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MikeL
Social climber
Southern Arizona
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Ummm, ok. Here are some pictures.
It’s not like I’m a prolific artist or anything. I’ve got a number of projects in mid-stride. I rendered some tables and bookshelves recently out of steel, I’m stuck on what to do with a mask of my face, I’ve made a polished steel post for a new mailbox, I made a zen rock garden with a steel and copper bonsai in it, and I’m about to plant 5 painted dead century plant stalks in concrete on my land as an installation. I’ve also been experimenting sculpting some cacti with a saws-all.
I’d like to remind folks that it’s not producing the artifacts that I’m most interested in. It’s nice and all, but I’m most interested in the process of how an image appears in mind, how I spend a lot of time planning how to enact it physically, and how the artifact arises in final form. It’s the process that has me, I guess. I think I know what I’m doing (I plan a lot), but invariably, it never comes out according to plan. What seems to arise is some kind of symbolic dialogue with the artifact as it emerges. It’s interesting.
From my side, I’ve been fighting "technique." Most not-famous artists that I’ve met and talked to are particularly oriented to technique and materials: they say, “here’s how I did what I did.” They talk about materials, and the tricks that they’ve learned in manipulating the materials. But I say: “what about the vision? Where does that come from, and what is your vision?” I’ve been oriented to looking at what vision(s) that I seem to have. However, I’ve found that very difficult. Apparently, what one sees is highly reliant upon the materials and techniques that one has access to.
I see some parallels in the What is Mind thread. We have tools and techniques, and from them arise what we can see.
(Hey, Ed. I you might have missed that my post you commented on is a parody of HFCS’s post above.)
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jogill
climber
Colorado
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Nice, Mike. Thanks for posting.
Rock Star (P. Scholze - Juvenile (30)-math):
Rock Star (M. Atiyah - Senior (89)-math):
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Marlow
Sport climber
OSLO
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MikeL
Artistic.
You are as much talking about the emerging vision, the prosess of visioning, as you are talking about the vision(s)...
Figuratively/spatially, not conceptually...
Viewing and views...
The final product could get the name: "What remains..."
... which would be an understatement...
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paul roehl
Boulder climber
california
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Science busy at work finding a certain, repeatable criteria for
defining quality in works of art.
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jogill
climber
Colorado
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^^^ Artists trying to find an appreciative spectator for their works.
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MH2
Boulder climber
Andy Cairns
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Now you are showing, Mike. Saying things that talking and writing can't. Thank you!
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zBrown
Ice climber
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A little reminder to myself.
SIDDHI (Sanskrit: "accomplishment," "attainment," "perfection"). The term Siddhi is most often applied to a variety of spritual-related psychic capabilities or powers manifested by adherents in the Hindu and Buddhist realms. Through recognizing emptiness, clarity and openness of the mind, different qualities arise naturally, since they are part of mind. The Buddha, whose personal name Siddharta is based in the root-word and means "he whose aim is accomplished," distinguishes between two types:
Normal Siddhis: all those forces of the conditioned world that transform elements.
Extraordinary Siddhis: the ability to open beings up for the liberating and enlightening truths; to lead to Realization.
Siddhi is typically defined as "a magical or spiritual power for the control of self, others and the forces of nature." The Siddhis described by occultists and yogis are in actuality Supernormal Perceptual States available to all human beings. These are absolutely natural abilities that can be explained in highly rational terms. There is nothing mysterious or magical about the Siddhis.
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MikeL
Social climber
Southern Arizona
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Thanks for the kind words. Yes, we live next to a golf course, just off the 14th hole. We don’t play golf or bridge, which makes us odd ducks here in this community. At first we thought we’d not like living next to the course, but it’s been very pleasant. It’s a beautiful backyard that we don’t have to take care of (although the water spent on it seems extravagant and wasteful). We occasionally wave and talk to the duffers as they play through, but I can get a bit miffed when they retrieve balls deep into our property. (Compassion!)
BTW, any and all of you are welcome if you get near. We have room. It’s nice here much of the time, but we miss California for many reasons.
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Ward Trotter
Trad climber
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A fulsome lodging, MikeL, and a fitting locale for the manner of art you pursue.
Keep up the good work.
My music studio, by comparison, is a rank hallow strewn with empty bottles of high altitude wine from Argentina.
I'll not suffocate you with further details.
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High Fructose Corn Spirit
Gym climber
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What is "amygdala"?
