#thomas mcevilley

[regioonlineofficial]

In de kunstwereld is het een begrip, maar het grote publiek weet vrijwel niets over Forum, het internationale kunstfestival dat van 1977 tot en met 1987 in Middelburg werd georganiseerd. De Provincie Zeeland heeft 59.082 euro uitgetrokken om het archief van Forum te inventariseren en te digitaliseren. De bedoeling is niet alleen om het verleden te ontsluiten, maar zelfs nieuw leven in te blazen. Forum in de vorige eeuw In de jaren zeventig en tachtig van de vorige eeuw was Middelburg een broeinest van vooruitstrevende kunst. Ad van ’t Veer was de drijvende kracht achter het Festival Nieuwe Muziek, kunstenaar William Verstraeten zorgde voor exposities in De Vleeshal – tot op de dag van vandaag een internationaal befaamde tentoonstellingsplek - toenmalig directeur Piet van Daalen haalde beroemde kunstenaars als Joseph Beuys en Marcel Broodthaers naar het Zeeuwse Museum, en het Middelburgse kunstenaarsechtpaar Marinus en Maria-Rosa Boezem organiseerde Forum, een jaarlijkse manifestatie met tentoonstellingen, debatten en workshops van kunstenaars uit binnen- en buitenland. Marina Abramović, Lawrence Weiner, Michelle Zaugg, Jill Purce, Rémy Zaugg, Maria-Rosa Boezem, Daniel Buren, Thomas McEvilley, Ulay and Maura Sheehan during Forum En Scene, Kuiperspoort Middelburg, 1984 - Foto: Wim Riemens Betekenis De oorspronkelijke betekenis van Forum is een plek voor uitwisseling. De lijst van kunstenaars en kunstkenners die destijds meewerkten, is lang. Enkele opvallende namen zijn Vito Acconci, Fortuyn/O’Brien, Marina Abramović/Ulay, Lawrence Weinier, Daniel Buren, Ed van der Elsken, Simone Forti, Carel Visser, Frans Haks en Jan Hoet. Hoewel de geschiedenis van Forum dertig jaar geleden is vastgelegd in het boek Forum 1977-1987 Een verkenning van kunst in de luwte, heeft de manifestatie geen plek gekregen in het collectieve geheugen van de Zeeuw. Digitaal De digitalisering van het archief is een eerste stap om dat te veranderen. Dia’s, films en bandopnamen hebben niet het eeuwige leven. Het is dus zaak om de 5000 vellen papier, 1300 minuten filmmateriaal, 10.800 minuten audiomateriaal, 200 dia’s, 1500 foto’s en schaalmodellen uit het Forumarchief veilig op te slaan. Maria-Rosa Boezem en de jonge Zeeuwse conservator Eva Langerak hopen nu het nog kan ook de nog levende betrokkenen te interviewen. ,,Als provincie vinden we het belangrijk dat een zo bijzondere vorm van cultureel erfgoed voor het nageslacht wordt bewaard”, zegt gedeputeerde Jo-Annes de Bat. ,,En wat zou het mooi zijn als Forum weer nieuw leven wordt ingeblazen. Dat draagt bij aan het imago van Zeeland als een plek van avontuur en experiment.” Toegankelijk maken De bedoeling is het materiaal toegankelijk te maken voor een groot publiek. Daarvoor is aanvullende financiering nodig, onder meer uit landelijke fondsen. Zoals Middelburg ooit een paar dagen per jaar een plek van uitwisseling was voor kunstenaars en publiek, zo kan er nu een permanent, digitaal Forum ontstaan, waarop hedendaagse kunstenaars hun ideeën en werk op een even laagdrempelige manier delen met een nog veel groter publiek.

[amandi-mga2024mi5015]

Artist Research - Marina Abramović

Pieces That Interest & Inspire Me:

Rythm 0 (1974)

One of her most intriguing performances and is the piece that got me interested in her work. She assigned a passive role to herself, with the public being the force that would act on her. Abramović placed on a table 72 objects that people were allowed to use in any way that they chose; a sign informed them that they held no responsibility for any of their actions. Some of the objects could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey,  perfume, bread, grapes, wine, nails, a metal bar, a whip, olive oil, scissors, a scalpel, a gun and a single bullet.

For six hours the artist allowed audience members to manipulate her body and actions without consequences. This tested how vulnerable and aggressive human subjects could be when actions have no social consequences. At first the audience did not do much and was extremely passive. However, as the realization began to set in that there was no limit to their actions, the piece became more and more brutal. By the end of the performance, her body was stripped, attacked, and devalued into an image that Abramović described as the "Madonna, mother, and whore.”

