Posted by: glue | January 20, 2009

Realising Passage

The space-time of electracy may not be figured with the basic shapes of geometry.  This mapping shape comes rather from the arts, for which Cezanne’s realisation may serve as a place-holder.  Cezanne’s invention is an interface between geometry (sphere, cone, and cube) and the formal designs of style.



The figural (Lyotard’s sublime hypotyposis), is based on  pictorial innovations such as “realisation.”  Cezanne is Lyotard’s point of departure.   “His work had at stake to inscribe on the supporting canvas only those ‘coloristic sensations,’ those ‘little sensations’ that of themselves, according to Cezanne’s hypothesis, constitute the entire pictorial existence of objects, fruit, mountain, face, flower, without consideration of either history or ‘subject,’ or line, or space, or even light.  These elementary sensations are hidden in ordinary perception which remains under the hegemony of habitual or classical ways of looking.  They are only accessible to the painter, and can therefore only be re-established by him” (Lyotard, 1991: 102).

This isolating of “sensation” and the discovery of how to compose a new space entirely by its means is a grounding principle upon which an image category must be constructed, since it makes explicit the (moral and political) value that this judgment brings to public policy formation.
“On the occasion of a form, which itself is only an occasion for feeling, the soul is seized by a small happiness, unlooked for, unprepared, slightly dynamizing.  It is an animation of an anima there on the spot, which is not moving towards anything. It’s as if the mind were discovering that it can do something other than will and understand.  Be happy without ever having asked for it or conceived it. An instant which will seem very long, measured by the clock of intrigue, but which is not in the purlieus of its timekeeping; a flash made of delaying (you tarry near beauty), a form, a little synthesis of matters in space-time, sensus.  A sense that has to be thought of as absolutely singular.  The occasion is the case.  And it would be this absolutely singular sensus, which would be communis” (Lyotard, 1992).

a work by the Cezanne of the ape world

a work by Congo, the Cezanne of the apes.

(More about Cezanne of the apes).

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