GREEN SPACE #1: Transmission of an Unknown Mutagenic Parasite
(A GREEN WOO PALACE OF EARLY LATE)
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| Green Space #1: Transmission of an Unknown Mutagenic Parasite benjamin harubin 2014 16" x 14" x 6" wood, found objects, acrylic and enamel paint |
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| Green Space #1 rear view |
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| Green Space #1 oblique |
Palaces of Woo
Places of Mystery embedded in the Ordinary Environment
Secret Spaces that Children Find
what is woo?
...but the currently misunderstood?
the rigid structures, the rational products of the mind are subject to decay, mutation, hybridization, accretion and incorporation into networks.
so buildings become transformed: usage changes; they are salvaged, abandoned, graffitied and overgrown with the unintentional.
the technological/rational mind's products are subject to the invasion of woo.
technology has unintended consequences, and science succumbs to memes and myths that far outlive their usefulness.
political structures become cumbersome and sometimes shift convulsively.
shadows on the wall and voices in the air conditioner in a darkened bedroom speak to an "unbalanced" mind of alternate life paths in the late late.
shadows on the wall:
the theoretical shadows on the walls of evidence,
cast by the fire that cannot be seen,
the fire behind the eye,
the woo in the woodwork,
the snake that never can quite consume itself,
that yet beckons us to keep putting one foot in front of the other.
GREEN SPACE #2: Exoplanetary
DESKTOP ARCHITECTURE shadows on the wall: the theoretical shadows on the walls of evidence, cast by the fire that cannot be seen, the fire behind the eye, the woo in the woodwork, the snake that never can quite consume itself, that yet beckons us to keep putting one foot in front of the other.  |
| Green Space #2: Exoplanetary benjamin harubin 2014 15" x 8.5" x 3" wood, found objects, acrylic and enamel paint |
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| Green Space #2 (rear) |
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| Green Space #2 (oblique) |
EXOPLANETARY:
the truth is out there.
what do the experts say?
why are the extraterrestrials sinful? Is sin built into the very fabric of the space and time of the universe? Or can life exist in parts of the universe without being in a state of sin and therefore without the need of redemption and thus without the need for Christianity?
the dreaming mind (which includes the scientific, the emotional, the creative and the speaking mind) is seeking the answer to existence out there in the patterns of the universe.
-out there in space; down there in the cells.
if the origin of life were indeed exoplanetary, viral comet dust and space-faring tardigrade seeds traveling the galactic voids (panspermia), how could we determine the origin?
if i was a galactic super intelligence, i'd use a highly compressed, environmentally responsive, unfolding set of algorithms, to contact my client species.
sort of like this panspermia idea.
so, dr. drake, dr. fermi, where are they?
maybe we're inside of it, and it's inside of us.
(where we're going we don't need roads...
...or enormous radio dishes).
we're transmitting on Exoplanetary Radio!
if those exoplanetary beings were speaking to us already through our current frame,
how would we even recognize them?
perhaps we should look in the stains on the wall and the faces in the clouds and the thoughts in our heads,
or maybe get a job, and look through a telescope.
MANY MORE GREEN SPACES CONTINUED BELOW:
GREEN SPACE #3: Artificial Titillation Garbage Garden
the Green Space is a Construction composed of the Discarded wherein Novel Organisms may develop. it is a meditation device that serves as a Portal to a Dimension near to ours, yet shockingly strange.
the waste habit becomes an unintended new habitat.
the Capitalist system requires continuous growth, and hence continuous waste as products are programmed to become obsolete or redundant and we are programmed to uncritically desire theatrical constructs.
what strange organisms are being non-teleologically created out of the action of this system?
what new modes will be required as the balance swings in a new direction?
the idiocracy of disposability is harmful unless balanced by efficient materials re- use.
efficient materials re- use can then become a profitable part of the continuous cycle and disused things will dissolve into a grey goo and morph into new devices.
already our leaders are beginning to look somewhat colorless.
