Monday, November 26, 2007

Interpreting Glyphs

A view of glyphs of a cross or key construction



A kind of compass rose formed of keys:

News lately, and apologies

I failed to follow up on my blog activity in October, due to hiccups and developments of various kinds, however I'm returning to it now. Partly I was responding to the limited results of press activity.

My latest pursuit concerns the symbolism of glyphs, which suggest a geometrical nature to categorality. I'm not at the point of interpreting Mayan, but have clear and sudden impressions of the nature of line variations, within certain set forms.

The Motist has not yet been published. I continue to correspond with Phil Hall about eventual suitability, most currently about revising the introduction.

Perpetual motion has taken a backseat. Unless some virtue is seen in my posted designs it doesn't seem like anything will come of them. I'm still interested in automata, which play a special role as expressions of enginuity (e.g. Rube Goldberg devices, self-executing series, machine-as-metaphor, toys as thought experiments, etc.) but lately my concepts have remained concepts without resulting in anything commercial or demonstrative.

It was a jealous dissapointment to find an artist's wire structures in a boutique; one device operated by a crank was made to look fancifully like leaping fish, mounted on a wooden stand, pricetag $300. I was amazed I hadn't seen these before, yet also fascinated at the design. Its simple enough, and yet has such wonderful effects. True perpetual motion might aspire to be equally precious and rare. Even without a patent, maybe such devices could be sold in mass as curios. Building a miniature model might secure my name, even if it didn't secure a large income. I identify with these things so consoledly, I don't see how they would not be a greater part of my life.

Corruscated Rind



An ink drawing of the "second cycle" of motistical ink. The second cycle is indicated by distance from strict architectural forms in favor of a landscape that covers the entire page; the mythology becomes less one of fables and closer to futurism and objects of the psyche. Instead of a wire-frame or stone surface studded with holes, I approximate it to a garden or curving sheets of iron.

Thursday, November 1, 2007

Hartford Courant

Nov. 1st, 2007:

TECH/SCIENCE, "Nutmeggers on the Net: Essences and Sentiments"
by Phil Hall


...

Motism Made Easy

Also in New Haven is 24-year-old Nathan L. Coppedge, who is bringing motism to the Net masses via The Motist Agenda (motism.blogspot.com). Coppedge defines motism as "a movement based in philosophy, manifest in art and applicable to literature, described in the unpublished book "The Motist: A Free-Thought Manifesto" by Eucaleh Terrapin.

Eucaleh Terrapin is a nom de plume for Coppedge, a librarian during the day and digital philosopher/artist. Beyond his espousal of motism, he has used the Net to present his abstract art (nathancoppedge.com) and link the concepts of perpetual motion with artistic expression (impossiblemachine.com).

The Motist Agenda represents Coppedge's platform to blend art, philosophy and theories of motion into a new intellectual school.

"For the most part, I needed an 'official venue' for the ideas I've been sheltering for several years", he says. "A reason to keep going, and breathe life into the dream. Partly it's an acceptance of a more strictly academic role, even in absence of conventional qualifications."

It's been something of a tough sell though.

"Overall, I've found it difficult to advocate a philosophy," Coppedge says. "The majority of forums I find are caught up in old arguments. There is resistance, perhaps even by law, to the notion of perpetual motion. People would rather criticize the physics of the situation than consider the metaphysical side of what perpetual motion would mean."

Though his web traffic is on the low side--Coppedge diplomatically notes his May-launched blog is "still picking up"--he believes he can make motism matter.

"Because of the explorative nature of the art, and the diagrammatic nature of the philosophy, they interrelate to such an extent that I've begun to see artwork as almost an axial structure, a bigger but less careful metaphor than philosophy," he says.

"Art is a view, but not always a view of the real or even desired. Yet the goal is to make it real. Philosophy, insofar as it attains knowledge, is a system which describes something that can be trusted, something I would rather call a machine than a zero."


This article marks a major point, even if the view understandably accounts for the plight of the ideas.

[Later Commentary: Motism became Modism in later editions, but I still seek publishing]