Sunday, June 7, 2020

Artist Block

Hello. How are you? You look great! Have you (gained/lost) weight. Well, it suits you! I’m well thanks for asking.

Let’s get to it.

So art block.  For a little over a year I have been trudging through an expansive art block. It has been, in the words of Abraham Lincoln: “About as fun as a chapped ass”.  It has very recently faded and slipped away, but it has been troubling.

Let’s go through what art block is and then some stuff to work through.

Art block isn’t one thing!  Surprise!!  I’m sure you are aware of this but just to be sure we start out with a good premise.  It can include stalled imagination, lack of ability to focus, dissonance between expectation and skill, slipping into tedious habits, distortion in proportion, forgetfulness, and difficulty.

Let me address this last first.  With any expertise comes ease.  Even something like automation.  You don’t need to think about it, it just happens.  Here is a brief video about it:
https://youtu.be/-nhRPVWM9A0

With expertise comes an expectation of ease.  You go into projects with the ease of moving your fingers or walking.  But like suffering an injury to nerves these ready actions can become shockingly difficult. This effect is called “the yips” in golf, but has other names in other sports and playing musical instruments.  Your brain, amazing as it is, is a fallible, ever shifting, thing. It builds patterns based on repetition and value. It takes time to reconfigure, rewrite, and shift. At times it can get tangled and overworked. It can even propagate misreads. Visual art (ooph, I hate these terms but it will have to do) is a highly complex set of activities and unlike golf and single musical instruments isn’t quite as dependent on one family of interactions. The yips aren’t as likely to end a career in art as they are in golf.  Fortunately, as part of the package an artist will have to reinvent physical and mental methods fairly frequently.  But that isn’t to say it is a walk in the park.

A way to deal with the aspect of difficulty is changing media, study (without practicing-just look and solve), exercise, and deliberately breaking habits.  Find a habit, break it. There won’t be immediate results.  Creating new patterns and standards in your brain takes time, so just ride the disappointment and frustration as calmly as possible and proceed.  What else can you do?

Stalled imagination: This can be related to “the yips”.  None of the aspects of block is independent of the rest.  But strangely the fix might be indirect.  Sometimes when you draw a face the nose doesn’t seem right.  So you redraw the nose about 50 times until the paper is compromised and tattered.  It finally dawns on you every nose was acceptable, it was the eyes and mouth that were the offenders. Your point of focus is off-you are fixing what isn’t broken. Your attention lands on the thing that points out the problem not the problem itself. It is misattribution based on new awareness. Stalled imagination is much like this.  The problem isn’t your imagination the problem is boredom, or a lack of new information to feed novelty and discovery.  You have retread the alleys of your best art high too much, and need new things to learn.  I don’t mean new art things to learn (though that may be a parallel part), I mean in your life.  You need to do new things, face new challenges, difficulties, joys etc.  Your imagination is dependent on your ability to be actually alive and subject to experience.  Don’t believe in the “introvert” myth.  To draw worlds you have to live in the world.
Current events take note.

Lack of ability to focus:  This one is rough and has many factors…and few fixes. So attention is an expansive issue.  Some of which is chemical, or dependent on brain function that is highly variable moment to moment. Depression can affect attention, as can caffeine, sound, driving awareness (like thinking of the action of your fingers while trying to draw, or the actions of your hands or eyes while driving), among many other things. So what do you do?  How do I know?!  I’m not your dad!  Wait…sorry, sorry, lost track of the convo…

Like that last sentence…divert attention in a completely different direction.  As it is so variable and some of it out of reach for fixing, diverting and doing something else might be in order.  If it is persistent there might be underlying physical or chemical issues to consider.  Nothing interrupts attention, memory, and continuity like an overload of stress hormones. This may include living conditions, work conditions, or disorders.
Shut off the damn news!  Seriously-it is in made to sabotage attention and continuity to create addictive “watching” habits - eyes on screens and compulsive clicking.  That’s why it is persistent cliff-hangers.  It is herding to the next click.  Read the news if you have to, but avoid attention destroying habits.

Dissonance between expectation and skill:  Drawing is a complicated process.  It incorporates many cognitive functions- subtle and overt.  Some have to do with your ability to control and measure pressure and angle.  Other parts have to do with projecting agency and “theory of mind”.  Still others have to do with how your brain understands your body in space, motion, and angle. Recognition of these experiences is itself a cognitive set.  These are at times competing cognitive functions or are uncoordinated.  Your expectation of what you can do, or your standards, can jump ahead of your mechanical knowledge.  But it will seem like you should know how to do it.  But this is a misunderstanding.  It may take a few tries to recognize the problem, but some intensive study will help.  Again, don’t expect immediate results.  It takes some time for your brain to process.

Slipping into tedious habits: Habits!  Part of art is feeding the exploration and discovery of the artist. Without intention we are mapping and projecting our senses of space incrementally into new territory.  Literally.  But we are also satisfied and fulfilled by successes.  It has been noted that addiction is a learning error. Drug addicts have been known to return to the place of their best high as if it magically holds some essence of the high and if they reproduce the ritual of their high it will come back.  This learning error is mirrored in habit.  Ritually returning to actions and sequences that had success becomes extremely tedious and stunts development.  It is a learning error.  Successful tactics become tools and can be incorporated into practice and are additive, repetitive rituals stunt, frustrate and create tedium.   Break your habits and unnecessary rituals, but don’t throw the baby out with the bath water, useful tools and recurring tactics are not habits.

Distortion in proportion:  At times you may find that your sense of proportion in figures, faces or composition are surprisingly distorted.  Sometimes the distortion will be consistent across images.  Overlarge hands, long or squat faces, big torso and small legs, big eyes and small nose, etc. This might be a mapping problem or how you feel vision, and, in turn, how your experience of vision will contort to match the feel.  When you recognize the distortion you can incorporate testing and adjusting this personal idiom in your regular work.  But sometimes your work will suddenly shift, become distorted and messy and you can immediately recognize it. You may note this under the scientific phrase : “My work looks like crap”.  And so it does!  But exercise can help this as can study, as can anatomy study, especially novel study.  Approach studying anatomy looking for a new angle or different approach, as you are likely fatiguing your patterns and entering habits.

Forgetfulness: Again this can have any number of causes. Sometimes the fix is a simple study session or review.  But other times it can be systemic in drawing.  The coordination and sequences you use to create the images can drop out, lose connection, and or stumble along too late. You actually have to think through what was previously automatic.  It can be surprising, disappointing and frustrating to have to manually set up what was so easy before.  Likewise, it can undermine confidence and exacerbate the issue.  It can get so bad you question if you ever knew how to draw or paint.  Again there can be real and serious causes for this.  But barring the worst case scenarios, some fixes include the strange idea of starting over.  Accept, briefly, that you have forgotten forever, or that you never knew and that things are broken.  Then proceed to go study and learn as if starting fresh. Assume: 1. It won’t take very long to learn and 2. It’s not a big deal.  With this relaxed premise in place go study.   You will quickly find you do recall, your anxieties will ease, and you will become very bored as it turns out: you actually do know all the lost stuff and nothing was forgotten.  Abstracting your abilities (like saying “aluminum” or “cinnamon”) seems like forgetfulness and is a sign of fatigue or repetition.

