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

4

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!

5

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.

6

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?

7

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.

Friday 29 March 2013

The Nature of Place and what is place?

1

Place is 3 dimensional which we're perfectly aware of in the modern age through computer technology and the cinematic experience, that wants to evolve and evolve, non touch 3 dimensional media and virtual reality. We're bombarded by reminders of the glory of our 3 dimensional existence, in every facet of the imagination, whether it is on a screen or images created through sound and modern music. It is an experience that has "length, breadth and depth." The body is defined by what is extended in 3 dimensions," and this technology in its own right is contained within various digital forums.

2

What is death? Death is simply a forcible occurrence that returns us back to our sole completely and in total. Place is a difficult notion but no where near as complex as death. I defend Martin Heidegger on this subject. He explained the importance of Dasein which could also be interpreted as sole or spirit. It is a state by which we can see the colour, the shapes and the forms of our existence, as if through the light of a window or through the walls of a cave, which he discussed in 'The Basic Problems Of Phenomenology' in the section about prehistoric man and his affliction towards painting. The reason for Art is to let people into your sole through image making.

3

It is impossible for place to be a body which renders space itself as formless, because the forms within spaces have volume, a shape and a mass. The Native Americans for instance created a set of laws for these entities, told stories and treated them in a spiritual and mathematical way, to ensure survival and understand the nature of their environment, because this planet is sometimes alien, with all sorts of mysteries. We consider it to be our home that we have claimed as a possession, that belongs to us, not to the spider, the fly and those creatures that we can't see, in the wild or beneath the oceans.

Thursday 14 March 2013

Problems concerned with digital Technology

The rooms that I occupy and exterior places are pictures in my psyche. They include the ones that are various apps and windows on the Internet, in digital format, within the tunnels and compartments of PlayStation 1.2 or the future of 3 Dimensional non touch virtual realities. These are all locations that our psyche has to process, rationalise and make sense of. Seeing beyond them is at times difficult. As painters we are beyond these realms, often witnessing terrible injustices and violence upon the sole, and so we sometimes question the path that we have chosen or doubt the work that we do. We see both extremes, the calm and the violence.

I can only observe and realise fixed circumstances that have to be utilised. Painting is an ancient science created by technology and intended as an antidote, when technologies start to dominate our lives. It brings something very human into the equation, which is painful for those who want quick and easy answers, that require the least physical contact. It penetrates and supersedes these digital realities, preventing the world from escalating too quickly. We start to question whether there is such a thing as a real place, because in digital format it has no volume or body. Technology is dominating the images of perception.

The real Artist is in his or her studio with brushes, tubes and canvas, phone and computer. Once painting has served it's purpose and is in on a screen, it has no use any more, apart from the continuing servitude of a place such as the Internet. This is why, it is imperative to preserve Art and disassociate some of our lives from the digital age. Deep underground a priceless artifact is salvaged because data has been collated on its whereabouts. I suppose our first task is to find the genus or sense of place that modern reality characterises, so that we can build a positive outlook, because it is a revolution. We should be cautious, revolutions can lead to war and inevitably fail.

    

Friday 1 March 2013

Spirit and Place

The spirit has returned. It is because in writing we focus on words and line that form the letters. Place is a more difficult philosophy than finite and infinitude. Dissemble the word infinitude and it suggests that its place is within a 'finite' whole. The whole is not out or beyond finite but inside and contained. This was Aristotle's dispute and he argued that these false postulations need to be readdressed. Within a line, the one that forms words or even our signature create an expressive, erroneous and perfect form. The spirit is beauty. It is found within the form of who we are.

If we're lost, we are found again within the infinite symmetry of line, that reminds us of the place from which we derived and where we belong. I had some concept of this when I was 15 producing my first serious paintings, when I dedicated my life to the intelligences of tone and contrasted colours. (We can apply white over dark but not dark over white. I could only do the paintings wet. The first way we decide to do things is probably the best way.) Here I am returned to the spirit that does not contain itself within a shape that has absolute limit, where nothing can advance beyond.

An outline that doesn't desist its movement, encourages and gives it the freedom to be what it infinitely is, something that persists and is at times a reflection of sublimity. Its opposite includes all the crossing outs, if you wish to observe a less articulate commentary. Eloquence is equal to rhetoric and so didactic must be its opposite for a debate to be a good work of Art. For any work of Art to be successful there is a big difference between an eloquent line and a not so eloquent line, whether it is a line of speech in a word or a line in drawings makes no difference either, as well as a painting and a line of posture for a dancer.

Visions of Albion. Details from a painting entitled 'The Abion Shore.'




