Frames /sing

kvond

Loxogonically, The Picture, the Path and the Hand

 

The recent orientation towards objects in philosophy which has been sponsored by Graham Harman’s radical claims has definitely got me thinking about how objects have appeared to me, have entered into my experience as a thinker over the years. Always they ripped apart at the seams and showed so many dangling strings I never really understood the philosophical concentration on them, as principal.

Loxogonospherical Moods

This preoccupation has caused me to consider again something undeveloped, my drawing style, if it can be called that. For as much as we like to grasp the situations in the world through our language and relaying concepts, when one takes pen and ink into hand and “copies” the world, or some corner in it, generally one realizes that “representation” is not fully what is happening. The hand itself begins to speak and tell. There is a commuity between the supposedly distant object, the host of our affections, and the concretization of the living line at pen’s tip. It is never the case of a “gap” unless exact, mythological reproduction is your aim (there is no such thing). There is just a question of grades, intensities, dullings, pointednesses of continuity in communication. The product is immediate, and its connection sensed as sharp and true (even if the drawing is felt to be a failure by the artist or a viewer). There is always the causal connection of the link, the sense that what is produced is evidently there due to the effects of the thing drawn and the sedimentary effects of the drawer (intentions, histories, skills, physiologies, phenomenologies, ideas, beliefs, etc.) Something comes through. And none of it cloaks.

Topography

So with these thoughts I’ve begun a new topographic space, in parallel to this one, where merely drawings of objects will be placed. The meaning is two-fold. For one, I would like to investigate what my hand might tell me at this stage. What about objects is it that I may learn. I am hopeful that my rudimentary style will develop my eye and show me something more about objects and my body. It is a type of phenomenological investigation, not internally directed, but rather connectively produced. The intensional object being the extensional one, folding the viewer into the viewed. This is related to the secondary and perhaps much more minor hope, that those who have read my philosophical critiques might by seeing “how I see” (and I really do see in this way), might come to weigh my philosophical points a bit differently. And lastly, I have a number of friends who are not very conceptually driven, and this alternate weblog will give them perhaps a way into my abstractions which for me are extremely concrete, and significant realities.

I hope to be posting pen and ink investigations into objects there frequently. It is a place for very few words.

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