In designing a work, I also try to eliminate every thing that is not
part of the intended design.
The superficial that detracts from intended form.
mando
On Oct 19, 2009, at 3:14 PM, William Conger wrote:
Miller's got me there. Whatever can be said about a work of art
never explains its ineffability. So it doesn't matter how many
evoked references he can think of in looking at a junk painting by
Kinkasskade --but I'm sure his references will be prettier than
mine. As for my own paintings, they are much better than I am able
to say they are and they're in another far far away universe for
Miller. Referentiality does not make a work of art art. But with
multiple references one can clear away specific meanings, and move
toward zero so that if the work has value it can be experienced as
art; that is, as the ineffable.
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Every sound will evoke reference, just as every shape does, and
every
color.
In fact, the more 'abstract' the more references there are. There
is no such
thing as non-representational. The quest for meaninglessness is
simply the
quest for the maximum evocations. Some people can't perceive or
project many
references, some can. The fewer references one senses the dumber
that person
is...or, more likely, the more conditioned that person is.
Nevertheless, we
all need to use conditioned references most of the time (as when
that tree is
in my path so I must move around it). But once we realize that we can
operate
(think) in multiple metaphorical tracks at once, some rational and
sequential
or logical, some imaginative, non-sequential, poetic, then we can
realize how
wonderful experience and consciousness can be. So, the more you
approach
meaninglessness, the closer you get to imaginative and creative
freedom
and...paradoxically...meanings. It's so simple that it is too
opaque for
Kivy and many others. (WC)
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