It must be emphasized that in seeing a work of art that has been composed by precise means, the viewer does not perceive dominant details. His impression is one of perfect balance to which all the parts contribute, an impression which not only applies to the parts as such, but is transmitted also to the relation existing between the work of art and the viewer. Although it is very difficult to express in words the effect of a work of art, it may be said that the viewer's deepest impression can best be defined as the achievement of a balance between objective meaning and subjective meaning, both directly penetrated by awareness. He has a sensation of height and of depth which are no longer in any way bound to natural conditions or to spatial dimensions, a sensation which places the viewer in a state of consciousness harmony.
Theo van DoesburgRelated topics
art best bound depth dominant harmony height longer meaning natural objective perfect seeing sensation state viewer way work means words awareness partsRelated quotes
The function [of objective thinking] is to reduce all phenomena which bear witness to the union of subject and world, putting in their place the clear idea of the object as in itself and of the subject as pure consciousness. It therefore severs the links which unite the thing and the embodied subject, leaving only sensible qualities to make up our world (to the exclusion of the modes of appearance which we have described), and preferably visual qualities, because these give the impression of being autonomous, and because they are less directly linked to our body and present us with an object rather than introducing us into an atmosphere. But in reality all things are concretions of a setting, and any explicit perception of a thing survives in virtue of a previous communication with a certain atmosphere.
Maurice Merleau-Ponty
Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane.. A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building... Planes organized within a picture create the pictorial space of its composition... The old masters were plane-consciousness. This makes their pictures restful as well as vital...
Hans Hofmann
Relativism is a product of the modern historical-sociological procedure which is based on the recognition that all historical thinking is bound up with the concrete position in life of the thinker [Standortsgebundenheit des Denkers]. But relativism combines this historical-sociological insight with an older theory of knowledge which was as yet unaware of the interplay between conditions of existence and modes of thought, and which modelled its knowledge after static prototypes such as might be exemplified by the proposition 2 x 2 = 4. This older type of thought, which regarded such examples as the model of all thought, was necessarily led to the rejection of all those forms of knowledge which were dependent upon the subjective standpoint and the social situation of the knower, and which were, hence, merely "relative."
Karl Mannheim
Extreme states of being, whether individual or collective, were once purposefully motivated. Some of those purposes no longer have meaning (expiation, salvation). The well-being of communities is no longer sought through means of doubtful effectiveness, but directly, through action. Under these conditions, extreme states of being fell into the domain of the arts, and not without a certain disadvantage. Literature (fiction) took the place of what had formerly been the spiritual life; poetry (the disorder of words) that of real states of trance. Art constituted a small free domain, outside action: to gain freedom it had to renounce the real world. This is a heavy price to pay, and most writers dream of recovering a lost reality. They must then pay in another sense, by renouncing freedom.
Georges Bataille
As conceived in this book, economics is the science of rational choice in a world─our world─in which resources are limited in relation to human wants. The task of economics, so defined, is to explore the implications of assuming that man is a rational maximizer of his ends in life, his satisfactions─what we shall call his "self-interest.” Rational maximization should not be confused with conscious calculation. Economics is not a thoery about consciousness. Behavior is rational when it conforms to the model of rational choice, whatever the state of mind of the chooser.(...) Nor is perfect rationality assumed; rational-choice thoery allows us to assume that rationality is "bounded” because of human cognitive limitations, although another way to think of those limitations is as costs of absorbing and using information.
Richard Posner