Huss Rainbow

Large stature
Smooth ride
Bright lights

Currently touring across America, this Rainbow Ride travels from fair to fair packaged on three oversized trailers. It takes a crew of four about six hours to set-up. Multiple hydraulic motors drive this hefty beast, which stands sixty-six feet tall with a bright sun face in the middle of its long axis arm.

“There’s no excuse not to relax and get loose and let us take you for a rainbow ride.” – Charlie Daniels

Objects Presented

Passive sensibility
Intellectual intuition
Dynamic description

Absorbing the landscape, a road trip can feel like a presentation staged by apparitions from the past.

“From the very beginning, existentialism defined itself as a philosophy of ambiguity.” – Simone de Beauvoir


Deeply moved
Clearly sincere
Experience transform

According to Kant, we perceive a universe that actually exists but only as a phenomenon and not in its veritable nature. Thus some inherent axioms, intrinsic in the human mind, interact with the perceivable world to produce a replica image of reality.

“Consequently, even the pure concepts of the understanding have no significance at all if they depart from objects of experience and want to be referred to things in themselves (noumena).” – Immanuel Kant

Immediate Sensation

Convergent boundary
Sweeps that radiate
Lifted by subduction

Intuition is the imprecise English translation for the Germanic word Anshauung, which describes an initial immediate experience of looking at something. Anshauung emphasizes instantaneous sense awareness, but does not imply simplicity in the process. Aesthetic pleasure in a subjective judgment comes from the imaginative free play that couples understanding to Kant’s notion of Anshauung, which is an awareness of individual entities. For Kant, the forms of Anshauung are space and time, functioning as intrinsic mental constructs that make sensation possible.

“Synthesis in general, as we will later see, is an effect of the imagination alone, a blind but indispensable function of the soul without which we would have no cognition at all, but of which we are hardly ever conscious.” – Immanuel Kant

Roll On

Trees flew by
Feeling of peace
Zero from outer space

Functioning as a kind of “purposiveness without a purpose,” Kant claims judgments about beauty are disinterested. For him this means humans appreciate beauty without seeking any alternative use. Furthermore, because these judgments of beauty are completely impartial, Kant thinks desire does not factor in the value assessment. Since the individual is not influenced by desire, his opinion must consequently be universal. So a subjective aesthetic response is always considered by the adjudicator to be objectively universal, applying without exception. What is universal here is not the judgment of beauty, but rather the conviction that such a subjective judgment is universal.

“No sound, once made, is ever truly lost. In electric clouds, all are safely trapped, and with a touch, if we find them, we can recapture those echoes of sad, forgotten wars, long summers, and sweet autumns.” – Ray Bradbury


Central role
Merely to participate
Inattentive performance

Habitual involvement with small electronic devices has a negative and lasting impact on users’ ability to think, remember, and respond to environmental stimulus. Now evident at all times and places, attention patterns have shifted to a very narrow focus.

“Deskilling devices – they make us dumber. We’re immersed in a system that now requires the use of a cell phone just to get around, just to function, and so the logic of that cell phone has been imposed on us.” – Douglas Tompkins

Along the Edge

Moving across
Fringe of land
Littoral zone

As a kind of aesthetically accessible spirituality, the inexhaustibility of existence implies that perceptual relations always contain hidden potential. Any combination of observable reality is never fully drained by human perception. Kant affirms this principle in his contention of the thing-in-itself as unknowable but nevertheless imaginable.

“The secret of success is to be in harmony with existence, to be always calm to let each wave of life wash us a little farther up the shore.” – Cyril Connolly

Play of Sensations

Aesthetic singularities
Physical particularities
Composition delineation

When considering formalism in art, is it possible that any properties can be determined solely by sensory or physical qualities? It seems to me that the physical properties in question are always in relation to other things and other times.

“The superior artist is the one who knows how to be influenced.” – Clement Greenberg


Objective framework
Constant acceleration
Assurance consequent

We perceive at most a tiny sliver of reality. Calling conventional wisdom into question, philosophy dissolves support structures by projecting speculative ideas as viable potentialities. Settling on only one possibility is dogmatic, reducing the infinite value inherent in the miracles of existence.

“We may know, too, that some philosophers have denied the reality of movement, while others have denied the reality of everything which is not movement.” – H. Wildon Carr

Characteristic Complexity

Variety of expression
Everywhere employed
Unfolds itself

The dissonance of particulars are melted into harmony as darkness falls on the carnival midway. By blending manifold forms, extreme beauty unites lucidity with infinite meaning.

“For, although Character can show itself also in rest and equilibrium of form, it is only in action that it becomes truly alive.” – Friedrich Wilhelm Joseph Von Schelling