Sisyphus' Legend.
Cunning Sisyphus, father of Odysseus, husband of Merope, the only Pleiad
who had married a mortal. There are several versions of his legend.
1) Sisyphus revealed to Adoptos that Zeus had abducted Egine, Adoptos's
daughter. Zeus quite angried punished Sisyphus: killed by a thunderbolt,
Sisyphus was sent to infernos and condemned by Zeus to forever roll the
famous rock uphill.
2) or, more interesting: instead of a thunderbolt, Zeus sent Sisyphus the
genie of death, Thatanos, to kill him. But Sisyphus fought back and chained
Thatanos, so no human could die anymore! Zeus had to free Thatanos and Thatanos'
first victim was to be Sisyphus. But before dying, Sisyphus could secretly
ask his wife Merope not to burry him. Once in infernos, Hades asked Sisyphus
why he was not showing up well prepared as anyone else. Sisyphus complained
about his wife's neglect and Hades let him return on earth to punish her.
So off went Sisyphus, who then cleverly failed to return to infernos and
enjoyed a very long life on earth. When Sisyphus finally died naturally,
Hades -to avoid any further escape, decided to keep Sisyphus busy evermore
with the rock.
3) there was another legend, which reached us incomplete. Same rock, though!
This illustration by Gustave Dore for Dante's Divine Comedy Inferno, although
depicting the avaricious and prodigal, is strongly suggestive of Sisyphus
(details 1 and 2).
Original Sisyphus' Statement (July 1998)
Sisyphus is a computer controlled kinetic device. It draws in the sand,
as in the Japanese "Karesansui" tradition of zen stone-gardens. It can also
entertain a wide range of applications in fine arts which are not discussed
here.
Unlike stone-gardens, Sisyphus is controlled by software, which enables
it to show unprecedented skills & aptitude for changes and variations. Yet
Sisyphus can preserve the seven characteristics of Zen aesthetics: Assymetry,
Simplicity, Austere Sublimity (or Lofty Dryness), Naturalness, Subtle Profundity
(or Deep Reserve), Freedom from Attachment and Tranquillity.
Like Tibetan Buddhism Mandalas, Sisyphus work is both an interactive happening
for the beholder, and a transient piece. Watching Sisyphus slowly draw its
path encourages contemplation and meditation. Its sounds create an atmosphere
of mystery. Its sand medium is at the same time natural and surprising,
familiar and surreal. Its themes will remain simple and harmonious primeval
geometries, quiet spirals, intriguing fractals. Sisyphus is a piece as well
as a medium. Its instances can be either display pieces, or studio models.
Ho has conceived and built two Sisyphus prototypes, and is considering many
possible options and developments for a limited edition as well as for unique
pieces and commissions:
-automatic, continuous operation for a properly paced display,
-japanese joinery case,
-faster and more powerful engine,
-smaller and larger sizes (prototypes are 36 x 36 inches),
-installation over the internet of several coordinated models for shared
experience, evolved interactions,
-exploration of other media (coloured sands and powders, fine gravels and
many others),
-development of the inherent potential for music or complete extinction
of sounds for tranquil observation,
-development of light, colours and shadows effects,
-extension of interactivity (several paths are being explored; information
upon request).
Wyra?
(Who you really are?) Statement.
Wyra? asks us to experience the identity of our physical self and our genes.
The viewer becomes instantly part of the work and sees oneself immersed
in the genomic image which overwhelms the reflection. The symbolic genetic
code and the self return only one image. Both are the one and same reality:
the medium of human life, the empty canvas offered to our endeavours.
As improbable as a visual representation of molecular biology might be,
the form chosen for Wyra? plays on several symbolic levels. Along a family
of packed fractal curves, the CGAT glyphs whisper the genomic incantation.
Charged with coded information, the strands of dual helix fill a space slightly
undulating around a subtle spiral. Their geometry echoes antique patterns
of Celtic, Chinese, Greek, and Islamic traditions.
Wyra? is a reflective piece.
. . . And he said, "Bring me a fruit of the nyagrodha tree." - "Here is
one, sir."
- "Break it." - "It is broken, sir."
- "What do you see there?" - "Some seeds, sir, exceedingly small."
- "Break one of these." - "It is broken, sir."
- "What do you see there?" - "Nothing at all."
The father said, " My son, that subtle essence which you do not perceive
there -in that very essence stands the very being of the huge nyagrodha
tree. In that which is the subtle essence all that exists has its self.
That is the True, that is the Self, and thou, Svetaketu, art That." . .
.
(From the Chandogya Upanishad, as quoted by Aldous Huxley in "The perennial
philosophy." 1944)
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