12.02.2009

Belief confirms Belief

Taking a break from working on a philosophy paper about free will to comment on this research presented in New Scientist showing that people ascribe their own beliefs to God:

God may have created man in his image, but it seems we return the favour. Believers subconsciously endow God with their own beliefs on controversial issues.

"Intuiting God's beliefs on important issues may not produce an independent guide, but may instead serve as an echo chamber to validate and justify one's own beliefs," writes a team led by Nicholas Epley of the University of Chicago in Proceedings of the National Academy of Sciences.

The researchers started by asking volunteers who said they believe in God to give their own views on controversial topics, such as abortion and the death penalty. They also asked what the volunteers thought were the views of God, average Americans and public figures such as Bill Gates. Volunteers' own beliefs corresponded most strongly with those they attributed to God.

Next, the team asked another group of volunteers to undertake tasks designed to soften their existing views, such as preparing speeches on the death penalty in which they had to take the opposite view to their own. They found that this led to shifts in the beliefs attributed to God, but not in those attributed to other people.

"People may use religious agents as a moral compass, forming impressions and making decisions based on what they presume God as the ultimate moral authority would believe or want," the team write. "The central feature of a compass, however, is that it points north no matter what direction a person is facing. This research suggests that, unlike an actual compass, inferences about God's beliefs may instead point people further in whatever direction they are already facing."


I think this is very useful research, as the way our beliefs, and the stories we tell to authenticate those beliefs, influences our actions is, for me, one of the prime functions of mythology, and highly overlooked in our polarized age. I think it is very important right now to look at the way the stories we tell influence us, as culturally we are aflood with stories telling us all kinds of wondrous and troubling things. Violence in video games is just the tip of the iceberg. It's not surprising though to find that God is less a moral compass than a sounding board; people have been using the concept of an ultimate reference for this purpose since we've been able to conceive of such an "objective" stance. The difference I think though is that originally (as conceived in both ancient Greece and theology), God was a sounding board for our conception of the largest possible scope of reference and goodness, that is, one which was bigger than our individual perspectives and could thus serve as a map or guide to them. Nowadays though the popular conception of God has become much smaller, inimical to a total perspective of belief, and very specific beliefs have been attached to the attendant texts and rituals that support belief in God (ie: all the dogma and hatred and ignorance of religious fundamentalists that are in us and not in It). Unfortunately it seems that we have grown to believe more in the one-sided interpretations that have codified over history than in the total set of possibilities inherent in an ultimate god belief, and as such project those back on that image in order to reinforce these negative views.

As always, it is important to remember that whether or not you believe that we are created by God, we create gods ourselves through our belief in them, which allows us to believe in ourselves. As I like to put it, gods are solely everything that has been said or believed about them or has been done in their names.

12.01.2009

Liber Novus: first impression of Jung's Red Book

I couldn't sleep last night, as inspired as I was having begun to read Carl Jung's Liber Novus, his "Red Book." My first impression is that this is a massive tome; at 16x12x2'' it is easily the largest book I've ever laid hand on, and just turning the pages takes a substantial effort. But it's well worth it.



The Liber Novus is Jung's account of his decades long process of psychological and subconscious self experimentation, through a technique called "active imagination;" a process that he claimed was the seeds to all his work. Written first in a series of Black Books, this masterpiece was later painstakingly copied into a red leather-bound book, though never finished. And by copy I mean create an entire illuminated manuscript, complete with exquisite calligraphy and full color mandala and dream illustrations, that Jung worked on till his fascination with alchemy took hold, and then sat in a box until long after he died.

This first edition presents not just a translation of the text (by Jung scholar Sonu Shamdasani), but a full facsimile of the original folio plates, which have been kept in a safe deposit box unlooked at for the last 80 years and so are in excellent condition. The edition also includes critical apparatuses; a historical essay to contextualize the significance of the Liber Novus in Jung's life and work (and was the main thrust to convince the Society for the Heirs of Jung to finally let the book be published), as well as paratextual citations to highlight the variety of references in the manuscript itself, which should make the read that much more insightful.

