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Sunday, September 18th, 2016

Top Host Companies Come to Your Aid

Sunday, September 18th, 2016

For all those website owners and online advertisers, who advertise their products or services through their websites, one of the best ways to get their job done is through an excellent top host for their websites. One of the best and top host should be made to work so that the quality as well as the quantity of the online visitor gets successfully steered towards hosted websites. A top host is that company which is dealing with various web-servers that provide the Internet services round the clock.

The web-servers that are the part of top host companies are the shared ones as well as the dedicated ones. The dedicated web-servers are exclusively dedicated to one of the specific website. On the other hand, the shared web-servers are commonly shared amidst more than one client, web sites or portals. As you must be knowing, the dedicated web-servers are expensive as compared to shared web-servers that are comparatively affordable.

In case the top host company offers the service of shared hosting to any of its customer or client, as per their choice or preference, there might be few difficulties involved in the process. One of the common difficulties that all the component web sites of the shared web-server may face is of their slowing down drastically. The web sites sharing the common web-servers start functioning very slowly and lethargically because there are plenty of loads over the common web-servers of several web sites. Often those web site owners and advertisers opt for the shared web-servers through top host companies who do not want to send a huge fortune over the web hosting.

Although pricing and the budgeting that is allocated to the web site hosting is a prime concern for the involved web site owners or the online advertisers but the slowed down web pages of the web sites may harm the credibility and the online traffic in more than one ways. Experts believe that if the home page of any of the website takes more than eight to ten seconds to load then the online visitor loses his or her interest and possibly may abandon the intentions to visit that web page. Thus, the web site owners and the online advertisers must pay enough attention and care towards selection of services through an expert and credible top host company that would work efficiently to deliver desired results to them.

It is equally imperative to select a deft and a reputed top web hosting company that has great credibility behind it. The popularity of the top host company must also be gauged by knowing about the prior as well as the existing client. Some of the top host companies also establish few testing sites that help in the authentication as well as the verification of the service provider.

Baldev Mirza’s Vision of Man, Nature and Love – An Appraisal

Sunday, September 18th, 2016

The life of man is a continual change of visions. As experiences come to a man one after another, it is as if he rises from one level to another as he climbs up to a mountain side, and therefore, his visions steadily change. As it is also well-known that man has two types of visions possible, one for the ordinary man of the world and other for the great ones; poets come within this ambit who like the true sages depict the sores of mankind and solutions for the malady. Poets like Baldev Mirza always convey the heart-stirring ideas blended with purposeful message. We know that scientists admit that all the aspects of nature and man are still undiscovered. Advancement of science has not succeeded in casting a brilliant light on the cause of man’s existence and its relation to nature and the most thrilling phenomenon called love. Poetry alone has explored new milestones in this field and Baldev Mirza, the poet and researcher of man seems to have scrutinized much more than even scientists.

“Dr. Baldev Mirza,” says Oliver Friggeri, “is now well-known for his constant efforts to produce verse which is neither complicated nor inane and devoid of meaning.”1 Mirza’s poems do not interpret man in terms of the knowledge of the external world, intellectualism, fantastic El dorado of imagination, or fake and false dreams but they voice the delicate feelings of a poetic heart well. He admits:

“I am not talking about hands/I am talking about feet that/Feel the warmth of earth/I am not talking about lips/I am talking about eyes that/Feed the emptiness lurking in me/I am not talking about me/I am talking about the heart that/ Never shuts its door.” 2

Man is too deep and too many-sided in terms of any physical science or attempt that the materialistic, mechanistic, chemical and biological conception of man is very superficial, partial and unsatisfying but the poetry of Baldev Mirza gives a deeper probe into man’s quest of knowing himself. He asserts:

“I am the embodiment of darkness/Its soul is my soul/Its harvest I reaped all my life/Light is a trap I refused to accept/It inflicted wounds I carry in my soul/ This is the only truth I have ever known.” 3

Although, Man has a meager, shallow and vague knowledge of man, his constant search of inquiring the self and admitting the ultimate reality of man as the celestial entity and part and parcel of the divine indicates that man has reached on the pinnacle of perfection. And the poet, when admits the ultimate divinity trading alike omnipresent lord, it seems, he is hoisting his flag of perfection on the zenith of poetic satiety and his confusion of denying the presence seems right when he say:

“I do not know/Where/To throw away/The faded flowers/You seem to be standing/ Everywhere.” 4

Again, the worldly achievements seem to be a futile pursuit for the true Sadhaka (Seeker)
“Lord Krishna classifies the seekers of Truth in four types. One who is always worn out by ills that affect the body; is ‘Artha’, Another is worried by the struggle for prosperity, property, posterity etc. He is the Artha-Arthi ,a third yearns for the realization of the Atma; reads the scriptures and sacred books, moves ever in the company of scripture Sadhakas a etc on the lines laid down by the sages as Sud-Acharya, and is always motivated by the eagerness to reach the Sannedhi of the lord. He is Jignaasu, the fourth is Jnani, immersed in Brahmattawam.” 5

Dr. Mirza seems to be the third type of person ever-ready to serve lord. Standing on the threshold of silence, the poet wishes and says:

“Life is both for winner and the loser/What ! if I have been a loser whole of my life/What if I didn’t gave anything/I am trying to stretch myself/Beyond the boundaries/Of silence.” 6

But the fate of man is altogether different from what it approves to be from distance.
“There is nothing Divine about it/It is Man who rises to great heights but/Crumbles down like a muddy wall/Flows like nectar from here to there/From person to person.” 7

