The first painting I ever did, I think, way back in 1968. A friend of my then-girlfriend (later wife) gave me an art lesson, and I had a bit of beginner’s luck.
Painted this for my brother Paul, many years ago. Sort of like Hemingway saying he wrote as well as he could, and sometimes better than he could.
Painted this one after my mother died in 2004, and titled it “Mom.” As so often, the color is not well represented here.
My friend Michael Langevin suggests that I post a few pix of things I have painted over the years. I hope it doesn’t result in my being accused of cyber-terrorism! 🙂
Usually I begin without more than the vaguest of ideas of what I’m going to do. Sometimes — often — I will put down one color in a few places, then wait for a feeling to well up within me as to what to do next. If my listening is good, or if I’m lucky, or whatever the variable is, sometimes I wind up with something that I find very satisfying. I don’t usually try to represent objects; I’m painting something else. Moods, as much as anything.
Here’s one.
A little blurred, though, and I gave away the original, but it was one of my favorites. Somehow it achieved depth, motion, and balance. If I ever had a title for it, I have since forgotten it.
Here’s another, this one given away to my friend (and Hampton Roads author) Maryanne Clare. I called this one “Stepping Stones,” for reasons that would be easier to understand if the photo were better Framed this one, which i rarely do.
And a third, also (like free kittens) gone to a good home, in this case to Charles Sides’ wife Jenny Horner. I had titled this one “Hallway. ”
I’m glad Michael suggested this. This is fun!
I finally got my Amazon author page current — i think!
https://www.amazon.com/Frank-DeMarco/e/B001K8GSNE/ref=sr_ntt_srch_lnk_1?qid=1477684852&sr=1-1
The title of his talk (delivered in 2007 to a Seth conference) was “An integral approach to channeling and aspect psychology.” If you go to this URL you can hear the entire hour-long talk in four pieces.
http://www.paulhelfrich.com/presentations/an-integral-approach-to-channeling/
In reply to a comment by Jim Austin in response to “John Dorsey Wolf — a Greater Context,” Inge Lise Karlsen chimed in from Norway to quote an old book that perhaps deserves our attention. [I checked: The book is in print.]
Inge Lise says:
….here the other day looking into the old book written by Franklin Merrell-Wolff….on the backcover is it written:
On August 7, 1936 Franklin Merrell-Wolff awakened ( with big letters ). And below is it told:
” For a hundred and one days, this process of Awakening continued. At its culmination, Merrell-Wolff had developed the ability to enter a state of infinitely expanded consciousness. Here, in PATHWAYS THROUGH SPACE, this sensitive scientist-thinker ( as many others of the time did, etc. ) gives you a coherent practical guide to reaching the spaces of higher consciousness.”
But what caught my eye, in chapter XL, page 99 in the old book:
” I recognize, in ever increasing numbers, signs of the Supreme Light.
“While there are few for whom the Sun has risen in Its full Glory, the number who have known the Twilight before the Sun appears above the horizon, or have perhaps just glimpsed the Sun as Its rays barely surmount the barrier, is much greater than I had thought.
“There is also another and more mysterious class of which members were born with the Sun above the horizon, but the Rays were obscured by a cloud-filled sky. For these, the Sun first rose in other lives, but for one reason or another They have taken incarnation under obscuration.
“The clouds may or may not break for Them during the current lifetime.
“It depends primarily upon the original purpose.
“It is sometimes necessary to drive through from below in order to force new Doors and, in such cases, the Pioneer is very apt to be one who first broke through in some other life. Sometimes the obscuration may serve the purpose of rest for The Inner Life, if the Final Rest is refused, is considerably more intense than life within the egoistic consciousness.
“Emerson is one of the known examples of such obscuration.
“The trace of the Ancient and Eternal Wisdom is to be found strongly marked in several of Emerson`s works, and the obscuration easily accounts for the atypical in this case.”
A remark:
This chapter is headlined: ” Communion in the company of the Realized,” and beginning with the praise of Spinoza, Kant, Hegel, Plato, among others, Merrell-Wolff declares: ” How greatly do They reveal to Me how much I (underlined) Know!
And the very same have I FELT by Frank`s website together with all of you folks. I have thought Merrell-Wolff sounding as a POET in the way he is describing everything. Back then the written language was far more ” colorful ” in its expression.
