"Speech is an arrangement of notes that will never be played again."
-F. Scott Fitzgerald

I have realized that the past and future are real illusions, that they exist in the present, which is what there is and all there is.
-Alan Watts

Wednesday, January 25, 2012

Image of the Night # 16- Arrangement for Reds and Blues - Larghetto con Moto - 2012

Arrangement for Reds and Blues - Larghetto con Moto - 2012

If you would like an example of what a piece set to the Larghetto con Moto tempo sounds like then I direct you to Ferdinand Ries' Symphony No. 7 Op. 181 II. Conducted by Howard Griffiths with the Zurich Chamber Orchestra. I'll admit there are parts of the song that I feel do not really harmonize with the image but it is merely for educational purposes of demonstrating the tempo. If you wish to listen to the song and view the image together then I suggest first clicking on the video and then opening the image in a full screen format.

Monday, January 16, 2012

New Works of the Morning (1/16/2012)

I had a difficult time sleeping throughout the night and, to be honest, had a rather odd dream. There was nothing overtly strange about it except how cemented it was in reality. No laws of physics were broken or thrown away with. The only strange thing about it was that there was nothing strange about it. Anyway, I woke up this morning, wandered down to my friend Anthony's place and woke him up asking if he wanted to go to the bookstore and get some breakfast or brunch. After hearing that he too did not sleep well I decided it was best if I give him some more time to rest, I returned to my room and picked up my camera. I discovered something though. While I normally create while listening to music I may have to stop doing so from time to time. The first image I'm going to show you comes equipped with a sound clip. Actually it will be an entire song because I'm not going to bother to edit out the specific portion that took me from the beginning to end of making the image. Anyway, the song is called "God Fearing Man" by Ben Harper (personal website here). It features an instrument known as the Weissenborn lap-slide guitar, favored by Mr. Harper. I think that the meshing of the slide guitar portions of the song combined with the subject matter and visual texture of the original photograph contributed greatly to the resulting image. I find it almost works better (as in it is better understood) when it accompanies the music. Though it is not my intention to create images that accompany music but rather images that posses a musical quality I cannot help but feel a significant connection between the image and musical piece. This I attribute to the fact that I was listening to it, rather loudly, while creating the final image. However, if I am to take a step back and look at the situation a different way I could make the argument that my current train of thought is only possible because I desire it to be so and that I'm projecting a biased opinion and created an argument to make sense of that. Whichever it may be I'll let you all be the judge of that.

The image has no name yet but the text "Created while listening to God Fearing Man by Ben Harper" accompanies it. Possibly a mistake, but for the purpose of this bolg post I feel it serves as supporting evidence.

And here is the song: (Please, if you will let it play through for a bit. It wasn't until the energetic solo that I created the image.) I couldn't upload the mp3 with this blogging site. Probably best since even though it could be considered for educational purposes and thus be filed under the "fair use act" I'd best not tread on thin ice. If you'd be so willing, please open it up in a new tab or window and open this image up. Thank you.

Below, I have another image that was made with no external stimuli such as music. Rather, it was made by an open window and though I live in New York City it has been a surprisingly quiet morning, just the wind has been blowing. This image was made before the first image in this post.

This is an un-edited image and my only thoughts towards editing it are to possibly crop a bit off of the bottom.

I sincerely thank you for your time,



UPDATE 1/16/2012:

Here is the alternate crop of the second image:

Saturday, January 14, 2012

Supplement to previous post

Here are a list of quotes that I feel should be read in conjunction with the previous post, Image of the Night #15:

from: (Original Source): From the Kenneth Lindsay translation of Wassily Kandinsky’s “Uber die Formfrage,” Der Blaue Reiter (Munich: R. Piper, 1912), pp. 74-100.

My source: Chipp, Herschel Browning., Peter Howard Selz, and Joshua Charles Taylor. Theories of Modern Art: A Source Book by Artists and Critics. Berkeley: University of California, 1968. pp. 155-174. Print.

