Obscura.

I've always loved black and white versions over color ones.  Color is great, too, of course.  But somehow there is more depth with a black and white photograph.  The geometry, balance, shadows, light, texture all come out better.  And if you have a living subject, then multiply all that times a hundred.  Everyone looks better in black and white.

I used to paint a lot.  My tendency was usually to paint tonally.  Just one or two colors, and spectrum.  I guess some aesthetics just stick with you.

There is something very clear about ambiguity.  I know that sounds a little bit paradoxical.  As much as I enjoy proofing through to an iron-clad conclusion, I love ambiguity.  Perhaps that is due to my curious nature.  I like to wonder... to seek further, to imagine alternate scenarios, to believe that there is more than what is immediately apparent.  In some cases, I feel like meaning can't and shouldn't be conveyed directly, and if one tries, the ultimate meaning, the gravity of it, is spoiled.  With ambiguity, we're left to understand the unspoken.  There are questions.  And somehow we understand that better.

And there's, I think, a prismatic hyper-awareness that I'm always after.  And this idea of ambiguity being of some sort of alter clarity: it seems to goes against the search for hyper-awareness.  But at the same time, there's something beautiful about pondering the internal obscure.  And isn't that, then, part of the experience, and hence the awareness?

Here we go, Day 73: https://ia600704.us.archive.org/9/items/Improv102611/10_26_113_14Pm.mp3