More "FEAR" !

"Fear of Living" promotional panel - pen & ink - 1981, DS (as N.S.) - Published in the East Village Eye, 1982

Translatable comic captions (frame by frame):

1) Why are these men smiling?

2)  A) They're stiffs.

3)  B) It's all done with strings.

4)  C) Drugs.

5)  D) Plastic surgery.

6)  E) They're being paid for it.

7)  O)

8)  X) (Balloon: "I don't know but I wish they'd stop!")

psi)  FEAR OF LIVING COMICS

9)  9) You call this smiling?

"Fear of Living" "People" panel - pen & ink - 1981, DS as (N.S.) - Published in the East Village Eye, 1982

Translatable comic captions (frame by frame):

1) FEAR OF LIVING COMICS

2) "People,

3) People

4) who need

5) people...

6) are the luckiest people

9) in the

10) world..."

11) (Lower half) (Balloon: Frankly, I like cats better...)

END

***

Why more "Fear of Living"?

Oh, I guess I'm just "in the mood", so to speak... whether y'all are or not! ;-)

(Besides which, I always hated that Streisand song...)

Incidentally, for those who can't read english... or, just can't read my cartoon writing, I'm going to add a paragraph of translatable script below, as I did just now in the previous panel.

(Note: If these strips appear blurry - trying clicking on, and viewing the larger size...)

MORE "FEAR"!

Comic Relief - "Fear of Living"

FOL Comic Panel - Pen and Ink - 1981, DS (click to enlarge)

Translatable comic captions (frame by frame):

1) FEAR OF LIVING

2) It snowed last night...

3) 10 people were killed

4) Because they did not stay in their houses!

5) 6 of the dead will be buried...

6) The other 4 will soon appear on a TV talk show,

(Balloons: "So, what's it like to be dead?"

"It could be worse"

"I miss my cigarettes")

7) write books, and endorse a laundry detergent.

"DEADLY SNOW"

8) (T-shirt:"You, too, can be a star!")

Remember: death sells!

9) So, next time it snows, do yourself a favor...

(Balloons: "It's kind of quiet here, but we like it."

"And it's cheap, too")

10) Get out of the house!

(Arrow text: Your house)

(Lower 1/2)  END

(Balloon: "Not me, I hate snow!")

Time: 1981.  Place: Lower East Side, New York City.  Consciousness: Enhanced.

Just dug this out of the files a few minutes ago and had my first and last laugh of the day (it being midnight). You kind of had to be there.  But, I don't know, it's still relevant in the sense that, as bad as anything ever is, the media blitz makes it worse. At least, that was one of my pet themes with "Fear of Living Comics"... I'll let you figure out the rest of them.

Anyway, if you're out there right now (and still have power), Jada, this one's for you! :-)

Added note, for the sake of context: "Fear of Living" was a short series of comic strips - 5 or 6 panels  -  I inked in Manhattan in 1981 as "N.S.". The first (above) was never submitted, but the others were published as small spots in The East Village Eye.


Below is a "glam" shot of myself  taken around that time by a photographer friend.

The Artist Not at Work ,1983 - Photo Credit: Steve MacNichol

More "FEAR"!

In Search of a Virtual Window (Updated)

Labradorite Window detail - Digital - DS 2013
(Click to enlarge.)

The graphic above (Note: Original graphic has been replaced with a different version.) charts the progress of the labradorite window I mentioned in my previous post. Of course it helps to know what sort of portal one means by "window" before one attempts to create a virtual one. In the very early days of this project, the window was opaque, and for the most part metaphorical. I wanted something that was so organic that it appeared to have literally grown into place. The "place" was in the middle of a stone slab. I didn't think too much about the slab. I knew it was on the ground. As far as the "labradorite window", originally the idea emerged from a line of a poem I wrote in 2009:
"I lie on a bed of labradorite; of labradorite is my window."

I pretty much abandoned the poem, as my muse had little else to say, but the idea of a labradorite window intrigued me. I wanted to see it, which is pretty much the definition of art for an artist: that is, things we need to see. I'm not sure when I began fashioning it's size and overall shape... but, I had in mind a stained-glass-like "rose window"; the sort one sees in the great cathedrals, but on a smaller scale, and, as mentioned, not really a window at all. I also knew the panes of labradorite would fit together in an organic array, which is when my mind hit upon the idea of the meteorite. Below is the results of my initial attempts at developing a meteorite "shell". I thought that it only remained to fill in the pockets of my faux meteorite via my airbrush tool.

Wrong. After a number of failed attempts I just placed the whole project in the "Someday Maybe" file and moved on.

It was only recently that I began playing with it again. For whatever reason, I started airbrushing a metal swirl pattern over my meteorite, and, during this process, it came to me finally just what sort of window I was seeing in my middle eye.

Yes, the labradorite window is still in the center of stone slab lying flat on the ground... but it is not just some weird mineral deposit, as I imagined previously. It is an actual, translucent stained-glass window created to represent a metaphorical portal to an ancient, underground chamber.

