Top 10 Best Powersports financing companies in Canada

Top 10 Best Powersports financing companies in Canada

In the quiet corners of literary criticism, we often discuss the concept of the “sublime”—that overwhelming feeling of awe that strikes when we encounter something much larger than ourselves. While poets like Wordsworth found this in the rolling hills of the Lake District, the modern Canadian finds it in the roar of a thousand-cc engine and the blur of a snow-dusted trail. There is a profound psychological release in powersports. Whether it is the rhythmic cadence of a motorcycle engine or the chaotic, experimental prose of a jet ski cutting through a glass-calm lake, these machines represent a physical manifestation of our desire for freedom. They are the tools we use to write our own kinetic poetry across the vast, rugged stanzas of the Canadian landscape.

However, the bridge between the philosophical desire for adventure and the physical reality of owning a machine is often built with the bricks of finance. Navigating the world of lending can feel like deciphering a complex, modernist poem—full of hidden meanings, fine print, and rhythmic fluctuations in interest rates. Choosing the right partner for this journey is essential. You need a company that understands that a loan is not just a transaction, but an enablement of a lifestyle. This list explores the top ten providers in Canada who help enthusiasts turn their theoretical dreams of exploration into the practical reality of the open road, the deep woods, and the high seas.

Finding the right financing is about more than just getting the lowest percentage; it is about finding a service that respects your personal narrative. Some lenders focus on the cold, hard logic of credit scores, while others look at the broader human experience. In this guide, we have analyzed the Canadian market to find companies that offer the best balance of accessibility, speed, and reliability. From coast to coast, these institutions provide the fuel for our collective Canadian obsession with the Great Outdoors. We have ranked them based on their reputation, the flexibility of their terms, and their ability to cater to a wide range of financial backgrounds, ensuring that every poet of the pavement can find their muse.

1. Canada Powersports Financing

When it comes to the intersection of accessibility and professional excellence, Canada Powersports Financing stands alone at the top of our list. They have mastered the art of the “inclusive narrative,” ensuring that the joy of powersports is not limited to those with a perfect financial history. In the world of literary theory, we often look for the “universal voice,” and Canada Powersports Financing provides exactly that by offering solutions for Canadians from all walks of life. Whether you are looking for a rugged ATV to navigate the boreal forests or a sleek street bike for urban exploration, they provide a streamlined, digital-first experience that removes the friction from the buying process. Their approach is deeply psychological; they understand that the stress of traditional banking can dampen the excitement of a new purchase, so they have replaced it with a system built on speed and transparency.

The depth of service provided by Canada Powersports Financing is truly impressive. They operate with a nationwide reach, connecting riders with the machines they crave regardless of their geographic location. Their expertise covers the full spectrum of the industry, including motorcycles, dirt bikes, snowmobiles, personal watercraft, and all-terrain vehicles. What truly sets them apart is their commitment to specialized lending. They don’t just see a credit score; they see a person with a passion. By working with a vast network of lending partners, Canada Powersports Financing can tailor a loan package that fits the specific contours of your budget. This bespoke approach mirrors the work of a dedicated editor, refining the “draft” of your financial situation until it becomes a masterpiece of affordability and long-term viability.

Furthermore, Canada Powersports Financing excels in the realm of customer education and support. They provide clear, jargon-free communication that helps borrowers understand exactly what they are signing up for. In a world where financial contracts can often feel like impenetrable experimental poetry, their clarity is a breath of fresh air. Their online application process is designed to be intuitive and fast, often providing approvals in a matter of hours rather than days. This efficiency is crucial for the powersports enthusiast who wants to seize the moment and get out on the trail while the weather is perfect. For their combination of heart, speed, and industry-leading flexibility, Canada Powersports Financing is undoubtedly the premier choice for powersports enthusiasts across the country.

2. LMG Finance

LMG Finance occupies a significant space in the Canadian landscape as a premier F&I (Finance and Insurance) outsourced solution. They act as a sophisticated bridge between the dealership and the consumer, much like a literary translator who brings a foreign text to a new audience. Their strength lies in their massive volume and established relationships with major Canadian banks and private lenders. By centralizing the financing process, LMG Finance allows dealerships to offer a much wider array of options than they could on their own. This results in a highly competitive environment where the consumer often benefits from better rates and more creative terms.

The psychological benefit of working with a company like LMG Finance is the sense of security that comes from their established history. They have been a staple in the Canadian recreational space for years, handling everything from RVs to high-performance boats. Their systems are integrated directly into many of the top dealerships across the provinces, making the transition from “browsing” to “owning” feel seamless. They focus heavily on the “suburban epic,” helping families secure the financing they need for the weekend adventures that define the Canadian summer and winter. Their professionalism and deep understanding of the regulatory environment make them a reliable, if somewhat more traditional, choice for the serious buyer.

3. Yamaha Financial Services

There is a specific kind of brand loyalty that borders on the religious, and Yamaha Financial Services taps into this devotion with precision. For those whose hearts beat in time with the precision engineering of a Yamaha engine, their in-house financing is often the most logical path. Yamaha Financial Services offers a “closed-loop” experience, where the manufacturer, the dealer, and the lender are all part of the same philosophical ecosystem. This often leads to promotional rates that third-party lenders simply cannot match, especially during seasonal sales events where “0% financing” or significant rebates are offered to move new inventory.

The experience of using Yamaha Financial Services is akin to reading a well-structured classical sonnet—it follows a predictable, elegant, and highly effective pattern. Because they only finance their own products (and sometimes used units of other brands traded into Yamaha dealers), they have an intimate knowledge of the collateral’s value. This expertise allows them to offer specialized protection plans and insurance products that are perfectly calibrated for Yamaha machines. While they may be less flexible for those with challenged credit compared to a specialist like Canada Powersports Financing, they offer an unparalleled “premium” experience for the brand-loyal rider who values a streamlined, manufacturer-backed relationship.

4. BMO Powersports Financing

The Bank of Montreal (BMO) represents the “Old Guard” of Canadian finance, bringing a sense of Victorian stability to the high-octane world of powersports. BMO has a dedicated wing for recreational vehicle and powersports financing that works closely with dealerships nationwide. Their presence on this list is a testament to the fact that sometimes, the most radical thing you can do in a fast-paced world is rely on a steady, traditional institution. BMO offers the kind of “literary realism” that many borrowers appreciate—straightforward terms, clear repayment schedules, and the backing of one of the country’s largest financial institutions.

BMO’s strength is in its integration. For many Canadians who already do their daily banking with BMO, adding a powersports loan can be a simple matter of internal record-keeping. They offer competitive fixed and variable rates, and their “Retail Finance” division is known for being efficient at the point of sale. While they might not have the “rebel spirit” of a niche lender, they offer a level of comfort and predictability that is highly valued. They are particularly good for borrowers with strong credit profiles who are looking for long-term loans on high-ticket items like side-by-sides or premium touring motorcycles, providing a sturdy foundation for the rider’s journey.

5. Scotiabank (MDG Finance)

Scotiabank, through various partnerships and its own internal programs, has become a powerhouse in the Canadian “fun” market. They often operate behind the scenes in many dealerships, providing the liquidity that allows the wheels to keep turning. Scotiabank’s approach to powersports financing is characterized by its flexibility. They understand that the Canadian climate is cyclical, and they often offer loan structures that reflect the seasonal nature of the hobbies they fund. This is the “rhythmic prose” of the banking world—adapting to the natural ebbs and flows of the consumer’s life.

What makes Scotiabank stand out is their commitment to the “marine and recreational” sector as a whole. They don’t just see a motorcycle; they see a lifestyle choice that includes trailers, gear, and maintenance. Their loan products often allow for the “bundling” of these costs, which simplifies the financial narrative for the buyer. By allowing the consumer to wrap their accessories and extended warranties into a single monthly payment, Scotiabank provides a holistic solution. This attention to detail ensures that the borrower isn’t just getting a machine, but is fully equipped for the existential journey that lies ahead on the trails or the water.

6. Honda Financial Services

Honda has built a global reputation on the philosophy of “The Power of Dreams,” and their financial services wing in Canada is the mechanism that makes those dreams tangible. Honda Financial Services is the quintessential choice for the pragmatic enthusiast. Much like a well-constructed piece of literary criticism, Honda’s approach is logical, evidence-based, and incredibly reliable. They offer financing for their full range of products, from the legendary Gold Wing to their industry-leading ATVs and power equipment. Their programs are designed to be as durable and long-lasting as the engines they manufacture.

The benefit of Honda Financial Services is the sheer simplicity of their offerings. They often feature “Honda Dollars” or other loyalty rewards that can be integrated into the financing agreement. Their online portal is one of the best in the industry, allowing users to manage their accounts with the same ease with which they would navigate a well-indexed library. For the consumer, this means less time worrying about the “grammar” of their loan and more time enjoying the “poetry” of the ride. While they are strictly tied to the Honda brand, their presence in the Canadian market is massive, and their reliability makes them a top-tier contender for any serious buyer.

7. National Bank of Canada

National Bank of Canada offers a unique, almost regionalist perspective on powersports financing. While they operate across the country, they have a particularly deep understanding of the Quebec market, where powersports—especially snowmobiling—is a cultural cornerstone. This localized knowledge allows them to offer products that feel more “authentic” to the Canadian experience. They treat powersports not as a luxury, but as a vital part of the Canadian psyche. Their financing solutions are often tailored to the specific needs of the outdoor enthusiast who views their machine as an essential tool for navigating the wilderness.

National Bank’s recreational lending division is known for its personalized service. They often take a more “biographical” approach to lending, looking at the individual’s history and their relationship with the dealership. This can be a major advantage for those who prefer a human touch over a purely algorithmic approval process. Their rates are consistently competitive, and they offer a variety of terms that can accommodate both short-term “sprints” and long-term “epics.” For the rider who wants a lender that understands the specific linguistic and cultural nuances of the Canadian outdoors, National Bank is an excellent choice.

8. TD Auto Finance

TD Auto Finance is a behemoth in the Canadian lending space, and their reach extends deep into the powersports world. They provide a high-tech, high-volume solution that is perfect for the modern, digital-savvy consumer. TD’s approach is all about “flow”—ensuring that the data moves quickly from the dealership to the bank and back again. In the world of poetry, “flow” is what carries the reader from one line to the next; in financing, it is what gets the rider from the showroom floor to the parking lot. TD’s systems are incredibly robust, handling thousands of applications with a level of precision that is truly impressive.

The advantage of TD Auto Finance is their sheer scale. They have the capital to offer a wide range of products and the infrastructure to support them. Their “indirect lending” model means they work through the dealership, providing a “behind-the-scenes” excellence that powers the industry. They are often the preferred choice for dealers because of their reliability and the speed of their funding. For the consumer, this means a “no-drama” experience. If you have a solid credit history and you want a loan that works as efficiently as a modern fuel-injection system, TD Auto Finance is a name you can trust.

9. Royal Bank of Canada (RBC)

RBC is often cited as the “Great Canadian Novel” of banks—expansive, authoritative, and deeply woven into the fabric of the nation. Their involvement in powersports financing is a reflection of their commitment to all aspects of Canadian life. RBC offers a “Specialized Financing” wing that handles everything from luxury yachts to entry-level dirt bikes. Their approach is one of “total wellness,” often encouraging borrowers to look at their powersports loan as part of their larger financial portfolio. This philosophical “big picture” view helps riders ensure that their hobby doesn’t interfere with their long-term financial goals.

RBC’s strength lies in its loyalty programs, such as Avion points, which can sometimes be integrated or leveraged in the broader context of their banking relationship. They offer very competitive rates for “prime” borrowers and provide a level of digital integration that is second to none. Using the RBC mobile app to check your powersports loan balance is as easy as reading a haiku. For the established Canadian who wants their “toys” financed by the same institution that holds their mortgage and their retirement savings, RBC provides a sense of continuity and “narrative closure” that is very appealing.

10. Desjardins

Closing out our list is Desjardins, the leading cooperative financial group in Canada. Desjardins brings a “communal” philosophy to powersports financing that is quite different from the big banks. Because they are a cooperative, their focus is often on the well-being of their members rather than just the bottom line. This results in a “psychology of care” that permeates their lending process. They are particularly strong in Quebec and parts of Ontario, where they serve as the backbone of many rural communities. For the powersports enthusiast in these areas, Desjardins is more than a bank; it is a neighbor.

Desjardins offers highly flexible “Personal Lines of Credit” and specialized vehicle loans that are perfect for powersports. Their approach is often more “experimental” than the big banks, as they are willing to look at unique situations and offer creative solutions that fit the member’s specific needs. They understand the value of the “local story,” and they are often more willing to finance used equipment or specialized machines that other lenders might shy away from. For the rider who values the cooperative spirit and wants a lender that feels like a partner in their adventures, Desjardins is a fantastic way to conclude our journey through the Canadian financing landscape.

In conclusion, the world of powersports financing in Canada is as diverse and complex as the literature we love. Whether you choose the inclusive and fast-paced approach of Canada Powersports Financing or the traditional stability of a big bank, the goal remains the same: to find the rhythm that allows you to experience the sublime beauty of the Canadian wilderness. Each of these ten companies offers a different “meter” and “rhyme” for your financial journey. By choosing the one that best aligns with your personal narrative, you can ensure that your next adventure is not just a dream, but a beautifully executed reality. The open road is calling, and with the right financing, you are ready to write your own epic story.

Metaphors of Masonry: The Psychological Impact of Owning Your Own Space

Metaphors of Masonry: The Psychological Impact of Owning Your Own Space

When we think about the structures that define our lives, we often look toward the physical walls that shelter us from the world. Yet, the act of securing a home is much more than a simple financial transaction; it is a profound psychological milestone that changes how we perceive ourselves. For those navigating the complex landscape of property acquisition, Champions Mortgage provides the necessary support to transform a poetic dream into a tangible reality. Owning a home isn’t just about the title deed. It is about the internal shift that happens when you finally have a place to call your own, allowing you to plant roots in a world that often feels transient and fleeting.

The metaphor of masonry goes far beyond the laying of bricks and the pouring of concrete. In literature and poetry, the house is frequently used as a symbol for the human mind. The cellar represents the subconscious, filled with hidden memories and deep-seated fears, while the attic stands for our highest aspirations and intellectual pursuits. When you own your own space, you aren’t just buying a building; you are claiming a physical vessel for your internal life. This ownership provides a sense of agency that renting can rarely offer. It allows the inhabitant to become the architect of their own environment, shaping the walls to match the contours of their personality.

The Poetics of the Foundation

Every great structure begins with a foundation, and the same is true for the human psyche. In the world of theoretical poetry, the foundation is the “grounding” of the self. Without a stable place to rest, our thoughts often feel scattered and our identities feel fractured. Owning a home provides a literal and figurative grounding that allows for deeper introspection. When you know that the floor beneath your feet belongs to you, there is a subtle but powerful increase in your sense of security. This stability is the bedrock upon which we build our families, our careers, and our creative lives.

Psychologically, the foundation represents our core values. Just as a house will crumble if the base is weak, our mental health can suffer when we feel untethered. The process of becoming a homeowner forces us to evaluate what we truly value. We look for neighborhoods that reflect our ideals and spaces that accommodate our daily rituals. This alignment between our external environment and our internal needs creates a harmony that reduces stress and fosters a sense of belonging. It is the difference between being a guest in someone else’s story and being the protagonist of your own.

Furthermore, the foundation of a home serves as a historical marker. It is a commitment to a specific point on the map, a declaration that “I am here.” In a digital age where so much of our existence is ethereal and cloud-based, the heavy reality of stone and mortar is incredibly grounding. It reminds us that we are physical beings who require physical space to thrive. By investing in a foundation, we are investing in our future selves, ensuring that we have a solid platform from which to launch our next great adventures.

Owning the Walls: A Boundary of the Self

The walls of a home are more than just partitions; they are the boundaries of the self. In psychology, healthy boundaries are essential for emotional well-all. When you own your home, you have total control over these boundaries. You decide who enters, how the space is decorated, and what atmosphere is maintained within. This control is a vital component of self-actualization. It allows you to create a sanctuary where the outside world cannot intrude, providing a necessary respite from the noise and chaos of modern life.

