Statement & Resumé

S T A T E M E N T: "*Butterfly Primes* ... ~Prejudicial Numbers~ ... *~metamorphosis~" I have had a fascination with the visual patterns that numbers often make in various scenarios. In the process of looking at that most famous of classical Newtonian physics laws ... the panoramic "Inverse Square Law" ... in its most basic presentation, that is, in a simple multiplication table in which the simple squaring of similar sequential numbers from each axis generates the central diagonal line, the diagonal line of squares ... I became curious as to how those mysteriously alluring and uncontrollable prime numbers might fit in. Surely, their squares, too, had some untold secrets. Finding that the differences in the squares of any and all primes was always a multiple of 24 was enough to generate some sleepless nights. Digging deeper and finding that specific sets of complementary 24 multiples acted to actually shepherd the prime squares along the diagonal squares line was just short of unbelievable. Surely I was wrong. Many hours over many weeks of testing though seemed to confirm that I had found a pattern for the primes. Not only that, but the pattern, when all the accompanying 24 multiples were included, presented as that lovely of all living forms, flitting here and there ... the butterfly. The "Butterfly Primes" were born. Now, while the concept in the formation of the "Butterfly Primes*" pattern is not overly technical from a descriptive point of view, it really did not answer the question that the pattern begs ... why 24 and what does 24 have to do with the primes on a numerical level? It was while I was in the middle of the little Q-&-A dialog about prejudicial numbers, and our attitudes and expectations about them, that this very question came to press on me in a relentless fashion. What would the difference in the squares of all numbers (specifically the odds) divided by 24 tell us. What followed was "The Butterfly Prime Directive ... ~metamorphosis". The answer to the number prejudices of the prime was to see how all the numbers played out ... given the same and equal opportunity ... to express their own private specialness. Indeed, what is found was as old as the hills ... as old as the numbers themselves: Numbers don't lie. They don't cheat and they don't even call others names. People do.	Close Window
Writings based on visual art, math, music and physics 2008-"Quantum Gravity ...by the book'" ~merging quantum mechanics with general relativity 2007-"The History of the Universe - update - 'The Big Void'" ~A short, update supplement to "Dark Matter = Dark Energy (the inverse of): The Conservation of Spacetime by The Conservation of Force" and "The History of the Universe in Scalar Graphics." 2006-"The Butterfly Prime Determinant Number Array (DNA) ~conspicuous abstinence~" ~The role of the highly ordered positive space pattern of the odd non-primes in revealing the reverse, negative space pattern of the primes as a determined number array is revealed. "The Butterfly Prime Directive...~metamorphosis~". ~There is a logic behind the ordered and predictable pattern of prime numbers. 2005- "Butterfly Primes ... let the beauty seep in". ~An ordered and predictable pattern for the prime numbers emerges. -"The LUFE Matrix: E=mc² ... and then some".The focus is on energy. From Einstein's initial insight into the transformation between mass and energy, we now have a large number of similar transformations between energy and the other fundamental parameters of matter ... i.e., charge and spin ... and their activities within their space-time environments such as velocity and acceleration, frequency and temperature, momentum, pressure and force, potential difference, heat and work, etc. 2004-"The History of the Universe in Scalar Graphics": (Simultaneous Birth of Black Holes and the Inflationary Universe at the onset of the Big Bang). A mostly graphical supplement to "Dark Matter = Dark Energy (the inverse of): The Conservation of Spacetime by The Conservation of Force". -"The LUFE Matrix: Infinite Dimensions ~a room with a view ... within a room with a view ... within a room with a view~." A new, speculative journey to account for the multiple dimensions that have informed The LUFE Matrix since its introduction in 1985. FAQ-graphic format. 