Ray's Art

My portfolio is separated into thirteen groups: Aviation art, Synesthetic art, Abstract derivatives,       Scientific derivatives, Mathematical derivative,Surrealistic derivatives, Realism, Surrealism, Art Deco, Neuroscience Humor, Car designs, Satire and Quasi-Religious Art.  My art is very eclectic.  I explore subjects as varied as aviation, neuroscience, abstract art, subatomic particle physics, mathematics, surrealistic art, quantum mechanics, cars and metaphysics. 

[Please send inquiries about my art to Po Box 815 Coraopolis, PA 15108.]

Aviation Art

My aviation art is inspired by my thirty-nine year involvement with aviation.  I served four years in
U. S. Naval aviation and thirty-five years as an airline maintenance technician.  The A-4E Skyhawk shown in the upper left painting is one of the aircraft that I worked on when I served in Attack Squadron VA-12 aboard the aircraft carrier USS Franklin D. Roosevelt in 1965.

Synesthetic Art

My synesthetic art is the result of my experience with the rare neural phenomenon known as non-idiopathic synesthesia.  The paintings are accurate representations of sensory induced visualizations known technically as photisms.  The image depicted in each painting was caused by a specific auditory or tactile sensory input.  The specific sensory input is the title of the painting.  My visualizations are not caused by drug or alcohol use or abuse as is sometimes the case with non-idiopathic synesthesia.  Drug/alcohol synesthesia is the result of a different neural mechanism than that which caused the images in the paintings.  Apparently, my synesthesia is a result of an on the job head injury.  I distinctly remember a nasty collision with a propeller, stationary, of course.  It was shortly after this impact that I began “seeing” the photisms.  It was only many years later, after much research, that I made the connection between the head injury and non-idiopathic synesthesia. 

The synesthetic paintings are not abstract art.  Paradoxically, the paintings are actually realistic art in the sense that they accurately represent the subject.  My synesthetic art is unique even in the arcane realm of synesthesia because my photisms consistently represent specific sensory inputs and they are devoid of colors.  The photisms always appear only for an instant. 

 The photisms graphically display neural signals the way an oscillograph displays electrical signals.  The photism images are analogous to an oscillogram in that they visually illustrate and produce a record of specific neural activity.  According to my theory, each individual photism represents the smallest unit of the encoded neural signal language that the brain uses for internal communication and to direct the functions of the nervous system.  I believe this neural signal language is the substratum of which or upon which all neural signaling is constructed.

A comprehensive explanation of the neural mechanism responsible for non-idiopathic synesthesia would be lengthy.  And it would be beyond the scope of this brief article.  I suggest an Internet search of titles like “auditory-visual synesthesia: sound-induced photisms” and “acquired auditory-tactile synesthesia.”  This search will result in several thousand articles relevant to this fascinating neural phenomenon.

“Slam” (upper left) may be considered historic in that it is probably the first ever finished oil painting of this type of synesthetic photism.  The sensory input that produced the image was the sound of a metal locker door being slammed. 

The “Click” photism image (upper right) was produced by the sound of a small plastic card flipping over as the time changed on an old fashioned digital alarm clock (very similar to the clock in the movie “Groundhog Day.”  The image was always the same and aligned horizontally.  However, once, for some unknown reason, the image was canted as is shown in the painting.  I decided to paint that photism because it was different from all the other click images. 

The “Bang photism image (lower left) represents the sound of a loud Fourth of July firework.  The fact that it is an explosion pattern may be coincidental because several other photisms are radiating images.  Radiating patterns, spirals, lattices and various geometric shapes are among the most common synesthetic images.  These patterns and shapes are referred to scientifically, as Kluver’s “form constants.” 

The image in the painting “Thunder” is a very accurate representation of the actual photism.  Getting the circles reasonably round was extremely difficult.  I’m amazed that this painting came out so well.   

The “Clang” photism (left) represents the sound of a metal pipe dropped on a paved driveway.

The “Patty’s Embrace” photism (right) represents the only tactile sensory input that I recorded with a painting.