AND these things were written when the Nazi-Movement rising to its heights in Europe, and only 14 years back in time with the ending of WWII …. ? Franklin Merrell-Wolff also “discussing” the illusion of time but in a very “old-fashioned” manner. The language is how the youngsters of today being able in doing it (in the way of thinking back then, of the understanding living back then….. as for us not experiencing the same).
Friday, June 3, 2016
F: 5:10 a.m. Well, Rita, let’s go back to work. Souls and Greater Souls and Greater Soul Communities, if I’m not mistaken.
R: As I pointed out the other day [in a brief paragraph not transcribed] these are concepts, they are a way of seeing things, [they are] not absolute and not intended to be absolute. They are intended to help you clarify your ideas, to clarify your relationships in your minds.
F: Don’t turn your words into scripture, in other words.
R: Well, don’t turn them into scripture, or any other form of dogma. Use them as signposts, or stepping-stones. That is what ideas are, really. Given that any combination may be seen from innumerable viewpoints, which will change their relative relationships, nothing may ever been seen as absolute.
So with that limitation held firmly in mind, let us examine the difference between a Soul and a Greater Soul as I am defining them. Other people’s road maps may differ, or may overlap, or may sometimes agree, sometimes overlap and sometimes disagree. In comparing descriptions, bear in mind that what you see depends upon where you stand when you are looking at it, and sometimes apparent contradictions are only apparent, and not actual, and in any case are not absolute.
F: I can see that this prolog may strike some as defensive, though I don’t experience it that way.
R: No, not defensive, but it is well to keep in mind as we go that the map is not the territory. Description is always relative.
F: Understood.
Wednesday, May 11, 2016
[On Tuesday my brother Paul and I went to Richmond to visit the Virginia Museum of
Fine Arts and to see the movie “Papa: Hemingway in Cuba,” which was playing there although not here in Charlottesville.]
F: 8:30 a.m. So, Papa, we saw “Papa.” Not a first-run movie for you, I imagine.
EH: No, but a first-run movie for us, as for everyone who sees it with me.
F: I hadn’t factored that in. Pray proceed.
EH: No need for me to do it. You were told long ago, and can get Rita or someone else to discuss the concept with. That kind of thing still isn’t my preferred mode of interaction.
F: Theory, you mean.
EH: Generalization about abstractions, let’s say. I generalized all the time, and not always about things I knew well enough to generalize about. I dealt with abstractions too, although I was wary of them. But the two together were a little far from the heart of where I lived.
F: You preferred a mixture of concrete and distinct, or intuitive and sensory.
EH: Even that is more abstraction and generalization than I prefer to entertain.
F: So let’s talk about the movie itself. I was fully prepared to be seething but fortunately that isn’t how I reacted. I liked it. I thought it was done with good heart and good intent and sure knowledge. I imagine your friend Denne [Peticlerc] is pleased?
[pause]
So what is the pause about? Is it that I am hesitating, wondering if I am about to lead myself astray making something up?
EH: Maybe it’s just the situation. You have other things to do, and it keeps you from having your mind totally on this form of communication. There will be other times.
F: Okay. Anything you would like to say?
EH: Just note the various manifestations of psychometry you are hearing about or practicing, and think about the subject in writing.
F: The actor and the typewriter.
EH: It isn’t something you made up, clearly.
F: True enough. I’ll find the paragraph in the news story and add it to this entry when I type it in.
EH: A movie can be a very powerful if diffuse means of something very like psychometry.
F: I remember the thing I was told about everyone who reads a book is directly connected to the author and to everyone else who reads it.
EH: That’s right, only don’t think of any them – least of all the author – as statues, unchanging and fixed in a moment of time. They are not being photographed by you, they are interrelating with you. Now go have breakfast and start your day.
F: Later, then. Thanks, Papa.
[from http://www.biography.com/news/papa-hemingway-in-cuba-movie-review]
Filming on-location had a profound effect on Sparks’s performance. “I remember Adrian standing in exactly the spot in the bedroom that Hemingway used to stand while he was writing,” the director says, adding that the museum let Sparks use Hemingway’s typewriter. “He came to me later and said: ‘That is when I stopped acting and starting channeling Hemingway.’”