I'm very grateful by Mirena Rhee

I wanted to write this essay because I was compelled to express the extreme emotions and the extreme events that surround making art.

And I know that in the minds of many people artists are very simple - they do some doodles, sell them to someone and then it's a complete circle.

Well what happens when you dream of projects that nobody wants?

Sometimes projects emerge as very simple thoughts and these thoughts gradually grow into visual things, now these visual things may sometimes need thousands of dollars to happen.

I'm not saying this just to throw thousands of dollars around, I'm just saying that to construct a project there's got to be someone to back it up.

That somebody could be the artist, that somebody could be a collector, or a Medici of the art, or it could be a commercial backer.

I don't do commercial art so for me that's kind of out of the question. I do not want to make art that's influenced by Instagram kind of liking, where an algorithm intelligence drives approval for relatable, replicable and easily understood projects. Especially ones that haven't happened yet.

I want to express my profound gratitude to Anita Durst, the creative director of Chashama who supported my project, gave it a platform and even jumped in and created a performance literally on the fly.

All of a sudden I made this silly white room art installation and hundreds of people all of a sudden thirsted to paint. And people had an incredible time painting, people had a ball. But they did not know it beforehand.

(For White Room Art Installation) I put the canvas up and set up the entire configuration which was pretty elaborate although you can't really figure it out at first glance. I had an elaborate setup with clothes protection and gloves and shoe covers and entering the room was basically an experience, everything from the brush cleaning cups to the painting plates everything was thought out beforehand and nothing was left to chance.

Including the fact that I had directions painted All over the room.

White Room. Paint Anything.

All the little details that I created for this project (White Room) were small knowledge that I learned on previous projects, I used to yell at people to invite them to paint but I figured out it's very unproductive and in one of my most recent street art installation I figured that I could simply print the directions and people will read them and figure out what to do. This is what happened so I implemented that small knowledge unilaterally.

Besides taking care of the making of things the mental aspect of making art is literally mind-blowing as in sometimes you want to blow your brains out. There's this anguish which I've read even Van Gogh's letters, there's always this pressure of the art bulging from below.

In my darkest moments I have to report to you that I had a friend, a single friend who simply said on the phone to me "you have so much to offer". I'm really grateful to my friend Ian who never gave up on me.

Art making is really difficult so I'm always looking for inspiration from all walks of life. I've often been a major freak about space and science fiction and so a big follower of NASA and spaceX, and its a founder.

Elon Musk recently said that he's neither optimistic nor pessimistic about his stuff, he simply feels they need to be done.

I decided to adopt that philosophy for all my future projects, paintings and ideas. These are the kind of projects, paintings and ideas that will never see the light of day if it weren't for me to champion it.

Also, I've been thinking whenever things get very difficult and I'm like, you know, I'm just going to give it up, no more installations, no more painting. I'm just going to fix my life. But then I'm thinking to myself, so just imagine if Elon Musk had given up after all the rockets exploded? I remember the time he was not a darling of any media and I remember occasionally going on Twitter to follow on some of the rocket stuff. It was really all grunt work for Elon and his spaceX all along. Grunt work where you put your nose to the floor to the ground to the plow and you just keep pushing.

Nobody owes me a thing, there's no art fairy, I absolutely don't want to make art that makes likes or clicks or anything of that kind, I want to create deep work that touches people.

Even if it touches five people, I want people to be touched and to really be glad they take part in art.

I'm not sure if I'm going to continue with my installations in Central Park - I applied for a grant with Sony and have a couple of other projects I wanted to present to them. I want to grow the work and not settle into a routine or a "thing" because I am not a shop.

I really have plans for drawings and paintings which basically I have a 50,000 years worth of plans for. I really miss working in oils, and there are a lot of things that I have in my head visually.

I really want some time to think about the installations I would like to do robotically on Mars, this is so far-fetched, kind of seems silly just to say it but I want this to have deep meaning and to think about it seriously, with the mind of an engineer, and the rigorousness of a curator.

I've always imagined robots on Mars making marks on the surface of Mars, like cave paintings plotted robotically. Or Nasca drawings plotted robotically. The robot rovers we currently have on Mars can realistically scrape the surface and drill holes, but they could also leave tracks and take pictures.

So I'm thinking about using the cold weather to be just cozied up at home, with the weather being really cold outside and with some of the covid shut downs, I really don't want to go anywhere on any sort of resort and be away from my art. I really am bored out of my mind when I am supposed to do some daily activities with no intellectual or visual challenges like vacations.

Currently there are all these free courses on one of my favorite websites edx.org, you can learn anything in human knowledge at college level. These courses are from Harvard, MIT and really the best places in the world. Love learning about stuff that's none of my business.

I mentioned earlier that art making is very difficult, and it's not because making anything that looks like art is difficult I mean any drunk person with a brush at the bar or any monkey or elephant could paint with their tusk 🦣.

Making art that is rigorous and that has never been done before or seen before, making art that really touches people and confronts them with experiences they have never had before, on the sidewalk or in the studio. I really want to go back to my roots of drawing and work on my painting. So all of this requires major sacrifice and for myself I've decided that my sacrifice would be things from the material world, like clothes, gadgets and vacations, entertainment, furniture and so forth. I've decided for myself that because I feel I have to do the things that I need to do and I haven't figured out a way with unlimited resources, actually that would be impossible with the laws of thermodynamics, so I've decided that I will live a very minimalist lifestyle with very minimal consumption in every sense, and every effort that I make monetarily will go towards art. I have absolutely no qualms about it, and I never miss things.