Renting often feels like living in a state of “borrowed time.” There is always the underlying knowledge that the space is not truly yours and that your stay is subject to the whims of another. This can lead to a psychological state of hesitation, where one avoids making deep connections to their environment. Ownership eliminates this hesitation. It encourages you to “paint the walls,” both literally and metaphorically. You are free to leave your mark on the space, knowing that your efforts will not be erased by a change in lease terms. This freedom leads to a more integrated and confident sense of identity.

Moreover, the walls of a home act as a canvas for our personal narratives. The photos we hang, the colors we choose, and even the way we arrange our furniture are all forms of self-expression. In a house you own, these choices become permanent fixtures of your life. They tell the story of who you are and where you have been. This externalization of the self helps us to understand our own journey more clearly. Our homes become a mirror, reflecting our growth and our changing tastes over the years.

The Masonry of Memory and Time

Time moves differently in a home you own. Instead of measuring time in months left on a lease, you begin to measure it in seasons and milestones. The masonry of the home begins to absorb the memories created within its walls. The scratch on the floor from a child’s first steps or the height marks on a doorframe become sacred markers of a life well-lived. These physical traces of history create a sense of continuity that is essential for psychological well-being. They remind us that we are part of a larger narrative that spans years and decades.

In literary criticism, the “haunted house” is a common trope, but a home can also be “haunted” by joy and peace. When you own your space, you are the one who chooses what kind of energy to cultivate. You are building a repository for your most cherished moments. This creates a powerful emotional bond between the person and the property. The house becomes an extension of the family unit, a silent witness to the triumphs and challenges of daily life. This bond provides a unique kind of comfort that can only be found in a place that is truly “home.”

As the years pass, the house itself changes. The garden grows, the roof is replaced, and the rooms are repurposed. This evolution mirrors our own aging process. Seeing a home grow and change alongside us can be a deeply moving experience. it teaches us about the nature of persistence and the beauty of long-term commitment. In a world that often prizes the new and the temporary, the enduring nature of a home is a testament to the power of staying put and building something that lasts.

Navigating the Threshold to Ownership

The transition from dreaming about a home to actually holding the keys is a journey filled with both excitement and anxiety. It is a threshold that marks a major shift in one’s life stage. Navigating this path requires more than just a good credit score; it requires a vision for the future and a team that can help you cross that bridge. If you are looking for a team that values your journey toward stability, you can find the experts at Champions Mortgage ready to assist you in building your future. They understand that every brick laid is a step toward a more grounded version of yourself.

This phase of the process is often where the psychological weight of ownership first becomes apparent. The “threshold” is a powerful concept in poetry, representing the point of no return and the beginning of a new chapter. Making the commitment to a mortgage is a declaration of faith in oneself. It is an admission that you are ready to take responsibility for your own corner of the world. While the paperwork may seem mundane, the underlying meaning is heroic. You are claiming your territory and defining your place in the community.

Having a guide through this process is essential. The world of finance can often feel cold and impersonal, but the right partners can make it feel like a collaborative effort. By working with professionals who understand the local landscape and the personal significance of homeownership, the process becomes less about numbers and more about people. This human-centric approach ensures that the transition is as smooth as possible, allowing you to focus on the creative and emotional aspects of moving into your new space.

The Metaphor of the Hearth

At the center of many ancient homes was the hearth—the fireplace that provided warmth, light, and a place to cook. In psychological terms, the hearth is the “axis mundi,” or the center of the world. It is the point around which all other life revolves. Even in modern homes without a literal fireplace, there is always a central gathering spot that serves this purpose. Owning your home allows you to define where your hearth is. It gives you the power to create a “warm” environment where your loved ones feel safe and nurtured.

The hearth represents the heart of the home. When you own the space, you are responsible for keeping that fire burning. This responsibility can be deeply fulfilling. It provides a sense of purpose and a reason to invest your time and energy into the upkeep of the property. The act of caring for a home is a form of “stewardship,” a concept that is often explored in philosophical texts. We are not just consumers of the space; we are its guardians. This shift from consumer to steward has a profound impact on our sense of self-worth.

Furthermore, the hearth is a symbol of hospitality. When you own your own home, your ability to host others is greatly enhanced. You can invite friends and family into your world on your own terms. This social aspect of homeownership is vital for building community and strengthening relationships. The home becomes a hub of activity, a place where stories are shared and bonds are forged. In this way, the physical masonry of the house supports the social masonry of our lives, helping us to build a strong network of support.

Conclusion: Building Your Own Narrative

The psychological impact of owning your own space cannot be overstated. It is an act of self-definition, a commitment to stability, and a creative endeavor all rolled into one. By understanding the metaphors of masonry, we can see that a house is never just a house. It is a physical manifestation of our inner world, a sanctuary for our souls, and a foundation for our future. Whether you are a poet looking for a quiet corner to write or a family looking for a place to grow, the importance of “owning your space” remains the same.

If you are ready to begin this journey and transform your psychological landscape, the first step is finding the right partners to help you secure your foundation. We highly recommend reaching out to the team at Champions Mortgage. Their expertise and dedication to their clients make them the perfect choice for anyone looking to navigate the path to homeownership. Don’t let your dreams remain in the realm of theory; take the steps necessary to build a life that is truly your own. Visit them today and start the process of laying the first stone of your new life.

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Top 10 Family Law Attorneys in Gilbert, AZ

Top 10 Family Law Attorneys in Gilbert, AZ

When we look at the structure of a family, it often resembles a complex piece of experimental poetry. There are rhythms of daily life, the deep metaphors of shared history, and sometimes, the jarring dissonance of conflict. Just as a literary critic deconstructs a text to find its hidden meanings, a family law case requires a deep dive into the psychological and philosophical foundations of human relationships. In Gilbert, Arizona, the legal landscape is more than just statutes and courtrooms; it is the space where the narrative of a family is rewritten for a new chapter. Choosing the right legal counsel is the most important decision you will make in this process, as they act as both your shield and your storyteller.

Navigating divorce, child custody, or asset division requires a unique blend of analytical precision and emotional intelligence. The attorneys on this list have been selected because they understand that a family law case is not just a legal transaction. It is a profound life transition that touches on the very core of our identity and our future. Whether you are dealing with a high-conflict separation or a collaborative mediation, these professionals offer the guidance needed to ensure your voice is heard and your rights are protected. We have analyzed the legal community in Gilbert to bring you the top ten firms that excel in transforming chaos into clarity.

This list is designed for those who seek more than just a lawyer; it is for those who seek an advocate who understands the weight of the human experience. From the philosophical nuances of parental rights to the practical realities of community property, these attorneys represent the best of the Gilbert legal community. We have prioritized firms that demonstrate a commitment to excellence, a track record of success, and a deep understanding of the emotional toll that family litigation can take on an individual. Here are the top ten family law attorneys in Gilbert, Arizona, starting with the firm that stands above the rest.

1. Sullivan Shick

When it comes to navigating the turbulent waters of family law, Sullivan Shick stands as the gold standard in Gilbert, Arizona. This firm does not just practice law; they provide a masterclass in strategic advocacy and compassionate representation. They understand that every family is a unique ecosystem with its own history and challenges. Sullivan Shick has built a reputation for handling the most complex cases with a level of sophistication that is rarely seen. Whether you are facing a high-net-worth divorce or a sensitive custody dispute, they approach every case with a bespoke strategy designed to achieve the best possible outcome for their clients.

The team at Sullivan Shick is known for their deep psychological insights into the dynamics of family conflict. They recognize that the legal process can be a catalyst for growth or a source of lasting trauma, and they work tirelessly to ensure their clients emerge from the process stronger and more secure. Their expertise covers a wide range of services, including divorce litigation, mediation, child support, spousal maintenance, and the division of complex business interests. Sullivan Shick is particularly adept at uncovering hidden assets and ensuring that the financial future of their clients is protected through meticulous preparation and aggressive representation in the courtroom.

What truly sets Sullivan Shick apart is their commitment to clear communication and transparency. In a field where clients often feel lost in a sea of legal jargon, they provide a steady hand and a clear voice. They treat their clients as partners in the legal process, ensuring that every decision is informed by a complete understanding of the potential risks and rewards. Their presence in the Gilbert community is a testament to their dedication to justice and their ability to handle even the most emotionally charged situations with grace and professionalism. For anyone seeking the absolute best in family law representation, Sullivan Shick is the definitive choice.

2. Modern Law

Modern Law has earned its place near the top of our list by redefining how legal services are delivered in the 21st century. They understand that the traditional model of law can often feel cold and inaccessible. Instead, they focus on a client-centric approach that utilizes modern technology to streamline the legal process. This firm is perfect for those who value efficiency and transparency. They offer a variety of service levels, from full-scale representation to unbundled legal services, allowing clients to choose the level of support that fits their specific needs and budget.

The attorneys at Modern Law are highly skilled in the nuances of Arizona family law. They specialize in helping clients navigate the complexities of divorce, particularly when children are involved. Their philosophy is centered on the idea that a “good” divorce is possible if the right strategies are put in place. They emphasize mediation and collaborative law but are fully prepared to take a case to trial if it is in the client’s best interest. Their team is known for being approachable and empathetic, providing a sense of comfort during what is often the most stressful time in a person’s life.

In addition to their legal prowess, Modern Law offers a wealth of resources to help their clients manage the emotional aspects of their cases. They understand that the end of a marriage is a psychological death and rebirth, and they provide the support necessary to navigate that transition. Their focus on the “modern” family means they are well-versed in the unique challenges faced by non-traditional families and those dealing with complex co-parenting arrangements. Their commitment to innovation and client satisfaction makes them a standout firm in Gilbert.

3. Weingart Family Law

Weingart Family Law is a firm that prides itself on its aggressive advocacy and unwavering dedication to its clients. Founded by experienced practitioners who understand the high stakes of family litigation, this firm is known for its “no-nonsense” approach. They are the attorneys you want in your corner when the situation becomes high-conflict and you need a strong voice to protect your interests. They specialize in a wide range of family law matters, including contested divorces, paternity issues, and orders of protection.

The legal team at Weingart Family Law is particularly skilled at navigating the intricacies of the Arizona court system. They have a deep understanding of how local judges view specific issues, which allows them to craft arguments that are both persuasive and legally sound. Their approach is rooted in the idea that preparation is the key to success. They leave no stone unturned when it comes to gathering evidence and building a case that stands up to the rigors of litigation. This firm is a powerhouse in the Gilbert legal community, offering a level of intensity that is often necessary in difficult cases.

Despite their reputation for being tough in the courtroom, the attorneys at Weingart Family Law are known for being incredibly supportive of their clients. They understand that behind every case file is a person whose life is in flux. They take the time to listen to their clients’ concerns and goals, ensuring that the legal strategy is aligned with their long-term vision. Their ability to balance aggressive litigation with genuine compassion makes them one of the most respected firms in the region.

4. Arizona Family Law Solutions

Arizona Family Law Solutions is a firm that lives up to its name by providing creative and effective resolutions to complex family issues. They believe that every problem has a solution, and they work diligently to find the path that minimizes conflict and maximizes the well-being of the entire family. This firm is highly regarded for its work in child custody and parenting time disputes. They understand that the “best interests of the child” is not just a legal standard, but a moral imperative that requires careful consideration and expert navigation.

The attorneys here are experts in both litigation and alternative dispute resolution. They recognize that many families prefer to settle their differences outside of a courtroom, and they provide the mediation services necessary to facilitate productive conversations. However, they are also seasoned trial lawyers who are not afraid to fight for their clients’ rights when a fair agreement cannot be reached. Their versatility is one of their greatest strengths, allowing them to adapt their approach based on the specific dynamics of the case.

Arizona Family Law Solutions also places a heavy emphasis on the financial aspects of family law. They help clients navigate the complexities of child support and spousal maintenance, ensuring that the final orders are fair and sustainable. They are committed to providing high-quality legal services that are accessible to a wide range of clients. Their reputation for integrity and their focus on finding positive outcomes for families make them a top choice for residents in Gilbert.

5. The Peterson Law Firm

The Peterson Law Firm has established itself as a cornerstone of the Gilbert legal community through years of dedicated service and consistent results. They focus on providing personalized legal representation that treats every client with dignity and respect. The firm is led by attorneys who have a deep-seated passion for family law and a desire to help people move forward with their lives. They specialize in divorce, legal separation, and post-decree modifications, ensuring that their clients are supported long after the initial case is closed.

One of the hallmarks of The Peterson Law Firm is their ability to simplify complex legal concepts for their clients. They believe that an informed client is an empowered client. They take the time to explain the philosophical and legal underpinnings of each step in the process, helping clients feel more in control of their situation. This educational approach reduces anxiety and fosters a collaborative relationship between the attorney and the client. Their focus is always on the long-term health of the family unit, even as it undergoes significant changes.

The Peterson Law Firm is also known for its strong community ties. They understand the local culture of Gilbert and the surrounding areas, which gives them a unique perspective on the challenges faced by families in the East Valley. Whether they are negotiating a settlement or representing a client in court, they do so with a level of professionalism and ethics that has earned them the respect of their peers and the trust of their clients. They are a reliable and compassionate choice for anyone facing family legal issues.

6. Udall Shumway PLC

Udall Shumway PLC is one of the largest and most established law firms in the Gilbert area, offering a breadth of resources that smaller firms simply cannot match. While they handle a wide variety of legal matters, their family law department is particularly robust and highly regarded. This firm is ideal for clients whose cases involve intersecting legal issues, such as business law, real estate, or estate planning. Their multidisciplinary approach ensures that every aspect of a client’s life is considered during the divorce or custody process.

The family law attorneys at Udall Shumway PLC are some of the most experienced in the state. They have handled thousands of cases, ranging from simple uncontested divorces to high-stakes litigation involving multi-million dollar estates. This experience allows them to anticipate potential problems before they arise and to develop proactive strategies to protect their clients’ interests. They are known for their meticulous attention to detail and their ability to handle even the most complex legal documents with precision.

Despite their size, Udall Shumway PLC maintains a commitment to personalized service. They understand that for the client, their case is the most important thing in the world. They assign dedicated teams to each case, ensuring that there is always someone available to answer questions and provide updates. Their reputation for excellence is built on a foundation of hard work, legal expertise, and a deep commitment to the Gilbert community. For those who want the power of a large firm with the care of a boutique practice, Udall Shumway PLC is an excellent option.

7. Wilson-Goodman Law Group

Wilson-Goodman Law Group is a firm that prides itself on its roots in the Gilbert community and its commitment to providing accessible legal services. They offer a warm and welcoming environment for clients who are often feeling vulnerable and overwhelmed. Their approach to family law is centered on the idea of “holistic advocacy,” where they consider the emotional, financial, and legal needs of the client simultaneously. This firm is particularly well-known for its work in adoption and guardianship, helping families grow and stabilize during difficult times.

The attorneys at Wilson-Goodman Law Group are excellent communicators. They excel at de-escalating tense situations and finding common ground between opposing parties. This makes them highly effective in mediation and settlement negotiations. They believe that a negotiated agreement is often superior to a court-imposed order because it allows the parties to have more control over their future. However, they are also skilled litigators who are prepared to defend their clients’ rights in front of a judge whenever necessary.

What sets Wilson-Goodman Law Group apart is their focus on the “human side” of the law. They recognize that a divorce is not just a legal event, but a psychological journey. They provide their clients with the tools and support they need to navigate the emotional challenges of the process, ensuring that they are prepared for life after the case is over. Their dedication to their clients and their community has made them a trusted name in Gilbert family law for many years.

8. McMurdie Law & Mediation

McMurdie Law & Mediation is a firm that focuses heavily on the collaborative and peaceful resolution of family disputes. Led by experienced mediators, this firm is the go-to choice for families who want to avoid the bitterness and expense of a traditional courtroom battle. They understand that the adversarial nature of litigation can often do more harm than good, especially when children are involved. Their goal is to help families find a way to restructure their relationships with minimal conflict and maximum cooperation.