I believe the image in the painting “Pop” (upper left) represents a partially formed photism.  Some of the spikes are squared off at the ends.  I think the fully formed photism would have had all squared spikes.  I’m not sure what sound caused this photism

 “Bang no. 2” (upper right) is the exact same photism image as in “Bang.”  The smaller canvas does not reflect the synesthetic experience as well as “Bang.”  Imagine “seeing” this image for an instant at distance of about one foot.  The image and the black background depicted in “Bang” accurately reflect the actual synesthetic experience to a remarkable degree.

The “Clunk” photism represents the sound of the T handle of a large metal shop vise dropping forcefully on the jack screw of the vice.  This is the sound of a heavy metal to metal impact.   

Abstract Derivatives
The abstract derivatives use the synesthetic images as a starting point.  Color is added arbitrarily to create an art work of line and color.  In the case of the synesthetic painting, “Pop,” a simple image is transformed into the highly complex abstract composition, “Pop (Blue).”  The colors in some of the photos do not accurately represent the colors of the paintings.         


 “Creation (Blue)” (upper left) is a colorized abstract derivative of the scientific derivative painting titled “Creation.”  The dots are solid color with the subatomic particle symbols of “Creation” deleted.  The “Creation (Blue)” image is a modified “Bang” image.  The size of the canvas is reduced, but the image size is the same as “Bang” and the other “Bang” derivatives except “Mathematical Metaphor for Creation”.  

“Slam Five (Violet)” (upper right) is a colorized version of the “Slam” photism image.  Five indicates that this is the fifth derivative of the slam photism.  The color of the painting is monochromatic violet.  The pattern of the dots was changed to be symmetrical because I think that works better for this abstract composition. 

“Blue Thunder” (bottom left and detail bottom right) is an enlarged, colorized version of the “Thunder” photism.  This painting can be considered expressionist in the sense that I used colors to express my startled reaction to a loud peal of thunder just as I was about to fall asleep.  The colors exactly conform to the intensity pattern of the original “Thunder” photism painting.   

“Pop (Blue)” (left) is a colorized, highly modified, derivative of the relatively simple “Pop” photism. 

“Clunk (blue)” (right) is the result of an artistic mistake.  After I finished “Clunk,” I realized that the background was too dark.  The background when some of the photisms occur is dark gray rather than black, probably because of bright ambient light.  After I repainted “Clunk” correctly, it was obvious that I should turn the incorrect painting into an abstract composition.
Abstract paintings aren’t supposed to represent any actual object.  Technically, this is true for “Clunk (blue).”  However, I wanted to produce an image that looked like some strange interference or malfunction on an old fashioned television screen or a computer monitor.  I personally like the interplay between the blue streaks and the broken gray lines.  Looking at the painting can be disorienting, like listening to someone trying to explain Einstein’s Theory of Relativity. 

“Patty’s Embrace (Red)” is an enlarged, modified and colorized version of the “Patty’s Embrace” photism image.  The complex background of this painting is monochromatic red madder.    

“Red White and Blue” (left) is an enlarged colorized version of the “Clunk” photism painting.  Unfortunately, the exposure of this photo is very uneven.  The background is actually pure white.  This painting contains a cryptically hidden patriotic message.  It can’t be seen in the photo.  It can only be seen if the viewer knows where and how to look for it. 
“Clang no. 2” (right) is another abstract that resulted from an artistic mistake.  When I realized the background of “Clang” was too dark, I decided to continue and make the painting an abstract composition.  The black hole in the center of the painting is a bit of artistic license as is the number and shapes of the radials.

Scientific Derivatives

The scientific derivatives reflect my interest in subatomic particle physics.  As the term implies, these paintings are derived from a synesthetic image, namely “Bang,” and they utilize scientific concepts for inspiration.  Einstein’s famous equation E = mc2 pointed me toward the subatomic particle physics that is the basis of my scientific and mathematical derivatives.  E = mc2 is reversed in my symbolically colorized painting “E/c2 = m.” This same equation is the basic concept for the painting “Creation” and the collage “Mathematical Metaphor for Creation.”  The logic of these paintings is this: E = mc2 represents destruction, matter to energy (nuclear weapons), conversely, E/c2 = m can represent creation, energy to matter, as in the Big Bang theory creation model.  E/c2 = m can also mathematically represent the Biblical creation concept, “Let there be light” because light, the first thing created, is electromagnetic energy.  Matter, the material universe, according to both the Bible and the Big Bang came later.  The E/c2 = m equation, energy to matter, works perfectly in both cases.  Particles of electromagnetic energy (photons) are represented by the white dots in the center of both paintings.  In the “Creation” painting, the dots contain the symbol for a photon.  It is an interesting coincidence that both paintings were derived from the “Bang” photism image.