Ah, but that's another story. Meanwhile, I'm progressing slowly with the project, though it feels like more of a craft project at this point, and a labor-intensive one at that. The previous image showed a view of the window laid over the framework of the faux meteorite shell... the new one displays, instead, the marble-like slab in which the window is embedded. The grey/green segments represent blanks awaiting to be filled. I'm experimenting with labradorite patterns presently, and there's a long way to go... and it suffers in a low-resolution format but, I think you get the idea. Incidentally, that purplish segment represents a variety of labradorite known as "Peacock". The whitish stones represent Rainbow Moonstone, another variety of labradorite.

As it stands, it's going to be fairly chaotic in meat-space for me over the next few weeks - the big move is about to take place -  but, I've begun laying the plans for my next Patron Saint post. See you then!

"Meteorite" Window in full - DS 2011
(Click on for larger view.)

Labradorescence... Though the Eye of a Flatbed Scanner

4 separate scans - shot from 4 different angles - of a labradorite pendant cabochon
(click to enlarge)

"An Inuit legend says that long ago the Northern Lights fell from the sky and were trapped inside some rocks off the coast of Labrador. One day, an Inuit warrior came upon these rocks and tried to set the Northern Lights free. With blows from his spear, he was able to release most of the lights, but some still remained to be permanently imprisoned within the rocks. The trapped Northern Lights are what give the stone we know today as labradorite its brilliant flashes of light and color."

- Labradorite lore via this web page


"Labradorescence is a side-effect of the molecular change which occurs in large crystal masses of anorthosite, producing an iridescent play of colors. This labradorescence, or schiller effect, is the result of light diffraction within the lamellar intergrowths – fine, adjacent layers of the separate materials (lamellae) comprising the whole rock phase – created when conditions do not allow for sufficient diffusion to the materials' equilibrium composition.

The cause of this optical phenomenon is phase exsolution, or phase (state) instability, occurring in the Bøggild miscibility gap (An48-An58); under the appropriate heat and pressure conditions the separate molecular components will coexist but not mix to a solution, producing the phenomenon."

- Via Wiki's labradorite entry


"Labradorite is said to represent the "temple of the stars"... It brings the light of the other planetary beings to the soul of the user. The labradorescence is a luminescence, derived from extraterrestrial origin, which is enclosed in the mineral to bring the galactic evolved energies from other worlds to the Earth plane."

- Via this web page

***

Originally this post was going to welcome in the new year and feature a long-standing work in progress, "Labradorite Window". Well, that was the plan, at any rate. But, as it so happened, and so often happens, neither the image (nor the order of the day) really cooperated, while, at the same time, something new was added to the mix. That is, the above scan - of a favorite pendant of mine - representing yet another facet of a mysterious gem, known as labradorite.

Labradorite is named for the area it was "discovered" in 1770: Labrador, Canada. In reality, however, it has been found in numerous places, and traced as far back in time as the ancient Greeks, who knew it as "Black Moonstone".

I've only known about labradorite for around 15 years, finding my first piece - a sphere - in a metaphysical book shop here in CT. I stared at it for a long time initially, thinking I must be hallucinating, it was that unearthly beautiful. I felt a similar awe when I encountered my first comb jelly years before (see here). Maybe it's just something about flashes of electric blue light found in unlikely places that mesmerizes me. In any case, I learned the mineral's name and bought the sphere, which was astoundingly inexpensive, all things considered.

But, even a few years later, I could find very little about it online. Today, on the other hand, there's hundreds of links and images extolling its virtues; though often the memes being shared are repeated and distorted along the way. The information you might find is sometimes technical, but, far more often, overwhelmingly esoteric, and not always accurate.

I had scanned my labradorite pendant in the past, but never from different angles... and the one anomaly I missed, and one point of this post, was just how inaccurate a scanner can be. It doesn't, after all, faithfully record a 3D object. It interprets the object, and, when confronted with transparent or translucent objects, the scanner compensates for its disability by creating a new object altogether! (By the way, when scanning the labradorite, the scanner cover was left open, and nothing was placed on top of the pendant.)

If you looked at the above image, for instance - which is actually 4 separate scans combined - you might imagine the labradorite cabochon is solid and opaque in places. While the scan is, in a sense, describing how labradorescence actually works - possibly similar to recent scientific efforts to produce an invisibility cloak (?) - the image is hopelessly wrong. Looking at it, we might safely assume the schiller effect is floating across the surface of a chunk of brownish substrate. Looking at the images below, however - courtesy of my monitor's camera - the reality is something else again. In these three shots I am shining a small flashlight through the pendant. Though one can see the inclusions that may have created the overall pattern, the "substrate" does not exist. There is nothing remotely opaque in the cabochon. It is, for the most part, transparent.

