Comprehension of any subject is dinamika.Ot senses to osoznaniya.Eto some unit of time, and what comes with time are dinamika.Fakticheski static notion of dead nature. Our perception is dynamic, paintings in chisle.Inache govorya.Lyubaya dynamic picture with respect to the subject of her comprehension.
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In this case, the "dead nature" can only be called that is beyond human consciousness? Just what, so to speak, did not affect the human experience? What is it and how to express it? Indeed, the very notion of a "dead priorda" is already aware and has to be dynamic (not dead). Then there is a paradox, in my opinion. By the way, a lot of interesting and talked about it Blessed. Augustine in his treatise on the Holy Trinity.
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Dynamically all that timeless izmereniyu.My Here, there can fall into the extremes, shifting concepts included in the system of our material world, a system of immaterial, spiritual world, where several criteria otlichny.Takim same way, we can say about the relativity and the insolvency of any science, which zhizdetsya a number postulatov.K example, there is some agreement among scientists consider this to.chto given to us in oschuscheniyah.Otsyuda dalnyshie postroeniya.Esli is not so, and all theories are only indirectly and generally ogranicheny.A Your question is quite legitimate.
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DSF, so that "the shape and color of the primary and there are certainly" hard to disagree. Just not enough. Now that you witness his respect for Arnheim, we should not lose sight of the basic idea of the book "Art and Visual Perception:
Quote: "Reading this book, we must always remember that every visual model is dynamic. As the essence of a living organism can not be reduced to a description of its anatomy as well and the nature of visual experience can not be expressed in centimeters, angles or the length of the light waves. These static measurements apply only to certain "incentives" perception, which inform the organism about the material world. But the function of perception - its significance and value - are entirely determined by the activities already described by us forces. Any line drawn on a sheet of paper, any form of simple partial, fashioned from a piece of clay, like a stone thrown into a pond. All this - disturbance, the mobilization of the space. Sight is the perception of action. "
The phrase "the essence of visual experience can not be expressed in centimeters, angles or the length of light waves" can be rewritten as: "the essence of visual experiences can not be reduced to the shape and color".
With all that you can not argue with that, I completely agree. However, these findings relate to visual perception as such. But the task of the artist is not part of the study and the processes of perception or reconstruction of the universal dynamic archetype, is the task of the researcher. The artist is not a scientist, he was not interested in the nature of "universal dynamic model of the Force." The artist only uses the available tools at its disposal "to create expressive images. It operates with the very "certain" incentives "perception" that can be measured and they are "always specific, ie endowed with a certain visual and symbolic value, regardless of whether you use these elements in the paintings depicting the non-objective or natural objects. "
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Originally Posted by Art-lover
Arnheim holds the idea that the "primary elements" of images (including the shape and color) take an artistic sense only when the artist uses them for the "mobilization of the space, for forming an image on the expressive the basis of a universal dynamic model of the Force, allowing symbolic interpretation.
And this is a matter of expression, harmony and artistic value of the product, that is, the artist uses the "primary elements", the issue goes far beyond the scope of this discussion
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Originally Posted by Art-lover
From the bell tower of a dynamic model of the major opposition by a pair of concepts of "speaker" - "static" (cf. "yang" and "yin"). Correlation of this pair with elements of the image leads to separation as a fundamental distinctions do not form and color, and the lines (on the pole dynamics) and stains (no pole statics).
This distinction is not clear to me. Line and the spot - only the derivatives, a kind way of being tsvetoform plane pictures. Especially that "practically the line - it is only a special example of the color spot. If not, then how to distinguish the line from the spot? And why is the line-dynamics, and spot-static, and not vice versa? And how does this apply to the real picture?
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the task of the artist is not part of the study and the processes of perception or reconstruction of the universal dynamic archetype, is the task of the researcher. The artist is not a scientist, he was not interested in the nature of "universal dynamic model of the Force." The artist only uses the available tools at its disposal "to create expressive images." He operates with the very "certain" incentives "perception" that can be measured and they are "always specific
If I understand correctly, you believe that an artist in the "scientists" are important studies are practically applicable conclusions, regardless of the methodology for their preparation and their theoretical interpretation. You will, but the risk of borrowing too poorly informed of the provisions of yours. (As an example - an abstract convergence lines and spots, leading to indistinction nature drawing and painting).
In fact, many practitioners in the art, well, without costing speculative constructs. All the "dynamic force model" and so on. - More zamorochki spectators, eager to pick up the master key to the understanding of creativity is very, very dissimilar artists: good thoughts theorists often helps the viewer to not less than avtokommentarii artists.
At the expense of what the theorist may be useful artist, I know of no better explanation than that given Florensky autumn of 1921 in the introduction to a lecture at the Higher State Art Studios in Moscow:
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Speak with the greatest embarrassment in front of you, suschimi or wanting to be artists. And this confusion is enhanced by my own theoretical views on the artist and art. After all, the artist has a clean, simple (Gospel) eye, looking at the world of pure eye of mankind, which it contemplates the reality. And, seeing the clean lines of reality, the artist shows them to us, and only then did we begin to see them. After all, our vision of something depends on whether it's drawn our attention to something or not. Has not yet been addressed, we do not see, and when we pointed out, it began to see. And in the natural sciences. We are surrounded by well-known phenomenon, we are confronted with it thousands of times, but did not see it. And when someone was able to show it to us by selecting the laboratory or by submitting a pure experiment, or we ourselves have noticed him, then we begin to see at every step, and rarely done hitherto almost intrusive. The artist is such an experimenter. How did teach him to look - for this is, in looking, the essence of art - rather than learn from it? Thus, the idea to teach advocates how to rage.
