Reflections on a Chinese Sewing Basket (an Interlude post)

Lid of a Chinese Sewing Basket -
live scans/digital - 2019, DS

(Click to enlarge.)

"Collected baskets have survived for decades, some for a century or more, each one having a diverse history. Countless baskets no longer belong to their original owners... Put simply, the old Chinese sewing baskets have traveled and experienced long, varied and in most cases, tough roads throughout the years."

- From the definitive book: Chinese sewing baskets by Betty-Lou Mukerji.

"Gu embroidery is rather a family style than a local style originated from Gu Mingshi's family during the Ming Dynasty in Shanghai. Gu embroidery is also named Lu Xiang Yuan embroidery after the place where the Gu family lived. Gu embroidery is different from other styles as it specialized in painting and calligraphy. The inventor of Gu embroidery was a concubine of Gu Mingshi's first son, Gu Huihai. Later, Han Ximeng, the wife of the second grandson of Gu Mingshi developed the skill and was reputed as "Needle Saint" (针圣). Some of her masterpieces are kept in the Forbidden City. Today Gu embroidery has become a special local product in Shanghai."

- Quote and photograph (inset left) via the Wiki entry for Chinese Embroidery.  (Feminist alert! Note that the woman who invented Gu embroidery - a concubine - remains anonymous.)

"By the T'ang Dynasty, considered the Golden Age of China, thousands of women were employed as seamstresses and embroideresses, and Chang An, then capitol of China, became a trade center for woven and embroidered textiles. By the Song Dynasty, embroidery embellished parasols, fans and shoes, as well as household items such as screens and bed coverlets were being produced. The Ming Dynasty saw the development of the ranking badges, worn on the front and back of robes by military and civilian officials and by their wives. Many of the Imperial Dragon Robes that you see in museums also date from the late Ming Dynasty."

- Excerpt from an article about Chinese textiles found here.

"My new wife is clever at embroidering silk;
My old wife was good at plain sewing.
Of silk embroidery one can do an inch a day;
Of plain sewing, more than five feet.
Putting her silks by the side of your sewing,
I see now that the new will not compare with the old."

- Dialogue between a man and his "old" wife from the poem "Old and New" by an anonymous Chinese poet, 1st century BC. Source: A Hundred and Seventy Chinese Poems compiled by Juyi Bai, 1919. (Feminist alert #2: Interesting set of cultural stereotypes here: the "frivolously" artistic New Wife, the industriously productive Old Wife and the man who chooses quantity and economy over beauty!)

"After the initial awe, I felt like one of the blind men on the bridge in the classic Zen drawing -- I had no idea where I was going or how to arrive.  Despite these challenges, the intention to affirm my aspiration to practice persisted. As the teacher led me across the  bridge, stitch-by-stitch, I watched myself reflected in the sewing.

Continuing to practice and learn, I noticed that sewing and wearing Buddha's Robe  deepened my understanding... Buddha's Robe began to express for me the essence of compassionate bodhisattva practice.  First came the effort of offering stitches without thought of gaining anything -- even finishing.  Then, in treating the robe with gentle respect as if we were  one, not two, the robe became tangibly steeped in the caring stillness and openness cultivated by practice..."

- Drawing parallels between Zen and sewing; specifically the practice of sewing a replica of
Buddha's Robe. Inset right (above) is an antique Chinese table apron. Below (inset left) is another. Both were sourced here.

***

It's been spring-like in New Mexico for the past three days... which - if nothing else - informs me that winter's on its way out and it's time for a change. Oh yeah, and it feels really nice, too... puts a little "spring" into your step... makes you think like: "Hey, maybe things aren't so bad, after all."

And maybe they're not.

Then again, I haven't posted an Interlude in some time and this blog is due for one.  You know, the slice-of-life kind of thing. For the (virtual) record, the last "slice" I blogged about was in January of last year... when I was still living in my car, photographing Sandia Crest. (See here and here.) Despite how harrowing the word "homeless" sounds, the situation was not unbearable. I was surviving; I had a self-appointed mission. And, the winter was unusually mild.

Which was okay... till my car was broken into one night (as I slept in a motel) and my camera was stolen. Although I did trying utilizing my phone's camera, the truth was the magic was gone and my mission over.

Cutting to the chase - and I always do - shortly thereafter I was to come across the star of this post: a Chinese Sewing Basket I picked up in a thrift store for one dollar and fifty cents ($1.50 USD). Apparently, those who sold it placed no great value on it. This is commonly referred to as "Buyer's Luck"; in this case, mine.