Or is it? Wiki's description of labradorescence is muddied with technical terms. ("Extra-terrestrial" in the third quote is actually preferable... and, it might not be be all fantasy; apparently labradorite is found in meteors...) A simpler explanation is given by Merriam-Webster:  "A play of colors or colored reflections exhibited esp. by labradorite and caused by internal structures that selectively reflect only certain colors." (Other descriptions, in laymen's terms, may be found here or here.) But, I'm not sure any definition of labradorescence really describes the situation with the scan. Perhaps there's something about labradorescence that is, as of yet, unknown. After all, the rough gem is often found attached to just such a substrate as we see in the scan. Is the scanner actually showing us a residual image of the gem's past recorded in the labradorite's many layers, or is it a holographic-like mirage created by the scanner's deficiencies?

If you've ever witnessed labradorite in the flesh, you can attest to its innate mystery. And, if you, like a number of other people - including myself - are utterly transfixed by the sight of it, you, too, might attribute your fascination to some "unknown" factor.

As for my labradorite window, well, it's got a long way to go. Meanwhile, feast your eyes on some gorgeous specimens of the stone (which can be found as shown below: in the rough, as spheres, and as jewelry. But, also in sculpture: see here and here)... and have a happy new year!

Note on the above images (click to enlarge): The link to the first, on your left, can no longer be found. The sphere in the center, however, is sold here... and the beautiful pendant on your right can be found (as of this writing) in this Etsy shop. Incidentally, the morpho-butterfly-wing-under-glass effect found in this pendant is similar to my own.

A later added note: For all you alien lovers out there, there's actually several connections between this post and my last, "The Doors of Perception"... Funny how one can forget their own personal mythology consciously, but, on an unconscious level, the same roads are travelled again and again!

The Doors of Perception (9/1/25: video repaired)

Doors of Perception - digital - Copyright, 2011, Dia Sobin

"If the doors of perception were cleansed everything would appear to man as it is, infinite."

- William Blake, from The Marriage of Heaven and Hell, 1793

***

“There are things known and there are things unknown, and in between are the doors of perception.”

"To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer and the inner world, not as they appear to an animal obsessed with survival or to a human being obsessed with words and notions, but as they are apprehended, directly and unconditionally, by Mind at Large - this is an experience of inestimable value... The man who comes back through the Door in the Wall will never be quite the same as the man who went out. He will be wiser but less cocksure, happier but less self-satisfied, humbler in acknowledging his ignorance yet better equipped to understand the relationship of words to things, of systematic reasoning to the unfathomable Mystery which it tries, forever vainly, to comprehend."

"The various “other worlds,” with which human beings erratically make contact are so many elements in the totality of the awareness belonging to Mind at Large. Most people, most of the time, know only what comes through the reducing valve and is consecrated as genuinely real by the local language. Certain persons, however, seem to be born with a kind of by-pass that circumvents the reducing valve. In others temporary by-passes may be acquired either spontaneously, or as the result of deliberate “spiritual exercises,” or through hypnosis, or by means of drugs. Through these permanent or temporary by-passes there flows, not indeed the perception “of everything that is happening everywhere in the universe” (for the by-pass does not abolish the reducing valve, which still excludes the total content of Mind at Large), but something more than, and above all something different from, the carefully selected utilitarian material which our narrowed, individual minds regard as a complete, or at least sufficient, picture of reality.”

- three excerpts from The Doors of Perception, Aldous Huxley, 1954

***

Trade winds find Galleons lost in the sea 

I know where treasure is waiting for me 

Silver and gold in the mountains of Spain 

I have to see you again and again 

Take me, Spanish Caravan 

Yes, I know you can."

- Spanish Caravan - The Doors*, 1968, from Waiting for the Sun 

***

I had a semi-eureka moment the other night. I was reading the posthumously published book of a friend (mentioned in previously posts), Mac Tonnies - the first volume of an edited transcription of his Posthuman Blues blog - when I came across a 2003 discussion of anomalous arial phenomena (UFOs), and his speculative proposition (inspired by Rudy Rucker's Spaceland) suggesting they may be cross-sections of 4-dimensional objects moving through 3-dimensional space. He compares this hypothetical 4-D world with the idea of a vast "multiverse", but its phenomena would only be visible to we 3-D "Flatlanders" at points of intersection... sort of a complex version of the "tip of the iceberg" appearing on the surface of the ocean - it's what we can't see that defines it in totality.

He goes on to say that, it stands to reason, we might theoretically coexist with the generators of these "aerial phenomena" - assuming some variety of intelligence is involved. 

As it happened, I had recently posted a quotation from Michio Kaku, a String-Theory physicist, on my memorial blog, Post-Mac Blues, which intimated a similar idea in the form of possible parallel worlds, in which we theoretically might co-exist with a range of probable realities populated with a whole host of "others", up to and including loved ones who have died, and other versions of ourselves, as well. And, keep in mind, String Theory proposes as many as eleven dimensions to play with!

