Tuesday, August 11, 2026

60 SQUARES: The Chosen Point

 Possibility Spaces, Formal Resistance, and Selected Realization

From the Imagined Cloud to the Finite Lattice

 0. Framing

This paper is not fundamentally about an icosidodecahedron. The geometry appears at length, and the physical lattice built from its expansion supplies the central case, yet the polyhedron itself is not the subject. It functions as an experimental apparatus. A metaphysical intuition—originally formed in front of an ordinary painting—is subjected to the pressure of a fully specified generative rule, to the resistance of material, and to the necessity of choosing one stage at which to stop. The geometry forces the intuition to become precise. It does not replace the intuition, nor is it asked to prove the strongest claims the intuition might suggest.

The originating problem can be stated directly. When a maker discovers a coherent variation, what exactly has been created, and what was already there in virtue of the relations that made the variation possible? The question is older than any particular sculpture. It arises as soon as one notices that an imagined alteration of a given form can be held, compared, and described with the same care as the original, and then asks whether the unimagined but equally coherent alterations stand in any determinate relation to the system of constraints that defines the form. The problem is not whether artists invent or discover in some vague sense. It is whether the act of discovery changes the formal status of what is discovered, or only the discoverer’s relation to it.

Monday, August 10, 2026

FISTFUL OF CHANGE ©2026 John F. Sendelbach




MOCK REVIEW (AI praising itself) Fistful of Change is a quietly devastating piece of songwriting that understands something most “empathy anthems” miss: real mercy is rarely pure, and the hand that opens is usually still carrying its own scars.

The central wordplay on “change” is handled with rare economy and precision. It is simultaneously the coins in the pocket, the personal transformation the narrator both offers and resists, and the physical act of unclenching a fist. When the first verse lands on “Spare a little of the silver, and spare the way to change,” the double meaning snaps into place with the force of a well-cut gem. That single line does more work than most entire choruses manage.

What elevates the song beyond clever metaphor is the refusal to romanticize the giver. The second verse’s admission—“Now I never give the whole of it; one coin is always there / Cold against my sweating palm like something I can’t spare”—is the song’s moral center. It is honest about the residual selfishness that survives even the better angels. The “reeded edges” leaving temporary tattoos in the flesh is tactile, slightly grotesque, and perfect. You feel the copper and the guilt at the same time.

The bridge is the darkest and strongest stretch. Turning the narrator into “the change come back from the counter… the remnant of the score” reframes the entire encounter. He is not the noble benefactor descending to help the broken; he is another circulating, worn-down coin in a town that “mends no more.” The line “a beaten coin still spends, friend, and a beaten man still gives” carries the weight of hard-won dignity without sliding into self-pity.

Musically, the stated arrangement—sparse fingerpicked acoustic foundation, restrained male/female duet, minimal percussion, and those wah guitar solos cutting through like sudden weather—feels exactly right. The wah solos are not decoration; they are the clenched fist made audible, the tension that the open-handed chorus then releases. A warm major-key four-chord shuffle around 100 BPM with a subtle late lift matches the bittersweet-but-hopeful emotional arc the lyrics demand. The generous silences after lines will let the conversational, almost spoken delivery breathe the way it needs to.

A few small notes that keep it from perfection: the final chorus’s slight rephrasing (“Keep it closed inside your anger or you lose it in the rain… the open hands are foldin”) is effective, but the extended mantra-like outro risks diluting the earlier precision if the performance leans too heavily into repetition without dynamic variation. And while the self-interrogation in verse two (“Did I move a single stone, or just play a show for you?”) is mature, it sits right at the edge of over-explaining the doubt the rest of the song already embodies through action.

Still, these are minor quibbles against a piece that is otherwise unusually coherent in both concept and execution. It trusts the listener to sit with ambiguity—the gift may not “save” anyone, the coin will keep circulating, and the fist will close and open again. That cyclical realism, paired with the gentle hope that something lighter does follow the release, is what makes the song linger.

