Dear Aacorners. 
 
Following Phillipe's line on Pollock (and hopefully adding something to
Enrico's most recent comment on dance), and the notion of "rhythm" of
art as, in same way offering leadership in an ordering of chaos, it is
worth considering Merleau-Ponty's aesthetic essay's; in particular I
have called upon MP's "Cezanne's Doubt (1945) in my own work. 

For example, MP quotes Cezanne directly: 'I was in such a state of
mental agitation [in early life], in such great confusion that for a
time I feared my weak reason would not survive. ... Now it seems I am
better and that I see more clearly the direction my studies are taking.
Will I ever arrive at my goal, so intensely sought and so long pursued?
I am still working from nature, and it seems to me I am making slow
progress.' (Cezanne)

There are clear calls on gaining a better handle on psychology here. I
do not think that it so much Philippe's "commitment to dangerous lives"
but the gaining of an ability to "continue operating" when faced with
the "risk" of the unknown and complex around us. Here we might see the
artist operating to identify patterns and rhythms that can bring a
harmony to an otherwise dissonant and fragmented reality. How does this
apply to dance? 

Is not choreography, in part at least, the organisation of knowledge:
the knowledge of certain ways the body can move given limitations of
space (dance floor) and time (the structure of music to which the dance
might be performed)? In this sense the "dance" artist is seeking a
harmonic flow to a structure of movement that might, in another context
certainly count as dissonant. Reading Cezanne's concern - he could have
been talking about his study of dance, music, organisational learning,
the writing of a PhD or painting! 

I believe there are important qualities within the artist and the
artistic process that transcend the artist's actual craft. Our
discussion on rhythm would put it in that category. I think
collectively, the power of our group here, is that we all have different
"art" perspectives and that when these perspectives are handled
creatively in pushing our knowledge boundaries, we end up with our own
"art" of research. Long may we continue such interesting debates and, of
course, not always answer the question directly!

In good humour and friendship to you all.

David   

  
-----Original Message-----
From: Aesthetics, Creativity, and Organisations Research Network
[mailto:[log in to unmask]] On Behalf Of philippe mairesse
Sent: 13 November 2006 10:31
To: [log in to unmask]
Subject: Re: call for help_rhythm and organizing

Managing Rythm, Chaos, Order, and Art as a Life inBetweeen

Dear friends,

Following this thread about rythm I was feeling quite a foreigner with
fewcompetences, my skills as a musician, a singer or even a music
listener being, say, somehow disabled...
But a sentence by Davis Atkinson made me think of an interesting story
related to "natural" rythms and leaders.

I due it to Albert, a PhD fellow in Utrecht University for Humanistic,
who passed me the paper.
It's about Pollock, the famous painter and a definitve leader in the
field:
a recent auction saw one of his painting reaching the highest price on
the market. He was known for his love for drinking as well as for
painting, the legend describes his transes under alcohol and loud free
jazz music, wildely pouring by chance painting from holes in cans,
creating his famous "dripping".

A paper (  "Order in Pollock's Chaos", Scientific American, dec 2002 )
shows how all his paintings are strictly fractals and how their "rythm"
follows closely that of clouds, wind in tree branches, or other natural
rythms. It appears then that Pollock's main job was to put himself in
such a state of mind and body that he would be able to grasp and
restitue these natural fractal rythms in a painting format.

Seizing theses meaningful (touching the people, was curiously like
better fractal rythms than others) rythms and turning them into precious
objects made him die young, and a leader in arts.

A "natural leader"?

Capturing meaningful rythm, if powerful, needs commitment to dangerous
lives...for nature and rythms are not still life!

But of course, he was an artist, and everyone knows that artists are
crazy, drunk and only get where they get by chance.
Never follow their ways.
Unless ?

Philippe Mairesse
: acces local
www.acces-local.com
: patrick mathieu conseil
www.patrickmathieuconseil.com




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