GREEN SPACE #4: Polaris Tower
a Green Space is
a GENERALIZED NAKED PROSCENIUM
upon which flirt ambiguous forms
(a magic contemplation clairvoyance bubble mirror)
to the giant space brain, whose thoughts occur in a scale of billions of years,
the seeming limitation of lightspeed is of little concern
for they utilize a highly compressed and irrepressible medium.
they spread, the spores,
throughout a galactic zone;
hardened space bubbles
in petri regions whose irregular edges
interleave and intervaginate with each other.
virus shells traveling in streams of plasma,
and bacterial spores encased in the rocky soil of a hollow comet interior,
shower the upper atmosphere with compact instructions,
updates and fixes for us meaty von Neumann probes.
these bug bug fixes may manifest as new diseases,
appear in our dreams or surface as inexplicable new memes.
at this time of year,
in our cozy suburbubbles,
surrounded by processed images of striving and fear,
when northern hemispherians experience the maximum retreat of the sun's apparent path,
our eyes turn towards the pole, and above, to Polaris, and a picture of a giant red garbed god distributing fresh DNA updates from a big bag of plasma.
for us humans to even recognize a higher form of intelligence,
be it an alien, a god or an angel,
we first must recognize the most alien thing of all- our own brains
(upon whose ocean the epiphenomenon of consciousness swirls as foam).
in the future, perhaps, angels will be modeled and accessed via neuro-cognitive and information science methods.
even more shockingly difficult to grasp, evidently, would be the sum total of strangeness that is another person- of whatever persuasion.
so be nice to one another, y'all.
Green Space #5: Bamboo ComputerThe Green Space is a Space Transformed
the Isolated Structures of Control are overgrown by the Vines of Imagination
the distinction between what is imaginary and what is real is largely... imaginary.
the physical reality we are surrounded by and composed of is beyond our ability to imagine fully in its complexity and its nature.
every successful model created of a physical system falls short of completely describing it.
if it did describe it fully, it would be that system.
could reality continually recede from our attempts to fully model it, as we create new models that reveal new vistas of complexity and interconnection of systems?
furthermore, the exploration of physical reality requires imagination (to go beyond present understanding).
AND,
the process of imagination is, presumably, as fully physical as any other physical system that we can be aware of.
that is, it occurs in the brains of organic creatures, in an information processing organ that executes a series of physical operations which require energy.
information is physical.
all occurrences, be they labelled supernatural or non-physical, are a form of information.
so what does that say about the distinction between imagination and reality being imaginary?
"ILLOGICAL. PLEASE EXPLAIN. YOU ARE HUMAN. ONLY HUMANS CAN EXPLAIN THEIR BEHAVIOR."
GREEN SPACE #6: Spontaneous Regeneration Beacon
The
Certainty of Form,
Elusiveness of Narrative,
Destructiveness of Beauty,
and the
Creation of Universes.
when the sordid details of meat world reveals the emergent phenomenon of Significance,
the mathematical certainties of every calculation add up to something truly out of control and incomprehensible. (it can be mathematically proven that bumblebees can't fly and black holes do exist).
when Lop Lop emerges from the woodwork,
and the eye of the cosmos stares back at you,
the only incontrovertible fact
is the somewhat gaseous assertion that
"je pense, donc je suis",
-out there in space; down there in the cells.
if the origin of life were indeed exoplanetary, viral comet dust and space-faring tardigrade seeds traveling the galactic voids (panspermia), how could we determine the origin?
if i was a galactic super intelligence, i'd use a highly compressed, environmentally responsive, unfolding set of algorithms, to contact my client species.
sort of like this panspermia idea.
so, dr. drake, dr. fermi, where are they?
maybe we're inside of it, and it's inside of us.
(where we're going we don't need roads...
...or enormous radio dishes).
we're transmitting on Exoplanetary Radio!
if those exoplanetary beings were speaking to us already through our current frame,
how would we even recognize them?
perhaps we should look in the stains on the wall and the faces in the clouds and the thoughts in our heads,
or maybe get a job, and look through a telescope.
MANY MORE GREEN SPACES CONTINUED BELOW:
GREEN SPACE #3: Artificial Titillation Garbage Garden
the Green Space is a Construction composed of the Discarded wherein Novel Organisms may develop. it is a meditation device that serves as a Portal to a Dimension near to ours, yet shockingly strange.
 |
| Green Space #3: Artificial Titillation Garbage Garden benjamin harubin 2014 16" x 13.5" x 4.5" |
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| Green Space #3 rear view |
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| Green Space #3 oblique view |
the waste habit becomes an unintended new habitat.
the Capitalist system requires continuous growth, and hence continuous waste as products are programmed to become obsolete or redundant and we are programmed to uncritically desire theatrical constructs.
what strange organisms are being non-teleologically created out of the action of this system?
what new modes will be required as the balance swings in a new direction?
the idiocracy of disposability is harmful unless balanced by efficient materials re- use.
efficient materials re- use can then become a profitable part of the continuous cycle and disused things will dissolve into a grey goo and morph into new devices.
already our leaders are beginning to look somewhat colorless.
