Arts Abstract of douglas m. laurent 308 299 0910 (See also Goodreads for poetry)

Zero Maximini above is about as pared down as you can get, culminating in simple geometric forms. There isn't even a board for this study.. Why sez you to I? 'Cuz a board would set boundaries. Part of this puzzle can be played on the kitchen table while the other half can be in the study. I don't agree fully with Hamlet's statement, that, speaking of himself, 

    I could be bounded in a nutshell, and count myself a king of infinite space, were it not that I have bad dreams.  (Act ii sc. ii).

       Yako/okay, bad dreams aside, according to Oriental thought, less is better than more, so, Hamlet got it half right. Minimalism of any art forces artists to dig deeper into their media, whereas if they had bulk goods, their brains would be mushed into superficial bulk podge-hodge. In some martial systems, there are hundreds of forms. In wing-chun kung fu there's only three forms and this art has lasted hundreds of years because fewer makes one rabid enough to dig deep. Shōtōkan master Funakoshi wrote that, today’s students, even though they have tons of info available to them, are nonetheless “broad and shallow,” whilst in the old times “The ancient masters remained narrow but deep.” 

     By using Spartan ergonomic efficiency, there is no extraneous waste of mindmotion whatsoever. The minimalist material conveys the maximum amount of meaning across time, fostering introspection and monkish mulling meditation and contemplation (e.g., 'to be bent is to be straight.' - go urefig). For this reason, the seemingly meager, stripped down to the wire data as seen in Zero maximini above, As simple-minded as it appears, according to yin yang theory, is actually a powerhouse of compact streamlined data that can deliver front-end loads of boulder-size knowledge, understanding and wisdom if you know how to ponder and reflect upon such things. When you ruminate upon such electro-sizzling elucidations, you will find you will have much room to maneuver your illuminated mind. 

     This frugality is a technique used a lot in the East. The sparse Zen rock gardens of Japan, wing-chun k-fu’s three foundational fist forms, even Zhu Daothe all-encompassing flawless, Lord's Prayer,  all testify that from within these tiny highly concentrated pinpoints of illumination the potential for mighty quasar bursts of understanding will occur, so learn to muse upon them well. Less covers develops and forces a wider mindrange of wit, ingenuity, scrutiny, inquiry and consequently a depth of knowledge. Bulk generic learning produces a bunch of *stultified eggheads that cannot think out of their respective boxes because they don't know they are in a box to begin with...

     *Stultify: 'To be made stupid, systematically, through a learning process.'

May 24, 2023

11.34 am mst

Re: Arts Abstract of douglas m. laurent.  


    O. /// "Submitted for your approval" the following energy pack divides into nine sections: 1) Introduction, 2) Zen Zenetic Puzzles, 3) Dryscapes and Sculptures, 4) Computer Abstracts, 5) Mobiles, 6) Dryscapes Revisited, 7) Garden Snapshots, 8) Last Stop: Knotta City and 9) Miscellaneous. /\\add photography and Things Phantastical


     I. Introduction

     At the request of friends and family, this portfolio was composed for presentation purposes. I will explain my art a bit. I am a martial arts coach with decades of experience. Consequently, I have studied many oriental concepts, philosophies and cultural art forms. In particular, I am attracted to the streamlined concepts found in the intuitional, as opposed to rational thought patterns as accorded in Zen Buddhism. My instructors pointed out that Zen is not a philosophy or a religion per se, but rather a state of being and so it is with my art forms. E.g., when one puts on the car brakes, one does not think, "Gee, I think I'll brake now." No, one just 'does,' the essence of Zen art. Thus, these forms represent direct transmission of the visual in the mind to the media as close as possible. Every art piece has a story behind them naturally as well. 

     The representational art forms cited below grew out of my adventures in Japanese bonsai but being in Arizona at the time the heat killed the trees so I “borrowed” bonsai concepts and applied them to the previously mentioned forms. One art form that also attracted me is that of the Japanese Zen garden, like the famous one at Ryo-anji Temple, Kyoto Japan (var. spellings, see 1 A-1C up and left).      

     In this meditational garden, the thin gravel and 15 rocks are the “fewer” accoutrements that actually represent “more” power for deeper aesthetics and contemplation. Subsequently, efficiency and maximinimalism is the hallmark of these presented arts. And to create diversity for a wider vision for these pieces, the following forms are all are based on sparse leaness, bleakness, plainness, austere absence—where starkness ultimately abides—to account for the ravings mad of a certain fevered midnight ink swirling dervishing writiac.

