Rhythm Painting

Q; study into internal and external rhythm We are slowed down sound and light waves, a walking bundle of frequencies tuned into the cosmos. We are souls dressed up in sacred biochemical garments and our bodies are the instruments through which our souls play their music. Albert Einstein What is Circadian Rhythm? For most adults, the biggest dip in energy happens in the middle of the night (somewhere between 2:00am and 4:00am, when they're usually fast asleep) and just after lunchtime (around 1:00pm to 3:00pm, when they tend to crave a post-lunch nap). Those times can be different if you’re naturally a night owl or a morning person. You also won’t feel the dips and rises of your circadian rhythm as strongly if you’re all caught up on sleep. It’s when you’re sleep-deprived that you’ll notice bigger swings of sleepiness and alertness. A part of your hypothalamus (a portion of your brain) controls your circadian rhythm. That said, outside factors like lightness and darkness can also impact it. When it’s dark at night, your eyes send a signal to the hypothalamus that it’s time to feel tired. Your brain, in turn, sends a signal to your body to release melatonin, which makes your body tired. That’s why your circadian rhythm tends to coincide with the cycle of daytime and night time (and why it’s so hard for shift workers to sleep during the day and stay awake at night). Your circadian rhythm works best when you have regular sleep habits, like going to bed at night and waking up in the morning around the same times from day to day (including weekends). When things get in the way, like jet lag, daylight savings time, or a compelling sporting event on TV that keeps you up into the wee hours of the morning, you can disrupt your circadian rhythm, which makes you feel out of sorts and can make it harder to pay attention. Interestingly, your circadian rhythm will likely changes as you get older. And you may not have the same sleep/wake cycle as your partner, child or parents. But the more you pay attention to your body and notice feelings of alertness and drowsiness, and the more time you spend developing good sleep hygiene habits, the better your slumber will be and the better you'll feel. All living organisms experience rhythmic changes, which tend to coincide with seasonal or daily environmental changes. Most organisms (including humans) have internal biological clocks these are called endogenous pacemakers, which are influenced by external environmental factors called exogenous zeitgebers, to control these periodic changes. Circadian rhythms These are rhythms lasting 'about one day'. The best example of a circadian rhythm is the sleep-wake cycle, associated with which are many cyclical changes with active and dormant periods, for example body temperature and urine production. These rhythms allow animals to prepare for predictable daily environmental changes, such as night and day. Research has involved participants being deprived of possible zeitgebers ('time-givers') like sunrise and sunset, temperature changes during a 24 hour period and wristwatches! Participants tend to maintain a cyclical rhythm but it extends to about 25 hours (Siffre, 1975). So, endogenous pacemakers can keep a rhythm but exogenous zeitgebers are needed to stick to a 24 hour rhythm. Where is the brain's internal clock? The suprachiasmatic nucleus (SCN) in the hypothalamus is a bundle of nerves with an inbuilt circadian rhythm. This is a particularly important endogenous pacemaker. Evidence for this comes from studies in which the SCN has been cut in hamsters to result in disrupted circadian rhythms (Menaker et al., 1978). What keeps the brain to a 24 hour rhythm? Without light the brain's day would be 25 hours long (a free-running clock). Light is a very important zeitgeber - flashes of light are enough to 'reset' the internal clocks of animals living in the dark (Aschoff, 1979). One blind man needed to take stimulant and tranquilizing drugs to maintain a 24 hour cycle! How does light ensure mammals maintain a 24 hour rhythm? The pineal gland in the brain converts the neurotransmitter serotonin into the hormone melatonin. Melatonin is released into the blood stream and causes rhythmic changes around the body. Although the need for sleep is not affected by light, melatonin plays a role in the coordination of the sleep-wake cycle. The animation below shows parts of the brain and neural pathways important in maintaining circadian rhythms. The absence of light causes melatonin to be released: Reflecting for a moment, when was the last time you felt your own heartbeat, your own internal rhythm? When you control your breath and tune into your heartbeat, you are calibrating yourself, bringing yourself back to a neutral point. An easy way to practice this concept is with a box breath exercise. Begin the exercise by selecting a number. I usually use 3 for joy, 5 for change, or 7 for connection to spirit. Suppose you select 3, you will inhale for a count of 3, hold at the top of the inhalation for 3 heartbeats, exhale for a count of 3, and hold at the bottom of the exhalation for 3 heartbeats. Keep following this box breath, equal inhalations, pauses for heartbeats, and equal exhalations for at least three iterations. Play with different counts to see what feels the most natural or soothing for you. It takes some time to get into the rhythm – and to slow the flow of thought: A qualitative study about experience of time and narrative in psychological interventions in