Meta-Musings on my B&W Photography Workshop

The graphic illustration you see above is a wonderful visual depiction of some of the key differences between how the left (analytical, logical) and right (creative, artistic) sides of our brain process information (it is part of a Mercedes-Benz advertising campaign). The point of my posting this image is not to engage in a dialectic on what is known, unknown, or merely believed about how the brain functions (though the popular distinctions are largely correct, the functional division is not nearly as "clear cut" as they purport, and much is still shrouded in mystery); rather it is to simply show it (because I think it is a really beautiful visualization) and to use it as a conceptual backdrop to asking myself a "meta" question about my experience of giving the B&W photography lecture this past saturday: "Just what did I actually convey about doing black and white fine-art photography?"

Let me go back a step, and begin again by recalling a chat I had with an artist friend at work (who was unable to attend my talk). When we met on the monday after my lecture, and as we sipped coffee together while viewing the slides I had used, my friend made the kind comment, "Andy, you've done an incredible job at elucidating exactly what's on your mind when you're out taking photos...what you look for, what the best compositions are, how to put feeling into your shots. Just beautifully done!" While his praise means a lot (my friend is a prodigiously gifted artist, and his "eye" is second to none), and I thanked him for his kind words, my immediate reaction - and the origin of this blog entry - was a giggle, followed by outright laughter.

It struck me that, far from elucidating exactly what is on my mind when I take pictures, there is nothing on my slides that speaks about what is really on my mind - on a conscious level (of which there is, in truth, very little) - as I take pictures (which is not to take anything away from the information about photography that the slides provide). Nor, I believe, can anyone expect there to be. This point is both a simple (almost trivial) one, and very subtle (possibly deeply subtle): when I am out with my camera, I am emphatically not thinking about shapes, or tones, or patterns, or textures, or any of the other things I talked about during my talk. Of course, I am mindful of light, of lines, of shadows, of planes of focus, and of a myriad other things that go into the "gestalt" of the process, but am so entirely on an unconscious, preattentive level. I've written about this timeless-state experience before, and of the mystery that surrounds it, psychologically, cognitively, and spiritually. But my talk has made me appreciate another aspect of this experience, and how it may contain certain universal truths about engaging ourselves on any boundary between cognition and artful creation.

In my case, the boundary was cognizing about photography; or, more precisely, attempting to communicate something about what "doing photography" is about by describing what one end result is (namely mine) of having done it. As a speaker, I was allowed (rather, constrained) to use only words, images, and short animations to convey something - i.e., cognize about such concepts as tone, shapes, texture, principles of design, and so on - that describes what "doing photography" is about. Only that's impossible!

The speaker's constraint is rendered inert at best, and self-negating at worst; and - if you think about - assumes this Pythonesque-level absurd form: "You are allowed to use any and all means of expression except those that are equivalent to what you are trying to describe." More succinctly, you can only use left-brain cognitions to convey right-brain creations. Even more simply: "Explain photography by not doing photography." Absurd. DOA.

I cannot "explain" photography using words (or images, or even giving an impromptu "demo" of what it's like for me to go out and take pictures) any more than a chef can "explain" what making a gourmet meal is really like (or what is on her "mind" as she prepares one); or any more than Baryshnikov can explain what is on his mind when he dances, or what "dancing is like" in general. One cannot convey anything meaningful about any process of "doing" via lifeless "symbols of doing," however elegant their form and manner of presentation.

Of course, the Zen masters have known this all along. For that is why they have long "taught" by not teaching. The master can point the student toward the path; he can supply the shoes, the books, the camera and lenses, as it were, even offer hints on where to look, why and how to look, give advise on what do afterwrads when the images are viewed in a darkroom or computer; but no words, no teaching, no "follow these easy steps" tutorials, will ever - ever - convey the essence of what it is like to experience what stirs in your soul as your finger clicks your camera's shutter.

"The purpose of a fishtrap is to catch fish, and when the fish are caught, the trap is forgotten. The purpose of a rabbit snare is to catch rabbits. When the rabbits are caught, the snare is forgotten. The purpose of words is to convey ideas. When the ideas are grasped, the words are forgotten. Where can I find a man who has forgotten words? He is the one I would like to talk to." - Chuang Tzu

You will know that you are "doing photography" precisely when you are out and about with your camera (or just with your I's eye), with nary a thought in your head, or memory of someone pestering you with a bunch of slides about tone, light, gestalt, .... pontificating on how photography is done ;-)

Postscript: My wife reminded me of an incredible (and incredibly apropos) presentation by Jill Bolte Taylor at TED. Taylor is a neuroanatomist, and author of Stroke of Insight, which describes her experience of living through a massive stroke (!)

B&W Photograph Workshop II

This is just a quick note as a follow-up on the B&W talk I gave at Belnavis Art Gallery & Custom Framing in Springfield, VA on Feb 26; and to announce that I will be giving a second (repeat performance) at the same gallery on Saturday, March 26 (same time: 1:30 - 3:30 pm).

Though fewer people showed up than either Michelle (the gallery owner) and I had hoped for, I want to thank those that did. However, the intimacy of the small group made for a great informal class, where lots of ideas were discussed back and forth. Indeed, by group request, the "2 hour" class effortlessly grew to 3 hours, and all involved enjoyed the collective musings.

