February 2010 Archives

Sacré Coeur

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In the old days, real valentines came in an envelope, sandwiched between implications and insecurities that the sender used especially for you.

This one, today, comes in a digital envelope (several in fact). Once it's open you can zoom it up or down. 

Brag or be discreet, Scale it to your ego. Search for messaging or ignore it.

And then, there's appropriation. Yet still not exactly what a "stolen heart" is about.

Probably digital valentines should be banned.

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© 2010 malcolm ryder

Clarity

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(Drawing)

 

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Clarification: leaving out enough to be able to arrange what remains so that it might explain itself.

© 2005 Malcolm Ryder

Dad Right To The End

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(Drawing)

 

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Pere David.

New Orleans, LA

Copyright 2007 Malcolm Ryder

Pedigree

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Manuscript says, at least, that what is on the page was put there. It's a neutral word, otherwise, but people want to care, not be neutral.

Without the scribe's identity we still don't know whether to think in terms of author or not. Circumstantial evidence might surface from investigation, pointing at a candidate. Analysis may expose a signature. Experience -- whether habit, precedent or desire -- encourages an attribution based on the evidence and the signature. But between the scribe and the author may sit the pseudonym, the invented writer, the player between the athlete and the game.

Style, the style of a picture, shows the player. It's one way to appreciate the picture.  But, finding a picture gives you choices: follow the play, spot the player, look for the athlete.

We might ask what drove the creation of the picture, and the best answer might be that it is an orchestration of influences: the athlete sees an opportunity to make a play in a certain way. The basic dynamics are simple. But the complexity of a play, of a player, or of an athlete can range widely and independently of each other, with the picture appearing where they connect -- an intersection at any of millions of points within the three dimensions.

Sprouting

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(Postcard)

 

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The museum of events prefers the surprise of the ordinary.

Copyright 2010 Malcolm Ryder