November 17, 2016


9.00 am: Art/Sound ventured into the realms of the paranormal, as we explored the contribution of photography and audiography in the detection and recording of anomalous phenomena. 10.00 am: On the studio floor, I began second year painting tutorials. Around 10.30 am, I sensed something approach. It began as a distance rumble – not like thunder and not like the noise of heavy vehicles – and arrived light a Pentecostal wind: immensely powerful, irresistible, and troubling. The studio’s gallery lights shook; the building reverberated. I’d not experienced the like. My tutee and I needed to see this; this was special. Outside, trees bent southwards at an alarming angle, and shook cruelly. Leaves were raised and swirled in the air. This was a hurricane force storm (94+ mph) that had come out of nowhere. I imagined the whole School uprooted and blown to Oz, like Dorothy’s house:


The remainder of the morning was uneventful by comparison. Reports of tree fall and structural damage in the Aberystwyth area emerged on Facebook.

1.10 pm: I made my way to the railway station to begin my trip to Leicester. A tree, which had fallen on the line, delayed the incoming train by 20 minutes. En route, I completed my mark up of the conference paper and caught up with email correspondence. The university was closed for business this afternoon. That stemmed the flow of incoming mail nicely:


I returned to my conspicuous for the Art/Spirit art history module. This needs to be wrapped up soon. Journeys have been the only occasion to work on this, lately. I’m endeavouring to create a cluster of perspectives around supernaturalist, religion, the Bible, and art that will at one and the same time offer diversity and focus around key themes. It ain’t happening yet.

6.10 pm: Arrived at Leicester and headed for my stable for the night:


Unpacked, I headed for a recommended local restaurant for dinner: a local and highly-recommended Indian:


Some principles and observations derived from today’s engagements:

  • The problem seems greatest when seen at a distance.
  • You need to be lost and much as you to need to find direction. You cannot discover the latter without enduring the former.
  • We draw not what we understand but in order to understand that which we draw.
  • You draw an object, but that object has first drawn you.
  • We use other artists solutions to solve our own problems.
  • A camera has no brain behind its eye to discern, discriminate, and select or choose, and no heart to feel and respond. So don’t behave as though you, too, were merely a machine.
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