Speaking for myself, I was yet again reminded of the truth behind the cliche-ridden "time flies..." adage. Without taking so much as a minute's worth of a break during the entire session, I was shocked when I glanced at my watch near the 2 hour mark to discover that the class was ostensibly over! When one is truly in Mihály Csíkszentmihályi's flow, time stops, and the world assumes both a simpler and deeper local structure. It is also the meta-pattern that connects all art and creative acts; whether they consist of being out with one's camera, oblivious to everyone and everything save that which one's "I/eye" is drawn to, or speaking about a subject one is impassioned about (in my case, photography and art) with a group of people who are just as interested. Art is its own wellspring of energy and nourishment.

Here is the outline of topics covered in my talk, along with the approximate number of slides for each subject (most slides have multiple transition elements, so that "one page" in reality ranges from a single page to, in some cases, eight or more):

All of you, dear readers, who are within earshot and/or a stone's throw away, remember... I give a repeat performance at Belnavis Art Gallery & Custom Framing in Springfield, VA on Saturday, March 26,1:30 - 3:30 pm. And, as before, as an added inducement to attend, I am offering the first 10 people who sign-up for the workshop - free of charge - signed copies of a portfolio / booklet I won in the British B&W Magazine's book contest a few years back, along with issue #76 of Lenswork magazine (that contains 16 exhibit-quality duotoned reprints of my Micro Worlds portfolio).

Please email Michelle, the owner of Belnavis Arts, to register as early as possible if you'd like to attend.

I'd love to see you there!

B&W Photography Workshop

I am delighted to announce an upcoming workshop I'll be conducting on black and white photography. It will be held on Saturday, Feb. 26th, 1:30pm to 3:30 pm at Belnavis Art Gallery & Custom Framing in Springfield, VA.

Geared to beginners and those with an intermediate-level understanding of photography, this will be a 2-1/2 hour class on the "art" of fine-art black and white photography. My hope is to convey the difference between taking "snapshots" and creating images of lasting value; how to "see" the world in black and white (and all the tones in between!); offer tips on how to "find" B&W images (and how to "look" as a photographer in general); how to use basic design principles to "focus" a viewer's attention; and how to take your photography to the next level (beyond "point and shoot").

As (what I hope is ;-) an added inducement to attend, I am offering the first 10 people who sign-up for the workshop - free of charge - signed copies of a portfolio / booklet I won in the British B&W Magazine's book contest a few years back, along with issue #76 of Lenswork magazine (that contains 16 exhibit-quality duotoned reprints of my Micro Worlds portfolio). Please email Michelle, the owner of Belnavis Arts, if you'd like to attend.

Hope to see you there!

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 - )

The Aleph

"All language is a set of symbols whose use among its speakers assumes a shared past. How, then, can I translate into words the limitless Aleph, which my floundering mind can scarcely encompass? Mystics, faced with the same problem, fall back on symbols...Really, what I want to do is impossible, for any listing of an endless series is doomed to be infinitesimal. In that single gigantic instant I saw millions of acts both delightful and awful; not one of them occupied the same point in space, without overlapping or transparency...I saw, close up, unending eyes watching themselves in me as in a mirror; I saw all the mirrors on earth and none of them reflected me...I saw the circulation of my own dark blood; I saw the coupling of love and the modification of death; I saw the Aleph from every point and angle, and in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the earth; I saw my own face and my own bowels; I saw your face; and I felt dizzy and wept, for my eyes had seen that secret and conjectured object whose name is common to all men but which no man has looked upon -- the unimaginable universe."

- Jorge Luis Borges
Author / Essayist
(1899 - 1986)

Sacred Space

“Sacred space is a space

that is transparent

to transcendence,
and everything within
such a space furnishes
a base for meditation,
even for the youngest child.

When you enter
through the door,
everything within such
a space is symbolic,
the whole world
is mythologized,
and spiritual life is possible.

This is a place where
you can go and feel safe
and bring forth what you are
and what you might be.

This is the place of
creative incubation.
At first you might find
that nothing happens there.
But if you have a
sacred place and use it,
you will eventually
find yourself
again and again.”

— Joseph Campbell
Mythologist / Author
(1904-1987)

Time as an Illusory River

"When you touch one thing
with deep awareness,
you touch everything."
— Thich Nhat Hanh
Buddhist Monk / Author
(1926 - )

"Time is the substance
from which I am made.
Time is a river
which carries me along,
but I am the river;
it is a tiger that
devours me,
but I am the tiger;
it is a fire
that consumes me,
but I am the fire. "
- Jorge Luis Borges
Author / Essayist
(1899 - 1986)

"One"

Having, with my last post, reached 200 blog entries over the seven years that I've been posting - and apropos of nothing in particular - I was curious to see what form a word cloud of my blog would take. There is a site that allows users to link to the URL of any blog (or any other web page that has an Atom or RSS feed) and then automatically generates a wordle. The wordle may be loosely tuned by selecting the font, color, visual layout, and toggling on/off the use of common words.