GREEN SPACE #4: Polaris Tower
a Green Space is
a GENERALIZED NAKED PROSCENIUM
upon which flirt ambiguous forms
(a magic contemplation clairvoyance bubble mirror)
 |
| Green Space #4: Polaris Tower benjamin harubin 2014 3.5" x 11" |
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Green Space #4
view 2
|
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| Green Space #4 |
the seeming limitation of lightspeed is of little concern
for they utilize a highly compressed and irrepressible medium.
they spread, the spores,
throughout a galactic zone;
hardened space bubbles
in petri regions whose irregular edges
interleave and intervaginate with each other.
virus shells traveling in streams of plasma,
and bacterial spores encased in the rocky soil of a hollow comet interior,
shower the upper atmosphere with compact instructions,
updates and fixes for us meaty von Neumann probes.
these bug bug fixes may manifest as new diseases,
appear in our dreams or surface as inexplicable new memes.
at this time of year,
in our cozy suburbubbles,
surrounded by processed images of striving and fear,
when northern hemispherians experience the maximum retreat of the sun's apparent path,
our eyes turn towards the pole, and above, to Polaris, and a picture of a giant red garbed god distributing fresh DNA updates from a big bag of plasma.
for us humans to even recognize a higher form of intelligence,
be it an alien, a god or an angel,
we first must recognize the most alien thing of all- our own brains
(upon whose ocean the epiphenomenon of consciousness swirls as foam).
in the future, perhaps, angels will be modeled and accessed via neuro-cognitive and information science methods.
so be nice to one another, y'all.
Green Space #5: Bamboo ComputerThe Green Space is a Space Transformed
the Isolated Structures of Control are overgrown by the Vines of Imagination
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| Green Space #5: Bamboo Computer benjamin harubin 2014 5.5" x 10.5" x 3" wood, found objects, acrylic and enamel paint |
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| Green Space #5 rear view |
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| Green Space #5 side view |
the distinction between what is imaginary and what is real is largely... imaginary.
the physical reality we are surrounded by and composed of is beyond our ability to imagine fully in its complexity and its nature.
every successful model created of a physical system falls short of completely describing it.
if it did describe it fully, it would be that system.
could reality continually recede from our attempts to fully model it, as we create new models that reveal new vistas of complexity and interconnection of systems?
furthermore, the exploration of physical reality requires imagination (to go beyond present understanding).
AND,
the process of imagination is, presumably, as fully physical as any other physical system that we can be aware of.
that is, it occurs in the brains of organic creatures, in an information processing organ that executes a series of physical operations which require energy.
information is physical.
all occurrences, be they labelled supernatural or non-physical, are a form of information.
so what does that say about the distinction between imagination and reality being imaginary?
"ILLOGICAL. PLEASE EXPLAIN. YOU ARE HUMAN. ONLY HUMANS CAN EXPLAIN THEIR BEHAVIOR."
GREEN SPACE #6: Spontaneous Regeneration Beacon
The
Certainty of Form,
Elusiveness of Narrative,
Destructiveness of Beauty,
and the
Creation of Universes.
 |
| Green Space #6: Spontaneous Regeneration Beacon benjamin harubin 2014 3.5" x 11" wood, found objects, acrylic and enamel paint |
 |
| Green Space #6 rear view |
 |
| Green Space #6 oblique view |
when the sordid details of meat world reveals the emergent phenomenon of Significance,
the mathematical certainties of every calculation add up to something truly out of control and incomprehensible. (it can be mathematically proven that bumblebees can't fly and black holes do exist).
when Lop Lop emerges from the woodwork,
and the eye of the cosmos stares back at you,
the only incontrovertible fact
is the somewhat gaseous assertion that
"je pense, donc je suis",
suggesting an exhilarating unity of all that is
(all knowledge: the contents of that cogitation).
