Autobiographical Memory

"When you summon up an autobiographical memory, you engage in a kind of mental time travel. You identify your current 'remembering self' with your past 'experiencing self'—like the self that was feeling apprehensive on the first day of school. These two selves are connected, not just through a continuously existing physical body but also through a somewhat discontinuous (because interrupted by dreamless sleep) stream of consciousness. The faculty of autobiographical memory allows us to understand ourselves as beings whose existence extends over time."

- Jim Holt (1954 - )

In This Is All: Memory, meaning, and the self

What You See

"The question is not what you look at, but what you see. It is only necessary to behold the least fact or phenomenon, however familiar, from a point a hair's breadth aside from our habitual path or routine, to be overcome, enchanted by its beauty and significance."

- Henry David Thoreau (1817 - 1862)

Merely Vibration

"Music, this complex and mysterious act, precise as algebra and vague as a dream, this art made out of mathematics and air, is simply the result of the strange properties of a little membrane. If that membrane did not exist, sound would not exist either, since in itself it is merely vibration. Would we be able to detect music without the ear? Of course not. Well, we are surrounded by things whose existence we never suspect, because we lack the organs that would reveal them to us."

- Guy de Maupassant (1850 - 1893)

The Other Point of View

"Science is a second-order expression [of the world]. Science has not and never will have by its nature the same significance qua form of being as the world which we perceive, for the simple reason that it is a rationale or explanation of the world.... Scientific points of view according to which my existence is a moment of the world's are always both naive and at the same time dishonest, because they take for granted without explicitly mentioning it, the other point of view, namely that of consciousness, through which from the outset a world forms itself round me and exists for me. To return to things themselves is to return to that world which precedes knowledge, of which knowledge always speaks and in relation to which every scientific schematization is an abstract and derivative sign language, as in geography in relation to the countryside in which we have learnt beforehand what a forest, a prairie and a river is."

- Maurice Merleau-Ponty (1908 - 1961)

Door in the Wall

"The man who comes back through the Door in the Wall will never be quite the same as the man who went out. He will be wiser but less sure, happier but less self-satisfied, humbler in acknowledging his ignorance yet better equipped to understand the relationship of words to things, of systematic reasoning to the unfathomable mystery which it tries, forever vainly, to comprehend."

- Aldous Huxley (1894 - 1963)

The Doors of Perception

Matrix of all Matter

"All matter originates and exists only by virtue of a force which brings the particle of an atom to vibration and holds this most minute solar system of the atom together. We must assume behind this force the existence of a conscious and intelligent mind. This mind is the matrix of all matter."

- Max Planck

(1858 - 1947)

Interpenetrating Worlds

"Instead of negating the conflicting aspects of a paradox, you advance your understanding when you can hold both sides of a dichotomy in your mind at the same time, reconciling rather than negating. One could embrace paradox as an operating, operative principle, rather than seeking to deny or dissolve or dilute it. Rather than seeking to resolve dualisms and institute some grand ‘theory of everything’, the science of the imagination would embrace and explore paradox, going deeper into conundrums, relinquishing delusory attempts to achieve certainty. We may find that thought and language are creative aspects of being, tools for transforming reality. If the universe is actually a projection of subtler levels of the psyche- a loom of maya- then we may discover that the vibratory lattices of interpenetrating worlds elaborated by current physics are descriptions of the psyche itself, in its fully ensouled unfolding."

- Daniel Pinchbeck (1966 - )

Breaking Open the Head:

A Psychedelic Journey into the Heart of Contemporary Shamanism

A long belated return to blogging...with some thoughts on the "music" of Kauai's tonal forms and rhythms

I can look at a fine art photograph and sometimes I can hear music. - Ansel Adams

Having been absent from blogging for a little over a year (!) - due mostly to ill-timed but persistent "day job" responsibilities (as always) - this entry marks a long overdue, though happy, return to musing on this forum. Though long absent from public view on this blog, my photo-related work has not actually suffered much in the intervening time. I have continued "experimenting" with color abstractions, played with a number of promising (and not so promising) new portfolios, and have a number of stories to share relating to photography; I have also continued posting new work on facebook throughout the time I was "AWOL" on my own blog ;-) 

First in queue is a short muse on viewing an old subject with new eyes. The "old subject" in this case being Kauai, the so-called "Garden Isle" of Hawaii, and about which I posted a few entries in 2006 (and which was the last time, before this summer, that I had the great privilege of experiencing this extraordinary land). By way of context, Hawaii, generally - and Kauai, specifically - holds a special place in my heart. It is the "far away land" I have most frequently visited in my life (8 times, including the trip my whole family and I took this past summer), and is the place my soul-mate/wife and I dream of retiring to one day. 

