The experience of the Self that is given in the existence of a personality comprises five conditioned attributes, namely, corporeal form (rûpa), sensations (vedanâ), perceptions (saññâ), emotions (sankhâra) and consciousness (viññâna). These five clusters (pañca khandha) determine all the body and mental phenomena of our contingent and finite experience. The North–American Buddhist philosopher Robert Thurman gives us vivid images of each of the mentioned elements:

We begin by looking at the body. We can […] thump our chests and say, ‘I’m me’, but surely we are not just a bunch of ribs. We look in the mirror and say, ‘There I am’, but we say the same thing when we see old snapshots of ourselves […] We can explore cells, axons, and dendrites; molecules, DNA, and RNA; atoms, subatomic quantum particles, unnameable forces and energies. Nowhere we can find anything still, static, independent. […]

We can move on to our minds and begin by sifting through our feelings, sensations, pleasures, pains, or numbnesses. […] I investigate my sensory surfaces and, after some time, give up finding any stable, self–sufficient ‘I’ anywhere along them.

Then we can move into images, words, symbols, ideas, concepts, mental pictures. This at first seems promising. ‘I’ is a word, after all. The names ‘Alice’, ‘Joe’, ‘Carol’, and ‘Shakyamuni’ all are nouns. When I pronounce my own name, ‘Bob’, does an image of myself arise in my mind? Is it a recent snapshot of my face? […] A curriculum vitae? A biography? Is it a favorite logo? A trademark? A symbol? […] None touches the essence of ‘me’. […]

We can move deeper into the motions of the mind, into emotions. When ‘I’ love or am in love, I feel powerfully present, even in the moment of feeling that solidity melting. When ‘I’ hate, I am carried away by destructive impulses […] – all these energies seem to take hold of ‘me’, or seem to emanate from ‘I’. But as I think them through, observe them in actuality or in memory, they seem fully bound in relationships. […]

At last we come to awareness itself, to look at our very consciousness […] But to turn toward my center of awareness, I have to tell my awareness to turn back on itself.

Thurman, Robert, Inner Revolution: Life, Liberty, and the Pursuit of Real Happiness, New York: Riverhead Books, 1998 (pp.74–79)

What we can say is that our personality is but the result of a combination of those five elements – to the point that the belief in its autonomy and permanence ends up being a suffering–causing illusion. In none of the mentioned clusters would we be able to detect the presence of an autonomous and unconditioned subject; therefore, the insistence in any of them will necessarily lead to suffering.

Correia, Carlos João, Personal Identity and Eastern Thought”, Filozofija i Društvo, vol 20 no 3, Belgrade: University of Belgrade, 2009 (pp.74–75)


I came across Prof. Correia’s paper when doing a bit of research on western vs. eastern perspectives on identity and the self. Side note: I don’t think I’ve ever seen such a strong profile photo as the one on Bob Thurman’s site.

“watermelon” by Sister Corita

We watched “Power Up: The Work of Sister Corita” this morning. The talk was given by graphic designer Barbara Glauber (see Heavy Meta and Yale School of Art) at The Cooper Union in November 2018.

It is a superb talk, and I’m beyond pleased that we were able to find and purchase a secondhand copy of the out-of-print book Someday is Now: The Art of Corita Kent online.

We have no art. We do everything as well as we can.

“daisy” by Sister Corita

Sister Corita was a nun, artist, and educator that worked in LA in the 50s-60s and in Boston later in life. See the ten Immaculate Heart College Art Department Rules.

Corita Kent used appropriation without irony or cynicism. She identified, combined, and repurposed the hopeful in the everyday. She was a prolific giver that shared seemingly without expectation of return. She used optimism as activism.

Ignore the persuaders

“r rosey runners” by Sister Corita

It is interesting that her appropriation of advertising copy seemed to wane later in life. Maybe advertising began to feel less optimistic to her, instead more sinister and insidious.

I wonder at how difficult it must have been to leave the order. Not just because it meant a return to the secular after a lifetime of regulation and restrictions, but also because it meant that she had to leave the resources of the art school, the playground she had so carefully cultivated. Her later work is still incredible, but it seems more weary and a little more laboured. “Bogged down” is one way of describing it. Her prints from the 70s almost veer in to motivational poster territory.

Salute your source

How to create or maintain the playground required for work with her sort of radical optimism? A major element is the physical space, both small (the room / studio) and large (the community / city). It is also the mental space.

Both of these spaces come at a premium now, though. I struggle to get enough of either.

