Saturday, January 22, 2005

 
Jonah likes to make sculptures with his legos. He also likes to make spaceships and robots. When he makes a spaceship, he says "I made a spaceship." When he makes robots, he says "I made a robot." and when he makes sculptures, he says, "I made a sculpture." If you ask him what it is; is it a sculpture of a robot, or a dog, or a gallamimus, he says "It's a sculpture." You know, how 5-year-olds enunciate when you're being an idiot.

So tell me again how the most 'natural' art form is naturalistic representation? (I think 'naturalistic representation' is not the descriptor I mean to say, but I'm drawing a blank. I mean realism, like, accurate representation of something which existed in the world prior to the sculpture.)

Comments:
I love it. When my daughter, age 2, draws she make the most fascinating *nonrepresentational* art. I love it because she is engaged in what she's doing, suprised as we are with the outcome, so it seems. She isn't indentured to any technique, or to any denial of technique. It empowers her, I think. But where it comes from, the reason for a turn in a line in relation to another and the effect of it, for example, I can only see this as an artistic intention to allow an unfolding of something. Something natural. But not a copy of some *thing*, but instead an output of some discrete cognitive processes. It is only later when we are taught by cultural influences what is worthwhile that we begin to restrict and control or deny these forms. At their best, we recognize them for their unimpeded flow. So if we look at our kids, seems that unrestricted flow means learning the techniques and cultural values then resisting their imposition. The Buddhit mahasiddha Saraha's description of drinking the elixir and forgetting the prayer comes to mind.
 
Michael,

Forgetting the prayer, that's great. I'd like to know a prayer so well as to forget it.

& responding to your drift; exactly what I had in mind, the way a thought-thing unfolds from itself is a prior experience of humanity unmolded; and the Eastern philosophies seem to have better (i.e. nonjudgemental, because isn't that involved in such an experience?) access to such states than ours do. Not in the profound sense of things/states only deeply felt or abstrusely known, but of what is so obvious it is easy to miss the value of. Like sculpting.

Two is a wild age. Absolutely wild.
 
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