But the audacity to relax in your eyes, if we continue our likening the artist's eye. No nurse can not make a child seeing, nor a doctor. But depends on it to look behind the eyes of their pet that they were not dust, dirt, so that nothing alien is not frozen in sight and did not spoil the eye. She must wash her eyes. With respect to our comparison we can say that neither I nor anyone else can make you sighted. But maybe it should take care that the artistic sensibility was not contaminated with the trend, false views, theories that are metabolized by both consciously and unconsciously or half consciously - from the environment, because the theory floating about in the air and we are imbued with a poison them, often in order not notice and not knowing. Warn of such hazards may be my duty, and it is - a desire not to teach, and to protect, defend philosophically the artist - not so daring.
On the lines and spots, as he is not indifferent to understand the abstract works, will be discussed in the next post.
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If I understand correctly, you believe that an artist in the "scientists" are important studies are practically applicable conclusions, regardless of the methodology for their preparation and their theoretical interpretation.
Yes, you understood me correctly. The artist first and foremost practitioner. Theory and methodology - a prerogative of scientists. The task of the artist's true expression to what scientists call "archetypes" with very specific things: lines, spots, tsvetoform. Before an artist space blank canvas and paint. Simply put, he must decide what paint to get and how to put it on the corresponding place. (As the old German masters: "The painting is easy. You just have to take the proper paint and put it in the appropriate place.") And none of the speculative theory, even if they are true a hundred times, this will not help. Practice tells me that between drawing and painting there is no difference, except for material and size. This difference does not matter. Just as there is no difference between the fresco and easel painting. No matter what size and what kind of material - the artistic principles are the same. To achieve harmony and expressiveness used the same techniques.
Therefore, your words very true:
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Originally Posted by Art-lover
In fact, many practitioners in the art, well, without costing speculative constructs. All the "dynamic force model" and so on. - More zamorochki spectators, eager to pick up the master key to the understanding of creativity is very, very dissimilar artists: good thoughts theorists often helps the viewer to not less than avtokommentarii artists.
Of course, the theorist is useful and needed an artist, primarily because it's very nice when you explain why you're such a great and unique visionary <! - ~ 1 ~ ->
Florensky writes beautifully, no words, but I'm reading these texts, always remember the words of Renoir: "Painting - this is not any there dreams ... Right, the artists see themselves as exceptional beings, imagine that, putting the blue paint instead of black, they change the world. " Not upside down ...
I look forward to the next post.
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Of course, the theorist is useful and needed an artist, primarily because it's very nice when you explain why you're such a great and unique visionary
DSF, we're all disputants dispersed and left alone. And okay. Agree that there is no more pleasant conversationalists than a theorist and an artist: one without looking, forgiving their artists daub, and the other without reading it, condescendingly excuses the theorists of their rubbish.
It would be humane in this regard vbuhali here all 700 kilobytes of the treatise "Analysis of the spatial </time> in the artistic works fine" - because the moral is much easier not to read long text, than do not read short.
But today I have a lack of humanity, so here's to you and all who secretly shtudiruet this topic maaaalenky daydzhestik from the said text. Florensky here, as usual, philosophers, all mix: point, line, painting, drawing, movement, sensation ... Well, people sort out what's what, and everyone in the trunk podyschet things to taste.
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... our business has spread to the entire domain of art, focusing on visual arts and, specifically, to painting and drawing.
These two branches of art in a hostel for the most gain a reputation for artistry, and is the general name of "drawing". The basis of this common name net production: lining here and there the coloring matter, whether it be oil, watercolor, glue, egg paint or pastels, charcoal, graphite, lead, and sanguine ink on a particular surface, canvas, paper, gesso, etc . In order materials and implements these two fields, graphics and painting, really hard to distinguish between them exist, in order of production, various intermediates, slyvuschie a vague name of "drawings". So, perhaps painting only one color, such as sepia, as in Overbeck; possible charcoal painting, like Chekrygin, even a pencil.
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No matter how we judge the merits of these and similar rings, however, good or bad, as they relate to painting. Graphics, in contrast, will not paint, if it is made paints, multicolored, and even with a brush. Moreover, even the graphics industry, from production presented clearly far from the painting, when it is running a cutter, a needle or shtihelem can get off on the task to take up painting or intentionally, and then it becomes, in spite of the gun engraver or etcher, born in painting. Undoubtedly the use of scenic beauty in the prints of the black spots and surfaces where the printing ink has been black is not abstract and colorful sensual; here also applies to the use of white strokes that so well together and disgusting - simulate a smear of oil painting. In particular, this applies to the entire Dore, who works cutter, shtihelem as a brush. In short, any surface on which are superimposed dyes or coloring matter, nor race, and physical consistency of these substances, nor a weapon causing them to surface is not yet determined whether the actuated product relate to painting or graphics. True, in many cases, we feel, or even recognize the unnaturalness use operating conditions, metabolized by the artist. We talk then about the poor choice of artist of the production conditions, and, perhaps, the artist agrees with us. Yes, but it somehow proves that no operating conditions (which here can be quite pronounced) is defined by membership in the work to schedule or for painting. That is why we are able to judge this work in addition to his membership of the working environment, and sometimes even - in spite of them, sharing in the different departments worked in the same production conditions and - in one department that work provided different. Clearly, if we can make a correction in industrial proposition, that means, is and pivot out of production, ie kind of the essence of art. It was she who called the spatial form of the work.Paintings and drawings differ among themselves, their approaches to the organization of space, and difference between these approaches here and there is not any particular, but is rooted in the original division of spaciousness to any two substantially different directions.