The painting “E/c2 = m” (upper left) is a colorized version of the radiating explosion pattern of the “Bang” photism image.  However, it is not a work of abstract art.  As with my painting “Creation,” this image is a loose visual metaphor for the “Big Bang” creation model.  The Big Bang is the well-known and generally accepted scientific theory that attempts to explain the origin of the universe. 

The colors of the painting represent the temperature component of the Big Bang theory.  According to the Big Bang theory of creation, the universe originated from an infinitesimal particle of energy (electromagnetic radiation or light).  This so-called “singularity” is thought to have been an immensely powerful burst of radiation that rapidly expanded and cooled into particles of matter: protons, neutrons and electrons the stable constituents of atoms.  In the words of one science writer, “The material universe condensed out of the radiation.”

The painting shows white-hot particles of energy (photons) in the center of the image radiating outward as they become progressively cooler, heavier stable subatomic particles, the building blocks of the universe.  This transformation can be represented mathematically with the equation E/c2 = m.  The four colors, white, yellow, red and brown at the periphery, indicate a progressive cooling of the particles.  The four-stage pattern of the “Bang” image is maintained in this painting; however, within each stage the colors are graduated to indicate a continuous progression from hot to cold.  Subatomic particles radiating outward from the initial fireball of energy and cooling as a function of elapsed time generally concurs with the Big Bang model.

The title of the painting, “E/c2 = m,” is the reverse of Albert Einstein’s famous equation, E = mc2
E = mc2 is used to mathematically represent the conversion of matter to energy, as is the case with atomic fission or fusion.  E = mc2 represents a destructive process; matter disappears in a burst of energy.  The E/c2 = m equation, being the reverse of E = mc2, could represent creation, energy to matter.  In other words, matter is created from the burst of energy.  This is the essence of the Big Bang theory.

The arrangement of the particles in the painting reflects the idea of the material universe miraculously, spontaneously, appearing out of seemingly dead, empty space.  This painting does not endorse any particular religious, scientific or “theist evolutionist” position.  This painting is not a visual restatement of the Big Bang theory nor is it an attempt to explain how God created the universe; rather, it is an abstract look (while keeping a scientific point of view) at the idea of creation.

The painting “Creation” (upper right and details lower left and right) is a derivative of the “Bang” photism image.  Similar to “E/c2 = m,” the white dots represent subatomic particles.   I use the radiating explosion pattern of “Bang” as a loose, visual metaphor for the “Big Bang” creation model.  The Big Bang is the well-known, and generally accepted scientific theory that attempts to explain the origin of the universe.  According to the Big Bang theory of creation, the universe originated from an infinitesimal but immensely powerful particle of energy (electromagnetic radiation or light). This so-called “singularity” rapidly expanded and cooled into particles of matter.  In the words of one science writer, “the material universe condensed out of the radiation.”  This concept is represented symbolically in this painting and also the painting “E/c2 = m”.
A particle of electromagnetic radiation is called a photon.  The massless photon is represented scientifically by the symbol “g”.  The initial Big Bang radiation is represented in the central area of the painting by the symbol g inside the smallest white dots. 

The painting represents subatomic particles (identified by the symbol inside the white dots) radiating outward in imitation of the expanding universe.  The massless photons at the center become the “almost massless” neutrinos: n.  The dots/particles continue to radiate outward through progressively heavier, unstable subatomic particles. The pion plus: p+ is one example of these subatomic particles.  At the end of each radial, at the periphery of the image, are the stable constituent particles of the atom: protons, neutrons and electrons, the building blocks of the universe.  Their antimatter particles are also included in the painting.  