      The key it seems to the survival rate of an art, any art, strangely enough, is to be found in the minutiae of the specific number of set rocks found in in the particularly acute Japanese rock gardens. This is observed by David A. Slawson, master gardener of things Japanese as we shall see. 

      In their efficient, bare, tight-knit rigorous ascetic fashion, Japanese Zen gardens are quite intangibly abstract and highly representational when it comes to assigning names and meanings to large, meditational-inspiring rocks as they are placed in broken-rhythm aesthetically and powerfully about.

    Just as America has Mt. Rushmore that endows patriotic meaning and Arizona's Monument Valley noted for its lonely unadorned sandblasted stone sentinels, and El Capitán of Yosemite revered for its sheer granite wall, so in Japan, China and India, large rocks that fit certain descriptions were sought after for placement in magnificent gardens. They were assigned specific ceremonial, spiritual and mythical names such as the “Master rock” and “Never Aging rock.” In ancient India, there were thousands of named rocks, the naming of which, it was thought, represented the labeling of all the spirits that inhabited the cosmos. By the time the idea of rock gardening hit China and Japan however, the number of these named rocks was vastly reduced. A quote by Sensei Slawson may help here: 


     When we read in the Illustrations that ‘in India at the lake called Mānasarovara . . . rocks numbering 8,631 were set, with each of the Eight Great Dragon Kings in charge of more than 1,000 rocks,’ we sense the desire to represent exhaustively, in a one-to-one correspondence, all the multitudinous entities that make up the macrocosm. The number of named rocks is reduced to 361 in China, and finally to 48 in Japan. There are at least two plausible reasons for this. First, 48 was no doubt a manageable number for a working vocabulary of named rocks, as the Japanese syllabary contained, at least by one count, 48 phonetic characters. Second, and more important, the reduction represents a move away from the encyclopedic listing of entities in the macrocosm toward a more aesthetic presentation of a world in microcosm, where fewer forms are potently used to re-create selected experiential qualities or tones of feeling (p. 133).


  – Slawson, David A.  Secret Teachings in the Art of Japanese Gardens. Kodansha International, Ltd. Tokyo, New York. 1991.

   Take note: [There are books that are books and then there are books that are katas. There are katas that are katas, and then there are katas that are masterpieces. There are masterpieces that are masterpieces and then there are masterpieces that that touch the very vault of heaven. This book is one of them...]]


Part Two Part II

And now a Topic of International Concern:

   IV.  Upward Mobilities  

     Mobiles are extremely powerful, packed with many meanings. The mobiles you see are extremely rare–there are only three of them in the world.

VI. Computer Abstracts for the Thinkulator.

(Gk. akrostikhis, “highest, topmost verse”) Parable: “The kingdoms of flowers are become the kingdoms of our Lord . . . From Chrysanthemums to Yellow-Archangels, to Goatsbeards to Painted Tongues to Snapdragons to Solomon’s Seals to Lamb’s Ears to Scarlet Salvias . . . The kingdoms of meadows are become the kingdoms of our Lord (cf. Rev. 11.15 kjv; Flowerevelation Zenzizenzizenic 88 – “the eighth power of a number”)

climb up the Acrostic below:

Ye Olde Floral of the Story Many brilliant minds would agree with Confucian Scholar Mencius when he says, “There is nothing as clear as that which is dimly seen.” And so 'it'tis'. Often, the obvious things are the ones most hidden,' 'things which nobody by any chance ever observes.' As the Lotus blooms out from the mud, see the glimmering, sparkling, overflowing florescenting hidden secrets that, by the Divine Hand, are abundantly made manifest in the ordinary. Enlightenment occurs when one suddenly 'epiphanizes' and 'learns' to 'perceive that which cannot be seen by the eye,' seeing the unseen - a universe in a single flower (below) - this lucid moment of awareness is an imperative for bonum vitae, the 'vital life.' Thus, it is written:

It is the glory of God to conceal a thing: but the honour of kings is to search out a matter (Proverbs 25.2 kjv).

