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Pearls from artists* # 436

View from the roof of the Metropolitan Museum of Art, New York

View from the roof of the Metropolitan Museum of Art, New York

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Cassirer’s partial definition of art as symbolic language has dominated art studios in our [20th] century.  A new history of culture anchored upon the work of art as a symbolic expression thus came into being.  By these means art has been made to connect with the rest of history.

But the price has been high, for while studies of meaning received all our attention, another definition of art, as a system of formal relationships, thereby suffered neglect.  This other definition matters more than meaning.  In the same sense speech matters more than writing, because speech preceded writing, and because writing is but a special case of speech.

The other definition of art as form remains unfashionable, although every thinking person will accept it as a truism that no meaning can be conveyed without form.  Every meaning requires a support, or a vehicle, or a holder.  These are the bearers of meaning, and without them no meaning would cross from me to you, or from you to me, or indeed from any part of nature to any other part. 

… The structural forms can be sensed independent of meaning.  We know from linguistics in particular that the structural elements undergo more or less regular evolutions in time without relation to meaning, as when certain phonetic shifts in the history of cognate languages can be explained only by a hypothesis of regular change. Thus phoneme a occurring in an early stage of language, becomes phoneme b at a later stage, independently of meaning, and only under the rules governing the phonetic structure of the language.  The regularity of these changes is such that the phonetic changes can be used to measure durations between recorded but undated examples of speech.

Similar regularities probably govern the formal infrastructure of every art.  Whenever symbolic clusters appear, however, we see interferences that may disrupt the regular evolution of the formal system.  An interference from visual images is present in almost all art.  Even architecture, which is commonly thought to lack figural intention, is guided from one utterance to the next by the images of the admired buildings of the past, both far and near in time.

George Kubler in The Shape of Time:  Remarks on the History of Things

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Pearls from artists* # 181

"Epiphany," soft pastel on sandpaper, 38" x 58"

“Epiphany,” soft pastel on sandpaper, 38″ x 58″

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

It takes courage to face the unfamiliar, to espouse the different; courage to fight one’s own prejudices only less than those of others.  Was it not a little child who first dared call the emperor naked?  It took great fortitude for Kepler to adhere to his new notion of infinity (as the second focus of a parabola), for, as he said, “The idea seems absurd, but I can find no flaw in it”; just as it did for Galileo to murmur among his inquisitors, “Yet the world does move.”  Most of us will never achieve great imaginative insights; we might at least attempt to be tolerant of those offered by others.

The Biological Basis of Imagination by R.W. Gerard in The Creative Process edited by Brewster Ghiselin

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Pearls from artists* # 129

 

Chalcatzingo, Mexico

Chalcatzingo, Mexico

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

A painter friend of mine once told me that he thought of sound as an usher for the here and now.  When he was a small child, Adam suffered an illness that left him profoundly deaf for several months.  His memories of that time are vivid and not, he insists, at all negative.  Indeed, they opened a world in which the images he saw could be woven together with much greater freedom and originality than he’d ever known.  The experience was powerful enough that it helped steer him toward his lifelong immersion in the visual arts.  “Sound imposes a narrative on you,” he said, “and it’s always someone else’s narrative.  My experience of silence was like being awake inside a dream I could direct.”

George Prochnik in In Pursuit of Silence:  Listening for Meaning in a World of Noise 

Comments are welcome! 

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