Umberto Eco em Obra Aberta (ed. Perspectiva, pág. 137-138):
"um estímulo apresenta-se à atenção do fruidor como ambíguo, inconcluso, e produz uma tendência a obter satisfação: em suma, provoca uma crise, de maneira a obrigar o ouvinte a procurar um ponto firme que o ajude a resolver a ambigüidade. Em tal caso surge uma emoção, pois a tendência a uma resposta é imprevistamente estancada ou inibida; se a tendência fosse satisfeita, não haveria explosão emotiva. [...] Esse jogo de inibições e de reações emotivas intervém para dotar de significado o discurso musical: pois, enquanto na vida cotidiana se criam diversas situações de crise que não são resolvidas e se dispersam acidentalmente tal como surgiram, na música a inibição de uma tendência torna-se significante na medida em que a relação entre tendência e solução se faz explícita e se conclui. Pelo simples fato de concluir-se, o círculo 'estímulo - crise - tendência que surge - satisfação sobrevinda - restabelecimento da ordem' adquire significado. 'Na música o próprio estímulo, a música, ativa as tendências, inibe-as e lhes fornece soluções significantes'.
[...] Há no ouvinte a exigência de que o processo se conclua de maneira simétrica e se organize do melhor modo possível, em harmonia com certos modelos psicológicos [...]. Uma vez que a emoção nasce do bloqueio da regularidade, a tendência à boa forma, a memória de experiências formais passadas intervêm no ouvir para criarem, perante a crise que surge, expectativas: previsões de solução, prefigurações formais nas quais a tendência inibida se resolve. Perdurando a inibição, emerge um gosto da expectativa, quase um sentido de impotência perante o desconhecido: e quanto mais inesperada é a solução, mais intenso o prazer quando ela se verifica. Portanto, se o prazer é dado pela crise, está claro [...] que as leis da forma, ainda que sejam base da compreensão musical, somente regulam o discurso como conjunto se forem continuamente violadas ao longo do desenvolvimento; e a expectativa do ouvinte não é expectativa de resultados óbvios, mas de resultados dessuetos, de violações da regra que tornam mais completa e conquistada a legalidade final do processo."
a symphony of colour, painting with light -
music by Erik Satie [Gnossienne nº 1], piano : Branka Parlic, film and concept by me
STATEMENT
Artists Films - CHAOS
Every year Ginny and I go down to the Goose Fair to walk around and soak up the atmosphere, smell the air, see the spectacle. Its a rough, noisy, angry, smelly thing.
It stimulates and excites but it doesnt satisfy.
I have photographed it many times and tried, and failed, to paint it with traditional materials. Knowing that digital video and computer editing programmes were becoming available at affordable prices, I felt that video would be the way to capture the chaotic experience, to reveal the underlying beauty of the modern fairground.
Painting with light.
Chaos is, of course, not what we have here.
The title is convenient but ironic.
What we are presented with is the opposite of chaos - symmetry.
Where the fairground is brash - a cacophony of visual and aural noise, -
Here we have a nocturne -
Sympathy, music, light and movement together, grace, order, beauty.
Just as the Impressionist painters sought the impression of light and the Futurists of speed, and just as they took their new technology (still cameras) to the races, the boulevards, the circus, the fair, so here a painter is again using the latest technology to create visual art.
This time, though, no rushing back to the studio to paint in oil colour from the photographs, Here the light itself is the painting, the pigments move, pulsate, blend.
The colours spin and rotate, come and go, erupt and subside but they never stand still.
Order from Chaos, harmony from discord.
The artists remit -
Simplify, reveal, portray.
Impressionism meets futurism at the speed of light -
- A Symphony of Colour,
Whistler would have approved.
music by Erik Satie [Gnossienne nº 1], piano : Branka Parlic, film and concept by me
STATEMENT
Artists Films - CHAOS
Every year Ginny and I go down to the Goose Fair to walk around and soak up the atmosphere, smell the air, see the spectacle. Its a rough, noisy, angry, smelly thing.
It stimulates and excites but it doesnt satisfy.
I have photographed it many times and tried, and failed, to paint it with traditional materials. Knowing that digital video and computer editing programmes were becoming available at affordable prices, I felt that video would be the way to capture the chaotic experience, to reveal the underlying beauty of the modern fairground.
Painting with light.
Chaos is, of course, not what we have here.
The title is convenient but ironic.
What we are presented with is the opposite of chaos - symmetry.
Where the fairground is brash - a cacophony of visual and aural noise, -
Here we have a nocturne -
Sympathy, music, light and movement together, grace, order, beauty.
Just as the Impressionist painters sought the impression of light and the Futurists of speed, and just as they took their new technology (still cameras) to the races, the boulevards, the circus, the fair, so here a painter is again using the latest technology to create visual art.
This time, though, no rushing back to the studio to paint in oil colour from the photographs, Here the light itself is the painting, the pigments move, pulsate, blend.
The colours spin and rotate, come and go, erupt and subside but they never stand still.
Order from Chaos, harmony from discord.
The artists remit -
Simplify, reveal, portray.
Impressionism meets futurism at the speed of light -
- A Symphony of Colour,
Whistler would have approved.
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