I have "seen" this magic place with eyes attached to a brain that had barely yet learned even the basics of photography, but were eager to "record" each and every "beautiful" sight the Hawaiian islands had to offer (back in 1982); with eyes attached to a brain that was just beginning to "see" that images are best thought of as the words and grammar of a powerful new visual language, but whose "rules" remained mostly mysterious (in trips between 1985-1988); with eyes attached to a brain that finally understood that it is not things the lens is meant to capture, but the effect that things have on the soul behind the brain (in trips during 1996 and 2006); and, this past July, with (somewhat older, and perhaps just a smidgen even more introspective) eyes attached to a soul that now relishes - above all else - finding music in Kauai's transcendent forms and tonal rhythms.

It is a cliche, of course, that we never "see" an old place as before, and that we, ourselves, like a Heraclitian river, are never the same twice. But the deeper meaning of this abused aphorism is that the essence of who we are is not confined to a single time and place, but is spread throughout a lifetime of journeys and learning. I am much less the being that is typing these words, than an infinitely thin snapshot (right now) of a consciousness that was born some 54 years ago and has continued journeying in some fantastically high dimensional "experiential space." Our store of photographs - and/or, just as validly, any other impermanent artifacts that our essential being has "created" along its journey (including, in my case, equations, computer code, technical reports and papers, and even books) - accrued over a lifetime of "seeing," are intertwined, nonlinearly nested visual palimpsests of an ever-evolving / never-complete document of our being; of who we really are. As such, they serve as potent probes, in hindsight - and only after careful reflection - of who we were, at some past time; and offer valuable clues and insights into how (sometimes even why) our essential being has evolved into its current state. More rarely, and with deeper contemplation, these emergent palimpsests can help us better understand and appreciate the forms and rhythms of the journey itself.

So what does my palimpsest say about my ongoing journey, from the perspective of hindsight provided by 32 years of traveling to - and "seeing" - Kauai? Simply that, as a photographer, right now, my deepest yearning has nothing at all to do with finding the next "pretty shot," and is all consumed with "tuning my eyes" to hear some new "tonal rhythm" or form (i.e., to hear a bit of Ansel's "music"); and the discovery of a universal rhythm - that, though it may appear, for example, in some image taken in Kauai (or elsewhere), is not about Kauai, per se (or any other place), but reveals still deeper layers of a feeling of place - makes me the happiest. Perhaps because I have taken hundreds, if not thousands, of images of Kauai during all my past visits, and countless numbers of "I have been here" point-and-shoot documentaries of being in place, that this time my eye and soul were both finally free to focus on Kauai's subtler gifts. While I am not immune to Kauai's majestic Wagnerian vistas...

...it is Kauai's preternaturally sublime quiet music - the kind of visual song that stills one's soul - that now draws most of my attention. What will my soul's eye "see" in another 10 years time I wonder...?

"The voyage of discovery lies not in seeking new horizons,

but in seeing with new eyes." - Marcel Proust 

Perception and Imaging

"My earlier writings dealt with some of the technical aspects of photography. Recent writing attempts to integrate information from other disciplines and relate it directly to the understanding of photographs in particular and to pictures in general. Each discipline has its own vocabulary in dealing with philosophical issues such as truth, reality, and values . . . my interest is to build conceptual linkages among various disciplines by utilizing pictures . . . What is the visual equivalent of linguistic terms such as metaphor, metonymy, and synecdoche?" - Richard Zakia (1925 - 2012)

I mentioned in my blog entry that I'd like to devote some attention to discussing / reviewing some photography-related books that are a bit "off the beaten" path; i.e., books that are not necessarily something one would find on shelves at the the soon-to-be-closed Barnes and Noble store but which would be of interest to the dedicated photographer.

