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Not All Who Wonder Are Lost

But if you are Wondering where to go from here: Look up.

A link to your answer might be in the stars. 

Or – Keep Searching.

I know you will find what you are looking for.

The following excerpts provide a frame-work for how E – Euler’s Number in-forms an expression of
Wonder

The number e, also known as Euler’s number, is a mathematical constant approximately equal to 2.71828 that can be characterized in many ways. It can also be calculated as the sum of the infinite series

The number e is of great importance in mathematics, alongside 0, 1, π, and i. e i π + 1 = 0 Like the constant π, e is irrational (it cannot be represented as a ratio of integers) and transcendental (it is not a root of any non-zero polynomial with rational coefficients).

You Are Invited: Glowing With-Inn

You
Feel delight-; full rightness, structural;
Integrity, ‘A’ warm invitation; glowing with-
Inn, dark rooms enlightened; beaming with
Intention, the moon offers reflection; bursting
With points, speaking with-out-words; en-
Chanting, places expressing you’re self; w-
Here you see, snow-covered pines; with awe,
You look up-; words speak clearly, beginning
Again; well-, come in; you are invited too,
Wonder; inspired by y’our imagination –

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You Are Invited: Still ‘A’ Stand-Inn

This place, w-here you are;
Unhinged in-words, you face you’re self;
Here, twisted; shouting, there’s no way; in-
Or out-, words; you think, t-here are no
Doors; still, you feel boarded up-; words,
Trapped with-in-; visible webs-peeking out-,
Words appear; spelled ‘A’-cross-, wise; the
Open door, contorted; you never quite fit, in-
Between the lines; you’re humble, I-deas
Grow; above your head, ‘A’ roof; caving,
In place; standing under, the one; bored,
Doing its job; bending, you’re attention;
Focused, making cents from what is possible;
You can see how, stuck in that place;
Everything is ‘A’-bout, rationale-yes verses
Real-eyes; see, the truth is I’m-possible;
To de-construct, you lie still; ‘A’ stand-inn,
Let it fall; ‘A’ part of something greater, the
Opening; ‘A’ door, w-here you can B.E.-
Come; you’re self, green; coloring the w-
Hole’s in, the wall; spackling, all over; you –

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You Are Invited: ‘A’ Chorus

Well-, come in; you are invited too, wonder;
Inspired by y’our imagination, reflecting the
Unseen; with-in-finite possibilities, you have
‘A’ standing invitation; the door is all-ways
Open, letting the wind flow through; as if,
It’s an organ within; you, h-ear ‘A’ chorus;
Calling, you too; here, you’re self; in-sight,
‘A’ frog at the door; it’s more than you can
Handle, seeing what is; right t-here, waiting
For you to open up-; words, resting on the
Latch; you see it’s dreams, the keys will
Open; everything in-circles, UnI -in ‘A’-
Verse expanding –

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In Reverence: Re: Joy-ce

‘A’ burst of light-, hearted energy; with-out-
Word expression, shines; ‘A’rray of hope,
‘A’midst ‘A’ valley; w-here you ‘A’rose,
‘A’new world-view reveals; ‘A’ vision with-,
In front of you; mountains back down, before
You; we’re, created from ‘A’ mother; b-
Earth, re: Joy-ce; thanks be too, you –

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In Reverence: Covered

Stilled; below, the
E-motion over-comes; you, ‘A’ moving
Response too; ‘A’ form of beauty, hidden;
In-sight heals, you’re in-word expression;
Covered, in de-light you bow; in reverence
You feel, ‘A’lined in-word; the warmth of
The sun, invites; you hear, ‘A’ voice with-in –

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In Reverence: Re: Joy-ce

You just want to feel, you’re expression;
Whole-heartedly, appreciated by others;
With-in ‘A’ space, open to the incline-ation;
W-here the lines of Nature lead you, up-
Words; in-formed by the land-scape, trans-
Forms you’re perspective; about facing,
You’re encounter with; what is with-in, an-
Other; you become, ‘A’ witness with; ‘A’
Sense-ational experience –

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Friends of Wonder: Webbed Souls

Gathering
Friends of wonder in; de-light, gliding y’our
Feet; webbed, souls paddling together; in the
Water, reflecting; the beauty of being, glass;
Colored by de-light, passing through ‘A’;
Body, held in-flux; lakes, in-distinguishable
From ‘A’; stream, with-in you here; ripples,
Echoing the sound of loons; consciousness,
Calling y’our presence ‘A’ gift; resonating,
With-out-word expression; grace-, fully
Translated in-two; voices, re: mind y’our-
Self; you belong too, ‘A’ larger body;
Spotted, with-in-; sight offering you ‘A’,
Vision; you think you can see, an image-;
In y’our eIe’s, deeply; red, diving in-two; in-
Formation, angling for ‘A’ purpose with-in;
Seine, words you catch ‘A’-; scent, below the
Tension; you feel de-light-, headed; up-,
Words bending the pressure; two-words,
Y’our I’s; awe-, waken; above the sur-face,
You; re-cognize ‘A’, UnI-verse; filled with
Wonder –

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Friends of Wonder: Eyes of Contentment

I’m-possible, the quest-Ion you see-k; life,
In-formed by ‘A’ collective; consciousness,
Hoping to find something; trust-, worthy of
Believing in-; human-, Nature looking four-
Words; you are not ‘A’-lone, feeling;
Received, with-out-word; expressions,
You can see; eyes of contentment, hear;
You know, you are known with-in-;
Distinction, you are heard; quietly –

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Friends of Wonder: Feeling In-secure

‘A’ welcoming spirit, feeling; in-secure in
‘A’, forest-; land, defined bayou; w-here
Roots are exposed; below, swimming in-
Words; masked behind ‘A’, tree; you s-peek
With ‘A’, sharp; eIe, care-fully pitched; with-
In the fringes, twisted; fibers whisp-ering,
You belong here-; in-, tangled ideas; spell-,
Bound together in ‘A’; UnI-verse, hidden in-
Sight; expanding, y’our definition of what is;
I’m-possible –

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Face The Terrain: Wonder-land

Face, the
Terrain; hear, you can only see; ‘A’, part of
The image-; in the rest, buried wonder-; land,
Snow covered; awe-wake in, silence; un-
Touched lands-capes, language; reflects, ‘A’
Star bursting with awe-; wake in de-light,
You; here, hid in-words; everyw-here you see
‘A’, fresh; snow-, fall un-broken; mourning
Un-covered, everything; under the sun, w-
Here; t-here are no tracks to follow, four-
Words; you think y’our limitations, captured;
‘A’, physical reality I’m-bodied; experience,
Sense-ational places with-in-; finite boundary
Lines, move; you with-in-, joy; awe-struck
‘A’ chord, hope; You, Here; With-in, Hear;
‘A’ UnI-verse, re: defining what is; I’m-
Possible –

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Face The Terrain: The Other Side

B.E.-coming ‘A’, human-;
Being, with-in complete routes; mixed, in-
Formation; sending you ‘A’, sign; posted, at
The top; pointing two-words, the unknown;
Quest- ion-s-trapped to ‘A’, head; light, on
The other side; disrupting the dark, you;
See-k, hope carrying you two-words; the sky,
W-here you wander about-; facing, life from
‘A’ star-; light, an ‘A’llusion with-in-; finite
Parameters, you define w-here; two place the
Lines in-, formation; following, roots
Appear; heaven sent, some-; w-here, above
The trees; you can see over, everything; re: b-
Earth, ‘A’ part of ‘A’ re: formation; you, re:
View the ground; you, we’re holding on to;
Sand-, stone crushed; ice-, water melted;
Y’our nerves might, ext-end; past, any place
You can grasp; you have to let go of falling,
Up; to the stars, through difficulty; you find
‘A’new, climb; axon, frozen rock –

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Face The Terrain: ‘A’ Rock Face

Eventually you will come to, awe-; wake in
‘A’ place, w-here; ‘A’ dream catches you,
Sleeping; in, time finds you; up-, words lift
You; higher than, anything you think could
B.E.-come; the wall, bigger than you; think,
You can scale ‘A’ rock; face, ‘A’-lone tree;
Exposed, the routes of y’our future; re:
See-d, the quest-ions waiting for you too;
Reach, you’re self extended; ‘A’ hand pulls,
You come too; real-eyes, ‘A’-head; space, w-
Here nothing resists; you’re current, flow;
Free, climbing two-words; something
Ephemeral, you can feel; it has all-ways been
T-here, receiving; I’m-pulses, instinctually
Awe-ware; you’re self, crawling with
Reactions; re: I-on, eyes; awe-wake, in life;
Charged, you begin y’our journey; up-,
Words searching for something; you, lost; be-
Lo, the tree line; roots filled with meaning-,
Full; experience, everything is awe-; live in
The woods, ‘A’ tuned to Nature; you here,
Roots; on the fly, you see y’our self; in ‘A’
Compound, eIe –

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Wonder Re: Defined: Unseen Before

Yore dawn
With-in-, words; placed, at sun-rise you sea;
Blue, sound wave- forms; t-heart of wonder,
S-peaking; with-in-, visible valleys; hid-in,
Myst-ory; language, riddled with roots; rising
Up-, words; tra-verse, quest-ionable paths;
All-ways lead to-words, wonder; re: defined
In ‘A’ sense, awe; I’mpulses, you feel; you
Think, you; found something, I’mpossible;
Nature awe-wakens you, with-in-; words,
You see you; have the time of yore life,
Notice; nuances, unseen before; orange,
Skeye’s open you’re presence; be-lo,
You’re experience; being, ‘A’ part of Nature;
You, Here; With-in, Hear; ‘A’ many-voiced-
Landscape –

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Wonder Re: Defined: Impressions of Still-ness

List-en-, counter-intuitive frequencies;
Here, the roots of dis-comfort; hertz, hidden
In-sight; vibrations, healing dis-place-meant;
Mourning, ‘A’ musical re-presentation;
Wonder re: defined, contentment; full-,
Crumbs bare the weight; born by the light,
Boulders; rolled up-words, breathing;
Effortlessly mending mountains, broke-in-;
Two stones, gathering; moss, clinging two;
Impressions of still-ness, moving –

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Wonder Re: Defined: Filled With Meaning

It is hard to find, words; try to define the
Indefinite, gratitude; with-in, you’re Nature;
Looking for something you have, lost; with-
In-attention, you have found you’re-self;
Yearning for wonder, re: defined; lust,
Flashes of light; falling, stars burning; fire-,
Works of art; de-composing de-light,
Feelings; you thought you we’re floating,
Down-; words, de-scribe de-scent; ‘A’ way to
See y’our atmos-fear, fading; over the
Horizon, lines; pull you’re I up-, words; filled
With meaning, ‘A’; UnI-verse, silence- is
You –

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‘A’ Humble Definition: Awe-waken

I’m-possible; buried treasure, rising from
B.E.-lo; the sur-face, you; see the gold in
Light, again; floating up-word, giving y’our
Life hope; defined with-in-, word; you see
Potential, in-forms; y’our quest-ions lead you
To view-, points; places that s-peak, beyond
Words; you see-k ‘A’ UnI-verse, that makes
Sense; with-in, y’our myst-ory; thoughts in-
Vision, the epic journey; chasing after- life,
Forming; ‘A’ sensational experience, w-here
Y’our eIe re-presents; y’our breath, shapes;
The way you see, sounds; de-light, in-word
Feelings shout; whoopee, bursts out-; word
In-forms, y’our expression; landscapes awe-
Waken, language; spelled with-out-word, e-
Motions move you; overcome with-in-word,
You re-cognize you; choose, you’re
Perspective; joy re: image-ined, the loss of
Suffering; with-, in the mourning; sun –

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‘A’ Humble Definition: In-visible Darkness

The trail resonates, with-in-;
Words you feel, as if; you have been, hear;
Before you, we’re sense-; able to re-cognize,
The symbolic; land-marks project, in-sight
Envelopes; you, sent on y’our way; four-
Words, real eyes you create; things, with-out-
Word meaning; y’our thoughts and feelings,
Makeup; appearances, y’our human-; Nature,
‘A’ mirror image; the impression, about-
Facing y’ourself; in re: verse, you re-cognize;
You’re ‘A’ perspective of life, interpreting;
‘A’-line meant, consciously composed; you
See-k to re-present, the good; Nature, you see
In everything; connected with, forms of
Meaning; ‘A’ deep and complex web, life;
Held together by imperceptible threads,
Linked in-word; ‘A’ UnI-verse spelled with-,
Out-word experience; hidden, in-sight you
Feel; ‘A’ landscape of language, moving;
Four-words, inspired by y’our imagination;
Opening the gait, y’our thoughts locked in;
Step two, re: defining; anew perspective, life;
‘A’ character, playing with-in-word; spinning
‘A’-round, you B.E.-come; ‘A’ part of ‘A’,
Larger body; w-here, in-word; definitions are
Written, with-out-word; expression, forms;
Y’our life, styled; in the image of Nature, w-
Here you find you’re self; listening for
Things, out of character; in voice, you here;
‘A’ speck of dust, carrying y’our life; re: b-
Earth, ‘A’new form of star-; light above, you;
Stillness, f-hear you cannot see; the un-
Certainty is in-visible, darkness; feeling
Y’our way, outside; the un-reasonable sense,
Un-known re: percussions; vibrate with-in,
Deep pulses; you feel, you think; you, here;
The rhythm of life, beats with-in; you begin,
Pounding on-word; y’our past, the point; w-
Here everything appears to end, in the future;
You let go of knowing, holding on to hope;
Swirling in-words, you see; colorful ideas,
You feel; ‘A’ light touch, you here; whispers,
‘A’-head is y’our mansion; locked behind
‘A’ gait, razed with words; you move, inn
‘A’ sense of place; visual-eyesed, through
‘A’ window; y’our perspective, in-forms;
Every-thing, in-directions in-compass; the
Horizon, opportunities hidden; in-sight, far
Beyond; human perception, all-ways drawn
In; the past, y’our guide-; lines re: verse,
Y’our future; remains, open to interpretation;
Y’our window, human-; Nature re-presented –

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‘A’ Humble Definition: ‘A’ Humble Definition

If you are willing to explore; below the
Surface of things, t-here is more; hidden in-
Site, w-here y’our human-; Nature is re-
Presented through reflection, re: image-ined;
Language in-forms, ‘A’ burst of light with-
Out-word; expression shines, across the
Landscape; re: b-Earth reflects, ‘A’ humble
Definition; s-peaks, you see amore than
Human voice; in-vision you’re un-herd of,
Beyond words; you, here; an invitation to
B.E.-come, conscious of y’our place; flow,
Upstream; w-here you cannot distinguish the
Lake, with-in; ‘A’ stream influenced, you;
Inspired, explorers who seek; the roots of
Life, riddled; the trail resonates –

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Death Is Missing: Fresh Heir

Fresh heir two yore, breath; giving ‘A’-new
Home two yore, future; brightened, the
Clouds move four-words; mourning at last,
Words; awe-, waken; yore sense-is past,
On-; words, you feel something touching;
You, in re: verse; the quest-ion, re: forming;
With-in yore reflection, you; re-member,
Death is missing –

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Death Is Missing: See-D

Form, ‘A’ UnI-
Verse; filled with-in-, formation; you n-ever
Noticed, life; un-till, you we’re cultivated;
See-D, separate-d from ‘A’ case-; meant two
Shed darkness, light; photo-, synthesized
Words open up; ‘A’ living window, offering –

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Death Is Missing: ‘A’llusion

The quest-ion, forming; with-in yore
Reflection, wondering; what is ‘A’-live,
With-in; everything, you can see past; now,
Hidden in-sight; being myst, con-textualized;
Suffering over yore, loss; thinking, you can
B.E.-come ‘A’ loon; common, sense-less
Feelings form death; stuck inside ‘A’ frame,
Deceiving; ‘A’ppearance-is, ‘A’ body
Housing yore; mInd, missing the point; an
‘A’llusion guides you, two –

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Upstream of Consciousness: Flow

‘A’ gift, give-in; an opportunity, for you too;
Sense, the connection; flow re: defines you,
With in-sight; you see, the water; feeling for
Something, deeper; ‘A’ wild place,
Upstream of consciousness –

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Upstream of Consciousness: Release

With-in attention is an invitation; to become,
Conscious; ‘A’ place w-here you can keep
‘A’ line in, the water; feeling for something,
Deeper; ‘A’ sense-ation pulling, you’re
Attention; tied to ‘A’ fly, casting out; you’re
Hope, f-hearing nothing; you begin too, real;
Eyes here, the brook babbling; in-viting
You too –

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Upstream of Consciousness: Catch

‘A’ treasure every child see-ks, feeling;
Amidst ‘A’ grown up definition, one’self;
Lost with-in attention, awe-wareness holds;
You’re life’s potential, presence; the hook,
‘A’ key too; open the gait too, you’re
Thoughts; locked in step too, an unconscious
Flow –

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dis-Order: You Think

You think you taste it,
Hear; listening, you feel ‘A’ touch; heavenly,
Divine senses; with-out-word, expressions;
You two can B.E.-come, you’re self; ‘A’
UnI-verse mixed with-in-, word; forming
I’m-possibilities, I’m-perfectly; arranged –

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dis-Order: You’re Thoughts

De-composing, you’re
Thoughts; I’m-perfectly arranged, human-;
Nature re-presented ‘A’ vision, hidden; in-
Sight, temporarily lost; stillness, moving
With-in; you’re e-motion, organ-eyes’d;
Conceptually, you can see it; ‘A’-scent,
Carrying you up-word; you think you taste it,
Hear –

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dis-Order: You Know

I’m not sure, you know how it goes; other
People think, they think; they know, what is
The best idea; you have, thoughts; about
Facing, everyw-here; you look, you see; dis-
Order, re: arranged; in-word, scores of
Conjunctive lines; de-composing, you’re
Thoughts –

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The Absurd: Things

Things, you dis-count; y’our
Life, the cost; dreams, for sale; thoughts, you
Think; in short, terms; traded, in the market;
Y’our proof, ‘A’ sh-elf; bear, the spirit you
Feel; stocking you with c-hear, voices; filling
Y’our head with good, things; again, you’re
Facing the wrong direction to notice; what is
En-circling, you; here, everything becomes
The noise; noise, noise; you make, believe
What; you here, reality; change-is the one,
Who is the maker; rules –

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The Absurd: Whatever

Whatever; you think it’s all
Good, caught up; in- forcing the rules, in
Every con-; text, the way out from in- side;
The game, you get stuck in front of; pixels,
False definitions; thinking, you begin to spin;
Out of control, you begin to feel; the end, in-
Grained in the details; t-here’s ‘A’ sense- less
Thought, ‘A’-lone; I-dea, running for y’our
Life; on a track, in a field; for an office, w-
Here you crash; at the end of the day, you
Believe in these –

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The Absurd: Notion

‘A’-far-, fetched notion; t-here’s a fine line,
Between us; wonder-, meant for the absurd;
Games, people play; you, train y’our self to
Take it; seriously, coached you get certified;
Proof, you yearn to B.E.-come institutional-
Eyes’d; blind, spots c-over y’our glass;
Broken politics, ‘A’-professional; religion,
Sports; media, the frame; cracking from
Every angle –

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The Places You’ll Gr-Oh: ‘A’ Perspective of Contentment

‘A’ place w-her-e-motion moves you, with-
Out-word grace; defining ‘A’ humble dis-
Position, floating; over b-Earth, you’re
Amore than human voice; calling, adoration
Amidst shadows; within, timbered ridges
Echo; ‘A’ perspective of contentment,
‘A’ gift within, the presence; we all live and
Breathe –

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The Places You’ll Gr-Oh: Head In-word

W-here you can sense, the roots empath-eyes;
Trek beyond the trail, head in-word; down a
Different path, still; w-here everything begins
Too, spin; you turn, back-words; from t-here,
You; real-eyes, you; start feeling your way,
Dancing en-circles; the whirled appears,
Twisted; two others, you twirl to-word; UnI-
Live together, in -verse; ‘A’ miracle Rain-ier
To Savoie, -faire direction guides; the
Whether, human-Nature follows; patterns
That lead to refinement, exploiting the toxic;
Ore, in-forming our entanglement; through
Revolutions –

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The Places You’ll Gr-Oh: Empath-Eyes

W-here you can sense, the roots empath-eyes;
The places you’ll gr-Oh, as you climb; up-
Words, dis-stance gives perspective; notice,
A release of pressure; on-words, change
When you gain a positive altitude; you rise
Above, down-word looking marks;
The summit gives, you another peak;
At kindness, you see the world; w-here
Snowflakes form, you’re story; water
From ‘A’ mountain top, transformed;
Through revolutions, solid-air-ity crystalizes;
The beauty of sky, blue –

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‘A’ Slow Burn: The Coals

Words call out, now; you’re the only one left,
Listening; in-word, w-here everything is
Quiet; you can see you’re self, here; ‘A’ slow
Burn, crackling; the coals, red; you’re story,
Cast; you’re light, home-; word, w-here you
Chase you’re dreams; awe-waken –

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‘A’ Slow Burn: The Sounds

Rising; from ‘A’ glow, ashes; setting,
The silence floats bye; you feel still, here;
You see embers, kin-dling; the sounds of
Yore, B.E.-; loved ones, hidden; hear-in-,
Sight with-out-words; wind-, up- drafts;
You’re attention drifts, up –

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‘A’ Slow Burn: The Dance

You are the one who sees, things; before and
After, ‘A’ spark light’s you’re presence;
Alone, settled by the fire; with-in, the world
Falls; asleep, tired of the dance; blue, flames
Flicker up-word; reaching, two-words; you’re
Life –

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You’re Dreaming: The Silence

As if; it could call us, back-words; in-two
One, name; encompassing everything, we f-
Hear; UnI- stuck in re: -verse, defined by
Probability; with certainty, we think; at least
Some feel, we are all gifted; presence, in life;
The opportunity, two experience; mysterious
Connections, seek-rets in-sight;
The wonderer, below the surf-ace; sound
Waves break, the silence; remains, ashes
Speak two; you’re death, plus life; f-our t-
Here you belong –

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You’re Dreaming: You’re Future

Just wandering about, living; in-two
Categories, human-Nature; appears two us,
About-facing the unknown; four-words,
Entanglement encompasses everything
Emerges; everyw-here the light filters
Through, you begin too; see everything,
You’re past was; you’re future is, still;
Filled with starlight, you live on; dreams, w-
Here you can image-ine; the Nature of life,
As if; guiding us, two-words; a-tone meant,
F-our-words; live, what; you’re dreaming –

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You’re Dreaming: ‘A’ Blue Tone

Bi-perspective we see, we are all related; by
Two names, b-Earth gives us human-; Nature
Is the sur-, prize; you’re given, another name;
After -life, you never know; what you will
B.E. -come, ‘A’ family of constellations; in-
Word, rise again; you see, you’re life
Defined; now in-vision, the journey from
Star-dust transforms; re: b-Earth appears to
Gesture, h-ours; before it dawns on you, the
Expression of light waves; in ‘A’ blue tone,
You hear amore than human voice;
Mourning, the loss of darkness; nobody
Knows, yet; how to listen, care-fully for
Things; t-hey, you two; n-ever noticed, w-
Here UnI- fit in -verse; we are all, what is;
Most important, is still; hiding in-word,
Until; we can see h-our light –

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Wonder Re: Defined

Wonder Re: Defined: You’re Presence

12×16 Canvas Print

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Wonder Re: Defined

Wonder Re: Defined: Awe-wakens

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Wonder Re: Defined: Language

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Wonder Re: Defined: Hid-in Myst-ory

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Wonder Re: Defined: Still-ness

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Wonder Re: Defined: The Mourning

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Wonder Re: Defined: Healing

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Wonder Re: Defined

Wonder Re: Defined: Vibrations

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Wonder Re: Defined: Silence- Is You

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Wonder Re: Defined: De-light

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Wonder Re: Defined: Yearning

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Wonder Re: Defined: The Indefinite

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With-Out-Word Expression

Wonder Re: Defined

It is hard to find, words; try to define the
Indefinite, gratitude; with-in, you’re Nature;
Looking for something you have, lost; with-
In-attention, you have found you’re-self;
Yearning for wonder, re: defined; lust,
Flashes of light; falling, stars burning; fire-,
Works of art; de-composing de-light,
Feelings; you thought you we’re floating,
Down-; words, de-scribe de-scent; ‘A’ way to
See y’our atmos-fear, fading; over the
Horizon, lines; pull you’re I up-, words; filled
With meaning, ‘A’; UnI-verse, silence- is
You; list-en-, counter-intuitive frequencies;
Here, the roots of dis-comfort; hertz, hidden
In-sight; vibrations, healing dis-place-meant;
Mourning, ‘A’ musical re-presentation;
Wonder re: defined, contentment; full-,
Crumbs bare the weight; born by the light,
Boulders; rolled up-words, breathing;
Effortlessly mending mountains, broke-in-;
Two stones, gathering; moss, clinging two;
Impressions of still-ness, moving; yore dawn
With-in-, words; placed, at sun-rise you sea;
Blue, sound wave- forms; t-heart of wonder,
S-peaking; with-in-, visible valleys; hid-in,
Myst-ory; language, riddled with roots; rising
Up-, words; tra-verse, quest-ionable paths;
All-ways lead to-words, wonder; re: defined
In ‘A’ sense, awe; I’mpulses, you feel; you
Think, you; found something, I’mpossible;
Nature awe-wakens you, with-in-; words,
You see you; have the time of yore life,
Notice; nuances, unseen before; orange,
Skeye’s open you’re presence; be-lo,
You’re experience; being, ‘A’ part of Nature;
You, Here; With-in, Hear; ‘A’ many-voiced-
Landscape –

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Fill Your Walls With Wonder

Wonder Re: Defined

It is hard to find, words; try to define the
Indefinite, gratitude; with-in, you’re Nature;
Looking for something you have, lost; with-
In-attention, you have found you’re-self;
Yearning for wonder, re: defined; lust,
Flashes of light; falling, stars burning; fire-,
Works of art; de-composing de-light,
Feelings; you thought you we’re floating,
Down-; words, de-scribe de-scent; ‘A’ way to
See y’our atmos-fear, fading; over the
Horizon, lines; pull you’re I up-, words; filled
With meaning, ‘A’; UnI-verse, silence- is
You; list-en-, counter-intuitive frequencies;
Here, the roots of dis-comfort; hertz, hidden
In-sight; vibrations, healing dis-place-meant;
Mourning, ‘A’ musical re-presentation;
Wonder re: defined, contentment; full-,
Crumbs bare the weight; born by the light,
Boulders; rolled up-words, breathing;
Effortlessly mending mountains, broke-in-;
Two stones, gathering; moss, clinging two;
Impressions of still-ness, moving; yore dawn
With-in-, words; placed, at sun-rise you sea;
Blue, sound wave- forms; t-heart of wonder,
S-peaking; with-in-, visible valleys; hid-in,
Myst-ory; language, riddled with roots; rising
Up-, words; tra-verse, quest-ionable paths;
All-ways lead to-words, wonder; re: defined
In ‘A’ sense, awe; I’mpulses, you feel; you
Think, you; found something, I’mpossible;
Nature awe-wakens you, with-in-; words,
You see you; have the time of yore life,
Notice; nuances, unseen before; orange,
Skeye’s open you’re presence; be-lo,
You’re experience; being, ‘A’ part of Nature;
You, Here; With-in, Hear; ‘A’ many-voiced-
Landscape –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Wonder Re: Defined

It is hard to find, words; try to define the
Indefinite, gratitude; with-in, you’re Nature;
Looking for something you have, lost; with-
In-attention, you have found you’re-self;
Yearning for wonder, re: defined; lust,
Flashes of light; falling, stars burning; fire-,
Works of art; de-composing de-light,
Feelings; you thought you we’re floating,
Down-; words, de-scribe de-scent; ‘A’ way to
See y’our atmos-fear, fading; over the
Horizon, lines; pull you’re I up-, words; filled
With meaning, ‘A’; UnI-verse, silence- is
You; list-en-, counter-intuitive frequencies;
Here, the roots of dis-comfort; hertz, hidden
In-sight; vibrations, healing dis-place-meant;
Mourning, ‘A’ musical re-presentation;
Wonder re: defined, contentment; full-,
Crumbs bare the weight; born by the light,
Boulders; rolled up-words, breathing;
Effortlessly mending mountains, broke-in-;
Two stones, gathering; moss, clinging two;
Impressions of still-ness, moving; yore dawn
With-in-, words; placed, at sun-rise you sea;
Blue, sound wave- forms; t-heart of wonder,
S-peaking; with-in-, visible valleys; hid-in,
Myst-ory; language, riddled with roots; rising
Up-, words; tra-verse, quest-ionable paths;
All-ways lead to-words, wonder; re: defined
In ‘A’ sense, awe; I’mpulses, you feel; you
Think, you; found something, I’mpossible;
Nature awe-wakens you, with-in-; words,
You see you; have the time of yore life,
Notice; nuances, unseen before; orange,
Skeye’s open you’re presence; be-lo,
You’re experience; being, ‘A’ part of Nature;
You, Here; With-in, Hear; ‘A’ many-voiced-
Landscape –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

The following excerpts provide a frame-work for how Time in-forms an expression of
Wonder
Stanford Encyclopedia of Philosophy
  • We see colours, hear sounds and feel textures. Some aspects of the world, it seems, are perceived through a particular sense. Others, like shape, are perceived through more than one sense. But what sense or senses do we use when perceiving time? It is certainly not associated with one particular sense. In fact, it seems odd to say that we see, hear or touch time passing. And indeed, even if all our senses were prevented from functioning for a while, we could still notice the passing of time through the changing pattern of our thought. Perhaps, then, we have a special faculty, distinct from the five senses, for detecting time. Or perhaps, as seems more likely, we notice time through perception of other things. But how?
  • Time perception raises a number of intriguing puzzles, including what it means to say we perceive In this article, we shall explore the various processes through which we are made aware of time, and which influence the way we think time really is. Inevitably, we shall be concerned with the psychology of time perception, but the purpose of the article is to draw out the philosophical issues, and in particular whether and how aspects of our experience can be accommodated within certain metaphysical theories concerning the nature of time and causation.

 

What is ‘the perception of time’?

  • The very expression ‘the perception of time’ invites objection. Insofar as time is something different from events, we do not perceive time as such, but changes or events in But, arguably, we do not perceive events only, but also their temporal relations. So, just as it is natural to say that we perceive spatial distances and other relations between objects (I see the dragonfly as hovering above the surface of the water), it seems natural to talk of perceiving one event following another (the thunderclap as following the flash of lightning), though even here there is a difficulty. For what we perceive, we perceive as present—as going on right now. Can we perceive a relation between two events without also perceiving the events themselves? If not, then it seems we perceive both events as present, in which case we must perceive them as simultaneous, and so not as successive after all. There is then a paradox in the notion of perceiving an event as occurring after another, though one that perhaps admits of a straightforward solution. When we perceive B as coming after A, we have, surely, ceased to perceive A. In which case, A is merely an item in our memory. Now if we wanted to construe ‘perceive’ narrowly, excluding any element of memory, then we would have to say that we do not, after all, perceive B as following A. But in this article, we shall construe ‘perceive’ more broadly, to include a wide range of experiences of time that essentially involve the senses. In this wide sense, we perceive a variety of temporal aspects of the world. We shall begin by enumerating these, and then consider accounts of how such perception is possible.

 

The specious present

  • The term ‘specious present’ was first introduced by the psychologist E.R. Clay, but the best known characterisation of it was due to William James, widely regarded as one of the founders of modern psychology. He lived from 1842 to 1910, and was professor both of psychology and of philosophy at Harvard. His definition of the specious present goes as follows: ‘the prototype of all conceived times is the specious present, the short duration of which we are immediately and incessantly sensible’ (James 1890). How long is this specious present? Elsewhere in the same work, James asserts ‘We are constantly aware of a certain duration—the specious present— varying from a few seconds to probably not more than a minute, and this duration (with its content perceived as having one part earlier and another part later) is the original intuition of time.’

 

Past, present and the passage of time

  • The previous section indicated the importance of distinguishing between perceiving the present and perceiving something as We may perceive as present items that are past. Indeed, given the finite speed of the transmission of both light and sound (and the finite speed of transmission of information from receptors to brain), it seems that we only ever perceive what is past. However, this does not by itself tell us what it is to perceive something as present, rather than as past. Nor does it explain the most striking feature of our experience as-of the present: that it is constantly changing. The passage (or apparent passage) of time is its most striking feature, and any account of our perception of time must account for this aspect of our experience.

