weblog

Welcome

Hi, My name is Elliott — Contact

The weblog is my personal journal of achievement or interests and is a living document, so I may from time to time change or delete the content here. You’ll be relieved to know that I don’t expect anyone to actually read any of this.

Although the main purpose of this site is to show art, I feel it’s a bad idea to use thumbnails to show art because it serves only to inoculate a viewer to the work, or makes easier for them to dismiss it and mindlessly scroll past. Many of the works here are fairly large oil paintings of considerable time and effort, with life-size figures, meant to be seen in person, not in a tableau flying by in a fraction of a second on a small screen. I fear one day we will all suddenly awake in horror realizing our whole life has been consumed completely in this way, not realizing that the entire time we had scarcely been living life at all, only gazing into a snowglobe.

Selected Works

Current

151, 2019-04, …um den Zufall am Schopf zu fassen!, oil on canvas, 82 x 90″ (208 x 228cm)

150, 2018-12, ANIMVS·SVMMISSVS [post], oil on linen (installation), 60 x 90″ (152 x 228cm)

149, 2018-12, There is one story and one story only., oil on linen, 60 x 90″ (152 x 228cm)

148, 2019-08, Earth vs. Space, oil on linen, 60 x 90″ (152 x 228cm)

147, 2018-08, Begjær… og Seterjentene (Lust), oil on linen, 82 x 90″ (208 x 228cm)

136, 2018-01, Montagne d’Or (der Gute Berg), oil on linen, 60 x 90″ (152 x 228cm)

135, 2017-11, Concerning the heavy-handed use of symbols., oil on linen, 60 x 90″ (152 x 228cm)

123, 2017-03, Helping people to achieve their potentialities., oil on linen, 60 x 90″ (152 x 228cm)

122, 2017-02, я иду с мечем, судия, oil on linen, 60 x 90″ (152 x 228cm)

121, 2017-01, Alles ist Schoen, oil on linen, 60 x 90″ (152 x 228cm)

120, 2016-05, Блис Белай, oil on linen, 60 x 90″ (152 x 228cm)

88, 2009-09, Les Demoiselles d’Avignon, oil on linen, 58 x 90″ (148 x 228cm)

Unfinished

152, 2020-01, OOBE (Le Rêve— Temple of Artemis, Song of the Sleeping Forest, Symbol of Life, Love, and Aesthetics) [unfinished], oil on linen, 60 x 90″ (152 x 228cm)

154, 2020-05, L’Apocalypse des Animaux [unfinished], oil on linen, 82 x 90″ (208 x 228cm)

155, 2020-06, Black Hula (Satellite Serenade/Brightness Hiding) [unfinished], oil on linen, 82 x 90″ (208 x 228cm)

156, Now is the best time of your life

Older

132, 2017-11, Island, oil on panel, 24 x 36″ (detail)

130, 2017-07, La Victoria, oil on panel, 27 x 40″ (detail)

126, 2017-04, Electrum, oil on panel, 16 x 22″ (detail)

125, 2017-04, Nothing, oil on panel, 20 x 30″ (detail)

124, 2017-01, 1960’s Institutional Turquoise, oil on panel, 20 x 26″

111, 2012-01, Violet, oil on panel, 16 x 20″

105, 2010-11, Lyre Plyre, oil on panel, 17.5 x 23.5″

101, 2010-04, Heidi, oil on panel, 18 x 24″

99, 2010-04, Marianna, graphite on paper, 16 x 20″

97, 2009-12, Present, oil on panel, 56 x 42″ (detail)

93, 2009-10, Julia, oil on panel, 20 x 30″

92, 2009-10, Vanitas, oil on panel, 18 x 20″

83, 2008-11, Evening star, oil on panel, 30 x 56″

77, 2008-05, The Cure Within, oil on panel, 14 x 20″

76, 2008-05, Rachel Cupo, oil on panel, 24 x 30″ (detail)

71, 2008-03, Vulcan berimbau, oil on panel, 19 x 40″

67, 2007-12, Belle, oil on panel, 18 x 24″

63, 2007-08, Artemis, oil on panel, 60 x 60″ (detail)

