By John Danvers
During this e-book the writer takes an strange multi-disciplinary method of debates approximately modern artwork and poetry, principles in regards to the brain and its representations, and theories of data and being. Arts practices are regarded as enactments of brain and as transformative modes of attention. rules drawn from poetics, philosophy and awareness reports are used to light up the conceptual and aesthetic frameworks of a various array of visible artists. subject matters explored contain: the interconnectedness of lifestyles; artwork as a fashion of interrogating appearances; identification and otherness; artwork and the self as ‘open work’; Buddhist suggestions of ‘emptiness’ and ‘suchness’; scepticism, mysticism and the humanities; and brain within the panorama. The booklet includes a major and specified visible measurement with pictures and drawings via the writer and texts utilizing unorthodox syntax and layouts that exemplify the subjects less than dialogue. the writer tricks at a brand new aesthetics and! philosophy of indeterminacy, paradox, uncertainty and discontinuity - a contrarium - within which we negotiate our means in the course of the instabilities and contradictions of latest existence. Written in a full of life and available type this quantity is of curiosity to students, arts practitioners, academics and to somebody with an curiosity in artwork, poetry, attention stories, philosophy and nature. Artists, poets and philosophers mentioned, contain: Cy Twombly, Helen Chadwick, John Ruskin, advert Reinhardt, Richard lengthy, James Turrell, Anish Kapoor, Ian Hamilton Finlay, Agnes Martin, Land paintings, Arte Povera, Minimalism, Charles Olson, Kenneth White, Robin Blaser, Fred Wah, Gary Snyder, RS Thomas, Alice Oswald, John Cage, Jorge Luis Borges, man Davenport, Kenneth Rexroth, Heidegger, Marjorie Perloff, Thomas McEvilley, Merleau-Ponty, Spinoza, Wittgenstein, Roland Barthes, Umberto Eco, David Abram, Thomas Merton, Pyrrho & Nagarjuna.
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Extra info for Picturing Mind: Paradox, Indeterminacy and Consciousness in Art & Poetry (Consciousness, Literature and the Arts, Volume 3)
In Mitchell 1994: 345) * Drawing and painting as processes of de-categorisation – releasing the unnameable The codes and conventions and materiality of paintings are not easily aligned with those of verbal languages. While there is a tendency in verbal language to divide and categorise the indivisible and uncategorisable, a painting or sculpture has a tendency towards synthesis, and towards affirming the concrete immediacy of visual and spatial experience. Paintings can present us with indivisibility, inviting us to encounter and participate in a unified perceptual and cognitive field the embodiment of undifferentiated experience.
Jack D. Flam (in Ashton, Buck & Flam 1983: 11) writes: The language of [verbal] discourse is linear, and in using it we find ourselves hard pressed to talk about more than one thing at a time; pictures, on the other hand, are tabular, and colours and forms can have meaning in several often seemingly contradictory ways at once. Of course poetry often subverts the norms of linear language, generating ambiguity, contradiction and an open field of meanings that is more typical of pictures and images within the visual arts.
An art of mimesis or imitation. A mirror held up to nature. A window on the world. S. Peirce’s terms, an iconic image. The painter constructing a convincing reproduction of something seen, or a cunning deception, reminding us of what it’s like to view the world with one eye closed and one’s head held in a vice! In these popular views of realist painting there is a clear distinction between observer and observed, the seeing subject and the object of sight. The painter as spectator makes a representation of external reality, a reality outside, beyond, at a distance.
Picturing Mind: Paradox, Indeterminacy and Consciousness in Art & Poetry (Consciousness, Literature and the Arts, Volume 3) by John Danvers