yet that thinking process itself operates
upon a logical structure of "I" separate from "am".
and so the wheel goes round;
the sun too bright too see;
the thunderbolt too huge to accept
as being other than the work of gods-
or fancy.
just drive, she said,
(i'll form the head).
artists birth the mythologies.
pulling their rabbits,
multiplying their tricks and their sins,
deciphering the make up of the mystery substance.
the cheetah and the wallaby, dreaming;
the dog and the cat are scratching in their sleeps;
the worm, a dreamlet in the bioslime crust.
the bioslime virtual dream machine
guides the engines and rails
and the power mills
and checkpoints
and resources.
while wizards conjure in basements-
labs of cultured baby entities
sometimes emitted to flourish perhaps,
chaotically unpredictable
in the sticky memosphere.
riding like a leaf
in the superfluid dream soup,
reveling in the muck
of history.
and there it is,
all sights and sounds,
a layered conglomerated mud
in the body of the beast.
GREEN SPACE #8: Journey into the Innerporta miniature model of a cognitive window
a desktop meditation aid
a micro metaverse port
journey into the innerport-
the metaverse consists of all human endeavor's models of "reality".
the scientific, religious, social, technological, and artistic picturizations
form an interwoven information web that is the collective wisdom of the species.
journey into the innerport-
the port to the metaverse is through the senses, through the screen, through you.
like a sponge, there are many ways into the Central Chamber.
the point of the meta art is to point out the pointing;
to recognize the structure of the media and the structure of the receiving apparatus.
the point is the philosophical point of the pointing out of the miniaturization and compression of the toy desktop pointing module.
like a sponge
GREEN SPACE #9: Ninth Dimensional Teleportation
what are the Green Spaces?
are: small painted wooden desktop architectural sculptures
(architure).
are: a set of frozen story fragments in biological apocalypse prosceniums.
are: not exactly "in the round", as they have a dominant "front" and a hidden "rear" whose identities nevertheless can switch. and there are other sides as well. these Spaces exist in a fractal dimension between 2 and 3 and possibly higher.
when are the Green Spaces?
created by artist benjamin harubin between 2009 and 2014
why are the Green Spaces?
deliberate ambiguity and lack of conventional narrative is simply to allow the possibility of multiple narratives and multiple functions. the work raises more questions than it answers.
they are channels into the chronosynclastic infundibulum.
i would be interested in setting up an installation of the whole series at some point. you can contact me if you have or know of a suitable venue.
down to
the green freeze of Proteus
in the Deep Neptunian Night.
that's no moon you shout
as you overshoot
and bounce and drift down again
break through the crust
and into what
you don't know.
no moon and no cake.
is it alive?
you energize the beam emitter again
the portal opens
time opens
possibilities multiply
[look at the bright blue light in deep faith].
Green Space #10: Cydonia Short ForestGreen Spaces: stage settings for an alternate cosmology
Somewhere on a Planet Full of Humans is the Cydonia Short Forest.
a narrator was heard
and relayed to a satellite
and the satellite spake laser
and the words were inscribed one letter at a time
all along the entire length on the road of Interstate-90.
then in the wake,
flashsourced cam pics were sent and assembled in a filmstrip
and in real time 30 fps read by a robot (some parts are missing)
and respawned here:
the projector hummed loudly and spat globes of searing plasma that danced eerily through the space of the ancient hangar...
...their after-images multiplied and amidst the confusion, biomorphic forms of icky space beings materialized in the disrupted gloom...
...the walls groaned and seemed to increase in mass, towering ever higher over the tiny trees...
...the light shifted left, receding red sky over iron sand...
...perhaps the apparent shortening of yardsticks and dilation of time was a matter of the limitations of perception and the failure to realize that much greater velocities than c must be possible...
...was the universe expanding, or are we steadily shrinking, shrinking asymptotically down to actual size, about 1450cc, which nevertheless contains enough interconnections to account for all the atoms in the universe...
...wait, what?
