first, due to blogger's recent interface update/improvement i have effectively been blocked from blogger. this is due to my points of access. for one reason or another i cannot access the interface windows, which means i cannot make new entries or even access my profile.
i can only post entries through roundabout convoluted ways like you see here (from flickr or youtube).
so until futher notice, i am on a inconsistency-based hiatus. i'll have to see how i can circumvent the current update-and-resultant-block situation or find a way to move all content to another site/blog.
[now for my post-exposition]
why am i even sharing this? hmm, because i must sate one of the cabinets in my brain that is bellyaching about it. because those that "know," know. and those who don't, don't care/seem to care. though, there is that small small small portion of human specimen that actually will wonder where this has been all their lives up to the point of discovery. so that is a good reason to share this.
Sunday, May 13, 2012
Friday, April 27, 2012
Tuesday, April 3, 2012
t’ximi
we sit opposite mountains
at our knees,
playful cardboards,
and electric crumbs
we do
skies apart, skies together
tin clouds we wear
behind our ears
for each other
we do
she and i,
we talk away colid cants
through teacup
and board
she do
my ear ~
close to that leaf
close to that knot
i do
to hear,
in hope,
her whisper of horizon
i do
with nook
and nickel
and future scrapes
across the shadow of see and saw
the blacks, our tigh.
her seconds are my firsts
a hundred horns my wig wanders by
at our knees,
playful cardboards,
and electric crumbs
we do
skies apart, skies together
tin clouds we wear
behind our ears
for each other
we do
she and i,
we talk away colid cants
through teacup
and board
she do
my ear ~
close to that leaf
close to that knot
i do
to hear,
in hope,
her whisper of horizon
i do
with nook
and nickel
and future scrapes
across the shadow of see and saw
the blacks, our tigh.
her seconds are my firsts
a hundred horns my wig wanders by
Thursday, March 15, 2012
lessons on the half shelf
children and their art - fourth edition.
pg. 5
. . .art’s reputation must be due to the fact that it helps people to understand the world and themselves, and presents to their eyes what they have understood and believe to be true.”
pg. 8
“. . .art is an expression of a person’s reactions to experiences in his or her life, given form through the use of design and materials.”
pg. 9
“many innovations or movements in the modern era of art history began in revolutions against accepted artistic tradition or, in many instances, academic dogma.”
pg. 18
“the current scene in art is not dominated by a single style or movement, but exemplifies a pluralism that includes contemporary manifestations of nearly all that has gone before.”
pg. 19
“there is a time for children to focus on their attention on the external world and there is a time to honor their own dreams and inner desires; there should be opportunities to experiment with form; and there should be situations wherein the modes of one medium can borrow from another.”
pg.28
“since art is very personal, creative people must control the activities that engage them. to be in control of their work, artists must have freedom to choose both their subject matter and their manner of expression.”
pg. 29
“the freedom necessary for the success of an aesthetic act cannot be separated from the freedom of thought and action that is the prerogative of the individual living in a democracy. a fact generally overlooked is that art educators have been among the pioneers in developing a pedagogy compatible with democratic practices. what assisted them as much as anything else was their understanding that art could not be taught successfully unless it was presented in an atmosphere designed to develop individual and, in a sense, nonconformist expression.”
pg. 95
“art does not lend itself readily to rules and regulations, and any statement concerning principles must be outlined with caution.”
“should learners come to rely on the principles they have developed from their experiences to such an extent that they cease to look for new, deeper truths in art, their thinking will become stale. whatever universal beliefs we may hold about art must, it seems, be subject to continued revision and further inquiry. general truths about art, in short, must always be regarded in a pragmatic light. a principle may not be adequate when we have enjoyed new experiences and gained new insights into design.
the current attitude toward honesty in the use of materials reflects this idea. if we are still to hold to the idea that artists must respect the integrity of their materials and work from the accepted definitions of painting and sculpture, what are we to say of george sugarman, who paints his sculpture, or of marisol, who adds drawing to the same combination? should we adhere to the “rules” and reject their work, or should we keep ourselves open to the element of surprise and amusement when confronted with such combinations? obviously, today’s children should be prepared for the art of their time, and there is no reason why there cannot be room in their life for both the “integrity” of a fresco by michelangelo and the multimedia combines of robert rauschenberg. (we must bear in mind that in the opinion of many of his contemporaries, michelangelo violated the integrity of the human figure by distorting human proportions.)
each learner arrives at a personal statement of principles that reflects personal experience and its resulting insights. . .
. . .no matter what principles one may formulate, however, they should be employed only as temporary working hypotheses.”
pg. 5
. . .art’s reputation must be due to the fact that it helps people to understand the world and themselves, and presents to their eyes what they have understood and believe to be true.”
pg. 8
“. . .art is an expression of a person’s reactions to experiences in his or her life, given form through the use of design and materials.”
pg. 9
“many innovations or movements in the modern era of art history began in revolutions against accepted artistic tradition or, in many instances, academic dogma.”
pg. 18
“the current scene in art is not dominated by a single style or movement, but exemplifies a pluralism that includes contemporary manifestations of nearly all that has gone before.”
pg. 19
“there is a time for children to focus on their attention on the external world and there is a time to honor their own dreams and inner desires; there should be opportunities to experiment with form; and there should be situations wherein the modes of one medium can borrow from another.”
pg.28
“since art is very personal, creative people must control the activities that engage them. to be in control of their work, artists must have freedom to choose both their subject matter and their manner of expression.”
pg. 29
“the freedom necessary for the success of an aesthetic act cannot be separated from the freedom of thought and action that is the prerogative of the individual living in a democracy. a fact generally overlooked is that art educators have been among the pioneers in developing a pedagogy compatible with democratic practices. what assisted them as much as anything else was their understanding that art could not be taught successfully unless it was presented in an atmosphere designed to develop individual and, in a sense, nonconformist expression.”
pg. 95
“art does not lend itself readily to rules and regulations, and any statement concerning principles must be outlined with caution.”