I hope that was helpful.

Friday, May 4, 2018

Devil’s Dictionary Artist’s Edition

 Art-noun \ ˈärt \
1. A term used to justify and legitimize terrible ideas.
2. A term of prestige tacked onto nonsense.
3. Something that seems mysterious used to beguile and rob the gullible.
4. An extremely ancient term used to describe extraordinary experiences.  This experience being triggered by coherent configurations and combinations that are like to the patterns of the world as gained through experience but amplified into hyperreality or time distortions. (Rare but still accurate).
5. The state of being cognitively manipulated into extra reality.
6. Nested packages of information transmitted via material configurations that in turn create a toolkit of cognitive effects.  Ex: A drawing is a configuration of contrasted curves, edges, boundaries, intersections, and values to indicate forms and patterns familiar to what the brain experiences in space.  As this hierarchy of data escalates the brain creates meaning and agency.  It clarifies pattern from noise.  The clearer the patterns the more convincing the drawing.  These patterns can be impossible as facts, but acceptable as experience.

Artist-noun art·ist \ ˈär-tist \
1. One skilled in the fine arts.  Fine arts, of course, being nonsense.  Fine arts vs practical arts isn’t a thing.
2. Everyone, in their own special way, being a wizard, saint or prophet.  But not really.
3. A do nothing, lazy, pretentious, low level con man.
4. A saint, sometimes called a “master”, whose insights and sensitivity are beyond question.
5. Someone who expresses themselves all over the place without regard or considering if that is even a good idea. (See Expression)
6. Someone who can, through careful study, experiment and practice, induce a state of art by manipulating materials or signals to create cognitive effects (see art definitions 4-6).

Critic- noun  crit·ic  \ ˈkri-tik \ syn vandal, asshole, fraud, parasite, predator
1.A self confirmed expert without expertise in the subject they address.
2.An arm chair quarterback
3.A huckster with an intent toward vandalism as a point of power.
4.One who cannot practise what they preach.
5.A failed personality cult leader.

Critique - noun  cri·tique  \ krə-ˈtēk , kri- \
Etymology: from krienin- to separate or divide. To judge or separate.
1.A popular method of gathering together in a group to pillary one another and vandalize work.
2.A method of mining for faults and errors in the work of others without the necessity of any skill or knowledge in that work.
3.An act of spite under the guise of assistance.
4.A demand to do violence to reason and  submit to the arrogance of others for fear of being proclaimed arrogant.
5.A non-sexual sadistic and masochistic relationship between parasites and predators.
6.Arrogating the position of the artist without having to do the artist’s work.
7.The evasion of putting your money where your mouth is.
8.Group assholery.

Epic- noun  ep·ic  \ ˈe-pik \ syn Pop, umph, boom!, bledow, kersplash, poit, and other Don Martin borrowings.
1.A word lacking any definition often said while using explosive hand gestures and a dramatic inflection.
Ex: “We need this logo to be epic!”, “That image needs to be more epic!  More ‘umph!’, you know?”
2.A term indicating bluffing.  Often best addressed by the phrase “shut up.”

Expression (or the theory of expression in art)- noun ex·pres·sion \ ik-ˈspre-shən \
1. A late 19th century philosophical idea of what art is from the likes of Croce and Tolstoy.  Mainly, based in the idea of magic and voodoo dolls but disguised in philosophical language.  Ex-press meaning to push out was, in summary, meant to indicate the artist was taking their inner self and putting it into outer objects. Harry Potter fans might consider a horcrux. But the “horcrux theory of art” sounds stupid.  The theory of expression was and is often linked to expressing emotions.  Emote means “move out”.  So expressing emotions is to “press out move outs”.  I am starting to prefer the horcrux theory.
2. A fossil of an idea showing how far we have come in understanding when compared with recent cognitive science.
3. A word, of unknown meaning, used to authorize something someone called “art".
4. A term used to emotionally blackmail others when an idea or claimed piece of art is questioned.  The word “personal” is often attached to endow the right to be personally insulted.  Ex: “How can you question his personal expression?  Who are you to judge?”  This idea implies a mysterious ownership.

Just -adjective \ ˈjəst \
A word used by conmen and clients to undermine everything you do and everything you are.  An attempt to minimize the extraordinary.  Making the worst cause seem the better in a single word. Smallifying what is big. Smally Bigs.

Objective -adjective  ob·jec·tive  \ əb-ˈjek-tiv , äb- \
1.Not subjective (see Subjective).
2.As perceived without distortion or interpretation…making it not a perception.  The act of perception distorts, translates, recombines, and confabulates.  If you perceive it you already broke it.
3.Quantitative, though this idea rarely comes up as it is frowned upon to think art may involve calculation, analysis, or unemotional/unromantic things.

Perspective-noun per·spec·tive \ pər-ˈspek-tiv \
1. a term used in art to note you know an art term. See also “use” as in “use of color”.
2. A way of saying you understand the point of view of another without any knowledge of that point of view.  Speaking for another in such a way as to shrug off responsibility to a generalized scapegoat. An indicator one is pretending to be the representative of a demographic one has never consulted.
3.A term used in the attempt to become the vox populi, and therefore the vox dei without first consulting populi or dei.
Ex:
"From the audience perspective, this terrible idea is justified”.
"From a player perspective this offensively stupid idea I’m espousing is legitimized.”
"From the perspective of these voiceless suckers you can’t verify, what I’m saying has authority.”

Pop - verb  \ ˈpäp \ syn Epic
1.In art, this means, “I have no idea what I’m talking about”.  Ex: “We need something epic! Something that really pops!”  “When placed side by side these really pop!”
2.A word used to suggest excitement, when nothing exciting is happening.
3.A word used to indicated someone does not know the properties and attributes of creating an experience, but can clumsily discribe their experience.
4.Describing something that draws attention, but not understanding it is many complicated things happening simultaneously.
5.A diagnostic word to discern a bullshitter.

Style-noun \ ˈstī(-ə)l \
1. A description of the limit of one’s abilities.
2. An attempt to endow authority to a lesser set.
3. Proclaiming one’s vices as virtues.
4. Carefully, and with expertise, excluding some data, while amplifying other data to compensate for the exclusion, thereby giving a coherent, but noticeably idiosyncratic experience. (Antiquated use).
5. Using a confined, economic, limit of information to great effect. (Rare).

Subjective- adjective  sub·jec·tive  \ (ˌ)səb-ˈjek-tiv \
1.A term used to minimize importance based in a philosophical misunderstanding of a dichotomy between subjective and objective, which was left aside long ago. It is often used with “just” or “only”. The quantitative and qualitative, and the thresholds between them in cognition are not considered.
2.An antique idea regarding a false dichotomy between subject and object long ago left aside in philosophy. The subject/objective dichotomy is extinct, as overlap and gradients with the ideas were quickly found. They describe proportions of measure and affect in signal interpretation.
3.Often wrongly used to mean “personal preference.” Without understanding that preference can also be built and configured and rewritten.
4.A dismissive word best used as a signal to dismiss.
5.The clumsy, distorted, way of saying “qualitative”.

