I , apparently create the same way as William. As to the question
of what happens after it's finished and the wow is gone?
I never it, but put it aside till I discover where the went.
mando
On Dec 19, 2008, at 11:44 AM, [email protected] wrote:
In a message dated 12/19/08 1:39:13 PM, [email protected] writes:
I don't investigate aesthetics in doing my art. I act on impulse and
delusional confidence. I am so given up to trusting the impulse
that I attribute it
to God. I just follow orders. Seriously. When I interfere with the
impulse,
when I think about rightness or wrongness or rules or aesthetic
judgment, I
screw things up, I lose the naturalness of form.
The differences in the creation and appreciation of different genres
intrigues me. There's a related question: When, if ever, can we say
that a would-be
WOA is "wrong"? I don't mean the likes of morally or politically
wrong. Oh? So
what do I mean -- i.e. what do I have in mind?
Michael suggests he sometimes quits on a painting, or paints
over it. My
guess is he's acting on the realization that its wanted effect on
HIM as
contemplator is not there. Or, if not a "wanted" effect in the
sense of
"anticipated", then there's simply no effect there that "pleases"
him in a way I'll
momentarily call "aesthetic".
When that happens, can you, Michael, (or William, if that ever
happens to you
-- or any other "creator" listening in) put your finger on the
fault in a
conscious, "cerebral" way? More than that, can you ever identify it
as a "rule
book" flaw?
It seems to me that narrative writers often CAN do that. At any
point in
their "story" it can come to them that something is "wrong". In
this regard they
are not unlike their audience (reader or viewer). I once wrote a book
originally intended for editors. Sensibility, I said, may tell you
THAT something is
wrong, but it won't necessarily tell you WHAT is wrong. It's not
the common
reader's job to identify the flaw, but it is the editor's job.
Here, I wrote, is
a checklist of ailments to look for. It turned out the book was
bought by far
more writers than editors.
My question is: Do you visual artists have anything like that
guiding you?
Something you can point at and say, "That's wrong." I don't mean
the likes of
realizing a would-be portrait isn't succeeding because the nose is
too long.
Tell me what I should mean.
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