First Value Portrait

The human figure is intimidating in the subtlety of its dance with light. From geometrical forms, this study begins to grapple with that challenge. Taken from a photo, the principle compositional challenges were already addressed in by the photographer (although I did crop the setting). In particular, the lid of the coffee cup that provides some ballast against the darkness in the upper left.

This study followed the construction of a ten-step grey scale using graphite, willow sticks, and charcoal. In trying to achieve smooth fields, I loaded up my supply of paper blending sticks (tortillons and stumps) with graphite and charcoal. I tried cleaning them against a sanding block, with limited success. This study, then, was done only with pencil and eraser. This frustrated my ability to achieve uniform and graduated transitions in tone.

Still, from a distance, the rendering is tender. Most challenging was actually the curly hair and its highlights. This could only be rendered approximately, but I feel that I achieved some success. This had to be balanced against the scarf, which has its own fascinations. The heightened tonal contrast in the face and eyes (I hope, at any rate) sustains the subject as the focus.

Getty Santa Monica Sketch Day

One of the challenges of value is a sensitive handling of shadow. The video series instructor breaks light intensity into nine categories, including light reflected off the setting onto the object, the effect of that light on the object’s cast shadow, and deepening of the object shadow due to the lack of light from the setting where the cast shadow falls.

To facilitate understanding of these interactions in a natural setting, architectural studies are recommended. This gave me an excuse to visit the Getty Santa Monica for in what seems like forever.

Culturally, the visit was a disappointment. In hard winter, many of the galleries close to prepare exhibitions for the Spring season. Arriving in mid-morning, many of the nooks that I had planned to settle in were in full shadow, so I ended up settling by the rock fountain on the main plaza.

As I sketched happily, using an HB graphite pencil on printer paper, a couple attempted to interrupt my work. I engaged them while continuing to sketch, realizing only after they had left that she was an art instructor. She was offended by my report that I was following an online video course. In retrospect, I was irritated that she took the chance encounter on the plaza to attempt to recruit me as a student.

At the end of the day, I returned to the back side of the fountain and took the source photo for this study. The semi-gloss surface of the arcade’s stone was ideal for the purpose. Visual interest focuses on the pair of shoes and reflected legs in the upper right.

I started with a graphite powder wash, but realized that it hid the slab breaks in the foreground. Graphite powder is hard to remove, so I scrubbed with an eraser, leaving the middle slab in the foreground. This yielded speckling in the slab above it – a pleasant surprise.

All of the curves were done free-hand. The straight lines were done with pencil or eraser against a ruler

Cliff Face

My perceptions of reality are focused on cultivation of loving engagements. That has its downsides: self-destructive people try to coerce me into solving their problems for them. Fortunately, for the most part the experiences are sublime.

Unfortunately, the terror generated by self-destructive personalities appears to captivate the world’s imagination.

I have cultivated a number of practices to try to encourage people to focus on the good. Explaining the physical basis of spirituality, philosophy, Christian exegesis, ministry to gun violence, dance, and hypnotherapy are all instances. None has been compelling. The response to my encouragements tends to be, “Thanks for projecting love into the world. Let me know when you’ve succeeded in lighting the darkness.”

What has been missing is the demonstration of a loving relationship. For decades, I have been telling people that “I am a half a thing.” If, as a projection of the divine masculine, I express Love, my correspondent would manifest Life. That is daunting – the world is undergoing an anthropogenic extinction. While many beautiful and wealthy women have offered to take care of me, they have all walked away from the weight of healing that wrong.

It is in dance that I come closest to cultivating that commitment in women, but the conceptual bandwidth is limited. The communion of dance is limited to the expressive potential of bodies. Healing Creation involves spiritual abstractions. No woman has ever had the temerity to demand, “I’d like to understand what you are doing when you are dancing by yourself.”

This void in my heart has been subject to diagnosis, of course. As I explain at love-returns.org, John’s Revelation describes the resolution. But John offers the male perspective. To understand the feminine grace necessary to the transition, I turned to the Sacred Mother who waits in a spiritual desert on the moon.

But how to communicate those insights? There is no proof, only manifestation.

The only discipline that I have not explored is art. So, I have been learning to draw. The inspiration is a lecture series out at The Great Courses (“How to Draw for Beginners”). After two months and twenty lectures, the course moved into value (defining shape through shading).

I present here the first work that I might consider actual art. It was from a photo. What surprised me was the playful enjoyment of learning to use pencils to capture variations in smoothness and texture, as well as value.

Drawing of dark slate cliff arch. Graphite pencil on printer paper.

I have three other pieces to share over the next week. After that, I have committed myself to a huge leap in ambition that is going to take a month or more to execute.

Exploring Solutions Space

Perhaps the most humbling aspect of software development is the inflexibility of the machines that we control. They do exactly what we tell them to do, and when that results in disaster, there’s no shifting of the blame. On the other hand, computers do not become conditioned to your failure – they’re like indestructible puppies, always happy to try again.

