6/13/19

Latest Images

This:
and this:


based on this:

I started with the above image I generated as a part of my first foray into mandalas. The top image takes the lower one as a reference and generates random points of various sizes, sampling the reference image's color. Same for the middle image, except it paints with short strokes instead of points.

4/12/19

Latest image

The latest image from my generative art series was a nice surprise.

It started as this:
for (i in 1:500)
{
x = x*((0.98)^i)*cos(i)
y = y*((0.98)^i)*sin(i)
}

which is simple R code that generates 500 x, y points that spiral. That code gave me this:



Next, I replaced the dots with line segments. This looks much different.

Finally, I ran an image processing script over it. The short version is that the script connects dots with a series of lines. That script spit this image out, which I love:


There are a lot of possible permutations of this I want to explore later. Like:

2/13/19

Thanks Gordon!



I have a friend that likes to bring me coffee from various places in Latin America that he visits. Took me about a week to drink this one up.  Tasted like a medium-dark roast, slightly bitter. Good, not great to my palette. Thoroughly enjoyed it however.

So grateful for the gifts.

2/10/19

The Beauty In Numbers, 2a: Circular Matrices



I consider myself a fledgling geometer. That is, someone who is inspired by the beauty in numbers and wants to make stuff in that realm. Geometric images and like that. Some call it Sacred Geometry. I prefer to call it Inspired Geometry. So, I'm an Inspired Geometer? Okay. I can go with that.

For many months now, I have been studying and playing with transforming numbers into pictures. I've been using a programming language called R. It is an astonishingly powerful tool. I started out being interested in using it to wrangle datasets around. I'm fascinated with big data, like many others these days. But then I discovered the expressive capacity to make art. I'm hooked. Shall I call it aRt?

Besides being free, one of the benefits of R is that if is supported the world over and contains a huge depository of libraries that people have contributed that extend the capacity of R to do all sorts of things. Many are mundane. Many are wild and wonderful.

A man named Zuguang Gu has created a huge library package call circlize that takes numeric data and creates visualizations in the circular. It is an astonishing achievement IMHO.



If you're inclined, you can learn more about it HERE. And you can learn more about R HERE.

I could get lost in this package alone for years, but I've much else to do, eh? So when I found out that I can transform a simple matrix into a circular geometric shape, I quickly fell in love with the possibilities.

In it's simplest form, a matrix is a rectangular array of numbers arranged in rows and columns. Here is a 2 x 3 matrix of random numbers.



In R, you can create a 5 x 5 matrix consisting of the number 1 like this:
matrix(1, 5, 5)
It would look something like this:



The simplest one line R program to generate a visualization of this using the circlize library, might look like:
circlize::chordDiagram(matrix(1, 5, 5))
Amazingly, this one line program generates this image:

This is because circlize appends a lot of default properties to its use. In order to get to something much simpler that I liked:


I had to add more to the program, writing this:

par(mar = c(1, 1, 1, 1), bg="white")
circlize::chordDiagram(matrix(1, 5, 5),
                       col="black",
                       symmetric = TRUE,
                       transparency = 0.25,
                       annotationTrack = NULL)

I spent weeks experimenting with colors, transparency and values to get to this point:



Next I want to transfer some of these images onto a canvas with oils.  Then, make animated movies.


1/21/19

Recent Books I've Read

Michael Finkel, Author
"It's the ending, I believe, that Knight planned. He wasn't going to leave behind a single recorded thought, not a photo, not an idea. No person would know of his experience. Nothing would ever be written about him. He would simply vanish, and no one on this teeming planet would notice. His end wouldn't create so much as a ripple on North Pond. It would have been an existence, a life, of utter perfection."


"All women are she," Mykonos once told me. "Treat each woman as the Goddess, because she is. Women are built to reveal openness--they are nature's mechanism of surrender--and they wait for a man they could trust with their utterly surrendered heart. Few women ever meet such a man, so most women suffer terribly, longing their entire lives."


