Notational, No. 19

There is only ,, illusion ” in art where ignorance of the bystander confuses imagination and its works with cruder processes. Truly men feel an enlargement before great or good work, an expansion but this is not, as so many believe today a ,, lie ”, a stupefaction, a kind of mesmerism, a thing to block out “ life ”, bitter to the individual, by a “ vision of beauty ”. It is a work of the imagination. It gives the feeling of completion by revealing the oneness of experience ; it rouses rather than stupefies the intelligence by demonstrating the importance of personality, by showing the individual, depressed before it, that his life is valuable — when completed by the imagination. And then only. Such work elucidates —

♦ William Carlos Williams, Spring and All

The world can expand. Life perceives and responds. Feedback is generated within and is redirected out.

Some things we experience broaden the scope of our projections. The creative response to stimulus can fuel and connote an expansive reality. The boundaries of the self stretch outward, extend upward and rootle downward, with compulsive energy when we encounter those “visions of beauty,” those moments of synthesis, when something more than what you know you know is conveyed. Imagination, that rare and impossible thing that fills in all the gaps, invents the way out of even the meanest cage, starts and whirrs its gears impatiently when we are faced with the evidence of design. We are nothing but sophisticated pattern recognition machines. The analogous spark that yokes moment to disparate moment, class to class, phenomena to its comparable repetition, illuminates our mechanisms. We see ourselves in expression, any expression that means something to us. This can be the play of atoms moved but undirected by curiosity or drive, as much as it can be the arrested manipulation of media. Nature is not art, but art might cause the same eidetic reverie that carries the sense of self beyond the confines of the body. We are composed of a oneness with everything that has translated within us: perception to pulse, experience to energy. What, that “stupefies the intelligence,” might come out of the moments between moments, when we make out directions that lead precisely nowhere? Do we learn something?



Negative Forms

A neologism born out of agitation, a discomfort in the abstract body, and a drive to direct turbulent formulations of ephemera out: outward; outside, into the open. Its root, my well-worn friend pensive, traces a spectrum of inversion, beginning with “sorrowfully thoughtful; gloomy, sad, melancholy” (OED); a condition familiar, but unwelcome save for the rainiest of days; days when the water mark inches above safety; days when little else gets done—just a kind of condensing within your own borders. We also read “more generally: full of thought; meditative, reflective,” and this takes up so much time in the business of my world that it best go unquantified. Yet I maintain that there is a time to take off the thinking cap and transform passive activity into something a little more aggressive and concrete. And then there is the notion that thought belies action, that meditation dives towards a void. This counters my ambition. I am trying to surface with an array entities detailed, not effaced, even if it is impossible not to lose something essential in articulation. This is not where I am going to strive for oneness; it is where I am going to attempt to splinter into multiplicity.

So the prefix im- comes in to counter what might be considered the pitfalls of the “thoughtful,” but also to drive in the opposite direction from being “anxious as to plans and future events,” to rail against being “apprehensive.” There is an impatience in the result, a restless energy, an impetus to jettison thought from the lugubrious internal grottos and relieve the pressure: a commitment to the future rather than an apprehension; a cultivated excitement rather than dread.

This is the quality of writing things down.