EditorialPage
Here is a narrative; it is a kaleidoscopic narrative. The narrative exists in an individual’s mind. The narrative is not unique; it is diasporic. The narrative is not the same for you or me; it fades with bold intentions, belonging to generation and tempo. Of course, I’d say this. Between verisimilitude and desk, desk and vicinity, there isn’t a particular field or location beyond contiguity, opinion or interpretation.
There isn’t a diaspora that has spread without descent or monopoly. In reaching the embankments of another border, there isn’t a diaspora that doesn’t have elements of geology, time in-between, a changed mind, language and division, reason and rationality, and of course, an echo location.
What’s the problem?
The Phenomenon of the Cosmic Child
The exploration of a phenomenon or the idea of its contingency, provision, subtlety, and variance, with interpretative dichotomies personifying a response or reaction.
An identity has many facets.
The study and exhibition of a theme, a phenomenon, and perspective may label or reveal the individual, as well as ensnare or unify jeopardy and opportunity.
Diagram: Aspects of the Monolith
Study Guide: The Phenomenon of the Cosmic Child
AI overview.
Diagram: the H accord
Jason Arday theMan theMyth theLegend
It would be naive to consider that all the perspectives surrounding Jason Arday do not have us at the centre. It is also disingenuous to absolve ourselves in the case of a subterranean plot meeting the auspices of an archive made of ‘them’ and ‘us’. As the events of one man die, they are redivivus, parturient, to a visitation of themes that have as yet not settled.
Background Picture: This 19th-century lithograph is a variation of the famous engraving of the Boston massacre by Paul Revere
Letter of Last Resort
Without fanfare, were it not for observations, doves are perhaps Columbidae of another ilk; constellations develop in excelsior; volcanoes explode inexorably; earthquakes tremor or escalate; rivers rise and fall, flood and freeze over impeccably. Mountains avalanche new affiliations, concealed or apparent, displaced.
Lightning strikes willy-nilly. Trees keel over, fracture and sap, a brittle blaze, a wisp, or a fire-storm.
Dust and cinder, fractal fortuity, compounds of before and after. Fields buckle and twist, picture-perfect mayhem, natural order selected.
Without doubt, breathing is a consequential necessity, though the breath is yet to appear.
The ground is not firm yet; the oceans have only begun to tide. The dreams are yet to come.
A flourish of coincidence, unaccompanied by the primitive autograph or the appellation of a pseudonym, is what it is: adiaphorous, or something else corresponding with self-foreseeing manufacture: sensation rotation, the percolations of nature, connatural in theme or conspiracy.
The body’s symphony, nature’s reserve, elementary earth, the proximity of everything, random, scattered and orbitally interconnected.
Evolved and commutable, the verse exclaimed is silent, parietal with inner thoughts, the external dimension: oil and coal: gas and electricity: the human form, poles in the ground as beyond the ozone layer.
The stars that come out by night and day are still. A million miles away.
Picture above: Meraki: Community Salute
Snippet
A whirlwind embroiders in the transept of its swirl, rotating like a winding bobbin, amassing and encased, collecting quantity like a pool, accumulation unravelling like a spool, tangents a withy of fallen communications cables, a jumble jamboree cross-talking in crosswinds.
Pulled along dot, dot, dot. Skid and adrift, an exclamation mark has lost its definition, it sails with the terrain of a flag, an awning undone, guy ropes and hooks unbanked, unflanked and shimmering, palpably echoing the divergent topiary of a chopstick’s haystack, torn between synonym and synonyms, correspondingly synonymical.
Erstwhile, the tent billowing in a zephyr of multiplication is an oddly shaped greenhouse, a tunnel or a funnel, a groundsheet, the origami of tarp, visibly juggling with the contortions of an airfield windsock.
