But, if so, whence life in the first place?
creating more and more cracks in the
floor of Darwin’s nature until the cracks,
ever expanding, become the
very floor of nature,
and nature herself.
its foundational moorings and floats free.
"We are agents who alter the unfolding of the universe."
"Did I live? The human world is like a vast musical instrument on which we play our individual part while simultaneously listening to the compositions of others in an effort to contribute to the whole. We don't chose whether to engage, only how to; we either harmonize or create dissonance. Our words, our deeds, our very presence create and leave impressions in the minds of others just as a writer makes impressions with their words. Who you are is an unfolding narrative. You came from nothing and will return there eventually. Instead of taking ourselves so seriously all the time, we can discover the playful irony of a story that has never been told in quite this way before."
- Stuart Kauffman (1939 - )
- Hermann Hesse (1877 - 1962)
The Glass Bead Game
Postscript. One last "improvisation" on finding ways to render the ephemeral beauty that lives and dwells in flame (as described in Temporality #1) before I move on to other images and musings. The base images in this example are selected from the same set I used for my earlier examples (i.e., roughly 100 or so macros of flame, exposed between 1/2000th and 1/5000th sec). Also, just as in the last example (Temporality #2), each panel of the triptych is effectively an average (in terms of luminance) of three separate images. But this time, I loosened the constraint that individual photographs must retain their original orientation. I've written a short Mathematica program that automates the process of assembling triptychs of luminance-averaged layers, wherein each image either remains "as is" (i.e., in its original upright position), is reflected horizontally or vertically (as in a mirror), or is reflected both horizontally and vertically. Of course, this vastly increases the set of randomly assembled images. Assuming 100 "base" images - i.e., original flame macros - a 3 panel assembly consisting of 3 layered base images, each of which can assume any of four orientations, leads to over 50 million! combinations! But, while this makes it difficult, if not impossible, to sample even a small fraction of the "abstract triptych space," it can also yield striking images that would otherwise likely remain unknown. Of course, there are myriad associated aesthetic, conceptual, and philosophical depths that can be mined here (e.g., "What does the space of all possible 'creative' excursions from a starting set of images even look like?" - echoes of Stuart Kauffman's space of the "Adjacent Possible"), but I best end the discussion here, and let the lone exemplar above speak of what lives in that unimaginably larger universe of latent realities.
- Stuart Kauffman (1939 - )