Denkoroku is a record of the transmission of, and the circumstances of that transmission, of the Buddha Mind, based on talks by Zen Master Keizan (1268-1324). Daopi was the 40th patriarch of Zen. When you think you are such a person who are you not.
Abandoned homes., whether in country, urban or suburban, create a visual tension. Who lived in the house? Why did they leave? Why is no one living there?
Its missing the shutters on the ground floor and one on the second. The front door does not have a walk to it. The front door seems a bit narrow.
Some people on Earth make their living by creating visual art representing Buddha for inexpensive, sometimes cheap, markets. This seemingly very content, perhaps smug? Buddha was given me over 30 years ago as a “souvenir” from a visit to the birth place of Shaka Buddha. What does it mean, “Compassion of the Buddha” ?
Over 50 years ago, the Old West End neighborhood inToledo. In the USA many people have cars, drive places and park their cars.
Carbon dating enables humans to determine the age or date of organic materials.
A photograph enables us to go back to a moment in time and our mind & emotions enable us to give that moment a special value as amemory which, when needed, works to remind us of better moments.
A photograph may be a “real image” of what was in front of the lens, but what was in front of the lens may also have been a “constructed set” — movies do it all the time. Or perhaps worse, the image is “real” and the caption is misleading or lying—the former may happen with good intentions, but the the latter is usually with bad intentions.
All we can know is the past, but that ability to know the past is also the commitment of the present to communicate with the future.
The Universe created people to know itself, and people have become diverted to use that time to know themselves.
Perhaps its out of control, this constant differentiating & defining, the need to be creating, the need to have a history, the knead to no who we are by knowing, and noing, who we were—our history.
Creating tools to make marks —writing tools—and mediums on which to make those marks—most significantly paper— and the tools to make mass printings—the printing press and now light printed on the computer screen.
Electricity powers light which is not just to enable functioning in the dark, but for the expression of written language which is used to communicate with and between human beings as well as from machine to machine.
The problem with electricity is that people do not have individual biological anywhere anytime —natural— access to it Even Tesla coil needs the coil to get-go.
In September of 2008 mom suffered a stroke with severe memory loss and developed expressive aphasia. She lived about 5 hours drive over a 7200 foot mountain which could require chains by November. The first time I drove up immediately to deal with legal matters; during my second visit I began to think about the future. Out of ICU but still in the hospital undergoing therapy, we had lunch —I had a delicious tuna cheese melt on sourdough—I thought a “kind of not so healthy” menu item for a hospital but it tasted so good.
Somehow I think she always knew something had happened that qualitatively changed her life . . .
. . . but try as hard as she could, she could not understand what happened.
She knew inside she was someone, but she could not remember, no matter how she searched inside of her self, she could not find those memories that would tell her who she was, those secrets inside of her she was never to know again.
“The winds [of discrimination] cannot enter this place of knowing. When you penetrate it throughly and fully, [you will realize] that you have possessed it since time immemorial and that t has not been absent for a second. Even though you seek it through thought , that [itself] is the Self and nothing else”. Denkoroku Francis Cook
Alienated from yourself—everyday you are you, busily preventing yourself from knowing who you are.
Awaken the you inside of you. Do we believe that if we do not have a stroke, do not lose memory, do not develop expressive aphasia, that we are in touch with our real selves?
Early in the morning they will chant Heart Sutra at Sensoji.
Living in an apartment in a city is a reasonably anonymous experience, but in a small rural town where short term rentals may be few, every time locals visit the shopping area they see how you live. Once I lived in a such a place as an undergrad in a small rural town a half& half basement from the street side and first floor from the back.
The main street was built on the side of hill, At street level my apartment would be in the basement, but go around 180 degrees and there was the back door entering into the kitchen. The “front door” was on the side with steps down to the living room. On top, the first floor enter the local bar from the street, a hangout for college students, they did not bother me much and it was owned by a local judge.