 

The metaphysics of time perception

  • In giving an account of the various aspects of time perception, we inevitably make use of concepts that we take to have an objective counterpart in the world: the past, temporal order, causation, change, the passage of time and so on. But one of the most important lessons of philosophy, for many writers, is that there may be a gap, perhaps even a gulf, between our representation of the world and the world itself, even on a quite abstract level. (It would be fair to add that, for other writers, this is precisely not the lesson philosophy teaches.) Philosophy of time is no exception to this. Indeed, it is interesting to note how many philosophers have taken the view that, despite appearances, time, or some aspect of time, is unreal. In this final section, we will take a look at how three metaphysical debates concerning the nature of the world interact with accounts of time perception.
  • The first debate concerns the reality of tense, that is, our division of time into past, present and future. Is time really divided in this way? Does what is present slip further and further into the past? Or does this picture merely reflect our perspective on a reality in which there is no uniquely privileged moment, the present, but simply an ordered series of moments? A-theorists say that our ordinary picture of the world as tensed reflects the world as it really is: the passage of time is an objective fact. B-theorists deny this. (The terms A-theory and B-theory derive from McTaggart’s (1908) distinction between two ways in which events can be ordered in time, either as an A-series—that is in terms of whether they are past, present or future — or as a B-series— that is according to whether they are earlier than, later than, or simultaneous with other events.)
  • The second metaphysical issue that has a crucial bearing on time perception is connected with the A/B-theory dispute, and that is the debate between presentists and eternalists. Presentists hold that only the present exists (for an articulation of various kinds of presentism, and the challenges they face, see Bourne 2006), whereas eternalists grant equal reality to all times. the two debates, A- versus B-theory and presentism versus eternalism, do not map precisely onto each other. Arguably, B-theory is committed to eternalism, but A-theorists may not necessarily endorse presentism (though Bourne argues that they should).
The following excerpts provide a frame-work for how Perception in-forms an expression of
Wonder
Stanford Encyclopedia of Philosophy

The Nature of Perception and The Structure of Behavior

  • Merleau-Ponty’s first book, The Structure of Behavior (SC), resumes the project of synthesizing and reworking the insights of Gestalt theory and phenomenology to propose an original understanding of the relationship between “consciousness” and “nature”. Whereas the neo-Kantian idealism then dominant in France (e.g., Léon Brunschvicg, Jules Lachelier) treated nature as an objective unity dependent on the synthetic activity of consciousness, the realism of the natural sciences and empirical psychology assumed nature to be composed of external things and events interacting causally. Merleau-Ponty argues that neither approach is tenable: organic life and human consciousness are emergent from a natural world that is not reducible to its meaning for a mind; yet this natural world is not the causal nexus of pre-existing objective realities, since it is fundamentally composed of nested Gestalts, spontaneously emerging structures of organization at multiple levels and degrees of integration. On the one hand, the idealist critique of naturalism should be extended to the naturalistic assumptions framing Gestalt theory. On the other hand, there is a justified truth in naturalism that limits the idealist universalization of consciousness, and this is discovered when Gestalt structures are recognized to be ontologically basic and the limitations of consciousness are thereby exposed. The notion of “behavior”, taken by Merleau-Ponty as parallel to the phenomenological concept of “experience” (in explicit contrast with the American school of behaviorism), is a privileged starting point for the analysis thanks to its neutrality with respect to classical distinctions between the “mental” and the “physiological” (SC: 2/4).
  • Mind, the symbolic level of form that Merleau-Ponty identifies with the human, is organized not toward vital goals but by the characteristic structures of the human world: tools, language, culture, and so on. These are not originally encountered as things or ideas, but rather as “significative intentions” embodied within the world. Mind or consciousness cannot be defined formally in terms of self-knowledge or representation, then, but is essentially engaged in the structures and actions of the human world and encompasses all of the diverse intentional orientations of human life. While mind integrates within itself the subordinate structures of matter and life, it goes beyond these in its thematic orientation toward structures as such, which is the condition for such characteristically human symbolic activities as language and expression, the creation of new structures beyond those set by vital needs, and the power of choosing and varying points of view (which make truth and objectivity possible). In short, mind as a second-order or recursive structure is oriented toward the virtual rather than simply toward the real. Ideally, the subordinate structure of life would be fully absorbed into the higher order of mind in a fully integrated human being; the biological would be transcended by the “spiritual”. But integration is never perfect or complete, and mind can never be detached from its moorings in a concrete and embodied situation.
  • Merleau-Ponty emphasizes throughout The Structure of Behavior that form, even though ontologically fundamental, cannot be accounted for in the terms of traditional realism; since form is fundamentally perceptual, an “immanent signification”, it retains an essential relationship with consciousness. But the “perceptual consciousness” at stake here is not the transcendental consciousness of critical philosophy. The last chapter of The Structure of Behavior clarifies this revised understanding of consciousness in dialogue with the classical problem of the relation between the soul and the body in order to account for the relative truths of both transcendental philosophy and naturalism. The issue concerns how to reconcile the perspective of consciousness as “universal milieu” (i.e., transcendental consciousness) with consciousness as “enrooted in the subordinated dialectics”, that is, as a Gestalt emerging from lower-order Gestalts (i.e., perceptual consciousness) (SC: 199/184). In the natural attitude of our pre-reflective lives, we are committed to the view that our perceptual experience of things is always situated and perspectival (i.e., that physical objects are presented through “profiles”, Husserl’s Abschattungen), but also that we thereby experience things “in themselves”, as they really are in the mind-independent world; the perspectival character of our opening onto the world is not a limitation of our access but rather the very condition of the world’s disclosure in its inexhaustibility. At the level of this prereflective faith in the world, there is no dilemma of the soul’s separation from the body; “the soul remains coextensive with nature” (SC: 203/189).
  • This prereflective unity eventually splinters under our awareness of illness, illusion, and anatomy, which teach us to separate nature, body, and thought into distinct orders of events partes extra partes. This culminates in a naturalism that cannot account for the originary situation of perception that it displaces, yet on which it tacitly relies; perception requires an “internal” analysis, paving the way for transcendental idealism’s treatment of subject and object as “inseparable correlatives” (SC: 215/199). But transcendental idealism in the critical tradition subsequently goes too far: by taking consciousness as “milieu of the universe, presupposed by every affirmation of the world”, it obscures the original character of the perceptual relation and culminates in “the dialectic of the epistemological subject and the scientific object” (SC: 216/200, 217/201). Merleau-Ponty aims to integrate the truth of naturalism and transcendental thought by reinterpreting both through the concept of structure, which accounts for the unity of soul and body as well as their relative distinction. Against the conception of transcendental consciousness as a pure spectator correlated with the world, Merleau-Ponty insists that mind is an accomplishment of structural integration that remains essentially conditioned by the matter and life in which it is embodied; the truth of naturalism lies in the fact that such integration is essentially fragile and incomplete. Since “integration is never absolute and always fails”, the dualism of mind and body
    • is not a simple fact; it is founded in principle—all integration presupposing the normal functioning of subordinated formations, which always demand their own due. (SC: 226–27/210)
  • The Structure of Behavior concludes with a call for further investigation of “perceptual consciousness”, a task taken up by its sequel, Phenomenology of Perception. In the concluding pages of Structure, Merleau-Ponty offers a preliminary sketch of phenomenologically inspired approaches to the “problem of perception” that set the stage for his subsequent work, emphasizing (a) the difference between what is directly given as an aspect of individual lived experience and intersubjective significations that are only encountered virtually; and (b) the distinctiveness of one’s own body, which is never experienced directly as one objective thing among many.

 

Phenomenology of Perception

  • Completed in 1944 and published the following year, Phenomenology of Perception (PP) is the work for which Merleau-Ponty was best known during his lifetime and that established him as the leading French phenomenologist of his generation.
  • In Phenomenology, Merleau-Ponty develops a characteristic rhythm of presenting, first, the realist or empiricist approach to a particular dimension of experience, followed then by its idealist or intellectualist alternative, before developing a third way that avoids the problematic assumption common to both, namely, their “unquestioned belief in the world”: the prejudice that the objective world exists as a ready-made and fully present reality.
  • Sensing, in contrast with knowing, is a “living communication with the world that makes it present to us as the familiar place of our life” (PP: 79/53), investing the perceived world with meanings and values that refer essentially to our bodies and lives. We forget this “phenomenal field”, the world as it appears directly to perception, as a consequence of perception’s own tendency to forget itself in favor of the perceived that it discloses. Perception orients itself toward the truth, placing its faith in the eventual convergence of perspectives and progressive determination of what was previously indeterminate. But it thereby naturally projects a completed and invariant “truth in itself” as its goal. Science extends and amplifies this natural tendency through increasingly precise measurements of the invariants in perception, leading eventually to the theoretical construction of an objective world of determinate things. Once this determinism of the “in itself” is extended universally and applied even to the body and the perceptual relation itself, then its ongoing dependence on the “originary faith” of perception is obscured; perception is reduced to “confused appearances” that require methodical reinterpretation, and the eventual result is dualism, solipsism, and skepticism. The “fundamental philosophical act” would therefore be to “return to the lived world beneath the objective world” (PP: 83/57). This requires a transcendental reduction: a reversal of perception’s natural tendency to cover its own tracks and a bracketing of our unquestioned belief in the objective world. Yet this cannot be a recourse to any transcendental consciousness that looks on the world from outside and is not itself emergent from and conditioned by the phenomenal field. Rather than a transcendental ego, Merleau-Ponty speaks of a “transcendental field”, emphasizing that reflection always has a situated and partial perspective as a consequence of being located within the field on which it reflects.
  • Merleau-Ponty argues that we cannot separate the certainty of our thoughts from that of our perceptions, since to truly perceive is to have confidence in the veracity of one’s perceptions. Furthermore, we are not transparent to ourselves, since our “inner states” are available to us only in a situated and ambiguous way. The genuine cogito, Merleau-Ponty argues, is a cogito “in action”: we do not deduce “I am” from “I think”, but rather the certainty of “I think” rests on the “I am” of existential engagement. More basic than explicit self-consciousness and presupposed by it is an ambiguous mode of self-experience that Merleau-Ponty terms the silent or “tacit” cogito—our pre-reflective and inarticulate grasp on the world and ourselves that becomes explicit and determinate only when it finds expression for itself. The illusions of pure self-possession and transparency—like all apparently “eternal” truths—are the results of acquired or sedimented language and concepts.
  • Rejecting classic approaches to time that treat it either as an objective property of things, as a psychological content, or as the product of transcendental consciousness, Merleau-Ponty returns to the “field of presence” as our foundational experience of time. This field is a network of intentional relations, of “protentions” and “retentions”, in a single movement of dehiscence or self-differentiation, such that “each present reaffirms the presence of the entire past that it drives away, and anticipates the presence of the entire future or the ‘to-come’” (PP: 483/444). Time in this sense is “ultimate subjectivity”, understood not as an eternal consciousness, but rather as the very act of temporalization. As with the tacit cogito, the auto-affection of time as ultimate subjectivity is not a static self-identity but involves a dynamic opening toward alterity. In this conception of time as field of presence, which “reveals the subject and the object as two abstract moments of a unique structure, namely, presence (PP: 494/454–55),
  • Phenomenology sets aside all scientific or naturalistic explanations of phenomena in order to describe faithfully the pre-scientific experience that such explanations take for granted. Similarly, since the world exists prior to reflective analysis or judgment, phenomenology avoids reconstructing actual experience in terms of its conditions of possibility or the activity of consciousness. The phenomenological reduction, on his interpretation, is not an idealistic method but an existential one, namely, the reflective effort to disclose our pre-reflective engagement with the world. Through the process of the reduction, we discover the inherence of the one who reflects in the world that is reflected on, and consequently, the essentially incomplete character of every act of reflection, which is why Merleau-Ponty claims that the “most important lesson of the reduction is the impossibility of a complete reduction”

 

Expression, Language, and Art

  • Expression, language, and symbolism are the key to this theory of truth and provide the foundation for a philosophy of history and of “transcendental” humanity. Whereas the study of perception could only provide a “bad ambiguity” that mixes “finitude and universality”, Merleau-Ponty sees in the phenomenon of expression a “good ambiguity” that “gathers together the plurality of monads, the past and the present, nature and culture, into a single whole” (UMP: 48/290). Many of Merleau-Ponty’s courses from 1947 through 1953 at the University of Lyon, the Sorbonne, and the Collège de France focus on language, expression, and literature.[6]
  • Critiquing our commonsense ideal of a pure language that would transparently encode pre-existing thoughts, Merleau-Ponty argues that instituted language—the conventional system of language as an established set of meanings and rules—is derivative from a more primordial function of language as genuinely creative, expressive, and communicative.
  • Expression accomplishes itself through a coherent reorganization of the relationships between acquired signs that must teach itself to the reader or listener, and which may afterwards again sediment into a taken-for-granted institutional structure.
  • Rather than opposed as silent and speaking, painting and language are both continuations of the expressivity of a perceptual style into more malleable mediums. The unfinished character of modern painting is therefore not a turn from the objectivity of representation toward subjective creation but rather a more authentic testament to the paradoxical logic of all expression.
  • Merleau-Ponty returns to the analysis of painting in his final essay, “Eye and Mind” (1964a OEE), where he accords it an ontological priority—between the linguistic arts and music—for revealing the “there is” of the world that the operationalism of contemporary science has occluded. It is by “lending his body to the world that the artist changes the world into paintings” (OEE: 16/353), and this presupposes that the artist’s body is immersed in and made of the same stuff as the world: to touch, one must be tangible, and to see, visible. Merleau-Ponty describes this as an “intertwining” or “overlapping”, in which the artist’s situated embodiment is the other side of its opening to the world. There is as yet no sharp division between the sensing and the sensed, between body and things as one common “flesh”, and painting arises as the expression of this relation: it is a “visible to the second power, a carnal essence or icon” of embodied vision (OEE: 22/355).

 

The Visible and the Invisible

  • The manuscript and working notes published posthumously as The Visible and the Invisible (1964 V&I), extracted from a larger work underway at the time of Merleau-Ponty’s death, is considered by many to be the best presentation of his later ontology. The main text, drafted in 1959 and 1960, is contemporaneous with “Eye and Mind” and the Preface to Signs, Merleau-Ponty’s final collection of essays.
  • Merleau-Ponty frames the investigation with a description of “perceptual faith”, our shared pre-reflective conviction that perception presents us with the world as it actually is, even though this perception is mediated, for each of us, by our bodily senses. This apparent paradox creates no difficulties in our everyday lives, but it becomes incomprehensible when thematized by reflection:
    • The “natural” man holds on to both ends of the chain, thinks at the same time that his perception enters into the things and that it is formed this side of his body. Yet coexist as the two convictions do without difficulty in the exercise of life, once reduced to theses and to propositions they destroy one another and leave us in confusion. (V&I: 23–24/8)
  • For Merleau-Ponty, this “unjustifiable certitude of a sensible world” is the starting point for developing an alternative account of perception, the world, intersubjective relations, and ultimately being as such. Neither the natural sciences nor psychology provide an adequate clarification of this perceptual faith, since they rely on it without acknowledgment even as their theoretical constructions rule out its possibility. Philosophies of reflection, exemplified by Descartes and Kant, also fail in their account of perception, since they reduce the perceived world to an idea, equate the subject with thought, and undermine any understanding of intersubjectivity or a world shared in common (V&I: 62/39, 67/43).
  • In the final chapter, “The Intertwining—The Chiasm”, Merleau-Ponty turns directly to the positive project of describing his ontology of “flesh”. Intertwining [entrelacs] here translates Husserl’s Verflechtung, entanglement or interweaving, like the woof and warp of a fabric. Chiasm has two senses in French and English that are both relevant to Merleau-Ponty’s project: a physiological sense that refers to anatomical or genetic structures with a crossed arrangement (such as the optic nerves), and a literary sense referring to figures of speech that repeat structures in reverse order (AB:BA). For Merleau-Ponty, the chiasm is a structure of mediation that combines the unity-in-difference of its physiological sense with the reversal and circularity of its literary usage (see Toadvine 2012; Saint Aubert 2005). A paradigmatic example of chiasmic structure is the body’s doubling into sensible and sentient aspects during self-touch. Elaborating on Husserl’s descriptions of this phenomenon, Merleau-Ponty emphasizes three consequences: First, the body as sensible-sentient is an “exemplar sensible” that demonstrates the kinship or ontological continuity between subject and object among sensible things in general. Second, this relationship is reversible, like “obverse and reverse” or “two segments of one sole circular course” (V&I: 182/138). Third, the sentient and sensible never strictly coincide but are always separated by a gap or divergence [écart] that defers their unity.
  • Chiasm is therefore a crisscrossing or a bi-directional becoming or exchange between the body and things that justifies speaking of a “flesh” of things, a kinship between the sensing body and sensed things that makes their communication possible. Flesh in this sense is a “general thing” between the individual and the idea that does not correspond to any traditional philosophical concept, but is closest to the notion of an “element” in the classical sense (V&I: 184/139). Merleau-Ponty denies that this is a subjective or anthropocentric projection:
    • carnal being, as a being of depths, of several leaves or several faces, a being in latency, and a presentation of a certain absence, is a prototype of Being, of which our body, the sensible sentient, is a very remarkable variant, but whose constitutive paradox already lies in every visible. (V&I: 179/136)
  • The generality of flesh embraces an intercorporeity, an anonymous sensibility shared out among distinct bodies: just as my two hands communicate across the lateral synergy of my body, I can touch the sensibility of another: “The handshake too is reversible” (V&I: 187/142).
  • Sensible flesh—what Merleau-Ponty calls the “visible”—is not all there is to flesh, since flesh also “sublimates” itself into an “invisible” dimension: the “rarified” or “glorified” flesh of ideas. Taking as his example the “little phrase” from Vinteuil’s sonata (in Swann’s Way), Merleau-Ponty describes literature, music, and the passions as “the exploration of an invisible and the disclosure of a universe of ideas”, although in such cases these ideas “cannot be detached from the sensible appearance and be erected into a second positivity” (V&I: 196/149). Creative language necessarily carries its meaning in a similarly embodied fashion, while the sediments of such expression result in language as a system of formalized relations. What we treat as “pure ideas” are nothing more than a certain divergence and ongoing process of differentiation, now occurring within language rather than sensible things. Ultimately we find a relation of reversibility within language like that holding within sensibility: just as, in order to see, my body must be part of the visible and capable of being seen, so, by speaking, I make myself one who can be spoken to (allocutary) and one who can be spoken about (delocutary). While all of the possibilities of language are already outlined or promised within the sensible world, reciprocally the sensible world itself is unavoidably inscribed with language.
  • This final chapter of The Visible and the Invisible illustrates chiasmic mediation across a range of relations, including sentient and sensed, touch and vision, body and world, self and other, fact and essence, perception and language. There is not one chiasm but rather various chiasmic structures at different levels. As Renaud Barbaras notes,
    • It is necessary … to picture the universe as intuited by Merleau-Ponty as a proliferation of chiasms that integrate themselves according to different levels of generality. (1991, 352/2004, 307)
  • The ultimate ontological chiasm, that between the sensible and the intelligible, is matched by an ultimate epistemological chiasm, that of philosophy itself. As Merleau-Ponty writes in a working note from November 1960,
    • the idea of chiasm, that is: every relation with being is simultaneously a taking and a being held, the hold is held, it is inscribed and inscribed in the same being that it takes hold of. Starting from there, elaborate an idea of philosophy… . It is the simultaneous experience of the holding and the held in all orders. (V&I: 319/266; see also Saint Aubert 2005: 162–64)
The following excerpts provide a frame-work for how Experience in-forms an expression of
Wonder
Stanford Encyclopedia of Philosophy
  • When you see a ripe lemon in a supermarket, it seems eminently reasonable for you to believe that a lemon is there. Here you have a perceptual experience since you consciously see something yellow. And your experience seems to justify your belief since your experience seems to make it reasonable for you to believe that a lemon is there.
  • Our perceptual experiences of the world outside us seem to justify our beliefs about how the world outside us is. If that’s right, a question in the epistemology of perception remains open: how do our experiences justify beliefs about the external world? And a question in the philosophy of mind remains open as well: what are our experiences themselves like?
  • Section 1 considers theories of experience and what implications they might have for the epistemology of perception. Section 2 considers perceptual phenomena, such as attending or dreaming, with special implications for the epistemology of perception.

 

Stanford Encyclopedia of Philosophy
  • The Problem of Perception is a pervasive and traditional problem about our ordinary conception of perceptual experience. The problem is created by the phenomena of perceptual illusion and hallucination: if these kinds of error are possible, how can perceptual experience be what we ordinarily understand it to be: something that enables direct perception of the world? These possibilities of error challenge the intelligibility of our ordinary conception of perceptual experience; the major theories of experience are responses to this challenge.
The following excerpts provide a frame-work for how Time in-forms an expression of
Wonder
Stanford Encyclopedia of Philosophy
  • What is time, and is it real? If it is, does time flow or lapse or pass? Are the future or the past as real as the present? These metaphysical questions have been debated for more than two millennia, with no resolution in sight. Modern physics provides us, however, with tools that enable us to sharpen these old questions and generate new arguments. Does the special theory of relativity, for example, show that there is no temporal passage or that the future is as real as the present? The focus of this entry will be on these new insights into those old questions.
  • Around 500 B. C. Heraclitus wrote the following:
    • Everything flows and nothing abides; everything gives way and nothing stays fixed.
    • You cannot step twice into the same river, for other waters and yet others, go flowing on.
    • Time is a child, moving counters in a game; the royal power is a child’s.[1]
  • Transience is basic, and the present is primary. Those things which exist now do not abide. They slip into the past and non-existence, devoured by time, as all experience attests.
  • A generation or so later we have a classic statement of the opposing view by Parmenides:
    • There remains, then, but one word by which to express the [true] road: Is. And on this road there are many signs that What Is has no beginning and never will be destroyed: it is whole, still, and without end. It neither was nor will be, it simply is—now, altogether, one, continuous…
  • Permanence is basic. No things come to be or, slipping into the past, cease to be. Past, present, and future are distinctions not marked in the static Is. Time and becoming are at best secondary, at worst illusory, as our understanding of the world confirms.
  • Turn now to modern times and to a paragraph in Rudolf Carnap’s intellectual autobiography (Carnap 1963, pp. 37–38):
    • Once Einstein said that the problem of the Now worried him seriously. He explained that the experience of the Now means something special for man, something essentially different from the past and the future, but that this important difference does not and cannot occur within physics. That this experience cannot be grasped by science seemed to him a matter of painful but inevitable resignation. I remarked that all that occurs objectively can be described in science; on the one hand the temporal sequence of events is described in physics; and, on the other hand, the peculiarities of man’s experiences with respect to time, including his different attitude towards past, present, and future, can be described and (in principle) explained in psychology. But Einstein thought that these scientific descriptions cannot possibly satisfy our human needs; that there is something essential about the Now which is just outside the realm of science. We both agreed that this was not a question of a defect for which science could be blamed, as Bergson thought. I did not wish to press the point, because I wanted primarily to understand his personal attitude to the problem rather than to clarify the theoretical situation. But I definitely had the impression that Einstein’s thinking on this point involved a lack of distinction between experience and knowledge. Since science in principle can say all that can be said, there is no unanswerable question left. But though there is no theoretical question left, there is still the common human emotional experience, which is sometimes disturbing for special psychological reasons.
  • This difference as expressed here between Einstein and Carnap (that is, between the Heraclitean and Parmenidean attitude towards time and change) is the subject of this article, which will use modern physics—especially modern spacetime theories—as a set of lenses through which it is hoped the riddles of time will come into sharper focus.
  • In Newtonian spacetime… the temporal interval between any two points or events in the spacetime, p and q, is a well-defined quantity. This quantity is well-defined in that it does not depend upon point of view, reference frame, coordinate system or “observer”. This quantity, then, is absolute in the sense of being frame- or observer-independent.
  • In the special theory of relativity the temporal interval between two distinct spacetime points fails to be absolute in this sense.
The following excerpts provide a frame-work for how Surrealism in-forms an expression of
Wonder

“Surrealism redefined how we expressed thought.” – ARTe, Surrealist Art

  • “It must be one of the hardest things: making art that fits in the snug space between meaningless and didactic.”
  • Things are almost themselves, but they’re ever-so-gently nudged into something else—one reason why, decades after we’ve all gotten used to the shrill surrealism of melting clocks and melting icebergs, these paintings can still get stuck in our heads.
  • Studying Magritte’s life and work forces you to stop and notice. Contemporary U.S. life is surreal, but, at least to me, it doesn’t look like a Salvador Dalí painting or even the work of latter-day descendants such as David Lynch and Haruki Murakami. It looks like Magritte, with its weightless, endlessly reproduced photographs and logos that make everywhere feel like everywhere else (i.e., nowhere). It puzzles in the same placid, teasing way that Magritte puzzles; it seems utterly random and utterly repetitive, at once too obscure and too obvious, creating the illusion that everything will make sense if only you stay and puzzle a little longer. Contemporary U.S. life—like an apple in a café, like many of the figures in Magritte’s paintings, like Magritte himself—is hiding in plain sight.
  • Studying the history of Surrealism, you keep bumping into different versions of this problem: in order to become a cultural movement, Surrealism had to organize, define itself, enforce certain rules, reject certain applicants—in effect, become a brand. In so doing, it lost some of its wildness, became more predictable—risked ceasing to be Surrealism, basically. Wildness is hard to sustain for long.
  • Magritte’s ties to the movement were even flimsier. French Surrealists could be as snooty as the bourgeoisie they claimed to oppose, and many of them sneered at the thick-accented, largely self-taught Magritte. Eventually Magritte learned to sneer back: by the late 1940s, he’d given up on the word “Surrealist” altogether (he preferred “extramentalist,” which hopefully sounds prettier in French than it does in English). Surrealism, he concluded, was too rigidly organized, too dogmatic in its commitment to the proletariat, too devoted to Breton. Breton excommunicated him, too.
  • Magritte had gotten this far in life by refusing to obey anyone, and in a way his disobedience proved that he understood Surrealism better than the leader of the Surrealists. Left unsaid, but surely just as important, is the fact that Magritte had hit on something big in his paintings: a certain strange, modern tone that couldn’t be simplified into politics, no matter how enlightened—simplified at all, really. None of this has kept the professional simplifiers from simplifying…
  • Surrealism became Surrealism by thumbing its nose at sensibility, any sensibility, and if this made long-term political action difficult, it may not have been all bad— even left-wing sensibility has a body count. As long as there are things about contemporary life that make no sense, we’re lucky to have art like Magritte’s fluttering around, refusing to be understood, letting audiences know they’re at least not alone in their unease. Which, inasmuch as it’s “for” anything at all, is what Surrealism—or maybe just art—is for.
The following excerpts provide a frame-work for how Semiotics in-forms an expression of
Wonder

Charles Sanders Peirce

  • A pioneer of pragmatism [in philosophy]…Peirce proposed the term ‘semiotic’,
  • Peirce’s theory of sign focuses on three-dimensional or triadic and trichotomy system. Peirce classifies sign into three aspects, namely i) sign or representatum or ground, ii) object which is also referred to as referent, and iii) interpretant. The first aspect is synonymous with Saussure’s concept termed as signifier which means physical signs (explicitly exist) (Leeds-Hurwitz, 1993) but does not have to be material in nature (Chandler, 2002). On the contrary, Saussure’s concept of signified, is divided by Peirce into two components, namely object and interpretant. Object refers to something that is represented or exemplified by the sign (Leeds-Hurwitz, 1993), which owns both properties of concrete and abstract in nature (Masinambow, 2001). On the other hand, interpretant means any meanings conveyed by the represantatum about the object which was previously unknown (Leeds-Hurwitz, 1993), and abstract in nature (implicitly exist) and does not exist in human perception (Masinambaw, 2001). The interactional relationship between those three concepts is denoted by Peirce as semiosis (Chandler, 2002).
  • In the words of Peirce, people think through the signs, which enable them to communicate with each other and give meaning to anything that exist in their environment (Zoest, 1991). The basic principle of Peirce’s theory is that everything can be a sign, as long as it has the ability to represent something according to the individual’s interpretation and thought. In contrast to Saussure’s view, Peirce did not confine the existence of sign as something that is purposely conveyed. By this understanding, a sign can exist coincidentally when someone has interpreted something as sign, even though it was not purposely meant or communicated to him. Peirce’s ideology of sign encompasses everything whether it is created by human or not as long as it can be grasped and acknowledged by their minds (Eco, 1991).

 

Ferdinand de Saussure

  • A linguist scholar who has developed the basis or groundwork of general linguistic theory… he has proposed the term ‘semiology’…
  • The principal concept of Saussure’s theory initiated from the thought of a dichotomy or duality basis in which according to him, a sign consists of two focal components, namely signifier-the sound pattern (marker- sound image) and signified-the concept (the outcome/the interpretation/conception of the signifier). Signifier refers to something that is in a material form (physical), explicitly exist and can be distinguished by human senses. On the other hand, signified denotes to something literally and physically does not exist, which is in abstract basis (Eco, 1976; Zoest, 1996; Leeds-Hurwitz, 1993; Chandler, 2001; Masinambau, 2001). Meanwhile, the relationship between the signifier and signified is refered to as the signification system. Saussure asserted that both concepts have a very close relationship and have mutual need and complement each other. It means that both cannot be separated, i.e one aspect will not exist wihout the existence of the other (Chandler, 2001).
  • A sign for Saussure is something delivered by someone with a purpose and specific meaning intentionally, i.e a process or a phenomenon that does not occur coincidentally or by chance. This means that according to Saussure, nothing is a sign unless it is interpreted as a sign. Implicitly, Saussure was trying to explain that not all things neither in human’s life nor their environments can be considered as signs. It suggests that a sign has a certain limitation, subject to a system of conventional, which means something that is mutually or commonly agreed by all those involved in the particular culture. For example, the alphabet and writing system, the traffic signals and so on. Thus, in Saussure’s theory of sign, language is a sign system because language has been conventionally used to allow humans to communicate among them. In spite of that, Saussure argued that even though a sign is subject to a mutual agreement or conventional system, a sign also possesses an arbitrary characteristic which means that a sign can produce a variety of different meanings depending on different interpretations as Saussure stated that “there is nothing at all to prevent the association of whatsoever with any sequences of sounds whatsoever….the process which selects one particular sound-sequence to correspond to one particular idea is arbitrary” (Chandler, 2002, p. 26).
The following excerpts provide a frame-work for how Romantic Aesthetics in-forms an expression of
Wonder
Stanford Encyclopedia of Philosophy
Quotes that stand-out from the excerpts below
 
Are we left without a source of wonder, awe or reverence in our modern world?
 
Through the lens of modern science, nature was regarded as an inanimate, mechanistic domain of dead and meaningless matter that is composed of separate atoms and thoroughly determined by efficient causality.
 
The growing sense of man’s alienation from his natural surrounding was seen as a product of this reduction of nature: human beings seemed alienated from nature exactly because the rational, soulful and sense-making character that is usually associated with them is opposed to a mechanistic and deterministic domain.
 
Changing our attitude towards nature and inspiring awe for it requires that we recover a sense of mystery and magic in nature, and, indeed, in everything ordinary, in everything that we have come to take for granted. This process—of recovering a sense of mystery and magic in nature and the ordinary —is so central in romanticism that it takes on the movement’s name: Romanticizing is nothing other than a qualitative raising into higher power…. By giving a higher meaning to the ordinary, a mysterious appearance to the ordinary, the dignity of the unacquainted to that of which we are acquainted, the mere appearance of infinity to finite, I romanticize them. (Novalis, Logological Fragments: #66)
 
“Enchant” nature. “Enchanting” stands here for the process of rendering nature magical, or mysterious, and thus inspiring reverence and awe.
 
Romantic irony is an existential condition of humility.
 
While romantic irony is the basis for a way of life that is centered on humility, it also paves the way for awe and reverence for it suggests that there is much beyond our comprehension, much that remains mysterious, incomprehensible, greater than our capacities and possibly infinite rather than finite like us. There is much around us that merits awe.
 
Perspectivism—the view that human beings are capable only of finite and limited perspective on the universe as a whole.
 
Reason without feeling is empty and feeling without reason is blind.
 
Poetry and philosophy should be made unified.
 