62, 2007-05, This kingdom by the sea, oil on panel, 18 x 18″

61, 2007-05, Montagne d’Or, oil on panel, 14 x 22″

59, 2007-03, My Rosy Monique, oil on panel, 16 x 20″

58, 2007-03, Eurydice, oil on panel, 40 x 37″

57, 2007-02, Pink snow, oil on panel, 44 x 42″

53, 2006-04, Khloris, oil on panel, 36 x 60″

49, 2005-07, Chinese box, oil on panel, 24 x 48″

46, 2004-10, Where the moon goes, oil on panel, 18 x 24″

45, 2004-09, Double flowering plum, oil on panel, 17 x 23″

17, 2001-10, Ruth, oil on panel, 18 x 24″ (detail)

3, 1998-03, Rachel, oil on panel, 18 x 24″

2, 1998-03, Elizabeth S., oil on panel, 18 x 24″

Miscellaneous

Audio Tour: RETOUR [post], 2023, binaural museum tour and guided visualization

Audio Tour: Souvenir [post], 2022, binaural museum tour and guided visualization

Custom Binaural Microphone Chassis, 2022, industrial design

ANIMVS·SVMMISSVS [post], 2018, installation

Custom 50L6 Valve State Amplifiers [post], 2015 – 2019, prototype chassis art, industrial design, and electronics for CoffmanLabs

The Great Clock of Time [post], 2013, album art and dub plate design for Kris Weston

Honors

Educator-Lecturer, 2018, lecture series, “Philosophy, Aesthetics, and Draftsmanship”, The People’s Colloquium, Portland, OR

Artist-in-Residence, 2009 – 2010, 2016 – 2017, Splendorporium, Portland, OR

Artist-in-Residence, 1996, 1997, Overton High for Creative and Performing Arts, Memphis, TN

University of Memphis, 1993 – 1995, 4-year Fine Art Merit Scholarship

1992 Tennessee Governor’s School for the Arts, MTSU

Selected Exhibitions

July 2020, Untitled Enthymeme, solo show, CHAOS Gallery, Portland, OR

May 2019, Unicorn, solo show, CHAOS Gallery, Portland

December 2018, Encyclical, group show, Elisabeth Jones Art Center, Portland

August 2018, The Seven Deadly Sins, group show, Splendorporium, Portland

November 2017, Self Care, group show, Ford Gallery, Portland.

October 2017, Value Test I, solo show, Portland.

July 2012, obj≠ction — Gender, Sex, Law, and Social Change, group show, Lewis & Clark College, Portland.

December 2010, Insolitus: Suda, Cifuentes, Wall, Skotia Gallery, Santa Fe, NM.

July 2010, Naked, group show, Skotia Gallery, Santa Fe.

June 2010, Elliott Wall, solo show, Splendorporium, Portland.

June 2010, Two of a Kind, group show, Froelick Gallery, Portland.

February 2010, Erotic Art, group show, Beet gallery, Portland.

September 2009, Elliott Wall and Andy Paiko, group show, Splendorporium, Portland.

August 2006 – June 2009, (Various), Manette Gallery, Portland.

December 2008, Puddletown, group show, Compound Gallery, Portland.

May 2008, Buckwheat & Grits, solo show, Carr Gallery, Idaho Falls, ID.

June 2006, Alien, group show, Mark Woolley Gallery, Portland.

October 2005, Eyes Follow You, solo show, Concrete, Portland.

July 2005, Taste, group show, Thomson-Peterson, San Francisco, CA.

January 2005, Something of Our Common Feeling, group show, Delta Axis, Memphis, TN.

November 1998, Jean-Luc Godard, group show, Hideaway, Memphis.

May 1998, solo show, Edge Gallery, Memphis.

September 1994, group show, University of Memphis Gallery.

Press

Art exhibit ‘Unicorn’ goes big with exciting countercultural themes by Jeffrey Gillespie, Oregonian, May 2016

Vous n’aurez pas la peau de Maman Küsters by Rod Glacial, mention, Vice Magazine (France), March 2016

Insolitus: Suda/Cifuentes/Wall by Richard Tobin, THE Magazine, p.48, February 2011

People are Strange by Casey Sanchez, Pasatiempo, p.42, December 17, 2010

The Oregonian, Rebel Galleries, A&E, April 27, 2007.

