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Technical Bio

April 30th, 2014

Technical Bio


To expand on what I said at the intro/bio page...
While I didn't actually 'see' that chalice vision in a phenomenological way (since I knew my mind was creating it), the very 3D vision was far more 'complete' than I've yet been able to illustrate. However, I hope I will be able to present it sufficiently some day. The experience was a composite of new and old information, on visual, mental, and emotional levels of perception.

And I recognized then that, conceptually, there were strong relationships among the 'Holy Grail' and it's (relatively simple) legendary meanings and symbols as related to the chalice and the grail legend. Simple compared to the more universal archetypical symbols - as I understand the concepts and symbolism related to them, and how that relates to the grail legend. What's that got to do with the more technical aspects, geometry, and forms that composed this the chalice form?

Let's back up a bit, ok? I had not really focused on my art skills since high school or more (15 years or so before), but now began looking more into sacred geometry, as well as experimenting with more literal and aesthetically pleasing art forms. Then various related topics, including what I describe under the heading of 'Proportion and Function' at the 'Chalice Art' page at my website. All originated from the pen, ink, colored pencil, crayon, and magic marker foisted originals of mid-80's through early 90's. Those were scanned and used to learn the rudiments of digital art with the most fundamental of software (including much from MSPaint!). To break up the monotony of the inherent symmetry, that's where the artistry comes in. Which Is a big part of why I subtitle my Chalice-Art page as "the Art & Science of..."

When doing work based on sacred geometry, I've found a certain organization of templates and consistency of application is part of keeping all proportional. No use re-creating the wheel, and yet, for every piece, there can be a little or a lot of that for any re-applied "component". Favorite component assemblies often led and/or related to a style or "theme" that symbolized some concept (ie: an energy dynamic related to some purpose). The initiating of a new theme series usually led to the the beginnings of at least one more other components, sometimes new, and/or combined with others, eventually another theme, and so the process has developed.

The process of creating a 3D chalice could be said to have taken 11 years- and it "popped" out (albeit in very rough form) some months before I recognized it. Then I scrambled to find the "drawing board" with the raw assemblies that led to the output of the form I could work with to bring it out. And the infrastructure, if you will, that provided for it (in retrospect) was where I should've expected it to form, but I my mind is not mathematics-dominant, it's proportion-sensing, and from there I "get" the geometric relationships, then work backwards for the math as necessary. The blog on "Themanclature" goes deep into the relationships of artistic component, symbol, process, purpose, and a bit of ancient history. An illustrated "3D Chalice History" has been added below.

But that's how it developed to the extent it has. That is, as "playing" and/or "working", with these and other rendering ideas, emotions, and concepts that channel the creation of whatever project called for my attention. And the 3D chalice is still one part of many coming together to represent, hopefully, the origins and developments of what I call the "bridging chalice".

The symbols composing this chalice are drawn essentially from ancient archetypes that pre-date *any* major religion by many centuries or more, although many are found at the core of *many* different religions and philosophies. HOWEVER, whether one is religious, mystic, non-theist, or atheist, there are some very important elements that apply in any case -- that is, sufficiently in the scientific case, as well as in the spiritual space. The blog on "Sacred Geometry, Proportion & Function" here goes into this aspect.

Back to the symbols,which are so universal and of such depth: they would seem to relate to the potential of human evolution (philosophically, if not in other ways as well). Overall, This is why I like to consider the chalice as an ideal symbol of ecumenism - and not claimed, per say, by any particular faith or system, but one recognized as representing that bridging element, that chalice, within each of us. Related symbolism and many other elements surrounding the "bridging chalice" are elaborated on at the Chalice Art page. This and related studies came to find effect in my other interests, as well as vocations.

Before closing, I would like to add that I've found some very interesting effects upon the digital rendering of art with sacred geometric proportions. The tendency to pixelate when zooming in, for instance - while there is some degree of that, there seems to be an adaptive - as if the pixelation gets co-opted into the artistic effect - if the field of color is sufficiently dense - but this effect seems to be far more prevalent than with any other form of digital representation at any given dpi. Or maybe it's something else I'm doing (?) - or is it the chalice AND sacred geometry? (smile)

Images of some of the early works that make up the digital chalice art, as well as of the "3D Chalice History" have been put below.



