Applying the making of wine to the making of sculpture, to me is being familiar with the ingredients ( form) of the human body-- then creating a new design symbolically different that is hopefully felt as intended. but retaing the human universal form's presence, in our mind.
AB On Aug 12, 2012, at 8:32 AM, Tom McCormack wrote: > Joseph Berg's offered link of this morning leads to some pages of surprisingly > keen interest to those of us "aestheticians" with a nerdy turn of mind. It's > surprising for several reasons, not the least of which is that the passage is > from a book by Matt Kramer titled MAKING SENSE OF WINE. Here's an excerpt. > > "Complexity as a desideratum in a fine wine is not an arbitrary standard. It > appears that we are in fact set up to respond favorably to complexity. Decades > of work in experimental psychology have revealed that when people are free to > choose between a simple visual image and a more complex one they gravitate to > the complex.The same results obtain with simple and complex light patterns. > These and other tests reveal that, over a period of time, we always seek more > complex stimuli. . . .Complexity is more than multiplicity. For a wine (or a > melody) to be truly satisfying, especially after repeated exposure, it must > continually surprise us (uncertainty) and yet we must still be able to grasp > these surprises as part of a larger and pleasing pattern." > > Granted, there's much to question and even quarrel with in there. But I urge > that those points do not keep you from finding what is helpful or encouraging > for you. For example, I'm now finishing (I hope) a play with a great deal of > complexity on several levels. A strong challenge for me comes from my > motivation to make it as accessible as I can. However, there's a part of me > convinced that its ability to engage my ideal intended audience will depend on > my retaining as much of the complexity as I can. In other words, the > exhortation Simplify! Simplify! may be exactly the wrong guide for me to > follow strictly. > > FYI: Berg's link below must have no spaces in it. I found it didn't work for > me until I'd made sure that each line-end did not result in a space. > > On Aug 12, 2012, at 12:17 AM, joseph berg wrote: > >> "What satisfies us so fundamentally about complexity is still the subject >> of speculation, *largely in the academic field of aesthetics*. It appears >> that we favor--relish might be a more descriptive, if less exact >> term--uncertainty or lack of predictability." >> >> > http://books.google.com/books?id=aFFnTwAit1oC&pg=PA26&lpg=PA26&dq=%22largely+ >> > in+the+academic+field+of+aesthetics%22&source=bl&ots=AYi1cJB3Fb&sig=rK1SUZ9o0 >> > 2xyn-ouHNAoV4oiNVA&hl=en&sa=X&ei=pS0nULDCE43riQL3iIDYBA&ved=0CDMQ6AEwAA#v=one >> > page&q=%22largely%20in%20the%20academic%20field%20of%20aesthetics%22&f=false >> > > http://books.google.com/books?id=aFFnTwAit1oC&pg=PA26&lpg=PA26&dq=%22largely+ > in+the+academic+field+of+aesthetics%22&source=bl&ots=AYi1cJB3Fb&sig=rK1SUZ9o0 > 2xynuHNAoV4oiNVA&hl=en&sa=X&ei=pS0nULDCE43riQL3iIDYBA&ved=0CDMQ6AEwAA#v=onepa > ge&q=%22largely%20in%20the%20academic%20field%20of%20aesthetics%22&f=false
