A Spotless Fetish the Mind Finds Surpessed.

     As the final season comes to a close, reflecting on the paper back books from the fall and spring semesters have sparked a call for artistic recreation. The most beautiful sensation a piece of art can pose derives from the challenge set forth to produce a product. In the beginning of the spring semester, reading Othello by William Shakespeare proposed itself with the greatest personal challenge of the year: to read a play encompassed around the themes of deception, misinterpretation, cries for help, and suicide.
     Back in January 2015 an ally against the crimes of public education and lost individuals of conformity, Billy Kirkpatrick, committed suicide. His death set forth a hesitant and reluctant desire to follow through the reading of Othello. As a personally challenging assignment the prior personal tragedy allowed for an acute attention for detail and understanding.
     In Shakespeare's dialogue between Iago and those who fall victim to his scheme against Othello (Roderigo, Emilia, Cassio, and Othello) expose a certain dimension to the process of lying and manipulation. Iago's reliance on of the cooperation of his peers is based solely on his perceived judgement to their publicized accustoms. He creates false wordings of the actions carried out by each of the characters in relation to Othello and spits them out to each in order to reach the ears of Othello in a despicable and arousing manner. With out the pessimistic sin he twirls onto the questioning of Othello's peer's action's, he would not have begun to fill himself with detrimental doubt about his ties and relationships. Othello decomposes his humanity do to the fact that what the ear can hear and the magnifying imagery the eye creates has exacerbated the betrayal of self confidence.
     In relation to suicide the themes of manipulation and deception manifested the design of a "thing" to represent Othello. The senses the human body obtains rely heavily on sound and sight to determine individuals preferences. The ear's senses create a sensation that develops the sensitivity of toward the tone, frequency, sound, and content when being delivered information. But the ear's sense is also what allows for responses that relay the same deception, manipulation, and secrecy as project into them. Both Billy and Othello where deceiving and deceived about their tolerance and affection. When the final act drew out the intention or reasoning of the action remained as labeled as the events that contributed to their fatality.
     In the creation of print, I was able to secure the same intent into the image I had produced. The print reflects a darken ear that is surrounded by both abstract out lining and definite out lining. The image correlates the concept of sight and  hearing in association to successful manipulation. The ear accurately resembles the structure of an ear but is tainted by a kaleidoscope type edit that blurs the shaded back ground. The kaleidoscope pattern is representational of the trick the eye can play on the mind, and the contribution to information sight allows for in the accumulation of knowledge. But the entire sketch I had drawn is clearly cut out and displaced onto a back ground of solid white, like the purity and cleanliness of life that has been corrupted by adulteration. I had sketched out an ear in my drawing book using cross hatching, hatching, blending, and erasing to allow for highlights and shadows do have greater command. After cutting the ear out it was placed onto a scanner and uploaded it onto Mac PhotoShop in the photography lab. The software allowed manipulation of contrast, burning and dodging to develop to desired image. When completed The image was uploaded to a flash drive and moved to an ink printer to blow up and print the image onto a larger matt paper that finished the "thing" all together.
 

Like Billy, Othello had a presence in publicity that was loved by many and tarnished by the envy of society. In alienation and rules of order the two fought for composure. In loving memory of Billy Kirkpatrick.

Relative reading associating Othello with the means of his suicide:
http://dc.ewu.edu/cgi/viewcontent.cgi?article=1137&context=theses
http://internetshakespeare.uvic.ca/Library/SLT/plays/othello/othsuicide.html.
http://internetshakespeare.uvic.ca/Library/SLT/ideas/religion/suicide1.html

