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Similarity in graphical mechanism?

Wednesday, June 7th, 2017

[ by Charles Cameron — a matter of visual rhetoric, NYT’s Trump and Magritte ]
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I’m intuiting that these two graphical representations somehow use the same visual logic to achieve their ends:

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If I was more alert in some semi-defined sense, I’d be able to diagram them in a manner similar to that which Douglas Hofstadter uses to diagram the conceptual working of MC Escher‘s hands drawing hands —

— another brilliant ouroboros, for those who are keeping count!

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How does “let not thy left hand know what thy right hand doeth:” fit into this (Escher) picture?

Keeping it pop in natsec and politics

Friday, April 21st, 2017

[ by Charles Cameron –0 a DoubleTweet from Foreign Affairs deputy managing editor Justin Vogt ]
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Halal Dunkin’ Donuts in Karachi..

and Ted Nugent gets a private tour of the White House from President Trump — with Kid Rock and Sarah Palin:

“He gave us a wonderful personal tour of every room and talked about the origins of every carpet and every painting — there was a Monet — and then we had dinner,” said Mr. Nugent, who has referred to former President Barack Obama as a “mongrel” and to Hillary Clinton with an array of unflattering epithets.

Annunciation, framed

Monday, April 10th, 2017

[ by Charles Cameron — the war of content and context, Coptic / ISIS version ]
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You are in a museum of the fine arts. You may recognize the painting is of the Annunciation.

You are in a church. The angel Gabriel announces to Mary that she will bear a son, and call his name Jesus:

He shall be great, and shall be called the Son of the Highest: and the Lord God shall give unto him the throne of his father David: And he shall reign over the house of Jacob for ever; and of his kingdom there shall be no end.

You are in a war zone: see, as much as you can see.

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The photographer is in the war zone, catches a glimpse of the art, and takes the photo.

The returning devotee, I’d suggest, grieves the impact of war, pierces through and beyond it with his or her devotional gaze.

There’s nothing I can see, so I can’t perceive it..

Monday, April 10th, 2017

[ Charles Cameron — on what may yet remain invisible ]
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It is, surely, a matter of both culure and disposition:

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The Dale McKinnon quote is from In the Light of reverence, a documentary presenting native spirituality in conflict with western land uses in Lakota, Hopi and Wintu sacred areas (the Devil’s Tower, Colorado Plateau, and Mt Shasta, respectively):

Highly recommended.

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Saint-Exupery‘s quote, from The Little Prince, offers a possible explanation and response.

Paul Klee on the role of the artist:

Art does not reproduce the visible; it makes visible

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Cherry blossom season 01

Sunday, April 9th, 2017

[ by Charles Cameron — scitech & artpo, two ways of seeing ]
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It is cherry blossom season in Japan:

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The upper panel image above is from an Economist blog, the lower from a Hiroshige print.

From the Economist piece, timeless:

HANAMI, the Japanese custom of contemplating the impermanence of life by gazing at the fleeting beauty of blossoming flowers, goes back a long way. “The Tale of Genji”, a tenth-century masterpiece that is perhaps the world’s first novel, devotes a chapter to the cherry-blossom festival staged in the emperor’s great hall. Diarists have keenly chronicled the comings and goings of cherry blossoms for centuries—records from Kyoto, the old capital, date back 1,200 years. This precious, ancient data set reveals a disturbing trend: in recent decades, the blossoms have emerged much sooner than they once did.

and (continuing) in our own time:

This precious, ancient data set reveals a disturbing trend: in recent decades, the blossoms have emerged much sooner than they once did.

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Header:

Japan’s cherry blossoms are emerging increasingly early


Subhead:

Experts think climate change is to blame

Early: unh-uh. Fleeting: yes.


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