The poet, with brilliance and divination of the divine set-up always pines to obtain celestial happiness in future as well as he invokes his other self for or the (No-self) for the spread of illumination the almost corners of the earth. He sings with love:

“Let us grow/A silvery tree/Like moon/With leaves/Like stars/Then sit under it/Waiting for the birds/To come and peck/At the seeds of darkness.” 8

The spiritual manifestation of divine light which is inhaled by a true poet is same epitomized in poetry as breathes in a peculiar poetic way. Geoffery Hodson says,:

“Perhaps the most magnificent of all literature has been evoked by the contemplation of the Divine and attempts of authors, philosophers and poets to put into words the sublimity of That from which we came forth.” 9

Mirza also accepts the same truth of ‘Divine spring’ and gradual development of Manhood to Godhood, the journey of man to God which is beautifully narrated in symbolic manner in Buddha My Love when he sings:

“I am an unsung melody of /hungry generations/ – the miserable / – the helpless / you strove to circumscribe / with your words carved out / of light / – a divine feet / people applauded and followed you / one day / you crossed the boundaries / of darkness / chased the light / and disappeared under the tree / you did appear again / but in stones, bronze, brass / to sit meditating eternally. ……” 10


Nature covers generally the outer elements like the sea, the woods and the forest or anything other then man and God or as the process of Eternity in which we exist. But Nature is on all sides of us, of which we are a part and which sometimes so dominates us that we feel utterly helpless before her. It is not what our modern scientists assume a mechanical phenomenon. C. Jinrajadasa, an eminent theosophist classifies four types of approaches to nature, by the worship of nature, study of nature, love of nature and the ‘Re-fashioning of nature’. According to him some poets or artists refashion nature:

“The artist is who is able to refashion nature and give us the thing as it stands eternally perfect and inseparable too from our own unending life. This is what mean by saying that the artist’s work is to re-fashion.” 11

In this sense Mirza is an artist who ‘re-fashions’ nature and revives its glory and magnificence in his poetic works in such a creative and artistic way that his word-pictures evince his permanency and unchangeableness, Mirza, like all great artists grasps the fleeting and reflects it as immutable and long-lasting or ‘Arche-type’ as Plato would say. One such incident can be marked out as:

“Two pine trees/played merrily/With their shades/bathed in sunshine capered with the winds/lay down on the green grass fond sometimes/they extend their arms/to touch the feet of some passerby/and sometimes/recalled/silken touch/stared at each other/and wept bitterly.” 12

Another instance which can be compared to Wordsworth’s famous lines ‘To me the meanest flower that blow can give thoughts that do often lie too deep for tears’ evince the love of Mirza to nature and divine vision behind it:

“Trees are the eternal preachers /Their sermons are as sound as their trunks/Their verdure silence is like/That of a sage in meditation/Visions flow from them like the morning breeze/Beauty never falters from their orbit.” 13

Mirza mingles mental disposition, emotions and natural phenomenon remarkably in a picturesque way but before it he seems to have studied all the aspects of Nature from alpha to omega. His poetry breathes such kind of excellence where his medley of emotions high sensibility, susceptibility tenderness and sensitiveness with natural surroundings and entire macrocosm:
“The Distances vibrate/With the sounds of the dreams’ footsteps/Memories drift like snow flakes/And stir the dead leaves scattered around.” 14

* * * * *

“The sea is a showman/who swallows the ball of fire/Everyday/and in the evening/goes to the shore/to get his reward/but the shore/Is blind and deaf.” 15

* * * * *

“Clung to the flower petals/we keep floating down the ill fated/paths running amuck/humming a song of stones/Soaked in blood/when thirsty/we get down to a pool/sip a drop or two/and joined the winds again.” 16

The verses of Baldev Mirza are abundant in mirror like images and transparency. Prof. Satish Kumar’s comment affirms:

“The feel of words the concreteness of images and transparent clarity of language impart vividness to Mirza’s lyrics.” 17

His deep kinship with nature, its components and man immortalize his poetry when he says:
“Listen to the chorus/Of the tired winds/Coming from the Jungles/Blown up by the men.” 18
And his gentle touch of words with climatic change in Environment suffused with myriad colour makes even ordinary phenomenon into an extraordinary one and Simple into a beautiful expression:

“Every Year/spring opens its casement/and watches the retreating/steps of snow/sunbeams mush out of the clouds/rollicking like children.” 19

One who has a divine vision of nature longs to make every child of God like himself. That is why all lovers of nature cannot separate themselves from man. They long that man everyman, too should be released, and those who love nature long to bring their inspiration into the city, into the slum and into every commoners’ like as feebly felt by man, surge to its full through all their days. Baldev Mirza also can not remain aloof from man and humanity, it appears aright when he says:

“Have you ever know/The artist who paints/Faces Torn with pain and hunger/He observes during the day/And cries as loudly as he can.” 20

At another place he scribbles:

“While scribbling my fate/I wrote of the whole world/But every word turned into a volcano/Love flowing out of it/I cry from star to star./My earth is lost.” 21

But the most philosophical musing of the poet comes to limelight when he creates an analogy among important factor of nature and gives the hint of superiority naturalism:

He claims:

“Sun sea and Man/Are nothing but time keepers/All rooted in their spots/The old pendulum never gets rusty/It swings only within the triangle/Which stays where it is ever/The conflict goes on between the three.” 22


