Philosophical Roundtable Archives - ZO Magazine https://zomagazine.com/category/phili-roundtable/ Mon, 12 Jun 2023 15:04:59 +0000 en-US hourly 1 https://wordpress.org/?v=6.1.3 https://i0.wp.com/zomagazine.com/wp-content/uploads/2019/01/Separator-circle-w.jpg?fit=32%2C32&ssl=1 Philosophical Roundtable Archives - ZO Magazine https://zomagazine.com/category/phili-roundtable/ 32 32 65979187 The Tendency Towards Complexity https://zomagazine.com/the-tendency-towards-complexity/ Fri, 02 Jun 2023 18:36:36 +0000 https://zomagazine.com/?p=28417 The post The Tendency Towards Complexity appeared first on ZO Magazine.

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The Tendency Towards Complexity: Thoughts spurred from the novel, Shantaram

By Catie Jarvis

“House of Cards” — AudioMachine

I’m lounging under an umbrella on a white sand beach in Turks and Caicos, vigorously turning the pages of my novel, my heart racing. The humid air and ocean breeze coat my skin and the tropical sun bends behind my glasses to shock my eyes. But it is not the sun or the heat which is causing my eyes to tear. I reach the end of Chapter 29, shut the book, and throw it onto the beige beach chair.

“I don’t know if I can go on,” I say to my husband. And I mean it.

I feel the devastation of the main character, Linbaba, as if it is my own. A testament to the author’s strong and connective writing. Like life, parts of Shantaram are unbearable, and others are full of tenderness. This novel offers an important reminder, that within each person, each life, each city, and each moment, there are worlds of pain and depths of beauty if only we look close enough.

I’ve chosen to read Gregory David Roberts’s novel, Shantaram, while on an all-inclusive Caribbean vacation with my extended family. It’s like being emersed in two foreign and contradictory worlds at once. Pristine turquoise waters, tourists in straw hats walking the beach with rambunctious children in tow, versus the sewage-stenched slums of Bombay, “those writhing alleys of struggle and dream [1].”

THE FICTION PORTAL

I look up from the page to see bikinied bodies sipping pina coladas, and back down to read viscerally detailed and brutal prison beatings, stories of hard men with unimaginable depths of cruelty and kindness, and insights about human nature that bring me to my knees in the sand as if I am the one taking the punches. I wouldn’t want it any other way.

Something that I love about reading is how it shapes my view of reality, alters my perspective, and adds harmonies and dissonance to that voice in my head which narrates life. Reading Shantaram, compels me to look closer at the world around me.

My pink, sun-kissed two-year-old daughter, giggling, building a sandcastle near the water’s gentle edge with her grandpa. A Caribbean woman passing by with beads balanced on her head, calling out “Hair braids? Who wants hair braids?” with a richly accented singsong. Shockingly different worlds exist here around me, just as in Shantaram’s Bombay. I want to know the woman selling the art of hair braids, in the way that Linbaba would have known her, fully, deeply. Her brown eyes open wide despite the relentless sun. Maybe she has children in a modest home by the sea. Maybe her family has lived on this island for generations. Well before this tourist resort ever existed. I want to describe her with the level of detail and proficiency that Roberts uses to describe the multitude of characters that populate his novel. Like he describes Rukhmavai Kharre, the mother of Linbaba’s beloved guide and best friend, Prabaker.

“… Rukhmavai Kharre was forty years old, and at the peak of her personal power…Her black hair, gleaming with coconut oil, had never been cut, and the majestic rope of it reached to her knees. Her skin was tan brown. Her eyes were the color of amber, set in rose gold. The whites of her eyes were pink, always, giving the impression that she’d just cried or was just about to cry. A wide gap between her front teeth gave an impish mischief to her smile, while the superb hook of her beaked nose endowed her serious expression with an imposing authority. [2]

And that’s just about a third of the initial description that brings her to life.

Roberts’s novel is written with a wholly empathetic gaze. He examines each character, no matter how minorly featured in the story, no matter how downtrodden, criminal, or dislikeable, with consideration and care. He describes the faces, postures, lives of each person in his story, as if he is describing his beloved. Seeking the components that make us all neither good nor bad, but fully human. The novel shows his wisdom for life and that to know someone, truly, the good and the bad, is to love them. “Love is the passionate search for a truth other than your own; and once you feel it, honestly and completely, love is forever. Every act of love, every moment of the heart reaching out, is a part of the universal good…” [3]

The author lived, once, like I am, within a family, within a society, but he also lived as an addict, criminal, prisoner, and fugitive. I think only someone who has lived in many factions of society, within its bounds, and also outside, can truly offer his perspective. I remember something that my AP English teacher said to me sophomore year of high school when I told her that I wanted to be a writer. “To write, you must really live,” she told me. “Become worldly. Experience everything. Try. Fail. Make sure to fail.” I was a painfully shy and studious girl in high school. It took me years to begin to heed this teacher’s advice, and in these years of living, I learned about the world, and the people in it. I got hurt, I messed up, and I looked up the word “worldly” many times, to see if I yet embodied it. Roberts is nothing if not worldly, and it shows in his every line of writing.

“Nothing in any life, no matter how well or poorly lived, is wiser than failure or clearer than sorrow. And in the tiny, precious wisdom that they give to us, even those dread and hated enemies, suffering and failure, have their reason and their right to be, [4]” says the narrating character. I’m calling him Linbaba, though he is called many names throughout the book (Lindsay, Lin, Shantaram, to name a few), by those friends who come to love him. His having many names is appropriate for this story which is ultimately a record of his trials and transformations, as he seeks to find his identity, his true self, amidst the chaos of his life. This is a mission most of all of us find ourselves on, I think. We are all trying to understand ourselves in the world. Conjuring a philosophy that makes sense, which can get us through hardships and through the day.