...that's what my monkey said, and we don't have anything to hide...
inside is out outside is in:
a truly objective science would have to account for all behaviors of the observational instruments- including the observer, which includes all of the subjective realm.
at some point towards the completion of our investigations, we cannot separate our desires and expectations and all of that fluffy subjective junk from the object(s) of objective study.
to what degree is the impossible possible?
to what degree do our expectations shape the external world?
what limits might there be on our ability to pull technological rabbits out of our hats?
do not our questions multiply as our view improves-
so much so that most fields of science complain of a lack of scientific manpower to fully research current questions.
in the cloudy water stained information rich world, how much of what we think we see is pareidolia (funny ducks smoking cigars) and how much is "real" reality flowing through "you"?
will we ever run out of novel patterns to see in here or out there?
can they has be separate?
what is possible for a human or a whole planet full of them?
i am keeping my bucky fuller bellbottoms because they're coming around again. i hear tommy malthus was recently back in style but that shit is so 15 minutes ago.
survival oriented pattern recognition algorithms and behavioral routines become art.
the ape that bangs the can gets to bang.
art is the picture of a thing; the experience gets analysed, tagged and archived for the future use of the meta program.
the meta program begets more meta; the meta gets more abstract.
and then you forget it is a picture
(abstractions cannot call attention to their artificiality lest their performance as beneficial behavioral routines is diminished).
all functionally human beings make art:
at night
(because Art Brain is never off),
dreaming of worlds whose laws of physics are different than
at day;
talking and driving and helping the TV to create the stories you inhabit;
scientists fashioning numerical models of toy universes which often have surprising usefulness in predicting events in the macrozone;
the shadow writing on the wall.
my fantasy's rules are no less valid than the Accepted Standard Model's rules.
and here's how to be a "great" artist: recognize the difference between a Demon and a Muse.
a Demon is here defined as a meta mental species which causes you pain (by inappropriately applying a too restrictive template (e.g. racism).
whereas a Muse gives meta pleasure by allowing greater creativity in how templates are manipulated, thereby allowing/revealing more complexity (i.e. beauty).
this does not mean that a "work" of "art" must look complex, or even be visible.
here's a question quite off topic:
does your brain narrate your night dreams?
can a bat eat a cat?
Green Space #12: bone totem tower
The Green Spaces
GREEN SPACE #7: Shoreline History of a Painted SeaPart of a Series of Symbolic Demarcations:
tiny shrines with breathing walls exhaling the story of their creation in the before time (in fuzzy time). -a backdrop for a shared/private mythology. it is the exploration of the primitive elements of the cartoon as a basic operation of mental functioning (as vividly ubiquitous today as 40 thousand years ago in Chauvet Cave; as vividly ubiquitous as the sketchy dream structure of the normal waking mind). mythology is now.  |
| Green Space #7: Shoreline History of a Painted Sea benjamin harubin 2014 15" x 7" x 5" wood, found objects, acrylic and enamel paint |
 |
| Green Space #7 rear view |
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| Green Space #7 oblique view |
artists birth the mythologies.
pulling their rabbits,
multiplying their tricks and their sins,
deciphering the make up of the mystery substance.
the cheetah and the wallaby, dreaming;
the dog and the cat are scratching in their sleeps;
the worm, a dreamlet in the bioslime crust.
the bioslime virtual dream machine
guides the engines and rails
and the power mills
and checkpoints
and resources.
while wizards conjure in basements-
labs of cultured baby entities
sometimes emitted to flourish perhaps,
chaotically unpredictable
in the sticky memosphere.
riding like a leaf
in the superfluid dream soup,
reveling in the muck
of history.
and there it is,
all sights and sounds,
a layered conglomerated mud
in the body of the beast.
GREEN SPACE #8: Journey into the Innerporta miniature model of a cognitive window
a desktop meditation aid
a micro metaverse port
 |
| Green Space #8: Journey into the Innerport benjamin harubin 2014 12" x 15" x 3.5" wood, found objects, acrylic and enamel paint n.f.s. |
 |
| Green Space #8 (rear) |
journey into the innerport-
the metaverse consists of all human endeavor's models of "reality".
the scientific, religious, social, technological, and artistic picturizations
form an interwoven information web that is the collective wisdom of the species.
journey into the innerport-
the port to the metaverse is through the senses, through the screen, through you.
like a sponge, there are many ways into the Central Chamber.
the point of the meta art is to point out the pointing;
to recognize the structure of the media and the structure of the receiving apparatus.
the point is the philosophical point of the pointing out of the miniaturization and compression of the toy desktop pointing module.