Love forms a matrix of experience in the poetry of Baldev Mirza and he visions it from his early childhood days and blending with deft use and dexterous approach to poetry, draws it in a proper perspective. Dr. O.P. Bhatnagar affirms it:

“The poetry of Baldev Mirza is of private musings going back to childhood and states of growing with the self confronting the realities of the world outside in a personal way.” 23

Alike all love poets Mirza deals with love’s Kaleidoscopic forms and tries to speak the unspeakable and impalpable but the most empowered phenomenon of world, the cause of creation, the essence of human life and heart and soul of poetry. His vision of love commences with a question to his love when he asks:

“Are you/A gust of breeze/Fragrance/Of a rose/Of a sweet memory.” 24

But, if remains no longer confusion, and he feels the omnipresence of love:

“I do-not know/How to sip/From the cup/Every drop/Reflects/Four image.” 25

The poet, in this ecstasy of love, finds his love thoughts getting puzzled even.

“When I think of you/Fairies of my thoughts/Get lost on the way/And knock at every door/Perhaps in search of you.” 26

But this rosary of love thoughts continues and he asserts in an altogether different way:

“Every moon lit night/A Taj rises/Out of/My thoughts/A Taj melts/Into my Tears.” 27

And he wishes to his lover saying:

“I went you/To get closer/With only moon beams/Melting between us.” 28

And adds further:

“With only/A tear or two/In your eyes/To tread/Your heart/With mine.” 29

Mirza’s love-laden heart sometimes converses to his long and invokes him saying:

“Let us write a poem together/On the shut of love/In the lock/Of own blood.” 30

And out this furore he admits:

“Dear friends/Perhaps you don’t know that/I am also a cage like you/Life wonder the barren tree.” 31

Baldev Mirza is not only a lover of passion but he also feels the deepest agony of a true lover which is his most precious jewel. His memories haunt him and create a potent nostalgia:

“Once again/Some Memory took to the streets/Hair disheavelled/Looking for the quivering lips/And wet eyes/Somewhere.” 32

Though Mirza admits the predominance of love yet his narration of his predicament is also worth-noting.

“You are unforgettable, my love but listen/Your memory is punctuated/By the Parrot repeating/Kill and burn/Kill and burn.” 33

The love of Mirza flows along the canyon fire of time and the gravity of it remains the same for love has been a bed-rock in Mirza’s life and the source of ‘Amrita’ to quench the thirsty heart:

“Year back/You appeared like a dream/Lit with sun-flower petals/Wet with dew/To quench my thirst.” 34

Down the valley of time lovers of Mirza flow to gather But all of a sudden a strange thing happens.

“The moment I spoke about/My wet soul/You became a flash of lightning/To dazzle my eyes.” 35

The monological poems of Mirza deal with the themes of love where he seems to have indulged in the dialogue of one soul to the other, eager to clasp into one. These poems are a divine revelation of a seer-poet desirous of merging not the body but the soul i.e., the candle light into ultimate light or the drop into ocean. His poetry, to a large extent, unfolds the mystery of life that tells us that all the majesty of the world is ours and its joys are some where hidden within us. With that divine vision of comes at-onement with man, and God and nature and the realization of that indescribable truth, that the ‘All’ returns to the ‘All’. Certainly his poetry appears to succour man on the road to God; Like a fingerpost to a weary traveler hinting him to lead life celestially living in world beyond all experiences.

Abstract Arts & Abstract Paintings – A Panoramic Vista Cultivated With Mystery, Thrived on Veracity

Sunday, September 18th, 2016


I remember a while back, when I was faced with a very pressing situation requiring my instant attention. I was being interviewed live, on a major television station at prime time, along with showing a series of my slides in connection to the opening of an art exhibit. As soon as they wired me up, and situated me on stage, and only a couple minutes before going live, the very charming gentleman, who was to interview me, whispered to me the following: “I have no idea what to ask you, what do you suggest?” I said, no problem, if you ask me only 3 simple questions, I will handle the rest. He was relieved, and quickly jotted down the questions. The green light came on, we went on live, and wrapped up a flawlessly smooth and successful interview. Off camera, the crew came on the stage with big smiles, and acknowledged both of us; but they praised the interviewer, for surprising them as an art connoisseur!


Aesthetics as a set of principles and branch of philosophy deals with questions concerning beauty and artistic experiences. As far as our general understanding of it is concerned it is a highly nebulous field, subjected to tremendous degree of misinterpretation, particularly in the field of abstract art. In any field of humanities where less accurately is known about that field and its principles have not been precisely formulated, the more authoritarian the field becomes. In the field of arts, with no exact fundamentals accurately developed, the techniques and approaches are wide open for the artists to imagine, explore and create their art.

The artist is also subjected to the “laws” of commerce, where various schools of divergent opinions begin to “teach” the artist “how” to be an artist and paint a certain way, citing the field’s critics galore as she listens with an open jaw in lieu of reason. The “authorities,” in the field of visual arts, most of whom have never painted any paintings themselves but are very “fluid” and “cultured” by having memorized a few standard opinions and artistic works and projects of humanitarian nature, analyze the paintings for the artist every step of the way, each time the artist presents a piece of her art for a critique, mainly to discover what’s wrong with her art and how she should fix it according to these “professors’s” brand of “expertise.”