Weird Fishes

    Toni Morrison's novel Beloved centers itself around the trope of daunting ghost interacting with the characters and setting. Similar to the structure of Beloved, Radiohead's 2007 album In Rainbows shares the plot structure of  the popular literary work. Within the structure of the album's placement of each song the underlying tone of each piece heightens the hysteria or vibe of insanity, schizophrenia, fear and rage that are equivalently present in Beloved. Recently in class discussion's about the novel I brought up the possibility of Sethe, Denver, and Beloved all being the same person. The song Bodysnatcher's focuses primarily on society displacing humanity out of their own skin, driving individuals into insanity. The frantic tone of Thom Yorke's voice creates a similar sensation to the distress in Beloved's approach to part two of the novel, where the characters begin to unravel in confusing trade-offs between the characters speaking. In the song All I Need the lyrics are written to highlight humanities dependencies that feed off the light and pain of others like a moth. Mid-way through Beloved in Part Two, the intertwining dependencies between Sethe, Denver, and Beloved exposes why each feel so connect and reliant on one another. Specifically All I Need relates to Denver's forced love from her fear of her mother, just as Thom Yorke vocalizes in his lyric- "I only stick with you because there are no others." Beloved, the character, is present in this album right away in 15 Step, she is supposedly the daughter of Sethe that had she had murdered who was reincarnated into this character Beloved to redeem their once corrosive relationship. The lyric "you reel me out and then cut the string," mirrors their connection. Like the umbilical chord connecting the child to its mother, Beloved and Sethe's is cut when she returns, no longer the ghost present in 124, beloved manipulates all those involved in her once connected bond with Sethe, now that she is cut from all emotional ties.
     An interesting fact I had read on Songfacts (http://www.songfacts.com/detail.php?id=9547) that really drew both the story of Beloved and the album In Rainbows together was one of the comments given by the Guitarist Ed O'Brien about their song Body Snatchers, "'Bodysnatchers' will always remind us of Tottenham House, a decrepit mansion where we recorded some of the album. This track reflects the weird energy of the house." Just as Sethe and Denver lived in 124 the house that was haunted by a ghost that contributed to the ominous vibe with in the beginning of the book, just as Bodysnatchers is the first song of the album.
     In Tyler Fishers review on Radiohead's album In Rainbows (http://www.sputnikmusic.com/review/13815/Radiohead-In-Rainbows/), he states "his voice provides the eerie icing on the cake that makes this album stand out." The sound of Thom Yorke's voice reinforces the tone in Beloved through his apparitional fluctuations and key lyrics that relate to the ridged and abstract plot. The title In Rainbows, is not to reflect the the joyous mood with in the songs or the stereotyped gay emblem but "In Rainbows proves the band’s realization that their career has spanned a full rainbow, an entire color palette of tones and voices, and they are still adding new colors fourteen years later." After 18 years apart Paul D and Sethe continue to build their relationship,  welcoming in Sethe's newly reincarnated daughter (Beloved) into 124, Denver's determination to leave home and help support the family, developing new understandings that come with group effort and eventually bringing the community together. As though Sethe was building, or adding to her own rainbow.
    

It is Safe to Say We Could Both use this Fire Escape.

Magnolia Projects, art work by Bria Williams
“Let your eyelids fall,” she said, closing his eyes with her gentle fingers.
Vivian's hands smelled of faint smoke from their burning home, the stiff soil's stench rose while they had fled in desperate measures
“Can you remember?” she said. “Can you remember before the destruction?”
Jason tried to open his eyes in attempt to see Viv, but she remained calm and covered his eyes.
Could he remember what he was even like before everything was destroyed?   Before Tyler, his son,  had rebelled against him and destruction had come to a city that originally nurtured their family?
Vivian's hand fell limp, but Jason kept it near his face and kissed her fingers. With his attempt to see her once more he was broken up, her thick blond hair caked with dirt that fell off  onto to her cheek. He pushed her hair back with an unsteady hand and gazed out into a sky sliced by misery and the unknown.
“I am the city,” Viv once told him.
Only in the end would she agree to leave with him, but she hadn't decided that soon enough. The protestors and rioters had reached the walls and the city began to burn.
“I am the city.” And he was her, like what we eat we are who we love, but was left in the absence of his wife and son, what was to love?
He kissed her forehead, allowing his salty precipitation to fall upon her cheek, mixing with the clumps of soil , creating a muddy cloud instead of her blush . He closed his eyes but could still see the horror painted across the sky, he closed his eyes because the paint was appearing on his quiet wife.
“I remember,” he whispered, tightening his hand around hers. “I remember what it was like before the destruction.”
He wanted to remember more, but the heat that brought him back only pushed him further into the present
She loved their community, she loved their neighbors and she loved the blue jets that sped through the pool in the skies and the golden arcs that bounced through the reflective ponds and creeks.
He loved her and when she had wept as the guns began to fire and the walls had begun to fall, he had held her and wept with her.
 “I am the city,” she had said, “and this city is me. I was born in the creases of these clouds, I met you where the daffodils turn the meadows yellow,” she had held his cheek to keep him from turning away. “Our child was born in our home near the Sear Field Nursery. The walls, the flowers, the family heard his first cries, heard his first laugh.”
She had closed her eyes and the screams of the dying fogged the visibility of serenity .
“I remember,” he whispered, kissing her cheek. “I remember Tyler.” although it had been years since his death, Jason could still hear his laughter, his tears.
“I am the city,” she once said. And he knew then what she had meant. We are what we love. He had seen her breathing in the scent of daffodils, her eyes closed as the breeze spread the aroma. Smiling then his heart ached from the memory.

He kissed her and squeezed her hand, her fingers cool and loose in his own. He could be with his wife and his son again. All he had to do was to return to the city they had loved.

