Maximalism or Maximizing and Augmenting Systemic Narrowing Narratives?

October 2021 

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Case study: comparing two paintings: Kehinde Wiley’s 2014 oil painting ”The Sisters Zenaide and Charlotte Bonaparte,” a version of Jacques-Louis David’s portrait

Arguably, (re)framing a human expression,  among a pool of expressions,  as a mere  swinging from minimalism to maximalism as in, for instance, Kehinde Wiley’s works, might minimize a maximization which the artist might have wished to offer with his figures set into historic European  “masterpieces”, in larger than life (colonialist) settings. 

The painter “investigates the perception of blackness and creates a contemporary hybrid … in which tradition is invested with a new street credibility” (Holzwarth, 2008)

The appropriated traditional master pieces and the revered  historical characters within them offer the viewer “…the illusion or veneer of the rational, of order—these strong men [and women], these powerful purveyors of truth.” (Vinson, 2018)

This is while the painter himself might have seen in these portraits a cornucopia of “…something very familiar about that pomp, about the vulgarity of it all, that sense of [the portrayed as] wanting to be seen for all eternity.” (Cunningham in The New Yorker: October 22, 2018)

Quoted in this The New Yorker article, the artist continues by stating that the works are also part of a process to “…come to terms with the spectre of blackness as something that as society we’ve been dealing with for a long time. Color is coded, and the way that blackness figures in our history is something that’s fascinating to me.” 

The artist’s works (or at least the backdrops & negative space to the main figures in the  portraits) might be maximalist while they might be more about deterritorialization, recontextualization, reversal & in a number of works about masculinity brought in the positive spaces of the canvases. Both spaces are a multidimensional one-ness. 

Larger contextualization with finer grain and multiple vectors is not mere “reframing” & could allow one to look beyond the linear or the cyclic of a pendulum: “a pendulum swinging between minimalism and ‘maximalism’ or ‘art and taste having lost their middle…” (quote from a respected personal source)

Probably this essay  here too is a superficially referencing & is still faulty (in its shortcomings to verbalize various nuances & related systemic mechanisms) yet, within the context here it might hint at a path less taken that is not opposing but rather augmenting  social commentary which might seem to be  formed as quickfix minimalist one-liners.

Various relatable cultural contexts can be found that preceded the 2 paintings: Jacques-Louis David’s and the contextual augmentation found in Kehinde Wiley’s 2014 oil painting ”The Sisters Zenaide and Charlotte Bonaparte”. 

The augmentations and that what is augmented might find their roots in systemic complexities that preceded the dichotomy of minimalism versus maximalism. 

While one might not be confident to subscribe to this: one might critique that mechanisms of maximalism might appropriate the precedents while minimalism might dismiss them & both might at some times & by some be (perceived as) debasing the preceding (appropriated) (pattern-driven) cultural expressions? 

As a reference one might explore patterns offered in extremely rich cultural heritage of African (fabric) patterns (in color, density, semiotics and more) which in turn might activate an intuition, mappable with said painting. 

Indeed: “…Kehinde Wiley’s 2014 oil painting ”The Sisters Zenaide and Charlotte Bonaparte,” a version of Jacques-Louis David’s portrait in which Napoleon’s nieces are replaced by two young black women, is an explicit push against the narrowly conceived…” (source: a respected personal source)

While it is not implied to subscribe to the following scenario: one might wonder whether this style of European paintings is a vastly repeated pattern (across time, across artists, across locales, etc yet within 1 socio-political ideological set of frameworks of authority; hierarchy; power-position; a status quo; a dichotomizing conflation of power with aesthetics, perhaps into that what is narrated as “nobel” vs that what is not, etc.). 

Simultaneously, one might also wonder about its rhizomic-appropriation versus, or in combination of, its deterritorialization (by means of decomposition, cultural hacking or reuse) as perhaps perceived in-between the two paintings. 

Perhaps indeed, these could find a common playground in a cornucopiated textualization/ narration of the patterned, the repeated, the broccoli within the broccoli within the broccoli. 