Flipping through the folio I was struck by the richness of the illustrations, some of which I would consider masterpieces in themselves, filled with fractals, swirling colors, archetypal situations, and a surreal dream-sense that was apparently under-appreciated by the Surrealists. The calligraphy is in German, which I unfortunately don't speak, and can only comment on the precise appearance of.

As for the text itself, that will be my next attempt. I will say that it begins with the title: "The way of what is to come," along with some prophetic quotations from Isaiah, and much of it is in dialogue form between Jung and his spirit guide (in the tradition of Mephistopheles), placing the work as a modern take of the tradition of revelatory literature, which isn't so far off considering the inclusion of Jung's dreams prophesying the World Wars.

On the whole, the book seems to be Jung's attempt to reconcile the scientific with the mythic and spiritual, the personal with collective, and as such could not be more timely than to finally see the light of people's eyes. As a writer interested in the use of dreams and personal narratives, as well as having taken this process to my own experimental, revelatory, self-mythology and understand the danger of attempting vs. the incredibly potent imagery that can come out of such a process, I suspect the Liber Novus may have far reaching cultural effects that we could only begin to imagine.

11.30.2009

The Unlimited Story Deck – Artist’s Statement

“I think we should put some mountains here. Otherwise, what are all the characters going to fall off of?” -Laurie Anderson
As a storyteller and theorist on the role that narratives play in our lives, I am concerned with how we produce stories, particularly in our contemporary, hyper-mediated age. We are exposed to narratives everywhere we turn, from the news and movies, to the expression of our memories and daily experiences. Despite this overwhelming abundance of narrative forms, it seems that people often take in stories passively, and do not think about how each of us are continually narrating the world around us. The uncertainty over the future of print media and the Internet’s allowance of the production of rapid and potentially low-quality narratives point to a pressing need to encourage people to continue to learn and enjoy the art of good storytelling. To this end I have created a game and technology, called the Unlimited Story Deck, which can be used to highlight the ways in which we construct narratives, both individually and as communities, and encourage people to tell and enjoy telling new and quality narratives.

There is a myth that that the authorial process is a challenging, mystical, and solitary craft. On the contrary though, everyone is telling stories all the time; the ability to form narrative connections between diverse concepts in our lives may be one of our most rudimentary abilities. Scott McCloud, in his Understanding Comics, suggests that we make such intuitive narrative connections when making sense between the panels of comics . We recognize patterns and desire causal or associational relationships between the contents of our experience, regardless of what those contents are or the contexts and mediums in which they are encountered, just as in comics we don’t need to be told how to interpret the variously arranged and disjointed panels. The Unlimited Story Deck works by presenting its users with a variety of such juxtaposed concepts, from which we can recognize and express our narrative connections.

But what are these contents or concepts we recognize and construct narratives from? The Pre-Socratic philosopher Anaximander believed that all reality was constructed from one underlying substance that he called the Unlimited, essentially a storehouse or database of all potential qualities that could be intermixed and expressed in the world . While this was subsequently disproved as a valid physical theory of the Universe, it may serve as a metaphor for the field of storytelling, in that all narrative realities are constructed from the intermixing and expressing of the unlimited storehouse of conceptualized language. Specifically, we find in stories concepts for characters, settings, events, objects, and dynamics, which are intermixed and expressed in a variety of ways. Each card of the Unlimited Story Deck presents one of these types of storytelling concepts, which can be played in a variety of ways to construct narratives.

While one of my aims is to see how we tell stories outside of expected forms or mediums, (otherwise how might they be novel), it seems we can tell stories from concepts because they are familiar or recognizable from our experience; we know the associations and trappings and how they might be used. There are through the wealth of human narratives certain types of stories that are told again and again, and which anyone who has ever read a book or watched a movie might immediately recognize. Like Anaximander’s Unlimited, one imagines a database of all available narrative types, a technology that Heidegger would call a “standing-reserve” of concepts , which reveal these concepts for us to use in story creation. For the Unlimited Story Deck I have collected such recognizable types of content, which should allow its users to more readily and enjoyably create narratives. Though the form of a deck is limited, physically by the need to shuffle the cards, the permutations of narrative connections between any of these concepts is as unlimited as the human imagination.