"It began tamely. Someone turned her around. Someone thrust her arms into the air. Someone touched her somewhat intimately. The Neapolitan night began to heat up. In the third hour all her clothes were cut from her with razor sharp blades. In the fourth hour the same blades began to explore her skin. Her throat was slashed so someone could suck her blood. Various minor sexual assaults were carried out on her body. She was so committed to the piece that she would not have resisted rape or murder. Faced with her abdication of will, with its implied collapse of human psychology, a protective group began to define itself in the audience. When a loaded gun was thrust to Marina's head and her own finger was being worked around the trigger, a fight broke out between the audience factions." - Thomas McEvilley

When her time doing the performance was up, she began walking towards the crowd and they all ran away in terror. 

"What I learned was that ... if you leave it up to the audience, they can kill you. ... I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.”

In her works, Abramović affirms her identity through the perspective of others. Abramović's art also represents the objectification of the female body, as she remains motionless and allows spectators to do as they please with her body; the audience pushes the limits of what one would consider acceptable. By presenting her body as an object, she explores the elements of danger and physical exhaustion

Collaborated works with Ulay - Relation in Movement (1977)

When Abramović and Ulay began their collaboration, the main concepts they explored were the ego and artistic identity. They created "relation works" characterised by constant movement, change, process and "art vital”. One of these relation works was called Relation in Movement, in which they drove their car inside of a museum for 365 laps; a black liquid oozed from the car, forming a kind of sculpture, each lap representing a year. (After 365 laps the idea was that they entered the New Millennium.)

Each performer was interested in the traditions of their cultural heritage and the individual's desire for ritual. Consequently, they decided to form a collective being called "The Other", and spoke of themselves as parts of a "two-headed body”. They dressed and behaved like twins and created a relationship of complete trust. As they defined this phantom identity, their individual identities became less accessible. 

These works had less to do with gender and more to do with the consciousness and identity. 

Collaborated works with Ulay - Rest Energy (1980)

Both balanced each other on opposite sides of a drawn bow and arrow, with the arrow pointed at Abramović's heart. With almost no effort, Ulay could easily kill Abramović with one finger. This seems to symbolize the dominance of men and what kind of upper hand they have in society over women. In addition, the handle of the bow is held by Abramović and is pointed at herself. The handle of the bow is the most significant part of a bow. This would be a whole different piece if it were Ulay aiming a bow at Abramović, but by having her hold the bow, it is almost as if the she is supporting him while taking her own life.

Collaborated works with Ulay - Lovers (1988)

Probably one of my favourite pieces by her. Maria and Ulay wanted to get married, but they also wanted to create a performance piece from the proposal. They found out that the only construction that can be seen from the moon, human-made, is the Pyramids and the Great Wall of China. And so they decided they wanted to each walk from two ends of the great wall of china and meet at the middle, where they would then get married. 

“The Great Wall of China was built, we discover, not just as a defense from the Genghis Khan and intruders to China, but it was really more like a metaphysical structure. The Great Wall is a replica of the Milky Way on the earth. It starts in Yellow Sea the head of the Dragon is buried in the sea, and the tail it's in the Gobi Desert, and the body is in the mountain. Ulay as the fire, as the male start from the desert, and I start from the female, as the water, from the sea.”

However, the process to getting permissions from the Chinese Government was not simple, and it took them eight years to finally be granted permission. By this time, their relationship was facing difficulties. over the years between the inception of the idea and their performance, Abramovic and Ulay’s relationship dissolved. This was their final performance together. So when the time came, each of then walked their length of the great wall of China (2500 km) only to meet in the middle and finally end their relationship. 

She later described the process: "We needed a certain form of ending, after this huge distance walking towards each other. It is very human. It is in a way more dramatic, more like a film ending ... Because in the end, you are really alone, whatever you do.”She reported that during her walk she was reinterpreting her connection to the physical world and to nature. She felt that the metals in the ground influenced her mood and state of being; she also pondered the Chinese myths in which the Great Wall has been described as a "dragon of energy”.

The Artist Is Present (2010)

This piece involved Ambromovic sitting at a table across from an empty chair, where visitors were encouraged to sit at. She shared a period of silence with each stranger who sat in front of her. Abramović had a deeply emotional reaction to Ulay when he arrived at her performance, reaching out to him across the table between them.

[v3nusfairy11]

Anthony Gormley - ‘Flesh’

'The body in Gormley’s work is not a protagonist in a narrative, nor an ideal, a portrait or a memorial – it is the body in and as space.' - Meer

Flesh is a concrete block in the shape of a cross, the artist used the wax process 'to cast a void in the form of a body inside a block of re-inforced concrete'.

Looking at this piece and doing research into the publics' response to this, starts a conversation, a thought within all of us: how can we make sense of the relationship between life and death, and what we leave behind when we leave this world?.

The word 'void' taken from a quote on Gormley's website caught my attention, what is the evidence once we are dead that we once existed and how can it be materialised?