World view- noun\ ˈwərl(d)-ˌvyü \
1. A tangential uninformed opinion about things of which one is unacquainted.
2. Claiming a cosmic point of view when regarding one’s navel.
3. Disregarding the intricate and impossibly complex pursuit of knowledge of the world for worship of a very small baetylus or omphalos.
4. Being provincial but sounding sophisticated.

Wednesday, March 14, 2018

Art class notes

We read other peoples peripersonal space even if the "costume" or outfit  or extra gear aren't there (pantomime)

Implicit drawing:  use peripersonal space in a characters posture and angles (weight signatures and strain signatures) to imply an invisible sub drawing. This relies on body schema and peripersonal space maturity.

Standing upright evolution.  2 things.
1.standing as a hierarchical position.  Looking down on a rival.  Widely present among animals. Implications of bigness (as opposed to reaching for food) and playing with depth importance.
2.  Standing difficulty, rearing up is difficult.  A physical unfolding uses great strength, energy and balance.  It creates vulnerabilities in combat for the one rearing, but also demonstrates condescension as it is sneering or dismissing the power of the bent. This can be faked and acted as if rearing involves more unfolding and strength than is really used (drag). In people flourish and gesture add to the theatricality and hidden message.  Like playing to the back row, it should be noted this is performance for several not as much one to one.  Less a matter of making big, and more a matter of the display of down looking  extravagance.  Notice this in terms of the "body language" pose of leaning back arms raised behind the head.  Conspicuous and Extravagant vulnerability while looking down.  This type of rearing is selective to audiences that can be intimidated in front if others. This pose shown to an aggressor or predator exposes vulnerable organs and wide target areas.  In humans, still, the arms back pose can be diffused by an opponent leaning in or even getting closer.  It is proximity dependent.

Inferential drawing based in cross modal perception.  Drawing what isn't seen, hidden out of frame social interactions, peripersonal space.  mix and match 

Drawing peripersonal space

Perspective is an attentional and time tool not a framed context or geometrically ordered structure.  Note Saccadic fixation in regard to perspective and time perception (note this also with accompanying audio and temp tactics).

Perspective, VR, clothing- the sense of position and extra position (height, body schema and peripersonal space).  The ability to use tools, extending body space has meaningful aspects.  The metamorphosis provided by extensions and altering bodily proportion can be communicated by angle with this result of a change to the character of the audience. Mind writing.  (Bailenson's tests with VR and height and gender in negotiation).  This old artist's trick has been used in portraiture for centuries with added color and proportion tactics to intensify.  In VR the possibility of "unwrapping" to a certain degree can further expand on this experience (good completion and the subtle movements we use to scan around depth.). That noted the inertial and rotational cues will still mismatch in VR. The vestibular system needs to be brought in to the effect for the "reality" part.  VR is a diminishment in experience, even if those things experienced are hyper-real in isolated properties.  Ritual, wherein participants traveled through hyperrealities, also had real movement and inconvenience (labor and force), proximity cues (including scent and the movement of the small bodily hairs  that assist in understanding the puffs of air in speech).  The preconscious and subtle "realities" need to set the base for an experience of reality.

Touch receptors have meaningful visual correlates (force, light touch).  Look into an anatomy of visual touch (for example raffini cells).
Same with sound ie facial expressions

Metaphor is a cross modal gap filling for inadaquate narration and targeted sense sequence.  "A blanket of snow" describes some cross understandings of categories but have as much unlike their metaphorical model as it does alike.  So priming is used even if contradictory.  Warm blanket and cold snow combined.  Layering various "warm" indicators can prime comfort and "heat" even in a winter scene.

Explain phantoms and ghosts and how implicit information can induce that type of projected agency (the ghosts of Kiki and Bouba). 

Sound/taste is complex reception but still geometric.  Color reinforced (ie fruit having a tangy smell, but ripeness a visual coloring and further depth coloring by light transmission through the skin.) 

Kiki bouba & line orientation bias (also top down light orientation bias)

Also consider food temperatures and soft textures as inference to behavior (sitting on a hard chair makes one a harder negotiator, drinking a warm drink makes one more sympathetic in punishment.) Color and weight as priming tools.

Recall case mentioned by Sacks about the woman with ticks involving imitation in extremis of people over a span of time.  He connected this with Tourettes but it sounds like an extreme mirror touch synesthesia with the mirror boundary completely eroded and recalled.  Leaving the imitative systems without a personal block.  "Trying on" in extremis.  Consider in the opposite direction in terms of anorexia as well.

Up down curvature bias (head space) in facial expression (Thatcher effect....poor ability in recognizing upside down faces and elongation of the face inversion)

Depictions of heavy attentional load can indicate narrative priority.  If a figure is reacting to several points of attention: ie lifting a heavy stone infront if him, flinching away from something on his right but his eyes straining to the left- the value of each point of attention can be weighted to help indicate sequence and narrative.

Internal agency and attention.  Feeling the bridge of the nose with the fingers agency can be switched from fingers to feel nose, or nose to feel fingers.  The "personifying" or primary piloting or primary agency can be switched in body parts, ignoring other body parts.  This agency can extend to personifying.

Anatomy- find primitive shapes.  Cubes first with largest face area and orientation. 

Art as extended agency, doubling, hyper reality, phenomenological framework.

Social vs public identity and body schema- scale variation

Brain using body as measuring tool and comparison guage of space, scale, and hierarchy

Position has grammar and drawings can involve conjugation

Narrative is a way creating a clock, but a sub time can work using narrative as camouflage (switching value in cognitive signals) 

Distance limits the available emotions to communicate with voice, posture and faces.  Playing to the back row is very limited, but those limits can also tell which are intimate or close social vs far performance or group appropriate.  Performance emotions and intimate close group emotions.

Controlling attention is power.  When people vandalize and compete with art they are commandeering attention and exercising an aggressive competitive impulse against the artist, but more often against the work it self.  They are in a performance and diversion will diminish the pursuing attention of an audience. Vandalism shows dominion. Coinneseourship is this with a controlled face.  Creating cognitive biases around preconceived notions or hijacking pattern recognition is one of the more effective ways of vandalizing quickly.  In the form of gang like joking sessions, real social rivals will offer competing jokes, destructive commentary and accusations of taboo breaking.   It is rife in studio environments, and very costly.

Kiki and bouba are also spatial (pointed breasts and round breasts "titties"vs "boobs"...thanks for noting this, Sherry, and the resemblance to the letters between kiki and titties, it also makes me think of averaging shapes and kiki/bouba variations). Three dimensional angles and curves.  Depth is sculpting attention, value and agency (or likeness to body schema) in space.  Consider variations in x,y biases and the different mode with z and depth biases.  Also consider tournament and pair bonding priority in projecting agency to figures.  

Fast/slow facial expression -these are of variable importance and use in depth....compensated by bright teeth, red gumd, whites of eyes -color variations. 

Joints and "features" act as saccade guides, fixation points for connected angles and direction. These features act as pivots to other connected objects.  Figuring an angular variation based on a fixed feature is easier. So shoulder to elbow, elbow to wrist etc (or curvature and relation of facial features) coordinate standard patterns.  They are easier to discern anchors and guides.  Adjusting their distance can help time distortion effects.