Seemingly, transdimensional reality comes off like science fiction, but, in a sense, we experience a form of it on a continual basis; co-existing with the seemingly dimension-less phenomena of our own unconscious minds. Dreams, for instance, fall into this arena, They, too, may intimate experiences we are forced to translate using the limited language of three dimensions, with our equally as limited "official" set of senses. The experience of levitating or flying, for example, which, in my own dreams, initially entails allowing oneself to fall - albeit at an oblique angle - into space, might be describing a more complex manifestation on another plane, or, for that matter, the vestiges of a race memory wholly outside of the conventional range of spacetime... you might say, an inner-dimensional** reality. Some dreams, then, may represent those same "tips of the iceberg", with their true breadth extending in a whole range of enfolded directions.

Ghosts, and other anomalous visual phenomena might also find their origin in a transdimensional reality whereas, once again, our experience is partially obscured by the nuts and bolts of our 3-dimensional range. We see what (to some of us) is apparently visible... but only to a certain degree... and possibly only at certain angles in what one can reluctantly refer to as a moment in spacetime. True perception is thereby incremental... like tuning in a station on a radio; our window for experiencing certain phenomena is, apparently, extremely small.

Of course, in the light of the brick wall effect of corporeal reality, all of this seems fairly moot. Which is probably what I meant when I created "Doors of Perception". Look, but don't see. On the other hand, I sense an underlying mystery about this image... as if its facade was created by an extra-terrestrial race. At the same time, during the process of its creation, a key phrase emerged in my mind -"false doors" - possibly referring to those which decorated Egyptian tombs. The "Ka" doors (an example is pictured above, left) were more than embellishments, however, they were the means by which the dead might re-enter the earthly plane and communicate with the living. The enigmatic Nabatean race included similar doors, and windows - referred to as "god blocks" - on the surface of their tombs at Petra (above, right). When you think about it, these solid, physically impenetrable "openings" are very strange. Obviously, their dead could walk through walls - and our enterprising ancients designated exactly where these portals should exist.

For Aldous Huxley, (July 26,1894 – November 22,1963), the "doors of perception" were thrown open via certain altered states of consciousness, either natural and spontaneous, or artificially "manufactured". His 1954 extended essay, The Doors of Perception was a chronicle of his experience with mescaline. He, in turn, borrowed that title from the inspired ravings of William Blake, a visionary artist and poet who was born in the previous century (November 28, 1757 – August 12, 1827).

Huxley's doors were the doors of inner-dimensions, the "Mind at Large", but one suspects the doors might swing both ways, from microcosmic to macrocosmic, from personal to transpersonal, from universal to multiversal.

It was Huxley's doors, in turn, which inspired the name of the 1960's rock band, The Doors. They, according to legend, were no strangers to psychedelic enhancement. As a teenager, it was the latter Doors who introduced me to both Blake and Huxley. Pop culture does have it's beneficial side-effects. Which, I suppose, is my excuse for indulging myself with the Doors video at the bottom of the post.

"Spanish Caravan" does relate in a weird way though... in that. it initially seems like no more than a beguiling, substance-drenched ditty - or an ode to a favorite vacation spot - set to the Doors' standard Disneyland-in-Hell - or, better even, Carnival of Souls - orchestral sound. But, to the discerning traveller, "Spain" and "Andalusia" are not corporeal destinations. Translated by the sultry voice of Jim Morrison,  (December 8, 1943 – July 3, 1971) - the Sidewinder Shaman, and self-proclaimed Lizard King - the lyrics transform into an alchemical cryptogram, intimating a subliminal dimension which houses the proverbial philosopher's stone - the mystical El Dorado of the spiritual realm - which must be experienced "again and again". In the grainy "Live in Europe" clip below, this song takes no prisoners.

What is the "Spanish Caravan"? A "Magic Bus" ? The mother of all mother-ships? Death? Who cares. Morrison assured us that it could "take" him. We assumed we were welcome to come along for the ride... if we dared.

* The lyrics to Spanish Caravan were actually penned by Doors guitarist, Robby Krieger.

** "Interdimensional" is a word in use, coined by Jacques Vallee, which he used to describe UFO phenomena, but is not exactly what I'm referring to here. On the other hand, these cosmic portals might be the macrocosmic expression of what I'm attempting to describe.

Note: For those interested in a mash-up of ideas referred to in this post plus, you might try familiarizing yourself with the writings of Clifford Pickover, his website or blog.

(Another note: For those of you familiar with this blog, you actually have seen a portion of my image "Doors of Perception" in a past post.)

Time for a Change

Well, it's been over a year since Trans-D came into being, and while I liked the original graphic scheme (a snippet can be found here) - which seemed to be compatible, color-wise, with my own work, I was beginning to get turned off by the predominant shades of brown. I am always happiest with black! I'll still be tweaking it as time goes by, but, unless a whole lot of people inform me that they HATE it  - and really, you're allowed - and prefer the original, this... is... it!

(Later...) Okay, I guess I sort of worked out the bugs in this design, so hopefully it appears okay, regardless of varying monitor screens. Of course, depending upon what sort of gadget you're viewing this blog on, the background might not appear at all, but I just added the screen shot above for reference.

