BEWARE, WHISPERS THE WIND

Beware, Whispers The Wind oil on linen 61 x 97 cm 

Beware, Whispers The Wind 

An armed Reaper drone creates a false horizon across a landscape. The drone's wings slice through the air. Its wide area surveillance system hangs like a bulbous probe below the aircraft's chassis. Four Hellfire missiles and two guided missiles are poised ready for release. 

Orienting graphics impose a virtual map under the drone. This map penetrates the landscape, its virtual presence indicating that it can operate anywhere, everywhere. From screen to screen, its data driven operation isolates kill zones as the drone's sensors harvest more data to facilitate full spectrum dominance.

The drone's sensors are invisibly connected by signals to enabling devices on land and in space. Operational signals instruct the harvesting of data from other networked devices; domestic, civilian and military. An invisible cartography of signals nets planet Earth with instructional codes operating outside human dimensions of space and time.  

With Beware, Whispers The Wind I wanted to play with the tension between reality and virtuality. The white drone and white lines mimic the appearance of computer graphics. Is the painting an image of a computer screen? Or, is the tumultuous and colourful landscape real?  The viewer could be facing the drone, on a screen, from another aircraft or maybe you are a bird? The viewer could also be looking down upon a drone that soars upwards, the orienting graphics creating a virtual abyss. Maybe the drone is coming into land, somewhere on a screen, on a tarmac or on our collective subconscious?

But, on a distant horizon the red tree-of-life stands as a beacon. As it leans to one side it shows us the presence of the wind. Does the wind exist in a virtual world? Is the tree-of-life and the wind sending us a message? 

What do you think?

                                                 NEWS

I am on a roundtable at the International Studies Association annual conference in Toronto. The roundtable will be discussing "Researching War Preparedness: Challenges, theories and inter/disciplinary possibilities". Wednesday 27th 8.15-10 am.

I am thrilled to be talking about my paintings where I suggest that signals represent a techno-colonisation of landscape from land, to sky, and into space! That these signals enable networking and interconnection  across civilian and military systems poses the question - are we in a perpetual state of war preparedness/readiness, for offensive and defensive activities? 

DETAILS 

Researching War Preparedness: Challenges, theories and inter/disciplinary possibilities

Participants:

• Chair: Mark J. Lacy (Lancaster University)
• Discussant: Maria Stern (University of Gothenburg)
• Discussant: Mark J. Lacy (Lancaster University)
• Participant: Christine Agius (Swinburne University)
• Participant: Helen Dexter (The University of Leicester)
• Participant: Kathryn Brimblecombe-Fox  (University of Queensland)
• Participant: Victoria M Basham (Cardiff University )
• Participant: Hannah-Marie Chidwick (University of Bristol)
• Participant: Sara Matthews [Wilfrid Laurier] 

Abstract: 
This roundtable examines the possibilities and (interdisciplinary) prospects for advancing knowledge on war preparedness. In international relations and security studies, an overwhelming focus is on conflict and warfare, and while work on conflict prevention has a strong presence, war preparedness if often overlooked or only briefly addressed. War preparedness has been confined to military strategizing and predictive schemas and historicised too, with dominant associations focused on Cold War nuclear planning or civil defence during the Second World War. Preparing for war, however, is not solely an activity or ethos that is authored by state militaries. It requires the inculcation of citizens, public and private spaces and technologies, and is an ever-present part of everyday practices, images, discourses, and ideologies. Understanding war preparedness is vital for grasping how we theorise war and violence over time and space. Importantly, identifying how war preparedness is operationalised and rationalised requires critical engagement with dominant ideologies and material developments. This roundtable will explore the possibilities for theorising war preparedness and how interdisciplinary approaches may inform new approaches to understanding war preparedness and what this can also mean for peace.