In the Defense of Dimensional Art

     For he not only interprets the historical events of the existing generation; one defining them for all eternity, he also observes interpret-able behaviors and creations of mankind into solidified representation where the past is revealed. His interpretations are the soil through which our present has grown from. I would not credit the visual artist  for their accuracy of past events, rather for their ability to capture the essence of time:therefor contributing eclectic work to excavate the past but the past does not solely rely on the previous visual works. A visual artist stems creations from the personal perspective he builds from the wooden foundation of his home as he refers to as inspiration.The creator defines the aura shaped in time through the medium of choice and manipulation of natural shapes or the use of organic forms. Art suffers not from previous work as it develops and expands the technique desired to resemble relationships and power. By the vision of Pablo Picasso's "Girl Before a Mirror," and Frederic Auguste Bartholdi's Statue of Liberty, both works of art are examples of the increased vanity in society or the earlier alliance brought between
France and the States, the creation of beauty in time for time as time.
     Religion, lines, shape, color, and the desire to record visual events are the reins on a chariot; they may call visual art by the appearance that is communicating his thought and experience. But dimensional art is drawn fine when developed by those of flawless  nature, whose product defines the criteria as concrete work, resembling a beloved bard.  For this product extends from the Earth sprouting a flower that blooms into the appearance that once existing in time but remains left to his memory, containing a sentimental connection not left only to the surface of the object than to the power radiating from it. For dimensional art derives from the internal mind of man that with holds the ability to manipulate ones stream of relation flowing from shared commonality to social norms of the era; but between the creator, the visualizer, and the observer one can only correlate the connotative aspect among the denotative intent of malleable art to extent permitted by the creator and visualizer. A creation based on the gleam of a knife, a fine edge between the two sides of the piece the relate only in that fine edge, small yet existing.
     Visual Artist are the bards that with hold through time; the knife that cuts the sandwich of humanity to reveal the inner contents in depth and detail; the material with the strength to ease the curious cat through temporary satisfaction; the personal leverage to boost himself into the mountain top through what is often only achieved after his departure.Visual Artist are the most eclectic record keepers of times past.

To Eat With Confedence.

     In Thomas Foster's How to Read Literature Like A Professor second chapter, Nice to Eat With You: Acts of Communion, stresses not only the importance of shared meals but the attitude to look at such events for symbolic or metaphorical purpose. Moving beyond religion helped me dive to a deeper understanding in the significance of eating with one another, or the meaning behind an invitation to dine together. However if that same meal where to fall through poorly those who were involved are given an admonishing outlook. But not to later be confused when Foster discusses symbolism and its lack of specific meaning, yes, the meal could have no purpose but there would not be any reason to smudge the story with useless side information irrelevant to the message. While he too advises even when writing that because you can add or use symbolic situations (specifically meals) does not make the story any better.
     Recalling back to when I read To Kill a Mockingbird, in an earlier chapter Scout brings home Walter Cunningham for lunch with her father Atticus and brother Jem. The meal goes down the drain when the close gathering becomes subject to personal uncommon preferences, such as pouring molasses on a plate of traditionally un-sweet foods. When Calpurnia takes scout into the kitchen after her incessant questions, the meal shows that the increased peace and relation will occur over time do to scout sheltered knowledge about living in terrible financial situations. After Scout has been separated from the table she understands she must apologise and interact at a different angle even though she is still just a young girl. By her attempt to make amends Water, Jem and she return to school represented an altered perspective and compassion for those one does not know.
    When I combine the concept of the word communion to that of community in relation to its denotation where communion means the sharing or exchanging of intimate thoughts and feelings,  on a mental or spiritual level, the thought of weddings comes to mind. Especially when reading The Kite Runner, Amir  the protagonist gets married to Soraya where they follow the ceremony with a reception dinner. Typically, and in The Kite Runner, when a couple is married they invite members of both families and close friends to share toast, cake, and time together. Both families unite and discuss memories, share intimate thoughts and enjoy a moment of bliss together.
     Dinner is commonly used as the communion of literary works but if one looks at the pretenses that having breakfast at ones house or meeting for lunch implies intimate or regularity of activity in a relationship. Deciding to engage in a meal displays interest and curiosity from an individual, by following though one begins the first sharing of commonality between the group. Knowing that Communion and meals coincides with one another, reading specific scenes or novels will increase my conscious search for later representation and reflection of how the interaction went and the impact it related on the the whole books collective symbolism.

The Missing Piece

    The Missing Piece by Shel Silverstein is a poetic dialogue written with ambiguous undertone. The top layer is able to be observed as a circle missing a triangler piece inseach of it's missing piece. Although the top layer is quiet literal the bottom layer connotates a symoblic refrence. A referance to the desire all humans posses to obtain self completion and accomplishment as a whole; a whole where everthing becomes chalant and utterly a bore. Living a life as a whole being leaves no room to acquire new accomplishments, high success, and the feeling of happiniess from the the loss from  sadness creating  a monotoneous life.
    The circle rolls on in search to find it's missing piece, stumbling apon several similar, not quiet right pieces. None of which fit correctly, but might stick for a moment. Each piece signifing the people, places, and problems that enter and exit our incomplete uncertainty of our own self evaluation. Even when we possibly find the perfect fit, it is still unsatisfactory since if life had no hills the ups would not come from downs and the downs could not bring us up, basically living on a flat surface, no where to go.
    No where to go, no where to hide, we all are missing a piece. Take your missing piece and become comfortable with the gap because the gap will never be comfortable with you. The gap must come towards you with all possible might to change, surprise, devistate, and ruin you, to leave the rest of your filled space to strengthen and decifer what it is that is inside your missing piece. What ever maybe intruding in your piece will no longer interupt once recognizable and your missing piece's shape will change from its experience.