Inner Sound

"Form itself,
even if completely abstract...
...has its own inner sound."

- Wassily Kandinsky (1866 - 1944)

Cymatic Urphänomen

"She [nature] is the sole artist, creating extreme contrast out of the simplest material, the greatest perfection seemingly without effort, the most definite clarity always veiled with a touch of softness. Each of her works has its own being, each of her phenomena its separate idea, and yet all create a single whole."

- Johann Wolfgang von Goethe (1749 - 1832)
 The Metamorphosis of Plants

"The notion of the Urphanomen is an invaluable illustration of the concrete nature of Goethe's way of thinking which dwells in the phenomenon. The primal phenomenon is not to be thought of as a generalization from observations, produced by abstracting from different instances something that is common to them. If this were the case, one would arrive at an abstracted unity with the dead quality of a lowest common denominator. For Goethe, the primal phenomenon was a concrete instance - what he called 'an instance worth a thousand, bearing all within itself.' In a moment of intuitive perception, the universal is seen within the particular, so that the particular instance is seen as a living manifestation of the universal. What is merely particular in one perspective is simultaneously universal in another way of seeing. In other words, the particular becomes symbolic of the universal."

- Henri Bortoft (1938 - 2012)

The Wholeness of Nature

Photographer's note. To help contextualize the relevance of the quotes, I need to point out that the image above contains three (out of a total of about 24) "snapshot" views of a single unfolding cymatic process. Not only does the triptych show only a tiny fraction of what my eye saw through the viewfinder, but the apparent sharpness of the images also belies the frenetic swirling and rhythmic thrashing of the water because my relatively slow 1/40th sec to 1/60th sec exposures smear over finely detailed patterns. But, while we may be unable to "see" the cymatic Urphanomen in its full splendor (and, even if we could, perhaps would understand as little as does Philip K Dick's "electric ant" after it tries seeing all of reality at once), "each of her works has its own being, each of her phenomena its separate idea, and yet all create a single whole." 

Ineffable Flow

"Water flows, clouds move,
never stopping or settling down.
When the wind blows, the leaves fall.
Like the fish swimming
or the birds flying,
I walk and walk,
going on and on."

- Santōka Taneda (1882 - 1940)

The Sensation of the Mystical

"The most beautiful and most profound emotion that we can experience is the sensation of the mystical. It is the source of all true science. He to whom this emotion is a stranger, who can no longer wonder and stand rapt in awe is as good as dead. To know that what is impenetrable to us really exists, manifesting itself as the highest wisdom and the most radiant beauty which our dull faculties can comprehend only in their most primitive forms - this knowledge, this feeling, is at the center of true religiousness. My religion consists of a humble admiration of the illuminable superior who reveals himself in the slightest details we are able to perceive with our frail and feeble minds. That deeply emotional conviction for the presence of a superior reasoning power, which is revealed in the incomprehensible universe, forms my idea of God."

- Albert Einstein (1879 - 1955)

Habitual Gestures

Making art … means working in the face of uncertainty; it means living with doubt and contradiction doing something no one much cares whether you do, and for which there may be neither audience nor reward. Making the work you want to make means setting aside these doubts so that you may see clearly what you have done, and thereby see where to go next. Making the work you want to make means finding nourishment within the work itself.

...
Your desire to make art,

beautiful or meaningful or emotive art,
is integral to your sense of who you are.

...

Viewed closely, however, style is not a virtue, it is an inevitability, the inescapable result of doing anything more than a few times. The habitual gestures of the artist appear throughout any body of work developed enough to be called a body of work. Style is not an aspect of good work, it is an aspect of all work. Style is the natural consequence of habit."

- David Bayles (1952 - ) and Ted Orland (1941 - )
Art & Fear

Psychic Structure

"We cannot discover ourselves without first discovering the universe, the earth, and the imperatives of our own being. Each of these has a creative power and a vision far beyond any rational thought or cultural creation of which we are capable. Nor should we think of these as isolated from our own individual being or from the human community. We have no existence except within the earth and within the universe.

...

