Imagine a world alive with incomprehensible objects, and shimmering with an endless variety of movement and innumerable gradations of colour. Imagine a world before the 'beginning was the word.'
Stan BrakhageRead
Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of ‘Green?’ How many rainbows can light create for the untutored eye?
Interpretation
The quote emphasizes the importance of pure perception and experience over structured interpretation.
Stan Brakhage's quote highlights how true understanding and appreciation of the world comes from raw perception rather than learned concepts. He suggests that the untrained eye, unbound by societal conventions and definitions, can experience the world in a fundamentally deeper and more authentic way, implying that colors and forms exist beyond the limitations imposed by language and education.
In practice
This quote can be used in a discussion about visual arts to emphasize the importance of personal experience in creativity.
Imagine a world alive with incomprehensible objects, and shimmering with an endless variety of movement and innumerable gradations of colour. Imagine a world before the 'beginning was the word.'
How many colours are there in a field of grass to the crawling baby unaware of 'green'? How many rainbows can light create for the untutored eye?
I've played guitar in so many different styles, and I want to revisit them all.
It's a pity that if someone who has a really profoundly potent art to share chooses not to or doesn't fit into this very thin slice of what's desirable and marketable, chances are the public will never get a chance to hear what they're doing.
Winning a competition in architecture is a ticket to oblivion. It's just an idea. Ninety-nine per cent never get built.
I want a painting to be difficult to do. The more obstacles, obstructions, problems - if they don't overwhelm - the better. I would like to feel that I am involved at any stage of the painting with all its moments, not just this 'now' moment where a superficial grace is so available.
incurable lover of the grotesque
I was always concerned with writing to my age at a particular moment. That was the way I would keep faith with the audience that supported me as I went along.
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