What if Honnold had grown up with a different one, would this have changed his climbing life?
https://youtu.be/fufX32PJtYY?t=4m51s
(Youtube without ABP is ridiculous.)
...
"Today we are still apes of the hominid family. We still share with Neanderthals and chimpanzees most of our bodily structures, physical abilities and mental faculties. Not only are our hands, eyes and brains distinctly hominid, but so are our lust, our love, anger and social bonds. Within a century or two... we might witness the complete decoupling of intelligence from consciousness, and the development of AI might result in a world dominated by super-intelligent but completely non-conscious entities." - Yuval Harari, 21 Lessons
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WBraun
climber
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Today we are still apes of the hominid family.
No such thing ever exist except in the brainwashed mental speculating so-called material scientist who's clueless to the living entity and life itself.
super-intelligent but completely non-conscious entities." - Yuval Harari
Harari also is clueless to intelligence itself as he's always guessing by using the word "might" everywhere.
And you call yourself a scientist?
You should be ashamed ......
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yanqui
climber
Balcarce, Argentina
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
“Being wrong isn’t a bad thing like they teach you in school. It is an opportunity to learn something.” – Richard Feynman
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WBraun
climber
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“Being wrong isn’t a bad thing like they teach you in school."
Yes, perfect.
In modern education, they teach you to be wrong, masqueraded as right.
Modern education is the slaughterhouse of the soul ...... just keep on making robots .....
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Jan
Mountain climber
Colorado & Nepal
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Modern education is the slaughterhouse of the soul ...... just keep on making robots .....
One of your best lines yet.
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MH2
Boulder climber
Andy Cairns
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John Gill,
Could you please remind me how your images are made?
I recently looked up 'phase transition' and came across 'non-analytic function.'
I think your images have things to say about the "What Is Mind?" debate. There is a lot of processing going on unseen (or un-felt) but the result is a gestalt.
an organized whole that is perceived as more than the sum of its parts
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jogill
climber
Colorado
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Andy, here's the process:
(1) The mathematical theory that lies at the heart of the imagery involves infinite compositions of complex functions - mostly non-holomorphic, since those tend to be boring. f1(z), f1(f2(z)), f1(f2(f3(z))), etc. Or gn(z), gn(gn-1(z)), gn(gn-1(gn-2(z))), etc. I have developed the elementary theory of these processes (no one else is interested!). These are more general iterations than those used in fractals, where usually only one function is iterated.
(https://en.wikipedia.org/wiki/Infinite_compositions_of_analytic_functions , although the title says "analytic", it's more about general complex functions)
(2) I've written BASIC graphic programs that evaluate these compositions at points inside prescribed rectangles in the complex plane. At each point I approximate infinite expansions by going out about 50 steps, then evaluating the modulus or absolute value of the expression and color coding the pixel at that point, starting with black for zero, then shades of red, then shades of green, etc. as the values of the moduli increase toward infinity.
I don't use any commercial programs in higher languages, like Mathematica.
(3) I preserve the image as Bitmap, then take it to photoshop to refine it, saving a jpeg image for posting.
(Nothing like a math or physics post to derail the thread!)
;>)
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MH2
Boulder climber
Andy Cairns
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Thanks, John.
Anywhere there is structure in math there will be interest, and if there isn't any structure at all, even more interesting.
Your images often show bilateral symmetry. Is that an artifact of your method, or does it come from working around an axis in the complex plane?
Why do the patterns flow smoothly across the region? Have you learned where to look, and are there results that are not so well-patterned that you don't show us?
edit:
I am looking at your Wikipedia entry and it may help, eventually.
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jogill
climber
Colorado
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I use cos(x) and sin(x) or of y a lot, giving the 3-D appearance and symmetries. Typically, I might start with z = xCos(y)+iySin(x), and feed it into a LFT structure, like Pn(z)/(1-Pn(z)-z). And, yes, lots of times the image is a scattering of colored points with little defining character.
Linear Fractional Transformation forms like (An(z)+Bn)/Cn(z)+Dn) are particularly fruitful. And frequently I have to search the complex plane and find some isolated jewel.
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MikeL
Social climber
Southern Arizona
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jogill: I have developed the elementary theory of these processes (no one else is interested!).
Are you sure? Perhaps among mathematicians, you'd be right theoretically. . . but among people interested in aesthetics? Maybe you’re not interested in showing art except within this community. It’s one thing to show an image digitally like this, but have you given thought to how you could show the images in some sort of physical medium, like on a metal plate, or on a canvas?
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