I dream of Egypt stilllllllll

WALKING WHALE TAIL





sketchbook of Egypt  

1. im a big advocate of senseless communication with the world through unseen earth art
2. as an earth artist  i must sketch random and popular places as well as the obscure
3. Universal communication. Art allows the individual to express things toward the world as a whole. Earth artists often create art in remote locations that will never be experienced by another person. The practice of placing a cairn, or pile of stones at the top of a mountain, is an example. (Note: This need not suggest a particular view of God, or religion.) Art created in this way is a form of communication between the individual and the world as a whole.
4. Ritualistic and symbolic functions. In many cultures, art is used in rituals, performances and dances as a decoration or symbol. While these often have no specific utilitarian (motivated) purpose, anthropologists know that they often serve a purpose at the level of meaning within a particular culture. This meaning is not furnished by any one individual, but is often the result of many generations of change, and of a cosmological relationship within the culture. "Most scholars who deal with rock paintings or objects recovered from prehistoric contexts that cannot be explained in utilitarian terms and are thus categorized as decorative, ritual or symbolic, are aware of the trap posed by the term 'art'." -Silva Tomaskova[26]

Fulgurites have no known use value for human beings, and it seems that their lack 

of function produced a kind of experimental glee, as making man-made fulgurites seemed 

to embody “pure science,” experimentation for its own sake. This sense of an activity 

undertaken “for its own sake” could not help but evoke the intellectual root of “art for its 

own sake” in Immanual Kant’s argument about the purposive purposelessness of art; art 

and science, both, then, for their own sakes. But instead of high-minded rhetoric, the on- 

location snap-shots make this work look like a lot of fun and games. 

  

3. It is common now for artists to travel to places other than where they live to make art 

works that in some way engage with, question, or bring attention to the particularity of a 

given place. Site-specific work, as this recent mode of artistic production has come to be 

called, often has an ambivalent relation to the place it is situated in. The demand to 

articulate the uniqueness of a given place is a burden, after all, especially to a person 

distinctly not from there. 

We have all encountered the types of souvenirs made by Sand Creations — sand dollars, 

starfish, flamingos — mementos of vacations, little repositories of memory. One way to 

think about the souvenir is to see it as experience objectified, nature transformed into an 

object that can be placed at a remove or distance so that it might be able to be grasped. A 

fulgurite is like a souvenir made by nature; it’s as if lightning objectifies itself, 

transforming itself from a sublime, instantaneous moment of electrical power, into a 

craggy misshapen glass tube, a trinket, a tchotchke of sorts. And true to the souvenir, the 

fulgurite does little either to encompass or to convey the awesome visual and sensorial 

impact of lightning.  

 

Souvenirs, from the French verb to remember, are mnemonic devices. We buy them as a 

means to an end, as a way to fix a transitory experience, usually one that exceeds our 

ability to convey it to other people (the “you had to be there” effect). They offer us 

opportunities to tell a story, they provide us with moments when we are able to summon 

our pasts forward into the present; they permit the mingling of past and present. A form 

of evidence, proof that something has happened, the souvenir is an attempt to congeal 

experience into a thing, a thing to be carried, to be displayed, ultimately, perhaps, to be 

forgotten. In a culture dominated by tourism the souvenir acts as a way to “authenticate” 

our experience. Yet as it has become progressively harder to distinguish the specificity of 

places, as the experiences of travel and tourism have become homogenized, it may be that 

the souvenir is now asked to aid in the increasingly difficult project of differentiation. For 

this we need only look to all the airports’ “regional” gift shops, replete as they are with 

the ubiquitous salt-water taffy, and t-shirts and refrigerator magnets that sport an endless 

substitution of place names.  

long after the sands swallowed ruins..... i walked like an egyptian

once animals reined

then humans

and then 

Robots................ see flight of concords for song

year 4000 ad man has long disapeared from the earth, leaving behind only their innovation and imagination within the now sentient robots

who dream only of creating that which no longer exist..............

life

Roger the robot  was the original digi net of all the accumulated interneted knowledge

  year 2500 the last human died but before she did, she underwent a nueral net transfer and was assimilated into the super net

she became legend

attented by robots for the last months of her life  

 she lived on as a ghost conciousness in the web

robots of 4000ad used the magnetic feild of the earth as their energy source

this was something humans had never accomplished  

to harvest the proper wave  robos  built their air cities at 14, 006 feet above the flooded surface of the world

the diary of ROGER RESTLESS was a discovery of art shapes in the credits of terminator salvation  

signifying somehting ive overlooked and thought mundane and useless to see-

i watched and loved it

my day had been previously awesome with a glassy thick set at salt creeek that I rode

committed and true

huge for my regular standard  i performed awesomely undert he asmatic and unkept arms i have

so this art code so to speak is an amazing idea

making art out of the hated credits

either reversing them mirroring, flipping, or recording with low res to achieve other results

shapes like faces and things appeared in the type spacing

i pushed my mind to slow it down even though it speed by at a fast forward speed- this may have been key

but the idea is that imaginations can be focus and pushed to squeeze what we want

literally to shape and bend reality to become what we choose

in my case art material-

this idea is new

at least for me and my own inventions  the way i can jump the horizon in a dream by skipping it focusing my mind and eye in a sort of mantra of  fastr faster faster i repeat

by squinting my eye focus and opening my mind and imagination to access all visual imagry ive taken in my brain like some sort of human computer thing - 

how can my imagination effect the actuall material I see?

effect the information-  to bend it and find its secret images- ultimate search being the face of god or dna sort of coding-

i beleive people could apply this in many ways  but for me as an out of the box artist   its a bold discovery-   pushing my mindfurther pushing my sight to see solley with my imagination   is that possible?

what are the implications

if i can draw and conjour these images   then what?

 its at least a unique visual language of self

but its applications seem universal  

my imaginations speed has increased and these thoughts are like lightening fractals, i have to to back track to try and write and define the feeling and collapse simple thought-  how can i simplify it in words

my mind can adapt the visual information instantly when focused to a specific desire

flash...........

see the  Pharoh  in the rock>