Painting, like us, begins in the caves
Painting, like us, begins in the caves, along our history it unfolds with the human capacity to change the world - the visible is no longer the same after painting; while the invisible takes form as hesitant lines grow confident, filling the eye with a difference, bringing to mind a new sense.
It is reality that painting continuously revisits, never witnessing, but rather, engendering a cognitive intimacy and an overarching plot. Painting correlates mind, hand and eye into a poiesis-machine whose subject matter is the human itself.
Painting was back then, as it is now (in my eyes), a live manifesto of the creation of humanness, distributing itself into the cosmos, into the world, into the body, into timeless mythology and into immediacy and everydayness; open to all directions;
It was the launching of the project of Man.
From the edge of the spear to the edge of mind
With the first images that appeared on the walls of Cueva de El Castillo, the crystalline image of the world was torn a part from the immanent present, and made separately visible, separately malleable and with it, most likely, the image of man itself.
Extending itself through painting, the human breaks the ring of immediacy far into tomorrow. The paintings on the walls of the caves are as pockets of eternal memory, telling of the rise of Man from the silent cruelty of nature.
Painting was our first Voyager, sent both around the world and through time to posterity, in order to make the world a ‘home’.
It was the medium through which the human and the world intersected, so that the meeting point between them was not located anymore at the edge of the spear, but at the edge of mind. Through the veins and capillarity of matter a sentient landscape began to emerge.
In these vicinities, our exodus from the dictats of nature towards a universe that can be morphed took origination. It was the softening of reality, the very beginning of it, which made us the artists of intelligence that we are today.
Along the millennia, Art forged for us the keys of infiltration into the world, into humaness and into multitudes.
Intelligence as the design of constraints
As an engine of softness, the painted image hints that there is no single image to the world, there is no painting of everything; there is however the act of softening that increases the openings, the potent matter from which images are made of.
Yet, while launching our expansion, painting inevitably also framed our becoming. In advancing refinements of mastery and ‘techne’ the underlying pattern of painting, though being a multidimensional process, always converged into one specified image, an apex around which value and meaning operate. Painting had and has a ‘center’.
The Center in painting is the underlying pattern of convergence and emergence of a privileged image.
That convergence is indeed an intelligent act of designing constraints, within which the correlation of mind, hand and eye operates by extracting privileged images. And through those fundamental constraints painting evolves.
When we create, it is natural to think that the creative process must converge into the one privileged representation of it, how else? As our story goes, there is one David in the marble.
Painting, in being after a privileged image, both reflects and dictates the frame of our humanness.
One can see the gravity of privileged images engraved in our dialogue with Monoculture, orientating our climb along mount impossible; the tendency at each given moment in time to cut the infinite potency of an aesthetic middle through a privileged method and metaphor for intelligence, and none other.
In so far as we count a privileged moment in relation to time, a privileged meaning in relation to faith and a privileged space in relation to identity, it is upon the design of constraints that the project of man unfolds.
Painting as Multitude
In front of my eyes painting opens the way to the long poiesis of man, the process of softening matter through designed constraints. Such a process shaped our consciousness and intelligence and brought us to the current threshold between a world, which is dying and decaying, and a world, which is not yet breathing.
In attending this threshold in mind I entered the studio, and as always it is the ‘mistakes’ that lead me to see. I was observing the painting drying when perception broke and I realized the painting as being a multitude; now the question was how to unlock the multiverse hidden in the one privileged image.
Interaction and inclusion of technology deeper into the creative process provided me with the ability to capture the dimensionality hidden at different scales, by initially producing a very high quality digital image of the works (with a 3D scanner) and then launching a contemplative and cautious image generating process.
It was as if a new cosmology emerged and a multitude of images bounced to presence. With each iteration of the image-generating process it became clearer that the privileged image crowning is but the skin of a bubble of life, while the center of painting lusciously liquefies into richness.
Then came the next interesting mistake. It was there, taking place along the lines of interaction between the colors that I use on the canvas. Instead of a merging amalgam I was observing the slow motion of an image-generating procedure swirling live on the canvas.
But then, as time passed it converged as always into one dry image. Now the next question was how to capture the dimensionality hidden in the folds of time, so I decided to curate as well the slow production of images embedded in duration (of the process).
Image capturing (camera) entered as well in the creative process, and we (me and a most talented photographer) together as an extended collective of minds, hands and eyes, curated a multitude of images through the process.
I found myself attending a threshold in mind, between a creativity that unfolds through the designed constraint of a privileged image, and a process that carves its way within soft matter, when dynamic tensions and multitudes of opportunities fill the eyes.
Painting indeed transforms into a multitude, in opening itself to a network of extensions ranging over computers, software, camera, 3D scanner and in augmenting the author into a web of interactions. I am painting, still, and yet a multitude emerges and is made visible.
Artist in a Soft Multiverse
We are at a cross-section, it is delicate and dangerous, we are crossing over from the development of intelligence, which is based upon designed constraints, to a motion in soft reality that is constantly exposing the potency of the ‘middle’, thus, a development of intelligence, based upon a complex and rich fabric of opportunities.
From a previous article (the Aesthetic Ground part3):
“When we speak of the middle in a hard medium, what we see is the center in a structure, an a-priori privileged location, a unique point of view, like the control tower in a panopticon, or like reason in rationality, like good in morality or the truth in validation. It is the center from which to behold the symmetry of architectural virtuosity.
When matter becomes soft, the ‘middle’ loses its structural image while sustaining the potency of relation. The middle, in a soft medium, depicts a state; it is a within, a between, an un-pictured touch-like equidistance from everything reaching from the inside out. Letting oneself into the “middle”, the solid concreteness of restrictions is re-examined anew and projected into possible tensions that generate change.”
In a soft multiverse there is no privileged identity, neither a-priori privileged moment, nor there is one-privileged image. There is however an ambiguous zone, fuzzy landscapes, non-linear intuitions and bifurcating events, so we need to develop an intelligence that curates becoming as a multitude.
We are contemplating a change, an extension, in what we consider as the apex of being human. Tackling and loosening the prime constraints, we are pointing at new openings into the landscape of becoming, seeking new formplex of intelligences.
Painting hints to us that reality is situated accurately in the ‘middle’, that in fact reality is an ‘Aesthetic Middle’, semi-stable though potently open to all directions.
Today, in my veins, the act of painting is an open-ended technology, which constantly re-exposes this potency, a technology of articulation, signifying and negotiating at the border of visibility, with a multitude of images of intelligence.
Collaboration and Credits
The unfoldment began with a series of small paintings on paper, it continued with the exquisite intervention of technology and an artistic collaboration with Shaw Gadi Raz as Image designer.
The Long Shot
The multitude image-generating process called painting when extended through technology and augmented through collectivity can generate infinity, an endless and manifold articulation based on one (graceful) painting procedure.
Images by J.D Doria:
Umwelt – manifest 1
Umwelt – manifest 2
Umwelt – manifest 3
Umwelt – manifest 4
Umwelt – manifest 5
Umwelt – manifest 6
Umwelt – manifest 7
Umwelt is the idea that we blindly accept the reality of the world around us. "It would be useful if the concept of the umwelt were embedded in the public lexicon. It neatly captures that idea of limited knowledge, of unobtainable information, of unimagined possibilities."
David Eagleman, neuroscientist, Baylor College of Medicine, from This Will Make You Smarter: New Scientific Concepts to Improve Your Thinking
Thu, Jul 26, 2012 Permanent link
Categories: art, Intelligence, painting, Soft, Multitude
Sent to project: Polytopia
Categories: art, Intelligence, painting, Soft, Multitude
Sent to project: Polytopia
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