Somewhere in New England 1970
In Maine sometimes I would drive over to this house and wonder why such a big tree was so close to the house, there was no paved road to here, only a dirt road, and there was an old tractor and a couple pieces of trailer farm equipment busy rusting nearby.
Is there something to see of the previous people who lived here or is it a lonely house left with some secret memories of once being a home. Maybe it was rejected because the occupants could not make it a home.
Imagine how long it took to establish a common set of standards for building houses. Many gothic churches began construction with a defined, incised in stone, standard measurement for every worker on the site to use. They may have been different for different sites, though I would imagine professional builders would develop their own and any ex-employees or apprentices would likely learn, adopt and adapt them.
Western Massacheusetts, 1970, I liked the contrast of the textures of the living things to the building.
Houses—perhaps homes at one time—and the questions they raise, was it a house before it became a storage building? Is there any sign of happiness happening in this house? Maybe kids slept in the attic and kept a collection of little flip books and Edgar Rice Burroughs books so and when their cousin visited he could spend hours up there reading.
One day this house just appeared beside the road, it once had electricity, were there ever shutters on the first floor windows?
Imagine how many workers were displaced by standardization of building materials, workers who might’ve used a different measuring standard for every house. Maybe at the moment it put a lot of people out of work, but in the long run it made houses increasingly affordable for more people by reducing the labor needed to create materials, standardized the skills needed to build a house, and as society changed, resulted in lower prices for houses, more houses being built and more jobs for people building houses needing less skills than before.
One August afternoon on a country road in southern Vermont, the corn is high, When its ripe the farmers often have some on a roadside stand, if its a small stand it may have been an honor-pay practice. Corn picked, brought in that afternoon and eaten the same night is a country treat never available to city dwellers.
Japanese “Folk” Pottery
In the US there is this sense that somehow “folk art”often called craft, primitive art or “homemade,” is never to be “Art ” because it lacks an intellectual meaning component. “Great Art” is supposed to make a “statement” about the meaning of life, a statement which appeals to, or perhaps celebrates, the humans sense of “reason,” a sense beyond see, hear, smell, taste and feel and unlike our five biological senses with which we are naturally endowed, result from the additional effort of the individual—some appreciate Art more than others and we know who they are because they can express this extra sensory quality in Art. Its a little different in Japan. Craft is recognized ones as Art and the meaning of life is to be found in the doings of daily life
A guinomi is different than a choko a term also used to designate a small cup to drink sake. Guinomi means one gulp, a chokes usually smaller, more like what is used to drink sake at most Japanese restaurants in the US. There are cheap guinomi and expensive choko, but most guinomi are not cheap though not necessarily expensive and has its own individual presence while most choko are cheap and lack a presence, Generally when you drink sake with a guinomi made by a potter who has been true, you discover the meaning of the sake.
Ki-Seto guinomi (Yellow Seto), the basic glaze is yellow background with green and brown scorches,
Think of the unknown potters through history who figured out to form clay into a container, how to fire it and made the extra effort to decorate it—to make an everyday object fun and enjoyable to use. Its the using everyday that makes it have a meaning which “Art” in a museum can ever have —hell, you have to pay to see it and then you cannot even touch it, andsometimesyo have to stand-in line and then view with wit ha bunch of other people hanging around. Better to use it to eat and drink from and then wash it after and put it away to be used again tomorrow and tomorrow and tomorrow.
Hidasuki Bizen guinomi Pots are fired with wood ash “glaze” and while they feel unglazed they hold liquid. In the kiln the pots may be stacked and tied together with twine which burns leaving traces of the twine. Bizen is located on the main island in Okayama Prefecture between Kobe and Hiroshima on the Shinkansen.
Every culture has folk art and examples of GREAT DESIGN!!. Thee is no ”My culture has better design than yours.” Folk art arises from the everyday experiences of small societies which share similar values and behavior and the art expresses the culture or “the common feeling of the people.” As societies grow they increasingly include more people from diverse backgrounds bringing behaviors which results in conflicts, and changes.
