November 30, 2007

TRANSIENT POAMS

Let me share that of course radiant (or illuminating) qualities of poams may pass through us --for myself, this passage is much closer to certainty: I believe that radiant qualities of poams pass through me whether or not they do in any measurable reality.

(image from Quasar9)

This comes from a comment I left in Maxell's Blog
"Please don't overlook the poam configurations that exist within a scale that seems like incredible brevity from the human scale --poam configurations which may endure only as long as a lightning flash --sometimes the evidence is only a radiant pulse we (think) that we feel, we believe that we have experienced even when there is no proof but our commitment to belief.

So please watch some of the videos in the link below about the poam configurations that occur. often incredibly briefly, in the work of "nature collaborator" Andy Goldsworthy (don't you find how he self-identifies so illuminating? He tags himself with identifiers in a manner that maybe perceived as similar to Elizabeth Bishop tagging her sestina poam "Sestina." Consider the certainty that something has been correctly identified in such tagging).

You Tube excerpts from "Rivers and Tides," a documentary about Andy Goldsworthy in acts of making:








What can you say about intention when the poam melts, floats away, collapses, is carried away in its components by water, etc.?

Who is this for?

What is the value?

Why work so hard for something that does not result in the kind of monuments that often indicate human presence? Monuments perhaps designed to outlast us --why?

How do we study such poams that no longer exist? --only the record of the poam having happened remains

But then again, and I urge you to think carefully about this; but then again, why assume that what is on the print page IS the poam? In some ways, is not the print object a record of the event as it occurs in the mind and feelings of the maker? Is not the illumination something that (sometimes, when the maker is lucky) occurs in the impulse to make, in the act of making? And while the print object may illuminate those who experience it, what is being experienced may be a model of what the maker experienced to produce the print object and not the actual poam event."

________________________________

Here is a chromatic motion print (a map) of the sonic tracks made by a Claude Debussy piano poam, as incorporated by Nick in his posted response to this post:

According to Nick: "This work takes the piano score and visually shows the song as it progresses. There is also an interesting representation of color in the piece, which helps to remind of Debussy's quote about color, music and ideas."

_________________________________

Perhaps more tangible is reminding us to (re)consider what we may assume is moving through our bodies although we usually do not see the subcutaneous travels of blood (though we may see the mapping of veins and arteries under the skin, may see pools of bruise blossoming).

The electrical coding of idea in our neural networks in not usually seen, but does happen, is happening as I type, as you read.

As stated in this description of a part of Body Atlas
at Ambrose Video where the series is available:
"Day and night, there's a clock ticking within our bodies. This clock is driven by chemicals in our blood-stream, the body's hormones. Made by half a dozen glands scattered throughout the body, hormones provide the unseen balance within our bodies that keeps our systems in harmony."


(image from Ambrose Video)

There are yet other instances of sensory awakenings as a result of unseen particles and waves passing through us (indeed, when to >i>see an object is to have unseen mechanisms deliver a rendering of an object to the optic nerve. There are occasions when unseen neural events allow, for instance: . The name for these a typical perceptual events is Synesthesia. The outcomes of cross-sensory interactions are synesthesian poams


Brainwaves (image from Corante (Brain Waves monthly archives)


Jane Mackay painted “Tchaikovsky’s First Piano Concerto? to creat a synaesthetic composition that bridges the gap between sight and sound. (Credit: Jane Mackay)

(image and image caption from Yale Scientific)

Consider this illuminating imagining as you prepare your system of course enclousure(s):

(image from Synethesia Research)

Another take on transient forms passing through, interacting with the body unseen is part of the Story of Pakistan

Commentary about dreaming and neutrinos are at Science Musings Blog

--And do not forget what happens when we do, at some moment, Go Gentle into that Good Night:
the passage of consciousness through? out? of the body?

--Is it the very idea of the self that departs?
that degrades?

--even Houdini, who promised to return to report what the other side was like, has not done so; even Houdini--.


Harry Houdini, who himself built a career on creating illusions, was critical of "spirit photographs." To expose the fraud, he photographed himself with the ghost of Abraham Lincoln.
(image and caption from: Wasington Post.com where the image source is listed as Library of Congress

Posted by thyliasm at 11:24 PM | Comments (1) | TrackBack

TRANSIENT POAMS

Let me share that of course radiant (or illuminating) qualities of poams may pass through us --for myself, this passage is much closer to certainty: I believe that radiant qualities of poams pass through me whether or not they do in any measurable reality.