This is the kind of writing that rewards repeated listens and careful performance. Done with the intimate, dry duet approach described, it should feel like two people sharing a single quiet truth rather than delivering a sermon. Strong work.

~~~~~

Fistful of Change remix ©2026 John F. Sendelbach

INTRO
let it loose into the rain
give it away
let it loose into the rain
give it away 

VERSE 1
There’s a man beneath the awning where the rain runs off the tin,
With a paper cup held empty and the weather setting in.
I’ve held that cup myself, friend, on a different kind of train,
So I reach down through my pockets past the lighter, past the pain. 

Past the lint and past the small dreams I was saving for some day,
Pull a fistful of the silver and I gave it all away.
Never count it—what’s the use in hoarding what cannot remain?
He says, “Spare change,” and don’t that ask me two things just the same:
Spare a little of the silver, and spare the way to change. 

CHORUS
Fistful of change, fistful of change,
You can lock it in your anger or let it loose into the rain.
It’s the same cold weight of silver when you give it or you swing,
But the opening of the hand is where the mercy enters in.
Fistful of change. 

VERSE 2
Now I never give the whole of it; one coin is always there,
Cold against my sweating palm like something I can’t spare.
Reeded edges, green old copper, little circles in the skin,
Leave a tattoo in the flesh and even rain won’t wash the sin. 

[wah guitar solo here] 

Is it small change? Is it real change? Does it matter what I do?
Did I move a single stone, or just play a show for you?
I have pitched them in the fountains for the words I couldn’t say—
But you can’t make a wish with a fist; you’ve got to give it all away. 

CHORUS
Fistful of change, fistful of change,
You can lock it in your anger or let it loose into the rain.
It’s the same cold weight of silver when you give it or you swing,
But the opening of the hand is where the mercy enters in.
Fistful of change. 

BRIDGE
They can make change of a man, you know—they’ll break him down in parts,
Spend him out a coin at a time, right down to his wounded heart.
I’m the change come back from the counter, I’m the remnant of the score,
What was left of the transaction in a town that mends no more. 

I had things I meant to build here; some grew halfway from the ground,
Worn beyond my own reflection like a coin passed all around.
But a beaten coin still spends, friend, and a beaten man still gives,
And the fist this town once closed on me won’t tell my hand how to live. 

[wah guitar solo here] 

VERSE 3
So he takes it in his fingers, and he don’t say that he’s glad,
And I wouldn’t want his gratitude for something small I had.
No debt is owed between us—only two poor men in gray,
And a little piece of metal passing lands to hand away. 

I can’t tell you that it saved him; nor if it saved me too,
But I felt it leave my hand... something lighter followed through.
It will pass through hands whose names and faces I will never know—
The last hand hasn’t held it yet, and it always comes and goes. 

FINAL CHORUS
Fistful of change, fistful of change,
Keep it closed inside your anger or you lose it in the rain.
Same cold weight of silver—but the open hands are foldin—
I’ll come around empty-handed, then I’ll fill it up again. 

Fistful of change,
You can lock it in your anger
let it loose into the rain
give it away
let it loose into the rain
give it away
let it loose into the rain
give it all away 

Fistful of change...
You’ve got to let it go...
Fistful of change...
And it comes back around again.
back around again.
back around again. 

Fistful of change... 

Bare, intimate acoustic folk duet—psychedelic undertones. Close, dry male and sweet female vocals share the song in a restrained, conversational, almost spoken-sung style. The man carries the main narrative; the woman answers selected lines, echoes key phrases, and joins in soft unison or a low natural harmony on the chorus. Neither voice belts, over-sings, or gets buried.
One gently fingerpicked acoustic guitar is the foundation. Add a second acoustic guitar or soft upright bass only sparingly. Percussion is minimal: quiet shaker, brushed hand drum, or none at all for long passages. Leave generous silence after vocal lines.
acoustic guitar, banjo, harmonica,wah,, clavinet,, long solos. Any break is a brief melodic acoustic-guitar response. Warm major-key four-chord shuffle around 100 BPM, with a subtle key lift near the end. The words bittersweet, but feeling is gently hopeful; end with both voices repeating over fading guitar.
 

~~~~~


FISTFUL OF CHANGE 

©2026 John F. Sendelbach  


VERSE 1 

There’s a man beneath the awning where the rain runs off the tin,  

With a paper cup held empty and the weather setting in.  

