In September 1990 Oregon pilots reported the appearing of giant Shri Yantra in the desert. After various theories the creator revealed himself - Bill Witherspoon- US-artist, and later founder of innovative Sky Factory. After six years of self-discovered Grand Love-letters to Being Bill shared what he found in "Art as technology". Created back in 199five - five number doesn't work - today this chronicle a series of experiences and observations becames possibly even more fresh-looking and actual. I see there the way and method of how we can make something nice and big together - not just for each of us who participate - for all the Existence, whatever anybody means by it! With great appreciation to Bill and people who helped him in described experiences we publishing here the chronicle. Believing that its reading will be same exiting that it was for us, we will not share it on any social pages and on any other of numerous fund's websites - continuing the good eternal-alike tradition of organic transfer of knowledge, which contains defined amount of luck.
Art as technology
Daughter of mountain
Lover of lonely places
To Her who is ancient and
To Her who sounds in my
The voice of the sky
I bow down
II 1989: Oregon Desert and the first Desert Design (Fig. 1-2)
III 1990: Oregon Desert Sri Yantra (Fig. 3-6)
IV 1990: Hidden Design (Fig. 7-8)
From these events, I realized that it was possible to make paintings that need not be seen in order to produce an influence, paintings whose purpose is simply to Be.
V I991: Southeast Oregon Desert Design (Fig. 9-18)
In the desert design projects, many potential problems were solved by unexpected solutions, long before they ever became difficulties. Furthermore, solutions came without any asking on our part. In short, those of us who were involved in the planning and construction of the desert design felt a strong and continuous wave of support from Nature, a tremendous sense of freedom and joy underlying every stage of the project. One such example came out of our interaction with the local ranchers.
VI Media Criticism and Response
To respond to the media and environmentalists I gave a series of public lectures in Portland to air the issues and allow critics to interact with me directly rather than let the media act as filter for my ideas and communications.
Response of the public to these lectures and discussion was positive and the dialog established between the public, press and myself became an added incentive and encouragement to carry out a fourth design.
VII 1992 Desert Design (Fig. 19-24) - 1111 pine poles
VIII - Little Leaf
IX 1993: Yantras and Diatoms (Fig. 25-28)
*2 The word 'abundance,' as used here, is intended to encompass a fundamental law or intelligence of nature.
X - Eagle Mounds (Fig. 29)
* 3 At the beginning of the last three desert projects, at the Iowa Forest Preserve project and at the farm’s home place the geometry was oriented by using an ancient Vedic technique for establishing true (i.e. celestial rather than magnetic) cardinal directions. This procedure was traditionally used whenever a temple or other significant structure was built. For this a pole, approximately fifteen feet high, is placed vertically in the ground near the anticipated center of the architectural or design site. Next a circle of approximately the same radius as the pole’s height is inscribed on the ground with the pole at its center. Then the position of the tip of the pole’s shadow as cast by the rising sun is marked when it just touches the circle. Again in the afternoon, as the sun is setting, a new spot is marked where the tip of the pole’s shadow re-touches the circle. Connecting these two points generates a perfect east-west line. From this line a north-south line can be constructed using simple geometric procedures. This system works at any latitude and at any time of year. On every occasion where this technique has been used the procedure has concluded with some unusual or unexpected natural event, usually involving birds.
XI -1994 Iowa Capitol Design
* 4 The Iowa Capitol project has not been completed due to lack of funds but much of what was learned is being applied to similar projects in California and India.
XII 1994 Forest Preserve Planting (Fig. 30)
XIII - Iowa Farm Project (Fig. 31-39)
XIV - Nebraska Park project (Fig. 40)
XV - 1995 Iowa Farm Project
XVI - 1995: Oceanside, California (Fig. 41-44)
XVII - Conclusion
Republished for non-commercial purposed only, with approval of Bill Witherspoon from 23.08.16.
Adding new add-ons to ETESSS - Everlasting Trade & Exchange Solely Solar Show - to restore the balance, guiding by The Gigantic Turnip
World of art vol.2