Invisible audience and proximity.  Composition set close to a figure making "playing to the back row" faces and gestures makes the viewer an actor, the audience being distant (or likely distant), and the viewer is implicated on an attentional stage.  Likewise, the viewer can be made audience (more pursuit attention as opposed to fixation) 

To study motion use rest to study rest use motion (fixation and pursuit)

Pursuit needs less consistency as attention follows and attempts prediction, not reflection.  The pattern is oncoming and in ways unpredictable, needing tracking.  Fixation needs consistency and prior convention for comparison of known patterns.  A linear action back and forth will not keep visual pursuit, varied unpredictable motion will.  
(Also consider sound/saccadic relationships)

Drawing infers invisible pressures and circumstances using figures to give value and weight.

Tracking (pursuit motion) can be a mistake for consciousness, or personal agency.  The misattribution of invention of ideas or origins can occur at times due to this pursuit cognition.  This cognitive glitch may need consideration to maintain grounding.

Blindness is the majority state of affairs.  The illusion of sight has a very small range of information, and then conscious experience (much is preconscious) is a confabulation of averaged patterns with the small amount of new data.  When given tests of vision (not moment by moment but vision as an integrated part of conscious knowledge) viewers are for the most part blind.  Beacon points of attention can be recalled with great generality.  The illusion of sight needs streaming continuity and shifting cognitive modes (saccadic and pursuit for example- or "what" and "where").  When creating a piece to be seen it must be understood the first reactions will be based in the viewers internal model of reality, not the image.  The viewers will confabulate celebrity likenesses, perceive scandalous and taboo themes and shapes etc.  It can take years, or decades to fully build enough experience to see the full work.  The audience may need some priming and preparation to see.  Their attention may need direction and hints at value. 

Peripersonal space daemon, has its own anatomy and moves anatomically.  It isn't a dead weight.  We move, emote and gesture in coordination with it.  It doesn't seem to have much bottom up effect.  It seems a top down bias.  Atop not pendulous.  As an animation exercise animate the daemon and figure in interaction (with motion offsets) then turn off daemon animation

Bdrf has a narrative correlate.  Attentional rays are reflected and angled in narrative.  Displays in groups of more than two with have an angle of performance.  It us assumed the eyes are shooting rays of attention.  The player will triangulate between audience and their subject.  Reflecting attention of the audience in their performance (specular highlight).  The "form" reflecting, the player, controls the inferred figure.  They are toying with value scale.  Consider models of light and narrative.l

We embody and imitate features in artwork when we mirror it, consider possession and imprinting.

Consider audience presumptions-interest, preference etc.  as irrelevant. By projecting we are possessed.  When people "try on" others they also lose some fidelity in the previous pattern.  The more "tried on" the more loss of fidelity.  Conmen use the tactic of likeness and ease in "try on" to subsume choice, and linear narrative.

When watching an artist the viewer will be observing actions offset from the mental imagery the artist is experience.  Though painting dark areas or shadows, the mental imagery and their forward projection will be dealing with the modeling of the light areas.

Somatosensory area one shows tongue and finger areas close.  Tongue navigating while drawing or playing basket ball..


Still regarding camouflage.  The ability to camouflage might not be entirely trickery.  The differentiation between self and others, or the relationship we have regarding "inside" and "outside" today shouldn't be a given.  The inside and outside, or inner self as opposed to external others can be tracked to some extent, and 4,000 years ago it does not seem to be what it is today.  Likewise this inside/outside relationship shows cultural differences as well as regional ones.  In other words the metaphor of inner self to outer world is in large part learned and conventional, and has undergone development and sophistication.

I mention this inside and outside relationship to camouflage because the person creating the camouflage doesn't need to be thought of as an outside director.  The camouflage may work on the maker of the camouflage as well.  When camouflage goes from environmental disguise, to personal disguise and description, and then to personal adornment, it does't need to indicate lack of participation in being "tricked".  The adorned can be as fully invested in being deceived by what they have made, and this can even induce physiological changes.  It seems in some cases, adornment, disguise, and camouflage have more to do with transforming the person adorned than the viewer.

In terms of art (and in terms of trying to root out what fiction may be), self deception and transformation should be added to the mix.  With camouflage a theory of mind (across species) is important, and influential, but when reduced in area to disguises and adornment as camouflage, the adorned are not cynically removed.  It is transformative.  They are someone or something else.  This needs not only theory of mind, but an understanding of community status and community mind. 

This is still in effect today.  Within written history accounts of skins being worn to become magical can be easily found.  Berserks (bear shirt wearers), werewolves (ritual wearers of skins and ritual cannibals), priests (Egyptian Ba priests as an easy example), boys dressed in spotted fawn skins for Dionysos, Biblical accounts (Adam, Jacob and Esau with the stolen blessing), and more recent accounts with photographs from all over the world, show widespread "adornment" in a transformative manner.  But clothes, outfits (like the Pope for example, or Generals....or dictators dressed as generals), and newest fashions also work as camouflage (Spanx...might fit into this....or this might be squeezed into Spanx).  As do hairstyles.  This change of person, into hyper real or super person is very very common.  It can be easily seen watching people perform in front of mirrors.  They attempt to transform, through disguise, postures, set facial expressions, camouflage, and displays, themselves for themselves as if the viewer in the mirror is another person.  Their perception of their being is based in the disguise, not in their habitual or general methods and stances.  The perception is not personally invented.  The person looking in the mirror did not invent the identity they are assuming.  It comes from the expectations of groups standards.  The transformation is both personal preference and group consensus.  This is why is is hard to watch oneself on video.  It shows the difference between our attempts at self deception and how we appear to others who we are also trying to deceive.

Periphersonal space as a conjectural cognitive medium.  Like a soft malleable projection, as well as a space measure.  Gives feed back for geometric interaction socially as well as with tools.  Consider in regard to epigenetic aspects such as east/west visual attention, brought about by social and environmental triggers.  The spatial interactions, and peripersonal spatial interactions are linked to social massing and individuation.  The fear of attack face and the shame face are very close except for external attention to an attacker And eyes aimed or down.  The "peripersonal" extra identity, or the ghost created in peripersonal space is attended while generally blinding from external data.  We don't seem to be singular animals ever.



The humunculus is not just a body map on the cerebral cortex.  The map includes complex motion. Duration of stimulation includes complex sequences.  When processing and cross comparison your brain is checking "doings".  It can infer forward and back in sequences.  Often used in drawing.  Drawing can composite various parts of the sequences and still be acceptable.


The idea of art as expression- my inner soul housed in an item is magic. But the body has been building a way of externalizing and conserving energy through outside processes.  So the "soul" part is missing, but bodily energy needs have been co-opted by the human body.  Tool making does not need intellect.

Nor does tool use.  The process can be tracked through pounding food-eating and chewing took hours.  We had stronger jaws and bigger teeth for the job.  Likewise fire took over energy use in digestion. so instead of having to expend massive resources in  food processing we moved these outside.

Our energy use was freed up and our brain usage and size took up the extra resources.  We have inverted gut to brain energy use as do chimpanzees.

Our jaws diminished in size due to less need for chewing, we adapted more refined food pounding and processing tools. Our jaw muscled shrank and allowed the skull to open out (there is also evidence of a birth defect in jaw size that also became valuable for expanding the brain case.

