“Prediction is the most characteristic and pervasive element in animal behavior and in human speech and thought: it is the dynamo of the feedback cycle. We make predictions literally all the time, and survive only by their accuracy. Our slightest automatic movement - reaching for a piece of food, glancing up to see what made the unexpected noise - is possible only because we can make that continual alternation of tiny predictions and corrections to converge on the target. Speech, conscious thought, our experience of making choices, all reflect the process by which the brain uses the past to predict what may be coming.” (The Search for Solutions, Horace Freeland Judson)
In stating this, Judson speaks on behalf of science while honoring predictive theory and soft edges around dreams, past ways of knowing that were right for their age, and esoteric practices that may not pass the scientific lens, but nonetheless hold great consequence for believers.
Judson goes on to observe, “Strong predictions force the growth of theories. They turn hypothesis into research programs.” In that space, we can hold great faith for the endeavors of scientists and artists. Scientists seek the concrete, the knowable, the feedback that assures our logical mind, cures diseases, frees our energy. They test their theories with microscopes and formulas and the eyes of the scientific community. Artists seek the edges of the unknown, aspects of the human psyche, the cusp of organic social movements, the aesthetics that will come to define the next era before anyone knows it has begun. We test theories on our audiences, shaping a mirror and a coded message that will emerge in relation to its resonance and resources.
TTSTW: This is our research program. What started as an architecture and a possibility of becoming, over the last several years formed a book, a structure, a soundtrack, a series of works-in-progress performances, and a test of elasticity to navigate change.
In 2015, over Skype from Wisconsin to Pennsylvania, I met with artist Dan Cole who introduced the work of his band Rexedog, and we began to shape “Things That Survived The Winter’s” methods and structures. At that point, my working title was the esoteric “Bi-Con-Port” [an idea about divergence and carriage that became an underlayer and a still-intended duo work]. Dan is an incredibly versatile artist, flowing between painting, printmaking, sculpture, video, and music. I admire his ability to jump in, throw ideas around, and continually be a positive presence. The music developed for the soundtrack forms TTSTW’s backbone, Rexedog’s take on a 21-part structure of core concepts from “Spring Freeze”, my artist-memoir (2013).
I leave you with the first chapter of the book (poem) about truth and solidarity in the etheric.