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      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..."

        "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

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
'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
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!

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