Esse Est Percipi

"...neither our thoughts, nor passions, nor ideas formed by the imagination, exist without the mind, is what everybody will allow. And to me it is no less evident that the various sensations or ideas imprinted on the sense, however blended or combined together (that is, whatever objects they compose) , cannot exist otherwise than in a mind perceiving them … The table I write on I say exists, that is, I see and feel it; and if I were out of my study I should say it existed-meaning thereby that if I was in my study I might perceive it, or that some other spirit actually does perceive it ... or as to what is said of the absolute existence of unthinking things without any relation to their being perceived, that is to me perfectly unintelligible. Their esse is percipi, nor is it possible they should have any existence out of the minds or thinking things which perceive them. [Berkeley, The Principles of Human Knowledge, quoted by JLB]

...
With the continuities of matter and spirit denied,
with space denied, I do not know by what
right we retain that continuity which is time.
Outside each perception (real or conjectural),
matter does not exist;
outside each mental state,
spirit does not exist;
neither then must time exist
outside each present moment.
...

[We] are nothing but a bundle or collection of different perceptions, which succeed each other with an inconceivable rapidity ... The mind is a kind of theater, where several perceptions successively make their appearance; pass, repass, glide away, and mingle in an infinite variety of postures and situations ... The comparison of the theater must not mislead us. They are the successive perceptions only, that constitute the mind; nor have we the most distant notion of the place, where these scenes are represented, or of the materials of which it is composed. [Hume, A Treatise of Human Nature, quoted by JLB]"

- Jorge Luis Borges (1899 - 1986)
A New Refutation of Time

Time and Memory

"This is the disconcerting conclusion that emerges from Boltzmann’s work: the difference between the past and the future refers only to our own blurred vision of the world. It’s a conclusion that leaves us flabbergasted: is it really possible that a perception so vivid, basic, existential—my perception of the passage of time—depends on the fact that I cannot apprehend the world in all of its minute detail? On a kind of distortion that’s produced by myopia? Is it true that, if I could see exactly and take into consideration the actual dance of millions of molecules, then the future would be “just like” the past?

...

Temporality is profoundly linked to blurring. The blurring is due to the fact that we are ignorant of the microscopic details of the world. The time of physics is, ultimately, the expression of our ignorance of the world. Time is ignorance.

...

I am my mother’s caresses, and the serene kindness with which my father calmly guided me; I am my adolescent travels; I am what my reading has deposited in layers in my mind; I am my loves, my moments of despair, my friendships, what I’ve written, what I’ve heard; the faces engraved on my memory. I am, above all, the one who a minute ago made a cup of tea for himself. The one who a moment ago typed the word “memory” into his computer. The one who just composed the sentence that I am now completing. If all this disappeared, would I still exist? I am this long, ongoing novel. My life consists of it."

- Carlo Rovelli (1956 - )
The Order of Time

Oysters, Beyuls, and Palimpsests

"We are surrounded and embraced by her;

powerless to separate ourselves from her,
and powerless to penetrate beyond her.

We live in her midst and know her not.

She is incessantly speaking to us,

but betrays not her secret.

- Johann Wolfgang von Goethe (1749 - 1832)

As I - finally! - jump back into the practice of posting an image or two with accompanying quotes (I've been busy with "day job" activities and travel for what seems like forever! - for those kind readers who are still with me, a humble bow and "Thank you!" for your patience), there is no better place to start than by explaining what the title of this blog entry ("Oysters, Beyuls, and Palimpsests") is referring to.

I have written before of viewing old subjects with new eyes (that summarizes how a Kauai I thought I knew well after multiple visits that began in the early 1980s, gradually revealed new truths about herself, but only after I changed my own way of "looking"), but never before have I experienced this as deeply as I did on the most recent trip my family and I took to the Pacific Northwest; specifically, the eastern part of the Olympic Peninsula that opens into the Hood Canal. As on myriad past trips, my reading material played an unexpected but vital part in steering my eye/I toward specific elements of the physical environment. In Scotland, I was "accompanied" by a biographies of William James (in 2009) and of Jon Schueler (2016), and both shaped the photography I did on those trips; likewise, in Kauai (in 2014), my compositions arose in part from a book about the island's history that I was immersed in on that trip; and the same in Alaska (in 2018), when a book on Alaska's history gently fueled my imagery. On our first trip to the Northwest (in 2019), I was reading histories and biographies of 19th century Western/U.S. photographers (William Henry Jackson and Carleton Watkins), and my photographs from that trip tended toward the Ansel-Adams-ish "epic" macro landscapes. But, on this most recent trip, my lens was almost always trained on far quieter and subtler kinds of micro-landscapes.