Each of them can be implemented in various operating conditions, but a set of conditions allows us to express this approach to spatial comprehensible and clearer than others, and among the variety of conditions is a definite selection of the most transparently showing the invention of the artist space. Dwell on this selection is the most logical, because the logic of things, the very purpose of the product is looking more akin expressing this goal means. When the artist could not hear the desire to space or speculation, the pressure of prejudice, would not satisfy him, we feel an inconsistency in the product of its purpose and its conditions. Production tools an artist by nature, are powerless to implement his plan space, but strong enough to along with it, nedovershennym, put the intention of the artist's ghostly image of some other space zamutnyayuschy and knocking first, and already given a hint. Thus, n ri mismatch conditions and forms of production targets, there is a stoppage of two overlapping spaces: one - an intentional, but nedoosuschestvlennogo, others - carried out, but contrary to the intent.
XXVIII
Now we need to establish more clearly the difference in the approach to space and in the understanding of his schedule and painter. In his engravings of Durer - pronounced schedule. Here it is taken Durer, because it is not peculiar flatness and contour, often regarded as signs of their own schedules, but, however, does not constitute its necessary accessories. So, here we have before us the characteristic graph, and the images it is convex and deep. The schedule is he, the first approach to business, because it runs shtihelem. Surface, which limited his volumes, given the audience a system of lines, dashes, and each of them by itself is estimated by us not as a black stripe, though very narrow, and as the iconic symbol of some direction, some movement. We can not say - such a place white prints, and such-black. There is not a sensible white or sensual black, but only a reference to a particular number of movements of one or another species. Black bar and white paper here is the same external circumstances, as well as the chemical composition of ink and paper: it is - the conditions necessary to exist a real product, but they themselves, in their sensual givenness artistic calculation is not constructed. Said thought can be explained in the limit of a good example: if the required movements were shown not paint, and in some other way, for example, sharp ridge along the line, then the impression of an engraving would remain roughly unchanged. That is why the negative image of engraving, ie, white on black, in order of pictorial visual represents the complete destruction of artistic design, visually motor is almost not changed, even though the psychophysical phenomenon of irradiation of white on black. would be complete nonsense hromofotograficheski reproduce the picturesque scene in the form of color negatives: ie with the replacement of each color of his additional, but much deeper, in order of color, distortion of engraving, when it turned into a negative, no significant distortion in it does not contribute. This again explains the abstraction of color - prints and graphics in general, and sensuous color pictorial means graphics are not included in the work itself, as some forms, whereas in paintings it is essential. Approximately indifferent whether to draw on paper, white, gray or black pencil and black and white or color, but it is impossible to change the data paints a picture with any arbitrary other.
So, in the schedule of important trends and movements and is not important, what it passively accept the signs of these trends and these movements are brought to our consciousness by the artist. In other words, Graphics based on the motor sensations, and therefore organizes motor space. Her area - <Region> active attitude toward the world. The artist here does not take on the world and gives the world - does not affect the world, and affects the world.
We are working on peace movement, anyway, whether it's - stone carving, with the highest muscle tension and body, or a faint gesture of the hand. But most convincingly tough and the most subtle manifestation in our world, flashed like a smile or went beyond what the pupils, affecting traffic and all traffic will eventually start movements of our body. The most sophisticated and powerful motion machines, after all intermediates, lead to a wave of pervoistochnomu, which closes an electrical current or turning a starting lever. Expression of our will remain inside and inactive until it moved directly subject to the will of our body organs. Thus, offensive to the world there is always a gesture, big or small, intense or subtle as a gesture conceived as a line as a direction. It does not consist of individual items, and made them the line is not composed of points. He, as a gesture of how the line as the direction is irreducible in its unity activities and activities that rely on and are determined by individual points, the individual states, as something secondary and derivative.The graphics, in its ultimate purity, there is a system of gestures influence, and it fixed one way or another. If a pencil in hand, the gesture is recorded pencil line, and if - shtihel, the engravings. If the needle - the scratch out. But what would have been no way to record the gesture, the essence is always the same: the linearity. Graphics essentially linear, but not because konturalna or that these lines should be seen in the plane on which they are written is real. The point is not that and not in another, and in constructing the entire space and, consequently, of all things in him - movements, ie lines.As soon as the product of graphs spots appear, the spots been filled in with paint surface, so this work has already changed the graphic activity approach to the world, motor construction of their space, gesture, expression, ie admitted to a scenic elements. For, I repeat: the passive perception of the world's sensual givenness contradicts the very basics of graphics.