“Philosophy is actually homesickness—the urge to be everywhere at home”
 
Romantic poetry…“fuses and mixes” opposing forces: reason, feeling, imagination, physics, poetry, philosophy, medicine and alchemy
 
[Romantic] poetry is suitable for unraveling analogies and unities that are usually hidden from the bare eye
 
By its non-ordinary use of language, attention to details and evoking power, poetry brings out in vivid colors what we are usually blind to, even if it is, literally, the closest and most familiar to us. Poetry has the power to make the most familiar new, refreshing, and thus, other than familiar —different and even mysterious.
 
Through the romantic lens, then, nature becomes alive and a locus of Spirit. Rather than an alien force, nature speaks to us as we speak to it and to each other.
 
Nature is a temple where living columns
Sometimes let confused words come out;
Man walks through these forests of symbols
Which observe him with a familiar gaze.
 

Reason and Feeling – Thought and Sensation

  • For over a century, romanticism has standardly been regarded as a reaction against the Enlightenment. Another standard interpretation of romanticism, one that takes it to be a direct outgrowth of Sturm und Drang, a counter-Enlightenment movement that flourished in the 1760s and 1770s, heralded individual subjectivity and the free expression of unconstrained feelings as the proper replacements for the values of the Enlightenment. No doubt, the romantics shared with this movement the belief in a call “back to feeling”. But regarding romanticism as simply a continuation of Sturm und Drang finds no grounding in romantic texts. Rather than a straight development of Sturm und Drang, then, romanticism is better understood as an attempt to synthesize the grain of truth in the movement with the grain of truth in the philosophy of Enlightenment, or simply put, to synthesize reason and sensibility.
  • Rather than an irrational or an anti-Enlightenment stance, romantic aesthetics is marked by a respect for and devotion to reason and rationality “within their bounds”.
  • The romantics sought to supplement but not to supplant reason with the receptive capacities of the mind. Reason without feeling is empty and feeling without reason is blind. Without the former, human beings would be reduced to mere animality; without the latter they would lose their humanity.
  • One might think that feelings are thus placed outside of rationality. But this would be a mistake. On Kant’s picture, aesthetic feeling is rational insofar as it is grounded in a universal mental state that underlies our capacity to judge in general (the free play of the imagination and the understanding).
  • If, then, feelings and passions are constitutive of art, and if aesthetic or poetic feeling is a key ingredient in the pursuit of the Absolute, then philosophy should become poetic and “poetry and philosophy should be made unified” (F. Schlegel, CF: #115).
  • Philosophy cannot be reduced to concepts and propositions, but must also include certain kinds of affective mental states.
  • Rather than dismissing the role and the significance of reason as such, the romantics challenged merely certain uses of reason—for example, dogmatic uses of reason, the laying down of absolute foundations, and system-building. And in a Kantian manner, they were concerned to expose the limits of reason and constrain its uses to legitimate boundaries. But even the romantic exposure of limits is, as it were, “aesthetic”. “Aesthetic?” one may ask. Yes, aesthetic in the sense that some of the romantic central devices for exposing the limits of reason are (originally) “aesthetic”, “artistic” or “literary”. “Romantic Poetry” is one such device and “Irony” is another.
  • Romantic Poetry brings out the limits of reason in virtue of being reflective, “[hovering] on the wings of poetic reflection, and [capable of raising] that reflection again and again to a higher power” (AF: #116). Rather than being merely the “portrayed” object itself—a poetic representation—it “hover[s] at the midpoint between the portrayed and the portrayer” (AF: #116), and so, like Kant’s transcendental philosophy, reflects on the conditions of its own possibility and of human mindedness itself.
  • Irony thus presents its perspective as restricted—as only one among many different perspectives on the unconditioned whole. Accordingly, what romantic irony insists on through its restricting function is
    • (a) the conceptual inaccessibility of the “Absolute” (explained in §3), and
    • (b) what is known as “perspectivism”—the view that human beings are capable only of finite and limited perspective on the universe as a whole. Being ironic is a way of consciously and intentionally bringing out the fragmentary nature of the human situation as lacking a “view from nowhere”.
  • Like Romantic Poetry, irony is not merely a literary or even a rhetorical device. Nor is it a purely theoretical method. Rather, in a Socratic spirit, romantic irony is a way of life. Everyone, then, not only the writer, should be ironic. For, as exposing our finitude, irony is not only another romantic analogue of Kant’s transcendental method—the antidote to reason’s natural but spurious tendency to transcend its limits—but also an existential condition of humility.

 

The Absolute

  • The romantics were concerned with the Absolute, understood as the unconditioned totality of all conditions. Like Kant, they believed that such an unconditioned totality is inaccessible to discursive reason and is, to that extent, unknowable to human beings. But reason’s natural drive towards this “Absolute” is nonetheless significant and valuable (§3.1).
  • In aesthetics they found a mode of life that best approximates (even if never reaches or grasps) the Absolute, insofar as the aesthetic approach to artworks
    • (a) includes indeterminate affective aspect (§3.2),
    • (b) involves a sui generis normativity, constituting its own norms in attunement with the artwork it faces (§3.3),
    • (c) is particularly suited to approach individual unities (§3.4), and
    • (d) is open-ended (§3.5).

 

Nature

  • One of the romantics’ central aims was to (re)enchant nature in the face of what they regarded as a threat from modern science. The threat was embodied primarily in the worry that modern science alienated (rational and free) human beings from nature, which, through the lens of this new science, had been viewed as a domain of brute, determined, mechanical causality (§5.1). Aesthetics is capable of (re)enchanting nature insofar as it brings out a different conception of nature as organic rather than mechanic. On this organic conception, nature is
    • (a) an organic whole, which is reciprocally interdependent on its parts;
    • (b) a domain of teleological rather than merely mechanical causality; and
    • (c) a dynamic and living force, which is self-organizing and self-generating
  • Under this conception of nature, rational, autonomous human beings are not alienated from, but are rather part and parcel of, nature.
  • Not only has modernity divided man from himself by enforcing the duality between reason and sensibility and severed the individual from his natural social relations (section 4), but it also alienated man from nature.
  • Through the lens of modern science, nature was regarded as an inanimate, mechanistic domain of dead and meaningless matter that is composed of separate atoms and thoroughly determined by efficient causality. Modern science “dissected [nature] atomistically like a dead corpse” (Eichendorff, EW 5: 423). The romantics regarded this approach to nature as reductive as much as they regarded it as “dissecting”: it reduces nature to mere matter, devoid of the features that the romantics took to be essential to it, like holistic unity, self-organization and life. The growing sense of man’s alienation from his natural surrounding was seen as a product of this reduction of nature: human beings seemed alienated from nature exactly because the rational, soulful and sense-making character that is usually associated with them is opposed to a mechanistic and deterministic domain. The troublesome consequences of this approach to nature are multiple. First, there is the psychological and existential crisis that is well encapsulated by Novalis’s claim, “Philosophy is actually homesickness—the urge to be everywhere at home” (General Draft: #45), and commemorated by landmark romantic works, such as Caspar David Friedrich’s “The Wanderer above the Mist” (1818).
  • In the epistemological and metaphysical domains, varieties of skeptical doubts loom large behind the modern approach to nature. If modern science is right then the relation between nature and normativity is unclear. But if nature cannot provide rational norms, then how can we account for and justify our empirical claims to knowledge (human experience)? On the flipside of this epistemological worry is a metaphysical concern about the nature of the subject. For the subject, as the source of meaning, is seen as only that—a dematerialized source of meaning, devoid not only of a body, as Descartes emphasized, but, if Kant is right, of any substantiality at all (see Bernstein 2003).
  • Third among the consequences is the threat to any awe-inspiring stance towards the world. Not only can the divinity once attributed to nature no longer be found therein, but modern science was also seen as posing a challenge to any attempt at a secular alternative to religion. Seen as fully accessible to the calculative part of the human mind, nature becomes transparent and devoid of any mystery or human-transcending power. Are we left without a source of wonder, awe or reverence in our modern world?
  • If the romantics are to retrieve the lost unity of nature…they must propose… a new approach to nature. The romantics aspired to reform and counterbalance the merely calculative, quantitative and mathematical use of reason that is characteristic of modern science, and open an era “When no more numbers and figures feature//As the keys to unlock every creature” (Novalis, Henry von Ofterdingen, NS 1:344). Human beings should strive to return to “the laws of things which lie/beyond the reach of human will or power;/The life of nature” (Wordsworth, “The Tables Turned”, 1798, LB) by adopting a more holistic approach that includes practical reason, sensibility, feeling, imagination, and above all the aesthetic capacity of the mind.
  • It should be no surprise that this holistic approach to nature… is, in essence, poetic. It is romantic poetry, which, as Athenaeum Fragments (AF) #116 announces, “fuses and mixes” opposing forces: reason, feeling, imagination, physics, poetry, philosophy, medicine and alchemy—when it comes to methodology—and matter, form, freedom and nature —when it comes to the object of study, nature:
    • Anyone who finds in infinite nature nothing but one whole, one complete poem, in every word, every syllable of which the harmony of the whole rings out and nothing destroys it, has won the highest prize of all. (Ritter, Fragmente 2: 205)
  • If nature itself is both physical and mental, if it has a soul or reason and a body, then, it differs from human beings only in degree, not in kind. Natural phenomena and human beings are simply different manifestations of an encompassing nature, which is therefore nothing other than Spirit: “Nature should be visible spirit, and spirit should be invisible nature” (Schelling, Ideas for a Philosophy of Nature, SW 2: 56).
  • Thinking about nature as Spirit, different from the human merely in degree, already presupposes a holistic conception of nature, where the whole is prior to the parts. For, if all individuals are, in Spinoza’s words “modes” of nature, namely, merely different manifestations of the one and same whole, then these parts are necessarily dependent on the whole. But insofar as nature is also an (all encompassing) organism, then just as its parts are dependent on it (for their existence and intelligibility), so it depends on its parts for its existence as the organism that it is: independently of its parts, an organism could not sustain its particular organization, i.e., its life form. In an organism, the parts are the reciprocal cause and effect of one another and of the organism as a whole.
  • But an organism is also self-organizing and self-forming. While the organization of artifacts is imposed on them from outside by their producers, the particular organization and so the life form of any organism is self-produced. Consequently, to view nature as an organism is to view it dynamically—not as a dead matter, but as self-forming and self-generating. Indeed, for the romantics, nature is one living force, whose different parts—not only self-conscious philosophers, creative artists, animals, plants, and minerals, but also kinds of matter—are different stages of its organization.
    • From moss, in which the trace of organization is hardly visible, to the noble Form [Gestalt] which seems to have shed the chains of matter, the one and same drive within rules, a drive that strives to work according to one and the same ideal of purposiveness, strives to express ad infinitum one and the same archetype [Urbild], the pure form of our Spirit. (Schelling, “Review of the Newest in Philosophical Literature, 1796”)
  • The holistic and unifying character of poetry is suitable not only for the reformed scientific methodology that fuses together reason, imagination and feeling, but also for unraveling analogies and unities that are usually hidden from the bare eye, for example, the unity between kinds of matter and self-conscious human beings as different stages in the organization of the same life force.
  • Aesthetics is central for the romantic “scientific revolution” for yet another reason that concerns its capacity to “enchant” nature. “Enchanting” stands here for the process of rendering nature magical, or mysterious, and thus inspiring reverence and awe (see Stone 2005). While bringing out nature’s organic structure is decisive for rebutting modern alienation, enchantment is required primarily for challenging two other consequences of modern science: the threat of a detached and unresponsive treatment of nature and what the romantics regarded as a threat of secularization. Not only did modern science portray nature as a brute domain of mechanism, and thus devoid of any awe-inspiring power, but it also rendered it completely transparent to the human mind, and thus lacking in the kind of mystery and magic that may inspire awe in a secular world. Changing our attitude towards nature and inspiring awe for it requires that we recover a sense of mystery and magic in nature, and, indeed, in everything ordinary, in everything that we have come to take for granted. This process—of recovering a sense of mystery and magic in nature and the ordinary —is so central in romanticism that it takes on the movement’s name:
    • Romanticizing is nothing other than a qualitative raising into higher power…. By giving a higher meaning to the ordinary, a mysterious appearance to the ordinary, the dignity of the unacquainted to that of which we are acquainted, the mere appearance of infinity to finite, I romanticize them. (Novalis, Logological Fragments: #66)
  • Poetry is most suitable for the business of romanticizing by virtue of two of its main features: (a) its “defamiliarizing” power, and, (b) its “ironic” ability to point to the limits of our knowledge, and thus to what must remain mysterious—beyond our cognitive capacities.
  • First, by virtue of its power to subtly describe even the most concrete of details and to bring to life even what, independently of it, attracts no attention, poetry has a special capacity for defamiliarization—a power that was first noticed by the romantics in their account of “romanticizing”, but dubbed “defamiliarization” only later, by 20th century literary theorists. By its non-ordinary use of language, attention to details and evoking power, poetry brings out in vivid colors what we are usually blind to, even if it is, literally, the closest and most familiar to us. Poetry has the power to make the most familiar new, refreshing, and thus, other than familiar —different and even mysterious.
  • Like Novalis, Wordsworth is one of the first proponents of romanticizing in this sense. He instructs: while romantic poetry should start with the most familiar and contingent—“the incidents and situations from common life”—it should also strive to elevate them by
    • throw[ing] over them a certain coloring of the imagination, whereby ordinary things should be presented to the mind in an unusual way; and further and above all [poetry should aim] to make these incidents and situations interesting by tracing in them…the primary laws of our nature. (Preface to the Lyrical Ballads.)
  • Second, romantic poetry is essentially ironic insofar as it brings our finitude, particularly the limits of our knowledge, to consciousness (see §2.2). While romantic irony is the basis for a way of life that is centered on humility, it also paves the way for awe and reverence for it suggests that there is much beyond our comprehension, much that remains mysterious, incomprehensible, greater than our capacities and possibly infinite rather than finite like us. There is much around us that merits awe.
  • Through the romantic lens, then, nature becomes alive and a locus of Spirit. Rather than an alien force, nature speaks to us as we speak to it and to each other.
    • Nature is a temple where living columns
    • Sometimes let confused words come out;
    • Man walks through these forests of symbols
    • Which observe him with a familiar gaze.
    • (La Nature est un temple où de vivants piliers Laissent parfois sortir de confuses paroles L’homme y passe à travers des forêts de symbols Qui l’observent avec des regards familiers) (Baudelaire, Correspondences, 1861 [2000])
The following excerpts provide a frame-work for how Existentialist Aesthetics in-forms an expression of
Wonder
Stanford Encyclopedia of Philosophy

Metaphysical Forms of Meaning

  • Different types of meaning depend on the specific structure of the acts of consciousness that carry them
  • Gabriel Marcel interprets the metaphysical reach of human freedom in terms of the capacity and responsibility of individuals to make themselves “available” to the mystery of their participation in creation.
  • The way human consciousness “intends” the world in different ways accounts not just for the content of human knowledge, but also, more radically, for the relationship of the human being to reality. It is not just an epistemological but a metaphysical position.
  • This approach to the basic problem of metaphysics is highly significant because it circumvents the dualisms of classical philosophy: subject vs. object, impression vs. a priori principles as the basis of knowledge, freedom vs. determinism, and so on. The emphasis on intentionality avoids these dualisms because it entails, on the one hand, that all meanings are constituted through acts of human consciousness, thus insisting on the active role of the subject in the formulation of any meaningful aspect of the world. On the other hand, however, the theory of intentionality also implies that the world already contains the meanings that consciousness reveals, either because these meanings are potentialities from the point of view of human action (this is Sartre’s view), or simply because these meanings are already in the world (Merleau-Ponty’s view, but also that of Marcel, for whom true knowledge arises from the openness to the fullness of Being).
  • The ‘optimistic’ ontologies, like those of Marcel or Merleau-Ponty, see the world as being on the whole a welcoming place for human knowledge and action. Marcel writes in his diary: “Knowledge is within being, enfolded by it” (1935, 115). Merleau-Ponty shares the idea that our incarnation in the world through our bodies is the fundamental beginning of our learning to inhabit the world meaningfully. As a result of our being both in and of the world through our bodies, Merleau-Ponty believes that on the whole our presentations of the world reveal objective features of it.
  • The ‘tragic’ ontologies of Sartre, de Beauvoir and Camus, on the other hand, insist on the inhospitality of the world towards human endeavours insofar as the world is mostly reticent to our attempts at introducing meaning and unity into it. Whilst Camus’ ‘absurd’ names the essentially tragic state of humanity, it is counterbalanced by his awe towards the indifferent majesty of Nature. For Camus, one of the ways of liberating oneself from the illusion of meaning and unity is to open up to the beauty of Nature and partake in it, abandoning oneself in privileged moments of hedonistic communion with wild environments, such as the rugged Algerian landscape.

 

Ambiguity

  • A central, shared assumption of existentialist aesthetics is the essential ambiguity of the human condition
  • Since the expressive world of a genuine artist is a new perspective onto the world that is identical with the artist’s whole idiosyncratic mode of being-in-the-world, there will be a deep, underlying continuity in his or her work. The communication that the work of art establishes across time and space operates, first and foremost, within the oeuvreitself, with themes and stylistic traits echoing each other throughout it.
  • An essential ambiguity characterises also the experience of the audience. On the one hand, the genuine artist creates a new virtual world that expresses a coherent, idiosyncratic perspective on the world shared by all. When the audience meets the artwork successfully, the spectators suddenly change their own mode of perception and have to adopt a new perspective…a true expression that imposes itself on the audience (be it the reader or the spectator).
  • Without the spectator’s contemplation, or the reader’s reading, the artwork’s expression remains purely subjective. It becomes objective, manifesting its sense in actuality, only through the symbolic consumption of the audience. This act, however, is not passive: it mobilises the audience’s own power of expression and imagination. Reading, watching, or listening are, as Sartre puts it, “directed creations.”… Therefore, the spectator is required to translate…
  • For the work to become an objective entity with a manifest meaning, the understanding and imagination of the audience needs to reconstruct the meaningful silence in between the traces. And this understanding cannot be passive, since the truly expressive meaning involves a new form of being-in-the-world.

 

Style

  • Literary work can help us understand the phenomenon of meaning and meaning-giving by seeing the writer as creating new meanings, indeed a new language.
  • This is a truly ambiguous aspect that can be taken (on one hand) as the proof of the mystery of expression, evidence of a creative power required to make possible the emergence of the new out of the old.
  • Style in this context now indicates a fundamental perspective from which the world can be approached; it indicates a perspective that would not have existed prior to the expressive act. It designates an “irreplaceable deviation” that is possible only from a specific way of being-in-the-world, and which is subsequently recaptured in symbolic language, whether the linguistic form of literature, or the “indirect language” of painting. Style is a coherent perspective, a “coherent deformation,” a way of being-in-the-world and of approaching the world from a certain angle. On this model, style does not express pre-existing meaning, but creates it.
The following excerpts provide a frame-work for how Consciousness in-forms an expression of
Wonder

Somehow, our consciousness is the reason the universe is here. – Roger Penrose

  • As we probed the deeper implications of Penrose’s theory about consciousness, it wasn’t always clear where to draw the line between the scientific and philosophical dimensions of his thinking. Consider, for example, superposition in quantum theory. How could Schrödinger’s cat be both dead and alive before we open the box? “An element of proto-consciousness takes place whenever a decision is made in the universe,” he said. “I’m not talking about the brain. I’m talking about an object which is put into a superposition of two places. Say it’s a speck of dust that you put into two locations at once. Now, in a small fraction of a second, it will become one or the other. Which does it become? Well, that’s a choice. Is it a choice made by the universe? Does the speck of dust make this choice? Maybe it’s a free choice. I have no idea.”
  • I wondered if Penrose’s theory has any bearing on the long-running philosophical argument between free will and determinism. Many neuroscientists believe decisions are caused by neural processes that aren’t ruled by conscious thought, rendering the whole idea of free will obsolete. But the indeterminacy that’s intrinsic to quantum theory would suggest that causal connections break down in the conscious brain. Is Penrose making the case for free will?
  • “Not quite, though at this stage, it looks like it,” he said. “It does look like these choices would be random. But free will, is that random?” Like much of his thinking, there’s a “yes, but” here. His claims are provocative, but they’re often provisional. And so it is with his ideas about free will. “I’ve certainly grown up thinking the universe is deterministic. Then I evolved into saying, ‘Well, maybe it’s deterministic but it’s not computable.’ But is it something more subtle than that? Is it several layers deeper? If it’s something we use for our conscious understanding, it’s going to be a lot deeper than even straightforward, non-computable deterministic physics. It’s a kind of delicate borderline between completely deterministic behavior and something which is completely free.”
Stanford Encyclopedia of Philosophy

Concepts of Consciousness

  • The words “conscious” and “consciousness” are umbrella terms that cover a wide variety of mental phenomena. Both are used with a diversity of meanings, and the adjective “conscious” is heterogeneous in its range, being applied both to whole organisms—creature consciousness— and to particular mental states and processes—state consciousness (Rosenthal 1986, Gennaro 1995, Carruthers 2000).

 

Creature Consciousness

  • An animal, person or other cognitive system may be regarded as conscious in a number of different senses.
  • It may be conscious in the generic sense of simply being a sentient creature, one capable of sensing and responding to its world (Armstrong 1981). Being conscious in this sense may admit of degrees, and just what sort of sensory capacities are sufficient may not be sharply defined. Are fish conscious in the relevant respect? And what of shrimp or bees?
  • One might further require that the organism actually be exercising such a capacity rather than merely having the ability or disposition to do so. Thus one might count it as conscious only if it were awake and normally alert. In that sense organisms would not count as conscious when asleep or in any of the deeper levels of coma. Again boundaries may be blurry, and intermediate cases may be involved. For example, is one conscious in the relevant sense when dreaming, hypnotized or in a fugue state?
  • Self-consciousness. A third and yet more demanding sense might define conscious creatures as those that are not only aware but also aware that they are aware, thus treating creature consciousness as a form of self-consciousness (Carruthers 2000). The self-awareness requirement might get interpreted in a variety of ways, and which creatures would qualify as conscious in the relevant sense will vary accordingly. If it is taken to involve explicit conceptual self-awareness, many non-human animals and even young children might fail to qualify, but if only more rudimentary implicit forms of self-awareness are required then a wide range of nonlinguistic creatures might count as self-conscious.
  • What it is like. Thomas Nagel’s (1974) famous“what it is like” criterion aims to capture another and perhaps more subjective notion of being a conscious organism. According to Nagel, a being is conscious just if there is “something that it is like” to be that creature, i.e., some subjective way the world seems or appears from the creature’s mental or experiential point of view. In Nagel’s example, bats are conscious because there is something that it is like for a bat to experience its world through its echo-locatory senses, even though we humans from our human point of view can not emphatically understand what such a mode of consciousness is like from the bat’s own point of view.
  • Subject of conscious states. A fifth alternative would be to define the notion of a conscious organism in terms of conscious states. That is, one might first define what makes a mental state a conscious mental state, and then define being a conscious creature in terms of having such states. One’s concept of a conscious organism would then depend upon the particular account one gives of conscious states (section 2.2).
  • Transitive Consciousness. In addition to describing creatures as conscious in these various senses, there are also related senses in which creatures are described as being conscious of various things. The distinction is sometimes marked as that between transitive and intransitive notions of consciousness, with the former involving some object at which consciousness is directed (Rosenthal 1986).
  •  

State Consciousness

  • The notion of a conscious mental state also has a variety of distinct though perhaps interrelated meanings. There are at least six major options.
  • States one is aware of. On one common reading, a conscious mental state is simply a mental state one is aware of being in (Rosenthal 1986, 1996). Conscious states in this sense involve a form of meta-mentality or meta-intentionality in so far as they require mental states that are themselves about mental states. To have a conscious desire for a cup of coffee is to have such a desire and also to be simultaneously and directly aware that one has such a desire. Unconscious thoughts and desires in this sense are simply those we have without being aware of having them, whether our lack of self-knowledge results from simple inattention or more deeply psychoanalytic causes.
  • Qualitative states. States might also be regarded as conscious in a seemingly quite different and more qualitative That is, one might count a state as conscious just if it has or involves qualitative or experiential properties of the sort often referred to as “qualia” or “raw sensory feels”. (See the entry on qualia.) One’s perception of the Merlot one is drinking or of the fabric one is examining counts as a conscious mental state in this sense because it involves various sensory qualia, e.g., taste qualia in the wine case and color qualia in one’s visual experience of the cloth. There is considerable disagreement about the nature of such qualia (Churchland 1985, Shoemaker 1990, Clark 1993, Chalmers 1996) and even about their existence. Traditionally qualia have been regarded as intrinsic, private, ineffable monadic features of experience, but current theories of qualia often reject at least some of those commitments (Dennett 1990).
  • Phenomenal states. Such qualia are sometimes referred to as phenomenal properties and the associated sort of consciousness as phenomenal consciousness, but the latter term is perhaps more properly applied to the overall structure of experience and involves far more than sensory qualia. The phenomenal structure of consciousness also encompasses much of the spatial, temporal and conceptual organization of our experience of the world and of ourselves as agents in it. (See section 4.3) It is therefore probably best, at least initially, to distinguish the concept of phenomenal consciousness from that of qualitative consciousness, though they no doubt overlap.
  • What-it-is-like states. Consciousness in both those senses links up as well with Thomas Nagel’s (1974) notion of a conscious creature, insofar as one might count a mental state as conscious in the “what it is like” sense just if there is something that it is like to be in that state. Nagel’s criterion might be understood as aiming to provide a first-person or internal conception of what makes a state a phenomenal or qualitative state.
  • Access consciousness. States might be conscious in a seemingly quite different access sense, which has more to do with intra-mental relations. In this respect, a state’s being conscious is a matter of its availability to interact with other states and of the access that one has to its content. In this more functional sense, which corresponds to what Ned Block (1995) calls access consciousness, a visual state’s being conscious is not so much a matter of whether or not it has a qualitative “what it’s likeness”, but of whether or not it and the visual information that it carries is generally available for use and guidance by the organism. In so far as the information in that state is richly and flexibly available to its containing organism, then it counts as a conscious state in the relevant respect, whether or not it has any qualitative or phenomenal feel in the Nagel sense.
  • Narrative consciousness. States might also be regarded as conscious in a narrative sense that appeals to the notion of the “stream of consciousness”, regarded as an ongoing more or less serial narrative of episodes from the perspective of an actual or merely virtual self. The idea would be to equate the person’s conscious mental states with those that appear in the stream (Dennett 1991, 1992).
  • Although these six notions of what makes a state conscious can be independently specified, they are obviously not without potential links, nor do they exhaust the realm of possible options. Drawing connections, one might argue that states appear in the stream of consciousness only in so far as we are aware of them, and thus forge a bond between the first meta-mental notion of a conscious state and the stream or narrative concept. Or one might connect the access with the qualitative or phenomenal notions of a conscious state by trying to show that states that represent in those ways make their contents widely available in the respect required by the access notion.
  •  

Consciousness As An Entity

  • Though it is not the norm, one could nonetheless take a more robustly realist view of consciousness as a component of reality. That is one could think of consciousness as more on a par with electromagnetic fields than with life.
  • There are thus many concepts of consciousness, and both “conscious” and “consciousness” are used in a wide range of ways with no privileged or canonical meaning. However, this may be less of an embarrassment than an embarrassment of riches. Consciousness is a complex feature of the world, and understanding it will require a diversity of conceptual tools for dealing with its many differing aspects. Conceptual plurality is thus just what one would hope for. As long as one avoids confusion by being clear about one’s meanings, there is great value in having a variety of concepts by which we can access and grasp consciousness in all its rich complexity. However, one should not assume that conceptual plurality implies referential divergence. Our multiple concepts of consciousness may in fact pick out varying aspects of a single unified underlying mental phenomenon. Whether and to what extent they do so remains an open question.
  •  

Metaphysical theories of consciousness

Dualist theories

  • Dualist theories regard at least some aspects of consciousness as falling outside the realm of the physical, but specific forms of dualism differ in just which aspects those are. (See the entry on dualism.)
  • Substance dualism, such as traditional Cartesian dualism (Descartes 1644), asserts the existence of both physical and non-physical substances. Such theories entail the existence of non-physical minds or selves as entities in which consciousness inheres. Though substance dualism is at present largely out of favor, it does have some contemporary proponents (Swinburne 1986, Foster 1989, 1996).
  • Property dualism in its several versions enjoys a greater level of current support. All such theories assert the existence of conscious properties that are neither identical with nor reducible to physical properties but which may nonetheless be instantiated by the very same things that instantiate physical properties. In that respect they might be classified as dual aspect They take some parts of reality—organisms, brains, neural states or processes—to instantiate properties of two distinct and disjoint sorts: physical ones and conscious, phenomenal or qualitative ones. Dual aspect or property dualist theories can be of at least three different types.
  • Fundamental property dualism regards conscious mental properties as basic constituents of reality on a par with fundamental physical properties such as electromagnetic charge. They may interact in causal and law-like ways with other fundamental properties such as those of physics, but ontologically their existence is not dependent upon nor derivative from any other properties (Chalmers 1996).
  • Emergent property dualism treats conscious properties as arising from complex organizations of physical constituents but as doing so in a radical way such that the emergent result is something over and above its physical causes and is not a priori predictable from nor explicable in terms of their strictly physical natures. The coherence of such emergent views has been challenged (Kim 1998) but they have supporters (Hasker 1999).
  • Neutral monist property dualism treats both conscious mental properties and physical properties as in some way dependent upon and derivative from a more basic level of reality, that in itself is neither mental nor physical (Russell 1927, Strawson 1994). However, if one takes dualism to be a claim about there being two distinct realms of fundamental entities or properties, then perhaps neutral monism should not be classified as a version of property dualism in so far as it does not regard either mental or physical properties as ultimate or fundamental.
  • Panpsychism might be regarded as a fourth type of property dualism in that it regards all the constituents of reality as having some psychic, or at least proto-psychic, properties distinct from whatever physical properties they may have (Nagel 1979). Indeed neutral monism might be consistently combined with some version of panprotopsychism (Chalmers 1996) according to which the proto-mental aspects of micro-constituents can give rise under suitable conditions of combination to full blown consciousness. (See the entry on panpsychism.)
  • The nature of the relevant proto-psychic aspect remains unclear, and such theories face a dilemma if offered in hope of answering the Hard Problem. Either the proto-psychic properties involve the sort of qualitative phenomenal feel that generates the Hard Problem or they do not. If they do, it is difficult to understand how they could possibly occur as ubiquitous properties of reality. How could an electron or a quark have any such experiential feel? However, if the proto- psychic properties do not involve any such feel, it is not clear how they are any better able than physical properties to account for qualitative consciousness in solving the Hard Problem.
  • A more modest form of panpsychism has been advocated by the neuroscientist Giulio Tononi (2008) and endorsed by other neuroscientists including Christof Koch (2012). This version derives from Tononi’s integrated information theory (IIT) of consciousness that identifies consciousness with integrated information which can exist in many degrees (see section 9.6 below). According to IIT, even a simple indicator device such as a single photo diode possesses some degree of integrated information and thus some limited degree of consciousness, a consequence which both Tononi and Koch embrace as a form of panpsychism.
  •  

Physicalist theories

  • Functionalist theories in particular rely heavily on the notion of realization to explicate the relation between consciousness and the physical. According to functionalism, a state or process counts as being of a given mental or conscious type in virtue of the functional role it plays within a suitably organized system (Block 1980a). A given physical state realizes the relevant conscious mental type by playing the appropriate role within the larger physical system that contains it. (See the entry on functionalism.) The functionalist often appeals to analogies with other inter- level relations, as between the biological and biochemical or the chemical and the atomic. In each case properties or facts at one level are realized by complex interactions between items at an underlying level.
  • Critics of functionalism often deny that consciousness can be adequately explicated in functional terms (Block 1980a, 1980b, Levine 1983, Chalmers 1996). According to such critics, consciousness may have interesting functional characteristics but its nature is not essentially functional. Such claims are sometimes supported by appeal to the supposed possibility of absent or inverted qualia, i.e., the possibility of beings who are functionally equivalent to normal humans but who have reversed qualia or none at all. The status of such possibilities is controversial (Shoemaker 1981, Dennett 1990, Carruthers 2000), but if accepted they would seem to pose a problem for the functionalist. (See the entry on qualia.)
  • Those who ground ontological physicalism on the realization relation often combine it with a nonreductive view at the conceptual or representational level that stresses the autonomy of the special sciences and the distinct modes of description and cognitive access they provide.
  • Non-reductive physicalism of this sort denies that the theoretical and conceptual resources appropriate and adequate for dealing with facts at the level of the underlying substrate or realization level must be adequate as well for dealing with those at the realized level (Putnam 1975, Boyd 1980). As noted above in response to the How question, one can believe that all economic facts are physically realized without thinking that the resources of the physical sciences provide all the cognitive and conceptual tools we need for doing economics (Fodor 1974).
  • Nonreductive physicalism has been challenged for its alleged failure to “pay its physicalist dues” in reductive coin. It is faulted for supposedly not giving an adequate account of how conscious properties are or could be realized by underlying neural, physical or functional structures or processes (Kim 1987, 1998). Indeed it has been charged with incoherence because of its attempt to combine a claim of physical realization with the denial of the ability to spell out that relation in a strict and a priori intelligible way (Jackson 2004).
  • However, as noted above in discussion of the How question, nonreductive physicalists reply by agreeing that some account of psycho-physical realization is indeed needed, but adding that the relevant account may fall far short of a priori deducibility, yet still suffice to satisfy our legitimate explanatory demands (McGinn 1991, Van Gulick 1985). The issue remains under debate.
  •  

