Spatial boundaries are evident in every finite conflict, from the simplest
board and court games to world wars. The opponents in World War II agreed
When unnecessary and excessive damage is inflicted by one of the sides in
warfare, a question arises as to the legitimacy of the victory that side may
claim, even whether it has been a war at all and not simply gratuitous unwarranted
violence.
When Sherman burned his way from Atlanta to the sea, he so ignored the sense
of spatial limitation that for many persons the war was not legitimately
won by the Union Army, and has in fact never been concluded.
Whenever persons may walk on or off the field of play as they wish, there
is such a confusion of participants that none can emerge as a clear victor.
Who, for example, won the French Revolution?
INSOFAR AS SEXUALITY IS A DRAMA OF ORIGIN IT IS
THERE IS AN INDEFINITE NUMBER OF WORLD.
if we cannot tell a story about what happened to us, nothing has happened
to us.
THERE IS BUT ONE INFINITE GAME.
(
Development of Spatial Dynamics
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2
show that we tend to organize the placing of either physical surfaces or graphic
marks in empty space to create a seemingly "right", meaningful, or vital grouping;
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4
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of a work of art- of its physical form and its spatial form
(
)
But in perception they and the space they shape are indivisible
But ask yourself once again if you are not reading the spaces as much as the
surfaces. The painting appears remarkably unforced, free and natural; although
each brush surface seems as surely placed,
no surface appears premeditated. Like all apparently simple
wonders, however, this work can only result from a profound distillation
of life's perceptual experiences.
Figure 3-3
(
We cannot remain unaffected by the shape and dimensions of space in which
we live.
The outdoors man, in company with the prophet, seeks the mountain top or the
limitless desert. The recluse will shut himself away within the smaller
confines of his room; factories are made airy and spacious in order to increase
production; miners work eight hours a day in cramped and claustrophobic conditions;
the houses of the rich show shape spaced for the maximum aesthetic effect.
Whatever the context, most of us react to space.
There is no doubt in my mind that we might call "plastic sensibility" is as
much unconscious as it is conscious- that artistic creativity does not spring
only from the conscious level.
I think it is true to say that free-action brush marks which produce such
fine continuous surfaces, have a more powerful initial impact.
But, generally speaking, the smaller, discontinuous point surface
creates the more infinite and ambiguous layout of space.
It is what might be called the calligraphic way.
The written form of language- of individual letters or lines of script-
has been traditionally treated in the Far East as an elegant and rhythmic
form of art.
The brush is the traditional instrument of Eastern calligraphy, and it is
the brush mark which gives Eastern art generally its grace and style.
The shaping of space through a clever manipulation of surface is one result
of the so-called Op (optical) movement in art.
(
(
Spatial issue
to draw is to make visible
Data
It is, that at any moment in perception there is a figure on
a ground.
linear direction
(Thus
Second
third
)
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placement of line or mark.
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)
(
)
three-dimensional space
line quality
signifying the degree of sharpness.
(
)
(
)
weight
tone value
texture
line quality
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)
(
openness
)
(
space
)
(
)
(weights of line
.)
(
depth
)
drawing, painting, and sculpture
explained
they constitute a "making visible"
one simple truth
line and mark are the basic elements by which the work assumes its concrete visibility through drawing
scratching
staining it.
forming a visual (or visible) statement which relates to personal knowledge,
personal experience. He is giving a concrete shape to psychological events
which occupy his consciousness.
a graphic statement?
impression of marks on a ground or surface.
marks
three general categories
lines of points or dots, or of a marked general area.
more concentrated,
diffused.
first
satisfactions
ability to recognize the work of a particular master.
not necessary
the signature
his name is
over the image in
no two great artists
drawing in quite the same way.
his creative "touch"
Touch constitutes the kinesthetic factor-
or the craft factor
relationship
drawing instrument
the surface
nerve-muscle coordination
( )
intellectual process
mood
is reflected
free-action
deliberate-precision
men, horses, and angel
ambiguity
line and marks
excite and evoke feelings of passion and drama.
precision par excellence
calm and regulated.
may not fire us,
firmness of its line
us precise information
sense of order
regularity
two-dimensional space
light and dark areas of tone,
seated harlequin
sense of order and regularity,
expression of a certain emotional serenity or equilibrium.
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not concerned with perceived objects;
nonfigurative, or nonobjective, abstract images.
a man's understanding and attitudes,
do not have to use perceived objects as the vehicle.
basically nonobjective.
eye
thoughts
feelings
psychological tension results
compulsion to translate the events of the mental and emotional life into the
concrete image
psychological tension develops
the kinesthetic problem of manipulating the chosen medium to
psychological tension and physical (kinesthetic) tension
three modes of awareness.
intellect
eye
"doing."
lines and marks
basic elements
drawing arts
two-dimensional.
your sense of touch
your own.
feel the kind of line that will
thought and feeling
keep the pressure uniform
even-tempered lines,
a uniform thickness and tone value.
sable hair brush
most versatile and flexible of instruments,
sound,
becomes a visual experience in its own right.
should stop not when satisfied, but when physically you feel a free-action
response,
Start off by moving the point of the pen or brush in any direction...
stop...and move in a different direction. Stop. Move again.
a line results from a point being set in motion-
a line possesses weight, tone, and texture;
travels at various rates of speed;