To be sure, part of the reason was the weather. While July's "heat dome" (that descended over much of the Pacific northwest) had dissipated by the time we arrived, it had not gone entirely, and the area was blanketed in unseasonably high temperatures and perfectly clear skies (i.e., far from ideal conditions for landscape photography). Luckily, the book I chose to accompany me on this trip provided both solace (from the physical conditions) and nourishment (of a spiritual kind), that together compelled me to view an old subject with astonishingly new eyes. 

The book is called The Heart of the World, one of seven that Ian Baker has written on Himalayan and Tibetan cultural history, environment, art, and medicine. This particular book - written in 2004, and one of the very best adventure/spiritual-quests I have ever read (!) - is ostensibly about finding a fabled colossal waterfall deep within an unexplored part of Tibet’s Tsangpo gorges in the Himalayas (Baker has subsequently been honored by the National Geographic Society as one of six ‘Explorers for the Millennium’ for the ethnographic and geographical research he was a part during his quest to find this waterfall), but is really an extraordinary (and extraordinarily spiritual) account of how one's state-of-mind/reality determines access to Beyul, or "hidden lands where the essence of the Buddhist Tantras is said to be preserved." 

Writing of Beyul, the Dalai Lama asserts in the book's introduction, that "...such sacred environments ... are not places to escape the world, but to enter in more deeply. The qualities inherent in such places reveal the interconnectedness of all life and deepen awareness of hidden regions of the mind and spirit. Visiting such places with a good motivation and appropriate merit, the pilgrim can learn to see the world differently from the way it commonly appears..."

While in the Pacific northwest, I read small bits of The Heart of the World each day, cherishing and relishing it's quiet insights and deep wisdom before drifting off to sleep, and anticipating the next day's activities. The result was that my attention was drawn far less to "Wagnerian epic"-like vistas, and more (so much more!) to the timeless essence of place - such as the Oyster-shells seen in the triptych above. Why Oysters? For one thing, our Airnb rental was close to the Hamma Hamma oyster saloon near Lillywaup, WA; so - given the "non photographer's weather" - my wife and I wound up having a lot of time to kill during the day enjoying local quisine. For another - in dreams at least - oysters are associated with quiet meditation and “going within." And, since like palimpsests, oysters record both time and events, their ubiquity in Lillywaup (heck throughout the Hood canal) entwined with my nightly excursions into Tibetan Beyuls. Oysters became my own palimpsests of spiritual and aesthetic journeys, both real and imagined. I was utterly mesmerized by their siren call; the elegance of their form, and the numinous quality of their decaying shells. And on those rare occasions when I was lucky enough to have particularly "good motivation and appropriate merit" - such as when I chanced upon a small deserted beach strewn with oyster shells - the results were pure magic! I caught brief glimpses of the preternatural luminescence that permeates an ineffable Beyul-of-the-mind. 

For those of you interested in viewing a few more examples of what I'm tentatively calling "Numinous Palimpsests," I have posted a small portfolio on my main website.

Continuous Cloth

 "Time really is one
big continuous cloth, no?
We habitually cut out
pieces of time to fit us,
so we tend to fool ourselves
into thinking that
time is our size,
but it really goes
on and on."

- Haruki Murakami (1949 - )
A Wild Sheep Chase

Time Doesn't Pass

"In magic - and in life - there is only the present moment, the now. You can't measure time the way you measure the distance between two points. 'Time' doesn't pass. We human beings have enormous difficulty in focusing on the present; we're always thinking about what we did, about how we could have done it better, about the consequences of our actions, and about why we didn't act as we should have. Or else we think about the future, about what we're going to do tomorrow, what precautions we should take, what dangers await us around the next corner, how to avoid what we don't want and how to get what we have always dreamed of."

