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“Nevertheless it has been known for a long time that certain blind people manage to represent the colours they cannot see by means of the sounds which they hear.” Merleau Ponty – ‘The Film and the New Psychology’. Sense and Non-sense. Page 50. “A short duration is suitable for an amused smile, one for intermediate length for an indifferent face and an extended one for sorrowful expression.” – R. Leenhardt, ‘Esprit’. “Flesh defines a position which is both subjective and object.” – Page 26, Living Flesh Textures of Light “Merleau-Ponty locates the origin of the intersubjective relations in a common anonymous flesh or sensible being. The double touch conveys the relation between self and other as dual elements of a singular intercorporeality or a social life that comes of a mutual knowledge of belonging to the world.” Page 64, The tangible invisible, Touching Flesh. Textures of Light
4 / The Intertwining, Merleau-Ponty - 130
The Threshold of Maiko Takeda, a Critical Analysis.
Main point: body and environment - Merleau Ponty, Intertwining of skin and environment. Skin, senses, tactility. Making the invisible visible through the works of Maiko Takeda. Door way, liminal, threshold. Themes around Takeda. Material, visible presence.
Theory
The Tate Guide to Modern Art Terms, Simon Wilson and Jessica Lack. ISBN 978-1-85437-750-0 Abstract Art The word ‘abstract’, means to separate or withdraw something from something else. In that sense it applies to art in which the wrist has started with some object and abstracted elements from it to arrive at a simplified or schematised form. A cluster of theoretical ideas lies behind abstract art; the idea of art for art’s sake - that art should purely about the creation of beautiful effects. Derived from the ancient Greek philosopher Plato, that the highest form of beauty lies not in the forms of the real world, but in geometry; the idea that abstract art, to the extent that is does not represent the material world, can be seen to represent the spiritual. Biomorphic Sculpture biomorphic forms or images that evoke living forms such as plants and the human body. Bios (life) and morphe (form) Caricature Usually a drawing of a person or thing in which the features and form have been distorted of exaggerated in order to satirise the subject. Composition The terms on how the artist has arranged the elements of the work so as to bring them into a relationship of satisfactory to the artist and, it is hoped, the viewer. Contemporary art Loosely used to denote art of the present day and relatively recent past, of an avant-garde nature. Deconstruction A form of criticism that involves discovering, recognising and understanding the underlying assumptions, ideas and frameworks such as works of art. Figurative Since the arrival of abstract art the term figurative has been used to refer to any form of modern art that retains strong references to the real world and particularly to the human body. Applied to all art before abstract art. Form In relation to art the term form has two meanings. First it refers to the overall form taken by the work - its physical nature. Secondly, within an artwork form refers to the element of shape among the various elements that make up a work. Sculpture, for example, consists almost exclusively of form. In treating or creating form in art, the artist aims to modify natural appearances in order to make a new form that is expressive and conveys some sensation or meaning in itself. Formalism In general, the term formalism describes the critical position that the most important aspect of a work of art it its form, that is, the way it is made and its purely visual aspects, rather than its narrative, content, or its relationship to the visible world. Haptic Relates to the way in which humans interact by touch with the world around them. Artists use haptic technology to give the sensation of physical presents to a virtual object. Luminism Term roughly meaning ‘painting of light’. Naturalism Until early 19th century, human figure art tended to be idealised or stylised. Naturalism was the board movement to represent things closer to the way we see them. Simulacrum A term from Greek Platonic philosophy that meant a copy of a copy of an ideal form. In postmodernist thought, through the writings of Deleuze, the term has been revived in the contact of arguments about the relationship between original work of art and its replication.