Shantaram has given me much to contemplate. After my allotted seven days of warm waters, endless buffets, and family time, I am nearing the end of the Shantaram story as we prepare to depart Turks and Caicos. Alongside Linbaba, I’ve made it through wild adventures and passions, gotten to know India and the Indian people, suffered death, grief, and relapse, and I’m savoring the meaningful ending of the book as I sit in the crowded, stiflingly hot airport packed with agitated tourists. There is disorganization in this small island airport. Chaos. It is not like the U.S. with crisp air conditioning and endless rules. My daughter is throwing a tantrum on the floor, there is nowhere to sit or even stand, the boarding lines weave endlessly on and though we are well past our boarding time no one can tell us if our plane has arrived. My sister-in-law proclaims, “I’m never coming here again!” And I think of the families living in the slums of Bombay, the heat and the crowds akin me to them. Their tolerance of the hard parts of life, their ability to overcome and embrace joy in the face of struggle, is not only a strength but a virtue. Many people suffer from their lack of tolerance, the world suffers from it. Linbaba says it best:

“That unequivocal involvement, one with another, and its unquestioning support… was something I’d lost when I’d left the slum to live in the comfortable, richer world. I’d never really found it anywhere else, except within the high-sierra of my mother’s love. And because I knew it with them, once, in the sublime wretched acres of those ragged huts, I never stopped wanting it and searching for it.” [5]

My trip to the soft white-sand beaches of Turks and Caicos would have lacked a certain richness, without the companionship and contrast of Linbaba’s perspective by my side. Linbaba’s mentor, the big-hearted and brutal gang leader Khader, explains his philosophy of the world by saying:

“I think that we all look for an objective way to measure good and evil, a way that all people can accept as reasonable, we can do no better than to study the way that the universe works, and its nature… the fact that it is constantly moving towards greater complexity. We can do no better than to use the nature of the universe itself.”

I believe that Roberts’s novel Shantaram is, itself, propelling us toward seeing the very complexities of human nature. The baffling and striking intricacies of life. The tolerance for all kinds and ways. And this clearer vision, can make the world a better place.

[1] Shantaram, pg 929
[2] Shantaram, pg 125
[3] Shantaram, pg 740
[4] Shantaram, pg 872
[5] Shantaram, pg 893

The post The Tendency Towards Complexity appeared first on ZO Magazine.

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The Importance of Art in Community – RAIZ Exhibit https://zomagazine.com/raiz-the-importance-of-art-community/ Tue, 18 Apr 2023 15:19:33 +0000 https://zomagazine.com/?p=27558 The post The Importance of Art in Community – RAIZ Exhibit appeared first on ZO Magazine.

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RAIZ Exhibition and the Importance of Art in Community

By Catie Jarvis

“Sol Poniente” – Dugo

Sculpture by Aof Smith

The hills of Glendale surrounding the Brand cultural center are a brilliant electric green after the winter rains. It’s a color that doesn’t hold in Los Angeles but that sets the perfect stage for the bright and captivating NEXUS IV: RAIZ Exhibition inside the gallery. The exhibit is a diverse collaboration between the Brand, Thinkspace Projects, and Tlaloc Studios. The multi-artist experience works at “creating a platform,” as the Brand library explains it, “for young and emerging artists from around the world to exhibit alongside LA-based artists working in the New Contemporary Art Movement. ”

The Brand gallery is empty during my mid-week morning visit, there is a buzzing silence broken only by my own breath and footsteps, a far cry from an art show opening night, where people commune, full of vibrant energy. Viewers slink thoughtfully from piece to piece; voices point out the details that speak to them. The artists stand by, ready to discuss their art. I like the energy of those opening nights, but today I feel the power of solitude. Instead of the voices and vibes of people viewing art around me, I hear the artwork itself. Creations from over sixty artists, speaking with and to each other.

It feels right that this collaborative exhibition is the topic of my first article for ZO International Magazine, itself a community space to showcase artists across the globe, to bring them together. It also feels right that as I enter the main exhibit space, hanging just past the open doorway, is the curious creature composed by Thai contemporary artist Aof Smith, who won a ZO Magazine expo back in 2015 with his piece “Summer Chaos.” Like an art gallery, ZO Magazine follows the careers of and continues to support featured artists like the Bangkok-based pop-surrealist, Aof Smith. This is an important mission. Engaging in art, whether by viewing it, promoting it, talking about it, displaying it, writing about it, or creating it, is what keeps art itself, alive.

ART IN COMMUNITY

Clumsy Soloist by Aof Smith

I step forward to admire Smith’s oil painting on canvas. I gaze into the wide turquoise eyes of the furry main character of “Clumsy Soloist,” who holds a brightly colored, futuristic sort of banjo. I can almost hear the otherworldly instrument playing, clunky, off-tempo and eager to please. A song of longing and chaos. The painting is philosophical, political, farcical, and fantastical. Hitchhikers Guide to the Galaxy meets The Never-Ending Story meets The Great Warrior Wall. It is a unique piece, but also very much fits into this exhibition full of art which reflects this moment of time in which we live, right now. Art inspired by the city of Los Angeles, set beside art from around the globe. Together, the works feel loud and rich and collective.