The “Bang” image is changed slightly in that the dots get progressively larger (to indicate the increased mass of the particle) as they radiate outward toward the periphery of the image, and metaphorically, away from point of origin of the universe.  This concept generally agrees with the Big Bang theory.  To simplify the concept, I took some artistic license with the arrangement of the particles.  The arrangement of the particles shown in the painting reflects the idea of the material universe miraculously, spontaneously, appearing out of seemingly dead, empty space.  This painting does not endorse any particular religious, scientific or “theist evolutionist” position.

The search by the European Organization for Nuclear Research (CERN) for the elusive “God particle,” or Higgs boson, has put subatomic particle physics into the mainstream news lately.  The current discussions about subatomic particles could make these paintings, completed many years ago, timely.  These two paintings are not a visual revision of, or an attempt to illustrate, the Big Bang theory. And they are not an attempt to explain how God created the universe.  Rather, they are an artistic look, from a scientific point of view, at the idea of creation. 

The number of dots and the four stage progression pattern from light to dark of the “Bang” image was fixed more than ten years before the idea for “Creation” occurred to me.  As a result, fitting the fixed number of subatomic particles (as they appeared in a chart in my encyclopedia) into the preexisting pattern and limited number of dots of the “Bang” image was an exercise in patience and determination.  The chart did not specify the sub classifications of the neutrino particle; this is the reason they don’t appear in this painting.  The sub classifications are addressed in a latter, completely mathematical, version of this concept entitled “Mathematical Metaphor for Creation.”  The “R” particles: nR and nR (This symbol should have an overline dash – above the n.   This couldn’t be duplicated in the text.) do not exist.  Their purpose in the painting is to indicate the reversal of electric charge when the particle progresses from neutrino to electron (or positron) and also to fill the left over dots in the “Bang” image.  The number of dots, and the number of dots in each stage, is identical to “Bang” and all of the artworks derived from the “Bang” image.

Mathematical Derivative

The mathematical derivative (upper left and four detail views) is a study for a larger art work titled “Mathematical Metaphor for Creation.”  The E/c2 = m equation is the primary component of this paper composition.  The finished collage will be a mathematical representation of the “Creation” painting.  The completed artwork will be 36in. x 39in. and it will comprise the entire “Creation” image.  Shown here is only part of the upper left hand quadrant of the image.  This composition is partially completed in order to show some blank circles before I put information inside them. 

Inside each circle, in addition to the symbol that represents the subatomic particles in “Creation,” I also include the E/c2 = m equation.  Each equation contains the numerical values appropriate for that subatomic particle.  The equation mathematically illustrates the quantity of energy required to create each subatomic particle.  In other words, the energy of the particle in joules divided by the square of the speed of light (9 x 1016 meters per second) gives the weight of the particle in kilograms.  For example, the equation for a proton shows that: 1.5048 x 10-10 joule of energy divided by 9 x 1016 equals 1.672 x 10-27 kilogram of matter.  For clarity, I also include the name of the particle inside the circle.  Metaphysically speaking, it can be said that God used 1.5048 x 10-10 joule of energy to create a proton.  

As with “E/c2 = m,” and “Creation” this artwork represents the idea of the material universe miraculously, spontaneously appearing out of seemingly dead, empty, space.  This concept does not endorse any particular religious, scientific or “theist evolutionist” position.  This artwork is not a mathematical restatement of the “Big Bang” theory nor is it an attempt to explain how God created the universe.  Rather, it is an artistic look, from a scientific point of view, at the idea of creation.

Surrealistic Derivatives
The surrealistic derivatives are surrealistic images developed and expanded from the synesthetic image, “Slam.”  In these art works, the two dimensional “Slam” image is transposed into three dimensional settings.

I produced a number of artworks by juxtaposing photographs, photocopying them and blending them together with India ink.  “Untitled with Anomalous Propagation” (left) is a photocopy of a photo of the “Slam” photism painting blended with part of a photo of the road racing circuit at Watkins Glen, New York.  Anomalous propagation refers to the strange malfunction of the photocopy machine (at my local art store) that put anomalous dots in the photocopies.  At first I complained about it.  But I was told that there was nothing the store could do about the malfunction.  So, I accepted the anomalous dots as the machine’s creative contribution to the finished art work.  The anomalous dot can seen be at the bottom of the guard rail, a little above the center of the right edge of the picture. 