The expansion of the brain case let to deaths in mothers and infants at birth.  Premature infants became the norm but the social structure and dependency of the group shifted to accommodate the longer more fragile infancy.  This in turn opened up areas of energy use for brain development in infants and the capacity to rewire and organize.

These externalizing developments (digestion, gestation, and development of the tool making-peripersonal space- brain).  Other externalizing tools were claws and teeth (spears and spearheads).  An innovation was throwing spears. This is not just externalizing but communicating an action.  The aerodynamics of spears was being innovated by homo-erectus, as well as being hardened in fire.

Art as an external cognitive tool kit was also in fast development.  It emerged from the peripersonal space of socializing, and developments in close living and centralizing a type of communication to the face.  Theory of mind allowed for camouflaged traps.  Imitating enough attributes of a thing to trick another person or animal.  This involved breaking down parts and reconfiguring like things in resemblance.

Art using angle biases, motion angles and biases, and types of mapping emerged. As did a tool kit of colors, make up, (likely costume), instruments and imitative sound makers, and other aspects of "becoming" and imitation.  Status was taken through enhancements in costume, face paint, gear, masks, and identities externalized and taken or owned.  Likewise art is information packets and can be "souvenirs" or other external memory packets.

3d effects using color were a very early use.  Peach dots in lamp light in dark recesses of caves create a stereopic effect causing space to fall back behind the dots.

These innovations weren't discoveries.
Even into the use of writing scribes thought the writing had agency itself.  That it did something.  Not unlike the artists I worked with who thought their pencils had pictures fall out of them.

If not personified not seen?  Do we have to find likeness to ourselves in some property to see a thing?

Is peripersonal space integral to religious thinking and fiction?  Extended "felt" spaces and environments both as displays and depth misread?

Reading facial expressions with saccadic motion is more a where function that leads to what function. you're looking at where the lines of the expression are, micro expression to micro expression.  Concerning where and what memory I'm not sure there's a clear distinction.

Considering what/where and saccadic motion. The motion and pivot of the eye give a reference point to the "where" function that seems to be primary in saccadic vision.   'If these angles are such here, then they make this pattern.  But with smooth pursuit coordinating the where needs different motion, largely taken up by the moving object.  'What, when, where?"

I still draw and my tongue navigates while my hand maps.  So while processing the differences from value scale to simulate form and depth as well as mapping shape, my tongue is often incorporated as a secondary mapper.  In a sense drawing on my lip.  Is this due to the proximity of the tongue to the fingers in somatosensory area one?  If so, is this using cross modal (taste, or language) processes like the kiki/bouba effect?  When I draw I am often aware I am "bouncing" information from my somatosensory system as a map for drawing (as opposed to what I am seeing).  That is, I am feeling my way through a drawing, and in a real experiential way, inhabiting the drawing (sometimes this leaks into the work and it will resemble me-also a known effect with animators who accidentally animate a portrait of their own motion in characters).  This "inhabiting" the drawing was the main reason I drew as a child.  At that time I was trying on the heroes I was drawing or entering places.

Is the tongue involved in this spatial mapping and agency projection as a supporting and sub map?



Metaphor is reading the overlapping somatosensory, interoceptive, and other experiential data.  Calling out the inferred feels of a sight, for example, and connecting it to a near cognitive pattern.  Like a boolean intersection.

Emotion is a way of creating external limbs


Grid cells and place cells for body in space and environment as a pattern. 