Beyond our genetic coding, we need to go to the earth, as the source from which we came, and ask for its guidance, for earth carries the psychic structure as well as the physical form of every living being on the planet.

...

Ultimately, our guidance on any significant issue must emerge from this comprehensive source. … This source is not distinct from us. The universe is so immediate to us, is such an immediate presence, that it escapes our notice, yet whatever authentically exists in our cultural creations is derived from these spontaneities within us, spontaneities that come from an abyss of energy and a capacity for intelligible order of which we have only the faintest glimmer in our conscious awareness."

Thomas Berry (1914 - 2009)
The Dream of The Earth

Perceived Geometries #2

"Euclid alone has looked on Beauty bare.

Let all who prate of Beauty hold their peace,

And lay them prone upon the earth and cease

To ponder on themselves, the while they stare

At nothing, intricately drawn nowhere

In shapes of shifting lineage; let geese

Gabble and hiss, but heroes seek release

From dusty bondage into luminous air.

O blinding hour, O holy, terrible day,

When first the shaft into his vision shone

Of light anatomized! Euclid alone

Has looked on Beauty bare. Fortunate they

Who, though once only and then but far away,

Have heard her massive sandal set on stone."

- Edna St. Vincent Millay (1892 - 1950)

Perceived Geometries #1

"It is well known that geometry presupposes not only the concept of space but also the first fundamental notions for constructions in space as given in advance. It only gives nominal definitions for them, while the essential means of determining them appear in the form of axioms. The relationship of these presumptions is left in the dark; one sees neither whether and in how far their connection is necessary, nor a priori whether it is possible. From Euclid to Legendre, to name the most renowned of modern writers on geometry, this darkness has been lifted neither by the mathematicians nor the philosophers who have labored upon it."

- Bernhard Riemann (1826 - 1866)

"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)

Eyes of the Dreamer

"Life is not merely what it seems to be.

Hidden from our eyes by the cloak

of materiality is a wonderful world

which only the eyes of the dreamer can see

and the soul of the mystic comprehend.

...

...silence is the root of sound,
and from it pours forth the fiat
that fashioned the world.
This is the dynamic silence of creation,
the tremendous dramatic silence of
new birth forever taking place-
new worlds forever fashioning.

...

To those capable of seeing the
light of these spiritual orbs,
there is no darkness,
for they dwell in the presence of
limitless light and at midnight see
the sun shining under their feet."

- Manly Hall (1901 - 1990)

Divisible Space

"We are not to consider the world as the body of God, or the several parts thereof as the parts of God. He is a uniform Being, void of organs, members or parts,...being everywhere present to the things themselves. And since space is divisible in infinitum, and matter is not necessarily in all places, it may also be allowed that God is able to create particles of matter of several sizes and figures, and in several proportions of space, and perhaps of different densities and forces, and thereby to vary the laws of Nature, and make worlds of several sorts in several parts of the Universe. At least I see nothing of contradiction in this."

- Isaac Newton (1643 - 1727)

Note. The triptych contains "quick grabs" (using my iPhone) of the skylights near Gate 4 of the Bangor, Maine airport while waiting for our plane to return back home (to Northern VA) after viewing the total eclipse on April 8. While I did not take any images of the eclipse (I just wanted to just "be in the moment"), the little black spheres in the skylight reminded me a little of that experience and caught my eye 😊 

A Borgesian Wink and a small Gift to readers of my Blog

As a small thank you to all the kind visitors of my blog - think of it as a holiday gift - please feel free to download an extended version of my "Icelandic Abstracts" portfolio that was just published in the Dec issue of Lenswork magazine (and whom I thank for allowing me to offer it as a freebie here); clicking on the triptych above will take you to a 22MB Adobe pdf file. While it is always a thrill to be published in Lenswork (that belongs at the top of any list of the best "pure photography" magazines in the world; camera gear is only occasionally mentioned, and when it is, only to support the "story" behind the visual narrative; there are also no ads -ever- except those for Lenswork itself), it is a double pleasure for me this go around since my "Icelandic Abstracts" appears in the same issue as a portfolio by Sean Kernan. 