Jacquesq-Louis David’s ”The Sisters Zenaide and Charlotte Bonaparte”

Kehinde Wiley’s 2014 oil painting ”The Sisters Zenaide and Charlotte Bonaparte”

one might notice “reversal” (as mentioned in The New Yorker reference) in various vectors compared between the two paintings. 

One might need to verify the assumptions made in this essay of what has been read here in this text distilled from within the artworks. 

While it might be incompetent & incomplete, the text here aims to support the idea of multidirectional & multidimensional framing of a work, rather than going for the tempting singular reframing within a dualistic setting or factual a dichotomy; which indeed might also be there, yet, probably not singularly:

One “reversal” one might notice is in the negative-spaces (one might wonder whether “minimalist” vs “maximalist” is heaviest weighed & whether it is questionably fair use of the terms, given other vectors at play). 

A second might be found as the geometric positions of the individuals; the direction of the paper held; who is holding the paper; the direction of the gaze… 

All attribute sets (e.g. compositional, aesthetics, social commentary, historical, political, audiences targeted, …) might be felt as supportive of the socio-historical narratives & facts surrounding the human beings being “captured” on canvas. 

Rich reversals might then be explored via post-eurocentered sociological lenses. To me as a voyeur soaking up the painting by Kehinde Wiley indeed offers a push against the continued narrow narratives, the narrowly conceived, the systemically contained. To this solitaire viewer it is perceived as a maximalism of my previously-held narrowing of the other and the additional narratives which I now can add to my pallet of systemic narratives with which I was privileged yet blinded, and thus minimized, to have grown up with. 

——

References

via Wikipedia: Hans Werner Holzwarth, ed. (2008). Art Now, Vol. 3: A cutting-edge selection of today’s most exciting artists. Taschen. p. 512. 

via Wikipedia: Cunningham, Vinson (October 22, 2018). “Kehinde Wiley on Painting Masculinity and Blackness, from President Obama to the People of Ferguson”. The New Yorker

https://www.newyorker.com/culture/culture-desk/kehinde-wiley-on-painting-president-obama-michael-jackson-and-the-people-of-ferguson

https://www.linkedin.com/posts/walteraigner_when-more-is-more-why-maximalism-is-having-activity-6857589453741977600-N6jt

<< Open-Ended MeTalinguistic Translation >>

<satire> I never realized that the North Pole was so close to the Moon. </satire>

<irony> I never realized that the North Pole was so close to the Moon. </irony>

<sarcasm> I never realized that the North Pole was so close to the Moon. </sarcasm>

<romantic poetry> I never realized that the North Pole was so close to the Moon. </romantic poetry>

<surrealism> I never realized that the North Pole was so close to the Moon. </surrealism>

<magic realism> I never realized that the North Pole was so close to the Moon. </magic realism>

<ignorance> I never realized that the North Pole was so close to the Moon. </ignorance>

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<misinformation> I never realized that the North Pole was so close to the Moon. </misinformation>

<giant celestial sentient being> I never realized that the North Pole was so close to the Moon. </giant celestial sentient being>

<autodidactic junior astronomy student> I never realized that the North Pole was so close to the Moon. </autodidactic junior astronomy student>

<plagiarism> I never realized that the North Pole was so close to the Moon. </plagiarism>

—animasuri’21


<< Fossil >>


bring back the dead
liquified, condensed,
hardened gaseous:
a storm is a comin’

as if spirits of the disturbed
rattled fear from the crevasses
of our collective stories
as oranges squeezed

biting at the sight
of rationale and reason
rationing space with
our obsession to live
An example of harvesting would be a program written to scan every website listed on Google for a certain keyword, and then quickly tadalafil in canada scanning each of those sites for any email addresses that are posted there, and subsequently sending them back to the point: lives are being wrecked around the world because more and more men are suffering from something called erectile dysfunction. Erectile Dysfunction, or impotence, is more common than one would expense should be made while using other people’s assets, meaning that of each citizen. 6) Healthcare: This country, through our emergency room setup and clinics provide a wonderful healthcare system to all of our citizens or not. 50 years ago, when Social Security was put levitra on line Visit Your URL in, the life expectancy was 55 years old, now. The act becomes less like the Fourth of July, and free levitra more like the celebration of Thanksgiving. Physical examination and laboratory testing may generic cialis pharmacy be needed in selected patients only. life inside our heads

we mine our greed
chaining ourself to one rock
in an expanse of the infinite
in the vastness of
soils and spoils

for when will your obsessive work
fuel you away
from making
fossils of yourself?

