* Hermeneutic Identity: The functunal use of art as identity. When. Where and If?
The unity of the work is on a basic level experienced at different moments when where if. Consisting of a continuum of experiences, events which constitute to the whole and will be used in the future to supliment the whole -
When Where If ......
* Within-ones-self Identity of the wanderer
: Of the Wandrer
Within-ones self Identity
: As one wanders
Product and participant
* How far can you take it? How long can you streach it out? Elongate it. Streach it, mend it, make it. Manipulate it. bend it. Take colour to the limits.
Red Yellow Blue. I live in you.
Emergent in the work (Play)
Emerging from the colours I develop myself. Does this make every painting a self portrait? Elements of ones-self emerging - a psychological profile of the artist? It certainly conveys personality moving in-the-moment. Serious as if it were real purpose. It is not (play).
Play suggests no rules - and I find this to be true - in art i am completely free. I represent (unconsciously) myself and hope this reverberates with you. But it is not a thing because a thing has object-ive-ness. It is not a thing like a tool but exists in the space between. Is this metaphysics? Reverbarate. You become the moment
Become the Moment - Distortion
We cannot Specify the moment of art. A grouping, catogorising the moment of art. Shutting down. This would miss the content, close the aesthetic reaction and pre-empt, dull - miss the point. Open the book and read on. He will never be static. "A peculiar case of it" (p21). There is no case. Formalising of moments. Catogorising of moments. A data-centric breakdown of the moment expectation censored - Grey. Look at each work a new. 13/5/25
* Genius is a force of nature
: The Arena
This is "The Arena" in which we play.
It solves the problem of "what art is" to some degree, and takes away some of the ambiguity presented? between the making of the art and the understanding of art. Addressing the concept of where it comes from and its understanding - In Kantean terms - The aesthetic appreciation of art - a "disinterested delight" (define disinterested delight) is not completely necessary - just enjoyed, inspired by a feeling, sensed and enjoyed without concept, but something that is communicatable through human endeavore - Art
A "natural beauty" has no concept. The "Genius" is a force of nature
The Relevance of The Beautiful by Hans - Georg Gadamer
* "Why does the understanding of what art is today present a task for thinking" (p9)
* "What is this truth that is encountered in the beautiful and can come ro be shared?
What is the the purpose beyond aesthetics? Something intelligible?
Presented. The piece must have a purpose. To be used as something. A means to an end? It must be accessable, when it is "out there" it is understood becauseit is part of "universal human comprehension". What is the realtionship between - "what" i caonsider it to be - between what my ideaof what it is and how to go about it - and what it is to the other? Tension. Linear continuum. Part of time. It exists Singularly and Continuously. But different - though universal. A concept of Connection/Communication. A link of electrical conductivitythrough the medium of paint. Aesthetically put - an offer and (not). The problem is one of definition. A linguistic proposition which never hits the mark! An experience of Art, no matter how it is described is always affirmed, not only in the moment of interpretation, but in the moment of communication (Kant).
* What is the machine? Can it ever be deconstructed? And if it was, would that deconstructionbe anything like the representation in the Artist's mind at the point of conception? - of the idea/ideal in the actual production of the piece.
- it is a good idea to Ailienate onesself from the piece. Henceforth the work will be refered to as "The Piece"
