“The phenomena moon-in-the-water is likened to human experience. The water is the subject, and the moon the object. When there is no water, there is no moon-in-the-water, and likewise when there is no moon. But when the moon rises the water does not wait to receive its image, and when even the tiniest drop of water is poured out the moon does not wait to cast its reflection. For the moon does not intend to cast its reflection, and the water does not receive its image on purpose. The event is caused as much by the water as by the moon, and the water manifests the brightness of the moon, the moon manifests the clarity of the water.”
- Alan W. Watts
Calvin Rocchio is a pile / a sedimentary rock / a daffodil / a salmon on the shore in Northern California.
My practice, through what's accumulated practicing openly and perpetually, amounts to an ecological ontology––a way of being in the world that’s pliable / wavy / soft / permeable. With optimism and enthusiasm––through publishing, distribution, graphic design, image making, research, organization, rearticulation, and movement––spaces are cultivated for new relations to the environments that we inhabit and exist as parts of. These spaces, often fertilized and enriched through collaboration and exchanges that ignore the specificities of discipline, celebrate entanglement and vulnerability to momentums outside of any single perspective, human or non-human. Just the way the mind casts a wide net, or how books can point in a multitude of directions at once, the effort dissipates in being unavoidably entangled in the world.
Donna J. Haraway, Staying with the Trouble: Making Kin in the Chthulucene, (Duke University Press, 2016)
Michel Serres, Biogea, (Univocal, 2012)
Gilles Châtelet, To Live and Think Like Pigs: The Incitement of Envy and Boredom in Market Democracies, (Urbanomic, 2014)
@ Salmon Creek Farm
no real edges.