Category Archives: Space Writing

Extrapolating

Cogent disclosure
Productive imagination
Apperception synthesis

Integrating the self into the night, opportunities are structured by task environments and computational capacity. The apparent complexity of aesthetic action reflects the complexity of the encountered atmosphere intricacy, as much as the free play of imagination. We make use of what is given.

“Imagination is a powerful agent for creating, as it were, a second nature out of the material supplied to it by actual nature.” – Immanuel Kant

Empirical Instances

All finite concepts
Propulsive logical force
Other by itself

A primordial looking cloudy night builds confidence in mystical secrets. Things-in-themselves sometimes seem to be revealed in the phenomenal. Alternatively, perhaps what becomes apparent is only the Lacanian real, an unchangeable truth that is authentic in reference to both the Self and the external experience dimension.

“The world is round and the place which may seem like the end may also be only the beginning.” – Ivy Baker Priest

Access Points

Curious tension
Aggregate change states
Unity of opposites

Constant conjunction is a powerful cognitive abstraction, formulating decisions that drive participation in external events. Thus, patterns of causation are a function of habit, using experience to ground beliefs about things not yet observed. Aesthetics has the potential to reprogram patterns of recognition.

“Art is the imposing of a pattern on experience, and our aesthetic enjoyment is recognition of the pattern.” – Alfred North Whitehead

Taking Place

Exemplary being
Impeccability perfect
Expropriated identity

Elemental forces gather on the lakeshore, indicating evidence of the particular as part of the universal. Things are what they seem to be and yet remain open to further elucidation.

“Curiosity is the lust of the mind.” – Thomas Hobbes

Transcendental Inventory

Being such
Always matters
Condition of belonging

The arrow of time is unidirectional but indeterminate. On the surface of this planet, within the limits of physical law, the future is full of infinite potential. The present is a singularity encapsulated in the mind of an observer, conditioned by participation. The past is gone, unfinished in its traces. Becoming aesthetically is to be comfortable in perpetual incompleteness.

“Remembrance restores possibility to the past, making what happened incomplete and completing what never was. Remembrance is neither what happened nor what did not happen but, rather, their potentialization, their becoming possible once again.” – Giorgio Agamben

Intrinsic Delight

Stimulus conveyance
Observational data
Inspiration derivative

Continually on the move, natural processes are perhaps best experienced as an energetic contributor function. As a response, making art becomes a visceral method performed in the immediate intuitive present, dominating attention at the leading edge of activity. An intensity of curiosity allows event awareness to manifest through participation.

“I had an immense advantage over many others dealing with the problem inasmuch as I had no fixed ideas derived from long established practice to control and bias my mind, and did not suffer from the general belief that whatever is, is right.” – Henry Bessemer

Wandering Star

Mode of presentation
Distinction between
Sense or reference

Entangled states appear frequently. Duration is here aesthetically considered as the earth spins on its tilted axis traveling through space and time. Slicing experience into coincident occurrence packets of discrete action, influence at a distance establishes the importance of force fields. An object responds to the demands of other distant objects, with the trajectory ordained by an initial vector set.

“Everything with a beginning has an ending. Any magic that can be done can be undone. Anything you can make can be unmade.” – Brandon Mull

Invisible Center Outside

Immediate survey
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

Quality Duration

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

Roof Top

Special relevance
Sinuous bands
Distributed light

Early morning views from out the hotel widow. The city hums along nicely as the earth revolves on its tilted axis. The exact angular value of the obliquity is found by observation of relative events independent of subjectivity.

“In knowledge, subjectivity manifests itself as objectivity; in action, the particular is conceived if as absorbed in the universal.” – Fredrick Schelling