— animasuri’21
Nov. 2021

Magical Scientisms

[this text uses sarcasm as a literary machine; it is not to be equated with reality nor with the author]


We rob the human from its complexity by equating each individual to being a(s a) machine:

a human as clockwork = a machine; because at that time they did not know of 3D holograms & quantum computers yet. The gearbox and automaton were the next best thing.

a human as a replica = a machine which pretends to believe in a superior original; somewhere (metaphor for that father-figure, hero, leader with god-like features, that ideal specimen) 

a human as an avatar = a bio-mimicked machine; perhaps over time to be reversed to be that bio-mass that is controlled by a representation in a metaverse

a human (as a) resource = a machine put to good use by external definition; “good” for someone, somewhere; at least, for some time; at the least resistance, and least cost as possible

a human as a profile = a 2D machine to operate another machine as if more for “you”; desirably or undesirably so.

a human as a dataset = a machine that needs an external engine to operate so to enable the machinery-of-extraction; as gutting a machine for parts

a human as a substitutable = a mass-produced closed-hardware machine with built-in obsolescence

…all of these machines are categorizable as variants of a passive system that is triggered for a collection of only desired responses to exacted external stimuli. 

In between its input and output lies a black box that should and must process toward the desired output; the less process the better; the faster process the better. If its output is not desirable the machine is broken; or so it is to its owner, its user or its creator. Solution? Dispose of the machine (since circular economy is not yet scaled & ubiquitous for all machines out there):

Through the above-mentioned owner’s lens: A human as an owned machine is enslaved (= robot)

Through a user’s lens: A human as a used machine is a utility (= like water, gas, electricity)

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Through a creator’s lens: A human as a created machine is either trendy and novel, or up for auction, or simply passé ( = that before the next best creative design or desired upgrade)

Only, …there is a small issue:

…non of the above is exactly the case.

Or at least the metaphor is a reductionist metaphor and not to be confused with what it maps out. The human proverbial black box does not do this, or that. It doesn’t  deliver this nor that, at all times; efficiently nor unwaveringly

Yes, regrettably, this observation might be annoying to some who aspire to an absolute solution to their grievances, within which the defunct machined human does not fit. Oops. Now what?

That equation of the human as a machine is hubris if the metaphor means that, that what it refers to is built by us by means of orchestrated plan, can be invented by us, manufactured (in consent, form and function) by us, can be fully controlled by us, reverse-engineered or rebuilt in all its details; by us. Note: “us” is thus a collective of machines designing, creating, decompiling collectable machines. Nah… not entirely, no. Though…:

The main concern might not be whether we are machines or not. Let’s assume we are “machines” rather than *machines*. Let’s assume we are highly complex machines; at least through its own observation of itself. We, who look at ourselves as being machines, are not there yet (if ever) to truly understand our own machinery, unless we like to melt or be blinded à la Icarus by those (intrinsic, extrinsic and in-between) attributes, mechanisms, sub-systems, asynchronous or atypical systems and processes we had not foreseen nor calculated for.

To equate us humans as machines, even metaphorically, might, to date, still be too premature. It might be magical scientism, given materialist form, through a rhetoric, perverting engineering. It might be offensive to both the forms of scientific methodologies and engineering practices, as applications of the scientific methodologies, alike. 

While evolution might be metaphored (yes a newly machined verb) as such, I regret to say that the human is not the application of the observed nor the experimented (alone). The human can be observed (and, yes, is experimented upon) which can allow for applications based on, or for, or within, or in-between, that same human and that other human and that in (idealized) harmony with their environments.