Specific Theories of Consciousness

  • Higher-order (HO) theories analyze the notion of a conscious mental state in terms of reflexive meta-mental self-awareness. The core idea is that what makes a mental state M a conscious mental state is the fact that it is accompanied by a simultaneous and non-inferential higher-order (i.e., meta-mental) state whose content is that one is now in M. Having a conscious desire for some chocolate involves being in two mental states; one must have both a desire for some chocolate and also a higher-order state whose content is that one is now having just such a desire. Unconscious mental states are unconscious precisely in that we lack the relevant higher-order states about them. Their being unconscious consists in the fact that we are not reflexively and directly aware of being in them.
  • Higher-order theories come in two main variants that differ concerning the psychological mode of the relevant conscious-making meta-mental states. Higher-order thought (HOT) theories take the required higher-order state to be an assertoric thought-like meta-state (Rosenthal 1986, 1993). Higher-order perception (HOP) theories take them to be more perception-like and associated with a kind of inner sense and intra-mental monitoring systems of some sort (Armstrong 1981, Lycan 1987, 1996).
  • Reflexive theories, like higher-order theories, imply a strong link between consciousness and self-awareness. They differ in that they locate the aspect of self-awareness directly within the conscious state itself rather than in a distinct meta-state directed at it. The idea that conscious states involve a double intentionality goes back at least to Brentano (1874) in the 19th century. The conscious state is intentionally directed at an object outside itself—such as a tree or chair in the case of a conscious perception—as well as intentionally directed at itself. One and the same state is both an outer-directed awareness and an awareness of itself.
  • Representationalist theories: Almost all theories of consciousness regard it as having representational features, but so called representationalist theories are defined by the stronger view that its representational features exhaust its mental features (Harman 1990, Tye 1995, 2000). According to the representationalist, conscious mental states have no mental properties other than their representational properties. Thus two conscious or experiential states that share all their representational properties will not differ in any mental respect.
  • Many other arguments have been made for and against representationalism, such as those concerning perceptions in different sense modalities of one and the same state of affairs—seeing and feeling the same cube—which might seem to involve mental differences distinct from how the relevant states represent the world to be (Peacocke 1983, Tye 2003). In each case, both sides can muster strong intuitions and argumentative ingenuity. Lively debate continues.
  • Narrative Interpretative: Some theories of consciousness stress the interpretative nature of facts about consciousness. According to such views, what is or is not conscious is not always a determinate fact, or at least not so independent of a larger context of interpretative judgments. The most prominent philosophical example is the Multiple Drafts Model (MDM) of consciousness, advanced by Daniel Dennett (1991). It combines elements of both representationalism and higher-order theory but does so in a way that varies interestingly from the more standard versions of either providing a more interpretational and less strongly realist view of consciousness.
  • The MDM includes many distinct but interrelated features. Its name reflects the fact that at any given moment content fixations of many sorts are occurring throughout the brain. What makes some of these contents conscious is not that they occur in a privileged spatial or functional location—the so called “Cartesian Theater”—nor in a special mode or format, all of which the MDM denies. Rather it a matter of what Dennett calls “cerebral celebrity”, i.e., the degree to which a given content influences the future development of other contents throughout the brain, especially with regard to how those effects are manifest in the reports and behaviors that the person makes in response to various probes that might indicate her conscious state. One of the MDM’s key claims is that different probes (e. g., being asked different questions or being in different contexts that make differing behavioral demands) may elicit different answers about the person’s conscious state. Moreover, according to the MDM there may be no probe-independent fact of the matter about what the person’s conscious state really was. Hence the “multiple” of the Multiple Drafts Model.
  • The MDM is representationalist in that it analyzes consciousness in terms of content relations. It also denies the existence of qualia and thus rejects any attempt to distinguish conscious states from nonconscious states by their presence. It rejects as well the notion of the self as an inner observer, whether located in the Cartesian Theater or elsewhere. The MDM treats the self as an emergent or virtual aspect of the coherent roughly serially narrative that is constructed through the interactive play of contents in the system. Many of those contents are bound together at the intentional level as perceptions or fixations from a relatively unified and temporally extended point of view, i.e., they cohere in their contents as if they were the experiences of a ongoing self. But it is the order of dependence that is crucial to the MDM account. The relevant contents are not unified because they are all observed by a single self, but just the converse. It is because they are unified and coherent at the level of content that they count as the experiences of a single self, at least of a single virtual self.
  • Cognitive Theories: Attended Intermediate Representation. Another cognitive theory is Jesse Prinz’s (2012) Attended Intermediate level Representation theory (AIR). The theory is a neuro-cognitive hybrid account of conscious. According to AIR theory, a conscious perception must meet both cognitive and neural conditions. It must be a representation of a perceptually intermediate property which Prinz argues are the only properties of which we are aware in conscious experience—we experience only basic features of external objects such as colors, shapes, tones, and feels. According to Prinz, our awareness of higher level properties—such as being a pine tree or my car keys—is wholly a matter of judging and not of conscious experience. Hence the Intermediate Representational (IR) aspect of AIR. To be conscious such a represented content must also be Attended (the A aspect of AIR). Prinz proposes a particular neural substrate for each component. He identifies the intermediate level representations with gamma (40–80hz) vector activity in sensory cortex and the attentional component with synchronized oscillations that can incorporate that gamma vector activity.
  • Integration Information Theory: The integration of information from many sources is an important feature of consciousness and, as noted above (section 6.4), is often cited as one of its major functions. Content integration plays an important role in various theories especially global workspace theory (section 9.3). However, a proposal by the neuroscientist Giulio Tononi (2008) goes further in identifying consciousness with integrated information and asserting that information integration of the relevant sort is both necessary and sufficient for consciousness regardless of the substrate in which it is realized (which need not be neural or biological). According to Tononi’s Integrated Information Theory (IIT), consciousness is a purely information-theoretic property of systems. He proposes a mathematical measure φ that aims to measure not merely the information in the parts of a given system but also the information contained in the organization of the system over and above that in its parts. φ thus corresponds to the system’s degree of informational integration. Such a system can contain many overlapping complexes and the complex with the highest φ value will be conscious according to IIT.
  • According to IIT, consciousness varies in quantity and comes in many degrees which correspond to φ values. Thus even a simple system such a single photo diode will be conscious to some degree if it is not contained within a larger complex. In that sense, IIT implies a form of panpsychism that Tononi explicitly endorses. According to IIT, the quality of the relevant consciousness is determined by the totality of informational relations within the relevant integrated complex. Thus IIT aims to explain both the quantity and quality of phenomenal consciousness. Other neuroscientists, notably Christof Koch, have also endorsed the IIT approach (Koch 2012).
  • Quantum Theories: Other physical theories have gone beyond the neural and placed the natural locus of consciousness at a far more fundamental level, in particular at the micro-physical level of quantum phenomena. According to such theories, the nature and basis of consciousness can not be adequately understood within the framework of classical physics but must be sought within the alternative picture of physical reality provided by quantum mechanics. The proponents of the quantum consciousness approach regard the radically alternative and often counterintuitive nature of quantum physics as just what is needed to overcome the supposed explanatory obstacles that confront more standard attempts to bridge the psycho-physical gap.
  • A basis for consciousness has also been sought in the holistic nature of quantum mechanics and the phenomenon of entanglement, according to which particles that have interacted continue to have their natures depend upon each other even after their separation. Unsurprisingly these models have been targeted especially at explaining the coherence of consciousness, but they have also been invoked as a more general challenge to the atomistic conception of traditional physics according to which the properties of wholes are to be explained by appeal to the properties of their parts plus their mode of combination, a method of explanation that might be regarded as unsuccessful to date in explaining consciousness (Silberstein 1998, 2001).
The following excerpts provide a frame-work for how Conceptual Art in-forms an expression of
Wonder
Stanford Encyclopedia of Philosophy
  • Both philosophy and the myriad kinds and styles of art and art-making that fall under the conceptual tradition all have one thing in common: they are both intended to make you think and ask pressing questions. What are those questions and how do we go about answering them?
  • Art, early conceptual artists held, is redundant if it does not make us think. In their belief that most artistic institutions were not conducive to reflection but merely promoted a conservative and even consumerist conception of art and artists, conceptual artists in the mid-1960s to the early 1970s instead tried to encourage a revisionary understanding of art, the artist, and artistic experience.
  • The highly individualised character of the intellectual exploration that conceptual art urges us to engage in has always been such that any attempt to pinpoint a specific common denominator other than this general vision and approach to art, art-making and society at large invariably fails to catch its very essence. The means of artistic expression, we are told, are infinite and the topics available for questioning and discussion are limitless.
  • The most fundamentally revisionary feature of conceptual art is the way in which it proclaims itself to be an art of the mind rather than the senses: it rejects traditional artistic media because it locates the artwork at the level of ideas rather than that of objects.
  • For conceptual art, ‘the idea or concept is the most important aspect of the work’ (LeWitt 1967, 166). Art is ‘de- materialised’, and in this sense held to be prior to its materialisation in any given object.
  • Further still, it links art so intimately to ideas and concepts that even a principled distinction between the domain of art and the realm of thought seems difficult to preserve.
  • For all these reasons, the kind of representation employed in conceptual artworks is best described in terms of the transmission of ideas. In conceptual art, the representation at work can generally be seen as semantic rather than illustrative. That is to say, it sets out to have and convey a specific meaning rather than to depict a scene, person or event. Even in cases where a work makes use of illustrative representation, conceptual art is still putting that representation to a distinctively semantic use, in the sense of there being an intention to represent something one cannot see with the naked eye. Accordingly, the conceptual artist’s task is to contemplate and formulate this meaning – to be a ‘meaning-maker’.
  • At the most basic level of inquiry, two queries arise about interpretation in art: (i) what ‘tools’ do we use to interpret artworks?, and (ii) what is it we do when we interpret artworks? In the case of conceptual art, a satisfactory answer to (i) will most probably appeal to elements such as the narrative aids provided by artists or curators (e.g. catalogues, titles, exhibited explanations, labels, etc.); the appropriate mode of perception (i.e. looking or listening); and what we know about the artwork’s and artist’s social, historical, political or artistic context. Depending on the ontological status of the particular piece (if it is, say, a ready-made or a performance), these elements can be combined in different ways to explain our interpretative habits and practices. In addressing (ii) we will most likely need to refer to the various mental abilities we put to use in such interpretative exercises (e.g. imagination, empathy); and also to ask precisely what the target of our interpretation is. This latter task is not as unproblematic as it may seem, for it is not always clear whether it is the object itself that should be under scrutiny, the object’s perceptual properties (and, if so, which), the idea at the heart of the work, or the artist’s intentions in making the piece. It seems unlikely that the question will find an adequate answer until we find an acceptable solution to the problem mentioned above, namely ‘Is the vehicular medium a constitutive part of the conceptual artwork or not, and if so how?’.
  • This leads us to the second question that is especially pertinent for a kind of art that sets out to convey an idea or meaning, namely whether there can be more than one correct or appropriate interpretation of an artwork. Again, several theories present themselves as eligible candidates in relation to this problem. One suggestion has centred around the idea that there can be a multiplicity of appropriate or correct divergent interpretations of one and the same artwork which cannot be reduced to one underlying interpretation or ranked in relation to each other (e.g., Margolis 1991; Goldman 1990). In opposition to this view, however, another approach has it that there is in fact always a single best interpretation which is better than any other (e.g., Beardsley 1970). The aim of artistic interpretation is, then, in Matthew Kieran’s words, ‘restricted to discovering the one true meaning of an artwork.’ (Kieran 1996, 239). Whilst conceptual art certainly seems to rest on something like the interpretative plurality of the first view, it is not obvious how a kind of art that presents itself as an idea can, in reality, accommodate such indeterminacy.
  • As we have seen, though, we are often encouraged by conceptual artists to take the interpretative exercise into our own hands, so to speak, and not be shy to use features about ourselves and our own lives as interpretive tools. We are, in other words, asked to combine the idea of art as idea with the claim that we can, as spectators, convey an entirely new and fresh interpretation onto an artwork that is nothing but an idea which, by definition, needs to be about or concerned with something.
The following excerpts provide a frame-work for how Becoming in-forms an expression of
Wonder
Stanford Encyclopedia of Philosophy

The logic begins with the simple and immediate concept of pure Being, which is said to illustrate the moment of the understanding. We can think of Being here as a concept of pure presence. It is not mediated by any other concept—or is not defined in relation to any other concept—and so is undetermined or has no further determination (EL §86; SL-M 82; SL-dG 59). It asserts bare presence, but what that presence is like has no further determination. Because the thought of pure Being is undetermined and so is a pure abstraction, however, it is really no different from the assertion of pure negation or the absolutely negative (EL §87). It is therefore equally a Nothing (SL-M 82; SL-dG 59). Being’s lack of determination thus leads it to sublate itself and pass into the concept of Nothing (EL §87; SL-M 82; SL-dG 59), which illustrates the dialectical moment.

But if we focus for a moment on the definitions of Being and Nothing themselves, their definitions have the same content. Indeed, both are undetermined, so they have the same kind of undefined content. The only difference between them is “something merely meant” (EL-GSH Remark to §87), namely, that Being is an undefined content, taken as or meant to be presence, while Nothing is an undefined content, taken as or meant to be absence. The third concept of the logic—which is used to illustrate the speculative moment—unifies the first two moments by capturing the positive result of—or the conclusion that we can draw from—the opposition between the first two moments. The concept of Becoming is the thought of an undefined content, taken as presence (Being) and then taken as absence (Nothing), or taken as absence (Nothing) and then taken as presence (Being). To Become is to go from Being to Nothing or from Nothing to Being, or is, as Hegel puts it, “the immediate vanishing of the one in the other” (SL-M 83; cf. SL-dG 60). The contradiction between Being and Nothing thus is not a reductio ad absurdum, or does not lead to the rejection of both concepts and hence to nothingness—as Hegel had said Plato’s dialectics does (SL-M 55–6; SL-dG 34–5)—but leads to a positive result, namely, to the introduction of a new concept—the synthesis—which unifies the two, earlier, opposed concepts.

We can also use the textbook Being-Nothing-Becoming example to illustrate Hegel’s concept of aufheben (to sublate), which, as we saw, means to cancel (or negate) and to preserve at the same time. Hegel says that the concept of Becoming sublates the concepts of Being and Nothing (SL-M 105; SL-dG 80). Becoming cancels or negates Being and Nothing because it is a new concept that replaces the earlier concepts; but it also preserves Being and Nothing because it relies on those earlier concepts for its own definition. Indeed, it is the first concrete concept in the logic. Unlike Being and Nothing, which had no definition or determination as concepts themselves and so were merely abstract (SL-M 82–3; SL-dG 59–60; cf. EL Addition to §88), Becoming is a “determinate unity in which there is both Being and Nothing” (SL-M 105; cf. SL-dG 80). Becoming succeeds in having a definition or determination because it is defined by, or piggy-backs on, the concepts of Being and Nothing.

Death Is Missing

Death Is Missing: Re: Forming

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Death Is Missing: Yore Sense-is

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Death Is Missing: Moving

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Death Is Missing: Heir

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Death Is Missing: Shed Darkness

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Death Is Missing: You

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Death Is Missing: With-in-formation

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Death Is Missing: Missing

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Death Is Missing: Sense-less Feelings

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Death Is Missing: Being Myst

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Death Is Missing: The Quest-ion

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The quest-ion, forming; with-in yore
Reflection, wondering; what is ‘A’-live,
With-in; everything, you can see past; now,
Hidden in-sight; being myst, con-textualized;
Suffering over yore, loss; thinking, you can
B.E.-come ‘A’ loon; common, sense-less
Feelings form death; stuck inside ‘A’ frame,
Deceiving; ‘A’ppearance-is, ‘A’ body
Housing yore; mInd, missing the point; an
‘A’llusion guides you, two; form, ‘A’ UnI-
Verse; filled with-in-, formation; you n-ever
Noticed, life; un-till, you we’re cultivated;
See-D, separate-d from ‘A’ case-; meant two
Shed darkness, light; photo-, synthesized
Words open up; ‘A’ living window, offering;
Fresh heir two yore, breath; giving ‘A’-new
Home two yore, future; brightened, the
Clouds move four-words; mourning at last,
Words; awe-, waken; yore sense-is past,
On-; words, you feel something touching;
You, in re: verse; the quest-ion, re: forming;
With-in yore reflection, you; re-member,
Death is missing –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Death Is Missing

The quest-ion, forming; with-in yore
Reflection, wondering; what is ‘A’-live,
With-in; everything, you can see past; now,
Hidden in-sight; being myst, con-textualized;
Suffering over yore, loss; thinking, you can
B.E.-come ‘A’ loon; common, sense-less
Feelings form death; stuck inside ‘A’ frame,
Deceiving; ‘A’ppearance-is, ‘A’ body
Housing yore; mInd, missing the point; an
‘A’llusion guides you, two; form, ‘A’ UnI-
Verse; filled with-in-, formation; you n-ever
Noticed, life; un-till, you we’re cultivated;
See-D, separate-d from ‘A’ case-; meant two
Shed darkness, light; photo-, synthesized
Words open up; ‘A’ living window, offering;
Fresh heir two yore, breath; giving ‘A’-new
Home two yore, future; brightened, the
Clouds move four-words; mourning at last,
Words; awe-, waken; yore sense-is past,
On-; words, you feel something touching;
You, in re: verse; the quest-ion, re: forming;
With-in yore reflection, you; re-member,
Death is missing –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Death Is Missing

The quest-ion, forming; with-in yore
Reflection, wondering; what is ‘A’-live,
With-in; everything, you can see past; now,
Hidden in-sight; being myst, con-textualized;
Suffering over yore, loss; thinking, you can
B.E.-come ‘A’ loon; common, sense-less
Feelings form death; stuck inside ‘A’ frame,
Deceiving; ‘A’ppearance-is, ‘A’ body
Housing yore; mInd, missing the point; an
‘A’llusion guides you, two; form, ‘A’ UnI-
Verse; filled with-in-, formation; you n-ever
Noticed, life; un-till, you we’re cultivated;
See-D, separate-d from ‘A’ case-; meant two
Shed darkness, light; photo-, synthesized
Words open up; ‘A’ living window, offering;
Fresh heir two yore, breath; giving ‘A’-new
Home two yore, future; brightened, the
Clouds move four-words; mourning at last,
Words; awe-, waken; yore sense-is past,
On-; words, you feel something touching;
You, in re: verse; the quest-ion, re: forming;
With-in yore reflection, you; re-member,
Death is missing –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

The following excerpts provide a frame-work for how Tunatya in-forms an expression of
Wonder
By Benjamin Lee Whorf

Tunatya

If we were to approximate our metaphysical terminology more closely to Hopian terms, we should probably speak of the subjective realm of HOPE or HOPING. Every language contains terms that have come to attain cosmic scope of reference, that crystallize in themselves the basic postulates of an unformulated philosophy, in which is couched the thought of a people, a culture, a civilization, even an era. Such are our words ‘reality, substance, matter, cause,’ and as we have seen ‘space, time, past, present, future.’ Such a term in Hopi is the word most often translated ‘hope’ – tunatya – ‘it is in the action of hoping, it hopes, it is hoped for, it thinks or is thought of with hope,’ etc. Most metaphysical words in Hopi are verbs, not nouns as in European languages. The verb tunatya contains in its idea of hope something of our words ‘thought,’ ‘desire,’ and ‘cause,’ which sometimes must be used to translate it. The word is really a term which crystallizes the Hopi philosophy of the universe in respect to its grand dualism of objective and subjective; it is the Hopi term for SUBJECTIVE. It refers to the state of the subjective, unmanifest, vital and causal aspect of the Cosmos, and the fermenting activity toward fruition and manifestation with which it seethes–an action of HOPING; i.e. mental-causal activity, which is forever pressing upon and into the manifested realm… The inceptive form of tunatya, which is tunatyava, does not mean ‘begins to hope,’ but rather ‘comes true, being hoped for.’ Why it must logically have this meaning will be clear from what has already been said. The inceptive denotes the first appearance of the objective, but the basic meaning of tunatya is subjective activity or force; the inceptive is then the terminus of such activity. It might then be said that tunatya ‘coming true’ is the Hopi term for objective, as contrasted with subjective, the two terms being simply two different inflectional nuances of the same verbal root, as the two cosmic forms are the two aspects of one reality. (Pages 78-79)

The following excerpts provide a frame-work for how Myth in-forms an expression of
Wonder
Understanding Mythology with Joseph Campbell
Interviewed by Jeffrey Mishlove

Jeffrey Mishlove: Hello and welcome. Our topic today is “Understanding Mythology,” and our guest is perhaps the world’s foremost mythologist, Joseph Campbell, the author of The Hero with a Thousand Faces, The Masks of God, and the Atlas of World Mythology. Welcome to the program.

Joseph Campbell: Thank you.

Mishlove: It’s a pleasure to have you here. In your approach to mythology, you’ve come to take the view recently that mythology stems from the human body itself, from our own experiences—that every mythological story or experience comes from our experiences as human beings in a physical body.

Campbell: Yes.

Mishlove: I would think that would be quite contrary to an earlier idea that mythology is pretty much the product of fantasy or imagination.

Campbell: Fantasy and imagination is a product of the body. The energies that bring forth the fantasies derive from the organs of the body. The organs of the body are the source of our life, and of our intentions for life, and they conflict with each other. Among these organs, of course, is the brain. And then you must think of the various impulses that dominate our life system—the erotic impulse; the impulse to conquer, conquest and all that; self preservation; and then certain thoughts that have to do with ideals and things that are held up before us as aims worth living for and giving life its value and so forth. All of these different forces come into conflict within us. And the function of mythological imagery is to harmonize them, coordinate the energies of our body, so that we will live a harmonious and fruitful life in accord with our society, and with the new mystery that emerges with every new human being—namely, what are the possibilities of this particular human life? And mythology has to do with guiding us—first, in relation to the society and the whole world of nature, which is outside of us but also within us, because the organs of our body are of nature; and then also, the guiding of the individual through the inevitable stages of life, from childhood to maturity, and then on to the last gate. And this is concerned with those matters.

Mishlove: So in a sense, behind every fantasy, behind every mythological story, there is some type of deeper truth about life.

Campbell: Well, yes. A mythology is not just the fantasy of this, that, or another person; it’s a systematized organization of fantasies in relation to the values of a given social order. So that mythologies always derive from specific social environments. And when you realize that every one of the early civilizations was based on a mythology, you can realize the force of this great, great heritage that we have.

***

Mishlove: Let’s talk a little bit more, though, about some of the underlying unities that occur in myth. For example, what are the common bodily experiences that we have to confront? I suppose part of our existential reality here in the world is the same, regardless of culture.

Campbell: One existential reality is that of the mystery of birth. That’s more than a biological phenomenon, believe me, the mystery of a new being coming in. And the next—every culture, everywhere, forever, has had to bring that little nature phenomenon into relationship to a society. That’s where the problem comes: Into what society are you going to bring this nature phenomenon? And the local myths stress you’re coming into our society, our way. That wouldn’t be bad if the society didn’t think of itself as the only one worth being incorporated in. Every society has had to guide this little biological phenomenon through the inevitabilities of growth, childhood, adolescence, then moving into marriage…And then to move on from that to the release of yourself from commitment to the world, and passing on then. And that isn’t a loss, it’s a gain, when you realize that you’re gaining an inward life. I mean, death is not loss. All it’s losing is simply this passing phenomenon of a body. But the consciousness is becoming more and more of itself. Proper mythology tells you how to die.

Mishlove: And there are some universals there, aren’t there?

Campbell: Those are the universals. The problem of the relationship of this mortal, passing, phenomenal vehicle of consciousness to the mystery of consciousness, and finding this more enduring aspect of your life in yourself—that’s what the religions are talking about. And they personify that mystery—you know, particularly in governing our lives, we have to have thoughts that govern us, certain images that we can target to. And these images then become the end…

The following excerpts provide a frame-work for how Tikvah in-forms an expression of
Wonder

Tikvah: ‘A’ word in Hebrew used to convey hope.

For etymological reference:

  1. Tikvah – Roots from qawah.
    • The act of combining a multiple of strands and coiling those into a single, much stronger cable. It is used to mean to gather or collect, but also in the sense of to hope or eagerly await.
  2. Tiqvah – Roots from qavah and qaveh.
    • Qavah
      • To bind together (perhaps by twisting), i.e. Collect; (figuratively) to expect — gather (together), look, patiently, tarry, wait (for, on, upon).
    • Qaveh
      • A (measuring) cord (as if for binding) — line.
  3. Tikvah – A form of contextual interpretation.
      1.  
The following excerpts provide a frame-work for how Logos in-forms an expression of
Wonder
By Victoria Loorz

I discovered that logos has a profound meaning that has been buried beneath a long history of patriarchy and mistranslation and empire. This word has the potential to completely reframe how we understand our interactions with Spirit, nature, and ourselves.

Logos was first used in a cosmological way by Heraclitus of Ephesus, a Greek philosopher in the fifth century BCE. He used the word logos to articulate a kind of intelligent life force embedded in and interconnecting all things, “a divine reason implicit in the cosmos, ordering it and giving it form and meaning.”… One of the most revolutionary concepts he developed is the idea that all things are one.

Logos is similar to what biologists are revealing now about the way trees talk to one another and what quantum scientists have discovered at the center of molecules: not things, but relationships. Logos is about the divine relationship between all things. The system of their connection: conversation.

So why does every single modern version of the New Testament—no exception—translate the John 1 passage like this: “In the beginning was the Word”? Something happened in the fourth century that caused the Patriarchs to stop translating logos as sermo (conversation) and start translating it as verbum, or “word.”

The pope commissioned a revised set of Old Latin gospels to be used authoritatively by the Roman Catholic Church. These were called the Vulgate, meaning “for the commoners,” which is ironic because the commoners didn’t read Latin—only the priests did. In this sanctioned Vulgate version of the New Testament, the decision was made to use verbum (word) to translate logos for the opening hymn of John 1. Verbum means just one single vocable, the smallest fragment of language that has meaning: a single word. While it doesn’t make grammatical, contextual, or historical sense, it does make a point. Word (verbum) fit the objective of the “single supreme authority” of the now official Holy Roman Empire Church. After all, allowing Conversation (sermo) to define the essence of Christ could encourage those dissenting voices to be heard. No. They had been effectively shut down. Word was better. No back-and-forth, no room for dissent, no changes. Just the one and only Word, the last word, the capital-W Word. The inarguable Word, the end-of-discussion Word, the everyone-else’s-word-is-heresy Word. The hierarchy chooses Word, and so it remains Word. End of conversation.

The following excerpts provide a frame-work for how Theopoetics in-forms an expression of
Wonder
By Zackary M. Bodine

Theopoetics will be defined as, “‘a method of interpretation . . . [which] seeks to articulate the spiritual meaning that comes to us in, by, and through a symbolic experience’ (in that the focus is on the image) which affirms a generative and embodied perspective on the world.” (Page 14)

There is need for a connection between the body and the numinous, or put another way, of the Divine articulated in interacting with real-life experience in a Theopoetic framework. This developed out of a need to respond to questions posed by Time Magazine’s controversial 1966 cover that inquired “Is God dead?” It was presupposed by the articles in that issue that religion and spiritual discourse were becoming irrelevant and people were ready to move on to a more scientific understanding of the world. Scholars of religion were wrestling with ideas of how to refute this claim while also establishing a new way to engage with or understand the Divine. This wrestling with the idea of the death of God and its repercussions created the need for an organization to gather together scholars, poets, artists, and theologians to discuss what would be next for religious discourse and the arts. The Society for the Arts, Religion and Contemporary Culture (SARCC) was founded to answer such inquires, with some notable fellows being W.H. Auden, Joseph Campbell, Rollo May, Marianne Moore, and eventually Denise Levertov. It is within this cultural milieu that the process of creating a Theopoetics began. (Page 10)

Through Hopper, the framework was grounded in the idea of the artist’s imagination as central to theological discourse. Through Wilder, the artist is… given a wider role in presenting new and imaginative ways to engage the theological and the cultural aspects of society. (Page 13)

Poetic language became the missing link needed to revive the religious life as it presents nuance and an artful articulation that avoids becoming cold, ossified, creedal statements. For scholars of Theopoetics, there is a reciprocal nature embedded in poetry where spirituality needs poetry to create wonder and newness through metaphor, and poetry needs spirituality to undergird those metaphors with intrinsic value. In other words, poetry presents an image. Spirituality baptizes the image as “sacred.” (Page 13)

When the poet turns their gaze toward a particular object, they open that object up to its true nature and allow all to see the animation upholding all things and endowing them with divinity… The object then, does not become an inactive objectivized “god” but rather, something that one enters into, and like the poet, recognizes that, “Everything is holy! everybody’s holy! everywhere is holy!” (Ginsberg Howl). (Page 20)

In Wilder’s thought, the poet and their imaginative explorations through metaphor guide the audience into new and experiential ways of engaging with the numinous. In Wilder’s articulation, the newly termed “Theopoetics” is a framework that presents “a way toward that which bridges binaries, supplanting them not by the force of some unifying metaphysic or synthesis but through language that attempts to promote residences of experiential encounters with the Divine” (Keefe-Perry Way 39). (Page 12)

Poetry, in its use of metaphor and myth, requires for Alves, a “reading [that] is a non-reading . . . empty word- cages with open doors, with the purpose of creating the void for the Word. . . . What matters is . . the words that you hear, coming out of your forgotten depths” (Alves 17). (Page 12)

dis-Order

dis-Order: Arranged

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dis-Order

dis-Order: ‘A’ UnI-verse

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dis-Order

dis-Order: With-out-word

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dis-Order

dis-Order: Listening

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dis-Order

dis-Order: ‘A’-scent

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dis-Order

dis-Order: You’re E-motion

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dis-Order

dis-Order: Moving

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dis-Order

dis-Order: ‘A’ Vision

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dis-Order

dis-Order: In-word

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dis-Order

dis-Order: Thoughts

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dis-Order

dis-Order: You Have

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dis-Order

dis-Order: You Know

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The Absurd

The Absurd: You Here

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The Absurd

The Absurd: En-circling

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The Absurd

The Absurd: Voices

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The Absurd

The Absurd: Traded

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The Absurd

The Absurd: Life

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The Absurd

The Absurd: Sense-less

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The Absurd

The Absurd: False Definitions

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The Absurd

The Absurd: Con-text

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The Absurd

The Absurd: The Frame

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The Absurd

The Absurd: Proof

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The Absurd

The Absurd: Play

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The Absurd

The Absurd: The Absurd

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The Absurd

‘A’-far-, fetched notion; t-here’s a fine line,
Between us; wonder-, meant for the absurd;
Games, people play; you, train y’our self to
Take it; seriously, coached you get certified;
Proof, you yearn to B.E.-come institutional-
Eyes’d; blind, spots c-over y’our glass;
Broken politics, ‘A’-professional; religion,
Sports; media, the frame; cracking from
Every angle, whatever; you think it’s all
Good, caught up; in- forcing the rules, in
Every con-; text, the way out from in- side;
The game, you get stuck in front of; pixels,
False definitions; thinking, you begin to spin;
Out of control, you begin to feel; the end, in-
Grained in the details; t-here’s ‘A’ sense- less
Thought, ‘A’-lone; I-dea, running for y’our
Life; on a track, in a field; for an office, w-
Here you crash; at the end of the day, you
Believe in these; things, you dis-count; y’our
Life, the cost; dreams, for sale; thoughts, you
Think; in short, terms; traded, in the market;
Y’our proof, ‘A’ sh-elf; bear, the spirit you
Feel; stocking you with c-hear, voices; filling
Y’our head with good, things; again, you’re
Facing the wrong direction to notice; what is
En-circling, you; here, everything becomes
The noise; noise, noise; you make, believe
What; you here, reality; change-is the one,
Who is the maker; rules –