Although I do not know Kernan, I have long admired his talents as a photographer. And, devotees of my blog all know of my fascination with Jorge Luis Borges. The fact that Kernan's and my portfolio appear side-by-side in this month's Lenswork is therefore (from my perspective, at least) a quintessentially Borgesian twist of fate: Kernan's book of photographs accompanying Borges' tales - The Secret Books (published in 1999 and long out of print, it is unfortunately prohibitively expensive if/when found) - is among my most cherished literary/photography possessions! I'd like to think that (again, purely from my perspective, certainly not Kernan's) some otherworldly incorporeal incarnation of Borges just gave me a Borgesian wink 😉

Complexity

"Today the network of relationships linking the human race to itself and to the rest of the biosphere is so complex that all aspects affect all others to an extraordinary degree. Someone should be studying the whole system, however crudely that has to be done, because no gluing together of partial studies of a complex nonlinear system can give a good idea of the behavior of the whole. "

- Murray Gell-Mann (1929 - 2019)

Disorder to Order

"And here the fundamental dilemma appeared. The grim picture of cosmic evolution painted by the physicists—an engine that is slowly running down and grinding to a halt—was in sharp contrast to the evolutionary thinking of the biologists, who observed that the living universe evolves from disorder to order, toward states of ever increasing complexity. At the end of the 19th century, then, Newtonian mechanics, the science of eternal, reversible trajectories, had been supplemented by two diametrically opposed views of evolutionary change—that of a living world unfolding toward increasing order and complexity, and that of an engine running down, a world of ever increasing disorder. Who was right, the physicists or the biologists?"

- Fritjof Capra (1939 - )
Patterns of Connection

It’s a Visual World

Leonora Carrington (asked if there had been other artists in the family): My mother used to paint biscuit tins for jumble sales. That’s the only art that went on in my household.

Interviewer: I wonder where it came from?

Leonora Carrington: I have no idea.

Interviewer: No other artists in our family? None at all?

Leonora Carrington: Why are you fixed on the idea of heredity? It’s not hereditary … comes from somewhere else, not from genes. You’re trying to intellectualize something desperately, and you’re wasting your time. That’s not a way of understanding, to make a kind of intellectual mini-logic. You never understand by that road.

Interviewer: What do you think you do understand by then?

Leonora Carrington: By your own feelings about things …if you see a painting that you like… canvas is an empty space.

Interviewer: If I got one of your pictures down from upstairs and said to you what were you thinking when you painted this…?

Leonora Carrington: No. It’s a visual world, you want to turn things into a kind of intellectual game, it’s not… the visual world, it’s totally different. Remember what I’ve just said now, don’t try and turn it into a …kind of intellectual game. It’s not… It’s a visual world, which is different. The visual world is to do with what we see as space, which changes all the time. How do I know to walk –that’s one concept– to this bed and around it without running into it. I’m moving in space. Or I can have a concept of it and then I can see it as an object in space…”

 - Leonora Carrington (1917 - 2011)
Don't try to intellectualize art

Note. The text above is transcribed by Hugh Blackmer, whose blog is a "must visit" for anyone even remotely interested in photography, art, philosophy, whimsical musings on life and reality, and other thoughts on subjects that language alone is inadequate to describe (Hugh covers a lot of creative ground 😊. The post from which I pilfered Hugh's interview fragment contains links to far more material on Leonora Carrington than just this one interview. Thank you, Hugh! 

The Color Nearest the Light

"[Yellow] is the color nearest the light. It appears on the slightest mitigation of light, whether by semi-transparent mediums or faint reflection from white surfaces. In prismatic experiments it extends itself alone and widely in the light space, and while the two poles remain separated from each other, before it mixes with blue to produce green it is to be seen in its utmost purity and beauty.

...

As no color can be considered as stationary, so we can very easily augment yellow into reddish by condensing or darkening it. The color increases in energy, and appears in red-yellow more powerful and splendid. All that we have said of yellow is applicable here, in a higher degree. The red-yellow gives an impression of warmth and gladness, since it represents the hue of the intenser glow of fire.

...