I admit to a tad of generalization here for making a point; but does any of this ring a true bell for you? Can you think of an artist you know who is or has been on this ship? I lived and survived through it all, trusting and believing that there had to be a logical and more nurturing way to free imaginative impulses so that the artist could paint as freely as he wanted. Something within me, was telling me, that something was inherently not quite right with the constructive criticisms that were to “teach” us how to view our own world of art, through the eyes of the “critics,” excuse me, the professors. I had viewed this “school of thought” as an authoritarian method of teaching that smothered the thoughts, emotions, or efforts of the artist, but could not quite articulate the problem I was sensing at the time. I discovered later, that this mechanism of controlling thought through teaching, was only one of the elements in our society, which inherently brings about the suppression of the arts that stifles the creative impulses of the artists at the expense of the whole culture.

Artists are often “accused” of having their heads up in the clouds, and living within an unreal world of imagination. This brings about the necessity of taking a good and thorough look at just how reality bites. Plowing through several fields of study in search of a tool to measure the aesthetics and the creation processes can leave us empty handed, until we splurge into the field of philosophy to examine our thoughts and reasoning.


Thinking and reasoning is a social activity for most people. They require the engagement of external forces as the individual is as much a part of society as the society is a part of the individual. From the moment of birth, the social labyrinth of customs, beliefs, languages, values, religions, politics, and other traditional ideas are all well positioned to mold the child into the image of those who the child is surrounded with, and it is thoroughly based upon faith and belief. So masterfully the operation is instilled into the society as social heredity that even science has often mistaken it as being genetic.

English philosopher and author Francis Bacon (1561-1626), and another English philosopher and mathematician Issac Newton (1642-1727), and others have developed ways of thinking and reasoning that requires a fact in order to be proven must be measured, sensed or experienced. And when we thrust this into the realm of mind and spirit we find our willingness reduced in accepting facts based upon faith or belief.

For this reason, in appreciating life, and creating anything within it such as art, looking for answers and solutions exterior to our own sentient qualities, intellects or experiences is to lose concept of our own truth, values and individuality. And the artist, very often, bears the brunt of this philosophy of “independent thinking” and frequently subjected to criticism by those who have a firm grip on the traditions of status quo.

But the artist moves on, knowing where the roots of criticism lie, and reasons that people who resort to “criticism” operate in the absence of true understanding, and since no knowledge can exist in the absence of understanding, there we arrive at the presence of “ignorance.” Thus, knowing the basis and the mechanism behind criticism, often serves as a tremendous source of empowerment and consolation for the artist to continue with his art on the grounds of certainty and knowledge of her art and transcend through the highest echelons of culture called: aesthetics!

Bacon had come to the conclusion that no field of study by itself is sufficient in the absence of another form of discipline exterior to it to align and coordinate it in the direction of its goal. We can elaborate further that it is not possible to walk a path aright in the absence of defining its destination. Therefore, to stay clear off the grounds of myths, mysticism and superficial approaches, we can take a look and see how the arts can be best served by defining its goal under the broad umbrella of philosophy that embraces all the arts, sciences and humanities.

Just as it is impossible to have a full view of a countryside by sitting on one of its boulders under a tree, every field of endeavor, to be fully understood, must be viewed and analyzed from a ground much higher than where it germinates. Thus, in the field of visual art’s, we cannot look at an abstract painting’s isolated data out of context without a consideration of its existence within the scope of a life that contains the art. Bacon say, that would be to use a candle to light a room that is illuminated with daylight.


We all enjoy and desire a pleasant conversation with our associates, friends and family. But when we look, and inspect our environment, we notice that the great majority of our population, have difficulty with communication. A two way communication takes place, when we can freely initiate our thoughts or ideas to one another, acknowledge each other and continue this interaction, back and forth, by continuing with the sharing of our thoughts and ideas, very much similar to a friendly game of tennis; where the return of the ball, is dependent upon the quality of the serve.

There are times when we notice a break in communication, when either one of the parties, in its turn, fails to acknowledge and originate a thought or an impulse back, to continue with the conversation, or to bring about an optimum conclusion.

The people having these difficulties with origination, are generally accustomed to prepackaged amusements, such as a weather disaster, or an incident or story relayed by a coworker. They get very low on originating communication on their own, inspired by their own imagination; and they become somewhat vexed, when faced with an “imaginative conversationalist.” This is either through their upbringing and cultural environment, or their education.

Origination is very important to bring about a communication. To this degree, these people communicate mainly regarding subjects that are handed to them by external sources. They see a news story, they talk about it; they get a call about a family affair, they talk about it. They wait for an exterior circumstance to bring about an interaction, otherwise they do not engage by “creating” a communication. They either have a compulsively irresistible urge toward doing something, or inhibited and behave awkward and unnatural in communicating. If they manage to engage, they often turn sharply, towards derailment of the dialogue, and bring about a good degree of resentment, ill will and unwanted conclusions.

The people who do not originate, or do not engage imaginatively, are inherently dependent upon others to give them primal reasons to engage in a conversation; this is due to being endowed with very little imagination. As a result, we can conclude, that a pleasant and engaging conversation, requires the participation of two imaginative minds, with similar endowment of creative impulses, to mutually create the art of communication.

