Way that you think Archives - ZO Magazine https://zomagazine.com/category/way-that-you-think/ Mon, 03 Jul 2023 17:26:51 +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 Way that you think Archives - ZO Magazine https://zomagazine.com/category/way-that-you-think/ 32 32 65979187 The Muse(um) of Lana Gentry https://zomagazine.com/the-museum-of-lana-gentry/ Sat, 01 Jul 2023 02:05:18 +0000 https://zomagazine.com/?p=28677 The post The Muse(um) of Lana Gentry appeared first on ZO Magazine.

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The Muse(um) of Lana Gentry

By Catie Jarvis

“Spell of the Gypsies” – Buckethead

What does it mean to be a muse? In Greek mythology, the muses were nine women, daughters of Zeus, who presided over and inspired creations in art and science. But what of the modern-day muse, not an ethereal goddess, or a Socratic vagabond roaming the countryside? In our modern disconnected world, where artists’ circles aren’t what they used to be, how can one person find a way to spark the creative light in others, to cut through the dark shadows that modern society and its struggles try to dim?

Lana Gentry, a self-taught artist and writer from Virginia, has a collection of over 500 portraits that have been done of her by other artists worldwide, for free, without commission. They vary in form and style, abstract sketches, sculptures, realistic paintings, bizarro, beautiful, and everything in between. She owns many of them but not all. I set out to talk with Gentry, wanting to understand this phenomenon, and how she had become something of a muse.

“Lana” Portrait © Donnie Green

Sitting on her cozy couch, beneath a wall display of the vivid and boldly mind-expanding paintings done by her husband, artist Donnie Green, I immediately feel Gentry’s warm inviting laugh carry across the space continuum of our video call. “There wasn’t a time in my memory bank when I wasn’t writing or dreaming,” she says, and in the way that a muse can lift the creative’s spirit, I think: yes, me too!  She tells me about her vast and cosmic connection to creative people. “Other creatives seem to feel this way about me too,” and she considers this an honor.

Above: Lana Gentry “Lovebird” Artist © Robert Mcneill

“F*ck My Heart” — © Lana Gentry Self Portrait

Gentry’s discussion of her creative work and processes feel as intimate and inspired as her creations themselves. She classifies her work as “outlier” art and she herself an outlier who operates outside the mainstream and without traditional schooling. Her art, she says, is developed in the absence of influence. Because of her sensitivities and learning differences, she really had to learn everything in life on her own and in her own way. Things that easily made sense to other people were like “a foreign language” to her and she had to keep “shifting gears” to eventually learn the skillsets of life.

Gentry considers herself a writer first and talks passionately about the wonderful artists she collaborates with, writes about, and features in the magazine loBURN, for which she is the managing editor and lead writer. She says that even with her visual art, it is always words that come first. When she began bringing written worlds into her drawings, creating a journal feel to her work, she says, “I felt like it was cheating.” As if visual art is supposed to stand alone without words being needed. But then, she never created within the confines of rules. Using words feels authentic and her art is a journal of her journey through life.

“It’s always shocking that people buy it,” Gentry says of her work, “because it’s so intimate to me.” I think that her pieces work because they are intimate to others as well. Her work strikes me like a classic folk song, Dylan, or the more modern and southern Jace Everett, a mirror into the individual soul, and at the same time reminiscent of something so familiar, universal, and connectable. Her work is reflective of the modern sadness, beauty, and magic of the feminine, but also pulls on the past, the eternal and timeless.

Finally, I get to ask Gentry about the hundreds of portraits done of her and she’s excited to tell the story… Years ago, there was a small group of art friends in Gentry’s circle who did portraits of each other on Myspace to hone their craft. Around this time there was another artist that Gentry admired, who would post portraits that people had done of her, and Gentry was fascinated by this. This artist (now a close friend of Gentry’s but a private person whose name Gentry protects) seemed to be a sort of muse, inspiring others to create art based on her image and art. One day this muse sent Gentry a portrait she had drawn of her, Gentry, thrilled, posted it up for all to see. Then, seemingly overnight, other artists began creating portraits of Gentry as well! At first, it was always people within her circles, but soon it spread beyond, and she would wake up in the morning to find a portrait posted of her by a total stranger. Sometimes other artists would request pictures from her in certain settings or poses to draw from, other times they’d use selfies she had posted, or draw from other artists’ portraits of her. Once the portraits of Lana Gentry began, they never stopped. Gentry had been kissed by the muse and had become one herself.