Casseopeia Constellation Star Chart

The 'X Marks the Spot' painting below is actually more of a conceptual tongue-challenged twister poem, 'cuz, there are at least six ways or more to pronounce the letter 'X,' depending on who you read, Thus, the poem makes use of the 24th alpha-letter-beta, a lonely vigil at best, So, these are combinations of X sounds. Good luck. If you work the sound-poem, your tongue, it would think, will appreciate the letter X a bit more.  Not a whole lotta words start with X either, as seen "Once upon a dictionary dreary whilst I wasted my time being totally silly. Over many a quaint and curious volume of forgotten lore -- Then psycho Lady Macbeth tap-tap-tapped on my door, "The raven himself is hoarse that croaks the fatal entrance of Duncan Under my battlements. He shan't come. His Viking doctor prescribed a regime of a lot of pillaging to get better; if he was to once again sing as if the Fat Lady wasn't there." Then, Three Stooge brain trust Moe Howard joined in and said to me, "No wonder you're bored. Tell Croakly to 'say a few syllables. Utter a few adjectives,' and he won't waste his time coming around here window peeping." And that was that, and nothing more...

 ----- Way Cool side note: In the film, Violent is the Word for Curly (1938) The Stooges perform a brilliant composition called Swinging the Alphabet. It is American music literature at its best. Don't miss it, learn to sing it and, as always, pass the culture down...good for the kids.



Time now for station Identification brought to you by the Families and Friends of Heavenly Florescent Floral Flower Acrostic Ar

climb the acrostic below

Can you solve the ‘Like a Square Peg in a Round Hole’ Mystery?

The following puzzle is a metaphor, good for the kids to think about. SPRH is a popular saying, it means an 'awkward or tough predicament'; a puzzle to figure out. Okay, 'unlike a scalene triangle untrying to unfit “z” square hole out of “a” peg round, try to unsolve the puzzpoozling well-known puz-zappit Mysterion of the Riddlennium–the human mind “Like a Square Peg in a Round Hole” Idiom-Riddle.


From Valley of the Damned epic novel-poem 

Mauve Yellow Tiles

Hard packed road snow at night

"Negative Space ... the Final Frontier..." Something is amiss

And you thought Dorothy had problems...

Stained Glass Impression, Psalm 25.16-18

Notice too, the Fell Field Mind Scree. Scree is small rubble at cliff bottoms and make excellent themes for gardens. Here a thought - no sprinkles of rock on sole black and white indentation 

Come with me I say to thee upon a pilgrimage  of soul and mind,
To Eden’s corner where solid shadows reflect eternities unseen Divine... --Lin Kwei Zhiing


In old China as elsewhere Fu Dogs (below) guarded the Imperial palaces and their grounds including the great gardens. Ever vigilant, their fiery watchful eyes would cast about and bar the impudent—those who would dare intrude upon the revered ground with an improper attitude and so desecrate its sacred spirit, lest they be rend to pieces. Tread lightly O' ye who enter herein this Courtyard—this Mirror of your Soul, as your Fu Canis is as yet on eternal duty.

Gardens that were, are and yet shall be . . .
Gardens of spirit, mind, body & soul come in a multitude of fractals, forms, themes, solids and shadows. They can be seen and held in full or can be elusive and graspless as the fleeting images of a mind at midnight. The images that follow whatever abstract shape they take are gardens of the heart, inner mirrory visions of the soul made apparent for all to peer into, and so into their own souls.


 II. On Zenetics and their Glyphs

     Zenetic is a compound of two words, Zen and kinetic. All this art, based on minimaximums, is meant for meditation much as the Japanese Zen gardens afford. The art forms adhere as close to the original visual vision in my mind. Kinetic refers to motion; the art forms lead your eyes to dance.

   IIb. Well, I’ll be.... I won't Glyph You

    To understand a bit of the Stained Glass Impression cited above and other compositions, we need to look at its alphaglyphs. Glyphs to Zen Kinetics (ZK) are the thing. Glyphs are basic symbols (our alphabet in this case) within an agreed upon set of icons representing writing. They are singular in that they add up to the spelling of a word or give meanings of what is written. Glyphs are picture writings and rep concepts and objects, but our ZK font, as seen in Stained Glass up yonder, takes care of such things anyway being a bit of a hybrid–glyph and written albeit fancied up alphabet.

    Now concerning Stained Glass Impression above, the ZK ‘glyphfonts’ used therein follow intuition guidelines and are based on minimaximums, where “less is more,” which anchors all the  fluid highly conceptual Alphabet font arts. Everhow, they are delicately conceptual and do not fit the regular description of ‘set in stone’ alpha-betas in the sense of trying to “write” something logically out to “pop off” a word or sentence or two. As mentioned, ZK fonts find their mooring in intuition and the flowing state of the mind, not concrete reasoning that seeks a proven conclusion.

