Formless Void

"...your tranquil yes to the changing
over into the formless void
of the unlimited."

- Hermann Hesse (1877 - 1962)

Element of The Inscrutable

"It has happened to me, while taking solitary walks through the woods of Baarn, that I would suddenly stop in my tracks and stand stiff as a board, overcome by a frightening, unreal and yet blissful sense of  standing eye to eye with the inexplicable. The tree there in front of me, as an object, as part of the woods, is perhaps not so amazing, but the distance, the space between it and me, suddenly seems unfathomable. He who wants to depict something nonexistent has to follow certain rules. Those rules are more or less the same one as for fairy tales. The element of the inscrutable, on which he now wants to focus attention, needs to be surrounded, to be veiled by a perfectly common everyday evidence, recognizable to all. The true-to-nature environment, acceptable to any superficial spectator, is indispensable for creating the desired shock."

- M. C. Escher (1898 - 1972)
The Magic of M. C. Escher

Cohered Confusion

"[It] is the peculiar gift of the truly great
detective that he can apply to the inexorable
rules of logic three catalyzers:
an abnormal observation of events, 
 knowledge of the human mind and
an insight into the human heart.
...
It is your task to cohere confusion,
to bring order out of chaos.
...
...the pattern must exist.
It’s the same story in detection:
recognize the pattern and you’re within
shooting distance of the ultimate truth."

- Ellery Queen
a.k.a., Frederic Dannay (1905–1982)
and Manfred B. Lee (1905–1971)

Note. I have written before about the meta-pattern that describes the pattern of how I search-for/discover photographic compositions while on travel (e.g., see my short essay, Fox-like Hedgehogian Photography, that describes my experience in Iceland). The first few days in any new place (or old place, newly revisited) are inevitably filled with excitement, awe, and an Ansel-Adams-esque drive to capture Wagnerian-epic landscapes in all their glory. My wife's and my recent trip to New Zealand certainly matched this pattern; and how could it not with truly otherworldly vistas such as Milford Sound! But, predictably, after a relatively few days of rapid-fire "Ooooh" and "Aaahhh!" shots, my eye/I reverted back to its typically quieter less dramatically Wagnerian reflective state to find the sorts of images I love best - i.e., those that are obviously grounded in places I visit, but which may have been taken anywhere - intimate patterns that catch my attention not because they scream "Capture me to show others before the light goes bad!", but because they mirror something looking through the lens, a thought, a memory, a feeling, whatever. My favorite images (however humble and possibly "uninteresting" they may be to others) are those that lift the veil between inner and outer realities. The very best are fragments of mystical experiences. To be sure, the image above is certainly not in that last category. But it is a typically Andy-esque post-first-travel-week intimate composition grounded on "seeing" an inner pattern depicted externally. In this case, a self-organized "Q" that remined me of Ellery Queen's signature letter that adorned the covers of his early mystery books. I wonder, would I have even "seen" this intimate landscape (captured in New Zealand, but not an image of New Zealand, per se) had I not spent the better part of my teen years devouring early Ellery Queen mystery novels?

Whispering Trees

"I thought all the trees were whispering to each other, passing news and plots along in an unintelligible language; and the branches swayed and groped without any wind. They do say the trees do actually move, and can surround strangers and hem them.

...

The forest is queer.
 Everything in it is very much more alive,
more aware of what is going on.

...

In the Wide World the Wood-elves lingered in the twilight of our Sun and Moon, but loved best the stars; and they wandered in the great forests that grew tall in lands that are now lost. They dwelt most often by the edges of the woods, from which they could escape at times to hunt, or to ride and run over the open lands by moonlight or starlight; and after the coming of Men they took ever more and more to the gloaming and the dusk. Still elves they were and remain, and that is Good People."

