JEROEN VAN DER POEL


HET BEELD —

  1. About
  2. Shorts
  3. Salmari
  4. You and me an introduction and end


DOCUMENTARIES — 

  1. Douglas Adams
  2. Terence McKenna
  3. P.B. Shelley
  4. Bruno Schulz
  5. Nicola Tesla
  6. Olaf Stapledon
  7. G.M. Hopkins
  8. Buckminster Fuller
  9. James Joyce
  10. Richard Feynman


MUSIC VIDEOS —

  1. Douglas Adams
  2. Terence McKenna
  3. P.B. Shelley
  4. Bruno Schulz
  5. Nicola Tesla
  6. Olaf Stapledon
  7. G.M. Hopkins
  8. Buckminster Fuller
  9. James Joyce
  10. Richard Feynman


COLLABORATIONS —

  1. Douglas Adams
  2. Terence McKenna
  3. P.B. Shelley
  4. Bruno Schulz
  5. Nicola Tesla
  6. Olaf Stapledon
  7. G.M. Hopkins
  8. Buckminster Fuller
  9. James Joyce
  10. Richard Feynman



Object Int’l —
Info
  1. A rock is a perfect metaphor, an allegory in volume. When placed its sculptural limits beget a kind of artistic proposition — and when considered with reduced anthropomorphism and ungeologically — produce a ready-made analog to the causation and bounds of our attempts at the understanding of all things.

HET BEELD 




SHORTS
 SALMARI

YOU AND ME AN INTRODUCTION AND END

Mark



2. SHORTS



HET BEELD / 2017
One Path to Victory is Sabotage

            This film is about the importance of the Eurosongfestival and maybe Refugees as well.

Mark


1. What about the Children?


Last week i got distracted from life, when D.TRUMP
got installed as the new presidend of the U.S.A.. 
Glad it could nevertheless inspire me to do something. 

3. Thomas Kuhn

 




TK / 1962
From The Structure of Scientific Revolutions

            Yet one standard product of the scientific enterprise is missing. Normal science does not aim at novelties of fact or theory and, when successful, finds none. New and unsuspected phenomena are, however, repeatedly uncovered by scientific research, and radical new theories have again and again been invented by scientists.
            The practice of normal science depends on the ability, acquired from exemplars, to group objects and situations into similarity sets which are primitive in the sense that the grouping is done without an answer to the question, “Similar with respect to what?” One central aspect of any revolution is, then, that some of the similarity relations change. Objects that were grouped in the same set before are grouped in different ones afterward and vice versa. Think of the sun, moon, Mars, and earth before and after Copernicus; of free fall, pendular, and planetary motion before and after Galileo; or of salts, alloys, and a sulpuhur-iron filing mix before and after Dalton.





Mark

4. Loren Eiseley





LE / 1957
From The Immense Journey

            A billion years have gone into the making of that eye; the water and the salt and the vapors of the sun have built it; things that squirmed in the tide silts have devised it. Light-year beyond light-year, deep beyond deep, the mind may rove by means of it, hanging above the bottomless and surveying impartially the state of matter in the white-dwarf suns.




Yet whenever I see a frog’s eye low in the water warily ogling the shoreward landscape, I always think inconsequentially of those twiddling mechanical eyes that mankind manipulates nightly from a thousand observatories. Someday, with a telescopic lens an acre in extent, we are going to see something not to out liking, some looming shape outside there across the great pond of space.
            Whenever I catch a frog’s eye I am aware of this, but I do not find it depressing. I stand quite still and try hard not to move or lift a hand since it would only frighten him. And standing thus it finally comes to me that this is the most enormous extension of vision of which life is capable: the projection of itself into other lives. This is the lonely magnificent power of humanity. It is, far more than any spatial adventure, the supreme epitome of the reaching out.
Mark