Saturday, 5 October 2013

In regards to an object that exists I look at the object again. Some part of it doesn't exist. Upon realising my original observations parts that don't exist reappear. Whilst they aren't my perception, they are void. I have witnessed the same phenomenon through all senses. This  principal relates to cubism in terms of what isn't and what is apparent in a visual sense. The same principles can be applied to music as well & poetry.

Wednesday, 18 September 2013

2 considerations. Void and Plenum are two opposites. In a Plenum everything is full and for ever. Void is empty until full but none of this is permanent.

Saturday, 27 July 2013

I will conclude the philosophy of place. We describe a place as derivative or direct, meaning we can look at how something came about or we can just consider what is here now. These 2 aspects of place do not coincide. I devised a random system for painting where by the eye scans a whole image at once moving from one area of the painting to the next without any specified structure. This is the way the eye naturally moves rather than an image being replaced for another image that is replaced for a third and then considered by category, for instance this is a still life this is a landscape or this is a picture of a bowl on a table and this is a hill with a tree and clouds. Using this system of constructing images we forget about subjects and think more about the formal qualities.  In my attempts to be direct about painting there are always instances when we have to consider from where it came. At times however it is necessary to break systems.

Tuesday, 25 June 2013

Infinite Regress

We are infinitely trying to resolve questions and it seems at times that we can not sustain or hold on to anything. The world just continues to shoot past us and opportunities are lost one after the other. This is infinite regression. Even if we can capture some period of contact, the above principle implies that it will be lost at some point.

A vessel is a movable place in transit and philosophy, when it incorporates painting is a continual slow and consistent stream of ideas that enters into a domain that has travelled to us 'Just as a vessel is a movable place, place is immovable.' On a bigger scale I am Dasein drifting through or drawn towards objects that randomly have established locations. When something is moved, the centre for which there is an above and below has to be established. If we remain in the same place let us say one activity-painting, then it is apparent that picture making is the centre, but if we move into something else like music, then music is at the centre! What happens if a new focus is created, that never existed before? Where do we find a place for it, if that place doesn't exist yet?

The focused individual has one activity that he or she stubbornly centres everything around not five or six, however if this focus hasn't evolved organically and in a genuine sense then it will serve its purpose more as a limit and suddenly we're trapped. Before these focus' materialise, we tend to drift between one thing and the next with no gravitational point.

'Limits coincide with what they limit.' 'We are trapped within our identities that are also limits,' and limits are defines that necessitate structure. Too much structure can limit, even if we use a structure that is random. Where there are too many limits there is no movement apart from regression into something that existed previously. We also describe infinite regress when we can not break into something different, when things that are experienced go into nothing more than where we have already been and the continual return to previous and less enlightened periods of our life.

Thursday, 6 June 2013

A process is derivative. It also has to be interpreted directly so that we can describe our work with both these considerations in mind. A direct summation of an activity signifies something derivative and a derivative summation indicates aspects that are direct, spontaneous and without pre-emption. There are limits when we describe things from which they derive because we position them in their rightful place and 'a things place would seem to be its form and shape,' by which a thing is defined (it's matter and magnitude) because 'the form of anything is its limit,' and can not be extended any further, it is then a case of using these forms which may or may not be directly related along side other ones, for instance Abstract Art and Highly Representative painting, Electronic Music and Live Acoustic sound and Audio/Written dialogue.                 

Friday, 12 April 2013

Reality and Surreality. It's relationship to place


We confront images with the movement of our bodies and head, exchanging one image for another. "The surface of water becomes the surface of air,' in hallucinations, dreams films, then we look to some other place. We need air that's for sure and water! The images of reflections on a surface and the way light is infused distorts. Perhaps we should regard this metaphorically, if air was a fluid, (ref Aristotle Physics page 80 a7) The memory is a machine that has to interpret a flux of information *First we view the world upside down. Therefore the brain is able to access parallel universes that are the exact opposites!


The brain is a highly fragile organism that has to process the confused everyday phenomenon of life and eventually death. Those who preach normality are thrown into terrible darkness or depression and the light seems to go out in their sole, especially if they stubbornly reject new phenomena. The senses continually edit our day to day perception of the world. At times they demand and organised and logical explanation. It is impossible for me to explain the peculiarities of this life through Art and have decided to direct the paintings towards film and C.D.T. At a basic level the seascapes and figures/portraits are backdrops for digital images placed in the foreground, possibly used in film.


An arrow is shot into a waters surface. Is this a similar effect that it has on air, as the tip is distorted in flight. Rather than a point as the place that the arrows head occupies, there is no difference between limited bodies and their places either, with the result that place is something additional to each instance. I would prefer to suppose that we can only see the arrow for a short time and that our concentration is diverted somewhere else. The speed of the arrow and the amount of information has to be interpreted in real time and on a human scale. It has a counter effect that changes the nature of the next image, if the arrow is experienced by accident. What do we see next, no arrow?


It nearly hits us. What do we see next, a tree and then the sky, lake and reflections? This is the nature of perception. It makes no difference what the phenomenon is. It could be an unexplained paranormal activity that leads to other weird experiences. The place call it this window of reality has it's elements that are both material or immaterial, which has a magnitude that is not material. "Whereas the elements of perceptible things are material and things which are merely intelligible cannot constitute an object with magnitude." The concept of an arrow shooting through space is different to the experience of the arrow.