Thursday, December 8, 2016

Pirate Story Part 2


What you have heard, thus far, can only be unharmonious recollections and rumors.  Trust neither.  They will emerge as a confluence of interests. Your mother will tell you heroic fables. Through the inadvertent devices of your father and the thrones and shepherd’s crooks he venerates, you will have heard slander. I am fond of your father, but we agree only on the point the other is misguided.  His echoes of slanders will be free of thorns as he will wish to excuse me of malice if not of error.  
Heroism and a muffled villainy are the notions left for you to build me. An old song of dual natures will confront you. Considering many motives is imposing and often left aside.  Imagining the world in some likeness of its actual complexity is a daunting, exhausting, endeavor.
                I would ask you to consider undertaking this endeavor as a more likely avenue through which to understand my purposes. Let me assure you, I was neither continually heroic nor villainous, and in climactic flashes, I was both. Forget those old tales, and consider what I write here with fresh, sharp, eyes.
You may know I was born on Ginnesbrooke (now called Shuttley), one of the island colonies, just commandeered from our ancient foe at the time of my birth, in the mysterious Novus Mundi.  My father was a merchant. He was not a merchant as depicted in heroic fables. He did not export exotic spices, slaves, or gold, meeting alien peoples, and fighting pirates with sword and muskets. His charter included hemp for paper, rope and linens as well as cane sugar and fruits.  He disliked sailing and journeying.  He was a sedentary man, though made strong and straight. His adventures were restrained to a dim, small office and desk. He was always the hub in a nest of papers and books. He was a coin man with little imagination and less good humor. He was very stern, taciturn, and as I recall he wore a perpetual frown. I must confess I cannot recall much about his manner or behavior, just the atmosphere in his presence. I was too young to understand any causes for his frown. From this vantage, I can relate he planned for me to follow designs, to become a credit to my family name and our place but as with many plans his were tattered and made worthless.
My mother was proud and vain, both in my memory and from the descriptions of others who recalled her. She was young and considered beautiful for her time. I have few likenesses of her left, but as a boy the main house was a temple of paintings in her homage.  As I understand her history, she was the favorite daughter of wealthy yeomen and treated accordingly. Her marriage to my father was arranged for influence both through progeny and land acquisition. In those times, and even now, I suppose, plague was the gamblers tool for advancement. It was not hoped but supposed, a certain quantity of family would be lost, and it would be wise to benefit from their losses. Thus, lands could fall to the inheriting families of properly assigned unions.  
I recall many things about my mother.  I recall the small things I said to her as a young child, but I recall little of her replies, or her embraces, or anything beautiful.  Motherhood is such a fond subject today.  Mothers are graces, so they say, but I can’t pull any gracious memories from my childhood regarding my mother.  She was another person passing before my eyes, in some ways uninteresting and in others I recall her with a tinge of urgency.  
My parents were married with solemn ceremonies and with God as witness, but there was little affection evident.  The cult of love was left in the hinterlands and small houses. Love in marriage among the families and societies wasn’t accepted by many persons, it still isn’t, contrary to many rumors. I have often suspected that my father loved my mother and that his love was unrequited, I considered this as being the cause of his demeanor, but this is a speculation. Perhaps he was a bitter, frustrated, man, perhaps he was natively dour.  
My mother had little to do with me after my birth. She was ill prepared to be a mother. Certain woman should not be mothers. As I am sure you are aware children are a messy, runny, loud, business. This has never been a suitable situation for women whose attentions must remain on perfectly painted faces, artful hair sculpting and perfect dress. “Upkeep” was how it was discussed, as if old gardens or manner houses in danger of falling into dilapidation if not diligently attended. My mother was not a woman with fortitude and wisdom. She was equally lacking in patience and tolerance as I remember. Many nursemaids and nannies were assigned to attend to my needs.  
Though I should like to state otherwise, I was not an overly bold child. I was not a hero springing toward manhood. My father’s glares terrified me, my nannies bullied me mercilessly, and my mother ignored me or conversely, found me a nuisance.  I recall in a very darkly tinged and indistinct memory, maybe it didn’t happen it is so unclear, that I told my mother she was very pretty and she snapped angrily at me and caused me to cry.  She screamed for my nannies to get me away from her.  In this memory my nannies are the only clear images and their shocked, frightened, faces seem to say much to me now.  What a strange time it was then.  It seems so indistinct.  It is a time of slowly waking into being.  I recall this as though imagining the events of a familiar but fictitious story, and certainly not as my own tale.  How strange memory is.  
I clearly recall toys were forbidden me. It is often imagined of children that they sit in gentle reveries knocking painted wooden toys about, singing or laughing. Fanciful images of costumed, joyful, children, embracing dogs, singing while herding sheep, stare at me from these walls as I write.  I had no part in this. My earliest memories are drudging hours of lessons.  How I hated it. My father had planned that I should be honed for business. I was an adequate student but I recall little of what I learned then. Some men are very silly and imagine their sons will repair their own disappointments, or amend their own disadvantages, and believing this enforce habits on their sons that damage and create disadvantage. With the tiresome instruction I was given, I was also made to follow strict training of my body.  My father could read and this reading included descriptions from ancient men regarding their perfect societies, and the strength of their perfect bodies.  My father thought it important to have me perfected. Likewise, he thought a robust, strong, boy would be welcomed in academy. Arrangements had been made to send me to academy when I became the age of five.  Academies were subtly different in purpose then. Their concerns were both preservation of traditional philosophy among aristocrats (or paying yeomen), and introduction of newer discoveries by natural philosophers. We were not the industrious men produced from academies as today. The traditional titles and snobbery still exist today, but its application is mercantile. The characters and oppressions of academies will continue immutably regardless of party rule, or family ascension, but the purposes of academies change with the weather vane. 
Academy would have to wait. An unfortunate occurrence on damp, temperate, islands is the rapid spread of pestilence and black humors. Malady feeds on warmth. Late in the year, before I was to leave for academy the colonies were ravaged by a great dying. The ships delivering the news to our island delivered the agent of death as well.  Infected men, animals and goods quickly dispersed among the crowds and death seeped through the shadows and the cracks. As soon as the word reached my father I was hastily gathered and placed on a ship heading for a place I had not yet seen, Home.  I don’t recall much more of this time except a sight from the ship as I departed: the bonfires had begun. Near the dock many bulging, stained, shrouds were burning among improvised winding cloths including carpets rolls, beds, and skins.  
One of my nursemaids was sent to tend to me. She was a taut, squinting, sneering, roaring, young woman. Her red hair was always straggling around her head in a wiry crown. Her clothes never varied from somber gray.  This made her ruddy complexion stand out like a great soreness, or like she had been abraded until intolerably chapped.  Her disposition matched her appearance. She was given pay and instructions for when we achieved our destination. I know this because she repeated this often, as though it were direct authority from a great magistrate giving her license for anything.  She would volunteer this information at every opportunity. 
I have no recollections of our voyage in length or of weather.  It seemed long as does any unfamiliar voyage or new road.  
It is my understanding a currier vessel sped to the port town of Huan with news of our impending arrival, as well as confirmation of general good health.  Messages were eventually sent back to the surviving families regarding our welfare and requesting further instruction for the newly orphaned, widowed or destitute.
As I later learned, Huan was spared the suffering of the people of Ginnesbrooke. There Death was sweeping. Many souls were lost especially among the native men. Both my parents suffered it. It was unusual that both survived. The plague did not touch my mother without leaving its imprint. She began to behave very strangely. As I have been informed, the changes were subtle, at first, but very rapidly she declined.  She was “touched”, the savages said. Her up keep and “eyes” consumed her every free thought. She would sit for hours applying paint until it was cracked and flaking over her face. Her graceful stances were carried out in extremity. And not long following this every mood and action became expansive and exaggerated.  She became like an animal that yowled, and begged and roared, scratched, and played.  This brought her great respect among the savages who worked the house, and they believed she was moved by a favorite Goddess or demon, but my father was disgraced. 
I did not despise my parents, as I hope is clear. I do not suspect they were deliberately malicious or carelessly cruel, and I do not look at their misfortune without pity. I cannot reply to any meanness. How could I, so long after, try to distinguish petty meanness, or folly seen by a child? I don’t want it to appear I have thoughts of some justice in their sorrows. I cannot judge the adult world in which they lived, I can guess the subtleties that pressed them, but those guesses would be aloof. The distance between this dying man and that child are too great to clearly determine with any justice. I can write, when a child they were my world; separation from them was terrible. It is a child's nightmare to be apart from the family that rears them, regardless of how cruel the family may seem to others, or even themselves. I can imagine they saw me as a lazy, selfish, brat, and yet I clearly recall my father looked in pain as he saw me off. I was his burden and also his son, which idea of me he dreaded to lose I cannot discern. Preference seems as a pendulum. 
From Huan we voyaged “Home”.  What this was, in opposition to what I considered my place to live, was mysterious. I was shipboard for several weeks, but I remember little of this. I remember little at all of the following months of change. The confusion I felt still disturbs me upon intense reflection, though I could not say anything terrible or alarming occurred. 
                Upon arrival in an unfamiliar port city, on a gloomy dark day, my nurse and I disembarked onto Home.  We were met by my new guardian, my Uncle Uzziah. He was my father's brother. Uzziah was ten years older than my father, but in no way you could discern. He was more robust, active and lively. He had a loudness that could be seen. He smiled often and this was not an indulgence taken by my father. 
Uncle Uzziah was a witty, humorous man, of a keen intelligence. "Smarter than God" I once heard a man in a carnival mask declare. He and my father bore little resemblance to one another. This does not indicate a black mark against my father. Uzziah was the First Born son, and favored. He did not squander this advantage. However, I would be hesitant to write the differences between the two were due to circumstance alone. Uzziah was a rare man. 
He met us on the pier as we descended the gangplank. He was very tall and his posture was leaning. He squinted over a crooked, pursed, smile as my nanny dragged me by the right arm. I can clearly recall she often tugged and pulled by that arm. 
My uncle gazed down at me with a benign, somewhat reserved, smile. I was shy and attempted to hide behind my nanny. She dragged me from behind her and aimed me, with little gentleness, at my uncle. My memory informs me of his curious glance at her slightly disguised rage.  He stared in puzzlement, perhaps considering that I was a bad child, or perhaps he judged her. It was a stare indicating more puzzlement than condemnation. He looked back and forth at us as we stood in presentation before him. After crossing the space between us he crouched to my eye level and brought a wooden toy from his pocket. It was a toy shaped in the likeness of a savage man of my former home. Its features were exaggerated to appear clownish. The toy man stood hovering above a toy drum, and from beneath the aborigine there hung a string at whose end hung a wooden weight. When the wooden weight was made to swing, the aborigine's arms would tap the drum. He offered the toy to me. 
He said, "A gift for your arrival. Perhaps this small bribe will earn me some favor." He smiled widely. I reached for the toy with uncertain hands. My nanny was unused to this indulgence being spent on me, as my father was in favor of discipline, and restriction. She was used to having power and charge in a world of servants. 
She grabbed me by the wrists and spun me to face her. She leaned over me, her face ruddy in rage. What she yelled at me I cannot recall, but what she said and she faced my uncle is very clear to me. "I have been given charge of this boy to make certain his days away from his parents are not spent in idleness! I was given warning of you by my master. He gave me instructions to disallow any..." My uncle strode forward until he was barely a thumb’s width from her. He stared into her eyes for some short while waiting for the violence of his presence to bring her to stillness. When he finally spoke it was even and low. “To whom are you speaking in such a tone? You are in the presence of an unfriendly master, and someone in such a predicament would do best to keep her silence." She was stimmied, and as happens with many persons under threat she sought to redirect his burdensome presence to one still weaker, and I was the nearest candidate. She jerked me by the arm, "You stupid boy! Take the master’s toy and be quick, and respectful!" 
The look she gave me was a familiar one, it spoke in silences: "You will be paid back for this!" or some equal threat. 
Around us a small crowd of interested persons were watching the small event as it unfolded. I don't believe they were expecting what came next. As she had grabbed my arms by the wrists, so my uncle grabbed hers. He held both her wrists in one hand. She struggled little in utter bewilderment. With his free hand my Uncle grabbed the nurse's bonnet and pulled it over her face. He then spun her, gave her a small shove, and kicked her squarely on the posterior. The crowd drew closer laughing and chirping sounds of approval. The kick was not hard but a gesture.  Though she stumbled away, she did not fall.  As she recovered her balance it was clear she was deeply injured, though her limbs were intact.  Humiliation was a terrible and deep wound for her and she cowered beneath it.  
People alone are shabby, but crowds are worse.  They howled and laughed.  Uncle Uzziah stood apart from her pointing his finger like a condemning prophet. "Gather yourself and your things, I have no use for you." He reached into his vest pocket and produced a card. He tossed the card to the sobbing woman who was my nanny. "Contact this man, he will make arrangements concerning your wages and your return to your master." 
My uncle took me firmly but gently by the hand and led me away to his waiting coach. His attendants spread out around us, gathering our few goods, and when packed on the coach, we departed.  She was gone and lost to my further knowledge forever.
                This moment stands out starkly in my young memories. Understand, I did not turn my back on my nurse in with indignation; I didn't set about a new freedom giggling and without care. I felt very sorry for her; I sobbed as she sobbed. It is true I never liked her. I felt as one always feels in the presence of a petty tormentor: discomfort, intimidation, contempt, but at the same time I pitied her, I felt sorrow for her sufferings, I wished the events hadn't occurred to send her from me.  Perhaps my uncle reckoned something of this as I wept.  He said to me, "Be still, nephew, calm yourself. She will be well enough, she is unharmed.”  We were silent in the coach for a long while before he spoke again. “Let this come as a new kind of lesson: Everything is changing. Nothing is certain. The world behind you is gone forever; tomorrow is full of worries. But you are safe for now. That is the nature of every good moment, it is surrounded by hardship. Relief comes at hard cost in some way or another. Weep if you need, but not for too long, only as long as your losses merit.” 
I spent the next four years with my Uncle, and we became very close. He was tirelessly curious, and this condition is contagious. His home was filled with thousands of books, paintings, manuscripts written in old tongues, charts, diagrams, musical instruments, lenses of many shades for experiments with optics, extensive gardens and a hot-house.  His acquisition of knowledge was tremendous but effortless.  His enthusiasm for questions and storytelling was stirring and compulsive. I loved my Uncle.  In many ways, throughout my life, I wished to follow his path but I did not succeed in any measure.