XXIX
In the middle of last century in England were very common engraving on copper, entirely worked on a point, such an engraving is attached, such as the novels of Walter Scott. This granularity gives clarity and subtlety of light and shade. But despite the lack of paint, the impression of these engravings is clearly not a graphic and picturesque, such as lithography or charcoal drawings, but with a superior delicacy and consideration. This is something that's grainy, Spot, Spot, and is an intrinsic property of painting.smear, stain, covered with a surface there is not a symbol of action, and themselves, some given, directly coming sense perception and desire to be taken as such.Each spot is taken here in its sensuous color, ie, with its tone, its texture and, often, its color. It is not a commandment that requires some action from the viewer, and the symbol or the plan itself, but the gift of the viewer, free, and pleasing. Whatever is learned for themselves from the product of the viewer - in what he has already received without the efforts of the joy of color stains, which the artist received a gift from the world and a chemist, to convey to the viewer. This spot is especially some of the things that will be the audience - part of the painting canvas. In no case, so it should not be thought of abstractly: of these spots is the whole surface of the painting. Therefore, further, that this spot is the real point, some small sense-is visible surface - dab small enough not to take the form of a rival to the shape of the whole, the whole picture, but not so small to be qualitatively compared with the whole alien surface. Here the artist shows how he comes to the world. Certain features of this passive acceptance of the world are given contact, touch. This passive space is constructed touch. - The sense of touch involves the least possible interference in our external world, with the highest possible manifestation of himself. When we want to have an impact on the world, we have relatively little incentive to own its properties, or - more precisely, consider them, because they may be on the road to our action, to prevent him or inconveniencing him, they are the subject of our attention as a possible passive anti-peace, and therefore considered by us only in general terms. In other words, with an active attitude toward the world, we consider it abstractly and is considered mainly from the inertial mass and mechanical hardness.
In contrast, when we try to learn the same world, we naturally keep himself as far as possible, from interfering with the order and structure of the reality around us, so as not to distort their own image of reality interference. We are afraid to smash it to his use or his swiftness move things and elements from their natural habitats. Therefore, we come to them perhaps more cautious, perhaps more carefully, to reach their limits, but do not inadvertently jump for it, ie, do not give it a new kind. The validity of such knowledge is defined by an endless proposition, the form of "just do not" and this - the least possible work, almost lack of it. Just without the knowledge of the world is impossible to open the activity has been interference in the world. Between one and another is the sense of touch, as the activity is so small, however it is permissible conditions of sensory perception, still less - and we were not correlated with the object of our knowledge. When in the darkness, we extend our hand to find a wall, door or plug electric lighting, the activities of our quest hampered by a special force of about the threshold, because otherwise we run the risk of injury or break anything in the room. We are doing a lot of effort, perhaps, far more than the sharp movements, but this effort is not aimed at the outside world, but on ourselves, on the checks, the delay of greed. gesture and movement, more sweeping and more rapid than that required these terms, do not indicate an excess of power, whatever it was, and the internal weakness when strong-willed efforts are still lacking in scope, but not enough to delay and its limitation.discreet gesture and careful touch certainly contain within itself the possibility of rapid and sweeping efforts, and, in addition, more effort, limiting the opportunity, and when the will is weakened - for drugs , nervous disorders, mental illness, in affect - then checks is no longer the power and movement lead to unintended consequences.
Thus, touch has an active passivity in relation to the world. It does not want to raise a voice to get into all the intonation of reality itself. Touch on your own appointment as the ability to perceive, are directed to the fullness of sense data. A taken them pyatnoobraznye greatest pieces of reality, such parts of it that by the smallness of their assessed as having no shape of their own, and therefore represented only the material, only bricks sense of the universe. These pieces, these spots saturated with sensual content, but by themselves are not formless and the form of determining the essence of the traces of our touch to reality: we are palpable world of the individual touch, and each of them gives in the minds of spot - the imprint of our active passivity. line in the graph is a sign of a commandment or required activities. But the spot is not a tangible sign, because it does not indicate the necessary activities, and gives itself the fruit harvested from the world: it is itself a sense-datum. From this some givens and sent art passive attitude toward the world, mainly the purest of them - painting.
.....
XXXI
Deep in their inner meaning ditch between sculpture and plastic, or rather between products of motor and tactile works are usually confessed without a corresponding severity of the insufficiently pronounced difference between the material hard and soft material. ....
But of course foresee the possibility of both principles, motor and tactile, appear more independent from each other, if the processed material and methods of treatment will be more to the needs of movement and touch. These are just graphics and paintings. First - uses movement most of its purity by the fact that not all fixes cutting plane, and only a trace of her, or the projection of the image plane. This schedule saves the artist from excessive force, and the substance - of too difficult for his claims; because some movement here shed his stiffness and caution, ie, stopped producing "groping," and rhythmic sounds of their free and nevozmuschaemo. Likewise, painter free from mechanical forces activities touch that forms longer volume, but only its projection on the plane and, moreover, the most compliant material - a liquid or semiliquid spotting.In a certain sense we can say that the graph cuts the air, and sculpts a painter from the liquid. to both of them now almost does not seem to interference from substances, and because everyone can, if they wish, in its purest form to use or movement, or touch . But, if this independence on the properties of matter, the artist has, on the contrary, ample opportunity to mix the two activities, turning an engraving or drawing in the likeness of the painting, and painting - saturating graphically. However, this ease of mutually activities at the same time serves as a favorable condition for intelligibility of each element and therefore, no matter how mixed those and others, to understand the nature of each there is already not a big problem.
