Tag Archives: art

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Magellanism

authentic artistic productions
the avant garde…
whisper unconscious koens
subliminal social suggestions
haunting the ready, the restless…
prepares ground
for punctuated emergence

what is this light ???
a cascading series
of erotic creative toggles
which vitalize the preparation
of this special autopoesis
the poetry of our collective dance
becomes obvious
in these special glimpses
of the great remembering

it’s more than the eros
of pursuing the excellent questions,
the loving play and design
of cognitive gifts and exercise…
it’s more than the sacred reverence
of our sanga in practice,
this emergent suchness,
exhibiting delicious blended elements
of both…
ah !!

at this intersection of our experience
a fresh, new, and alive we-ness emerges
mysterious, gorgeous, seductive presentations
the stuff of this new manifestation
the resonance of our fresh social moment
this precious group
this shared new luminance
new containers are formed
already brimming,
with our splendid light

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PAL Chapter 5. A World of Value. pp.147-168

 

…value is drawn into the object as it individuates. … Worth deposits with the object as an expressive feature of the conceptual and affective life. The human mind/brain generates worth through the distribution of affect tonality into the object-field.

The world does not begin outside the skull. If there is a boundary, it is with brain process, not physical entities screened by perceptual images. … Self and object are part of the being of the subject. Value and feeling are the becoming of the object. Being is the momentary category of self and object. Becoming is the process of self-and object-creation on which the category of being depends.

A concept transforms to an object. The self within a subject actualises objects in a world. This world is a realisation of conceptual feeling, the object being the final phase in the objectification of a cycle of process.

All objects in perception, and the derivation that carries them there, constitute the one enormous object that is the world. … The loci of the self, objects and mental contents can be compared to “strange attractors” in a chaos model, which lure feelings to a particular segment of intra or extra psychic space. A given segment attracts affective interest. There is similarity with a hypothesis of “dominant focus” proposed by Kinsbourne (1998). The distribution of feeling in mind and world, or where the value-stream settles in a given state, determines the relative intensity of value-interest for that state, and thus, the nature of self and world for that moment.

An object such as a self or a tree, like the object, brain, is a perception. The inferred entity of a tree, like the entity, brain, is part of physical nature. The mental stream of object rides the same process as the physical stream of entities. The intrinsic value of the former is inaccessible to observation. Feeling is only felt in the subject. Yet, the conceptual feeling in the mind/brain of an observer may “build upon” the physical feeling of the entity corresponding with the object that is perceived.

To ask what is the origin of value in a non-cognitive entity not conceived as a projection of the human mind is to presume a ‘life’ within the entity, and a history independent of human cognition.

Whether an object is a process of modelling, an assembly of elements, a direct perception, a projection, or, as in microgenetic theory, a set of contrasts that sculpt endogenous form, an excitation emanating from a physical entity other than the perceivers brain e.g. a physical rock or another person can only import intrinsic value into its perception by the inheritance in that perception of the physical feelings of entities aroused in an act of cognition. The intrinsic value of entities is not conveyed from the entity by a physical impression e.g. light or sound, but arises, if it does, in the arising of the entity out of the same ground as brain process.

(this speaks to the uncut paper Bonnitta ^)

The search for the self that is so much an expression of the anxiety of our times owes partly to the machine culture in which we live, the problem of identity and, consequently, of authenticity that so dominates life, art and science. But it also derives from the conflict of duty and freedom, especially the realisation that behaviour is adaptive, constrained and delimited by obligations, responsibilities and lack of opportunity.

The self generates values and extends them into the other. Those values generate self and other, which the other, to be regenerated, must reinforce.

(I find much of his treatment of love in this chapter to be somewhat autistic and even a little corrosive for my sensibilities.)

… love is conceptual feeling at depth of personality that engages the self in an exceptional degree of wholeness. The beliefs, experiential memories and values that constitute the self – its dispositions, configurations or neuronal biases – determine the nature of self- and object-worth and account for the equilibrium of commitment and sacrifice that is achieved in the feelings that are exchanged between lovers.

The other is a piece of the self, a satisfaction of its wants, a fragment of its emptiness, split off and embodied in another person. To gove birth and to love a child is a literal expression of this division of feeling, a process replicated covertly in the love of one adult for another.

… art as much as love is a product of the subjects imagination.

Love and art are self-realisations into personal objects or concepts. They differ from other realisations in that an intensity of feeling accompanies an image of great personal value. … The beauty of the beloved is as much an aesthetic creation of the lover as the artwork is a loving creation of the artist.

Self is fully invested in the image of the beloved or the artwork. In love as in art, the outcome – artistic or romantic feeling – is authentic when it reveals the “whole person” at a depth and fullness of personality.

Art is concrete representation of feeling in the imagination, as romantic love “makes real” the felt intensities of loving. In the generation of a loved object or artwork, the content is subordinate to the process. Loving keeps the lover alive, as the artist lives for his art.

The person who is perceived by a lover, like an art object perceived by an aesthete, is a construct in the imagination.

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CA – Sue – p 80 to 120ish

p 82

How a single dot on a page creates centres around it, which together represent the wholeness…

 

p 85

When I think of them as wholes, or entities, I focus on their boundedness, their separation. When I think of them as centres, I become more aware of their relatedness; I see them as focal points in a larger unbroken whole and I see the world as whole.