Every old artifact has a story, wouldn't you say? I can't help but wonder what this basket's was. But, I think I know. It's kind of like when two vagabonds meet or two wild entities cross each other's path. While actual words might never be spoken, a certain recognition, an insight exists. If boundaries are respected, sometimes the strangers fall in together... like this basket and I. Although technically without a home, we share an indoor space together at night. And, maybe even something more: some encoded shreds of cellular-history or a narrative... or a sub-cellular impression of movement and color.

Or, whatever dreams are made of. (Perhaps, nothing, nothing at all.)

Inset right (above) is an example of antique Chinese embroidery sourced from this site. Directly inset left is another lovely piece found here. More about Chinese embroidery can be found here. There are also Chinese Minority textiles, and an interesting, somewhat-related article here.

BTW, I sometimes have some newly-acquired quality time with my computer these days, and have begun to really work again. The image of the Chinese Sewing Basket lid was my first image this year... and, is basically a manipulation of several "live scans." Well, it's a start... just in time for the first month of the Chinese New Year.

***

Addition (April 15, 2019)

Joy - digital - 2019, DS

Well, the news around the world is sad today. Tears came to my eyes when I read about the fire at the cathedral of Notre Dame de Paris. (See the BBC report). Oddly enough, I had only learned last year that the Hunchback of Notre Dame was Victor Hugo's literary attempt to prevent the demolition of Notre Dame during the 19th century (see this blogpost). But, meanwhile, I just finished a reworking of the Chinese Sewing Basket - the last of my detours - and I was in a dead heat to put it up.

Which is not say I didn't like my original graphic... (nor is this to say I didn't keep the original file). It has a mandala-like effect that (I swear) informed a series of my dreams, embellishing them with delicate, Asian-like symbols.

But, the basket lid seemed lonely... so, I gave it an audience... a trio of brass frogs! (See The Significance of Frogs in Chinese Culture.)

Incidentally, the Chinese characters on the tag translate into the word "Joy"... something the world can never have enough of.

An André Breton Kind of Day

A portrait of André Breton by Victor Brauner.
(Click-on images to enlarge.)

"I believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a surreality."

- Quote by André Breton found here.

"Who am I? If this once I were to rely on a proverb, then perhaps everything would amount to knowing whom I 'haunt.' I must admit that this last word is misleading,tending to establish between certain beings and myself relations that are stranger, more inescapable, more disturbing than I intended. Such a word means much more than it says, makes me, still alive, play a ghostly part, evidently referring to what I must have ceased to be in order to be who I am. Hardly distorted in this sense, the word suggests that what I regard as the objective, more or less de liberate manifestations of my existence are merely the premises, within the limits of this existence, of an activity whose true extent is quite unknown to me."

- The first paragraph from Nadja, 1928, André Breton sourced here.

From left to right: Max Ernst, Leonora Carrington, Marcel Duchamp
and André Breton, New York 1942. (Source). The painting in the background:
Ernst's Le Surréalisme et la peinture (Surrealism and Painting), 1942.

"Always for the first time
Hardly do I know you by sight
You return at some hour of the night to a house at an angle to my window
A wholly imaginary house
It is there that from one second to the next
In the inviolate darkness
I anticipate once more the fascinating rift occuring
The one and only rift
In the facade and in my heart
The closer I come to you
In reality
The more the key sings at the door of the unknown room
Where you appear alone before me
At first you coalesce entirely with the brightness
The elusive angle of a curtain
It’s a field of jasmine I gazed upon at dawn on a road in the vicinity of Grasse
With the diagonal slant of its girls picking
Behind them the dark falling wing of the plants stripped bare
Before them a T-square of dazzling light
The curtain invisibly raised
In a frenzy all the flowers swarm back in
It is you at grips with that too long hour never dim enough until sleep
You as though you could be
The same except that I shall perhaps never meet you
You pretend not to know I am watching you
Marvelously I am no longer sure you know
You idleness brings tears to my eyes
A swarm of interpretations surrounds each of your gestures
It’s a honeydew hunt
There are rocking chairs on a deck there are branches that may well scratch you in the forest
There are in a shop window in the rue Notre-Dame-de-Lorette
Two lovely crossed legs caught in long stockings
Flaring out in the center of a great white clover
There is a silken ladder rolled out over the ivy
There is
By my leaning over the precipice
Of your presence and your absense in hopeless fusion
My finding the secret
Of loving you
Always for the first time"

- A poem by André Breton found here

André Breton by Marcel Duchamp, 1945.

"...Breton began to believe that our everyday encounters and chance findings are actually psychologically pre-ordained by our subconscious.

As such, found objects were direct, already existing embodiments of our inner desires, that just need to be found, in a privileged chance encounters.