I interpret concrete as being a very earthly material to use which I think is very intentional, as in a way when we die we leave behind our 'earthly' body which we have inhabited so that our spirit may move elsewhere. Concrete is used everyday, it can have earthy, muddy tones and is so widely used in daily life (e.g pavements, roads, skyscrapers) that it is hard to avoid seeing it when you step outside.

The shape of this piece is a very poignant reminder of religion. In big life events such as birth and death, we often see religious symbols being used. The cross is an ancient symbol which can relate to God (if you believe God has a role to play in your life, but that's up to you).

A quote from the description of flesh on the artists' website reads 'the cross was in the body long before the body was nailed to the cross and before the cross appeared in architecture.' which takes away the religious connotation we may have in our heads and takes it back to the simple anatomy, structure of our bodies, and how this piece physically reflects that. This shows that the artist spends time observing in detail how we move, the way we are designed, the way we think...

a study for 'Flesh'

I believe it's name is a perfect summary of what flesh really means in this context, which is that when we die we have skin, a heart, a set of lungs that are underground, inside a coffin (which I feel this piece is reminiscent of) it is not the way we chose to our lives, our memories with others but that our 'flesh' is all that will be left of 'us' our 'person' when we pass away.

Bibliography

Antony Gormley. (2023). Concrete Works, 1990-3. [Online]. antony gormley. Available at: https://www.antonygormley.com/works/sculpture/series/concrete-works [Accessed 27 September 2023].

Meer Art. (2018). Antony Gormley. [Online]. meer.com. Available at: https://www.meer.com/en/45671-antony-gormley [Accessed 27 September 2023].

Thomas McEvilley. (1993). Seeds Of The Future: The Art Of Antony Gormley. [Online]. antonygormley.com. Available at: https://www.antonygormley.com/resources/texts/seeds-of-the-future-the-art-of-antony-gormley [Accessed 27 September 2023].

Antony Gormley. (2023). Body And Light 1990-96. [Online]. https://www.antonygormley.com/works/drawing/series/body-and-light#p58. Available at: https://www.antonygormley.com/works/drawing/series/body-and-light#p58 [Accessed 27 September 2023].

[lazyartistinthemidnight]

Proyecto artístico de otra realidad: la revancha interna

Ahora que he leído más, dibujado más, y cambiando más de forma, he aclarado mejor mi malentendido con el escrito de Thomas McEvilley, cada uno de los 5 puntos que tome en cuenta del texto los definí más y así obtuve ya algo de comprensión a lo que voy a ubicar mi imagen.

La primera etapa no había tenido en cuenta esto, así que la imagen termina quedando en una mala etiqueta y tonalidad que no termina convenciendo al ojo humano.

En la segunda etapa, seguía viendo la imagen como lo único a mejorar y no tenía nadad de enlace a lo que he visto con lo de McEvilley , por estar en otro elemento más casual y relacionando lo que no se suponía que debía ser.

La tercera y última etapa, he visto como lograr lo que es el ver un bucle sin salida y con ambiente no muy familiar, pero por lo textual, se ha hecho casi eterno y muy avanzado para describir.

He aquí mi escrito final del texto, y luego los enlaces de acceso.

En "El Ademán de Dirigir Nubes" de Thomas McEvilley, el autor presenta una reflexión sobre la naturaleza de la creación artística y su relación con la percepción del mundo.

McEvilley explora la capacidad humana de crear y dar forma a la realidad a través de expresiones artísticas. Examina cómo el artista, a través de su visión particular, puede capturar aspectos sutiles y significativos del mundo que nos rodea.

El autor nos invita a reflexionar sobre cómo nuestras percepciones y experiencias personales influyen en nuestra interpretación de la realidad. Sugiere que, al observar detenidamente y apreciar los detalles más pequeños, podemos descubrir nuevas formas de comprensión y significado en nuestro entorno, plantea la idea de que la creación artística es una forma de "dirigir nubes", es decir, de moldear y transformar nuestra percepción del mundo. A través de esta metáfora, nos insta a ser conscientes de cómo nuestras propias interpretaciones y perspectivas pueden afectar la forma en que vemos y experimentamos la vida.

McEvilley invita a considerar la capacidad de los artistas para reinterpretar la realidad y destacar aspectos ocultos o pasados por alto. Nos anima a ser conscientes de nuestras propias percepciones y a explorar nuevas formas de ver el mundo que nos rodea

2. Contenido que emana de los suplementos verbales proporcionados por el artista.

El título de mi obra es en relación con la filosofía a investigar, las palabras “vacío” u “existencia” son lo que la describe, ha sido así, para emplear mejor algo de misticismo.

3. Contenido que procede del género o medio de la obra de arte.

La disciplina busca imitar el paisaje de la vida real lo más aproximado y falso posible, para dar un toque de familiaridad a la obra.

