Von Meier Student, Artist Judy Fiskin

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According to Wikipedia, Judy Fiskin (born April 1, 1945 in Chicago, is an American artist working in photography and video, and a member of the art school faculty at California Institute of the Arts. Her videos have been screened in the Documentary Fortnight series at the Museum of Modern Art in New York, at the Los Angeles County Museum of Art, the Hammer Museum in Los Angeles, and at the J. Paul Getty Museum in Los Angeles; her photographs have been shown at MOCA, the Museum of Contemporary Art in Los Angeles, at the Getty Museum in Los Angeles, at The New Museum in New York City, and at the Pompidou Center in Paris.

And her photography career began under the watchful eye of Professor Kurt von Meier. In a November 15, 1992 article in the Los Angeles Times, Fiskin told the tale:

“Fiskin, a native of West L.A., received her bachelor's degree in art history from Pomona College and after a brief stint in medieval art at UC Berkeley finished her master's degree in 20th-Century art history at UCLA in 1969. The defining moment of her study there took place in a class taught by Kurt von Meier. Art dealer Fred Hoffman, art critic Merle Schipper and CalArts Provost Beverly O'Neill were in the same class. Von Meier's unconventional approach included taking students to the airport, where they would watch planes take off, or telling them to buy inexpensive TVs to throw off the end of the Santa Monica Pier.

"In order to get us to think about how conventional symbols were used in popular culture," Fiskin recalls, "he assigned us each a symbol--mine was the heart--and had us get cameras. This is after six or seven years of art history and all this input of looking at images. I held the camera up to my face for the first time and thought, 'This is for me!' I think all that art history was that I really wanted to be an artist and didn't know how. The minute I held up that camera, I realized I could."

Fiskin was soon photographing views of San Bernardino, military architecture, stucco and dingbats. It was a time when the aesthetics and theories of Minimalism held sway.”

Here’s a link to the full Los Angeles Times article

The Gestalt Agent's Handbook

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In 1972, Kurt’s later-to-be friend and Diamond Sufi Ranch resident, Walter (Clifford) Barney wrote a thesis about Gestalt Therapy while pursuing a Master’s Degree in Counseling. His collaboration with two friends became as much of the subject of his thesis as Gestalt Therapy itself—his documentation of their interaction a practical demonstration of the Gestalt process. Combining concepts with process documentation, this paper anticipated elements of what is conventionally referred to today as “mindfulness” training, bring attention to body-mind awareness.
Barney writes, “Most people read books in order to learn something from them. By writing a book, we collude with this expectation of the reader. We deal with this trap in two ways: by letting the reader watch our process as we write the book, and so become aware of our dilemma; and by playing verbal tricks on him, so that when he begins to think that he learns from us, rather than from himself, he suddenly finds himself in a blind alley, logically.”

On Audio: G. Spencer Brown at the AUM Conference - Final Remarks

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As Clifford Barney has written, Brown departed the AUM Conference in 1973 after only two days of attendance, concluding his visit with these final remarks about Laws of Form and its underlying mathematics. From his tone, one senses Brown felt he'd said everything he had to say; he encouraged his "audience" to ask a couple of questions. What ensued was wonderful; lucid, intriguing and entertaining remarks about The Five Levels of Eternity, consciousness and contradiction, Eastern vs. Western concepts, the use of injunctive language in mathematics, mystic utterances, and that "there's no feedback in heaven." The talk runs about 35 minutes.