The Oregonian, Artwalk feature, March 2007.

Portland Monthly, On the Town, p.233, October 2005.

Commercial Appeal, A splash of great painting by Fredric Koeppel, January 21, 2005.

Facing It: Nine artists explore human expression by Carol Knowles, Memphis Flyer, February 18, 2005.

Other

Maman Küsters, Happy Meal, (vinyl), album art, June 2023

Maman Küsters, Alice de Lewis Glisse, album art, April 2020

Maman Küsters, L’Extase Et La Terreur, (vinyl), album art, April 2020

Lackluster (Esa Ruoho), Spoo/Something Bothersome, album art, April 2020

Lackluster (Esa Ruoho), Catch23​/​Kosmos9, album art, March 2020

Lackluster (Esa Ruoho), Ubiquity: Bolivian Angel Remix, album art, February 2020

Maman Küsters, Cherche Querelle, album art, December 2019

Holly Andres, commission, seven 82 x 90″ painted backdrops for photoshoot, May 2018

Dale Cooper Quartet & The Dictaphones: «[We try to bring humor into the darkness]», Rolling Stone Russia, Metamanoir, album art bandcamp embed, November 2017

Maman Küsters, Sous La Peau De Maman Küsters, album art, 2016

Holly Andres, commission, painted backdrop for photoshoot, December 2013

Dale Cooper Quartet & The Dictaphones, Metamanoir, album art, 2011

Themes and Foundations of Art (ISBN 0538429739) by Elizabeth Katz, pp. 357, 370, 1995.

Kind Words

“…An abundance of lush imagery that draws upon multiple themes, from Aristotelian philosophy to Maslow’s hierarchy of needs. The paintings are painstakingly produced and filled with a technical excellence that does not rely on creative cliches. The artist riffs on themes of occultism, eroticism and sacred geometry in a show that is exciting and countercultural. […] Wall’s artwork is carnal, lyrical, original and uplifting. His subject matter is in distinct contrast to that of some of the safer art venues around town… it’s well worth a visit if your aesthetic interests expand beyond the traditional.”

from Art exhibit ‘Unicorn’ goes big with exciting countercultural themes by Jeffrey Gillespie, The Oregonian, May 20, 2019

“The wild card of the bunch is Elliott Wall…. His standout piece in the Insolitus show is Lyre Plyre… [he] twists the woman’s locks into an up-do that is part Cleopatra and part 1920s flapper encased in a baroque glass frame – so ersatz rococo it would be at home in a Tijuana watering hole or at least a self-consciously hip dive bar.”

from People are Strange by Casey Sanchez, Pasatiempo, December 17, 2010

“Wall follows the nineteenth century convention for figure studies involving a nude female, in which the model is portrayed as the guise of some classical goddess or mythic maiden…. The challenge to realist painting from photography, dating from the late nineteenth century, fades today in comparison with the mimetic capacity of digital technology to create and manipulate high-definition, 3-D imagery.  Perhaps the only effective response can be found in the work on view in Insolitus, one which is marked, in the approach of all three artists, by an overriding sense of creative control and an underlying concern for poetic import.”

from Insolitus: Suda/Cifuentes/Wall by Richard Tobin, THE Magazine, February 2011

“…Portland, Oregon, artist Elliott Wall’s No One Wants To See This explores sexuality and mortality with postmodern appropriation and esoteric references… a complex and provocative work.”

from Nine Artists Explore Human Expression by Carol Knowles, The Memphis Flyer, February 18, 2005

“Skill comes into play in a fashion that reaches for the sublime… The ambiguous conjunction of elements here is unsettling in its marriage of allure, eroticism, religion and incantation, all the more so because Wall’s technical agility… is utterly frictionless, almost luxurious.”

from A Splash of Great Painting by Fredric Koeppel, Commercial Appeal, January 21, 2005

Little Bird: “Which emerging artist do you think more people should know about?”

Andy Paiko: “Elliot Wall, A Portland, OR painter and evil genius.”