- Paulo Coelho (1947 - )

Eventless Time

"Time interval is a strange and contradictory matter in the mind. It would be reasonable to suppose that a routine time or an eventless time would seem interminable. It should be so, but it is not. It is the dull eventless times that have no duration whatever. A time splashed with interest, wounded with tragedy, crevassed with joy - that's the time that seems long in the memory. And this is right when you think about it. Eventlessness has no posts to drape duration on. From nothing to nothing is no time at all."

- John Steinbeck (1902 - 1968)

The Illusion of Time

"We are living in a culture entirely hypnotized by the illusion of time, in which the so-called present moment is felt as nothing but an infintesimal hairline between an all-powerfully causative past and an absorbingly important future. We have no present. Our consciousness is almost completely preoccupied with memory and expectation. We do not realize that there never was, is, nor will be any other experience than present experience. We are therefore out of touch with reality. We confuse the world as talked about, described, and measured with the world which actually is. We are sick with a fascination for the useful tools of names and numbers, of symbols, signs, conceptions and ideas."

- Alan Watts (1915 - 1973)

Network of Perceptions

"A world of evanescent impressions; a world without matter or spirit, neither objective nor subjective, a world without the ideal architecture of space; a world made of time, of the absolute uniform time of [Newton’s] Principia; a tireless labyrinth, a chaos, a dream.

"Once matter and spirit — which are continuities — are negated, once space too is negated, I do not know with what right we retain that continuity which is time. Outside each perception (real or conjectural) matter does not exist; outside each mental state spirit does not exist; neither does time exist outside the present moment.

"And yet, and yet… Denying temporal succession, denying the self, denying the astronomical universe, are apparent desperations and secret consolations. Our destiny … is not frightful by being unreal; it is frightful because it is irreversible and iron-clad.

Time is the substance

I am made of.

Time is a river which

sweeps me along

but I am the river;

it is a tiger which

destroys me,

but I am the tiger;

it is a fire which

consumes me,

but I am the fire.

The world, unfortunately, is real;

I, unfortunately, am Borges."

- Jorge Luis Borges (1899 - 1986)

"A New Refutation of Time," Labyrinths

Time, Process, and Eternity

"Happy is the man who can recognize in the work of to-day a connected portion of the work of life and an embodiment of the work of Eternity. The foundations of his confidence are unchangeable, for he has been made a partaker of Infinity. He strenuously works out his daily enterprises because the present is given him for a possession.

Thus ought man to be an impersonation of the divine process of nature, and to show forth the union of the infinite with the finite, not slighting his temporal existence, remembering that in it only is individual action possible, nor yet shutting out from his view that which is eternal, knowing that Time is a mystery which man cannot endure to contemplate until eternal Truth enlighten it."

- James Clerk Maxwell

(1831 - 1879)

Time's Arrow

“Time goes forward because energy itself is always moving from an available to an unavailable state. Our consciousness is continually recording the entropy change in the world around us. We watch our friends get old and die. We sit next to a fire and watch it's red-hot embers turn slowly into cold white ashes. We experience the world always changing around us, and that experience is the unfolding of the second law. It is the irreversible process of dissipation of energy in the world. What does it mean to say, 'The world is running out of time'? Simply this: we experience the passage of time by the succession of one event after another. And every time an event occurs anywhere in this world energy is expended and the overall entropy is increased. To say the world is running out of time then, to say the world is running out of usable energy. In the words of Sir Arthur Eddington, 'Entropy is time's arrow'.” - Jeremy Rifkin, Entropy

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

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)

Timeless Unity

"A timeless, limitless, perfect unity underlies all our feeling and thought, underlies every form of existence and every part of our self. We know this through a deep, inner awareness for which we can give no explanation or proof, because it is itself the source of all knowledge, proof, and explanation. Depending on our degree of personal development, this awareness in us may be obscure or clear.