I also learned something new: .png files, regardless of the dimensions, do not change much in actual byte size. Which is kind of cool.

By the way, the background is the result of scanning some round glass cabochons with a scrap of black fabric laid over them. Interestingly, the cabochons were laid flat on the screen, but somehow took on a perspective in the  scan... a happy accident related to optics I hadn't foreseen.

But, no, the fabric is not velvet - thank you very much! ;-)

Patron Saint #9: Kay Sage - "I Walk Without Echo"

The Instant - Oil on canvas - Kay Sage, 1949 - Mattatuck Museum, CT

“I can’t tell you what it would mean to most people, but I do know what it means to me. It’s a sort of showing what’s inside - things half mechanical, half alive. The mountain itself can represent almost anything - a human being, life, the world, any fundamental thing.” 

- Kay Sage, Time magazine, March 13, 1950, on her painting "The Instant"

"Consider Kay Sage (1898-1963) the anti-Thomas Kinkade. She was America’s great painter of menace, dread, and the post-apocalyptic future. Her trademark was “the sulphurous light before a thunderstorm,” observed biographer Régine Tessier. Like a thunderstorm, Sage’s art could be depressing and exhilarating. A true contrarian might nominate Sage as the best of all the Western Hemisphere surrealists."

- excerpt from Kay Sage, Painter of an Odd Future - William Poundstone

via an April 30, 2012 Art Info article


"And what's in it for me my pretty young thing?
Why should I whistle, when the caged bird sings?
If you lose a wager with the king of the sea
You'll spend the rest of forever in the cage with me"

- Verse from "Soul Cages" - Sting - 1991

***

The "anti-Thomas Kinkade" is an apt description for Kay Sage, American Surrealist, who found her artistic voice in Paris in the late 1930's, at the age of 44. Counterpoint to Kincaide's illustrations of lush, kitschy cottages in idealized, antiquated country settings, we have Sage's silent and spare views of some timeless, alien stratosphere. Then again, in comparison to the veritable cottage industry (pun intended) generated by Thomas Kincade (January 19, 1958 – April 6, 2012) Sage's subliminal messages on canvas are relatively obscure.

"! Walk Without Echo" was the title of the posthumous exhibit of Sage's collection in Mattatuck Museum, Connecticut, 2007. I'm not sure if this line was taken from one of her poems, a journal entry, or the creation of the curator, but it, too, is an apt description of Sage's work, and, perhaps, an ironic illusion to her legacy as an artist. (Regarding all images which follow - click on for a larger view.)
 

In the Third Sleep - Oil on Canvas - Kay Sage,1944 - The Art Institute of Chicago

Despite having been associated with the coveted circle of artists that surrounded Andre Breton, the founder of Surrealism, in the early half of the 20th century, Sage was a peripheral figure, never to know the encouragement and acceptance afforded to male members of that regime. Of course, the Surrealist movement was famous for its inherent misogynistic stance, but Sage was especially unpopular. To begin with, she hailed from the upper-crust  bourgeoisie, and had been married previously to an Italian nobleman. Her presence in Paris was only made possible by an inheritance from her deceased father. As it so happened, she was intensely disliked as a matter of course by the other artists and their wives, especially when she married Yves Tanguy, a Surrealist illuminary. Their alliance apparently enraged Breton to such a degree that his deep friendship with Tanguy eventually evaporated in 1949. All of this, in spite of the fact, that it was, albeit indirectly, through Sage that Breton, and a number of other Surrealists, were able to flee Paris at the beginning of World War II, and relocate to New York. Apparently, even as guests to the Tanguy's eventual home in Woodbury, Connecticut, Kay Sage would not win any lasting friendships within the Surrealist cabal. As late as 1974, and more than a decade after Sage's death, Enrico Donati still found it necessary to remark:

"Tanguy was the painter. I mean, we were the friends of Tanguy because he was the painter, the master. She was his wife, but we went there, to Woodbury, to see Tanguy. She was Mrs. Tanguy so she was there, too, but he was our friend. She was the friend of nobody." * 

The journalists of the day were no better. After a Sage painting  had won 1st prize in the Eastern States Exposition - in which Tanguy had also exhibited -  in Connecticut in 1951, the Hartford Times reported the news under the headline: "Housewife Wins Art Exhibition".

