Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

31 January 2021

Picture Post #61: Outside the Image



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'


Posted by Tessa den Uyl

Picture credit: Robert Saltzman ‘La Fe’, 2017.


It might take a while to see that the creative feeling in this picture moves beyond the representation of a worshiper who touches the depiction of a Maria. The movement within the sobriety of this picture is of such subtlety that it exposes itself as a feeling rather than a seeing.

The eye immediately selects the strong vertical upward movement of the man with his arm against the painting, accentuated by the stick that the worshiper keeps in his right hand. Instead, the upper left of the frame of the painting, to the lowest forms one diagonal. Repetitive diagonals in opposed direction are drawn by the lower point of the angles of the pews' end-panels to the highest, with the upper right angle of the painting in its midst. In the picture, the vanishing point is to the left (imagine the benches as the floor), which brings us outside of the picture.

Within this classical framework of more- and less-visible lines, exalts the shadow of the man that is cast directly below the Maria. It is this shadow which accentuates the ascendance of the depicted Maria, visually and symbolically.

When one imagines this picture just with the man and the painting, without the shadow, and not in this room, the ‘inexplicable’, the ‘something more’ to life does not show. The eye focuses on a specific form, which the mind elaborates, and hands existence to the selected subject. Though it is not in the main subject but in the space, through the tension and the affinities between things of the surroundings, a subject receives empathy.

The unnoticed is deeply rooted in human being. The synthesis of every creative process is to verify this transpersonal union with the personal, within the contingent, transitory reality in which everything would become insignificant, remaining only personal or only eternal.

If in this picture we would see solely a religious man in a church, we would harm ourselves. Being moved is through the transformation of what we see and feel, and depends on an intrinsic secret of invisible images.

04 October 2020

Picture Post 58: The Underpass



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl


What is graffiti? Urban art, identity statements, politics, distraction, public empowerment, vandalism, property, religion, claiming ownership—graffiti embraces them all. Not always do we know its meanings, though habitually we recognise it when we see it.


Aesthetically speaking, graffiti might not be attractive—though this does not explain why often it is at one and the same time accepted and abolished. Obviously graffiti tends to move against the mainstream, though its form it is somehow of the same language—eradicated in that contradiction which suits the social order.


This makes graffiti a scribble in a world where its echo is instantaneously consumed. On the other hand, it is a manifestation and a message, noticed by the unconventional way it is proposed.


Yet the incompatible is never as discordant as it might initially appear. Graffiti exposes the innate ambivalence of our societies and legal systems, by being an illegal form of expression while also being sold for high prices in mainstream museums. While some graffitists obtain copyright on their work, others are prosecuted for vandalism.


Similar to the man depicted in the picture above who, exceptionally, has become a legend and a symbol for a generation and beyond, it might well be that the influence of graffiti will have clearer definition in the future, to become what it is not yet.


Whatever the case, it seems bound to tell us more about ourselves than we initially imagined some swiftly drawn assumptions of its meaning could provoke.

10 November 2019

God: a New Argument from Design

The game of our universe does not reveal sameness

Posted by Thomas Scarborough


The venerable ‘argument from design’ proposes that the creation reveals a Creator. More than this, that the creation reveals the power and glory of God. Isaac Newton was one among many who believed it—stating in an appendix to his 1637 Principia or Principles of Mathematics:
‘This most elegant system of the sun, planets, and comets could not have arisen without the design and dominion of an intelligent and powerful being.’
The trouble is, there are alternative explanations for design—in fact complete, coherent explanations. To put it in a nutshell, there are other ways that order and design can come about. So, today, the argument is often said to be inconclusive. The evolutionary biologist, Richard Dawkins, writes that it is ‘unanswerable'—which is not to say, however, that it is disproven.

Yet suppose that we push the whole argument back—back beyond all talk of power and glory—back beyond the simplest conceptions of design, to a core, a point of ‘ground zero'. Here we find the first and most basic characteristic of design: it is more than chaos or, alternatively, it is more than featurelessness.

On the surface of it, our universe ought to be only one or the other. Our universe is governed by laws which ought not to produce any more than chaos on the one hand, or featurelessness on the other. We might use the analogy of a chess game, although the analogy only goes so far.* A careful observer of a chess match reports that the entire game is governed by rules, and there is no departure from such rules.

Yet there is clearly, at the same time, something happening in the game at a different level. Games get won, and games get lost, and games play out in different ways each time. There is something beyond the laws. We may even infer that there is intelligence behind each game – but let us not rush to go that far.

However, without seeing the players, one could assume that they must exist—or something which resembles them. To put it as basically as we can: the game lacks sameness from game to game—whether this be the sameness of chaos or the sameness of featurelessness. Something else is happening there. Now apply this to our universe. We ought to see complete chaos, or we ought to see complete featurelessness. We ought not to see asymmetry or diversity, or anything of that sort—let alone anything which could resemble design.

The problem is familiar to science. The physicist, Stephen Hawking, wrote:
‘Why is it (the universe) not in a state of complete disorder at all times? After all, this might seem more probable.’
That is, there is no good explanation for it. Given the laws of nature, we cannot derive from them a universe which is as complex as the one we see. On the other hand, biologist Stuart Kauffman writes,
‘We have no adequate theory for why our universe is complex.’
This is the opposite view. We ought not to see any complexity emerging. No matter what degree of complexity we find today, whether it be Newton's system of the universe, or the basic fact that complexity exists, it should not happen. It is as if there is more than the rules—because the game of our universe does not reveal sameness.

This idea of ‘more’—of different levels of reality—has been seriously entertained by various scientists. The  science writer Natalie Wolchover says, ‘Space-time may be a translation of some other description of reality,’ and while she does not propose the existence of the supernatural, the idea of some other description of reality could open the door to this.

Call this the ‘ground zero’, the epicentre of the argument from design. There is something going on, at a level we do not see, which we may never discover by examining the rules. In the analogy of the chess game, where we observe something beyond the rules, we may not be able to tell what that something is—yet it is clear that it is.

This argument differs from the familiar version of the theological argument from design, which generally assumes that God created the rules which the design displays. On the contrary, this argument proposes that God may exist beyond the rules, through the very fact that we see order.



* A problem with the analogy is that a chess game manifests complexity to begin with. The important point is, however, that the game reveals more than it should.

06 October 2019

Picture Post #49: Vision in a Suitcase



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.' 


Posted by Tessa Den Uyl

Florence, 2019


The Venus by Botticelli, the David by Michelangelo, the Thinker by Rodin, names which resonate, and celebrate moments in our history which are now in the lap of technology. With new materials and with lasers, these images, and thus the names, are copied and cast into gadgets which we can grasp quickly and transport (even) in hand luggage.

These persons had a vision. In this light it just seems odd to exploit ready-mades for commerce that are not urinals, thinking of Duchamp’s ‘Fountain’ and placing a non-art object in an art space.What happens in this shop window might be thought of as the reverse. The art (and its creator) are objects available to everyone. But nothing within these statues reminds us of a vision. They are vision-less, though apparently they remind us of something else.

Does this mean that, when we have merely heard about something, scraps of such something are enough to live through the original, with all its implications and compulsiveness, in which and for which the creation came into being?