“Untitled” (center) is an overexposed photocopy of a photo of the “Slam” photism painting blended with a part of a photo of the road racing circuit at Watkins Glen, New York.

The collage photocopy “Secret Success” (right), although not indicated in the title, also contains copy machine induced anomalous propagation.  It can be seen about a third of the way up the left edge of the picture.  Incredibly, the anomalous dot added a narrative to the picture.  “Secret Success” is also an overexposed photocopy of a photo of the “Slam” photism painting blended with a part of a photo of the road racing circuit at Watkins Glen, New York. 

Anyone who has read my web site/blog knows that I am patriotic and nationalistic.  Thus, I’m a sports car racing enthusiast who always roots for the American car and or engine.  The two race cars pictured in the “Secret Success” art work were powered by the legendary Chevrolet small block push rod V8.  Their team, Blue Thunder Racing, won the 1984 IMSA Championship against strong world class competition.  The team celebrated the Championship with a poster that thanked all their supporters.  General Motors and Chevrolet are not included in the list.  Strangely, as far as I know, neither GM nor Chevrolet ever used this remarkable achievement in their advertising.  To my dismay, this shining moment disappeared virtually unnoticed into the historical record.  Thus, the “Secret Success” title of the art work.  

The narrative that I mentioned above is result of the position and shape of the anomalous propagation.  Although it is difficult to see in this photo, the dot has a comet like tail.  The tail indicates that the dot is on a direct collision course with the race cars.  After the 1984 season, the Chevy engines were overwhelmed by the foreign competition just like the American auto industry today.  Who do I blame for this disastrous decline of the American auto industry?  I blame the CEOs and their masters on Wall Street (and compliant politicians) who, I believe, deliberately destroyed the American auto industry so it could be deunionized and globalized.  The actions of the “American” auto executives from the beginning of the “foreign invasion” after World War II are obviously incomprehensible within any logical framework.  I say the destruction had to be deliberate because nobody could be that stupid.  This is the “creative destruction” that is imposed on us by the globalist free market capitalists.  Tragically, the city of Detroit and the people who still live there (and those driven out of the city), have paid a terrible price for the actions of the capitalists who ran our auto industry into the ground.


Slam Four Plus                        ink and collage on poster board          20”x30”           1089 

                                                  Slam Four Plus (detail)
“Slam Four Plus” is a surrealistic representation of non-idiopathic synesthesia.  This work on paper takes a whimsical look at a mental phenomenon that is not completely understood by neuroscience.  I used my extensive personal experience with synesthesia as inspiration for this composition.  This artwork is obviously not a scientific treatise, but, in a way, it does represent the non-idiopathic synesthetic experience.  The title refers to the forth derivative of the slam photism image plus an “explanation.”  

The seemingly chaotic black lines represent complex, coherent neural activity compartmentalized to indicate the separate but related functions of the brain: perception, memory, reasoning, motor functions, consciousness etc.  The ocean and sky represent the enormous capacity of and knowledge yet to be discovered about the human brain.  The broad ramp that stops short of access to the non-idiopathic synesthetic experience represents normal wakeful consciousness.  The narrowing ramp leads from wakefulness to the hypnagogic state of consciousness.  This brief period between wakefulness and sleep is the only “place” where my non-idiopathic synesthesia occurs.  The hypnagogic state combines wakeful awareness with memory and the R.E.M. dream circuitry. 

I believe that ignorance and misunderstanding of hypnagogia has led to the myths, folklore and “paranormal experiences” that have confused and clouded human minds for thousands of years. 