So, to start off this series, I enthusiastically point kind readers to a new edition of Richard Zakia's Perception and Imaging (scheduled to be released on March 22, though this last edition does not appear to be much different from the previous one, at least judging by page count and the available description. But whichever edition is the object of focus, this is certainly a book that anyone interested in exploring the visual, psychological, and philosophcial dimensions of photography will want to spend some time with. The second edition (from 2001) is available for less than $10! Indeed, even the earliest available version from 1975, which I own and still treasure, is a treat despite measuring in at less than half the size of its latest incarnation (and is also available on Amazon for 3!). Sadly, since Mr. Zakia died in 2012, this will be the last edition (at least authored solely by him) to appear in print.

Richard (born Rashid Elisha) Zakia is considered by many to be one of the great photography teachers of his generation in the United States. Having graduated from the Rochester Institute of Technology (RIT) in 1956 - and enjoying classmates such as Carl Chiarenza, Peter Bunnell, Bruce Davidson, Ken Josephson, Pete Turner, and Jerry Uelsmann (along with Minor White and Beaumont Newhall as teachers) - Zakia began his career as an engineer at Eastman Kodak before returning to RIT where he stayed on as professor for 34 years. At one time or another, he was Director of Instructional Research and Development, Chair of the Fine Art Photography Department and graduate program in Imaging Arts, and, in later years, professor Emeritus. In all, he authored and co-authored thirteen books on photography and perception, co-edited (along with Leslie Stroebel) the third (1993) edition of The Focal Encyclopedia of Photography (and contributed to the fourth edition in 2007, my review of which appeared shortly after it was released), and, immediately prior to completing his last book, co-authored a book on Teaching Photography with Dr. Glen Rand.

While all of Zakia's books are worth reading and studying, it is his Perception and Imaging that I come back to again and again. Partly to relearn some fascinating theories and approaches, partly to just marvel at this extraordinary encyclopedic cornucopia of wisdom; and partly to just be inspired by the collection of quotes and insights so lovingly chosen and inserted in the margins to accompany the main text.

A mere list of chapter headings indicates the sweeping breadth of subject matter, though hardly does justice to the depth of coverage or the elegance of presentation: figure-ground theory; gestalt; memory and association; space, time, and color; contours; illusion and ambiguity; morphics; personality; subliminals; critiquing photographs; and rhetoric. This is not a "poetic" book on photography - that is, it spends little or no time on describing or probing Minor-White-like "Zen" musings about photography (though it does provide a great introductory discussion of Stielitz's and White's "equivalents" and even has more than a few cogent words to say about synesthesia, a subject close to my own heart! - rather, Zakia's book is mainly about what its title says, perception and imaging. 

It teaches you all about how to better see the world, how to better understand how you see, and how to exploit how the world appears to us in designing ways to communicate what we see to others. It also fosters a deep appreciation of the myriad layers of perceptual meaning and ambiguity. Strictly speaking, it cannot even be said that the book is "about" photography at all, since it touches on so many different aspects of art, composition, design, and presentation. But to all those photographers who like to both feel and think about their art - and are interested in exploring ways to take their photographic "eye" to a higher level of appreciation and understanding - this is a book to treasure! Highly recommended.

Synesthetic Noetics: Cognition vs. Intuition

Intuition                                  Cognition

“The Noetic Quality, as named by William James, is a feeling of insight or illumination that, on an intuitive, nonrational level and with a tremendous force of certainty, subjectively has the status of Ultimate Reality. This knowledge is not an increase of facts but is a gain in psychological, philosophical, or theological insight.” - Walter Pahnke, The Psychedelic Mystical Experience in the Human Encounter With Death

“Although contemporary neuroscientists study “synesthesia”—the overlap and blending of the senses—as though it were a rare or pathological experience to which only certain persons are prone (those who report “seeing sounds,” “hearing colors,” and the like), our primordial, preconceptual experience, as Merleau-Ponty makes evident, is inherently synesthetic. The intertwining of sensory modalities seems unusual to us only to the extent that we have become estranged from our direct experience (and hence from our primordial contact with the entities and elements that surround us.):

