Entries in quotes (9)

Friday
26Jun2009

Relieve the Hype

Less Than Nothing [Panel III of The Nothing Triptych] » 20”x30” » Click image for larger vieHaving though a lot about the concepts of capital “T” Truth and capital “silent K” Knowledge in designing panels I and II respectively, I started panel III, Less Than Nothing, with the vague notion that I wanted to consider how I aspire to process information and express myself while also acknowledging the common “communication crimes” – those that produce more noise than signal – of which I may have been (and may yet continue to be) guilty.

Some Guidelines for Processing and Expressing Knowledge/Information.

Don’t profess to know what you don’t./Share what you do.

Don’t use knowledge as a weapon./Don’t use knowledge as a shield.

Don’t talk shit./Don’t take shit.

Don’t exaggerate./Don’t diminish.

Don’t deceive, prevaricate, dissemble or fabricate./Question judiciously.

Don’t believe the hype./Don’t feed the hype.

Pay attention.

I won’t lie, it does look a tad facile, obvious and possibly unrealistic as far as personal philosophies go. And, maybe it all just boils down to, “Say what you mean and mean what you say.” But, by all means, consider it open source and make improvements if you’re so inclined.

The single biggest problem in communication is the illusion that it has taken place. George Bernard Shaw

The Nothing Triptych » 60”x30” » Click image for larger view.

Thursday
18Jun2009

An Unpleasant Condition?

Doubt is not a pleasant condition, but certainty is absurd. — Voltaire

Nothing [Panel II of The Nothing Triptych] » 20”x30” » Click image for larger view.Perhaps because for the first time I say what I mean and mean what I say, Nothing, the second panel of The Nothing Triptych, is arguably (though I’d argue not “inarguably”) the most obvious of any of the pieces I’ve posted so far.

As I worked through the challenges presented by the first triptych and then the second I quickly found myself questioning what it is I might possibly have to say on a continuing basis through subsequent pieces. With the intent of this whole project (i.e., Wrath66) being to evolve as a designer, a writer and a thinker it’s important to me that in everything I produce I’m making the effort to express something of substance – however thin or indistinct the ultimate shape or structure of the stuff. The answer to what turned out to be a short-lived dilemma came in the form of a long held (though sometimes loosely) belief of mine (by way of my boy Socrates) coming to the fore and demanding to be expressed unequivocally.

I found the notion of acknowledging this elementary element of my admittedly mutable belief system – particularly when coupled with the idea that informs the first panel – liberated me from another chunk of “designer’s block”. My hope is that in unambiguously establishing what I know I don’t know and what truths are mine to convey I might have an easier time of articulating my uncertainties more assuredly.

If a man will begin with certainties, he shall end in doubts; but if he will be content to begin with doubts, he shall end in certainties. — Sir Francis Bacon

Sunday
14Jun2009

Confessions of A Languorous Mind

Force is force, matter is matter, will is will, the infinite is the infinite, nothing is nothing.              – Leo Tolstoy, A Confession

Next [Panel I of The Nothing Triptych] » 20”x30” » Click for larger view.Thirteen Truths and A Lie – An Annotated List

1. I’ve never read Tolstoy. (Though I have recently read him cited – in a Vanity Fair article about Johnny Depp no less – and have just used the very same quote in a manner that might imply I had a deep appreciation for – or a least a passing familiarity with – his work [Tolstoy’s not Depp’s whose work I am significantly more familiar with than Leo’s].)

2. I’ve never thrown a punch. Neither in anger nor self-defense. (It’s worth noting that in spite of having been smacked, thumped and walloped with a variety of blunt instruments – a golf club, a baseball bat, a brick, to name a few – I’ve also never been punched, per se. Further, it’s worth noting that rather than drunkenly start fights, I used to drunkenly break up fights – wading in to the middle of a scrum to pull one brawler off of or away from another. So, rest assured, the pugilistic deficit on my résumé is not for fear of the delivery or receipt.)

3. The one real phobia I have is of being hit (in the face) by a hard ball at a Major League Baseball game. (This despite a now lapsed deep-seated fondness for baseball. And despite having once been hit in the face by a hard ball [though not professionally] and once each by a number of other things.)

4. Unless you count the (sometimes acute, sometimes manageable) social anxiety I have. (Crowds, particularly of people I do know, kinda stress me out a bit. Make me a tad anxious.)

5. I like the Black Eyed Peas. (And Auto-Tune. Boom Boom Pow, bitches. Deal with it.)

6. I haven’t cried in twelve years. (This is not to say, I’m unemotional, I sometimes feel I’m excessively emotional. I can well up as well as the next emotionally stunted jackass. I just haven’t felt the need.)

7. I’ve put cigarettes out on my arm. (Multiple times. In my early twenties. Socially, though, not like sitting alone in my room or anything. I probably told myself it was “punk” and/or “art” but really, it was just… lazy. A harmless – not literally, of course – affectation born of nothing more than my own indolence. Though I have to admit, being the one guy who would play “cigarette chicken” [forearms pressed together with a lit cigarette in between] with my crazy Vietnamese buddy during a boozy, smoky poker game – while the others bet on us – was a tawdry rush that I cherish as my own personal “Deer Hunter-lite” moment. [I wonder if when he recounts the tale, I’m the crazy one.])

8. It may go without saying, but I’m not remotely as intemperate or audacious now as I used to be. (And I’m okay with that. Putting cigarettes out on your arm is a young man’s [or woman’s] game.)