Windmills and turbines, pushed to the hilt with nook and cranny, have returned from arduous grinding, grinding grain, pumping water, and a grid work of power supply and distribution. Out on the heath, a hearth, a chimney breast, a chimney stack, a plastic tube, a chimney pot, a cast-off drain pipe, upon nearer inspection, an unpaired Wellington boot has been sucked into a quagmire of a gale. A small class of children and adults on the final leg of a day-trip, run through a maelstrom of hailstone pellets, children curry favour, hurried, flurried, and carried.
Picture above: Landscape Photo
the Sleeping Log Awakened by a Dream
What does the environment sound like. Habitat, habitation, a hubbub universally unambiguous and ambiguous without proximity or acquaintance, hubbub nonetheless: humanity, anthem, universe and climate.
Earth orbits all at once, orbits all together near, far, and centripetal, the profundity of space, adjacent and beyond. The farther we observe, the closer we become: perpetual distance is within reach, concomitant conspirare. From the other end of a telescope, space, deep space, is amongst us.
Picture above: Photo
Zong
A curious fusion occurs when we conflate what we know and understand as data, knowledge, and influence with what we feel about a particular subject.
Perhaps conflation harbours the meaning of learning, heuristic to ourselves.
Heuristic: to learn for oneself from an array of predispositions, received through inviolable nerve centres stemming from the human condition.
As we encounter expressions of the human experience, as art and entertainment, as documentary or social commentary, as day-to-day interactions, how should we view relatedness: with a personal dispensation of balms or with a burial of interpretive strategies. Do we stringently compartmentalise self-awareness with stealth, or planning, though the beneficiaries of chance and mishap.
Perhaps our skill sets, on occasion engendered with a personal perspective, are reactive to threads of a garment, not to the nuances of a fabric.
When we attend to the presence of emotions, attention might drift with tedium, as likely consociate thoroughbred credentials through a concentration of stamina, revealing what has been achieved: endurance.
Picture above: Photo
the Shop the Brand & the Trademark
A cortege of identical products or a range of products forming a cortege: a group or a crowd around the very same.
How does a signature differ from a symbol, a fingerprint from a scrawl, an absent-minded doodle to the precipice of recognition or fiscal camouflage: words being words and numbers, aggrandisement or relegation.
The exemplification of identity is the function of exemplification, an illustration and example, i.e. self-promotion. A trademark as a symbol is a plurality of registers and associations found with a singularity, a person’s name, a signature or a corporate identity.
What do you know of your signature that is yours or influenced. Why, have you not changed your signature from time to time. Why, for example, practice a signature, when it is certainly from the same hand and not the prescription of a school’s detention
The narrative is kaleidoscopic, a kaleidoscopic narrative. The diaspora. center is as independent as freedom of speech may permit, as creative as the ability to research and explore the scope of expression: a POV (point of view), experimental image, text, sound, reportage, art and crafts, the portfolio, and its observation.
Picture above: Sewn fabric
Revising the Revision
We are often quick to question the production and display of the avant-garde. The minimal line is chic; it is magnified and appraised. The latest fad is adapted, redrafted, and sometimes is the monopoly of recreation, better than the original, and is inspiration.
The artist is a provocateur, a recluse or a hermit; the artist is a performance artist.
Do we give the same credence to the participation of the spectator, the customer, the curator, a collector or a collator. Have we given over to interpretation without interpretation translation being the topic of an assessment.
Do we query the art critic as the collative commentator, the weight and the arc of a pen, gestural or strikethrough.
Is the news reporter’s story dissected as an observer or soothsayer, personal opinion abeyant, versed in the journalistic profession’s topical emendations, political or social correctness.
And then there is the absence of pre-connectedness, the sightseer. They are frequenters and clients. They are avid followers and novice monitors, patrons and purchasers, informed by all around them; the insight of their appreciation is possibly studied, prehensile, or guttural.
Devisable virtues, hardwired words, conductive sentences, invested with contemporary gestations of evaluation, between a tightrope and a promenade. The history of meaningfulness regurgitated, redeveloped, and indeed anew.
Picture above: Photo