Just thought Id mention that Pollocks work was recently found to tune into
fractals which may explain why it registers with people.
Douglas Clark, Bath, Somerset, England ....
http://www.dgdclynx.plus.com
----- Original Message -----
From: "Mark Weiss" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, November 16, 2005 8:35 PM
Subject: Re: Blah
>I can't even imagine looking at Pollock that way--my own experience is that
>my eyee bounces all over the place. And that I'm forced to penetrate the
>space. It's a pretty amazing experience.
>
>
> At 10:22 AM 11/16/2005, you wrote:
>><snip>
>>One experiences most paintings temporally, I think, tho the sequence and
>>tempo vary. [MW]
>><snip>
>>
>>I don't think it's binary, more a question of degree: whether one parses
>>the
>>work primarily as an articulation of time or as an articulation of space.
>>In
>>reading a medieval work one is asked quite frequently to follow a
>>narrative
>>through a sequence of temporal stages. There are innumerable intervening
>>works in which parsing the content means making assumptions (beyond what
>>is
>>on the canvas) about what happened or what will happen next. Then there's
>>Cezanne's constitution of *reality* through its temporal perception.
>>Analytical cubism is still another form of temporality. And so on. Things
>>get trickier when representation disappears. Newman manages temporality
>>without representation, I think. Pollock. on the other hand, seems
>>concerned
>>to articulate a shallow pictorial space even though one can readily parse
>>the laying down of the paint.
>>
>>My other observation was that Rauschenberg removes any sense of direction;
>>his doing so is like Johns' use of the Stroop effect. Such a combination
>>does, I think, represent some sort of gear shift in what was happening.
>>
>><snip>
>>And one of the wonders of Indian music is that it manages to sustain
>>the harmonic tension that creates the drive towards resolution for such a
>>long stretch. [MW]
>><snip>
>>
>>Resolution or centring? In Western music, to caricature, boy looks at
>>girl -
>>boy fancies girl - goes after girl - boy gets girl. In Indian music, boy
>>looks at girl (more and more intensely) until boy becomes girl, like
>>tigers
>>becoming butter.
>>
>>The attack-sustain effect which Reich presents in *Four Organs* seems to
>>me
>>more like the latter. That doesn't, of itself, make it either *good* or
>>*bad*. It may be open to attack, of course, as a musical version of
>>feeling
>>stoned. But again it is a change in strategy, I think, and it is
>>considered.
>>
>>CW
>>______________________________________________________
>>
>>I am always doing what I cannot do yet in order to learn how to do it
>>(van Gogh)
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