Outpost 071022
The Quadruple Object.
There are two kinds of objects and two kinds of qualities, real and sensual in both cases.
Real objects and qualities exist in their own right, while sensual objects and qualities exist only as the correlate of some real object, whether human or otherwise.
I am not saying that a work of Art reveals the secret of life and being to us.
A work of Art affords the peculiar pleasure, an aesthetic performance in which the inwardness of things, their executant reality is opened to us.
Ortega.
Giacometti.
Created a visual lexicon of nothingness and being, of community and isolation.
Making fleeting visions, interactions between the modelling object and the space within which it exists. Concentrating, extracting a female nude from the atmosphere of a city, creating a space that oscillated with their shared community and isolation.
There is no direct knowledge of anything only relations-on-knowledge.
The real object withdraws inaccessible from the scene, as the new object generated by metaphor takes over the situation.
The real objects at stake in aesthetics are ourselves.
It would be more accurate to say that in Art the part of the image which looks towards the object is always subordinated to our efforts, because as basically Thespian beings we become the new object generated by metaphor.
Object-Oriented Ontology.
A New Theory of Everything.
Graham Harman. 2018
Aesthetics Is The Root Of All Philosophy.
Robert Mangold.
Creating a new mysterious real object with new sensual qualities.
Compound Objects
Assemblages
The Quadruple Object.
Since objects cannot exist without qualities and vice versa, there are only four possible combinations.
In Object-Oriented Ontology real-sensual objects and qualities always come together.
Object Relations
Potentiality/Receptivity
The Theatricality of Metaphor.
Art makes explicit the tension between qualities that are experienced in the real/sensual object.
I myself am the sole real object in all experience, encountering any number of sensual things.
Every objective image, on entering or leaving our consciousness produces a subjective reaction.
Art is primarily theatrical in nature, since the spectator becomes a sort of 'method actor' a theatrical actor acting out the structure of metaphor.
Ortega, An Essay in Esthetics By Way of a Preface.
Ontology is the branch of philosophy that deals with ultimate questions of what reality and real things are.
Bruno Latour, defines modernism as the view that there are two permanently distinct kingdoms, known as nature and culture and that it is the task of modernity, to purify these two domains from each other.
Metaphor is not knowledge about a pre-existing object, rather it brings about the production of a new object.
All we are saying is that the real object at stake in metaphor is neither the absent cypress-object to which we never gain direct access, nor the human being who takes note of it. But rather the new amalgamated reality formed from the reader who poses as a cypress-object and the qualities of the flame.
The successful metaphor much like the successful joke, will occur only when the reader or auditor is sincerely deployed in living it.
The metaphor is theatrical, in the same sense as one is living one's role on stage.
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