     ZK reads from left to right on all occasions, or top to bottom always starting on the left (unless otherwise noted). Whether the letters are singular or make for a whole word, each is contained within a box. Also, as is the case, whether the words or sentences are horizontal or vertical they hinge around a central axis line, the boxes can be any length. What is the reasoning behind the size of the boxes that may not match, one being longer or shorter than the other still reading left to right or left to right top to bottom?

     The answer is Alphabeta Glyphing with Gestalt-ism, where one scans for patterns, not specifics, so the ZK fonts give “impressions” of words and thoughts, freeing the reader up from expecting concrete specifics. ZK are like water, flowing, not etched into a rock. It is a poetic form of writing yet avoids deconstructive analysis. Gestalt Psychology states that the mind looks for patterns and symbols for reasons and actions, not just straight thinking per se. The point? Driving a car on a rainy night when you can hardly see, suddenly you see a stop sign, its “shape, its form,” and you know to stop. The pattern-icon of the octagon-shaped stop sign is the main idea, giving one the intuitional impression to stop.

     Hence, the alphabetnators must know what they are conveying, the reader receiving compact compressed impressions, not laser-guided pin-point specifications. ZK fonts may are akin to the Japanese poetic form Haiku, mega-meanings are mashed into a 5-7-5 syllabic pattern (I dost believe).

   Ergofore (dbl. 'therefore') ZK’s are set upon intuition, based on the art of jie huiyan yitai dao (“the way of the interperceptual mind set”). This means things interperceptual: “intercepting, intelligent, perceptive mental attitude”–the reader will need this to cipher the fonts out not only for messages but also for impressions and feelings. That is why they are abstract and colorful as to evoke many angular attitudes, tones and moods.

    Not based on solids but motion, ZK is both font and art form, a kinetic in-motion fluid media–of words within words, hidden by color and geometrics, poems of shades, tints and hues, feelings, evocations, moods, contemplations, realizations, One’s eyes skip around as well as one’s mind to read the conceptual alphabet-art text. As an artistic form, true art seeks to stimulate one’s conscience thus the art labor’s one.

     Thus, the Stained Glass Impression (Psalm 25.16-18). The Psalm SGI  passage is to be read from left to right, sometimes non-linear (the box rectangles in this script art do not necessarily line up), each rectangle of differing sizes holding a particular word or two. Boxes are not uniform due to word sizes and the ‘kineticicity’ of the broken rhythm art form which is meant to dance your eyes around as they try to focus. But fluid 'real-time' perception is always in motion; it is the rational mind that ‘halts,’ trying to piece things together resulting in chuck-a-clunk-a-chunkeling ‘paralysis through analysis.’ The ‘motion’ of the composition, due to quickie perception shifts, is what makes the painting spirited and effervescent, ‘alive,’ making the composition quite springy.

      Colors are one’s own choice. The highly charged versicoloring breaking rhythm font design fires evoking eye kinetic chequering motions, giving the flat 2D projection pulsating 3D vivacities and is meant to be, in its overall composition, “complexly minimalist,” simple, yet profound, sparsity producing abundance. Eyes ruggedly skip about the fracturing hue landscapes, yet are smoothly transfixed upon them. The rational fixates upon set colourations. The intuition kaleidoscopes on unimpeded, jagged disordered luminosities seeking composed prismatic order. Sharp-edged psychedelics askew, acute, yet geochromatically square, spectruming solidities stir non-existent aftercoloring after image shadows. The jumbling florescenting 'pick up stick' picture of no-picture tells nothing, yet the fragmented hot-colored construct glisters cohesively, chromatically makes itself felt.


       I. Zenetic Puzzles: Puzzles of No Puzzles     

      The following “puzzles” do not fit the regular description of a puzzle in the sense of trying to work something logically out to finish a picture of some sort. They are based on intuition and the flowing mind, not concrete reasoning that seeks a proven conclusion. Rather these “puzzles of no puzzles” have no rules, no regulations and no outlines to follow. There is not a set “standard” that must be adhered to, maintained or concluded upon to produce “the puzzle.” There is no “right or wrong” in them as in turning out a “correct image” or “effect.” 

        More so, they exist in and consist of solely of “doing” the creative act, when intuition occurs as when the master of calligraphy dashes off a drawing, or the poet splendors a line or a swordmaster makes a committed cut. This is the swift, svelte intuitional “doing” aspect of Zen as opposed to the always-divisive bulk clog-prone rational thinking mode.