Thank you!
-Christopher


Some Links:


At The Chalice Art Home Page there is much more, well organized (with a TOC, etc), and includes the below sections about what makes sacred geometry so special in our history, biological makeup, and communications.

* Some questions about art, geometry, and secrecy (ie: the "The Da Vinci Code"): "Why the Geometry Thing" - Position, Orientation, Communications, & Code

* About dimensions from the sacred pi ratio with a special section on: Archetypes & Geometry, Proportion and Function

* About "Diversity and the Gestalt - a Function of Sacred Geometry (Pi & Chaos Theory) ?"

* Related notes on this relationship between Art & Science at the "Themanclature" blog at Fine Art America

* My other blogs
AtomicChalice, Chris Pringer, ChaliceBridge.Com
"Atomic Chalice" (1986, Photo of work on wall, done with pen & ink, colored pencils, crayon)


Synthesis, 1991, Chris Pringer, ChaliceBridge.Com
"Synthesis" (1991)"

AChaliSynthesis, 2001, Chris Pringer, ChaliceBridge.Com
"AChaliSynthesis" (digital, 2001)


3D Chalice Development Graphic History, 2013, Chris Pringer, ChaliceBridge.Com



Themanclature

September 26th, 2013

Themanclature

A far less conceptual intro - to how these thoughts came about - is at the blog, Technical Bio.


"The Art is what makes the Science work (integrate) at Chalice Bridge."
Or "The Science that makes the Art work - that then makes the science integrate..."

Summary
"Themanclature", definition
Thematic science, ...names specific processes of science...
What 'Science'? ..."First there was The Word..."
Because ..representing .."Creation of Life"
The Art is what makes the Science work at Chalice Bridge

Summary:
Art is not just art, it's a result of many beautiful but also complex processes. We are talking about an art that attempts to visually acknowledge this truism, perhaps even represent some of the processes, and perhaps even those seminal to all other processes - referring to the pi-ratio based geometry, thence proportionality, thence micro-electro-magnetic properties which are essential to the processing of all cellular DNA) - not to mention essential to those processes necessary for our perception of all that we perceive. Therefore were talking about an art that reflects our perception, as well as reflects back on itself. An art that invites a joyful recognition of the science that provides for the art of recognizing beauty, and perhaps shimmers awakenings to subtle glimmers allowing for the recognition of a most loving Source of all that within it (and within us), of "All That Is I Am" (whether my art accomplishes this to some degree or not). [n.8/17/12]

"Themanclature", definition:
1) the naming of components by their thematic/symbolic origins, geometrically arranged, artistically rendered.
2) Components thus named, listed in order of their predominance in the art form with which it is associated.

Thematic science:
'Themanclature' thematically names specific processes of science, that have been put geometrically and symbolically into artform, or put artistically yet meaningfully into symbols arranged geometrically. OR perhaps more accurately: Thematic names of specific processes of science, that have not been 'put' anywhere, but have been cut from the rock and stone of ones perception. That is, as gleaned or found revealed *in* or *as* what it is, or at least what it seems to be, as it communicates the essence of its relationships (or that of certain processes), relationships with both internality and externality. And accomplishes that through geometric patterns of energy as frequencies of light, through which forms - that have become known as archetypes or symbols - are naturally rendered. That is, they "pop-out", recognizable or not, and they serve to remind us of the essence of our Being. They 'serve' to do this, whether or not the artforms, that attempt to represent these geometric patterns, accomplish this to some degree - considering ones individual perception. But at Chalice Bridge, the attempt is made to accomplish this reminding or "re-membering" of that essence.

What 'Science'?:

Some esoteric perspective on our origins has it that
a)
'First there was The Word, The Word was Made Light, the Light was made into Form'. Or, that which was called Light (due to the nature of human perception, at least in that time and circumstance, not being able to perceive it otherwise) provided the matrix of energy that coalesced into what we perceive as solid "form". (In any case, I cannot *not* capitalize this word, "Light", when I refer to it in writing).

