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I did think of a subject to discuss, and think I may be able to.  I still feel tired, but once I get started typing, I can usually keep going for a little while.  What I thought I’d like to discuss was whether or not I’m talented as a composer of non-representational visimages (visual artworks) like the one I posted yesterday.  I now think I may be because:

(1) I very probably have a very good and broad memory for visimagery which allows me to base my work on superior preceding work.

Background: a good portion of the aesthetic value of a non-representational visimage depends, I believe, in what it does with what has preceded it.  That’s because I consider a nonRep (let me call it, at least for now) to be a variation on one or more of all the visimages preceding it.  Every artwork causes its engagent to remember some other artwork, or group of artworks–almost always without “knowing” it (by which I mean that his analytical brain doesn’t break in and tell him what’s going on); the new work is compared to the remembered work or works.  If the new and old coincide too completely, the engagent will be bored; if they coincide too little, the result will be painful confusion.  The idea is for it to be just enough unfamiliar.  That I’ve held for 45 years is the entire basis of aesthetic pleasure.  I’ve seen nothing to contradict my belief, although no one yet has agreed with me about it.  Mostly, I think, for fear of recognizing oneself as a machine.

(2) I’m sure I’m more sensitive to the boringly familiar than most people, too.  In any case, I usually make a fair number of changes in the visimages I make, constantly recognizing the too-familiar.

(3)  Similarly, I seem also to be innately quicker to perceive the absence of unifying principles than others, and a unifying principle, more than anything else, prevents a work from becoming excessively unfamiliar.  Hence, in nonReps, I automatically repeat shapes and colors all over the place, as well as try to find and sustain some suggestion of an over-riding image–like a landscape with a moon in it.

(4) Keeping the images’ elements in some kind of balance–putting a splash of red to the left if there’s one to the right, for instance–is another thing I do automatically.

(5) Trying for interesting contrasts, is important to me, too–jagged lines versus smooth lines, for instance.

(6) Often but not always I try for as many different kinds of shapes and colors as I can handle.

(7) I don’t think I have a better-than-average sense of color, but I do have some notion as to what colors go well with others.

I don’t think about all this much when at work–they’ve become second nature; but after leaving a piece and coming back to it, I often do.

Okay, call these “Rough Notes of My Practice as a Visimagist.”  And let me go back to bed.

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 I like this but am not sure why.  It holds my interest.  I seriously wonder whether it indicates I have a talent for this sort of thing.  It seems to me anyone could use Paint Shop to make other designs equal to or better than it.  The “asemic poems” I’ve seen posted usually seem as interesting to me as it.  Oh, well, I enjoy making these, so as my mind fades away, I guess I’ll continue to. 

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2. That anything other than consciousness is immaterial.

3. That the consciousness is material.

4. That only poetry that is effective is “genuine” poetry.

5. That beauty is a matter of taste. (See hatred #1.)

6. That liberty is only an important value so long as it does not become license.

7. Pure democracy, or the belief that 100,000,000 votes by 100,000,000 stupid people should count more than 99,999,999 votes by intelligent people.

8. That anyone should have the right to tell me how to live my life so long as I don’t physically injure another’s private property (i.e., all he owns, including his body) against his will without cause (as I’d have if I were protecting myself or someone else from the other’s attempt to physically harm another’s private property).

9. That I’m not important. (Note: whether I hate an idea or not does not depend on whether the idea is true or not.)

10. That formal education is essential to a person’s full intellectual development.

11. That one should hold a person’s ideas, as opposed to his actions, against him, since ideas really aren’t very important.

I suppose I could think of another hundred, but I don’t want to alienate everyone who reads my list–just 90%. I’ve been feeling very mean lately, I’m not sure why.

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Comments.  The refusal of morons to accept a given definition does not make it invalid, even if the morons make up a majority of the people using the language of the definition.  What counts is simply whether an intelligent person can use it to get to what it defines wherever it is, in space, the world of ideas, or anywhere else.  Everything can be defined once enough is known about it; that this may take time and can be extremely difficult, is irrelevant. 

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Okay, now a news item:

Today marks the start of an exciting project at All Things Considered. Each month we’ll be bringing in a poet to spend time in the newsroom — and at the end, to compose a poem reflecting on the day’s news.

All Things Considered

This announcement was posted today at New-Poetry.  Every time I think things couldn’t be worse for serious poets in American, I immediately learn I’m wrong.

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But I have been able to play around with the textual image I posted recently, and make the following:

I felt there were too many grey letter-fragments, so made this revision:

Kinda fun, doing these, and no mental strain.

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(1) I don’t care about the gross domestic product; I care about the gross cultural product.  Here’s an example showing what I mean by this: Smith writes a bad novel that sells ten million copies in 2011, which adds $20,000,000 to the gdp, but only 20 cultural units to the gcp, because it only gives a tiny measure of short-term pleasure to its readers while taking shelf space in bookstores away from much better books, which has a negative effect on the gcp; meanwhile, Jones composes 10 mathemaku that I post on the Internet, that only 100 people find enjoyable, but 20 of them get a relatively large measure of long-term pleasure from, which includes the pleasure they get from composing poems inspired by Jones’s, so the ten mathemaku add 1000 cultural units to 2011′s gcp.  Note, a cultural unit is worth $1,000,000 to the intelligent few, but nothing to the unintelligent many–until many years later when the work the latter enjoy is finally exploiting the innovations in works like mathemaku.

(2) Increased population will probably increase the number of valuable culturateurs (the Joneses), but–as I will show–will probably severely reduce their effectiveness.

(3) A sane goal for any country would be to reduce the number of workers needed to provide the country’s population with a happy, meaningful life.  Our country is unconsciously doing this via automation, and the fewer workers we have available, the more it will do this, because it has to. 

(4) Negative population growth will give us more wilderness, which is an unacknowledged need of human beings, particularly superior human beings.  Places to get away from others, which are as necessary as places to get together with others.  Places to get away from human products, too.  Places to enlargingly be with other species, too.

(5) Increased wilderness and fewer people will make pollution more difficult–for example, there will be fewer cars emitting poison gases into the sky.

(6) Increased wilderness will be a boon for wildlife; it will mean less highways for raccoons to get killed on, for one thing.  It will make it less likely that dangerous creatures will invade areas inhabited by human beings, too.

(7) Decreased populations will make wars for land less likely.

(8) Decreased populations will decrease the over-stimulation I consider a major problem for Westerners at this time.  Most of us have many too many others to relate to, and many too many ideas to try to understand.  Why, I wonder, must we continue to advance culturally a hundred times faster than we did a thousand years ago?

(9) I may be about the only one in the world for whom this is a problem, but I do not like thinking of myself as one human being in a population of seven billion.  How can I possibly think whether I live or die is meaningful when there are 6,999,999,999 others who will carry on after I die?  Even if I’m among the top hundred innovators of my time, it’s pretty clear that someone else would have done what I’ve done had I not existed, if maybe a year or two later than I.

(10) I wonder if cultural progress has reached or will soon reach a time of too many cooks spoiling the broth.

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