[To contextualize this amazing remark, he is only pointing out the very true fact that “evil” is a relative term, and that I am simply not as virtuous or excellent as he is— EW]

Join me in disabling all web analytics

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Statement of Purpose

We live in a wish-fulfillment society and are all drowning in beauty, yet generally we are all possibly more demoralized than ever. Beauty, and pleasure, at least as we now understand them, are clearly not ultimately satisfying. Art, therefore, should be edifying. If it isn’t, then it only attends to the current sensibilities of the audience and is proportionally only craft. The criteria for success with craft is well understood, but there seems little point in making Art which the viewer already fully accepts. The more artistic a work, the more inscrutable, and the more an education it can be. Beauty is being studied scientifically, and will also soon be well understood, and beautiful things are at all times being created almost totally programmatically through technique alone, which is to say, as a craft. We’re extremely susceptible to beautiful forms of any kind, but it begins to feel vacuous and predictable, as just another pretty face or pretty painting. Then some artists try to ugly things up to relieve the boredom; and surrealism depends on the viewer having a rather normal, sane view of reality to scandalize— but it’s rather unambitious, seeking merely to scandalize normal, sane people. For now I’ve settled on making art that is beautiful, crafty, or good enough for our purposes, preferring to establish instead a technique of thinking and of living life, portraits of ideas of how to Be.

Audio Tour Full Text: Ancilla — Avenir, Courses

Annotations for Avenir

1. Celia Green, The Human Evasion, Chapter 1

Human beings live in a state of mind called ‘sanity’ on a small planet in space. They are not quite sure whether the space around them is infinite or not (either way it is unthinkable). If they think about time, they find it inconceivable that it had a beginning. It is also inconceivable that it did not have a beginning. Thoughts of this kind are not disturbing to ‘sanity’, which is obviously a remarkable phenomenon and deserving more recognition.

Now sanity possesses a constellation of defining characteristics which are at first sight unrelated. In this it resembles other, more widely accepted, psychological syndromes. A person with an anal fixation, for example, is likely to be obsessional, obstinate, miserly, punctilious, and interested in small bright objects. A sane person believes firmly in the uselessness of thinking about what he does not understand, and is pathologically interested in other people. These two symptoms, at first sight independent, are actually inextricably related. In fact they are merely different aspects of that peculiar reaction to reality which we shall call the human evasion.

As I shall be using the word ‘reality’ again I should make it plain at once that I use it to mean ‘everything that exists’. This is, of course, a highly idiosyncratic use of the word. I am aware that it is commonly used by sane people to mean ‘everything that human beings understand about’, or even ‘human beings’. This illustrates the interesting habit, on the part of the sane, of investing any potentially dangerous word with a strong anthropocentric meaning. Let us therefore consider the use of ‘reality’ a little longer.

It is first necessary to consider what might be meant by the word ‘reality’ if it were usually used to mean ‘everything that exists’. It would have to include all processes and events in the Universe, and all relationships underlying them, regardless of whether or not these things were perceptible or even conceivable by the human mind. It would also include the fact that anything exists at all — i.e. that there is something and not nothing. And it would include the reason for the fact that anything exists at all, although it is most improbable that this reason is conceivable, or that ‘reason’ is a particularly good name for it.

In fact it is quite obvious that to most people ‘reality’ does not mean anything like this.

Particular attention should be drawn to the phrase ‘running away from reality’ in which ‘reality’ is almost always synonymous with ‘human beings and their affairs’. For example: ‘It isn’t right to spend so much time with those stuffy old astronomy books. It’s running away from reality. You ought to be getting out and meeting people.’ (An interest in any aspect of reality requiring concentrated attention in solitude is considered a particularly dangerous symptom.) This usage leads to the interesting result that if anyone does take any interest in reality he is almost certain to be told that he is running away from it.

Although so far we have given only one illustration, some impression may already begin to emerge of the way in which the sane mind has allocated to all crucial words meanings which make it virtually impossible to state, let alone to defend, any position other than that of sanity.

In fact by now this is the chief means employed by sanity to defend itself from any possible attack. Formerly it found it necessary to claim a certain interest in ‘reality’ in the sense of ‘that which exists’. There were religions, and systems of metaphysics, you may remember, which professed a certain interest in the creation of the world, and the purpose of life, and the destiny of the individual.

