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INDEX ABOUT DIRECTORY 'The Sacred Male' : Titling, The Science: 'Pegmatite' Details from "Fortissimo" The Politic: Acculturation 'Habbakuk: The Acculturation of Natural Forces for Earth Peace' 'Tiny White Bells' ( The Sacred Female ) : Symbols, and what they mean to us*. Telemetry and the Aura Cube of Space Toy Just print, clip, and construct. Demons "Portrait of Evil" Understanding aesthetics of the Pia Mater. My Publication: Meeting Ananda Bodhi |
Way back in my early twenties, I often sketched out my
feelings. I actually had no clue where they came from, and what they
were.
If eerieness overcame me, the images were often odd and spooky, just
like the image to the left.
From some of my works, I have derived many insights, and they occurred
to me right away. Others, like the ghoulish-looking woman to the left,
did not inspire my awareness. They were just romantic attempts at
clarifying my spirits' needs, and my minds' emotional states.
Last year, I was using some of my early
art work to illustrate some good days way back when. You can see some
of the work on the cover of my
publication, "Meeting Ananda Bodhi- Heavenly Enlightenment".
I also pulled the sketch book page of this eerie looking
woman, and began to play with design effects in a graphic program. At
this point, I had become familiar with the aura or shaping of
aesthetics areas of the brain. These refinements to sensing are to be
found in the pia mater, the folds of the blood-brain barrier
surrounding the white matter of the brain.
The works that had truly given me recognition of, or an idea of sensing
the shaping and functions of these many areas of aesthetic
appreciation, was a book about the artist Judy Chicago.
Art to the top left, "Portrait of Evil" Art to the right, computer generated graphic of the same work, entitled "Mara". artist, S.Risk
Once I got over the raw sense of obscenity I felt over the series of
sculptured plates that Judy Chicago had arranged in an enormous
banquet-style display, I began to sort through the reasons for works of
this nature. As the sensing showed me that these items were carefully
reproduced images from the aura of fossil history, I was very impressed.
Our bodies might not look well, when displayed upon a dinner table as
if food, as Chicago displayed her design concepts; some of our parts
seem to look too much like organs we would rather not think about for
longer than a minute.
Judy Chicago had, I believed, perceived something of the aura of
aesthetic sensing, not of internal organs, and had replicated events as
sensed by people whose minds had visual clarity and a sense of
magnificence. Here, then, were actual portraits in thought, which could
be read like templates, through my own pia maters' bundles of
aesthetics. Each of these functions had an aura that was living and
changing; however, the "plates", china -painted to illustrate
particular events, helped my mind to focus into memory.
I noticed that, in my sketching, I had made "Sophia"-like daisy shapes.
"The nature of the traditional Goddess changed, considerably, in Greece and Rome;no longer was she a strong figure, but rather a somewhat impotent, evil, or limited character"
None of Judith Chicagos' shaping had much to do with womans' vulva;
rather, the works seemed to have been preserved images of the aura,
from, for example, fallen tree branches, or fossil flower relics1.
In Material Arts, an artist whose craft is used for fine art purposes
will attempt to record actual events using pigments, pulp- in fact,
amny types of naturally photonic record.
1e.g. Plate Seven after Page 160, The Dinner Party: "Mary Woolstonecraft", seems to have
glazes or clay made from branches and a pressed windflower from a
random array.
By
comparison to the considerably sacred and brilliant collection of
material, and archiving of concepts related to each Chicago work, my own sketch
had simply slipped out from my unconscious self. It emerged as a memory
of sensibilities that I had never actually seen:
At this point, I believed that I was noting a set
of working aesthetics, but was this me? What was the enormous black
bow?
I had often seen black in the aura, and it meant that someone was
experiencing terrible pain. Bow shapes, though, reminded me of limited
views of cerebellar formations- bundles of brain columns relating to
the love nature.
From my sense of logic or recognition, I felt that I had recorded someone other than myself, suffering from cerebellar or parietal stroke. As a young person, I had had no recourse other than to equate all shaping coming from my creation with emotions or experience of my own. Maturity brought these images into perspective.
Perhaps rendering the figure into a ceramic texture (Image 2,
"Mara") had made my mind roll over and think more carefully.
I expanded my sense of action from what I could see of the
monster inhibition of pain stabbing through from the left to the right
hemisphere, and I added to this a more clear concept of the set of
colours and shapes I had sketched as if the aura of an evil woman.
Adding to the aura of the work with further colours, (above left, entitled "Investment Path")and also with some more shaping, gave me a clear view of a woman with an investment pathology. This offered to me some insight as to some of the health problems that I had suffered from, and also who had caused them, so long ago.
Asking a patient to draw out some of their feelings or ideas as if they are sensing themselves, can offer an aesthetic, be it an addled set of impressions from mental illness, that can be further interpreted by bending, editing and colouring the original image, via computer graphic effects used on a scan or photo of the original.
LINKS BELOW BRING PAGES UP IN SEPARATE WINDOW.