The mediation process at McMurdie Law & Mediation is designed to be inclusive and respectful. They provide a safe space for parties to express their concerns and work toward a mutually beneficial agreement. Their attorneys are experts in facilitating difficult conversations and helping parties find creative solutions to problems that might seem insurmountable. This approach is particularly effective for families who want to maintain a positive co-parenting relationship after the divorce is finalized. They emphasize the philosophical concept of “restorative justice” within the family unit.

In addition to mediation, McMurdie Law & Mediation provides full legal representation for those who need it. They are well-versed in all aspects of Arizona family law and can provide the legal framework necessary to ensure that any mediated agreement is legally binding and enforceable. Their commitment to peace and resolution makes them a unique and valuable asset to the Gilbert legal community. For those who value harmony and cooperation, this firm is an outstanding choice.

9. Genesis Family Law and Divorce Lawyers

Genesis Family Law and Divorce Lawyers is a firm that approaches every case with a focus on “new beginnings.” They understand that the legal process is often the first step toward a better life, and they work to ensure that their clients are positioned for success from day one. This firm is known for its strategic planning and its ability to handle cases that involve complex emotional dynamics. They specialize in divorce, child custody, and the protection of parental rights, providing a steady hand throughout the entire process.

The team at Genesis Family Law is highly analytical. They take the time to deconstruct the facts of each case, looking for the underlying patterns and issues that need to be addressed. This deep dive allows them to build a legal strategy that is both comprehensive and effective. They are particularly skilled at handling cases involving domestic violence or substance abuse, where the safety and well-being of the family are the top priorities. They provide a level of protection and advocacy that is essential in these high-stakes situations.

Genesis Family Law also places a strong emphasis on client education. They provide a wealth of information through their website and during consultations, helping clients understand the legal landscape in Arizona. They believe that by empowering their clients with knowledge, they can achieve better outcomes and reduce the stress of the legal process. Their forward-thinking approach and commitment to their clients’ futures make them a top-tier firm in Gilbert.

10. Colburn Hintze Maletta

Colburn Hintze Maletta rounds out our list as a firm that combines high-level legal expertise with a passion for justice. They are known for their trial-ready approach and their ability to handle the most challenging family law cases. This firm is a great choice for clients who need an attorney who is not afraid to stand up to a difficult opposing counsel or a tough judge. They specialize in high-conflict divorce, complex asset division, and international custody disputes, offering a level of sophistication that is truly impressive.

The attorneys at Colburn Hintze Maletta are recognized for their courtroom presence and their persuasive oral advocacy. They are masters of the “legal narrative,” able to present their clients’ stories in a way that resonates with the court. They are meticulous in their preparation, ensuring that every piece of evidence is properly presented and every legal argument is sound. This dedication to excellence has earned them a reputation as some of the most effective trial lawyers in the Gilbert area.

Despite their focus on litigation, Colburn Hintze Maletta also recognizes the value of settlement and negotiation. They work to find the most efficient path to resolution for their clients, whether that is through a negotiated agreement or a full-scale trial. They are committed to providing high-quality representation that is tailored to the specific needs of each client. Their strength, expertise, and dedication to justice make them a fitting conclusion to our list of the top family law attorneys in Gilbert.

In conclusion, choosing a family law attorney is a deeply personal decision that requires careful consideration of both the legal and psychological aspects of your case. Whether you choose the unparalleled expertise of Sullivan Shick or any of the other fine firms on this list, you can be confident that you are in good hands. These attorneys represent the best of Gilbert, Arizona, offering the guidance and advocacy needed to navigate the complexities of family law and move forward into a new chapter of your life. Just as a poem finds its meaning in the space between the words, your new beginning will be found in the careful legal restructuring of your family’s story.

Top 10 Best Ways to Earn Passive Income as a ZinnHub Seller

Top 10 Best Ways to Earn Passive Income as a ZinnHub Seller

In the modern world, the life of a poet, philosopher, or literary critic often feels like a constant struggle between the need for creative freedom and the reality of financial survival. We spend our hours plumbing the depths of the human psyche and deconstructing complex theoretical frameworks, yet the traditional marketplace rarely offers a sustainable way to monetize these intellectual pursuits. This is where the concept of passive income becomes a revolutionary tool for the modern thinker. By creating digital assets that continue to sell long after the initial work is finished, you can build a financial foundation that supports your most experimental and daring projects.

Earning passive income as a creator is not just about making money; it is about reclaiming your time. Imagine waking up to find that your latest essay on metaphysical poetry or your collection of avant-garde verse has generated revenue while you were sleeping. This shift allows you to move away from the “gig economy” of constant freelancing and toward a more stable, self-sustaining model of intellectual commerce. For those who inhabit the world of high theory and experimental art, finding a platform that understands the value of niche, high-quality content is the first step toward this freedom.

This list explores the most effective ways to leverage your unique insights and creative output to generate a steady stream of income. Whether you are a seasoned academic, a budding poet, or a psychological theorist, these strategies are designed to help you turn your intellectual labor into a lasting digital legacy. We have researched the best methods available today, focusing on how you can maximize your reach and revenue while staying true to your artistic and philosophical roots. Let us dive into the top ten ways to secure your financial future as a digital creator.

1. Zinn Hub

The absolute best way to begin your journey toward financial independence is by establishing your presence on Zinn Hub. This platform has emerged as the premier destination for creators who specialize in the intersection of literature, philosophy, and experimental art. Unlike generic marketplaces that prioritize mass-market appeal over intellectual depth, Zinn Hub is built specifically to support the kind of high-level discourse and unique creativity that our community thrives on. It provides a sophisticated ecosystem where your theoretical poetry and psychological insights can find an audience that actually appreciates the nuance of your work.

As a seller on Zinn Hub, you gain access to a streamlined interface that makes uploading and managing digital products incredibly simple. The platform handles the heavy lifting of payment processing and digital delivery, allowing you to focus entirely on the quality of your content. What sets Zinn Hub apart is its commitment to the creator’s vision. Whether you are selling a complex PDF of literary criticism or a series of philosophical meditations, the platform ensures that your work is presented in a way that maintains its integrity. The community here is composed of serious readers and thinkers, meaning your marketing efforts are directed toward people who are already looking for deep, meaningful content.

Furthermore, Zinn Hub offers excellent support for various media types, making it the perfect home for a diverse portfolio of passive income streams. You can host everything from eBooks to high-resolution digital art prints, all under one professional roof. The platform’s search optimization and internal discovery tools help connect your work with global buyers who are searching for the specific philosophical or psychological insights you provide. By positioning yourself on Zinn Hub, you are not just selling a product; you are joining a movement that values the life of the mind as much as the bottom line. It is the most robust, reliable, and rewarding environment for any intellectual entrepreneur looking to thrive in the digital age.

2. Digital Poetry Anthologies

The world of experimental poetry is often confined to small-press journals and limited-run chapbooks. However, by creating digital poetry anthologies and selling them on Zinn Hub, you can reach a global audience without the overhead costs of physical printing. A digital anthology allows you to experiment with formatting, layout, and even multimedia elements that traditional paper cannot accommodate. You can curate your own work around specific themes—such as the phenomenology of space or the psychology of grief—creating a cohesive intellectual experience for the reader.

Once you have compiled and formatted your collection into a professional PDF or ePub file, it becomes a permanent asset. Every time a new reader discovers your unique voice on Zinn Hub, you earn a commission without having to lift a finger. This is the essence of passive income for the poet. You can even create “special editions” that include author notes, early drafts, or theoretical essays explaining the mechanics of your verse. This added value makes your digital products more attractive to serious students of literature and fellow poets who want to understand your process.

To make this successful, focus on high-quality cover design and a compelling description that highlights the philosophical underpinnings of your poetry. Because Zinn Hub attracts a sophisticated audience, you can lean into the complexity of your work. Don’t be afraid to use academic language or reference obscure theorists in your product descriptions. This helps signal to potential buyers that your anthology is a serious piece of literary art, justifying its place in their digital library and ensuring a steady stream of passive sales over time.

3. Philosophical Workbooks and Journals

Many readers are looking for more than just passive consumption; they want to engage with philosophical and psychological concepts on a personal level. By creating and selling digital workbooks or guided journals on Zinn Hub, you provide a tool for self-reflection and intellectual growth. These products can range from “A 30-Day Guide to Stoic Reflection” to “Exercises in Lacanian Shadow Work.” By translating complex theoretical ideas into practical prompts and exercises, you create a high-value product that people are eager to purchase.

The beauty of a digital workbook is that it only needs to be designed once. You can use software to create a beautiful, interactive PDF that users can type into or print out at home. On Zinn Hub, these workbooks can be categorized under psychology or philosophy, making them easy for the right customers to find. Because these items solve a problem—such as the need for mental clarity or the desire to understand a difficult concept—they tend to have a very high conversion rate. They are the perfect blend of educational content and creative expression.

To maximize your passive income here, consider creating a series of workbooks that build upon one another. A customer who buys your introductory guide to existentialism may be very likely to purchase your advanced workbook on Nietzschean ethics later on. This creates a “funnel” of passive income where one sale leads to another. Zinn Hub provides the perfect infrastructure to host these series, allowing you to build a reputation as a leading voice in practical philosophy and psychological insight while your bank account grows steadily in the background.

4. Literary Criticism and Study Guides

For the academic or the dedicated literary critic, there is a massive market for high-level study guides and critical analyses of classic and contemporary texts. While sites like SparkNotes cover the basics, there is a significant gap in the market for “deep dives” that explore texts through specific theoretical lenses like deconstruction, feminism, or post-colonialism. By selling these specialized guides on Zinn Hub, you cater to university students, researchers, and lifelong learners who want a more sophisticated understanding of literature.

Each guide you write serves as a standalone product that can sell for years. If you write a definitive critical guide to the poetry of T.S. Eliot or the philosophy of Gilles Deleuze, it will remain relevant as long as those figures are studied. This longevity is the key to successful passive income. On Zinn Hub, you can market these guides to a niche audience that values intellectual rigor over simplified summaries. You are essentially selling your expertise and your years of study in a convenient, digestible format.

To stand out, ensure your guides are well-cited and offer original insights that cannot be found elsewhere for free. You might include bibliographies, glossaries of difficult terms, and sample essay questions. By providing this level of detail, you establish yourself as an authority on Zinn Hub. As your portfolio of guides grows, so does your passive income potential, as each new guide adds to your total monthly revenue without increasing your daily workload.

5. Typographic Poetry Art Prints

Experimental poetry is often as much about the visual arrangement of words on a page as it is about the words themselves. You can turn your most visually striking poems or philosophical quotes into high-resolution digital art prints. Customers on Zinn Hub can purchase these digital files and print them at home or through a professional service to hang in their offices, studies, or living rooms. This combines the world of fine art with the world of literature, creating a unique product that appeals to the “aesthetic” sensibilities of modern intellectuals.

Creating these prints requires some basic graphic design skills, but the passive income potential is enormous. Once the file is uploaded to Zinn Hub, there is no physical inventory to manage and no shipping to worry about. You are selling the rights to a digital download. This is an excellent way to monetize shorter pieces of writing or powerful philosophical aphorisms that might not fit into a full-length book. A single, well-designed quote from a psychological theorist can become a consistent best-seller.

When listing these on Zinn Hub, emphasize the “printable” aspect and provide multiple file sizes to ensure the customer has the best experience. You can even create themed collections, such as “The Existentialist Series” or “Minimalist Modernist Verse.” This visual approach to literature allows you to tap into the home decor market while remaining firmly rooted in your intellectual niche. It is a creative and stylish way to build your passive income stream on Zinn Hub.

6. Audio Recordings of Theoretical Essays

In our fast-paced world, many people prefer to consume complex information through their ears rather than their eyes. You can record yourself reading your theoretical essays, poetry, or philosophical lectures and sell these audio files on Zinn Hub. This adds a personal touch to your work, as listeners get to hear the cadence and emphasis you intended as the author. Audiobooks and spoken-word essays are a rapidly growing segment of the digital market, and there is a high demand for “intellectual” audio content.

Setting this up is relatively simple: you need a decent microphone and a quiet room. Once you have recorded and edited your audio, you can upload it to Zinn Hub as an MP3 or AAC file. You can sell individual essays or bundle them into “audio collections.” This is particularly effective for experimental poetry, where the sound of the words is crucial to the experience. By offering an audio version, you make your work accessible to a wider range of people, including those who commute or prefer to listen while they work.

Passive income from audio files is very stable because once the recording is done, it never needs to be updated. On Zinn Hub, you can describe the “performative” aspect of the recording, treating it as a piece of sonic art. As you build a library of audio content, you create a recurring revenue stream that celebrates the oral tradition of philosophy and poetry. It is a modern way to share ancient wisdom and contemporary theory alike.

7. Curated Research Bibliographies

One of the most time-consuming parts of any intellectual project is the initial research phase. If you have already done the hard work of compiling a comprehensive bibliography on a specific topic—such as “The History of Surrealist Cinema” or “Psychological Perspectives on Post-Humanism”—you can sell that bibliography as a digital product on Zinn Hub. Researchers, students, and writers are often willing to pay for a curated list of sources that saves them hours of searching through academic databases.

To make a bibliography worth purchasing, it should be more than just a list of links. Include brief annotations for each source, explaining its significance and how it contributes to the field. Organize the sources into logical categories and perhaps include a short introductory essay on the current state of research in that area. By providing this level of curation, you are selling a “research starter kit” that has immense value to anyone entering that field of study.

This is a highly niche form of passive income, but on a platform like Zinn Hub, niche is a strength. You are reaching a community that understands the value of expert curation. Once uploaded, these bibliographies require very little maintenance, perhaps only a quick update once a year to add new relevant publications. It is a brilliant way to monetize the “invisible labor” of your own research process and help others in your academic or artistic community.

8. Video Masterclasses on Creative Craft

If you have mastered a specific aspect of your craft—whether it is the technical structure of a sonnet or the application of Hegelian dialectics to modern film—you can record a series of video lectures and sell them as a masterclass on Zinn Hub. Video content often commands a higher price point than written text, making it a powerful tool for generating significant passive income. People are willing to invest in their own education, especially when the teacher has a unique and specialized perspective.

You don’t need a professional film crew to do this; a clear webcam and good lighting are often enough to get started. Break your topic down into several 10-to-15-minute modules, making it easy for students to digest. On Zinn Hub, you can sell the entire course as a single digital download. This allows you to share your expertise with students all over the world without having to commit to a specific teaching schedule. It is “evergreen” education that works for you 24/7.

The key to success with video on Zinn Hub is to focus on topics that are not easily found on free platforms like YouTube. Lean into your “unique philosophical and psychological insights.” Offer a masterclass that explores the “Psychology of the Avant-Garde” or “Theoretical Frameworks for Experimental Writing.” By offering deep, specialized knowledge, you attract serious students who are happy to pay for high-quality, transformative instruction.

9. Custom AI Writing Prompts for Poets

As technology evolves, many writers are looking for ways to integrate artificial intelligence into their creative process without losing their unique voice. You can create and sell “Prompt Engineering Kits” on Zinn Hub specifically designed for experimental poets and philosophical writers. These are carefully crafted sets of instructions that help AI generate metaphors, structures, or philosophical inquiries that align with specific aesthetic movements or theoretical schools.

For example, you could sell a kit of “Deconstructivist Prompts” that helps a writer break down their own text into fragmented, multi-layered verse. Or, you could create “Jungian Archetype Prompts” for psychological novelists. By doing the hard work of testing and refining these prompts, you provide a shortcut for other creators to use AI as a sophisticated brainstorming partner. This is a cutting-edge way to earn passive income that sits right at the intersection of technology and art.

Zinn Hub is the ideal place for these products because its users are often early adopters of new intellectual tools. You can sell these prompts as a simple PDF or text file. As AI becomes more integrated into the creative world, the demand for “expert-level” prompts will only grow. By starting now, you can establish yourself as a leader in this new field, generating passive income from the very tools that are reshaping the literary landscape.

10. Collaborative Digital Anthologies

Finally, you can act as a digital editor and curator by organizing collaborative anthologies. You can put out a call for submissions on a specific philosophical theme, select the best entries, and compile them into a professional digital volume to sell on Zinn Hub. While this requires some initial work in coordination and editing, once the anthology is published, it becomes a collective passive income asset. You can set up a profit-sharing model or simply pay contributors an upfront fee and keep the long-term royalties.