'…Synesthetic perception is the rule, and we are unaware of it only because scientific knowledge shifts the center of gravity of experience, so that we have unlearned how to see, hear, and generally speaking, feel, in order to deduce, from our bodily organization and the world as the physicist conceives it, what we are to see, hear, and feel.' (Merleau-Ponty)" - David Abram, The Spell of the Sensuous

"Hallucinogenic discourse, both of scientific and “recreational” nature, faces a similar rhetorical dilemma as the rest of the ecstatic traditions it responds to: It must report on an event which is in principle impossible to communicate. Writers of mystic experience from St Teresa to William James have treated the unrepresentable character of mystic events to be the very hallmark of ecstasies. Hallucinogenic discourse faced a similar struggle in the effort to report on the knowledge beyond what Aldous Huxley (and Jim Morrison…) described as the “doors of perception.” - Richard Doyle, "Consciousness Expansion and the Emergence of Biotechnology" in In Semiotic Flesh: Information and the Human Body

Note: Volume II of my "Synesthetic Landscape" series is now available for purchase (softcover, hardbound with wrap-around cover, and pdf versions).

On Seeing

"The child has to learn how to separate out the images which assail the newly-opened retina... a whole series of 'senses' are necessary... 

A sense of spatial immensity, in its greatness and in its smallness, disarticulating and spacing out, within a sphere of indefinite radius, the orbits of objects which press around us; 

A sense of depth, pushing back laboriously through the endless chain of events and measureless distances of time which a sort of sluggishness of mind tends continually to condense for us in a thin layer of the past; 

A sense of number, discovering and grasping unflinchingly the bewildering multitude of material or living elements involved in the slightest change in the universe;

A sense of proportion, realizing as best we can the difference of physical scale which separates, both it rhythm and dimension, the atom from the nebula, the infinitesimal from the immense;

A sense of quality, or of novelty, enabling us to distinguish in nature certain absolute stages of perfection and growth without upsetting the physical unity of the world; 

A sense of movement, capable of perceiving the irresistible developments hidden in extremely slow development - extreme agitation concealed beneath a veil of immobility - the entirely new insinuating itself into the heart of the monotonous repetition of the same things; 

A sense, lastly, of the organic, discovering physical links and structural unity under the superfical juxtaposition of successions and collectivities.

...we have only to rid our vision of the threefold illusion of smallness, plurality, and immobility for man effortlessly to take the central position... the momentary summit of an anthropogenesis which is itself the crown of a cosmogenesis. No longer will man be able to see himself entirely unrelated to mankind, neither will he be able to see mankind unrelated to life, not life unrelated to the universe."

- Teilhard De Chardin

The Phenomenon of Man

Music of the Eyes

"What prohibits me from treating my perception as an intellectual act is that an intellectual act would grasp the object either as possible or as necessary. But in perception it is 'real'; it is given as the infinite sum of an indefinite series of perspectival views in each of which the object is given but in none of which is it given exhaustively."

- Maurice Merleau-Ponty

(1908 - 1961)

"Perhaps art is just taking out

what you don't like

and putting in what you do.

There is no such thing 

as Abstraction. 

It is extraction, 

gravitation toward a 

certain direction... 

It is nearer to music, 

not the music of the ears, 

just the music of the eyes."

- Arthur Dove

(1880 - 1946)

Illumination and Purification

"The outcome is this...the whole conscious being is open to spiritual experiences of every kind. It turns toward spiritual truth in thought, feeling, perception, and action; it is adjusted to respond rightly... The second thing is the free influx of all kinds of spiritual experience, experience of self, experience of God and of the divine creative power, experience of the cosmic consciousness, a direct contact with cosmic forces and with the hidden movements of universal Nature, a psychic sympathy, union, inner communication and various kinds of reciprocal relationship with other beings and with Nature as a whole, illumination of the heart through love and devotion, through spiritual joy and ecstasy, illumination of the senses and of the body through higher experiences, illumination of dynamic action in truth and love, purification of mind and spirit, heart, and soul."

- Emma Kunz

(1893 - 1963)

"Complete consciousness is present to us at all times, every moment, but we reject it in order to maintain our prejudices, our ideas. But sooner or later we will relinquish our ideas in favor of response... Life is consciousness of life itself."

