Hi Marsha,
On 24 Sep 2010 at 3:06, MarshaV wrote:
Hi Platt,
Been reconsidering painting since last Fall; feeling rumblings from beneath.
I've seen a few paintings by Francis Bacon at the Yale Center for British Art,
a long time ago. I remember them being disturbing, but very beautiful. That
was puzzling then, so it was with great curiosity that I recently watched a dvd
containing an interview with Bacon by Melvyn Bragg. From the limited 50
minutes of interview, I like him very much. I liked all he had to say. If you
haven't seen the interview, I recommend it. It's also available via YouTube.
I watched it a second time and wrote into my journal some of what he said. For
instance he stated that he recreated the suffering that was around him
everywhere: the radio, newspapers, television. But more:
"The paintings should be a recreation of an event rather than a reproduction of
an object."
"Not illustration of reality but to create images which are a concentration of
reality, and a shorthand of sensation.
"My impulse is my life."
"I've made images the intellect would never make."
"You come in with an overall image which you don't want to define except
through working towards it. . . Yes, it's a risk."
"I'm an optimist, optimist about nothing, absolutely nothing.
-------------
I liked him. I liked what he said about painting. I would have liked to have
lunch with him.
Platt:
"I like" is a synonym for "I value." It moves the world. I especially value
Bacon's idea of starting out with an undefined overall image (DQ) and work
toward defining it (SQ) during the painting process.How many times have I
started a painting with great hopes only to make a mess of it. But, sometimes
things happen as I originally intended, making all the failures (low value)
worthwhile (high value)..
On Sep 23, 2010, at 5:08 PM, [email protected] wrote:
> All:
>
> SOM axiom: "There is nothing either good or bad but thinking makes it so."
>
> MOQ axiom: Everything is good or bad before thinking at all.
>
> We can see what the MOQ is up against -- Pirsig vs. Shakespeare, a far out
> idea
> vs.conventional wisdom.
>
> Do the levels get in the way of Pirsig's Copernican revolution?
Marsha:
The levels seem genius to me, a very modern bridge.
Platt:
Genius, true. But perhaps overplayed in trying to appease the SOMists.
> Does he cater too much to SOM thinking?
Marsha:
No. For me it is all about breaking down subject/object reality to move beyond
it. It is "absolutely" the most important thing. Patterns are fascinating,
like vortexes of experience.
Platt:
"Patterns" bother me. They presume subjects looking at ordered objects. Even
"experience" suggests the S/O division. Instead I would like to see "valuing"
substituted for "experience," "consciousness," "awareness" and "perception." --
valuing Dynamically (creatively) or statically (predictably). Then the world of
things become static values and the act of painting becomes Dynamic.value
creation, motivated by betterness.
> How can we here promote the "artistic consciousness" that precedes thought
> that
> gives us the delight of life?
Marsha:
Good question. I remember SA having started a thread of haiku poems. Even to
try was a movement towards understanding. Who didn't try?
Platt:
Yes, that's the ticket. Dynamic creation of value within a static value
framework.
> Besides great sex I mean.
Marsha:
Hmmmm.
Platt;
Is that an expression of afterglow?
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