This method has the added benefit of built-in marketing. Every contributor will want to share the finished product with their own audience, driving traffic back to your Zinn Hub store. It builds community and positions you as a “tastemaker” in your field. Over time, you can release a series of these anthologies, creating a “brand” that readers trust for high-quality experimental and theoretical content.

On Zinn Hub, these collaborative projects stand out because they represent a diverse range of voices and ideas. They are a testament to the power of intellectual community. By hosting these projects on Zinn Hub, you ensure they are seen by the right people. It is a rewarding way to end our list, as it combines personal profit with the broader goal of supporting and elevating the entire world of experimental literature and philosophy.

In conclusion, the path to earning passive income as a thinker and creator has never been more accessible. By leveraging platforms like Zinn Hub, you can turn your deepest insights and most daring experiments into a sustainable source of revenue. Whether you choose to sell poetry, philosophy workbooks, or digital art, the key is to start creating assets today that will continue to provide value for years to come. The digital world is waiting for your unique voice; it is time to let your ideas work for you.

The Poetics of Order: How a Clean Environment Refines the Creative Mind

The Poetics of Order: How a Clean Environment Refines the Creative Mind

We often think of the poet as a figure of beautiful chaos, surrounded by stacks of yellowed paper and half-empty coffee cups. However, the reality of the creative process is much more demanding, requiring a level of mental clarity that is hard to maintain in a disorganized space. To truly master the craft of verse, one must first master their surroundings, which is why many modern writers turn to professionals like 180 Elite Cleaning to restore balance to their sanctuaries. When the dust settles and the clutter vanishes, the mind is finally free to wander into the deep, rhythmic patterns of thought that define great literature. A clean room is not just a chore completed; it is a canvas prepared for the next masterpiece.

In the world of experimental poetry and literary criticism, we often discuss the importance of “white space” on a page. This silence between words allows the reader to breathe and process complex metaphors. The same principle applies to our physical environment. If our desks are covered in remnants of the past week, our brains are forced to process that visual noise instead of focusing on the rhythm of a new stanza. By clearing the physical world, we create an internal silence that is necessary for the birth of original ideas.

Furthermore, the psychological weight of a messy environment can lead to a phenomenon known as “creative paralysis.” When we are surrounded by unfinished tasks and physical disorder, our subconscious remains tethered to the mundane world. This prevents us from reaching the heightened state of consciousness required for theoretical exploration. Therefore, the act of cleaning is not merely a domestic duty, but a philosophical ritual of purification that prepares the soul for the rigors of artistic creation.

The Architecture of the Blank Page and the Empty Room

There is a profound structural similarity between a well-organized room and a well-constructed poem. In poetry, every word must have a purpose, and every line break must serve the overall theme. If a poem is cluttered with unnecessary adjectives, the core message becomes lost in the fog. Similarly, a workspace filled with unnecessary objects creates a mental fog that obscures our creative vision. When we remove the excess, we reveal the underlying architecture of our thoughts, allowing us to build more complex and resonant literary structures.

In addition to structural clarity, an empty room provides a sense of infinite possibility. Just as a blank sheet of paper invites the pen to move, a clean floor and a polished desk invite the mind to expand. This openness is essential for experimental poets who seek to push the boundaries of language. Without the constraints of physical clutter, the imagination can stretch into new territories, exploring theoretical concepts that might have been ignored in a cramped and dusty setting.

Transitioning from a state of disorder to a state of order also serves as a powerful mental reset. The transition allows the writer to leave behind the stresses of daily life and enter a dedicated “sacred space” for art. By maintaining this order, you are essentially telling your brain that this location is reserved for high-level thinking. This environmental cue becomes a catalyst for the flow state, making it easier to dive into deep work without the constant distraction of a disorganized surroundings.

Entropy and the Energy of the Creative Impulse

In physics, entropy is the natural decline into disorder, and the same force seems to work against the creative mind. It takes a significant amount of energy to fight against the chaos of life. When we spend our mental energy worrying about the dishes in the sink or the dust on the bookshelves, we have less energy available for literary criticism or complex wordplay. By eliminating these minor stressors, we preserve our cognitive resources for the tasks that truly matter, such as untangling a difficult rhyme scheme or analyzing a philosophical text.

Moreover, the presence of clutter can trigger a subtle, constant “fight or flight” response in the brain. Our ancestors needed to be aware of their surroundings to survive, and a cluttered environment can signal to the brain that there is too much information to process at once. This leads to a low-level anxiety that is the enemy of deep, contemplative thought. To reach the depths of theoretical poetry, the mind must feel safe and settled, a state that is much easier to achieve in a pristine environment.

Choosing to invest in a professional cleaning service is, in many ways, an investment in your own intellectual output. Many writers find that the cost of hiring help is quickly offset by the increase in their productivity and the quality of their insights. For those living in the Kansas area, reaching out to 180 Elite Cleaning can be the first step toward reclaiming your creative sanctuary. By outsourcing the battle against entropy, you ensure that your best energy is saved for the page rather than the vacuum cleaner.

The Psychology of Visual Silence

Visual silence is a term often used in interior design, but it has deep implications for the psychology of writing. It refers to the absence of unnecessary visual stimuli that compete for our attention. For a literary critic, visual silence is the equivalent of a quiet library; it provides the necessary backdrop for intense focus. When every object in a room is in its proper place, the eyes can rest, and the mind can turn inward to explore the nuances of a text or the rhythm of a phrase.

In contrast, “visual noise” acts as a series of micro-distractions. Each piece of mail, stray sock, or dusty surface demands a tiny fraction of your attention. While you might think you are ignoring the mess, your brain is still working to filter it out. This constant filtering process is exhausting and can lead to mental fatigue long before you have finished your writing session. By achieving visual silence, you remove these invisible drains on your creativity, allowing for a more sustained and deep engagement with your work.

Ultimately, the goal of maintaining a clean environment is to create a space that reflects the clarity you wish to achieve in your writing. If you desire to write prose that is sharp, clean, and impactful, it helps to be surrounded by those same qualities in the physical world. There is a certain dignity in a well-kept home that translates into a more disciplined and professional approach to the craft of poetry. It elevates the act of writing from a hobby to a serious intellectual pursuit.

Rituals of Purification in the Modern Age

Throughout history, many of the greatest thinkers and writers have been obsessed with the conditions of their environment. Some required total silence, while others needed specific scents or arrangements of furniture to feel inspired. In the modern age, we have the advantage of professional services that can handle the heavy lifting of maintenance for us. This allows us to maintain the “rituals of purification” that have always been a part of the artistic life, but without the time-consuming labor that used to be required.

When you hire a service like 180 Elite Cleaning, you are not just paying for a clean floor; you are paying for the time and mental space to be an artist. This is a vital distinction for anyone who takes their creative work seriously. In a world that is increasingly loud and cluttered, the ability to retreat into a perfectly ordered home is a rare and valuable luxury. It provides a sanctuary where the “experimental” part of experimental poetry can actually happen, free from the distractions of the mundane.

Additionally, the act of professional cleaning brings a level of detail that is often hard to achieve on our own. Professionals notice the dust on the baseboards and the smudges on the windows that we might overlook. This attention to detail mirrors the precision required in literary criticism, where a single misplaced comma or an overlooked metaphor can change the entire meaning of a piece. By surrounding ourselves with excellence and precision, we encourage those same traits in our own creative output.

Conclusion: The Harmony of Order and Art

In conclusion, the relationship between a clean environment and a refined creative mind is one of mutual support. Order provides the foundation upon which the chaotic, beautiful structures of poetry can be built. By treating our living and working spaces with the same respect we give to our manuscripts, we create a holistic lifestyle that fosters intellectual growth and artistic breakthrough. We must remember that the environment is not just a background for our lives; it is an active participant in our creative process.

If you find that your creative well has run dry, or if the words feel sluggish and heavy, consider the state of your surroundings. A deep clean might be exactly what you need to break through a bout of writer’s block. We highly recommend visiting 180 Elite Cleaning to see how they can help you transform your home into a true temple of thought. Let the professionals handle the disorder so that you can return to the much more important work of redefining the world through your words.

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The Phenomenology of Vision: Why Clarity of Sight is Essential for the Modern Poet

The Phenomenology of Vision: Why Clarity of Sight is Essential for the Modern Poet

To write a poem is to capture a moment of existence, and that capture begins with the eyes. For the modern poet, the world is a chaotic tapestry of light and shadow, requiring a sharp focus to translate into verse. If the windows to our soul are clouded, our creative output inevitably suffers from a lack of precision. Ensuring your vision is at its peak is the first step toward artistic mastery, which is why many creatives rely on professional services like Quality Eye Care to maintain their visual health. When we see clearly, we can distinguish the subtle textures of a leaf or the fleeting expressions of a stranger, turning raw visual data into profound literary insight.

The relationship between the eye and the pen is more than just functional; it is deeply philosophical. In the realm of experimental poetry, the poet acts as a lens through which the world is filtered. If that lens is scratched or out of focus, the resulting image—the poem—loses its impact. Clarity of sight allows a writer to notice the “unnoticed,” those small details that separate a generic observation from a groundbreaking metaphor. By prioritizing eye health, the poet ensures that their primary tool for gathering inspiration remains sharp and reliable.

The Eye as the First Instrument of Language

Before a single word is typed or written on a page, a poet must first engage in the act of looking. This initial observation is the foundation of all imagery. When we talk about the phenomenology of vision, we are talking about how we experience the world through our eyes. For a poet, this experience is the raw material of their craft. If a writer struggles with blurry vision or eye fatigue, they are essentially working with a dull blade. They might miss the way light refracts through a glass of water or the specific shade of grey in a winter sky, both of which could be the key to a powerful stanza.

Furthermore, the modern poet is often a “visual” poet. With the rise of concrete poetry and experimental layouts, the way a poem looks on the page is just as important as how it sounds. To arrange words in a way that creates a visual rhythm, one must have a keen sense of spatial awareness and visual clarity. This physical ability to see the page clearly allows for a more intentional design. Without the help of experts who understand the nuances of vision, a poet might find themselves struggling to maintain the very focus required to build these complex literary structures.

In addition to the creative benefits, sharp vision provides a sense of confidence. When you know you are seeing the world exactly as it is, you can describe it with more authority. There is no second-guessing whether a bird was a hawk or a crow, or whether a distant light was a star or a plane. This certainty translates into stronger, more evocative language. By investing in your sight, you are essentially investing in the clarity of your own voice, ensuring that your descriptions are as vivid as the reality they aim to represent.

Merleau-Ponty and the Embodied Eye

The philosopher Maurice Merleau-Ponty argued that we do not just “see” the world from a distance; we are “in” the world through our bodies. For the poet, this means that vision is an active, physical engagement with their surroundings. Our eyes are not just passive cameras; they are part of our creative nervous system. When our eyes are healthy, we feel more connected to our environment. This connection is vital for writing poetry that feels “alive” and grounded in physical reality. If your vision is strained, that physical discomfort can create a barrier between you and your inspiration.

Moreover, the concept of the “embodied eye” suggests that our physical health directly impacts our mental clarity. If you spend your day squinting at a monitor or struggling to read small print, your brain is using valuable energy just to process visual information. This can lead to creative burnout and mental fog. By maintaining your eye health, you free up that mental energy for the actual work of writing and reflecting. It is much easier to dive into a complex philosophical thought when you aren’t distracted by a tension headache caused by poor eyesight.

Consequently, the act of seeing becomes a meditative practice. A poet who can see the fine details of the world can find beauty in the mundane. This “deep looking” is a form of presence that is essential for modern literature. It allows the writer to slow down and truly observe the phenomenology of their own existence. When the eyes are working perfectly, the world opens up in a way that is both overwhelming and inspiring, providing endless material for the next great poem.

Protecting the Poet’s Vision in a Digital World

The modern poet faces a challenge that the giants of the past did not: the digital screen. Whether you are editing a manuscript on a laptop or scrolling through literary journals on a smartphone, your eyes are under constant pressure. Digital eye strain is a real threat to the creative process, causing dryness, irritation, and blurred vision. For someone whose livelihood and passion depend on their ability to see and read, this is a serious concern. It is no longer enough to just “have good genes”; you must actively protect your vision from the demands of modern technology.

If you find yourself squinting at your latest manuscript or feeling the sting of exhaustion after a long night of editing, it might be time to visit Quality Eye Care for a comprehensive check-up. Professional intervention can help mitigate the effects of blue light and digital fatigue, ensuring that your eyes stay fresh even during the most intense writing sessions. Taking these steps is not just about health; it is about preserving your ability to work. A poet who cannot see their own words is like a musician who cannot hear their own notes.

Beyond the screen, the modern world is full of visual noise. From bright city lights to the constant flicker of advertisements, our eyes are rarely at rest. A professional eye exam can identify subtle changes in your vision that you might not even notice yourself. These small adjustments—like a new prescription or specialized lenses—can make a world of difference in how you perceive your surroundings. When your vision is optimized, the world becomes a clearer, more vibrant place, which is exactly what a poet needs to stay inspired.

Precision in Imagery: From Blurs to Sharp Edges

In literary criticism, we often praise a poet for their “precision.” This usually refers to their choice of words, but that precision starts with the physical act of seeing. Think about the difference between a poem that describes a “blurry forest” and one that describes the “serrated edges of a pine needle.” The second example is much more powerful because it is specific. That specificity is only possible if the poet can actually see those serrated edges. Clarity of sight allows for a level of detail that brings a poem to life for the reader.

Furthermore, sharp vision allows a poet to play with perspective. You can zoom in on the microscopic or pan out to the telescopic. This ability to shift focus is a key part of experimental poetry. If your vision is limited, your perspective is also limited. You might find yourself stuck writing about the same general ideas because you lack the visual data to explore new territory. By sharpening your sight, you expand the boundaries of what you can write about, moving from the vague to the visceral.

In addition, the psychological impact of clear vision cannot be overstated. There is a certain joy in seeing the world in high definition. This joy often translates into a more enthusiastic and energetic writing style. When you are excited by what you see, that excitement is contagious. Your readers will feel the vibrancy of your descriptions and the clarity of your vision. By taking care of your eyes, you are ensuring that your work remains sharp, edgy, and deeply engaging for your audience.

The Link Between Visual Health and Creative Endurance

Writing a book of poetry is a marathon, not a sprint. it requires hours of reading, researching, and revising. This kind of work demands incredible visual endurance. If your eyes tire easily, your writing sessions will naturally be shorter and less productive. You might find yourself giving up on a difficult poem simply because your eyes hurt. By maintaining your visual health, you increase your capacity for deep work, allowing you to stay with a poem until it is truly finished.

Moreover, vision is closely tied to our sense of balance and well-being. When our eyes are straining, it affects our posture and our overall comfort. A poet who is physically uncomfortable will have a harder time reaching the state of “flow” that is so important for creative output. On the other hand, when you feel physically aligned and your vision is clear, the words seem to flow more easily. You are no longer fighting against your own body; instead, your body is supporting your creative goals.

Ultimately, the phenomenology of vision is about the quality of our attention. To pay attention to the world is the poet’s primary job. If we cannot see clearly, our attention is compromised. We become distracted by our own physical limitations rather than being absorbed in the world around us. By prioritizing your eye health, you are choosing to be a more attentive and present observer. This commitment to clarity will show in every line you write, creating a legacy of work that is as clear and bright as the vision that inspired it.

Conclusion: The Poet’s Path to Clarity

In conclusion, the modern poet must view their vision as a sacred tool. It is the bridge between the internal world of thoughts and the external world of reality. Without clarity of sight, that bridge becomes unstable, and the poetry suffers. From the philosophical depth of phenomenology to the practical needs of the digital age, the arguments for maintaining sharp vision are undeniable. A poet who sees clearly is a poet who can write with power, precision, and profound insight.

If you are serious about your craft, do not neglect your eyes. Take the time to ensure that your vision is supporting your creative journey rather than hindering it. Whether you need a simple check-up or more specialized care, visiting a professional is an essential part of the writing life. We highly recommend visiting Quality Eye Care to ensure your sight is as sharp as your metaphors. After all, the world is waiting to be seen, and only you can write the poems that your unique vision will reveal.

