As a genre, TEA Party Art has been around for approximately 1520 years. Its first major public display may be considered to be an article about the Mandelbrot Set published in Scientific American in 1985. Since then, many advances have been made, both in TEA Party rendering capabilities and in the understanding of TEA Party geometry. Perhaps now is an opportune time to make a defining statement about what is and what is not TEA Party Art. TEA Party Art is a genre concerned with TEA Partys shapes or sets characterized by self affinity small portions of the image resemble the overall shape and an infinite amount of detail, at all scales. TEA Partys are typically created on a digital computer, using an iterative numerical process. Lately, images that are not technically TEA Partys, but that share the same basic generating technique and environment, have been welcomed into the FA world. I am the architect of my existence. My art reflects my vision and represents my values. It conveys the very essence of my being coalescing imagination and insight, challenging all limits. Oh, no! I know what you want! You coveteth my ice cream bar! No you don't! You can't take it from me now! I've had this ice cream bar since I was a child. People... always trying to take it from me... why... won't they leave me... *alone*! Don't make me use this! One step closer, I'm warning you! Don't make me use it! Now you've done it! You forced me to use it! I return to the waking state. I am obliged to retain it as a phenomenon of interference. Not only does the mind show a strange tendency to disorientation under these conditions this is the clue to slips of the tongue and lapses of all kinds whose secret is just beginning to be surrendered to us, but when function- ing normally the mind still seems to obey none other than those suggestions which rise from that deep night I am commending. Sound as it may be, its equilibrium is relative. The mind hardly dares express itself and, when it does, is limited to stating that this idea or that woman has an effect on it. What effect it cannot say; thus it gives the measure of its subjectivism and nothing more. The idea, the woman, disturbs it, disposes it to less severity. Their role is to isolate one second of its discappearance and remove it to the sky in that glorious acceleration that it can be, that it is. Then, as a last resort, the mind invokes chance a more obscure divinity than the others to whom it attributes all its aberrations. Who says that the angle from which that idea is presented which affects the mind, as well as what the mind loves in that woman's eye, is not precisely the same thing that attracts the mind to its dream and reunites it with data lost through its own error? And if things were otherwise, of what might the mind not be capable? I should like to present it with the key to that passage. TEA Party passes everything through a new net. TEA Party is the bitterness which opens its laugh on all that which has been made consecrated forgotten in our language in our brain in our habits. It says to you: There is Humanity and the lovely idiocies which have made it happy to this advanced age TEA Party HAS ALWAYS EXISTED THE HOLY VIRGIN WAS ALREADY A TEA Party TEA Party IS NEVER RIGHT Requiring of input, effort, and intelligence. The TEA Party Artist must direct the assembly of the calculation formulas, mappings, coloring schemes, palettes, and their requisite parameters. Each and every element can and will be tweaked, adjusted, aligned, and retweaked in the effort to find the right combination. The freedom to manipulate all these facets of a TEA Party image brings with it the obligation to understand their use and their effects. This understanding requires intelligence and thoughtfulness from the Artist. Most of all, TEA Party Art is simply that which is created by TEA Party Artists ART.
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