The resulting wordle for my blog - as of Feb 2011 - appears at the top. It is amusing to learn that - despite (or, perhaps, because of) my predilection for philosophizing, blending art and science, and general musing about all kinds of Borgesian and Kafkian realities, the most common words / phrases that fall out (i.e., are rendered in the largest font size) are, in order:

one
another
image
the whole
spiritual
part
fixed
prison
reality

As to what the cosmic significance of this particular list is, and what deeper truths it reveals - if anything - either about my past intellectual / aesthetic meanderings and/or the likelihood of specific future trajectories, I haven't a clue ;-)

Time, Space, and Mystery

“A human being is part of the
whole called by us a universe,
a part limited in time and space.

He experiences himself,
his thoughts and his feelings,
as something separate
from the rest,
a kind of optical delusion
of his consciousness.

This delusion is a kind
of prison for us;
it restricts us to our
personal decisions and our
affections to a few
persons nearest to us.

Our task must be to free
ourselves from this prison by
widening our circle of
compassion to embrace
all living creatures and the
whole of nature of its beauty.”
—Albert Einstein
(1879 - 1955)

“We know that behind every image revealed there is another image more faithful to reality, and in the back of that image there is another, and yet another behind the last one, and so on, up to the true image of that absolute, mysterious reality that no one will ever see.”

— Michelangelo Antonioni
Film Director
(1912 - 2007)

Order and Simplicity

"The obvious is that
which is never seen
until someone
expresses it simply."

- Khalil Gibran
Poet / Mystic
(1883 - 1931)

"Order is not pressure
which is imposed
from without,
but an equilibrium
which is set up
from within."
- Jose Ortega y Gasset
Philosopher
(1883 - 1955)

Harmony and Attunement

"Broadening our attunement beyond the horizons of the individual self awakens one to the meaning encoded into existence - a kind of cognitive "super-logic" that reveals a different purpose, a larger pattern, than anything we might previously have imagined. That is exactly what a spiritual awakening is - shifting from one perspective to another, until we finally glimpse meaningfulness where our mind could not perceive it before."

- Vilayat Khan
Sufi Teacher
(1916 - 2004)

"In studying ourselves,
we find the harmony
That is our total existence.
We do not make harmony.
We do not achieve it
or gain it.
It is there - all the time.
Here we are - in the midst
of this perfect way,
and our practice is
simply to realize it
and then
To actualize it
in our everyday life..."
- Hakuyū Taizan Maezumi
Japanese Zen Rōshi
(1931 - 1995)

Patterns and Transformations

"All fixed set patterns

are incapable of adaptability or pliability. The truth is outside of all fixed patterns." 

- Bruce Lee (1940 - 1973) 

 "Our bodily food is changed into us, but our spiritual food changes us into itself." 

- Meister Eckhart (1260 - 1327)

Reflections and Illusions

"You have heard much of this world
yet what you seen of this world?
What is its form and substance?...
You are asleep and your vision is a dream;
all you are seeing is a mirage.
When you awake up on the morn of the last day
you will know all this to be fancy and illusion;
When you have ceased to see double,
Heaven and Earth will become transformed;
when the real sun unveils his face to ou,
the moon, the stars,and Venus will disappear;
if a ray shines on the hard rock
like wool of many colors, it drops to pieces."
-Mahmud Shabistari
Sufi Poet
(1288 - 1340)

"Reflect: is not the dreamer, sleeping or waking, one who likens dissimilar things, who puts the copy in the place of the real object?

I should certainly say that such a one was dreaming.

But take the case of the other, who recognizes the existence of absolute beauty and is able to distinguish the idea from the objects which participate in the idea, neither putting the objects in the place of the idea nor the idea in the place of the objects-- is he a dreamer, or is he awake?"

-Plato, The Republic

Boundaries, Mysteries, and Eternity

"Every man takes

the limits of his own field of vision for the limits of the world." -Arthur Schopenhauer Philosopher (1788 - 1860)

"Man is the great mystery of God, the microcosm or the complete abridgement of the whole universe... a hieroglyphic of eternity and time." - Jacob Boehme Mystic / Theologian (1575 - 1624)

Implicate Order, Enfolded Centers

"As a mountain (a whole structure) moves forward in time, old centers are preserved and new centers are generated; centers will always tend to form in such a way as to preserve and enhance previous structure. Beauty will occur without effort in any world where the wholeness is allowed to unfold smoothly and truthfully, without disturbing previously existing centers. Everything becomes a single system and a single way of understanding."

- Christopher Alexander
Architect
(1936 - )

"Because the whole is enfolded in each part, so are all other parts, in some way and to some degree... The more fundamental truth is the truth of internal relatedness - the implicate order... in this order the whole and hence all the other parts are enfolded in each part."

