Socrates has a question for you

I read one day that Socrates asked to a master of ballet :

“Who are you and… how do you know?“.

There are many questions you can ask to someone you’re interested in, where do you come from? or what happened in your life? or what’s new? or what are you working on? or tell me what’s difficult? or what did you learn? or who is important in your life?, etc, but :

How do you “know” means a lot. How do you increase your knowledge? What is your package, your bond to reality, your system, your measures? Do you read? Do you watch things, people, actions? Do you think? Do you remember? In what way? What do you seek? What is the nature or the knowledges you pile up in your brain? Do you have models? How is it cleared up? What for? Are you curious, where, how, and why? What are you weary of? Senses? Interpretations? Where could we be mistaken, why? Do you need to understand or to change something?

It could seem pointless, but I don’t think it is. Because these questions ask about this :

What is your out/in interface with the world, and how does it work?

Just an example : memory. We all know that our memory is not perfect, and THAT is interesting : it doesn’t work properly, this is why we can work, interpret, metathink, analyse, retry, write, rethink, etc…

You’re a photographer : how do you know? You have your technical skills, right? And then? How do you know what to photograph? How do you know when to trigger? How do you know if the frame or the light is OK? How do you… make progress?

Now play this game with others :

Tool : How do you KNOW?

…when you’re a poet, a photographer, a teacher, a priest, a spouse, a journalist, a blogger, a writer, an architect.

And yesss, haecceity : you can be all of them, right?

Thanks for reading!

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Let us enrich ourselves with our mutual differences.

Paul Valéry

 

 

Mikhail Vrubel, Russian Painter

https://en.wikipedia.org/wiki/Mikhail_Vrubel

Vrubel (1856-1910) was a Russian Painter.

You can Google Image his name or “Михаи́л Алекса́ндрович Вру́бель” to find his work. It’s haunting, like made of scales, and it’s a perfect example, for me, or strangeization

When you encounter his work, there’s a chance your brain begins to… like… address his case. It’s a very good indication, for me!

After the picture of his Seated Demon, there’s a fragment of the right part, like it?

Thanks for reading!

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Reasons why some people reject modern #Art

Nathalie Heinich is a French sociologist. She studied the reasons why people disliked modern art. Here’s a part of her list. What will you do about it?

Values in the domain of modern art rejection :

  • It’s disgusting, unpleasant
  • It’s not beautiful
  • It’s not art
  • It’s meaningless
  • A child could do the same
  • It’s made to get noticed
  • It’s made to make money
  • Lack of inspiration
  • It’s not serious
  • It’s dangerous
  • It’s obstructing the pathway
  • It’s useless
  • It’s unpopular, incomprehensible
  • It’s racist, sexist, obscene, cruel

Thanks for reading!

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Instagram : lena_rx

Fruitful Constraints & Creativity

It’s an old tool many artists know : many constraints are fruitful. Mainly because a constraint is a problem calling for a solution, therefore you have to move, to be creative.

All jobs and activities have constraints : budget, environment, other people, time, space, your skills, your tools.

If it’s too loose, though, you feel a freedom, which can be messy. You can not catch anything. Stuck. You maybe need to tight something up, to find “your” freedom within a new frame.

Brian Eno invent the Oblique Strategies (mainly for musicians) as a card game. You pick a card and you have to obey (sometimes it’s terrible!). Some directors are well known to tell the actors to follow precisely something (the dialogs, or the places they have to move on the set, etc) before shooting. Some digital artists sometimes go out in a park with a pencil and a notebook. A photographer can go outside with the limit of 20 pictures taken, not much. And G. Perec wrote an entire book without the letter “e”.

 

Constraints are fruitful. You probably have many disposable levers for these. A poet can obey : write something in alexandrine; without any letter “p”, in less than 5 minutes. You may have to present a project in ONE minute only, and… with no words. What are your levers?

You can pull a lever to Zero, it’s the Total Constraint. For example, you’re a photographer and you go out without any camera. Just your eye. You’ll feel the need, you’ll feel your brain simmering. As you can only watch and… think, you’ll maybe have bursts of ideas (instead of taking pictures).

Of course it’s an example of “Amor Fati”, being content with what happens to you, even if it seems bad. Embracing fate : every constraint, if you can’t avoid it, should (and will have to) be danced with.