Danger, Construction Ahead- Oil on canvas - Kay Sage, 194o - Yale University Art Gallery

As tragic a figure as Kay Sage was in many respects, I think in the last analysis, her work resonates more with the 21st century zeitgeist than most of her more celebrated peers. And, unlike them - with the exception of Tanguy and Matta - her paintings portray an inner reality witnessed, and masterfully documented, as opposed to a number of Surrealistic creations which were contrived primarily to shock and/or entertain. We may not be able to name the world in which Kay Sage's psyche wandered, but that she wandered there is something we immediately accept. We may not, for that matter, find her observations of this enigmatic world altogether pleasant - few have; often describing her images as dismal and devoid of life - but we never question their validity. My personal interpretation, however, is that "life", or its metaphor, is certainly apparent in her work. It is organic life which is represented by the swathes of wind-blown, or, preternaturally suspended fabric, undulating silently and phantom-like within each of her eerie linear vistas. Presented as a life-form in this way, the fabric takes on an immortal aspect - an almost sentient presence - while, at the same time, transcends the limits imposed by both gender and species. Often, Sage's vistas have the ambience of seascapes receding to a blank, ocean-like horizon. Upon closer inspection, however, the backgrounds are not comprised of water at all, but are of a static substance, engraved with geometric abstractions.  This is especially true in the painting "In the Third Sleep" (second image from the top), a strange image which brings to mind a landing strip on an almost Martian-like planet.**

  As for it, and the image "Danger, Construction Ahead" (directly above), both are examples of paintings that may have spawned half a dozen contemporary Sci-Fi illustrators, despite having been painted in the 1940's.

On the First of March, Crows Begin to Search - Oil on canvas - Kay Sage,1947 - Wellesley College, MA

That being said, most of Sage's contemporaries describe her as being introverted, distant, and somewhat chilly in comparison to Tanguy, the proverbial life of the party. And comparing the work of the two artists, one might find evidence of this. Both artists drew their inspiration from inner  - almost paranormal - dimensions (see this description of Tanguy's work), and both artists, to some degree, were influenced by the early work of de Chirico. But, whereas Tanguy's biomorphic shapes (see "Phantoms" below) are somewhat whimsical, Sage's strange figures generally are not (with the possible exception of the image above). Later in her career, she developed an attraction to a variety of latticework (see detail below), solemn structures, in which her biomorphic fabrics are trapped within... veritable "Soul Cages" looming over a murky, slack water.

(Left) Phantoms - Oil on Canvas - YvesTanguy, 1928
(Center) Photo of Kay Sage with her painting, Suspension Bridge for Swallows, 1957 
(Right) Detail of Tomorrow is Never - Oil on canvas - Kay Sage, 1955 - Metropolitan Museum of Art, NY

As it stands, had I written this post 20 years ago, Patron Saint # 9 would've probably been Kay Sage's husband, Yves Tanguy - who, incidentally, was both friend and mentor to Matta, Patron Saint #2 - the more celebrated Surrealist. I hadn't even known about Kay Sage 20 years ago. Why is this? Well, for the same reason I hadn't known about Surrealist painter, Leonora Carrington***, the lover of the Surrealist, Max Ernst, 20 years ago... nor, for that matter, Surrealist artist and designer, Dorothea Tanning, Ernst's second wife. Female artists who bonded with male artists in the 20th Century did so at the risk of anonymity, most especially in the Surrealist community, where women may have been idealized as muses and objets d'art in themselves, but thoroughly dismissed as intellectual and creative equals. Another case in point, the Surrealist, Gerrie von Pribosic Gutmann, wife of the photographer and painter, John Gutmann. Ever hear of her? I'm willing to bet you haven't. She has a handful of paintings in cyberspace and no Wiki entry. A number of links to Imogen Cunninghams's photographic portrait of Gerri Gutmann is what you're most likely to find in a search.

Photo of John and Gerri Gutmann found here

Not all Surrealists in the dual role of Surrealist wife/Surrealist artist fell into obscurity, however. Frida Kahlo (deservedly) was to eventually outshine her husband, Diego Rivera, as the world slipped into the 21st century. Then again, if it means anything, both Carrington and Tanning out-lived Max Ernst by decades - Carrington passing away in 2011 at the age of 94, and Tanning, earlier this year at the age of 101 - both artists remaining prolific and relevant till their very last dance. Sage and Gutmann, however, did not fare so well. Eight years after the death of Tanguy in 1955 (due to a cerebral hemorrhage), Kay Sage, despondent, and in ill health, fatally shot herself through the heart, January, 1963. As for Gerrie Gutmann, her suicide is currently no more than a mere caption to one of her husband's photographs online.

And, once again, referring to the "enlightenment" one is likely to find in cyberspace, we only have to look at the roster of artists included in Wiki's definitive collection: WikiPaintings, Visual Art Encyclopedia. Neither Sage, Carrington, Tanning (nor, for that matter, my previous female "Patron Saints":  Alice Pelton, Louise Nevelson, Vali Meyers, and Sakiko Ide) are included. (Note: Thomas Kincaide, on the other hand, is.)

Below is a video featuring a collection of Kay Sage's work. The video, along with a content description and short biography of Sage can be found here.

For those who might be interested, Kay Sage's posthumously published memoirs - "China Eggs" - covering the period from 1910-1935 can be found for sale in limited form on the net. Apparently this is a paperback edition published in 1996. However, I note that a mysterious hardcover edition does exist, supposedly published in 1955. Very curious.

* My major source of reference for this post, and, for which I am grateful, is Judith D. Souther's biography of Sage, A House of Her Own, Kay Sage, Solitary Surrealist.