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XXXII
Everything said so far about the motor and tactile, however, can be rejected with reference to vision. ... Visual arts - visual arts, and in developed here thinking about vision is not even mentioned, and the word of this had never been told.
Meanwhile, the vision is really no reason to still mention and it was not lost through negligence, and intentionally left as the ability to confuse even enough prevailing notion, because vision, although the noblest of the faculties of perception, but in essence, not new certainly in comparison with pervoosnovnymi - movement and touch. Moreover, the vision contains both pervodeyatelnosti and, moreover, each in its purest form. Here and in the movement and touch of the least related to intractability of matter, and to base their perceptions on the eye the most independent in carrying out its business.
The eye is an organ of touch and passive and active movement. The sense of touch: as noted already by Aristotle, is a common vision and a refined touch. The subject touches the eye through a light beam. Aesthophysiology until recently imagined object stretched before his eyes light energy and so - touching your eyes, no significant differences to the touch in the usual sense of the word is not here, because I touched her hand and acting self is not the subject, and one or Some of his strength and energy. ....
Then the skin can feel for the most up close, though she did not alien to the sense of touch into the distance, the eye, in contrast, little is susceptible to direct contact, some more sensitive to very short distances, the most adapted to perceive at a distance of 33 centimeters, and then again becomes less and less sensitive to the removal of the subject. Along with this heightened sensitivity to touch, thin and the ability to perceive surface properties, ie its texture.
The finest texture is color, if you understand this word as a designation of its own properties of the object, which is characterized not by its relation to the surrounding space, and an intrinsic property of matter. It is known that body paint due to the subtle nature of the structure of these bodies, their dispersion, but not molecular, and coarser (Wolfgang Ostwald). Therefore, perceiving this painting, we are in fact subconsciously come to know the structure of bodies, ie unconsciously feel, just like listening to music, soul - by Leibniz - unconsciously engaged in algebra ». Small sensory impressions, petites percéptions Leibniz, give color consciousness. In other words, if you already have within us the ability to perceive, this is a vision, and the organ of touch - the eye. Of all the organs it possesses the greatest ability to take on things active passivity - to touch them without distorting, no pushing, no crushing. ...
However, seeing the same ends and another line of abilities, motor perceptions. Normal sense of touch as it is essentially the opposite of the perception or motor, in fact, it is accompanied by, and it is based: to palpate the object, we slide out of his fingers and hand, arm motion, moved by the whole body, even moving from place to place. Motor contributes to touch. The eye, the ability to touch leading up to the highest refinement, is building on the top and the motor: when we are feeling the eye, as is well known, certainly driven by the eye, move his head and even the whole body, and when we want to consider subject more carefully, then go from place to place. In short, visual perception is likened to a very tactile.
Not only that: in the ordinary sense of touch, unless it is accompanied by the movements, the reality is not subdivided, and will not be issued, and if it bezdvigatelnoe touch will last longer, it will weaken the consciousness of reality, and we dive into a doze, even in a dream. But , and vision, as it can be released from the motor, gives a visual image indistinct, undifferentiated, vague. This - like a fog, not yet having a certain place, not near, not far from us, at times like a direct but the gathering to the eye, and unstable in the limit of ugly. We can not take it for a long time, not plunging into drowsiness, if only to prevent a movement. Complete immobility is behind him, as is well known that stiffness is not only the body but also mind and extinguish in us the idea. What gives the touch, quality is not comparable to that we receive through the movement, but nevertheless it is, in itself, can not become our property, not acquired by us. On the other hand, and the movement, taken apart from the touch, is not embodied and therefore leaky: its record in the matter requires a touch of the substance, how can I resist amendments thereto. here involuntarily reminded of Kant: "the notion without feeling empty and without a sense of concepts - are blind. "And this is not an external comparison, since Kant's concepts affects our activity, and the feeling is - the passivity. Thus, movement without the touch empty and touch without movement - are blind. Sight headed by our ability to perceive the world, and a vision so tactile and motor, driven each to limit the severity and possible independence, a heavily promote each other. The perfection of the eye - the freedom to use at will any one of these pervosposobnostey or the other or both together, or, finally, to do basically all of them, and other accompanying chosen, and moreover - to the desired extent. vision has the ability to more flexible, more ready at any moment to serve as a pure touch, as pure movement as a wreath or in any proportion of both. D lazu available tenderest modeling, not paint-modeling, but simply a light-modeling, but it is accessible and the most daring cutting, dissecting the space of pure activity, granyaschaya reality lightning glance.If the eye puts the tender spot, it also cuts it most boldly line. Then, on these two tracks, there are paintings and drawings.First, in the limit, goes to the passivity of textured spots, to the colorful strokes to color points with no shape, in fact, occur through the contact patches through a ceiling painter, like his audience without notice, are being diverted from them. Here visual images, or, more precisely, the visual field is deployed from the inside, because from the beginning every brushstroke is already part of the plane, a seed of the visual field. The image here is not a loop, at least, has no way of determining the circuit, but on the contrary, he believes his stretching, his spill on the plane of a circuit as something secondary and passive.[COLOR="DarkRed"] Here, this path if it affects, there is a limit of exhaustion and weaken the paint stains. So, in emanativnoy matter of philosophy is conceived as a lower limit of the sequence and thus depleting the emanations, as something that is now determined by a net negative and equal to anything. [ /COLOR] Net art, which it seeks be on the way neo-impressionism, destroys the circuit, at least deprive him of the activity, it is here already deprived of power pull some of the surface, increasing the elasticity of energy and he just is - if only there - because it comes from the interaction of spots.
