Replying to LO23947 --
WALKING THE TALKING
'Art does nor reproduce the visible but makes visible. The very nature of
visual art lures us to abstraction, readily and with reason...¦formal
elements are- points, linear plane and spatial energy. A 'plane' element,
which is not composed from subordinate units, is for example an 'energy',
produced by the stroke of a broad edged pencil, uniform or modulated. A
spatial element, for example, is a misty, cloud like spot made by a full
brush, usually uneven in its intensity...(How like our thoughts;-)
'Let us develop: let us draw up a topographical plan and take a little
journey to the land of better understanding. The first act of movement
(line) takes us far beyond the dead point. After a short while we stop to
get our breath (interrupted line or, if we stop several times, an
articulated line). And now a glance back to see how far we have come
(counter- movement). We consider the road in this direction and in that
bundle. A river is in the way; we use a boat (wavy motion). Farther
upstream we should have found a bridge (series of arches). On the other
side we meet a man of like mind, who also wants to go where better
understanding is to be found. At first we are so delighted that we agree
(convergence), but little by little differences arise (two separate lines
are drawn). A certain agitation on both sides (expression, dynamics, and
psyche of the line). We cross an un-ploughed field (area traversed by
lines), then a dense wood. He gets lost, searches, and once even describes
the classical movement of a running dog. I am no longer quite calm either:
another river with fog (spatial element) over it. But soon the fog lifts.
Some basket-weavers are returning home with their carts (the wheel).
Accompanied by a child with the merriest curls (spiral movement). Later it
grows dark and sultry (spatial element). A 'flash of lightning' on the
horizon (zigzag line). Over us there are still stars (field of points).
Soon we come to our original lodging. Before we fall asleep, a number of
memories come back to us, for a short trip of this kind leaves us full of
Now, I wonder if this little journey in/volved (inwardly turned) and
brought forth (evolved) more images within you? And I wonder if it did
bring forth an image you could not but help fill with colour as you built
it within yourself? And if as you did so you felt somewhat changed, and
was this feeling a good feeling or a bad feeling...¦well a bit of both
perhaps? That would be good. I wonder if the colouring medium 'love' was
But now a cautionary tale as a poem of sorts...¦ 'The happy equanimity of
the first stretch, then the inhibitions, the nervousness! Restrained
trembling, the caress of hopeful breezes. Before the storm, the gadflies
attack. The fury, the murder. The good cause a guiding thread, even in the
thick twilight. The lightening shaped like the fever curve. Of a sick
If you care to create this picture please be open to note that the
'elements' while visibly remaining will issue forth new forms while even
without losing their own identity. Indeed preserving through the
magnification of association. Forms like leaders and led in free play
issue forth in/from new relations offering creative contributions to the
shared situations. New forms and contents upon the horizon.
These little elements now 'power up' those so created around, so that what
is ACKNOLEWDGED is COMPOWERED.
Life begets life.
Look into the little stream, have not the 'related energies' created a
home for small fish swarms?
'-Where as formerly artists depicted things that were to be seen on the
earth, now the relativity of visible things is made clearer, the belief
expressed that the visible is only an isolated case taken from the
universe and that there are many more truths unseen than seen.'
An imagined multiversa?
I sense in that statement that 'things' not yet in 'being' support in some
way 'unseen' that which may yet be made humanly manifest, that is to point
to a possibility that 'becoming' is a state/thing in itself.
While one may not yet 'see' this 'implicate becoming' as such, maybe a
shift of our reasoning might enable us to create a differingly CONTENTED
FORM of vision, by which I imply a vision that is both its own 'form' and
"All becoming is based on movement, -a good deal of fuss is made about the
difference between temporal and spatial art. But on closer scrutiny the
fuss turns out to be mere learned foolishness. For space itself is a
temporal concept. When a point turns into movement and line - that takes
time. Or when a line is displaced to form a plane. And the same is true of
the movement of planes into spaces. Does a picture come into being all at
once? No, it is built up piece by piece, the same as a house. And what
about the beholder: does he finish with a work all at once? (Often yes,
un- fortunately.) For the understanding of a picture, a chair is needed?
Why a chair? To prevent the legs, as they tire, from interfering with the
mind. Legs get tired from long standing. The space in which we move (or
do not) belongs to time, character belongs to movement. Only the dead
point is timeless. And likewise in the universe, movement is the basis of
everything. (Where do they get the energy? That is the idle question of a
disappointed man.) Peace on earth is an accidental congestion of matter.
To take this congestion as basic is mistaken. The Biblical story of
Creation is a good parable for motion. The work of art, too, is first of
all genesis; it is never experienced purely as a result. A certain fire
flares up; it is conducted through the hand, flows to the picture and
there bursts into a spark, closing the circle whence it came: back into
the eye and farther (back to one of the origins of movement, of volition,
of idea). What the beholder does is temporal too. The eye is so organised
that it conveys the parts successively into the crucible of vision, and in
order to adjust itself to a new fragment has to leave the old one. After a
while the beholder, like the artist, stops and goes away. If it strikes
him as worth while - again like the artist - he returns."