Congratulations NASA on finaly deploying Webb Telescope in my studio in Brooklyn by Mirena Rhee

Webb ended up in my room
@nasa @nasajpl NASA has been seriously messing up with people lately saying that @nasawebb is someplace in space, it's in space all right, it actually ended up in my studio in Greenpoint and started unfolding its sun shield right in front of my painting, it has been doing it to my friends too. I'm like can't you guys pick empty storefront, or rooftop or something, there's barely enough space for both of us

Splashes of Color in Central Park will be a series of ephemeral installations in Central Park which I will photograph to create stop motion animation by Mirena Rhee

Splashes of Color in Central Park will be a series of ephemeral installations in Central Park which I will photograph to create stop motion animation celebrating the Park and the Natural Environment through Art.

I would use most of the funding to hire women artists and other artists from underrepresented communities. We will come together to create ephemeral roving installations throughout Central Park which I will photograph to create series of stop motion animations. The artists will hold Giant Paper Hands and Red Cloth between them to create streaks of color in the winter landscape of the park.

We would hold the colorful artwork in our hands and move through the park non-destructively and without obstruction to paths drawing temporary colorful lines. We would not attach artwork to trees or bridges or any other objects, and we will not harm branches or stalks. We will use our hands and bodies to move the artwork around the landscape.

The photographs will trace the movement of the artists and the colorful artwork, a stream of color thought the muted January landscape of the park. The splashes of color will move over rocks, hug tree trunks, rest on benches, hang over bridges, and glide over the landscape.

We will intersect the colorful art with the vertical lines of the trees and the sloping shapes of rocks, and frame the muted greens of the new grass with dashes of red, orange and yellow.

As we move through the park I will direct the group and take photographs. I will put together the photographs into animated sequences. These stop motion animations would be my deliverables.

To celebrate Central Park - oasis of nature, an urban refuge and a center for street culture

This will be a creative act to celebrate Central Park and the natural environment. During the pandemic I created installations in Central Park as a way to cope with stress and deal with isolation and met many people who told me they were able to cope with the pandemic in the city by coming to the park every day.

I go to Central Park very often to take long walks and to think about future work. Along these walks I would take photographs and pay attention to the colors of the trees and the landscape. It is a way to relax, exercise and think about future projects. I pay attention to very small things like leaves and branches. Central Park is never the same, it changes with the seasons, the time of day, the weather and the mood of people.

In the summer It is frequently full of artists, musicians and performers, drum circles and dancing. This is where the community comes together to spend creative time with strangers.

So the idea of this project actually happened after one of these long walks.

The colors of Central Park in January and February are very muted and the mood a bit more somber.

After one walk in winter early this year I took photographs with my phone and noticed the very muted palette, the shapes of the trees and the sloping surfaces of the rocks, the muted new green of the lawns. Sprinkled across the landscape in the winter landscape in Central Park were these Red Ice Rescue Ladders which naturally contrasted with the landscape and serve to save people and dogs in case they fall through the ice.

I felt wouldn't be great to have splashes of orange and red, dashes of color slicing throughout the landscape.

Through my long walks to the park I've noticed many places like small and large rocks and other features in Central Park that could lend themselves to a splash of color.

Giant Hands Installations

My idea for this project grew as a natural progression from almost 25 installations with Giant Hands made with paper and acrylic paint I created over the last 4 years, in and around New York City and Central park.

These were one woman operation where i would be the artist, the drawer, the painter, the stage hand, public relations, photographer and videographer.

For the past 4 years I've been making ephemeral installations in Central Park and other places using Giant Hands made of paper and acrylic paint. Especially during the lockdowns in Manhattan I noticed that people were very happy to see them, colorful splashes in the landscape.

I would put up the hands for a few hours, take pictures and then I will take him down, fold them in take them home on the subway.

Over the years I have learned the rules to working with art in the park like not attaching things to structures or vegetation, do no damage and be mindful of the people and the environment.

On Thanksgiving Day this year I asked people to hold colorful Giant Hands over the Bow bridge in Central Park as a symbolic gesture, I was very surprised to find people respond enthusiastically. I named the installation Rainbow Bridge.

For our roving installations we will use 36 Giant Hands painted in bright orange, yellow, red and blue colors, and 50 yards of Red Cloth.

The 36 giant hands I created over the past 3 years gradually, starting with one and then developing 12, which I painted. Eventually I was invited by a New York City art organization to make an installation in a former bank and got a chance to grow the hands to 36. This year I painted them all and created more installations in Central Park in the same ephemeral manner.

The red cloth is a homage to the artist Christo Yavashev, his installation the gates and other work, and especially his installation Over The River which was never realized.

Since then I've used the red cloth in various ways in the studio and in the park, and it has serves to remind me that we artists never work alone and in isolation, and that we owe to the many artists that came before us.

Sometimes people in the park pick up on it and they say that it reminds them of the Gates. So in a way this will be a little tribute as well, owing to the past but looking out into the future.

The Hands

I've been working with hands since 2010. The hand is a symbol of our civilization, we create and destroy by it. When you look at our built environment especially in New York City you see these enormous skyscrapers that were essentially built by hand.

Handprints are present in cave art from 40,000 years ago and scientists claim that tracing a hand on a wall of a cave is the first time humans represented a three-dimensional object with a two-dimensional line.

A New Approach to Creating - to create efficiently and sustainably

One of my favorite artists is Christo Yavashev, he sadly passed away but his Gates project created in Central Park in 2005 is still vivid in my mind.

It took Christo 30 years to convince New York City authorities to let him create the Gates in the park and many of his projects like Over The River never saw the light of day because of environmental concerns.