On the contrary, the graphics are on the contour, and what makes it inside a common loop itself is the same circuit, the private circuit. Here the plane is built circuits, more circuits and even circuits. Net chart alien spot and therefore alien inseparable from him and his accompanying invoice. If a graph has somewhat shifted to the top of a picturesque spot and, accordingly, the texture still appear, as suggested by active contours, ie as something secondary and on the contour - Passive . Such a stain and a texture indicate a certain weakness of life that can no longer be functioning as its elasticity to fill the plane, leaving voids and gaps, and because there is a need to fill in such a sensual texture. Here an abstract line is no longer able to be all things, and because it introduces color, tone, texture, and then - and the direct spot. If the net art is the philosophy of emanation, the net schedule is akin to the philosophy of creation, for the artist from the plane, nothing wants to create the fullness of her images, dispensing altogether with no sense.
Driven to the final purity, visual art of touch and visual motor themselves destroyed, and the first - how strange, the second - as imperceptible. In fact, although the schedule and abstracts from sensory properties nachertyvaemyh their lines and the textures and colors to use them to the surface, whether wood, metal or paper, but the perception of these lines and this surface is still possible only in the presence of sense, and graphics completely non-sensuous can be only as a matter of abstract reasoning. Thus, , each of these major arts uses in fact not one but two first-order abilities. Qualitative difference between the arts - in fact, a sort of skills an artist acts as a principal and with what - as a subsidiary, ie, motion is whether the sense of touch or tactile - movement. If the painting with the rule of spot-point of a line and then a schedule dominated the beginning of the line is not definitely rule out a spot and limit his point. But in a spot of painting and, accordingly, the point is logically first, and the line - the second, whereas in the schedule - on the contrary.
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XXXVIII
Thus, the main task of fine arts at the surface - the organization of space - can be solved by two approaches, which are close to each other formally, but profoundly alien to the feelings underlying both approaches. on the same path depicted space is conceived and built tactile dots or specks, and they in turn define the line, but the lines are thought of here as possible ways of movement, with more or less indifferent to these movements are carried out or not. Conversely, when the engine approach to the space is organized by lines and lines here - the primary elements, active and defining himself some points as possible meeting places, and therefore stops touch. But it makes no difference, exercise does in fact these two points of touch, or not.In other words, surfaces and volumes of clearly presented here as the images of movement, but showing up to a certain extent possible touch, but with a different approach, by contrast, surface and volume are represented as images of the palpable, but indication of possible movements.
But now the tangible things, and the space gives space motions, and vice versa, the space is not tangible, but in things as such can not move. Hence it is clear dominance in each of these two branches of the arts one of the two conjugate sides of reality: the painting is drawn mainly from things, and graphics - with space. Painting is like a substance, the same schedule - movement.
But we have already seen Mr. erazdelennost things and space and the inability to separately or things, or space. That is another side of reality necessarily present in each of the products like that and the other branches of fine arts . Same tendency of this branch to one or other side effect in the corresponding interpretation of the other side of reality. So, and the painting may seek dissolution of the separate images in general, subjecting them to the composition, warping and twisting. Then the images of reality lose their strict separateness, but not because space is the product really has become firmly linked and inseparable. On the contrary, there just is weakened by internal, organically constructive connection of all things, the most a; until now they had more motor, but now these latest line-connection pulled out of the images and instead of many individual things happened countless individual gizmos . Now each of the things she pretends to be a thing, every spot, every stroke, every point exists by itself, without contacting the movement from a different point, with another spot. They are all approximately equal to the efficacious, at least - the same order of effectiveness, and because there is a known uniform distribution on the plane, it seems at the surface evaluation, though we have before us a work in which the space absorbed things. But no sooner have things finally embody and lost their organic structure, blurred throughout the space and took it. There are no things now, but fully dominates the beginning of reality. In other words, we have before us is not the space, and the medium. The hardness, in the sense of saving the form, exists primarily for the perception of movement, because the touch, if we take it as an extremely cautious and soft and hard as well not be. So the art of pure touch, pretends to give space, actually gives the porridge, or a liquid or vapor, or air - is anything but full of substance and, moreover, is as filled with. This environment can be fine - or just light the fire, but whether depicted in this way the stones or the spirits, they still represented here by his real. While this distribution of matter in the whole space has not yet happened, touch points were content insides of things, the substance from which things are made, and the surrounding area was empty and weak. When the shell of things finally exhausted, things are stretched in space, like the ghosts of smoke. These tactile point, real stuffing things spread throughout space, matter spreads over it. But from space is not made stronger.