general practice 1 Mallarmé and a Proffer of Silence 2 Cézanne: Depth in the World 3 Proust through the Fold of Memory 4 Debussy: Silence and Resonance 5 Cézanne and the Institution of Style 6 Proust: In Search of the True Albertine 7 Harmony and the Movement of Style in Debussy 8 On the Musical Idea of Proust 9 Debussy: The Form That Has Arrived at Itself 10 Synesthesia, Recollection, Resurrection Confessing out the soul to conform to the rhythm of thought Much critical writing about the Beat Movement has focused on the strong interrelationship between the literary and social discourses within and around the movement. However, the study of Beat literature also necessitates an awareness of its position within the literary discourse of the twentieth century. Beat writing may be seen as standing in the unstable, shifting territory between two equally unstable, shifting literary movements: modernism and postmodernism. Beat poetry pits itself against high modernism and the New Critical tradition, draws upon some aspects of early avant-garde modernism, and simultaneously remoulds these aspects into what may be regarded as the beginnings of postmodernism in the USA. This article presents a reading of Allen Ginsberg’s Beat poetry against this literary-historical background. A brief general overview of some of the key characteristics of Beat poetry is given, followed by a discussion of a number of Beat poems, organised around some salient features of Ginsberg’s Beat poetry that may be linked to Beat poetry’s position in the transition from modernism to postmodernism. Symbols The Guru Granth Sahib begins with the ‘ 1 ‘ (1 Oankar). And I am faced with an intractable dilemma: is the ‘ 1 ‘ literal or is it symbolic? It is most literal for the ‘ 1 ‘ emphatically states the existence (“kar”) of the ONE God (“Oan”); yet, the ‘ 1 ‘ is a mathematical symbol standing for a larger meaning which cannot be given or not freely given in perceptual experience. Grounded in literalism, it seems to me that the ‘ 1 ‘ goes beyond, ad infinitum; both literalism and symbolism find their quintessence in it. Confining myself to the latter, I take the liberty of replacing a Berkelian claim,. “mathematics goes from infinitesimals of infinitesimals to nowhere” by “mathematical ‘1’ goes from infinitesimals of infinitesimals to infinite of infinite!” Although a mathematical symbol, the ‘1’ is far from being exact or stipulated in any fashion. In fact the various symbols – Father, Mother, Brother, Friend, Judge, Lover, Bridegroom, Gardener, Garden, Brahma, Vishnu, Siva….are completed in the symbol of the numerical ‘1’. It is the most direct, embracing and unrestrictive symbol of the Metaphysical being existent in the Sikh faith. In his article on the “Meaning and Justification of Symbols”, Paul Tillich says that symbols are the language of religion and are the only way in which religion can express itself directly. Going beyond themselves, “the symbols participate in the reality of that which they represent.” Signs as opposed to symbols, says Tillich, don’t. The following numerals are used frequently in the Guru Granth Sahib, Two (dohin) – For God and matter Three (tine) – For the three “loks” (worlds): akas (upper), patal (nether) and dharti (earth) or the three gunas: rajas, sattva and tamas. Four (chare) – For the four elements of the four Vedas: Rik, Yajus), Atharva) and Sama. ) Five (panje)) – For the five senses or the five lower passions: kam) (lust), krodh) (anger), lobh) (greed), moh) (desire) and ahankar ) (egocentricity). They represent entities without participating in them and are, in a way, ‘steno’. We could therefore in the Tillichian term call them ‘signs’. Symbols, as he points out in “Systematic Theology”, enhance rather than diminish the reality and power of religious language. This Tillichian – might one say Christian? – Understanding of symbols is in congruence with Sikh understanding. The Bridegroom symbol, a ramification of the ‘1’ illustrates it quite well. Says the Guru in measure Asa: What you actually see on the canvas The contemporary spiritual art in this publication has an effect in the world. It changes minds, broad¬ens understanding, and transforms lives. It is the embodiment of the artists’ spiritual experi¬ence, and it means to evoke the same in us. Such works are dynamic agents of the spiritual: they provide a sense of plenitude, a healing place of respite, allow us to see anew as if for the first time, and celebrate our uniqueness and difference as well as our common human¬ity. The possibilities are endless. My visual signature excites the mind and engages the viewer from a considerable distance. Understanding Texture in Art At its most basic, texture is defined as a tactile quality of an object's surface. It appeals to our sense of touch, which can evoke feelings of pleasure, discomfort, or familiarity. Artists use this knowledge to elicit emotional responses from people who view their work. The reasons for doing so vary greatly, but texture is a fundamental element in many pieces of art. Take rocks, for example. A real rock might feel rough or smooth and it definitely feels hard when touched or picked up. A painter depicting a rock would create the illusions of these qualities through the use of other elements of art such as colour, line, and shape. Textures are described by a whole host of adjectives. Rough and smooth are two of the most common, but they can be further defined. You might also hear words like coarse, bumpy, rugged, fluffy, lumpy, or