It is my dream and intent to create efficiently and sustainably. I feel that we can create much beauty and make interventions in public spaces without investing millions of dollars, concrete slabs and steel beams. I sometimes joke that my installations cost the carbon dioxide of my breath and the ticket for the subway.

This is why early on I realized that I would like to have a new approach to creating, I like to create non-destructively and ephemerally. I make my installations very easy to transport and deploy, I could literally take my installation on the subway.

Daydreaming reality

I've always been a bit of a daydreamer, I've never been shy on thinking on large scale at least in my mind. I grew up on science fiction novels and my blueprints for great things came from space operas, where strange creatures roam the universe and fold space.

It is my dream that possibly one day our civilization would rely on creativity to create on a grand scale in the universe. I thought what better time than to start now.

The Colors of Central Park in January

The Colors of Central Park in March, and the Red Ladders

The Colors of Central Park in December

Why is CNN showing women ladling soup in aprons instead of showing for example Nobel laureates, scientists and astronauts? by Mirena Rhee

In this essay, I rant and rail against my favorite villains - shopping, cooking and adornment.

Now, why would I be looking down on ladling soup? Because I just know everybody eats. Yes, we all eat. When I want to eat I go out, I get a bit of something and I eat it and it is done.

I don't want to be informed every day by every form of media that we eat.

How hard it is to go out and get something to eat? Our supermarkets have thousands of items literally falling off the shelves in our laps.

Out of the thousands of activities available to a human today, the last thing I want to look at is someone chopping vegetables or stirring skillets.

However it is a cheap way to make television and to make women feel bad so they wish they were shopping instead.

Shopping is ingrained in animals and if you see the fat squirrels in Central Park you understand our primal desire to augment ourselves by acquiring things, devouring and storing them in enclosures.

I don’t want to be a squirrel, nature struggled to make me not like a squirrel for thousands of years and I personally am grateful for evolution. I use most of my time inventing activities for myself that would employ most of my capacity as a modern human. That includes reducing the time I spend doing mammalling.

This is where I get bratty, a little stupid and arrogant and start ranting against everyday activities. Keep reading at your own risk.

Now every year around the holidays I get a little stupid too and go on the networks of the weak-minded and usually there’s a DeBeers commercial which immediately ambushes me around a digital scroll. There would always be several instances of cutting boards, shiny kitchens and mittens.

Why on earth would you need to stir something in several pots at once? And why on earth would you wear diamonds when you can string polished beer bottles?

Okay, the Universe took 15 billion years to get to make the human consciousness the way it is today. I am not gonna use most of its capacity to stir food. Now I sound like Marvin. Wish they had come up with at least one interesting female robot. I am sure they would try to outfit it with a handbag, or at least a pouch.

Why on earth would a female robot need boobs?

Why on earth would Hollywood directors put together female AIs for Hollywood actors to fall in love with? Hollywood gets a little bit less sentient every year.

I am glad they didn’t put female parts on roombas.

When was the last time that Facebook or Instagram or TikTok encouraged you to read?

I will tell you why because if you learn about the universe if you educate yourself about what surrounds us if you get a historical perspective, all of a sudden a $5,000 handbag will seem to you like a raccoon with a ribbon.

I remember the exact time when I realized the absurdity of the material world and materialism in the US, it was when I was in one of the Zen gardens in Kyoto and I looked out into the stone and sand garden and I'm like this has meaning! Just patterns in the sand and simple piles of rocks and there was no other arrangement other than the presentness of the sand and rock themselves.

The likes of CNN like to decorate women with handbags, aprons and diamonds and commit their time to pots to affirm their purpose as decoratable domestics.

Essentially the likes of CNN and Fox News and all the shopping networks like Facebook are telling you this: no, you're not worth anything unless you wear an expensive handbag and waste your precious time as human consciousness to show it off on the networks of the weak-minded like Facebook, TikTok and Instagram.

CNN, TikTok, and the New York Times don't like women that think, they like women who think that diamonds and handbags are worthy pursuits. The idea that a human being would trade their precious life for little bags and cut up shards is even more ridiculous than the idea of a grandma in England who lives in a palace and wears a crown.

The media has vested interest in the stupidity of women.

Not only women, media loves stupidity in all shapes and sizes and adores people who don’t do anything.

People who don’t do anything are the favorite poster activities of the networks of the weak-minded like Facebook, Instagram and TikTok. They stare in the distance of sunsets or look toward the camera and make blurry faces. Usually in the background are large storage rooms of items with landfill future.

Facebook is invested in the stupidity of women. Instagram is invested in the denigration and stupidity of women. Because if women are put down and denigrated then they go out and medicate by acquiring items that hypothetically will increase their value in the eyes of society like handbags, real leather, diamond necklaces, precious metals and other shackles.

You are not a Webb telescope to need coating in precious metals

Just imagine the idea of skinning an animal in the 21st century in order to get decked out in it.

How about a group of poor people goes down a damp shaft to dig you diamonds and rubies. Real men in spectacles cut them up and other men give them to you to make you happy.

When I don't have a good argument about things I look into history to see what some of the smart dudes have done, and think about it and emulate it.

I try to imagine Newton decked out in diamonds? How about Aristotle do you think he's going to be decked out in rubies. How about Einstein you think he needs a real leather pouch?

As a human of the 21st century, I feel so lucky to live today, I would have been either guillotined, crucified, or otherwise dismembered had I lived any other time in history.

We are so freaking free, why imprison ourselves again to food preparation and self-decoration. I want to do precious things not wear them on a collar.

As if 100 centuries were not enough.