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The art of this kind has to operate a point-smear. As tactile to the last degree, this point should be removed from the things purely passive vision: it is like peeling scale visible surface of things, and not even the things themselves, and their projections. Artist takes is a passive that he seems at the moment, and knowingly flees learning things, regardless of the circumstances of the random cash perception.If the line is characterized by its individual form, the point is devoid of form, but because - individuality. Hence the need to individualize in painting a point value to its surface, tone, color, ie, give her sensual performance in addition to the geometric characteristics - known place on the plane. Hence further understand the attraction of painting more and more crudely sensual individualize her point: it leads to the search for painting textures, and further away - encourages borrowing these invoices in the capacity of ready-made from a variety of technology products. So there are labels, printing, inlays, etc.
If one were to give examples of this trend of art in its more pure form, of course, here is primarily directed toward all of impressionism, impressionism, whether this be called by its name or not. Tintoretto, El Greco, Rembrandt, in part, Delacroix and his school, the Neo in the face of Paul Signac, and others, pointillism, etc. - all this tends to give a color environment, passive, incoherent, devoid of design and because of its lethargy, it is easy to submit to the composition. If this environment is the space that in any case it does not have space motions, for the densely crowded. This - the space of Descartes, entirely filled with countless pieces of matter with which it is wrong logically, but psychologically entirely naturally identified.
XXXIX
Painting distributes the reality of space and because space tends to turn on Wednesday. In contrast, the spatiality of schedule leads to things and to interpret most things like some of the features of motions in them, but movements in the different cases are different. In other words, she and stolkovyvaet thing as a singular space curvatures, or as a force field.painting, thus, deals with the actual substance, ie, with the content of things, and the sample of the content is building all the outdoor space. A busy schedule things around space and modeled it interprets the inside of things.The space itself, touch is not available, but the painting still wants to interpret it as a tactile and this puts him in the matter, though subtle. So there is a light environment. On the other hand, the substance does not as such provides space movements. Therefore, the interior of things to motor perception is not available. Schedule, building space of motions, and to the inside of things want to come to the same perception, and therefore represents the amount of things, making mental motion within it, ie, imagined movement experiments. If he had resigned before the inaccessibility of this volume touch and these experiments did not least, the interior of the things he would have remained a profound mystery and could not be depicted graphically. After painter, touching things, transmits it to a substance that starts at the border and extends deep into, but graphics can only move things around and stuff it in its motion does not knows, - quite the same way as a painter touch things no knows its environment. And therefore, if the artist extrapolates his experience, extending the imagination cognized their substance and in outer space, the graph of your driving experience about this outer space extrapolates to the interior of things, ie, in her imagination brings pilot back to him inaccessible to traffic. Then the interior of the things protolkovyvaetsya as a force field.
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Although in this passage do not refer explicitly nor an abstraction, nor of irrelevance, to understand the potency of abstract art he can give more than the other dedicated to abstract art ledgers, because it shows a deep, extremely abstract and virtuosic in the culture of thinking approach to the organization of space in art .
PS. You are wrong teshite the hope that on this we will leave a shadow Florenski alone. You will not read a couple of pieces of vyshetsitirovannogo work on such closely related to abstract art items like ornaments, magicians and Suprematists.
Prior to the meeting.
PPS
Quote:
Structure of the space is characterized by its curvature.
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Space is an environment in which are not only the weight and volume, liquids and solids, and various other physical characteristics, and temperature, electrical, magnetic state, etc. In addition, immediately placed in the space of all our experiences and relationship to reality, ie, what we said when we discussed that there is a space for each sensation. Once we have a well-known images of sensations in the spaces, so we believe these images are based on the understanding of space. If this were the weight or volume of liquids, we must keep the weights or volumes of liquids, but if it were, say, the quality of well-known visual representations, we should keep this method of valuation. Consequently, the capacity of an aesthetic order for us is the ability of one or another point in space in different ways to treat same factor in sensory perception.
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If the same number of strokes makes us different impression depending on whether they are represented by one or another angle of our view, that is that in one case, they seem more in the other they seem to be increasingly delivered. This means that visual space has a different capacity.
Yes, but with respect to a glass of water space in all places has the same capacity. Right. After all, the fact of the matter is that we must stay on the admission of measurement, from which we start, and therefore receive different space.
The space of this room to touch is something quite different than for vision. For binocular vision - is quite different than for monocular vision, for vision fatigue - other than for a fresh view.
... podhozhdeniya method to the space determines the way of his understanding of his character and sets one and the other system ...
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What we call mental factors, such as attractive force of beauty, they will not be seen with iron, but a conscious being deflected to look at a beautiful flower .... Curvature of one or another, ie space capacity in relation to known factors, depending on what factors we consider.
