Member 2488
197 entries
545966 views

 RSS
Contributor to projects:
The Total Library
Polytopia
Immortal since Feb 10, 2010
Uplinks: 0, Generation 3
i am an eXperiment. a Syncopated word & image coLLage imported from Our minD sEnse-thoUght collective stream. a trial 2 eXpress the aRhythmia & the off beat that lies in-betwEEn the bond made of: imAge narrative & senSation. an aEsthetic act and aim of WondeR in the search for a CRaCK. as for if anything eXists at all it exisTs i n - b e T w e e n.
  • Affiliated
  •  /  
  • Invited
  •  /  
  • Descended
  • syncopath’s favorites
    From CoCreatr
    The Systems View of Life
    From milos_ilic
    Ai Architecture - AttnGAN
    From Wildcat
    Opting for idleness (of...
    From gamma
    Chaos in sync - new...
    From bianca
    “Don't just stand there,...
    Recently commented on
    From nedzen
    The cold shower
    From syncopath
    eChoes ...
    From syncopath
    Ragnarök -or- How wE...
    From gamma
    The future of music: old...
    From whiskey
    DIRAC
    syncopath’s projects
    Polytopia
    The human species is rapidly and indisputably moving towards the technological singularity. The cadence of the flow of information and innovation in...

    The Total Library
    Text that redefines...
    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    From syncopath's personal cargo

    Rothko's marks of the Total man



    I use colors that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colors are not colors that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity.

    I think of my pictures as dramas; the shapes in the pictures are the performers. They have been created from the need for a group of actors who are able to move dramatically without embarrassment and execute gestures without shame. Neither the action nor the actors can be anticipated, or described in advance. They begin an unknown adventure in an unknown space.. ..Ideas and plans that existed in the mind at the start were simply the doorway through which one left the world in which they occur.

    The romantics were prompted to seek exotic subjects and to travel to far off places. They failed to realize that, though the transcendental must involve the strange and unfamiliar, not everything strange or unfamiliar is transcendental. The unfriendliness of society to his activity is difficult for the artists to accept. Yet this very hostility can act as a lever for true liberation… ..Both the sense of community and of security depend on the familiar. Free of them, transcendental experiences become possible.

    I am not an abstractionist. ... I am not interested in the relationship of colour or form or anything else. I'm interested only in expressing basic human emotions — tragedy, ecstasy, doom and so on — and the fact that a lot of people break down and cry when confronted with my pictures show that I communicate those basic human emotions. ... The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships, then you miss the point!

    I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however, (I think it applies to other painters I know), is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn’t something you command.

    A picture lives by companionship. It dies by the same token. It is therefore risky to send it out into the world. How often it must be impaired by the eyes of the unfeeling and the cruelty of the impotent who could extend their affliction universally.






    text : Mark Rothko's phrasings quoted in:
    Abstract Expressionism, Creators and Critics, edited by Clifford Ross, 1990.
    And in: Conversations with Artists, by Selden Rodman, 1957.

    Mon, Nov 28, 2011  Permanent link

      RSS for this post
    Add comment
      Promote (5)
      
      Add to favorites
    Create synapse
     
     
          Cancel