Women in ancient Greece, which prided in democracy, were imprisoned in their houses. Women in Rome were citizens but they were not allowed to vote or participate in public life.

There's so much in the lives of women that has been repressed over the centuries and continues to be repressed by media, broadcasting stereotypes, and stereotypical activities.

Try to watch any Hollywood movie by paying attention to the opening scene in a family home where the woman is always with an apron and in a kitchen, either stirring a pot or washing up at the sink.

This year at Christmas 2021 one of the CNN specials for Christmas was once again a woman stirring porridge on a stovetop wearing an apron with her two kids also stirring soup and wearing aprons.

Now I'm going to ask this nonrhetorical question.

Why didn't CNN have on their cover for Christmas for example Andrea Gaetz, a professor at UCLA and a Nobel laureate in physics? What is her reading list for Christmas?

Now I want to discuss another not rhetorical question I have regarding kitchens.

Why on earth would anybody in the 21st century devote half of their life and resources to owning many cupboards, utensils, ladles, pots and pans, utensils with very obscure purpose, pantries full of dried food ladled with chemicals and fillers and food coloring that cause cancer, why on Earth anyone living in the 21st-century burden their consciousness, burden their life with so many and various tools for food preparation when we're overflowing with garbage and obesity, and with overconsumption?

Here is my suggestion of things to do instead of stirring pots, getting pouches and likes

There are so many things to consume that cost you the price of internet - reading the entirety of human history, reading all the books ever written, the entire cosmos, all the science of the entire human race, the history of all countries and all peoples on earth, the geography of other planets. Black holes, the entire philosophy of mankind since writing was invented, the writings of all Indian Yogi, learn how everything in the world works, how trees make oxygen. All of human art from cave art to the classics to all the crazy modern art made anywhere on earth. You can learn art, physics, mathematics, robotics, computer science, rhetoric, anything and everything ever made.

Peace.

I am taking a course in rhetoric from Harward at edx.org and this was one of the required readings - Love Is a Fallacy, by Max Shulman, written in 1951 by Mirena Rhee

Rhetoric: The Art of Persuasive Writing and Public Speaking at edx.org, it is completely free. Thank you, 21st Century.

https://learning.edx.org/course/course-v1:HarvardX+AESTHINT15+3T2021/home

Cool was I and logical. Keen, calculating, perspicacious, acute --- I was all of these. My brain was as powerful as a dynamo, precise as a chemist's scales, as penetrating as a scalpel. And - think of it! - I was only eighteen.

It is not often that one so young has such a giant intellect. Take, for example, Petey Burch, my roommate at the University of Minnesota. Same age, same background, but dumb as an ox. A nice enough fellow, you understand, but nothing upstairs. Emotional type. Unstable. Impressionable. Worst of all, a faddist. Fads, I submit, are the very negation of reason. To be swept up in every new craze that comes along, to surrender oneself to idiocy just because everybody else is doing it - this to me, is the acme of mindlessness. Not, however, to Petey.

One afternoon I found Petey lying on his bed with an expression of such distress on his face that I immediately diagnosed appendicitis. "Don't move," I said, "Don't take a laxative. I'll get a doctor."

"Raccoon," he mumbled thickly.

"Raccoon?" I said, pausing in my flight.

"I want a raccon coat," he wailed.

I perceived that his trouble was not physical but mental. "Why do you want a raccoon coat?"

"I should have known it," he cried, pounding his temples.

"I should have known it they'd come back when the Charleston came back. Like a fool I spent all my money for textbook, and now I can't get a raccoon coat."

"Can you mean," I said incredulously," that people are actually wearing raccoon coats again?"

"All the Big Men on Campus are wearing them. Where've you been?"

"In the library," I said, naming a place not frequented by Big Men on Campus.

He leaped from the bed and paced the room. "I've got to have a raccoon coat," he said passionately. "I've got to!"

"Petey, why? Look at it rationally. Raccoon coats are unsanitary. They shed. They smell bad. They weigh too much. They're unsightly. They..."

"You don't understand," he interrupted, impatiently. "It's the thing to do. Don't you want to be in the swim?"

"No," I said truthfully.

"Well, I do," he declared. "I'd give anything for a raccoon coat. Anything!"

My brain, that precision instrument, slipped into high gear. "Anything?" I asked, looking at him narrowly.

"Anything," he affirmed in ringing tones.

I stroked my chin thoughtfully. It so happened that I knew where to get my hands on a raccoon coat. My father had had one in his undergraduate days; it lay now in a trunk in the attic back home. It also happened that Petey had something I wanted. He didn't have it exactly, but at least he had first rights on it. I refer to his girl, Polly Espy.

I had long coveted Polly Espy. Let me emphasize that my desire for this young woman was not emotional in nature. She was, to be sure, a girl who excited the emotions, but I was not one to let my heart rule my head. I wanted Polly For a shrewdly calculated, entirely cerebral reason.

I was a freshman in law school. In a few years I would be out in practice. I was well aware of the importance of the right kind of wife in furthering a lawyer's career. The successful lawyers I had observed were, almost without exception, married to beautiful, gracious, intelligent women. With one omission, Polly fitted these specifications perfectly.

Beautiful she was. She was not yet of pin-up proportions, but I felt that time would supply the lack. She already had the makings.

Gracious she was. By gracious I mean full of graces. She had an erectness of carriage, an ease of bearing, a poise that clearly indicated the best of breeding. At table her manners were exquisite. I had seen her at the Kozy Kampus Korner eating the specialty of the house - a sandwich that contained scraps of pot roast, gravy, chopped nuts, and a dipper of sauerkraut - without even getting her fingers moist.