        Like the unmoving, unflinching Zen rock gardens of Japan, the highly abstract Zenetic puzzles derived from the Zen gardens are both minimalist and stark in scope. However, unlike the Zen “static” gardens one might walk around to get a different perspective and so illumination in the puzzles where stark micro meets and represents bountiful macro, the “puzzle garden” is in a constant state of living, intuitive fluency much like swordplay and calligraphy. “Going with the flow” is the kinetic “Zenetic” essence of these puzzles. Hence this is the marvel of the “puzzle of no puzzle”—a “puzzle’s puzzle,” without frame nor reference. They are usually worked out on a lazy Susan to turn them about offering those different angles of approach.

There are two theories about play, the more complex the mind, the greater necessity for the 'simpler' the play. Masters in many fields acknowledge that “The height of complexity runs into simplicity,” so says Sifu Bruce Lee. So, these pleasurable entanglements, “toys” like a kid set of blocks, are to be enjoyed. 

         They evoke the imagination, moods, ideas and so forth, the colors delighting the eyes and the woodiness giving a tactile workout as well. However sparse, the Zenboards and their pieces are made to move about as one’s contemplations and moods shift about, from fun to deep and broody things. They are solely a reflective mirror of the player’s mind and soul at the time of “adhering playing meditation,” continually in flux, advancing and receding, expanding and contracting and so on.

         Intuition is the backbone of all art, from great theatrical performances to Indiana 500 racing. The intuitional flow state of doing is what makes these puzzles “work,” so they are a definite departure from the classical notion of a “put it together” assembly store bought puzzle as there are no directions or limitations, except that which the player makes up on his or her own in light of their feelings and moods. Thus, Zenetic puzzles can be fluent or choppy, languid or pressed, depending on one’s mind-frame.


B: Zenetic Puzzles Proper  

- Purple Perplexus. About 5 x 7 inches (1C-6C)  Above left.

 - Yellow Colored Pencil Set 8 x 3 inches (1D-6D). Looks like my Iguanodon is curious.

 - Orange Squeeze 9 x 3 (1E-6E).          

- Purple Hard Way 9 x9. The sides of each cube are a different color purple (1F-6-F). It should be noted many of these pieces have over 20 coats of paint.        

- Zero Maximinimalism. Simple–just squares and spheres, several pieces (1g-6G).

-  Autumn Board 8 x 6 captures fleeting glimpsing colors your mind might stir after seeing them on a fall day (1H-9H)

- The Blue Askew 8 x 3 creates odd patterns (1I-6I).

 - Study in Blacks and Whites (1J-3J).

 - Zen Longboard 30 inches (1K-4K).

 - Neon Hot Board (1L-9L).


III. Dryscapes and Sculptures  (M Series)     

- Sculptures Depression (foreground), Reaches Teal and Purple Tower of Passion. The Rex likes them (1M-5M). The little yellow square in Depression represents Hope. 

 - Hidden Mirror on Teal left (red arrow). (1N-5n).      

- Purple Tower of Passion (1 O-6 O).


End Part One End Part I

Part Two Part II.

Dryscapes and Sculptures Con't.                      

- Seven Hopes in Hell (One is burnt out). Has a self-incriminating mirror to look into (as several do) 1P-3P.

- Solitaires.  This series shows how looks can deceive. The far-right Microcrags is only five inches long (1Q-9Q).

- Entrance to Hades 6 in. 1R-3R.

 - Dallas Blues ’n Silvers  S1-S4

- Green Surge 6 in. T1-T3

 - Boulder Field (1U-2U) and The Little Blue Electric Dynamo [that could] (1V-2V).

 Boulder has one green rock in it to balance it. 

-ad infinitum...(make your own)

There are many more... 


Coming up:  4) Mobiles 5) Computer Abstracts) Garden Snapshots 7) Last Stop: Knotta City and 9) Miscellaneous. /\\Computer Abstracts and Photos



 ///////////// /END PART ONE ART COUNCIL LETTERTWO (ACLT) /////////

PART TWO Council Letter Two STARTS PAGE 16

     IV.  Upward Mobilities  

     Mobiles are extremely powerful, packed with many meanings. The mobiles you see are extremely rare–there are only three of them in the world.


