Outpost 010724
The Rehabilitation Of The Imagination.
Correspondences between humankind and the world.
https://www.flickr.com/photos/russellmoreton/
russellmoreton.com
In the heart of matter there grows an obscure vegetation; in the night of matter black flowers blossom. They already have their velvet and the formula of their scent.
Gaston Bachelard
Imagination must infuse a second life into familiar images, it must create 'metaphors of metaphors'.
Reverie, reconciles the world and the subject, present and past, solitude and communication.
Gaston Bachelard.
Moments differ because of their fecundity.
The Intuition Of The Instant.
The imagination is not a state, it is the human existence itself.
William Blake.
For Bachelard, Blake's poetics, presents a complex around the dialectics of rock and cloud. A dynamic imagination, he is a poet of absolute imagination for whom the unreal directs the real.
The Reverberation of Images.
In a word, the phenomenological approach is a description of the immediate relationship of phenomena with a particular consciousness. It allows Bachelard to renew his warnings against the temptation to study images as things. Images are lived, experienced, re-imagined in an act of consciousness which restores at once their timelessness and their newness.
Therefore a poetic image does not duplicate present reality.
From phenomenology Bachelard retains above all the admonition to return to 'phenomena themselves' this requires putting aside naïve belief in the reality of things and approaching phenomena through consciousness which is always intentional, always consciousness of something.
I realized then we were thinking the same thing. As we looked into each other's eyes, I felt, once again, the anxiety that had taken root in our hearts a long time ago. The light reflecting from the spray of the fountain lit R's face.
The boy was fiddling with a nondescript stone as though it were a toy with some elaborate hidden mechanism. His plain light blue gloves had obviously been knit by hand. They were connected to each other with a strand of yarn, to keep them from becoming separated. I remembered wearing the same kind, long ago, and, in this basement so full of anxiety, they seemed like the lone sign of innocence and peace.
The Memory Police.
Yoko Ogawa.
The Immaterial Body.
Proposals through transparency and trans-illumination.
Sensate Inscriptions.
The Mechanized Image.
Thresholds and projections of creative perception.
Drawing into the visual field.
Paint, pigments, lines, bought to light.
Gestures, lines from sensations and its seeing.
Life Drawing/Corporeal Social Bodies.
Drawing/Sensations into the memory and anxieties of physical things.
Drawing attention to the relations of the body.
Social and sexual politics.
The Modernist Offence.
Schiele And The Naked Female Body.
Gemma Blackshaw.
Feminist art historians have developed new ways of thinking about the relationship between sex and spectatorship.
As Abigail Soloman-Godeau has claimed in her exploration of photography and female subjectivity in the Second French Empire, the barriers between what is deeped licit and illicit, acceptably seductive or wantonly salacious, aesthetic or prurient, are never solid because contingent, never steadfast because they traffic with each other – are indeed dependant upon each other.
How might such an engagement with difference, with the binary system, shift not only our understanding but also our appreciation of Schiele's representation of the naked female body, of what continues to be described and displayed as 'the nude'?
Egon Schiele.
The Radical Nude.