Cheers,

Kathryn

SNAKES EATING THEIR OWN TAILS

 Cosmic Address Oil on linen 90 x 180 cm

OUROBOROS HISTORY
The age-old transcultural/religious symbol of the snake [or dragon, lizard] eating its own tail is called the ouroboros. From ancient Egypt to the present day, across not only time, but cultures and religions, the image of a snake consuming its own tail, constantly renewing itself, has symbolised life and the Universe. With each era and culture, ouroboros stories and visual representations have 'spoken' meaningfully to people in the context of their social, religious, scientific and cultural milieus...their cosmology.

CONTEMPORARY COSMOLOGICAL OUROBOROS
Contemporary signification of the ourobors as a meaningful symbol of the Universe actually comes from cosmologists, those scientists who study the Universe, its past, present and future history; its quantum and cosmic extremes.  Nobel Prize for Physics winner 1979, Prof. Sheldon Glashow first suggested the ouroborus as a visual descriptor for the relationship between the quantum and cosmic worlds. Lord Astronomer, Prof Martin Rees has also used the ouroboros for the same purpose. Plus, Prof. Joel Primack and his wife Nancy Ellen Abrams [philosopher and lawyer], also use the symbol to describe Universal scales and humanity's place within them. This article by Prof Primack explains Glashow's ouroboros and more. I highly recommend Primack and Abrams book The new Universe and The Human Future: How Shared Cosmology Could Transform The World

This article gives you a good overview of ouroboros history.

UNCANNY
What interests me is the recurring signification of the ouroboros as a visual representation of the Universe. Art historian Aby Warburg and psychologist Carl Yung, amongst others, explored the recurring nature of symbols across time and cultures. I understand why. The uncanniness excites me, and embraces me in a sense of companionship with time and all humanity. Relationship through symbolic references, which strike resonances at a core level, promise more than we can imagine. These relationships are with ourselves, others, nations...our histories and our futures...the Universe!

 Cosmic Ouroboros Oil on linen 120 x 150 cm

 

TREE-OF-LIFE AND THE OUROBOROS
Regular readers will know of my abiding interest in another age-old transcultural/religious symbol, the tree-of-life. I have been painting images, with trees-of-life, for many many years. I know the tree has a power that reaches beyond me. I know this because of the conversations I have shared with people of many religions and cultures...the tree needs no explanation, it just resonates at a seemingly core visceral level. Well...it does mirror our internal body systems!

The tree and the ouroboros have universal voices which can be heard... if we listen. Neither symbol, nor indeed other age-old symbols, succumb to fashion's insidious seduction into short term transience. Rather, they call to us from the depths of history, revealing their potency when asked...when we realise our imaginations are tired of transience. They extend their potent reach into the future as they trigger our imaginations for what might be. Their agelessness urges us to seek horizons beyond the short term, beyond the tenticles of fashion... and politics.

THE THREE PAINTINGS HERE
In all three paintings in this post I have combined the ouroboros with the tree-of-life. Yes, the snakes' bodies are trees-of-life. The snakes eat life to replenish life...symbolic of all life... 'speaking' about past, present and future...creating all dimensions...promising new horizons.

My newest painting Cosmic Address [top] suggests that an 'address' is both a place and a time. But, words such as 'place' and 'time' seem inadequate when thinking on cosmic scales. I suspect that the potency within symbols, such as the tree-of-life and the ouroboros, promises more. Are we game to expand our horizons to embrace our 'cosmic address'? Our future may depend on it!

 

Ouroboros Oil on linen 122 x 153

 

 

In 2009 Dr. Christine Dauber [PhD, B.A, B.A Honours [Art History] University of Queensland], wrote about my work. It must first be understood that Brimblecombe–Fox is not so much concerned with landscape painting per se, but in a Warburgian sense, searches for the universal connections, or common ground between people, races and religions. Thus, she uses the “tree of life” or “tree of knowledge” as a repetitive motif and in so doing, deploys its spiritual associations as a global referent.

 

Cheers,

Kathryn

www.kathrynbrimblecombe-fox.com