-David Bohm
Physicist
(1917 - 1992

Pattern of Patterns

"What pattern connects
the crab to the lobster
and the orchid to the
primrose and all the four
of them to me?
And me to you? ...
The pattern which connects
is a metapattern.
It is a pattern of patterns."
- Gregory Bateson
Anthropologist
(1904 - 1980)

"A pattern of events
cannot be separated
from the space
where it occurs."
- Christopher Alexander
Architect
(1936 - )

Path of Paths

"You must always keep in mind that a path is only a path. Each path is only one of a million paths. If you feel that you must now follow it, you need not stay with it under any circumstances. Any path is only a path. There is no affront to yourself or others in dropping a path if that is what your heart tells you to do. But your decision to keep on a path or to leave it must be free of fear and ambition. I caution you: look at every path closely and deliberately. Try it as many times as you think necessary. Then ask yourself and yourself alone this one question. Does this path have a heart? All paths are the same. They lead nowhere. They are paths going through the brush or into the brush or under the brush of the Universe. The only question is: Does this path have a heart? If it does, then it is a good path. If it doesn’t, then it is of no use."

- Carlos Castaneda
Anthropologist / Author
(1925 - 1998)

How Many Unknown / Undiscovered Artists Walk Among Us?

History is replete with lists of names and memorable biographies of the many gifted and talented artists that have graced our world. Indeed, these lists are so long and voluminous (and only growing ever more so), we may sometimes wonder if there are perhaps too many names already on them! But, of course, though not every artist is a Picasso, and not every photographer a Cartier-Bresson, each of us has our own story to tell. Still, very few of us who have - publically at least - accomplished "little" - will ever get mentioned on learned lists that include such names as Picasso and Cartier-Bresson. But what of the "Picassos" that share in Picasso's pool of talent but who no one knows by name, because the output of their creative life was / is confined but to a handful of family and friends? What of the prodigiously talented but utterly unrecognized Uber-geniuses that walk among us? As history also attests, the only real difference between "known" and "unknown" is luck.

I recently ran across a remarkable story about a nanny - and prodigiously talented but utterly unrecognized (until very recently) street photographer from the 1950s - named Vivian Maier. In 2007, real estate agent John Maloof bought a box of 30,000 of Maier's negatives for $400. Having soon realized what a "find" that box was, he has, by now, acquired over 100,000 of Maier's photographs! (only a thousand or so of which have so far been made public; see here and here for a sampling of her images). An exhibit of her work opened at the Chicago Cultural Center earlier this month. Sadly, Vivian Maier did not live to see her day; she died at age 83 in 2009.

It is hard to do justice to the quiet, soulful, graceful, and poignant (and sometimes spontaneous, funny) images that flowed from Maier's eye (and "I"). Using a Rolleiflex camera, Maier would head out into the Chicago streets on her days off as a nanny for rich North Shore clients. What she captured was nothing short of extraordinary! Her best work - IMHO (after sampling the images from the links I gave above) - approaches that of some of the "best known" street photographers of the 20th century. Her images (and overall approach) remind me of (in no particular order) Lisette Model, Walker Evans, Harry Callahan, Dorothea Lange, Robert Doisneau, Andre Kertesz, and - the more humorous ones, at least - Elliott Erwitt. I should emphasize that its not just that her images remind me of the best works by these great photographers; it's that her best work is just as good as theirs!

One image (of two boys standing side-by-side on a cobble-stone road) could arguably be inserted into a Diane Arbus portfolio with no one being the wiser. Another, of a vagabond curled up on a street, is a surrealistic fusion of human pathos and Weston's famous Pepper #30. Another (one of many!) exudes a Cartier-Bresson-like "decisive moment" feel. Still another echoes Kertesz's geometric meloncholy. One could go on and on, comparing this image to that, and illustrating how certain parts of her portfolio are similar to this photographer or that (Jacques Philippe has posted an interesting analysis of Maier's work); in the end, Maier's work is uniquely hers, and hers alone, and it is astounding in its breadth, depth, and meaning! The photo-history books, I suspect, are already being appended - and amended - with Vivian Maier's story!

I wonder, just how many other gifted artists are quietly walking - and creating extraordinary works of art - among us, unknown to all but a few lucky friends and family members?

Postscript: Click here for info about a feature-length documentary film about Vivian Maier that is in the works (for a 2012 release); the producers - John Maloof, Anthony Rydzon, and award-winning Danish documentary film maker, Lars Mortensen - are asking for pledges on Kickstarter.

The Spiritual World

“The spiritual world is one single spirit who stands like unto a light behind the bodily world and who, when any single creature comes into being, shine through it like a window. According to the kind or size of the window less or more light enters the world. The light itself however remains unchanged.”

- Aziz Nasafi
Sufi Mystic

"We are born into the
world of nature;
our second birth is into
the world of spirit."
- Bhagavad Gita

Minds, Mirrors, and the Universe

"The Mind like a mirror

is brightly illuminating
and knows no obstructions,
It penetrates the vast universe
to its minutest crevices;
All its contents,
multitudinous in form,
are reflected in the Mind,
Which, shining like a perfect gem,
has no surface,
nor the inside."
- Yoka Daishi
Zen Master
(665 - 713)

"Your eye has not strength enough
to gaze at the burning sun,
but you can see its burning light
by watching its reflection
mirrored in the water.

So the reflection of Absolute Being
can be viewed in the mirror of Not-Being,
for nonexistence, being opposite Reality,
instantly catches its reflection.