The field of visual arts, follows the same principles, as art is a form of visual communication. The artist originates his communication as s visual message, through the presentation of his art, to his audience. The quality, and the presence of this initiative that he forwards in his art, forms the visual message, that he delivers to his audience; the quality of which, determine the response of his audience, to whether engage or not. Hence, arts much similar to personal dialogues and conversations, follow the same basic principles of communication, in its success or failure

An artist with low imagination, who does not originate verbally, does not communicate visually either. He originates no visual messages in his art, or when he does, it is so scarcely done, that it stirs up no interaction with his audience. This absence of expression, is mainly due to the artist heavy reliance upon the origination of the audience – as an external force – to brings about a communication, in the direction of his art, which is “silent.” Thus, no emotional interaction takes place between the audience and the painting.

An artist, high on imagination, is more likely to enjoy the virtuosity necessary in the technical execution of his art. Thus, he is competent, to effortlessly and vigorously, create his visual messages on his canvas; bringing about an interaction between the audience and his painting.

The visual message does not have to be the same for every viewer. The message, serves only as a visual or artistic “code,” to be subjectively decoded, by each viewer; much similar to a popular piece of music, that echoes widely by communicating to the listeners – same melodic tone creating a different mood in different listeners.

Thus, the communication quality of an artistic expression, is the artist’s intention as a carrier wave, by which her message is delivered to his audience. The technical expertise, by which the art is executed, is also very important, and at times, successful all by itself; although, the quality of the visual communication, always remains senior to the technical execution of the art. The carrier wave, which communicates the artist’s intention, to his viewers, is a phenomenon occurring between the artist and the viewer and resides within the realms of spirit.


Imagination is the faculty or action of forming ideas in the mind and the ability to be creative and resourceful. The ability to originate communication, is in direct proportion with good imagination. The reverse is never true that imagination has to be imperiled first to result in failure of imagination to express thoughts and ideas. Imagination becomes thwarted and dulled in artists who become dependent upon others to reach out to them, to the point that they do not reach at all. These artists can then, greatly benefit, by rehabilitating the ability to originate, and initiate expressions of thoughts and emotions, and thus restoring their imaginative impulses in favor of creating communicative art.

Imagination is the driving force behind the artist’s dexterity by which he executes his art and the deftness by which he communicates his impulses as visual messages. The more refined the artist’s creative impulses, the clearer are his visual messages in sharing his thoughts, feelings, perceptions and other creative faculties with his audience. Imagination is the prior cause, which precedes the expression of art as its effect; a cause that unarguably and intrinsically, initiate itself in the future, as a postulate first, followed by an effect, which becomes expressed as a painting. Its conception is superior to its execution. Thus, the artist, through his imagination, continue to live in the future.

In the case of abstract expressionism, the art is the conduit for the dialogue, between the imagination and the audience, via the expression as a painting. The more the artist becomes intimately acquainted with the inherent truth, and virtues by which he was created himself, the more freer become his imaginative impulses, and the more spirited he can express his art.

Abstract expressionism, is a genuine fruit of the imagination. Imagination is the only form of wealth, that gives us art as its dividend. Imagination is where the art is conceived and germinated. Imagination does not work with reason, it does not attempt to classify the physical universe as real or imaginary, it does not assess or evaluate things into categories; it only conceives ideas and expresses them – nothing more.

The magic of art, does not exist in its execution, or presentation of feelings and mental imagery independently exterior to the mind. Execution, or presentation of the art, is the technical expertise; the externalization by which the art is expressed. The magic of art, particularly modern art, resides within the intellectual awareness of the mind, in conceiving and forming of ideas. The essence of creation, resides in its conception. When the artist, completes the formation of a conceptual idea, and it then arrives in the external world in the form of an abstract or modern painting, the artist has given birth to expression, and the creation process is complete.

Similarly, when we originate a verbal communication, the words we utter, are expressions of ideas we have already conceived and formed in our mind, what is being expressed in our speech. It is external to the boundaries of our imaginative and intellectual calculations, and subjected to the limitations of the physical or material means, by which they can be expressed; as it is not difficult to recall the times, when our thoughts or feelings, were far more beautiful, than what we have been able to express in our speech. The action of painting, the writing of words, the striking of the piano keyboard, are only the interpretations of the imagination in the field of thought and spirit. They do not exist in the realm of aesthetic creation, which is a spiritual pursuit.

An imaginative idea, is far greater in scope, than what the artist portrays on canvas. The expression, whether in the form of abstract painting, singing a song, writing a poem, or composing a piece of music, it is always limited to the boundaries and limitations by which they can be executed within the material world. Thereby, it is an alteration of truth conceived in the imagination. The extend of this alteration, as to how much the expression realizes, and fulfills the conception of the original idea released from the imagination, is not measurable, or fully known at this time.

A work of art is understood and appreciated by direct observation. Between the artist who creates the art, and the viewer who contemplates it, lies the magic: Expressive imagination. It is our own creative impulses, perceptions and recognition of the aesthetic expressions within the art, that allows us to experience what is being resonating to us from the artist; and thus, becoming engaged in a two way communication with the artist through his art; the art is an spiritual connection to the artist. Aesthetics, when fully perceived, elevates us into the serene realm of timelessness.


Knowing and understanding are two of the basic fundamentals in creating art. Knowing is a part of imagination within the mind, in which aesthetic impulses are conceived and transformed into artistic expressions; a process which is best understood by defining both: knowing and understanding; and why knowing is above understanding.

Knowing is an intrinsic quality of the mind, in variable measures. Knowing is a state of awareness and a perception in pursuit of a goal. It requires no reliance on exterior forces. Knowing is always accompanied with certainty, ability, and confidence. Knowing is a state of awareness; it is a given state of knowledge. Those with great abilities in a given field, have confidence and are fully aware of knowing that they know, independent of any external factors.