El material virtual, es longevo, y su ubicación es para fácil acceso para la gente, para que puede interpretarse en más cantidad.

5. Contenido que emana de la escala de la obra de arte.

Una zona inestable de existir, una ubicación impredecible, las nubes son de volumen tan inmenso que el sol no permite verse, quitando toda prueba de continuidad.

6. Contenido que proviene de la duración temporal de la obra.

Es en internet, un plano que guarda información tan extensa que es almacenada por más años que de la procedencia de los datos, público, que con el tiempo su origen se pierde y no se sabe cómo llego allí.

7. Contenido que se deriva del contexto de la obra.

No tiene idioma en concreto, ya está en exhibición en sí, desde las medidas del lienzo que la obra ya fue establecida como panorámica de 360, está a disposición de quien quiera, sin ningún prejuicio.

[feliciagarrivan]

Inside the White Cube - The Ideology of the Gallery Space - Brian O'Doherty - Introduction by Thomas McEvilley - The Lapis Press Santa Monica San Francisco

[garadinervi]

Brian O'Doherty/Patrick Ireland: Word, Image and Institutional Critique, Edited by Christa-Maria Lerm Hayes, «vis-à-vis», Valiz, Amsterdam, 2017. Supported by Trinity College, Dublin, University of Amsterdam, Amsterdam. Contributors: Alexander Alberro, Hans Belting, Anne-Marie Bonnet, Lucy Cotter, Patricia Falguières, Christina Kennedy, Ingmar Lähnemann, Christa-Maria Lerm Hayes, Thomas McEvilley, Brenda Moore-McCann, Barbara Novak, Whitney Rugg, Yvonne Scott, Mary-Ruth Walsh. Design: Sam de Groot

[spilledreality]

In his first letter, Rubin complained that McEvilley had missed the point of the show, which was to study tribal works from the point of view of the pioneer modernists. ‘Of course the tribal objects in our show are decontextualized,’ Rubin snapped, adding, ‘In fact they are more than that; they are recontextualized, within the framework of Western art and culture. And that is what our particular story is all about. McEvilley simply refuses to accept the fact that our story is not about “The other” but about ourselves.’ (Janet Malcolm, Girl of the Zeitgeist)

And from “Genres, Values Hierarchies, & Intentionality in Pop”:

In chemistry, there’s a process called reagent testing. You add a reagent — Chemical A — to a reactant — Chemical B — and see if a reaction takes place. If B is an unknown chemical, and we’re trying to figure out whether it’s chlorine, we add the correct reagent. If it is, in fact, chlorine, Chemical B will turn (let’s say) bright green. If it isn’t chlorine, it might turn a host of different colors, or no color at all.

Obviously, if you add the incorrect reagent (Chemical A) to the chlorine, it might be perfectly good and high quality, 100% chlorine, but it still won’t turn bright green. Similarly, if you apply the improper values hierarchy when judging a record, it won’t come back with a proper reading. The assessment will be flawed; it will yield either bad results, misleading/opposite results, or no results at all.

There is no idea of absolute “success” or “effectiveness” for a piece of art: success requires criteria by which to be successful. Art is only effective at doing something, and whether or not a critic finds a work to be effective depends almost entirely on what he thinks it’s trying to do.

[egoschwank]

al things considered — when i post my masterpiece #1102

first posted in facebook august 15, 2022

luis cruz azaceta -- "shit, my head is burning but my heart is filled with love" (1981)

"heart of mine be still you can play with fire but you’ll get the bill don’t let her know don’t let her know that you love her don’t be a fool, don’t be blind heart of mine" ... bob dylan

"living in a small apartment in ridgewood, queens during the late 1970s, azaceta was responding to the violence endemic in the city in his grotesque parodies of urban life. these feature dismembered, luridly painted and bleeding bodies, festooned with stabbing knives, shooting guns and littered with cigarette butts. both paintings and drawings, done in graphic, bright colors, are exuberant displays of casual atrocities with the helter-skelter action of a comic book ... despite the frenetic energy in this work, there is a sense of order to the flat, outlined forms that hints at a tendency towards abstraction. this coalesces in a 1981 self-portrait, 'shit, my head is burning but my heart is filled with love', where contained within azaceta’s head is a reductive version of his street scenes, while atop it sits a crown of flames" ... press release from the george adams gallery

"heart of mine go back home you got no reason to wander, no reason to roam don’t let her see don’t let her see that you need her don’t put yourself over the line heart of mine" ... bob dylan

"if your head tells you one thing, and your heart tells you another, before you do anything, you should first decide whether you have a better head or a better heart" ... marilyn vos savant

"heart of mine go back where you been it’ll only be trouble for you if you let her in don’t let her hear don’t let her hear you want her don’t let her think you think she’s fine heart of mine" ... bob dylan

