(c) by Ryszard Павел Kostecki, 7.V.15-2.IX.16
dedicated to all my friends and beloved ones, with whom I've shared this beautiful time
The key is the frequency I'm working at.
Lower the frequency to bring out a longer wave of consciousness.
A magical falling in love with life, combined with mindfulness - a sort-of-mythologisation of here-and-now, focused on opening, not closing, of all the senses.
Dynamic changes embraced with loving affirmation.
Mindfulness instead of mindlessness.
A marvel in every detail, because of perception beyond patterns.
Fears do not exist, as they are a trembling of a fiction - of a personality built on habits and appearances.
That which exists abundantly in the field of view is slow. Even chaos is infinitely slow.
The belief that one can be late for anything is an illusion.
One is always just in time for the foremost feast. It is right here.
A characteristic, warm and outward - and at the same time enfolding - care, tenderness, delicacy.
A softness of movement, a step beyond the nonsense of division into the active and the passive.
A dance that is a sensitive contemplation and a creative affirmation.
They do not preclude appropriate actions, filtering out noise and cracks; but actions that are loving rejections - not reactions.
Remaining in reaction is a trait of a superficial personality, this armor of distrustful disbelief in the possibility of synchronization in slow being.
Outside the window, where the trees and sun illuminate the lawn in their shadowplay, a Canadian duck is strolling; a small rabbit is hopping in the bushes, other ducks are flying over the lake; one can hear their cries, and tweets and trills of small birds in the tree branches.
Ever slower, ever more beautiful, ever more towards oneself in the foundation.
/ a translation (by Michał Kotowski) from an original text in Polish /
(3/4.IX.2015, a fragment)
(7.IX.2015, a cover graphics for an eponymous CD)
(17.IX.2015, acrylics and fruits on paper, with some collaboration of Andrzej Banburski and a support of Alexa Meade)
(28.IX.15, Supermoon eclipse)
(13.IX-6.X.2015, full resolution BMP mosaic image has ~1.8GB[=3xA3x7500DPI] size and is based on ~100000 unique photos, so only the 6MB resized demo is linked here)
(10.X.2015, finger-painted acrylics on canvas)
(12/15.X.15, based on a photo by Amelia Does)
(23.X.11/23.X.15, based on photo by Janka Spicha-Konarzewska)
(10.X/13.XI.2015, based on the photo by Piotr Migdał)
(15/18.XI.2015, design & remix by RPK, photo by Michał Kotowski, starring RPK, Marcin Kotowski, Mikhail Bakhtin's spirit)
(11.XI.2015, using the deep neural network algorithm arXiv:1508.06576)
(8.XII.2015, chalk on blackboard + filters)
(8.XII.2015, with contributions from Aimee Fogler, Tanya Williams, Camilla Bouchet, Jay Carnahan, Todd Schiedel, Adam Reinhart, Marcin Kotowski)
(13.XII.2015, joint work with Djuna Lize Croon)
(20.XII.15/22.I.16, black gel pen on a poster + filters)
(25.XII.2015, acrylics and markers on paper)
(25/26.XII.2015, acrylics and markers on paper)
(29.XII.2015/22.I.2016, "I am a red/beautiful girl")
(4/5.I.2016, acrylics on canvas 8"x10")
(6.II.2015/12.I.2016, joint work with Marysia Bator)
(28.XII.2015/21.I.2016, acrylics on grey paper + proposal submitted to FQXi)
A sufficiently degenerate language becomes so polyvalent, so multi-interpretable, that it obstructs the emergence even of a consistent, related group (set) of readings (receptions). In contrast to abstractions, realistic or naturalistic painting does not act as a language. Instead it assumes the status of diverse forms of symbols and symbolic allusions to its para-iconic content, such as mythology or even folk and fairy tale, as in the case of Hieronymus Bosch (naturally, there can always emerge hybrids like Pieter Breughel the Elder). Consequently, a painting which "translates" some proverb into various groups of motionless people is both symbolic and nonsymbolic, because language (the language of the proverb) is a system of semantic reference. It is clear that, apart from aesthetic value, such a painting has a certain semantic value as well, established in relation to a certain definite meaning. This aspect is analyzable by aesthetic theories used in the fine arts. At the same time we must realize that any sufficiently complex system is -- in view of the theorems of information science -- divisible into multiple subsystems of many diverse kinds. Of course in this situation the choice between the idiographic or nomothetic method depends more and more on the critic and increasingly less on the picture itself. To put it bluntly: viewers perceive whatever they shape, interpret, and aesthetically evaluate for themselves. Today such evaluations are already arbitrarily erratic, thanks to postmodernism which obliterated the boundary between a work of art and a piece of garbage. (Stanisław Lem, 1994)
What are all those .jpg files about? Information about what? whose? for whom? To be honest, I was more involved in the acts of creation, and the associated meditative spiritual, intellectual and emotional experiences, than in an interpretation of the collection of the data sets that have resulted from the selective post-processing of outcomes of these acts. However, the latter seems to be also a part of fun, so I let myself, here and now, to run the blah-blah-blah module (naturally, with full-fledged seriousness). Let's see together what I will improvise. (All of the above data sets were also constructed as improvisations, with no idea where they would lead to. There are always some feelings, some thoughts, some intuitions, some experimentation, but it is a flow that is synchronised with anything, including mood, weather, the music I am listening to, myriads of other categories, as well as the noncategorisable shadow.)
