In the process of analyzing a string of symbols, things are revealed in the gallery that are absent in the less mediated world of experience. Presented for observation, the subject/object divide becomes sharply differentiated, as the role of the spectator is strictly defined and finely parsed. Interpretation cannot function in a void, but a space can be designed for consumption.
“Time has resumed its shape. All is as it was before.” – Guardian of Forever
Visual field unity
Many different details
In the light of the night at Maple Leaf Lake, visual inspiration revolves around an object and then enters into its metaphysical space. Translating appearances through assemblage by imaginative effort, an image is slowly constituted by probing duration. For artistic production and aesthetic experience, intuition remains an essential ingredient, requiring confidence and determination.
“In short, I shall no longer grasp the movement from without, remaining where I am, but from where it is, from within, as it is in itself. I shall possess an absolute.” – Henri Bergson
Another moment comes into awareness in a transience of cognition, while simultaneously the memory of the last duration fades. Defining future relationships to all that exists, pattern recognition becomes embedded into the unconscious, building understanding through creation.
“A ‘completely original’ artist, if we could imagine such a thing, would be a madman, operating in a culture of one.” – Patrick Doorly
Aesthetics implemented in the act of forming, inventing, and fabricating concepts is based on everyday encounters available in the given environment. Active contemplation is what makes things interesting, by transcending the concrete with the abstract. This cognitive ability seems to be the reward of sitting on top of the food chain.
“Philosophers must no longer accept concepts as a gift, nor merely purify and polish them, but first make and create them, present them and make them convincing.” – Friedrich Nietzsche
Capture the use
Suggested as a way
A hypothetical cognition is an explanatory variance not directly observable. In this rich vein, the existence of something may be dependent upon a subject’s mind. Our mental constructs are abstract to varying levels of elaboration. Independence to interpret exteriority does not operate in a vacuum, because appearances given to sensation cannot be theoretical. Additionally, artifacts are the only objects that are determined.
“It became evident that the group fantasy was inseparable from the symbolic articulations that define a social field insofar as it is real.” – Deleuze and Guattari
Out for a walk
Tales told from things experienced in a temporal emanation, through each door lies a possible future. Present the problem as the consequence of yearning for clarity and meaning, within an existence and provision that offers neither. Helping to evaluate appraisal predilection, things left behind remain as trailing baggage, informing new encounters ever becoming.
“Everything that is masks for us something that might be.” – Paul Valéry
Realm of the body
Limited only by substance
To create order from untidy existence, many philosophers seek a substratum with attached qualities that completely resist change. On further review, perhaps an essentially self-identical and enduring fundamental substance is not viable in actuality, but rather is a conceptual component of an unfolding process. This alternative potential can initiate the error of mistaking the abstract for the concrete.
“An artist cannot and does not prepare for a certain response but simply follows his inspiration. The response depends upon the condition of the observer.” – Agnes Martin
Subject volume in space
Link instants together
Interpolate the past
Vital properties, when considered as forms of sensibility, emerge from a complex combination of organic events. Tracing multiplicity in its becoming, mechanistic enlightenment of natural phenomena can materialize in the darkness of night, overcoming the resistance of inert matter. Art is more than its constituent parts and more than its specific observational effects.
“I cannot escape the objection that there is no state of mind, however simple, that does not change every moment.” – Henri Bergson
Rhizomatic structures naturally distribute. Dancing around the sculpture without designed choreographic sequences, the spectators are integrated with the art as mobile elements of alliance. The best thing about art galleries is their potential to become source material for new creative production. Inspiration lurks on the periphery of thought.
“The highest levels of performance come to people who are centered, intuitive, creative, and reflective – people who know to see a problem as an opportunity.” – Deepak Chopra
Permeate the mundane
Place of utterance
Quality is a conditional attribute functioning as a pragmatic interpretation of the most advantageous aspect of perceptual events. Formulating the decision basis for action, it is manifest through a concentrated expenditure of involvement, concern, and commitment. Quality judgments must be first established to pick out objects. We select what to notice in the flux of experience, but pay no attention to reality that has no value.
“Consider what effects, which might conceivably have practical bearings, we conceive the object of our conception to have. Then, our conception of these effects is the whole of our conception of the object.” – Charles Sanders Peirce