To trigger these encounters, the Surrealists would visit flea markets in the hope of being ‘called’ by certain items. Because of this, and also due to the group’s interest in primitive art (which they believed was art straight from the psyche, devoid of social interpretations of norms), the Surrealists are known for having been avid collectors of all sorts of objects.
However, the concept that Dali came up with is slightly different from that of chance objects. Dali’s aim when creating Surrealist Objects was to bring objects from dreams into the real world, whereas Breton understood objects as entities which reveal one’s inner desires. We therefore see two categories of objects used by Surrealists: on the one hand, those created from dream-material, which eventually become symbolically functioning objects – as most of them are twisted enough to not really be functional anymore; and on the other hand, objects revealed through chance encounters, which eventually help the Surrealist to fulfil an existing unconscious obsession, or to complete a piece which was missing a little something."

- From Objective Chance and the Surrealist Object. The Surrealists and their relationships to found objects bring to mind Louise Nevelson and her psychic posse (via this post):

"These helpers of Louise Nevelson would get up very early in the morning. She lived in a town house in Manhattan, I believe; and they would go up and down the alleys, looking for discards. They were all kinds of individuals who were perhaps misfits in the outer world, but she believed them to be tremendously psychic. They all worked for her as her technicians, her helpers, in finding objects and wrapping them up in newspapers and paper bags, bringing them home; and then when they had all these treasures before them, they would let the objects tell them where to use them. And this came from a kind of psychic dialogue with the found object – which, I might add, was very similar to what Carl Jung taught many of his patients, to engage in with many natural things in their own experience."

Breton and some found objects... found here.

"About four o'clock that same day a very tall man was crossing the bridge that joins the separate islands. The bells, or perhaps it was the trees, struck the hour. He thought he heard the voices of his friends speaking: “The office of lazy trips is to the right,” they called to him, “and on Saturday the painter will write to you.”  The neighbors of solitude leaned forward and through the night was heard the whistling of streetlamps. The capricious house loses blood. Everybody loves a fire; when the color of the sky changes it's somebody dying. What can we hope for that would be better?"

- From Les Champs magnétiques (The Magnetic Fields), 1920, André Breton, found here. As for the other Magnetic Fields, try here.

***

What's an André Breton kind of day? Well, let me put it this way, don't drive large vehicles or operate heavy machinery.

Creatura - Songs From the Oyster Bed

Oysters on a desk-top - Digital Photo - 2014, DS

"The co-evolutionary story between rocks and life began 4 billion years or so ago, when the planet had only rocks, air and oceans to work with. The origins researchers that followed Miller and Urey’s heady success soon realised that air and oceans aren’t enough to create life, no matter how lightning-filled the sky. Only with the addition of carefully selected minerals will simple, nonliving biomolecules concentrate and combine in complex biologically useful ways.

Life arose from minerals; then minerals arose from life. The geosphere and biosphere have become complexly intertwined, with numerous feedback loops driving myriad critical natural processes in ways that are only now coming into focus."

- from an 2014 article by Robert Hazen, found at Aeon magazine.



"Mr. Gerard further states: 'Just before crossing the boundary of Ludak into Bussalier, I was exceedingly gratified by the discovery of a bed of fossil oysters, clinging to a rock as if they had been alive.'

In whatever point of view we are to consider the subject, it is sublime to think of organic remains lying at such an extraordinary altitude, and of vast cliffs of rocks formed out of them, frowning over the illimitable and desolate waters, where oceans once rolled."

- from Shells on the Snowy Mountains of Tibet, Asiatic Register,  found here.



"... the great power and human destinies are couched in the virtues of Stones and Herbs. But to know from whence these come, a higher speculation is required. Alexander the peripatetic, not going any further than his senses and qualities, is of the opinion that these proceed from Elements, and their qualities, which haply might be supposed to be true, if those were of the same species; but many of the operations of the Stones agree neither in genere nor specie. Therefore Plato and his scholars attribute these virtues to Ideas, the formers of things. But Avicen reduceth these kinds of operations to Intelligence, Hermes to the Stars, Albertus to the specifical forms of things.

...Now consequently we must discourse of Intelligences, spirits and Angels. An Intelligence is an intelligible substance, free from all gross and putrifying mass of a body, immortall, insensible, assisting all, having Influence over all; and the nature of all intelligences, spirits and Angels is the same. But I call Angels here, not those whom we usually call Devils, but spirits so called from the propriety of the word, as it were, knowing, understanding and wise."

- from De occulta philosophia libri tres (Three Books Concerning Occult Philosophy), 1530s, Heinrich Cornelius Agrippa

As readers of this blog know, the moment summer arrives, one can often find a peculiar, solitary woman (me) roaming the sandbars on the Connecticut shoreline; every now and then bending down to pick up an object or two... possibly even talking to herself (or the objects) before placing them back down, or, resuming her search (if that's what it is), possibly still holding one prized object (carefully) in her sweaty little paw.