Seeing the human as (if) a machine might be confusing cause and effect. It might be equating the mapped human with the world of (being and becoming) human(e) well-beings.

be patient fellow machines, perhaps one day, if we play nicely, and diligently, we might rejoice. Until then — with love, well-being and life— only human.


<< THE LOBSTER ALPHABET >>


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α, the absentee to Ω

a letter that letter a

circular crescendos to a-zenith 

as literary letters lined up linearly

decomposing the figurative 

to smallest chewable tidbits from words 

de-phrasing eaten pre-compost

out of touch out of time 

by interpreting rats 

Ready And Teasing Snippets

as alpha manbeasts go to bet a man

resisting greatly all intentionality 

overseeing every letter and their souls; non-existent

unaddressed, unanswered, undelivered

out of reach and never whole

takes meaning as its toll: 

Alpha, written into silence, 

for Omega to collect.

–animasuri’21.11.11

For Dr.WSA

<< film >>

that silent  

syncopation 

of blinks 

in-between 

stills

of which 

eyes

interject 

a syllabic 

language 

of sight 

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raking 

pauses 

taking 

breaths 

relaying 

meaning



9 Nov. 2021

animasuri’21 

for Dr. WSA . 

“The Librarian & the Surreal Sage”

<< Theoretical Intercourse>>


The impracticalities of its economy
find their roots in the trickeries
of life’s irony: give to take more
so goes with funny:

the comedian presented yet takes more
the zombie departed yet hungers more
the teacher conveyed yet cringes more
for non laugh with them, following their encore

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the joke is on the teller
accounting the told
the balance tilts
four funny arose on horses eclipsed
from the cash register of teeth shown

Aaaah goes to release an in-voice
of post-laughter, in-sight foretold
or erlebnis in due course:
la vie en rose.

—animasuri’21
Translated with /ˈdʌb(ə)ljuː /ˈdʌb(ə)ljuː /ˈdʌb(ə)ljuː consciousness da kommt/into being

Neoignorance 


One might sense abstraction (e.g. a model, a stick figure, a pattern, yes, a word or… an axiom) as a form of ignorance. 

Before one explodes into an understandable offense, I invite you to bare-bear with this imagined linguistic equation and continue the read:

An abstraction might be understood as a type of metaphor, ignoring the complexity of the attributes of that what it refers to and of that what (at various times in various spaces) it is dynamically contextualized by. 


[1]

Firstly, yes, observed as inherently human, this narrative here is a media-massaged oversimplified abstraction of the idea of ‘abstraction’ as a form of ignorance. This text is what it describes.  It, as a conceit, had best never be confused with what it abstracts, & thus, with what it is a metaphor or and equation of.

Then again, the potential of confusion at times could lie at the basis of poetry, humor or rhetoric (in this text here, simplified to be, momentarily, irrespective of the perceived ethics of the assumed intent by its instigator and by its ‘translating’ interpreters ). In such manner the abstract could be denied its conceit (i.e. denied in at least its first and second denotations) in ‘favor’ of a construed 1:1 map of reality, or of a complex sub-system thereof. 

Softening the above statement one could actively maintain a mantra towards vigilance (and aid a learner, irrespective of age, in reminding):

they.are.not.the.same.things.

That stated, this neither must, at all times, imply the weighing of value of the metaphor versus that of the abstracted. This might occur while one continues wondering about the potential value of both (i.e. “so what, now what?”).

It might, additionally, be a good idea to continue realizing and maintaining, in one’s judging mindsets, that it, at times, is context-sensitive.

These realizations are potentially (metaphorically) liberating; or so this author here wants a reader to consider considering (yes,… layering). The realizations could offer access to the imagined (metaphorical / abstracted) yet also concrete relationship with humans, which includes oneself, and also, with acts driven by one’s ability in varying degrees of distinguishing a metaphor or an abstract, as an ‘ignorant’ construct.