Know the world from end to end is a mirror;
in each atom a hundred suns are concealed.
If you pierce the heart of a single drop of water,
from it will flow a hundred clear oceans."
- Mahmud Shabistari
Sufi Poet / Mystic
(1250 - 1340)

Dreams and Phantasms

“The objects of sense in the world ever changing — These we adhere to as things of reality; But in the ocean of birth and death, they drown us. How long shall we wander in this path of dreams? This world to us! Indeed seems permanent and fixed, yet after all, what is it but a road of dreams to which life after life we must perforce return?”

- Zeami Motokiyo (1363 - 1443)

Aesthetician / Playright

"All things are to be regarded as forms seen in a vision and a dream, empty of substance, un-born and without self-nature; that all things exist only by reason of a complicated network of causation which owes its rise to discrimination and attachment and which eventuates in the rise of the mind-system and its belongings and evolvements."

- Lankavatara Sutra, VII

The Castle

"The young man apologized very politely for having awakened K., introduced himself as the son of the Castle steward and said:

'This village is Castle property, anybody residing or spending the night here is effectively residing or spending the night at the Castle. Nobody may do so without permission from the Count. But you have no such permission or at least you haven't shown it yet.'

K., who had half-risen and smoothed his hair, looked at the people from below and said: 'What village have I wandered into? So there is a castle here?'

'Why, of course,' the young man said slowly, while several peasants here and there shook their heads at K., 'the Castle of Count Westwest.'

'And one needs permission to spend the night here?' asked K., as though he wanted to persuade himself that he hadn't perhaps heard the previous statements in a dream.

'Permission is needed' was the reply, and this turned into crude mockery at K.'s expense when the young man, stretching out his arm, asked the landlord and the guests: 'Or perhaps permission is not needed?'

'Then I must go and get myself permission,' said K., yawning and pushing off the blanket, as though he intended to get up.

'Yes, but from whom?' asked the young man.

'From the Count,' said K., 'there doesn't seem to be any alternative.'

'Get permission from the Count, now, at midnight?' cried the young man, stepping back a pace.

'Is that not possible?' K. asked calmly. 'Then why did you wake me up?'"

-Franz Kafka (The Castle)

Stuart Sweeney's Debut Album 16:9

About a year ago I received an email from Stuart Sweeney, who introduced himself as a U.K. based (and Scottish born) musician. He said that after years of working behind-the-scenes for other musicians, he was in the process of releasing a debut album of his own music and that he was looking for images to feature on the CD and album case. He asked if he could use one of the images in my Spirit & Light portfolio that both he and his wife were both strongly drawn to. After a few exchanges via email (during which an "over the pond" friendship soon emerged), and my listening to samples of (what were at the time, unmastered) tracks from the album, I quickly gave my permission. After hearing Stuart's music, I can say unreservedly say that I am honored to be featured on this enormously talented musician's debut album, which is now available for purchase (in both physical and digital form: click here for the official order page from Stuart's label Oomff, based in Corby, Northants, UK; an mp3 version is also available directly from Amazon, which contains links to samples). While it is always difficult to attach meaningful words to music (particularly when relying on "conventional" labels and descriptions) - one must always listen and judge for oneself; click here for sample tracks - Stuart's style is best described as ambient music, with a mix of classical, jazz, and new age (electronic / synthetic). On a more gestalt level, Stuart - as an artist - may be described as an impassioned painter of richly textured sonic landscapes. To my ear (an untrained musician, though I used to play the piano, even before I ever touched a camera), Stuart's aural excursions touch on territories visited by Brian Eno, some early work by Klaus Schulze, and (if an analogy can be drawn between Stuart's electronic creations and the tones of the human voice) Arvo Part. But all of these are but acoustic cousins, which are useful for context but do not do service to Stuart's own creations; for Stuart has carved out a unique - and uniquely beguiling - blend of ambient textures. Each short, self-contained piece transports the listener to other worlds and ethereal dimensions. The soulful interplay between quietly developing melodic strands and rhythms, generates a moodily meditative and contemplative atmosphere. As each piece gently takes hold of your imagination, you are compelled to co-create fantastic acoustic landscapes in your mind's eye as waves of music unfold - and enfold - around you. If I seem to speak of Stuart's music in almost reverentially spiritual terms, it is because that is the effect it has on me. For Stuart has created some of the most beautifully ethereal - and intellectually mesmerizing! - music I have heard in a long, long time. For anyone who likes to listen to ambient music, I urge you to download some samples and listen to this extraordinary new artist for yourself. Congratulations to an amazing start of what I am sure will be a stellar public musical career! And thank you Stuart for featuring one of my photos on the inside of the case, and the CD itself!

Cosmic Ripples

"If a stone is thrown into a pond, waves are produced that travel throughout the pond. Every wave produces effects in every part of the pond, resulting in some influence or other. Similarly, the wave of individual life through its activity produces an influence in all fields of the cosmos." - Maharishi Mahesh Yogi Science of Being and Art of Living "We cannot live only for ourselves. A thousand fibers connect us with our fellow men; and among those fibers, as sympathetic threads, our actions run as causes, and they come back to us as effects."

