Archive for the month “October, 2013”

Pink And Red (Third Form)

The Explanation

I was reading snippets from John Horgan’s The End of Science for a class I’m taking on Organizational Communication, because I’d decided to write a paper about the “New Science” approach to communication.  I learned, from this book, that the basic idea of the “New Science” approach is that order can emerge from chaos, and the more chaos within a system the more unique the output.

While I was reading The End of Science for that class, I had just finished reading The Awakening by Kate Chopin for my Literary Criticism class and had been obsessing over a line from Chopin that says “and the musky odor of pinks filled the air.”

Combine these two things and suddenly I’m provided with an idea to combine colors and chaos in a single sentence, and so the forms of Pink And Red emerged as an experiment in writing. The basic idea is a repetitive structure where instead of constructing ordered sentences in the standard “noun-verb” format, construct them “Noun-noun-noun-verb-verb-verb” with the variant articles and conjunctions etc. needed provide a continuity.

The result was surprisingly fluid and, according to Microsoft word’s grammar hammer, a correct sentence.  

The final stage was deciding how to organize the ‘poem’; should it be a single paragraph, or divided into poetic lines? I decided to provide both, and may add further renditions later.

I hope you find them interesting,

best regards,


Red And Pink (Second Form)

Pink and red but rosy or magenta then cerise changing is shifting there is metamorphosis there are alterations in the hues on the colors of the concentration and merging converging combining complete and total and whole bodies sequences systems of information of data ranging and encompassing or embracing all the forms every possibility each permutation indiscriminate unbiased unconcerned of keeping in maintaining with holding order structure reason while the air fills with sharp red scents magenta’s aromatic cerise-ial smells and the musky odor of pinks leading guiding directing shades tints tones towards the lustrous opalescent blue of the dark cerulean sea.

Pink And Red (First Form)

Pink and red but rosy or magenta

then cerise changing

 is shifting

there is metamorphosis

 there are alterations

in the hues on the colors of the concentration

and merging



complete and total and whole bodies


systems of information of data

ranging and encompassing or embracing

all the forms

 every possibility

each permutation

indiscriminate unbiased unconcerned

of keeping in maintaining with holding

order structure reason

while the air fills with sharp red scents

magenta’s aromatic cerise-ial smells

 and the musky odor of pinks

leading guiding directing

shades tints tones

 towards the lustrous opalescent blue

of the dark cerulean sea

The Fifth Estate: Concurrent Research

Dear You,

I said in my review that I found The Fifth Estate a worth while film, and that I was perplexed as to why the theater was so empty. Curious, I decided to investigate further and see what the internet had to say about the matter.

My first find was from Entertainment Weekly where Grady Smith wrote, “The Fifth Estate bombed in its opening weekend with a truly awful $1.7 million from 1,769 theaters, making it the worst debut for a film opening in at least 1,500 theaters this year.” An interesting figure, but not one that explains why no one came to the movie.

The second thing I found was a written exchange between Cumberbatch and Assange that took place before shooting began, where Cumberbatch wrote to Assange to request an interview for the sake of accurate characterization. Assange declined politely in a response letter, explaining that

“The bond that develops between an actor and a living subject is significant. If the film reaches distribution we will forever be correlated in the public imagination. Our paths will be forever entwined. Each of us will be granted standing to comment on the other for many years to come and others will compare our characters and trajectories.”

For this reason Assange declined the interview to emphasize the point that he did not support the film, and said that:

“There are dozens of positive books about WikiLeaks, but Dreamworks decided to base its script only on the most toxic … . I know the film intends to depict me and my work in a negative light. I believe it will distort events and subtract from public understanding.”

Perhaps that is the script’s intent, and Assange references a copy of the script (leaked to Assange and cross-referenced with the screening in Toronto released September 5, 2013) to confirm his points that the film is designed to mislead and defame Wikileaks.

This is still interesting information, which adds another layer of interest to the film, but it does not answer why the turnout was so bad.

As a story of a rebellious, even Jean Val Jean (Les Miserables) like, figure who fights an oppressive state for a simple freedom, it commented less on the corruption and toxicity of a grassroots new source, and more on the reality that power seeks to oppress. It shows a psychology of political preservation at work where one (powerful) body starts to feel threatened by a ‘weaker’ vessel then attempts to crush it through any means possible.

The Fifth Estate, provides a narrative that shows governments and figures of power attempting to demonize an entity because that entity could question the status quo with simple clicks of a button. It shows that those powers were embarrassed to be shown as human beings with secrets, agendas, and things that they want to keep from the public.

It’s a film that shows human beings with all the plodding tedium of day to day life, and it’s a show that should be watched for an exploration of character instead of driving plots.

Maybe the general audience wants to see plot, instead of character which could explain the poor reception. Another possibility is that the general audience has bothered following Wikileaks before the film, and so maybe they read Assange’s letter, and know about the books the film is based on, and don’t what to support an anti-Assange work; which would also explain the poor reception.

