Live and Look

"In mysticism that love of truth which we saw as the beginning of all philosophy leaves the merely intellectual sphere, and takes on the assured aspect of a personal passion. Where the philosopher guesses and argues, the mystic lives and looks; and speaks, consequently, the disconcerting language of first-hand experience, not the neat dialectic of the schools. Hence whilst the Absolute of the metaphysicians remains a diagram - impersonal and unattainable - the Absolute of the mystics is lovable, attainable, alive."

- Evelyn Underhill (1875 - 1941)

Precious Stillness

"Do not burn yourselves out. Be as I am - a reluctant enthusiast....a part-time crusader, a half-hearted fanatic. Save the other half of yourselves and your lives for pleasure and adventure. It is not enough to fight for the land; it is even more important to enjoy it. While you can. While it’s still here. So get out there and hunt and fish and mess around with your friends, ramble out yonder and explore the forests, climb the mountains, bag the peaks, run the rivers, breathe deep of that yet sweet and lucid air, sit quietly for a while and contemplate the precious stillness, the lovely, mysterious, and awesome space. Enjoy yourselves, keep your brain in your head and your head firmly attached to the body, the body active and alive, and I promise you this much; I promise you this one sweet victory over our enemies, over those desk-bound men and women with their hearts in a safe deposit box, and their eyes hypnotized by desk calculators. I promise you this; You will outlive the bastards."

- Edward Abbey (1927 - 1989)

Patience and Time

"Everything comes in time

to him who knows how to wait...

there is nothing stronger

than these two:

patience and time,

they will do it all."

- Leo Tolstoy (1828 - 1910)

Exploring the Neighborhood

"I am no scientist. I explore the neighborhood. An infant who has just learned to hold up his head has a frank and forthright way of gazing about him in bewilderment. He hasn’t the faintest clue where he is, and he aims to find out. In a couple of years, what he will have learned instead is how to fake it: he’ll have the cocksure air of a squatter who has come to feel he owns the place. Some unwonted, taught pride diverts us from our original intent, which is to explore the neighborhood, view the landscape, to discover at least where it is that we have been so startlingly set down, if we can’t learn why."

- Annie Dillard (1945 - )

Illusions

"I suppose therefore that all things I see are illusions; I believe that nothing has ever existed of everything my lying memory tells me. I think I have no senses. I believe that body, shape, extension, motion, location are functions. What is there then that can be taken as true? Perhaps only this one thing, that nothing at all is certain."

- René Descartes (1596 - 1650)

Process

“It's like you took a bottle of ink and you threw it at a wall. Smash! And all that ink spread. And in the middle, it's dense, isn't it? And as it gets out on the edge, the little droplets get finer and finer and make more complicated patterns, see? So in the same way, there was a big bang at the beginning of things and it spread. And you and I, sitting here in this room, as complicated human beings, are way, way out on the fringe of that bang. We are the complicated little patterns on the end of it. Very interesting. But so we define ourselves as being only that. If you think that you are only inside your skin, you define yourself as one very complicated little curlique, way out on the edge of that explosion. Way out in space, and way out in time. Billions of years ago, you were a big bang, but now you're a complicated human being. And then we cut ourselves off, and don't feel that we're still the big bang. But you are. Depends how you define yourself. You are actually - if this is the way things started, if there was a big bang in the beginning - you're not something that's a result of the big bang. You're not something that is a sort of puppet on the end of the process. You are still the process. You are the big bang, the original force of the universe, coming on as whoever you are. When I meet you, I see not just what you define yourself as - Mr so-and- so, Ms so-and-so, Mrs so-and-so - I see every one of you as the primordial energy of the universe coming on at me in this particular way. I know I'm that, too. But we've learned to define ourselves as separate from it.” 

― Alan Watts (1915 - 1973)

Spirit

"It is not always needful
for truth to take a definite shape;
it is enough if it hovers about us
like a spirit and produces harmony;
if it is wafted through the air
like the sound of a bell,

grave and kindly."