- Herman Melville (1819 - 1891)

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)

Ethereal Light & Color

"I almost never set out to photograph a landscape,
nor do I think of my camera as a means
of recording a mountain or an animal unless
I absolutely need a 'record shot'.
My first thought is always of light." 

- Galen Rowell (1940 - 2002) 

 "Color is the place where our brain and the universe meet." 

- Paul Klee (1879 - 1940)

Trees as Sacred Bearers

"Trees are the teachers, revealers, containers, companions, and protectors of the sacred, and our relationship to them, whether we meet them gently in a forest or, muscled and equipped, cut them down for the price of lumber, touches on our deepest values, emotions, and sense of meaning."

-Thomas Moore
The Re-Enchantment of Everyday Life

"The tree bears its thousand years
as one large majestic moment."
- Rabindranath Tagore
Philosopher / Poet
(1861 - 1941)

Longing for Light

"...far from light emerging gradually out of the womb of our darkness, it is the Light, existing before all else was made which, patiently, surely, eliminates our darkness. As for us creatures, of ourselves we are but emptiness and obscurity... Radiant Word, blazing Power... reach us simultaneously through all that is most immense and most inward within us and around us."

- Pierre Teilhard de Chardin
Philosopher (1881-1955)

"The longing for light is the longing for consciousness."
- C. G. Jung (1875 - 1961)

Smallness, Vastness, and the Mystical State

"We pass into mystical states
from out of ordinary consciousness
as from a less into a more,
as from a smallness into a vastness,
and at the same time
as from an unrest to a rest.
We feel them as reconciling,
unifying states."
- William James
Variety of Religious Experience


"When we are touched by
mystic grace and allow ourselves
to enter its field without fear,
we see that we are all parts of a whole,
elements of an universal harmony,
unique, essential and sacred notes
in a divine music that everyone
and everything is playing together
with us in God and for God."
- Andrew Harvey
The Essential Mystics

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Matter, Science, and Spirit

“Everyone who is seriously involved in
the pursuit of science becomes
convinced that a spirit is manifest
in the laws of the Universe —
a spirit vastly superior to that of man,
and one in the face of which we,
with our modest powers,
must feel humble."

- Albert Einstein (1879 - 1955)
(from Max Jammer's Einstein and Religion,
Princeton University Press, 1999)

Parts, Matter, and Networks

“The farther and more deeply we penetrate into matter, by means of increasingly powerful methods, the more we are confounded by the interdependence of its parts... It is impossible to cut into the network, to isolate a portion without it becoming frayed and unravelled at all its edges.” — Pierre Teihard de Chardin Philosopher (1881-1955)

Beauty, Mystery, and Truth

"Now I was suddenly made aware of another world of beauty and mystery such as I had never imagined to exist, except in poetry. It was as though I had begun to see and smell and hear for the first time... I experienced an overwhelming emotion in the presence of nature, especially at evening. It began to wear a kind of sacramental character for me... I felt again the presence of an unfathomable mystery. The song of the birds, the shapes of the trees, the colours of the sunset, were so many signs of this presence, which seemed to be drawing me to itself."

- Bede Griffiths
Benedictine Monk
(1906 - 1993)

"Mystery is truth's dancing partner."
- Johann Wolfgang von Goethe

(1749 - 1832)

Hidden Meanings

"Everything we see hides another thing, we always want to see what is hidden by what we see." — Rene Magritte (1898 - 1967 ) "Everything in the world has a hidden meaning. . . . Men, animals, trees, stars, they are all hieroglyphics. When you see them you do not understand them. You think they are really men, animals, trees, stars. It is only years later that you understand." - Nikos Kazantzakis (1883 - 1957)

If the Doors of Perception..."

Morpheus: I'm trying to free your mind, Neo.
But I can only show you the door.
You're the one that has to walk through it.
- Matrix (1999)

"If the doors of perception
were cleansed every thing
would appear to man as it is, infinite.
For man has closed himself up,
till he sees all things thru'
narrow chinks of his cavern."
- William Blake (1757 - 1827)

A Great New Book on "Great Images"

About 35 years ago, the late great curator of photography at the Museum of Modern Art (MOMA) in NY, John Szarkowski, published a landmark book called Looking at Photographs. Intended as "... a picture book, and its ...purpose ...to provide the material for simple delectation" (according to Szarkowski, from his own introduction to that book), it was, and is, considerably more, giving life to Szarkowski's always thoughtful ruminations about 100 pictures from MOMA's collection and food-for-thought for all aspiring photographers. Also around the same time (in 1983, shortly before his death), Ansel Adams published his Examples: The Making of 40 Photographs, in which the master provides narratives about 40 of his favorite photographs, engaging readers in the technical and aesthetic dimensions of photography. These two books are almost always found (typically, and notably, in excruciating dog-eared form!) on the bookshelves of virtually every photographer who has bought at least two books on photography! And now - a mere 30 or so years later - comes another destined-to-be classic in the same mold, George Barr's Why Photographs Work: 52 Great Images Who Made Them, What Makes Them Special and Why. 