   VI. Computer Abstracts for the Thinkulator.

The 'mind-paintings' are doing in intuitional fluidity, attempting to capture the very first essence of the mental draw as it forms in the mind. These are not numbered, just assigned names.

1. Nimbus (5 bible pasages)

2. Blue Diagonal Energies

3. Yellow and Purple Peg Sets. Shws evolution of basic form. If one looks at 'Yellow' long enough, it moves.

4. Jewel Tone of Creation exemplifies 'the Beginning.'

5. Unction

6. Kell's Yin-Yang Universe

7. I Am What We Are asks you a question (first one).

8. Beethoven's 5th Cosmophony

9. Mental Health Brick Wall. Triangles within triangles and all colors differing keeps the eye busy.

9. Lady on the Edge; a unique sword like no other.

10. 'Knotta City' is not a city.

11. Things Phantastical.  On Things Phantastical ...This small grouping of pictures and drawings, their source, well, perhaps their secrets best remain a secret. Dr. Van Helsing (Dracula, 1931) says it all to a young Jonathan Harker:  "Mr. Harker, I have devoted my lifetime to the study of many strange things ... little known facts which the world is probably better off for not knowing."  Good Advice.


    Tastics of the Fan

    The Red Bowman (above). Who is he?

    Elysian Dreams (below) 'yinside' better half holds back a lot of my inner 'yangster' mentalities from erupting out worldly. Strange...our souls know things that we are not even aware of...

    In the Shadow of the Fleeting Pan

    A fleeting close up of Pan as he passed by me in the night. He was distraught as he had taken no notes as to the whereabouts of his musical pipes. But I assured him that Kmart was having a midnight blue light special on musical instruments, so he hurried on his way. Better than losing oneself into the depths of one's own pandemonium if he had c'harmed me like a committed wannabe snake addicted to the means and sways of intoxicating mesmerizations, lest we forget...///


    The Dark Man 

    The Night Chiller. Even things that go 'bump in the Night' have issues about this entity.

    Eyes look at you from the cave of Ursa Major Q. Wonder what she wants...

    Don't even ask

    When Godzilla Destroyed Tokyo, he was 'amoking,' seein' that he went berserk due to gastronomically gougy prices of the local Buckstar coffee shops

    Shift your eyes for The Night Whisperer. The             'Other' is there.

    The motley assortment of colored wood below is 'the color  game.' The object is to move the black and white spheres with as little movement as possible with chopsticks to the other side of board. partner does same. No contest. this can be a table game or magnetized set on a wall for looks as well.

    With all this mash-mish, be certain to Take Frankie and Annette's Advice...

    This unique jigsaw 'skillet key' puzzle (left)   is a 3d 2d work. The keys are in a box except the handles (paint sticks will do, so it is a skinny boozlebammer). The bottom parts are loose as well (if u want) as the top parts all cut differently, So, it doubles your pleasure doubles your fun (like Wrigley's Doublemint gum as the saying of yore goes). I have never seen a puzzle like this, a 3d 2d jig puzzle. Don't steal the idea. I'm tired of eating peanut butter.

    If you make an 8 x8 puzzle, that's a lotta paint sticks.

    Three Timed Rock below shows sundial-like slats from fence.

    Liberty Rock is all natural- and patriotic - red, white and blue

    And now a little something to whet your coginoodlator via agitator word-o-chop-o-matic: The Tale of the Tangerine Tongue Tango (and if u figure it out it does make sense).

    I. Tangerine Twisterine Tango

    During the T’ang Dynasty, while on a tanh in Tangiers with the twanging tang of her tangue, tangry Tangela devilered a tangram tangis to an all tangled-up tangerine on the take for a tangente—the tanglesome tangerus tangentem was that, without tangens there would be no tangibilizing tangential tangencies for the tangliest of the Tang–tippling tangelos to tangere or to tangibilify, Avoiding tangible tangly tanglements and tangle-footed tangles not on a tangent–and even the tanglier antigreen tangy tangerines whilst tangenting their tangikazes off on a tangent–were on a tangent tangibly intangible when it came to the intangibility of the tanginesses of the tangiest tang of their tangerine dream Argentine tangelrine tango. After all, it takes two to twaingo. It’s a twing–twang thing. So there.


    Prayer-Sitting Rock. In many Japanese Gardens formidable names are attached to Rocks to strut their might and splendor.

    A splay of Grass; purpled...

    Below is an ancient part of a barn, north side inundated with orange lichens. 

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