Intelligent she was not. In fact, she veered in the opposite direction. But I believed that under my guidance she would smarten up. At any rate, it was worth a try. It is, after all, easier to make a beautiful dumb girl smart than to make an ugly smart girl beautiful.

"Petey," I said, "are you in love with Polly Espy?"

"I think she's a keen kid," he replied, "but I don't know if you call it love. Why?"

"Do you," I asked, "have any kind of formal arrangement with her? I mean are you going steady or anything like that?"

"No. We see each other quite a bit, but we both have other dates. Why?"

"Is there," I asked, "any other man for whom she has a particular fondness?"

"Not that I know of. Why?"

I nodded with satisfaction. "In other words, if you were out of the picture, the field would be open. Is that right?"

"I guess so. What are you getting at?"

"Nothing , nothing," I said innocently, and took my suitcase out the closet.

"Where are you going?" asked Petey.

"Home for weekend." I threw a few things into the bag.

"Listen," he said, clutching my arm eagerly, "while you're home, you couldn't get some money from your old man, could you, and lend it to me so I can buy a raccoon coat?"

"I may do better than that," I said with a mysterious wink and closed my bag and left.

. . .

"Look," I said to Petey when I got back Monday morning. I threw open the suitcase and revealed the huge, hairy, gamy object that my father had worn in his Stutz Bearcat in 1925.

"Holy Toledo!" said Petey reverently. He plunged his hands into the raccoon coat and then his face. "Holy Toledo!" he repeated fifteen or twenty times.

"Would you like it?" I asked.

"Oh yes!" he cried, clutching the greasy pelt to him. Then a canny look came into his eyes. "What do you want for it?"

"Your girl." I said, mincing no words.

"Polly?" he said in a horrified whisper. "You want Polly?"

"That's right."

He shook his head.

I shrugged. "Okay. If you don't want to be in the swim, I guess it's your business."

I sat down in a chair and pretended to read a book, but out of the corner of my eye I kept watching Petey. He was a torn man. First, he looked at the coat with the expression of waif at a bakery window. Then he turned away and set his jaw resolutely. Then he looked back at the coat, with even more longing in his face. Then he turned away, but with not so much resolution this time. Back and forth his head swiveled, desire waxing, resolution waning. Finally he didn't turn away at all; he just stood and stared with mad lust at the coat.

"It isn't as though I was in love with Polly," he said thickly. "Or going steady or anything like that."

"That's right," I murmured.

"What's Polly to me, or me to Polly?"

"Not a thing," said I.

"It's just been a casual kick - just a few laughs, that's all."

"Try on the coat," said I.

He compiled. The coat bunched high over his ears and dropped all the way down to his shoe tops. He looked like a mound of dead raccoons. "Fits fine," he said happily.

I rose from my chair. "Is it a deal?" I asked, extending my hand. He swallowed. "It's a deal," he said and shook my hand.

I had my first date with Polly the following evening. This was in the nature of a survey. I wanted to find out just how much work I had to get her mind up to the standard I required. I took her first to dinner.

"Gee, that was a delish dinner," she said as we left the restaurant.

And then I took her home. "Gee, I had a sensaysh time," she said as she bade me good night.

I went back to my room with a heavy heart. I had gravely underestimated the size of my task. This girl's lack of information was terrifying. Nor would it be enough merely to supply her with information. First she had to be taught to "think". This loomed as a project of no small dimensions, and at first I was tempted to give her back to Petey.

But then I got to thinking about her abundant physical charms and about the way she entered a room and the way she handled a knife and fork, and I decided to make an effort.

I went about it, as in all things, systematically. I gave her a course in logic. It happened that I, as a law student, was taking a course in logic myself, so I had all the facts at my fingertips. "Polly," I said to her when I picked her up on our next date, "tonight we are going over to the Knoll and talk."

"Oo, terrif," she replied. One thing I will say for this girl: you would go far to find another so agreeable.

We went to the Knoll, the campus trysting place, and we sat down under an old oak, and she looked at me expectantly. "What are we going to talk about?" she asked.

"Logic."

She thought this over for a minute and decided she liked it. "Magnif," she said.

Logic," I said, clearing my throat, "is the science of thinking. Before we can think correctly, we must first learn to recognize the common fallacies of logic. These we will take up tonight."

"Wow-dow!" she cried, clapping her hands delightedly.

I winced, but went bravely on. "First let us examine the fallacy called Dicto Simpliciter."

"By all means," she urged, batting her lashes eagerly.

"Dicto Simpliciter means an argument based on an unqualified generalization. For example: Exercise is good. Therefore everybody should exercise."

"Polly," I said gently, "the argument is a fallacy. Exercise is good is an unqualified generalization. For instance, if you have heart disease, exercise is bad, not good. Therefore exercise is bad, not good. Many people are ordered by their doctors not to exercise. You must qualify the generalization. You must say exercise is usually good, or exercise is good for most people. Otherwise you have committed a Dicto Simpliciter. Do you see?"

"No," she confessed. "But this is marvy. Do more! Do more!"

"It will be better if you stop tugging at my sleeve," I told her, and when she desisted, I continued. "Next we take up a fallacy called Hasty Generalization. Listen carefully: You can't speak French. Petey Burch can't speak French. I must therefore conclude that nobody at the University of Minnesota can speak French."

"Really?" said Polly, amazed. "Nobody?"

I hid my exasperation. "Polly, it's a fallacy. The generalization is reached too hastily. There are too few instance to support such a conclusion."

Know any more fallacies?" she asked breathlessly. "This is more fun than dancing, even."