like a sponge
GREEN SPACE #9: Ninth Dimensional Teleportation
are: small painted wooden desktop architectural sculptures
(architure).
are: a set of frozen story fragments in biological apocalypse prosceniums.
are: not exactly "in the round", as they have a dominant "front" and a hidden "rear" whose identities nevertheless can switch. and there are other sides as well. these Spaces exist in a fractal dimension between 2 and 3 and possibly higher.
when are the Green Spaces?
created by artist benjamin harubin between 2009 and 2014
why are the Green Spaces?
deliberate ambiguity and lack of conventional narrative is simply to allow the possibility of multiple narratives and multiple functions. the work raises more questions than it answers.
they are channels into the chronosynclastic infundibulum.
i would be interested in setting up an installation of the whole series at some point. you can contact me if you have or know of a suitable venue.
 |
| Green Space #9: Ninth Dimensional Teleportation benjamin harubin 2014 12" x 15" x 3.5" wood, found objects, acrylic and enamel paint |
 |
| Green Space #9 (rear) |
 |
| Green Space #9 (oblique) |
down to
the green freeze of Proteus
in the Deep Neptunian Night.
that's no moon you shout
as you overshoot
and bounce and drift down again
break through the crust
and into what
you don't know.
no moon and no cake.
is it alive?
you energize the beam emitter again
the portal opens
time opens
possibilities multiply
[look at the bright blue light in deep faith].
the world looks different today.
Green Space #10: Cydonia Short ForestGreen Spaces: stage settings for an alternate cosmology
 |
| Green Space #10: Cydonia Short Forest benjamin harubin 2014 12" x 15" x 3.5" wood, found objects, acrylic and enamel paint |
 |
| Green Space #10 (rear) |
 |
| Green Space #10 (oblique) |
Somewhere on a Planet Full of Humans is the Cydonia Short Forest.
a narrator was heard
and relayed to a satellite
and the satellite spake laser
and the words were inscribed one letter at a time
all along the entire length on the road of Interstate-90.
then in the wake,
flashsourced cam pics were sent and assembled in a filmstrip
and in real time 30 fps read by a robot (some parts are missing)
and respawned here:
the projector hummed loudly and spat globes of searing plasma that danced eerily through the space of the ancient hangar...
...their after-images multiplied and amidst the confusion, biomorphic forms of icky space beings materialized in the disrupted gloom...
...the walls groaned and seemed to increase in mass, towering ever higher over the tiny trees...
...the light shifted left, receding red sky over iron sand...
...perhaps the apparent shortening of yardsticks and dilation of time was a matter of the limitations of perception and the failure to realize that much greater velocities than c must be possible...
...was the universe expanding, or are we steadily shrinking, shrinking asymptotically down to actual size, about 1450cc, which nevertheless contains enough interconnections to account for all the atoms in the universe...
...wait, what?
...that's what my monkey said, and we don't have anything to hide...
inside is out outside is in:
a truly objective science would have to account for all behaviors of the observational instruments- including the observer, which includes all of the subjective realm.
at some point towards the completion of our investigations, we cannot separate our desires and expectations and all of that fluffy subjective junk from the object(s) of objective study.
to what degree is the impossible possible?
to what degree do our expectations shape the external world?
what limits might there be on our ability to pull technological rabbits out of our hats?
do not our questions multiply as our view improves-
so much so that most fields of science complain of a lack of scientific manpower to fully research current questions.
in the cloudy water stained information rich world, how much of what we think we see is pareidolia (funny ducks smoking cigars) and how much is "real" reality flowing through "you"?
will we ever run out of novel patterns to see in here or out there?
can they has be separate?
what is possible for a human or a whole planet full of them?
i am keeping my bucky fuller bellbottoms because they're coming around again. i hear tommy malthus was recently back in style but that shit is so 15 minutes ago.