In reason and in nature this highest reality appears to us in its internal and external manifestations. We feel ourselves to be a part of this reality. As creatures both of nature and of reason, we constitute an entity which contains both nature and reason , and thus partakes of the divine. This opens two different directions to our mental life. We may, on the one hand, try to reduce the multiplicity and infinity of nature and reason to their original, divine unity. Or we may try to represent the inner creative unity of our selves in an external multiplicity. In doing the latter, we exercise capability, in doing the former, we show insight. Insight produces knowledge and science. 

Capability produces art... [Art] owes its existence to the creative activity of the human spirit, and... sprung from a unity, it must itself be a complete, coherent, and quasi-organic whole."

- Carl Gustav Carus

Physiologist / Painter (1789 - 1869)

Nine Letters on Landscape Painting

Discarnate Muses and Artists

"To take photographs. Such was the entry point into photography. Along the creek beds and waterfalls seeing was always possession and camera affirmed ownership. Since then other modes, other doors have superseded, for example, to make photographs. The greed, however, has never really disappeared. Ownership seems to be the force that opens all the other doors. Yet, possession is not all. As I become more in harmony with the world around, through, and in me, the varieties of time weave together. Chronological time, the time my psyche takes, and creative time were once always at odds with each other. Less so now that the manifestations of inner growth are seen to be set in my path as if by an invisible discarnate friend. When I have sensed his presence, the photographs, afterward, seem like footprints... his or mine is the question!" 

- Minor White

Rites and Passages

"The other one, the one called Borges, is the one things happen to. I walk through the streets of Buenos Aires and stop for a moment, perhaps mechanically now, to look at the arch of an entrance hall and the grillwork on the gate; I know of Borges from the mail and see his name on a list of professors or in a biographical dictionary. I like hourglasses, maps, eighteenth-century typography, the taste of coffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into the attributes of an actor. It would be an exaggeration to say that ours is a hostile relationship; I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. Besides, I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things.

Spinoza knew that all things long to persist in their being; the stone eternally wants to be a stone and the tiger a tiger. I shall remain in Borges, not in myself (if it is true that I am someone), but I recognize myself less in his books than in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I shall have to imagine other things. Thus my life is a flight and I lose everything and everything belongs to oblivion, or to him.

I do not know which of us has written this page."

-Jorge Luis Borges

"Borges and I"

Eternal Purity

"O King, you say that Atman is infinite. Well, that which is infinite must be unconditioned by time and space. Absence of duality in Atman renders it incapable of being a cause. A cause exists both before and after the effect, as clay does in respect of the jar. But, in Atman there is neither beginning nor end. Besides, a cause must modify or change itself to produce an effect. Atman being all and absolute is free from the possibility of change or modification. Atman is indestructible and immutable. It has never fallen from its nature. As there is no duality in Atman, so it is neither subject nor object. Nor is there any action in it. It is eternally pure like the blue sky or space. O King, and it is your own nature."

- Yoga-Vasistha

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 ;-)

My Dad's Gentle Nudge Forward

“People say that what we’re all seeking is a meaning for life. I don’t think that’s what we’re really seeking. I think that what we’re seeking is an experience of being alive, so that our life experiences on the purely physical plane will have resonances within our own innermost being and reality, so that we actually feel the rapture of being alive.”

― Joseph Campbell, The Power of Myth

Postscript: Campbell's quote appears in my dad's handwriting on a yellowed strip of paper that accidentally fell out of page 133 of a book he bequeathed me - The Spiritual in Art - as I was thumbing through it for inspiration. Two other quotes adorn the page my dad evidently used Campbell's quote as a placeholder for (the bookmarked page is the first page of the chapter "Transcending the Visible" by Sixten Ringbom that appears on page 131 of the book). The first quote is a 1913 muse by Kandinsky that describes his early dilemma of understanding the "meaning" of an abstract work:

"A terrifying abyss of all kinds of questions, a wealth of responsibilities, stretched before me. And most important of all: what is to replace the missing object? The danger of ornament revealed itself clearly to me; the dead semblance of stylized forms I found merely repugnant... It took a very long time before I arrived at the correct answer to the question: What is to replace the object? I sometimes look back at the past and despair at how long this solution took me."

The second quote is by Georges Vantongerloo (1886-1965, Belgian abstract sculptor and painter): "The great truth, or the absolute truth, makes itself visible to our mind through the invisible."