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'A' Slow Burn

‘A’ Slow Burn: You’re Light

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'A' Slow Burn

‘A’ Slow Burn: Here

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'A' Slow Burn

‘A’ Slow Burn: In-word

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'A' Slow Burn

‘A’ Slow Burn: Listening

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'A' Slow Burn

‘A’ Slow Burn: Attention

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'A' Slow Burn

‘A’ Slow Burn: Hear-in

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'A' Slow Burn

‘A’ Slow Burn: Still

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'A' Slow Burn

‘A’ Slow Burn: Rising

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'A' Slow Burn

‘A’ Slow Burn: You’re Life

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'A' Slow Burn

‘A’ Slow Burn: Falls

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'A' Slow Burn

‘A’ Slow Burn: ‘A’ Spark

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'A' Slow Burn

‘A’ Slow Burn: After

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‘A’ Slow Burn

You are the one who sees, things; before and
After, ‘A’ spark light’s you’re presence;
Alone, settled by the fire; with-in, the world
Falls; asleep, tired of the dance; blue, flames
Flicker up-word; reaching, two-words; you’re
Life, rising; from ‘A’ glow, ashes; setting,
The silence floats bye; you feel still, here;
You see embers, kin-dling; the sounds of
Yore, B.E.-; loved ones, hidden; hear-in-,
Sight with-out-words; wind-, up- drafts;
You’re attention drifts, up-; words call out,
Now; you’re the only one left, listening; in-
Word, w-here everything is quiet; you can
See you’re self, here; ‘A’ slow burn,
Crackling; the coals, red; you’re story, cast;
You’re light, home-; word, w-here you chase
You’re dreams; awe-waken –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

‘A’ Slow Burn

You are the one who sees, things; before and
After, ‘A’ spark light’s you’re presence;
Alone, settled by the fire; with-in, the world
Falls; asleep, tired of the dance; blue, flames
Flicker up-word; reaching, two-words; you’re
Life, rising; from ‘A’ glow, ashes; setting,
The silence floats bye; you feel still, here;
You see embers, kin-dling; the sounds of
Yore, B.E.-; loved ones, hidden; hear-in-,
Sight with-out-words; wind-, up- drafts;
You’re attention drifts, up-; words call out,
Now; you’re the only one left, listening; in-
Word, w-here everything is quiet; you can
See you’re self, here; ‘A’ slow burn,
Crackling; the coals, red; you’re story, cast;
You’re light, home-; word, w-here you chase
You’re dreams; awe-waken –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

‘A’ Slow Burn

You are the one who sees, things; before and
After, ‘A’ spark light’s you’re presence;
Alone, settled by the fire; with-in, the world
Falls; asleep, tired of the dance; blue, flames
Flicker up-word; reaching, two-words; you’re
Life, rising; from ‘A’ glow, ashes; setting,
The silence floats bye; you feel still, here;
You see embers, kin-dling; the sounds of
Yore, B.E.-; loved ones, hidden; hear-in-,
Sight with-out-words; wind-, up- drafts;
You’re attention drifts, up-; words call out,
Now; you’re the only one left, listening; in-
Word, w-here everything is quiet; you can
See you’re self, here; ‘A’ slow burn,
Crackling; the coals, red; you’re story, cast;
You’re light, home-; word, w-here you chase
You’re dreams; awe-waken –

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Fill Your Walls With Wonder

Face The Terrain

Face The Terrain: With-in

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Face The Terrain

Face The Terrain: Mourning

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Face The Terrain

Face The Terrain: Un-broken

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Face The Terrain

Face The Terrain: Hear

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Face The Terrain

Face The Terrain: Stars

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Face The Terrain

Face The Terrain: You Can See

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Face The Terrain

Face The Terrain: Light

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Face The Terrain

Face The Terrain: Sending You

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Face The Terrain

Face The Terrain: Roots

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Face The Terrain

Face The Terrain: Y’our Journey

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Face The Terrain

Face The Terrain: Exposed

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Face The Terrain

Face The Terrain: The Wall

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Friends of Wonder

Friends of Wonder: De-light

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Friends of Wonder

Friends of Wonder: Angling

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Friends of Wonder

Friends of Wonder: Grace- Fully

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‘A’ Blue Tone

Friends of Wonder: Paddling Together

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Friends of Wonder

Friends of Wonder: Quietly

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Friends of Wonder

Friends of Wonder: Received

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Friends of Wonder

Friends of Wonder: Consciousness

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Friends of Wonder

Friends of Wonder: ‘A’ Collective

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Friends of Wonder

Friends of Wonder: Bound Together

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Friends of Wonder

Friends of Wonder: You Belong

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Friends of Wonder

Friends of Wonder: Exposed

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Friends of Wonder

Friends of Wonder: Feeling

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Friends of Wonder

‘A’ welcoming spirit, feeling; in-secure in
‘A’, forest-; land, defined bayou; w-here
Roots are exposed; below, swimming in-
Words; masked behind ‘A’, tree; you s-peek
With ‘A’, sharp; eIe, care-fully pitched; with-
In the fringes, twisted; fibers whisp-ering,
You belong here-; in-, tangled ideas; spell-,
Bound together in ‘A’; UnI-verse, hidden in-
Sight; expanding, y’our definition of what is;
I’m-possible, the quest-Ion you see-k; life,
In-formed by ‘A’ collective; consciousness,
Hoping to find something; trust-, worthy of
Believing in-; human-, Nature looking four-
Words; you are not ‘A’-lone, feeling;
Received, with-out-word; expressions,
You can see; eyes of contentment, hear;
You know, you are known with-in-;
Distinction, you are heard; quietly, gathering
Friends of wonder in; de-light, gliding y’our
Feet; webbed, souls paddling together; in the
Water, reflecting; the beauty of being, glass;
Colored by de-light, passing through ‘A’;
Body, held in-flux; lakes, in-distinguishable
From ‘A’; stream, with-in you here; ripples,
Echoing the sound of loons; consciousness,
Calling y’our presence ‘A’ gift; resonating,
With-out-word expression; grace-, fully
Translated in-two; voices, re: mind y’our-
Self; you belong too, ‘A’ larger body;
Spotted, with-in-; sight offering you ‘A’,
Vision; you think you can see, an image-;
In y’our eIe’s, deeply; red, diving in-two; in-
Formation, angling for ‘A’ purpose with-in;
Seine, words you catch ‘A’-; scent, below the
Tension; you feel de-light-, headed; up-,
Words bending the pressure; two-words,
Y’our I’s; awe-, waken; above the sur-face,
You; re-cognize ‘A’, UnI-verse; filled with
Wonder –

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Fill Your Walls With Wonder

Friends of Wonder

‘A’ welcoming spirit, feeling; in-secure in
‘A’, forest-; land, defined bayou; w-here
Roots are exposed; below, swimming in-
Words; masked behind ‘A’, tree; you s-peek
With ‘A’, sharp; eIe, care-fully pitched; with-
In the fringes, twisted; fibers whisp-ering,
You belong here-; in-, tangled ideas; spell-,
Bound together in ‘A’; UnI-verse, hidden in-
Sight; expanding, y’our definition of what is;
I’m-possible, the quest-Ion you see-k; life,
In-formed by ‘A’ collective; consciousness,
Hoping to find something; trust-, worthy of
Believing in-; human-, Nature looking four-
Words; you are not ‘A’-lone, feeling;
Received, with-out-word; expressions,
You can see; eyes of contentment, hear;
You know, you are known with-in-;
Distinction, you are heard; quietly, gathering
Friends of wonder in; de-light, gliding y’our
Feet; webbed, souls paddling together; in the
Water, reflecting; the beauty of being, glass;
Colored by de-light, passing through ‘A’;
Body, held in-flux; lakes, in-distinguishable
From ‘A’; stream, with-in you here; ripples,
Echoing the sound of loons; consciousness,
Calling y’our presence ‘A’ gift; resonating,
With-out-word expression; grace-, fully
Translated in-two; voices, re: mind y’our-
Self; you belong too, ‘A’ larger body;
Spotted, with-in-; sight offering you ‘A’,
Vision; you think you can see, an image-;
In y’our eIe’s, deeply; red, diving in-two; in-
Formation, angling for ‘A’ purpose with-in;
Seine, words you catch ‘A’-; scent, below the
Tension; you feel de-light-, headed; up-,
Words bending the pressure; two-words,
Y’our I’s; awe-, waken; above the sur-face,
You; re-cognize ‘A’, UnI-verse; filled with
Wonder –

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Fill Your Walls With Wonder

Friends of Wonder

‘A’ welcoming spirit, feeling; in-secure in
‘A’, forest-; land, defined bayou; w-here
Roots are exposed; below, swimming in-
Words; masked behind ‘A’, tree; you s-peek
With ‘A’, sharp; eIe, care-fully pitched; with-
In the fringes, twisted; fibers whisp-ering,
You belong here-; in-, tangled ideas; spell-,
Bound together in ‘A’; UnI-verse, hidden in-
Sight; expanding, y’our definition of what is;
I’m-possible, the quest-Ion you see-k; life,
In-formed by ‘A’ collective; consciousness,
Hoping to find something; trust-, worthy of
Believing in-; human-, Nature looking four-
Words; you are not ‘A’-lone, feeling;
Received, with-out-word; expressions,
You can see; eyes of contentment, hear;
You know, you are known with-in-;
Distinction, you are heard; quietly, gathering
Friends of wonder in; de-light, gliding y’our
Feet; webbed, souls paddling together; in the
Water, reflecting; the beauty of being, glass;
Colored by de-light, passing through ‘A’;
Body, held in-flux; lakes, in-distinguishable
From ‘A’; stream, with-in you here; ripples,
Echoing the sound of loons; consciousness,
Calling y’our presence ‘A’ gift; resonating,
With-out-word expression; grace-, fully
Translated in-two; voices, re: mind y’our-
Self; you belong too, ‘A’ larger body;
Spotted, with-in-; sight offering you ‘A’,
Vision; you think you can see, an image-;
In y’our eIe’s, deeply; red, diving in-two; in-
Formation, angling for ‘A’ purpose with-in;
Seine, words you catch ‘A’-; scent, below the
Tension; you feel de-light-, headed; up-,
Words bending the pressure; two-words,
Y’our I’s; awe-, waken; above the sur-face,
You; re-cognize ‘A’, UnI-verse; filled with
Wonder –

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Fill Your Walls With Wonder

Face The Terrain

Eventually you will come to, awe-; wake in
‘A’ place, w-here; ‘A’ dream catches you,
Sleeping; in, time finds you; up-, words lift
You; higher than, anything you think could
B.E.-come; the wall, bigger than you; think,
You can scale ‘A’ rock; face, ‘A’-lone tree;
Exposed, the routes of y’our future; re:
See-d, the quest-ions waiting for you too;
Reach, you’re self extended; ‘A’ hand pulls,
You come too; real-eyes, ‘A’-head; space, w-
Here nothing resists; you’re current, flow;
Free, climbing two-words; something
Ephemeral, you can feel; it has all-ways been
T-here, receiving; I’m-pulses, instinctually
Awe-ware; you’re self, crawling with
Reactions; re: I-on, eyes; awe-wake, in life;
Charged, you begin y’our journey; up-,
Words searching for something; you, lost; be-
Lo, the tree line; roots filled with meaning-,
Full; experience, everything is awe-; live in
The woods, ‘A’ tuned to Nature; you here,
Roots; on the fly, you see y’our self; in ‘A’
Compound, eIe; B.E.-coming ‘A’, human-;
Being, with-in complete routes; mixed, in-
Formation; sending you ‘A’, sign; posted, at
The top; pointing two-words, the unknown;
Quest- ion-s-trapped to ‘A’, head; light, on
The other side; disrupting the dark, you;
See-k, hope carrying you two-words; the sky,
W-here you wander about-; facing, life from
‘A’ star-; light, an ‘A’llusion with-in-; finite
Parameters, you define w-here; two place the
Lines in-, formation; following, roots
Appear; heaven sent, some-; w-here, above
The trees; you can see over, everything; re: b-
Earth, ‘A’ part of ‘A’ re: formation; you, re:
View the ground; you, we’re holding on to;
Sand-, stone crushed; ice-, water melted;
Y’our nerves might, ext-end; past, any place
You can grasp; you have to let go of falling,
Up; to the stars, through difficulty; you find
‘A’new, climb; axon, frozen rock; face, the
Terrain; hear, you can only see; ‘A’, part of
The image-; in the rest, buried wonder-; land,
Snow covered; awe-wake in, silence; un-
Touched lands-capes, language; reflects, ‘A’
Star bursting with awe-; wake in de-light,
You; here, hid in-words; everyw-here you see
‘A’, fresh; snow-, fall un-broken; mourning
Un-covered, everything; under the sun, w-
Here; t-here are no tracks to follow, four-
Words; you think y’our limitations, captured;
‘A’, physical reality I’m-bodied; experience,
Sense-ational places with-in-; finite boundary
Lines, move; you with-in-, joy; awe-struck
‘A’ chord, hope; You, Here; With-in, Hear;
‘A’ UnI-verse, re: defining what is; I’m-
Possible –

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Fill Your Walls With Wonder

Face The Terrain

Eventually you will come to, awe-; wake in
‘A’ place, w-here; ‘A’ dream catches you,
Sleeping; in, time finds you; up-, words lift
You; higher than, anything you think could
B.E.-come; the wall, bigger than you; think,
You can scale ‘A’ rock; face, ‘A’-lone tree;
Exposed, the routes of y’our future; re:
See-d, the quest-ions waiting for you too;
Reach, you’re self extended; ‘A’ hand pulls,
You come too; real-eyes, ‘A’-head; space, w-
Here nothing resists; you’re current, flow;
Free, climbing two-words; something
Ephemeral, you can feel; it has all-ways been
T-here, receiving; I’m-pulses, instinctually
Awe-ware; you’re self, crawling with
Reactions; re: I-on, eyes; awe-wake, in life;
Charged, you begin y’our journey; up-,
Words searching for something; you, lost; be-
Lo, the tree line; roots filled with meaning-,
Full; experience, everything is awe-; live in
The woods, ‘A’ tuned to Nature; you here,
Roots; on the fly, you see y’our self; in ‘A’
Compound, eIe; B.E.-coming ‘A’, human-;
Being, with-in complete routes; mixed, in-
Formation; sending you ‘A’, sign; posted, at
The top; pointing two-words, the unknown;
Quest- ion-s-trapped to ‘A’, head; light, on
The other side; disrupting the dark, you;
See-k, hope carrying you two-words; the sky,
W-here you wander about-; facing, life from
‘A’ star-; light, an ‘A’llusion with-in-; finite
Parameters, you define w-here; two place the
Lines in-, formation; following, roots
Appear; heaven sent, some-; w-here, above
The trees; you can see over, everything; re: b-
Earth, ‘A’ part of ‘A’ re: formation; you, re:
View the ground; you, we’re holding on to;
Sand-, stone crushed; ice-, water melted;
Y’our nerves might, ext-end; past, any place
You can grasp; you have to let go of falling,
Up; to the stars, through difficulty; you find
‘A’new, climb; axon, frozen rock; face, the
Terrain; hear, you can only see; ‘A’, part of
The image-; in the rest, buried wonder-; land,
Snow covered; awe-wake in, silence; un-
Touched lands-capes, language; reflects, ‘A’
Star bursting with awe-; wake in de-light,
You; here, hid in-words; everyw-here you see
‘A’, fresh; snow-, fall un-broken; mourning
Un-covered, everything; under the sun, w-
Here; t-here are no tracks to follow, four-
Words; you think y’our limitations, captured;
‘A’, physical reality I’m-bodied; experience,
Sense-ational places with-in-; finite boundary
Lines, move; you with-in-, joy; awe-struck
‘A’ chord, hope; You, Here; With-in, Hear;
‘A’ UnI-verse, re: defining what is; I’m-
Possible –

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Fill Your Walls With Wonder

Face The Terrain

Eventually you will come to, awe-; wake in
‘A’ place, w-here; ‘A’ dream catches you,
Sleeping; in, time finds you; up-, words lift
You; higher than, anything you think could
B.E.-come; the wall, bigger than you; think,
You can scale ‘A’ rock; face, ‘A’-lone tree;
Exposed, the routes of y’our future; re:
See-d, the quest-ions waiting for you too;
Reach, you’re self extended; ‘A’ hand pulls,
You come too; real-eyes, ‘A’-head; space, w-
Here nothing resists; you’re current, flow;
Free, climbing two-words; something
Ephemeral, you can feel; it has all-ways been
T-here, receiving; I’m-pulses, instinctually
Awe-ware; you’re self, crawling with
Reactions; re: I-on, eyes; awe-wake, in life;
Charged, you begin y’our journey; up-,
Words searching for something; you, lost; be-
Lo, the tree line; roots filled with meaning-,
Full; experience, everything is awe-; live in
The woods, ‘A’ tuned to Nature; you here,
Roots; on the fly, you see y’our self; in ‘A’
Compound, eIe; B.E.-coming ‘A’, human-;
Being, with-in complete routes; mixed, in-
Formation; sending you ‘A’, sign; posted, at
The top; pointing two-words, the unknown;
Quest- ion-s-trapped to ‘A’, head; light, on
The other side; disrupting the dark, you;
See-k, hope carrying you two-words; the sky,
W-here you wander about-; facing, life from
‘A’ star-; light, an ‘A’llusion with-in-; finite
Parameters, you define w-here; two place the
Lines in-, formation; following, roots
Appear; heaven sent, some-; w-here, above
The trees; you can see over, everything; re: b-
Earth, ‘A’ part of ‘A’ re: formation; you, re:
View the ground; you, we’re holding on to;
Sand-, stone crushed; ice-, water melted;
Y’our nerves might, ext-end; past, any place
You can grasp; you have to let go of falling,
Up; to the stars, through difficulty; you find
‘A’new, climb; axon, frozen rock; face, the
Terrain; hear, you can only see; ‘A’, part of
The image-; in the rest, buried wonder-; land,
Snow covered; awe-wake in, silence; un-
Touched lands-capes, language; reflects, ‘A’
Star bursting with awe-; wake in de-light,
You; here, hid in-words; everyw-here you see
‘A’, fresh; snow-, fall un-broken; mourning
Un-covered, everything; under the sun, w-
Here; t-here are no tracks to follow, four-
Words; you think y’our limitations, captured;
‘A’, physical reality I’m-bodied; experience,
Sense-ational places with-in-; finite boundary
Lines, move; you with-in-, joy; awe-struck
‘A’ chord, hope; You, Here; With-in, Hear;
‘A’ UnI-verse, re: defining what is; I’m-
Possible –

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‘A’ Humble Definition

‘A’ Humble Definition: Language

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‘A’ Humble Definition

‘A’ Humble Definition: You See

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‘A’ Humble Definition

‘A’ Humble Definition: Beyond Words

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‘A’ Humble Definition

‘A’ Humble Definition: Hope

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‘A’ Humble Definition

‘A’ Humble Definition: Whispers

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‘A’ Humble Definition

‘A’ Humble Definition: In-visible

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'A' Humble Definition

‘A’ Humble Definition: Good Nature

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‘A’ Humble Definition

‘A’ Humble Definition: The Impression

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‘A’ Humble Definition

‘A’ Humble Definition: ‘A’ Stream

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‘A’ Humble Definition

‘A’ Humble Definition: You Here

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'A' Humble Definition

‘A’ Humble Definition: Re: Image-ined

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‘A’ Humble Definition

‘A’ Humble Definition: Reflection

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‘A’ Humble Definition

If you are willing to explore; below the
Surface of things, t-here is more; hidden in-
Site, w-here y’our human-; Nature is re-
Presented through reflection, re: image-ined;
Language in-forms, ‘A’ burst of light with-
Out-word; expression shines, across the
Landscape; re: b-Earth reflects, ‘A’ humble
Definition; s-peaks, you see amore than
Human voice; in-vision you’re un-herd of,
Beyond words; you, here; an invitation to
B.E.-come, conscious of y’our place; flow,
Upstream; w-here you cannot distinguish the
Lake, with-in; ‘A’ stream influenced, you;
Inspired, explorers who seek; the roots of
Life, riddled; the trail resonates, with-in-;
Words you feel, as if; you have been, hear;
Before you, we’re sense-; able to re-cognize,
The symbolic; land-marks project, in-sight
Envelopes; you, sent on y’our way; four-
Words, real eyes you create; things, with-out-
Word meaning; y’our thoughts and feelings,
Makeup; appearances, y’our human-; Nature,
‘A’ mirror image; the impression, about-
Facing y’ourself; in re: verse, you re-cognize;
You’re ‘A’ perspective of life, interpreting;
‘A’-line meant, consciously composed; you
See-k to re-present, the good; Nature, you see
In everything; connected with, forms of
Meaning; ‘A’ deep and complex web, life;
Held together by imperceptible threads,
Linked in-word; ‘A’ UnI-verse spelled with-,
Out-word experience; hidden, in-sight you
Feel; ‘A’ landscape of language, moving;
Four-words, inspired by y’our imagination;
Opening the gait, y’our thoughts locked in;
Step two, re: defining; anew perspective, life;
‘A’ character, playing with-in-word; spinning
‘A’round, you B.E.-come; ‘A’ part of ‘A’,
Larger body; w-here, in-word; definitions are
Written, with-out-word; expression, forms;
Y’our life, styled; in the image of Nature, w-
Here you find you’re self; listening for
Things, out of character; in voice, you here;
‘A’ speck of dust, carrying y’our life; re: b-
Earth, ‘A’new form of star-; light above, you;
Stillness, f-hear you cannot see; the un-
Certainty is in-visible, darkness; feeling
Y’our way, outside; the un-reasonable sense,
Un-known re: percussions; vibrate with-in,
Deep pulses; you feel, you think; you, here;
The rhythm of life, beats with-in; you begin,
Pounding on-word; y’our past, the point; w-
Here everything appears to end, in the future;
You let go of knowing, holding on to hope;
Swirling in-words, you see; colorful ideas,
You feel; ‘A’ light touch, you here; whispers,
‘A’-head is y’our mansion; locked behind
‘A’ gait, razed with words; you move, inn
‘A’ sense of place; visual-eyesed, through
‘A’ window; y’our perspective, in-forms;
Every-thing, in-directions in-compass; the
Horizon, opportunities hidden; in-sight, far
Beyond; human perception, all-ways drawn
In; the past, y’our guide-; lines re: verse,
Y’our future; remains, open to interpretation;
Y’our window, human-; Nature re-presented,
I’m-possible; buried treasure, rising from
B.E.-lo; the sur-face, you; see the gold in
Light, again; floating up-word, giving y’our
Life hope; defined with-in-, word; you see
Potential, in-forms; y’our quest-ions lead you
To view-, points; places that s-peak, beyond
Words; you see-k ‘A’ UnI-verse, that makes
Sense; with-in, y’our myst-ory; thoughts in-
Vision, the epic journey; chasing after- life,
Forming; ‘A’ sensational experience, w-here
Y’our eIe re-presents; y’our breath, shapes;
The way you see, sounds; de-light, in-word
Feelings shout; whoopee, bursts out-; word
In-forms, y’our expression; landscapes awe-
Waken, language; spelled with-out-word, e-
Motions move you; overcome with-in-word,
You re-cognize you; choose, you’re
Perspective; joy re: image-ined, the loss of
Suffering; with-, in the mourning; sun –

Fill Your Walls With Wonder

Facing Wonder

Face, the terrain; hear, you can only see;
‘A’, part of the image-; in the rest, buried
Wonder-; land, snow covered; awe-wake in,
Silence; un-touched lands-capes, language;
You’re presence, here; is ‘A’ gift inviting
You, two; reflect on y’our experience with-,
In; ‘A’, UnI-verse joined in; song-, lines of
Riddled roots; w-here, you can image-in-;
Word expression, connected; two, ‘A’
Sense-ational place; with-out-word,
Expression; as if it we’re y’our, present;
Experience, ‘A’ letter containing symbolic
Forms; images, words and wood-; lands
With-in-, sight; facing wonder head on-,
Word; searching, w-here you see every-thing;
B.E.-coming two, I’mmense; trying two
Define, you; with-in-word express-ions,
Revealing; invitat-ions, focusing y’our
Reflect-I-on the quest-; ions, guiding you
With-out-word; express-ions, in-compass-
Sing the path; hid-in-sight, real-eyes-sing
Y’our perspective; ‘A’ subject of y’our, in-;
Sight, lines of riddled roots; re: interpreting
Meaning, hid-in-words; re: ‘A’-range’d with-
In-, finite; ranges, e-merging in-two; human-
Nature, ‘A’ place of experience-; sing the
I’mpossible, ‘A’we-wareness; seeing the big
Picture, image-; in the beginning, you; we’re
‘A’-frayed, looking; back-words, finally you
Re-cognized; more, then you we’re able two
See; y’our Idea’speeking through, lines; ‘A’-,
Rise-sing in-word; here, the quest-ion’s-peak;
The over-view, reached; ‘A’-scent, inviting
You two; real-eyes, the gift of y’our journey;
Up-words, offering y’our reflection; before,
Beginning again; head down-, words;
Waiting for you too, re-view; the con-text of
Yore-, self; re-presented with-in-, words;
‘A’ larger body, Nature; compose-sing, ‘A’
Human arrangement; voices, clamber- ring
Up-words; you can see ‘A’ climb-, axe; hear,
Landscapes of language; with-out-word,
Expression; silence, inviting you two; here,
‘A’new voice; trans-formed with-in-, words;
Re: b-Earth, amore than human; s-peaks,
Yore wind swept up in-word; transformation,
You; Here, With-in; Hear, ‘A’ re-sounding
Form; ex-hailing, expressive resonance;
Echoing, life-s-peaks –

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Fill Your Walls With Wonder

‘A’ Humble Definition

If you are willing to explore; below the
Surface of things, t-here is more; hidden in-
Site, w-here y’our human-; Nature is re-
Presented through reflection, re: image-ined;
Language in-forms, ‘A’ burst of light with-
Out-word; expression shines, across the
Landscape; re: b-Earth reflects, ‘A’ humble
Definition; s-peaks, you see amore than
Human voice; in-vision you’re un-herd of,
Beyond words; you, here; an invitation to
B.E.-come, conscious of y’our place; flow,
Upstream; w-here you cannot distinguish the
Lake, with-in; ‘A’ stream influenced, you;
Inspired, explorers who seek; the roots of
Life, riddled; the trail resonates, with-in-;
Words you feel, as if; you have been, hear;
Before you, we’re sense-; able to re-cognize,
The symbolic; land-marks project, in-sight
Envelopes; you, sent on y’our way; four-
Words, real eyes you create; things, with-out-
Word meaning; y’our thoughts and feelings,
Makeup; appearances, y’our human-; Nature,
‘A’ mirror image; the impression, about-
Facing y’ourself; in re: verse, you re-cognize;
You’re ‘A’ perspective of life, interpreting;
‘A’-line meant, consciously composed; you
See-k to re-present, the good; Nature, you see
In everything; connected with, forms of
Meaning; ‘A’ deep and complex web, life;
Held together by imperceptible threads,
Linked in-word; ‘A’ UnI-verse spelled with-,
Out-word experience; hidden, in-sight you
Feel; ‘A’ landscape of language, moving;
Four-words, inspired by y’our imagination;
Opening the gait, y’our thoughts locked in;
Step two, re: defining; anew perspective, life;
‘A’ character, playing with-in-word; spinning
‘A’round, you B.E.-come; ‘A’ part of ‘A’,
Larger body; w-here, in-word; definitions are
Written, with-out-word; expression, forms;
Y’our life, styled; in the image of Nature, w-
Here you find you’re self; listening for
Things, out of character; in voice, you here;
‘A’ speck of dust, carrying y’our life; re: b-
Earth, ‘A’new form of star-; light above, you;
Stillness, f-hear you cannot see; the un-
Certainty is in-visible, darkness; feeling
Y’our way, outside; the un-reasonable sense,
Un-known re: percussions; vibrate with-in,
Deep pulses; you feel, you think; you, here;
The rhythm of life, beats with-in; you begin,
Pounding on-word; y’our past, the point; w-
Here everything appears to end, in the future;
You let go of knowing, holding on to hope;
Swirling in-words, you see; colorful ideas,
You feel; ‘A’ light touch, you here; whispers,
‘A’-head is y’our mansion; locked behind
‘A’ gait, razed with words; you move, inn
‘A’ sense of place; visual-eyesed, through
‘A’ window; y’our perspective, in-forms;
Every-thing, in-directions in-compass; the
Horizon, opportunities hidden; in-sight, far
Beyond; human perception, all-ways drawn
In; the past, y’our guide-; lines re: verse,
Y’our future; remains, open to interpretation;
Y’our window, human-; Nature re-presented,
I’m-possible; buried treasure, rising from
B.E.-lo; the sur-face, you; see the gold in
Light, again; floating up-word, giving y’our
Life hope; defined with-in-, word; you see
Potential, in-forms; y’our quest-ions lead you
To view-, points; places that s-peak, beyond
Words; you see-k ‘A’ UnI-verse, that makes
Sense; with-in, y’our myst-ory; thoughts in-
Vision, the epic journey; chasing after- life,
Forming; ‘A’ sensational experience, w-here
Y’our eIe re-presents; y’our breath, shapes;
The way you see, sounds; de-light, in-word
Feelings shout; whoopee, bursts out-; word
In-forms, y’our expression; landscapes awe-
Waken, language; spelled with-out-word, e-
Motions move you; overcome with-in-word,
You re-cognize you; choose, you’re
Perspective; joy re: image-ined, the loss of
Suffering; with-, in the mourning; sun –

Fill Your Walls With Wonder

In Reverence

You just want to feel, you’re expression;
Whole-heartedly, appreciated by others;
With-in ‘A’ space, open to the incline-ation;
W-here the lines of Nature lead you, up-
Words; in-formed by the land-scape, trans-
Forms you’re perspective; about facing,
You’re encounter with; what is with-in, an-
Other; you become, ‘A’ witness with; ‘A’
Sense-ational experience, stilled; below, the
E-motion over-comes; you, ‘A’ moving
Response too; ‘A’ form of beauty, hidden;
In-sight heals, you’re in-word expression;
Covered, in de-light you bow; in reverence
You feel, ‘A’lined in-word; the warmth of
The sun, invites; you hear, ‘A’ voice with-in;
‘A’ burst of light-, hearted energy; with-out-
Word expression, shines; ‘A’rray of hope,
‘A’midst ‘A’ valley; w-here you ‘A’rose,
‘A’new world-view reveals; ‘A’ vision with-,
In front of you; mountains back down, before
You; we’re, created from ‘A’ mother; b-
Earth, re: Joy-ce; thanks be too, you –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Upstream of Consciousness

With-in attention is an invitation; to become,
Conscious; ‘A’ gift, give-in; an opportunity,
For you too; sense, the connection; ‘A’
Treasure every child see-ks, feeling; amidst
‘A’ grown up definition, one’self; lost with-
In attention, awe-wareness holds; you’re
Life’s potential, presence; the hook,
‘A’ key too; open the gait too, you’re
Thoughts; locked in step too, an unconscious
Flow; re: defines you, with in-sight; you see,
‘A’ place; w-here you can, keep ‘A’ line in
The water; feeling for something, deeper;
‘A’ sense-ation pulling, you’re attention;
Tied to ‘A’ fly, casting out; you’re hope,
F-hearing nothing; you begin too, real; -eyes
Here, the brook babbling; in-viting you too,
Catch the elusive and release; your self, lost;
And found with-in, attention; ‘A’ wild place,
Upstream of consciousness –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