There are no "ordinary" objects at the shore... and some, like the one above (shown from various angles - click to enlarge) are to be celebrated. When I first found these three shells cemented* to a fragment of rock, however, I wasn't even sure what I'd found. Were they some form of barnacle? Had a human glued some shells onto a rock in such a pretty array?

Creatura - The Sentient Seaweed (the Extended Version)

Live scan of an unidentified seaweed - 2014, DS
Note: This scan is a product of a new flatbed scanner... which, apparently had difficulties
reading the black background, hence the weird color artifacts (unfortunately intensified online).
I've tried - and failed - to correct it. Sorry.

(click to enlarge)

creature |ˈkrē ch ər|
noun
an animal, as distinct from a human being : night sounds of birds and other creatures.
• an animal or person : as fellow creatures on this planet, animals deserve respect.
• a fictional or imaginary being, typically a frightening one : a creature from outer space.
• archaic anything living or existing : dress, jewels, and other transitory creatures.
• a person of a specified kind, typically one viewed with pity, contempt, or desire : you heartless creature!
• a person or organization considered to be under the complete control of another : the village teacher was expected to be the creature of his employer.

ORIGIN Middle English (in the sense [something created] ): via Old French from late Latin creatura, from the verb creare (see create).



"In the philosophy of consciousness, sentience can refer to the ability of any entity to have subjective perceptual experiences, or as some philosophers refer to them, "qualia". This is distinct from other aspects of the mind and consciousness, such as creativity, intelligence, sapience, self-awareness, and intentionality (the ability to have thoughts "about" something). Sentience is a minimalistic way of defining consciousness, which is otherwise commonly used to collectively describe sentience plus other characteristics of the mind.

Some philosophers, notably Colin McGinn, believe that sentience will never be understood, a position known as "new mysterianism". They do not deny that most other aspects of consciousness are subject to scientific investigation but they argue that subjective experiences will never be explained; i.e., sentience is the only aspect of consciousness that can't be explained. Other philosophers (such as Daniel Dennett) disagree, arguing that all aspects of consciousness will eventually be explained by science."

- Excerpt from the Wiki entry on sentience.

***

The summer solstice (the pagan holiday of Litha) approaches, and with it, my inevitable trips to the shore. Sometimes there's an agenda; mostly there isn't. But, when the ocean calls, it never needs to leave a message; I just get in my car - sans towels and sunblock lotion... sans beach blankets, beach balls,  beverage coolers and lounge chairs. I'm there for meditative purposes, investigative purposes, or, more generally, no purpose at all. The ocean calls, and that's enough.

Last week, however, there was a method to my madness as I plodded along the sandbars. My mission was to gather bits of seaweed for an image I was trying to rework and, hopefully, finish. Normally sea plants hold no interest for me, but, for the image, I needed the seaweed's specific organic contours...

Addendum

A series of drawings by Louise Despont - pencil on antique paper

"I think art is one way in which magical symbols and images can be presented to the public in a way that will not appear threatening. We know from the history of art in the past 100 years, that many genuine schools of occultism came forth to present themselves as what I am going to call mystical schools of painting, of sculpture and so forth. I am particularly concerned about one French school", says Bertiaux. "It is the pataphysical school. It was allied to Dada, surrealism, spiritualism and trance medium ship. The whole idea was that we would explore structures of the unconscious and come back renewed with a new kind of imagery and energy we can focus through works of art. The pataphysicians are my favorites, because what they sought to do was to create a kind of alternative science. I remember a pataphysician telling me, that as metaphysics is to physics, so pataphysics is to metaphysics, which meant an intuitive extension into the abstract or the transcendental or the less known aspects of experience."

 What were the characteristics of this school, I asked?

 "One of the characteristics would be their drawing of inspiration from dream states and a kind of somnambulistic meditation", says Bertiaux. "Another would be the idea that everything has a psychic history. This is related to “the cult of the found object” in modern art, the discovery of “the given.”

We know that there are many artists who will go around looking for what they call “a found

object” – actually they wouldn’t have to look very hard. According to the theory a found object

would “speak” to them and indicate to them that this was what was needed for the artwork of the artist.

The famous American sculptress Louise Nevelson - who worked with large assemblages and collages made from wood and wooden pieces - she had what I call her esoteric school", Bertiaux explains.

