" What I have just writtenis false. True. Neither truenor false, like everythingwritten about madmen, men. "= J-P Sartre: : : : : :lowered eyelidsasleepoff the page(unfinished sentences)infinite thicknessof spinal volumew/ simultaneous perilsbeneath fixed starebookish in window& the completefrom one to anotherexcept a soft forceeither open or closed :flipped & as realas any fake transport,maybe death by ecstasyle lapen çovacheême le levresorderly disorderacross gazea shadowy cornerwithout words workingswingshift overtimeor a glass globevoid of ocean( say soul ): go talking, we're playingsuddenly shows up ;sakes ain't goodwithout forgottenness essence& elsewhere existsas otherly birthM to m- - -
What a beautiful flock of clouds...if their shadows are not too overwhelming to someone on the ground.
i adore sartre.and i also adore your pictures.it is a remarkable idea.thank you for sharing it.
- - - c l o u dshadows- - -
thanx for commments!"Following from this radical separation between things and thought, freedom for Sartre is limited to the extent that I am able to remain as consciousness acting on the Other. However, the Other is not always a tree-root, or a gust of wind, but it is also, and more fundamental to my freedom, an-Other consciousness. My freedom is limited and runs the risk of disintegrating when faced with the Other's subjective world. This falling apart of my universe occurs because in and through the Other's gaze I am an object in the Other's world, as much as the Other is an object in mine; to be looked at is to be annihilated in the gaze of the Other, thereby feeling myself transformed from a Subject to myself to an object for the Other. By being looked at I am transcended, my possibilities are transcended by those of the Other, and this because I am no longer the sole actor in the situation, nor the sole perceiver; my actions (intentions) are already perceived and observed by the Other, a situation which renders my possibilities (what I can and shall do) into probabilities (what I may and will do). The Other locates me in space, and posits me in time. This occurs because with the Other's presence I am forced to acknowledge the feeling and possibility of simultaneous existence. This feeling of simultaneity makes me also feel subject to the Other's actions, and therewith "I am his slave." However, the Other's gaze does not endow me with ordinary knowledge, but is literally a "hole in my universe," and hence a new dimension which gives rise to specific reactions (shame, pride, alienation etc.) proving the Other's existence, as well as my 'being' as 'object' of these feelings. It then becomes my duty to myself to render manifest my will, hence 'act' according to a 'choice' that I have made, in order to alter this situation of 'objectivity'. It is up to me to become subject again, to free myself from this 'objectification'. This choice and its responsibility constitute my For-itself, i.e. my freedom, as well as my subjectivity. It is in the very nature of this choice and responsibility that lies my existential angst. According to Sartre, anguish is "far from being a screen which could separate us from action, it is a condition of action itself." It is in this action that my reality is constituted, and lies the essence of my selfhood independent of any socially determined consciousness. This explains Sartre's demand that consciousness and actuality be distinct, for one may be conscious of many things, but it is only in action that one is able to ground this potential into reality."
The Mickey Mouse time continuum and the very Russian piece below are loverly, Troy.I would love to see what you would do with grass. Winter grass. Spring grass. Winter grass becoming spring grass.I love the structure of grass blades, and remember how as kids we would sit on the grass and fold them and blow through them to make sounds with them.I bet you could do some great deployments with them on a glass screen. I would scan them but I'm not feeling visual for some weeks.Or has somebody done copy art with grass in an obsessive way so that any grassy play would be seen as "quotation" lol?So many types of grass of course. Pampas grass would sort of add dimensionality, but I like the idea of flat grass blades more.Also I think a mixture of different forms of pasta could be visually interesting...especially if mixed in with miniature people or something...esp. if color manipulated....But I am toy-obsessed.So I want toys in everything.What would make a good background for grass? Rousseau animals lol?
i'd smoke the grass!= )yeah, the texture of grass is appealing -- i used to love getting grass stains on my jeans when i was little, i'd run & slide to get that deep green in knees.here's a pic of my favorite shoes sitting grasstop in greenery
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