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.
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