Successions of immediate surrounding conditions provide distinctions. Worth repetitive investigation, the front yard Pin Oak looms large in red autumn splendor. Objects considered couple to the creative process approach; working together, they extract essentials from a fine afternoon.
“Autumn is a second spring when every leaf is a flower.” – Albert Camus
Objects found and concepts generated define a creative life full of choices. Time is the measure, if not of progress then necessarily of a trajectory. On the journey, as meaning is a human construct, context is forever compliant. This feeds the aesthetic aspiration to make a mark and leave a legacy.
“Truth is in the future.” – Filippo Tommaso Marinetti
Like many abstract symbols, the word “index” has many constructed meanings stretched across a range of fabricated disciplines. In the arts, index is used to categorize work based on referencing. An artwork is deemed indexical to the degree that by virtue of its appearance, it physically points to some other object for its meaning. In this regard, cast shadows are often stipulated as indexical because of their physical resemblance and reference to the casting object. The shape and character of such a shadow, however, is dependent on the surface conditions and light source variables of its manifestation. I would argue that often the shadow is contextually distorted so completely that it decouples from the casting object, denying indexicality and embracing intangible ambiguity.
“Every photograph is the result of a physical imprint transferred by light reflections onto a sensitive surface. The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its object.” – Rosalind Krauss
The form and content question is always just under the surface, particularly conducive to objective analytical approaches. Many operatives recognize unification of form and content as the key to a successful enunciation. The “ambientambulation” project uses the creative process to fuse syntax and semantic essentials into an interpretive contextual meaning. The artistic performance bridges the aesthetic gap, structuring the conduit of information transfer.
“In the world “out there,” there are no verbs, no speech events, and no adjacency pairs. There are particles of matter moving around in certain recurrent and yet not fully predictable patterns. We interpret such experiences as and through symbolic means, including linguistic expressions. That’s what it means to be human.” – Duranti a Alessandro
Descartes postulated a philosophical dualism that has influenced thought for centuries. In this, he established mental and material domains as two fundamental kinds of substance. This notion supports the belief that the soul is independent of the body, and thus able to migrate to new physical bodies. Confronted with surfaces that both reflect and transmit radiant energy, simultaneously presenting various superimposed visual patterns, multiple substances seem to merge.
“The senses deceive from time to time, and it is prudent never to trust wholly those who have deceived us even once.” – Rene Descartes
Architectural details found in Venice, sometimes events find their formal expression within themselves. The descriptive interpretation favors simplicity over complexity. A design once properly established implies formal change must arise from a divergent function. Yet functional requirements often lead to aesthetic satisfaction.
“Form follows function – that has been misunderstood. Form and function should be one, joined in a spiritual union.” – Frank Lloyd Wright
Sweeping particle physics. Contemporary thinking about physical reality, defined as consisting of nothing more that “particles in a force field,” does not reduce object variability or event inconsistency. Operative as a kind of a prescription for the creative impulse, the dynamic exterior is understood as informed by a projection of an interior consciousness. In this iteration, the ordinary and utilitarian becomes an aesthetic object in harmony with its environment.
“The history of atomism is one of reductionism – the effort to reduce all the operations of nature to a small number of laws governing a small number of primordial objects.” – Leon M. Lederman
Temporal leaf relief
In a description of chance events, randomness temporarily incorporates elements of pattern occurrence predictability. Energy fluctuation results in organic displacement, as smaller essentials react in larger force fields. The stakes are high, at least by the standards of aesthetics, primarily a condition of logical or comprehensible arrangement.
“Rules of taste enforce structures of power.” – Susan Sontag
Ebbing and flowing
Substance receding deep
Venice is a city built on 118 small islands and seems to float on marshy lagoon waters. This incredible habitable space constructed over water seems intuitively unstable. Yet the buildings, erected on closely spaced wooden piles, structurally remain viable. The Venetian foundations rest on this organic cellulose, and buildings of brick or stone situate above these dubious footings. Even after centuries of submersion, an oxygen-poor condition preserves timber integrity.
“Venice is the perfect place for a phase of art to die. No other city on earth embraces entropy quite like this magical floating mall.” – Jerry Saltz
Rooted deep within the aesthetic attitude is a continuous search for order, interrogating the relationship of freedom functioning within margins. Across myriad consciousness, things are not what they seem, as all images are generated in awareness. From stipulated sensory organ emanation, the data stream becomes processed into capricious perception to shape experience. Thus, the surrounding world is no more external than are dreams. This understanding takes the pressure off, expanding quotidian prospects.
“We don’t know what matter is anymore than we know what mind is.” – Christian de Quincy