I can see other works in the show complement and contrast with “Clumsy Soloist.” The bright blues, reds, oranges, and pinks in Smith’s work, draw out similar bright colors, used in different ways, and pull them to the forefront. Like the springtime green jacket and puppeteer hand, in “I’m Not Your Puppet,” by Daisy Velasco, an LA artist who speaks in vibrant shades. A green reminiscent of the grass on the surrounding hills outside the museum. The bright colors in the collection, tell their story against the backdrop of the more muted-toned works. The burnt orange in Conrad Ruiz’s “Bye Bye Bulls Eye,” and the pale earthy browns and greens in Brek’s “Broken,” and Emiliana Henriquez’s “The Little Death” and “El Passo,” all Californian in a stark desert way. The colors, bright and muted, paint a larger picture of the pallet of our world.

Another contrast I see working to tell us the story of the RAIZ exhibition is that between the bluntly real and the enchantingly otherworldly. Imaginative, colorful, and broken universes, such as in Mr. B Baby’s “Love Makin”, call out in contrast to the intimate realism of a girl shaving her legs on a tiled bathroom floor sprouting leaves, in Genavee Gomez’s “Overgrown: Sprouting from the Underground Through the Concrete.” Together, a contemporary statement is created. About who we are as a people. About the severity of life and how creative expression, fantasy, and parallel worlds, are ways to make sense of it.

The NEXUS IV: RAIZ show feels like I am stepping into someone else’s dream, but not one person’s, a collective dream, which encapsulates the present human experience. The artworks call out to each other. They work in the way a great anthology of short stories works. There is cohesion, distinction, common themes, and contrasting ones, all strengthened, and deepened, by each other. Bound as the art of now. Showing the viewer that artworks, like artists, and people, are stronger, together.

Catie Jarvis is an author of fiction, as well as a yoga instructor, a competitive gymnastics coach, an English and writing professor, a surfer, and a mom. She has joined the ZO Creative Team as a writer and editor and we are all looking forward to her upcoming column “The Fiction Portal!”

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Trying vs. Doing — An Experimental Approach to Artistic Expression https://zomagazine.com/trying-vs-doing/ Mon, 01 Aug 2022 21:46:21 +0000 http://zomagazine.com/?p=24345 The post Trying vs. Doing — An Experimental Approach to Artistic Expression appeared first on ZO Magazine.

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August

Trying vs. Doing: An Experimental Approach to Artistic Expression

By Tricia Stewart Shiu

ZO Magazine Artisitc Allegory July Trying vs Doing – Read by Tricia Stewart Shiu

“You may not know in your mind where you are going, but you know it by doing.” Nassim Taleb


You walk into a gallery and peruse the vast array of art in the space. A piece catches your eye and you walk a bit closer. It evokes deep feelings that you haven’t experienced in quite some time. You step closer and notice the artist’s attention to detail. You marvel at the use of light in this remarkable painting and begin to feel swept away by long-forgotten feelings.

After a while, you move along within the gallery, but that original piece and the emotions it evoked still stick with you. You can’t shake them and they stay with you, long after you leave.

ARTISTIC ALLEGORY | LE MOT JUSTE

“Art, like life, should be free, since they are both experimental.” George Santayana

Art is truly metaphor for life and self-observation. As with the example of wandering through an art gallery, so is our meandering through life. Sometimes intense, sometimes boring, always an experiment. How willing are you observe? Do you stand on the sidelines and take everything in or do you dive, head first, into the deep end? Do you judge yourself for not understanding the art or do you judge the artist for not making the piece clear enough for you to understand?


“Art is realm of thought experiments that quicken, sharpen and sweeten our being in this world.” Wendy Steiner

Art is subjective. Art is emotionally evocative. Just as art is experimental, so is life. One person’s sublime experience is another person’s drivel. But, within those experiences are some hard truths. To discover these foundational places, where conclusions can be drawn, is to gain knowledge so that intentional steps can be taken.

The thing about art, though, is that it’s messy. The feelings and colors and chaotic incoming ideas can be overwhelming.

So why not test it out? An experiment is a set of actions taken to test a hypothesis. Charting a course through the overwhelming artistic sensory overload, can start by asking a question. Then, a thoroughly researched hypothesis comes next. Once a hypothesis is made, the experimental fun can begin! The fun of experimenting, is that it creates a stair step of understanding to cut through the mass of ideas and emotions that usually flow with creative projects and can, sometimes, block us from getting anything done or reaching a conclusion.


Here are some key steps to take when embarking on your artistic experimental journey:
What do you know? What don’t you know? Art and life, both have unknown variables and known variables and understanding and documenting them can make a huge difference, moving forward.
Hypothetical conclusion: Set up a hypothesis based on what you know and don’t know.
What if? Time to test your hypothesis. Try things on, try them out. Ask questions, bring in new variables and observe what happens.
What happened? Come to a conclusion based on the new evidence and on what you’ve learned.

“Science, my boy, is made up of mistakes, but they are mistakes which it is useful to make, because they lead little by little to the truth.” Jules Verne

Failure and Compassion. Two things to keep in mind throughout your experiment: Understanding that there is no “failure” on the artistic journey—or life—and keeping your tests ethical and sound will ensure that nothing will come between you and your result. Being kind and compassionate with yourself and others helps, too.

And guess what? You can always start again. There is always time and space for another creative endeavor—another experiment.

Remember your imaginary walk through that gallery? You are always free to play, test, observe and imagine. Those elements are key in experimenting and creating. Discovery can be a portal to knowledge and, eventually, action. Isn’t that the point to life, anyway?


“Life is ‘trying things to see if they work.” Ray Bradbury

The post Trying vs. Doing — An Experimental Approach to Artistic Expression appeared first on ZO Magazine.

