PICTURE ONLY GALLERY LINKS
The life without the APA pictures are here
The The Forks ~ there's no place like home gallery is here
The ART ~ conveys / transports / reflects gallery is here
The Decay & Disgust work/book is here
The single women selects/book gallery is here
The picture windows selects/book gallery is here
The kitchen life selects gallery is here
A 10 picture look at Tangles, Thickets, and Twigs ~ fields of visual energy is here
It's the day after (the Super Bowl) and I have finally managed to scrap the top of my head off of the ceiling above the couch and get it reseated where it belongs - while I was watching one of the commercials which aired during the Super Bowl game, the top of my head launched like a Saturn rocket and was sent spatting onto the ceiling.
To be completely accurate, the volcanic eruption-like event was triggered at about the 10sec. mark of the commercial in question. It was at that point when the phrase, "... stillness is what actually kills us ...", struck my ears and cerebrum with the same effect as a sharp stick in the eye. It literally almost took my breath away.
OK, OK. The commercial's intent was to sell a particular vehicle, one which it was suggesting was a great means of conveyance to get "the restless many" to a destination(s) where they could engage in an activity which could not be described with the word "stillness". OK. I get that - the phrase stillness is what actually kills us, when considered in that context, could be understood to mean, if you spend all your time sitting on a couch, you are most likely gonna die sooner rather than later, or, exercise is better than sloth, which is certainly true enough.
However, that written, I would venture that it is our consumer-culture's lack of stillness - def: the state or an instance of being quiet or calm - which leads directly to a population comprised of "the restless many", those who are, def: marked by a lack of quiet, repose, or rest and are not able to rest, relax, or be still.
IMO, it should go without noting that "the restless many" are so affected due to the fact that their restlessness state of mind is fomented, fostered and pandered to by corporations - when I'm watchin' my tv and a man comes on to tell me how white my shirts can be. But, he can't be a man 'cause he doesn't smoke the same cigarettes as me - which convince them that they must have the next big thing / take part in the next big thing or risk not being a real (wo)man.
In effect, implanting the notion that the "restless many" must motion, most preferably a spend-and-get motion - mental, emotional, physical - in order to avoid the state of stillness. A state of stillness which could promote / instigate thoughtful contemplation, introspection, and self discovery / awareness.
A state which might actually bring one to question the notion of why they are so restless. Why do they desire and seem, in fact, to need non-stop motion? Why, when they are restless, is stillness a thing to be avoided? Why does it always have to be the next big thing which occupies their mental, emotional, and physical attention?
And, god forbid (corporation-wise), a state of stillness which leads one to contemplate meaning in life which transcends the spend-and-get fixation of the "restless many".
FYI, what does this seemingly off topic entry have to do with the picture making medium and its apparatus? Simply written, attaining a state of stillness is one of the primary reasons I prefer, in my picture making, to contemplate the quietness of everyday / commonplace being.
Over the past couple days I have been picturing around the interior of the house and it's quite possible that floor crud - more aptly names swept floor crud - might just become a project. God knows there is always enough referent matter, aka: crud, on the kitchen floor.
I have created a new book which is off to the POD printer for printing / production. The book, titled simply "the LIGHT", is a collection of pictures - created over an extended period of time - the makings of which were instigated by chance encounters with fleeting light falling upon commonplace scenes. That is to write, while I am intrinsically drawn to picturing the commonplace, it was the light which pricked my eye and sensibilities.
My Artist Statement in the book:
George Eastman stated the obvious when he said, “Light makes photography.” inasmuch as the word “photography” derives from the Greek words φως (phos), meaning "light", and γραφή (graphê), meaning "drawing, writing", together meaning "drawing with light". Without light there is no photography.
That written, in modern photo speak, the phrase “the light” has come to mean natural light which baths the landscape in a dramatic and, most often, color-saturated fashion. Dramatic sunsets/rises and the sturm und drang of inclement weather are two ubiquitous examples and there are those whose picture making mission in life is to “chase the light".
In my picture making pursuit, I use whatever light I encounter - found light - in any given picture making situation. It is rare that that light does not suit my picturing intent. Equally rare are those times when ”the light” itself is the primary inciter of my picturing activity.
However, there are times when the found light streaming into interior landscapes creates fleeting moments of intense, focused, and transformative illumination which pricks my eye and sensibilities. While the rather quotidian illuminated objects and/or fragments of interior are of interest to me, it is the light itself which has instigated my desire to make picture.
And it is at those times that I feel “the light” is chasing me.
Box O' Prints project update: to date 4 participants have stepped up to the plate. A minimum of 4 more would be ideal in order to get the thing moving. Of the hundreds of Landscapist followers / readers, surely there must be 4 more out there who would like to participate.
FYI, this project is not intended to involve only "master printers" and it is not a competition. The intent is simply to create the opportunity to put prints, as the ultimate expression of one's work, into the hands of those who prefer prints over screens and it does not matter if one is using a cell phone, crappy/toy camera, or an 11×14 Deardorf view camera in the making of one's work. Nor does subject matter matter - people, places, things, found or made, color or b/w - it's all good.