Aka Shino (Red Shino)guinomi. Often shino has a strong white glaze but red shino is also popular.
Bizen, Hagi, Mashiko, Shigaraki, and others are examples, and sometimes the word “Rokkoyo” which specifically refers to Echizen, Seto, Tokoname, Shigaraki, Tanba and Bizen Jomon pottery is considered one of the oldest pottery dating from 13,000 BCE.
e-Karatsu guinomi and Shigaraki tokkuri i. When pouring from a Shigaraki tokkuri or drinking fro m a shigaraki guinomi don’t be surprised to feel solid particles from the Earth embedded in the clay. Karatsu often has a wonderful experience of depth of transparency in the glaze, like a da Vince glazed painting.
Folk artists learn one way of doing something which works fine in a common society, but a diverse society has multiple standards and contemporary artists may find an audience in unique personal expressions where popular Ar is defined not so much by the unique individual achievement of the artist, but by its commonality to any lowest common denominator.
Kuro OribeChawanKuro-Oribe. kuro or guro means black
Seto and Mino, cites in Japan near Nagoya, have a long history of kilns with some sharing of skills and techniques and some differences— Kilns in this area have been operating for centuries. Some may be referred to as Seto or Mino style which are often more personal expressions of the potter. I like the various other Seto/Mino styles which have a tradition and the potter’s personal creative expression includes the tradition—Shino, Oribe, Ki-Seto, and Seto-guro,
Often Oribe wants to challenge the pottery user in shape or in decoration, If nothing else—but there is much more— Oribe is fun to hold and use.
This is one place Japan pottery and Japanese folk art in general (and in my opinion also USA Pueblo pottery) is different than pottery traditions in other societies. There is a tradition in which potters find their personal expression within the tradition— When you see Oribe, or Shino or etc. you know is Oribe or Shino yet the great potters have also found creative and unique ways to express themselves personally. Japan has a cultural value for Folk Art which is lacking in the USA and in Japan this creates a common cultural bond, again lacking in the USA.
Thus Art, as Folk Art, in Japan is part of the common everyday experience contrasted to in the USA where the experience of Art is separated from the personal experience of most people —Look, don’t touch the Art please!—and often the property of an elite.
Seto Guro chawan. Guro means black, This is a large, heavy, demanding chawan needing both hands to hold it firmly
In western Art, the artist eclectically studies other artists as the basis to make Their Own Creation, separate from tradition, The Nakamura family makes Bizen, as do many others, but there is one lip to a guinomi which is Nakamura family and still its Bizen. Often in wester nart often the achievements of the“great clay artists” is referenced as non -functional pottery—a long way from the making of pots y used by people everyday sharing a common experience, and meaning, of using them.
Oribe tokkuri and Setoguro guinomi. Often Oribe has green and brown on a beige background, there may be an illustration from nature and a drip.
New Years with Shigaraki tokkuri, e-Karatsu guinmoi and small dishes.
There are days when the simple movement of the Earth traveling 67,000 mph through space fails to summarize my mind, that is when I like to walk along the Alameda Creek.
You could say its like I am spying on people, taking “secret pictures” of them. Look closely, my images are not about the people, but the line, color, shape, gesture, Well there are some that are about the people but in those its clear that I have their permission and they are posing.
What is it we do in our lives that makes living worthwhile? Walking along Alameda Creek.
For many the truth of a photograph is about about something that is real, a moment of insight into a person, but for me its just the color, shape, line, texture, how it gathers everything together to create a personal visual experience separate from the restriction of thinking—the mental differentiating and defining of the reality in the image to fit what we should think about what we saw and not enjoy the visual experience in and of itself.
Is there something about the movement of the shapes that give a feel to how things interact with other things—straight lines contrast to curved lines, dark contrasts to light.