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Stellar Indemnification — Facing the Truth https://zomagazine.com/stellar-indemnification/ Thu, 01 Apr 2021 01:41:00 +0000 http://zomagazine.com/?p=19968 The post Stellar Indemnification — Facing the Truth appeared first on ZO Magazine.

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April | SHADOWS ON THE GROUND: CONSTELLATIONS

Stellar Indemnification: Facing the Truth

By Tricia Stewart Shiu

Stellar Indemnification: Facing the Truth — Read by Tricia Stewart Shiu

In the early 1500s, a young painter and son of a peasant managed a feat known to few artists of that time. Qiu Ying (c. 1494–c. 1552) impressed and gained the support of several wealthy patrons. “With his special gift for copying paintings, Qiu Ying found favor among collectors, bringing him an opportunity to copy and learn from Song and Yuan dynasty paintings in the collections of the Jiangnan area and greatly broadening his artistic scope.”

He was adept at painting in various styles like ink-wash and blue and green style, but he excelled at gongbi brush technique, well known for its delicate and intricate brush strokes.

Qiu Ying’s paintings are housed everywhere from the Vatican to the Los Angeles County Museum of Art (LACMA). He is, most certainly, a world-renowned artist whose works are priceless.

So, it is no surprise that The National Endowment of the Arts, which manages the Arts and Artifacts Indemnity Program on behalf of the Federal Council on the Arts and the Humanities, chose to Indemnify the first exhibition, ever, held outside of Asia for the painter, Qiu Ying. Last year, LACMA hosted Where the Truth Lies: The Art of Qiu Ying.

ARTISTIC ALLEGORY | LE MOT JUSTE

Every year, since 1975, The Arts and Artifacts Indemnity Program has accepted applications both domestically and internationally, for artwork, artifacts or objects, rare documents, books, and other printed materials, photographs, films, and electronic materials. “Such objects must have educational, cultural, historical, or scientific value,” the programs says, “and the exhibition must be certified by the Secretary of State’s designee as being in the national interest.

Here’s where things get interesting, though. There are lots of holes in Qiu Ying’s biography and his works are challenging to authenticate. “There are estimated to be hundreds or thousands of copies and forgeries for every authentic Qiu Ying painting,” says William Poundstone on his blog Art and Chaos.

In fact, the curator of Where the Truth Lies, Stephen Little, weighs in by saying, “Few artists in Chinese history have proven as enigmatic as the great Ming dynasty painter Qiu Ying, honored as one of the Four Great Masters of the Ming dynasty. His is one of the most copied arts in Chinese history.”

Kealey Boyd writes in, “A Closer Look at China’s Most Enigmatic, and Most Copied, Artist,” “Despite this iconic status and passage of 500 years, unresolved questions around the artist persist. Only three paintings are dated by his hand, resulting in a flawed chronology of his production. Biographical information, such as the dates of his birth and death is unknown. It’s not unusual to lack this documentation among lower socioeconomic classes from the Ming period, but if he was of a lower class, this prompts more questions about how the artist ascended in the cultural hierarchy.”

“Where the Truth Lies grapples with such issues as artists who cross social boundaries, literacy, and the importance of connoisseurship in determining quality and authenticity. This will be the first exhibition on Qiu Ying ever organized outside of Asia.” Says the LACMA website. The exhibition will also include works by his predecessors and teachers, his daughter Qiu Zhu, and followers from the early 16th through the mid-20th century.

The exhibit is curated chronologically and Mr. Little chose to use the obvious challenges to create some healthy curiosity with visitors. “Two fan paintings hang at the entrance of Where The Truth Lies: The Art of Qiu Ying at the Los Angeles County Museum of Art (LACMA),” said Kealey Boyd, who visited the exhibit in person, “The exhibition’s curator, Stephen Little, withholds the respective wall labels, taunting the viewer to claim the genuine Qiu Ying based only on observation.”

The irony is, of course, that although Qiu Ying’s training at copying paintings for wealthy patrons brought him global and historical notoriety, his own paintings were, eventually and prolifically, copied, as well.

The genuine article vs. a reasonable facsimile—to the naked eye, they could pass as truth. Only the discerning connoisseur can truly appreciate the breathtaking detail of each work of art.

The post Stellar Indemnification — Facing the Truth appeared first on ZO Magazine.

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Breaking Bland — Smooth Sailing in Open Waters https://zomagazine.com/breaking-bland/ Tue, 02 Mar 2021 05:51:05 +0000 http://zomagazine.com/?p=19477 The post Breaking Bland — Smooth Sailing in Open Waters appeared first on ZO Magazine.

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March | CREATE THE FUTURE

Breaking Bland: Smooth Sailing in Open Waters

By Tricia Stewart Shiu

Breaking Bland: Smooth Sailing in Open Waters – Read by Tricia Stewart Shiu

“Tricia, may the learnings and experiences of the Vertex 2002 Wild Basin ‘Change Guides Camp,’ inspire you to new summits in your life’s journey.”

– Inscription from Mike Donahue on “The Longs Peak Experience and Trail Guide.”

ARTISTIC ALLEGORY | LE MOT JUSTE

Rules, regulations, and routines are meant to keep us safe, keep us all on the same page and bring a sense of order and/or unity to a community or group.

In fact, creating a routine is one of the fastest ways of staying centered in uncertain times. One of the easiest ways to combat uncertainty and chaos is to create a structured plan.

“Not knowing the future creates physical and emotional stress,” says Equitable article, “How Planning for Tomorrow Can Ease Uncertainty Today” “Making the right kind of plan can help you cope—and move forward.”