2003-"Dark-Dark-Light: Dark Matter = Dark Energy (the inverse of): The Conservation of Spacetime by The Conservation of Force" -"The LUFE Matrix: the distillation of SI units into more fundamentally base units of space and time dimensions" (Short Title: "The Multi-dimensional LUFE Matrix" -"The LUFE Matrix Supplement: Examples and Proofs" 2001-Part II below, from 2000, was rewritten and recast for online publication as a three part series: Part 1: "PIN: Pattern in Number ... from primes to DNA" A brief primer on visual patterns found in simple, well known number systems leading into the remarkable number magic and esthetic beauty of the DNA double helix (axial view) found in Part 2.GoDNA and continued in Part 3.SCoDNA. Part 2: "GoDNA: the Geometry of DNA (axial view) revealed" Which came first? The self replicating underlying geometry or the form itself with its dependence on enzymes, hydrogen bonding and a matching code of bases? Part 3: "SCoDNA: the Structure and Chemistry of DNA (axial view)" Extending GoDNA into the realm of structural detail and chemistry forming the composite design. 2000-"The Geometry of Music, Art and Structure…linking science, art and esthetics, Part II" self-published. The original material for this paper was presented (self-published) at the 1997 solo exhibition at the Montage Gallery, Portland, OR under the title "Patterns In Numbers: From Prime Numbers to DNA". 1998-"The Geometry of Music, Art and Structure…linking science, art and esthetics, Part I" presented at the Eighth International Conference on Engineering Computer Graphics and Descriptive Geometry in Austin, TX, sponsored and published by the International Society of Geometry and Graphics. The original material for this was presented at the 1996 solo exhibition at the Montage Gallery, Portland, OR. 1991-"The LUFE Matrix: the distillation of SI units into more fundamentally base units of space and time dimension (Short Title: The Multi-dimensional LUFE Matrix)" with supplement, paper, self-published 1987-"Fundamental Constants of Nature: Mass", paper, self-published 1987-"Fundamental Constants of Nature: Ratios", paper, self-published 1987-"Fundamental Constants of Nature: Charge", paper, self-published 1987-"Fundamental Constants of Nature: The LUFE Matrix", paper, self-published 1986-"Mass Variation in the Electron by Photon Absorption & The Inverse Square Law", paper, self-published 1986-"Expose on Music, Color and the Inverse Square Law", paper, self-published 1985-"L.U.F.E.: The Layman’s Unified Field Expose" (a visual guide), textbook-manuscript, self-published
R E S U M É Education 1970- BS General Science, Oregon State University 1972- MS Cell Biology-incomplete, OSU 1973- MT(ASCP) Medical Technology, Good Samaritan Hospital & Medical Center, Portland, OR 1973- 1978- Medical Research Specialist, Good Samaritan Hospital & Medical Center, Portland, OR Solo Exhibitions 2008- Lara Sydney Framing Gallery, Portland, OR 2007- Urban Wineworks Gallery, Portland, OR 2007- Lara Sydney Framing Gallery, Portland, OR (2-Person Show) 2005- Lara Sydney Framing Gallery, Portland, OR 2001- Lara Sydney Custom Framing Gallery, Portland, OR 1997- Montage Gallery, Portland, OR 1996- American Institute of Architects/ Portland Chapter, Portland, OR 1996- Montage Gallery, Portland, OR 1995- Montage Gallery, Portland, OR 1992- Zero Square Gallery, Portland, OR 1989- Oregon Graduate Center, Hillsboro, OR 1989- Portland Community College, Rock Creek, OR 1988- Beaverton City Hall, Beaverton, OR 1987- Mt. Hood Community College, Gresham, OR 1987- Beaverton City Hall, Beaverton, OR 1987- Beaverton Chamber of Commerce, Beaverton, OR Rhizome ArtBase 2006-"Butterfly Primes" 2004-"Your sFace or Mine?" 2003-"Naughty Physics (a.k.a. The LUFE Matrix) 2002-"HeyUfunknwithmyDNA?" 