"'shit my head is burning but my heart is filled with love', 1981, is an iconic depiction of the human condition, in which it is impossible to distinguish whether the figure’s head is consumed in flames or adorned with a crown. as if to emphasize this quasi-religious martyrdom, a knife pierces his cheek and blood drips down his cheek. in the most arresting part of the image, the eye of this post-modern christ figure pops right out of its socket as if he cannot stop himself from looking, yet can’t live with what he sees" ... thomas mcevilley

"heart of mine so malicious and so full of guile give you an inch and you’ll take a mile don’t let yourself fall don’t let yourself stumble if you can’t do the time, don’t do the crime heart of mine" ... bob dylan

"i could scream down 90 mountains to less than dust if only one living human had eyes in the head and heart in the body, but there is no chance, my god, no chance. rat with rat dog with dog hog with hog, play the piano drunk listen to the drunk piano, realize the myth of mercy stand still as even a child's voice snarls and we have not been fooled, it was only that we wanted to believe" ... charles bukowski

"what he said" ... al janik

[niedopalek]

hey! what's the title of that book you posted excerpts from talking about animalistic spiritual practices in ancient civilizations (on the post about furries and catgirls)? those pages were an interesting read, would love to check the rest of the book out

The Shape of Ancient Thought: Comparative Studies in Greek and Indian Philosophies by Thomas McEvilley 

[adapembroke]

Did you know...

Aphrodite has a death goddess aspect. She is known as Epitymbios or Aphrodite of the tomb.

Source: Thomas McEvilley, The Shape of Ancient Thought quoted in the Stellar Lexicon

[fleomae]

MMS 194: JOURNAL

Beginning this journal with the ultimate art question of "What does art mean to you?"

I liked what Thomas McEvilley, professor of art history in Rice University said, "The last time I was in Houston, I went to a place called Media Center, where someone had set up posts as in a back yard with laundry hung all over. I immediately knew it was an artwork because of where it was. If I had seen it hanging in someone's yard, I would not have known whether it was art, though it might have been. It is art if it is called art, written about in an art magazine, exhibited in a museum or bought by a private collector.". 

To continue with his point, "What's hard for people to accept is that issues of art are just as difficult as issues of molecular biology; you cannot expect to open up a page on molecular biology and understand it. This is the hard news about art that irritates the public. if people are going to be irritated by that, they just have to be irritated by that.". 

Something I also find meaningful to this most asked question is perfectly worded by Arthur Danto from Art critic of The Nation, he says, "You can't say something's art or not art anymore. That's all finished. There used to be a time when you could pick out something perceptually the way you can recognize, say, tulips or giraffes. But the way things have evolved, art can look like anything, so you can't tell by looking. Criteria like the critic's good eye no longer apply. Art these days has very little to do with esthetic responses; it has more to do with intellectual responses. You have to project a hypothesis: Suppose it is a work of art? Then certain questions come into play -- what's it about, what does it mean, why was it made, when was it made and with respect to what social and artistic conversations does it make a contribution? If you get good answers to those questions, it's art. Otherwise it turned out just to be a hole in the ground."

And as a religious type of person I find this short saying from Robert Hughes striking. He says, "The Puritans thought of religious art as a form of idolatry, a luxury a distraction, morally questionable in its essence, compared to the written and spoken word.”. 

From here you can see the art differences from Catholics, Orthodox, and the many many denominations of Protestantism. I guess growing up in the Philippines most art I experience is about the religious if not historical. It's always been my dream to visit France and Rome to come and see all the "art" people are identifying as but as society moves forward with nano technology, we can see many forms of Computational Art. 

For example are the three below...

Digital illustrations, sounds cool right? Well, I was thinking of Digital Kinetic Art at first but I couldn't find an artist that purely does a digital version, so I had to look for other options until I finally found this amazing artist named Sean Charmatz. He was born on August 28, 1980, in San Diego, California. He is an animator of Spongebob Squarepants, LEGO Movie 2, and Trolls. He spent several years as a writer, artist, and storyboard director for the television show Nickelodeon. He also shared his digital art talents with the companies like Dreamworks and Disney.

He is making the mundane normal ordinary things as something worth looking at, with a story to portray from scratch!!! Looking into his art, I don't know if I have a bias reason because I grew up watching Spongebob and I really like the show and other types of cartoons too like "The Adventure Time", "Princess Sophia", "Barbie Movies", "Dora the Explorer", "The Amazing World of Gumball", and the like. It's something I find pleasurable as a younger child (actually until now, but I don't have the leisure time I used to have), and as I see his newest digital illustrations, I can't help but be in awe and smile with a childlike smirk. I might do something like this as he inspired me to make the mundane objects into something fun with a cool story to tell. 