However, one problem that comes with a routine is that…well, it becomes routine.

There is an art to exploring, adventuring, and dreaming, using the open waters of imagination to break the bonds of banality.

What if, while you make your bed, every morning, you imagine you are shaking out the mainsail of your very own boat. Perhaps you are about to embark on an adventure to discover undersea treasure.

What if, as you plan your day and check off items on your “To-Do List,” you build in a theme, like a hilarious scavenger hunt with your favorite treats as prizes.

What if, you lived one day as a metaphor for something much larger than yourself?

Maybe rock climbing?

In his book, “The Longs Peak Experience and Trail Guide,” author and a fourth-generation Colorado mountaineer, Mike Donahue brings this metaphor to life. “It is every step along the way that makes a climb, and it is every moment along the way that makes a life. The secrets learned in reaching for mountain summits help us reach life’s summits…”

Mike’s expertise spanned his master-level understanding of mountaineering and summiting and his book—part trail guide, part life manual—shines a light on making life a true adventure. From planning and preparation to navigating the battle between your positive and negative inner voice, Mike’s offering is nothing less than an exemplar guide to being a truly, kind, compassionate, and, yes, adventurous human.

Sadly, Mike passed away in November 2005, but his life’s passion and legacy live on. His memorial page says the following:

“Mike acquired a near-religious passion for the mountains along with a mystical sense that many of the world’s troubles would be alleviated if only its people would wander and climb in his beloved mountains. Experiencing intimately the mountains, he thought, would bring about a kind of spiritual transformation and cultivate skills that are of great value in all areas of life.“

When it comes to dreams, Mike Donahue said it best:

“Everything, literally everything begins as a dream… And the more we try and make our dreams come true, the richer, more satisfying, and complete a life we live.

…don’t hold back. Dream on. And dream loud and strong. Every step you take toward fulfilling that dream will bring you richness and fulfillment that is very hard to find in life. So, go on… Dare to Dream!”

Sure, life needs structure and, especially now, it is important to stay safe and secure in every possible way. But, what if, the questions you ask yourself and the fun you have with each and every moment of your life, enhance and enrich your existence, as well as the lives of everyone around you?

What if?

Thanks, Mike.

The post Breaking Bland — Smooth Sailing in Open Waters appeared first on ZO Magazine.

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Grace as a Verb — Clarity as a Strategy https://zomagazine.com/clarity-as-strategy/ Sun, 31 Jan 2021 16:24:04 +0000 http://zomagazine.com/?p=18908 The post Grace as a Verb — Clarity as a Strategy appeared first on ZO Magazine.

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February

Grace as a Verb: Clarity as a Strategy

By Tricia Stewart Shiu

Grace as a Verb: Clarity as a Strategy – Read by Tricia Stewart Shiu

Finish this sentence.
Desperate times, call for ________.

Before you fill-in that chasm-like blank space with an abysmal catchphrase or cliché, ask yourself how your answer best serves you, your family, friends, and/or your community.

No doubt, you’ve experienced some form of desperation over the last year or even beyond that. We all have experienced desperation.

Occasionally, life will throw a strong curveball, right in the middle of your beautifully settled life.

It is within these moments of undefined terror, blind confusion, or just plain numbed, stumped-ness, that an extra level of understanding is needed…

ARTISTIC ALLEGORY | LE MOT JUSTE

… It is anyone’s guess, as to what is required to navigate the unsettled, jarring occurrences that tend to happen, throughout life—but, one thing is certain—the answer lies beyond any action, beyond thought, yes, the thing needed in times like these, is grace.

Nothing against action or thought. But, sometimes there are no actions or thoughts or, for that matter, words that can get us through, even a minute of such a challenge.

My father has dementia. It’s been challenging watching him weave his way through the uncertainty of his diagnosis. Some days are better than others, but one thing I’ve observed about him is that he has exhibited, embodied, and modeled more grace than I have ever before witnessed in any other human being.

What is Grace?

Many people attach biblical or religious meaning to grace. Yet others, focus their definitions
around an individual’s attractiveness, magnetism, or charisma.

One of the aptest definitions comes from Webster’s dictionary:

“Unmerited divine assistance is given to humans for their regeneration or sanctification.”

Grace promises release from suffering or pain, but the manner in which one might receive grace is unclear. How does one do it? The definition does include the word “unmerited” which alludes to a particular type of detachment from the desired outcome.

Back to my father, whose grace has defied the myriad of dips and peaks associated with his diagnosis.

On several occasions, it’s been apparent that he clearly acknowledges the reality and stays absolutely, resolutely, and radically present. Now, his presence changes with each passing hour, waxing and waning with a mysterious flow, known only to him. But, from my perspective, this radical presence and acknowledgment is grace.

He is just one person, but sometimes, a single human being, living their life in absolute “Capital R” Reality, staying present in each and every joy and challenge, is the best example anyone needs. This is absolutely true, in my father’s case.

Given that, here are some things I’ve observed:

Grace is…
Facing your worst nightmare with neutrality and calm
Fighting till your last breath, for what you truly believe in, opening your arms wide, with acceptance, during a life-altering challenge
Surrendering to a higher power when receiving heartbreaking news
Facing fate with dignity.

Feeling every feeling to its fullest (even the tough ones)

Receiving help

Self-compassion

Compassion for others

Sometimes, those lifetime curveballs that hit you right between the eyes, can show you exactly who you are. It takes clarity to see those events and yourself, as you are, as well. If you are reading this, my wish for you is gentleness, peace, and compassion for yourself—and most of all, grace.