"These helpers of Louise Nevelson would get up very early in the morning. She lived in a town house in Manhattan, I believe; and they would go up and down the alleys, looking for discards. They were all kinds of individuals who were perhaps misfits in the outer world, but she believed them to be tremendously psychic. They all worked for her as her technicians, her helpers, in finding objects and wrapping them up in newspapers and paper bags, bringing them home; and then when they had all these treasures before them, they would let the objects tell them where to use them. And this came from a kind of psychic dialogue with the found object – which, I might add, was very similar to what Carl Jung taught many of his patients, to engage in with many natural things in their own experience."

- From: Arts and the Occult - An interview with Michael Bertiaux by Bjarne Salling Pedersen (.pdf file)

***

During the latter half of my research of the astrological sign Capricorn (and its constellation Capricornus) I stumbled upon an interesting man, Michael Bertiaux (b. January 18, 1935). According to Wiki, he is best known for his occult classic, "Voudon Gnostic Workbook", described as: "a 615-page compendium... spanning the sub-fields of Voodoo, Neo-Pythagoreanism, Thelema and Gnosticism". I somehow intuited that this man was someone I needed to acquaint myself with... and, when I pursued the .pdf file link provided, I was really amazed... 

The Sun Stands Still

Winter Solstice, 2013 - digital - 2013, DS 

Well, I'm a little late with this post; technically the sun "stood still" yesterday, the day of the winter solstice, but I spent the day working on the image above. This all came about when I rediscovered a little rock in the glove compartment of my car - one of my beach finds, probably picked up off a sandbar around the time of this year's summer solstice.

It's an enigmatic little rock... which looks as if its flat surface has lines carved into it. But, if that's actually the case, then it's only a small portion of something much larger. Who knows? But, in its own understated way, it kind of brings to mind the larger - and more celebrated - mysterious rocks that cover the globe, which are thought to be directly related to the winter solstice; Newgrange in Ireland, for instance.

Known to the druids as Alban Arthan, and the beginning of Yule, the winter solstice marks the time of the year when the sun returns, and the daylight hours slowly begin to grow longer... which is a good thing to know as we drag ourselves through the ice and snow!

Anyway, my little rock wanted to be a star... and so, I made it one... scanning it into this machine, and positioning it with an old scan of some ice I had on hand. (Yes, you can scan ice on a flatbed scanner... but, be quick about it!)

So, take heart... the winter has just begun, but, the "darkest hour" is already history!


(Additionally: 6 Ancient Tributes to the Winter Solstice.)

Flatbed Scan of a Summer Flower

Begonia blossom scan - 2013, DS

(click to enlarge)

As an artist, despite all the scientifically-documented neurological, psychological & pathologlogical excuses for my existence, isn't the need for beauty the real bottom line?

And, in the event that every living organism has consciousness and sentience to some degree, isn't it possible that the expression of beauty - and the appreciation thereof - is as innate, inherent and essential to life, as any scientifically-accepted, well-documented mechanism to survive?

I scanned this begonia into the computer today, because I wanted to record it exactly as it was. I suppose that's what my scanning exercises amount to lately... along with a sort of subliminal attempt to understand transdimensionalism, albeit in reverse... that is, translating higher (3) dimensions into lower (2).

But, that's not the reason I posted it.

I posted it because it's beautiful.

Enjoy your summer.

***

Tech Note: Concerning flatbed scans of 3-D objects (also referred to, on this blog, as "live scans"). There's a plethora of info on the web describing the ways and means to perfect this type of image document, if you're interested. The most important factor in taking a good scan is having a scanner capable of copying 3-D objects... not all of them can. The ones which can, generally indicate this on the box description. Also, they often have a fluorescent light bar, which captures a greater depth of field than LEDs. And, by "scanner" I'm not referring to expensive equipment or anything having to do with the new 3-D printing technology. A dedicated scanner is imperative, however - forget "all-in-one's"!

Tech Note 2: To avoid a "pressed flower" look to a scanned flower image, leave a stem on your flower, and then try constructing a truncated cone around the flower head that will separate the flatbed glass from the flower petals. I used black paper for this - black is generally the best ground - with some degree of success. But, the contours of the cone are key, as well as the depth. The flower has to fit exactly and its petals should just brush the glass. Best bet? A fairly flat, rigid flower.


Tech Note 3: Except in the instance of a very flat object (like a house key, for example), you will either be leaving the scanner cover open, or taking it off altogether. Back-lighting may be an interesting effect on occasion, but I find it helpful to have a several boxes - lined in black - of various depths on hand to cover the scanner bed while shooting. Another possibility is a blanket of fabric, normally cut to the dimensions of the scanner bed, unless the "draped fabric" effect is a desirable background. Fabric, incidentally, scans fabulously!

Begonia blossom - 2016, 2013, DS

Anthracite Coal & Graphite

2 scans of a small slab of anthracite - 2013, DS
(click to enlarge)

I guess I feel obligated to finish my "Black Rock" series (started here & continued here). So, here's the "big reveal".