Outer Space no. 2
Outer Space no. 1
Outer Space no. 3
Outer Space no. 4

Outer Space no. 5
Outer Space no. 6

Outer Space series (all paintings)        oil on canvas board    18”x 14”         1977-1978

Unfortunately, the quality of two of the photos isn’t very good.  But, despite this, the narrative of the paintings can be easily understood.  Note that the story begins somewhere in space, beyond the moon, and ends looking down on the Earth.  These paintings are my tribute to America’s magnificent Apollo Moon program.  The triangular “spacecraft” in the paintings is a symbol composed of two elements.  The white top component resembles a hang glider.  This represents the spirit of adventure, daring and the tremendous courage of the astronauts.  The lower component is a draftsman’s triangle.  This represents the superb technical and scientific achievement of the Apollo program.  Why red?  This just happens to be the color of my triangle, so that’s what I painted.  And the red, white and blue colors of the paintings are, of course, appropriate for the subject of the paintings. 
I’m a self taught artist.  These paintings are among my first efforts to learn how to paint with oils.  They are my third through eighth paintings, started in 1977 and finished in 1978.  The sharply focused symbol and blurred moonscape in the first painting indicates the speed of the symbol.  The second painting shows the disorienting “relativity” of outer space.  The sharply focused moonscape in the third painting shows the symbol at low speed, as if on final approach for a landing.  Outer Space no.4 shows the symbol flying toward the Earth.  Number five shows how relative distance can distort perceived reality.  The final painting, to me, provokes an overview of the beautiful, but extremely troubled, planet that we live on.

Art Deco

Neuroscience Humor

R.E.M. Reality            oil on canvas               16”x 20”                      2004

“REM Reality” may appear to be a promotional poster for a 1950s science fiction thriller. However, it is actually an attempt to make a serious point in a humorous way.  The REM in the title is a reference to the REM stage of sleep, the state of consciousness where dreams occur.  It is a well-known but rarely mentioned scientific fact that the dream state can, under certain circumstances, intrude into wakeful consciousness.  The technical term for this phenomenon is hypnagogic hallucination.  This is my explanation for the UFO experience and other “paranormal” activity.  The title of the painting illustrates my theory.  I do not dismiss the supernatural.  But paranormal claims must be examined with great skepticism.  I believe that credulous acceptance of seemingly “paranormal” phenomena can lead to psychological problem and even mental illness.  On the other hand, the UFO myth has made a fortune for Hollywood film makers.

When photographed, the painting looks virtually photorealistic.  I have never claimed to anyone that the image in the photo is a “real” UFO.  But, when I showed the photo to people, their first reaction was that it was real.   Of course, I quickly pointed out that it was a painting. The scene depicted in the painting is North Park, a few miles north of Pittsburgh, Pennsylvania.  The imaginary person in scene depicted in the painting is standing on the island in the middle of the duck pond.  This is an actual place, and this gives the painting some drama in the science fiction context.  The probably frightened person looking at the UFO must get across the water in order to get to the road to escape.  In accordance with UFO mythology, the UFO is coming toward the viewer in order to “tap into the power grid” using the utility pole in the center of the picture.  The power lines are clearly visible in the actual painting.         

Car Designs

Self-charging Electric Vehicle (SEV)          pencil           6"x11"            2014
I’ve always wanted to design a sports car.  Actually, I have designed sports cars, but, since I don’t work for a car company, my designs never went beyond my pencil sketches.  The design study above is for a concept that I conceived during fuel crisis of the 1970s.  I drew up a block diagram for a self-charging electric car (no need to recharge from the power grid).  I titled the drawing “Car of the Future.”  As plug-in electric cars started coming on the market, I remembered my-self charging concept.  I wrote up a proposal abstract and submitted it to the U.S. Department of Energy in 2007 and an improved version in 2013.  The Energy Department was interested.  They suggested a public, private partnership.  However, my efforts to interest the private sector in my plan to develop my proposal were futile.   The illustration above is for a 105 inch wheelbase two seat sports car or a commuter car, both with a small back seat.  The design could be scaled up to a small two door sedan (with a slight change to the roof line) with a normal size back seat.  I call the concept the Uhric SEV.  

Uhric S                        Pencil              5”x11”            2014
           The Uhric S design is a sport derivative of the Uhric SEV above. Although the SEV system would work in the S, the S proposal is for an ultra high speed "hyper car." The 268 mph German/French Bugatti Veyron and several other sorts cars are in this category. In theory, the Uhric S would be powered by a twin turbocharge, ex Can Am big block Chevy V8.

