i am enabling my Thought Technology MyoTrac w/ Clinical STIM Unit for sEMG use & graphix for said neuro-

physiological symptoms - to work with a Medical clinic in Charlotte and give said clinical use - diagnostics - assessment

results to health boards & US Government departments. Based upon results - stemming from recent FONAR MRI's

and other X-Ray radiological Reports - diagnostics combined, shall produce results that shall enable me to 'arrest' [or

stop] said disintegrative properties within my Cervical & Lumbar region of my spine - that which initially was a result of

a front-end collision in 1999 and another rear-end collision in 2001 . . . [more to follow]

- a reference to the above graphix: each square shall be imaged out as an art-piece and then relief-structurally

constructed as a large mural like artpiece - and trigger points and other clinical notes shall be applied across the entire

structure [more to follow] . . . a note: it has been an extremely 'long road' - attempting that which i am doing and

shall be doing medically for myself - which in turn - shall benefit others in the end . . .

The Presence the Dada artist plays . . .

Marcel Duchamp - 'Nude Descending a Staircase (No.2)' / Nu descendant un Escalier. No.2. - 1912
© Art Science Research Laboratory, Inc. 2006

' . . . looking more closely at the parallel courses of modern art (Dadaism especially)
and Science fiction in providing a narrative voice and a performance stage for contemporary science.'

Joseph Cornell - Planet Set - Tête Etoilée, Giuditta Pasta (dédicace) - 1950

© The Joseph & Robert Cornell Memorial Foundation/VAGA, New York and DACS, London 2002


"Joseph Cornell's 'Giuditta Pasta'  is perhaps one of the most intriguing and enigmatic works of art of the 20th century.

In a famous essay, the Italian art historian Maurizio Calvesi brilliantly unveils in it the manifold citations

of Renaissance paintings and disguised references to traditional iconology.


Both images are linked in this way to the alchemical tradition (the stripping of the bride is a metaphor for the

philosopher stone in the writings of the 17th century alchemist Solidonius). Even without digging into the Grand

Verre as Grand Oeuvre, or alchemical Opus, this work of art has an enormous evocative power, due precisely to its

hints of multiple hidden meanings and difficulty of interpretation. Thus, a very brief apparition is the appropriate

way for a great mystery to manifest itself (just think of the divine apparitions in various religious mythologies).


In certain 'critical narratives' on Marcel Duchamp's Art, William Gibson, a writer, chooses this

particular piece of art, on which Duchamp worked for a good ten years, creating a 'wormhole' connecting

the future to the past and the cyberpunk movement to the tradition of the avant garde: an instant message

delivered to the reader in an almost subliminal, but extremely powerful, form."


see also: Marcel Duchamp

see - The SETI Cafe [SETI@home Message boards]

i originally Posted this on January 19th 2008:  . . . the aRt gaLLery is CLOSED

a Film by richard w lubrich jr . . .  an Update

. . . Re-Scripting of my film: 'It All Came True' which is @ present still in Re-Script / Re-Direct.

. . . the elements that are the underlying foundation of the Story - are multi-faceted and inter-woven

into two separate time-lines - and the time-lines are both woven together even though they both are in

the opposite directions of one another - they run parallel to one another  . . .

[the end is the beginning and visa-versa] . . .

the story begins with the actual ending [a violent bloodbath - the death of an Officer] - and directly

afterwards - the Story begins to unfold with inter-woven time-lines [each time-line is reversed - whereas

characters are built upon the time-line as a cross-reference] and that portrait the characters that are

involved with an 'attempt' @ creating a club environment within a boarding house environment - the

characters are related to in reference to the past, present & future along the time-lines as well . . .

time-lines involving the past & of future events are inter-woven with precision and overlap the story

- allowing for the viewer to understand & relate to the personalities that make up the cast . . .

more to come . . . see past entries: 

http://leonardostudios309.bravejournal.com/entry/34705

. . . 911 & The Twin Towers - A Rememberance of things past

'The Twin Towers' - A Rememberance of things past -  Copyrighted by richard w lubrich jr 2001

another tribute to those that passed on that fateful day . . . R.I.P.

. . . what have we learned since then regarding Our World & it's People's Culture

and the Understandings that come with such revelations - PEACE is The option

. . . Common-Sense is The Rule

911 + The Library of Congress Collection

. . . Mexican Art and Los Angeles, 1920-1940

Diego Rivera  'Día de Flores' - Flower Day'  1925. Oil on canvas, 58 × 47½ in.
 Copyrighted: Los Angeles County Museum of Art - Los Angeles County Fund

excerpted:

"During the 1920s and 1930s the Mexican artists were never marginalized or ignored in Los Angeles. Instead, they contributed in a meaningful way to the vibrant local culture and shared a commitment to developing an aesthetics suited to the time. Influential as they were, however, they were themselves influenced by the Los Angeles aesthetic and cultural ambience—Ramos Martínez, in particular. He made an extraordinary shift in his conception of space and volume in his paintings in response to the works of the sculptor George Stanley (for example, the monumental Griffith Park Astronomers and the modernist-style Oscar statuette).

The last important Mexican exhibition of the twenties and thirties in Los Angeles was The Indefinite Period (1942), a traveling show organized by McKinley Helms at the Institute of Modern Art in Boston. In it were works by Rufino Tamayo, Antonio Ruiz, Carlos Orozco Romero, Dr. Atl, María Izquierdo, Frida Kahlo, Jesús Guerrero Galván, Federico Cantú, and Guillermo Meza, some of whom (Izquierdo, Meza) were exhibiting for the first time in Southern California.

The next exhibition was not until 1953. The migrants who came from the Midwest and the East Coast during the war years looking for work in the growing aircraft industry created a different climate, in which things Mexican were viewed with suspicion. Incidents such as the Zoot-suit riots and the Sleepy Lagoon murder case helped to eradicate the goodwill established during two decades of cross-cultural influences. The focus of American art, and thus American art history, shifted eastward. As it did, the Mexican artists and their work faded from memory, and an important part of Southern California's cultural history was almost forgotten."

by Margarita Nieto

Copyrighted by University of California Press - excerpted from UC Press E-Books Collection