It feels like there may be some sort of third space offered by working with the web, but I haven’t figured this out yet. When I try to work digitally, I get bogged down. How to experiment with the web in a way that is as gestural and intuitive as a line drawing?


  1. watermelon, serigraph, Sister Corita Kent (1965) 
  2. daisy, serigraph, Sister Corita Kent (1966) 
  3. r rosey runners, serigraph, Sister Corita Kent (1968) 

The images here are from the Corita Art Center website. See their online Collection for high-quality images and more details about her work, including transcriptions of the text within her prints.

They are currently seeking donations to acquire these pieces. Donate to the Corita Art Center here.

Over the holidays, Grandpa showed me Effie Bradley’s daily memoranda. Effie was his grandma on his mother’s side, so my great-great grandmother. I asked if Effie was short for anything, he wasn’t sure. It may have been Euphemia, but maybe Effie wasn’t a nickname.

The relative that typed up the memoranda was June Bradley Piper, Grandpa’s double cousin. Double cousins are related via both parents (two brothers partnering with two sisters). I’d never heard of that before. I think June was named after Grandpa’s paternal grandfather June Piper. I didn’t know June was used as a male name. Via Wikipedia: “As a boy’s name, June reached a peak in 1922 at 697th, but then also declined and left the top 1000 list in 1939.”

Read Effie Bradley’s January 1902 memoranda

Certain quotes lodge themselves in your head. So many of the ones in my head come from the fourth edition of What is a designer by Norman Potter published by Hyphen Press in 2002.

p.23, on design education

The words by which people describe themselves – architect, graphic designer, interior designer, etc. – become curiously more important than the work they actually do. In one respect this is fair, because under modern conditions it may be very difficult to find one word to identify their work, but such words tend to build up irrelevant overtones of meaning which are more useful as a comfort to personal security than as a basis for co-operative enterprise.

p.30, wrapping up his thoughts on design education

All we can do is make good work possible, and be alert to its coming; never fooling ourselves that all good things come easily. To work well is to work with love.

p.57, on recognising the value in nuance

In raising consciousness of these matters, it should be remembered that our civilization sells itself through sensation, preferably with the volume turned up. This is good reason for designers to learn how to speak quietly, and to understand how it is that conversation becomes possible between people and things.

And nearly every point in chapter 18, “Advice for beginners”, and 19, “Questioning design”.

‘Science explains the world, but only Art can reconcile us to it. What do we really know about the origin of the Universe? A blank so wide can be filled with myths and legends. I wished, in my mythologizing, to reach the limits of improbability, and I believe that I came close. You know this already, therefore what you really wanted to ask was if the Universe is indeed ludicrous. But that question each must answer for himself’.

From “King Globares and the Sages” by Stanisław Lem

“King Globares and the Sages” is one in a collection of short stories by Stanisław Lem titled Mortal Engines. It was published by The Seabury Press in 1977 and by Penguin Classics in 2016. All of the stories in the collection were chosen, translated, and introduced by Michael Kandel.

I should like to say two things, one intellectual and one moral. The intellectual thing I should want to say to them is this.

When you are studying any matter or considering any philosophy, ask yourself only “what are the facts?” and “what is the truth that the facts bear out?”

Never let yourself be diverted either by what you wish to believe or by what you think would have beneficent social effects if it were believed. But look only, and solely, at what are the facts.

That is the intellectual thing that I should wish to say. The moral thing I should wish to say to them is very simple.

I should say love is wise, hatred is foolish.

In this world which is getting more and more closely interconnected, we have to learn to tolerate each other, we have to learn to put up with the fact that some people say things that we don’t like. We can only live together in that way. And if we are to live together and not die together, we must learn a kind of charity and a kind of tolerance which is absolutely vital to the continuation of human life on this planet.

From Bertrand Russell interview with John Freeman for the BBC’s “Face to Face”, originally aired 4 March 1959 (source).

Bertrand Russell’s response when asked what lessons from his life may be worth imparting to future generations. Russell was 86 years old when the interview aired.

Separate but related: “A Little History of Philosophy” by Nigel Warburton. Very digestible and enjoyable. Must be noted that the author omits a few big names and focuses entirely on Western philosophy. Fair enough, would probably be 300% longer otherwise.

This idea began as a bit of a joke of course, over whiskey in Nicosia late at night we said “Hey, we should run a book store with this stuff.” And like most things that are worth doing, the jokes are worth following through because they’re fun.

David Reinfurt on the beginnings of Dexter Sinister from his 17 March 2009 talk as part of the Walker’s Insights Design Lecture Series. Quote is a paraphrase, see 33:45 for full comment.