Now no such disguises are necessary.

2. Aristotle, Nicomachean Ethics, VI.12

What is the use of philosophic and of practical wisdom? Puzzles, and some solutions:

Difficulties might be raised as to the utility of these qualities of mind. For (1) philosophic wisdom will contemplate none of the things that will make a man happy (for it is not concerned with any coming into being), and though practical wisdom has this merit, for what purpose do we need it? Practical wisdom is the quality of mind concerned with things just and noble and good for man, but these are the things which it is the mark of a good man to do, and we are none the more able to act for knowing them if the virtues are states of character, just as we are none the better able to act for knowing the things that are healthy and sound, in the sense not of producing but of issuing from the state of health; for we are none the more able to act for having the art of medicine or of gymnastics. But if we are to say that a man should have practical wisdom not for the sake of knowing moral truths but for the sake of becoming good, practical wisdom will be of no use to those who are good; but again it is of no use to those who have not virtue; for it will make no difference whether they have practical wisdom themselves or obey others who have it, and it would be enough for us to do what we do in the case of health; though we wish to become healthy, yet we do not learn the art of medicine. (3) Besides this, it would be thought strange if practical wisdom, being inferior to philosophic wisdom, is to be put in authority over it, as seems to be implied by the fact that the art which produces anything rules and issues commands about that thing.

These, then, are the questions we must discuss; so far we have only stated the difficulties.

Now first let us say that in themselves these states must be worthy of choice because they are the virtues of the two parts of the soul respectively, even if neither of them produces anything.

Secondly, they do produce something, not as the art of medicine produces health, however, but as health produces health; so does philosophic wisdom produce happiness; for, being a part of virtue entire, by being possessed and by actualizing itself it makes a man happy.

Again, the work of man is achieved only in accordance with practical wisdom as well as with moral virtue; for virtue makes the goal correct, and practical wisdom makes what leads to it correct. (Of the fourth part of the soul—the nutritive—there is no such virtue; for there is nothing which it is in its power to do or not to do.)

With regard to our being none the more able to do because of our practical wisdom what is noble and just, let us begin a little further back, starting with the following principle. As we say that some people who do just acts are not necessarily just, i.e. those who do the acts ordained by the laws either unwillingly or owing to ignorance or for some other reason and not for the sake of the acts themselves (though, to be sure, they do what they should and all the things that the good man ought), so is it, it seems, that in order to be good one must be in a certain state when one does the several acts, i.e. one must do them as a result of choice and for the sake of the acts them-

selves. Now virtue makes the choice right, but the question of the things which should naturally be done to carry out our choice belongs not to virtue but to another faculty. We must devote our attention to these matters and give a clearer statement about them. There is a faculty which is called cleverness; and this is such as to be able to do the things that tend towards the mark we have set before ourselves, and to hit it. Now if the mark be noble, the cleverness is laudable, but if the mark be bad, the cleverness is mere smartness; hence we call even men of practical wisdom clever or smart. Practical wisdom is not the faculty, but it does not exist without this faculty. And this eye of the soul acquires its formed state not without the aid of virtue, as has been said and is plain; for the syllogisms which deal with acts to be done are things which involve a starting-point, namely, ‘since the end, i.e. what is best, is of such and such a nature’, whatever it may be (let it for the sake of argument be what we please); and this is not evident except to the good man; for wickedness perverts us and causes us to be deceived about the starting-points of action. Therefore it is evident that it is impossible to be practically wise without being good.

3. Thucydides, History of the Peloponnesian War

Words had to change their ordinary meaning and to take that which was now given them. Reckless audacity came to be considered the courage of a loyal supporter; prudent hesitation, specious cowardice; moderation was held to be a cloak for unmanliness; ability to see all sides of a question incapacity to act on any. Frantic violence became the attribute of manliness; cautious plotting a justifiable means of self-defense. The advocate of extreme measures was always trustworthy; his opponent a man to be suspected. To succeed in a plot was to have a shrewd head, to divine a plot a still shrewder; but to try to provide against having to do either was to break up your party and to be afraid of your adversaries. In short, to forestall an intending criminal, or to suggest the idea of a crime where it was lacking was equally commended, until even blood became a weaker tie than party, from the superior readiness of those united by the latter to dare everything without reserve; for such associations sought not the blessings derivable from established institutions but were formed by ambition to overthrow them; and the confidence of their members in each other rested less on any religious sanction than upon complicity in crime.