As pure yellow passes very easily to red-yellow, so the deepening of this last to yellow-red is not to be arrested. The agreeable, cheerful sensation which red-yellow excites increases to an intolerably powerful impression in bright yellow-red. In looking steadfastly at a perfectly yellow-red surface, the color seems actually to penetrate the organ. It produces an extreme excitement, and still acts thus when somewhat darkened."

- Johann Wolfgang von Goethe (1749 - 1832)
Theory of Colours

Leaves, Color, Wholeness

"When we understand what order is,  I believe we shall better understand what matter is and then what the universe itself is ... Learning to see … wholeness … not muddled or contaminated by words and concepts, is extremely difficult, but it is possible to learn …When we see wholeness as it is, we recognize that [its] seeming parts … are merely arbitrary fragments which our minds have been directed to, because we happen to have words for them. If we open our eyes wide, and look at the scene without cognitive prejudice, we see something quite different ... geometric wholeness is not merely beautiful in itself as an accompaniment to the beautiful color. It is essential, necessary, for the release of light. Color, far from being an incidental attribute of things, is fundamental to the living structure of wholeness. Inner light is not merely a phenomenon, but the character of wholeness when it ‘melts.’"

- Christopher Alexander (1936 - 2022)

The Direction of Time

"There is no logical necessity for the existence of a unique direction of total time; whether there is only one time direction, or whether time directions alternate, depends on the shape of the entropy curve plotted by the universe."

- Hans Reichenbach (1891 - 1953)
The Direction of Time

Capturing Surrealities - #2

"Far away there in the sunshine
are my highest aspirations.
I may not reach them, but I can 
look up and see their beauty,
believe in them, and try
to follow where they lead."

- Louisa May Alcott (1832 - 1888 )

This is a second batch of "surrealities," captured using my iPhone during a recent trip to Niagara, CA. Each is an example of the myriad photographic possibilities that almost always present themselves merely by looking up (or down) 😊... The "truth" revealed: the left and right images are lights on the ceiling of two restaurants we ate at, while the center image is the ceiling just outside the second floor entrance to the Table Rock Market, which overlooks the Canadian side of the falls.

Capturing Surrealities - #1

"Unlike other media, a photograph is always based on a real, material origin. Rather than looking at this as a disadvantage, we should understand that this same fact makes photography the ultimate surreal medium – simply because photography, although based on reality, is very far from the truth."

- Sergio Muscat – Abstract Photography/YouTube

While still on the subject of my wife's and my recent weekend trip to Niagara, CA (see posts 1, 2, and 3) - I am working on a few more images I will be sharing in the coming days - the triptych contains three "less than obvious" (surreal?) views of our trip as captured by my iPhone. The "truth" revealed, left to right: a plasma cylinder used to lure visitors into the House of Frankenstein ... a time exposure of a dynamic art display inside a wonderful Indian restaurant called The Dhaba On The Falls (I was given permission to take a shot while we waited for our food to arrive 😊... and an upside down view of some lights hanging on a wall by the luggage conveyor belt at the Buffalo the Buffalo Niagara International Airport. While these humble images may be a far cry from, say, epic Icelandic landscapes - and are probably not to everyone's tastes - I confess that these little surrealities provide me me no end of pleasure when I "discover" them in the wild. It is also worth remembering (by all photographers, from beginner to seasoned pro) that there are always compositional opportunities waiting to be seen and captured.

Expanding Our Vision

"Science seeks to understand complex processes by reducing them to their essential actions and studying the interplay of those actions; and this reductionist approach extends to art as well. Indeed, my focus on one school of art, consisting of only three major representatives [Gustav Klimt, Oskar Kokoschka, and Egon Schiele], is an example of this. Some people are concerned that a reductionist analysis will diminish our fascination with art, that it will trivialize art and deprive it of its special force, thereby reducing the beholder's share to an ordinary brain function. I argue to the contrary, that be encouraging a focus on one mental process at a time, reductionism can expand our vision and give us new insights into the nature and creation of art. These new insights will enable us to perceive unexpected aspects of art that derive from the relationships between the biological and psychological phenomena."

- Eric Kandel (1929 - )
The Age of Insight