While I believe our ability to form narrative connections is intuitive, telling stories still takes work. As media theorist Espen Aarseth suggests, texts are machines for the production of narrative meaning that require the input of a human user to make them operate . Even traditional narrative forms like the novel require some amount of feedback and interpretation from the reader to make sense of a story. On the other hand, this ergodic feedback can be fun, when viewed as games that encourage us to enjoy the act of problem solving or narrative resolution . While it does not present the kinds of goals typical of games, the Unlimited Story Deck is intended to induce the same kind of fun when played by randomly generating concepts that we have to express as narratives, and as such stands in a tradition of storytelling and card games that require interaction to form narrative connections.

Aarseth notes that one of the oldest books, the Chinese I Ching, makes use of discrete nonlinear/random methods for being read, producing 4096 possible distinct readings from the permutations of its symbols . A similar and more direct antecedent is the divinatory system of the Tarot, which presents its users with randomly drawn cards that each contain a concept or archetype from which a reading is constructed. Some important aspects of the Tarot to note are that 1). The archetypes are drawn from familiar or basic situations in human life, 2). Provide open guidelines for the spatio-temporal arrangement and reading of the cards, and 3). Ask the reader to consider the cards and their constructed narrative as a representation of the reader and their personal associations to the cards’ contents.

This last point becomes important when considering another antecedent: that of role-playing games such as Dungeons and Dragons. Though many actions in RPGs are decided through the chance of dice rolls, this kind of game’s fun comes primarily through the story that the players and game master construct and express from the randomness of events and charts of possible outcomes. The players are encouraged towards this act of narrative construction because they identify themselves with the characters in the story. While the Unlimited Story Deck could be used in a similar, self-representational way, it seems that this identification between reader and character may be an integral part of how we interpret stories: by imagining ourselves into the situations and relationships presented these become real for us. Many of the cards in this deck have thus been addressed to the user to encourage their involvement in the stories that can be constructed.

A last few antecedent forms to consider include collectible card games, such as Magic: The Gathering, where players place cards on the table that each represent different characters or forces operating on each other. While this may look the most like the Ultimate Story Deck, collectible card games don’t generally encourage narrative creation and have very particular constraints of game play and goal-situations. Another card game worth mentioning though is Fluxx, where the cards played change the rules and end-situations of the game. This is closer to the player relationship to the cards played in the Ultimate Story Deck, but once again without the use of narratives. Lastly is the card game 1000 Blank White Cards (which I have yet to play, and so can’t speak freely about how it operates), essentially blank cards drawn on by the players to make up the game as it goes along. The Ultimate Story Deck seems very similar to this, but with a preset range of cards and a focus on narration somewhat more similar to the Surrealist storytelling game Exquisite Corpse, where a narrative is made up by people passing around sentences to be finished or continued.


This project is still unfinished, the cards are being designed and should hopefully be done next week in time to start play-testing how the Deck works. More details forthcoming.


1. Scott McCloud. Understanding Comics: The Invisible Art (New York: HarperPerrenial, 1994) 62-4
2. Philip Wheelwright [Ed.] The Presocratics (New York: Macmillan, 1985) 53
3. Martin Heidegger. The Question Concerning Technology. Basic Writings. David Farrell Krell [Ed.] 322
4. Espen Aarseth. Cybertext: Perspectives on Ergodic Literature (Baltimore: John Hopkins University) 20-1
5. Raph Koster. A Theory of Fun for Game Design (http://www.gamasutra.com/features/20041203/koster_01.shtml, 11.30.09)
6. Aarseth 9

The Way of What is to Come

Monday, listening to M.Pyres, dancing up and down over my copy of Jung's "Red Book" [on his theories of interpretation] finally arriving, though won't have time to dive into it for a couple weeks due to the increasing school work load. But soon.