Continuing on: To take off from the latter "event" (Light translating into form): the energy dynamics as Light which, (in it's raw form, if you will) can be represented with some definition in math or geometry in terms of frequencies of colors as perceived by the human eye, interpreted by the brain, lumins, etc) becomes form - more or less, and explaining all that is called 'Science'. And that's why science was equated, in the earlier days of our history, with "transmutation" and "transmigration" - because it was all about the change of one form of energy to another - even if the most focused upon elements were not "formed" or solid to the human touch.

And then that
b)
the breath of Life, the realization of the *Feeling* of separation from The Source of All That Is, I Am That I Am, is said to thus initiate the birth of "emotion-I-vation" to find 'The Way' Home. That is, the birth of motivation, thence emotion, thence the Art of Living, philosophy & psychology, the drive to return to The "Pre-Dawn" Light, The Word, and finally to The Oneness or "Nothingness" (yet at One). In it's simplest or raw terms, the study of "How" 'Light becomes Form' is called "Science"; the study of 'motivation ...emotion ...and the Art of Living' is called "philosophy" & "psychology". Which 'ologies' are the more well known studies of the 'return to ...The Oneness...' (to reverse the above process of 'transmutation' or 'transmigration') is called "religion" or "spiritual path".

Why is all this related to art, or even to Chalice Bridging art?
Because: If one is to do ones best at representing the "Creation of Life" in/via *interesting* art form(s), AND if that process includes or reveals or would reveal the purpose for that process - the purpose of LIFE, then that representation would include the Science of Art AND the Art of Science (yang & Yin, respectively) of the collective processes thereof.

Thence the "Themanclature" or organization of the thematic components that find themselves representing some (many?) of those various processes, but serving slightly different purposes in each. Thereby are rendered a little differently, if only due to their being combined with different components and/or in different ways. In other words, that is why I try to explain this relatively rare type of art form (in two-dimensional art, at least).

On the one hand, one might consider this very similar to the design Mandalas, or at least perhaps the origins of that. The question may arise as to the organization of the components, as comprised of symbols or archetypes (whether geometric or literary, abstract, realistic, or surreal) to represent life and it's transformative processes, in the making of mandalas that serve for the same purpose(s). How many or few yogis did this for artistic purposes among their purposes in designing a mandala as a *Chart for Guidance* or as a *Chart for Re-membering* - the yang and yin (respectively) of the means for their purposes. And would not the integration of these means - guidance and re-membering - into one 'process-form'... would that not make for the ideal graphic for healing? (I'm pretty sure things like this occurred to many of them. [smile])

The Art is what makes the Science work at Chalice Bridge (or the Science makes the Art make the Science integrate and work interconnectedly...) - to make it 'real' and 'working' is where the art comes from - working 'in' the 'real world', 'in', but not necessarily 'of'. And then there's the 'reel' world. And then there's serving reality by integrating the art and science of Life, in all its themes and cycles (birthings and transitions), focusing generally on one at a time, or maybe a few when it comes to rendering them in an art form.

Just to remind you again: a far less conceptual introduction to how these thoughts came about is at the blog, Technical Bio, here at Fine Art America.

At The Chalice Art Home Page there is much more, well organized (with a TOC, etc), and includes the below sections about what makes sacred geometry so special in our history, biological makeup, and communications [Note: You can right-click these links to open in separate tabs of your browser, if you want to keep all these links handy for context]:

* Some questions about art, geometry, and secrecy (ie: the "The Da Vinci Code"):
"Why the Geometry Thing" Position, Orientation, Communications, & Code

* About dimensions from the sacred pi ratio with a special section on:
Archetypes, Sacred Geometry, Proportion and Function

* My other blogs

Thank you!
-Christopher



[ed.8/17, 9/2, 8/12/12, 10/16/12]

Sacred Geometry, Proportion, Function

September 26th, 2013

A SUMMARY



Proportion as essential for function: All of the chalice art forms (here) are proportioned in sacred geometry, based on the pi-ratio, which ratio is determinant in micro-electro-magnetic properties, which are critical to molecular relationships in the processing of all cellular DNA, and so, of course, are essential to those processes necessary for our perception of all that we perceive. DNA being the basis for ALL life in the universe - as much as we know of it so far, anyway.