Lana Gentry — © Tamara Duvall

Lana Gentry “Seven of Pentacles” — © Jessica Perner

Lana Gentry “Queen of the Shades” — © Rick Young

Lana Gentry — © The Art of Terry Bizarro

A great influence on Gentry was editor, agent, and artist Leslie Barany. “He was a tough mentor,” she says, who taught her about connecting with other artists. He told her that it wasn’t interviews that she was performing when she set out to speak with other artists, but deep conversations. This struck a chord for Gentry, who says she wants to be talking to artists all the time, to always be in conversation with them. In this way, I think, life is reflective. You call out and something answers back. All these portraits of Gentry are a kind of answer to her outreach, support of, and interest in artists of all kinds.

At this point, the portraits done of Gentry feel to her like a long-term cultural project and simultaneously like little gifts that light up her own artistic spirit and life. She says it’s, “fun to see myself through the eyes of others.” She seems to admire and enjoy each depiction and rendition, grateful that her image can spur creative acts. “I didn’t grow up with a lot of self-esteem, [and I had] a lot of hurdles to work through,” Gentry says. She says that each portrait “feels like this mystical wonderful thing.” She told me about this crazy moment when she had just pulled herself out of a deep depression, and she got back on her computer to find a portrait done of her by the artist Robert Bauder. He had painted her crying as if he could feel the truth of her emotions, though he had no way of knowing. Cosmic connection. The world answering back.

Triptych of Artwork by Artist — © Lana Gentry — Center: Philosophia (Unavailable) Commission for Ryan Boyle

So, what’s next for Gentry? How does she plan to keep her muse energy flowing, to continue to connect to other artists? A podcast, of course! Gentry and her husband Green are at work building a podcast that will explore marginalized masters, past and present, shedding a light that shines way beyond politics, to illuminate art that didn’t or wouldn’t get its chance to be seen. I look forward to listening!

After talking with Gentry, it seems to me that a muse is simply a person in constant conversation with the world. Other creatives can feel this and want to answer the call. A muse is the exact opposite of someone who is checked out, following the herd, the norms, basic. A muse can see the magic and never lets fear dim this curiosity. From the word “muse” comes “museum,” a place where the muse’s work can be admired. I imagine a museum made up of the 500-plus portraits of Lana Gentry, with all the artists gathered inside sharing their passions and inspirations. If only in my mind, it’s a space that inspires me.

Reap, L.Gentry, from the collection on Lacy and Zoey Edwards, 8″ x 10″ colored pencil on gold parchment. 2003

 

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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

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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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Redefining Outcomes — Marking History with a Frameless View https://zomagazine.com/redefining-outcomes/ Wed, 29 Dec 2021 19:39:56 +0000 http://zomagazine.com/?p=22127 The post Redefining Outcomes — Marking History with a Frameless View appeared first on ZO Magazine.

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Quarter I — 2022

Redefining Outcomes: Marking History with a Frameless View

By Tricia Stewart Shiu

Redefining Outcomes: Marking History with a Frameless View — Read by Tricia Stewart Shiu

The Law of Attraction is a vastly popular way to frame one’s life. Movies, like “The Secret” (2006) and “Discover the Gift” (2010), have contributed to a burgeoning crop of followers over the past 10 to 15 years. Despite the medium used to deliver the message, it is clear that these movies were not merely for entertainment purposes only and a multitude of people have been more than ready to shift into this new life-affirming mindset. However, “new” is a relative term when it comes to making history or, rather, marking history.

ARTISTIC ALLEGORY | LE MOT JUSTE

The exact origins of the “Law of Attraction” (LOA) are varied. Some accounts set 1877 as the date the term was first used in print, by Russian occultist Helena Blavatsky, but others say it was in 1906 that author and publisher William Walker Atkinson wrote about it in his book, “Thought Vibration or the Law of Attraction in the Thought World.”

No matter how you slice it, the term is definitely not new. Although, calling something “new” can most certainly shift its meaning and, in some cases, its outcome and profitability.

LOA dovetails perfectly with the gig economy—freelancers or project-based jobs (up 15% over the past 10 years), as well as, multi-level marketing companies (MLMs).

In order to make LOA work, Anirban Kar suggests, in his article “Here’s Why the “Law of Attraction” Gurus Are So Rich & You Are Not!,” that we “forget their teachings” and “focus on their business model.”

Of course, there are a myriad of other ways of framing life, however, the allure of manifesting, using “the universe” as a cosmic cash machine/genie lamp, offers some distance from the disillusionment caused by the crumbling bootstrap theory. Those who witnessed loved ones who invested their lives and livelihoods in companies who, then, pulled the plug on pensions and left many workers to fend for themselves, are looking for a little hope, if not salvation.