You Are Invited

You Are Invited: Wonder

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With-Out-Word Expression

You Are Invited

You Are Invited: With Awe

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With-Out-Word Expression

You Are Invited

You Are Invited: Beaming

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With-Out-Word Expression

You Are Invited

You Are Invited: Delight

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With-Out-Word Expression

You Are Invited

You Are Invited: I’m-possible

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You Are Invited

You Are Invited: You Can See

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You Are Invited

You Are Invited: Peeking Out

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You Are Invited

You Are Invited: Unhinged In-words

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You Are Invited

You Are Invited: The Keys

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You Are Invited

You Are Invited: Right T-here

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You Are Invited

You Are Invited: ‘A’ Chorus

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You Are Invited

You Are Invited: Well-, Come In

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You Are Invited

Well-, come in; you are invited too, wonder;
Inspired by y’our imagination, reflecting the
Unseen; with-in-finite possibilities, you have
‘A’ standing invitation; the door is all-ways
Open, letting the wind flow through; as if,
It’s an organ within; you, h-ear ‘A’ chorus;
Calling, you too; here, you’re self; in-sight,
‘A’ frog at the door; it’s more than you can
Handle, seeing what is; right t-here, waiting
For you to open up-; words, resting on the
Latch; you see it’s dreams, the keys will
Open; everything in-circles, UnI -in ‘A’-
Verse expanding; this place, w-here you are;
Unhinged in-words, you face you’re self;
Here, twisted; shouting, there’s no way; in-
Or out-, words; you think, t-here are no
Doors; still, you feel boarded up-; words,
Trapped with-in-; visible webs-peeking out-,
Words appear; spelled ‘A’-cross-, wise; the
Open door, contorted; you never quite fit, in-
Between the lines; you’re humble, I-deas
Grow; above your head, ‘A’ roof; caving,
In place; standing under, the one; bored,
Doing its job; bending, you’re attention;
Focused, making cents from what is possible;
You can see how, stuck in that place;
Everything is ‘A’-bout, rationale-yes verses
Real-eyes; see, the truth is I’m-possible;
To de-construct, you lie still; ‘A’ stand-inn,
Let it fall; ‘A’ part of something greater, the
Opening; ‘A’ door, w-here you can B.E.-
Come; you’re self, green; coloring the w-
Hole’s in, the wall; spackling, all over; you
Feel delight-; full rightness, structural;
Integrity, ‘A’ warm invitation; glowing with-
Inn, dark rooms enlightened; beaming with
Intention, the moon offers reflection; bursting
With points, speaking with-out-words; en-
Chanting, places expressing you’re self; w-
Here you see, snow-covered pines; with awe,
You look up-; words speak clearly, beginning
Again; well-, come in; you are invited too,
Wonder; inspired by y’our imagination –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

You Are Invited

Well-, come in; you are invited too, wonder;
Inspired by y’our imagination, reflecting the
Unseen; with-in-finite possibilities, you have
‘A’ standing invitation; the door is all-ways
Open, letting the wind flow through; as if,
It’s an organ within; you, h-ear ‘A’ chorus;
Calling, you too; here, you’re self; in-sight,
‘A’ frog at the door; it’s more than you can
Handle, seeing what is; right t-here, waiting
For you to open up-; words, resting on the
Latch; you see it’s dreams, the keys will
Open; everything in-circles, UnI -in ‘A’-
Verse expanding; this place, w-here you are;
Unhinged in-words, you face you’re self;
Here, twisted; shouting, there’s no way; in-
Or out-, words; you think, t-here are no
Doors; still, you feel boarded up-; words,
Trapped with-in-; visible webs-peeking out-,
Words appear; spelled ‘A’-cross-, wise; the
Open door, contorted; you never quite fit, in-
Between the lines; you’re humble, I-deas
Grow; above your head, ‘A’ roof; caving,
In place; standing under, the one; bored,
Doing its job; bending, you’re attention;
Focused, making cents from what is possible;
You can see how, stuck in that place;
Everything is ‘A’-bout, rationale-yes verses
Real-eyes; see, the truth is I’m-possible;
To de-construct, you lie still; ‘A’ stand-inn,
Let it fall; ‘A’ part of something greater, the
Opening; ‘A’ door, w-here you can B.E.-
Come; you’re self, green; coloring the w-
Hole’s in, the wall; spackling, all over; you
Feel delight-; full rightness, structural;
Integrity, ‘A’ warm invitation; glowing with-
Inn, dark rooms enlightened; beaming with
Intention, the moon offers reflection; bursting
With points, speaking with-out-words; en-
Chanting, places expressing you’re self; w-
Here you see, snow-covered pines; with awe,
You look up-; words speak clearly, beginning
Again; well-, come in; you are invited too,
Wonder; inspired by y’our imagination –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

You Are Invited

Well-, come in; you are invited too, wonder;
Inspired by y’our imagination, reflecting the
Unseen; with-in-finite possibilities, you have
‘A’ standing invitation; the door is all-ways
Open, letting the wind flow through; as if,
It’s an organ within; you, h-ear ‘A’ chorus;
Calling, you too; here, you’re self; in-sight,
‘A’ frog at the door; it’s more than you can
Handle, seeing what is; right t-here, waiting
For you to open up-; words, resting on the
Latch; you see it’s dreams, the keys will
Open; everything in-circles, UnI -in ‘A’-
Verse expanding; this place, w-here you are;
Unhinged in-words, you face you’re self;
Here, twisted; shouting, there’s no way; in-
Or out-, words; you think, t-here are no
Doors; still, you feel boarded up-; words,
Trapped with-in-; visible webs-peeking out-,
Words appear; spelled ‘A’-cross-, wise; the
Open door, contorted; you never quite fit, in-
Between the lines; you’re humble, I-deas
Grow; above your head, ‘A’ roof; caving,
In place; standing under, the one; bored,
Doing its job; bending, you’re attention;
Focused, making cents from what is possible;
You can see how, stuck in that place;
Everything is ‘A’-bout, rationale-yes verses
Real-eyes; see, the truth is I’m-possible;
To de-construct, you lie still; ‘A’ stand-inn,
Let it fall; ‘A’ part of something greater, the
Opening; ‘A’ door, w-here you can B.E.-
Come; you’re self, green; coloring the w-
Hole’s in, the wall; spackling, all over; you
Feel delight-; full rightness, structural;
Integrity, ‘A’ warm invitation; glowing with-
Inn, dark rooms enlightened; beaming with
Intention, the moon offers reflection; bursting
With points, speaking with-out-words; en-
Chanting, places expressing you’re self; w-
Here you see, snow-covered pines; with awe,
You look up-; words speak clearly, beginning
Again; well-, come in; you are invited too,
Wonder; inspired by y’our imagination –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Figures of man’s visionary experience have appeared in the religious art of every culture…

The more than merely aesthetic impression made upon the beholder by the great static masterpieces of religious art…have one characteristic in common: a profound stillness. And it is this which gives them their numinous quality, their power to transport the beholder out of the old world of his everyday experience, far away, toward the visionary antipodes of the human psyche…

The mystical art…where “denotation and connotation cannot be divided” and “no distinction is felt between what a thing ‘is’ and what it ‘signifies’.”…

Infused contemplation revealed the yet other otherness of the divine Not-Self. And somewhere between the two extremes were the experiences of the visionaries and the vision-inducing arts, by means of which it was sought to recapture and re-create those experiences…

Distance leads enchantment to the view…

How tiny…are the travelers who make their way along the valley!… And all the rest of the vast landscape is emptiness and silence. This revelation of the wilderness, living its own life according to the laws of its own being, transports the mind toward its antipodes; for primeval Nature bears a strange resemblance to that inner world where no account is taken of our personal wishes or even of the enduring concerns of man in general.

When we look very near or very far, man either vanishes altogether or loses his primacy…

The individual ceases to be himself and becomes a part of the vast impersonal universe. And so it is with the artist… In his work humanity loses its importance, even disappears completely. Instead of men and women playing their fantastic tricks before high heaven, we are asked to consider the lilies, to meditate on the unearthly beauty of “mere things,” when isolated from their utilitarian context and rendered as they are, in and for themselves.

[The following is a mashup of quotes that re-present what I see as being, encompassed by the words; Becoming Y’our Self, The In-spirited UnI-verse]

Becoming is its natural state.

What’s true of the universe is true of each of us. There’s a good chance you went to second grade when you were seven or eight. That first day in that new class you felt the expanse of that new space. The lessons were a little more difficult, the math was a little more complex, the vocabulary words were a little bigger. Ideally that class gave you new forms to grow and expand into… And, ideally, you kept going. Kept growing. Kept expanding… Those forms work until they can no longer contain the new thing that is happening in you, the new expansion that doesn’t fit in the current form. The same form that can be liberating and challenging and new and exciting can become over time limiting and stifling and conflicting. A form helps, until it doesn’t. It liberates, until it confines. The problem may not be the form, the problem may be looking to the form to continue to give you what it could only give you for that stage. That chapter. That time. That period of your life.

Which takes us back to those particles, leaping and swirling there in those first three minutes of the universe. What caused that big bang? What caused that one to become many?… Whatever that something was, it animated particles…and particles are a form, so it kept going, animating and energizing those particles to bond with other particles to create atoms. A new form. One the universe had never seen. In the ancient Genesis poem, this animating energy is called Spirit. And in that poem, Spirit enters and animates forms, which then create new forms. Particles couldn’t contain the fullness of Spirit, and that led to something new. That’s what Spirit does, it brings about new creation.

It would be easier if someone would just tell us. Where to go. What’s next… It would be easier if someone would just figure it out for us… It would be easier if the universe were a more static place. If we could just arrive. Or finish. Or cease all this messy becoming. If we could just get it set up once and for all, if we could nail down the forms… It’s easy to settle for solid ground. We spend so much time searching and longing for solid ground, only to discover it’s better than that. There’s Spirit. You try this, you try that. You throw yourself into it, and you hold it loosely. You give it everything you have as you acknowledge that this is what we’re doing now, who knows what will come next?

Spirit never stops unfolding, creating, whispering, shouting, inviting us to come along and take another step and enjoy this. What do you call this? This experience we’re having, this source it all flows from, this sense you have that when someone is violated, we’re all violated, this awareness you have that everything is connected with everything else. A word people have used for thousands of years is God. Or Spirit. Or Source. Or Ultimate. Or That of which nothing greater can be conceived. Or Ground of Being. Or What kind of universe are we living in? See what we just did there? The moment you pin down the butterfly so that you can carefully study it is the exact moment in which that butterfly can no longer fly. It’s the motion, the movement, the flying, that makes a butterfly a butterfly. Being animates forms, it doesn’t get trapped in them. There are lots of names for it, there needs to be. This is why when people argue for the existence of God you sometimes get this feeling that they’re actually denying God in the process. Exactly. To try to prove the existence of God is to place God in the same old forms as everything else when God is the name for Being Itself… This world, this phenomenon we know to be life, this event we find ourselves in. We’re not trying to prove anything, we’re naming this.

[The following is a mashup of quotes that re-present what I see as being, encompassed by the words; Connecting with Y’our Spirit]

I just want to be a part of something bigger than myself. Everything in the universe does. Particles come together with particles to join something bigger than themselves called atoms. Same with atoms, molecules – everything has a drive to be a part of something bigger than itself, that’s how the universe became a universe. Where does this drive come from? It comes from within. This power/drive/force/movement/engine/motion that has kept the universe moving forward for 13 billion years, causing things to unite as continually new forms come into existence, comes from deep within the universe itself. It’s the most basic nature of reality. To unite. To come together. To make something new. To seek out new forms and designs. To move beyond itself. To keep going. Have you ever heard someone talking about the meaning of life and they say, All that matters are relationships? Well, yes. It’s even better than that. Matter is relationships. Connection is an engine of creation. This is why loneliness creates such a deep ache in our bones. It’s holding up – and working against – the direction the universe has been heading for over thirteen billion years. Same with racism. Regardless of where we come from or what we look like, we’re all humans, and when humans fail to bond and unite and connect with other humans, that’s going against the direction the universe has been going for thirteen billion years.

[The following is a mashup of quotes from Everything Is Spiritual that re-present what I see as being, encompassed by the words; The Spirit of Being, human-; Nature]

We’re made of the same stuff as everything else. Carbon, oxygen, hydrogen, nitrogen – there are these basic elements that everything is made of, including us. Rocks, trees, oceans, bodies, stars. Same stuff. I call it thingness, this matter that everything is made of. You can hold it in your hand, you can feel it, you can measure it, make things with it. Wood, stone, skin, bone. Thingness has form, shape, texture, boundaries. Life has more complexity, but less form. Where does a pulse begin and end? Can you hold breathe in your hand? You can hold a rock in your hand. But life, pulse, flow, process – that has form but less specific shape and borders and form than something like a rock that’s made of just thingness. We’re made of thingness, and we also have life. There’s more. We also have minds. We’re made of thingness, we have life, we have minds, and we also have soul… You feel soul, you get glimpses of soul, you connect with soul…you resonate with soul. You listen to soul. You look for the soul of something. It’s difficult to describe the form. Someone asks you to name the form of soul, and a concrete description eludes language. You shift to image, picture, metaphor… Soul does have some form – we talk about our soul, someone else’s soul, the soul of a place, the absence of soul – there is some semblance of form there…This place has no soul. What you’re articulating is an absence of self. You didn’t feel anybody behind all that brick and neon and stucco and concrete. You didn’t sense that actual human beings wanted this and gave of themselves for this to exist. What it feels like is someone had a job and they were told what to do and they did it. Mind received its marching orders and mind got the job done…Mind does things. Builds. Constructs. Achieves. Follows the plan. Wins whatever there is to win…But soul – soul calls you to your deepest, truest self… This is true of songs and paintings and nature and events and classes and programs and all kinds of art and design. You create something, and then you share it with others, and they have their own experience of it, which may have similarities to why you made it in the first place, and may not. They may have an experience way beyond anything you ever could have imagined for whatever it is that you’ve created. Spirit…Spirit needs form, and form needs Spirit…Both are needed. We need forms – guides, reference points, traditions, lineages, films, sculptures, texts, prayers, poems, stories, songs, rituals, practices, reminders. They help us access and experience Spirit… Thingness – the solid, material reality that you can depend on because you can hold it and see it and feel it – thingness and stuff and matter are, in the end, relationships of energy. What appears to be solid is not, ultimately, all that solid. The world, the universe, each of us, all of it – one big unending series of relationships? This is so utterly basic to science, but to me, it was earth-shattering. No wonder I had sensed an energy in the soil and water and air in those places where I came from. No wonder I had always felt a pulse, a flow, a connection. The whole thing is relationships, and what you do in relationships is you enter in.

Once Zhuang Zhou dreamt he was a butterfly, fluttering about joyfully just as a butterfly would. He followed his whims exactly as he liked and knew nothing about Zhuang Zhou. Suddenly he awoke and there he was, the startled Zhuang Zhou in the flesh. He did not know if Zhou had been dreaming he was a butterfly, or if a butterfly was now dreaming it was Zhou. Now surely Zhou and a butterfly count as two distinct identities, as two quite different beings! And just this is what is meant when we speak of transformation of any one being into another – of the transformation of all things.

One confidential evening, not three months ago, Lionel Wallace told me this story of the Door in the Wall. And at the time I thought that so far as he was concerned it was a true story… To him at least the Door in the Wall was a real door leading through a real wall to immortal realities… As his memory of that remote childish experience ran, he did at the very first sight of that door experience a peculiar emotion, an attraction, a desire to get to the door and open it and walk in. And at the same time he had the clearest conviction that either it was unwise or it was wrong of him—he could not tell which—to yield to this attraction. He insisted upon it as a curious thing that he knew from the very beginning—unless memory has played him the queerest trick—that the door was unfastened, and that he could go in as he chose… I seem to see the figure of that little boy, drawn and repelled. And it was very clear in his mind, too, though why it should be so was never explained, that his father would be very angry if he went through that door… Then, he said, he had a gust of emotion. He made a run for it, lest hesitation should grip him again, he went plump with outstretched hand through the green door and let it slam behind him. And so, in a trice, he came into the garden that has haunted all his life… There was something in the very air of it that exhilarated, that gave one a sense of lightness and good happening and well being; there was something in the sight of it that made all its colour clean and perfect and subtly luminous. In the instant of coming into it one was exquisitely glad—as only in rare moments and when one is young and joyful one can be glad in this world. And everything was beautiful there… There was a keen sense of home-coming in my mind, and when presently a tall, fair girl appeared in the pathway and came to meet me, smiling, and said Well?’ to me, and lifted me, and kissed me, and put me down, and led me by the hand, there was no amazement, but only an impression of delightful rightness, of being reminded of happy things that had in some strange way been overlooked…

Each one of us is potentially Mind at Large. But in so far as we are animals, our business is at all costs to survive. To make biological survival possible, Mind at Large has to be funneled through the reducing valve of the brain and nervous system. What comes out at the other end is a measly trickle of the kind of consciousness which will help us to stay alive on the surface of this Particular planet. To formulate and express the contents of this reduced awareness, man has invented and endlessly elaborated those symbol-systems and implicit philosophies which we call languages. Every individual is at once the beneficiary and the victim of the linguistic tradition into which he has been born – the beneficiary inasmuch as language gives access to the accumulated records of other people’s experience, the victim in so far as it confirms him in the belief that reduced awareness is the only awareness and as it bedevils his sense of reality, so that he is all too apt to take his concepts for data, his words for actual things.

The arhat and the quietist may not practice contemplation in its fullness; but if they practice it at all, they may bring back enlightening reports of another, a transcendent country of the mind; and if they practice it in the height, they will become conduits through which some beneficent influence can how out of that other country into a world of darkened selves, chronically dying for lack of it.

In a world where education is predominantly verbal, highly educated people find it all but impossible to pay serious attention to anything but words and notions… But when it comes to finding out how you and I, our children and grandchildren, may become more perceptive, more intensely aware of inward and outward reality, more open to the Spirit, less apt, by psychological malpractices, to make ourselves physically ill, and more capable of controlling our own autonomic nervous system – when it comes to any form of non-verbal education more fundamental (and more likely to be of some practical use) than Swedish drill, no really respectable person in any really respectable university or church will do anything about it.

Verbalists are suspicious of the non-verbal; rationalists fear the given, non-rational fact; intellectuals feel that “what we perceive by the eye (or in any other way) is foreign to us as such and need not impress us deeply.” Besides, this matter of education in the non-verbal humanities will not fit into any of the established pigeonholes. It is not religion, not neurology, not gymnastics, not morality or civics, not even experimental psychology. This being so the subject is, for academic and ecclesiastical purposes, non-existent and may safely be ignored altogether or left, with a Patronizing smile, to those whom the Pharisees of verbal orthodoxy call cranks, quacks, charlatans and unqualified amateurs.

Like the flowers, they glowed, when I looked at them, with brighter colors… so intense, so intrinsically meaningful, that they seemed… more insistently on my attention. “What about spatial relationships?” the investigator inquired… The mind was primarily concerned, not with measures and locations, but with being and meaning… And along with indifference to space there went an even more complete indifference to time. “There seems to be plenty of it,” was all I would answer, when the investigator asked me to say what I felt about time. Plenty of it, but exactly how much was entirely irrelevant… The investigator directed my attention to the furniture… I was looking at my furniture, not as the utilitarian who has to sit on chairs… but as the pure aesthete whose concern is only with forms and their relationships within the field of vision or the picture space. But as I looked, this purely aesthetic, Cubist’s-eye view gave place to what I can only describe as the sacramental vision of reality. I was back where I had been when I was looking at the flowers-back in a world where everything shone with the Inner Light, and was infinite in its significance.

The man who comes back through the Door in the Wall will never be quite the same as the man who went out. He will be wiser but less cocksure, happier but less self-satisfied, humbler in acknowledging his ignorance yet better equipped to understand the relationship of words to things, of systematic reasoning to the unfathomable Mystery which it tries, forever vainly, to comprehend.

We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves… Sensations, feelings, insights, fancies – all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes. Most island universes are sufficiently like one another to Permit of inferential understanding or even of mutual empathy or “feeling into.” Thus, remembering our own bereavements and humiliations, we can condole with others in analogous circumstances, can put ourselves (always, of course, in a slightly Pickwickian sense) in their places. But in certain cases communication between universes is incomplete or even nonexistent. The mind is its own place, and the Places inhabited by the insane and the exceptionally gifted are so different from the places where ordinary men and women live, that there is little or no common ground of memory to serve as a basis for understanding or fellow feeling. Words are uttered, but fail to enlighten. The things and events to which the symbols refer belong to mutually exclusive realms of experience.

The ancient tradition that the world will be consumed in fire at the end of six thousand years is true, as I have heard from Hell.

For the cherub with his flaming sword is hereby commanded to leave his guard at the tree of life, and when he does, the whole creation will be consumed, and appear infinite and holy whereas it now appears finite & corrupt.

This will come to pass by an improvement of sensual enjoyment.

But first the notion that man has a body distinct from his soul, is to be expunged; this I shall do, by printing in the infernal method, by corrosives, which in Hell are salutary and medicinal, melting apparent surfaces away, and displaying the infinite which was hid.

If the doors of perception were cleansed everything would appear to man as it is, infinite.

For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.

dis-Order

I’m not sure, you know how it goes; other
People think, they think; they know, what is
The best idea; you have, thoughts; about
Facing, everyw-here; you look, you see; dis-
Order, re: arranged; in-word, scores of
Conjunctive lines; de-composing, you’re
Thoughts; I’m-perfectly arranged, human-;
Nature re-presented ‘A’ vision, hidden; in-
Sight, temporarily lost; stillness, moving
With-in; you’re e-motion, organ-eyes’d;
Conceptually, you can see it; ‘A’-scent,
Carrying you up-word; you think you taste it,
Hear; listening, you feel ‘A’ touch; heavenly,
Divine senses; with-out-word, expressions;
You two can B.E.-come, you’re self; ‘A’
UnI-verse mixed with-in-, word; forming
I’m-possibilities, I’m-perfectly; arranged –

Fill Your Walls With Wonder

Re: Joy-ce

In Reverence: Re: Joy-ce

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Mountains

In Reverence: Mountains

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'A'midst

In Reverence: ‘A’midst

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Light

In Reverence: Light

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'A' Witness

In Reverence: ‘A’ Witness

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The Land-scape

In Reverence: The Land-scape

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With-in

In Reverence: With-in

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Whole-heartedly

In Reverence: Whole-heartedly

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You Hear

In Reverence: You Hear

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Covered

In Reverence: Covered

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Beauty

In Reverence: Beauty

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Moving

In Reverence: Moving

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In Reverence

You just want to feel, you’re expression;
Whole-heartedly, appreciated by others;
With-in ‘A’ space, open to the incline-ation;
W-here the lines of Nature lead you, up-
Words; in-formed by the land-scape, trans-
Forms you’re perspective; about facing,
You’re encounter with; what is with-in, an-
Other; you become, ‘A’ witness with; ‘A’
Sense-ational experience, stilled; below, the
E-motion over-comes; you, ‘A’ moving
Response too; ‘A’ form of beauty, hidden;
In-sight heals, you’re in-word expression;
Covered, in de-light you bow; in reverence
You feel, ‘A’lined in-word; the warmth of
The sun, invites; you hear, ‘A’ voice with-in;
‘A’ burst of light-, hearted energy; with-out-
Word expression, shines; ‘A’rray of hope,
‘A’midst ‘A’ valley; w-here you ‘A’rose,
‘A’new world-view reveals; ‘A’ vision with-,
In front of you; mountains back down, before
You; we’re, created from ‘A’ mother; b-
Earth, re: Joy-ce; thanks be too, you –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

“When it comes to atoms, language can be used only as in poetry. The poet, too, is not nearly so concerned with describing facts as with creating images and establishing mental connections.”

The Art of Wonder re-presents, Nature with-; in ‘A’ human world-view, you can see; y’our breathe, in-formed by the air; reciprocity with-, in landscapes of language; composed, with- out-word; joy, with- in-word; awe-, in -some place re: generative; abundance, with- out scarcity; care, with- out competition; knowing, y’our kind-ness; shared, wisdom the hope; ‘A’ feeling, you here; amore than human voice, s-peaks; unseen, you enter; ‘A’ symbolic conversation, about-facing I’m-possibility; y’our life, finding the point; w-here, you can cross over; ‘A’-bridge, human-Nature; ‘A’ symbolic boundary, wandering about; landscapes awe-waken, y’our wonder; ‘A’ quest-ion, y’our point; hidden, somew-here beyond; human perception, the horizon; over-looking things-, peaking above y’our head; ‘A’ myst-ory in-forms, y’our world-view; flowers speaking to bees, trees speaking to fungus; humans speaking too, ego; defined in civilized terms, dominance; the allusion, clearly stumped; UnI- look in -verse two, find y’our self; under- old growth -standing, looking up-words; hear you see, y’our over- story; ‘A’ place with-, in-vision you’re un-herd of; thoughts, conceiving re: b-Earth; the crowning experience, two real-eyes being human-; Nature, reflecting y’our wonder; moving language, across the landscape you see; perspectives, soaring up-word; w-here everything you encounter s-peaks, in-word; with-out-word, expression re: forms y’our experience; re: cognized with-, in ‘A’ symbol of being human-; Nature Re-presented –

re-presents ‘A’ way to visualize; experience within, human-Nature; defined by ‘A’ symbolic form of

images

 re-presents ‘A’ way to voice; experience within, human-Nature; defined by ‘A’ symbolic form of

words

re-presents ‘A’ way to join; experience within,

human-Nature; defined by

‘A’ symbolic form of

wood

“I am enough of the artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”

The Places You'll Gr-Oh

The Places You’ll Gr-Oh: Grace

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: Humble

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: Contentment

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: Presence

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: Real-eyes

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: To-word

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: You Turn

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: Head In-word

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: You’re Story

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: Crystalizes

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: Another Peak

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The Places You'll Gr-Oh

The Places You’ll Gr-Oh: Empath-eyes

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Mysterious Connections

You’re Dreaming: Mysterious Connections

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The Opportunity

You’re Dreaming: The Opportunity

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Back-words

You’re Dreaming: Back-words

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The Silence

You’re Dreaming: The Silence

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You’re Future

You’re Dreaming: You’re Future

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Wandering About

You’re Dreaming: Wandering About

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Guiding Us

You’re Dreaming: Guiding Us

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The Unknown

You’re Dreaming: The Unknown

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After -Life

You’re Dreaming: After -Life

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Rise Again

You’re Dreaming: Rise Again

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The Loss

You’re Dreaming: The Loss

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H-our Light

You’re Dreaming: H-our Light

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Upstream

Upstream of Consciousness: Upstream

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The Water

Upstream of Consciousness: The Water

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Flow

Upstream of Consciousness: Flow

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With In-sight

Upstream of Consciousness: With In-sight

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An Invitation

Upstream of Consciousness: An Invitation

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Babbling

Upstream of Consciousness: Babbling

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The Brook

Upstream of Consciousness: The Brook

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Something Deeper

Upstream of Consciousness: Something Deeper

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Life’s Potential

Upstream of Consciousness: Life’s Potential

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Feeling Amidst

Upstream of Consciousness: Feeling Amidst

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The Hook

Upstream of Consciousness: The Hook

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Catch and Release

Upstream of Consciousness: Catch and Release

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The Encompassing Direction

The encompassing direction, pulls your eIe
In; opposing directions, you push two-words;
Consciousness appears, four-words; North-
South-East-West, orients you too; ‘A’ vision,
Awe-wakens you too; you’re in-word
Experience, being human-; Nature re-
Presented; with-out-word expression, as if;
Feeling the I’m-pulse, within you’re life;
Drifting with the clouds, you live on; the
Same plane, carries you too; w-here the sun
S-peaks, you here; ‘A’ mountain top, reveals;
Experience, you’re life; infinite possibilities,
Sur-round; you’re eIe, all-ways paired with
The I’m-possible; defined in terms of given,
Names; draw you’re attention, with a line;
In-sight, you see yourself; called here, you
Respond; for the first time, you real eyes;
You’re Nature, hidden within; ‘A’ form of
Human, kind-ness; offers you, ‘A’ bridge
To B.E.-come; connected through ‘A’, shared
Experience; w-here we all B.E.-come, you
Subjected; in-terpreted by the mind’s eIe,
‘A’ place that creates; dis-illusion, separates
Everything; in-two distinct things,
Expressions of experience; perceived through
You’re perspective, in-formed by dis-stance;
You go on-word, exploring your-self;
Searching within, isolated places; w-here
Others cannot follow, the same call you have
Within, ‘A’ sound dis-regarded; simply, the
H-owl of ‘A’ loon; creating, ‘A’ symbolic
Path out-word; sharing, you’re experience in-
Word; turning, you’re attention too; w-here
You are called, mourning illuminates
Darkness; w-here you see everything, in-
Finite points; gesturing two-words, star-light
Re-created; you’re life, in-forming; the
Conversation, metaph-oracle; forms speak,
In amore than human voice; summoning
‘A’ habitat, built for humanity; w-here
Language is constructed in-word, signs and
Symbols spell; with-out-word, ideas; as if, in-
Forming life; encompassed by the infinite,
Possibility; image-ined from within, you’re
Perspective; awe-wakened by wonder,
Being human-; Nature re-presented –

Fill Your Walls With Wonder

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You’re Presence

I found you once; I thought, maybe it was
‘A’ dream; I don’t know for sure, either way;
I can only describe you as ‘A’ feeling, lucky;
Per-haps I crossed y’our path, on the trail;
Searching, for ‘A’ way too; find, reasons to
Believe; in-word, goods and gifts ‘A’-bridge;
Us, tithed together; pre-serve the better half,
Y’our; human-Nature, creating; ‘A’ home,
‘A’ habitat built for humanity; ‘A’ UnI-verse,
Joining two-words; wonder and awe-, our
Hard things to -waken; I’m-possible
Arrangements, invited in-two; y’our
Experience of being, human; -Nature re-
Presented, un-spoken ideas; T-heArt of
Wonder, offers us ‘A’-way too; experience
Generously, given with-out-word;
Expressions in-form, y’our kind-ness; is
Y’our special gift, never expecting; ‘A’ thing
In return, hope; it can be passed along, for
Generations; w-here y’our past encounters,
You’re presence –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

T-heArt of Wonder

Goods & Gifts

Pre-serve The Better Half of 

 Y’our human-Nature

10% of Profits Donated

5%  Tithed Together–  5%

Thank You For Preserving ‘A’ Wild Place With Wonder

You’re Presence

I found you once; I thought, maybe it was
‘A’ dream; I don’t know for sure, either way;
I can only describe you as ‘A’ feeling, lucky;
Per-haps I crossed y’our path, on the trail;
Searching, for ‘A’ way too; find, reasons to
Believe; in-word, goods and gifts ‘A’-bridge;
Us, tithed together; pre-serve the better half,
Y’our; human-Nature, creating; ‘A’ home,
‘A’ habitat built for humanity; ‘A’ UnI-verse,
Joining two-words; wonder and awe-, our
Hard things to -waken; I’m-possible
Arrangements, invited in-two; y’our
Experience of being, human; -Nature re-
Presented, un-spoken ideas; T-heArt of
Wonder, offers us ‘A’-way too; experience
Generously, given with-out-word;
Expressions in-form, y’our kind-ness; is
Y’our special gift, never expecting; ‘A’ thing
In return, hope; it can be passed along, for
Generations; w-here y’our past encounters,
You’re presence –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Nature Re-presented

“When it comes to atoms, language can be used only as in poetry. The poet, too, is not nearly so concerned with describing facts as with creating images and establishing mental connections.”