(image from Quasar9)

This comes from a comment I left in Maxell's Blog
"Please don't overlook the poam configurations that exist within a scale that seems like incredible brevity from the human scale --poam configurations which may endure only as long as a lightning flash --sometimes the evidence is only a radiant pulse we (think) that we feel, we believe that we have experienced even when there is no proof but our commitment to belief.

So please watch some of the videos in the link below about the poam configurations that occur. often incredibly briefly, in the work of "nature collaborator" Andy Goldsworthy (don't you find how he self-identifies so illuminating? He tags himself with identifiers in a manner that maybe perceived as similar to Elizabeth Bishop tagging her sestina poam "Sestina." Consider the certainty that something has been correctly identified in such tagging).

You Tube excerpts from "Rivers and Tides," a documentary about Andy Goldsworthy in acts of making:








What can you say about intention when the poam melts, floats away, collapses, is carried away in its components by water, etc.?

Who is this for?

What is the value?

Why work so hard for something that does not result in the kind of monuments that often indicate human presence? Monuments perhaps designed to outlast us --why?

How do we study such poams that no longer exist? --only the record of the poam having happened remains

But then again, and I urge you to think carefully about this; but then again, why assume that what is on the print page IS the poam? In some ways, is not the print object a record of the event as it occurs in the mind and feelings of the maker? Is not the illumination something that (sometimes, when the maker is lucky) occurs in the impulse to make, in the act of making? And while the print object may illuminate those who experience it, what is being experienced may be a model of what the maker experienced to produce the print object and not the actual poam event."

________________________________

Here is a chromatic motion print (a map) of the sonic tracks made by a Claude Debussy piano poam, as incorporated by Nick in his posted response to this post:

According to Nick: "This work takes the piano score and visually shows the song as it progresses. There is also an interesting representation of color in the piece, which helps to remind of Debussy's quote about color, music and ideas."

_________________________________

Perhaps more tangible is reminding us to (re)consider what we may assume is moving through our bodies although we usually do not see the subcutaneous travels of blood (though we may see the mapping of veins and arteries under the skin, may see pools of bruise blossoming).

The electrical coding of idea in our neural networks in not usually seen, but does happen, is happening as I type, as you read.

As stated in this description of a part of Body Atlas
at Ambrose Video where the series is available:
"Day and night, there's a clock ticking within our bodies. This clock is driven by chemicals in our blood-stream, the body's hormones. Made by half a dozen glands scattered throughout the body, hormones provide the unseen balance within our bodies that keeps our systems in harmony."


(image from Ambrose Video)

There are yet other instances of sensory awakenings as a result of unseen particles and waves passing through us (indeed, when to >i>see an object is to have unseen mechanisms deliver a rendering of an object to the optic nerve. There are occasions when unseen neural events allow, for instance: . The name for these a typical perceptual events is Synesthesia. The outcomes of cross-sensory interactions are synesthesian poams


Brainwaves (image from Corante (Brain Waves monthly archives)


Jane Mackay painted “Tchaikovsky’s First Piano Concerto? to creat a synaesthetic composition that bridges the gap between sight and sound. (Credit: Jane Mackay)

(image and image caption from Yale Scientific)

Consider this illuminating imagining as you prepare your system of course enclousure(s):

(image from Synethesia Research)

Another take on transient forms passing through, interacting with the body unseen is part of the Story of Pakistan

Commentary about dreaming and neutrinos are at Science Musings Blog

--And do not forget what happens when we do, at some moment, Go Gentle into that Good Night:
the passage of consciousness through? out? of the body?

--Is it the very idea of the self that departs?
that degrades?

--even Houdini, who promised to return to report what the other side was like, has not done so; even Houdini--.


Harry Houdini, who himself built a career on creating illusions, was critical of "spirit photographs." To expose the fraud, he photographed himself with the ghost of Abraham Lincoln.
(image and caption from: Wasington Post.com where the image source is listed as Library of Congress

Posted by thyliasm at 11:24 PM | Comments (1) | TrackBack