For the time being here's some links that have been building up in my reader:


Images
From Kris Kuksi's Beast Anthology (above).
Dust Echoes: animated stories from the Australian dreamtime.
The dawn of a new post postmodern era in art.

Words
Viking love (and war) poetry.
Alan Moore's new zine, Dodgem Logic.
A Reader's Manifesto, or why contemporary literature sucks.
Bad sex in fiction award 2009 (NSFW).
The Books that founded D&D.

Faith and Politics
Obama omits reference to God in Thanksgiving speech.
The inherent fail of New Atheism.
Ritual sacrifices in Nepal see 320,000 animals sacrificed.
Switzerland Votes to Ban Minarets
CIA's lost magic manual resurfaces.
The global protest movement, ten years later.

Science
Doctors Recommend Medical Marjiuana for Minors with ADHD.
Humans hear through their skin.
Plants have a social life.
Science is shackled by intellectual property.
Large Hadron Collider sets world record for particle acceleration.
Virgin Galactic's Space-Grazing Aircraft Is Ready for Liftoff.

11.26.2009

Process and the Past

Despite the need to be working on various school and personal creative projects right now I find myself in the middle of a process of going back through past writings and making them more interconnected and available, in short a bit of personal house cleaning, which seems necessary for several reasons. Primarily I have just gotten out of a long term relationship and am realizing that, as happens when ones' life gets intimately wrapped up in that of another, there are many perspectives and interests that I've neglected over the last several years, that need to be dug out and tied back in to my current projects and perspectives before I can begin fully working on those things from a fuller and more integrated place.

Some things I've noticed while doing this: obviously the recognition of neglected perspectives, including poetic, occult, revolutionary, metaphysical, oneiric, and process-oriented views of the world, which have shaped much of my current stance despite getting brief or invisible coverage in my thoughts of late.

Secondly I noticed that I was apt in the past to spill out great amounts of personal drama and woe on the Internet, which more recently I've learned not to do. We all go through emotional turmoil at times, but don't necessarily need to present that publicly. This is not though just a choosing not to present these facets of my life, but a recognition that I and my writing have actually matured, so that these emotional contents do not press on me with the same amount of ferocious necessity that they once did; I can separate what I want to say from all the chaos that surrounds the thoughts and words. On the other hand, what is missing from more academic framings of thought is that ideas are always intimately bound up in our experience. To not discuss personal narratives and the experiential engagement with our ideas, that is, how we live out our thoughts in our real lives, is to present a too small and flattened view of what reality is. Our lives, despite our ideals and intentions, are messy, upsetting, and influence everything that goes on in our heads, and recognizing our fears and doubts and questions along side the theories and fictions is ultimately a more true representation of reality, but one that needs to find balance between discretion and disclosure.

It seems necessary to recognize these things in light of the words inscribed above the Delphic Oracle: know thyself. From time to time, life takes hold and we forget who we fully are, and must return to the process and the past in order to find out again, and again, and move forward from the present in full knowledge and being.

11.25.2009

Academicia

As part of the current process of integrating my various creative works onto the Internet, I've decided to post some of the more interesting academic papers I've written over the last several years for school (backdated to when they were written, including a couple pieces of fiction, not including any work from the current semester):

Manifesting Power: Indra’s Slaying of Vṛtra as Kratophany of the Vedic Kings, 10.6.07

Vivid Wanderings: The Gunwinggu Rainbow Serpent as Symbol for Indigenous Australian Life, 11.3.07

Speaking the World: Pico della Mirandola’s Cabalism and the Languages of Science, 11.20.07

Dreams of Identity in Everett's Erasure, 11.28.07

Haunting Tradition: Ritual Failure in the Lakota Ghost Dance, 12.10.07

The Incoherence of the Sentence in Kafka’s “In the Penal Colony”, 1.30.08

Analyzing the Mystery of Poe's The Murders in the Rue Morgue, 2.15.08

Distorted Reflections of Reality in Borges' “Tlön, Uqbar, Orbis Tertius”, 4.16.08