I fought off a wave of despair. I was getting no where with this girl, absolutely no where. Still, I am nothing, if not persistent. I continued. "Next comes Post Hoc. Listen to this: Let's not take Bill on our picnic. Every time we take it out with us, it rains."

"I know somebody just like that," she exclaimed. "A girl back home - Eula Becker, her name is. It never fails. Every single time we take her on a picnic..."

"Polly," I said sharply, "it's a fallacy. Eula Becker doesn't cause the rain. She has no connection with the rain. You are guilty of Post Hoc if you blame Eula Becker."

"I'll never do it again," she promised contritely. "Are you mad at me?"

I sighed deeply. "No, Polly, I'm not mad."

"Then tell me some more fallacies."

"All right. Let's try Contradictory Premises."

"Yes, let's," she chirped, blinking her eyes happily.

I frowned, but plunged ahead. "Here's an example of Contradictory Premises: If God can do anything, can He make a stone so heavy that He won't be able to lift it?"

"Of course," she replied promptly.

"But if He can do anything, He can lift the stone," I pointed out.

"Yeah," she said thoughtfully. "Well, then I guess He can't make the stone."

"But He can do anything," I reminded her.

She scratched her pretty, empty head. "I'm all confused," she admitted.

"Of course you are. Because when the premises of an argument contradict each other, there can be no argument. If there is an irresistible force, there can be no immovable object. If there is an immovable object, there can be no irresistible force. Get it?"

"Tell me more of this keen stuff," she said eagerly.

I consulted my watch. "I think we'd better call it a night. I'll take you home now, and you go over all the things you've learned. We'll have another session tomorrow night."

I deposited her at the girls' dormitory, where she assured me that she had had a "perfectly" evening, and I went glumly home to my room. Petey lay snoring in his bed, the raccoon coat huddled like a great hairy beast at his feet. For a moment I considered waking him and telling him that he could have his girl back. It seemed clear that my project was doomed to failure. The girl simply had a logic-proof head.

But then I reconsidered. I had wasted one evening; I might as well waste another. Who knew? Maybe somewhere in the extinct crater of her mind, a few members still smoldered. Maybe somehow I could fan them into flame. Admittedly it was not a prospect fraught with hope, but I decided to give it one more try.

Seated under the oak the next evening I said, "Our first fallacy tonight is called Ad Misericordiam."

She quivered with delight.

"Listen closely," I said. "A man applies for a job. When the boss asks him what his qualifications are, he has a wife and six children at home, the wife is a helpless cripple, the children have nothing to eat, no clothes to wear, no shoes on their feet, there are no beds in the house, no coal in the cellar, and winter is coming."

A tear rolled down each of Polly's pink cheeks. "Oh, this is awful, awful," she sobbed.

"Yes, it's awful," I agreed, "but it's no argument. The man never answered the boss's question about his qualifications. Instead he appealed to the boss's sympathy. He committed the fallacy of Ad Misericordiam. Do you understand?"

"Have you got a handkerchief?" she blubbered.

I handed her a handkerchief and tried to keep from screaming while she wiped her eyes. "Next," I said in a carefully controlled tone, "we will discuss False Analogy. Here is an example: Students should be allowed to look at their textbooks during examination. After all, surgeons have X rays to guide them during a trial, carpenters have blueprints to guide them when they are building a house. Why, then, shouldn't students be allowed to look at their textbooks during examination?"

"There now," she said enthusiastically, "is the most marvy idea I've heard in years."

"Polly," I said testily, "the argument is all wrong. Doctors, lawyers, and carpenters aren't taking a test to see how much they have learned, but students are. The situations are altogether different, and you can't make an analogy between them."

"I still think it's a good idea," said Polly.

"Nuts," I muttered. Doggedly I pressed on. "Next we'll try Hypothesis Contrary to Fact."

"Sounds yummy," was Polly's reaction.

"Listen: If Madame Curie had not happened to leave a photographic plate in a drawer with a chunk of pitchblende, the world today would not know about radium."

"True, true," said Polly, nodding her head "Did you see the movie? Oh, it just knocked me out. That Walter Pidgeon is so dreamy. I mean he fractures me."

"If you can forget Mr. Pidgeon for a moment," I said coldly, "I would like to point out that statement is a fallacy. Maybe Madame Curie would have discovered radium at some later date. Maybe somebody else would have discovered it. Maybe any number of things would have happened. You can't start with a hypothesis that is not true and then draw any supportable conclusions from it."

"They ought to put Walter Pidgeon in more pictures," said Polly, "I hardly ever see him any more."

One more chance, I decided. But just one more. There is a limit to what flesh and blood can bear. "The next fallacy is called Poisioning the Well."

"How cute!" she gurgled.

"Two men are having a debate. The first one gets up and says, 'My opponent is a notorious liar. You can't believe a word that he is going to say.' ... Now, Polly, think hard. What's wrong?"

I watched her closely as she knit her creamy brow in concentration. Suddenly a glimmer of intelligence -- the first I had seen -- came into her eyes. "It's not fair," she said with indignation. "It's not a bit fair. What chance has the second man got if the first man calls him a liar before he even begins talking?"

"Right!" I cried exultantly. "One hundred per cent right. It's not fair. The first man has poisoned the well before anybody could drink from it. He has hamstrung his opponent before he could even start ... Polly, I'm proud of you."

"Pshaws," she murmured, blushing with pleasure.

"You see, my dear, these things aren't so hard. All you have to do is concentrate. Think-examine-evaluate. Come now, let's review everything we have learned."

"Fire away," she said with an airy wave of her hand.

