"Centuries later, the same image of the net was imposed upon the world as the lines of both celestial and terrestrial latitude and longitude, as graph paper for plotting mathematical wiggles, as pigeonholes for filling, and as the ground plans for cities. The net has thus become one of the presiding images of human thought. But it is always an image, and just as no one can use the equator to tie up a package, the real wiggly world slips like water through our imaginary nets. However much we divide, count, sort, or classify this wiggling into particular things and events, this is no more than a way of thinking about the world: it is never actually divided."—Alan Watts

See also: The Break and Real/Ideal.

See also: Original Trajectory and The Shift.

Prints are well under way.

The first of four designs has come off of the letterpress. This one is based closely off the Together/Alone Quad. It measures 7x7”, and is printed on Magnani Revere Black 250gm by my exceptionally skilled friend Ana Cordeiro. There will likely be 50 editions available for purchase, and 25 artist’s proofs I’ll be giving away. 

Tonight I ran a few of the artist’s proofs through the laser cutter at NYC Resistor. This is a final product that’s difficult to reproduce photographically, that wants to be held, and seen with the naked eye.

More pictures and information on the process to come. If you are curious about ordering one, send me an email.

While I was testing out the laser at NYC Resistor for the prints, a rainbow came through the window.

While I was testing out the laser at NYC Resistor for the prints, a rainbow came through the window.

“When moving the body, the step is of first importance. The step is the root of the body, it is the central axis of motion. Since the whole body is used in an encounter with an enemy, the person who wishes to be unbeatable must rely on footwork. When advancing, retreating, turning or angling, the changes are in the handwork, but it is the footwork that allows the hands to adapt and change to the advantageous position. Advancing, retreating, turning or angling, without the steps how can one have a chance? Lowering, rising, extending or contracting, without footwork how can one execute profound changes? The saying is that the eyes are key and the heart decides the reaction, in all changes and turns of the body, in reaction to all types of affront, it must be that footwork is the leader. In addition, the steps must not be forced. Movement must spring from an empty heart, as if dancing without conscious effort, the body desires to move and the steps turn to all sides. The hands are about to move, the steps also urge them in motion. Without timing it so it is so, without making it go it goes, this is what is referred to as the upper wishes to move and the lower follows.”—Xing Yi Nei Gong

See also: Equilibrium and Feedback Loop.

among women who were free of PMDD at baseline, those with a trauma history (including sexual abuse, physical abuse, and severe accidents) were 4 times more likely to develop PMDD at follow-up than were nontraumatized women.”—Medscape

Prints—they’re coming.

It’s hard to believe that I’ve kept at this project for two years. There have been numerous occasions where I thought I wouldn’t, or couldn’t continue—that I had nothing more to add, or that I’d tired of the restrictions I’d chosen for myself. But this project has been such a great relief to return to each time.

Now, at the two year mark, I’m curious where this work will take me next. I hope you will join me in finding out.

L