The Mythic Narrative of Beckett's “The Calmative”, 4.24.08

The Legend of the Forbidden Treasure in Conrad’s “Nostromo”, 9.11.08

Simultaneity of Tradition in Eliot’s “The Wasteland", 10.2.08

Dystopian Symbols and Counter-Symbols in V for Vendetta and Alphaville, 11.2.08

Place Names as Reality Effect in Joyce's “Portrait of the Artist as a Young Man”, 11.18.08

Saving Middle-Earth: The Power of Recording Reality in Tolkien's The Lord of the Rings, 2.20.09

The Anthropological Perspective in LeGuin's The Left Hand of Darkness, 2.22.09

Apocryphal Narratives in Pynchon's Slow Learner, 4.13.09

Believing in the Fantastic of Gaiman's Neverwhere, 4.8.09

Cyberpunk and the Magical Power of Language, 4.21.09

Please feel free to cite these papers and ideas if of interest and use. I would prefer not to be plagiarized. Thanks!


A Personal Myth (fiction), 10.1.07

The Death of the Author as a Young Man (autobiographical fiction), 2.27.09


I've also gone back and updated tags for all entries on this blog and transferred the posts from my old blog True Names to here (but haven't gotten to their tags yet).

11.24.2009

On Ultimate Realism

I haven't written much yet publicly on the new perspective or belief system I have been attempting to formulate over this past year, a perspective that I call Ultimate Realism, which is perhaps best summed up by the quote from Patchen's Memoirs of a Shy Pornogrpaher: "Everything which man can imagine, dream, or conceivably want to exist... does exist."

This view first occurred to me one day last year during a week of spiritual-existential difficulty. I had gone to a local bar and ran into an acquaintance, who said, having not seen me in ages due to my focus on school and writing, "welcome back to the real world," to which I could only reply, but isn't everywhere also just as real? and then wandered down the street struck by the total implications of everything around me being that real. There is some sense in which we tend to believe that only those habits and experiences that we usually have are really real, or at least of the most real importance to us, forgetting that other experiences we don't have are just as real. And beyond existing situations, every content of our imaginations and the stories we tell is real, in that these have real effects in the real world. And ultimately, any perspective that will allow us to articulate our lives in the whole of such a multifaceted reality, and perhaps allow us to formulate a perspective of global significance and understanding, will have to put us in relation to that whole, not just as it is scientifically and historically understood, but in relation to all that humans have said, imagined, believed, and dreamed.

This view has come out of years of questioning spiritual beliefs and the nature of the stories we tell. How do we, as human beings in a world with other human beings, deal with the fact that people have divergent and often contradictory views on what the world is and our place in it? Historically, belief systems have clashed, and continue to clash because each side takes their perspective as most true and right, whereas if one view was somehow objectively true and right there should be no cause for conflict; and yet there is. In my own life I have struggled with such limited perspectives, not knowing in what to believe, as the beliefs always seemed too small, and yet needing to believe in something, to tell some kind of story, and finally recognizing that any belief I would want to hold would have to be large enough to contain all possibilities of believing.

Similarly I fear global destruction due to the clash of these limited perspectives, and that we as a species do not have the stories to set us in relation to where we are now that might allow us to continue into the future in a meaningful, healthy, and positive way. The stories we are prone to tell today are often too small, quotidian, dealing with failure, comeuppance, and the meaningless joy ride of post-modernity, whereas we need a perspective that can address the Universe as a whole, for future generations of humanity in this Universe. These stories must be ultimate in order to place us and our actions in the widest set of meaning or significance necessary for survival.

My old professor, Dr. Fred Clothey (a student of famed mythographer Mircea Eliade), suggested that the stories we tell can tell us about ourselves, in effect modeling our understanding of reality in order to authenticate current actions and allow future actions. Our stories/ myths/ beliefs/ perspectives, etc. can do this precisely when they are cast in an "aura of ultimate significance," that is, by referring us to the widest possible scope of experience and understanding, to our cosmic and social beginnings, to our longed for and feared endings, to our ideals taking on human form. We find our place and being in between the limits of the real as we know it.