Green Space # 11: Pre-Verbal Pictograms
the first words were written in ribonucleic acid.
an anti-entropic production of surprising complexity
(whether it is or is not produced by an external force/being or spontaneously arises within our universe is equally astonishing).
it is evolution as art.
an anti-entropic production of surprising complexity
(whether it is or is not produced by an external force/being or spontaneously arises within our universe is equally astonishing).
it is evolution as art.
 |
| Green Space #11: Pre-Verbal Pictograms benjamin harubin 2014 7" x 16" x 2" wood, found objects, acrylic and enamel paint |
 |
| Green Space #11 (rear) |
 |
| Green Space #11 (oblique) |
survival oriented pattern recognition algorithms and behavioral routines become art.
the ape that bangs the can gets to bang.
art is the picture of a thing; the experience gets analysed, tagged and archived for the future use of the meta program.
the meta program begets more meta; the meta gets more abstract.
and then you forget it is a picture
(abstractions cannot call attention to their artificiality lest their performance as beneficial behavioral routines is diminished).
all functionally human beings make art:
at night
(because Art Brain is never off),
dreaming of worlds whose laws of physics are different than
at day;
talking and driving and helping the TV to create the stories you inhabit;
scientists fashioning numerical models of toy universes which often have surprising usefulness in predicting events in the macrozone;
the shadow writing on the wall.
my fantasy's rules are no less valid than the Accepted Standard Model's rules.
and here's how to be a "great" artist: recognize the difference between a Demon and a Muse.
a Demon is here defined as a meta mental species which causes you pain (by inappropriately applying a too restrictive template (e.g. racism).
whereas a Muse gives meta pleasure by allowing greater creativity in how templates are manipulated, thereby allowing/revealing more complexity (i.e. beauty).
this does not mean that a "work" of "art" must look complex, or even be visible.
here's a question quite off topic:
does your brain narrate your night dreams?
can a bat eat a cat?
Green Space #12: bone totem tower
The Green Spaces
painted wooden totem series
tools for discovery of neural primitives/cosmological constants
daddy's seed dripping down the ladder;
they found a great watch in the woods,
all trees pointing away;
if you found a watch in the woods,
would it be rusted,
rusted down from the big bang boom;
daddy's watch handed and wounded down;
if you found an eyeball in your martini,
would it stare back at you?
that great apparent irrevocable slap
is not answering my question;
the Second Law decrees
that god is dead or dying,
unless he be fathered by a greater god,
who is also dying;
there is no mechanism;
the great wounded down grandfather watch
surrounded by a thousand thousand eyes,
laughing;
eye to eye;
eyes all the way down;
epigenetic blinkers and beacons and gliders
in the game of life.
the universe, it appears,
veers away from equilibrium with random instabilities.
chaos is not the descent into heatdeath homogeneity,
but the omnipresently fluctuating source
of complexity, order and differentiation.
when it began and when it will end
i will not touch with a ten foot stick;
not by big daddy's cue stick;
imagining that when this universe's balls are all down,
down in one giant black hole eye,
we'll all just move to another one that we can fuck up,
like tearing off a calendar sheet.
Green Space #13: Hidden Dimensions in Plane Sight
i can't explain the plain picture plane
every night we does the tell, so that we 'member who we was and where we came from...
hidden dimensions-
because we don't understand what time is, the way we don't understand what gravity is.
Einstein was on the right track (considering time and space as a whole geometry)
but we must consider hierarchies of time as well,
operating at different scales, at different rates.
we must also consider causation flowing not only from the sub-sub-atomic realm,
but also from all scales within a great range,
including the mesoscopic zone of human information flow.
the finger causes the nuclear chain reaction.
if we're going to draw relationships of causation
(causation requiring time),
we must draw them going to and from all scale levels
(not to mention the dimensions of space).
what does that do to the one-dimensional picture of time that we humans possess?
***
or is "time" merely a tool?
...like numbers and axes
invented by the clock
by the human that invented a machine that rhythmically rocks
just like everything else is rocking
modulating at every observable frequency
 |
| Green Space #12: bone totem tower benjamin harubin 2014 4.5" x 11" x 2" wood, found objects, acrylic and enamel paint |
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| Green Space #12 (rear) |
 |
| Green Space #12 (oblique) |
daddy's seed dripping down the ladder;
they found a great watch in the woods,
all trees pointing away;
if you found a watch in the woods,
would it be rusted,
rusted down from the big bang boom;
daddy's watch handed and wounded down;
if you found an eyeball in your martini,
would it stare back at you?
that great apparent irrevocable slap
is not answering my question;
the Second Law decrees
that god is dead or dying,
unless he be fathered by a greater god,
who is also dying;
there is no mechanism;
the great wounded down grandfather watch
surrounded by a thousand thousand eyes,
laughing;
eye to eye;
eyes all the way down;
epigenetic blinkers and beacons and gliders
in the game of life.
the universe, it appears,
veers away from equilibrium with random instabilities.
chaos is not the descent into heatdeath homogeneity,
but the omnipresently fluctuating source
of complexity, order and differentiation.
when it began and when it will end
i will not touch with a ten foot stick;
not by big daddy's cue stick;
imagining that when this universe's balls are all down,
down in one giant black hole eye,
we'll all just move to another one that we can fuck up,
like tearing off a calendar sheet.
