Sorry, Chris, for reacting that way--I had actually thought to use Pollock
as an example of temporality. It does make a difference being in the
presence of the paintings, which is easy to do in NY.
I haven't meant to imply that nothing changes, just in a backhanded way
asking for more precision. Thanks.
What's a stroop effect, and who was stroop?
At 03:35 PM 11/16/2005, you wrote:
>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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