Again you could say that its like I am spying on people, except these images are not about the people, I am not talking to them, I don’t care how they are, whether they are sick or feeling angst, are they lonely or happy, and you do not find yourself asking those kind of questions or making personal judgements about them. But I and you can experience the shape, the color, the gesture and the line without looking at a photograph and feeling obligated to even mentally ask “What is it?”
Who is spying on who? There is a little parking lot along Alameda Creek at the Beard Rd trail head, which has a toilet and regular delivery persons who work this area know this place, PG&E, Amazon, FedEx, mail carriers, its a common bathroom available for free.
Do I know who I am at any moment when I am being me? Domy photographs hold some kind of truth about who I am. or are they simply random 1/125 seconds of my life? Why did I make this image? Is a windshield one level of separation?
Sometimes its like being a Monday quarterback I should have seen this moment then and not now but after fifty years how many different time have I told myself t he same thing after seeing this or that photograph. Are my photographs memories of missed opportunities ?
My photographs can only hold truths about myself, maybe most of the time I am lying to myself in my photographs or should I have found more hope them anthem than I could. They are like Oracle Bones from the Shang dynasty waiting for a moment of divine inspiration.
What good are these images if I cannot divine some good fortune to come? Or cannot wonder and know what it is like to be sitting in front of a grocery store with my possessions asking others for money.
My father one early morning in Sparks about 2005, He passed in 2006, I see this image, it was one of the last I made of him, certainly the last using film. He was older than I am now—I’m 75—Mom and Dad retired in 1984, spending 20 years in Albuquerque and, for him two more years in Sparks. Maybe I never knew him well enough, maybe I do not know how to know somebody or anybody well enough. I remember these lines fromWoody’s song written to the tune of Irene Goodnight byHuddie Ledbetter:
My father hoped that I would be A man of some renown. ButI am just a refuge As I go ramblin’ ’round, boys, As I go ramblin’ ’round. Ramblin’ ‘Round’ lyrics by Woody Guthrie
After his passing my mother lived in Reno at a retired facility, in 2008 sh had a stroke suffering memory loss and Expressive Aphasia and moved to a memory care facility near me, where I got to know her in another way. We used to go out, here we are at the shopping center. What use is photography if it is not fun?
Gate gate paragate parasamgate bodhi svaha, may it forever hide my shameless theft of Sengai.
Long ago I lived in the country,
Knew only sheep and cows. . .
So we headed up the hils, leaping sags and gullies
(Climbing up and down made my muscles stronger),
Through one woods where mist wet my straw coat and hat . . .
But those days are gone—I see them only in a painting.
No one believes me when I say I regret
Not being a herdsman all my life.
Su Tung Po 11th Century Burton Watson translator
I do not think you have to know what the Chinese characters mean to enjoy this painting by Janney. Feel the conversation between the green stems reaching out to the words, and then the disinterest of the flower. Maybe its jealous, narcissistic or perhaps just looking at something more interesting.
We watch TV, see movies, talk about the the “Art” of popular visual media using such terms as ratings, box office sales, Oscars, Emmys, non-commercial, what is the greatest film ever?? Tokyo Monogatori, Bicycle Thief, Pather Panchali, Citizen Kane, Spring in a Small Town, many would have a different list and argue through the night.
Movies and TV shows are written, edited, directed, rehearsed, performed with actors all working to enable the scene to unfold as directed and then the film or video may again be edited.
People and dogs like to be together.
Then we experience—films we experience vicariously as a changing emotional experience, but photograph are are a single experience separated from what went before or will come next,
And as well, people like to be with people, doing something together gives them a chance to do be together.
Movies like to think they are stories of real life, and often people talk about how their experience of the film is more or less like real life, critics often make judgements about how similar it is to or different from reality, and people are often unhappy when the choice of actor does not fit with real life. Still what is being an actor outside of being someone you are not— “All the world’s a stage. . . ”
After school at the bus stop.
On TV or in a movie everything unfolds so “logically,” always in the right order, at the right moment, on cue, so to speak, feeling an essence of the human drama.
