Creativity is an impression and privilege of vivacity. The intellect strives to engender, as not only an inner mental concept, but also as an external material work. Something of our soul imaginatively overflows physically and spiritually in artwork.
“Nevertheless it remains the fact that this intuition is for us an awakening from dreams, a sudden step out of sleep and its dreaming milky way.” – Jacques Maritain
At one stroke
Point source lights near and far dance on a cold winter evening. Aesthetics captures the latent substance of things. The many apparent movables that are grasped by creative intuition abound in significance.
“The work will make present to our eyes, together with itself, something else, and still something else, and still something else indefinitely, in the infinite mirrors of analogy.” – Jacques Maritain
Sensation allows for self-expression and self-evolution of a force indivisibly spiritual. In a singular universe, there is diversity in unity, as aesthetic work is an instrument for probing the mind.
“Nature happens to be invaded by man in her own physical and spiritual reality, I mean, by this last expression, in her inner power of significance.” – Jacques Maritain
Space and time
When the window of opportunity opens, preparation makes the most of all available imagined possibilities. The trajectory of creativity is decidedly non-linear, and yet like time flows in a general direction forward. Part of the present is a projection of the past into the future.
“The fundamental cleavage of subject and object signifies that only subject and object together make knowledge possible.” – Karl Jaspers
Forms of intuition
Interacting with the environment helps build character, when driven by the free play of imagination in a pure state of creative exploration. Each aesthetic experience adds to the intuitive reservoir, indicting the value of incremental progress.
“The possible ranks higher than the actual.” – Martin Heidegger
Aristotle held that explanations of change are classified into four fundamental types. One of these is caused by the arrangement, shape, or appearance of the thing changing or moving. This he called the formal cause, or the manifest pattern as an explanatory account of the essence of the whole entity. For the thing considered, form determines the kind of being the thing is.
“The light of self evidence does not illuminate the totality of what has been intended in perception. A thing shows itself in a multiplicity of aspects–an infinite multiplicity.” – Emmanuel Levinas
Meditation on being
The “Point Source” project continues to reveal new potential. Along these lines, an important part of aesthetic knowledge is of the “knowing-how” type, which is intrinsically recursive.
“This is how the world is struck with a presumption of idealization, of the suspicion of yielding me only my representations.” – Jacques Lacan
While creatively striving to grasp existence informed by emergent vision, aesthetic practice formulates from both cognition and action, shifting conceptions and arrangement following reflection.
“Knowledge emerges only through invention and re-invention, through the restless, impatient, continuing, hopeful inquiry human beings pursue in the world, with the world, and with each other.” – Paulo Freire
The rain came and changed the character of the evening. In such transitional events, the observer and the participant merge into a singular experience. The aesthetic life is worth living. A plurality of operational models contributes to deeper understanding, thereby opening potential.
“This does not imply a prerequisite dependence with regard to a subjective thought, but a kind of vacancy awaiting its occupant, which is opened by the very fact that beings are.” – Emmanuel Levinas
Beyond the range
At the speed of light, psychedelic neural pathways illuminate awareness in the night.
“I entitle transcendental all knowledge which is occupied not so much with objects as with the mode of our knowledge of objects insofar as this mode of knowledge is to be possible a priori.” – Immanuel Kant