20090727
20090726
contemplation (john armstrong)
contemplation
the scrutiny of what is there to be seen. It is, literally, spending time with [an] object — not just time around it or standing before it, but time devoted to looking at it
Animadversion Concursus Hololepsis The lingering caress Catalepsis
Contemplation — in its initial aspect of animadversion — is time spent noticing details; that is, the process of becoming visually aware of parts of the picture which our habitual rapid scanning tends to gloss over. This is a process which sometimes requires conscious effort, we feel we are literally turning our attention on to different parts of the canvas and saying to ourselves: Well now, what is actually there?
Concursus… involves seeing together many individual elements of the picture. Its pay-off comes in an enrichment of visual significance, of meaning. Scrutiny of a work of art frequently involves a rhythm of attention to individual parts and to the relations between those parts. This rhythm is required by art and it is also native to the perceiving mind. In fact we can see here how works of art respect and play up to the natural character of exploratory and synthetic attention; it is a native resource of the mind which we can bring into active, and developed, service in the engagement with works of art and which artists usually presuppose we will bring into service
The ambition of concursive attention — the ambition of drawing things together and seeing them in relation to each other — naturally expands to incorporate more and more elements of the work; its logical maximum reveals a further aspect of contemplation: hololepsis. Hololepsis yields an archetype of completeness and coherent explanation — thus responding to two of the great aims of mental activity. The contemplation of art of this kind and in this way can satisfy yearnings which the world generally frustrates. The world frequently springs the unexpected and sprawls in seemingly meaningless disorder. The prestige of systems of total explanation — religious, scientific, historical, philosophic — indicates a general need to grasp the world as a coherent whole in the face of its apparent confusion. A work of hololeptic art has the advantage over some of these systems in that its coherence does not rest upon falsehood; it has the advantage over others that what it offers is visible and palpable rather than abstract. Yes, of course, the price a work of art pays for this is that its completeness is bounded by its own small physical extent. It answers a yearning, but only in a restricted area. Hololeptic contemplation, thus, links the experience of art to the wider demands of reflective life and suggests how, to a certain kind of person, the experience of art could be of prime private importance
When we keep our [hololeptic] attention fixed upon an object which attracts us [a lingering caress], two things tend to happen: we get absorbed in the object and the object gets absorbed into us [catalepsis]… The quality and virtue of contemplation may depend… upon what it is we are giving ourselves over to. We can visually contemplate anything which we can see; but do some objects reward this kind of attention more than others? The belief that it makes a difference what you contemplate relies upon the assumption that what you contemplate gets inside you; contemplation is the spiritual analogue of eating
Animadversion Concursus Hololepsis The lingering caress Catalepsis
Contemplation — in its initial aspect of animadversion — is time spent noticing details; that is, the process of becoming visually aware of parts of the picture which our habitual rapid scanning tends to gloss over. This is a process which sometimes requires conscious effort, we feel we are literally turning our attention on to different parts of the canvas and saying to ourselves: Well now, what is actually there?
Concursus… involves seeing together many individual elements of the picture. Its pay-off comes in an enrichment of visual significance, of meaning. Scrutiny of a work of art frequently involves a rhythm of attention to individual parts and to the relations between those parts. This rhythm is required by art and it is also native to the perceiving mind. In fact we can see here how works of art respect and play up to the natural character of exploratory and synthetic attention; it is a native resource of the mind which we can bring into active, and developed, service in the engagement with works of art and which artists usually presuppose we will bring into service
The ambition of concursive attention — the ambition of drawing things together and seeing them in relation to each other — naturally expands to incorporate more and more elements of the work; its logical maximum reveals a further aspect of contemplation: hololepsis. Hololepsis yields an archetype of completeness and coherent explanation — thus responding to two of the great aims of mental activity. The contemplation of art of this kind and in this way can satisfy yearnings which the world generally frustrates. The world frequently springs the unexpected and sprawls in seemingly meaningless disorder. The prestige of systems of total explanation — religious, scientific, historical, philosophic — indicates a general need to grasp the world as a coherent whole in the face of its apparent confusion. A work of hololeptic art has the advantage over some of these systems in that its coherence does not rest upon falsehood; it has the advantage over others that what it offers is visible and palpable rather than abstract. Yes, of course, the price a work of art pays for this is that its completeness is bounded by its own small physical extent. It answers a yearning, but only in a restricted area. Hololeptic contemplation, thus, links the experience of art to the wider demands of reflective life and suggests how, to a certain kind of person, the experience of art could be of prime private importance
When we keep our [hololeptic] attention fixed upon an object which attracts us [a lingering caress], two things tend to happen: we get absorbed in the object and the object gets absorbed into us [catalepsis]… The quality and virtue of contemplation may depend… upon what it is we are giving ourselves over to. We can visually contemplate anything which we can see; but do some objects reward this kind of attention more than others? The belief that it makes a difference what you contemplate relies upon the assumption that what you contemplate gets inside you; contemplation is the spiritual analogue of eating
20090725
20090724
who do you wanna call?
in this cloud of emotions witch is about to evolve into something meaningless yet higher(in a brand new trust in everything and even more) you can submit and later find a beautiful feeling of cruelty and madness and obscure devotion
it is mesmerized as hell
it's about to become alive and superior
DON'T WORRY END OF NOTE
it is everything from your telephone number to your
blood flux
for granted
and for good godammit
20090721
20090720
20090719
pilgrim GATE 1 (florilegium)
the shoe
“The materials were pulled taught on a block, sewn together and turned for the production of the seam – from there, the wings turned around and formed into a shoe,” said Breuer.
The newly exhumed 800-year-old shoe will be freeze-dried after soaking in a chemical solution for 14 days in a lab in the state museum in Saxony-Anhalt.
“With that the shoe will be kept in its original state and without any difficulty be put on display in a museum exhibit,” said Breuer.
http://larsdatter
20090716
20090712
20090708
20090707
20090704
20090701
Abonați-vă la:
Postări (Atom)
