What is an Operational Definition? LO27002

From: ACampnona@aol.com
Date: 07/15/01

Replying to LO26984 --

 "Living and working, the artist is not unique in this of course, -
regardless of whether we are aware of it or not we are all co-creators in
the flow of the changing realities that we live." Humberto Maturana.

Dear At, dear Hanching and dear all learners,

>Dear Organlearners,
>Hanching Chung writes in the
>Subject: What is THE problem? LO26959
>>Perhaps now is 'sometime' in your context.
>>Please kindly explain 'The truth sets you free' is
>>an operational definition instead of a language
>Greetings dear Hanching,
>Your requirement "no language game" reminds me of a saying by Plato: "You
>can discover more of a person in one hour of play than in a year of
>First of all, let us study your requirement " no language game". Liveness
>("becoming-being") is essential to both languages and games. In a language
>the "becomings" are primarily reflected by verbs and the "beings" by
>nouns. In a game all the "becomings" are focussed on a particular becoming
>like "kicking the ball" in soccer. The "beings" of the game are its rules.
>Consequently in neither languages nor games can we avoid liveness as an
>essential pattern.

This is my third attempt to write this text. Intermittent electricity
failures causing me to lose on each occasion what I have written... I know
I should save it... but there we are... I am letting "it" co-create to the
full... get it? ... Which reminds me why i never tell jokes. I heard
someone say this very morning, "-the point of a joke is not in the telling
but of the laughing."

At, Hanching...everyone, do you think jokes are asymmetrical? Mmmmmmm.

The reasonably and commonly well known art historian Ernst Gombrich was
famous for making art which is complex consciously comprehensible. He
maintained something very important to painters, that colour deepens the
human capacity for intelligence. So next time you stand before some great
sunset just remember that, under a great sprinkled canopy of indigo blue
remember that... but you already 'knew' it didn't you? Polanyi
revisited... Aha!

Did you know the average time someone, anyone, stands before a work of art
in pretty much any gallery, whether before a Rothko or a Piero della
Francesca or Leonardo... four seconds. Yep! Of course people like me drag
the time out a bit, but the average human views the average masterwork for
four seconds. Given the complex interrelationships going on in say a
decent painting, think of any impressionist artwork you care to, and
before the variety of chromatic harmonies and subtle dissonances have
settled within the mind perceiving (sic) they're off trundling to the
'next eyeful' so you could make the case that in so far as paintings,
especially great ones, are about colour relationships then the 'average
person' never sees it as a complex organised whole, will never see it. (I
appreciate all the philosophical and moral indignities positing an
'average person' implies, but this post was more concerned to bring the
readers attention to a startling fact for painters that hitherto they may
not have been aware of.) Like then the erstwhile snail who can't 'see' or
'register' people walking past him at a certain speed because his
receptors ain't built that way and I guess I ought to give a billing to
the 'boiling frog' of Sengian dynamics who never moves to save himself
owing to his lack of a suitably alert nervous system.

The time of colour...who ever heard of that...the time of colour. The
colour of colour... being relative;-)

If you take a given value of say ultramarine blue and apply it to a
stained glass window panel it will when viewed seem to come forwards, to
project. The same value of blue on a canvas will recede. Mmmmm.

The strength in weakness of colour according to its looseness of coupling
to form (shape)


Joseph Albers made 'serial paintings' of squares, by using pure pigment
from the tube and for even more serial consistency he purchased these
tubes in batches from the factory. Albers' works are maximisations of a
minimal aspect of the intelligence of colour. That it's chromatic value is
increased in a direct proportion to the simplicity of the form containing
and surrounding. Put a given value of yellow into repeated symmetry of
squares and the colour values are considerably increased over those that
would be apparent where more a complex asymmetry of form competes for our


Now if you take a large say A4 sheet of a coloured card, say red and place
a smaller grey card inside that field of colour gradually the grey area
will become tinted with a complementary opposite (green). Goethe did some
ruminating on this calling forth of the opposite in the eye...but I
digress...if you were to place a tissue paper (plain) over this set up i
have described ( Helmholtz thought this one up) you might expect the value
of the colour inter-action to reduce the apparition of the green
effect..but no, in fact it may even be an increase because now released
from the bindings of the firm linear gestalt effect the colours increase
in value within the 'thinking eye' (Paul Klee). Strange but true..go see a
Rothko and sit with it awhile;-)

At a root of this tree is asymmetry...and I like the asymmetry if this
thread so i added my own...now you might know I am a painter...Vincent
sometimes 'imprisoned' complementary colours in his lines...in his
Sunflowers in the National Gallery, London he forsakes the easy highlight
of a blue violet background for energising the dull yellow flower heads
and uses a similarly dull background of yellowy green, he sets the colour
of blue violet into the lines of the vase, and tabletop so setting up a
'distanced discharge' of energy, a 'quantum effect'..."imprisoned colours
spread over the field..." -a leaping colour mystery;-)



Andrew Campbell



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