The myth of "genuine representation" seems for me to be the original sin of photography. It consists of allowing to be seduced into a specifically restricted understanding of our living (thus, unbounded and uncertain) experience into a normative (thus, bounded and known) construct of (internal and/or external) "reality". The games with deconstruction of this myth became a vital field of photography itself. Leaving the sansaric realms of construction-deconstruction spiral, together with the classy but so worn-out issues of esthetics and symbolics, I consider the art of conveying the spiritual pulse of being-here-now as a way of transgressing beyond the original sin, back to the same root from which the power of classical painting stems from. (The generic powerlessness of semiotic analyses of classical masterpieces uncovers hyperrealism, as well as disempowering rôle, of semiotics.) Naturally, it is not an easy task to fulfil. And I feel that I am still far away from it in my photographic practice.
Maybe this is the reason for this kindergarten-artsy stuff? I don't really know what I am doing. But if you would ask me to improvise something, I'd say that I have an impression that in my post-photographics I am trying to dissolve the fiction of a "factual representation" of the objective spatio-temporal localised fragment of an "objective global reality" that is associated to a photo (and, more generally, to any graphics -- if one considers internal states of emotions, intuitions, and thoughts as a fragment of one's own "internal reality" that is nameable by means of visual communication; in such case the idea of static presence of any single "internal reality" is the core illusion). The method of transformative dissolution-mandalaisation of the "realistic" image (which effectively becomes a technique of composition) is intended to point out to some sort of unnamed (becaused profoundly lived-through) spiritual kink, contained in the original experience of here and now that is an ultimate source of a given graphics, but becomes overshadowed by the immanently dishonest act of a visual representation. In other words, transformative dissolving-mandalaising of an image is an attempt to rebalance the illusion of reality of the content of experience (defined both by an illusion of a specific object and an illusion of a specific observer) in order to expose the transcendence of the act of experiencing.
The only place where I've ever met an objective global reality was in the contents of the metaphysical beliefs of various people (and, yes, materialism is also just a metaphysics). My personal experience, and the experience of other people (at least among those, whose message is trustable enough for me), consists of a dynamic rainbow of different possibilities of feeling, thinking, perceiving, and becoming that are swirling in the improvised dance with the variety of possible structuralisations into concepts, attitudes, personalities, systems of thinking, etc. This dance has neither a single space (completely dominating category of control parameters) or a single time (completely dominating frequency of construction-deconstruction). If any of these deformations/transformations have brought you a slight spiritual kink undermining the myth of a local (internal or external) reality being just a passive fragment of an objective global universe (understood as an ontic container, not as an intersubjectively shared illusion), or if you felt for a moment some transgressive pulse stemming through otherwise mundane and irrelevant collection of RGB pixels (including the words you are reading here and now), then this text can make sense to you in a way similar to how it makes sense to me. Otherwise, let be praised your own being here now in its freedom from necessity of subordination to some particular sheaf of myths, and its freedom to bathe in the fountain of any possible ever-new experiences and the systems of their categorifications that you were blessed with.
As they say, have a nice day.
Part II: Akashic Investigations
(16.II.2016, based on a photo by Piotr Achinger)
(27.VI.2016, feat. graphics by Władysław Strzemiński/СМОЛРОСТ)
(4.VIII.2016, using the photo by Lisa Willis and a slide by Stephen J. Summers)
(19.VIII.2016, featuring chalk graphics by Evelin Witkowska)
(25.VIII.2016, using a photo by Raquel Gomez and a text by Ayur Zhanaev)