Michael says it eloquently. And I say to him, I'm witcha. WC --- Michael Brady <[EMAIL PROTECTED]> wrote:
> On Jul 11, 2008, at 10:46 AM, William Conger wrote: > > > As an artist I think fuzziness is a virtue. In > art > > it's hard to be fuzzy but so necessary to achieve > any > > degree of genuine quality or symbolic content. > > Fuzzier the better I say. But fuzziness needs to > be > > balanced so that one vague "stirring" (another > > Cheerskep logo) reveals another without altogether > > disappearing. And another, and so on. It's even > > better when one fuzzy stirring begets an opposite > > fuzzy stirring. Ah, paradox, the elemental life > > force, the anti-matter, the invisible other side > of > > mass, the secret thought propping up the social > > thought. Name an artist and you name a fuzzyist. > The > > poets call it, flatly, ambiguity. > > > I'm witcha. > > I'll repeat my earlier post from March 30: > > Another thought: Words are spoken in long strings of > sounds that > aggregate and blend together. But because we can > move small sections > of the sounds around--what we call words--we > disaggregate the whole > stream. Orthography has followed suit: word spaces > were introduced > long after entire sentences and thoughts were > inscribed in an unbroken > parade of marks. Nowadays, we hear separate words > with the > reinforcement of having seen the words written as > separate entities. > (I'm sure you've had the experience of not being > able to figure out > what the hell that song lyric says, until you read > the words on the > album cover. Then you can hear the words as > "meaningful," rather than > as a blur of unfathomable sounds.) > > Somehow, our attentive faculties enable us to > perceive things clearly > as they blur by. But when those things are static, > when the passage is > halted, they are like photographs of friends that > make them look odd > or funny, because they face is frozen with one eye > squinted and the > tip of the tongue sticking out of the lips. We don't > see that when > they speak. Per contrast, when we are allowed to > arrest the passage of > experience in some way, we can figure out what those > fuzzy or > ambiguous or incomprehensible parts are, at least > long enough to put > them into the context (of the constantly moving > experience). > > Cheerskep is stopping the game film and pointing out > how this or that > word or thought or notion is hard to understand or > follow, and William > is saying, "For crying out loud, let the play > develop and you'll know > what's going on." > > > > | | | | | | | | | | | | | | | | | | | > Michael Brady > [EMAIL PROTECTED]