Then again, the film is only now entering its second week of showing and may yet find redemption as a gateway leading to the other voices telling the real story about the life and work of Julian Assange, and the growing power of the weak to fight the powerful.

Just something to think about,

Your Friend,


The Fifth Estate

The theatre was surprisingly empty for a 10:00 showing on a Friday night, especially for a film featuring a well-known actor like Benedict Cumberbatch (Star Trek, Sherlock). The film itself was interesting and informative, based partly on Daniel Domscheit-Berg’s book Inside WikiLeaks: My Time with Julian Assange and the World’s Most Dangerous Website.

The film felt like a presentation of history, as though saying, “Here are these events, and a stance on what occurred from the view of one involved. Make of it what you will.” The story covered the creation of Wikileaks by Julian Assange, and the daring involved in fighting a powerful Media empire with an army, not of numbers, but of truth.

It brings forward questions: should governments, media, and those in power provide indiscriminate transparency? Or should some things remain secret; especially when lives and political relations are endangered? Certainly, we can agree that some degree of secrecy is necessary to preserve life and global relations, yes? But would full transparency, regardless of risks, remove uncertainty and allow more rapid resolution of problems? Isn’t a path of Truth better than a road of lies?

These questions lead toward investigation, and, if only for a chance to see a brief history of a current movement towards political truth prompted by a remarkable man, The Fifth Estate is well worth the watch.

Artist Statement

Artist Statement

Please see my “Portrait of the Artist” page for my (at last completed) artist statement. I hope it brings a little more clarity to my work both current and future.

The Life of Fools

Dear You,
March has ended and today April begins with cries of “April Fools!” and assorted games of tomfoolery. It’s been a busy week for me. It started Monday during choir, when Doc entered and told the ensemble in quiet, grave tones, that our chaplain, Ms. Foster, “lost her battle.” and had died of cancer. There’s a shock that goes through the air when such news is relayed, and I, if you have never felt it, can’t fully describe it. So it was that our choir was commissioned to sing for her Memorial Service that coming Friday (March 30).
After choir I went about my day, remembering my own past experiences with death, and reflecting how life continues with neither pause nor recollection of people or days past. Though friends part ways, though grievers grieve for loved ones dead, life and laughter still go on. I thought, how glorious and how cruel it is that Life does not care what occurred on March 26, 2012 or October 21, 2008, or March 8, 2008.
The week went on in spite of grief; I went to classes, and music recitals, and campus life went on as usual. The world kept turning.
Friday came, and we, the Choir and Chamber Singers, met at Losekamp “steeling our selves,” in order to sing for the memorial of our RMC Chaplain, Born November 14 1972 – Died March 26, 2012.
Before the service, in preparation to sing “Hark I Hear The Harps Eternal” (Alice Parker) someone asked me what sort of emotion goes into memorials. I wasn’t sure what to say, this person had never been to memorials or funerals. But how could I explain the sentiment that dying is not the end of living but the beginning of a new life? For those who believe, as the chaplain had, in salvation through grace, and the promise heaven?
Describing that emotion is trying to describe the feeling of watching the sunset, or standing on top of a skyscraper; you have to have known it, experienced it yourself, in order to fully understand and appreciate what this ‘Faith in God’ is, and to understand why the chaplain believed and worked in that love.
We sang our song, as well as Ave Maria and then life continued. I saw the mourners; the family and friends, and I saw them contrasted with the uncertain looks of those who had no reason to grieve. Friday classes went on as they have all year, and scheduled events came and went.
Now today, Sunday, April 1, I sit and write down these thoughts at 8:45AM and I am reminded of a song from the Rankin/Bass version of The Return of The King which goes:
“Roads go ever, ever on to the land beyond the sea,
On a white ship will I sail, watching shadows part for me.
Leaving havens gray with rain, now that years have slipped away,
Leaving friends with gentle pain as they start another day.
The roads I travel I must leave for I’ve turned the final bend,
Weep not empty tears, but grieve as the road comes to an end.
It’s so easy not to try, let the world go drifting by
If you never say ‘Hello’ you won’t have to say ‘Goodbye’ “
I hope you don’t mind these letters like this, it’s just that writing is a way to reach you more certainly and more clearly. I can’t help but think, with the sting of death and pain of grief, how foolish it is to love and befriend the world.
But isn’t that the risk we take? Isn’t it better to be a fool and live loving others, than wise and live alone?
Just some things to think about,
Your Friend,


No verse is fre…

No verse is free that human hand has writ, for ’tis constrained by knowledge and by wit.

~ Judah LoVato

The Persistence of Memory

The Persistence of Memory

Drawn a few years ago on sketch paper with #2 pencil and a red colored pencil (crayola).

Solitude I

Solitude I

A picture taken Fall 2011 in Plymouth, England

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