gardens of subconscious worlds

you know what i love?

when i am thrown into a world where this realm of mind (the place where i dwell so much of every day, that room i love and also hate with the bed i dirty and forget/refuse to wash) becomes no more an other, becomes a vehicle of experience no longer inherently separate.

in this place the mingling of subconsciousnesses begins to flower and a garden is formed, a lush world of merging perceptions and shared sensations.


a collage of colors and lights which continually flash, swirl, and arrange themselves in blocks and structures; a unique combination of sound and image that interacts with the subconscious in an infinity of ways; outlines of matter, the objective shapes of which shape their perception and experience;

these vignettes of existence are familiar to most human brains, as it appears to be our function - we receive a constant stream of data that is being transmitted at every level by an unknown generator, and we can't help but seek to do more, more than merely absorb and survive - we almost don't care if we live or die, it would seem.

we are hungry and incessantly dissatisfied with the extent of our hunger, the extent of its unfillablity.

this thing, this trajectory of growth and decay, is always both welcoming and terrifying, in every moment (to use a friend's words)


well, the point of this was to mention that art has 
the ability to unite the subconscious 
experience of two or more disparate 
spiritual realms - a reminder that to simply 
be is a universality, though the external 
output of beings varies tremendously 
based on the strength and nature of 
their individual and primary survival impulses.

from: ivan konstantinovich aivazovsky. the ninth wave (1850)


andrei tarkovsky.

the mirror (1975)



i have begun a small courtship with this film... or perhaps by watching it in short segments i have allowed certain scenes (which in this film are the arrangements of color, image, sound mentioned above - loosely organized photographs strung together, or scattered in a pile; a mood, hue, and arc of movement, rather than linear unfolding) to live with me.

as i grow through the days that pass the dark, hidden places become more and more illuminated. my mind treads like a pioneer, respectfully awestruck by raw brilliance, among the landscape of the thing.

there are moments, in the mirror, where my entire physical being is fully engaged -
there is no visible partition,
no frame,
no square,
no screen.



joshua adam acosta & joe wheeler - differential (2015)


i am an acquaintance of theirs, and i believe the two still continue to make experimental music on both their own and in collaborative projects. this is sound art of the highest caliber.

the quality, i've found, that draws me to specific utterances of art more violently than any other is that of a distant familiarity. if some portion of me feels at home during the drinking in process - recognizes some shape or sound; is led into a room which exudes profound deja vu - it calls to me, like i am the distant descendant of an ancient soul. distant, yet one and the same.

to have that one sting strummed, only so few times in this life, becomes such a precious, beauteous occurrence.

to reach an understanding with one's self;
to give respect to and reconcile with the
being inside all of its powers
to understand,
link together memories,
and create meanings which ultimately
benefit the inhabitant


'tis all one piece of the puzzle




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