"All this research proved the cancer microbe is a reality. The cell wall deficient cancer microbe is always present in cancer and its forms are varied: cocci, rods, large globoid and yeast-like forms, acid-fast granules, fungus-like forms, and giant "large body" forms. Because most physicians are taught little about cell wall deficient bacteria, the cancer microbe remains the hidden killer in cancer."

1/17/19

Midtown Delights

Hanging out at Midtown Coffee in Quincy, Ca. Rainy day. Reading, drawing, and this:



Coffee:
Ethiopian dark

Grub:
Cherry turnover

1/3/19

Found at C.A.N.

Found a can of this at C.A.N.:


It's delicious, smoky, and hot, man! I've been adding it to spice up my fixin's and I've learned to moderate it.

Chipotles are smoked jalapeno peppers. The adobo sauce usually includes the following ingredients:
cumin, paprika, coriander, fennel, yellow mustard, garlic, onion, ancho, pasilla and Mexican oregano.

In case you want to geek out on it, here's some background info on Chipotle Adobado

Chipotle, which comes from the Nahuatl word “chilpoctli” with "chil" meaning chile pepper and "poctli” meaning smoked (was originally “pochilli”). Morita means “small blackberry” in Spanish.

The ancient civilization of Teotihuacan was the largest city/ state in Mesoamerica (located north of modern day Mexico City). The original habitants of Teotihuacan smoked chiles hundreds of years before the Aztecs (1345-1521) did. This "smoke drying" process was initially used for drying meats but they found that smoking allowed the chiles to be stored for a long period of time. Teotihuacan is actually the Aztec name for the city, which translates to "Place of the Gods" as the original name has not been deciphered from surviving name glyphs (unique marks that collectively add up to the spelling of a word) at the site. Chile historians believe that the Aztecs also smoked jalapeno peppers because the fleshy, thick walls of the jalapeno were often difficult to dry in the sun and tended to rot.

Jalapeños are named after the town of Xalapa (often spelled as Jalapa) in Véracruz State (although no longer commercially grown there), and are also known by the names cuaresmeños, gordo or Lenten chiles. In Veracruz jalapenos are called “chiles gordos”, in Puebla and Oaxaca they're are called “huachinangos”. In its dried form, the traditional chipotle chile (known as chipotle “meco”) is a dull tan to deep coffee brown in color with a wrinkled, ridged surface. It is usually 2” to 4” long and 1” wide, with a medium thick flesh.

A Spanish friar living in Mexico in the 1500s wrote of a dish he ate in Cholula (modern day Puebla) called "teatzin" which had a sauce made from chipotle and pasilla chiles that was used to stew Lenten palm flowers and fresh jalapeno chiles.

After the fall of the Aztec Empire (1345-1521), smoked chiles were found mostly in central and southern Mexico markets of Chiapas, Oaxaca, Puebla and Veracruz.
(from spicesinc.com) 

12/15/18

Oh, James, how I miss you. We need you now, more than ever.