The Bugatti Veyron Super Sport costs $2.7 million.  The Uhric S could easily be built for a small fraction of that price.  It might even turn a profit.  Virtually any American high performance or race car engine could be installed in this car.  How about an Indy car turbo Offy?  A GM all wheel drive system would be needed for maximum performance.  Unlike the now foreign owned Dodge Viper, the all American owned and built Uhric S would not compete in the same market segment as the Corvette.  The Uhric S would be aimed at the hyper car market.  This car would be an “affordable” track day monster.  Why build a hyper car?  Why hand another market to the foreign competition?     
T          The technical details of the SEV and S are proprietary.  Inquiries about Uhric cars should be sent to PO box 815, Coraopolis, PA 15108.


The American Car                   ink and collage            18”x28”           1994

I took the photograph in the center of this collage in New York City.  I was there to discuss a group show in which my art would be displayed (on Broadway in the Soho district of Manhattan).  To me, the white car in the photo is the epitome of everything that was wrong with American car styling.  I mean no insult the owner, this styling appeals to a certain segment of the market.  However, I think I can safely say that this car is totally wrong for the market segment dominated by foreign cars.  In my caption for the collage “Secret Success,” I said the American auto industry was deliberately destroyed by the capitalists who ran our auto industry into the ground.  This car perfectly illustrates one of several tactics that they used “foul their nest,” hand the market to the foreign competition and blame the unions for the disaster.  This union busting scam worked perfectly because it destroyed the auto workers union.

For years, I have been trying to explain to people the difference between capitalists and industrialists.  Capitalists are investors, money lenders.  J.P. Morgan was a capitalist.  Industrialists are builders, creators.  Henry Ford was an industrialist who hated capitalists.  From the point of view of an industrialist, Ford Motor Company’s investment in the Japanese car company Mazda was stupid.  Mazda subsequently ate the market share that Ford desperately needed.  But, from an investor’s point of view, it made sense to invest in a growing corporation.  It also made sense for Ford sabotage its products to open up the market so that their investments in Mazda, Jaguar, Aston Martin, Volvo and Land Rover would pay off.  Ford squandered billions of dollars on these companies and never seriously competed against them.  Ford and the other American car companies all adopted this seemingly incomprehensibly stupid business model.  Here are a few of the many examples that I could list: 

General Motors lost two billion dollars on its “investment” in Fiat, and while they bankrolled Ferrari’s Formula 1 (F1) racing program.  Chrysler squandered hundreds of millions of dollars bankrolling Lamborghini’s F1 program.  Ford bankrolled British Cosworth’s F1 engine.  It is a national disgrace that no “Big three” American auto company ever fielded a Formula 1 race car or engine.  So-called “Ford” F1 engines were made-in-England Cosworth engines with a Ford nameplate.  The foreigners ate our lunch because American capitalists served it to them on a silver platter!  I would also like to know why American corporations spent massive amounts of sponsorship money bankrolling the foreign auto racing programs that crushed the underfunded American racing efforts.     

The capitalists who own and run America decreed that America would offshore our manufacturing and become a low wage, non union retail economy (70% is retail).   Look at any street where auto dealers are clustered.  Count the number of foreign brands.  The explosion of foreign car dealers directly matches the decline and death of the U.S. auto industry.  For the retailers and investors, it doesn’t get any better than this.  But for America, it’s a disaster.     

On this site, I challenged Congress and the Commerce Department to launch an investigation into the actions of the American auto industry executive’s actions that destroyed the American auto industry.  Of course, they ignored me.  I would love to debate with Tennessee Republican Senator Bob Corker the issue of how taxpayer subsidized foreign auto company transplants (socialism) are destroying America.  The city of Detroit is a glaring and tragic example of this destruction.   But, I assume, like all politicians, Corker doesn’t have the guts to debate me publicly on this web site/blog.  In fact, I would love to discuss, with any politician, reputable pundit or academic, the “mistakes” that were made by the American auto industry executives.  Those “mistakes” destroyed our auto industry and gutted a huge part of America’s manufacturing infrastructure.  The Japanese, Korean, French and German auto makers must think we Americans are insanely stupid.  

There is a cruel irony in the name of the store in the photo in the center of my collage.  The store is named “USA Shopping Center” but all of the names on the storefront are Japanese or an American company that was bought by the Japanese.    

