the brain

Emily Dickinson (1830–86). Complete Poems. 1924.

Part One: Life

CXXVI

The Brain

The Brain—is wider than the Sky—

For—put them side by side—

The one the other will contain

With ease—and You—beside—

The Brain is deeper than the sea—

For—hold them—Blue to Blue—

The one the other will absorb—

As Sponges—Buckets—do—

The Brain is just the weight of God—

For—Heft them—Pound for Pound—

And they will differ—if they do—

As Syllable from Sound—

Summary:

The first stanza contrasts the brain with the sky and shows that the brain is wider, because it can think about the sky and at the same time can think about the person who is thinking about the sky..

The second stanza contrasts the brain with the sea and claims that the brain can absorb the sea as a sponge absorbs a bucket of water, again referring the vast thinking ability of the brain.

The third stanza contrasts, as well as compares, the brain with God. The brain, the speaker insists, is the “weight of God”—for if they are hefted “Pound for Pound,” the brain’s weight will differ from the weight of God only in the way that syllable differs from sound.

Form:

This poem employs all of Dickinson’s familiar formal patterns: it consists of three four-line stanzas metered iambically, with tetrameter used for the first and third lines of each stanza and trimeter used for the second and fourth lines; it follows ABCB rhyme schemes in each stanza; and uses the long dash as a rhythmic device designed to break up the flow of the meter and indicate short pauses.

Interpretation:

Dickinson testifies to the mind’s capacity to absorb, interpret, and subsume perception and experience. The brain is wider than the sky despite its size because the brain is able to incorporate the universe into itself, and thereby even to absorb the ocean. The source of this capacity, in this poem, is God. In an astonishing comparison Dickinson likens the minds capabilities to “the weight of God”, differing from that weight only as syllable differs from sound.

This final stanza reads quite easily, but is actually rather complex— both the brain and God seem to have similar power, since there are no limits to their capabilities. it is difficult to know precisely what Dickinson means. The brain differs from God, or from the weight of God, as syllable differs from sound; the difference between syllable and sound is that syllable is given human structure as part of a word, while sound is raw, unformed.

One interpretation might be that Dickinson seems to conceive of God here as an essence (sound) that takes its form from that of the human mind (syllable), since it is the brain that conceives the idea of God. Another interpretation might be that God still remains greater than the brain, because while the brain is a syllable, God is sound, and the syllable is the instrument by which sound is articulated.

In my own opinion, I don't believe that Dickinson tries to make a statement as to which of the two surpasses the other. Neither do I think that it is a question of which one gives rise to the other: is it the brain that creates God, or is God the creator of the brain? I think that what she actually means by that comparison of syllable and sound is that even if they are alike in terms of capabilities, they are not comparable on the same level, but rather parallel concepts.

source 1, source 2

eternal jellies

An immortal jellyfish from the waters of the Caribbean is spreading throughout the world's oceans. The Turritopsis Nutricula is a tiny jellyfish which is just 5 mm long. It is technically known as a hydrozoan and it works in a very mysterious way. It is, through its cell development, actually able to reverse the ageing process.

Scientists, geneticists, and marine biologists are working closely to observe cell transdifferentiation, a process in which the Turritopsis Nutricula transforms from one cell type to another through its natural life cycle. Theoretically, this cycle can repeat indefinitely, rendering the animal potentially immortal. While most members of the jellyfish family usually die after propagating, the Turritopsis nutricula has the unique ability to return to a polyp state after reaching sexual maturity. Because these jellyfish do not die naturally of old age, they are spreading through the worlds oceans at a spectacular rate of growth. Dr. Maria Miglietta of the Smithsonian Tropical Marine Institute said: “We are looking at a worldwide silent invasion.”

picture source & source 1, source 2, source 3

we are all dots.

picture source

“I, Kusama, am the modern Alice in Wonderland.” (at the press release of the "Alice in Wonderland happening",1968)

"Yayoi Kusama was born in 1929 in Matsumoto City, Japan. She is best known as a plastic artist, although she has written several books, designed fashion, and made a film ('Self-Obliteration'). Despite having had a heavy influence of Andy Warhol and many other New York artists of the time, she remained relatively unknown.

She was born into a reasonably wealthy family, driven and governed by her strict mother, who wanted her daughter to be raised in a traditional way. The constant pressure and rejection by her mother may have triggered her illness. At the age of ten Kusama's mental illness became apparent when she began to see visions of proliferating patterns made up of dots, nets and other shapes. These hallucinations were extremely frightening, as they threatened to dissolve her self into the patterns she had been seeing.

'One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows and the walls, and finally all over the room.'

Whether by accident or not, Kusama discovered that through drawing and painting these experiences, she was able to gain some kind of control over them. Her mother did not share this view and violently reacted to Kusama's attempts to spend her time on art, subjecting her to torrents of physical and mental abuse.