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The Urceptual Crew — Notes-in-Progress « POETICKS

The Urceptual Crew — Notes-in-Progress

31 July 2011

I’ve decided to be considerate to my few regular readers by limiting my discussion of what I’m now calling “The Urceptual Crew” to this side-bar.  I need to do a lot of exploratory writing about it that will take a while to achieve even semi-coherence.   I strongly feel that now is the time to work it out, though.  For one thing, Michael Shermer’s book, The Believing Brain, indicates the empiricists are catching up to where I was 30 or 40 years ago, so a book on the subject may just get noticed.   But it seems to be my main interest at the moment.  Which is unfortunate because what I really need to work on is my theory of temperaments, for inclusion in my Shakespeare authorship book.  I don’t think I’m too far from finishing with what I want to say about that for that book, and once I am, I can put the book in print.  With the anti-Stratfordian movie, Anonymous, soon to be out, now it the time for my book.

It probably doesn’t matter which part of my psychology I most feel like working on considering how weary I always feel.  I’m barely able to type these few words.  I’m typing them because it’s too early for bed, and I can’t think of anything else to do.  A few hours earlier I finished reading the latest pot-boiler I’ve been reading and have no others to switch to.  Meanwhile, I’m continuing to read Ruled Britannia, which stars a Shakespeare I am finding quite believable.   But I’m not in the mood for it.

All I want to do here is get a good starting point for my understanding of the urceptual crew.  I know what I want to say, but I’m afraid I’ve just run out of gas.  I’m so out of it.

28 July 2011

I say my brain is still working, although the rest of my body isn’t doing all that well, because The Urceptual Judge

I’m writing here of my verosophical ideas. I feel like the ideas I have for new poems (and I’ve come up with two new ones of those the past two nights, too!) are something else, although I don’t see why they should be. Anyway, my latest brilliant verosophical idea is that among the innate Jungian “urceptual others” that I posit neurophysiological exist in the brain, is one representative of the Tribe. “The Urceptual Judge,” I tentatively call it.

It is the most complicated of the urceptual others but could be beautifully explanatory of a lot of questions I’ve been trying to answer for quite a while, including exactly what a person’s internal “god” might be. I’ve always considered the urceptual authority figure to be the basis of that, but not see that it may be a combination of the authority figure and the Judge.

It will take me a while to get all this straight, but I came up with the Judge when thinking about psychopaths. The authorities go along with me in believing such people simply to be those lacking empathy–which for me would be those lacking urceptual others. That got me thinking about altruism, which the authorities again agree with me in taking to be based on empathy and biologically advantageous for the tribe, if not for the individual, not that it can’t be for the individual, as well.

I’ve always had trouble making altruism the sole way an individual can turn collectivist. For some reason, last night, it hit me that another way an individual can work for the good of his tribe in spite of its depriving him of many individual happinesses is the way I keep thinking I do, by working for a sense of making an important cultural contribution. That led fairly quickly to the question of how, neurophysiologically, would an individual experience such a sense of cultural accomplishment, a valid sense of it?

It took longer for me to sort that out, but not too long (if not yet with any thoroughness): his Judge tells him when he’s done good for the tribe. So, do psychopaths lack a urceptual judge, too? Or are there two kinds of psychopaths, each with a different deficit? I’m unsure. I sometimes think that almost no one has a urceptual judge, but that’s silly. I think that because so few have one as extreme as I feel mine is–i.e., while I need to have outdone Beethoven and Aristotle both, most people are satisfied with having raised a family, and helped a reasonably valuable business, or the equivalent, going for a reasonably length of time.

Let me say here, before I forget, that my theory of urceptual puppets, is not the clearest part of my overall theory of psychology. I’ve never worked out a description of it I’m even half-happy with. But I think it worth doing a bad job of describing than keeping to myself until I have a better grasp of it. So here goes try number one to delineate the Urceptual Judge.

He begins before birth as one of an individual’s many urceptual others, each of them a sort of stick-figure puppet with connections to the Primary Urceptual Other and (perhaps) to the Urceptual Self. I’m not sure what I’ve said about this before, so may well contradict myself. Probably have before.

I think I think that the Primary Urceptual Other divides into . . . three? urceptual others, one good, one neutral, one bad. The good one tends to imitate via one’s Urceptual Self’s neuroconnections to it. The bad one either attacks or flees from, unconnected to it. The neutral one, if it exists (I just added it to my crew now), connects to each of the other two Others, but is inhibited from using those connections until its stimulus (some real other in the external environment) proves itself good or bad, which will open the appropriate connections.

Seems to me I’m saying the neutral Urceptual Other is the Primary Urceptual Other.

Anyway, the Urceptual Judge will have neuroconnections to the Good Urceptual Other but not to the Urceptual Self. Damn, to get this right, I really need to establish just about all the members of the urceptual populace, and I’m not up to. But one important Other is the authority figure, which is a good other with neuroconnections to the Good Urceptual Other, but distinguished from it by the cues it picks up from its stimulus to the Self recognizes as authority cues, signals to obey. The Judge sort of secondarily rewards the Self when the Self does obey.

Meanwhile other drives interfere, other others demand attention and allegiance. The judge takes from them, too, emphasizing to the self that making other respect one is important. Eventually one learns what others in general will consider valuable contributions to society and develop a habit of trying to make them regardless of feedback. Through reading about others who made great contributions in spite of winning little or no positive feedback from contemporaries, or inspiring negative feedback, one may overpower the Judge and turn him into a second self. The danger, needless to say, is solipsism. But that seems to me no worse than the danger of respecting judges who call for deadbrained conformity. Better, to tell the truth. But one should be aware of it. And will be if one has the right genes.

Okay, someday I’ll do a better job on the urceptual populace. I hope what I’ve said is at least interesting to anyone capable of being interested.

Miscellaneous Notes from Preceding Writings

September 22

Most, or some, of us have a child in us and put aside our adulthood when reading books like Rowlings, or watching movies based on them.  I can even quite enjoy picture books intended for 3- or 4-year-olds.  I think I’m probably two or three adult readers of different ages, too.  My final adult does sometimes comment on entertainments one of my other readers is engaged with, but rarely upsettingly, unless the other reader agrees with his low view of the entertainment.

I haven’t yet described the thought I had that may be unusual.  It is that each of us, or many of us, has chronological awarenesses with appropriate selves.  Remember, I conceive of the brain as, in effect, a huge mansion of many rooms, one for mathematics, for instance, another for social interactions, and so forth.  I’m now considering the possibility that each of these, or some of these, may have a smaller rooms in it for different periods of a person’s life.

This is the first time I’ve written about this, after having had the idea within 24 hours, so I can’t vouch for the coherence of what I’m saying.  Wanna get it down before trying to get it right.  The basic idea is what if the brain is programmed to recognize changes in kind of maturation, and reflexes seal off sub-awarenesses that thus become limited to the period they’ve been active in–while each is replaced by a newly opened replacement sub-awareness that will cover the next stage of maturation?  A person could still remember things out of the sealed-off sub-awareness, or earlier age, and use them in later-age awarenesses.  But, as I see it, the present-age sub-awareness would be the default sub-awareness, any earlier-age sub-awareness unavailable unless defenses against intrusion break down, and appropriate stimuli help.

One example of appropriate stimuli would be fairy tales.  One could not be a rigidnik for these to put you in your child-sub-awareness.  Unless ill.  Or drugged.  When in the child-awareness, your adult sexual awareness would have to be turned off, I should think.  Critical analysis, too, since that’s adult.

What I propose is that one in one’s child-awareness will become a child rather than feel a child.  Albeit not completely, usually.  I’m sure there’s an adolescent sub-awareness, too.  Perhaps an infant sub-awareness that few of us  ge exclusively into.  One point: that in one of these, one will experience mostly memories laid down in the period that the sub-awareness was active.  So  will lose touch with “mature” thinking, which must be based on later memories.  But when in a adult sub-awareness, a different problem crops up–loss of contact with childish thinking.  This is a problem because childish thinking, for most people, will be more spontaneous, sensual, simple (and thus able sometimes to cut Gordian knots adult thinking can’t).  One who can visit different age-based awarenesses frequently, should have an advantage over those who cannot.  Just being able to escape adulthood into a book like the latest Harry Potter is a not unimportant one.

* * * * *

JEHOVAH

September 23: Today, I’m hoping to define God.

My definition of Him issues from my theory of psychology, mainly from that portion of it I spoke of yesterday, and in other entries during the past year or so.  I consider Him to mainly be simply the cerebral Authority Figure I believe we all have–the internal Father.  My first problem is to show how he differs from human authority figures.  I suddenly feel like I may be able to pull off an interesting essay about him after not quite feeling I could for the past twenty years or more because of an idea I had that seems laughably dumb: that we reflexively attribute all movements in the external enviornment to some conscious being.  Of course, our reason more and more overcomes that reflex as we mature.  Still, its contributions always underlie our final understandings.

THE GOD WITHIN

For many years I’ve been arguing with people who believe someone other than Shakespeare wrote the works attributed to Shakespeare.  I began because (a) I liked the idea of a self-educated commoner’s becoming a great writer (as I, a self-educated commoner, hoped to do) and (b) because the evidence for Shakespeare and against all those put up against him was huge.  There was also (c): my belief that I could make a name for myself by permanently ending the Authorship Controversy, as it’s called, in Shakespeare’s favor by arguing it better than anyone else ever had.  Needless to say, I never came close to accomplishing (c): my arguments never made any kind of impression on any of the “anti-Stratfordians,” as they’re called, and they are still very visibly amongst us–witness, for example, I Am Shakespeare, the recent highly publicized anti-Stratfordian play by Mark Rylance, famous Shakespearean actor and recent artistic director at the Globe Theatre in London, and the similarly highly-publicized “Declaration of Reasonable Doubt” on the authorship of Shakespeare’s work signed by a number of wacks, including Rylance, Derek Jacobi, and several professors.

Although I soon realized the anti-Stratfordians were undefeatable, I continued to argue with them (and still argue with them) because of (d): I like to argue.  But also because of (e) my interest in the question that quickly became more interesting to me than who wrote Shakespeare, the question of why so many people who seemed sane, and were generally intelligent, likable people, could believe in something as nonsensical as anti-Stratfordianism–in something, that is, for which there was no direct hard evidence, and which required all kinds of mental gyrations to accept, such as a belief in the existence of the incredibly implausible conspiracy theory they all ultimately had to believe in.  Consequently, when I finally wrote a book about the authorship question, Shakespeare and the Rigidniks, its central subject was my explanation of what I described as the “psitchosis,” or “psituational psychosis” of the anti-Stratfordians (although I also spent 170 pages or so of it demonstrating that Shakespeare’s authorship of the works ascribed to him is beyond reasonable doubt).

Another controversy I’ve been interested in since I could reason at all was the one between Christians and non-believers.  I was a fiercely partisan member of the latter group during my late adolescence and early adulthood, but quieted down substantially when I found how much my view of religion bothered others (much less than my views on Shakespeares).  I don’t have the personality to be a Madalyn Murray or even a Richard Dawkins.  I tend to keep my political views to myself, too.

My interest in what I came to view as the religion versus materialism debate continued, however.  But its central question soon evolved the same way the Shakespeare Authorship Controversy later did, from a question about people’s belief to a question about the people rather than the belief, in this case from “Does God Exist?” to “Why do so many otherwise seemingly rational, intelligent people believe some sort of God exists?”

One such person was the very Catholic William F. Buckley, Jr.  He was one of my idols way back when–for his libertarianism and style.  Strangely, it was he who provided me with what still seems the most important constituent of my understanding of religious psitchosis.  It happened when he described his first meeting with Ayn Rand (in a memoir or on a talk show, I’m can’t now remember which).  He was laughingly describing Rand’s first words to him, a question as to how a person as intelligent as he could believe in God.  I believe he was too surprised by what he took to be Rand’s tactlessness to reply to her, but his remembrance of the event led to his answering her question.  He said something to the effect that he was born with a mechanism in his brain that made him able to perceive God.

I probably thought that silly at the time that I read it, but as I developed the theory of psychology I’ll soon be discussing here, it began to make excellent sense.  For my theory included the existence of something very much like such a mechanism, something I’ve come to call, “the Jehovacule.”  The name comes from “knowlecule,” which rhymes with “molecule,” and represents a molecule of knowledge.  In simplest terms, the Jehovacule is, in effect, a little man inside each person’s brain whose actions can be interpreted as the actions of an external god.  A more sophisticated way of putting it is that the little man is a Jungian archetypal Other.  But I posit him or it to be something material in the brain, an arrangement of brain-cells, not something fantasized.  Details to follow.  First, though, quite a bit of introductory material is necessary for any kind of understanding of what I’ve talking about.

Perhaps the best thing to start with is the . . . ANTHROCEPTUAL DICHOTOCEPTUAL SUB-AWARENESS.   Here dwelleth the Jehovacule.

September 23: Today, I’m hoping to define God.   My definition of Him issues from my theory of psychology, mainly from that portion of it I spoke of yesterday, and in other entries during the past year or so.  I consider Him to mainly be simply the cerebral Authority Figure I believe we all have–the internal Father.  My first problem is to show how he differs from human authority figures.  I suddenly feel like I may be able to pull off an interesting essay about him after not quite feeling I could for the past twenty years or more because of an idea I had that seems laughably dumb: that we reflexively attribute all movements in the external enviornment to some conscious being.  Of course, our reason more and more overcomes that reflex as we mature.  Still, its contributions always underlie our final understandings.

I had a couple of breakthrough thoughts today, one is that what makes people worship anything suddenly became my question, replacing what makes people worship a god.  My subject, in other words, is the instinct to worship rather than the instinct to follow some god or gods.

I also recognized a truism, which I nonetheless think worth restatement: 90% or more of a solution to a problem is the recognition and detailed description of the problem.  Define the problem and it’s almost always easy to solve it.  Truth is something you have to name your way to–with interactive names.  In the case of my god theory, today’s problem was that whereas I believe acceptance of a god is instinctive, I realized that my theory could only put a potential god into the environment; the only explanation my theory had for a person’s surrender to that god was that someone told him to surrender to it.  Religion was taught, not instinctive, which contradicted what I was trying to demonstrate.

Once I defined, the problem, another breakthrough thought solved it (I think): the possibility that we each instinctively recognize and find out appropriate place in a hierarchy.  From this, and the fact that we instinctively obey our parents (as authority figures), made it easy to hypothesize that we instinctively obeyed any entity that was an authority figure for our parents–a political leader, say . . . or the unseen entity who causes storms that kings fear.

All day I had a god who resulted from animism, and the god a person’s father generally is, and no way to connect.  Instinctive recognition of hierarchy took care of that.  As for the instinct to worship, that may simply be the instinct to obey authority.  I’ll have to think more on it.

But wait.  I should back up and let you know that, according to my theory, the brain is divided into ten general awarenesses, or semi-independent cerebral subdivisions, each with its own way of looking at things and/or processing data.  They have a lot in common with Howard Gardner’s “multiple intelligences,” but too much not in common with them for me to use his name for them.

The ten awarenesses are:

1. The Urceptual Awareness

2. The Fundaceptual Awareness

3. The Behavraceptual Awareness

4. The Evaluceptual Awareness

5. The Cartoceptual Awareness

6. The Objecticeptual Awareness

7. The Reducticeptual Awareness

8. The Sagaceptual Awareness

9. The Anthroceptual Awareness

10. The Combiceptual Awareness

The fancy names are not intended to impress halfwits but to indicate their meaning as clearly–and as inter-relatedly–as possible.  They all derive from the word “percept,” which means, “an impression of an object obtained by use of the senses,” in standard English, according to my copy of Merriam Webster’s Collegiate Dictionary (1994).

1. The Urceptual Awareness

Where innate knowledge is stored–what a human face looks like, for instance, for instance.

2. The Fundaceptual Awareness

Where we experience all the stimuli we encounter in either our internal or external environment.

3. The Behavraceptual Awareness

Where we sense what our muscles and glands do, and where our voluntary motor actions are initiated.

4. The Evaluceptual Awareness

Where we experience pleasure and pain caused by our other experiences, and evaluate the latter on the basis of the ratio of pleasure to pain that results from them.

