Report: #0037
The circles
drawn in wheat fields are works of art, but not works of UFOs.
Here, I
show you a drawing of a jellyfish, recently etched in a wheat field.
Reported
and presented by the Telegraph.co.uk:
http://www.telegraph.co.uk/news/newstopics/howaboutthat/5427512/600ft-jellyfish-crop-circle-found-in-Oxfordshire-field.html Exquisite—the drawing itself, the motif. What are the "drawn circles" in
wheat fields?
Flattenings
of growing wheat plants in their vital, still-growing state. Mature, dry wheat
won't do for the drawing.
If you step
on a fresh plant, it crushes more easily than a dry, rigid one.
The drawing
becomes more defined, the lines more precise. Mature wheat doesn't reflect the
design as sharply due to its uniform color. In contrast, green, fresh, growing
wheat rises a little again—and even produces grains the producer can harvest;
thus, the economic damage isn't so great.
The green
of the plant shines more in the sun than dry wheat. Crop circle drawings in wheat fields are
expressions of art in perfection. Beyond their creation on a computer, they
carry adrenaline and the anticipation of wide media distribution. A work of art is always more than the
observed drawing alone.
It's the
summary of an artistic process.
The summary
of professional work, from virtual creation to the real materialization of an
abstract idea. Source: Crop Circle
photos and reports courtesy The Crop Circle Connector
(cropcircleconnector.com).
All images
and text are Copyright © 1995-2009 on the Crop Circle Connector @
http://www.cropcircleconnector.com/. Information compiled by M J Fussell and
Stuart Dike. What does an artist use?
Colors and
plastic materials.
Do we have
that in these field drawings?
Of course.
A plant, though green, has dozens of colors. The green color in nature
expresses itself in at least forty subtle variations. With every breeze and
sunlight reflection, it shifts from nearly transparent green to almost black.
It's
beautiful to watch a wheat field move like a carpet.
Even more
so when the ears emerge from their nest, their sheath among the leaves that
protected them in formation. The plastic
material is the wheat, the plant. The most natural thing an artist can find for
their work.
Some—or
rather, many—religious Asian artists used and use tree plants to shape them
over years of care and slow growth, because they are trees and not annual
grasses.
Observing a
plant and cultivating it in a pre-chosen, predestined place for a
purpose—whether to provide shade, fruits, or harmony with flower colors to a
spot.
The
material of a plant, bonsai treelets mixed with a stone environment and some
water source, is Zen practice. Harmony is expressed in perfection through that.
There are
artists with the need to propagate their work to be known and thus sell better.
Others materialize works from the simple desire in their heart. Drawing is like
singing, just in another frequency. The melody can be the same.
I'm sure
these field-drawing artists are a mix of several forms of expression.
Because of
their talent, they have to create art.
That comes
from an inner impulse and cannot be stopped. The other aspect is ego: the
desire to show one's artistic capabilities. There's nothing wrong with that. It
would be a poor world without art.
@ http://www.cropcircleconnector.com/ Information Compiled by M J Fussell and Stuart Dike.
Fuente:"Crop Circle photos and reports courtesy The Crop Circle Connector
(cropcircleconnector.com)".
The dilemma
these artists face is that with the art materials they use, they damage the
owner of the agricultural production. It's like causing an accident and fleeing
the scene without giving identification. It's a schizophrenic mix between the
generous artist who gives us their work but escapes responsibility for paying
for the damage done. The viewpoint of the field owners is never discussed. I'm
an agronomist; I know how annoying it is if a stray cow enters a wheat field—or
worse, if a car or tractor enters a crop field to detour around a water hole on
the road where it might get stuck. Sometimes a truck gets stuck on the road,
blocking vehicles, and they in turn choose the detour through the field to
avoid waiting until the truck is freed. It always hurt me to lose a wheat
plant, but it was always many square meters lost. The artist should make
economic agreements with the owner and sell the images to journalists.
But there
he has another dilemma.
Who will
look at these drawings if they're not made by gods with their sky ships? I don't say UFOs don't exist; on the
contrary, I'm convinced of their existence. But they are not the authors of
these artistic drawings.
A dilemma
for the artist, my confirmation. I don't want them to stop, but yes, to do it
during the day and with the owner's permission.
The
propaganda will no longer come from UFOs but from the material creator's
ability in the drawings.
Like any
other artist, they must sell their recognized and acquired works for their
artistic value, not false propaganda. It's not fair to other artists who don't
use this false propaganda. Finally, the
field crop drawers are very good artists, and that's why they don't need false
propaganda. We can give them public recognition and legal protection—as long as
there are economic agreements for both parties involved: the owner and the
artist.
Because
they are great artists—no one disputes that.
Josef Bauer
Clarification:
For the presentation of crop circle images, there is permission for personal
and non-commercial use:
Individuals
may download, reproduce, and use images and associated captions posted on The
Crop Circle Connector's website for their own personal use.