"Every creative artist's own means of expression (that is, form) is best since it most appropriately embodies that which he feels compelled to proclaim. From that, however, the conclusion is often falsely drawn that this means of expression is, or ought to be, the best for other artists also" (p 157).

"Necessity creates the form. Fish which live at great depths have no eyes, the elephant has a trunk. The chameleon changes its color, and so forth. Thus, the spirit of the individual artist is mirrored in the form" (p 157).

"[...] one shall consider valid every form, deem correct (= artistic) every form, which represents an inner content" (p 158).

"One should approach a work in such a way that the form has an effect on the soul. And through the form, the content (spirit, inner resonance). Otherwise one elevates the relative to the absolute" (p 158)

"[...] it is not most important whether the form is personal, national, or has style; whether or not it is in accordance with the major contemporary movements; whether or not it is related to many or few other forms; whether or not it stands completely by itself: but rather the most important thing in question of form is whether or not the form has grown out of the inner necessity" (p 158)*1

*1 That is, one may not make a uniform out of the form. Works of art are not soldiers. With a given artist, a given form can be the best at one time and the worst at another. In the first case, it has grown in the soil of the inner necessity; in a second–in the soil of outer necessity: out of ambition and greed. W.K.

"And so it is sufficient to say: everything is permitted" (p 160)

"For the 'understanding' of such pictures, the same liberation is necessary as in realism, that is, it must become possible, here too, to be able to hear the whole world just as it is without objective interpretation. And here these abstracted or abstract forms (lines, planes, spots, and so forth) are not important as such, but only their inner resonance, their life. Just as in realism, not the object itself or the outer shell are important, but rather its inner resonance, its life" (p 162).

"[...] the external effect can be a different one from the inner effect: the inner effect is caused by the inner resonance; and this is one of the most powerful and deepest means of expression in every composition" (p 163).

"the ideal critic, then, would not be the critic who would seek to discover the 'mistake,' 'abberations,' 'ignorance,' 'plagiarisms,' and so forth, but the one who would seek to feel how this or that form has an inner effect, and would then impart expressively his whole experience to the public" (p 165).

I'm going to stop there but I urge anyone whose interested by what Kandinsky writes to go out and find a copy of Theories of Modern Art: A Source Book by Artists and Critics Herschell B. Chipp.



Image of the Night #15 - New York City, Nocturne in Blue and Red

New York City, Nocturne in Blue and Red; 2012

Here's the most recent Image of the Night.  Created with the inspiration garnered from the paintings of James McNeil Whistler. I was looking out my window and my eyes fell to the AC unit of my neighbor. I noticed that there was enough light so that the interior parts were just visible. Inside there were an arrangement of pieces that reflected various colors, all of which seemed to fall into the blues and red portions of the spectrum. The photograph was made late in the day so I knew that the sunlight was a much cooler color temperature then my eyes were showing me and I knew I could use that to my advantage. Though it is entitled a nocturne it can be seen that it displays a rather violent array of verticle bars of a high value. Seeing this caused me to think about it in predominantly two ways. One of which was that each vertical line sounded like distant staccato trumpet or violin notes. The other way was that it also appeared to be a very illustrative example of a music staff with each black space being the measure and each white vertical line being a standard bar. Now, in order to bring the music to life I found an online example of color-tone relation. These notes serve as a relative consensus between two composers, Alexander Nikolayevich Scriabin and Nikolai Rimsky-Korakov. Now, if you really want to sit down and play the picture in accordance to the colors shown in relation to the circle of fifths then be my guest but that's too much for me. I enjoy the aesthetic experience of relating the blues to low violin, cello and double bass sounds while the reds appear to be more in the spirit of the soft warm tones of the horn, and some woodwind instruments. I can give no insight as to how long or short the image will play out for you or if it even will at all. I also must say that nothing presented here is a definite science, rather, it's a product of myself realizing my views on the visual world, how I've experienced and enjoyed them for years and years, as well as my findings of like-minded individuals that seem  to have agreed with me.