Thanks for reading!

 

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Instagram : f_pilvi

Aaron Nakahara’s Digital Art

I’m just an ignorant in this field, but I often wander on DeviantArt to discover digital artists. There are masters, there are thousands of interesting artists. And sometimes, in the middle of bunches of good ones,  your eyebrows never stop to get up. Like “Heyyyy”…

Aaron Nakahara – Cobaltplasma is one of them.

There’s a good path to follow to begin : explore his favorites in Deviant Art : http://cobaltplasma.deviantart.com/gallery/. You’ll find artists with a talent for : faces, drama, landscapes, darkness or colors, space, energy or perspective. This “door” could be enough to explore the whole website : explore their favorites’ too, and you have your own pathway into this, out of “popular” things, etc.

Him? I like his freedom and the part of casualness you smell in his fast sketches. His sense of exaggeration is amazing! His lines…

He writes a little text under some of his drawings, I invite you to read them.

peace_and_harmony_by_cobaltplasma-d9pkbo2call_of_the_dragon_by_cobaltplasma-da2f2xwaaron-nakahara-setsunaiiIt makes me wonder : will this guy become a master in finished pieces, or in his “30 mn” sketches?

Thanks for reading!

http://www.denjin108.com/

https://www.artstation.com/artist/cobaltplasma

https://www.instagram.com/cobaltplasma

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When a poet laughs of a painting (in relief!)

William Carlos Williams, recalling his first viewing of Marcel Duchamp’s Nude Descending a Staircase : “I burst out laughing from the relief it brought me! I felt as if an enormous weight had been lifted from my spirit for which I was infinitely grateful”.

Art advance can open paths for other arts. If you’re interested you’ll study the links between WC Williams and Duchamp. BUT you even don’t have to, to activate some ideas.

Duchamp’s abstraction is about decomposing the movement, of course, but there’s also a game with the title. If the title was “XY-56”, your mind wouldn’t have been engaged the same way, right? What would be the same in poetry? What can this bring to a poet? A game with a title? A decomposing symbol/word/frame process? A sense of freedom, and daring?

Tool :

Whenever you feel stuck or not, it could be interesting to explore “other fields”. Maybe if you’re a musician you should study avant-garde architecture, and if you blog, maybe you could read about strangeization? You’re a manager? Why wouldn’t you read anthropology, then?

Thanks for reading!

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Umberto Eco & the Open Work

Umberto Eco wrote an entire book about the idea of Open Work. I just present you here this idea, as a seed, that a “work” has an openness.

A work “appears” like this or like that, but has a number of ways of being read (seen, viewed, watched, decoded, interpreted, appreciated, contemplated, analyzed). This seems obvious for the sheet music, the score, or for a play, right?

  1. There’s maybe an “obvious” openness, a prescribed way to read a work, but it can be a little more vague, like a set of possibilities – until complete crypticness : find what you can, if you dare to do it, then.
  2. Some elements are often chosen by the artist to let the audience appropriate the work their way, but not “that” their way. Symbolic novels are obviously made for this purpose (Kafka is an example given by Eco).
  3. Opened or not, some people do what they want with a piece of work. It’s a whole decision, it requires culture, or tools, or ways of finding things.
  4. Some works, this way, can be enriched by a clever spectator, who would be delighted by elements, details, structures… the artist himself ignore!
  5. In classical music or theater, there’s a place between the work (the score) and the audience. The players (or the actors) have a big role about “how they see it”. But after that level, the audience will also interpret things…
  6. We probably want to find bonds between the work we study and our own searches, flaws, experiences…
  7. Add yours in the comments, please?

 

Tool : If you work out of the “artistic field”, in blogging, marketing, conversation, fashion, coaching, I’m sure you consider many parameters. You can make a list, right? Timeline, colours, variety, energy, waits, etc, there are many levers to pull. But have you considered the “openness” of what you propose?

 

Thanks for reading!

“Nommer un objet c’est supprimer les trois quarts de la jouissance du poème, qui est faite du bonheur de deviner peu a peu : le suggérer . . . voila le rêve”

“To name an object is to suppress three-fourths of the enjoyment of the poem, which is composed of the pleasure of guessing little by little: to suggest . . . there is the dream”

Mallarmé

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Instagram : jacopo.rigotti