Heartened by the knowledge that Polly was not altogether a cretin, began a long, patient review of all I had told her. Over and over and over again I cited instances, pointed out flaws, kept hammering away without letup. It was like digging a tunnel. At first, everything was work, sweat, and darkness. I had no idea when I would reach the light, or even if I would. But I persisted. I pounded and clawed and scraped, and finally I was rewarded. I saw a chink of light. And then the chink got bigger and the sun came pouring in and all was bright.

Five grueling nights with this book was worth it. I had made a logician out of Polly; I had taught her to think. My job was done. She was worthy of me, at last. She was a fit wife for me, a proper hostess for many mansions, a suitable mother for my well-heeled children.

It must not be thought that I was without love for this girl. Quite the contrary. Just as Pygmalion loved mine. I determined to acquaint her with feelings at our very next meeting. The time had come to change our relationship from academic to romantic.

"Polly," I said when next we sat beneath our oak, "tonight we will not discuss fallacies."

"Aw, gee," she said, disappointed.

"My dear," I said, favoring her with a smile, "we have now spent five evenings together. We have gotten along splendidly. It is clear that we are well matched."

"Hasty Generalization," said Polly brightly.

"I beg your pardon," said I.

"Hasty Generalization," she repeated. "How can you say that we are well matched on the basis of only five dates?"

I chuckled with amusement. The dear child had learned her lessons well. "My dear," I said, patting her hand in a tolerant manner, "five dates is plenty. After all, you don't have to eat a whole cake to know that it's good."

"False Analogy," said Polly promptly. "I'm not a cake. I'm a girl."

I chuckled with somewhat less amusement. The dear child had learned her lessons perhaps too well. I decided to change tactics. Obviously the best approach was a simple, strong, direct declaration of love. I paused for a moment while my massive brain chose the proper word. Then I began:

"Polly, I love you. You are the whole world to me, and the moon and the stars and the constellations of outer space. Please, my darling, say that you will go steady with me, for if you will not, life will be meaningless. I will languish. I will refuse my meals. I will wander the face of the earth, a shambling, hollow-eyed hulk."

There, I thought, folding my arms, that ought to do it.

"Ad Misericordiam," said Polly.

I ground my teeth. I was not Pygmalion; I was Frankenstein, and my monster had me by the throat. Frantically I fought back the tide of panic surging through me; at all costs I had to keep cool.

"Well, Polly," I said, forcing a smile, "you certainly have learned your fallacies."

"You're darn right," she said with a vigorous nod.

"And who taught them to you, Polly?"

"You did."

"That's right. So you do owe me something, don't you, my dear? If I hadn't come along you never would have learned about fallacies."

"Hypothesis Contrary to Fact," she said instantly.

I dashed perspiration from my brow. "Polly," I croaked, "you mustn't take all these things so literally. I mean this is just classroom stuff. You know that the things you learn in school don't have anything to do with life."

"Dicto Simpliciter," she said, wagging her finger at me playfully.

That did it. I leaped to my feet, bellowing like a bull. "Will you or will you not go steady with me?"

"I will not," she replied.

"Why not?" I demanded.

"Because this afternoon I promised Petey Burch that I would go steady with him."

I reeled back, overcome with the infamy of it. After he promised, after he made a deal, after he shook my hand! "The rat!" I shrieked, kicking up great chunks of turf. "You can't go with him, Polly. He's a liar. He's a cheat. He's a rat."

"Poisoning the Well ," said Polly, "and stop shouting. I think shouting must be a fallacy too."

With an immense effort of will, I modulated my voice. "All right," I said. "You're a logician. Let's look at this thing logically. How could you choose Petey Burch over me? Look at me --- a brilliant student, a tremendous intellectual, a man with an assured future. Look at Petey -- a knothead, a jitterbug, a guy who'll never know where his next meal is coming from. Can you give me one logical reason why you should go steady with Petey Burch?"

"I certainly can," declared Polly. "He's got a raccoon coat."

White Room Art Installation by Mirena Rhee

White Room Art Installation - I asked people to paint anything.

White Queen Performance Art.
I created the White Queen wearable as a paintable dress, cape, bag, and shoes, as part of White Room art installation and performance in creative collaboration with Anita Durst, performance by Anita Painting by Mirena Rhee.
https://www.mirenarhee.com/white-room

Give me the streets of Manhattan, 156 years later by Mirena Rhee

GIVE ME THE SPLENDID SILENT SUN, Walt Whitman (1865)

Keep your splendid silent sun,

Keep your woods O Nature, and the quiet places by the woods,

Keep your fields of clover and timothy, and your corn-fields and orchards,

Keep the blossoming buckwheat fields where the Ninth-month bees hum;

Give me faces and streets—give me these phantoms incessant and

endless along the trottoirs!

Give me interminable eyes—give me women—give me comrades and

lovers by the thousand!

Let me see new ones every day—let me hold new ones by the hand every day!

Give me such shows—give me the streets of Manhattan!

Give me Broadway, with the soldiers marching—give me the sound of

the trumpets and drums!

(The soldiers in companies or regiments—some starting away, flush’d

and reckless,

Some, their time up, returning with thinn’d ranks, young, yet very

old, worn, marching, noticing nothing;)

Give me the shores and wharves heavy-fringed with black ships!

O such for me! O an intense life, full to repletion and varied!

The life of the theatre, bar-room, huge hotel, for me!

The saloon of the steamer! the crowded excursion for me! the

torchlight procession!

The dense brigade bound for the war, with high piled military wagons

following;

People, endless, streaming, with strong voices, passions, pageants,

Manhattan streets with their powerful throbs, with beating drums as now,

The endless and noisy chorus, the rustle and clank of muskets, (even

the sight of the wounded,)

Manhattan crowds, with their turbulent musical chorus!