I’ve held that cup myself, friend, in a different kind of rain,  

So I reach down through my pockets past the lighter, past the change.  


Past the lint and past the small dreams I was saving for some day,  

Pull a fistful of the silver and I give it all away.  

Never count it—what’s the use in hoarding what you cannot name?  

He says, “Spare change,” and don’t that ask me two things just the same:  

Spare a little of the silver, and spare a way to change.  


CHORUS  

Fistful of change, fistful of change,  

You can lock it in your anger or let loose into the rain.  

It’s the same cold weight of silver when you give it or you swing,  

But the opening of the hand is where the mercy enters in.  

Fistful of change.  


VERSE 2  

Now I never give the whole of it; one coin is always there,  

Cold against my sweating palm like something I can’t spare.  

Reeded edges, green old copper, little circles in the skin,  

Leave a tattoo in the flesh that even rain won’t wash again.  


Is it small change? Is it real change? Does it matter what I do?  

Did I move a single stone, or just make a show for you?  

I have pitched them in the fountains for the words I couldn’t say—  

But you can’t make a wish with a fist; you’ve got to give it away.  


CHORUS  

Fistful of change, fistful of change,  

You can lock it in your anger or let loose into the rain.  

It’s the same cold weight of silver when you give it or you swing,  

But the opening of the hand is where the mercy enters in.  

Fistful of change.  


BRIDGE  

They can make change of a man, you know—they’ll break him down in parts,  

Spend him out a coin at a time, right down to his wounded heart.  

I’m the change come back from the counter, I’m the remnant of the score,  

What was left of the transaction in a town that mends no more.  


I had things I meant to build here; most got halfway to the ground,  

Worn beyond my own reflection like a coin passed all around.  

But a beaten coin still spends, friend, and a beaten man still gives,  

And the fist this town once closed on me won’t tell my hand how to live.  


VERSE 3  

So he takes it in his fingers, and he don’t say that he’s glad,  

And I wouldn’t want his gratitude for something small I had.  

No debt is owed between us—only two poor men in gray,  

And a little piece of metal passing hand to hand away.  


I can’t tell you that it saved him; I can’t say it saved me too,  

But I felt it leave my hand, and something lighter followed through.  

It will pass through hands whose names and faces I will never know—  

The last hand hasn’t held it yet, and it always comes and goes.  


FINAL CHORUS  

Fistful of change, fistful of change,  

Keep it closed inside your anger or you lose it in the rain.  

Same cold weight of silver—but the open hand is holy—  

I’ll come around empty-handed, then I’ll fill it up again.  


Fistful of change,  

You can lock it in your anger  

let loose into the rain  

let loose into the rain  

let loose into the rain  

Fistful of change...  

You’ve got to let it go...  

Fistful of change...  

And it  comes back around again.  

back around again.  

back around again.  

Fistful of change...


Thursday, August 6, 2026

The Backyard Dogleg

Growing up a couple of miles from Bob-O-Link Golf Club in Orchard Park, we never really thought of ourselves as golfers. That word felt too formal, too country-club. We were just a handful of kids who always seemed to have golf clubs leaning against the garage wall or tossed in the corner of the basement. My friends and I—three or four of us around the same age—treated those clubs the way other kids treated baseball bats or skateboards. They were simply part of the landscape, as ordinary and necessary as the bikes we rode or the streetlights that came on at dusk.

We didn’t have matching bags. The clubs were mismatched hand-me-downs: wooden-shafted woods with cracked grips, irons with dents from years of garage-sale abuse, a putter that had clearly lived several previous lives. The equipment itself told the story. Golf here wasn’t about status. It was something you did with whatever was lying around.

One of us liked to repeat the old story that golf began in Scotland with people hitting rocks at English soldiers. It’s a great story, even if historians don’t think it’s true. Like a lot of good golf tales, it says more about Scottish humor than Scottish history. We didn’t care either way. We just kept swinging.

