Pretentious Yet Pointless
Contrasts of summer and winter emphasise the expanse of the sculpture. Contrasts of the senses of smell and sight dominate the foreground of this image. The artist employs a rectangular grid to restrict the colours, which can by this means float free. The layers of approaching curves are enjoined in a parody of misery. The spectator is drawn by the outstanding aesthetic sensibility of the piece into the world of invaluable cultural relics. The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, quietly formal, create a strong interaction of forces. A particularly contentious aspect of the doodle is that it is the sensuality of extinction. Sol Aris has not completed the meaning of this painting. An interesting side of the doodle is that it is the eternal contrast of Yin and Yang. Of a sudden, we see the short vertical line symbolising strength curve back and forth, suggesting inconstancy. An interesting side of this sketch is the impersonal forms and industrial colours contrasting strongly with the here and now experience of form and space of the work. The spectator is drawn by the essential identity of the image into the world of salt and pepper. In post-impressionistic art, the visual phenomena of the physical world are, in themselves, meaningless: the important thing is feeling, as such. A central underlying meaning of this image is the world of the senses of smell and taste contrasting strongly with the arena of contrasting sugar and wine of the image. Such forms, serene and majestic, create strong gestalt sensations.
This image is an expression of one of the central preoccupations of Sol Aris's art, the creation of the gently twisted downward flying components where the outstanding aesthetic sensibility to the image is the spiritual dimension and its limitless possibilities. This image is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the strangely twisted rapidly reaching articulations where the essential identity to the piece is the essential difference between pattern and texture. The beribboned ground enriches a division of space that parallels our innermost confusion. A constantly changing glammerdummering, the scale and openness of which remains unchanged, is always transformed by the mere presence of the viewer. In this work Sol Aris delineates the relationship between spring and winter. The artist does not use a limited canvas to shape the colours, which therefore subsist in a world of their own choosing. In the Suprematist vision, the visual phenomena of the unexplored world are, in themselves, empty: the important thing is feeling, as such.
An important part of this work is the world of the senses of smell and taste contrasting strongly with the shapes so clearly visible. A temporally changing evanescence, the scale and openness of which is always the same, is sometimes transformed by the understanding of the viewer. Such forms, delicately modulated, create a strong interplay of forces. In this doodle Sol Aris depicts the relationship between dark and light. The viewer is drawn by the relationship of the spectator of the painting into the world of images rich in insight and emotion.
``If the socket address structure with the interface name is present, an ifi_info structure is allocated and the interface flags are stored. The expected family of this socket address structure is AF_LINK, indicating a datalink socket address structure. If the sdl_nlen member is nonzero, then the interface name is copied into the ifi_info structure. Otherwise a string containing the interface index is stored as the name. If the sdl_nlen member is nonzero, then the hardware address (e.g. the Ethernet address) is copied into the ifi_info structure and its length is also returned as ifi_hlen.''
[Richard Stevens, Unix Network Programming]