** (Footnote added 12/10/12) Regarding Sage's "static substance, engraved with geometric abstractions", it occurs to me now that they might also appear as the detritus in the foreground of the first image "The Instant"... in this case, appearing as the dismantled platform. The word which first came to my mind, however, was "deconstructed", which has an interesting definition which may or may not be relative, but, I'll copy it here anyway: "to analyze (a text or a linguistic or conceptual system) by deconstruction, typically in order to expose its hidden internal assumptions and contradictions and subvert its apparent significance or unity."

*** Leonora Carrington - Patron Saint # 8  Note: The post linked to here has been updated with videos for both Carrington and Patron Saint #7, Remedios Varo.

Here are individual links for examples of the following artist's works: Kay Sage, Leonora Carrington, Dorothea Tanning, and Gerrie Gutmann.

For other listings of Surrealist women, try here, and here.

Quantum Esoterica: Metastructures

"To sum up, then, we have used the computer as an example of how it is possible to have an objective kind of process of soma- significance, and we have expressed this mathematically in terms of symmetric and unsymmetric matrices. Through the fact that in the quantum theory both the state of existence of matter and the law of how it moves and transforms itself are expressed in terms of similar symmetric and unsymmetric matrices, we showed how our notion of the universality of soma- significant and signa- somatic activity may be seen as contained at the very basis of modern physics. But (as shown elsewhere) this use of matrices is also a typical way of mathematically formulating what is meant by the implicate order. It follows that the latter provides a general mode of description that covers the activity of human consciousness, of computers which are a product of this consciousness, and of nature in general which exists beyond this consciousness."

- David Bohm, excerpt from Soma- Significance: A New Notion of the Relationship Between the Physical and the Mental

***

"Yes. Physics is more like quantum organism than quantum mechanics. I think physicists have a tremendous reluctance to admit this. There is a long history of belief in quantum mechanics, and people have faith in it. And they don't like having this faith challenged."

- David Bohm via an interview with F. David Peat, found here

***

"Quantum mysticism is a term that has been used to refer to a set of metaphysical beliefs and associated practices that seek to relate consciousness, intelligence, or mystical world-views to the ideas of quantum mechanics and its interpretations. An example is the idea that consciousness causes collapse (e.g. the act of observation affects reality directly). Many ideas associated with "quantum mysticism" have been criticized as either misinterpretations of quantum mechanics or as pseudoscience.

... (In) the 1980 book Wholeness and the Implicate Order, David Bohm portrays reality as a unity which can be understood in terms of implicate and explicate orders. The latter book was strongly criticised by Steven Weinberg, a leading campaigner against the introduction of paradigms and ideas involving or suggesting the substantiality of mind, quasi-spiritual interpretations and other such concepts drawn from outside the purview of physics, in the so-called "Science wars"."

- excerpt via the Wiki entry for "Quantum Mysticism"

***

"David Bohm was widely considered one of the best quantum physicists of all time."

- via the Wiki entry for David Bohm

***

"Organic geometry... the idea of energy distributing itself... the concept of energy having consciousness, and consciousness being the fabric, the means upon which - and through which - energy distributes itself... acts... and, that action - through the event of idea and creative impulse - takes form... and, within a certain framework, must take form... and depending upon the conditions of its dimension, is forced to take form in specific ways.

In this dimension (sic)... perhaps in all, to some degree, the determining law of structure might be akin to both music and mathematics... the idea of rhythm, frequency, wave, fluctuation, sequence. In this way, "reality" - the physical world - cannot be as rigid as we perceive it visually. It is always in a state of flux, vitality, movement. A fluid fabric of color, pattern, sound. The law of this dimension (sic) may be seen (also) as akin to time... an imaginary structure... a symbolic structure composed of units and cycles..."

-  excerpt from the second "Temp L" notebook - Dia Sobin - 8/4/83 - NYC

I wrote the above in 1983 - almost 30 years ago, which is cause for pause - but then, I've been coming across a lot of ancient memorabilia recently, as I begin to rummage through the detritus of my life in an effort to relocate myself. As for the quote above, from a trilogy of notebooks chronicling the progress of my Metastructures project (previously mentioned here), interestingly, my "belief systems" have changed very little in those intervening years. The only word I might question is "dimension" as, obviously we do not live in a singular one, but a series of them - the actual number being a matter of opinion.

Originally referred to as Temp L, or the Temple Drawings - an enigmatic series of drawings executed in blue pencil - the images which comprise Metastructures evolved (or devolved) into a deck of cards. As it was, during the '70s - my "occult" years - I initially assumed my first sketches of the 4 symbols - which emerged at that time - were my interpretations of  Tarot deck, or playing card suits. Ten years later, however, and picking up where I left off - which I would do intermittently until the late 90's - the card deck became wholly a geometric abstraction... similar to the lesser arcana of the Tarot, but seemingly in an essentially different language - an alien tongue which, to my mind, seemed ultimately more universal. 

