Notes from the Underground Part Four — Knowing Enough About Seeing To Let
Giacometti once said, while working with a figure: "Sometimes, the distance between one nostril and the other is like the whole of the Sahara Desert!"
Intuition vs. Repetition
This notion that art is at the end of knowledge is a farce, a huge deception that almost kills one's chance to contribute the best one has to offer! ("Each one of us is a brand new point of view on the world," said Merleau-Ponty, but if the emphasis is placed on "the world" and not on "the point of view," we're "cooked" before even having started.)
I will come back to this in greater depth in part #5 (most likely) when I will try to show how much damage Eadweard Muybridge's work has caused to the potential of animation, giving people access to a strong illusion of power over "how 'it' works," wrongly assuming that they could/can bypass the need to become aware of how they see "it" in and through their own particular experience.
There is a huge difference between thinking/seeing/working in terms of "what is," and in terms of "how do I see/know what I see/know?"
So, going back to our exploration of our very own seeing through drawing, let us now assume that those who are interested in this exploration have noticed the qualitative difference between central and peripheral vision.
Trying to draw accordingly (most important if you really want to get into this in depth, your discursive mind's comprehension won't allow you to follow this proposed journey all the way without the support, without the help of the vehicle of drawing), you will notice that when you see a sharply differentiated area, it is not only fairly tiny, it also -- when you connect with it -- totally supersedes whatever awareness you might have had of the larger peripheral vision. And conversely, if you open your focus wide and connect with your field of vision as a whole, you may have a sense of that undifferentiated field, but have no contact with any sharply differentiated centre.
The notion that we have to learn how to draw "the figure" makes us unable to connect with our own vision, the vision that takes place prior to the filtering effects of "projects."
























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