In 1948 she left home and attended Kyoto Municipal School of Arts and Crafts for around a year and a half. She was allowed to do so under the pretext that she would study traditional etiquette at relatives in Kyoto. In 1952 she had her first solo exhibition at the Matsumoto Civic Hall. Unfortunatelly, most of the early works have been destroyed by the artist herself. At about the same time she started undergoing psychiatric treatment.

In 1957 her parents gave her money to support her moving to NYC under the condition that she would never return. She spoke little English, knew few people and had only her portfolio to aid her attempts to find work as an artist. However, by 1959 she had her first US solo exhibition, at the Brata Gallery. Furthermore, her work had clearly changed in style since her arrival in the US: from smaller, more delicate abstractions into huge mural-sized paintings. Her art revolved around the creation of repetitive images, involving polka dots and what she calls 'Infinity Nets' (a web of color stretching across canvasses and almost any object) being the most frequent patterns used.

During her time in New York she met many prominent names of the 60s New York art scene, the most famous of whom would be Warhol. Her art had by now extended to sculpture and installation art, making her a pioneer. Many of her sculptures are ordinary objects completely covered with stuffed cloth phalluses (she refers to them as 'Compulsion Furniture'). For example, she covered a row-boat with these phalluses, then took a picture and made 999 prints of it. With these prints she covered all the walls of a room, placing the actual row-boat in the centre and this became her work , playing on ideas about the reproduction of art and repetition.

Kusama's work progressed onto photography and performance art. In 1967 she staged 'Body Festivals' and 'Anatomic Explosions'. These basically involved naked people and having polka dots painted on them until the police inevitably turned up. Numerous happening against the war involving naked people and public orgies followed.

In the early 70s Kusama returned to Japan. She now lives in a mental institution and has her own private studio to create work.

Themes and motivations:

Kusama calls herself an "obsessional artist", self-obsession permeates throughout Kusama's artwork as it all relates to her own attempts to come to terms with her psychological and mental condition.

Her representation of phalluses depicts her fear of obsessive sexual motifs.

"As an obsessional artist I fear everything I see. At one time I dreaded everything I was making. The armchair thickly covered in phalluses was my work done when I had a fear of sexual visions."

Infinte repetitions, patterns and ubiquitous polka dots are her favourite motifs, which she explores through painting, collage, light installations and other forms.

"A polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm. Round, soft, colourful, senseless and unknowing. Polka-dots can't stay alone; like the communicative life of people, two or three polka-dots become movement... Polka-dots are a way to infinity.

Her work became increasingly dematerialized and less obsessive-compulsive throughout her life, which attests the fact that she managed to use art as a form therapy for herself.

"Every time I have had a problem, I have confronted it with the ax of art."

"It was not so simple, not so easy to come up with this way of living that I've had. I was given a sad life by fate, but I think I won a happy life. . . . Not one day has passed when I didn't think of suicide, but I'm very glad to be alive now. Most people are so preoccupied with their illness, sickness, and they live a very ordinary life. I was so involved and so engrossed with painting, and knew from my childhood that it could help me to overcome unhappiness. If it were not for art, I would have killed myself a long time ago."

To me she is one of the major sources of inspiration. Not only has she always been open with respect to her own mental illness, but to her it is irrelevant whether her work is recognised or not. The creation of the piece is the goal itself, the therapy.

Yayoi Kusama webpage

interview

TRAILER of Near Equal Yayoi Kusama: I Adore Myself

TRAILER of Princess of Polka Dots

source 1, source 2, source 3, source 4

check out this collection of dots

art for all

Gilbert & George say:

We are unhealthy, middle-aged, dirty-minded, depressed, cynical, empty, tired-brained, seedy, rotten, dreaming, badly-behaved, ill-mannered, arrogant, intellectual, successful, hard-working, thoughtful, artistic, religious, fascistic, blood-thirsty, teazing, destructive, ambitious, colourful, damned, stubborn, perverted and good. We are artists.

(Photograph by Pierre Arnaud 2004, photo from Digital Heritage)

I have recently seen a highly recommendable documentary on Gilbert & George and their unique, crazy world. They are two exccentric artists who began working together in 1967 when they met at St Martins School of Art. From the very beginning, in their films and ‘living sculpture’ they appeared as figures in their own work. Gilbert & George believe that everything is potential subject matter for their work, and they have always addressed social issues, taboos and artistic conventions.

source

I sometimes tend to be very critical when it comes to art (music or visual arts) that tries too hard to be pop, avant-garde, modern or unconventional. It has either something very desperate or very elitist about it. Indeed there seems to be a fine line to delimit true art from fake and constructed art, and it is only up to the viewers to decide whether a certain work belongs to one category or the other.