The post Grace as a Verb — Clarity as a Strategy appeared first on ZO Magazine.

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HORIZON OF CHANGE — Nature’s Anomalies https://zomagazine.com/method-to-the-madness-natures-anomalies/ Thu, 31 Dec 2020 20:22:26 +0000 http://zomagazine.com/?p=18212 The post HORIZON OF CHANGE — Nature’s Anomalies appeared first on ZO Magazine.

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January | HORIZON OF CHANGE

Method to the Madness: Nature’s Anomalies

By Tricia Stewart Shiu

Method to the Madness: Nature’s Anomalies – Read by Tricia Stewart Shiu

It is a part of human nature to find logic and meaning in our lives. Patterns and even pigeon-holing are common to our thought processes.

Then, there are those experiences that defy logic. Like the events of the last year. Although we may have different beliefs and explanations about why and how the events unfolded and the outcomes that followed, there is one unifying truth: something irreversible has happened. There is no going back to anything resembling last year’s definition of normal.

We stand stunned, on the precipice of a new year, unsteady in anything we once believed or understood as true.

Now what?

ARTISTIC ALLEGORY | LE MOT JUSTE

What is next on this oddly familiar, yet strangely undefinable journey?…

…Some things remain the same. The sun rises every morning and sets every evening. Other than that, the landscape and the people upon whom the sun rises, are changing more and more with each passing day. The answers can be elusive and the questions, numerous.

Quantum physics answer some burning queries, but not all. Religion has, yet another frame to place upon uncertain times. Perhaps, more esoteric methods can be used like psychics or mediums. Everyone is searching for something solid, anything logical on which to base their next theory.

Therein, lies the interpretation of our own understanding.

Sometimes, our “go-to” oracles are spot on, but other times, not so much, and when all seems like it might be gobbled up by a barrage of questions like: “what’s next” or “what if,” the best course of action is to look at “what is.” By doing so, we can gain a much needed moment of rest to gather our equilibrium.

In other words, it might be appropriate to gain some distance, from our perspective. Treat it all as a grand experiment and look at our lives, in a broad, general sense.

 

In an experiment, getting a “baseline” measurement, upon which we can compare and contrast all other observations is important. Then, afterward noticing the unusual, the inconsistent, and the “stand out” effects or anomalies, can offer insight into a question or course of action (if there is any to be taken.)

A recent article in Bright Side called, 9 Anomalies Proving That Nature Can Beat Anyone — Just Look at Its Power says, “…nature has a lot of other tricks up its sleeve like lakes that disappear overnight, raining fish and other amazing things that are so scary and impressive, people often try to provide explanations for them that are far from correct.”

Some even believe our entire planet is one big anomaly, Trevor Nace, Senior Science Contributor at Forbes, backs this summation up with several worthy examples, one of which is that “Earth is the only planet known to sustain liquid water, which covers 71% of the world’s surface. Liquid water is essential to life as we know it and is believed to be the key prerequisite to finding life on other planets.”

Anomalies are not random. If they are viewed from a perspective of wonder and awe, these irregularities can create a sense of hope and encouragement.

Rudyard Kipling, the poet, summed up managing the madness of life by saying, “If you can keep your head when all about you are losing theirs and blaming it on you…” In short, our circumstances do not define us, however, our response to those events does.

The next time an earth-shattering news event floods your feed, remember the consistently inconsistent occurrence of nature’s anomalies. There could just be a method to the madness, even if it is not.

The post HORIZON OF CHANGE — Nature’s Anomalies appeared first on ZO Magazine.

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NOSTALGIA — Mom and Pop Art https://zomagazine.com/nostalgia-mom-and-pop-art/ Tue, 01 Dec 2020 02:58:30 +0000 http://zomagazine.com/?p=17705 The post NOSTALGIA — Mom and Pop Art appeared first on ZO Magazine.

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December | NOSTALGIA

Sociologically Subjective: Mom and Pop Art

By Tricia Stewart Shiu

Sociologically Subjective: Mom and Pop Art – Read by Tricia Stewart Shiu

“A revolution is on the way, and it’s partly because we no longer take our standards from the tweedy top. All over the country young girls are starting, shouting and shaking, and if they terrify you, they mean to and they are beginning to impress the world.”

Pauline Boty, The Public Ear, 1963

Simple and subjective, our upbringing can be a revolutionary, driving force or an authoritative, divisive wedge to artistic flow. Throughout the history of Pop Art, both masculine and feminine powers have defied and defined artistic sensibilities.

Mothers have had a profound influence in creative endeavors. Whether by actually creating Pop art or through motherly channel—that messy, one-of-a-kind, umbilical connection that has birthed some of the greatest artists and movements in history.

ARTISTIC ALLEGORY | LE MOT JUSTE

For example, the one and only female founder of British Pop Art, shook things up during her short time on earth (she passed at age 28). Pauline Boty (1938-1966) continued to create art through a pregnancy, cancer diagnosis during a pre-natal exam and birth of her daughter, sketching the Rolling Stones and releasing her final painting BUM, which was commissioned by Kenneth Tynan for “Oh, Calcutta!,” just months before her death. If you don’t, immediately, recognize her name, that is because her entire body of work was put in storage following her passing and was only released for exhibition after 1993. Boty, dubbed the “Mother of Pop Art,” delved deeply into the emotional undercurrent of society. What is most amazing, is that those themes, specifically the sexualization of women, are still, highly relevant today.