The Art of Wonder re-presents, Nature with-; in ‘A’ human world-view, you can see; y’our breathe, in-formed by the air; reciprocity with-, in landscapes of language; composed, with- out-word; joy, with- in-word; awe-, in -some place re: generative; abundance, with- out scarcity; care, with- out competition; knowing, y’our kind-ness; shared, wisdom the hope; ‘A’ feeling, you here; amore than human voice, s-peaks; unseen, you enter; ‘A’ symbolic conversation, about-facing I’m-possibility; y’our life, finding the point; w-here, you can cross over; ‘A’-bridge, human-Nature; ‘A’ symbolic boundary, wandering about; landscapes awe-waken, y’our wonder; ‘A’ quest-ion, y’our point; hidden, somew-here beyond; human perception, the horizon; over-looking things-, peaking above y’our head; ‘A’ myst-ory in-forms, y’our world- view; flowers speaking to bees, trees speaking to fungus; humans speaking too, ego; defined in civilized terms, dominance; the allusion, clearly stumped; UnI- look in -verse two, find y’our self; under- old growth -standing, looking up-words; hear you see, y’our over- story; ‘A’ place with-, in-vision you’re un-herd of; thoughts, conceiving re: b-Earth; the crowning experience, two real-eyes being human-; Nature, reflecting y’our wonder; moving language, across the landscape you see; perspectives, soaring up-word; w-here everything you encounter s-peaks, in-word; with-out-word, expression re: forms y’our experience; re: cognized with-, in ‘A’ symbol of being human-; Nature Re-presented –

re-presents ‘A’ way to visualize; experience within, human-Nature; defined by ‘A’ symbolic form of

images

 re-presents ‘A’ way to voice; experience within, human-Nature; defined by ‘A’ symbolic form of

words

re-presents ‘A’ way to join; experience within, human-Nature; defined by ‘A’ symbolic form of

wood

“I am enough of the artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”

‘A’ Humble Definition

If you are willing to explore; below the
Surface of things, t-here is more; hidden in-
Site, w-here y’our human-; Nature is re-
Presented through reflection, re: image-ined;
Language in-forms, ‘A’ burst of light with-
Out-word; expression shines, across the
Landscape; re: b-Earth reflects, ‘A’ humble
Definition; s-peaks, you see amore than
Human voice; in-vision you’re un-herd of,
Beyond words; you, here; an invitation to
B.E.-come, conscious of y’our place; flow,
Upstream; w-here you cannot distinguish the
Lake, with-in; ‘A’ stream influenced, you;
Inspired, explorers who seek; the roots of
Life, riddled; the trail resonates, with-in-;
Words you feel, as if; you have been, hear;
Before you, we’re sense-; able to re-cognize,
The symbolic; land-marks project, in-sight
Envelopes; you, sent on y’our way; four-
Words, real eyes you create; things, with-out-
Word meaning; y’our thoughts and feelings,
Makeup; appearances, y’our human-; Nature,
‘A’ mirror image; the impression, about-
Facing y’ourself; in re: verse, you re-cognize;
You’re ‘A’ perspective of life, interpreting;
‘A’-line meant, consciously composed; you
See-k to re-present, the good; Nature, you see
In everything; connected with, forms of
Meaning; ‘A’ deep and complex web, life;
Held together by imperceptible threads,
Linked in-word; ‘A’ UnI-verse spelled with-,
Out-word experience; hidden, in-sight you
Feel; ‘A’ landscape of language, moving;
Four-words, inspired by y’our imagination;
Opening the gait, y’our thoughts locked in;
Step two, re: defining; anew perspective, life;
‘A’ character, playing with-in-word; spinning
‘A’round, you B.E.-come; ‘A’ part of ‘A’,
Larger body; w-here, in-word; definitions are
Written, with-out-word; expression, forms;
Y’our life, styled; in the image of Nature, w-
Here you find you’re self; listening for
Things, out of character; in voice, you here;
‘A’ speck of dust, carrying y’our life; re: b-
Earth, ‘A’new form of star-; light above, you;
Stillness, f-hear you cannot see; the un-
Certainty is in-visible, darkness; feeling
Y’our way, outside; the un-reasonable sense,
Un-known re: percussions; vibrate with-in,
Deep pulses; you feel, you think; you, here;
The rhythm of life, beats with-in; you begin,
Pounding on-word; y’our past, the point; w-
Here everything appears to end, in the future;
You let go of knowing, holding on to hope;
Swirling in-words, you see; colorful ideas,
You feel; ‘A’ light touch, you here; whispers,
‘A’-head is y’our mansion; locked behind
‘A’ gait, razed with words; you move, inn
‘A’ sense of place; visual-eyesed, through
‘A’ window; y’our perspective, in-forms;
Every-thing, in-directions in-compass; the
Horizon, opportunities hidden; in-sight, far
Beyond; human perception, all-ways drawn
In; the past, y’our guide-; lines re: verse,
Y’our future; remains, open to interpretation;
Y’our window, human-; Nature re-presented,
I’m-possible; buried treasure, rising from
B.E.-lo; the sur-face, you; see the gold in
Light, again; floating up-word, giving y’our
Life hope; defined with-in-, word; you see
Potential, in-forms; y’our quest-ions lead you
To view-, points; places that s-peak, beyond
Words; you see-k ‘A’ UnI-verse, that makes
Sense; with-in, y’our myst-ory; thoughts in-
Vision, the epic journey; chasing after- life,
Forming; ‘A’ sensational experience, w-here
Y’our eIe re-presents; y’our breath, shapes;
The way you see, sounds; de-light, in-word
Feelings shout; whoopee, bursts out-; word
In-forms, y’our expression; landscapes awe-
Waken, language; spelled with-out-word, e-
Motions move you; overcome with-in-word,
You re-cognize you; choose, you’re
Perspective; joy re: image-ined, the loss of
Suffering; with-, in the mourning; sun –

Fill Your Walls With Wonder

Re-member

Above the horizon now, you reflect; the sun
You get, you’re the moon; shine, full from
Experience; hidden on the other side of b-
Earth, the image of transformation; encircled,
‘A’ glow rising up-words; w-here read and
Blue mix, those two-words; purple texture,
Covers; you still appear, dancing in the light;
Waves, wh-air in-formation creates; an
Atmosphere bestowed with hope, it all means
Something; we think, thoughts move us; in-
Word through e-motion, we transcend; ‘A’
Lack of perception, behind us; four-words,
Hue-mans have two real-eyes; perspective
Makes sense of the numbers, we see a
Fraction of color; full ratios hidden in-sight,
Framed; by the appearance of a-motionless
Peak-s, you can s-peak too; the dis-cursive
Nature of language, along windy and circular
Path-ways; encompassing you, in-two places;
Mountains and streams, n-ever get strait; to
The point, switching back too; what is hidden
Behind us, four-words; re-present what you
Think, you’re not ‘A’ lone finger; lakes
Point too, ‘A’ past; w-here you’re body was,
Two much two hand-le four you; two appear,
Within you’re; thoughts, dis-organized chaos;
Verses, w-here you feel; the flow two-words,
One place; w-here ten thousand bodies are,
Entangled; paddling, beyond words; w-here
You lose perspective, an island merges with
Shore lines; giving us, the impression of ‘A’
Solid form; outlining ‘A’ human boundary,
Water’s w-here you’re; back facing, you’re;
Nature can overcome everything you f-hear,
Howling; in mourning, light; wonder calls,
You; ‘A’ loon, protecting territory; found
Within, moving reads turn; you’re gaze too,
Grasslands; w-here bison’s fall, prey too;
What is hidden above, w-here the crow flies;
Over your head, crying cause; you re-
Member, you are ‘A’ member; ‘A’ part of
‘A’ larger body of Nature, bearly awake -in
Consciousness; you feel, as if; you have been
Sleeping in-words, you’re whole; life appears
To be, amore than human voice; speaking,
Across the landscape; you see, a language of
Re: formation; the secret, you’re mountains
And streams; dis-regard boundaries, separate;
You’re human-Nature, flowing; upstream of
Consciousness, listen; care-fully, for this
Place; w-here you’re, Nature is re-presented;
Through human reflection, re: image-ined;
As if, ‘A’ metaphorical form of potential;
Inspiration and meaning, we are; wrapped
Up, two-gather with-in-experience; a gift,
Presence; of mind we think, we are here to
Transform the world; re: b-Earth transforms,
Our sense of everything; re: cognized within,
Thoughts change; the flow of e-motion
Keeps moving us, searching for the real
Boundary to place; somew-here outside,
UnI- belong in -verse –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Re-member

Above the horizon now, you reflect; the sun
You get, you’re the moon; shine, full from
Experience; hidden on the other side of b-
Earth, the image of transformation; encircled,
‘A’ glow rising up-words; w-here read and
Blue mix, those two-words; purple texture,
Covers; you still appear, dancing in the light;
Waves, wh-air in-formation creates; an
Atmosphere bestowed with hope, it all means
Something; we think, thoughts move us; in-
Word through e-motion, we transcend; ‘A’
Lack of perception, behind us; four-words,
Hue-mans have two real-eyes; perspective
Makes sense of the numbers, we see a
Fraction of color; full ratios hidden in-sight,
Framed; by the appearance of a-motionless
Peak-s, you can s-peak too; the dis-cursive
Nature of language, along windy and circular
Path-ways; encompassing you, in-two places;
Mountains and streams, n-ever get strait; to
The point, switching back too; what is hidden
Behind us, four-words; re-present what you
Think, you’re not ‘A’ lone finger; lakes
Point too, ‘A’ past; w-here you’re body was,
Two much two hand-le four you; two appear,
Within you’re; thoughts, dis-organized chaos;
Verses, w-here you feel; the flow two-words,
One place; w-here ten thousand bodies are,
Entangled; paddling, beyond words; w-here
You lose perspective, an island merges with
Shore lines; giving us, the impression of ‘A’
Solid form; outlining ‘A’ human boundary,
Water’s w-here you’re; back facing, you’re;
Nature can overcome everything you f-hear,
Howling; in mourning, light; wonder calls,
You; ‘A’ loon, protecting territory; found
Within, moving reads turn; you’re gaze too,
Grasslands; w-here bison’s fall, prey too;
What is hidden above, w-here the crow flies;
Over your head, crying cause; you re-
Member, you are ‘A’ member; ‘A’ part of
‘A’ larger body of Nature, bearly awake -in
Consciousness; you feel, as if; you have been
Sleeping in-words, you’re whole; life appears
To be, amore than human voice; speaking,
Across the landscape; you see, a language of
Re: formation; the secret, you’re mountains
And streams; dis-regard boundaries, separate;
You’re human-Nature, flowing; upstream of
Consciousness, listen; care-fully, for this
Place; w-here you’re, Nature is re-presented;
Through human reflection, re: image-ined;
As if, ‘A’ metaphorical form of potential;
Inspiration and meaning, we are; wrapped
Up, two-gather with-in-experience; a gift,
Presence; of mind we think, we are here to
Transform the world; re: b-Earth transforms,
Our sense of everything; re: cognized within,
Thoughts change; the flow of e-motion
Keeps moving us, searching for the real
Boundary to place; somew-here outside,
UnI- belong in -verse –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Re-member

Above the horizon now, you reflect; the sun
You get, you’re the moon; shine, full from
Experience; hidden on the other side of b-
Earth, the image of transformation; encircled,
‘A’ glow rising up-words; w-here read and
Blue mix, those two-words; purple texture,
Covers; you still appear, dancing in the light;
Waves, wh-air in-formation creates; an
Atmosphere bestowed with hope, it all means
Something; we think, thoughts move us; in-
Word through e-motion, we transcend; ‘A’
Lack of perception, behind us; four-words,
Hue-mans have two real-eyes; perspective
Makes sense of the numbers, we see a
Fraction of color; full ratios hidden in-sight,
Framed; by the appearance of a-motionless
Peak-s, you can s-peak too; the dis-cursive
Nature of language, along windy and circular
Path-ways; encompassing you, in-two places;
Mountains and streams, n-ever get strait; to
The point, switching back too; what is hidden
Behind us, four-words; re-present what you
Think, you’re not ‘A’ lone finger; lakes
Point too, ‘A’ past; w-here you’re body was,
Two much two hand-le four you; two appear,
Within you’re; thoughts, dis-organized chaos;
Verses, w-here you feel; the flow two-words,
One place; w-here ten thousand bodies are,
Entangled; paddling, beyond words; w-here
You lose perspective, an island merges with
Shore lines; giving us, the impression of ‘A’
Solid form; outlining ‘A’ human boundary,
Water’s w-here you’re; back facing, you’re;
Nature can overcome everything you f-hear,
Howling; in mourning, light; wonder calls,
You; ‘A’ loon, protecting territory; found
Within, moving reads turn; you’re gaze too,
Grasslands; w-here bison’s fall, prey too;
What is hidden above, w-here the crow flies;
Over your head, crying cause; you re-
Member, you are ‘A’ member; ‘A’ part of
‘A’ larger body, bearly awe-wake-in
Consciousness; you feel, as if; you have been
Sleeping in-words, you’re whole; life appears
To be, amore than human voice; speaking,
Across the landscape; you see, a language of
Re: formation; the secret, you’re mountains
And streams; dis-regard boundaries, separate;
You’re human-Nature, flowing; upstream of
Consciousness, listen; care-fully, for this
Place; w-here you’re, Nature is re-presented;
Through human reflection, re: image-ined;
As if, ‘A’ metaphorical form of potential;
Inspiration and meaning, we are; wrapped
Up, two-gather with-in-experience; a gift,
Presence; of mind we think, we are here to
Transform the world; re: b-Earth transforms,
Our sense of everything; re: cognized within,
Thoughts change; the flow of e-motion
Keeps moving us, searching for the real
Boundary to place; somew-here outside,
UnI- belong in -verse –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

The Places You’ll Gr-Oh

Trek beyond the trail, head in-word; down a
Different path, still; w-here you can sense,
The roots empath-eyes; the places you’ll gr-
Oh, as you climb; up-words, dis-stance gives
Perspective; notice, a release of pressure; on-
Words, change when you gain a positive
Altitude; you rise above, down-word looking
Marks; the summit gives, you another peak;
At kindness, you see the world; w-here
Everything begins too, spin; you turn, back-
Words; from t-here, you; real-eyes, you; start
Feeling your way, dancing en-circles; the
Whirled appears, twisted; two others, you
Twirl to-word; ‘A’ place w-her-e-motion
Moves you, with-out-word grace; defining
‘A’ humble dis-position, floating; over b-
Earth, you’re amore than human voice;
Calling, adoration amidst shadows; within,
Timbered ridges echo; ‘A’ perspective of
Contentment, UnI- live together in -verse;
W-here snowflakes form, you’re story; water
From ‘A’ mountain top, transformed; ‘A’
Miracle Rain-ier to Savoie, -faire direction
Guides; the whether, human-Nature follows;
Patterns that lead to refinement, exploiting
The toxic; ore, in-forming our entanglement;
Through revolutions, solid-air-ity crystalizes;
The beauty of sky, blue; ‘A’ gift within, the
Presence; we all live and breathe –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

You’re Dreaming

Just wandering about, living; in-two
Categories, human-Nature; appears two us,
As if; it could call us, back-words; in-two
One, name; encompassing everything, we f-
Hear; UnI- stuck in re: -verse, about-facing
The unknown; four-words, entanglement
Encompasses everything emerges; bi-
Perspective we see, we are all related; by
Two names, b-Earth gives us human-; Nature
Is the sur-, prize; you’re given, another name;
After -life, you never know; what you will
B.E. -come, defined by probability; with
Certainty, we think; at least some feel, we are
All gifted; presence, in life; the opportunity,
Two experience; mysterious connections,
Seek-rets in-sight; the wonderer, below
The surf-ace; sound waves break, the
Silence; remains, ashes speak two; you’re
Death, plus life; f-our t-here you belong, ‘A’
Family of constellations; in-word, rise again;
You see, you’re life defined; now in-vision,
The journey from star-dust transforms; re: b-
Earth appears to gesture, h-ours; before
It dawns on you, the expression of light
Waves; in ‘A’ blue tone, you hear amore than
Human voice; mourning, the loss of
Darkness; everyw-here the light filters
Through, you begin too; see everything,
You’re past was; you’re future is, still;
Filled with starlight, you live on; dreams, w-
Here you can; image-ine, the Nature of life;
Nobody knows, yet; how to listen, care-fully
For things; t-hey, you two; n-ever noticed, w-
Here UnI- fit in -verse; we are all, what is;
Most important, is still; hiding in-word,
Until; we can see h-our light, as if; guiding
Us, two-words; a-tone meant, f-our-words;
Live, what; you’re dreaming –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

You’re Dreaming

Just wandering about, living; in-two
Categories, human-Nature; appears two us,
As if; it could call us, back-words; in-two
One, name; encompassing everything, we f-
Hear; UnI- stuck in re: -verse, about-facing
The unknown; four-words, entanglement
Encompasses everything emerges; bi-
Perspective we see, we are all related; by
Two names, b-Earth gives us human-; Nature
Is the sur-, prize; you’re given, another name;
After -life, you never know; what you will
B.E. -come, defined by probability; with
Certainty, we think; at least some feel, we are
All gifted; presence, in life; the opportunity,
Two experience; mysterious connections,
Seek-rets in-sight; the wonderer, below
The surf-ace; sound waves break, the
Silence; remains, ashes speak two; you’re
Death, plus life; f-our t-here you belong, ‘A’
Family of constellations; in-word, rise again;
You see, you’re life defined; now in-vision,
The journey from star-dust transforms; re: b-
Earth appears to gesture, h-ours; before
It dawns on you, the expression of light
Waves; in ‘A’ blue tone, you hear amore than
Human voice; mourning, the loss of
Darkness; everyw-here the light filters
Through, you begin too; see everything,
You’re past was; you’re future is, still;
Filled with starlight, you live on; dreams, w-
Here you can; image-ine, the Nature of life;
Nobody knows, yet; how to listen, care-fully
For things; t-hey, you two; n-ever noticed, w-
Here UnI- fit in -verse; we are all, what is;
Most important, is still; hiding in-word,
Until; we can see h-our light, as if; guiding
Us, two-words; a-tone meant, f-our-words;
Live, what; you’re dreaming –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

You’re Dreaming

Just wandering about, living; in-two
Categories, human-Nature; appears two us,
As if; it could call us, back-words; in-two
One, name; encompassing everything, we f-
Hear; UnI- stuck in re: -verse, about-facing
The unknown; four-words, entanglement
Encompasses everything emerges; bi-
Perspective we see, we are all related; by
Two names, b-Earth gives us human-; Nature
Is the sur-, prize; you’re given, another name;
After -life, you never know; what you will
B.E. -come, defined by probability; with
Certainty, we think; at least some feel, we are
All gifted; presence, in life; the opportunity,
Two experience; mysterious connections,
Seek-rets in-sight; the wonderer, below
The surf-ace; sound waves break, the
Silence; remains, ashes speak two; you’re
Death, plus life; f-our t-here you belong, ‘A’
Family of constellations; in-word, rise again;
You see, you’re life defined; now in-vision,
The journey from star-dust transforms; re: b-
Earth appears to gesture, h-ours; before
It dawns on you, the expression of light
Waves; in ‘A’ blue tone, you hear amore than
Human voice; mourning, the loss of
Darkness; everyw-here the light filters
Through, you begin too; see everything,
You’re past was; you’re future is, still;
Filled with starlight, you live on; dreams, w-
Here you can; image-ine, the Nature of life;
Nobody knows, yet; how to listen, care-fully
For things; t-hey, you two; n-ever noticed, w-
Here UnI- fit in -verse; we are all, what is;
Most important, is still; hiding in-word,
Until; we can see h-our light, as if; guiding
Us, two-words; a-tone meant, f-our-words;
Live, what; you’re dreaming –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

The Places You’ll Gr-Oh

Trek beyond the trail, head in-word; down a
Different path, still; w-here you can sense,
The roots empath-eyes; the places you’ll gr-
Oh, as you climb; up-words, dis-stance gives
Perspective; notice, a release of pressure; on-
Words, change when you gain a positive
Altitude; you rise above, down-word looking
Marks; the summit gives, you another peak;
At kindness, you see the world; w-here
Everything begins too, spin; you turn, back-
Words; from t-here, you; real-eyes, you; start
Feeling your way, dancing en-circles; the
Whirled appears, twisted; two others, you
Twirl to-word; ‘A’ place w-her-e-motion
Moves you, with-out-word grace; defining
‘A’ humble dis-position, floating; over b-
Earth, you’re amore than human voice;
Calling, adoration amidst shadows; within,
Timbered ridges echo; ‘A’ perspective of
Contentment, UnI- live together in -verse;
W-here snowflakes form, you’re story; water
From ‘A’ mountain top, transformed; ‘A’
Miracle Rain-ier to Savoie, -faire direction
Guides; the whether, human-Nature follows;
Patterns that lead to refinement, exploiting
The toxic; ore, in-forming our entanglement;
Through revolutions, solid-air-ity crystalizes;
The beauty of sky, blue; ‘A’ gift within, the
Presence; we all live and breathe –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

The Places You’ll Gr-Oh

Trek beyond the trail, head in-word; down a
Different path, still; w-here you can sense,
The roots empath-eyes; the places you’ll gr-
Oh, as you climb; up-words, dis-stance gives
Perspective; notice, a release of pressure; on-
Words, change when you gain a positive
Altitude; you rise above, down-word looking
Marks; the summit gives, you another peak;
At kindness, you see the world; w-here
Everything begins too, spin; you turn, back-
Words; from t-here, you; real-eyes, you; start
Feeling your way, dancing en-circles; the
Whirled appears, twisted; two others, you
Twirl to-word; ‘A’ place w-her-e-motion
Moves you, with-out-word grace; defining
‘A’ humble dis-position, floating; over b-
Earth, you’re amore than human voice;
Calling, adoration amidst shadows; within,
Timbered ridges echo; ‘A’ perspective of
Contentment, UnI- live together in -verse;
W-here snowflakes form, you’re story; water
From ‘A’ mountain top, transformed; ‘A’
Miracle Rain-ier to Savoie, -faire direction
Guides; the whether, human-Nature follows;
Patterns that lead to refinement, exploiting
The toxic; ore, in-forming our entanglement;
Through revolutions, solid-air-ity crystalizes;
The beauty of sky, blue; ‘A’ gift within, the
Presence; we all live and breathe –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

A-version of Fine

The b-Earth of human, experience constructs;
Symbols of meaning-full expression,
Offering consciousness; ideas, in-formed for
Contemplation re: forms; perceptions,
In-grained below; the surface, brought up-
Words; revealed with-in, abstract lines
Reflect; the wild Nature of growth, simply
In-distinction; fine works are commonly,
Covered by a thin veneer; t-hat is dressed, in
Purse-suit of a-uniform-ity; considered, buy
Terms of socialized stratification; they re:
Duce substance by design too, fabricate;
Beauty re: defined by alterations, that create
An orna-mental complex; fixated on petite,
Pre-texts of superiority that fit; a-sense of
Value, locked in a-style; re: warded for
Obedience, t-heArt of wonder deviates; two-
Wards, human-Nature; re: presents the gift,
In-formation; a-version of fine, art-iculating
In-words; images and wood-lands re: joined,
To- gather up -word; w-here every-thing is a-
Verse too, re: fine -meant in terms of man-I-
Cured; Nature, from a-civilized perspective;
Wild, moves you too; fast-idious features
Appear, a-mess; the wonder-ing and
Quest-ion-able, see-k; UnI- being in -verse,
Real-eyes the down side is up too; human
Separation, now past; the peripheral point,
A vision: hidden in-sight; headed too, a-
Place; we cannot make, sense; t-here feeling,
Re: guarded by space; hid-den, seclusion for
The wild and contemplative; f-hearing others,
Non-sense; for the bold and image-inative,
Awe-waken every day to you’re life; styled,
In; the image of Nature, re-presented –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Beyond Senseational

Quest-ions arise from a-place; beyond our
Perception, what builds the web of life;
We are all entangled within, what we think;
We often cannot see, what connects
Everything; still, we may feel; vibrations,
We cannot hear; signals, sailing across
The sky; star-light, gathered within; drops of
Water, rest; over-dew, reflection sheds light;
Cast, an array of life; woven in-two, human-
Nature; en-circled, an orb held; together by
Imperceptible threads, linked; across space-
Time, amore than human voice speaks; the
Truth, an offering of presence; beyond
Senseational, the gift; re-cognize, every-thing
You; n-ever noticed, hidden in-sight; we
See-k, the answer awe-wakens; experience,
We begin to see; anew perspective of b-
Earth, enveloped by language; we come to
Our senses, situated in a landscape; w-here,
We all-ways direct; our course, charted by
Definition; symbolized in-forms, our journey;
The root is topography, spelled out; in-
Direction, en-compasses us too, magical ter-
Rain; w-here water-falls above our head; we
Get whet when we see-k, weather or not; we
Find, we all wonder; up-words, the place w-
Here UnI- fit in -verse –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Beyond Senseational

Quest-ions arise from a-place; beyond our
Perception, what builds the web of life;
We are all entangled within, what we think;
We often cannot see, what connects
Everything; still, we may feel; vibrations,
We cannot hear; signals, sailing across
The sky; star-light, gathered within; drops of
Water, rest; over-dew, reflection sheds light;
Cast, an array of life; woven in-two, human-
Nature; en-circled, an orb held; together by
Imperceptible threads, linked; across space-
Time, amore than human voice speaks; the
Truth, an offering of presence; beyond
Senseational, the gift; re-cognize, every-thing
You; n-ever noticed, hidden in-sight; we
See-k, the answer awe-wakens; experience,
We begin to see; anew perspective of b-
Earth, enveloped by language; we come to
Our senses, situated in a landscape; w-here,
We all-ways direct; our course, charted by
Definition; symbolized in-forms, our journey;
The root is topography, spelled out; in-
Direction, en-compasses us too, magical ter-
Rain; w-here water-falls above our head; we
Get whet when we see-k, weather or not; we
Find, we all wonder; up-words, the place w-
Here UnI- fit in -verse –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Growth

Un-B.E. -known to me, I have been; hiding,
Within; the effects of a misspelled definition,
A chrisalys; cocooned in, terms that suit you;
Best, you’re highness; I ob-served, majesty;
In-grained with-in, simple; lines, stout;
Features, awe-waken; a complex-I-on forms,
Meaning; it requires time, to conceive the
Natural beauty of life; furnished by Nature,
Wild; lines of growth emerge, slowly; finding
Confidence within, the realm of the possible;
Feeling, sensations; separated from the past,
I; try, to let go of things that keep crawling;
Up, you’re back- to the -ground; w-here
T-here is more above, dancing too; you’re
New beat-en path, gaining a-scent; stop,
Drink in the sweet; views from new heights,
You see-k; re: b-Earth with-in, hard to reach
Places; w-here, drones see-m too busy too;
Flutter about and B.E., known as wonder-us
Allusions of magic; we, all-ways ex-change
Affect; per-haps, we can conjure up-words;
Headed too, a-place; w-here loving gestures
Speak, with-in clues-I-on; amore than human
Voice trans-forms, big I-deas; once bound,
Two legs; wings carry us beyond, hid in-
Words; emerge from im- possibility, for ‘A’
Spell; we’re B.E. -coming y’our, experience –

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Fill Your Walls With Wonder

A-version of Fine

The b-Earth of human, experience constructs;
Symbols of meaning-full expression,
Offering consciousness; ideas, in-formed for
Contemplation re: forms; perceptions,
In-grained below; the surface, brought up-
Words; revealed with-in, abstract lines
Reflect; the wild Nature of growth, simply
In-distinction; fine works are commonly,
Covered by a thin veneer; t-hat is dressed, in
Purse-suit of a-uniform-ity; considered, buy
Terms of socialized stratification; they re:
Duce substance by design too, fabricate;
Beauty re: defined by alterations, that create
An orna-mental complex; fixated on petite,
Pre-texts of superiority that fit; a-sense of
Value, locked in a-style; re: warded for
Obedience, t-heArt of wonder deviates; two-
Wards, human-Nature; re: presents the gift,
In-formation; a-version of fine, art-iculating
In-words; images and wood-lands re: joined,
To- gather up -word; w-here every-thing is a-
Verse too, re: fine -meant in terms of man-I-
Cured; Nature, from a-civilized perspective;
Wild, moves you too; fast-idious features
Appear, a-mess; the wonder-ing and
Quest-ion-able, see-k; UnI- being in -verse,
Real-eyes the down side is up too; human
Separation, now past; the peripheral point,
A vision: hidden in-sight; headed too, a-
Place; we cannot make, sense; t-here feeling,
Re: guarded by space; hid-den, seclusion for
The wild and contemplative; f-hearing others,
Non-sense; for the bold and image-inative,
Awe-waken every day to you’re life; styled,
In; the image of Nature, re-presented –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

The See-d of Awe-wareness

Consciousness takes root with-in human-
Nature; all-ways directed by attention,
Seeking; behaviors defined by e-motion,
Feeling; a-way, through the darkness;
Under-ground, searching for the-way too;
Reach the light, and photo- synthesize truth;
Two pre-Serve a picture of life- like carbon,
Imagine a source; more original than human-
Nature, be-four the mInd is simplified; four
Us, two make sense of appearances; we have
Calibrated our vision, two; see every-thing
Device-ive, with in-tolerance of im-possible
Precision; optimized to exclude, signs of
Creation; big I-deas, reduced and distilled;
In-two binary forms, we think; ownership
Gives rights, two claim Knowledge; of The
One, UnI in re: verse; all-ways lead back
Two-words, the beginning; t-here, we can;
Take a new route, four-word; opening roots
Two powerful, four us two comprehend; a
Time table multiplied, below our microscopic
Vision; that, stretches us; up-word, looking;
Two-words, understanding roots; gives UnI,
Deeper understanding of possibility; in-verse,
We can; stand-under roots, we once thought
Were beneath us; and still think, we think; we
K-new, from this perspective; what was
Thought, two be; can also be three, re:
Arranged in-two; pure mathematics,
Searching four; a deeper understanding, look
Up-words; per-haps possibility, planted; UnI
On the wonderland trail, t-here wishes grow
Wild; in-fourmation and probability, open;
Up-words, four climbing; I-maginary
Numbers, I-nfinite roots; abridge human-
Nature, all-ways leading you; two, a peek in
Kno- w-here; contin-you on-words, from
T-here; I have no I-dea, yet; I, wonder;
Per-haps t-here you find out, what is with-in;
The see-d of awe-wareness –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Experience Re: b-Earth

We think; we make every-thing, we believe
Laboring is our way too; make a life, we
Think we need too; execute our dreams,
Through man-U-factured systems; techno-
Logical fabric-ation, has us dis-figured; in-
Two forms, objectified subjects; rationalizing
Everything a-way too, bury sense-ations;
Trying too, e-scape; the e-mergence of a-
Self e-voking materialized stream of
Consciousness, in-formed by artificial
Intelligence; con-formed to the current, see
The con-versions; we billed trends too, make
Cents yet; we dis, -tort our; sense- ability
O-pines, adore way above; ascent drifts over,
Afresh powder softens; rocks, every-thing
We have been; un-moved, f-hearing
Ourselves; sense less-emotion, finally
Silenced; in-sight, ‘A’ cascade of thunder
Echoes; through the landscape, language re:
Forms; the flow changes the way, we think;
We chart our course metaphorically as, -if we
Listen; care-fully, we can; sense a-new beat-
En path, attuned to w-here; bi-directional
Transformation guides us, now; past, w-here
We got stuck; behind, what we thought;
We could not nav-i-gate, our feelings locked
In-words; closed off, we never minded that;
We f-hear the Nature of expression within,
Amore than human voice; that can speak to
Our senses, re: cognized within; a river of
Life re: connected, human-Nature carries us
Up-word too; the canopy, w-here growth is
Abundant; we can be-leave, our dreams re:
Conceived; our crowning experience, re: b-
Earth –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Experience Re: b-Earth

We think; we make every-thing, we believe
Laboring is our way too; make a life, we
Think we need too; execute our dreams,
Through man-U-factured systems; techno-
Logical fabric-ation, has us dis-figured; in-
Two forms, objectified subjects; rationalizing
Everything a-way too, bury sense-ations;
Trying too, e-scape; the e-mergence of a-
Self e-voking materialized stream of
Consciousness, in-formed by artificial
Intelligence; con-formed to the current, see
The con-versions; we billed trends too, make
Cents yet; we dis, -tort our; sense- ability
O-pines, adore way above; ascent drifts over,
Afresh powder softens; rocks, every-thing
We have been; un-moved, f-hearing
Ourselves; sense less-emotion, finally
Silenced; in-sight, ‘A’ cascade of thunder
Echoes; through the landscape, language re:
Forms; the flow changes the way, we think;
We chart our course metaphorically as, -if we
Listen; care-fully, we can; sense a-new beat-
En path, attuned to w-here; bi-directional
Transformation guides us, now; past, w-here
We got stuck; behind, what we thought;
We could not nav-i-gate, our feelings locked
In-words; closed off, we never minded that;
We f-hear the Nature of expression within,
Amore than human voice; that can speak to
Our senses, re: cognized within; a river of
Life re: connected, human-Nature carries us
Up-word too; the canopy, w-here growth is
Abundant; we can be-leave, our dreams re:
Conceived; our crowning experience, re: b-
Earth –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Expressive Resonance