Manhattan faces and eyes forever for me.

Merry Christmas ⛄🎄 from New York City by Mirena Rhee

Enormous crowds and Christmas light show at Saks Fifth avenue in New York City on Christmas Day, 2021

One thing I really love about Christmas in New York City is that it's crowded I love crowds, it reminds me I am a human and a part of a really large body of people.

I always thought that when they want to punish prisoners they put them in isolation, in my mind being isolated is the condition of a prisoner not a free man. Of course we are talking about being isolated against your will.

So let's rejoice and celebrate humanity in real life and crowds and gatherings. Of course vaxxed, masked and boosted

Merry Christmas from Saturn by Mirena Rhee

Animation and Simulation with pen and ink drawings, dimensions variable, 2020

See a high-resolution Christmas on Saturn II here.

Christmas on Saturn is an animation and simulation with pen and ink drawings inspired. by Saturn, NASA, Christmas. Or Christmas in Space :) and especially a little image a friend sent me from Denmark which triggered a fury of thoughts.

It is made with Hands and Solids pen and ink drawings animated and simulated in Unity3D, with sounds from Saturn. The drawings are from a book of drawings I recently completed called " Hands and Solids".

What is special about a simulation is that it's never the same unlike a movie, no two stills are ever the same. It's chaotic just like the universe, but there is an underlying order. Every time the simulation is run the images are different, no two stills are ever the same.

Cassini's final orbits revealed a powerful interaction between Saturn and the moon Enceladus. Scientists observed plasma waves moving in a circuit from planet to moon. The waves were converted into audio we can hear. [eerie, high-pitched sounds like wind]

Time was compressed from 16 minutes to 28.5 seconds, and wave frequency was decreased by a factor of 5. Cassini captured the data on September 2, 2017, two weeks before the spacecraft plunged into Saturn's atmosphere.

Paint Tube Telescope Finally in Focus by Mirena Rhee

Mini-installation within the White Room Art Installation.

My White Room Art Installation had a view of the Empire State Building which I had to cover up so I made a Paint Tube Telescope that you can unscrew the paint tube cap and peek at the view.

There were three tubes for different person heights, with instructions. Initially, people thought that it would be paint squirting in their eyes. As a result, I developed a ritual where I led people to the tubes and had them unscrew the tube cap, assuring them nothing will be squirting. The word spread and soon people were coming around just for the tubes.

REFLECTIONS fake art series by Mirena Rhee

REFLECTIONS fake art series
As you know I love luxury brands and own many fake necklaces. Because it's the holidays we all reflect on very expensive things. I decided to do a fake art series, It's called REFLECTIONS. Here's number one.

Reflections

White Room Art Installation by Mirena Rhee

I asked people to paint anything
over 40 yards of canvas, 2 crusts and 2 days later.
White Room Art Installation, Collaborative Art, Performance and Wearables I created for Chashama Gala and Chashama Rama in November 2021. White Room is a tongue-in-cheek reference to my obsession with NASA clean rooms, and the white canvas every artist has had to face through the millennia. This is collaborative, community work.

The corporate state apparatus obfuscates the individual through the generation of bonding and domestication rituals, labeling and enumeration.
The purpose of my installations and performance is to create art state machines that oppose and redirect the corporate state machine by creating spontaneous creative rituals.

White Room Art Installation Day One

My vision for a creative civilization spreading into the stars, wormhole art, no borders, no guns, and no coins but art for the betterment of humankind. A 21st-century creative collaboration with people from all walks of life, the white room creating a circle of light with the everyone-creator at its center, a throwback to the ideas of the Renaissance for human-centered and humanistic art.

White Room Art Installation Day Two

I created the White Queen wearable as a paintable dress, cape, bag, and shoes, as part of White Room art installation and performance in creative collaboration with Anita Durst, performance by Anita Durst.

White Queen Performance

White Queen Wearable

I have a favorite movie and in it, the title character says that every weapon has a manual. I thought that if my art is to be effective it also needs a manual, so I started incorporating instructions. All walls of the White Room, ponchos, the White Queen bag, everything had instructions as part of the artwork, you literally couldn't miss the purpose.

People in my performance and installation art perform creative acts as opposed to being background actors.

As I was working on the outcome in photographs of the white room I realized I've seen it before, I recognized the concept. It's the Big Bang.

I had this realization of the universe as the ultimate art-making machine, and if we are a simulation - the ultimate art protocol.

I've always loved the idea that Buckminster Fuller had of the universe as the ultimate technology, but I see it as the ultimate art. Where neutrinos and all kinds of particles stream, pulsars and supernovas, and galaxies colliding, art created in all spectrums not just the visible, with fields splashing instead of paint.
https://www.mirenarhee.com/white-room

Latest messages form the corporate state machine by Mirena Rhee

Do you recognize these messages?

The corporate state apparatus generates many messages and directions. I could recognize the apparatus it's similar to video games where they direct the player onto the player path.

Who to follow

What’s happening

This is the best place to see what’s happening in your world. Find some people and topics to follow now.

Watch now

The new Creator Roundup is in

Ideas for you

Creator Insider

I invent constant ways to oppose the corporate state apparatus by for example watching clouds go, by observing people on the subway, looking at very small things and listening to whimsical ideas by very smart people, and generally saturating my visual landscape with my own messages.

The corporate state apparatus obfuscates the individual through the generation of bonding and domestication rituals, labeling and enumeration.

My art is devoted to creating art state machines that oppose and redirect the corporate state machine.