4. Noam Chomsky, Propaganda and the Public Mind

We still name our military helicopter gunships after victims of genocide. Nobody bats an eyelash [redacted].

5. Nietzsche, Beyond Good and Evil, Aphorism 262

A SPECIES originates, and a type becomes established and strong in the long struggle with essentially constant UNFAVOURABLE conditions. On the other hand, it is known by the experience of breeders that species which receive super-abundant nourishment, and in general a surplus of protection and care, immediately tend in the most marked way to develop variations, and are fertile in prodigies and monstrosities (also in monstrous vices). Now look at an aristocratic commonwealth, say an ancient Greek polis, or Venice, as a voluntary or involuntary contrivance for the purpose of REARING human beings; there are there men beside one another, thrown upon their own resources, who want to make their species prevail, chiefly because they MUST prevail, or else run the terrible danger of being exterminated. The favour, the super-abundance, the protection are there lacking under which variations are fostered; the species needs itself as species, as something which, precisely by virtue of its hardness, its uniformity, and simplicity of structure, can in general prevail and make itself permanent in constant struggle with its neighbours, or with rebellious or rebellion-threatening vassals. The most varied experience teaches it what are the qualities to which it principally owes the fact that it still exists, in spite of all Gods and men, and has hitherto been victorious: these qualities it calls virtues, and these virtues alone it develops to maturity. It does so with severity, indeed it desires severity; every aristocratic morality is intolerant in the education of youth, in the control of women, in the marriage customs, in the relations of old and young, in the penal laws (which have an eye only for the degenerating): it counts intolerance itself among the virtues, under the name of “justice.” A type with few, but very marked features, a species of severe, warlike, wisely silent, reserved, and reticent men (and as such, with the most delicate sensibility for the charm and nuances of society) is thus established, unaffected by the vicissitudes of generations; the constant struggle with uniform UNFAVOURABLE conditions is, as already remarked, the cause of a type becoming stable and hard. Finally, however, a happy state of things results, the enormous tension is relaxed; there are perhaps no more enemies among the neighbouring peoples, and the means of life, even of the enjoyment of life, are present in superabundance. With one stroke the bond and constraint of the old discipline severs: it is no longer regarded as necessary, as a condition of existence—if it would continue, it can only do so as a form of LUXURY, as an archaizing TASTE. Variations, whether they be deviations (into the higher, finer, and rarer), or deteriorations and monstrosities, appear suddenly on the scene in the greatest exuberance and splendour; the individual dares to be individual and detach himself. At this turning-point of history there manifest themselves, side by side, and often mixed and entangled together, a magnificent, manifold, virgin-forest-like up-growth and up-striving, a kind of TROPICAL TEMPO in the rivalry of growth, and an extraordinary decay and self-destruction, owing to the savagely opposing and seemingly exploding egoisms, which strive with one another “for sun and light,” and can no longer assign any limit, restraint, or forbearance for themselves by means of the hitherto existing morality. It was this morality itself which piled up the strength so enormously, which bent the bow in so threatening a manner:—it is now “out of date,” it is getting “out of date.” The dangerous and disquieting point has been reached when the greater, more manifold, more comprehensive life IS LIVED BEYOND the old morality; the “individual” stands out, and is obliged to have recourse to his own law-giving, his own arts and artifices for self-preservation, self-elevation, and self-deliverance. Nothing but new “Whys,” nothing but new “Hows,” no common formulas any longer, misunderstanding and disregard in league with each other, decay, deterioration, and the loftiest desires frightfully entangled, the genius of the race overflowing from all the cornucopias of good and bad, a portentous simultaneousness of Spring and Autumn, full of new charms and mysteries peculiar to the fresh, still inexhausted, still unwearied corruption. Danger is again present, the mother of morality, great danger; this time shifted into the individual, into the neighbour and friend, into the street, into their own child, into their own heart, into all the most personal and secret recesses of their desires and volitions. What will the moral philosophers who appear at this time have to preach? They discover, these sharp onlookers and loafers, that the end is quickly approaching, that everything around them decays and produces decay, that nothing will endure until the day after tomorrow, except one species of man, the incurably MEDIOCRE. The mediocre alone have a prospect of continuing and propagating themselves—they will be the men of the future, the sole survivors; “be like them! become mediocre!” is now the only morality which has still a significance, which still obtains a hearing.—But it is difficult to preach this morality of mediocrity! it can never avow what it is and what it desires! it has to talk of moderation and dignity and duty and brotherly love—it will have difficulty IN CONCEALING ITS IRONY!