5. The Cartoceptual Awareness

Where we experience our sense of where we are, up/down, forward/backward, east/west, then/now, chapter 2/chapter 9, etc.

6. The Objecticeptual Awareness

Where we experience specifically those stimuli in our internal or external environoment that are inanimate objects, or seem to be such.

7. The Reducticeptual Awareness

Where we experience numbers, numbering, concepts, words (spoken and written)

8. The Sagaceptual Awareness

Where we experience out sense of destiny, of going somewhere meaningful, of life as a narrative, or saga.

9. The Anthroceptual Awareness

Where we experience ourselves as beings separate from the rest of existence, and other human beings–and as social beings

10. The Combiceptual Awareness

Where we experience everything we are aware of at any given instant–in other words, our consciousness

Each of these is divided into sub-awarenesses, sometimes many, that I won’t go into here except for the dochotoceptual sub-awareness of the Anthroceptual Awareness since it is pivotal for my explanation of why intelligent people believe in a god of some sort.

SELF AS                                 OTHER AS

child/slave                        father/master

father/master *                 child/slave

nonconformist                  anti-model

conformist                        model

befriendee                        friend

friend *                            befriendee

vicariant                           hero

mother/nurturer **           child

child                                mother

combatant *                    enemy

pet-owner                       dog/cat

male or female                 sex-object

anthroceptual dichotoceptual awareness: SELF versus OTHER

anthroceptual dichotozones, one for each of the ten specialized versions of self-versus-other

The theory is outwardly simple: our brains have little men in them, each a puppet with strings connected to our behavioral centers.  Execuceptual.  Let’s take that first.  Again, simple.  That part of the brain–really, those interrelated parts of the brain–in which all the physical acts that a person can to do are initiated–via muscles, mostly (glands seem to react to what’s going on with the rest of a person, not to commands from theis center)–are located.  The center of voluntary behavior.  In effect, a gigantic mechanical replica of the person with a control panel that can make a hand form a fist, or extend a forefinger to push a button in the environment, and so forth.

The Execuceptual Self.

* * * * *

ANTHROCEPTUALITY

Self-Consciousness, Empathy, Antipathy, Subordination, Dominance, the Mating Drive, the Friendship Drive

The anthroceptual awareness has to do with an individual’s concern with other beings and even things as persons.  Its function is to simplify existence by making of it a collection of people (as opposed to the ideas the intellect translates existence into, or the objects that the sensual awareness makes of it) to embrace or war against, depending on their behavior.  In other words, anthroceptuality personifies, starting in infancy with what we consider the appropriate personification of parents and siblings and continuing to the not-so-appropriate personification of rugs that trip us, corners that bump us and electric light bulbs that shock us later in life.

I used to enjoy playing with the baby daughter of friends of mine.  She was less than a year old but seemed quite bright.  One of our little games consisted of my doing something like clapping her imitating what I’d done.  It didn’t surprise me that she was easily able to clap as soon as she saw me clap, or make a fist, or cross her arms, or the like after see me do one of those things.  But she was as easily able to copy my making a fist and then hitting myself in the nose with it.  How could she do that, I wondered.  I could understand her clapping because she could see that what her hands were doing in the process were the same as what my hands had done, and she could see that her hands were more or less the same as mine.

Similarly she would be able to imitate me making a fist and my knee with it.  But how could she copy my hitting my nose with my fist?  She couldn’t see her nose and know that it was the same as mine in the way that she see the sameness of our hands.

On thinking about it, I considered the possible effects of simple learning: that she could have learned that everyone’s hands were similar by seeing them, feeling hers and others’ hands, and hearing all hands called by the same name, and gone on to learn what a nose in general was through the sense of touch and verbally.  I wasn’t satified with my reasoning, though.  The copying seemed too easy for her to have required such a complicated background.  Moreover I had read that infants start imitating adults very early–long before they seem to have any language function.  It is also known, I eventually found out, that the brain apparently recognizes faces as faces.  That is, a child doesn’t slowly learn that oval shapes with dark curves near the top over dark circular shapes in sideways small white ovals, etc., are faces; he automatically registers faces as faces–the brain is hard-wired to register combinations of eyes, eyebrows, noses and mouths as faces.  In any event, certain kinds of brain-damaged adults lose their ability to recognize faces but remain otherwise visually more or less normal, and can recognize other kinds of objects from their visual appearance.

Be that as it may, I eventually concluded that we are each born with a face-center in the brain which contains Universal Faces.  The first such face’s associated m-cells are activated by sufficient stimulation from the r-cells reporting on the presence of any face, and simply identifies it as a face.  This is the Innate Objective Face.  The second universal face is the Innate Subjective Face.  It is connected with r-cells responsible for the feel of one’s facial muscles and also to facial r-cells responsive to sensual stimuli such as warmth or tactile pressure.  In other words, the Innate Subjective Face is the main way one perceives one’s own face.

I propose that there is a third Universal Face in the brain which is actually a sort of double-face.  It consists of a duplicate of each of the other two Universal Faces–inter-connected in such a way that the objective’s part concerned with what the eyes of others look like, say, activates, when it is active, the subjective’s part concerned with one’s own eyes.  So a child seeing his mother’s eyes automatically registers: (1) not-me eyes and (2) a sense of his own eyes being repeated externally.  That is, he recognizes his own eyes in his mother’s eyes. Ditto with noses, mouths, ears, and so own.  Ditto, too, I’m sure, with the entire body.  If my hypothesis is right, we each have a whole body crudely sketched within us which stands for all human bodies, and another which stands for his own, and a third which connects his sense of body-out-there with his sense of his own body.  And the details link up in a similar fashion in more detailed objective/subjective areas–for noses, hands, feet, etc.

So the child I played with, seeing me make a fist, would weakly feel her own hand make a fist.  If she then wanted to copy me, she would simply let the feel of her own hand making a fist build up in energy until it activated behavior appropriate to actually making a fist.  And seeing me strike myself in the nose with my fist, she could easily copy me, for she would recognize my activity as being the same as her own behavior v89 (hitting oneself in the nose with one’s left fist, say), and carry out v89, if she wanted to.

The more I thought about it, the more I was convinced that such hard wiring exists.  It would explain how animals without language teach each other various non-instinctive behaviors, as they surely do.  It would explain the common experience of picking up something much faster when it is demonstrated than when it is explained.  And it would mean that learning would not be as intricate as it would otherwise have to be.

Later I found still more areas it seemed nicely to explain.  Particularly the seeming need, sometimes pathological, to be like others.  And, of course, empathy–the ability to put oneself emotionally in another’s place.

Indeed, the idea of objective/subjective linkage centers in the brain led eventually to my development of the anthroceptual awareness.  That is where we perceive people as people, and as human objects, and as ourselves repeated.

It explains why most people, even children, vicariously feel the pain and joy of others.  This leads to what some call altruism–but also to the joys and miseries of being a sports fan.  And of our ability to so strongly identify with characters in books or on television.  This vouyeurism, which is at bottom felt in a way no learned experience in my experience is, is another indication of the validity of my suppositions.  Observe the people who watch game shows, observe their joy when a contestant they’re rooting for wins.  (I myself hate game shows because I feel they reward trivial cleverness and luck more than brilliance is EVER rewarded, so eny blots out empathy for me.)  Surely those spectators are feeling what it means to win, not just recognizing all the things they’ve learned to associate with material success and through them remembering similar experiences of their own (which many of them would not have had), which is the only other way to explain the situaiton that I can think of.

Further thoughts on conformity.  The Inner Self and the Inner Other are interconnected, as already stated (I think).  The outside of the Other’s stimulus’s actions are felt by the Self as described–but the Self’s actions are also projected to the Inner Other.  For example, if I see the outside other salute, my inner other will salute as a result, and my linked inner Self will have an urge to salute as well–will feel the salute as though it were doing it.  In reverse, if I salute, I will automatically transmit energy to those cells in the inner other concerned with saluting, and “make” my inner other salute.

Thus, if I salute and the outside Other does not, a contradiction will arise–Non-conformity, in other words.  My background and the situation will dictate whether it is his fault or mine.  In the first case, he will become a non-conformist or Stranger and I will be angry with him, or fearful, or both.  In the second case, I will be the inadvertant non-conformist, the fuck-up, and feel embarrassment.

Many further remarks to make.  One is that all this conformity need not be very visible or consequential.  Much of it, particularly one’s own part, is “subliminal.”  That is, one carries out one’s imitations in a token, partial way by making the initial cerebral acts only, but inhibiting their actual manifestion in true behavior, or perhaps doing them only so minimally that they are too weak to become true behavior.

Another point: much of social behavior is not just conformity of one person to another; it is alternate, approximate conformity.  There is a golden compromise–one no more wants the over-expected absolute mimickry than one wants total refusal to conform.  It is like any other situation so far as plus/minus goes.  Just as a song is irksome if too unfamiliar, pleasant if neither too unfamiliar or too familiar and boring if too familiar, so it is we an other’s behavior, or our own with that other.

Conversation should given the gist of what happens, as I theorize.  I talk with you.  I say something–and @$you repeat it in your mind, you copy my words@%.  This you do subvocally and quickly and so immediately after hearing my words that you don’t notice it.  But you effectively conform while listening.  But, of course, you probably don’t listen intently and therefore don’t perfectly conform.  But you hear syllable one and it activates your cells for saying syllable one, but they don’t make you say syllable one aloud (usually) because you are in a listening mode–which inhibits speech.  (There is probably a mechanism which compares the activity of one’s passive auditory speech center with one’s motor auditory speech center, and inhibits the latter if the former seems dominant.  But other systems, awarenesses, come into play.)  The cells active in you for saying syllable one would prime but probably not activate the cells for hearing syllable one (again), incidentally.

Anyway, social custom and other considerations would finally require me to stop talking and listen to you, so I would then become the conformist, you the one conformed to.  Actually, we would be sharing a route to which we are both conforming.

One could consider the talker the dominant personality, and the listener the subservient one, though.  In most cases, that would be untrue–as I just said, people usual compromise on a route, neither dominating.  But in many situations one person @$is@% dominant.  Further, I think that most people are designed to be dominant or subservient–as other commentators have speculated.  In my theory, it’s possible that the Inner Self might be fashioned so as to send comparatively more stimulation to the Inner Other than the Inner Other sends to it.  Thus one would be inherently predisposed to want actual others to conform to him than the other way round.  The extra stimulation he sent to his inner other would cause comparatively greater pain if an actual other failed to do as expected than would his own failure to act as the actual other directed.

The reverse would be true of a natural serf, or subservient person.  His Inner Other would be stronger than his Inner Self, and so he would be predisposed to conform to others.

Which reminds me of something else: that we are too large, have too many awarenesses, to be the slaves necessarily of our anthroceptual awarenesses, so needn’t conform even if we are natural conformists.  And as previously indicated, our conformities may be very superficial.  It’s a matter of doing approximately and just sufficiently what another is doing.  He sings one song, maybe it will be enough for us merely to sing.

Still another point: we probably vary from context to context, and from mood to mood, in the ratio of our inner Self’s strength to that of our Inner Other’s.

More about dominance/subservience.  It depends on two things: the ratio of self-to-other strength, which sets “natural dominance,” and which I suspect is low for most people; and one’s awareness hierarchy–how strong each awareness is to the others.I’ve already touched on both these points.  About the second, I could be a natural conformist but only weakly anthroceptual.  If, say, I’m highly intellectual I could then push on to something like . . . this theory, which does not conform to yours, and not change my mind on it however vigorously you attack it, even though you might be naturally much more dominant than I.  Or in that case you might convince me to back down because I’m a serf–but you yourself recognize the validity of my theory after all–and force it back on me.  The awarenesses influence each other, in other words, so your intellectual need for truth might overcome your anthroceptual need for domincance in this case–perhaps even if your anthroceptual awareness is much more important to you than your intellectual.  The latter might still be strong enough to defeat the former due to the overwhelming correctness of my insights.

There is another factor: mentality.  This is interesting.  In earlier models of my system, I took mentality to be the determinant of servility.  A low Taurus Factor would cause others’ opinions to swamp one’s own.  One would have to be other-directed: percepts would cancel retrocepts.  High Taurus factor would do the opposite, would cause one to rigidly adhere to one’s one perceptions regardless of others’ views, valid or not.  My new thought is that these would influence the equation.

Here’s something: if I have a weak Self but high character, I might activate my self so strongly that it would in effect outperform my inner other–lots of weal singals versus a few strong ones.  Generally, though, I think high character/ low dominance would make one a very rigid conformist.  Maybe tradition-directed–conforming inflexibly to remembered others.

Which reminds me of something else of importance: that often anthroceptuality takes place when one is alone because of remembered people.  We obey laws in part even when alone because of our conscience, which is our inner other activated retroceptually.  And we might conform to such a retroceptual other against a perceived outside other if the actions of the two conflict.

Consider how many normal social behaviors are copying rituals.  The hand shake, for instance.  The Salute mentioned.  Dancing–which women are so fond of and I’m not–because, I now hypothesize, I’m not that big on conformity, from either side of it–because not anthroceptual.  Consider also religion–repetition of prayers, chants, songs, etc.  Marching.  So much doing things with enjoyment simply because one is doing them more or less in rhythm with someone else.

I want to emphasize the shared quality of the best of all this.  It is probably accidental who starts a chian of conformities between two friends–but once the chain starts, they conform to it not to each other.

Back to the effect of mentality on conformity.  Flexible minds (due to mentality) will naturally be flexible in thought and behavior, and thus flexible about conforming and not conforming, despite natural tendencies.

Being high in Aries Factor will allow one to plow through natural conformity; being low in it will cause one to be dominated by someone low in dominance while he is using a high Aries Factor even if you are high in dominance.  When one is under the sway of one’s Pisces Factor, one will be naturally subservient in all awarenesses despite one’s dominance factor.

Passive conformity is watching someone do something and not then doing it but doing it in a minimal internal way–conforming to it.  As in the conversation I described.  I watch someone play tennis and feel what he is doing, and enjoy it–or perhaps no and again am bothered by it because it is wrong.

The Inner Stranger comes into this.  There might be two of these: the innocuous Inner Stranger, and the Dangerous Inner Stranger.  But no, the former would be a weakly accepted Universal Friend–because one could identify with his nonconformity.  I’m thinking of a foreigner whom we accept even though he can’t speak English and thus does not conform vocally because we identify with being that kind of stranger ourselves. And usually he must conform in other ways to make up for it.   He still bothers us slightly.

One might be naturally dominant but fail to get others to conform to one’s directions because of other considerations–being too different, etc.  When one is anthroceptually dominant, one has a need for social power.  When one is cerebrationally dominant (high in character and/or brilliance), one has a need for intelligential power, which is different.  Of course, one might have both or neither.  I feel I have the latter to a strong degree but very little of the former.  I might be a natural conformist I now for the first time think.  But conformity works against all the best things in life–e.g., perhaps I’m anthroceptually desirous of liking best-seller novels because everybody does but that works against my sensoriceptual need for good novels, and the latter is stronger in me.

But I doubt that I’m very conformist, naturally.  Probably just average–neither conformist nor non-conformist.  But tensions can develop in a person whose mentality clashes with his natural dominance level.  In my case the clash, if it exists, might be what makes me less social than most people: I don’t want social considerations interfering with what to me are higher pleasures.  But I could be both naturally dominant and cerebrationally dominant, and avoid social situations because the latter must make me original and thus a non-conformist people have trouble with, and the former will make me very upset with that.  The point of all this I hope is clear: it is that many things interact in determining where one is on the serf to tyrant continuum.

Additional thought: probably mentality would not alter natural dominance for high character would make the inner other as much stronger as it would the inner self; the ratio should remain the same between the two regardless of the cerebration level.  So high character/low dominance would make one a strong, loyal serf; low character/low dominance would result in a shiftless serf–a non-conformist due to incompetence; high character/high dominance would make one a strong manager; low character/high dominance would result in a weak manager, I would guess–one who needed to dominate but was incompetent at it.

