Answer to a reader
Dear friend,
sharing a principle makes me happy; but then it couldn’t be
otherwise for three reasons. An objective truth or reality (the ding an sich of
Kant) is based on three assumptions: Justice, Beauty and Harmony. From this order,
One but Trine, originates the architectonic of the Idea (Architektonos). It is
only the Idea, then, that expresses the rest.
In order for a formal reality to keep its objective ability it must come from
a suitable structure that doesn’t nullify its meaning. Therefore I think
that it is necessary for the parameters of the representation (literal or figurative)
to respect those of the substance. The harmony that the artist puts in the form
that he ‘architects’ (I’d take this principle further up to
include every thinker) to express a meaning (idea-feeling) is its masterpiece.
If the form respects the nature of the Idea, the work will be right and perfect,
besides beautiful and harmonious.
Harmony, though, as you justly remarked, can’t be only in the heart of the
thinker but it must find correspondence in the eyes of the person who’s
looking and therefore recognizing it. We are back to the axiom: by recognizing
you will be recognized! This is what I call a magnificent transfer. It is the
ability to ‘perceive’ the Idea (intuitive intelligence), to cover
it with a ‘just and perfect’ form (creative intelligence) and to pour
it outside (artistic ability) through a representation (the work).
The Idea is seen (the work) through its bearer (the thinker) by the observer.
If the latter has the ability to recognize its ‘tones’ (emotional
geometry) it won’t be the thinker to act but the Idea itself; it has fallen
in the ‘Aura’ of the observer (cardiac center) and it has given him
a sensation of ‘momentary paralysis’. This magnificent transfer occurs
when the observer owns ability and sensitivity at the same time and he reaches
the sensations that are ‘sublimated’ by sound-color-thought. In a
way this reminds us of the title: the torment and the ecstasy, viz. the passion
and the torment of the ‘creative generation’. I think that sometimes
the latter can be bigger than the physical gestation of a mother.
I’ll conclude with a last thought. If you don’t recognize the principles
of the pictorial art you can’t tran-scribe efficiently an idea or a feeling
on paper. The tran-scription will always be a-tone.
Esonet’s Editorial Staff
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