The synchronicity of these quotes becomes clear when one is informed of these basic facts: (1) the title of my portfolio book is "Seeing the Invisible" (which I produced a few years ago, before knowing of this quote), (2) the very next "project" I am to embark on is an expansion of this same portfolio (the "Seeing the Invisible" project is literally the next item on the "to do" list looking up at me as I type these words), and (3) just yesterday, I chided myself with the words "Andy, why did it take so long?" after finally finding a way catalyze a new series of abstractions (and which will no doubt be the basis of a future blog post). Even after 10 years of not being by my side in person, my dad still somehow manages to find a way to gently nudge my art forward ;-)

Pikes, Minnows, and Parks (and a Lesson, Oh My)

"The hardest thing to see is what is in front of our eyes." - Johann Wolfgang von Goethe

During a visit to see my mom on Long Island the other week, my younger son and I stumbled across a beautiful park - no more than a stone's throw away from the house I grew up in - that I never knew existed! Well, I knew of the place, and of its beauty, but not of the park's presence. And therein lies an important lesson that owes its origin to pikes and minnows.

Years ago, I read of an experiment in which some biologists used cameras to record the actions of a large northern pike inside of an aquarium filled with small minnows. Initially, the pike did exactly what one would expect a pike to do under those circumstances; namely, it enjoyed a feast of a lifetime, since it was surrounded by its favorite food.

But then the researchers placed a glass barrier between the pike and the smaller fish. Each time the pike attempted to grab a minnow, it struck its head on the glass. After many repeated failures, it simply stopped trying altogether. The researchers waited until after the pike was clearly hungry and removed the barrier, thus allowing the minnows to swim toward the pike. What did the pike do? Absolutely nothing! Having "learned" that feeding on the minnows was anything but productive (indeed, even painful), the pike blissfully ignored an aquarium-full of food source. It eventually died from starvation. Despite being immersed in a field of nourishment, it believed none was attainable.

And so we come to our newly "discovered" park... I have known about this place ever since I was about 10 or so (i.e., 41 years ago!). My family and I must have driven past it dozens of times a year. My attention was always drawn to a picturesque little "house" (well, I always thought it was a house, which I now know is an old unused mill, which appears in the image above) overlooking a pond with lovely water lilies. The property itself was on a tiny cliff overlooking a harbor, and surrounded by gorgeous trees.

I very clearly remember wanting to take pictures of the "property" when I started doing photography (when I was around 15), but never got around it; too "embarrassed" (as a youth) to act my resolve to ask the owners for permission. What I did not know - having inadvertently taught myself an incorrect truth (as the pike taught itself that its food was inaccessible) - is that this was a public park! Having gone through so many days in my youth during which I would wake up resolved to "go knock on the door of that house to ask for permission to take pictures," only to wind up empty-handed for whatever reason (laziness, shyness, forgetfulness, ...), my brain eventually defined the house and its property as a private residence, simply because (a) I had never thought of it in any other way, and (b) I never bothered to find out what it really was. The house was on private property, and that was that. And so, years and years would pass, with endless trips up and down the road that house still sits on; periodically, in passing, I would tell my mom, my kids, my wife (anyone in the car with me), "You know, one day..."

On this particular trip, I once again firmly resolved to... going so far as to deliberately pack an extra photography business card to present to the owners. Finally - finally! - I set aside some time to actually walk up to the door and ring the bell. And after 41 years of "knowing," I finally learned that I could have explored this property any time I wanted. Embarassing? Oh yes! And I truly have no explanation why this time proved different. Why did I go now, but not last year, or the year before that? Why not indeed?! Apart from some wonderful pictures (that I ought to have started taking 35 years ago), this experience has also taught me a lesson worth applying to all of my other "learned" truths as well. What am I blind to because I "know" I see it so well?

Aftermath of Inactivity as a Probe Into the Creative Process

A few days ago I posted my first blog entry in over 3 months. It consisted of little more than explaining the long delay (attributed to "day job" related constraints), highlighting some recent publications, and briefly amplifying on an observation I made in a recent interview. But I left out a deeper thought; one that I think goes to the heart of the creative process. Namely, the degree to which what - not how - we choose to photograph defines who we really are; particularly after a long absence from doing photography. This is a point both obvious and subtle.

