In a message dated 6/13/09 6:41:11 PM, [email protected] writes:
> The immediate perceptions seem (a)
> immediate and (2) so completely bound to the stimuli that's it's hard
> to distinguish the internal representation as a mapping of our
> neuronal responses onto **not** the external object (we generally
> don't confuse our impressions of a tree for the thing in the front
> yard), but onto our other previous experiences of similar patterns, so
> that we recognize ("re-know") this stimulus as probably a tree like
> many others we have seen.
>
You can do this with masses of information too,when you run across
something interesting and after a bit it resolves itself intomore of something
you
were thinking about anyway. Exactly like putting together tree pattern clues
and then seeing the tree. It can happen with drawing too, you dra
wsomething and after a bit you realize what the thing is,only you have drawn
the
clues leading to its recognizing and then recognized it. It doesn't make
any
difference to the clarity of the drawing. I will say that if you insist on
interpreting the clues as metaphor-the clue looks like a something-it will
take longer to figure out what is actually going on. On the other hand the
resulting drawing can be taken as a metaphor of the clues in that the marks
used to symbolize the clues are not the things themselves. Possibly the
invitable and resolved part of the thing comes from how closely the clues'
symbolization marks resemble the clues the viewer uses to make their way about
in
the world. Miller seems to like art which works off a sort of secondary set
of clues-using Claude marks to draw a tree so that the viewer compares the
marks not to the tree which they have just seen but the marks used to draw
a tree in a Claude and then awards the work in front of them marks for
resmbling or not resembling the Claude tree without ever realizing the
secondary nature of their perceptions.
Kate Sullivan
**************
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