- Johann Wolgang von Goethe (1749 - 1832)

Goethe on Science

Through the Invisible

“The great truth, or the absolute truth,

makes itself visible to our mind

through the invisible.”

- Georges Vantongerloo (1886 - 1965)

Painter/Sculptor

Spiritual Awareness

“To the vast majority of people 

a photograph is an

image of something within 

their direct experience:

a more-or-less factual reality.

It is difficult for them 

to realize that the

photograph can be the source 

of experience, as well as the

reflection of spiritual awareness 

of the world and of self.”  

- Ansel Adams

(1902 - 1984)

Forms, Space, and Distinctions

“A universe comes into being when

a space is severed or taken apart… 

by tracing the way we 

[make such distinctions] 

we begin to reconstruct …  

the basic forms underlying linguistic,

mathematical, physical, 

and biological science.”

- G. Spencer Brown (1923 - )

Laws of Form

What is an Object?

“...Consider an object ...  what is an object? 

Philosophers are always saying, 

'Well, just take a chair for example.' 

The moment they say that, you know they 

do not know what they are talking about any more. 

What is a chair? 

Well, a chair is a certain thing over there ... 

Certain? How certain?

 The atoms are evaporating from it 

from time to time - not many atoms,

 but a few - dirt falls on it and 

gets dissolved in the paint; 

so to define a chair precisely, 

to say exactly which atoms are chair,

 and which atoms are air, or which atoms are dirt, 

or which atoms are paint that

 belongs to the chair is impossible. 

So the mass of a chair can be defined only approximately.

 In the same way, to define the mass of a single object is impossible,

 because there are not any single, left-alone objects in the world.”

- Richard Feynman

(1918 - 1988)

Arbitrary Slices

“They will say: ‘Well, it’s a hexagon,’ but it isn’t a hexagon, and a rectangle which isn’t a rectangle. By describing what it nearly is but isn’t quite, they get a sort of description out. The division into parts is of course purely arbitrary. They could have sliced it anyway they wanted.”

- Gregory Bateson (1904 - 1980)

An Ecology of Mind

That It Is

"The mystical is not

how the world is,

but that it is."

- Ludwig Wittgenstein

(1889 - 1951)

Stasis, Rhythm, and Aesthetics

"Beauty expressed by the artist cannot awaken in us an emotion which is kinetic or a sensation which is purely physical. It awakens, or ought to awaken, or induces, or ought to induce, an esthetic stasis, an ideal pity or an ideal terror, a stasis called forth, prolonged, and at last dissolved by what I call the rhythm of beauty." 

"What is that exactly?", asked Lynch.

"Rhythm," said Stephen, "is the first formal esthetic relation of part to part in any esthetic whole or of an aesthetic whole to its part or parts or of any part to the aesthetic whole of which it is a part."

- James Joyce, (1882 - 1941)

Portrait of the Artist as a Young Man

Parts, Wholes, and the Principle of Sufficient Reason

“Nothing takes place without sufficient reason, that is… nothing happens without it being possible for someone who knows enough things to give a reason sufficient to determine why it is so and not otherwise. Assuming this principle, the first question we have the right to ask will be, why is there something rather than nothing? For nothing is simpler and easier than something. Furthermore, assuming that things must exist, we must be able to give a reason for why they must exist in this way, and not otherwise.”

- G. W. Leibniz

(1646 - 1716)

"The division of the perceived universe

into parts and wholes is convenient

and may be necessary, 

but no necessity determines

how it shall be done."

- Gregory Bateson

(1904 - 1980)

Dormant Microcosm

"This microcosm was pregnant with the germ of a proper time and space, and all the kinds of cosmical beings. Within this punctual cosmos the myriad but not unnumbered physical centers of power, which men conceive vaguely as electrons, protons, and the rest, were at first coincident with one another. And they were dormant. The matter of ten million galaxies lay dormant in a point."