- J.R.R. Tolkien (1892 - 1973)

The One "Before Whom Words Recoil"

"The purpose of all words is to illustrate the meaning of an object. When they are heard, they should enable the hearer to understand this meaning, and this according to the four categories of substance, of activity, of quality and of relationship. For example cow and horse belong to the category of substance. He cooks or he prays belongs to the category of activity. White and black belong to the category of quality. Having money or possessing cows belongs to the category of relationship. Now there is no class of substance to which the Brahman belongs, no common genus. It cannot therefore be denoted by words which, like 'being' in the ordinary sense, signify a category of things. Nor can it be denoted by quality, for it is without qualities; nor yet by activity because it is without activity—'at rest, without parts or activity,' according to the Scriptures. Neither can it be denoted by relationship, for it is 'without a second' and is not the object of anything but its own self. Therefore it cannot be defined by word or idea; as the Scripture says, it is the One 'before whom words recoil.'"

- Aldous Huxley (1894 - 1963)
The Perennial Philosophy

A Light From the Shadows Shall Spring

"All that is gold does not glitter,

Not all those who wander are lost;

The old that is strong does not wither,

Deep roots are not reached by the frost.

From the ashes a fire shall be woken,

A light from the shadows shall spring;

Renewed shall be blade that was broken,

The crownless again shall be king."

- J.R.R. Tolkien (1892 - 1973)
The Lord of the Rings

Hungry Beeches

 

"Why is the world full of color anyway? Sunlight is white, and when it is reflected, it is still white. And so we should be surrounded by a clinical looking, optically pure landscape. That this is not what we see is because every material absorbs light differently or converts it into other kinds of radiation. Only the wavelengths that remain are refracted and reach our eyes. Therefore, the color of organisms and objects is dictated by the color of the reflected light. And in the case of leaves on trees, this color is green.

But why don't we see leaves as black? Why don't they absorb all light? Chlorophyll helps leaves process light. If trees processed light super-efficiently, there would be hardly any left over-and the forest would then look as dark during the day as it does at night. Chlorophyll, however, has one disadvantage. It has a so-called green gap, and because it cannot use this part of the color spectrum, it has to reflect it back unused. This weak spot means that we can see this photosynthetic leftover, and that's why almost all plants look deep green to us. What we are really seeing is waste light, the rejected part that trees cannot use. Beautiful for us; useless for the trees. Nature that we find pleasing because it reflects trash? Whether trees feel the same way about this I don't know, but one thing is for certain: hungry beeches and spruce are as happy to see blue sky as I am."

- Peter Wohlleben (1964 - )
The Hidden Life of Trees

Reality is Not Symbols

"If you want to know what reality is, you must look directly at it and see for yourself. But this needs a certain kind of concentration, because reality is not symbols, it is not words and thoughts, it is not reflections and fantasies. Therefore to see it clearly, your mind must be free from wandering words and from the floating fantasies of memory."

- Alan Watts (1915 - 1973)

Land of Mordor

"And as the captains gazed south to the Land of Mordor, it seemed to them that, black against the pall of cloud, there rose a huge shape of shadow, impenetrable, lightning-crowned, filling all the sky. Enormous it reared above the world, and stretched out towards them a vast threatening hand, terrible but impotent: for even as it leaned over them, a great wind took it, and it was all blown away, and passed; and then a hush fell."

- J.R.R. Tolkien (1892 - 1973)
The Return of the King

Intimate Landscapes

"Though it is generally accepted that abstract art refers to those works inspired by the imagination of the artist rather than by objective reality, in photography, in which images are produced by the lens, this distinction is difficult to sustain. In the broadest sense of the term, an optical image is an abstraction from the natural world-a selected and isolated fragment of what stands before the camera. When the selected image is self-explanatory and does not imply more than what lies within its area it is usually referred to as abstract, that is, independent of its surroundings-a pattern of rock, for example, or lichens, or grasses. On the other hand, in the wider scenic view common in most landscape photography, the selected image implies a world outside the limits encompassed by the lens."

- Eliot Porter (1901 - 1990)
Intimate Landscapes