Well, it's like this: one can't write on a hard, granulated surface with obsidian... however, with anthracite coal you can. Which is how I now know that all my mysterious black rocks - despite how iridescent and pretty they may be - are, in the last analysis, anthracite coal. The ones with a more silvery sheen, however, make finer, more pencil-like lines, which sent me on a google search for graphite; apart from being pencil lead, I never did know exactly what it was.

Actually, the game was really given away when I found the anthracite slab above... which is glassy in the center, but, the surface of which is similar to a shimmery black poster board. Whatever it was, it wasn't obsidian.

(Note: It was also easy to pry apart in layers... and, though I still hadn't concluded it was coal, I still half-expected to find a fossil. In reality, one can find fossils in slabs of coal... and, two things on my "bucket-list" are: finding a meteorite, and finding a fossil!)

Anyway, I now know that anthracite coal is a mineral and the high-carbon metamorphic state of bituminous - ordinary household - coal. Interestingly, anthracite may be considered to be a transitional stage between ordinary bituminous coal and graphite, the latter often considered to be meta-anthracite and/or the last - and purist - metamorphic stage of coal.

Well, yeah, I guess I had hoped my mystery rocks were obsidian... but, anthracite and graphite are not the lowly, mere utilitarian minerals one might expect. Anthracite was a common replacement for jet in all that wonderful Victorian mourning jewelry... and it's been carved into sculptures as well. And, the same goes for graphite! The two beautiful figures above - the hand and shell (above, left) - were carved from graphite by Angelio Batle, found here, along with a number of others. And the graphite quill (above, right) is just one example of a whole series of really cool, carved graphite pencils (one can write with!) for sale here.

And, so ends the tale of the mysterious black rocks... ;-)

***

Restore the 4th (& steal this banner!)

Obsidian Glass (& a "moon rock") (?)

2 scans of the latest found object - 2013, DS
(click to enlarge)

"Seek and ye shall find"! 

Actually, this is rarely true in my experience... but, I did find what I was looking for at the beach yesterday (see previous post): obsidian glass. Of course, it's so glass-like, it's practically impossible to scan, but, this should give you some idea. It has a slight rainbow flash, but nothing like in the scan - more like the colors one sees in a crow's feather.

And, I also found a lunar rock! Okay, so, it's not really a lunar rock - just another specimen of volcanic rock with a lot of obsidian. It's blacker than it appears in the scan, though; it also has a very silvery sheen to it... 

Scan of the "moon rock" - 2013, DS
(click to enlarge)

Later note: Actually, the true identity of these rocks is still in doubt. I suppose virtually anything can be found on a shoreline, but, we are talking about a Connecticut shoreline... (see the comment section of this post). So, ladies & gentlemen, the jury is still out.


The jury's in... see: Anthracite & Graphite.

Found Object: A Mysterious Black Stone

2 scans of the same black beach stone - 2013, DS

(click to enlarge)

I actually found two stones on the coastline today, made of the same mineral... but, the one shown is the most photogenic, and this is it's best side... scanned at 200%, and then blown-up another 200%. For the top one, I used the "light adaption" scanning feature, but, both scans exhibit the same peculiar chromatic artifacts that are created when a glassy object is scanned: there's a distinct polarization of red and blue which is impossible to modify... but, in this case, actually enhances the image.

I've no idea what sort of mineral it is. Some surface areas are glassy, but, the rougher areas have zillions of tiny flecks of what is probably silica, and which reflect a rainbow of colors...

In any case, it's a keeper! :-)

***

The other volcanic rock - 2013, DS
(click to enlarge)

Update (6/30):  My friend, Moo, has just informed me, that yesterday's found objects are bits of volcanic rock known as rainbow obsidian. (Thanks, Moo!)

I've googled it, and, while it surely is an igneous rock, I'm not sure it's wholly obsidian - certainly not gem quality - and might be the combination of basalt and obsidian known as a tachylite.

In any case, it's pretty cool to have some volcanic rock, and it's really quite handsome, (though not in the bismuth crystal league). Also, it probably has bits of plagioclase feldspar, and, if you remember, that's the family labradorite belongs to.

Judging by the lack of saltwater erosion, my specimens may have originated from one of the more recent volcanic eruptions... though, how they arrived on a Connecticut shoreline is, yet, another mystery... but, you can bet I'll be looking for more! (For the sequel to this story, see: Obsidian Glass (& a "moon rock").

(Note: obsidian is an anagram of my name...)

Liquidambar styraciflua

Live scan - Sweet Gum tree seedpod - found on a city street - 6/17/13, DS

The unripe Sweet Gum fruit

A Day at the Beach

3 scans of a found object - 2013, DS (click to enlarge)

"Shinto teaches that everything contains a kami (神 "spiritual essence"),
commonly translated as god or spirit).