In the end, the whole point of art is reduced to the organization of space, to some deliberate distortion of the space according to one or the other scheme. distortion factors are different sensory perceptions. In some cases - sight, in sculpture, for example, in the architecture of painting, in other cases it is sound, as in poetry and music, etc. In other cases a joint activity of all sorts of sensations, but the scheme of all art is the same. Take the piece of natural space, which until now has been arranged habitual physical factors, a piece of the curve as far as possible, within himself, an equal, not perturbed by any physical factors, in addition to your intentions. For example, if you want to give a concert, you should make the audience keep quiet, because she would create the curvature, you is not foreseen that this will distort the space that you want to create. When to take a certain chunk of space you start deliberately distort it, ie, deliberately gives it a different measure of capacity. How could this happens? This is possible because, as we initially were told that the division of reality into the space and things are always done conventionally, ie, this is a our mental reception. Therefore, you can always change the reality so that the set of terms of space and things could have been conveniently reinterpret otherwise, ie you actually introduces some new factors to the perception of your product I have counted, but these factors, as such, does not ascribe to the impressions of curved space, and to the most space.
This can be explained by analogy with the way you cast a shadow. When a person in a portrait superimposed light and dark spots, then I could approach this in the order of things and say that there is a plane and on it in some places and black, in others - white. But I can approach this in the order of the spatial, ie, in order of aesthetic contemplation. So I'm not saying that the outgoing part of the face darker than the data front, I think their the same, but when I say that the shape is curved, ie, I attribute this to the geometry and not due to sensory data of things, I am entitled to do and so and so. But If I want to perceive from your product that you wanted to give, then I must bear it in space, because the task of art is the organization of space. If I persist, I do not apprehend the work as such, and apprehend its sensuous material.
ultimately depends on me, or not to submit to the suggestion that you give to his work. I am free. In addition, I am free to distort your problem, ie, I can sense some of the material by you of this attributed to the space, and another part - at the expense of the purely sensual experience. I can build from your product is not a space that you would give me. And, if I can not come to the works of art, and, in particular, the style, and maybe even a personal manner, if I do not understand the forms that you give, I am so without malicious intent and will. In my mind, will not have that space, of which you speak. Usually the product of misunderstanding based on that.
This understanding is usually given suddenly, like a revelation. I think that in the general scheme of this understanding, the point is that you're imposing on the fact that I still believed the plane, applying paint, ink, or imposing sound, you make some new reality. What is given me a sense-in the form of known impressions, I transpose the view of curvature of space, ie from this moment your plane pattern is no longer for me to be a plane and made some new space, it does not contain the time, but now it contains. The main characteristic of this space is that the curvature of it was everywhere equal to zero, and now it has turned out to be extremely twisted. Emergence of a new space. Since that moment, my mind fell on canvas, it is not, no paper, and there is some visual or other image in the corresponding space. Until this failure has not occurred, no aesthetic perception.
I'm not in the sense of illusion, but I say that you have found a new understanding of the same reality. You know that another possible podhozhdenie, a completely new design in our contemplation of what is presented.
We, the question arises, how exactly the process of organizing space, ie with which it begins, which is its skeleton, in other words, the composition. First of all, what should I do to be able to plot a Euclidean space to rebuild their own way? First of all - to say what we want to rebuild. Required insulation. Isolation is the first step strongly in all the arts. This is a selection of some particular sensuous art in order to continue working on it.
This isolation can be given a variety of ways. But the basic meaning of it - detachment from the outside. It provides a frame or a white field on the engraving, a pedestal - a statue or the surrounding empty space in the architecture, or pauses of silence in poetry and music, and finally - in drama, except for pauses of silence on the part of the sounds, ramp, which makes some of the restricted space. Since you have decided to create an aesthetically and contemplate give, so far this frame - ramp is absolutely not cross this boundary, through which nothing can get out of this daily life on the other side.
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Last edited by Art-lover; 05-03-2011 at 00:01.
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Well, people sort out what's what, and everyone in the trunk podyschet things to taste.
"People," which I belong to at least a week, if nothing else to do to master prtsentov 10, is writing about Florensky, and this is the case when not knowing what it was about, I am confident in themselves in the genius thought this teksta.t e took the text of the abstract.
Last edited by Самвел; 03-03-2011 at 23:38.
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agree that there is no more agreeable companions than the theorist and the artist: one without looking, forgiving their artists daub, and the other without reading it, condescendingly excuses the theorists of their rubbish.
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Quote:
Originally Posted by Art-lover
Florensky here, as usual, philosophers, all mix: point, line, painting, drawing, movement, sensation ...
That's for sure. A mixture of nice, though he can not refuse to resourcefulness, or, as you put it, "a deep, extremely abstract and virtuoso on the culture of thinking approach to the organization of space in art."
As I understand from this text, simply put, if more lines - graphics with elements of painting, and if more spots - a painting with the elements of graphics. Net same graphics as pure painting does not exist. To support this thesis draws the easy-philosophical artillery "of the knowledge of the surrounding space and extrapolate their experience.
Frankly, it reminds me of the attempt to distinguish between saber and sword, they say, a hack, another stabbing, and so they are very different, because one lets blood out, while the other provides a good internal bleeding. Yes, there is some technical difference, but it all - cool weapon and as a result - the death of a guinea.
I'm looking at this situation is simpler: the line and the spot - a weapon the artist, the result of its use there is a painting. Practical difference between the spot and the line is no, in this respect, Arnheim, as a researcher, right. A Florensky too clever by half.
Forward to the continuation))
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26-02-2011, 17:40
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