That computers don’t care what we tell them to do is symptomatic of the fact that the measure of the success of our programs is in the non-digital world. Even when the engineer works end-to-end in the digital realm, such as in digital networking, the rewards come from subscriptions paid by customers that consume the content delivered by the network. In the current tech market, that is sometimes ignored. I keep on reminding engineers earning six-figure salaries that if they don’t concern themselves with the survival of the middle class, at some point there won’t be any subscribers to their internet solutions.

So we come back again to an understanding of programming that involves the complex interaction of many system elements – computers, machines, people and all the other forms of life that have melded into a strained global ecosystem where the competition for energy has been channeled forcefully into the generation of ideas.

These ideas are expressed in many ways – not just through natural and computer languages, but also in the shape of a coffee cup and the power plant that burns coal to produce electricity. The question facing us as programmers is how best to represent the interaction of those components. Obviously, we cannot adopt only a single perspective. All languages encode information most efficiently for processors that have been prepared to interpret them. In the case of a computer ship, that preparation is in the design of the compilers and digital circuitry. For people, the preparation is a childhood and education in a culture that conditions others to respond to our utterances.

This context must give us cause to wonder how we can negotiate the solution to problems. This is the core motivation for our search for knowledge – to inform our capacity to imagine a reality that does not yet exist, a reality that manifests our projection of personality. We all use different languages to express our desires, everything from the discreetly worn perfume to the bombastic demands of the megalomaniac. We use different means of expressing our expectations, from the tender caress to the legal writ. None of these forms of expression has greater or lesser legitimacy.

In my previous post in this series, I introduced the idea of a program as an operational hypothesis that is refined through cause-and-effect analysis. Cause-and-effect denotes a relationship. This can be a relationship between objects whose behavior can be characterized by the brute laws of physics (such as baseballs and computer chips) or organic systems (such as people and companies) that will ignore their instructions when confronted with destruction. What is universally true about these relationships is that they involve identifiably distinct entities that exchange matter and energy. The purpose of that exchange, in systems that generate value, is to provide resources that can be transformed by the receiver to solve yet another problem. In the network of cause-and-effect, there is no beginning nor end, only a system that is either sustainable or unsustainable.

The single shared characteristic of all written languages is that they are very poor representations of networks of exchange. Languages are processed sequentially, while networks manifest simultaneity. To apprehend the connectedness of events requires a graphical notation that expresses the pattern of cause-and-effect. Given the diversity of languages used to describe the behavior of system elements, we are left with a lowest-common-denominator semantics for the elements of the notation: events occur in which processors receive resources, transform them according to some method, and emit products. The reliable delivery of resources and products requires some sort of connection mechanism, which may be as simple as the dinner table, or as complex as the telecommunications system.

This is the core realization manifested in Karl Balke’s Diagrammatic Programming notation. Generalizing “resources” and “products” with “values”, the notation specifies cause-and-effect as a network of events. In each event, a processor performs a service to transform values, which are preserved and/or transferred to be available for execution of other services by the same or another processor. The services are represented as boxes that accept a specification for the action performed by the processor in terms suitable for prediction of its interaction with the values. This may be chemical reaction formulae, spoken dialog in a play, or statements in a computer programming language. The exchange of values is characterized by connections that must accommodate all possible values associated with an event. The connections are described by the values they must accommodate, and represented in the cause-and-effect network by labelled lines that link the services.

While Diagrammatic Programming notation does not require sequential execution, specification of a pattern of cause-and-effect leads inevitably to event sequencing. This does require the elimination of certain constructs from the action description. For example, DP notation contains elements that specify actions such as “wait here for a value to appear” and “analyze a value to determine what service to perform next.” When the program is converted to an executable form, processor-specific instructions are generated from the network layout.

In a properly disciplined design process, the end result is a specification of an operational hypothesis that allows the stakeholders in the implementation to negotiate their expectations. They may not be able to understand what is happening on the other side of a connection, but they can define their expectations regarding the values received by their processors. It is in through that negotiation that the space of solutions is narrowed to a form that can be subjected to engineering design.

As has become obvious in this discussion, in the context of DP analysis simple human concerns become abstracted. The technology of Diagrammatic Programming must be concerned not only with the variant perspectives of participants in the design process, but also with the perceptual capabilities of different processors, where the value “Click Here” is encoded as Unicode bytes in computer memory but appears to the user as letters on a computer display. This richness manifests in terminology and notation that requires careful study and disciplined application to ensure that a program can be elaborated into executable form.

Full implementation of the Diagrammatic Programming method was my father’s life-work, a life-work conducted by those concerned that systems serve the people that depend upon them, rather than being used for the propagation of exploitative egos. This introduction is offered in the hope that of those committed to the production of value, some may be motivated to understand and carry that work on to its completion. It is simply far too much for me to accomplish alone.

In the most detailed comparison study of its use, the following benefits were revealed: rather than spending half of my development schedule in debugging, I spent one tenth. When faced with refactoring of a module to accommodate changed requirements, the effort was simply to select the services and connections to be encapsulated, and cut-and-paste them to a new drawing. While the representation of cause-and-effect may seem a burdensome abstraction, in fact it supports methods of design and analysis that are extremely difficult to emulate on instructions specified as text.