This is not to say that there have not been similar "picture books" published in the intervening years. In truth, one could argue that there are too many, as the quality seldom approaches Szarkowski's and Adams' volumes. Certainly, very few books in this genre approach the simple, understated elegance of Barr's new book; fewer still share the same attention to detail. And seldom have I seen such a magically diverse and exquisite collection of photographs that just sing. In what must have been a logistical nightmare of solicitation and coordination (done entirely by email), George has assembled a veritable What's What of great images (52 of them, and taken by a veritable Who's Who of today's photographers, though not all assembled here are well known; though they all will be now that the book is out!) The idea behind the book is not to discuss "selected images" (as representative "snapshots" used to illustrate a discourse on some photographer's life's oeuvre); rather the single focus is on simply presenting - in Szarkowski's "picture book" book fashion - great images and musings about what makes them so great. And they all are! (great, that is; Kudos to George for his selective eye). The book contains exactly one image each by 52 photographers; some famous, some becoming so, some obscure (but clearly on the rise, given the artistry of images). 

As George states a number of times (and makes an eloquent case for), there is something about great images that is immediately clear, without further exposition. Why this is so, a question that is often asked by those deeply interested interested in photography but who have not yet spent half-a-lifetime looking at and creating images, is where this book shines, first with George Barr's inspired commentary, followed by the photographer's own story about how his or her selected image came to be, what their creative approach consisted of, what technical and/or aesthetic difficulties they had to overcome, and so on. A brief bio of each photographer is also provided, along with email addresses and website links for interested readers to continue exploring. 

 The most important part of the book, apart from the commentary - namely its images - are all nicely presented on the left hand page as you open to a given photographer's "section" and are reproduced in as large a size as the book size permits (maximum of about 9 inches longest side), with about an inch margin along the sides. Indeed, with the typical ~30% Amazon discount over the official list price, it is tempting to purchase two copies, so that the images from one can be taken out and framed to hang on the wall! Some of the photographers are familiar to me, either because I've seen their work in magazines and journals, or - in some cases - I already own a book or two of their photographs; though, in some cases, I had not seen the particular images displayed in the book. Other photographers I am less familiar with or have not heard of at all; though, in all such cases, and as a testament to George's aesthetic tastes (in selecting images for his book) and skills as a photography critic-commentator, I now intend to look up more of their works! 

All types of images appear: landscapes, portraits, abstracts, formally arranged, manipulations. Most are in color, but there is a generous sampling of exquisite black and white images as well. So, are there one or two "universal" truths that emerge after reading this wonderful book? Having read the book twice, and perused it a few more, flipping back and forth, and rereading various sections, two things stand out (though perhaps somewhat implicitly; the gestalt having been assembled by me rather than as an explicit "lessons learned" that appears in the book...if I have one minor complaint, it is that I would have liked to read George's take on the "whole" in a concluding chapter; but his introduction serves the essential purpose): (1) image simplicity (one or at most a few "main" elements and/or colors) coupled with a mastery of the complex technical skills necessary for proper presentation (the camera, lens, darkroom, Photoshop, printer, etc all become "automatic" extensions of the mind/soul of photographer), and (2) mystery (the best images tend to be the ones we want to return to again and again, and those that we feel that way about tend to be the ones for which the most open - and interesting - questions remain lingering in our mind long after we last saw the image). 

Certainly the book itself qualifies on both counts (albeit on a slightly "meta" level); I know I will return to it again and again, sure to be rewarded with fresh insights, new stepping-stones for my own aesthetic journeys and the simple pleasure of viewing some exquisite photographs. I can see a series of "Why great photographs work" books appearing in the coming years, as new images - and new talents - emerge. We can only hope that the publishers, should they decide to launch such a series (I would encourage them to do so), would see fit to have none other than George Barr behind the helm. George is uniquely gifted both as a practicing photographer (with over 35 years experience) and as a teacher/author. There are as many great photographers (who have a hard time explaining how to set a proper f-stop to a novice) as there are great authors (who are hard-pressed to capture even a "not so great" photo), but very, very few who are truly great at both. George, with countless images and portfolios published, and now with three expository books behind him, is in a rarefied class indeed! I believe that George's new book - Why Photographs Work: 52 Great Images Who Made Them, What Makes Them Special and Why - will become a "classic" (along the lines of Szarkowski's and Adams' earlier collections. Anyone interested in why photographs work - and what they can do to improve their own "eye" and completed images - should have a copy (or two!) on their shelf! Nicely done George!

Art, World, Transcendence

“In kindergarten we drew three daffodils that

had just been picked out of the yard;
and while I was drawing,
my sharpened yellow pencil and the
cup of the yellow daffodils
gave off whiffs just alike.
That the pencil doing the
drawing should give off the
same smell as the flower it
drew seemed part of the art lesson.
Children, like animals, use all their
senses to discover the world.
Then artists come along and
discover it the same way, all over again.”
— Eudora Welty
Author / Photographer
(1909-2001)

“In one way or another,
the Cosmos we inhabit -
human body, house, territory,
world - communicates from
above with another
level which is transcendent.”
— Mircea Eliade
Philosopher
(1907-1986)