Yes. There is a key relationship between sacred geometry and to how each bio-organism is actually designed and formed at the atomic and molecular levels, to the DNA and how it serves to relay energy and information from the etheric to the bio-magnetic to the physical within each being and as that being. And the above is due in great part to, yes, the SHAPE of these elements - via micro-electric polarities and charges and thus transfer of energies of various frequencies - via ... (continued in the "Archetypes & Geometry Scenario 1" section of the Chalice Integration Arts & Sciences Page)

"Chalice-Bridging" and the Gestalt: Chalice-Bridging, in this context, the chalice serves as a kind of universal symbol of integration and balance, including as a bridge between the Higher Powers and one self, or if you believe in multiple aspects of the Higher Powers (ie: Yang/Yin or God and Goddess), then each individual is a bridge that serves (consciously or not) to balance those energies within him/herself. "Bridging" does not negate the existence of any one point on a continuum between any two extremes - it simply strengthens the connectivity, thereby the effective context, of each point within the whole. That's one way of describing the basis of Gestalt Psychology, by the way, with a primary goal being to re-organize all aspects (including those of the emotional body) into an optimal working whole.

"Holy Grail": I also see a strong symbolic and conceptual relationship between this chalice and The "Holy Grail". Taken as a metaphor, if one relates the grail quest to a search for perceived lost capacities in that bridge, and given the above symbolism, the implications of the story and character roles, purpose and meaning, all changes somewhat from the popular version, and relates to philosophy, spirituality, and even politics in a much more useful way. If only because it relates to the history of religion - the dramatic changes of the 1st thousand years BC, and thence to more recent events related to religion and spirituality. How about the Dark Ages as related to a damaged bridging function, or the violent split that occurred between science, philosophy, and "The Church" ? IE: The aspect of *balance* with regard to *extremism*.

But those are only a few of the symbols and metaphors that extend from the chalice archetype - and most naturally so, IMO, particularly when such art is rendered in sacred geometry proportions, with elaboration in some detail and reference at the "Chalice Integration Arts & Sciences" page. Where I also have the bio for how this art developed, related notes on sacred geometry, the use of geometry as a medium of communication, history of religion relative to the "Holy Grail", as well as upon the balancing of extremes, individually and communally.

"Themanclature" Summary: The "Double Stars" (or "Chalice Stars") are strongly reminiscent of Stars of David, yet that, like this chalice, is composed of symbols identified by many cultures that long long precede any commonly recognized religion. These were one of the earliest and most basic theme "components" that compose the more complex chalice artwork. Other components are the result of many many hours over years of digital composition and rendering. Some themes are developed via many such components. So was coined the term, themanclature, that refers to the composition of a theme or themes of components, which also refers to the symbolism imparted by the component(s).

Those who engage in study and practice in consciousness, including meditation, might view some of these components as "functional", as well as conceptually meaningful: I refer here to the nature, purpose, and the means of development of the mandala. The blog, "Themanclature" goes into some detail about this - in sort of an "episto-metaph-intui-mechano-prosaic" blend of a presentation, if you will. (LOL) Well, we're artists here, are we not?

Thank you,
Christopher Pringer

At The Chalice Art Home Page there is much more, well organized (with a TOC, etc), and includes the below sections about what makes sacred geometry so special in our history, biological makeup, and communications [Note: You can right-click these links to open in separate tabs of your browser, if you want to keep all these links handy for context]:

* Some questions about art, geometry, and secrecy (ie: the "The Da Vinci Code"):
"Why the Geometry Thing" - Position, Orientation, Communications, & Code

* About dimensions from the sacred pi ratio with a special section on:
Archetypes & Geometry, Proportion and Function

* About "Diversity and the Gestalt - a Function of Sacred Geometry (Pi & Chaos Theory) ?"