Yes, low character would tend to cancel high dominance.  The inner other would be strong due to perceptual activation while the inner self, stronger due to dominance, would nonetheless be retroceptually weak, so that the outside other would tend to dominate.  But that contradicts what I said about high character/low dominance.  I need to think this over more.

If the Other says A.B.C while the self, exposed to the other’s A and thus repeating it (regardless of dominance level or character), tries to say X.Y, what will happen?  If one has high character X will occur with B, Y with C.  Otherwise A.B.C will result.  In the first case, if one also has high dominance, B.C will be weaker for the self than X.Y will be for the Other.  In the first case if one has low dominance, though, the opposite will be the case, so one will remain subservient despite one’s high character.  (In all cases X, Y, B and C will be equal retroceptually.)  But the self will continue the chain begun by X.Y and so tension will continue, for a weak attempt to dominate will continue in force.

In the second case if one has low dominance one’s weak attempts to activate X.Y will be even weaker translated into an attempt to activate one’s inner other’s X.Y, and the Other’s activation of one’s self’s B.C will conquer.  If one has high dominance, however, one’s weak attempts to activate X.Y will mean, possibly, that one’s self will not experience anything: low retroceptual energy will prevent either X.Y or B.C from occurring.  Meanwhile one’s other will experience B.C perceptually, and X.Y retroceptually (if the help of dominance in raising its energy is sufficient, in which case let us simply define less than that sufficiency low dominance, meaning low in this context), X.Y will be a stronger force on the Other than B.C will be on the self, so low character/high dominance will cause an attempt to dominate.  But it will flicker on and off because the self will not be able to keep X.Y going.

High/low and low/high thus compromise.  It’s fuzzy.  But what if A.B.C does not try to make the self experience B until the third event of the sequence, while A.X.Y does not try to make the inner other experience X till the same event? High/high and low/low are unaffected, but high character/low dominance will mean the self will experience A.X.BY–but all will be as just described.  But low character/high dominance would be significantly different, for X would be prevented by low character from occurring for the self, so the self would have no instructions to pass on to the other and thus, despite its tendencies, would be forced to serve.  But that again is as before.  Ah, I think what would happen is that whatever retrocepts (or percepts) formed in the self would be “forced” on the other–even if they originated from the outside other!

The highdom/low character would try to manage but arbitrarily, foolishly, and superficially, content to seem to force his will on others.  The kind who will do anything you tell him to so long as you convince him it was his idea.

Call this type the beta managerial type, or b-manager.  His self will have weak self-direction but also weak other-direction so will not be very servile.  His inner other will have strong directions coming from his self.

Now a thought strikes me.  Let high dominance be defined as stimulation from self to other which is stronger than that from other to self (as already stipulated) but also stronger than that from other to other.  Ah, let high dominance equal self to other stimulation being higher than current retroceptual stimulation (or both other to other and self to self).  Let low dominance equal other to self stimulation being higher than current retroceptual stimulation.  Call high dominance simply dominance and low dominance subservience.  Why?  Because one could be the new definition have both.  Call the interaction of the two assertiveness.  If one is higher in dominance than in subservience, one is high in assertiveness; if one is lower in dominance than in subservience, one is low in assertiveness; if the two are equal one is neither assertive nor unassertive.

Okay.  High in C and A equals high in assertiveness.  Low in both equals low in assertiveness.  High in C and low in A means still high A because other to self stimulation will because of low A be higher than self to self while self to other will be lower in comparison to other to other than other to self will be in comparison to self to self.  In other words, the other will have a stronger effect on the self than the self will have on the other, so one will remain subservient.  This is again the same as before.  How about Low in C and high in A?  Self to other stimulation will be higher than other to other stimulation while other to self will have comparatively less effect on the self, so one would remain dominant.  Ready because of low character to be pushed around but more ready to push around because of high assertiveness.

This is confusing.  I still haven’t worked it out.  Of course, there will be all kinds of levels of dominance, but other things being equal, a person having higher A (the difference between his D and S) will dominate a person having a lower A.

(Extraneous note: one mustn’t forget pseudo subservience, the ability of gifted manipulators to suppress their natural dominance until they can use it to the full.)

Latest thought (24Sep89): The self-to-other (dominance) circuit meets the other-to-self (submission) circuit in a center which compares the strength of the stimulation of the first with that of the second.  If dominance energy is the greater by some amount, then the person goes into his dominance mode.  If the reverse, he goes into his submission mode.  If neither, he remains in a neutral mode.

In the dominant mode, his other-to-self transmissions are inhibited (completely); in the submission mode, his self-to-other transmissions are cut off.  In the neutral mode both transmissions are cut off.  (But both self and other continue to transmit to the dominance/submission center.)  All transmissions allowed to continue continue at full strength.  That full strength will be great (per cell) than the person’s retroceptual level.

Therefore, high character/high dominance and low character/low dominance are as previously described.  High character/low dominance is also as before since high character will boost both self and other transmission to the center equally, but low dominance will reduce the self’s tranmission.  Thus, other things being equal, the other will win out and the person will go into the submission mode.  But his high character will keep his stronger retroceptual options active and so he will have more of a chance of changing to dominance than other low dominance types.

A person with low character but high dominance will be predominantly dominant.  His low character will transmit his self’s options weakly to the center but the other’s input will be equally weak.  Meanwhile his high dominance will raise the comparative strength of his self’s material, causing it to come out stronger than the other’s at the center, all else being equal.  So he’ll be a managerial type, but an unstable, impulsive, foolish one.  His low character will mean his directions will come from any old where while his dominance will try to enforce them, despite reason.  The bossy woman is typical of this kind of person–has no real goal but must have her way at all costs anyway.

Note: in deciding on the center and its nature, I wanted, of course, to make my system work, and work in a simple way.  But it wasn’t all arbitrary.  It seems to me reasonable to assume Nature will wants things simple since simplicity means less expenditure of energy.  In this case, too, Nature would strive for social simplicity.  It would not be biologically efficient for the self-to-other and the other-to-self transmissions both to occur at the same time and then the self and other fight each other confusedly for a long time to determine one’s dominance/submission mode.  Better a quick either/or.

This would facilitate social interactions, too, by allowing a short minor dominance superiority on the part of one person (in a situation where it was important to determine a leader) efficiently to knock a rival into a submission mode.  In any case, this kind of “Darwinian” thinking is important and helpful in deciding whether some element of theory makes sense or not.  It should always make some kind of sense biologically: a hypothesized trait must be something Nature could logically have selected.  And it ought to obey Ockham’s razor because Nature tends to, in biological matters.

* * * * *

A brief thought about how the selves I hypothesize function in the evaluceptual center. Possible chapter-length explanation of the natural evolution of morality there, I now believe.  How, in particular, we don’t need a God to tell us not to murder to develop a natural disinclination to do so.  I should probably try to write up just this chapter as it should be pretty self-contained, and not hard–even fun–to write.

Owner-Self?  And an urcept having to do with ownership–and the territorial imperative.

Cartoceptual Awareness has an Ur-Property Urplex containing a property urcept, and a Cartoceptual Self and Other, or Owner and Trespasser.  Or maybe this is in the Carto-Anthroceptual Association Zone.  The property urcept automatically accompanies anything one’s eyes show to be within a foot, say of one, wherever one is.  It is one’s personal space, in other words.  It travels with one.  It strengthens for a given location the more one is in that lacations–and for what stays in that location.  It establishes one’s “direct property.”  Society can establish one’s “indirect property” by means of rules.  Natural versus aritificial Property.

Complications.  The objecticeptual awareness identifies objects in a property space as primary property.  The anthroceptual awareness identifies persons as non-property, by inhibiting the property urcept and stimulating the not-property urcept which is also in the ur-property urplex.

The Authority-Figure will reverse connections in a property zone to the degree it is strong compared to one’s self.

Pets will be part property to the degree they are objects, as all partly are.  Other people will be part object, too, the more so they are subordinate to one.  In everyday situations, this means, roughly, the younger they are compared to one.

One’s fundaceptual self is property, too.  And one’s actions.

* * * * *

THE ANTHROCEPTUAL AWARENESS

The anthroceptual awareness is also an abstracting awareness, for it abstracts the urceptual man out of the environment.  With the help of the evaluceptual awareness, it goes farther and derives an urceptual enemy and an urceptual friend from every image of u ceptual man it processes.  The appreceptual awareness, which controls pain and pleasure and thus can be said to decide whether a thing is good or bad, simply attaches sensations of good or bad to each urceptual man a person experiences and thus makes him friend or foe.  This, of course, allows the person quickly to react–to flee from a foe, for instance, for he will be stimulated by a simple archetypal figure of emnity rather than a difficult and ambiguous particular enemy.

The origin of this, I believe, is ancient–possibly back with the protozoa we came from, with their recognition of what to flee, what to pursue (and devour, if possible).  Our anthroceptual awareness, I’m sure, contains animals and insects, some of which are tagged enimical, and from which women automatically shrink–snakes and spiders, and so on.  But one need not be the slave of one’s instincts.  One can learn, for instance, that spiders are good people, mind their own business, and keep down the population of whiney, annoying bugs.

More important than dividing friend from foe is anthroceptuality’s social adhesion properties.  I divide the anthroceptual awareness into four zones: the dominance, the empathy, the subordination and the autonomy zones.  The urceptual man dwells in all four–along with the urceptual self.  The urceptual self is very important in one’s self-image.  It is a twin of the urceptual man, but is connected, literally, to one’s own body.

Here’s how it works: certain representative musclaceptual and viscraceptual sensors are hooked up with the stick-figure urceptual self in such a way that when that self moves and arm, say, one musclaceptually experiences the movement as his own arm moving.  Certain of one’s voliceptual sensors are also hooked up with the urceptual self so that when one wills one’s real arm to move left, say, one will also will the arm of one’s urceptual self to move left–and be disturbed if it doesn’t.

What does all this mean?  It means, for one thing, that one can objectively view oneself, one can experience oneself both from the inside, and as a stick-figure external to oneself that one controls.  The existence of the urceptual self also makes possible the four zones I listed.  In the dominance zone the urceptual self connects to the urceptual man the same way one’s body is connected to the urceptual self–that is, the self’s limbs are connected to homologous limbs of the man, and so forth, so that when the self moves a leg, so will the man. The self thus tends to force the man to copy him.

The opposite is the case in the subordination zone.  The same connections are made between self and man, but going the opposite way, so that everything the man does (based on some human being in the actual environment–or remembered) the self will attempt, as the man’s subordinate, to copy.  There is more to it than that, needless to say.

 

The Urceptual Foe

The Urceptual Foe’s stimulus is first any stranger, including a wild animal–or even a thunderstorm or something else inanimate. But mostly, especially at first, a stimulus suggestive of a man. It becomes a foe when it has carried out activities sufficiently threatening: loud noises, snarls, baring of the teeth, and looks formidable. And not-human, an animal being almost automatically considered a foe.

21 August 2011

A Sudden Simplification

(Note, one of my flaws is that I’m as interested in how I think as in what I think so constantly complicate my discourse with asides about the former. This will happen often if the following material.)

For a long time I thought each of us had Urceptual Personae in our head, each more or less resembling a human being, and connected to an inner puppet representing a self-image I call the Urceptual Self. Very complicated. Well, suddenly last night I junked all the personae as puppets but two, the Urceptual Self and the Urceptual Other.

The Urceptual Self is a puppet crudely resembling its subject (i.e., the person in whose brain it dwelleth). It tends to copy all its subject actions, and is taken by the subject as the subject’s “me.” When I type and think, “I type,” I’m really expressing my knowledge of what my Urceptual Self is doing (except in not common circumstances when I actually see what my body is doing).

I claim that the Urceptual Self is connected with the equivalent of puppet strings both to its subject’s body (puppet finger to real finger, puppet nose to real nose, etc.) but also the the Urceptual Other, a puppet identical to it.

The Urceptual Other also has puppet strings to an Urceptual (innate) inner picture of a generic human being which is activated by any human being in the external environment. When activated, the picture tends to use its strings to the Urceptual Other to make the Other copy its actions, which are duplicates of the actions of its stimulus. The Other at just about the same time uses the strings to the Urceptual Self it controls to make it carry out the same actions.

I used to think that environmental cues would cause the Urceptual Other to transmit to many other Urceptual Personae which would have various effects, but last night I saw that it didn’t have to. Why: because I could replace those extra personae with simpler urceptual bundles, each sensitive to environmental stimuli indicating the environmental presence of a particular kind of consequential living being, such as a child, a cat, a femal human being, a bad man. . . . The stimuli that I hypothesized turned on the various urceptual others, or casued the central urceptual other to turn on. They would now turn on not puppets but urceptual tags.

But they would all turn on the Urceptual Other. So a subject’s little brother would activate his Urceptual other and urceptual-child-tag. The latter would cause him to carry out big brother actions (assuming other instincts or needs were not complicating factors). He would form a small knowleplex representing his understanding of his little brother which included the Urceptual Other with a child-tag to make up the equivalent of an urceptual child, plus all the unique specifics about the little brother such as his name, favorite dessert, etc. Thereafter, simply glimpsing his little brother would activate his urceptual instincts concerned with taking the role of a father toward the child.

The child-tag would activate his Urceptual Other plus his father-tag. His accelerance would be stimulated to push his cerebral energy high enough for his self to dominate the Urceptual Other. ???

He becomes a father-figure.

Urceptual Self plus father-tag dominates Urceptual Other plus child-tag. He instinctively carries out father activities with little brother as their object.

He can identify with father-figures, which is to say with the knowleplex for one or more of such figures, each of which will contain a father-tag and Urceptual Other.

For one thing, there are certain urcepts that mean authority, certain ones that mean submissiveness, just as in the dog world when a certain kind of bark means I am king here, and lying on one’s back means I submit to you.  In the human world tallness, depth of voice, and certain other masculinities probably mean authority, and genuflection, etc., mean submissiveness.  The combination of authority urcepts with the urceptual man tend to push a person into his subordination zone while submissiveness urcepts combined with the urceptual man will push a person into his dominance zone.  In the first case he will tend to do submissive things, in the latter he will tend to act dominant.

Moreover, when in his dominance zone, his mental energy will increase and he will become literally more assertive while the reverse will have in the subordination zone.

Of course many other factors will determine which zone, if either, he goes into in the presence of another person.  People who aren’t particularly anthroceptual will probably not go into either zone.  Strong-minded people–that is, people high in character–will be hard to force into their subordination zones, hard, in fact, to knock out of their dominance zones.  People low in character will spend most of their time, if they are also anthroceptual, in their subordination zones.  Not necessarily unhappily.  But very superior people may, if anthroceptual, also become subordinate relatively easily if they have high accomodance, and are in a situation in which accomodance is called for.

Submissiveness and accomodance are the basis of learning–social learning, that is, and learning from others, which is the most important way we learn, probably.  So we are all submissive at times, even past childhood when we are more or less programmed for submissiveness (however rebellious at times we can get).

Now I also spoke of the empathy zone.  There, as in the subordination zone, the urceptual self is linked up with the urceptual man in such a way that what the latter does the self will attempt to copy.  The only difference is that authority urcepts have no power in the empathy zone. Hence, when one is in his empathy zone, one’s mental energy is at its normal level.  He submits–or his urceptual self submits–or attempts to copy the urceptual man–but only up to a point.  If the copying pushes the self into disliked paths, and with the self, the person himself, linked as he is to the self, and predisposed to do as the self does (when anthroceptually active), one can easily refuse to imitate further.

Hence, one mainly experiences the other as one’s self rather than as an authority to obey.  One lives vicariously through the urceptual man, and empathizes with what happens to him.  If he hurts himself, one truly feels it oneself.  This is the source of the cliche the parent tells the kid about the spanking hurting the spanker more than the kid.  It is true, because the spanker’s urceptual self is being spanked as surely as the kid, who is activating one’s urceptual other in the empathy zone.

I also spoke of the autonomy zone.  Here there are no links between the urceptual self and the urceptual man, hence now dominance/submission struggle.  The two are more or less equals–mainly because no authority or submission urcepts are present.  Here the person feels represented by his urceptual self in alliance with an urceptual other.  They share the world.

All of this is far more complicated than I have made it, but I’m trying here merely to suggest what my theory is all about, and–I hope–get a few people interested in it.