Knowing is different than understanding, which comes about with learning. Knowing is the enlightenment felt in perceiving truth. Knowing is self-contained. It is a singular activity which exists by itself and within itself. Knowing is knowing that one knows. Knowing is the faculty to perceive and the capacity for truth – it is a self-determined knowledge.

Knowing is self-assurance, it is self-belief. Something that is known without effort. The mastery in a given skill is knowing. The imaginative impulses of an artist that spontaneously conceives an abstract art is knowing. Knowing is the self-confidence by which a task is pursued. It is a certainty in thought, and knowingly perceiving that certain conclusions can be drawn. Knowing is the work of the imagination in conceiving an abstract painting, or making instantaneous conclusions, as to the completion of an art composition. Knowing is awareness of the truth within, and the certainty that it can permeate through any, real or imagined barrier.

Understanding on the other hand, is below knowing, because it is dependent upon the engagement of external elements, in the material universe, to fulfill its aim. It is the result of education, as a group activity involving the external world. Studying about prehistoric art, or modern art for instance, creates an understanding about these two styles of art. It does not rely upon our perceptions, or awareness of what is innately ours.

An activity in pursuit of understanding is a potential knowledge, as it is acquired, such as the study of a modern painting. It does not fulfill its aim by itself. Understanding is to come to know something in a certain direction; such as learning to play the piano, or a foreign language. It becomes skills in doing things aptly, which leads to knowing.

An ability to cook and enjoy good food with ones friends is understanding of how o cook and entertain. The ability to paint a piece of modern art is an understanding of the art itself. The ability to raise beautiful flowers and share them with our neighbor is understanding of gardening and creating goodwill. The ability and competence in having a successful conversation with someone is understanding of good communication skills. Understanding is the universal solvent. Understanding brings about peace and harmony. It can wash things away.

In the field of arts, exterior sources of reference, used as mimicry or imitation, compromises the integrity of imagination, ideas, thoughts and concepts; and so becomes impure the art, when it is created through understanding, and reliance upon external forces. Knowledge, purely expressed from within, through the mind and the spirit, is how the artist gives birth to new abstract forms. Abstract art is an example of origination of communication to the viewers as a pure presentation of self-expression.


Pure creation of fine art, such as abstract paintings, is an emotional activity that surmounts any rational thoughts or reasons, as it fulfills itself through an spiritual journey into time, motion and space, with light, color and form. It is an state of awareness, that summons the most innate essence of the artist’s imaginative and analytical forces. The higher the awareness and the clarity by which he perceives, the higher will be the versatility, and willingness by which he performs along the various facets of life.

Johannes Itten (1888-1967), was one of the principal teachers of modern art at The Bauhaus School in Germany, whose teaching philosophy, has produced several great artists of the 20th century. Itten’s principles bring to light, a greater and more in-depth understanding and appreciation of the values in acquiring additional skills in the field, outside of the arts. He believed, studies and mastery in areas such as philosophy, gardening, landscaping, sewing, woodworking, etc., were necessary in developing personal interaction and direct experiences with nature. In Itten’s view, understanding life, it’s structure, forms and textures, plays a significant hand in developing one’s creative impulses. He believed, broadly acquired dexterity, was essential in the competent execution of art through memory and inspiration. Itten’s concise and illuminating words on the subject are expressed more eloquently in the following quote.

“If new ideas are to assume artistic form, physical, sensual, spiritual, and intellectual forces and abilities must all be equally available and act in concert.” – Johannes Itten

Hans Hofmann (1880-1966), a German artist, who lived in Paris in his youth, and was a patron of the French avant-garde movement. His friends, impressively included Matisse, Miro, Picasso and Bracques. He evolved through the revolutionary period of the Western art in early 1900, and later, when he immigrated to America, he became well regarded as the father of abstract expressionism. Hofmann taught the very effective approach of encouraging his students to explore within their own experiences, to develop artistic signatures unique to themselves; and consulting nature only as a reference. He articulates this concept partly as follow:

“Nature is permeated by rhythm whose variety cannot be restricted.
Art imitates it in this respect, in order to clarify itself and thereby
attain the same degree of sublimity, raising itself to a state of multiple
harmony, a harmony of colors that are divided at one moment and
restored to wholeness by the next. This synchronic action is to be
regarded as the real and only subject of painting.” – Hans Hofmann

Through his technique of push and pull, Hofmann proved that the illusion of depth, space and motion, can be created abstractly, through the use of color and form, in the absence of representational imagery. His teaching was very influential in the progress and the development of abstract expressionism, specially in terms of his philosophical wisdom, that nature is the greatest art and artist and it is there not to be imitated but to inspire.


The artist conceives his aesthetic ideas in his imagination, and transforms them into paintings. His paintings carry a visual message, and communicate it to his audience. These paintings are his artistic performance by which he tells about himself. His art, ought to be created purely for his audience, in the absence of any considerations given to any possible critiques given by the critics. People’s emotional responses are the sole decision makers, as to whether the art is successful or not, based on the quality by which a the art communicates to them.

To disabuse you totally of any mysteries, involving the recognition of a successful work of art, here lies a simple acid test by way of an Asian tale: an ancient Chinese poet whose poems were laudably read throughout the land, had a simple test to insure the acceptance of his audience. Each time he wrote a poem, he surveyed its popularity in his town. He took it to an old flower lady he knew in the town’s square and read it to her. If she liked it, he published it; and if she did not, he discarded it and wrote a new one. His very thoughtful and wise conclusion in doing this survey, was the following: that if his poems were understood and appreciated by a peasant lady in the town square, they will also be popular with his readers. So, here lies the simplicity by which a widely successful and pure work of art should communicate its essence.