I'll share with you some quotes from one of my favorite painters, Wassily Kandinsky.

from (Original Source): Chapter 5, Uber das Geistige in der Kunst (Munich: R. Piper, 1912), pp. 37-42 (actually published in December, 1911)

My source: Chipp, Herschel Browning., Peter Howard Selz, and Joshua Charles Taylor. Theories of Modern Art: A Source Book by Artists and Critics. Berkeley: University of California, 1968. pp. 152-155. Print.

"If you let your eye stray over a palatte of colors, you experience two things. In the first place you receive a purely physical effect, namely the eye itself is enchanted by the beauty and other qualities of color. You experience satisfaction and delight, like a gourmet savoring a delicacy. Or the eye is stimulated as the tongue is titillated by a spicy dish. But it grows calm and cool, like a finger after touching ice. These are physical sensations, limited in duration. They are superficial, too, and leave no lasting impression behind if the soul remains closed. [...] On he other hand, as the physical coldness of ice, upon penetrating more deeply, arouses more complex feelings, and indeed a whole chain of psychological experiences, so may also the superficial impression of color develop into an experience"(p 152).

 "Only with higher development does the circle of experience of different beings and objects grow wider. Only in the highest development do they acquire an internal meaning and an inner resonance. It is the same with color, [...]" (p 153).

"The eye is strongly attracted by light, clear colors,a nd still more strongly by colors that are warm as well as clear; vermillion stimulates like flame, which has always fascinated human beings. Keen lemon-yellow hurts the eye as does a prolonged and shrill bugle note the ear, and one turns away for relief to blue or green"(p 153).

"They [colors] produce a correspondent spiritual vibration, and it is only as a step towards this spiritual vibration that the physical impression is of importance" (p 153)

"The sound of colors is so definite that it would be hard to find anyone who would express bright yellow with bass notes, or dark lake with the treble" (p 154).

UPDATE (1/16/2012): Recently, a very good friend of mine, Emily Yost, a fellow photography enthusiast as well as quite the artist told me that when she viewed this image she could not help but think of the Theme song to Cowboy Bebop. Now, seeing as it's one of my favorite, if not THE favorite anime I've seen, I loved hearing that news. If you are unfamiliar with the theme, here it is in full.

Thursday, January 12, 2012

Recent Work (Wharton State Forest)

Recently I was able to have the opportunity to take one of my cameras and accompany my friend Ryan Shorosky for an adventure in Wharton State Forest located in Southern New Jersey near Hammonton and Lower Forge. These are some of the images I made during my time spent there.
 Since these images are on the internet and therefore, I believe them to be loosely "in the public domain" I'm allowing full distributing rights to those who wish to use them (e.g. phone backgrounds, wallpapers, teaching instrument or instruments for critique, etc...). However, it would be greatly appreciated if you could either link to my site or give credit to me as the original artist.
You'll notice some slight to moderate vignetting on many of the images. This is due to the fact that I was operating an old Mamiya 645 medium format camera with a slightly wider than standard 70mm lens. As the aperture is decreased in order to broaden the depth of field (range of what will be percieved as in focus by the human eye) the edges of the frame are exposed to a dramatically lower amount of light resulting in the appearance of somewhat burned or darkened corners.
You'll also notice that I've neglected to remove any instances of dust that happened to be on either the scanner or the negative during the time of scanning. This is partly due to the fact that uploading these are a luxury I take during my more free times during the day. If anyone would like to inquire as to how to obtain a professional print and at what sizes they are available please feel free to email me at SRS2Photo@Gmail.com.

I hope you enjoy these recent images.

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Taken by: Steve shilling II

Sunday, January 8, 2012

Important Past Speeches

In this day and age, after hearing this presidential address, how is it we've not been able to prevent what's happening now?

I urge you to take the time to sit down and listen, or for some of you, listen again to former president Jimmy Carter as he presents his famous "Crisis in Confidence" speech which is also known as his "Malaise" speech.


FDR's proposal of a second Bill of Rights

What ever happened to these?


More Info here