The Ontology of Flesh
Merleau-Ponty, The Visible and the Invisible. The Visible and the Invisible, Alphonso Lingis (trans.), Evanston: Northwestern University Press, 1968. http://plato.stanford.edu/entries/merleau-ponty/#7 Merleau-Ponty claims that philosophy elects certain beings' “sensations, representations, thoughts, consciousness, or even a deceiving being--in order to separate itself from all being” (VI, 107) We see that this notion of intertwining does not only concern the relationship between the sensible and the sensate, between the body and the world. It also orchestrates the relationship between the visible and the invisible. “the bond between flesh and idea, and the internal armature which [it] manifests and which it conceals” (VI, 149) According to Merleau-Ponty, perceptual objects have an inner horizon in consciousness and an outer horizon in the external world. Bodily experience is an ambiguous mode of existence, because the idea of the body cannot be separated from the experience of the body, and because mind and body cannot be separated as subject and object. The mind and body each have their own being, and the perceptions of the body influence what is perceived by the mind. Phenomenology - an approach that concentrates on the study of consciousness and the objects of direct experience.
The human skin is the outer covering of the body and the largest organ in the human body system. Because it interfaces with the environment, the skin has specific functions it needs to fulfil. The average square inch of skin holds more than 1,000 nerve endings, little is knows about how skin receptors process temperature. Touch is the earliest sense to develop in the foetus, through the knowledge of haptic perception/technology, it is learned any living being can only truly ‘touch’ it’s mother.
Haptic Perception: Gibson (1966) defined the haptic system as "The sensibility of the individual to the world adjacent to his body by use of his body". Gibson and others further emphasized what Weber had realized in 1851 - the close link between haptic perception and body movement: haptic perception is active exploration. _______________________________________________________________________ In learning about haptic sense, we can strengthen the way we use it to communicate sensations, emotions, and meanings redefining the sense of self. As we age, sight and hearing diminish or we totally lose them, while the sense of touch is the prevalent sense, the only one that remains almost unchanged. In healthy beings, it is the first sense we experience before even birth, and the last we sense before death. Senses grow with us, practice makes them better, and maturity perfects them. Our growing body depends on it, as to our physical bodies and our inner selves, as well as the relationship of our bodies to the world around us, supported by Merleau Ponty ‘World of Perception’, you can’t feel without body, everything follows from the body. P. Isokoski and J. Springare (Egs): EuroHaptics 2012, Part II, LNCS 7283, pp. 18. - Rediscovering the Haptic Sense through Crossroads of Art and Design Research. Sandra Coelho and Miguel V. Correia. http://link.springer.com/chapter/10.1007%2F978-3-642-31404-9_3#page-1 _____________________________________________________________________ It is difficult to describe in words the meaning of forms because it is precisely this emotion which is conveyed by sculpture alone. Our sense of touch is a fundamental sensibility which comes into action at birth - our stereognostic sense - the ability to feel weight and form and assess its significance (Hepworth 1954). WIND RELATION: When we move our hands or fingers we are certainly aware of their orientation in relation to ourselves, and this makes it possible to judge the shape of the object over which they are moving. The object forces us to change the direction of the hand, so that the object is not in the way of the movement (Weber 1995 [1846]: 58). David Katz (1989) stated that no other sense is more able to convince us of the reality of an object than does our sense of touch.
Maiko Takeda
Japanese artist. Interests lye in creating ethereal adornments to the body influenced by wabi-sabi themed environmental happenings like wind and gravity that create an experience of wonder and bewilderment for the adorned. The form of her work itself can never be its sole feature as the extra element is always seeking to transcend the expectations of the wearer as part of the work - http://www.maikotakeda.com/post.html , example. She tells us that ‘Atmospheric Reentry’ was designed with a desire to create hats that “blurred boundaries to their surrounding environment,” and was also greatly influenced by the Philip Glass opera Einstein on the Beach, originally directed by Robert Wilson.
Art Criticism and Formal Analysis Outline. 18. Good interpretations invite us to see for ourselves and to continue on our own.
Art Criticism and formal outline, defining art criticism. https://www.scribd.com/doc/19987125/Art-Critics