In 1995, the Republican Congress, under Democrat President Bill Clinton, shut down the Office of Technology Assessment (OTA).  I am calling for this vitally important government agency to be reopened in order to assess the extent of the damage done to America by globalization, financialization and privatization.  It was in this same time frame that Congress, in a monumental act of stupidity, cut off funding for the construction the Space Shuttle Orbiters.  This was done while the orbiters still possessed half their service lives! Congress not only killed the Space Shuttle, they also killed Pittsburgh based Rockwell International Corporation.  Now, we pay the Russians to put our astronauts and satellites in orbit while we wait for the private sector to blunder its way to what we already had!  I would also like the OTA to investigate the destruction of Westinghouse Electric Corporation, McDonnell-Douglas Aircraft Corporation, many other dead American companies and the reason why General Motors sold Allison Aircraft Engine Corporation to Rolls Royce.

Because I, like most Americans, don’t trust politicians, I would like to work in the Office of Technology Assessment to keep the politicians honest.  And, to counter the complaints of the “budget hawks” who would rather spend the OTA funding on unnecessary wars, the funding for the OTA would be in the form of U.S. Treasury issued, debt-free United States Notes.  No tax dollars or borrowing from the private sector debt markets would be required.  This legal and practicable government funding method (that was instituted under Presidents Abraham Lincoln and John F. Kennedy – and killed by Congress after they were assassinated), is explained in detail elsewhere on this web site/blog.


Temptation                 ink and collage                       30”x20”           1988

Temptation (detail)

Temptation (detail)

Quasi-Religious Art

The God Equation        oil on canvas       18”x 24”         2013

The God Equation – How science proves the existence of God

On July 4, 2012, scientists announced that they may have found the elusive Higgs boson, jokingly referred to as the “God Particle.”  I think it is referred to as the God Particle because, in theory, this particle is responsible for the existence of the material universe.  In this context, the nickname seems appropriate.  However, the responsibility for the existence of the material universe is a power that non atheists (including me) believe resides with God.  Even if you don’t believe in religion, the existence of the material universe indicates that something is responsible for the existence of the universe.  Down through the ages, that something is referred to as God (or, more recently, the First Cause).

The existence of God seems self evident to me.  But, is there something in a non religious context that positively shows “the hand of God” in our daily lives?  I believe there is, and that something is the equation that I have nicknamed the “God Equation.”  The God equation isn’t something that I dreamed up.  It is well known to anybody who is familiar with quantum mechanics (or quantum physics).  The equation is the famous Schrodinger equation proposed by Erwin Schrodinger and Werner Heisenberg in 1926.  But, you don’t have to be a mathematician to understand the concept of the God Equation.  The Schrodinger equation can be stated in many different forms, depending on the application.  For my painting, I chose the simplest form.  The equation illustrated in the painting is the one used for the simplest atom, the hydrogen atom. 

With the discovery of quantum mechanics, we learned that atoms can only exist in discrete energy levels or quantum states.  This sounds, and is, very complicated.  But, for the purpose of this discussion, we don’t have to understand how or why atoms work this way.  We just have to know that atoms have a ground state (or ground energy level), and when an atom is heated, it jumps to a higher energy state, and when it cools, it drops to a lower energy state.  These energy states can be calculated with the Schrodinger equation.  Why do I call it the God Equation?  I call it that because something, God, has to constantly do that calculation for every atom, molecule, subatomic and macroscopic system in the entire universe in order for the universe to be stable.  If those quantum energy states weren’t perfectly calculated 24/7, the entire universe would disintegrate in a gigantic burst of electromagnetic energy.

I have a quantum mechanics joke that I have been telling for years: “I think I know how God spends His (Her or Its) time.  God is sitting around, in another dimension, with a calculator, constantly figuring out the quantum energy states for every atom in the universe.  Somebody has to do it.”  I think my little joke gives an easily comprehensible insight into the awesome power and intelligence of the entity that we call God. 

This brief essay explains why I say the Schrodinger equation, or “The God Equation” illustrated in my painting, proves the existence of God.

Ray Uhric                                                                                                        January 13, 2013