Tuesday 5 February 2013

The paintings are now entirely about accidents. During the next year I will continue on the theme of reflections inspired by Saunton Sands in North Devon 

I have also started another blog entitled, 'The Journal of an Artist.' which has been taken from a small note book. It's a philosophical work of comedy and should be regarded as pure fiction on www.hegelsplan.blogspot.com.

Note about numbers

Things never occur on a first accident because it is probable that it is the result of some thing that has already happened. Two accidents are random and one isn't, because it is only by either subtraction or addition that 1 can change it's form. This transformation has a 3rd causation in actuality. The third attempt is normally when things are successful. I attempt to find a colour twice for instance and on the third occasion it appears.

In physics (the study of atoms,) two accidents are known as collisions. The problem with painting is, the less we're aware of mathematics and science the less control we have. In my experience creativity just stops if we don't pay attention to the mechanics behind it. The study of numbers is important in my work at the moment so that it can be structured. Example, if I find a colour on the 2nd attempt, I may search again anyway, just to even things out.  From practical experience however we don't employ these systems as logically as I suggest, but to think through some of these ideas can be intriguing.

Some simple basic principles

There are 10 forms altogether that start with 0. We count them as 0,1,2,3,4,5,6,7,8,9. Just look at any computer key board.  The number 10, combines 0 and 1 and 11, 1 and 1, 20, 2 and 0.  Other examples, there are 9 months gestation, 9 planets and one X with an irregular orbit, 10 fingers, 0 fingers are 0 fingers. Two fists are therefore called something else. The point being, if you count all the numbers on the keyboard including 0, there are ten. Also 10 was the golden number for ancient Greek mathematicians, like Pythagoras. This pattern then repeats itself. One accident becomes a second accident and on the third we observe it's outcome. The 4th accident becomes the 5th, the outcome is number 6. I would like to add, that 7 is an important number because it is the beginning of the final outcome of a set of 10 forms and 3 is the end of 2 previous accidents. Get my drift? The term one for good luck has relevance as well because including o, the extra 1 is number 10, which=11. One for good luck is always optional which means we choose whether we bring a thing into the equation or not at all. It has a random pattern which doesn't have to be predicted. Once we hit 9 forms including 0, we posit 1 or not 1 for good luck. The number 10 has been superseded and the forms start all over again.

I was commissioned to paint an 8' family portrait in 2008. There is an example entitled, Parkhouse family on www.Johnsonsburyart.blogspot.com. It took me 9 months in total to complete, which including 0 is 10 forms. If I analysed it using this system, it may have been apparent that the portrait was divided into 3 sections or processes. Other examples are past, present, future and foreground, middle ground and background etc.

Accidents are physical things, in everyday life. Painting is only part of the process. I would like to add, call it a coincidence, whilst I was writing this blog, the doorbell rang twice. One was a parcel delivery man and the other a woman who both wanted to know directions. The outcome is, whilst I'm writing the blog today, another parcel delivery man? It is all association, and ways of structuring random events in time. The word Ekstasis may also be useful for further study. A third example, I was developing photo's in Boots chemist. The first machine didn't work and the second didn't work either, but the third did. Also, think of Goldilocks and the three bears. First bowl of porridge, too hot, second too cold, third, just right.









    

Distant Lights


Monday 7 January 2013

Something that potentially is implies that it will in the future actually be, if it is deemed possible. Let us say that an existence that has formed itself totally around a premise that is finite, life and all activity will cease and then it will disappear because everything about it relies on this (apparent) fact, but it does only explain a form or forms that consist of things that derive and are eventually erased. Our focus is normally directed towards a possibility that can be realistically fulfilled within the time that we have, but what if something, (such as painting) requires a much longer period connected to the very slow activity that it requires. Some Minimalists believed, one true single work of Art was adequate.

This is not my current project of course. Something that potentially is, implies that in the future it will actually be. My work in a philosophical sense will in actuality be infinite. It exists beyond a realm that is merely finite? however the world we are in now has expiry dates and reminders stamped all over it. It is all we can predicate so far unfortunately.

Surely once we have firstly accounted for and completed everything that has a definite outcome in this universe, then we have to face a reality that no longer has a clear point of resolution, or one that has no resolution at all. It gets boring when we predict outcomes all the time. A random process is made intricate. We are so involved in our current study that we can not see its outcome! To focas on where it will arrive and then discontinue is a distraction. Innocence returns at this point. Example- the Seascapes are one series of paintings and I can clearly see how they will be shown with audio in a slightly darkened room, because they are about light, just like a screen is lit.