One such ultimate signifier, that has had a direct effect on real occurrences, is the concept of God(s). While belief in supernatural beings has allowed articulation of our relation to society and mortality, is has, perhaps most clearly and distressingly, served as a justification for centuries worth of horror and cruelty: crusades, inquisitions, terrorism, or just plain ignorance. But we are prone to forget in our polarized times that this personification of ultimate ideals was also a necessary and integral perspective for the development of scientific reasoning, framing an objective and total perspective that we humans could then hope to achieve ourselves, a belief that has existed coterminous to science up through the 20th century. Contemporary atheists might be glad that God is no longer a reference for rational understanding, but "His" death has negative impacts as well: God has traditionally not only been a signifier for ultimate perspective and knowing, but also for perfection and goodness, in short, ethical understanding of behavior, without which we do things like build the atomic bomb. Technology runs rampant when not placed in the widest relation to how it might rightly be used, or the lack of an ethical signifier allows the cultural insecurities that haunt us to become manifest, and such horrors not only be imagined but made real. One imagines a similar lack of ultimate significance in the perspectives that have allowed western culture's unparalleled material consumption, environmental destruction, and continued ideological warfare on the rest of humanity.

I am not arguing here for a return to a belief in the traditional monotheistic God or earlier gods. These stories, as we have seen, are just too small and conflict-provoking compared to those perspectives that now need to be adopted. I am arguing though for a greater belief in the reality and efficacy of the contents of our stories and imaginations, and an awareness of how these otherwise subconscious narratives influence the real world.

One of the problems to this approach is the primacy we give to literal truth, vs. the obvious falsity of our "true" representations of reality. I am a huge fan of stories of the fantastic, of the magical, supernatural, weird, heroic, or sci-fi, which, looking at the predominance of these themes in the current cultural media and imagination, I believe I am not alone in. But why do we love supermen, zombies, and the end of the world? There has been a trend in storytelling, dating from the late 18th century, of attempting to represent reality as it "really is," social or quotidian realism, and not as an allegorical reference for otherwise real things. Fiction, when it first was read as not literally true, was cast as "petite histories," in order to accept stories they had to mimic reality while being divorced from talking about reality. My immediate response to all this is, there's already too much of the world we experience on a daily basis, why create more of it, when stories beyond the everyday may raise possibilities of experience and understanding more than that which we are already familiar with. That familiarity constrains us, by being real, to the obviously inadequate belief systems we now live under. We hold up what we believe is a mirror and say, this is real, and because we say it, that marks the bounds up what we will allow to be really real.

My second issue with realism is that it is not reality despite how it primps and masquerades itself as such. It may represent aspects of reality, but does so by relying on and reaffirming our assumptions about how the world is and should be, which constrains us to accepting those views and realities as more true or valid, to the exclusion of wider views. And today it seems our view of the real is that it frankly sucks and nothing matters anymore. And any attempt to actually discuss real human issues in an emotionally valid way is negated by the irony and scorn with which we articulate the real world. The fantastic however, by being non-real and symbolic of the real (mythopoetic in Tolkien's terms), precisely allows us to highlight those human themes and conditions we want to examine in truthful ways. But in order to even accept the contents of fantastic stories we must (as Coleridge first suggested) suspend our disbelief of those things that couldn't be literally true in our everyday experience. We no longer have a problem leaping into wizard fights or across star systems, we can suspend disbelief but we are never asked to truly believe, and thus are not as prone to take such fantasies as being symbolic or ultimately significant for how we really are or could be in the world. We are content to let them be mere entertainments and diversions rather than suggestions of possibility.