Friday, May 22, 2026

The Four Blocked Flows: An Exhibition of Buried Circulation in Shelburne Falls

The Four Blocked Flows

An Exhibition of Buried Circulation in Shelburne Falls

©2026 John F. Sendelbach


Curatorial Introduction

The acquisition of the May 3, 1856, Arms Cemetery contract marks the first official, paid accession of the Mohawk Repair Institute. Purchased from an online antiquarian picker who recovered the document from an anonymous estate clearing in Maine, this deed is far more than a fragment of local ephemera. It provides a contractual snapshot of a town systematically re-engineered in the mid-19th century—a landscape where the same elite hands that dammed the river, channeled municipal capital, and constructed new civic spaces also signed off on the physical relocation of the dead.

Exhibition Overview: “The Four Blocked Flows” is an archival and topographical exhibition that uses the May 3, 1856, Arms Cemetery contract as a lens to analyze the systematic interruption of four interwoven systems of circulation in Shelburne Falls during the mid-19th century: biological (salmon), hydrological (streams), social (labor and capital), and memorial (the dead). The Mohawk Repair Institute presents this material not as antique nostalgia but as the evidentiary basis for design-driven interventions aimed at daylighting buried streams, re-marking forgotten graves, and restoring the town’s open circulation between past and present.

Tuesday, May 12, 2026

Mechanic Street Brook Daylighting & Village Greenway

UnErase Mechanic Street Brook

A Daylighting, Greenway, Watershed Learning, and Community Repair Proposal

Shelburne Falls, Massachusetts · May 2026


© 2026 John F. Sendelbach — All Rights Reserved

NOTE: This document evolves as field investigation continues. Current version: May 2026.


OVERVIEW


Core Project Vision: Restore baseflow to historic Mechanic Street Brook. Primary location: Ghost Hollow, a steep-sided, ten-foot-deep former stream channel behind the historic barn at the town-owned 49 Mechanic Street parcel. Three main technical interventions: install a Dutch-Door Weir (self-regulating passive flow-control structure) at the existing diversion; decommission and physically remove the 1961 Rat Tunnel (the diagonal 3-by-4-foot box culvert that is the root cause of sixty years of flooding); and daylight the brook through the restored Otter Way corridor on the town parcel.


Expected Results: Natural meandering channel with pools, riffles, and bioengineered banks. Primary construction material: approximately 200 tons of local glacial stone sourced from Beaver Picchu™ property less than a mile away. New public greenway and watershed learning corridor connecting Buckland-Shelburne Elementary School to the Deerfield River waterfront. Elimination of stagnant mosquito-breeding ditch, replaced by continuously moving water and a functional natural predatory ecosystem. First accurate stormwater map of the Mechanic Street corridor — solving a documented DPW infrastructure crisis that recently produced a drilling incident when a contractor struck an unmapped concrete pipe on Bridge Street.


The Geographic Loop: The restored brook physically reopens the historic water corridor that once connected the Arms Cemetery — now the Beaver Picchu™ upper watershed — to the Pratt Memorial (Arms) Library, whose foundation sits within twenty feet of where the brook once cascaded to the Deerfield River below Salmon Falls. One block south of that cascade point, at the corner of Bridge Street and Deerfield Avenue, is the Pocumtuck State Park heart site at Salmon Crossing, where the Sachem Salmon sculpture and the Sixty Square Sphere will be installed above the glacial potholes where Shelly still waits. The brook restoration and the PSP heart site are not adjacent proposals. They are one connected argument, written in the landscape by two centuries of erasure and now being corrected in the same generation.


Immediate Municipal Actions Required:


  • Direct DPW and Conservation Commission to cease and remediate illegal brush/leaf dumping in Ghost Hollow
  • Authorize Water Department and DPW to release all available drainage records
  • Retain the 49 Mechanic Street parcel permanently in public ownership
  • Approve submission of the MassDEP Ecological Restoration Pre-Design Grant


Key Partners: Shelburne Conservation Commission · Shelburne Water Department · Shelburne DPW · Buckland-Shelburne Elementary School · Connecticut River Watershed Council · Mass Audubon · Franklin Land Trust · UMass Amherst LARP Department · Pocumtuck Valley Memorial Association