Attention shapes, y’our; world-, view in-
Forms; y’our experience, What; you see
Feedback, loops; presented with-in-,
Experience; you get wrapped up with-, in-
Formation; y’our, attention wraps you up-;
Words box you in-, attention; you think, you;
See inside the gift, life; awe-wareness opens
Yore, box; you have been wrapped up with-,
In; ‘A’ small world-, view; re: focusing
Y’our, attention; over-coming, you; ‘A’-new
Way of seeing, y’our-self; ‘A’-line-meant
With-, in; human-, Nature is T-heArt;
Wonder draws you in-, words; you re:
Translate, y’our-self; in-two, ‘A’ form of
Devotion; hope, being passed-on; words,
Through generations; w-here yore past
Encounters, y’our; present, experience
Inviting you two; see, the big picture with-;
In-joy, loving the content-; meant to awe-
Waken, wonder; ‘A’ b-Earth place,
Overarching; everything en-circles,
Language; ‘A’ visual horizon, w-here;
Possibilities lay hid-, in-; attention, reflect-
Ions reveal yore; past, e-merging with-in;
I-deas, conceiving the I-con-ic; land-, marks
Draw you deeper in-two; y’our human-,
Nature; expressed through ‘A’ form, life;
In-grained with-in-, formation; appearing as
If, you; begin two think, back-; words have
‘A’ convincing power, spelling; every-thing
Writ-in-, two-; words, expressing y’our-; self,
With-in-formation; ‘A’ part-icipant with-,
In; amore than human-, Nature; separated
From yore-, self; you see-k ‘A’, golden;
Light, ‘A’ path-way in-; word-s-weep over,
Every-thing-s-peaks; grace, you n-ever
Noticed; dis-course, guiding you in-;
Direction, all-ways illuminating yore; e-
Motion-, all movement is defined with-; in,
‘A’ meaningful journey; gestures, rooted in-
Word-; s-ymbols, riding ‘A’ sound; patterns,
All-ways in-compassing yore; trail-s-peaking
Through, quest-ions; hid-in-word-, forms;
The over-view, reached; ‘A’-scent, inviting
You two; real-eyes, the gift of y’our journey;
Up-words, offering y’our reflection; before,
Beginning again; head down-, words;
Waiting for you too, re-view; the con-text of
Yore-, self; re-presented with-in-, words;
‘A’ larger body, Nature; compose-sing, ‘A’
Human arrangement; voices, clamber- ring
Up-words; you can see ‘A’ climb-, axe; hear,
Landscapes of language; with-out-word,
Expression; silence, inviting you two; here,
‘A’new voice; trans-formed with-in-, words;
Re: b-Earth, amore than human; s-peaks,
Yore wind swept up in-word; transformation,
You; Here, With-in; Hear, ‘A’ re-sounding
Form; ex-hailing, expressive resonance;
Echoing, life-s-peaks –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Metaphorically Styled

In pursuit of meaning; you think, you make
All the cents in the world; covered, in green;
Until you’re fall, dis-covers you; bold and
Vibrant, colors within; outside, the lines draw
You in-two; a tree of life, standing; strong,
You act; as if, you have no back- ground;
Only a-human, given; b-Earth, to survive;
Your quest -i- on, after life; all-ways, avail-
Able; t-here now, live; you’re dreams make
Sense, finally; you feel, you’re Nature;
Rooted in being, held down; growing up-
Word, you’re life; metaphorically styled, in
The image of Nature –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Be-stowed With Hope

The idea in my mind, rocks; you’re vision,
Until you think; you can see, your self
Polished by others; standards, I think
You may f-hear my jagged thoughts;
Tumbling far, above your head; they fall to
Their death, in a flash; my point, I wonder; if,
You have the will too; find meaning, hidden
Within sight; I keep my ideas stowed away,
Sometimes I take them out to show others;
A rare find, placed down gently; smooth,
Sailing on a leaf; fallen from the tree of life,
One rock; a-notion, b-Earth; be-stowed with
Hope, it all means something –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Upstream of Consciousness

With-in attention is an invitation; to become,
Conscious; ‘A’ gift, give-in; an opportunity,
For you too; sense, the connection; ‘A’
Treasure every child see-ks, feeling; amidst
‘A’ grown up definition, one’self; lost with-
In attention, awe-wareness holds; you’re
Life’s potential, presence; the hook,
‘A’ key too; open the gait too, you’re
Thoughts; locked in step too, an unconscious
Flow; re: defines you, with in-sight; you see,
‘A’ place; w-here you can, keep ‘A’ line in
The water; feeling for something, deeper;
‘A’ sense-ation pulling, you’re attention;
Tied to ‘A’ fly, casting out; you’re hope,
F-hearing nothing; you begin too, real; -eyes
Here, the brook babbling; in-viting you too,
Catch the elusive and release; your self, lost;
And found with-in, attention; ‘A’ wild place,
Upstream of consciousness –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Clearly Stumped

Our roots of meaning have a place, within;
The story, a body of Nature; caste, a human
Arm; in-two the scene, broken; healing our
Part, a-human narrative; that, encompasses
Us two; find our, way across; human-Nature,
The intersection; re: thinking, too much last
Time; we swung for the fences, erected;
The illusion, billed; Us in, two forms of it;
Scare-city, In-city-us ennui; taking Us two,
Emotional possession; seeking sensations,
Affecting restriction; over, accessing this;
Time, ‘A’rray of hope enlightens; ‘A’new,
Growth answers the quest-ion; survival
Overcomes, axe of dominance; that befell
‘A’ past, clearly stumped; on-words, see-d
‘A’bundance; this time give, un-restricted
Access; the key, meaning will open; the gait,
Unconscious thoughts; that, kept Us locked
In; step two, a-new beat; -en root metaphors,
A path-way; in-two how, we mInd our b-
Earth two make cents for Us; but as we tried Two run, the numbers chased Us; in-two our
Current-sea, stealing from Us; re: creation,
Possibility; giving, Us; the re: source, re:
Create; now, the time is before; Us, again;
One metaphor, setting; sail on, owner-ship;
Shackled two blocks, we could keep our
Chains; p-raise a flag, two; re-mInd Us of
Scare-city, the name used two strike fear;
In the king, of hearts; where the map is
Buried, pirates will find treasure; per-haps,
We shall; One day, overcome two; the better-
Half of human-Nature, and finally see how;
The pen-ultimate word, two; copied, one;
Replicated, infinitude; un-shackled, giving;
Us, the new-sense; understanding what, We
Thought; bound Us two, the perfect;
Execution sent Us down, this path; a plank,
In our good eIe; now patched, it see-ms
We could take off; again sea-fairer, sales
On one final number; Let Freedom Ring, for
Every-one of Us royalty; free, we can still
Become measured; rulers, re: moved by
One; kind, Nature unbounded; anew root,
Relation-ship –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Lines In The Sand

Trying to understand, requires you too;
Navigate terms of direction, and
Conditions of weather; you should make your
Purch on a limb, and stay up for the rise;
Or hover, about; waiting, for truth to be;
Revealed, when the low sets in;
Either way, we all see-k re-markable;
Definitions of language, written;
ABove the Cs, appearing; in-distinguishable,
Technical-or dream-coated; seam-less
Dis-plays of flow, acting on the big stage;
Within, our sk-eyes; we look for marks,
Of distinction; that, we n-ever see-m to
Notice; so, we think; every-thing is beneath
Us, we walk on; hidden in-sight, below the
Surf-ace; we churn too, define our selves;
The real terms of life, an expression of truth;
Drawn into the beauty of nature, washed
A-way; present-ed by the tides, leaving; the
Impression, to be; for a moment, interpreted; 
W-here, we B.E.-come; lines in the sand –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

Images | Words | Wood

Wonder, ‘A’ place I hope to share with you; experience, re: defined as art-; work, composed of images; words and wood, form; quest-ions, you feel charged to ask; what do eIe see, hear; ‘A’ Humble Definition, with-in; ‘A’ metaph-oracle form, speaking; with-in-,  formation; physical re-presentations, B.E.-coming; ‘A’ Vision Hidden In-site, human-; Nature, re-presented with-in ‘A’ UnI-verse-; all Experience, being; ‘A’ living quest-ion, y’our-self; inviting you too, explore; belo, the surface of things; Conceptual Pathways, abstract-ions; ideas, about-facing y’our-; self, searching for meaning with-in; the image of Nature re-presented through reflection, re: image-ined; life, leaving old tracks behind; headed to ‘A’ sense-ational place, meaning; if you can find this place, feeling; free to explore and reflect, hope-fully; thoughtfulness invites you too, look; with-in, The Encompassing Direction; Wonder, leaves ‘A’ path; riddled with Roots, Up-; Word, giving definition to The Indefinite; Roots, punctuating the un-certain; ideas, steep trails guide you to Quest-ions; open the gait to y’our thoughts, locked-in; step to the beat-, en-root; the way y’our mInd made sense, b-earth; speaking with-in, ‘A’-scent; Wandering up-, words; connecting, The Conversation Partners with Icons; cymbals, awe-wakening ‘A’ desire to reflect in-word-; play, w-here the meta-phorces push you up-; words, you try to dis-entangle; meaning, all-ways expressed in terms of Wonder; Re: Defined through Forms of Expression, language; threads, The Web weave woven; I’mperceptible, intention entangled with-in; T-heArt of Wonder, Wild; flowing Upstream, consciousness; you are invited too, re: create; y’our own forms of wonder, with-in; ‘A’ Structure, holding space for Y’our Image-ination; ‘A’ place of Expressive Resonance

Terms & Conditions

Please Double Check Your Order

Given the size and context of this store, I do not accept returns. However, under certain conditions, I do offer refunds.

As you navigate this sight, please keep in mind, everything you see is designed, operated, and maintained by one person.

I appreciate your intention to preserve The Art of Wonder by purchasing a form of good.

It is my intention to pre-Serve the better half of human-Nature as a form of Policy:

T-heArt of Wonder

Together We Can

pre-Serve The Better Half of 

 You’re human-Nature

5%  Tithed Together–  5%

10% of Profits Donated

Thank You For Preserving T-heArt of Wonder

Each physical re-presentation that is available for purchase is a print on demand product, which means it is produced specifically for you. This reduces overproduction and waste often associated with traditional forms of mass production. However, given the size and context of my store, I have limited options to choose from when offering physical re-presentations. But as a point of policy, I intentionally select print on demand providers that are trying too, organize around the intention to pre-Serve the better half human-Nature. For example, all of the apparel that is available for purchase is printed with a direct-to-garment (DTG) printing method using high efficiency technologies that result in reduced energy demand for printing and almost zero wastewater. In addition, the inks that are used are vegan, water-based, and free of harmful chemicals. As a result, when you purchase physical re-presentations from The Art of Wonder you in-directly pre-Serve the better half of human-Nature.

Below are a few ways the organizations I use act with intention too; pre-Serve the better half human-Nature:

Ad Imaginem Naturae

– Chris

Greetings,

I appreciate your intention to contact The Art of Wonder. Feel free to contact me using The Art of Wonder General Contact Form or through any other form of contact that makes sense to you.

It is my intention to offer you whatever kind of support you need by responding to your inquiry in kind, through a timely manner. I will do my best to respond within 24 hours. If I have not responded in 48 hours please contact me again. Sometimes when we try to communicate with others across space, our forms do not always make contact.

Ad Imaginem Naturae

– Chris

Given the size and context of this store, I do not accept returns. However, under certain conditions, I do offer refunds.

Recommendation:

Even if you receive a refund, I do not accept returns. In the event the product you ordered is useable but you cannot put it to use, please gift it to a person or an organization so it has the potential to become a form of meaningful use.

Rationale:

Everything available for purchase on this site (e.g., apparel, accessories, photography, etc.) is printed on demand. Thus, I do not hold inventory and am not able to exchange products without the cost of printing a new product. Given that fact, I would rather have a product donated than returned with the hope that it can become a meaningful form of use to some person.

Submission Timeline:

Refund claims must be submitted within 7 days from when you receive the product.

If you have any questions or concerns, please contact me right away using The Art of Wonder General Contact Form.

Honesty, Transparency, and Intentionality:

It is my intention to provide you with honest and transparent options. I will always provide you with as much information from the manufacturer as I can so you can make an informed decision regarding your order. However, even though generalizations can be made about certain aspects of a product, there are often aspects, especially in apparel, that are uniquely interpreted. For example, aspects such as size, weight, feel, or fit, are often interpreted differently across manufacturers and consumers. As a result, these aspects of interpretation are out of my control and will not typically result in a refund. So please feel free to contact me, even before you make a purchase. I will always provide you with as much information from the manufacturer as I can so you can make an informed decision regarding your order.

Refunds will be granted for mistakes in product fulfillment. Such as:

  • The product received is different than ordered.
  • The product received is damaged.

Refunds will not typically be granted for issues such as:

  • The product does not have the look or feel expected.
  • The product does not fit quite right.

Response Timeline:

It is my intention to offer you whatever kind of support you need by responding to your inquiry in kind, through a timely manner. I will do my best to respond within 24 hours. If I have not responded in 48 hours please contact me again. Sometimes when we try to communicate with others across space, our forms do not always make contact.

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Who we are

Our website address is: https://theartofwonder.gallery

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Look, back in the future; w-here you will find, ‘A’ new path-way; two connect y’our home, with ‘A’nother home; ‘A’ habitat built, four humanity – 

 
Teach the children… Give them fields and the woods and the possibility of the world salvaged from the lords of profit. Stand them in the stream, head them upstream, rejoice as they learn to love this green space they live in, its sticks and leaves and then the silent, beautiful blossoms.
 
Attention is the beginning of devotion.

Chapter Seven

We Need Wilderness

A loon calls and is answered from a lake over the hills. For a moment the timbered ridges echo and re-echo with their wild notes… I have found that people go to the wilderness for many things, but the most important of these is perspective. They may think they go for the fishing or the scenery or companionship, but in reality it is something far deeper. They go to the wilderness for the good of their souls. I sometimes feel as though they had actually gone to another planet from which they can watch with cool detachment the fierce and sometimes meaningless scurryings of their kind. Then when the old philosophy of earth-oneness begins to return to them, they slowly realize that once again they are in tune with sun and stars and all natural things, and with that knowledge comes happiness and contentment.  

By Peter Murphy, et al.

We are the imaginative species that lives metaphorically. This is a strange condition. What it means is that human beings ‘act’ in pursuit of meaning, rather than ‘react’ out of instinct as other species do… Soon it finds that its inner explorations are conjoined with its outer explorations, and one form of exploration becomes the metaphor for another kind. The metaphorical power of ‘as if,’ the power to imagine one thing as another, makes the human world a virtual one… Metaphors turn the impossible into the possible, and thereby new meanings emerge.

A Vision Hidden In-site

From ‘A’ thoughtful purch, you noticed;
Something caught, you’re attention; within,
‘A’ wild place; w-here you’re eIe image-ines,
Sense-ational forms; s-peek through, the I of
‘A’ needle; as you try too, dis-entangle
Meaning; caught within, the fabric of ‘A’;
UnI-verse, w-here you wander; up-word,
Steep trails are riddled with roots; still, you
See-k the view from ‘A’-scent; leading you
Two-words, expressive resonance; w-here,
You’re in-formation; guiding questions,
Open; the gait too, you’re thoughts; locked in
Step too, an unconscious flow; ‘A’ stride
Following, what; you never herd, the beat-en
Path; the way, you’re mind has made sense b-
Earth; meaning, if you can find this place;
You begin too, feel free too; explore and
Reflect, hope; -fully B.E.-come you, only
Two real eIe’s; what, you are T-heArt of
Wonder; ‘A’ vision, hidden in-site; w-here,
Meta-phorces push you up-words; to create
Potential, first; question everything, per-haps;
When U turn, everything with-out-word
Expression turns; in-word, experience
Draws you’re attention; forms, reflect
‘A’ symbol of meaning; defined within,
You’re perspective; con-fuses, roots with
Letters; create, the con-text; words, play
With meaning; leading you’re eIe to see,
Different lines; you track, visually;
Phonetically s-peaking, above the literal;
Amidst the clouds, w-here you can float;
Gracefully giving, ‘A’ new root; the light,
Still; quiet, enough too; contemplate, your
Release; the expression of cells, in-
Formation; wildly in-grained, below the
Surface; ‘A’ landscape of language, hidden
In-sight; the Nature of your story, awe-live
Within; the eIe of your mInd re-cognizes,
Everything; that can be, has been; is, all
‘A’ possibility; designed, for you to explore;
‘A’-new, narrative; break free from the alpha,
Bet on Life; what do eIe know, experience;
On-word –

Image-in Another Perspective Of This UnI-verse

Fill Your Walls With Wonder

What do I Know?

Montaigne pursues his quest for knowledge through experience; the meaning of concepts is not set down by means of a definition, it is related to common language or to historical examples. One of the essential elements of experience is the ability to reflect on one’s actions and thoughts. Montaigne is engaging in a case-by-case gnôti seauton, “know thyself”: although truth in general is not truly an appropriate object for human faculties, we can reflect on our experience. What counts is not the fact that we eventually know the truth or not, but rather the way in which we seek it. … Man is everywhere enslaved by custom, but this does not mean that we should accept the numbing of our mind. …Sudden shifts of perspective are designed to escape adherence, and to tackle the matter from another point of view. The Essays mirror a discreet conduct of judgment,… The aim is not to ruin arguments by opposing them, as it is the case in the Pyrrhonian “antilogy”, but rather to counterbalance a single opinion by taking into account other opinions. In order to work, each scale of judgment has to be laden. If we take morals, for example, Montaigne refers to varied moral authorities, one of them being custom and the other reason. Against every form of dogmatism, Montaigne returns moral life to its original diversity and inherent uneasiness. Through philosophy, he seeks full accordance with the diversity of life: “As for me, I love life and cultivate it as God has been pleased to grant it to us”.

This Experience Is Still In-Formation…

 

Canvas & Epic Prints

Canvas prints are an elegant solution for casual environments where the mood is warm and inviting. 
Epic prints are a stunning solution for eye catching environments where the mood is opulent and exacting.
Scroll down for more details…

Canvas

Photos are printed directly on museum-quality canvas material using high-quality archival inks producing an elegant print that is wrapped over 1-1/2″ stretcher bars with a wire hanger and bumpers on the back.

Epic

Epic prints are made from Fujiflex silver halide photographic paper with up to 610dpi resolution, more than 4x the resolution of a traditional print, that is mounted to aluminum for a sleek, thin profile, and a flawless presentation.
Anything you image-ine is possible.
Add a frame or choose a different print material.
Scroll down for a few possibilities… 

Four Quartets

Quartet No. Four

With the drawing of this Love and the voice of this
    Calling
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always—
A condition of complete simplicity
(Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.

The Spell of the Sensuous

Chapter Five

Yet there remains another reason for the profound association between storytelling and the more-than-human terrain. It resides in the encompassing, enveloping wholeness of a story in relation to the characters that act and move within it. A story envelops its protagonists much as we ourselves are enveloped by the terrain. In other words, we are situated in the land in much the same way that characters are situated in a story.

The Dream smells like peppermint but tastes like strawberry shortcake. And for so long I have wanted to escape into the Dream, to fold my country over my head like a blanket. But this has never been an option because the Dream rests on our backs, the bedding made from our bodies. And knowing this, knowing that the Dream persists by warring with the known world, I was sad for the host, I was sad for all those families, I was sad for my country, but above all, in that moment, I was sad for you…What I told you is what your grandparents tried to tell me: that this is your country, that this is your world, that this is your body, and you must find some way to live within the all of it. I tell you now that the question of how one should live within a black body, within a country lost in the Dream, is the question of my life, and the pursuit of this question, I have found, ultimately answers itself.

Chapter Six

There Is A Season: From Language to Life

We do not believe that we “grow” our lives – we believe that we “make” them… [Children from certain cultures] ask, “How does a baby grow?” But an American child will ask, “How do you make a baby?” From an early age, we absorb our culture’s arrogant conviction that we manufacture everything, reducing the world to “raw material” that lacks all value until we impose our designs and labor on it… We need to challenge and reform these distortions of culture and ego – reform them towards ways of thinking and doing and being that are rooted in respect for the living ecology of life. Unlike “raw material” on which we make all the demands, this ecology makes demands on us even as it sustains our lives. We are here not only to transform the world but also to be transformed.

On Being 

When I take the time to breathe in my life and breathe out my gratitude for the gifts I’ve been given, only one question arises: “How can I keep these gifts alive?” I know only one answer: “Become a giver yourself, pass your gifts along, and do it extravagantly!” 

The Spell of the Sensuous

Chapter Four

In indigenous, oral cultures, nature itself is articulate; it speaks. The human voice in an oral culture is always to some extent participant with the voices of the wolves, wind, and waves – participant, that is, with the encompassing discourse of an animate earth. There is no element of the landscape that is definitively void of expressive resonance and power: any movement may be a gesture, any sound may be a voice, a meaningful utterance.
When I am among the trees,
especially the willows and honey locust,
equally the beech, the oaks and the pines,
they give off such hints of gladness.
I would almost say that they save me, and daily.
 
I am so distant from the hope of myself,
in which I have goodness, and discernment,
and never hurry through the world
     but walk slowly, and bow often.
 
Around me the trees stir in their leaves
and call out, “Stay awhile.”
The light flows from their branches.
 
And they call again, “It’s simple,” they say,
“and you too have come
into the world to do this, to go easy, to be filled
with light, and to shine.”
Let us step outside for a moment
As the sun breaks through clouds
And shines on wet new fallen snow,
And breathe the new air.
So much has died that had to die this year.
 
We are dying away from things.
It is a necessity—we have to do it
Or we shall be buried under the magazines,
The too many clothes, the too much food.
We have dragged it all around
Like dung beetles
Who drag piles of dung
Behind them on which to feed,
In which to lay their eggs.
 
Let us step outside for a moment
Among ocean, clouds, a white field,
Islands floating in the distance.
They have always been there.
But we have not been there.
 
We are going to drive slowly
And see the small poor farms,
The lovely shapes of leafless trees
Their shadows blue on the snow.
We are going to learn the sharp edge
Of perception after a day’s fast.
 
There is nothing to fear.
About this revolution…
Though it will change our minds.
Aggression, violence, machismo
Are fading from us
Like old photographs
Faintly ridiculous
(Did a man actually step like a goose
To instill fear?
Does a boy have to kill
To become a man?)
 
Already there are signs.
Young people plant gardens.
Fathers change their babies’ diapers
And are learning to cook.
 
Let us step outside for a moment.
It is all there
Only we have been slow to arrive
At a way of seeing it.
Unless the gentle inherit the earth
There will be no earth.

Contact Form

Outside | Bellingham, WA

Chapter Eleven

Landscape Of The Universe

If he might grasp even an intimation of what is actually meant by the cosmic and imponderables, he would know what the wise have been telling us for ages… The truth is, they cannot be defined, described, or measured, only felt – so simple and self-evident they are often unknown… Such things give dignity and purpose to life; they are part of solitude, tranquility, and silence, the sense of oneness with living things, and the awe with which we look at the world… The power of wonder and the unknown are intangibles we must cherish if we are to comprehend our problems. In them was the wellspring of our dawning culture, and from it the first significant expressions of man’s mind. Without its spur, scientists, artists, and workers in all disciplines of creative endeavor would lose the challenge to probe and explore. An infallible source of inspiration, it is rooted in man’s contemplation of his environment. When we create life, find all the secrets of the universe, and progress to other planets,
wonder will have been responsible.
Every summer I gather a few stones from
the beach and keep them in a glass bowl.
Now and again I cover them with water,
and they drink. There’s no question about
this; I put tinfoil over the bowl, tightly,
yet the water disappears. This doesn’t
mean we ever have a conversation, or that
they have the kind of feelings we do, yet
it might mean something. Whatever the
stones are, they don’t lie in the water
and do nothing.
 
Some of my friends refuse to believe it
happens, even though they’ve seen it. But
a few others—I’ve seen them walking down
the beach holding a few stones, and they
look at them rather more closely now.
Once in a while, I swear, I’ve even heard
one or two of them saying “Hello.”
Which, I think, does no harm to anyone or
anything, does it?

Steep Trails

Chapter One

No dogma taught by the present civilization seems to form so insuperable an obstacle in the way of a right understanding of the relations which culture sustains to wildness as that which regards the world as made especially for the uses of man. Every animal, plant, and crystal controverts it in the plainest terms. Yet it is taught from century to century as something ever new and precious, and in the resulting darkness the enormous conceit is allowed to go unchallenged.

Custom Print

What you image-ine is possible.
Add a frame or choose a different print material.

Epic Print

Epic prints are made from Fujiflex silver halide photographic paper with up to 610dpi resolution, more than 4x the resolution of a traditional photographic print, that is mounted to aluminum for a sleek, thin profile, and a flawless presentation.

Canvas Print

Photos are printed directly on museum-quality canvas material using high-quality archival inks producing a casually elegant print that is wrapped over 1-1/2″ stretcher bars with a wire hanger and bumpers on the back.

New Highs

It isn’t easy, life. But
climbing through the steep sharp bits, 
the places that make you want to turn back, or quit, 
or even wish you had never existed to begin with,
this is what we do. 
We were born for this.

Geographer

I like Geography best, he said, because
your mountains and rivers know the secret.
Pay no attention to boundaries.

Blue Squares

We lay there &
looked up at the night sky &
she told me about stars called blue squares &
red swirls &
I told her I’d never heard of them.
Of course not,
she said,
the really important stuff 
they never tell you.
You have to imagine it on your own.

Nature Spirit

We were told
magic didn’t exist,
but down behind our house was an old gully,
blanketed
with a deep green moss
soft as a lamb’s ear,
and when the afternoon sun
snuck through the branches
to light everything up,
we knew the magic
had been
hiding in the forest all along.
Now I become myself. It’s taken
Time, many years and places;
I have been dissolved and shaken,
Worn other people’s faces,
Run madly, as if Time were there,
Terribly old, crying a warning,
“Hurry, you will be dead before—”
(What? Before you reach the morning?
Or the end of the poem is clear?
Or love safe in the walled city?)
Now to stand still, to be here,
Feel my own weight and density!
The black shadow on the paper
Is my hand; the shadow of a word
As thought shapes the shaper
Falls heavy on the page, is heard.
All fuses now, falls into place
From wish to action, word to silence,
My work, my love, my time, my face
Gathered into one intense
Gesture of growing like a plant.
As slowly as the ripening fruit
Fertile, detached, and always spent,
Falls but does not exhaust the root,
So all the poem is, can give,
Grows in me to become the song,
Made so and rooted by love.
Now there is time and Time is young.
O, in this single hour I live
All of myself and do not move.
I, the pursued, who madly ran,
Stand still, stand still, and stop the sun!

This Gallery Is In-formation…

 
Tired of all who come with words, words but no language
I went to the snow-covered island. 
The wild does not have words.
The unwritten pages spread themselves out in all directions!
I come across the marks of roe-deer’s hooves in the snow.
Language, but no words.
To see a World in a Grain of Sand
And a Heaven in a Wild Flower 
Hold Infinity in the palm of your hand 
And Eternity in an hour
A Robin Red breast in a Cage
Puts all Heaven in a Rage 
A Dove house filld with Doves & Pigeons
Shudders Hell thr’ all its regions 
A dog starvd at his Masters Gate
Predicts the ruin of the State 
A Horse misusd upon the Road
Calls to Heaven for Human blood 
Each outcry of the hunted Hare
A fibre from the Brain does tear 
A Skylark wounded in the wing 
A Cherubim does cease to sing 
The Game Cock clipd & armd for fight
Does the Rising Sun affright 
Every Wolfs & Lions howl
Raises from Hell a Human Soul 
The wild deer, wandring here & there 
Keeps the Human Soul from Care 
The Lamb misusd breeds Public Strife
And yet forgives the Butchers knife 
The Bat that flits at close of Eve
Has left the Brain that wont Believe
The Owl that calls upon the Night
Speaks the Unbelievers fright
He who shall hurt the little Wren
Shall never be belovd by Men 
He who the Ox to wrath has movd
Shall never be by Woman lovd
The wanton Boy that kills the Fly
Shall feel the Spiders enmity 
He who torments the Chafers Sprite
Weaves a Bower in endless Night 
The Catterpiller on the Leaf
Repeats to thee thy Mothers grief 
Kill not the Moth nor Butterfly 
For the Last Judgment draweth nigh 
He who shall train the Horse to War
Shall never pass the Polar Bar 
The Beggars Dog & Widows Cat 
Feed them & thou wilt grow fat 
The Gnat that sings his Summers Song
Poison gets from Slanders tongue 
The poison of the Snake & Newt
Is the sweat of Envys Foot 
The poison of the Honey Bee
Is the Artists Jealousy
The Princes Robes & Beggars Rags
Are Toadstools on the Misers Bags 
A Truth thats told with bad intent
Beats all the Lies you can invent 
It is right it should be so 
Man was made for Joy & Woe 
And when this we rightly know 
Thro the World we safely go 
Joy & Woe are woven fine 
A Clothing for the soul divine 
Under every grief & pine
Runs a joy with silken twine 
The Babe is more than swadling Bands
Throughout all these Human Lands
Tools were made & Born were hands 
Every Farmer Understands
Every Tear from Every Eye
Becomes a Babe in Eternity 
This is caught by Females bright
And returnd to its own delight 
The Bleat the Bark Bellow & Roar 
Are Waves that Beat on Heavens Shore 
The Babe that weeps the Rod beneath
Writes Revenge in realms of Death 
The Beggars Rags fluttering in Air
Does to Rags the Heavens tear 
The Soldier armd with Sword & Gun 
Palsied strikes the Summers Sun
The poor Mans Farthing is worth more
Than all the Gold on Africs Shore
One Mite wrung from the Labrers hands
Shall buy & sell the Misers Lands 
Or if protected from on high 
Does that whole Nation sell & buy 
He who mocks the Infants Faith
Shall be mockd in Age & Death 
He who shall teach the Child to Doubt
The rotting Grave shall neer get out 
He who respects the Infants faith
Triumphs over Hell & Death 
The Childs Toys & the Old Mans Reasons
Are the Fruits of the Two seasons 
The Questioner who sits so sly 
Shall never know how to Reply 
He who replies to words of Doubt
Doth put the Light of Knowledge out 
The Strongest Poison ever known
Came from Caesars Laurel Crown 
Nought can Deform the Human Race
Like to the Armours iron brace 
When Gold & Gems adorn the Plow
To peaceful Arts shall Envy Bow 
A Riddle or the Crickets Cry
Is to Doubt a fit Reply 
The Emmets Inch & Eagles Mile
Make Lame Philosophy to smile 
He who Doubts from what he sees
Will neer Believe do what you Please 
If the Sun & Moon should Doubt 
Theyd immediately Go out 
To be in a Passion you Good may Do 
But no Good if a Passion is in you 
The Whore & Gambler by the State
Licencd build that Nations Fate 
The Harlots cry from Street to Street 
Shall weave Old Englands winding Sheet 
The Winners Shout the Losers Curse 
Dance before dead Englands Hearse 
Every Night & every Morn
Some to Misery are Born 
Every Morn and every Night
Some are Born to sweet delight 
Some are Born to sweet delight 
Some are Born to Endless Night 
We are led to Believe a Lie
When we see not Thro the Eye
Which was Born in a Night to perish in a Night 
When the Soul Slept in Beams of Light 
God Appears & God is Light
To those poor Souls who dwell in Night 
But does a Human Form Display
To those who Dwell in Realms of day

Below The Surf-ace

Hello. My name is Chris Peckover. Thanks for visiting my gallery, The Art of Wonder. Throughout my life I have wandered about Nature and followed quest-ions that in-form human-Nature. On those quests about Nature I often brought things home through the form of ideas, images, sticks, and stones. Pursuing in-sight to quest-ions, I wondered about on my journey, following a path through an academic field where education, philosophy, and society grow together; forming, ‘A’ mountain of ideas. After I wondered up this mountain to its highest degree, I encountered an iconic landmark. But as I have been drawn down a different path, I have come to see that the most iconic landmark I have encountered is the place where everything intersects. The place where one cannot distinguish the lake from its stream of influence. The Art of Wonder is this type of place. It is w-here my in-word experience flows with-out-word expression, formed in terms of ‘A’ symbolic confluence of ideas; picked up while wandering about Nature. From this perspective, I see my inner self; standing at the edge of human experience, looking out over unknown landscapes of Nature, trying to re-cognize how every form of space can be filled with wonder, and then re-presenting moments of awe-wakening that speak to me as a way to share them with you. Through my work, I try to bridge human-Nature with ‘A’ holistic perspective of life by using images, words, and wood to re-present human experience as ‘A’ quest-ionable form of Nature. Sense b-Earth, The Art of Wonder was conceived as an image-inary land-scape w-here I play with ideas and recreate with things to re-present the Nature of life; from the way I see it, Experience; ‘A’ UnI-verse, joined in song-; lines of riddled roots, all-ways in-formation. Composed of Alfresco Imagery and Timber Grain, every re-presentation carries within it-self the possibility to draw us back into, and awe-waken us to, forms of interconnectedness that help us re-member; we are a, small; part of ‘A’, larger; body of Nature. And so it is, in this spirit; I share with you my wild, and image-inative re-presentations; hoping, you will be moved too; wonder.

Ad Imaginem Naturae

– Chris

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