9. I’d never voted until the last election. (So I guess it does make a difference.)

10. I’m an introvert. (It used to be called “shyness”. Then I grew up, now it’s called “introversion”. [And, for what it’s worth, it’s distinct from the social anxiety.])

11. In spite of the not inconsequential quantity of illicit drugs in my past, I now have an aversion to drugs of any sort. (It’s a non-militant and non-proselytizing stance and simply a disinclination to subjecting myself to any unnecessary neurological and/or biological modifications through chemistry. Better living be damned.)

12. I once had a dream where I woke up thinking, “I once had a dream where some men killed my dog. I identified with the men who killed my dog.” (I didn’t have a dog. And upon waking I couldn’t fathom why I would identify with my dream dog’s killers. Or why I was referencing a dream within a dream. I still don’t know what that dream meant [the “real” dream, not the “dream dream”, which I don’t remember] and I do still think about it.)

13. I don’t know what I believe. (Spiritually. Metaphysically. Paranormally. [Maybe in general.] Have you seen some of the stuff going on with string theory? If you’ve got faith to spare, try using it on some of that sh*t. It will blow and/or expand your mind. Two words: Eleven dimensions. Two more: Parallel universes.)

14. I’m writing this to illustrate (if only to myself) that the only real currency one has is the currency of one’s own truths. (There is no lie.)

Tuesday
09Jun2009

Just Trying to Understand

This transcendent reinterpretation by the Flaming Lips (and friends) of a 1984 Madonna song has a distinctly perceptible and, frankly, slightly euphoric effect on me. There are particular sensory experiences – of music, art, design or writing (or in cases like this video, a combination) – that provide what can be a sometimes elusive and somewhat perplexing – though not entirely inexplicable – high for me.

These little bits of euphoria have been a high (I’d put that in quotes but I’m fairly certain it’s a legitimate chemical high) that I’ve chased since I was able to intellectualize the notion. I can find it standing rapt before a grandiose (or subtle) work of art, made breathless by a transcendent piece of music (as above) or reveling in a particularly virtuoso piece of prose. However, while there is undeniably a conscious respect for the process, an admiration for technique, intellectual appreciation for and emotional response to a given piece of work, there seems to be something else going on as well.

Without getting too deeply in to neurochemistry (I don’t know enough) or self-medication (I know too much) – and hopefully without getting this horribly wrong – any stimulation of the brain’s pleasure system releases some amount of dopamine, the chemical compound responsible for, among other things, feelings of enjoyment and motivation to perform pleasurable activities. (Stop giggling.) That’s the basic neurochemistry behind pleasure: I enjoy something – my brain releases dopamine – I feel good about the experience (and want to experience it again). It happens every time I (or you) are moved – even the slightest bit – by some piece of sensory input.

But what is the makeup of a particular piece of work that determines this chemical effect on me? With my relatively limited knowledge of the formal aspects of music, I can only hazard a guess as to why a certain combination of notes, chords, instrumentation, lyrics, et cetera might allow a particular song to inject itself into my neural pathways with such potency. (And why doesn’t the original have the same effect on me as this recent rendition? And, no, it’s not because it’s Madonna. I do like some of her stuff.) As a designer/artist I might be able to discern what colors, compositions, and content might coalesce into an effective creative stimulant. As a writer, I can attempt to conjure the sensation through some synthesis of syllables or some turn of phrase. But, I don’t know that I’ll ever be capable of precise creative chemistry.

Ultimately, I don’t think I can discern what part of my reaction to a work of art is intellectual, emotional or chemical. What I do know is that while I certainly find these exhilarating experiences in the work of others, I find it particularly intoxicating and rewarding when I find it in my own. And on one level, that’s exactly what I’m doing here, trying to understand how to extract – from myself – the stuff that makes me feel good.

Creation is a drug I can’t do without.Cecille B. DeMille

Wednesday
03Jun2009

Substance Obtuse

Heroic virtue did his actions guide, And he the substance, not the appearance, chose. – John Dryden, Annus Mirabilis, The Year of Miracles, 1666

Meaning [Panel II from the Substantial Triptych] » 20”x30” » Click image for larger view.

In which Chris realizes that, having set the bar exceptionally high – w/r/t over-sharing highly personal revelations in the service of discussing the artwork posted herein – he now must discern how to again make watching him linguistically limbo under said elevated bar an engaging and entertaining spectacle.

And, further, Chris, in the interest of continuity – w/r/t/ providing context for the current triptych he is in the process of posting – fans the dying ember of his heretofore brief flirtation with writing about himself in the third person – throws some mesquite chips on it – and nurtures it into a healthy, yet controlled, burn once again.

Chris, in the act (right now!) of doing it, realizes that the third person thing is kind of annoying while also realizing that everything that needs to be known about this piece – and frankly the whole triptych – can be found in the previous two posts. Which is fortunate. Since, Chris, having written at length in the previous two posts about two – of many – elements that infom this piece, finds himself at a loss for what more to say about it.

However, while an abbreviated history of Chris’ life and his meandering meditation on meaning may tell you much of what you need to know about this piece, they don’t tell you everything. In spite of those two posts, Chris assures his readers (and himself) that it is not solely, or even primarily, about drugs though Chris can also assure you that it does have meaning. Possibly (likely?) only to himself, of course, but meaning nonetheless.

As for what heroism may be involved, Chris is certain that it distorts the meaning of the word.

Confused? For what it’s worth, so is Chris.

Note: If you’re interested, Chris suggests you consider the various meanings of the word substance. He is.