- Olaf Stapledon (1886 - 1950)
Star Maker

Symbols, Dreams, and Transformations

"The task of art is to transform what is continuously happening to us, to transform all these things into symbols, into music, into something which can last in man’s memory. That is our duty. If we don’t fulfill it, we feel unhappy. A writer or any artist has the sometimes joyful duty to transform all that into symbols. These symbols could be colors, forms or sounds. For a poet, the symbols are sounds and also words, fables, stories, poetry. The work of a poet never ends. It has nothing to do with working hours. You are continuously receiving things from the external world. These must be transformed, and eventually will be transformed. This revelation can appear anytime. A poet never rests. He’s always working, even when he dreams. Besides, the life of a writer, is a lonely one. You think you are alone, and as the years go by, if the stars are on your side, you may discover that you are at the center of a vast circle of invisible friends whom you will never get to know but who love you. And that is an immense reward."

-  Jorge Luis Borges

(1899 – 1986) 

Matter, Science, and Spirit

“Everyone who is seriously involved in
the pursuit of science becomes
convinced that a spirit is manifest
in the laws of the Universe —
a spirit vastly superior to that of man,
and one in the face of which we,
with our modest powers,
must feel humble."

- Albert Einstein (1879 - 1955)
(from Max Jammer's Einstein and Religion,
Princeton University Press, 1999)

Upcoming "Worlds Within Worlds" Exhibit

I am delighted to announce that I will be part of a three-artist exhibit entitled "Worlds Within Worlds," to be held Oct 21, 2009 - April 16, 2010 at the American Center for Physics (One Physics Ellipse, College Park, MD, 20740). The reception for the exhibit - curated by Sarah Tanguy - will be held November 16, 2009 (which falls on a Monday) between 5:30 - 7:30, with a gallery talk and presentation scheduled for 6:00pm.

If any interested readers of this blog are in the northern-DC/Maryland area around that time, and would like to see works by a wonderful sculptor (Julian Voss-Andreae), a gifted traditional artist (Cynthia Padgett), and a physicist/photographer (yours truly... I'll have 18 of my images on display, grouped into 6 categories; see below), please swing by! I plan on being at the reception on Nov 16.

A two-page fold-out brochure for the event can be downloaded here (in Adobe pdf format). It contains one of my favorite quotes by Einstein:

"Where the world ceases to be the stage for personal hopes and desires, where we, as free beings, behold it in wonder, to question and to contemplate, there we enter the realm of art and science. If we trace out what we behold and experience through the language of logic, we are doing science; if we show it in forms whose interrelationships are not accessible to our conscious thought but are intuitively recognized as meaningful, we are doing art. Common to both is the devotion to something beyond the personal, removed from the arbitrary." — Albert Einstein

As the venue is clearly related to science - physics in particular - it should come as no surprise that all three artists were selected with an eye toward either the artist or his/her work having some connection to physics.

Julian Voss-Andreae, for example, is both a physicist and artist/sculptor by training. His magnificent geometric sculptures are best described as physically manifest visual forms of quantum realities. Starting from original designs of mathematical surfaces (or dynamic processes) on a computer, Julian uses his art to guide and shape these forms into a finished sculpture. Sometimes a work is created by using a particular physics-inspired process; sometimes it is created to reflect a specific physics-related property or principle. But however he creates his individual works, they are all undeniably mesmerizing and leave the viewer with a deeper appreciation of the connection between science and art. Julian's website includes a link to an informative ~8 minute YouTube video that describes his creative process (first shown on Oregon Public Broadcasting TV in December 2008).

Cynthia Padgett, while not a scientist by training, will be displaying works inspired by the exposure she has to astronomy and astronomic images through her son's study of physics. Working with a variety of media (oil, pastel, charcoal, etc), and using real astronomical photographs as conceptual spring-boards, Cynthia magically transforms empty canvases into cosmic breeding grounds for stars, entire galaxies, and the infinite mysteries of time and space. She will also be exhibiting works from her floral series, whose more "earth-centered" origin belies the drama of their own abstract cosmic rhythms.