Especially now during pandemic, and everyone is asked to stay indoors and minimize social interactions at most. We should be creative to learn in entertaining ourselves and making the most of our everyday situations. He is truly inspiring, and maybe with the practice I'll do, I might be able to make cute short children's comics for the next generation.

Here are some of his recent digital illustrations,

Moving from visuals let's talk about our hearing, let's talk about Generative Music. Majority of my life I've been listening to Pop songs and classical ones, usually made the traditional way 100% human, learning about this algorithm or computer composed type of music is a bit odd for me because it feels technical and numbers complicated, in a way distant and out of touch. Computers are a recent invention by the human race, so we can understand why more and more innovations related to it are still growing everyday, a lot of people who doesn't see it's importance will be left behind and soon enough more and more generative music art will enter the music scene, digital divide will be inevitable. 

This type of music scene is "experimental" as it's unknown to a lot of possibilities and very different from the traditional music producers and artists, we still don't know how will it click, is it a fad or here to stay? I'm not sure, but I think more types of sounds will be incorporated in music, specially in movies and other types of effects if it doesn't get popularity in the music industry.

Hatsune Miku, the first ever open-source singer is having popularity around people specially those who like anime and the things of its kind. Only this year I was able to discover this type of music scene and I never expected that Hatsune Miku Youtube music has millions and millions of viewers and subscribers. Music analysis software exists that can predict hits with increasing accuracy, and Google Labs have an ersatz neural network up and running that can make convincing music. Along with all the other jobs currently being destroyed by automation, it looks like the most human of all – music – is under threat.

To move forward let’s go back in 2017, I liked this guy from the College of Business Administration and he is one of those cool distant type of guy who gives this big mystery vibe, and what do you do when someone is mysterious? You stalk them online, so I did and that's how I found out about "hello poetry". I didn't know digital poetry actually has a term, a name but I knew it has a community online, which is cool because you can make an online library and records of all your poems easily accessible online if you're into this thing. I actually joined the platform "hello poetry" after reading a ton about my crush's online poems, in a way I was inspired. Once you join it's nice to see other poets about their works, what others are raving about, and sometimes judge inevitably although some are very beautiful others are also unconventionally short and seems like a tweet. This category of art can fall on art & literature which is something purely human, well as of now. Soon enough computers will be able to make their own poems, maybe there already is.

Here's a link to my first and only poem I published in the community, https://hellopoetry.com/fleomae/

[lazyartistinthemidnight]

Proyecto artístico de otra realidad: la búsqueda en el cielo

En lo que he hecho con el progreso de mi pieza del solipsismo, hice una búsqueda más exhaustiva y fructífera, no solo en lo visual, sino también en lo que es la estructura informática.

Mis pensamientos seguían revueltos entre lo que era y confundí lo que era el elemento artístico, pasatiempos, con el teórico y los relacioné entre sí, como diciendo por error que lo que ha escrito Thomas McEvilley era poesía, cuando son en realidad textos de análisis a la mentalización de los artistas y los compuestos verbales para la comprensión del humano.

Lo del título “el ademán de dirigir nubes” lo barajeé con lo que sí eran poemas con el título “las nubes”, ya tomé en cuenta que los pasatiempos que no sean del proyecto los tomo tiempo a parte.

Bueno, ya con eso aclarado, me puse a releer a McEvilley, e hice otro ensayo para tener en cuenta lo que da el solipsismo para cerciorarme de si embonaba o no para ser titulada como una pieza bajo esos puntos que lleva esta lectura.

En el ademán de dirigir nubes

(corregido)

El escrito "On the Manner of Addressing Clouds" de Thomas McEvilley aborda diversos temas, que también evocan al solipsismo.

Punto 2. Contenido que emana de los suplementos verbales proporcionados por el artista.

La realidad subjetiva: El solipsismo sostiene que solo existe la conciencia individual y que el mundo externo es una construcción de la mente. En este contexto, se puede definir cómo la realidad subjetiva se entrelaza con la percepción individual y cómo afecta la comprensión del mundo.

3. Contenido que procede del género o medio de la obra de arte.

La interconexión de las experiencias: McEvilley sugiere que las nubes están conectadas entre sí y que su existencia depende de la relación con el observador. En relación con el solipsismo, este punto puede explorar cómo las experiencias individuales se entrelazan y se influyen mutuamente dentro de la mente del solipsista.

5. Contenido que emana de la escala de la obra de arte.

La ambigüedad de la interpretación: McEvilley argumenta que la interpretación de las nubes puede variar según el observador. En el contexto del solipsismo, se puede definir cómo la interpretación subjetiva de la realidad puede llevar a diferentes perspectivas y cómo estas interpretaciones pueden ser únicas para cada individuo solipsista.