For my family on Ginnesbrooke, daily life orbited my mother. My father had sent many letters to my Uncle, and after two years requested my absence from the family become a permanent situation. I still possess these letters but as a child I secretly read them while my uncle was occupied. Admittedly, much of the content was beyond my tiny skills as a reader, but the sense of it was clear enough. The sneaky act of reading my uncles mail, paired with my Uncle’s attempt to soften the awkward situation by overly stating his idea to keep me, made my situation clear. 
As described in the letters, my mother had slipped from peculiarity into disgrace. She had conceived a child through disgraces with one of the native men. What became of the child or the father I have never learned. I have left these letters to you with a substantial endowment should you endeavor to discover what has come of my sibling and, doubtless, further descendants of that union.  I leave it to you whether you will accept this adventure.   
My mother was a madwoman. My father sent her back to her family's estates where she was kept hidden away in a chamber for many years.   
Innocently unaware of these events I was quite happy living with Uzziah in his amazing home. He wrote several letters to my father reporting my progress. My entrance to the halls of academy was held off.  Uncle Uzziah was a fine teacher and we undertook several subjects: history, grammar, mythology, music, vocal tonics, acoustics, theatre, art, and some philosophy. Uzziah was very much opposed to my entrance in academy at a young age. As he often lamented, "They are prisons for the cruel and unsubtle. They are the dens of predators, who victimize and pollute everyone they encounter." He assured me, as he taught me to fight, that violence is an excellent device when used at a proper moment.  
When I did enter into my education I was eight. Due to my Uncle's instruction I was a very good student. But I was sent away to academy and over the next several years I saw my uncle infrequently. He would occasionally visit me on free days such as the Sabbath, or the end of a session. He was a prolific writer and my education was very much enhanced by the post.  His influence on me was a good armor against the “pollutions” he mentioned, but incomplete.  I can claim a sneering sense of my own importance after a time. 
On those occasions when I did visit him, strangeness always greeted me. On one occasion I arrived at the great house by carriage, and Uzziah awaited me. He was masked and he insisted I wear a mask and say nothing. As we approached the house on foot I heard several voices as at a party. When I entered there were several dozen masked persons, puzzling over diagrams and geometries. I mingled with them, a boy slipping as a shadow among babbling demon faced adults. Their conversations were heavily toned with intrigues, secrets, forbidden words. My Uncle took me aside after a time. He spoke to me privately in a corner. I remember his mask with pristine clarity; it was a black laughing bird face with a sun and a moon drawn on each cheek. It bobbed when he spoke. "Do you wish to know the meaning of this, Adam? Do you feel drawn to these persons? Do you sense something of difference here?" 
I responded slowly watching the men and women puzzle, argue, whisper, and conspire. My answer was as honest as I could contrive: “They are frightening Uncle, they are hiding things, speaking in codes, they are lying. But there is something exciting, and though I fear them I wish I knew them, I wish they would speak and lie to me so that I could overcome them." My Uncle regarded me a while, his eyes searching. "That is an interesting answer. Perhaps a terrible answer. Consider, Adam, that sometimes a lie is a matter of time, a prediction or a map.  A lie today is a truth tomorrow. The substance of lies can be made real.  A lie is difficult to tell with any coherence or consistency.  If it has those qualities, the dominant property looks a great deal like the truth.  It may be that these lies are unnoticed or novel- overlooked-truths. They are contending to have the dominating lie.  Do you want to be a part of that?"
There were many of these secret gatherings. Each sodden with a quality of sanctity. In the elaborate rituals he and his guests undertook, there seemed something drawn from the divine.  This is inconsistent with my Uncle's opinions, as I understand them. He hated religion he was without God. I am aware of several treatises he wrote and published condemning the ecclesiastical authorities. This has always been dangerous, perhaps somewhat less so then, but he must have had some clear influence in some powerful to be unpunished and so free spoken.