* Related notes on this relationship between Art & Science at the
"Themanclature" blog at Fine Art America

* My other blogs

Thank you!
-Christopher




Temple Diamond Chalice, Chris Pringer '85 Tapestry created from rendering of various pieces, including over-Lain angles from the pi-rectangle - Chris Pringer
"The Original" (1986) & early "Tapestry" Rendering (2002)

'Over-Laying Angles from the Pi-Rectangle - Chris Pringer
Simply overlaying angles from a "Golden Rectangle"


Chakra[8] DNA Multi APiChalice Ovr PrayerBack 8'10-1, sig'd,  Chris Pringer, 2010, with '8th Chakra' rendering for the chakra vortex, which is from *The Chakras* by C.W. Leadbeater, Quest Books, Theosophical Publishing House, Wheaton Ill. 1972 edition.





Upload Notes

September 26th, 2013

Upload Notes

The description for the newest gallery, "Light Play":
Are they layers of light or layers of solidity? Bright light or blurred color? What amount of contrast creates the right effect in the right place for a given piece of art? Here are a few pieces you may compare with the close preview, that which like to believe provides a suitable measure for the printed product. In digital art (as you may know), Light Glare can be artificially created by 3D effect (and often is in my work via my software), and the amount can vary greatly from one image to another, or among different parts of an image. I actually use about 7 variables related to light effects alone. Because sometimes I want a more metallic look to an element in a piece of art, sometimes more translucent or transparent, sometimes more glass-like; sometimes very shiny, sometimes dull, sometimes softness contrasting with hardness, and so on. My work involves different layers of more and less visible elements -- which is as much about contrast in light as it is about contrast in color. (Gallery added September 2013)

Various Dates In between the above and the below :-) : Thank you for visiting my other blogs

8/14/12: Changed Names of the Six pieces I have here, adopting a "new convention", so to speak, per considerations noted below. I may still need to add roman numerals or something to future uploaded pieces that have essentially same file names, but subtle differences in rendering or layering, and don't inspire a more right-brained description... Such as the one I woke up with for the 7th piece "PreDawn Chalice Still All One", which was uploaded this am. That was accompanied with a full blown essay (now blog at Fine Art America) on 'Themanclature' (yup, that's a new word, at least as far as I know :-) ... Ah well... more on that later perhaps. [That is now the title of it's own blog here, Aug 17th]

8/11/12:
Beginning to update my work with higher resolution pieces. Am also working with my own watermarking, definitely necessary for my own website, but making them more subtle now. The question is whether or when they are "too much" for potential buyers here. Still working on those titles - I find it difficult to believe FAA doesn't allow numbers in the titles though - fairly essential in how I store & track them on my hard drive - and denotes for me the finer differences between various pieces, telling me how I made them, helping me track the raw files, etc. Pulling one piece out of a family of pieces, giving it a name that sets it apart from the others in that family, as well as from others based in different themes but carrying much of the same energy... well, there are hundreds of these... am working it out

8/3/12:
[Just noted at facebook:] I really am working on those titles... as I'm waiting for my dinner (where are those elves when you need them) I go to upload the pics, after awhile feeling like it took more time to work out the titles, keywords, and descriptions than to do the art work!!! Of course it wasn't (by a few hundred hours when counting all the work to put together the pieces that composed the pieces that...) but I guess the excitement of approaching some sort of finish line - well, only a few hundred or more to go (ahhhhhhhhhhgggg!! heheheh).

7/30/12:
Just beginning here... figuring it all out. This will be my first online gallery presentation with capacity for selling my art. There is some of my work at my facebook. Will get that connected eventually. Much at my website, via Chalicebridge.com, including some recently assembled slideshows. thank you for your patience!

[At facebook awhile back:]
What I had put a year or more ago at the facebook "Chalice Bridging" album was about the composition of the pieces, more or less recycled but redeveloped, built upon, continuously... When doing work based on sacred geometry, I've found a certain organization of templates and consistency of application is part of keeping all proportional. No use re-creating the wheel, and yet, for every piece, there can be a little or a lot of that for any reapplied "component".

Continued in the "Technically Expanded Bio", added 10/16/12 (or 10/17/12, New York Time [smile]).

(The web link below currently goes to the Chalice-Art page at ChaliceBridge.Com)