-Agnes Martin

(1912 - 2004)

Dissolution of Consciousness

"Seeing is perception 

with the original, 

unconditioned eye. 

It is a state of consciousness 

in which separation of 

photographer/subject, 

audience/image dissolves; 

in which a reality beyond words 

and concepts opens up, 

whose "point" or "meaning" is 

the direct experience itself."

- John Daido Loori

"We look at the world and 

see what we have learned to 

believe is there. 

We have been 

conditioned to expect... 

but, as photographers, 

we must learn to relax our beliefs...

if you look very intensely and slowly, 

things will happen that you 

never dreamed of before.” 

― Aaron Siskind

Wynn Bullock: Color Light Abstractions

"Light to me is perhaps the most profound truth in the universe. My thinking has been deeply affected by the belief that everything is some form of radiant energy." - Wynn Bullock (1905 - 1975)

Wynn  Bullock is arguably one of the greatest fine-art photographers to have graced our world with his soulful mind, heart, and eye. He is also one of three photographers (of a bygone generation, relative to mine) that I deeply lament not having had the opportunity to meet and get to know personally (the other two being Ansel Adams and Minor White). Though I was certainly alive when Bullock passed away (and I was already "taking pictures"), I was but a young lad of 15, and had yet to appreciate the Buddhist transience of life and everything precious in it. Plenty of time to "get to know the greats..." (or so I thought)

How would my creative life have been different - what alternative paths would I have taken - had there been a chance to learn - and possibly muse with - such extraordinary artists; whose work I have learned to respect and resonate with on ever deeper levels as I grow into the late summer of my own life? Adams first showed me how nature can be seen as its own transcendent reality. And White how the best photographs are those whose "outer appearance" reflect one's "inner perceptions." But it was Bullock, whose work I came to know and admire deeply a few years after studying Adams and White, who (continues to) pave the way for my own creative journey; one that strives to combine - and transcend - the (nominally pseudo-orthogonal) aesthetic, spiritual, and intellectual dimensions of experience, thought, and reality.

Apart from living in slightly different times (I was born 55 years after Bullock) and different places (he on the west coast, I on the east), and apart from the fact that Bullock's work is well-known to almost all photographers and mine to almost none (outside of family, friends, and an occasional tip-of-the-hat from a kind reader of my blog), our respective histories and creative predilections share a few traits; I therefore feel an especially close affinity towards him. For starters, both of us were married twice, the first time rather unsuccessfully in what was more of a "trial" (in both literal and figurative senses), and not-at-all conducive to producing any kind of art - in Bullock's case, I was saddened to learn that his first wife thought his photography was a waste of time (mine was more understanding); she'd sometimes enter his darkroom to tear up his prints in fits of anger! In both cases, our second marriage found us soul-mates and muses.  Bullock's second marriage led to two girls; mine, to two boys.

The most important traits we share have to do with our photography: (1) we are both opportunistic, taking advantage of family trips and outings more than Ansel-Adams-like dedicated month-long trips away from home (reveling primarily in finding and revealing the transcendent nature of everyday reality), (2) we both incessantly experiment with new modes of visual expression (perpetually seeking that extra "spark" to ignite a new line of aesthetic inquiry), and (3) we both heavily ground our photography in intellectual - sometimes deeply metaphysical - musings (invoking images of time, space, reality, illusion, ...); a fact that should be obvious (on my side, at least) to anyone who has perused just the topics of my blog entries, much less their substance ;-) Bullock's musings may be sampled on his website (lovingly crafted and kept up-to-date by his eldest daughter, Barbara Bullock-Wilson) and in a few of his books that are still available: (1) Wynn Bullock: The Enchanted Landscape, Photographs 1940-1975, (2) Wynn Bullock: Photography a Way of Life, and (3) Wynn Bullock (Aperture Masters of Photography). (Links to other references are provided below).