However, these methodologies and mindsets are completely harmless, in and of themselves. What’s the harm in wishing and hoping and moreover, if those wishes and hopes are positively focused, what could possibly be wrong with framing one’s life like this? Absolutely nothing.

But…

With each one of these methodologies, there’s a recipe or a laundry list of “to-do” items, before which, the manifestations can be manifested. It’s a slippery slope to an abysmal rabbit hole if one is not fastidiously careful.

Trouble is, framing one’s life like this appears utterly harmless and an exercise in free will. However, and there’s a big H in that word, when large groups of people begin to impress their judgments based on these frames, they become toxic and potentially abusive.

After an intensely challenging year of practicing LOA, Anirban Kar felt depleted and dejected and sought answers from LOA gurus who, essentially, said: “It was all on me. According to them, it had to be one of these things:

  1. I did not believe hard enough.
  2. I tried so hard, it created a resistance.

 

Again, absolutely nothing wrong with putting your dreams and hopes into action to manifest a positive outcome. Trouble comes, when the aforementioned manifestation doesn’t immediately show up. Doubt enters in the form of questioning oneself and perhaps even the methodology. Again, doubt is not a problem either, but the mindset around moving through the doubt can create a frame that is looping, treacherous and toxic.

For example, a goal is set, a wish is desired and through one of these chosen methodologies, a list of actions is created. Subsequently, the list of actions is completed, and each step has been done while thinking only good thoughts and having superbly positive intentions. Inevitably, after a period of doubt, the question is asked: “Were you specific?” If you were looking for money to come into your bank account, were you specific about the amount? If you’re desiring a relationship, did you mention a detailed description of exactly the type of person you are looking for, i.e. hair color, belief system, shoe size?

Soon self-doubt, self-blaming, and shaming creep in and if one is not careful, a looping cycle of toxic positivity ensues. Begging the question: What outcome was sought, to begin with?

The easiest path isn’t always the straightest one.

But, exercise caution when looking for your next “go-to” resolution. No matter the outcome, be kind to yourself.

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Miraculous Momentum — Portrait of a Time Traveler https://zomagazine.com/miraculous-momentum/ Thu, 30 Sep 2021 17:38:01 +0000 http://zomagazine.com/?p=21387 The post Miraculous Momentum — Portrait of a Time Traveler appeared first on ZO Magazine.

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4TH Quarter 2021 

Miraculous Momentum Portrait of a Time Traveler

By Tricia Stewart Shiu

Miraculous Momentum – Read by Tricia Stewart Shiu

Time is money. Time is relative. Time heals all wounds. Time to lean, time to clean.

Time is so many things, to so many people.

Much of our existence either revolves around or is spent escaping the inevitable passage of time.

But, that measurement on which so many of us construct our lives, emotionally connect and base our belief systems, is fairly arbitrary.

ARTISTIC ALLEGORY | LE MOT JUSTE

The Mathematical Association of America says, “The measurement of time began with the invention of sundials in Ancient Egypt sometime prior to 1500 B.C. However, the time the Egyptians measured was not the same as the time today’s clocks measure. For the Egyptians, and indeed for a further three millennia, the basic unit of time was the period of daylight.”

However, Industrialization and the invention of the lightbulb were just two events that shaped, or maybe warped, our sense of time.

So, here we are. Biding, racing, scanning, making, marking, healing…

Suppose, that while we are doing all those things, a moment of measurement could stretch out or take a detour. For one almost imperceptible, blink-of-an-eye moment, imagine that time does something unexpected and we are able to hop to another timeline or visit our past self, skip ahead—minutes, hours or millennia—or even stand outside ourselves and look at the present with a new perspective.

What if these very words that you are reading, right now, were created 1,000 years from now and are being channeled from the future self of this writer?

The title, words chosen, intention behind the article—what if the research was gathered in the past, filtered by the present, then, finally written through a future connection.

Of course, that is just this writer’s story. Yours could involve any number of people, locations, or scenarios. How about you travel into the future? It is more science and less fiction than you might think. The trouble isn’t fast-forwarding in time, it’s the return travel that’s an issue, but, more on that later.

A video on the Science Channel, How to Time Travel (Kind Of) | How the Universe Works, offers some expert advice about exactly how one might go about traveling into the future.

To begin, we must start by reframing our understanding and definition of time.

“So, instead of thinking of our universe as a 3 dimensional place that just changes over time,” explains Physicist, Max Tegmark. “We should think of reality as a 4 dimensional place known as space-time.”

