Point of Exquisite Suspension

Thoughts & life experiences of a Chicago area graphic artist

06 August 2025

Carl Sagan's Warning

 



Transcript of quote:

We’ve arranged a society based on science and technology in which no one knows anything about science and technology. Who is running science and technology in a democracy if people don’t know anything about.


Science is more than a body of knowledge. It is a way of thinking; a way of skeptically interrogating the universe with a fine understanding of human infallibility. If we are not able to ask skeptical questions - to interrogate those who tell us that something is true, to be skeptical of those in authority, then we’re up for grabs for the next charlatan, political or religious, who ambles along. 


It is something that Jefferson laid great stress on. It wasn’t enough, he said, to enshrine some rights in the constitution, in the Bill of Rights. The people had to be educated and they had to practice their skepticism and their education. Otherwise, we don’t run the government. The government runs us.


Carl Sagan.


05 August 2025

Alien Contact & the Ethics of Encounter: A Philosophical Inquiry

Among the most profound and unsettling questions raised by alleged alien contact experiences is not simply whether such encounters are real, but whether they are moral. From the visceral testimony of Whitley Strieber in Communion to the more abstract frameworks proposed by Jacques Vallée, we are confronted with accounts that consistently describe a power imbalance between human beings and a form of non-human intelligence. These Visitors—be they extraterrestrial, interdimensional, psychic, or symbolic—interact with people in ways that appear intrusive, manipulative, and often traumatic. Even when they are not overtly hostile, they do not appear to operate with the ethical norms that underpin human interaction. In light of this, we must ask: What are the moral implications of these encounters? And can they ever be justified?

The first and most immediate issue is that of phenomenological displacement. Contact with these entities often plunges the experiencer into a sudden and radical estrangement from the familiar world. Individuals report being taken from their homes, their vehicles, or their very sense of bodily autonomy. What follows is not only a dislocation in space, but a collapse of meaning itself—an ontological shock. The individual is left grappling with a reality that no longer obeys the rules of time, identity, or causality. This is not a benign awakening; it is a form of existential violence. The psychological impact is often long-lasting, with many abductees experiencing symptoms akin to post-traumatic stress. Whether these beings are aware of the trauma they cause or not, they persist in a pattern of engagement that violates the fundamental sanctity of personal sovereignty.


Even more disturbing is the issue of consent. The Visitors seem driven by a desire to “know” humanity—to study us, to manipulate us, perhaps even to change us. But this pursuit of knowledge occurs without permission, without mutual agreement, and without clear purpose. Under the guise of exploration or education, human beings are reduced to mere objects, instruments in someone else’s experiment. This is where the encounter crosses an ethical line. As Immanuel Kant wrote, human beings must always be treated as ends in themselves, never merely as means to another's end. If these intelligences possess the capacity for abstract reasoning—and their actions suggest they do—then their disregard for consent places them outside any moral framework that we would consider just or enlightened.


Jacques Vallée’s conditioning hypothesis complicates the picture further. According to Vallée, these experiences are not just random or experimental but may be part of a long-term program to influence human consciousness. The phenomenon, he argues, presents itself in ways that challenge our beliefs, our myths, and our understanding of reality. It appears to be engaged in a form of cultural or psychological manipulation—shaping our evolution, or perhaps our subjugation. Yet even if we grant this premise, we are left with an urgent ethical dilemma: if the purpose of this conditioning is unknown, and if its methods rely on trauma and deception, can it be considered moral? Education without clarity, consent, or compassion is indistinguishable from control. Conditioning without dialogue becomes coercion.


Some have attempted to interpret the phenomenon through the lens of mythology, likening the Visitors to trickster figures—beings who destabilize, provoke, and ultimately transform. Tricksters in traditional lore are morally ambiguous, operating outside the boundaries of conventional ethics to initiate change. But even the trickster, in myth, eventually reveals something—some pattern, some lesson. The Visitors remain opaque. They provide no context, no closure. They disrupt, but do not enlighten. If they are tricksters, they are ones who leave their victims shattered rather than awakened. This raises the unsettling possibility that their purpose is not transformative, but disorienting for its own sake.