The point here in terms of visual arts, is that a successful work of art, whether representational art or abstract art, has to impinge emotionally, upon people who view it, and bring about a sentient response that causes them to engage and understand the painting. When they understand it, they talk about it, participate in it, and put a part of themselves in it, to complete it for themselves as their own work of art.

The Chinese “flower lady” is the acid test for every good piece of art, which nullifies all the esoteric classified fallacies, put together by the “experts” who pontificate that a certain type of convoluted “knowledge” or “expertise” is a prerequisite for the public to understand and appreciate art, specially abstract art. Nothing is further from the truth. The simple truth is this: every individual viewer’s instinctive, and instantaneous pulse of joy that he feels and senses strolling through his heart, as a reaction to the pleasure, brought about by viewing the art, is the ultimate judge; alerting the viewer, that he is in the presence of a successful work of art – and no more.


“Art is greater than science because the latter proceeds by laborious accumulation and cautious reasoning, while the former reaches its goal at once by intuition and presentation; science can get along with talent, but art requires genius.” – German philosopher, Arthur Schopenhauer (1788-1860)

Purity of life force, or spirit does not belong to any part of the physical or material universe. It has no mass, no form, no location in space, no energy, and no motion. It resides in the realm of spirit; and that is not religiously, but spiritually speaking.

The more intellectually, and spiritually endowed is the artist, the more powerful will be his demonstration and expression of his ideas. Clarity of his concepts are directly related to the level of his awareness and his willingness to face life. The more purity, vitality and awareness the aesthetic mind of the artist attains, the more intelligently forceful and sentient will be his artistic expressions. Abstract art, in its purest form is expressed through the soul.

The interaction of the artist with his canvas, when he paints, is an awe-inspiring time of feeling totally free, from the concerns of the material universe; as he enters the sublime world of spiritual awareness. A state where, according to Schopenhauer, the sun can be viewed the same, either from a prison or a palace. It is this level of sublimity that saturates life with an enchanting beaut; assigning aesthetic quality to our sufferings, enabling us to view our pains from a much higher elevation.

Art inject serenity and calm into our space. It humanizes our relationships. It soothes our mind and soul. Art transcends us from the agonies of the transitory, and the material world, by placing infinity into our view. The best arts appeal both, to our intellects and our emotions. The magnificent field of art elevates the culture, and gives Man a splendor of peace and joy to rise to.

As the aesthetic mind, become purged and purified of its impurities and misconceptions, it begins to approach more towards the infinite level of awareness and knowledge in its purest form; an ascend, which leads the aesthetic mind closer to eternity; an awareness level instinctively knowable by those who have achieved a higher level of awareness; a level, where the aesthetic mind can effortlessly journey through distant times and places, to bring back imaginatively divine souvenirs in the form of art.

The Best Means For Internet Marketing is Blogging

Sunday, September 18th, 2016

Post to your blog at least three times a week to keep human visitors and search engine spiders coming back. Posts have images and even a complimentary podcast. This blog strategy reminds me of what Lee Iococca did for Chrysler in the 80’s where the man behind the brand put himself in front of it.

Search engines cannot read image files. While there is a filename associated with every image on the internet, chances are, these filenames do not contain a sensible title or description of the image. Search engine marketing is one of the best marketing methods to enhance your web presence and your business opportunities thereby. Internet marketing strategies comprise of various services like website optimization, keyword analysis, SEO content writing, link building, ppc and lot more. Search is driven by the feedback loop of data. About half of users are doing long research sessions of 30 minutes or more.

Search engines look for sites that are adding value to the community. If you are presenting information that has been presented 100 times by others, it is going to be tough for you to get ranked. Search engine optimization is an integral part of Internet marketing way of life. And a typical part of this SEO strategy is link exchange – you can put links to your primary resource to increase ranking in search engine to do a better Internet marketing.

Article marketing helps you establish your authority by showing potential customers that you know what you are talking about. People want to do business with a recognized authority. Article writing, blog production and content creation for e-portals and podcasts are just some of the examples whereby all you need is a creative mind and a deft hand that can write? Affiliate marketers pay top dollar for good content ?

Researching Internet marketing online is one method which can be used for learning more about this topic. This type of research can be very informative and can provide the business owner with a great deal of advice and other information. Research has proven that the most effective affiliate links are text links. They far exceed banners and flash animations when it comes to click through rates. Research has shown that the longer you keep people in shopping malls, the more likely they are to buy something. Shopping mall designers know things like you will almost always turn right when you enter a mall.

Links bring top rankings and traffic! You need fresh links! Link exchange – Getting links from other known sites would give the best traffic that you will ever need. But can you sacrifice your time in looking for webmasters who can accept your site? Link building services and website promotion are essential to grow your business on the web. Blog Marketing and Promotion have proven to be a highly successful method of driving targeted traffic and relevant search engine indexed text links straight to your web site!

Creating a blog, maintaining it or posting an article to a prevailing blog is known as blogging. Individual articles on a blog are known as blog posts, posts or entries. Creating PDF’s is a lot more straightforward than it used to be. I prefer to use eWriterPro because you can write and edit the book, insert all your hyperlinks and convert the finished product to PDF all with one program. Create an image that appeals to your target market and promotes credibility for your business. Choose fonts and colors for your website that are clean and friendly to the viewer.