pebbly when referring to a rough surface. For smooth surfaces, words like polished, velvety, slick, flat, and even can be used. Texture in Two-Dimensional Art Artists working in a two-dimensional medium also work with texture and the texture may either be real or implied. Photographers, for instance, almost always work with the reality of texture when creating art. Yet, they can enhance or downplay that through the manipulation of light and angle. In painting, drawing, and printmaking, an artist often implies texture through the use of brushstrokes lines as seen in crosshatching. When working with the impasto painting technique or with collage, the texture can be very real and dynamic. Watercolour painter Margaret Roseman, said, "I aim for an abstract element of a realistic subject and use texture to add interest and suggest depth." This sums up the way many two-dimensional artists feel about texture. Texture is something that artists can play with through the manipulation of their medium and materials. For instance, you can draw a rose on a rough textured paper and it won't have the softness of one drawn on a smooth surface. Likewise, some artists use less gesso to prime canvas because they want that texture to show through the paint they apply to it. Texture Is Everywhere As in art, you can see texture everywhere. To begin to correlate reality with the artwork you see or create, take the time to really notice the textures around you. The smooth leather of your chair, the coarse grains of the carpet, and the fluffy softness of the clouds in the sky all invoke feelings. As artists and those who appreciate it, regular exercise in recognizing texture can do wonders for your experience. Colour Is the element of art that is produced when light, striking an object, is reflected back to the eye: that's the objective definition? But in art design, colour has a slew of attributes which are primarily subjective. Those include characteristics such as harmony — when two or more colours are brought together and produce a satisfying effective response; and temperature — a blue is considered warm or cool depending on whether it leans towards purple or green and a red whether it leans towards yellow or blue. Subjectively, then, colour is a sensation, a human reaction to a hue arising in part from the optic nerve, and in part from education and exposure to colour, and perhaps in the largest part, simply from the human senses. Early History The earliest documented theory of colour is from the Greek philosopher Aristotle (384–322 BCE), who suggested that all colours came from white and black. He also believed that four basic colours represent elements of the world: red (fire), blue (air), green (water), and gray (earth). It was the British physicist and mathematician Isaac Newton (1642–1727) who figured out that clear light was made up of seven visible colours: what we call (red, orange, yellow, green, blue, indigo, and violet). Colours today are defined by three measurable attributes: hue, value, and chroma or intensity. Those attributes were scientifically operationalized by the Peter Mark Roget of colour, Boston artist and teacher Albert Henry Munson (1858–1918). The Science of Colour Munson attended the Julian Academy in Paris and won a scholarship to Rome. He held exhibits in Boston, New York, Pittsburgh, and Chicago, and taught drawing and painting at the Massachusetts School of Art between 1881 to 1918. As early as 1879, he was having conversations in Venice with the design theorist Denman Waldo Ross about developing a "systematic colour scheme for painters, so as to determine mentally on some sequence before laying the palette." Munson eventually devised a scientific system for classifying all colours with standard terminology. In 1905, he published "A Colour Notation," in which he scientifically defined colours, precisely defining hue, value, and chroma, something that scholars and painters from Aristotle to da Vinci had longed for. Munson's operationalized attributes are: • Hue: the colour itself, the distinctive quality by which one can distinguish one colour from another, e.g., red, blue, green, blue. • Value: the brightness of the hue, the quality by which one distinguishes a light colour from a dark one, in the range from white to black. • Chroma or intensity: the quality that distinguishes a strong colour from a weak one, the departure of a colour sensation from that of white or gray, the intensity of a colour hue. My art does not sit with any of the major art movements, all I can say is that all the art schools sit comfortably within my scope. Part of the joy of painting in the 21st century is the wide range of available forms of expression. The late 19th and 20th centuries saw artists make huge leaps in painting styles. Many of these innovations were influenced by technological advances, such as the invention of the metal paint tube and the evolution of photography, as well as changes in social conventions, politics, and philosophy, along with world events. This list outlines seven major styles of art (sometimes referred to as "schools" or "movements"), some much more realistic than others. Although you won't be part of the original movement—the group of artists who generally shared the same painting style and ideas during a specific time in history—you can still paint in the styles they used. By learning about these styles and seeing what the artists working in them created and then experimenting with different approaches yourself, you