An article, “11 Female Artists Who Left Their Mark on Pop Art,” describes her art as: “Disorienting and experimental, Boty’s segment departed from those of her male compatriots—as did her practice. Rather than the cool detachment of a Warhol or Roy Lichtenstein, Boty’s works sprang from involved interest, referencing political subjects like the Cuban Missile Crisis.”

Although, there seem to be several “Fathers of Pop Art”—Richard Hamilton, Roy Lichtenstein and Andy Warhol, to name three—the latter, garners the title for stellar, motherly influences in “fatherly” artistic advances.

Because Warhol was sick, quite a bit, as a child, his mother would sit with him for hours and they would create art projects together. Julia Warhola, said, “I buy him comic books. Cut, cut, cut. Nice. Cut out pictures from comic books.”

Warhol’s complicated bond with his mother would go on to spark one of the most well-known Pop Art pieces of all time. “In fact, the most eminent of Andy’s imagery—Campbell’s tomato soup can—was drawn from the nostalgy of his mother giving it to him for lunch every day after school.

Following him to New York City, his mother continued to collaborate with her son as Warhol’s artistic star began to rise.

“Julia Warhola had artistic aspirations herself, but it was her son’s passion that she fostered from childhood,” says Katie White in, ‘Thanks, Mom! 6 Famous Artists Who Loved Their Mothers So Much They Made Them Their Creative Muses.’ “Occasionally, her own pieces were given their own platform, as with her publication Holy Cats—a book filled with her whimsically drawn depictions of beatific cats—which she signed, not with her own name, but as “Andy Warhol’s Mother.”

Sociologically speaking, parental influence is highly subjective and fraught with judgement and opinion with regard to Pop Art. The best part of any movement, is riding those waves of heated judgements and influential understandings while, each of us, remembers exactly from where we came. Remembering is the key.

The post NOSTALGIA — Mom and Pop Art appeared first on ZO Magazine.

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Empirically Ephemeral: Stop Your Belly Aching and Get to Work https://zomagazine.com/empirically-ephemeral/ Fri, 30 Oct 2020 00:59:35 +0000 http://zomagazine.com/?p=16907 The post Empirically Ephemeral: Stop Your Belly Aching and Get to Work appeared first on ZO Magazine.

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NOVEMBER

Empirically Ephemeral: Stop Your Belly Aching and Get to Work

By Tricia Stewart Shiu

Empirically Ephemeral: Stop Your Belly Aching and Get to Work — Read by Tricia Stewart Shiu

 

The concept of “art” has taken on a whole new meaning. In fact, just about every task associated with producing a creative work, can be relegated to a daily chore or task with all the weight and drudgery of Sisyphus pushing a boulder up a hill.

 

But isn’t creativity supposed to be fun?

Empirical – verifiable by observation or experience

rather than theory or pure logic.

  Ephemeral – Fleeting. Lasting for a very short time.

ARTISTIC ALLEGORY | LE MOT JUSTE

Wishing you were anywhere but here? It might be the most apt wish you’ve ever had, given our current circumstances. Nothing is permanent.

 

Is it harsh to expect productivity amidst all of the upheaval and uncertainty occurring around the globe, right now?

 

Perhaps—and yet, in this unprecedented, historically significant time, all measurements, bars set and/or limitations created have blown any semblance of “expectations,” to bits. Where’s the bottom? Or, for that matter, where’s the top of the spectrum? Are we anywhere that is significantly measurable?

 

For a minute, imagine that everything that is “trending” on social media reflects a broader sense of societal expectations and desires. Although, trusting polls and trends may not be the most viable way to measure a creative movement or event, watching several trends, over time, can be very telling.

 

Without even knowing it, we have gravitated toward the ephemeral. That fleeting experience that continues to open the floodgates of creativity and content. The very platform on which, SnapChat was built.

 

“Ephemeral content is a kind of content in a photo or video format that disappears after a certain period. It provides the viewers or audience a small window to see the content and engage with it. The concept of short-lived content on social media platforms was first seen back in 2011. Picaboo, the printing company headquartered in Hanover, New Hampshire, United States, first used this concept along with Snapchat. They mainly focused on providing a way to send photos or videos related to anything that disappears within a few seconds.” says a Crowdfire app article “5 Reasons Why Ephemeral Content Will Keep Gaining Popularity in 2020 & Beyond.”

 

Effortlessly, freely and fleeting, we are moving into a realm of possibilities, only don’t look away—even for a second—you might just miss it.

 

The best part is, no one is taking anyone else’s word for it. The do-it-yourself, TikTok, gotta-try-it, viral videos, show that we embrace an empirical approach to our lives and livelihoods.

Who knew that when SnapChat launched on July 8, 2011, that their globally used app would be embraced by every single one of us. Even if you haven’t used the incredibly popular app, it is possible that you are consuming content at a rate, on your own terms, that is much faster that even one year ago.

 

Pandemics, cultural upheavals and economic crises have a way of making even the most ardent planners, take pause when there are simply no plans to be made. Especially, when it comes to art. These types of world events have a way of bringing the focus of everything we do for our home and ourselves to the pragmatic.

To recap: we are moving toward our ever-changing goals in a “prove it or lose it” manner. Those “goals” include how we creatively express ourselves or, for that matter, how we move about our lives and experience the world.

Being present, is the entire premise of the book “The Power of Now” by Eckhart Tolle. By deeply connecting with each moment, however fleeting, Tolle says, it is possible to find infinite peace.

“… the psychological condition of fear is divorced from any concrete and true immediate danger. It comes in many forms: unease, worry, anxiety, nervousness, tension, dread, phobia, and so on. This kind of psychological fear is always of something that might happen, not of something that is happening now.”