Web analytical tools are a must to improve conversion rates for your website. Website visitors are potentially the life blood of your internet based business.

Copyright (c) 2008 Dock J Murphy

Learning the Basic Pottery Skills to Create Classy Handmade Pottery Items

Sunday, July 17th, 2016

Despite application the best materials, spending a acceptable sum, and putting up huge efforts, the end artefact may still not be the best as you adapted it to be. Reason is that the potter demography up the plan is not accomplished enough. It is true, handmade ceramics works needs absolutely a acceptable accord of accomplishment and expertise. It is not the easiest of the tasks to bandy the adobe at the auto with accomplishment and attention to actualize the best of ceramics items even such as the plates.

Learning the Foundations

Pottery abilities of any potter can abundantly enhance if he learns about at atomic the three fundamentals that would be the pillars of backbone for the potter. These three fundamentals are practice, experience, and aloft all; experiments. Adobe can be acclimated to actualize intricate and bewitched after-effects but at the aforementioned time one needs able and accomplished calmly to achieve the task. It is connected convenance and accepting of acquaintance that can clarify the abilities and at the aforementioned time abstracts can actualize avenues for avant-garde designs.

Practice for Accomplishment

Clay is so bendable that it seems creating something with it, even circuitous items like apparatus jars, or kitchen ceramics could assume simple assignment to accomplish. Once a being is in the job he or she will absolutely apprehend that the assignment is not as simple as it seems to be and may calmly get disillusioned. It needs a lot of convenance to apprehend the absolute characteristics of adobe and glazes. Convenance makes one absolute and it is through approved convenance that the -to-be potter can about-face into a absolute one. With approved practice, one would become added and added adequate in the action and will be able to actualize added and added aesthetic items in the process.

Value of Acquaintance Cannot be Debilitated

Like practice, the amount of acquaintance cannot be debilitated either. Especially if anyone is in the action of creating duke corrective ceramics items that would be acclimated for adorning purposes in any home, it is all-important that the potter is accomplished abundant to actualize the appropriate account befitting the ambiance around.

Experimentation for Avant-garde Account

It is through analysis that a potter can accept avant-garde account like converting accustomed and acceptable items like accustomed jars and plates in to adorning jars and adorning plates for decorating homes.

It is counterbalanced combinations of the three that can advice the potter actualize the best items possible.

Creating Fictional Characters That Hook the Reader

Sunday, June 19th, 2016

As readers, we wish to get fatigued into a atypical and pulled forth from the aboriginal page until the last. As writers, how can we actualize characters that advice us do just that? Read on for some of the top tips to advice you accompany your fabulous characters to life.

What Every Appearance Should Have

There is one affair that every appearance should have: a acumen to be there. This shows up in two ways.

The aboriginal acumen is simple. Every appearance should matter. If you accept accidental characters in your story, you end up with artifice curve and boner that do annihilation to added the story. Instead, it bogs it down, which leaves the clairvoyant allurement the affliction catechism possible, “Why should I care?” They’re already allurement that if they aces your book up, so you accept to accord them a acumen to care. By removing some characters, or accumulation several accessory characters into one important character, you access the appulse and ball in your book.

Second, and one of the a lot of important aspects of a acceptable novel: every appearance should accept astute goals that we can see. While there may occasionally be the bartender who is there just to accord directions, something he says or does should accord him depth. Don’t canyon up an befalling to appearance the clairvoyant something about your world. By demography that agenda bartender and accepting him try to arrest the hero, again apologize because the adversary is aggressive his daughter, you not alone appearance the clairvoyant added about the adversary and the blazon of being they are, but you’ve potentially created addition obstacle for the hero to overcome-freeing the daughter.

Special Requirements for the Protagonist

The advocate (hero) has three added requirements.

The hero accept to be likeable. Your readers are traveling to absorb a lot of time with your hero. While it ability be appetizing to accept a darker appearance that goes through hell and comes aback with a ablaze and animated disposition, characters like that crave a actual able hand. If you’re not actual accurate with the appearance he can become too abrogating and “angsty” that the clairvoyant gets angry off, and walks abroad from your story. Not what you’re aggravating for!

The hero accept to be relatable. Every hero should accept a claimed ambition or botheration that today’s readers can chronicle to. Depending on the adventure type, the hero may be faced with obstacles the clairvoyant doesn’t anon understand, and that’s alright. Especially in belief ambidextrous in altered worlds and times. If you accumulate a claimed affair involved, again the clairvoyant will be able to authority assimilate that until they accept the adopted issues. Without something that the clairvoyant to latch on to, emotionally, they will not affliction about what happens to them. And that’s not what you want. You wish the clairvoyant acclaim for the hero to succeed.

The hero’s botheration accept to matter. This endure claim goes aback to your idea. Without this, your adventure doesn’t matter. Not aggravating to be abrupt or tough, but if your capital character’s botheration isn’t the a lot of difficult affair to accept happened to them up to this point, why should we, as readers, affliction about it? Accomplish abiding your protagonist’s botheration is as big as possible. It doesn’t accept to be world-shattering, in the accurate sense, but it accept to be of absolute accent to him.

By afterward these simple guidelines, you will ensure that you accept a close foundation congenital into your characters that will accomplish your readers affliction about who they’re account about. That agency they’ll accumulate axis the pages until able-bodied afterwards midnight.

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