The notes below from Wired Magazine (Jan. 2011) shed light on how BREAKING THE LIGHT images are made through an interaction with light photons called quantum entanglement. Each image is made during a single time exposure with a hand held camera. While the shutter is closed I am “blind” to the multi-colored lights where I am shooting. The camera does a “quantum dance” that guides it movements. These excerpts shed light on how my “blind” eye influences my other open eye and vice-versa through quantum entanglement. The robin’s eyes, through a layer of cryptochrome at the retina, are theorized in this article to have quantum entanglement with the earth’s very weak magnetic field.
This immense block of church masonry and metaphysical undercurrents stands like a monolith at the approach to Taos, a guardian angel strangely looming out of the road, Ayers rock in miniature, but not in any way inferior to the gigantic red monolith in the Australian desert. A titan’s block, immoveable and immeasurable, an omniscient god looks out from the windowless adobe pueblo inhabited by the spirits of the ancestors, the Anasazi who vanished around eleven hundred A.D., long before the Rancho de Taos church was built.
It has been remarked that with the invention of photography by Niepce and others almost two hundred years ago, painting was finally freed from the bonds of realism. Painters set out on the path to modernist abstraction, which became one of the medium’s finest achievements. Because the photographer could produce an image that more closely resembled reality than painting, the painter was allowed, indeed compelled, to travel down different creative paths. Photographers would preserve an accurate transcription of reality in sharp contrast to the abstraction embraced by painters.
“European robins may maintain quantum entanglement in their eyes a full 20 microseconds longer than the best laboratory systems, say physicists investigating how birds may use quantum effects to “see” Earth’s magnetic field. “Quantum entanglement is a state where electrons are spatially separated, but able to affect one another. It’s been proposed that birds’ eyes contain entanglement-based compasses. “Conclusive proof doesn’t yet exist, but multiple lines of evidence suggest it. Findings like this one underscore just how sophisticated those compasses may be. “’How can a living system have evolved to protect a quantum state as well — no, better — than we can do in the lab with these exotic molecules?’” asked quantum physicist Simon Benjamin of Oxford University and the National University of Singapore, a co-author of the new study. “That really is an amazing thing.’”
Wabi Sabi represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is “imperfect, impermanent, and incomplete.” It is a concept derived from the Buddhist teaching of the three marks of existence specifically impermanence, the other two being suffering and emptiness or absence of self-nature .
The quantum age opened a new and enigmatic window on the hidden workings of the universe and our connection to its “machinery.” It is a virtual cosmic quantum computer, a omniscient machine made of simultaneous superposition of infinite probabilistic waves of light. Upon observation the light waves collapse into matter or inhabit an infinity of universes. Vast indeterminate, entangled and uncertain crystal clouds of probabilistic light waves, called “quantum foam” by physicist John Wheeler, fill the vast regions of space on into infinity.
The Wright brothers studied birds. This proved largely futile until they discovered the principle of the curved airfoil, because birds are inherently unstable and must constantly trim their wings. Aircraft are designed, with a few exceptions, to be inherently stable. That is, once they are “trimmed” (in level, stable flight) air currents acting on their wings and tails tend to keep them flying on a straight line. Birds trim their wings constantly like a type of fighter aircraft which “flies by wire” using computers to vary the controls hundreds of times a second in order to keep it in trim. If the onboard computer and its backups fail, the aircraft crashes.
As an artist and a sometimes curmudgeon. I’d love to meet Monet, Picasso, Matisse, Klee, Van Gogh, Moore, Rodin, Calder, De Kooning, Pollock. Mitchell, Frankenthaler, Mendieta, Bourgeoise, Basquiat and Dubuffet to name just a few. Add Weston, Newton, Avedon, Munkasi, Steiglitz and O’Keeffe, La Chappelle, Watson (Cyclops) and Adams. Add the doyen of the fashion photographers, the magazine design genius Alexei Brodovitch, and the great fashion editor Carmel Snow of Harper’s Bazarr and the list goes on and on. It will not and cannot end!
When you are ready to “die” for your honor like a samurai, or for your art, like an artist, you triumph and live. The samurai who goes to battle already “dead” comes back. The cowardly samurai who wants to live does not. Only those who hesitate die. Risk all and live! Just do it like a Top Gun and aim yourself at the devil. He will get out of your way. The fearsome fallen angel with pointed ears and tail is a pimp for the unholy and he has no taste for a battle with a fearless human. God. Satan or human, the Devil goes down!
Our twin engine plane ratchets and bumps over Patagonia, above a landscape of mountains covered with snow and ice. We are on a bumpy roller coaster, up, down, around and up buffeted by strong icy winds. I hold my Canon camera attached to a gyro- stabilizer and shoot out through the aircraft’s window. Too windy to open it. The range of snow white mountains slides by, empty of buildings of any kind.
I return to Bach, in a sometimes mad, often chaotic, and fortunately tuneful world. Who was this supposedly contented father with his family of musical children? What kind of children did he raise that left his widow, their mother Mary Magdelena to abject poverty after he died. Surely, he could not have been so selfless, loving and simple a person. Perhaps, genius that he was, totally absorbed in his music, he raised children who resented him, who secretly resented his genius even while the rich princes and patrons and the public applauded and enriched them.
The power of music derives from the singular fact that you hear music in “isolation.” When you look with your eyes, you encounter a complex field of vision filled with a multitude of objects of different sizes and colors, which I term the “camouflage effect.” When you listen to music, you hear the particular selection that you are listening to and nothing, or almost nothing else. The world around us appears to our eyes as a vast jungle filled with a thousand or a thousand thousand different kinds of trees, vines, creepers, chaos. The world of music is a mountain top, ringing in the clear air above the tempests below, where, alone, and in the dark, you hear the sough of the wind, the slide of glaciers, or the cry of a high flying bird–a crane perhaps.