This brings us to what may be the most chilling conclusion: that the Visitors are not evil in the way we understand evil, but rather amoral—utterly indifferent to human suffering, ethical norms, or spiritual development. They do not appear to seek relationship or communion, but merely contact. They do not offer healing, but intrusion. And they do not ask for understanding, only compliance or confusion. If this is true, then we are not dealing with malevolence, but something perhaps more frightening: intelligence without empathy. Power without conscience.

In the end, the question may not be what these beings are, but what we must become in response to them. Do we fortify our ethical values in the face of the unknowable? Do we construct boundaries, rituals, or moral frameworks that protect our dignity even under cosmic exposure? Or do we, seduced by awe or cowed by fear, surrender to forces that do not share our moral language?


The stories told in Communion and echoed in countless other narratives are not just science fiction horror—they are moral parables for a world grappling with Otherness on a scale beyond comprehension. Whether these Visitors are physical beings, psychological projections, or metaphysical intrusions, their impact on the human spirit is real. And until they choose to engage with us ethically, we must treat their presence not as a gift, but as a problem: not merely a mystery to be solved, but a moral challenge to be confronted.

28 July 2025

Batman Poster Original and Enhancement

 

My original ink drawing inspired by The Batman film. 18"x24"

The enhanced drawing of my ink art after running it through FOTOR “Pin-up” Filter.


25 July 2025

Vivid Childhood Dream Recollected

One of the most vivid and striking dreams I recall from my childhood was around the time my younger brother was born. I had turned five years old a few months before. 

In my dream, I was a WW2 era soldier along with a group or company that was trudging along a suburban street with houses on either side.


I realize we are walking along my street. In fact, I see my house where my mom is on the porch holding my little brother.



I frantically wave to them to warm them that this is a war zone and to seek cover.



Suddenly, a large artillery strike hits my house which explodes in a ball of flame and is utterly destroyed.


I am shocked and bereft.



Then I saw myself on the edge of a cliff overlooking a waterfall. In my anguish and utter despair, I let myself fall over the cliff as the waterfall rages.


Then I wake up.


Although it might seem obvious to the average person, It wasn’t until I recently related the dream to a co-worker over lunch that I realized the dream was my way of processing my feelings of being displaced by my baby brother who took the role of being the youngest of our family after I had been the youngest for five years up to that point.



22 June 2025

Mythological Summer

 

"Theros, the Greek personification of Summer, is depicted as a winged youth holding a sheaf of grain in one hand and a sickle in the other”.  Image Source

I recently learned of the Greek personification of the Summer season, named Theros. It is one of the the Horae (or Horai)—a collective of goddesses representing seasons and natural order.

In my initial research, I was led to believe that the figure was male since it was described as “a youth” and also by the seemingly masculine nature of the name with its “o” in the last syllable rather than the typically feminine “a”.

Then I read further that the Romans often depicted the figure of Theros as masculine and that, in general, there is traditional leway for artistic license with the character.

As with many topics that strike my fancy, I have become a bit obsessed with visualizing the figure and have made quite a few AI generated images based on specific prompts describing style and medium. Below are some of them:

Created with ChatGPT

Created with Adobe Firefly

Created with Fotor

Created with Grok

Created with Meta AI


ChatGPT gender-neutral render

06 May 2025

A Look Back at Take On Me

 Embedding some clips from the stellar 80s classic by Aha:

a-ha - Take On Me -Clip from TV show performance:



a-ha - Take On Me (Official Music Video):



a-ha - Take On Me (Live From MTV Unplugged):



a-ha - Take On Me (Live in Berlin, July 2005)

a-ha performing at Live 8 in Berlin at Siegessäule on the 2nd July, 2005. Organised by Sir Bob and The Band Aid Trust to raise money to fight poverty around the world, the event was viewed by around 2 billion people. Subscribe to the channel to stay up to date with all new releases.


04 May 2025

Revisiting the Good Doctor

 

Ink, Marker & Color Pencil Fan Art of Doctor Strange I made as a teen.

Inspired by the embedded Twitter post below, I bring out a sketch I made many years ago of one of my top favorite Marvel Comics characters. Great summation below of the unique and stellar creative efforts of the team who brought Doctor Strange to life in the pages of Strange Tales. Of course the inimitable art by Steve Ditko deserves the lion share of the credit.