And so we come to the point of this blog, which is to introduce interested readers to an extraordinary new book of Bullock's color abstracts - Wynn Bullock: Color Light Abstractions - which also serves as a catalog of a traveling exhibition that premiered on May 15, 2010 at the Center for Photographic Art in Carmel,California. I label this book "new" not only because it has only recently been published (in 2010), but because it contains over 50 color light abstractions that have rarely before been seen in public! Though Bullock was primarily a black-and-white photographer (another trait we share), he had experimented heavily, in the late 50s and early 60s, with color. Unsatisfied with the color printing at the time, few outside his family and circle of friends ever saw samples of this work, and even then mostly via slide presentations. Inspired and helped by a close family friend (John Hong Hall, to whom the traveling exhibition is dedicated and whose moving story appears in an afterword to the book), the heirs to (and caretakers of) Bullock's work undertook the prodigious task of organizing, restoring, scanning, and printing 50+ year-old Kodachrome color slides.

I will spare readers a "description" of these images, since whatever pale words I may attach to my "experience" of them will so distort their essence - inevitably altering the meaning the images would convey on their own if viewed by your eyes only - that to do so would be an aesthetic injustice on my part. Suffice to say that this collection of color light abstracts is nothing short of breathtaking! Were one not told of how these surrealistic, other-wordly images came to be (a word or two on that in a second), but was simply presented with the finished portfolio, with only the implicit understanding that the images were obviously produced by a prodigiously gifted photographer, one would be forgiven for believing that it was all "some Photoshop trick," albeit an astoundingly creative - indeed, visionary - one! The fact that these images were produced c.1960 using everyday objects like broken shards of thick colored glass, beads, jewelry, polarizing filters, and both artificial and natural light, makes this already exquisite portfolio all the more remarkable. A short description of his method appears here, and also in a superb 30 min documentary on his life and work, Wynn Bullock: Photographer.

I have written before of heretofore having only three epiphanous reactions to photography monographs, to which I simply went "Wow!" upon seeing, and which fundamentally altered my perceptions of the creative potential of photography as an art form: (1) Bruce Barnbaum's Visual Symphony (in the 1970s), (2) Fay Godwin's Land  (middle 1980s), and (3) John Sexton's Recollections (in 2006). To this short list I must now add a fourth, Wynn Bullock's Color Light Abstractions. This work is, in a word, a masterpiece! 

Additional references: Wynn Bullock's biography appears here, and a sampling of color abstracts that appear in the book appear on this page. A 3-min video may be seen here. A portfolio of some of Bullock's black-and-white images appears in Lenswork Issue #55, available in Adobe pdf). A few books may also be ordered directly from Bullock's website. Other include: Wynn Bullock (Phaidon Press), Wynn Bullock (Scrimshaw Press), Wynn Bullock Photographing the Nude: The Beginnings of a Quest for Meaning, and The Photograph as Symbol. As of this writing, copies of Photography and Philosophy of Wynn Bullock (by Clyde Dilley, published in 1984) are also still available.

Postscript: I stumbled across Bullock's color abstractions somewhat synchronistically (at an age close to Bullock's when he first started experimenting with color), insofar as I have recently also embarked on what has turned out to be a multiyear "color experiment" in (what in my case, I call) "Synesthetic Landscapes" (and that I have discussed before). Though the specifics of our methods differ, like Bullock, I am essentially driven to photograph light itself, not the physical forms that light makes visible or otherwise gives shape and texture to. My "color abstract sources" (thus far, at least) have been impromptu / makeshift "in the field" mini studios consisting of doors or bottles of rum (among many, many other everyday "things"); the best results are eerily reminiscent of the hyperreal dimensions discovered first by Bullock: realms of fluidic time and space, ineffably infused with mysterious luminescent protoforms of life and consciousness ;-)

A Blurred Path Toward Clarity

"To be an artist is not a matter

of making paintings or objects at all.

What we are really dealing with

is our state of consciousness

and the shape of our perception."

— Robert Irwin, Artist/Theorist (1929 - )

It has been quite a while since my last blog post; the long hiatus due (as almost always) to the demands and constraints of "day job" responsibilities. As I slowly reacclimate my activities to nurture both parts of my brain, I offer a short and humble blog entry to highlight some recent photography projects and expand upon an observation about "how I do photography" that a friend of mine found interesting in a recent interview I gave (and that others might find amusing to muse on).

First, I am delighted to announce that I have had two portfolios published in the last few months: (1) my Luray Caverns portfolio, which appears in both the print and expanded DVD-editions of Lenswork (issue #95, Jul/Aug 2011), and (2) my Abstract Glyphs portfolio, spotlighted on pages 72-75 in the December 2011 issue of B&W magazine (images also appear on their gallery page).

