Date: Sat, 21 Apr 2001 21:32:56 +0200
From: "W.F. Wong" <wfwongde-AT-yahoo.de>
Subject: Re: Deleuze/Nietzsche


Actually I didn't mean that abtract painting must be a conceptual idealized
process. It is a process but doesn't reach anything, even the painter think,
he can show his work at a point in which his work may have a meaning or
feeling that can be transfered to the audience. I don't mean that the painter
interpretates his own (process) work while he paints, but more that he feels
that he is being interpretated by his work, though there is "not any attempt"
which is showed in the process of painting that his work or the action of the
painter interpretates the painter. The painter feels actually more like
cooperate with the color or material than he is creating something. That
means, the painter must "eliminate or destruct his intention to complete a
work" in oder to "save" or complete his "art" which "can only exist when a
work is there"; he must deny his work, for example, the painter reject to
interpretate his own work, or he lies in interpretating his work...etc.. But
this silence or lying is the truth, like Nietzsche said, truth is like a woman
who "attracts". The philosophers chase the truth and give the truth (the
woman) the form withouth that it or she speaks a word. And Jacques Derrida
said, when truth "appears", it (the truth) is "not present", when truth is
"present", it "doesn't appear".

Wong

edwin ruda schrieb:

> "W.F. Wong" wrote:
>
> > I think, when we begin to paint (abstract), there is a wish (I don't
> > want to use the word "intention"), but not a clear wish before we set
> > the "first spot of color"; it is more like a "searching of relation"
> > than a determination. I mean, it is a "searching of relation" in a
> > tension "between painter (human being) and the material (color or some
> > other material)" in which a dynamic will be developed. Both painter and
> > his work (in progress) become something like "signs" which go further
> > till in a "specific time" (the progress can actually continue) that a
> > "work" comes up as "finished", as an "art work". This dynamic of
> > progress can be understood as a serial phenomenon which continues in its
> > dynamic which is not "determined" but is a kind of "chasing relation": a
> > situation of "in-between" - just from one situation "to" another
> > situation.
>
> Yes, I quite agree with your description of the kind of directionality
> that an abstract painting follows on the path to "completion." The
> important point I think - at least in my case - is the unpredictability
> of the process; this in the sense that neither a specific goal, concept,
> or image is ever set up in advance of the work. I mean how could
> a physiological, bodily, activity like art - as Nietzche would have it -
> synthesize with conceptualization? The material rythms, intensi-
> fied colors, and pulsating spaces would surely seem to deny such
> an idealized origin, no?
> On the other hand, I'm absolutely certain about this latter point. There
> is a quote by N cited by M. Haar to the effect that artists are also
> driven to feats of geometry and logic by an "instinctive intelligence."
> Perhaps you or other interested parties would speculate on N's possible
> response to the notion of a concept-oriented aesthetic.
>
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