Experiment 1: Looking at my patio for the centres within it – the spaces, the shapes. Moving things around to see if there is a grrater wholeness, a greater feeling of life. I am no longer seeing an umbrella, rather an insert into the forest around which acts as the opposite of a window, bringing into greater life the trees above, below and on either side of it.

However, I read on….

p 95

Thus the centres we notice when we see the situation in its wholeness are not only the more dominant to the eye. They control the real behaviour of the thing, the life which develops there, the real human events which happen, and the feelings people have about living there.

So, I was again caught up in my eyes here.

Experiment 2: OK I need to put my hands in clay and just see what emerges from all this swirling thought. I have images in my head of ballooning out, perhaps that is what I want to express. (my past work has been about using the female figure to express ideas of transformation, energy, flow, contradiction etc.) I have big blocks of clay in the shed but I am too lazy to get them so I am using small lumps that have been offcut from larger sculptures. Normally I like to work from a BIG lump and create shape, but I don’t have enough, so I decide to build it hollow – just the skin. I take short cuts trying to create this balloon. It collapses under its own weight. Obviously. Clay has gravity. In disgust I lump it back to gether in some sort of skirt form to a lady.

Hmmm, interesting. I start digging into it creating rough hollows, emphasising flow. It begins to have a gargoyle look, I cleave the breast, put an Ahambra door on the back. Shake my head. YEWK…. this is going to be recycled.

p 116

The crux of the matter is this: a centre is a kind of entity which can only be defined in terms of other centres.

Experiment 3: Doodling geometric  recursive patterns late last night to see which might provide more wholeness.  I keep changing things  to see what happens. Don’t fill it too much! I begin to break out from the recursion and start a trail from one shape to another. I start another spot with bird tracks and just paying attention to shape and feel in a brain-dead state I create another doodle.

 Ok So not only my body wants to have a voice in this by giving me whirlybird migraines so the world looks refracted, now my mythic self wants to come to the party and paint a response in metaphors. Hahahaha. There are so many layers of interpretation I can put to this…. but I won’t spoil it for you…. what do you see in this? :)

Experiment 4: Applying the ideas to my need to report on my Singapore Action Research Project where I am almost paralysed with the complexities all the way up and all the way down….. trying to name and explain the whole and all the inter-relationships – I don’t want to be a system dynamic mapper. So…  Put CA into my head and ask what new ways of seeing this might give me?

What are the dots in my project? What are the centres that are created? What is the wholeness revealed from that or was underlying that? How can I be an artist drawing a picture with different centres working together in relationship… the reader constructs their own meaning in the space in between. That suits my more auto-ethnographic voice. Except I am not a voice, rather the curator. My participants are narrative centres – their life worlds, work worlds, mental worlds are centres, they are a centre for centres within them – many of the roles/selves they identified in the project. The dialogical relationships that were enacted between us revealed further system centres – at another holon level up.  Hmmmm. Possible.

Later I chat to my colleague in Singapore. Then I start writing up possible report headings. IN the process I realise why it has been so difficult. We are focussing on the WRONG thing and trying to answer for a percieved audience need the wrong thing. As a result of the participative project the emphasis has changed from our beginning injunctions…. the same centre is actually there, but more have appeared creating a new wholeness and a new focus. I am beginning to see what this new wholeness is. It is interesting, everything is still there, the relationships etc. Perhaps I am seeing the “character” in Matisse’s face at last.

p 97

What is this elusive character in a person’s face which Matisse can see so well, and which we fail to see as clearly? The answer is, this character is the wholeness. It is the overall vector, the overall qualitative structure, the overall field effect of the face.

Possible realisation about my art-making

Last March after an exhibition I really felt I was done sculpting stories of life in female form. For me my injunction 9 years ago was to explore vibrancy, flow, energy, life, change. I consumed books on art, and dived deep into manifestos of form and movement, knowing that sculpture with static dimensions is a challenge to give semblance of life.

I think for me I start with a whole – a feeling of life which expresses itself into movement and shape and attitude and personality. It is usually clearly held in my body, but also through my eyes. I doodle a lot to experiment with shape and sense of energy. It helps to have this before I put my hands on clay. It helps to use solid clay as the starting point, not to create hollowed work which requires fixed shapes mapped out apriori. Having this feeling in my body, heart, breath (helped by drawing/imagining with this feeling) I then put it in the clay. It becomes something different. but this whole is there. Sometimes at this stage of the making I have a title and a story. Sometimes not. The added layers of paint, pattern, images come later… the piece continues to live, grow and evolve as my consciousness comes into contact with something that resonates with the form to create a complete story.

Without this feeling the whole thing is technical. I like creating originals – not replications through moulding. There is something between my head, heart, breath and hands and the feeling of the whole that enters the work. Later there is sanding, which can become mechanical, or luscious caring.

Here is an example of a drawing capturing the feeling of the thing and the final piece “planetary healer” which came into something else…. a bridge for energy.

 

I am now in a lull point wanting to continue to express artistically but feeling I have done exploring with clay. Perhaps CA might give me insight into other ways to see, and create?