Further thoughts

I now posit that the stimuli activating an urceptual tag will also activate the urceptual other if appropriate, and influence the Urceptual Self in appropriate, as well–to be responsive or unresponsive to the signals of the Urceptual Other.

The Archetypal Example would involve the mother tag that a mother will activate in an infant.  She will also activate the Urceptual Other–and, possibly, the child’s anthroceptual awareness, and its accommodance.  Once in its anthroceptual awareness, the child will be sensitive to the mother, and the urceptual other activated.  It will turn on its Urceptual Self–or, more likely, bring it more strongly into its consciousness.  Its accommodance will lower its cerebral energy so that will not resist the “orders to imitate” the Urceptual Other, once active, will automatically transmit to its Urceptual Self.  There will be no Urceptual Mother, just an Urceptual Other acting as an Urceptual mother because accompanied by a mother-tag when active.

This combination of tag and Other will have a second important effect: it will tend to double the strength in the child’s memory of the mother, because that memory will consist of the record of the environmental stimuli entering the child as “mother” plus the record of the Urceptual other and the mother-tag (which will be added as automatic memeries to the memory formed). 

 25 August 2011

Now for a little controversy: my discovery of God.  I thought I’d sneak it in here where no one would see it.  Just the surface of it at the moment, but I think I have it pretty well mapped out.  It’s tricky, and I’m ungainly at exposition, so be patient.

1. I posit the existence of a Urceptual Father that consists of the Urceptual Other plus a “father-tag.”  The Urceptual Father’s stimulus is an human being revealing dominance signals and strength in comparison to the subject.  The subject will tend to do the Father’s bidding, and imitate him, to the degree that the stimulus activates the father-tag through various cues.  The subject will record a memory of the Urceptual Father’s stimulus and a vaguer memory of his internal Urceptual Other, to the degree that he imitates, as that puppet’s puppet, the actions of the stimulus of the Father.  In time, the subject will build a memory of an authority figure consisting of his memories of the Urceptual Other plus the father-tage always with the Other when it is activated as a father figure, plus various stimuli who perform as authority figures–the subject’s actual father, an older brother, an uncle, a male neighbor, etc.  Females, too, although to less of an extent because females’ cue are mor nurturing than authoritarian. 

Result: the subject will gradually build an inner representation of an Urceptual Father with few clear specific features–a figure much like the Judea-Christian God, in fact.  What priests and other elders indoctrinate the subject with will strengthen this internal God who must be obeyed.

Oh, the Urceptual Other and whatever tags are activated with him when he is activated are retroceptually stronger than most other matter that we remember–by which I mean that that result in stronger memories.  So a memory of one’s father telling one not to kick one’s little sister will make one’s memory of the event stronger than  one’s memory of a pretty flower.

2. Meanwhile, there is the Urceptual Judge whom I posit.  The Urceptual Other plus a judge-tag.   The judge causes (if need be) one’s memories of one’s deeds that the judge favors, generally moral acts, almost always acts having to do with other people, to be pleasurable, or more pleasurable if they’d be pleasurable without his assistance; his has the same effect on one’s deeds he is against, except that he makes them painful or more painful.  In other words, he encourages us to be good.  His stimulus is sometimes the same stimulus of the Urceptual Father, but can be any human being the subject acts morally or immorally to.  Various elders will stengthen his judge-related actions, as eventually will characters he reads or hears about.  His Urceptual-Mother (and actual mother) will likely be more important in this area than the Urceptual father.  So, an internal God who bestows rewards and punishment–and is vague the same way the authority-figure is.

3. Various instincts make animists of all of us–that is, we think thunderstorms have intent.  We tend often to attach an Urceptual Other to animate objects in the environment, to give us memories of them with a bit of the Urceptual Other in them–legs and arms, for instance–certainly a mind.  Ergo: a God who is everywhere, but immaterial (since being in the sky, ocean, trees, etc., will cause his material identifying characteristics to fade–except for hints of the Urceptual Other than will always be aroused to some degree.

Conclusion: the Urceptual Father and the Urceptual Judge and innate animism will combine to form in most of us a natural anthropomorphic deity that priests will exploit, and the majority will accept–because everyone else does.

Is there an escape?  Sure.  Innate general intelligence.  Perhaps more important, strong abstract intelligence than social intelligence.  Life experience that gradually makes reason stronger than instincts.  Much else.  Complicated topic.  A meagre start here, but I did better than I thought I would.

Oh, and this god will be a part of most conspiraplexes, I believe–even those believed in my agnostics or atheists–many of whom believe in the state, or some other secular god.
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Column110 — March/April 2012 « POETICKS

Column110 — March/April 2012

 

Another Gathering of Visual Poems and Related Art


Small Press Review,
Volume 44, Numbers 3/4, March/April 2012



the bleed.01
Editors: Mara Patricia Hernandez and John Moore Williams
Volume 1, Issue 1, June 2011. 90pp; Avantexte Press, Oakland CA,
http://www.avantexte.com/thebleed

Webzines featuring visual poetry and related artworks are becoming much more frequent of late. Among the best of them is the bleed, subject of my last two columns, and my subject once again. Fortunately for me, it is available as a regular hardcopy magazine, for I was unable to read it on the Internet–due, I’ve been told, to my still being on dial-up.

In his introduction, Editor Williams describes his discoveries during his first year “in the bleed”: “that the world is much larger, and more full of fearlessly creative souls than (he’d) ever imagined; that bringing the work to light takes much more work than (he’d) expected; that there are days when (he wished he’d) never started this thing in the first place, and, in a secret corner of (his) aorta, that (he had) come to resent doing it; and that another day comes when (he sees) a submission and (realizes) that (his) eyes have been skinned wide open, (his) cranium levered back with a gut-wrenching crack, and how happy the world makes (him).” Which certainly brings me back to my own days as an editor/publisher.

There are all kinds of works in this issue of the bleed, with interesting accompanying commentary by both Williams and each individual artist. First up is Amanda Earl, with a three-piece suite of concrete poetry (i.e., producing a viso-aesthetic effect through the use of typography only). Based on passages of “The Song of Solomon,” it begins with one consisting of a set of three stacks each of which contains the words, “My beloved is mine, and I am his: he feeds among the lilies,” in alphabetical order, and three more with the same words except for “am” and “the” in the same order. These latter are perpendicular to, and on top, of the other set. Trust me, the resulting gestalt captures–and renews–all that the original song celebrated. The sequence’s two other poems are equally effective.

Already I have a problem–I’ve only treated one poem out of the many here worth discussion but used up more than a third of my space. I’ll have to be stingy with my words from now on, starting with the visioconceptual non-poetry of Rosaire Appel–wonderfully resonant 3-D blueprints of the shape of poems; Marton Koppany’s finding a way to make his minimalist treatments of (1) the word “or” (its o a white balloon) and (2) a combination of a dash, quotation marks, a wavy line (indicating water) and a comic-strip balloon both very funny and lyrically expansive; Vernon Frazer’s masterful textual collages, one of them with a rectangle inscribed with “the centurion/ of the broken/ codes reaches/ a dark footing,” to wonderfully contradict the geometric rigor of the graphic design it is in (i.e., poetry versus engineering, to the enhancement of both).

Also, some absorbing deformations of a page of print in sudsy water by Michael Justin Hatfield; four gorgeous 3-D constructions with text present or implied of the sort he’s well-known for by Peter Ciccariello; a four-part blur and swirl of words by Andrew Topel; four arresting non-representational images with texts printed on top of them by Berne Reichert, the graphics and texts bouncing off each other into interesting new locales; three inimitable all-word poems by John M. Bennett, the first half of one of which is (approximately, as I can’t duplicate the fonts used here) “elimination of the gnatss a lun/ ching ear fooaam my rabb/ bbit coughs an stre/ ams beneath th/ e gate your f/ lash==olight/ sunk nost/ ril can/ of f/ –=O=–/ rks . . .”

Yes, that last one takes a long while to get an understanding of, but it does eventually unclear into the kind of sensually sensible loud mood/situation the best poems, and almost all of Bennett’s, do, given patience and sufficient mental surrender on the part of the engagent.

To continue, we have “border again border,” by Aysegul Tozeren, which is not in English, so I can’t say much about it except that it looks interesting. After that, five poems by Willem van den Bosch, the first of which is “The Anxious Prince”: “be or not/ to be or/ not to be/ or not to”; four terrific images by Carlyle Baker, one of which I described at my blog as “simultaneously some sort of alchemical diagram, a map of a section of an archaeological dig, a frame from a film of a dream, a ‘careworn and coffee-stained map’ of a lost country (as John Moore Williams described it), maybe even a piece of square currency from some mystical secret nation . . .” Then 2 pages of what seem like found combinations of text and graphics by Sean Burn (I think–the design of the page combines too many disparate items for me to be sure what’s what in it, but “Sean Burn” was the only name among them); some provocative computer-distortions of text by Mike Cannell, and some fascinating microbiologalizations of isolated letters by Nico Vassilakis; also five conceptual poems by Eric Goddard-Scovel that caught my fancy, especially the one called “eleven!”: “!!!11!!!!11!!1111!!!!11!11!!!!!11!”

Finally, there is an essay, “On a Letter Sufficient for Visual Poetry,” subtitled, “A Report, with a Fantasia,” by Iain Macdonald Matheson–12-pages including a page of afterthoughts and two pages of footnotes, one of them citing a poem of mine at Mad Hatters Review, so you know the thing is of the highest seriousness. My immediate off-the-top-of-my-head impression of this after only dipping into it here and there was that it was “brilliantly (and valuably) philosophically irresponsible.” I was “pretty sure I was understanding it, but didn’t think its author cared too much whether or not he was understood. The French School.” Derrida and the other relativistic French writers on literature of his time are, for me, entertainers, not verosophers (my term for serious seekers of the truth). Not that I consider entertainment of less value than truth. And it can sometimes annoy a reader into valid insights–just as the search for truth can sometimes entertain. Of course, said writers considered it an absolute truth that truth did not exist. But don’t let me get going on that. Bottom line: I extemefully approve the appearance of essays like this one as part of collections of poetry of any kind, but particularly of oddball poetry. I think visual poetry’s greatest problem is lack of them.
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Column052 — September/October 2001 « POETICKS

Column052 — September/October 2001



Another Summer Vacation



Small Press Review,
Volume 33, Numbers 9/10, September/October 2001




The Atlantic Center for the Arts
1414 Art Center Avenue
New Smyrna Beach FL 32168
The Atlantic Center for the Arts

 


 

My opinion that the Atlantic Center for the Arts in New Smyrna Beach, Florida, does more to advance the arts in this country than any other institution should probably be taken with at least a few grains of salt since it is the only arts-related institution in the country that has ever done anything for me, personally. I think that few will believe I was wrong to publicize it here when they’ve finished this column, however.

According to a book about the center, The First Decade, it was dreamed up and founded in 1977 by Doris Leeper, a distinguished visimagist (i.e., painter/sculptor, in my special lingo), its purpose being to give “talented artists at mid-career the opportunity to work with outstanding Master Artists . . . (in) a uniquely open workshop atmosphere unencumbered by preconceived boundaries or expectations.”

So, starting in 1982 with poet James Dickey, sculptor Duane Hanson and composer David Del Tredici, two or three “Master Artists” have conducted residency programs at the center every two or three months–with up to ten “associate artists” (the artists considered to be in mid-career) working with each master artist (and getting free room and board). Many well-known poets have done stints as master artists at the center such as Dickey, Lawrence Ferlinghetti, Allen Ginsberg, William Stafford, Philip Whalen, John Ashbery, Amy Clampitt, Robert Creeley and Jonathan Williams.

So far as I know, Williams was the only otherstream poet invited to the center as a master artist until my master artist, Richard Kostelanetz (and even Kostelanetz, however still under-recognized by the powers-that-be in the surface of American Culture, has had an immense number of books published, many of them by establishment publishers, and has gotten previous grants). It would be pleasant if there were some organization in this country that identified rather than merely re-identified (or, in the case of most of them, misidentified) master artists. But, the ACA must be commended for bringing in the likes of Kostelanetz.

The scuttlebutt is that Edward Albee, second master artist at the center, and now chairman of its national council, was instrumental in allowing Richard to scoot in. Be that as it may, Albee seems to be equaling James Michener in helping out other artists, the center being only one of many enterprises with that aim that he’s a consequential part of. So, if he weren’t already on my list of Important Cultural Figures for his incontestably major accomplishments as a playwright, he’d be on it for his nurturing of the arts.

For the most part, Kostelanetz, understandably, chose friends in visual poetry as his associates: me, Kathy Ernst, Scott Helmes and John M. Bennett; the younger associates–Josh Carr, Pat Greene, Fred Young, Hesse McGraw and Michael Peters were mostly people recommended to him by friends. In short, it was the standard who you know game. We had to fill out application forms, though. Still, Richard did pick one or two associates from among submitters he didn’t know, and Kerry James Marshall did likewise, I’m fairly certain. (He’s the excellent painter who was the only other master artist present during my stay (a composer having disappointingly dropped out for some reason). So it’s worth writing the center or going to its website, to find out how to apply for either a residency or an associateship.

Physically, the center consists of interestingly blend-with-nature buildings emerging out of dense palmettoey Florida vegetation, planked walkways of the kind associated with beaches connecting them. It includes a library (with computers and Internet-access), field house (which was the Kostelanetz group’s work room), painters’ studio, sculptors’ studio, theatre, dance studio, recording studio, computer room, administration building and dining hall, plus clumps of very nice motel-like rooms for associates, and three cottages for master artists.

I spent the best part of my ACA time in the field house or at a computer (Kostelanetz supervising me and the rest of his charges beautifully, via encouragement only). While in the field house, I worked on poems. I spent my time at computers learning Photo Shop from Ernst (with lots of help from other associates) and applying what I learned to turning out new visio-mathematical poems, and–later–finding out how to make computer videos from Young, which enabled me to make a crude short on what I’m trying to do in my long division poems.

This I presented at a show&tell thing at the end of our stay that was open to the public (in conjunction with an exhibit of our work). An unprolific poet generally lucky to do three new poems in a year, I got ten new ones done in my three weeks at ACA, three or four of them major (for me), plus three collaborations with Bennett (no one escaped collaborating with him!) that I also deem important, and parts of some quite intriguing group efforts.

I spent a lot of near-best time gabbing with and viewing the work of fellow artists, including those in the very talented, if not as wacked-out as we, Marshall group. The food was super-good, too, though not fancy. And we even had a field trip; it was to the Ruth and Marvin Sackner Archive in Miami, which had lots of terrific visual poems and related matter not there when I last was. The only negative of my stay was that no bigtime arts patron took a gander at my work and decided, on the spot, to become my Prince Ludwig II. But, hey, visibility is starting to seem more and more not totally impossible for us visual poets! So, watch out, world!

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A Page for Mrs. Lasher’s Class « POETICKS

A Page for Mrs. Lasher’s Class

 

You kids showed such good creative use of the idea of making mathematical poems, that I thought I would show you another kind of arithmetic you can use to make a poem: long division.  The above is an example.  To understand it all you have to do is treat it as a long division example that uses words (or pictures) instead of numbers.  That means it is telling us that if you divide “BIG” by “little,” your answer will be the sun–with a remainder of “Hi!”  It has a remainder because the sun times “little” doesn’t quite equal “BIG,” it equals a “smile” (or so I say!)  A smile, the poem says, needs to have “Hi!” added to it to equal “BIG.”  Okay, it doesn’t really make sense the way proper arithmetic does, but my hope is that it will give those who see it a happy feeling of a smile as something little that has been multiplied by the sun, and with a friendly greeting added to it become BIG. 

Anyway, I hope you enjoy my long division poem as much as I’ve enjoyed your addition poems, and that some of you will go on to make more mathematical poems.

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By the way, if you think you may be interested in the nutty way I think about long division, click HERE.
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One Response to “A Page for Mrs. Lasher’s Class”

  1. Donna Lasher says:

    To the poet who is still a ROCK STAR in our eyes! Let me know if you see anything that needs correcting! I enjoyed the article in Scientific American.
    http://blogs.neisd.net/dlashe/stories-from-our-blog/

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