“should learners come to rely on the principles they have developed from their experiences to such an extent that they cease to look for new, deeper truths in art, their thinking will become stale. whatever universal beliefs we may hold about art must, it seems, be subject to continued revision and further inquiry. general truths about art, in short, must always be regarded in a pragmatic light. a principle may not be adequate when we have enjoyed new experiences and gained new insights into design.
the current attitude toward honesty in the use of materials reflects this idea. if we are still to hold to the idea that artists must respect the integrity of their materials and work from the accepted definitions of painting and sculpture, what are we to say of george sugarman, who paints his sculpture, or of marisol, who adds drawing to the same combination? should we adhere to the “rules” and reject their work, or should we keep ourselves open to the element of surprise and amusement when confronted with such combinations? obviously, today’s children should be prepared for the art of their time, and there is no reason why there cannot be room in their life for both the “integrity” of a fresco by michelangelo and the multimedia combines of robert rauschenberg. (we must bear in mind that in the opinion of many of his contemporaries, michelangelo violated the integrity of the human figure by distorting human proportions.)
each learner arrives at a personal statement of principles that reflects personal experience and its resulting insights. . .
. . .no matter what principles one may formulate, however, they should be employed only as temporary working hypotheses.”
glue
though few, the bonds i enjoy are absurdly dense and immeasurable. though, perhaps not entirely accurate to compare - my bonds are somewhat like a black hole: very attractive, lots of matter absorption, dense-like properties, infinite with no detectable beginning or end. love is made of this kind of thing. an existence thrives on it.
Tuesday, February 21, 2012
shoulder over the shoulder
consistently often, i have chills of sorts. they are not apparent, and i'm not boisterous; sometimes i'm overwhelmed and i'll articulate more directly/physically,
if it's not the realization of how many hearts are beating at once, how fast the earth spins round itself(the sun, the galaxy, the universe), then it's how many blades of grass i'm seeing, how they all look like one, feeling all the itchy sensations in the skin, internal organs, cartilage movements, hairs blowing, sounds floating, colours trembling, things being
and i can feel the atomic presence - the connection. it's vibrant. it's tart. it glows. it blinds.
it says "there is no end to one thing, no beginning."
i may nod and whisper~
"it's fantastic and continually distracts me. . . thank you."
if it's not the realization of how many hearts are beating at once, how fast the earth spins round itself(the sun, the galaxy, the universe), then it's how many blades of grass i'm seeing, how they all look like one, feeling all the itchy sensations in the skin, internal organs, cartilage movements, hairs blowing, sounds floating, colours trembling, things being
and i can feel the atomic presence - the connection. it's vibrant. it's tart. it glows. it blinds.
it says "there is no end to one thing, no beginning."
i may nod and whisper~
"it's fantastic and continually distracts me. . . thank you."
Tuesday, January 31, 2012
poored
i'm poor, but i'm not dumps.
i continue to develop my ideas for these pieces i must somehow figure out how to build. i talked about this with my friend "gold" at one point. and just in that one talk i formed alot of structure for these otherwise ambiguous pieces.
through experience they (these pieces) have clobbed together into their own form of choice (it seem - it feels). but they are currently beyond my skill to build as well as my wallet.
i've suffered a financial blow but my mind remains strongly on track.
in the meantime of repairing my broked wallet, i'm reading up on the various techniques it may take to build these pieces. french carving styles, glass or plastic shaping resources and methods, mosaic tiling, lathe and plaster, wall papering, basic carpentry, etc.
additionally there is some historical methods and visual reference research i have to do.
the hardest part is the peripheral element. i call it "peripheral" because it is an aspect of these pieces that they are familiar, "recognizable," but not upon close inspection. not when you take that second look or get close.
"peripheral familiar" incidents is what i currently call these beasts. "incident pillar"s are what i call their form.
my experiments continue. sketches, research on real world occurrences of the "pf" factor; perhaps i should just call it the "pif" factor (composite shortening of peripheral incident familiar), experiments.
things are tough but i'm focusing on these expressions. not just the pif, but all expression.
action packed.
i continue to develop my ideas for these pieces i must somehow figure out how to build. i talked about this with my friend "gold" at one point. and just in that one talk i formed alot of structure for these otherwise ambiguous pieces.
through experience they (these pieces) have clobbed together into their own form of choice (it seem - it feels). but they are currently beyond my skill to build as well as my wallet.
i've suffered a financial blow but my mind remains strongly on track.
in the meantime of repairing my broked wallet, i'm reading up on the various techniques it may take to build these pieces. french carving styles, glass or plastic shaping resources and methods, mosaic tiling, lathe and plaster, wall papering, basic carpentry, etc.
additionally there is some historical methods and visual reference research i have to do.
the hardest part is the peripheral element. i call it "peripheral" because it is an aspect of these pieces that they are familiar, "recognizable," but not upon close inspection. not when you take that second look or get close.
"peripheral familiar" incidents is what i currently call these beasts. "incident pillar"s are what i call their form.
my experiments continue. sketches, research on real world occurrences of the "pf" factor; perhaps i should just call it the "pif" factor (composite shortening of peripheral incident familiar), experiments.
things are tough but i'm focusing on these expressions. not just the pif, but all expression.
action packed.
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