6. Contenido que proviene de la duración temporal de la obra.

La búsqueda de significado: A lo largo del ensayo, McEvilley plantea preguntas sobre el significado de las nubes y cómo se puede abordar su naturaleza enigmática. Relacionado con el solipsismo, este punto puede explorar la búsqueda de significado dentro de la experiencia individual y cómo se puede construir una realidad subjetiva significativa en ausencia de una realidad objetiva compartida.

7. Contenido que se deriva del contexto de la obra.

La naturaleza efímera de la existencia: McEvilley reflexiona sobre la fugacidad de las nubes y cómo su forma cambia constantemente. Aplicado al solipsismo, este punto puede abordar la transitoriedad de las experiencias y cómo influye en la percepción del individuo sobre la realidad.

Y hablando de nubes, (de nuevo), seguí los paisajes de la zona en que vivo, para tener mejor biblioteca visual para obtener una imagen más establecida, una observación en la textura, tonalidad y de que tipo era el más indicado para recrear.

Hice búsqueda en archivos científicos y conseguí uno que es simple, que describe de buena forma para alguien que no sabe de las nubes cuáles son las formaciones y hallado la que es mi obra para retratar a la realidad virtual.

La nube Alto-stratus esta es una formación nubosa homogénea, es una nube grisácea o azulada, que suele contener partículas fibrosas. No tiene halo y cubre todo el cielo o parte de él, este tipo de nubes pueden cubrir la totalidad o la mayor parte del cielo, su precipitación puede ser en forma de fina llovizna o en forma de nieve.

Gracias a estas fotos, obtuve la paleta de tonalidad indicada para rehacer las nubes, reducir el pincel granulado, y cerrar huecos, lo que hará que la imagen sea más profunda y manejar de manera más precisa el renderizado. Antes:

Después:

Aún falta pasarlo al formato de video en 360 y el vr,  ya es otro tema a elaborar, con esto ya dicho, mi análisis de las los malentendidos y las nubes queda solucionado.

Gracias por leer.

[ada-having-fun]

chain letter.txt

(tagged by @azdoine)

Rules: Tag 9 people you want to get to know better.

Ships: Golly, um, I tend to ship people who end up miserable together, so I think the fandoms would maybe rather I didn’t...try...shipping anyone?  

Last song you listened to: Leeds United, Amanda Palmer

Last movie you watched: Road to El Dorado (I’ve been sucked into The Magicians since then. Best. Show. Ever.)

Currently Reading: Fiction: Mythic Journeys: Retold Legends and Myths // Nonfiction: The Shape of Ancient Thought: Comparative Studies in Greek and Indian Philosophies by Thomas C. Mcevilley

tagging… @grimnirslee @arcanecalligrapher @centerpointwitch @strange-lights-and-stardust @sewceress @hermeticimp @fuzzypasteltoad @thepatchworkcrow @thebasildruid

[makeshiftsun]

Agnes Martin

Friendship, 1963.

Grey Geese descending: The Art of Agnes Martin

by Thomas McEvilley, from The Exile’s return

“In graph paper, a grid of squares occupies a rectangular field; Martin usually uses a grid of rectangles on a square field. The rectangle, as she herself has suggest, drains out the stabilizing or rigidifying power of the square, introducing comparatively unstable and flowing elements into it. This interplay between the fixed and the changing is one way of locating the underlying tension that pervades and unifies her work in its ideas, as the grid patterns and lines unify it optically. Untitled (1960) contains five rows and ten columns of elements and breaks down to the simple ration 1:2. Words (1961) has the same ratio, combining elements in relations between four and eight. Blue Flower (1962) contains 33 rows and 33 columns of elements. Pale Grey (1966) contains 66 rows of elements and 44 column of them, while Untitled (1966) exactly reverses this, containing 66 columns and 44 rows; both these works have the ratio 2:3, which appears in other works as well... ....When asked about decisions having to do with how many elements would be included in a given work, Martin answers that her interest is more in scale, in an architectural sense, than in arithmetic.” PAGE 67-68

Stone, 1964.

“The square format of Martin’s works tends negatively toward the sublime by avoiding both the suggestion of landscape that the horizontal rectangle brings with it and the suggestion of the figure borne by the vertical rectangle. More often martin’s writings seen to me to recall passages or intentions of classical Taoist texts - a body of literature with which Martin has lived closely. Without suggesting that this reference point exhausts, or even specifies, the content of her work, I nevertheless find it unavoidably recurring in connection with it - especially in connection with Martin’s use of the grid.

In art practice the grid has had a common function in the transferral of images from once scale or place to another; the original image is gridded, and a grid of the same number, but not usually the same size, is drawn onto the receiving surface. Finally each square or rectangle of the gridded original is transferred separately to the corresponding space of the new grid. The gridded surface, then, functions as a kind of ontological ground, a membrane from which forms emerge into the light, a threshold where energy passes from formlessness to form. So what is a grid standing empty, like graph paper on which nothing has yet been drawn?