We stopped for a moment, the lines of the tree jumped out to the foreground, thick lines with thin lines, could they be the know-leaves, something fore the future to tell?
Compare to real people who at best stumble along with in compete sentences or uncommonmeanings . . . while when movie people interact they speak and act articulately with the appropriate camera angles and lighting for gestures and facial expressions.
Farmhouse in Minnesota, about 1970
One philosopher suggested people have a “real self” and an “ideal self.” The “real self” is what we do and the “ideal self” is what we think we should have done—and mental stability is the ability to find a balance between them.
He thought, centuries ago, the standard for the “ideal self” came from the ideas of the Church. Later another said it was not just the ideas of the Church but it was people created ideas that contributed to the concept of “real self.
Old house in Maine, circa 1970. When I see a deserted house I wonder about the people who lived there, in this case I met a man whose mother grew up in this house.
And as ideas change, even when we “improve our behaviour closer to the standard” the standard also moves, maintaining the spread by reverting to the mean. We are stuck in our “real self” but want to behave like our “ideal self,” generally never can and when we do its a fleeting moment as the accomplishment just leads to a higher benchmark.
Generally the utopian belief is we can make the two into One or at least diffuse the differences while increasing toleration enough to live in peace.
The government paints the word “STOP” on the street, there are a small finite number of businesses which provide the stencil to meet specific standards, so these images share a common visual origin. Here is the “top of the “O” in STOP.“ Time is its own artist.
But what happens when you are in a real life similar situation as you identity with in a movie, does it come off so smoothly? No, It often does not unfold the same as the movie. While the scene you are watching feels real, often the screens preceding and following seem like chance.
Guinomi are “One-Gulp” containers for drinking sake. Perhaps that is Hotel and Daruma on the top corners . . . These are all Japanese made except for the blue translucent by Gary Holt of Berkeley 5th row, 4th column. bizen, ekaratsu, hagi, ki-seto, kuro oribe mashiko, oribe, setokuro, shigaraki shino, and one ceder with a couple of kyo-yaki.
The whole thing is contrived, we all know that and we like the entertainment.
But still we are constantly exposed to TV and film— how does this experience contribute to our expectations of behaviors?
The Mies Davis album “Kind of Blue” is a classic, I never learned the titles of the songs, probably because there are no lyrics, but after decades, upon hearing I immediately recognize any song from the album.
Indigo is found around the world and from ancient times has been used in textiles, row 4, column 3, is an old piece of kasuri (Japanese ikat) and row 6, column 3, is shibori and some blue porcelain and Levi.s
Do we expect ourself or others to behave like people in films? Do we judge ourselves or others when we or they do, or do not?
Following are some images from an essay, circa 1970
The photograph is different from film. In a film when we see a frame we “know” what went on before and what happens after, but a photograph is just a moment in time, we do not even know what is going on outside of the image at the same moment as the photograph.
Two young people moved to a rural setting,
I wonder if I like my photographs of people better than I like the people in them ?—That is a rhetorical question.Photographs do not require anything from me to get along with them, they do not say things that hurt me, but when I like the image . . .
I liked the wood background . . .
they make me feel good.
That seems very selfish of me or even creepy—making a photograph of people so so I can control the relationship to get the good part without having the bad parts— a photograph does not make relationship requirements on me to feel good . . .it does not feel anything all, its a one way relationship.
on the side of the house,
Or maybe its a sign of something very lacking in my character or in my life.And yet more and more pole around the world are making photographs.
encasing the window,
McLuhan wrote about two women who meet on a street, one pushing a carriage with her baby. They stop, one woman remarks “Your baby is beautiful !”and the mother responds “Oh but you should see the photograph!”
and reaching a resolution. visual art creates a tension and resolves it.
When there was no popular electronic media people read printed novels and short stories most of which had no comprehensive visual image, the reader created it—any one can be the hero, lover or the loved one, just for the price of being able to read.