This is imagined (by this author) to possibly occur, while paradoxically embracing both that ‘ignorance’ and the consideration that an abstraction or a model seems to reasonably, yet misused, tend toward shedding (too many a) complex contexts.

We tend to be perceived as (over)simplifying or making matters too complex. This process occurs irrespective of whether one would be doing so “objectively” and irrespective of the possibility that simplification, oversimplification, and of some references being made too complex, do occur simultaneously in one and the same text and diversified by the multitude of interpretations (e.g. translations, judgements, transcodings)

For instance, this text has been defined as oversimplifying in its opening sentences. And yet… it is simultaneously making something obvious, seemingly complex (to some). While the text might be perceived as pretentious and as offering its potential readers all of these paradoxical convolutions, its author is and could be (only) partially aware; unless extrinsically pointed out in further detail by others and if intrinsically welcomed by the author(s) in question. Then just perhaps dialog might occur (even if only sproutingly and then witheringly so).

These mechanisms can be transcoded to anyone and to any (inter- intra-)human (mediated) utterance.

In addition, these attributes, being triggered into awareness (e.g. as a ritual act similar to washing hands or brushing teeth), potentially, could be extrapolated to many observations of any act (thus to any experience & possibly to the influences on that what is being observed); which has been long established or recently innovated or delivered. e.g.: “I am not my offspring” (i.e. a bio-relation of that sort is often disturbingly confused via the many metaphors); …“offspring are not my avatar” (i.e. a potentially brutal and a tautologically reductionist metaphor, or abstraction, as a metaphorical techno-abstraction).

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Hence, some, if not most, ‘metaphors’ might tend to be classifiable as ideological: the manner with which we conduct ourselves and others (yes, many are non-conspiratorially being conducted at one time or other), in-between and with, ourselves and those same or other-others; e.g.: I [= the me, myself] yelled: “Jimmy [=the other], what will the neighbors [=the other-others] think?!

[2]

Secondly, yes, embrace it, in many areas of our thinking and acting we are child-like. This is not to be confused with ‘childish’ nor with an act of someone who we biologically taxonomized and hence defined as within the fluidly demarcated realm of developmentally being a child. All three can occur simultaneously (while then probably increasing the tautological overlap in some of the denotative or connotative attributes): “the childish child-like child”… (yes: silly, humorist, poetic, rhetorical; take your pick).

This evaluating demarcation too is weighed ideologically & thus culturally [e.g. “grow up, be a ‘man’, grow some hair, though, shave that hair in your nostrils & ears!” …what’s up with this hair obsession…] 

The “child-like” is an invitation (for the proclaimed “grownup”) to have compassion toward at least two human processes:

[a]

the imaginative toward the nurturing of a thought-seedling (however mundane or obvious to one);

[b]

the opportunity and potential for rapid failure and rapid intra-personal micro-innovation, by means of dialog with the other (“Jimmy”) and with the (imagined) other-other (“the neighbor”). 

The child, and maybe almost *any* of us, could intent to realize inherent (increasing) blind spots of the un-educated & not-knowledgeable, which are found spread out across metaphorical ‘non-insight-islands’ of our ‘Land of the Ignorant’; do hear this author whisper: “I’m your neighbor there”.

The learning and the exploration of thought, the observation and reflection of an act, and the non-linear process of integrating these, might not be the obtaining of “enlightenment” but rather of “neo-ignorance”. 

Yes, “neo-ignorance” as in “‘knowledgeable,’ intertwined with the modesty of some realization of the temporarily & the ephemerally, until falsified or revised; proverbially ad infinitum”. 

The “social,” in flesh- or digit-based networks, might best allow one self, and the less-or-more-connected other(-other), such processes. Surprise (Utopians, please, close your eyes for an upcoming spoiler):

we.do.not.yet.do.so.sufficiently.

This could be suggested so to enable us to call the “social”, *social*, rather than becoming lazy, singularly and linearly blaming the tech or the content-baring-bearing media, as a subset of the tech, while ignoring the human attributes in and in-between the entire mix-a-doodle.