So, come on. Put your insecurities, self doubts and reservations about your pictures / picture making aside if that's what's holding you back. No matter what your picturing thing is, this project is nothing if not win-win for all who choose to get involved.
BTW, my thanks go out to Markus Spring for his entry, From Love For Prints To "A Box O' Prints, in which he relates his love for prints and provides a link to this blog, re: the Box O' Prints.
Over the past weekend in Lake Placid, the Cinemascapist coached (with a little help from his General Manager) his Squirt team, Saranac Lake Red Storm, to victory in a Canadian Hockey Enterprises tournament. In the championship game Hugo led his team to victory with a hat trick and he received the #1 Star / Player of the Game award.
Relative to yesterday's entry, diptych # 61, and its noodling around with the ideas of shibui and wabi-abi and also relative to my recent entry, diptych # 60 / civilized ku # 2649, wherein I mentioned my screen fatigue and my love of prints, let introduce the notion of dukkha - a Pāli word for one of the Buddhist Three marks of existence. The other 2 marks are anicca and anatta. Roughly translated, annica = impermanence, dukkha= suffering / unsatisfactoriness, and anatta = non-self.
That written, I can write without reservation that I bear the mark of dukkha / unsatisfactoriness, re: my desire to view prints, around my neck like the proverbial millstone. And, like the Rolling Stones, as much as I try and I try and I try and I try, I can't no satisfaction from viewing pictures online / on screen.
So, in the cause of getting some satisfaction, the time has come for me to do something about it.
How so, you might ask / wonder? Well, as the Beatles sang, I'll get by with a little help from my friends - those friends are you, my loyal readers / followers. And, have no doubt about it, the rewards with be as great for you as they are for me. To wit ....
.... the point of the endeavor is to bring together a group - 8-10 (?) - of fellow print lovers who would like to take part in what amounts to print-based chain letter. That is, a constantly circulating box of prints.
Initially, the box - actually, a portfolio box in a shipping case - would contain 1 print from each participant. The box would remain with each participant for a period of time - 1 week (?) - giving each participant time to savor the contents of the box. Before forwarding the box to the next participant in the chain, the box holder would place another of his/her prints in the box.
At the end of 1 complete circuit of the box, there would be 20 prints in the box - 2 from each participant. At that point and during the next go around, each box holder would remove his/her oldest print from the box and insert a new 1 - repeat for each successive go around. After the second go round, there would always be 20 prints in the box and each participant would be able to view each and every one. By limiting the group to 8-10 participants and the time each participant has the box to 1 week, each participant should receive the box once every 2 months / 6x a year.
Bonus time: in addition to the reward / pleasure of holding and viewing the prints, each participant would also be able to contact any other participant to purchase a print or even better, arrange a print swap.
The only cost involved for each participant in the endeavor is the minimal cost of mailing / shipping the box to the next participant. The cost of print making, assuming that each participant who loves prints makes his/her own prints, is limited to materials. That's about it, cost-wise, inasmuch as I will supply the portfolio case/box + shipping case.
All of that written, how about it? Just contact me and we'll get the ball rolling. Interested or not, please pass the word along to others who might be interested. It's truly a win-win endeavor.
Thanks in advance for your help in making this endeavor become a reality.
I am reading a book (an actual paper-based book) about Camp Santanoni and its Japanese architectural influences. In the chapters which deal with the Japanese influence, the notion of shibui* - an aesthetic of simple, subtle, and unobtrusive beauty - is raised in this fashion:
".... an unassuming quality in which refinement underlies a commonplace appearance, perceptible only to a cultivated taste."
On a related note, although not mentioned in the book, is another Japanese aesthetic (actually 2 which are most often co-joined), that of wabi-sabi* which is centered around the acceptance of transience and imperfection - one of beauty that is imperfect, impermanent, and incomplete. An aesthetic which, according to Wikipedia:
"...nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect.
Having resided for 2 years in Japan (although I was in the military, I lived off-base in a Japanese residence - eat, sit, and sleep on the floor - amongst the local Japanese population), I have had the pleasure of learning about and - to the best of my ability to understand - experiencing these aesthetics firsthand. IMO, it's almost impossible for a westerner to convey the full meaning / experience of these aesthetics because they are not just applicable to the arts but are, in fact, inculcated / infused into all aspects of Japanese society / life.
In any event, the notions of the shibui and wabi-sabi aesthetics have influenced my picture making - they also describe the resultant pictures quite well - and the appreciation I have for most of the pictures made by others which prick my eye and sensibilities.
*WARNING - one can go on a bit of a blurry-eyed mind-numbing journey in pursuit of trying to find / discern an exact meaning of various Japanese words or phrases
FYI, diptych # 61 illustrates a 48 period of our goofy weather - snow over ice covered cars on Sunday, warm temps with melting ice and snow + dense fog on Tuesday.