During my life with my mother her name was Lynn, but to her school age friends she was Rosie, short for there more formal Rosamonde. I never met her school age friends until I was an adult and it was an interesting feeling to experience these strangers being so intimate with my mother.
This is the side of a train track, Union Square, behind city hall in Somerville, circa 1970, and Lynn could be a stop on the line or an attempt to communicate with someone.
But with TV and film, in order for the story to be “convincing” the images are not the personal hopes and dreams of “any” reader as they are when words are read in the comfort of your home, but common idealized visually expressed stereotypes.
The dog sits, a man plays and a woman walks by, an every day story
When we read the book we experience ourselves being the hero, but when we see the film having the same feeling requires many people to deny who they are unreal life. Where the book experience was an escape into, the movie experience is an escape out of.
Does the answer or the questions come first? Does it matter? What if the monk asked “Mu!” and Joshu answered “A whole in the head.”
What is the influence of electronic media in the socialization process? Do we hold ourselves to an artificial standard set by how we see people behave on TV and in movies?
I wish my life was non-stop Hollywood movie show A fantasy world of celluloid villains and heroes Because celluloid heroes never feel any pain And celluloid heroes never really die “Celluloid Hero” Kinks song lyrics by Ray Davies
For years there was a shop on Grant Street, Market side of California, selling quality Chinese antiques and I used to take visitors there because the experience was more personal. This painting hung on the wall for many visits, They feel so cold.
When you wake up in bed. sit up dangling your legs over the side off the edge of the bed, stand up, AND if you stood up on the floor and it were to give out, you—your body—without thinking,would respond.
Bidders at a farm auction, Maine circa 1970; are they thinking about a friend now past away, or perhaps gone bankrupt?
You would react automatically, without thinking, and hopefully, in protective manner. Thinking about it would come later, even if its a second later, the “what” we call thinking is post-response but the response is automatic; instinctual; natural; unconscious, reflexive; etc.
A woman, a dog, a car seat for a couch and a shake house. about 1972.
When light is reflected, it enters the eye, and the eye “edits the image to a language the brain understands” defining the experience. What the eye sees and what the brain sees are not necessarily the same things. But in a flash, the stimulus reaches the brain where it is categorized and defined, but always later.
The shapes and colors have their own right to be here, and not be forced to be some words in my mind
Metaphorically speaking, design and color classes in art school teach seeing the image the eye sees and not the image the brain sees.
What is the most logical color for yesterday? What is the least common sound for tomorrow?
Photoshop skills are for sale and I wonder Linwood Dunn what have you done? now at the corner of Vine Street and Fountain Avenue in Hollywood.
A postcard handed to me at an “arts & craft festival,” there was actually a booth promoting this product, but why get a tattoo if you did not what people to see it? (Note: This original image is not mine and unless stated otherwise any images on this blog were created by me.)
Artificial lines drawn in the dirt give you the right to kill other people? When survival becomes difficult, for over 400,000 years people have been migrating around the Earth searching forgather place tomake survival—this is normal behavour, this is normative behavour, this is human behavour.
Standing on someone’s Art
Nation states, geo -political entities, with their lines drawn in the in the dirt ready to kill—scarce resources or failing “leadership,” well its not really leadership if its failing.
War is mainly about killing innocent people and their families and destroying their homes. Before countries —Thirty Years War ?—kings did not have at their immediate disposal tax payer funded armies legally required to do the bidding of any demagogue that can get devotees excited about killing . . .
(These images are visual metaphors and not political statements)
Geo-political entities, countries—not yet 400 years since the treaty of Westphalia —and lines in the dirt have come to mean being on one side of the line gives you the right to murder anyone who steps across from the other side.
It seems we are all here on this earth, we all have a right to a place in the sun and a responsibility to behave towards others respecting those rights, and there is no where to go to start anew.
