An Infinite Language

Is art always human centered? The notion of the anthropomorphic, the idea that art is always human centered, to what extent is that idea valid? Is the landscape the ultimate example of art that humans can create that isn't human centered? Is there something in the fingerprint of human creation that always leave a telling trace? Or is it possible for humans to create art with no trace of the human? And what does such an exploration prompt in the course of explanation?

We have this phenomena of artistic creation of the life beyond what’s shown to us This is a symbolic representation of said phenomena How does this work in fiction, in non-fiction, in visual conveyances? The light is also placed there for us, as we are our first audience but modally different. We are the audience to a creative process, with the need to sense that more needs to be said. So we reach to say, to tell about the life beyond the light in the window.

Two topics at once in this episode: the crossroads and the newcomer. A consideration of the meanings of the crossroads as a hybrid place unto itself. The newcomer is a role that individuals take on, a contextual role. Like the crossroads, the newcomer is intensely aware of then and what's ahead. A consideration of the painting by Emily Shanks, "The Newcomer at School," and an interpretation of what each of the people in the picture represents.

Does art celebrate the temporary by trying to preserve it? Or is it an exultation of permanence? Is there such a thing? Is memory the only mold humans have to preserve? Perhaps recycling is the ultimate perpetuity, the collective embrace of reconstitution. When does a moment begin and end?

What is pervasive? What is elemental? What is contained within demarcations and what runs the gamut of existence? From the first two words of Hamlet to the self portrait and the fruits of or as destruction, to the assertion of the artist as inextricably bound visionary with the talent. Diego Velazquez and the portrait of the self via the portrait of the powerful other. Francis Bacon, the scream, the mouth, the difference between expression and communication. The artist as declarer of what art is,

From Ilya Repin’s paintings in the 1800’s to what our descendants might make of our lives in hundreds of years: the black box and the unknown. Expectations, moments, questions, sketches, input, output, what happens in the process? The procession can’t be witnessed. Kahlil Gibran “On Children,” and how the present cannot decide the future. Who were the secondary English teachers of the 1700’s? Perhaps the intellectualizing was in the everyday ways of being in various professions. The black box of the

Costumes, cosplay, derivative imaginative experiences. When does a costume become real? Is a persona a mask? Can it become real? The pathway on the stage becomes real when the audience walks through it. How fiction can vibrate to the frequency of real. The audience decides that this is an enactment experience. We put on the costume and align with another form of being self. Synesthesia and the experience of becoming; self to character. Not necessarily synthesis. Derivative imaginative play. Solidly

The public good, the fallout shelter, we’re having an assembly today. The wonderful ruckus of it all. Thrown together, pieced together, stitches and seams all showing. From Victory Gardens to Patrick Henry, to Giuseppe Pitrè and Guiseppe Arcimboldo; from Great Wave immigrants to rainy day assemblies. Furnari Sicily, tailors, weaving, and the tapstries of meaning in story construction: storytelling as contextual. A story means what we convey it to mean.