As for me, though the subject of my photography is not confined to "metaphors of physics" (or some such thing) and actually spans quite a wide spectrum of ostensibly non-physics subject matter (from landscapes, to still lifes, to abstracts, to macros, ...), I cannot escape the fact that since I am a physicist by training - and still use my physics to solve problems in my "day job" (here is a link to one of my technical books) - I cannot help but see the world as a physicist (whatever that means;-). And that is, I suppose, the main reason I have been included in the show with these two accomplished artists. (Sarah Tanguy, the curator of the show, "confessed" that the way she found my work was by going to the Washington Project for the Arts site, of which I am a member/artist, and conducting a search for "photographer AND physicist"... hey, sometimes it pays to self-advertise!)

A while ago I posted a blog entry that was derived, in part, from a lecture I gave at the Smithsonian about complexity and photography. I crafted some of the images I used during the presentation (and reproduced in this blog entry) with a deliberate eye towards illustrating how one's inner world (one's feelings, thoughts, predispositions, academic training, worldview, ...) guides and shapes what one's I/eye/camera eventually reveals to the external world. As the "Worlds Within Worlds" exhibit opens, I'm making a mental note to myself to expand a bit on these ideas in future blog entries. The fundamental question being: "To what extent does the aesthetic dimension of my photography (what I choose to photograph, what my eye sees, what I work to reveal in a print, ...) owe itself - and in what way - to the fact that I am trained as a theoretical physicist?" How is what I do, as a photographer, different from what other photographers, not trained in physics, do? If there is a difference, is there an objective way of assessing what that difference is?

As for the "Worlds Within Worlds" exhibit...I will have a total of 18 images exhibited, grouped into six categories: (1) micro worlds, (2) mystic flames, (3) abstract triptychs, (4) entropic melodies, (5) rhythmic patterns, and (6) ripples & ice.

Having looked at - and marveled - at Julian's and Cynthia's works on-line (I do not know, and have not yet met either of these two gifted artists; though I am very much looking forward to meeting them at the opening in November), I am truly honored to be asked to display my humble works alongside theirs.

And I hope to see some of the readers of my blog at the reception!

Discovering the "Himalayas" in a freezer-full of ICE

The autumn is over, work is piling up at my day job, the administrative side of joining the Lorton Arts Photography Workhouse is beginning to borrow from my "photo safari" time on weekends, it's cold and miserable outside, and my muse is either sleeping, disinterested, or just out taking pictures somewhere without me ;-) So, what is a photographer to do?

I do not know who first said it, or was the first to express a sentiment similar to this, but an often repeated photographer's adage is, "If you can't find a photograph in your home, what makes you think you'll find one in the Himalayas?" Thus, paying homage to this wise adage (and with the Himalayas very much on my mind, if only because I recently finished re-reading Jon Krakauer's extraordinary personal account of the 1996 tragedy on Everest called Into Thin Air), I turned my attention to the ice in our freezer. My muse (who made an unexpected, but most welcome, last-minute appearance!) and I soon started searching this make-shift aesthetic landscape for any "mini-Himalayas" that might catch our attention.

The result is a small, but growing, portfolio of abstract images that I call - with uncharacteristic brevity - ICE. Although it is very much a work in progress, I already feel the healing power of its primal forms, tones, and textures. Perhaps a few photos in the series even manage to show the ice both as "it is" and - echoes of Minor White - what else it is. Regardless, my muse and I are just happy to be back together again and exploring the beauty and mystery of the world with my camera; even if that "world" (for the moment) consists of nothing more than a few chunks of ice from our freezer. Of course, neither truth nor beauty cares anything about what others call the place that is their home.