ecology of academic departments. It seems essential to underline that recursiveness is a necessary feature of such an epistemology (and perhaps of every epistemology, since every effort to know about knowing involves the cat trying to swallow its own tail).

Bateson was haunted in his last years by a sense of urgency, a sense that the narrow definition of human purposes, reinforced by technology, would lead to irreversible disasters, and that only a better epistemology could save us. Certainly irreversibilities lie all around us, many, like global warming, the decay of the ozone layer, and the movement of poisons through global food chains, set on courses it is too late to change although we have yet to suffer their full effect. Still, the situation has not worsened as rapidly as he predicted and perhaps he sometimes succumbed to the lure of dramatizing a message in order to get it across in ways that later undermine that message. But the habits of mind that he described can be seen in every newspaper or newscast: the search for short term solutions that worsen the problem over time (often by mirroring it, such as violence used to oppose violence); the focus on individual persons or organisms or even species, seen in isolation; the tendency to let technological possibility or economic indicators replace reflection; the effort to maximize single variables (like profit) rather than optimizing the relationship among a complex set of variables.

Mary Catherine Bateson – new Introduction to Step to An Ecology of Mind by Gregory Bateson, 2000)

One last recursive piece – that can be thought of as recursive in a second order, thus by way of duplication and “re-relation.”

The Pir x Eight
The Pir x Eight – (2014) S. Calhoun – 17×11 proof for giclee

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Artist’s Way of Flow

Alchemical Function versions

The first example is the final version. Second is the original photograph of lilies taken in our backyard, and then follow several versions. Recently, I’ve taken my one year+ experiments in applying symmetry translations to photographs and other sources in a new direction by applying additional generative content to the pre-mirrored raw sources. If that content is itself a symmetry, then I can mirror the symmetry in the mirroring of the conjoined source.

Alchemical Function

2014 – Alchemical Function – 18×12″ proof

The final version reflects–pun intended–the layering of a pattern over the photo of the lilies. This pattern was derived on the iPad using an app, then mirrored, enlarged, layered at partial opacity over the photograph and mirrored a last time.


symmetry experiments: tumblr

my naive art: online ongoing gallery

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New URL for Symmetry-Hypotheses

2 Views of Coleridge

Two Views of Coleridge

On July 2 I publicized the new Tumblr site for barely washed results from the symmetry section of the visual lab.

Soon enough I realized the title of the Tumblr blog and the URL were not in alignment. I cast off the old URL and sent all the old addresses into something like intertube purgatory. However, the now congruent site at least reflects its theme in its titling and addressing.

symmetry-hypotheses.tumblr.com

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Coleridge Museum of Experimental Results

Cave

Cave, proof for giclee, 2013 S. Calhoun

More-Egypt

More Egypt, 2013, SCalhoun

 

Graph

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

 

 

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MUSICAL PHOTO: BLOSS


click to see large version
NATURAL BENCH – DETAIL

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WHOLE METAL OLD MAN

More from my walk with Holly.



OLD WHOLE


However, now I’m messing around for ‘artistic’ purposes.

METAL MAN

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