More specifically, we can think of the space-time continuum where motion through space is linked to motion through time. To break it down: “Because space consists of 3 dimensions, and time is 1-dimensional, space-time must, therefore, be a 4-dimensional object. It is believed to be a ‘continuum’ because so far as we know, there are no missing points in space or instants in time, and both can be subdivided without any apparent limit in size or duration,” says an article “Special & General Relativity Questions and Answers,” So, physicists now routinely consider our world to be embedded in this 4-dimensional Space-Time continuum, and all events, places, moments in history, actions and so on are described in terms of their location in Space-Time.”

The scientists interviewed for the Science Channel segment agreed that you’d have to rocket into space and orbit the earth at almost the speed of light. It’s hard to imagine how fast that might be.

“To put it in perspective, just how fast that is,” says Astrophysicist, Hakeem Oluseyi, “The fastest human-piloted vehicle in history was Apollo 10, and it went 25,000 mph. You would need to go more than 25,000 times faster than that. That’s pretty fast.”

Although physics might make time travel possible at some point, there are no vehicles equipped to handle the energy required for the speed necessary to travel at the speed of light. Not only that but once you get there, there is no way to go back in time. So, you’d be stuck in the future.

There is nothing to stop anyone from imaging the possibilities. In fact, Albert Einstein, the father of modern physics, said, “To raise new questions, new possibilities, to regard old problems from a new angle, requires creative imagination and marks real advance in science.”

Perhaps our imagining could be the next step to conquering a new space-time frontier. Who knows, this article could play a pivotal role in someone’s theoretical physics epiphany. Cheers to our future selves!

 

 

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The Age of Recognizance https://zomagazine.com/age-of-recognizance/ Thu, 30 Jul 2020 21:23:40 +0000 http://zomagazine.com/?p=13388 The post The Age of Recognizance appeared first on ZO Magazine.

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August | FULL BLEED

The Age of Recognizance

By Tricia Stewart Shiu

Full Bleed | The Age of Recognizance – Read by Tricia Stewart Shiu

How much do you trust yourself … to be trusted?

Imagine the following scenario:

[Insert Your Name] —  hereby released by the court of law on your own recognizance, to return, to this court, 30 days from now.

In this scenario, the court. the judge and the lawyers are trusting that you will return for your appointed court date. There are no shackles, there is no electric fence, there is only your word, that you will return.

According to Findlaw.com, “When a criminal suspect is arrested, booked and granted release on their “own recognizance,” or “O.R.,” no bail money is paid to the court and no bond is posted. The suspect is merely released after promising, in writing, to appear in court for all upcoming proceedings.”

Of course, this is only one example, but, there is a certain amount of trust that comes with any agreement.

ARTISTIC ALLEGORY | LE MOT JUSTE

“Society is a contract that we sign as human beings with each other,” Trevor Noah said in a video posted on The Daily Social Distancing Show on YouTube on May 29, 2020, titled, “George Floyd, Minneapolis Protests, Ahmaud Arbery & Amy Cooper.” “Whether spoken or unspoken, we agree in this group to common rules, common ideals, and common practices that are going to define us as a group … And the contract is only as strong as the people who abide by it.”

In every scenario and circumstance in our lives, there exist boundaries that we acknowledge and agree to. The edges of those boundaries can be tested, by us or others. Those very boundaries make life livable or unlivable for each of us and within those boundaries we can experience our own heaven or hell, sanctuary or cesspool.

The agreement to the boundaries is fluid and whether real or perceived there are certain hard and fast rules on which, we must agree. However, there are loads of unspoken rules that people, including ourselves, blindly follow merely because they’ve been there and it’s just too hard to change.

Some people live their lives at the very edges of those boundaries pressing up against them smashing them until they are bloodied and battle-worn, while others deepen their resistance and withdraw to their center of those boundaries, far away from clashes or anyone who might be pushing them to change.

We all have a purpose in life. Some people are born boundary pushers. You know the type, the kind of people who wish to see how far they can go before they’re stopped. Others find comfort In the routines set by those boundaries.

The challenge is living together.

Trevor Noah also said, “There is no contract, if law and people in power don’t uphold their end of it.” So, at some point, there will be a clash and whatever injustice appears, it must be addressed. Noah’s video certainly hit a nerve—receiving over 9 million views!

Trust is the main thread that runs through the principles of society.

Without trust, society faces cycle after cycle of unrest, as those who demand change bump up against those who see no reason for it. Coming to an agreement, a consensus, is only the beginning. Setting up rules doesn’t seem to be the problem, right now.

Change is scary. However, the question is, how long are those who wish for change to occur going to withstand injustices while others resist? Trusting and believing that those who set up, lead and enforce and agree to those rules will actually follow through with their promises.

As Noah said,

“… the contract is only as strong as the people who abide by it.”

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Do you trust yourself now?

The post The Age of Recognizance appeared first on ZO Magazine.

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