Initially, I had no plans for Metastructures beyond a series of abstract paintings - the 8 images below were created with the first small oil paintings I created of my enigmatic "subjects" in 1986 - but, after simultaneously creating a working deck of sketched images, I reverted to my "occult" tendencies, and began to see them as a possible oracle. Below, then are the card mock-ups and their "meanings", which have, as well as the images, evolved over time. (one later version can be found here. Though this idea was eventually scrapped, I was still happiest with mono-tones as the known spectrum of color felt inadequate.)

Esoteric overview of : Unit One - Force/Entity

Unit of Energy - Life-force dynamic - an Intelligence - the Prime-mover - the ordering force/organizing center - subatomic particle -  identity/self-reference - Creatura - the sentient entity - the conscious collective

Pictured (above, left): the Aggregate (process structure) of Unit One, numeral 6.

Practical meaning: Self-expresssion. The process of recovery and discovery. The idea of a family, or close personal ties in a work environment.

Pictured (above, right): the Radiant (dynamic structure) of Unit One, numeral 6.

Practical meaning: The integration of forces. The symbol of the spouse or intimate partner. Possibly the numerological idea of a #6 personality.

Esoteric overview of : Unit Two - Motion/Emotion

Unit of Activity - Fluid - Flow - Fluctuation - Rhythm - Magnetism - Gravity/Acceleration - Reflection -  Relationship - chemistry - Pulse/Impulse - spin

Pictured (above, left): the Aggregate (process structure) of Unit Two, numeral 6.

Practical meaning: Re-stabilization after discord. Emotional recovery, support.

Pictured above, right): the Radiant (dynamic structure) of Unit Two, numeral 6.

Practical meaning: Love affair - an essential bonding. Fusion. Regeneration.

Esoteric overview of : Unit 3 - Dimension

Unit of Consciousness - Psi - psyche - Energy's path - Frequency - Wave - Code - communication - Network - Matrix - Idea (unformed) - "aether" - synchronicity - transference of thought 

Pictured (above, left):the Aggregate (process structure) of Unit 3, numeral 6.

Practical meaning: Solving a problem; communication processes. Psychological dependency. Seeking/finding help. Something known but not consciously excepted.

Pictured above, right): the Radiant (dynamic structure) of Unit 3, numeral 6.

Practical meaning: A successful idea, plan, concept. An affirmation, an agreement, an important communication.

Esoteric overview of : Unit 4 - Form

Unit of Structure - finite matter & the material - crystallization, manifestation, synthesis - the physical body - the corporeal world

Pictured (above, left): the Aggregate (process structure) of Unit Four, numeral 6.

Practical meaning: Stabilization of resources, finances. A family-run business, or working from the home; productivity in said environment. To build. To heal. To repair.

Pictured above, right): the Radiant (dynamic structure) of Unit Four, numeral 6.

Practical meaning: A successful product. Physical health; to conquer a disease. Merging of business enterprises. Sometimes, a sexual relationship. Marriage in a legal sense.

***

Inevitably, I became very perplexed with the deck in the end... not sure what their real significance was, what I really was supposed to do with them, and whether or not my interpretations were on the mark. So, I'm afraid there's no "big reveal" here, just another portion of the record of this artist's journey.

Originally, the title of this post was "The Artist as Quantum Mystic", which was then changed to "The Quantum Occultist: Loving the Alien". In both cases, however, there was too much room for misinterpretation... and the internet, being what it is, generally, the rule of thumb is: the less said the better.

The word "Quantum", of course, immediately lends itself to a number of interpretations because its definition is vague. Is it a unit of matter, or is it a unit of energy? And, if the two are one in the same, well then, really, let the philosophical games begin! So, while there are physicists who cringe at "quantum mysticism," I dare say it's due to a decided lack of imagination and inspiration on their part... which is generally what separates a true genius from a mere practitioner. in his own way, Einstein was a "quantum mystic", as well as Wolfgang Pauli and Jung. And, while there are some who'd go ballistic at even marginally including names like  Crowley and Robert Anton Wilson - "quantum occultists" - in the same paragraph... well, there, it's done. ;-)

***

One further note: regarding the four images at the top of this post, which represent the four "Field" cards of the symbols - their monads (in shades of grey) can be found here - if one looks closely, the relationship between the four becomes apparent; in fact the "fields" are almost one in the same, so that, both on a metaphorical and demonstrative level, the fields are, indeed, "unified". Below is a group of "tiles" that might be used to create the field cards. Keeping in mind that the Unit 1 field represents the coordinate points of the remaining 3 units, one only needs to rotate the Unit 2 tile and flip Unit 4, and voila - the designs are almost identical. Incidentally, it was working with this hexagonal lattice or grid pattern - which, in turn, is fundamentally based on the vesica piscis and the "flower of life", that I discovered the cyclohedra. More interesting still, the way in which the cyclodhedra "emerge" from that field is reminiscent of David Bohm's implicate and explicate orders.

Note (7/23/13): For a further exploration of this topic, see the latest Trans-D post, A Cosmic Nest.