It is often said that the best (perhaps only?) way to discover who we really are is to see what we do in moments of crisis. I use the word "crisis" here not to label some profound existential angst or trauma, but simply to denote a "moment of truth"; i.e., some instant in time during which a decision must be made now. Perhaps we've delayed a decision, perhaps the problem or issue facing us is too ill-defined, or maybe a looming deadline is just too far in the future for us to care. But then the deadline comes near, or circumstances change, and a decision must be made right now. Malcolm Gladwell (in his book Blink) calls this thin-slicing, though his use of the term refers specifically to those situations where the person making a decision has very little time to make it. However, for the point I'm trying to make, I'd like to relax this last condition; i.e., I am interested in the "I need to make a decision now" process that allows the decision-maker time to reflect on her decision. Yes, a decision needs to be made (today, and not tomorrow, or next week), but you don't need to "thin slice" your response; rather, give the issue some thought - or take a "reflective slice" - and temper it with intuition. Now, what do you decide to do?

My (hardly original) hypothesis is that what we decide to do under these circumstances tells us a lot about who we really are (stripped of all the usual encrusted layers of decisions past and pending). In the context of photography, the problem is: "OK, Andy, you haven't been out with a camera for a while, and now you have an hour or so to prowl around, where do you go and what do you photograph?" My claim is that what I naturally - intuitively - train my camera's lens on says everything about me as a photographer (and about my creative process) that needs - and/or is ultimately worth - saying.

Paradoxically, the deepest insights come from moments of decision that follow long periods of inactivity. For it is only after we have not done photography for a while that the photography most important to us is best revealed. Immersed (as I usually am) in multiple simultaneous ongoing projects, the day-to-day (and shot-to-shot) decisions collectively sculpt only a fleeting image of a particular period of my creative process, as defined by the needs of specific projects; but they do not easily reveal fundamental truths about me as a photographer. While I may discover details about "what I am doing" by paying attention to what I am doing when "I am doing photography" (at times when I am immersed in doing it), I can only discover the truth that underlies all of my photography (perhaps my entire creative process) by paying attention to what I turn my attention to first after not having done photography for a while. It is only after not doing photography that our attention is naturally and strongly drawn first to what matters most deeply; not subject to the vagaries of whatever projects we have just finished or are next on our agenda.

Look at the first photographs you take after dusting off your camera. What do they say? Wherein lies their true meaning? Most likely it is to be found in what the photograph - as a whole - is about. The details matter little; indeed, because of the inevitable build-up of aesthetic rust, the details are just as likely to obscure the intended meaning as illuminate it. In Zen-like fashion, the time during which a photographer - who may normally be obsessed with rendering the tiniest of details in an image just so - is unable to focus on detail, is actually the best time for achieving the deepest clarity of vision.

And so I discovered (or relearned) a truth I've known for as long as I've been a photographer; perhaps longer, since photography is but another word for "seeing with a camera," and I've been "seeing" the world at least a few years longer ;-) To whit, after months of relative creative inactivity, my attention is first drawn to quiet, simple scenes in familiar locations in local parks; and my eye to humble uncluttered rhythms of basic shapes and tones. Though I will undoubtedly soon resume my journey towards ever-deeper abstractions in subject matter and imagery, I know that my creative heart yearns for nothing so deeply as glimpses of a simple sudden stillness.

Evidence of Mutability

"Through falling from its previous function, and thus outliving the use originally conferred upon it, the ruin transgresses and subverts our everyday encounter with space and place. In the space of order and regulation, boundaries are delimited and linear. Being in place means knowing the limits of that place. So long as those limits are respected, then indeterminacy is evaded and the impression of space as productive can be maintained. At the same time, urban space undergoes domestication until it gathers a sense of how it ought to be. Rendering its structural properties apparently a priori, the space for malleability automatically assumes a deviant quality. If delimited space is productive, then space which broaches those boundaries will be termed wasted or otherwise expendable. In the ruin, the elements of waste and marginalization are crystallized...what was once built to testify to a singular and eternal present becomes the symbol and proof of its mutability."

- Dylan Trigg

The Aesthetics of Decay