6. John Wheeler, Information, Physics, Quantum: The Search for Links:

In default of a tentative idea or working hypothesis, these questions, no’s and clues — yet to be discussed — do not move us ahead. Nor will any abundance of clues assist a detective who is unwilling to theorize how the crime was committed! A wrong theory? The policy of the engine inventor, John Kris, reassures us, “Start her up and see why she don’t go!” In this spirit I, like other searchers attempt formulation after formulation of the central issues, and here present a wider overview, taking for working hypothesis the most effective one that has survived this winnowing: It from bit. Otherwise put, every it — every particle, every field of force, even the spacetime continuum itself — derives its function, its meaning, its very existence entirely — even if in some contexts indirectly — from the apparatus-elicited answers to yes or no questions, binary choices, bits.

It from bit symbolizes the idea that every item of the physical world has at bottom—at a very deep bottom, in most instances—an immaterial source and explanation; that which we call reality arises in the last analysis from the posing of yes–no questions and the registering of equipment-evoked responses; in short, that all things physical are information-theoretic in origin and that this is a participatory universe.

[…]

To the question, “How come the quantum?” we thus answer, “Because what we call existence is an information-theoretic entity.” But how come existence? Its as bits, yes; and physics as information, yes; but whose information? How does the vision of one world arise out of the information-gathering activities of many observer-participants? In the consideration of these issues we adopt for guidelines four no’s.

First no: “No tower of turtles,” advised William James. Existence is not a globe supported by an elephant, supported by a turtle, supported by yet another turtle, and so on. In other words, no infinite regress. No structure, no plan of organization, no framework of ideas underlaid by another structure or level of ideas, underlaid by yet another level, by yet another, ad infinitum, down to a bottomless night. To endlessness no alternative is evident but loop, such a loop as this: gives rise to observer-participancy; observer-participancy gives rise to information; and information gives rise to physics.

Existence thus built on “insubstantial nothingness”? Rutherford and Bohr made a table no less solid when they told us it was 99.9… percent emptiness. Thomas Mann may exaggerate when he suggests that “… we are actually bringing about what seems to be happening to us,” but Leibniz reassures us, “Although the whole of this life were said to be nothing but a dream and the physical world nothing but a phantasm, I should call this dream or phantasm real enough if, using reason well, we were never deceived by it.”

7. Evelyn Waugh, Brideshead Revisited:

“I felt that I was leaving part of myself behind, and that wherever I went afterwards I should feel the lack of it, and search for it hopelessly, as ghosts are said to do, frequenting the spots where they buried material treasures without which they cannot pay their way to the nether world.”

8. Aristotle, Politics. 1253a:

Hence it is evident that the state is a creation of nature, and that man is by nature a political animal. And he who by nature and not by mere accident is without a state, is either above humanity, or below it; he is the ‘Tribeless, lawless, hearthless one,’ whom Homer denounces—the outcast who is a lover of war; he may be compared to a bird which flies alone.

2BOB Radio, Lost and Found Sounds

My audio tour “Souvenir” was just featured on Lost and Found Sounds, experimental music on 2BOB FM 104.7FM Radio, Sydney, Australia. Hamish, the host, calls the album “astonishing”… I never sent him a promo, and I had never known him or the show until now. So it would be wildly understating it to say that I’m absolutely blown away and humbled that someone appreciates my efforts and is willing to broadcast over ~5 kilowatts. Thank you, Hamish!

(Souvenir excerpt begins at roughly 8m 40s)