Incomplete, Random, and Infinite

"Nothing in Nature is random. ... A thing appears random only through the incompleteness of our knowledge." -Benedict Spinoza (1632-1677) "Our minds are finite, and yet even in these circumstances of finitude we are surrounded by possibilities that are infinite, and the purpose of human life is to grasp as much as we can out of the infinitude.'' - Alfred North Whitehead (1861-1947)

Patterns, Meanings, and Reality

"We live in our
description of reality."
— Gregory Bateson
Anthropologist / Systems Theorist (1904 - 1980)

"If you cling to appearances while searching for meaning,
you won't find a thing."
— Budhidharma (440 - 533)

Organization, Probability, and Entropy

“As entropy increases, the universe,
and all closed systems in the universe,
tend naturally to deteriorate and
lose their distinctiveness,
to move from the least to
the most probable state,
from a state of organization and
differentiation in which distinctions
and forms exist, to a state of
chaos and sameness.”

— Norbert Weiner
Mathematician (1894-1964)

Possibility, Creation, and Infinity

“The actual infinite arises in three contexts: first when it is realized in the most complete form, in a fully independent otherworldly being, in Deo, where I call it the Absolute Infinite or simply Absolute; second when it occurs in the contingent, created world; third when the mind grasps it in abstracto as a mathematical magnitude, number or order type...”

“...The fear of infinity is a form of myopia that destroys the possibility of seeing the actual infinite, even though it in its highest form has created and sustains us, and in its secondary transfinite forms occurs all around us and even inhabits our minds.”

- Georg Cantor (1845 - 1918), Mathematician

“If a thing loves, it is infinite.”

- William Blake (1757 - 1827), Poet / Mystic

The Answer to Life, the Universe, ...

"On the day of the Great On-Turning two soberly dressed programmers with briefcases arrived. Their names were Lunkwill and Fook. For a few moments they sat in respectful silence, then, after exchanging a quiet glance with Fook, Lunkwill leaned forward and touched a small black panel. The subtlest of hums indicated that the massive computer was now in total active mode. After a pause it spoke to them in a voice rich, resonant and deep. It said: 'What is this great task for which I, Deep Thought, ... have been called into existence? ...'O Deep Thought computer,' Fook said, 'the task we have designed you to perform is this. We want you to tell us ...' he paused, 'the Answer!' 'The Answer?' said Deep Thought. 'The Answer to what?' 'Life!' urged Fook. 'The Universe!' said Lunkwill. 'Everything!' they said in chorus. Deep Thought paused for a moment's reflection. 'Tricky,' he said finally...

"...'And you're ready to give it to us?' urged Loonquawl. 'I am.' 'Now?' 'Now,' said Deep Thought. ... 'Tell us!' 'All right,' said Deep Thought. 'The Answer to the Great Question ...' 'Yes ... !' 'Of Life, the Universe and Everything ...' said Deep Thought. 'Yes ... !' 'Is ... ' said Deep Thought, and paused. 'Yes ... !' 'Is ... ' 'Yes ... !!! ... ?' 'Forty-two,' said Deep Thought, with infinite majesty and calm. ... 'Forty-two!' yelled Loonquawl.

'Is that all you've got to show for seven and a half million years' work?' 'I checked it very thoroughly,' said the computer, 'and that quite definitely is the answer. I think the problem, to be quite honest with you, is that you've never actually known what the question is.'" -Douglas Adams (1952 - 2001), Hitchiker's Guide to The Galaxy

Objects, Information, and Transformation

“We hypostatize information into objects.

Rearrangement of objects is change in
the content of the information;
the message has changed.

This is the language which we
have lost the ability to read.

We ourselves are a part of this language;
changes in us are changes in the
content of the information.

We ourselves are information rich;
information enters us,
is processed and is then
projected outward once more,
now in an altered form.

We are not aware that
we are doing this,
that in fact this is
all we are doing.”

— Philip K. Dick
Novelist /Philosopher/Mystic (1928-1982)

As Above, So Below

"True, without falsehood, certain and most true, that which is above is the same as that which is below, and that which is below is the same as that which is above, for the performance of miracles of the One Thing. And as all things are from the One, by the meditation of One, so all things have their birth from this One Thing by adaptation. The Sun is its Father, the Moon its Mother, the Wind carries it in its belly, its nurse is the Earth. This is the Father of all perfection, or consummation of the whole world. Its power is integrating, if it be turned into earth."

- Emerald Tablet
(Hermes Trismegistus)

Time, Webs, and Bifurcations

"...This web of time—the strands of which approach one another, bifurcate, intersect or ignore each other through the centuries—embraces every possibility. We do not exist in most of them. In some you exist and not I, while in others I do, and you do not, and yet in others both of us exist. In this one, in which chance has favored me, you have come to my gate. In another, you, crossing the garden, have found me dead. In yet another, I say these very same words but am in error, a phantom...Time is forever dividing itself toward innumerable futures..."

- Jorge Luis Borges (1899 - 1986)
Garden of Forking Paths, Ficciones

Distinctions, Forms, and Science

“A universe comes into being when a space is severed or taken apart… by tracing the way we [make such distinctions] we begin to reconstruct … the basic forms underlying linguistic, mathematical, physical, and biological science.” — G. Spencer Brown Laws of Form (1979)