Dear Learners,
Working with ethereality...¦through time
Heck let them share the "r"
WHACK!!!!
ETHER<>REALITY
Citation.
[Richard C. Holloway (learnshops@thresholds.com)
Replying to LO14642 --
Mike Jay wrote:
> On Friday, August 08, 1997 7:59 PM, Richard C. Holloway wrote:
> > I look at pattern, structure and process as the organizational
> > triumvirate, and their interdependence on one another are probably a
> > fundamental source of life's robustness and the cause for organizations
> > always being true to themselves despite our best efforts to make them true
> > to fancy words in vision and mission statements.
>
> Doc,
>
--snip---
> What I'm trying to add is that structure is "at times" user-assimilated
> through their own identity as a composite of that being compared to
> organizational identity. The complex interrelationship and the
> interdevelopmental nature of these constructs must be entered into the
> equation as we deal with structure as some what of an ethereal force which
> governs behavior and attribution.]
"Creative power is ineffable. It remains ultimately mysterious. It affects
(us) deeply. You are 'charged' with power, down to your subtlest parts.
[You] may right now be unable to express its essence, but [you] can move
toward its source, insofar as at all possible and it is up to us to
manifest this power in its functions, just as it becomes manifest within
ourselves. In all likelihood, it is itself a form of matter, though it
cannot be perceived with the same senses as the more familiar kinds of
matter. Yet it is via these very familiar kinds that it must reveal
itself. We might say it must function in union with matter. Permeated with
matter it must take on living actual form. It is thence that matter
derives its life, acquiring order from its minutest particles and most
subordinate rhythms all the way to its highest articulations." Klee.
Maybe it is all 'chaos' both after all and before all? But now, this
instant within as an autopoietic system...¦ not chaos inconceivable but
chaos conceivable, as 'logos'.
Chaos as concept does not stand-alone.
They are like brothersister. As in acampnona !
They serve operationally, with the support of contrast, tacit or explicit.
BOTH
Move inwardly and outwardly in co-mobility. Does not one 'breaking' wave
pull the next through to its crazy best, unseen in the shoreline breakers?
Twenty-five years ago I was invited to see the 'lifework' of a modern
master in his own home. I was invited to walk around freely and open any
folios I wished. I see a desk with a very large folio among many that are
stuffed with sheets of hand-made paper. The size of each sheet is named
'double elephant' ...¦very big and heavy sheets. I pull one out; I see a
vision of an ocean in storm mode. I pull another out; I see the same, and
the same and the same...¦ 'Andrew, David, supper is ready!' I was just
getting into the chaos of unfolding and I have to eat. Three years elapsed
and I am now standing in front of the largest pencil, ink and watercolour
drawing in the world at the MOMA. It is a view of ocean and rocks and air,
the coast at Anglesey. It is about twelve feet high and perhaps thirty
feet across. What I saw first in part was whole, what I saw in whole was
assembled parts, close up one could not distinguish rock from ocean, nor
ocean from air. And at the bottom were some words etched into the image,
[Host's Note: MOMA is the Museum of Modern Art in New York. ..Rick]
'OUT OF THE CRADLE, ENDLESSLY ROCKING'. (Walt Whitman)
Metanoia.
...¦In school as a child I wanted to learn like Michael Faraday, but
school insisted that it is impossible because school has a much better
way...¦: -)
Maybe this is tacit knowledge or straight wrong headed, but in the sign
"=" I see the deadening hand of measure for measure's sake and the love of
production for production's sake. In short I see deadening quantity. The
'mechanical'. That which alienates people from the products of their
'whole' bodies.
In the "<" I see the living hand of 'quality'. I see at its tip a
possibility and a 'spark' and I see it fan out in amplitude of mapping one
to many into a flame. I can see life in asymmetry, but what artist doesn't
know this?
In art and practice that I can admire it might be easily expressed as At
de Lange has tirelessly done with for example the subject of
chromatography, I will quote again for clarity directly here and
indirectly elsewhere from Paul Klee's notebooks.
" Notice how perspective," (especially that linear 'single-viewpoint'
perspective inherited from the renaissance mind and hand conjoined) "
-which is a typical quantitative construction of space is here
'elaborated' in both painting and theory...¦note the almost alchemical
treatment through which 'chromatic scores' emerge from the quantitative
graduation of light and dark seeking in each note, not just purity of
tone, but at the critical point of the passage from tonal volume to
timbre. The true meaning of this unceasing metamorphosis is therefore
this; quantities are continually being raised to the level of qualities;
and since this level is the level of consciousness, this last
transformation can only take place in the mind of man."
And what might that 'critical point' in the passage be if not a
bifurcation?
And that word 'ELABORATED' seems inter/est(ing).
Somewhere nestling in those words I find tacit congruence with notions of
'entropy PRODUCTION' and the upward transformation of number it proposes
rather than simply for counting out our true POVERTY to a RICHER
transformation of the 'material' world.
Well let us for a moment 'treat' a painting respectfully as a discreet
energy package, a quantum of 'tacit knowledge' as when it appears before
the public gaze for the first time. Particle or wave? Particle and wave?
Particle as Wave?
"The object will be closed within its own finality, as a person (is), but
it will project itself upon the spatial horizon of the universe and the
temporal horizon of humanity. The work of art, since quality possesses
individual character must be ELABORATED by the individual, but it will
acquire a collective meaning, its power will be incommensurable (having no
common measure), its active presence will never be erased from the world.
The artist's work though it proceeds according to its own rhythm (inner
necessity) will intertwine itself with the work of all mankind."
In this we may tacitly realise a 'contented formal' outcome, that we (may)
become 'exact without limitations'.
L'exactitude n'est pas verite. ...¦
We have afforded ;-) ourselves maybe a glimpse for once of a world with
the best of both worlds. One of unending asymmetries in our work and life
affording us the beauty of ages that is held in every flower now, right
now grasping for a foothold on life itself on the 'darkside' of some bleak
capitalist's mountain of envisaged virtual profit and a rotting mountain
of uneaten meat all the while some one else's children starve fifteen feet
away from our faces in the 'virtual worlds' we have designed to service
us. (Sic).
They, like the mountains, wait for us with infinite patience I assure you.
Doc appends this William Blake's thought 'quantum packet' to his 1997
message, "To create a little flower is the labour of ages."
In this we may stop counting money with exactitude and start expending it
with a differing and commensurate measure.
Entering into any open engagement with some/any unknown 'other' might
dangerously shift a 'shifty, shifting pointy, pointing, pointer' but the
man 'afield' is enriched, it is a form of self overcoming that sits at the
very center of the need that drives this LO.
"This self overcoming is not a disavowal of anything but rather a increase
of scope, representing people as continual process, a continual redemption
of what is continually lost of space and time to both individual and
society then, now and in the future...¦"
Paul Klee said to his pupils while speaking of 'tables' prepared for
coursework, ' -Don't learn this by heart. Everyone is bound to feel at
home in some part of this chart,' Klee was a master of irony. He warned
them of the impoverishment that can come from rules. His sovereign aim in
his teaching was to disclose the right extent of freedom. He summed up his
vision like this,
" Man is not finished. One must be ready to develop, open to change: and
in one's life an exalted child, a child of creation, of the Creator."
end part 1
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