The kami reside in all things, but certain places are designated for the interface of people and kami (the common world and the sacred): sacred nature, shrines, and kamidana. There are natural places considered to have an unusually sacred spirit about them, and are objects of worship. They are frequently mountains, trees, unusual rocks, rivers, waterfalls, and other natural edifices. In most cases they are on or near a shrine grounds. The shrine is a building built in which to house the kami, with a separation from the "ordinary" world through sacred space with defined features based on the age and lineage of the shrine."

- excerpt from the Wiki entry for Shinto

High-tide is not the most excellent time for beachcombing, but, neither is the blistering heat of mid-day. So, for my first visit to the shore in a very long time, I chose the hour just before sunset for my foray by the water's edge. There were a few people milling about on the sand, but, like any dedicated beachcomber, I ignored them completely, aware only of their voices drifting around me in the air, in that peculiar way sound is both muffled, amplified and scattered by the ocean's waves.

I saw only one other person by the water - a woman, perhaps Muslim, swathed in black veils, hunched down in the encroaching waves. She was staring at the horizon, her hands folded under her chin in a way that may have been praying. But, as I approached, she stood up and slid off in the opposite direction.

Communing with the ocean is often - and needfully - a very private thing.

I found very little... the beach isn't what it used to be, or, maybe I'm not what I used to be, lacking the awe and raw enthusiasm I had as child, when everything still seemed new and mysterious.

But, I did find one thing... it was sitting in the sand in the path as I was leaving... a rock, but a special rock, in that it was a chunk of beach marble, my favorite sort of rock, and one that I had collected in the past; a collection I had to part with during the course of moving a few months ago. It was like greeting an old friend, but, before snatching it up, I looked around to make sure I wasn't stealing someone else's treasure.

Anyway, above are scans of three faces of the found object. It isn't as silky-textured as the specimens I've found in the past, those of which have been smoothed and sanded by the salt-water for a longer period of time... (and, an example of which is posted below... my only remaining touchstone of that species). But, it's easy to understand why marble is so often the choice of sculptors. Maybe it has something to do with metamorphic process that marble has to go through, it's physiological history, that speaks to the artist. Or, maybe some rocks just happen to "speak" a little more eloquently.

Interestingly, the grey, striated beach marble I find, tends to have one or more roughly pentagonal faces; the pentagon - along with the hexagon - being a favored shape in the organic world, and for the sacred geometer and mason, a symbol of sentient life.

In the Disneyland world of a child's mind and the "primitive", everything is alive, has consciousness, and is sentient to some degree, even inanimate objects. In other words, all is "animated". But, this is still true in many worldviews, up to and including that of Shintoism, an ancient set of spiritual beliefs and practices of which a large portion of the Japanese population, essentially, still adhere to.

Animism is defined as the worldview in which "natural physical entities - including animals, plants, and often even inanimate objects or phenomena - possess a spiritual essence". I suppose, how one defines "spiritual essence" is where a lot of people get tripped up.

But, to the child, the primitive, the artist, the naturalist, the mystic, and even a quantum physicist or two, that quality we call "life" permeates existence... either it's everywhere... or nowhere.

When in doubt, listen to an eloquent rock.

2 faces of an old friend - 2009, DS (click to enlarge)

***

Bonus link (re: how to house a kami): the shrines of friend and art shaman, B. G. Dodson. Guess which one I own? :-)

(Hint: Ever notice how the Shinto symbol, the Torii Gate, resembles a modified giant Pi symbol?)

Autumn Leaf Eye Candy

Apart from the size - blown-up 200% - these scans are the real deal - no color enhancement was employed. With their amazing colors - blood reds, acid yellows, and florescent greens - the dying maple leaf can rival those of the more exotic, tropical plants.

Re: scanning. In the last analysis, it's a type of photography... with the major exception being that the subject is placed/designed/arranged from behind, with no clue as to what the obverse result will be. It's kind of like a crap-shoot.  But, when it works, it works!

Note: even lighting is a factor in the scanned image. The first was positioned poorly on the scanner bed, and faced the scanner light in a less-than-ideal direction. You can see how much the surface detail is improved in the second scan (directly above), which was shot on a different angle.

(Click images for original size.)

Our Lady of the Wood

Detail of the assemblage "Our Lady of the Wood" - 1976 Dia Sobin

"...Now the stark elders have an anorexic look; there is not much in the autumn wood to make you smile but it is not yet, not quite yet, the saddest time of the year. Only, there is a haunting sense of the imminent cessation of being; the year, in turning, turns in on itself. Introspective weather, a sickroom hush.