I can't very easily put to words my regard for this man. I'm still reading, discovering, exalting in, and being astonished by his work. I'll let some of the words of others that have experienced his thoughts live here:
His examination of the heart image clears away constricting notions: heart as muscle and pump, as symbol of royal pride and willful energy, as seat of personal feelings.  Freed of these mechanical and personalized  notions, the heart can reclaim its place as organ of aesthetic perception that responds directly to the beauty of the sensuous world, much like the instinctual responses of animals.  Therefore, to restore the heart's courage and its imaginative power, the soul of the world needs the same attention that we have been giving to the soul of persons. For the soul cannot be owned only by humans. There is a soul quality to all things in the environment, whether "natural" or "manmade". 
And here is an obituary from the Guardian, written by Mark Kidel, 12/21/2011.
He was a dedicated subversive – witty and original – and an heir to the Jungian tradition, which he reimagined with unceasing brilliance. Fiercely critical of America's dedication to the pursuit of happiness, Hillman focused on the darkest and most difficult human experiences – illness, depression, failure and suicide – not merely as abnormal pathologies that should be avoided or cured. 
He drew on the writers and philosophers of the Italian Renaissance and ancient Greece, as well as a romantic tradition that included Keats, Goethe, Schelling and Dilthey. Not wishing to create a school of his own, he proposed an "archetypal" or "imaginal" psychology that would restore the psyche or soul to a discipline he believed to have been diminished by scientific and medical models. Influenced by the French Islamist and Sufi Henry Corbin, the poetics of Gaston Bachelard and the phenomenology of Maurice Merleau-Ponty, he argued that reality is a construct of the imagination – the stuff of myths, dreams, fantasies and images. There was, however, very little about his thought that was divorced from the world of money, war and politics. His unrelenting cultural critique embraced everything from masturbation to plastic surgery, and the design of ceilings to US foreign policy.
The "image" as an expression of the imagination, in poetry, dreams or visual art, was of paramount importance to him – as an antidote to the literalism that dominates everyday discourse. Hillman warned against the reductive tendencies of interpretation and theoretical speculation. He would advocate "sticking to the image", whose often indistinct or paradoxical language spoke, he argued, with more authenticity than verbal discourse. Film was an ideal vehicle for his ideas. He was the main contributor to my films The Heart Has Reasons (Channel 4, 1993), Kind of Blue (Channel 4, 1994) and the five part-series The Architecture of the Imagination (BBC2, 1994). 
Hillman drew on pre-Christian modes of thought – a polytheistic perspective reflecting the myriad possibilities of the human psyche, imagined as gods and goddesses, myths and metaphors whose polymorphous nature spoke for the instincts that shape our thoughts and actions more truthfully than the good-and-evil world of oppositions central to the monotheistic religions of the book.
Having practised as an analyst for 40 years, he eventually became highly critical of therapy. He argued that the sickness of humanity lay in the world rather than within each person. Therapy should, he believed, change politics, cities, buildings, schools and our relationship with the natural environment rather than focus solely on people's inner lives. 
He moved on to find a wider audience through a series of popular but still provocative books, including The Soul's Code (1997), which reached No 1 on the New York Times bestseller list, and The Force of Character (1999), works which explored, with examples running from Picasso to Hitler, the idea that we all have a calling, an individual and innate character which shapes our lives. In A Terrible Love of War (2004), he reflected on humanity's abiding martial ardour and need for the periodic spilling of blood, at great cost and with incalculable suffering. 
As well as writing beautifully – texts of layered intellectual exposition that were dense yet always skilfully articulated – Hillman was an electrifying lecturer and teacher: a tall and charismatic mixture of rabbinical scholar and comedian, with a breathtaking ability to lead his audience through arguments that turned accepted ideas upside down. Unlike other critics of the mainstream approach to mental illness, he was not "anti" anything, seeing in opposition a fantasy that drew us away from meaning and from life. He preferred to deconstruct, often playfully, whether he was speaking of plastic surgery, the politics of the Middle East or the paranoia of the psychiatric profession.
James Hillman, 1926-2011.  A hero in my world. If you can only read one of his books, get THE SOUL'S CODE.

12/1/18

PASSING AN ORCHARD BY TRAIN



Grass high under apple trees,
The bark of the trees rough and sexual,
the grass growing heavy and uneven.

We cannot bear disaster, like
the rocks--
swaying nakedly
in open fields.

One slight bruise and we die!
I know no one on this train.
A man comes walking down the aisle.
I want to tell him
that I forgive him
that I forgive him, that I want him
to forgive me.

ROBERT BLY

11/23/18

ARCHAIC TORSO OF APOLLO



We cannot know his legendary head
wide eyes like ripening fruit. And yet his torso
is still suffused with brilliance from inside,
like a lamp, in which his gaze, now turned to low,

gleams in all its power. Otherwise
the curved breast could not dazzle you so, nor could
a smile run through the placid hips and thighs
to that dark center where procreation flared.

Otherwise this stone would seem defaced
beneath the translucent cascade of the shoulders
and would not glisten like a wild beast's fur:

would not, from all the borders of itself,
burst like a star: for here there is no place
that does not see you. You must change your life.

RAINER MARIA RILKE