can begin to develop and nurture your own style. Realism Realism, in which the subject of the painting looks much like the real thing rather than being stylized or abstracted, is the style many people think of as "true art." Only when examined close up do what appear to be solid colours reveal themselves as a series of brushstrokes of many colours and values. Realism has been the dominant style of painting since the Renaissance. The artist uses perspective to create an illusion of space and depth, setting the composition and lighting such that the subject appears real. Leonardo da Vinci's "Mona Lisa" is a classic example of the style. Painterly The Painterly style appeared as the Industrial Revolution swept Europe in the first half of the 19th century. Liberated by the invention of the metal paint tube, which allowed artists to step outside the studio, painters began to focus on painting itself. Subjects were rendered realistically, however, painters made no effort to hide their technical work. As its name suggests, the emphasis is on the act of painting: the character of the brushwork and pigments themselves. Artists working in this style don't try to hide what was used to create the painting by smoothing out texture or marks left in the paint by a brush or other tool, such as a palette knife. The paintings of Henri Matisse are excellent examples of this style. Impressionism Impressionism emerged in the 1880s in Europe, where artists such as Claude Monet sought to capture light, not through the detail of realism, but with gesture and illusion. You don't need to get too close to Monet's water lilies or Vincent Van Gogh's sunflowers to see the bold strokes of colour, however, there's no doubt what you're looking at. Objects retain their realistic appearance yet have a vibrancy about them that's unique to this style. It's hard to believe that when the Impressionists were first showing their works; most critics hated and ridiculed it. What was then regarded as an unfinished and rough painting style is now beloved and revered. Expressionism and Fauvism Expressionism and Fauvism are similar styles that began to appear in studios and galleries at the turn of the 20th century. Both are characterized by their use of bold, unrealistic colours chosen not to depict life as it is, but rather, as it feels or appears to the artist. The two styles differ in some ways. Expressionists, including Edvard Munch, sought to convey the grotesque and horror in everyday life, often with hyper-stylized brushwork and horrific images, such as he used to great effect in his painting "The Scream." Fauvists, despite their novel use of colour, sought to create compositions that depicted life in an idealized or exotic nature. Think of Henri Matisse's frolicking dancers or George Braque's pastoral scenes. Abstraction As the first decades of the 20th century unfolded in Europe and America, painting grew less realistic. Abstraction is about painting the essence of a subject as the artist interprets it, rather than the visible details. A painter may reduce the subject to its dominant colours, shapes, or patterns, as Pablo Picasso did with his famous mural of three musicians. The performers, all sharp lines and angles,don’t look the least bit real, yet there's no doubt who they are. Or an artist might remove the subject from its context or enlarge its scale, as Georgia O'Keeffe did in her work. Her flowers and shells, stripped of their fine detail and floating against abstract backgrounds, can resemble dreamy landscapes. Abstract Purely abstract work, like much of the Abstract Expressionist movement of the 1950s, actively shuns realism, revelling in the embrace of the subjective. The subject or point of the painting is the colours used, the textures in the artwork, and the materials employed to create it. Jackson Pollock's drip paintings might look like a gigantic mess to some, but there's no denying that murals such as "Number 1 (Lavender Mist)" have a dynamic, kinetic quality that holds your interest. Other abstract artists, such as Mark Rothko, simplified their subject to colours themselves. Colour-field works like his 1961 masterwork "Orange, Red, and Yellow" are just that: three blocks of pigment in which you can lose yourself. Photorealism Photorealism developed in the late 1960s and '70s in reaction to Abstract Expressionism, which had dominated art since the 1940s. This style often seems more real than reality, where no detail is left out and no flaw is insignificant. Some artists copy photographs by projecting them onto a canvas to accurately capture precise details. Others do it freehand or use a grid system to enlarge a print or photo. One of the best-known photorealistic painters is Chuck Close, whose mural-size headshots of fellow artists and celebrities are based on snapshots. • Abstract Expressionism • Art Noveau • Avant-garde • Baroque • Classicism • Conceptual Art • Constructivism • Cubism • Dada / Dadaism • Expressionism • Fauvism • Futurism • Impressionism • Installation Art • Land Art / Earth Art • Minimalism • Neo-Impressionalism • Neo-Classicism • Performance Art • Pointillism • Pop Art • Post-Impressionism • Rococo • Surrealism • Suprematism .Each petals’ have their own character. . Looking beyond colours, on canvas. . Spiritual tesseract. .Strong visual signature. . The name of the pattern, and the meaning.

Painting:Acrylic on Ceramic

Original:One-of-a-kind Artwork

Size:48 W x 48 H x 1 D in

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