I like books, Children of China, published 1937. Its not whether the images may seem to express certain overtones, but its the shadow on the faces that interests me, printed on a very porous medium , cover hand painted photograph courtesy of Mrs. Branson De Cou.
Certainly that responsibility means do not enable demagogues with political power.
And yet there are always those with no integrity, no ethics, no principles who snake their way into the politic using what passes for democracy to unleash the intolerance of hate for their personal agenda.
Or maybe its simply in the color orange, San Francisco financial district
Begging for peace standing on the edge of the road to world war, maybe these demagogues think they can harness the expressions of their hate, keep the killing inside their national boundaries . . .
Slow talk exposed on my wall
It will come spilling out.
There is no crueler tyranny than that which is perpetuated under the shield of law and in the name of justice.
Whens zens pens ends and the world begins . . .
Hope is not for the great, or the saviors, or the best and the brightest, its in the everyday life that goes on until its gone.
Everyday most people do things which makes the world a better place, its a center balance to those who use political power to pursue their own ends at the expense of human beings.
Madonna and child, they will be living after I am dead.
Photographic images, which to an art director express a vicarious human feeling create in us stereo types defining our desires for things missing in our lives.
Shibuya posters and graffiti make a wall hiding future construction . . .
I would like to be the person in the photograph, and not the person I am, or I was, or I will become . . .
Pretty much through my life I shaved in the shower—Thanks to advertising, in high school I saw an ad on TV which claimed their brand of shaving cream was almost as good as shaving int he shower so I tried it and never stopped — and I cut my own hair—not very stylish but being stylish was something which was only in my dreams.
but then today I have felt something new may come, its exciting and scary, I wonder whether it will destroy everything I have now, take me to a new place in my life or just another ride around in a circle . . .
Motionlessness in motion . . .
I guess photographs have always provided something stable in my life . . .
This is a place I never got tired of seeing, a field hiding a sudden drop in the land with a two story building, trees and sky peering over the edge welcoming me home.
Sariputra, the emptiness character of all dharmas,
neither arises nor ceases, is neither pure nor impure, and
neither increases nor decreases.
Legacy country images from my lost youth when I could wander not knowing, and not caring, what was around the curve in the road, What kind of house, what kind of people live there, what is it like to lie in the bed late at night the sound of an approaching car, at first just distant, then approaching from far away, the sound becoming more and more, it goes bye, the sound becoming less and less until its silent again except in the summer when the insects serenade all night. These buildings were filled with human experiences and memories.
For lack of interest I might take a ride in a van, at night sleeping in a road side park , you could do that in the 1960s. It seemed knot knowing what is around the korner was new and exciting but after 50 more years of life, no matter what I am doing everyday is like that, I have just learned to conveniently avoid it, acting as if it wasn’t really so, it just creates worries.
A big Maine house, probably built add-on by add-on, and like any old rural house, being without central heating can get cold in the winter, but its a beautiful house to IMAGINE living in.
The road not taken if I remember correctly, after making this image I turned around—more than once— I thought the memory was better and only disappointment was somewhere around the curve.
In August, when the corn is over your head, and you can buy it fresh picked at the farmer’s roadside stand, no one there, just leave the money in the can, those days too are gone, wear to? I don’t know, I guess that’s why some people like to have a God who will tell such answers.
Maine, what is here? a kitchen, living room, bedroom and bath and another bedroom and storage on the second floor.
Vermont, early spring, early morning, too early in my life…
Western Minnesota, the buildings and the spacings between them look as if they grew out of the ground, each laying claim to its personal space around them.
Western Massachusetts tobacco drying barns at sunrise, this was about 1970, I do not know if these are still there, and if they are, would they still be used for their original purpose, though cigarettes are still smoked around the world.
A soft summer’s day, broken windows and a lonely barn.
In the same view if you were a person standing here, or to a wide angle lens you would see a medium size shopping center.
Another Maine house probably built add-on by add-on, as needed, perhaps life is like that, one add-on after another.