In the Tae Te Ching, or Book of the Tao (which has been variously dated between the sixth and the third centuries B.C.), attributed to the philosopher Lao Tzu, there is a passage about art. If the people, Lao Tzu says, “find life too plain and unadorned, / Then let them have accessories; / Give them Simplicity to look at, the Uncarved Block to hold. In Taoist terminology the “Uncarved Block” is a state of potential being that coexists with the many concrete actualizations of being. It contains, in its uncarved state, countless potential forms, its infinity being compromised and constricted by any particular carving of it into actuality. In this context we might reconsider Martin’s grid. It is like the block from which no particular form has yet been carved. It contains within its potentiality all possible forms. It waits. Activated and tingling, the grid is the place of infinite creativity, the ground to which we must return for “the renewal of memories of moments of perfection.” When Martin’s grids disappear as one backs away from the painting, they disappear, as it were, into the otherwise formless ground, where they reside always in a kind of latency, giving the ground an appearance of floating vibrancy, of light-filled potentiality, of invisible but active force. Thus the grids are intensifications of the meaning that the ground itself has in art. They show the ground hyperactivated for the appearance of the figure, the image, yet still empty, suspended at the moment of hyperactivation just before forms appear, and before infinity is compromised. The empty grid, then is like the uncarved block, and in Taoist painting theory the uncarved block equals the mountain. In a similar way Martin’s open grids suggest both the openness of the New Mexico sky and earth in which she lives and also the mountains which hover in its emptiness. Her grid is like the substructure of a landscape in which a mountain rises cloaked in mist.

Martin’s work thus involves the dichotomy between an ordered system -  the grid - and a particular event within that system - the personal feeling of the lines, which proceed over the surface with a heartbreaking delicacy of touch. She has expressed this dichotomy through a discussion of the difference between unchanging and changing things. Changing things Martin calls the “exhaustibles,” unchanging things the “inexhaustibles.” This dichotomy has occupied a lot of twentieth-century art, but most relevant here is the tradition of the abstract sublime, from Kasimir Malevich’s Black Square (ca. 1915) to Yves Klein’s blue monochromes, to Pollocks The Deep (1953).” PAGE 68-70

Mountain I, 1966.

““I hope I have made it clear,” writes Martin, “that the work is about perfection as we are aware of it in our minds but that the paintings are very far from being perfect - completely removed in fact - even as we ourselves are.” And she say “If any perfection is indicated in the work it is recognized by the artist as truly miraculous.” Yet classical art “is like a memory of perfection.” And as Martin’s art suggests, in order to attain to the art of the memory of perfection we must return from figure to ground, from rigid differentiation to open potentiality. We must go back, as Lao Tzu puts it, into the Uncarved Block, or, as Martin writes, to that rewarding state when “our most tenacious prejudices are overcome. Our most tightly gripped resistances come under the knife.” All judgments, all “knowledge,” must be abandoned:” PAGE 72

Untitled from On a Clear Day, 1973.

[elmundoempresa]

Objetivos de la Fundación Boyer Tresaco

Desde entonces Boyer Tresaco ha seguido realizando todo tipo de obras que tratan de representar los espacios de ausencia que se deja; “energía prevalente”. Tal como dijo el propio artista, “nuestra ausencia es algo que permanecerá para siempre”. Desde este punto de partida fue llevando su técnica hacia la total invisibilidad. El reconocimiento fue gradual, pero unánime. Críticos de renombre como Thomas McEvilley, del New York Times, lo dejaron muy claro: “La exquisita técnica de Tresaco, totalmente de su invención”.

Pero no es hasta 2001 que su primera Escultura Invisible, totalmente intangible, es expuesta y vendida, en la Galería Theredoom en Barcelona. Posteriormente presentó Esculturas Invisibles en París, Nueva York, y de nuevo en Madrid ya en 2015. Boyer Tresaco ha sido una figura mediática dentro del circuito artístico, apareciendo en numerosas publicaciones nacionales e internacionales y televisiones, entre ellas el Canal Arte europeo.

Objetivos de la Fundación Boyer Tresaco Desde la Fundación Boyer Tresaco desean compartir el trabajo del artista en un momento en que parece que la Escultura Invisible es algo novedoso, tanto por su exposición como por su venta. Asimismo, desean dar a conocer los objetivos de esta fundación, con sede en La Manga del Mar Menor: en primer lugar proporcionar ayuda social continuada a zonas deprimidas, y ello, mediante las aportaciones de “Amigos de la Fundación” y la gestión del legado de Boyer Tresaco, con más de 1500 obras de diferentes artistas internacionales.

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[light-muse-academia]

Sculpture in the Age of Doubt by Thomas McEvilley