While listening to my interview with Brooks Jensen (editor, Lenswork) for the DVD edition of issue #95, a friend of mine was intrigued to learn of a particular habit I picked up early in my photography (when I was just learning the art in my late teens, a few centuries ago ;-) I'd be interested in learning if others have had (or have) the same experience.

In recounting to Brooks how I started off my day-long sojourn to Luray caverns, I noted that for the first 30 minutes or so I just walked around without a camera (as I always do) and without my eyeglasses on (also, as I always do). Because I am very nearsighted, seeing the world without my glasses yields an almost abstract - certainly much simpler, distilled - representation of it. Since my eyes sans glasses provide only rudimentary information about shapes and tones, I find it a useful exercise to first "see" my compositional landscape (as it were) in these aesthetically simple terms, before fully investing - and immersing - myself in finding real photographs in it. This has been a vital part of my creative process for well over 35 years. But it started quite by accident.

When I was just starting out in photography, I found the physical act of using the viewfinder on a camera hard on my eyes. The constant shifting between squinting through the camera followed by focusing on something in the distance quickly tired my eyes. So, after even a few shots, I would usually take off my eyeglasses and rub my eyes a bit before resuming my camera work. One day, with my glasses off, I turned to glance in a direction where some commotion was going on. I could make out only some blurry lights and shapes, but whatever was going on it looked "interesting." Without thinking (and still without my glasses, which had also fallen to the ground) I lifted my camera to my eye and - without thinking and unable to really see anything - took a shot. I have long forgotten what that shot was a shot of, but I remember being mesmerized by the thought - later after I developed the film - that it had turned out better than OK; it was a really well-composed, lovely shot! But not one I would necessarily have taken of this subject (namely, a scene with people in it!) had I had my glasses on. The lesson taught me to always first "see" a scene sans glasses.

The middle panel of the triptych shown above depicts, roughly, what I "saw" when I first descended the stairs into Luray's interior. The left panel shows what the scene may look like to a robotic version of Andy that sees the world through an 'edge detect" filter. The right panel shows how a non-robotic version of Andy renders the same scene after he's had a chance to see it with his glasses on ;-)

FYI: a 40-min long mp3 file of my interview with Brooks Jensen is available for download from Lenswork for 99 cents.

Quiet Mind

"Learn to be silent.

Let your quiet mind

listen and absorb."

- Pythagoras

“Only in quiet waters things

mirror themselves undistorted.

Only in a quiet mind is

adequate perception

of the world.”

- Hans Margolius

Aphorisms on ethics (1955)

Stones and Percepions

"It may seem ironic or contradictory

that detailed pictures of so-called

reality become vehicles for moving

us beyond ordinary perceptions."

- Duane Pebbles

"Bells and stones have voices,

but unless they are struck,

they will not sound."

- Chuang Tzu

Strange Loops

"To make an 'I' you need meanings, and to make meanings you need perception and categories... The closing of the strange loop of human selfhood is deeply dependent upon the level-changing leap that is perception, which means categorization, and therefore, the richer and more powerful an organism's categorization equipment is, the more realized and rich will be its self. Conversely, the poorer an organism's repertoire of categories, the more impoverished will be the self, until in the limit there simply is no self at all... In the end, we self-perceiving, self-inventing, locked-in mirages are little miracles of self-reference."

-Douglas Hofstadter
Consciousness Researcher
Author of Godel, Escher, Bach
(1945 - )

Polarity, Paradox, Perception

"Everything is dual;
everything has poles;
everything has its pair of opposites;
like and unlike are the same;
opposites are identical in nature,
but different in degree;
extremes meet;
all truths are but half-truths;
all paradoxes may be reconciled."
- Hermes Trismegistus
(The Kybalian: A Study of the
Hermetic Philosophy of Ancient Egypt and Greece, 1908)

"Every perception is an
awareness of contrast,
of a right/wrong, is/isn’t,
bright/dark, hard/soft situation.
If this is the very nature of
awareness, any and every circumstance,
however fortunate, will have
to be experienced as a
good/bad or plus/minus
in order to be experienced at all."
- Alan Watts
In My Own Way (1972)