The woods enclose. You step between the first trees and then you are no longer in the open air; the wood swallows you up. There is no way through the wood any more, this wood has reverted to its original privacy. Once you are inside it, you must stay there until it lets you out again for there is no clue to guide you through in perfect safety; grass grew over the track years ago and now the rabbits and the foxes make their own runs in the subtle labyrinth and nobody comes. The trees stir with a noise like taffeta skirts of women who have lost themselves in the woods and hunt round hopelessly for the way out. Tumbling crows play tag in the branches of the elms they clotted with their nests, now and then raucously cawing. A little stream with soft margins of marsh runs through the wood but it has grown sullen with the time of the year; the silent, blackish water thickens, now, to ice. All will fall still, all lapse...

The woods enclose and then enclose again, like a system of Chinese boxes opening one into another; the intimate perspectives of the wood changed endlessly around the interloper, the imaginary traveller walking towards an invented distance that perpetually receded before me. lt is easy to lose yourself in these woods."

- excerpt from the The Erl-King, a short story by Angela Carter * - from The Bloody Chamber and other Stories - 1981, Penguin Books

Detail of the assemblage "Our Lady of the Wood" - 1976 Dia Sobin

Detail of the assemblage "Our Lady of the Wood" - 1976 Dia Sobin

 

In the continuing saga of The Forest (see Phoebe post), we arrive at "Our Lady of the Wood", an assemblage (or "collage", as they were once referred to) I painstakingly put together in the 1970's when I was just starting out on my fool's journey.

I had it hanging on my bedroom wall for years... (I now think) to remind myself just where I had "come" from. But, I didn't remember, of course, until I was in the process of taking it down... ostensibly to pack up in the event I relocate anytime soon. (This remains to be seen). For whatever reason, it slipped out of its frame, and so I thought I might scan some of it into this machine as a kind of punctuation mark to the general drift these days... that old black magic sort of drift which Angela Carter (see quote above) seemed to know so well.

"Our Lady of the Wood" was fashioned with all sorts of pretty things... beads and fabrics and hand-made paper... photographs of a favorite graveyard statue... and lots of organic material (the sort of stuff I like to "live-scan" now). You might say I'm still making assemblages, only now they're all digital. At least for the moment... but, really, I could never be fully content with 2 dimensions - I want to work with all of them! ;-)

In any case, have a thoroughly haunting October - I know I will!  And, while you're at, stop on by Histories of Things To Come - ToB does Halloween countdowns (oh) so well!

Our Lady of the Wood - 8X10 Xerox of the 15X20 original
(click on to enlarge)

* Note on Angela Carter. For those unfamiliar with this feminist author, she wrote the 1969 cult Sc-Fi classic Heroes & Villains, which is on my personal top ten list of transformational fiction.

Cicada 7/17/12

... found by the side of the road, during one of my walkabouts.... Cars were driving by, and I felt weird stooping down to pick it up it's lifeless body, but I couldn't just leave it there. Cicadas are one of my personal totems... dead ones appearing at significant times.

I guess the Dog Days of Summer are almost upon us... already? 

Meanwhile, there's shortly to be a "For Sale" sign going up in front of my house. This means, I will probably have little time for blogging. Wish me luck, and enjoy what remains of this summer!

Till next time...

D

(Later note: A future - 2013 - post in which the cicada, once again, emerges: The Jewel - Image and Premonition)

Alchemy of a Found Object

Alchemy of a Found Object - triptych (details) - 2009, DS
(click to enlarge)

"Jung held that in human life we possess two sources of Gnosis, or salvific knowledge. One of these is Lumen Dei, the light proceeding from the unmanifest Godhead, the other is Lumen Naturae, the light hidden in matter and the forces of nature. While the Divine Light may be discerned and appreciated in revelation and in the mystery of the Incarnation, the Light of Nature needs to be released through alchemy before it can become fully operative. God redeems humanity, but nature needs to be redeemed by human alchemists, who are able to induce the process of transformation which alone is capable of liberating the light imprisoned in physical creation."

- Stephan A. Hoeller - excerpt from: "C. G. Jung and the Alchemical Renewal" - Gnosis Magazine,1988

"Alchemy of a Found Object" (above) is the result of a "happy accident"... but, then again, "accidents" are an important part of the Transfigurative process. Accidents and synchronicity seem to be the modus operandi of the psyche... a type of subliminal, alchemical process that unites ones inner and outer worlds. Consciously, of course, we choose to plan our agendas rationally with conventional goals in mind. Unconsciously, however, the tables are turned, so to speak, and the psyche must unfold its own mysterious agenda.

An excellent online Alchemical reference can be found here.