 

It doesn’t make sense, on a variety of levels, to avoid staying present. Personal safety, is a top choice. To keep everyone safe, you must stay alert and aware. But, if you’re sitting in your own home, minding your own business and not operating any heavy machinery, what does it matter if your mind wanders? Who says that a little theorizing or “what-ifing” is harmful?

The problem is that, given enough time and attention, your mind can wander into some pretty dangerous territory. Tolle weighs in on this by saying, “The mind is a superb instrument if used rightly. Used wrongly, however, it becomes very destructive. To put it more accurately, it is not so much that you use your mind wrongly – you usually don’t use it at all. It uses you.”

That’s where getting your hands a little dirty comes into play. There is nothing wrong with thoughts if they are followed by some well documented empirical research. Test whatever you’re questioning out. See what will happen if you do, whatever it is that you’re theorizing. Ask good questions.

 

Sometimes isolation is the very thing to spark a revolution of one. You’ll never know, unless you try.

The post Empirically Ephemeral: Stop Your Belly Aching and Get to Work appeared first on ZO Magazine.

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THE EMPEROR’S NEW CLOTHES — Who are We Really Kidding? https://zomagazine.com/the-emperors-clothes/ Fri, 02 Oct 2020 00:27:21 +0000 http://zomagazine.com/?p=16442 The post THE EMPEROR’S NEW CLOTHES — Who are We Really Kidding? appeared first on ZO Magazine.

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Featured Image above: Vizerskaya for Getty Images

October | THE EMPEROR’S NEW CLOTHES

Who are We Really Kidding?: An Open Monologue to the Abyss

By Tricia Stewart Shiu

Who are We Really Kidding?: An Open Monologue to the Abyss – Read by Tricia Stewart Shiu

“Hello? (Hello? Hello?)

Is there anybody in there?

Just nod if you can hear me

Is there anyone home?”

– Pink Floyd, Comfortably Numb

We never do, really, know if someone is listening. Whether we are completely alone, or standing in a crowd, there’s always a question. Even if we are heard, are we understood?

So, in that spirit, I give you, “The Totally Serious (I mean it), Explanatory Exposition Into the Abyss:”

ARTISTIC ALLEGORY | LE MOT JUSTE

There is a way to know when right, is right. It’s when the water flows through the leaves and the air rustles the buildings and the fortunate sun shoots its laser beams of light through the brightness. It’s when nothing makes everything make sense. Then, it is absolutely, unequivocally, critically acclaimed, right. (Those critics know everything!)

It’s also when the deepest of sorrows mix with the crabgrass of entanglement and the knowing shadows comingle with the shards of yesterday’s old mangled gratitude. The artistic blocks begin to recede and the standard observations open a door to the abyss. Or is it the other way around?

Don’t worry, you’ll know it when you see it.

It’ll be straggly and bright, not too, too fabulous, but also darker than the darkest, starless night on earth—under a blanket, covered in lint, with a crevice at the bottom to see out from underneath. It’ll open the door, but close the basement window, so the flies don’t get out. Because, flies are the key to any good amount of right. Right can also look left, so don’t be fooled, because you may never be able to look that way again (your face may freeze that way, if you hold it too long.)

Laughter is key. Until, of course, you don’t laugh, but you sneeze. Then, it’s the blended expression of “just rightness” with the jarring utterance of “never enoughness” that will convince you otherwise. And, you really never know if you are a genius or an anti-genius, because we all are, you know. Isn’t there a saying that goes, “Wherever there is, you are?” or maybe it’s something else.

Why bother to say anything because the amount of breath it takes to speak, can move an open case to close and start a fire with your mind, is that right? You know who you are and why you say what you do and if you know that to be true, then you will believe it and then, say it and then, who cares whether or not someone else hears, gets or understands it, at all?

Explosive exposition can unearth, even the most uncanny ideas or enlighten an ardent connoisseur. Don’t forget your dictionary, when you go in search of right and perhaps you can pack a headlamp, crampons, didactic device, creative license to drive a vehicle over 26,001 lbs. or more and water (don’t forget to drink your water.)

Getting lost is the easiest thing when rightness is the goal and finding anything is easy, too, if you know the security code and you don’t exceed the allotted amount of attempts to measure the weight in ounces instead of grams. Isn’t it enough that we exist? Should any of this be so challenging that we forget the listening or hearing or speaking or understanding or believing—for goodness sake, don’t doubt that believing is an antidote to the viral infestation of the mathematical imaginations of James Joyce or Albert Camus. Did they ever do that?

Blankly staring into the abyss, you might be wondering if the fish heard you, when you dreamed of the motorcycle riding by or the birds laughed at your joke about the frog who majored in [take a deep breath] Philosophical Anticipatory Elemental Oppositionary Integral Art.

Whew.

Surreal Motor Ride by Ivan Aleshin for GI

By the way, the literal meaning of anything is equal to the number in an ostentation of peafowl, because they really, really understand why right, is right. (Somewhere, a peacock raises an eyebrow.)

There can never be enough peacocks, as far as anyone is concerned, in an essay or article unless, of course, you are camping, in which case you will be woken from a dead sleep by an unimaginable screech at which time you will say: “What the hell happened?!” or “Is any of this real?”

The answer to both (and all of the above) is: Yes. Yes, you are wherever you are and no, it is never a good idea to take your peacock in your Airstream. He will be upset, but over time, he’ll recover and be better for it—as will you.

The post THE EMPEROR’S NEW CLOTHES — Who are We Really Kidding? appeared first on ZO Magazine.

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