Miles G. Smith on thu 27 sep 07
As I read your thread, integration in me, has been putting me =
intouch with the physics model of fractals (the principle of chaos =
discovered by Edward Lorenz of MIT in 1961). In the eighties I was =
inspired to stop using rutile because that material adds a fractal =
refraction of it's own (a chaos that is ungoverned by magnetics) and =
such a rouge element might interfere with the discoveries in =
morphogenetic fields that I was searching.
Your words: "... what we experience seems more to do with Physics =
than Chemistry" flashed an awaking in me.=20
In 1983 I had micro-photographic pictures taken of some of my =
glazes. One was a thin cobalt colored Albany slip cascading over my new =
glaze; 'sky-filled-with-clouds' ( a glaze titled: Snow in the =
Mountains.) In the 8 in. x10" blow-up of the thumbnail size picture was =
a horizon line beneath which could be seen a field of tulips. One could =
see clearly each bright colored flower with its dagger leaves standing =
in rows marching toward the horizon.=20
The inorganic chemistry of the iron's color, variegating in yellows =
and reds, was viewed in my organic mind as an "eventing" of the Physics =
strings of material (Fe) lining up in the melt, according a record of =
what I came to understand as the Morphogenetic Field: of the pot- in the =
kiln- in the studio- at Smoky Point, Washington- 35 miles south of the =
TULIP FIELDS of La Connor, Washington.
http://www.context.org/ICLIB/IC12/Sheldrak.htm
"...........the New Story needs to be a living thing, not a fixed =
dogma". =20
Some statement from: http://homepages.ihug.co.nz/~sai/shel_morfields.htm =
........
........another biologist, Rupert Sheldrake, proposed a radical new =
interpretation in his book, A New Science Of Life (Los Angeles: J.P. =
Tarcher, 1982). Sheldrake's larger concern was with what biologists have =
for years called "morphogenetic fields." Morphogenetic means "giving =
birth to form,"=20
The fields and the physical forms are intimately associated in that any =
existing form gives rise to (in a sense radiates) a field that then =
contributes to shaping subsequent similar forms. Sheldrake suggests that =
these fields are not diminished by passage across time and space (since =
they carry no energy), and that like gravitational fields, they only add =
to each other. Thus every place is "filled" with the morphogenetic =
fields from all past forms.=20
Earlier in our culture's history, the idea of all space being filled =
with unseen information carrying fields would have seemed totally =
bizarre and unbelievable.=20
Miles Smith Pottery
----- Original Message -----=20
From: "Ivor and Olive Lewis"
To:
Sent: Wednesday, September 26, 2007 1:26 AM
Subject: Re: Rutile Blue
Dear John Hesselberth,
Thank you for your response. I am reaching the same opinion and agree =
that what we experience seems more to do with Physics than Chemistry.
One thing that is becoming clear is that Soda compounded with Silica as =
Na2O.SiO2, one of the Sodium Silicates, has the ability to influence the =
degree to which Titania can be adsorbed into a melt. The effect of this =
seems to be to increase optical refractivity and the glass which forms =
has about 30% TiO2 and an RI of about 1.8, where Quartz is about 1.5.
Best regards,
Ivor
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You may look at the archives for the list or change your subscription
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Ivor and Olive Lewis on fri 28 sep 07
Dear Miles G. Smith,
From the Biological point of view, I understand the process of =
Biological Morphogenesis as being the reiteration of all prior forms =
which have contributed to the evolution of a species, even down to the =
atomic and molecular level.
In the field of Glaze creation this would mean that your tulips have =
grown from a primeval broth, a molten uniform mass of elemental =
particles held at high temperature and drawn together by the =
metaphysical forces of Cold. But are they Tulips or Artefacts?=20
Best regards
Ivor
Miles G. Smith on sat 29 sep 07
It's nether, Ivor, they are phenomena;
What we look at (in a micro photo) are the fractal images (physics) of the
glaze chemistry.
The chemistry of the glaze melt in motion is the requisite for displaying
the effects of particular fields of morphogenetic energy.
I was in Saint Lewis at the museum during a Sumi painting show. They
were sharing some of their fantastic collection of Japanese art. Standing in
the doorway of one of the rooms I could see a long way down through the
doorways of three rooms and on the far wall was a large sumi brush painting
of a waterfall. As I approached towards the painting the image composition
changed; now it was the face of a warrior, then becoming a mountain scene;
then I could now see the bushes and rock morphing into images of people at
village life, and finally the whole matter of intelligence disappeared into
brush strokes.
The motion of my walk towards the painting is likened to the
movement of iron in my glaze. It is conceivable that on my way to the
painting my brain receive the fractal images from my eyes of many other
orders of intelligence that my experience could not identify. So my
observation stayed with the one 'identity until my future experience
overwhelmed the prior one. At that moment of movement I could stop and lean
back away from the warriors face and watch the painting morph back into the
waterfall. I have also at such position grabbed the attention of another
person and asked them to testify to the observed change and often this
stranger does have a similar experience sometimes having it at a different
distance from the painting.
The final brush strokes (liken such to the Fe molecule in the molten
glaze) are the objective reality of their ordered appearance on the paper.
One way to inter act with clay art work is to see it made up of a
personality interaction with Morphogenetic fields. Our glazes are
'paintings'; not of every possibility of intelligence but only such
identities as are being developed in our persons at the time of the work;
with in the lay-lines of the morphogenetic fields of the city, county,
state, country, planet where the work is being done. The forms that are
'evented' in our pots are only those relevant to the determined intentions
for which we are expending this body energy. The morphogenetic field that
are influencing our place in time are the greater part of our clay art.
----- Original Message -----
From: "Ivor and Olive Lewis"
To:
Sent: Friday, September 28, 2007 1:24 AM
Subject: Re: Rutile Blue (Morphogenetic Fields)
Dear Miles G. Smith,
From the Biological point of view, I understand the process of Biological
Morphogenesis as being the reiteration of all prior forms which have
contributed to the evolution of a species, even down to the atomic and
molecular level.
In the field of Glaze creation this would mean that your tulips have grown
from a primeval broth, a molten uniform mass of elemental particles held at
high temperature and drawn together by the metaphysical forces of Cold. But
are they Tulips or Artefacts?
Best regards
Ivor
____________________________________________________________________________
__
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You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
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melpots2@visi.com
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