Green Space #13: Hidden Dimensions in Plane Sight
Everything that was will be again,
Except more so.
Green Space #13:
benjamin harubin 2014: Hidden Dimensions in a Plane Sight
12" x 13" x 2"
wood, found objects, acrylic and enamel paint
 |
| Green Space #13 (rear view) |
 |
| Green Space #13 (oblique view) |
i can't explain the plain picture plane
every night we does the tell, so that we 'member who we was and where we came from...
every minute we talks through the screen
the planes of existence; the plain branes insane.
right.
THE AX RULES!
DOES THE AX COME FROM NATURE?
ARE NUMBERS MERELY A TOOL?
right.
THE AX RULES!
DOES THE AX COME FROM NATURE?
ARE NUMBERS MERELY A TOOL?
picture my friend Australopithecus on the edge of the rock
and dropped into his hand a stone very sharp on one end.
the golden spiral found in a broccoli,
the mean machine,
my fingers, strange tools
found in the plexisphere from the moment of my birth (today, at least).
the ax, apparently, is there in the rock; it fell from the rock.
all this thinking about axes
is making pictures in my head.
i see the fault lines in the rock.
i see through the rock.
i see three, three, three sides.
the number for today is three.
now i can count.
i see a triangle i will use tomorrow because now i know the number of the day.
and dropped into his hand a stone very sharp on one end.
the golden spiral found in a broccoli,
the mean machine,
my fingers, strange tools
found in the plexisphere from the moment of my birth (today, at least).
the ax, apparently, is there in the rock; it fell from the rock.
all this thinking about axes
is making pictures in my head.
i see the fault lines in the rock.
i see through the rock.
i see three, three, three sides.
the number for today is three.
now i can count.
i see a triangle i will use tomorrow because now i know the number of the day.
hidden dimensions-
because we don't understand what time is, the way we don't understand what gravity is.
Einstein was on the right track (considering time and space as a whole geometry)
but we must consider hierarchies of time as well,
operating at different scales, at different rates.
we must also consider causation flowing not only from the sub-sub-atomic realm,
but also from all scales within a great range,
including the mesoscopic zone of human information flow.
the finger causes the nuclear chain reaction.
if we're going to draw relationships of causation
(causation requiring time),
we must draw them going to and from all scale levels
(not to mention the dimensions of space).
what does that do to the one-dimensional picture of time that we humans possess?
***
or is "time" merely a tool?
...like numbers and axes
invented by the clock
by the human that invented a machine that rhythmically rocks
just like everything else is rocking
modulating at every observable frequency
great chunks of time in various shapes
rocking but you got little windows held on the end of a stick
and you move them from left to right.
rocking but you got little windows held on the end of a stick
and you move them from left to right.
meanwhile, back in the mesoscopic,
cabbage sized, human head shaped zone,
the ephemeral zone of imaginary landscapes and beings
seems to have taken on some kind of life of its own, out there in the cloud.
and i find examples where it is clear that some sort of bleed through effect is going on
that is felt here in the realm of Mundania.
the reason the "subject matter" of this painting is not discussed
is that this "art" is actually a device,
a portal if you will,
a transmitter/receiver if you won't,
to other yet to be explored/invented realms,
undiscovered countries,
and the language is not yet invented
just like my 7XL.
cabbage sized, human head shaped zone,
the ephemeral zone of imaginary landscapes and beings
seems to have taken on some kind of life of its own, out there in the cloud.
and i find examples where it is clear that some sort of bleed through effect is going on
that is felt here in the realm of Mundania.
the reason the "subject matter" of this painting is not discussed
is that this "art" is actually a device,
a portal if you will,
a transmitter/receiver if you won't,
to other yet to be explored/invented realms,
undiscovered countries,
and the language is not yet invented
just like my 7XL.
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