Friday, October 7, 2016

Pirate Story: Introduction

It is finally quiet.  These days, though growing short in number, are very long in passing.  The household is in hysterics and I am plagued by distractions the full length of the day.  So much screeching and scratching and worry can be more tiresome than very hard labor. It is a hen house.
Now it is very late and quiet, and I am given the opportunity to set down the account that has been, lately, weighing on my mind so much.  I feel the need to write in secret, when all are asleep, when everything is still.  I need to concentrate, not only for the sake of clarity as much of this is long past, but I wish to bring it all forth again.  I will try to step into my memories and live them again, for my own pleasure.  With so much flickering out, so much of my life spent, I need something back.  Therefore, this dark empty night will be filled with reminiscences.
This account will be a souvenir the next time it is unsealed.  If all has come to pass as I have wished, this manuscript has been delivered with several other documents to Master Robert Liventon, upon his coming of age, and acquisition of his inheritance from his Grandfather, myself, Master Adam Liventon.
If another pair of  eyes are passing over these pages, it has come to pass that my grandchild has perished prior to his coming of age.  In which case, I have entrusted this writing to the care of a gentleman to be unnamed here, and he will have delivered this account to whomever he deems fit to read it.  In the meantime, I will continue under the assumption my heir is in possession of this manuscript.
To you, Robert, my death is history, for me it is a looming weight.   I sit writing with trembling old hands at a desk.  I saw you only a few hours ago, and I know you sleep soundly in a bed chamber above where I now write.  What you cannot know is that between the last sentence and this, I looked in at you again.  It is difficult to imagine you as a young man, and so it is difficult to address you as a fellow and peer.  You are an infant to me, and so I will leave your company.
At the time of this writing I am dying, which may be understood in some sense from what I have written above, but I think it best to be clear, because in what is to come death is all but clear.
It is bitter to leave you so soon after our first meeting, and it is a great regret I will have so little of you.  Cruelly, I cannot be comforted by the notion that you will remember me with any love, as you have not come to know me.  We are strangers, you and I.  I would not have that so.  It is a great loss to me, that in death I will lose you, but perhaps in some way, if you desire, you can still know me in some manner.  So I will tell you a story.  It is not my story, though I am a character in the story, and the story will begin with me. It is a story of adventure and magic.  It is a story of the rare and hidden parts of this old monstrous world.  It is the story of Captain Monroe.
It may be best, though it is left to your discretion, to keep what is to follow close to the breast, as it is a dangerous story.  It is not ended, and its influence is still lurking with great force beneath the still surface of what seem little events.  There are open ears waiting to hear hints and news, should you tell recklessly, and then you may find yourself in great peril.
I hope you are the kind of fellow who does not keep things close to the breast, or accept warnings from old dead men.
I will proceed with my end, your beginning.  I am unrecognizable as the man I was in my strength. My skin is old and slack.  It has a gossamer transparency which has become familiar, though still intolerable, and it makes me think I am far closer to a ghost than a man. Or the man I was, I should write.  My once proud scars, my keepsakes, are pale and becoming lost.  How can this be, when they were so difficult to win? I thought they, at least, would remain.  I am become a tattered old coat.
Everyone who comes calling sees this dilapidated husk of a man. They do not know what happened.  Defying this, I still recall I was a strong, alert, and vigorous. The betrayal of my limbs is difficult, the creeping weakness is awful, but I am not dead yet, and I still recall. I recall other days when the skies roared with fire and poured down ash, and for a brief moment the world turned its gaze on me. Deeds were done, the world was shifting and I saw one of its pivots, I acted with its greatest men, perhaps its greatest man, though he is its most damned. This sounds like bragging, but read on.
I marvel in despair how so many moments have vanished. I no longer know anyone in this world as I knew my peers. They are gone: dead. Except perhaps one, but he cannot be counted. He wasn’t ever alive, I think.  I feel as the last man on earth, for what I take to my grave will not pass again. It was our time, and I am the last to know it. It cannot become tradition, it cannot be bequeathed.  Perhaps it can be something greater still, with you and your time, I cannot say, but it will not ever be again as it was.
 I think ahead to what will be left to you, and who you will have grown to be. I hope that you are a good man. Or perhaps I do not hope that. All men have hours when they shine, when they are golden, and all men have moments when they are dark, and without merit. You will not escape this, even if you attempt every moment to outrun the harms you will create, even if you are ever pious. The world will assemble snares you cannot know until blood is on your hands. If I can wish a virtue upon you, let it be the virtue of bravery. I hope you are a rival for the time you live.
You have grown to be a man without the assistance of your grandfather. This suggests many things to me. It is my suspicion you have been reared in a setting of ordinary men. This is the way of your father. He is a kind and gentle man, I’m sure you hold him in high affection as do I, yet he is narrow of vision and simple in his beliefs. Of the bravery I mentioned he has none, though he is charming and decent. However, his decency is in many ways constrained by his fear and passivity. He reckons other men his betters and envies them. Many ordinary men have navigated the course before him. This course is free of obstacles, discoveries, and dire tests. The first man to make the road is the only man who will ever use it; the rest will be his shadow. It is your father’s good fortune he has only known set courses, old paths, he would be mortified to know that the paths are the intruders not the surrounding wilderness.
 At this early date, just months after your birth, he has made arrangements for your education and your career. Unfortunately, he knows very little of the institutions where he wishes you sent. He knows nothing of their vulgarity, separation, or petty vanities. He does not imagine their efforts are devoted to quiet crimes.  Those caretakers, to whom you will be delivered, may tell you stories, rumors, of your grandfather and his companions; do not believe these stories. I have heard them upon their generation and watched them evolve over these many years.
When first introduced, the tales told were exaggerations but more morbid hints and whispers polluted the exaggerations, transmuted them to lies. I can guess how they have transformed to fit your ears. Likely, as I have heard before, I am called the Devil, himself. And perhaps this is not the worst epithet. Do not let these men bend your ear further, their world is small and their echoes excessively please them.
From your mother, I believe, you will have a different account of your grandfather. She will have done much to inform you of adventure and dreams.  She will have told you stories as well.  Stories I told her.  Your mother is my only daughter, upon whom I have long doted and indulged. I love her dearly. So perhaps you will forgive me when I confess the tales I told her were not complete, and were often told in a way that offered a heroic bias to my part in them. I was not the hero she dreams. I allowed her to believe the tales she heard in my favor. I too wished they were true. They are true, for what little they tell, but I’m sure you have suspicions about the truth, and tales. Anything told will not be complete; only portions can be meted out. Those portions are usually favorable to the measurer. What I will write to you will give you much more of the truth than I have dared to tell so far.  The previous, incomplete versions were not wholly my desire, I wished to tell more, and thought to do so many times, but this is not my story alone, and I made oaths of secrecy.  As I am not the only one upon whom death has fixed his gaze, I am now free to tell the whole account