We might conceive of the artist as a pre-given entity who views, is
inspired by, and utilizes pre-given things in the world around her as
she then goes about making her work. The production of the work would
then be a causative process contributing in turn to the production of
the historical world. We might also understand the work as an
objectification of the artist, an expression of her inner spirit that
externalizes and actualizes it. Nishida envisioned an alternative: the
artist takes in or intuits the world and transforms or enacts it, both
of which are but two moments in a single unfolding—not only of the
world but of the artist as well. Both artist and work are formed
mutually and are reflected in one another. While this mutual formation
can be described in terms of a causative process taking time, with the
person first intuiting or internalizing and then acting or
externalizing, Nishida described it in terms of the place or topos
wherein intuiting entails acting and acting intuiting, and wherein the
difference between internal and external collapses.
--http://plato.stanford.edu/entries/nishida-kitaro/
Gathatoulie
And of these shall I speak to those eager, That quality of wisdom that all the wise wish And call creative qualities And good creation of the mind The all-powerful truth Truly and that more & better ways are discovered Towards perfection --Zarathustra.
Friday, May 21, 2010
Subscribe to:
Post Comments (Atom)
Blog Archive
-
▼
2010
(112)
-
▼
May
(12)
- taking the day off
- identity, interrupted
- an alternative to 'causative process'
- the space in between seeing and acting
- snake & monkey
- Coincidence, Issue #1: Left over physical or onlin...
- life in an indeterminate space
- mini-essay on the SECI model
- symbols and sense-making
- 'doing philosophy' in the age of Internet
- a certain doctrinal disqualification
- dynamic mapping
-
▼
May
(12)
words cut, pasted, and otherwise munged by joe corneli otherwise known as arided.
0 comments:
Post a Comment