Archive for the 'Art- Thought Provoking' Category

06
Apr
08

Keeping Eye on the Horizon

A photographer connects ancient cities and modern metropolises in his panoramic images.

“The horizon is such a basic way of comprehending the space around us, comprehending our basic relationship to the globe If the horizon seems to offer possibilities,it also establishes a boundary. “In terms of looking, the horizon is the farthest we can see, yet in terms of knowledge, it reflects “the limit of experience.”

Pl explore attached link.

The New York Times

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18
Dec
07

A Brief Guide to Modernism

“That’s not it at all, that’s not what I meant at all”
–from “The Love Song of J. Alfred Prufrock,” by T.S. Eliot

The English novelist Virginia Woolf declared that human nature underwent a fundamental change “on or about December 1910.” The statement testifies to the modern writer’s fervent desire to break with the past, rejecting literary traditions that seemed outmoded and diction that seemed too genteel to suit an era of technological breakthroughs and global violence.

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“On or about 1910,” just as the automobile and airplane were beginning to accelerate the pace of human life, and Einstein’s ideas were transforming our perception of the universe, there was an explosion of innovation and creative energy that shook every field of artistic endeavor. Artists from all over the world converged on London, Paris, and other great cities of Europe to join in the ferment of new ideas and movements: Cubism, Constructivism, Futurism, Acmeism, and Imagism were among the most influential banners under which the new artists grouped themselves. It was an era when major artists were fundamentally questioning and reinventing their art forms: Matisse and Picasso in painting, James Joyce and Gertrude Stein in literature, Isadora Duncan in dance, Igor Stravinsky in music, and Frank Lloyd Wright in architecture.

Continue reading ‘A Brief Guide to Modernism’

17
Nov
07

Anna of Arithmetic

This eloquent piece form a Book – “The Advent of the Algorithm” by David Berlinski expressing a contemplation that has prevailed in me.
Why we should we care to read literature ? it also explores underlying relationship between Art & Science..

Anna of Arithmetic

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Reading a novel with an innocent eye, students very often lose themselves in its pages, making their decision about the novel on the basis of whether they felt comfortable or at home within its world and more often than not identifying the author with his or her protagonist, every novelist receiving from time to time letters addressed to his creation — Dear Anna, don’t do it. Such is the triumph of art. But such is the triumph of illusion, as well.

After some experience, the student learns to step back, recognizing that Anna, she’s got to do what she’s got to do, and this because what she’s got to do is artistically required. No one reading Anna Karenina is quiet prepared to see her departing the novel, therapist in hand, and briskly getting her life together. A sense of literary sophistication begins when aesthetic standards are substituted for moral judgments. This makes art profoundly amoral undertaking, but a profoundly interesting one as well.

Mathematics is, among other things a form of art. Before Hilbert, mathematicians and logicians had banged around within the confines of various mathematical systems, hoping against hope to arrange the system so that it seemed entirely secure, the effort as doomed as the correlative effort to persuade Anna Karenina to undertake therapy.

Hilbert persuaded everyone to step back. Stepping back, mathematicians saw mathematics for what it might be, a formal game, the perspective cold but liberating. Thus removed from what they habitually did, mathematicians, like students of literature, were forced to ask not whether the Anna of arithmetic seemed nice, friendly, kind of snooty, confused, or otherwise irritating, but whether she made artistic or mathematical sense. A question of judgment had come to replace a question of certainty.

And with judgments come standards. They must, those standards, be chosen so as to reflect the original impulse yielding the decision to distinguish mathematics from metamathematics. And they must, those standards, be standards that can be met by proof, even if it is proof delivered in the meta language itself, for without proof, there is simply no mathematics at all.

©-David Berlinski.

20
Oct
07

Art- Space, Time & Matter

Paul Cézanne , devoted a lifetime to studying the relationship of space, light and matter, he also eroded single point perspective by introducing the notion that a painting can have multiple perspectives points of view. Cézanne viewed his objects as if seen from the entire periphery of vision instead of restricting them to a detailed scrutiny by retina’s focal point.