So the relation of art to creation is symbolic. SYMBOLISM examples
INTEGRATIVE. Art is an example; just as 'earthly' is an example of the
'cosmic'. I have a question...¦of what is the cosmic an example?
Well, we must be CAREFUL with all our knowing and knowledging and
"The liberation of the elements, their arrangement in subsidiary groups,
simultaneous destruction and construction toward the whole, pictorial
polyphony the creation of rest (stillness) through the equipoise of
motion: all these are lofty aspects of the question of 'form', crucial to
formal wisdom; but they are not yet art in the highest sphere. A final
secret stands behind all our shifting views, and the light of the
intellect gutters and goes out."
"Art plays in the dark with ultimate things and yet it reaches them.
Fellowman, arise! Learn to appreciate- a change of air and viewpoint, a
world that distracts you, and gives you strength for the inevitable
work-a-day grey. And that is not all. Let it help you to shed your shell;
try, for a moment to think of yourself as God. To look forward to - when
the soul will sit down to feed its hungry nerves, to fill its tired veins
with new sap. Let yourself be carried to this life giving ocean along
broad rivers and delightful brooks."
"- Be ready to develop, be open to change; and in ones life an exalted
child, a child of creation, of the Creator."
Let me tell you what your seemingly complex equations now bring forth in
my FEARsome CONFUSION.
Stepping outside a shallow, fearful and grasping knowledge seeking I
willingly play with what is different in my own kind of darkness of 'not
knowing'. In that field, gazing more than looking I find myself both
increased and also more as I am founded;-)
To use your images- I become 'optically active', both inwardly and
outwardly, so emergences follow one another and what inner light I have
increases and maps itself 'leftward' as if pulled by some implicate force
field I feel articulated now as Agape. In simplest terms all creative arts
with genuine 'life force' tend toward the asymmetrical.
Not ever desiring to be 'machine like' engineering wise (sic) and thus
linearly repetitious I attempt look beyond the mere numerous 'terms' to
the enumerous 'patterns', then finding myself beyond the 'being' to the
'becoming' which synthesizes of its own free will, whether it settles as
'image', 'thought', 'act', 'dream' or 'vision'. I am happy to let things
go more 'freely' if not chaotically, from mathematics down to quantum
mechanics! Nature as per your 'becoming/being' of 'entropy PRODUCTION' is
'through and through' with me now. The direction is clearer amidst my own
apprehended and relative 'chaos and complexity'. My tacit/intuitive mind
tells me I am moving in ever deepening flow, toward wholeness out of a
wholeness made possible by realising the deeper 'negative' nature of "="
in my past life and the deeper positive nature of "<" in my 'current'
life. As surely as the flow is outward it flows asymmetrically inward and
I feel it as Klee's 'equipoise' -not a 'puffing up' or a 'slow deflation'
but rather like an oscillation, or an infinite song. The voice is my own,
for sure- but the melody seems to come from somewhere else. And I reckon
;-) that the 'whole song' is tacitly gathered and easily and as wisely
given up, away as if it were superabundance or unlimitedness and there is
only one Omnidirectional light 'quality' that I can think of that is so
superabundant. LOVE. For sure it could not easily be archived by any KM
And that is not all.
"Let it help you to shed your shell; try, for a moment to think of
yourself as God. To look forward to - when the soul will sit down to feed
its hungry nerves, to fill its tired veins with new sap. Let yourself be
carried to this life-giving ocean along broad rivers and delightful
Be ready to develop, be open to change; and in ones life an exalted child,
a child of creation, of the Creator."
It is truly difficult to think of oneself as God/like as Paul Klee asks.
But then it 'happens' that in my tacit realm by merely 'existing' he must
think of 'mapping' me, and he is 'mapping' me for sure, 'One to one among
many' and so I 'reckon' a bit like you, but differingly, that He is
somehow pulling me in, surely, whole and perhaps finally, more holy.
'Every living things is holy' Gandhi.
Whatever the case, to 'be-in-becoming' seems tacitly to me a 'fast' and
'fine' enough 'way' in a world 'thought' to be 'found' without 'ground';-)
Here, a 'gift' of words.
A friend speaks of his artist friend, the artist is an Indian called
"For there is something incumbent in his art, something evolving something
implied yet not suggested, something describing itself as it evolves and
unaware of itself as it is to be, something which carries the 'whir' of
movement and is not movement itself, which flutters and quivers without
breaking the hush of anticipation, something which weaves and mazes to
lose and discover and lose and recover itself, something which holds you
in its spell and poses a riddle which silences all questioning, making you
wonder as a child."
When symmetry 'breaks', what song of numbers disCLOSES?
At, I like your tacit pictures. They live.
To paraphrase another beholding the exhibition, '-in the face of mystery,
analysis stops perplexed. But the mystery is to share in the creation of
the form by pressing forward to the seal of mystery.'
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