It was this reaction that I had, when I saw G&G's "naked shit pictures" exhibition in the documentary. I felt, like they were going too far, for the sake of going too far. However, I soon realized that the need to shock in order to play around with conventions is a legitimate way of creating works of art. What matters most, however, is not the "how" but the "why". So I always try to fnd out what the artist's intention was when creating. What was he or she trying to address in the viewers? Art is most of the times a way to express, but often also a means to impress (with a purpose, not gratuitous). As long it is one of those, I decided to agree that it is art.

paprika

" Evidence that Japanese animators are reaching for the moon, while most of their American counterparts remain stuck in the kiddie sandbox" - NYT

poster source

Review: A one of a kind spectacle, defined by fabulous animations, with a nearly random, surreal plot. This was such an amazing experience: visually exhausting and absolutely insane! With a mesmerizing soundtrack by the wonderful Susumu Hirasawa, this movie manages to be light and vivid despite it's dark themes. I really need to see this again, on the big screen.

Here is a link to the Paprika website.

Synopsis: Based on the novel of the same name from 1993 by the Japanese author Yasutaka Tsutsui, and written by Satoshi Kon and Seishi Minakami, this dense, rather overly plotted story revolves around a group of experimental scientists who have developed a new psychiatric tool. Known as the DC Mini the device allows a treating doctor to enter directly into their patient’s dream, interacting with them to diagnose and treat any issues that the dream may suggest. The project is in danger, however, when the three latest DC Mini devices, just completed and without the proper security protocols installed, are stolen from their creator. This threatens all boundaries between the two worlds to break, with the realm of the dreams entering and overtaking reality. Several characters engage in a search for these devices, and an endeavour to save the world: police detective Toshimi Konakawa, 29 year old Dr. Atsuko Chiba, an attractive but modest Japanese research psychotherapist and her alter-ego, a stunning and fearless 18 year old “dream detective,” code named PAPRIKA, who can enter into people’s dreams and synchronize with their unconscious to help uncover the source of their anxiety or neurosis.

The director: More than any other, Satoshi Kon is an explorer of the subconscious mind. While Tokyo Godfathers stands as an exception to the rule, Kon’s work (Paranoia Agent, Perfect Blue, Paprika) is concerned with questions of memory, perception and identity. Here you can read an interview with Satoshi Kon on the movie.

source 1, source 2

This is an interesting MV of "Paprika" with the song "Girl in Byakoya". The wonderful OST can be bought on amazon.

Here you can watch the trailer:

Watch Paprika trailer en HD in Unterhaltung | View More Free Videos Online at Veoh.com

the long journey home

"In a village that never knew sickness a boy is sent into the wilderness to find the cure to his illness. He returns from his great journey to a village that does not recognize him for the changes he has endured.

They have no way to cope with his transformation or understand the message he brings back from his great journey. The boy is expelled from the village and forced to lead the rest of his life in a secluded wilderness.

Until one day, much later, the village sends out a young warrior to find the Boy and bring him home. It is time. They are ready to hear his story.

Are you ready to hear his story?"

Directed by: Billie Mintz

Written by: Billie Mintz, Jeffrey Stewart Timmins

Starring: Igor Vrabac

Country: Canada

Forms: Animation, Narrative Fiction, Short

Animation Techniques: 2D Computer, Animated Objects, Experimental, Ink on Paper, Paint on Paper, Puppets

The animation is done in a shadow puppet style. Jeff draws each section of the character and background, then it's placed in 3d space in after effects 6.5 and edited together in final cut pro. A lot of the mechanics and motion is based on kaliedescopes and internal clockworks of manual cameras.

For more information, as well as a conceptual trailer, see Billie Mintz' site.

Watch the entire short animated movie here.

Concept:

Surviving the Treatment: The Return of Myles McLellan is a documentary about a child with a brain tumour who returns to a community unable to accept him for the changes he has endured. Through storytelling, he is able to reconcile himself and his family as he goes to great lengths in order to share his experience with his community.

In many ancient cultures, storytelling was as essential to communities as science and art. Storytelling enlightens the world around us as well as the world within us. Through storytelling, we can approach subjects that are beyond our understanding and gain insight to help us deal with them. Within a classical three-act story structure, there is always a three-step process, referred to in mythology and ancient cultures as the ‘Initiation’. In the first act, the hero is separated from everything he or she knows. In the second act, known as the great ordeal, the hero is forced to face death or hardship. In the third act, the transformed hero returns to his community with a new message. Members of the community then incorporate this new knowledge into their own lives.

Myles’ story relates to the director's previous fictional films, which centered on individuals who were socially marginalized. Storytelling allows us to approach subjects that can be difficult to understand and gives us insight into how to deal with them. Storytelling has been Mintz' method of communicating the need for understanding and acceptance. It is his goal as a filmmaker to incorporate storytelling back into the community as a tool for teaching people about our differences.

source

miniature earth project

This is how the world would look like, in terms of numbers and statistics, if there would only be 100 people living. I wonder how many of these 100 would be appreciating what they have...