2001-"RealSurReal ... aClone, 2001" Group Exhibitions (select, nonprofit org.) 2007- 11th Int'l Conference on Information Visualization (IV07), July 3-7, Swiss Federal Institute of Technology, Zurich, Switzerland, DART gallery 2007- 4th Int'l Conference Computer Graphics, Imaging and Visualization (CGIV07), August 14-17, KMUTT, Bangkok, Thailand, DART gallery 2007- "Pacific Northwest Art Annual 2007", Cultural Forum, U. of Oregon, Eugene, OR 2007- 2006[10th] Japan Media Arts Festival, Tokyo Metropolitan Museum of Photography, Feb 24-Mar4, 2007 2007- "Allegories of the Genome", Vancouver, BC, Canada-online gallery-http://www.genomic-art.com/ 2006- 10th Int'l Conference on Information Visualization (IV06), July 4-7, University of London, London, England, DART gallery 2006- Int'l Conference Computer Graphics, Imaging and Visualization (CGIV06), July 25-28, Sydney, Australia, DART gallery 2006- "ARTIFICIAL A.GENDER? new media online exhibition:tba 2004- Eurographics 2004, Art Show "Art and Science", Grenoble, France 30 Aug - 3 September, 2004 2004- Rhizome ArtBase, http://rhizome.org, "Your sFace or Mine?", NY, NY 2004- "21 Years of Studios", Cathedral Park Place (invitational), Portland, OR 2003- Rhizome ArtBase, http://rhizome.org, "naughty physics (a.k.a. The LUFE Matrix)", NY, NY 2002- Bellevue Sculpture Exhibition 2002, City of Bellevue, WA 2002- Rhizome ArtBase, http://rhizome.org, "Hey! U funk'n with my DNA?", New York, NY 2002- Net.Art, The Irish Museum of Modern Art, http://www.irishmuseumofmodernart.com 2002- 20th Annual Visual Arts Showcase 2002, Beaverton Arts Commission, Beaverton, OR 2001- Net_Working, net.art, CHArt conference and Watershed Digital Cafe, Bristol, UK www.watershed.co.uk/Net_Working 2001- FILE_2001 (Electronic Language International Festival), net.art, Museu da Imagem e do Som, São Paulo, Brazil, August 7th-September 2nd, 2001. Online all year at: http://www.file.org.br 2001- Rhizome ArtBase, http://rhizome.org, "RealSurReal ... aClone, 2001", New York, NY 2000- PICA, "Open Walls" (unjuried), Portland, OR 1995- Maude Kerns Art Center, "5th Sculpture Biennial", Eugene, OR 1995- Maude Kerns Art Center, Women’s Art Triennial, Eugene, OR 1993- Maude Kerns Art Center, "The Silent Child, Art as Healing", Eugene, OR 1992- Kinsey Gallery, Seattle University, Seattle, WA 1991- A.I.R. Gallery, "Choice"(unjuried), New York, NY 1989- Maude Kerns Art Center, "Icons and Idols, A Celebration of Ceremony", Eugene, OR 1989- Justice Center Sidewalk Gallery, Portland, OR 1988- Newport Visual Arts Center, "Nuclear Visions", OCCA, Newport, OR 1986- Northwest Artist’s Workshop, "On the Job", Portland, OR 1985- Germanow Art Gallery, "Current Visions ‘85", JCC, Rochester, NY 1983- Northwest Artist’s Workshop, "Description/ Portrayal" (Invitational), Portland, OR 1983- Arrowmont School of Arts & Crafts, "The Figure: New Form, New Function", Gatlinburg, TN 1983- "1st Annual Sherbrooke Int’l Painting Salon", Sherbrooke, Quebec, Canada 1981- PCVA, "Public Hanging" (unjuried), Portland, OR 1978- Northwest Artist’s Workshop, "Salon de Refuses" (unjuried), Portland, OR Past solo show theme titles (Paintings and sculpture): "~breathe~ A Celebration of Women", 2008 "A Void", 2007 "Infinite Dimensions...without borders", 2005 "The E-P Series: digital-encaustic with scratchboard", 2001 "Dance Number Appendage: A Surrealistic Look At Patterns in Dance and Numbers", 1997 "Lucy:Contemporary Reflections on Paleonathropologic Findings",1996 "Line.Surface.Volume",1996 "A Search for the Multicultural Mythology of Our Times", 1991 Publication/Presentation: "The Geometry of Music, Art and Structure ... linking the esthetics of Art and Science" at the 8th ICECGDG (International Conference on Engineering Design Graphics and Descriptive Geometry, sponsored by the International Society for Geometry and Graphics, the Japan Society for Graphic Science, and the Engineering Design Graphics Division of the American Society for Engineering Education; hosted by the College of Engineering, The University of Texas at Austin).1998. Published in the Proceedings of the 8th ICECGDG, Vol. 2, pg 378, ISGG, Tokyo, Japan, 1998
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