Humanity Elongated in Time

     Here is a triptych which emerged from the 308 art experiment which encapsulates a variety of human experience that is unfamiliar to most of the Western mind or Geist. We see displayed in the first image (from left to right) a mother holding her dieing, dehumanized child, as its soul struggles to escape from the moribund body and social situation it was thrown into. Above this scene, which is near common place in such places as Bosnia, Libya, Columbia etc, there is a Red Halo punctuated with a bleeding gold moon. The Red Halo conjures to mind the religious aspects of a Marxist program to bring heaven to earth, but under this banner of another possible future there sits, like a rock, this horrendous scene which escapes the lived experience and epistemological horizon of the Western Man. The gold moon is a solid block of color, but it runs, it drips down ignorant of the boundaries which halo creates. It transcends what is here, in the scene, and moves to its natural place, the ground. The gold moon says, "Beyond the horrendous veil of the present and the fancies of the future, there I will be."
     The next image is of a skull, directed at the petrified mother and her demonic dieing child. The skull has a yellow outline which gives it luminescence despite its symbolism of death. For that is what this image signifies. The child is on its way to this domain, of death. Not of the blissful heavenly idea that we have here in the West but rather of the samsaric hurricane of suffering that is found in the East. That is what the chaotic flow of oranges atop blacks signifies with its burning lack of cohesion. After a short existence of pain, sorrow and utter dissatisfaction the child must be torn from its mother and delivered into the hellish bardo to undergo it all again, except this time intensified and bare. Hell, free of the constraints of merely human forms of suffering. But, that is where he must go, down below into the undertow.
     Finally we have the angelic shadow figure, half illuminated. This is where the gold moon has come, or rather has always been. In contrast to the samsaric scene in the previous image, here there is represented a much more angelic scene. The icy blues and whites establish that what was previously chaotic to the point of melting existence down to nakedcality has cooled down to create enough solidity emerge so that a new process may begin. This solidity is signified by the squares of darker blue within the angelic coolness upon which they sit. What this heavenly castle of blue holds within it is an atom, again signaling that form has reemerged as the foundation of a new existence. Within this atom we see the gold moon again, this time only sublimated into a glistening black hole of divine gravitation. Such objects, as the gold moon and black hole, cannot help but to transcend beyond themselves and their context. This is why we again see it drip beyond the heavenly castle and the holy atom. Notice though, as the drip leaves the upper scene and enters into a vessel it transubstantiates into a shadow figure taking form. A nirvanic blowout from the divine into the creation. At his center is a spine, marked by the hand of creation. He is being prepared for re-incarnation. Who knows where he will be thrown this time, but he will always be followed by the shadow which he is, ever present Death.

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A brief exploration of Biomech art

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3098156/

Bio-mechanical harvesting of human energy in a scientific concept being explored by the government. Where the machine meets man and Borg is born. The possible need to “exercise” to have the machine operate. Thus a symbiotic relationship is born. In order for the machine to operate it requires the operation of the body. Thus a true, qua symbiotic/authentic, relationship is formed. Both parties are codependent and the result is a qualitative leap for both components. Together, they transform into the Other. That one in the future, who through Vision draws us towards it. The force of temporal mental magnetism directed towards the future. One artistic depiction of this is Dan Verkys “Goddess of War” in which a serene woman is the gravitational center of a all seeing death machine, for it is the human gravitas which is simultaneously the emenating life center and enhanced agent. What is special about Dan Verkys' image is that it illuminates the way that we are the incarnation of Kali and that the vehicle of this incarnation is the machine. Think of the godly destruction caused by a RPG hitting a single human, it is utter. Only the Gods and Hero's of legend have wielded that power, and now it is ours. Thanks to our 'symbiotic' relationship with the machine. Another representationalist of this phenomena is HR Giger. Both of these artists who represent the 'Biomech' style both tend towards a darker recreation of the phenomena of bio-mechanics. In Verkys' work there is often represented goat skulls and a general 'flavor' of the anger, misery, anguish etc. Also in Giger one gets the predatory, the violent, victimized etc.

All of these are valid interpretations of the phenomena of bio-mechanics. The relationship between humans and the machine can be parasitical as opposed to symbiotic. It may seem or even be the case that the machine is 'raping' us in a 'satanic' way. Nonetheless, the possibility remains that our relationship with the machine may be symbiotic, like that between some cultural bacteria and some all efficient machine. That is, the possibility of a bio-mechnical stylized Alex Grey exists. Think now of the development from the 'Matrix' and 'Avatar.' What happens is that people move from being merged with the Machine to with the Planet. The flavor of the development is that of from sour to sweet. With Alex Grey you have a mystical representation of the human and its relationship to the planet in his painting “Gaia.” On the left side of the painting you have a peaceful relationship between the human and the planet. The problem is that it is a romantic recreation of the Paradise Lost. What would be more artistic in Artua's sense of the word, that is, distasteful, is a convergence of Grey's visionary mysticism and Verkys' 7 Giger's bio-mechanics. This would look like the empowerment of man to God-like levels through the medium of the machine. The human could remain in any form from bodily to psychicley and the machine in any form from mechanics to programing. A visionary embodiment of man into the machine and of the machine into man.