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A minute in the world’s life passes! To paint it in its reality,
and forget everything for that !
To become that minute , to be the sensitive plate ….
give the image of what we see,
forgetting everything that has appeared before our time…

– Cézanne on his work

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Paul Cézanne
French Post-Impressionist Painter, 1839-1906

17
Sep
07

An Anatomy of Consumption

Sold for a Record $100 Million, a Bejeweled Skull Embodies a Simple Truth: You Can’t Take It With You

Damien Hirst, the British artist most famous for displaying sharks and sheep floating in formaldehyde, has just sold a platinum cast of a human skull, covered in 8,601 diamonds, for $100 million. That makes Hirst the best-selling living artist of our era, beating the previous record — also set by him, earlier this summer — by a factor of five. White Cube, Hirst’s prestigious London gallery, announced last week that the piece, “For the Love of God,” was sold to “an investment group” for the full sticker price posted at the artist’s summer show.

Normally, such a record doesn’t tell us much, least of all about art. It just tells us that someone, somewhere, has way too much cash — which isn’t really much in the way of news, given the money we’ve seen spent on 500-foot yachts and flights into space and other conspicuous consumption. It’s said that the only thing an auction record proves is the existence of two dumb rich guys, competing to pay more for something than anyone else on the planet has ever thought it was worth. Hirst’s gallery sale, you’d think, would prove something similar.

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If, that is, there’s really much of a sale to talk about. With the identity of the purchasers kept secret, the piece could in fact have been “bought” by a consortium of Hirst’s confidants and cronies, eager not to see the piece discounted. We do know that Hirst himself has “retained a participation in the piece,” as his gallery puts it. British papers say that makes him part of the so-called investment group, though White Cube continues to insist he isn’t.

Continue reading ‘An Anatomy of Consumption’

12
Sep
07

What is Art ?

‘Preface’ to The Nigger of the Narcissus- Joseph Conrad

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A work that aspires, however humbly, to the condition of art should carry its justification in every line. And art itself may be defined as a single-minded attempt to render the highest kind of justice to the visible universe, by bringing to light the truth, manifold and one, underlying its every aspect. It is an attempt to find in its forms, in its colors, in its light, in its shadows, in the aspects of matter and in the facts of life what of each is fundamental, what is enduring and essential–their one illuminating and convincing quality–the very truth of their existence.

The artist, then, like the thinker or the scientist, seeks the truth and makes his appeal. Impressed by the aspect of the world the thinker plunges into ideas, the scientist into facts–whence, presently, emerging they make their appeal to those qualities of our being that fit us best for the hazardous enterprise of living. They speak authoritatively to our common-sense, to our intelligence, to our desire of peace or to our desire of unrest; not seldom to our prejudices, sometimes to our fears, often to our egoism–but always to our credulity. And their words are heard with reverence, for their concern is with weighty matters: with the cultivation of our minds and the proper care of our bodies, with the attainment of our ambitions, with the perfection of the means and the glorification of our precious aims.

Continue reading ‘What is Art ?’

05
Sep
07

The French have a word for it

Over the centuries the English language has assimilated phrases and words from other languages. Here are some examples.

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A cappella, Italian, sung without instrumental accompaniment (literally “in chapel style”)

Ad hoc, Latin, made or done for a particular purpose (lit. “to this”)

Agent provocateur, French, a person who tempts a suspected criminal to commit a crime so that they can be caught and convicted (lit. “provocative agent”)

Al dente, Italian, (of food) cooked so as to be still firm when bitten (lit. “to the tooth”)

Alfresco, Italian, in the open air (lit. “in the fresh”)

Bête noire, French, a person or thing one particularly dislikes (lit. “black beast”)

Blitzkrieg, German, an intense, violent military campaign intended to bring about a swift victory (lit. “lightning war”)

Carte blanche, French, complete freedom to act as one wishes (lit. “blank paper”)

Caveat emptor, Latin, the buyer is responsible for checking the quality of goods before purchasing them (lit. “let the buyer beware”)

C’est la guerre, French, used as an expression of resigned acceptance (lit. “that’s war”)

Chacun à son goût, French, everyone to their own taste

Chef-d’oeuvre, French, a masterpiece (lit. “chief work”)

Coup de foudre, French, love at first sight (lit. “stroke of lightning”)

De facto, Latin, in fact, whether by right or not

D�jà vu, French, the sense of having experienced the present situation before (lit. “already seen”)

Continue reading ‘The French have a word for it’




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