Yet, are ghosts and gods really real, or is this even the right way of framing the question? There is a sense that certain things are existentially real, they commit us to accepting their physical reality, being right in front of us. The invisible and imaginative do not so commit us; one can not empirically and scientifically prove a god's actual existence. To argue one way or the other for this is to miss the entire point about gods. But one can clearly see the effects that belief in such unprovables has on our world, both on our perspectives and psychologies and in actual historical occurrences. Ignoring and belittling the immaterial causes of such beliefs and effects does little to add to our understanding of ourselves in the world, allows the results of inappropriate or too-small beliefs to continue unchecked, and limits the human imagination to articulate new possibilities of being and understanding being, which are necessary for our current and continued survival, let alone enjoyment and well being. On the other hand, if we do not remember that the stories we tell are only stories, that have been made up despite their real effects, we run the risk of mistaking the stories as literally true, thus causing us to act in dangerous and inappropriate ways, when imagining better stories to live by and through is always an option (and it is this lack of awareness of the power of our symbols that I mean by the absent narrative).

I do not know where we will go from here, but I am wary and sick of the post-modern skepticism that rejects any ultimate significance in favor of what we can directly lay our hands on (and in so doing, strangle it to death). I would prefer to see interconnections of the layers of reality rather than the whole's deconstruction and rebuttal. Acting as if we know everything and nothing really matters is perhaps the smallest and most dangerous perspective one could hold. Ultimately, we exist in a Universe which we barely understand, and in which we are a bare speck, and perhaps in that widest view humanity is indeed meaningless and fated to extinction for lack of any better options. And yet it is also possible to believe, and live by the belief, that life and our consciousness of life may be more than a random fluke or evolutionary mistake; not that we serve some clear teleological purpose or extant will of God, but that for all these unknowns we are still real, and still here, and confronted with the implications of that for all reality.

Though reality may be inherently meaningless we have the choice to take on meanings and act on those meanings, to continue to be and gather greater understanding and significance, both on this planet and in the Universe as a whole, should we choose to accept this mission. Anything less than such an Ultimately Realist perspective sells ourselves short, and will only propel us down the road of meaninglessness and destruction. But if we can perhaps articulate a perspective wide enough, not just for all humans, but all life in general and beyond life, then perhaps we can continue on until that perspective, and all else we can imagine, becomes real.

11.22.2009

The Artist's Mind/ the Public Eye

Last night I went out to reading held by the local Six Gallery Press, as I haven't been getting out of the house much lately and needed that creative inspiration. There I ran into my friend, the gentle giant Jessica Fenlon, who as always was gushing with her creative process. We stood on the corner talking about that moment when one is writing or making art, and everything starts to come together, not just in the work, but literally as if the contents of the art suddenly spilled over into reality with a great a-ha (such epiphanic moments being for me one of the strongest reasons to and for which to create, somewhat like the faulty pattern recognition of apophenia, except as artists, who else decides what patterns are real?)

Birdeyes

What was actually more inspiring than the reading was afterward finding Jessica's website, drawclose, which, besides having some of her rather fantastic and surreal videos, made me realize that I have far too many creative outlets that a). I've been terribly neglecting of late, and b). aren't as represented on the interwebs as they could be. At least not in one cohesive place. I realize I should probably bite it and get a domain name at some point, but for now I've taken the trouble to make the links to my various writings more visible in the sidebar here, as well as update a ton of artwork from the past 8 years to my flickr account, in particular making new sets for Collages, Inklings, and photographs of Modern Ruins. The next step will be figuring out the best way to host music so that I can put up recordings somewhere.

On the other hand, I am also reaching a point of frustration with the easy and public mediation of the Internet, which happens every couple of years, when I get too caught up in the public representations and analyzes and begin neglecting the creative process all together. It seems to me that we live in an age where everyone is creating (or at least "producing content") all the time, and is equally making that content available, all the time, except what is lost is the ability to step back, to edit, to build larger projects. Or, is lost the necessary silence, the magical space created when no one knows where or who you are or what you are doing, when out of the public eye the artist's mind is the total sphere of attention, and anything becomes possible. It is only when you disappear into the work that the epiphany truly starts to happen. And it won't if you're too busy telling people about it to let the threads weave and build up to something more than the just this.