Dan Klyn

Randy Newman

Boot is how it licks

ART IS NOT SENSE PERCEPTION BUT KNOWLEDGE THE LEGITIMATION OF ART IS NOT THAT IT GUES AESTHETIC PLEASURE BUT THAT IT REVERS BEING WHEN we sEE a GREAT work AND ENTER INTO ITS WORLD WE DO NOT LEAVE HOME SO MUCH AS "COME HOME"

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THE CRITIQUE OF AESTHETIC CONSCIOUSNESS ACCORDING TO GADAMeR, the concept of "aesthetic consciousness," in distinction and isolation from "nonaesthetic" realms of experience, is relatively modern. In fact it is a consequence of the general subjectivizing of thought since Descartes, a tendency to ground all knowledge in subjective self-certainty. According to this conception the subject contemplating the aesthetic object is an empty consciousness receiving perceptions and somehow enjoying the immediacy of pure sensuous form. The "aesthetic experience" is thus isolated and discontinuous from other, more pragmatic realms; it is not measurable in terms of "content," since it is a response to form. It does not relate itself to the self-understanding of the subject, or to time; it is seen as an atemporal moment without reference to anything but itself. The consequences of such a conception are many. In the first place, no adequate way is left to account for art except perceptual enjoyment. There can be no contentual measures for art, since art is not knowledge. Tortured distinctions are made between the "form" and the "content" of art and aesthetic pleasure is ascribed to the former. Art no longer has any clear place in the world, since neither it nor the artist himself belongs to the world in any specific way. Art is left without function and the artist without place in society. The evident "holiness" of art, which we sense in our outrage at any senseless destruction of a great work of art, is left without legitima-tion. And certainly the artist can hardly claim to be a prophet if all he is creating is a formal expression of feeling or aesthetic pleasure. But such a conception of the aesthetic phenomenon is contradicted by our own experience of any great work of art. The experience of encountering a work of art opens up a world; it is not mere gaping in sensuous pleasure at the outsides of forms. As soon as we stop viewing a work as an object and see it as a world, when …

the horizons of our own world and self-understanding are the first time. Even common and ordinary objects as if fo pear in a new light when illuminated by art. Thus a work of art is not a world divorced from our own or it could not illuminate our own self-understanding even as we come to understand it. In an encounter with a work of art we do not go into a foreign universe, stepping outside of time and history; we do not separate ourselves from ourselves or from the nonaes-thetic. Rather we become more fully present. As we take into ourselves the unity and selfhood of the other as world, we come to fulfill our own self-understanding; when we understand a great work of art, we bring what we have experienced and who we are into play. Our whole self-understanding is placed in the balance, is risked. It is not we who are interrogating an object; the work of art is putting a question to us, the question that called it into being. The experience of a work of art is encompassed and takes place in the unity and continuity of our own self-understanding. But, it may be argued, when we behold a work of art, the world in which we are living our own life vanishes. The world of the work takes over and, for a brief moment, is a self-en-closed, self-sufficient "world." It requires no measure outside of itself, and it is certainly not to be measured as a copy of real-ity. How is this to be reconciled with the assertion that the work of art presents a world fully continuous with our own? The justification must be ontological: when we see a great work of art and enter its world, we do not leave home so much as "come home." We say at once: truly it is so! The artist has said what is. The artist has captured reality in an image, a form; he has not conjured up an enchanted never-never-land but rather this very world of experience and self-understanding in which we live, move, and have our being. The transformation into form which is enacted by the artist is really a transformation into t…

Yet we only understand this new world because we are already participating in the structures of self-understanding which make it truth for us. This is the real basis for the same thing being understood as what was intended. The mediation of this self-understanding is form. The artist has the power to transform into an image or a form his experience of being. As form it becomes abiding and the encounter with it open to succeeding generations, repeatable. It has the character not simply of the energy of being but of a work. It has become truth that abides (das bleibende Wahre).3 The change that takes place in the materials by transformation into image (Verwandlung ins Gebilde) is not simple alteration but true transformation: "What was before is no longer, but that which now is, that which is presented in the play of art is truth which can now abide. " 4 The fusion of the truth or being represented with the form is so complete that something new comes into being. There is a "total mediation" so that the interplay of elements in the form becomes its own world and no simple copy of anything. This apparent autonomy is not the aimless and isolated autonomy of "aesthetic con-sciousness" but the mediation of knowledge in the deeper sense of the term; the experience of beholding the work of art makes this knowledge shared knowledge.$ Gadamer's concept of total mediation has another side. It asserts the radical nondifferentiation of the aesthetic from other elements within the play of the work of art. We instinctively feel the general inappropriateness of referring to a ceremony or ritual as "beautiful"; aesthetic differentiation has no place in reference to a "good sermon," for it indicates that, even as one is listening to the sermon, he is separating content from form. Likewise the differentiation of aesthetic from non-aesthetic has no appropriateness for understanding our experience of a work of art. "The mediation of art must be thought of as a whole." The aesthetic or f…

“art is not sense perception but knowledge”

Palmer explaining Gadamer is a tour de force my lands:

Same scene different settings

Ibid

Moon over a gravel pit near where I live

Super

And then one day you came back home
You were a creature all in rapture
You had your key to your soul
And you did open that day you came back to the garden

What’s your sign?

The Great Good Place AMERICAN EXPATRIATE WOMEN IN PARIS William Wiser W. W•NORTON & COMPANY New York • London

The chapter on her in here is 💯

Showgirl Josephine Baker’s Ornate Mansion Outside of Paris Hits the Market for €20.84 Million The dancer and civil rights activist lived at the villa in Le Vésinet for 20 years

She was so so utterly great

www.mansionglobal.com/amp/articles...

The only people that were raptured were Robert Redford and Jane Goodall.

Rain! by Dan Klyn on Apple Music Playlist · 40 Songs

Local conditions permit:

music.apple.com/us/playlist/...

Next year will be 10 years since the news articles covered the Grand Rapids Michigan School Amiga 2000

It’s been controlling the AC and heat in 19(!) schools at once since the 80’s. It would cost 2 million dollars to modernize the system

The Commodore is keeping up with you

#OnlyAmiga
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Did her own research

Orion over the neighborhood

A little wider shot

You can lean on him

nearly full..

Photo over my back yard at night showing treetops and the Big Dipper

Big Dipper being outshined by the full supermoon

Post someone who looks good in black.

Elon hates a cartoon on Netflix for being nonbinary

Might just have to resubscribe

Many Things Under a Rock The Mysteries of Octopuses DAVID SCHEEL Illustration by Laurel "Yoyo" Scheel

TIL

“Cephalopod ink gave name to the color sepia (the word originating from the Latin sepia "cuttlefish," the ink of the cuttlefish and octopuses being the dark brown pigment in question).”

Scheel (2023)

Ver nors

The Limits of Devotion Welcome to Brain Food, a weekly newsletter full of timeless ideas and insights you can use in life and work.

click.kit-mail6.com/mvu0odppmwu5...

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“fragility plus daily care outlasts strength plus neglect. The cast-iron pan seasoned daily outlives the new nonstick. The handwritten menu, which changes daily, outlasts the laminated one.

You can only optimize so much, but you can care forever. Efficiency has limits, devotion doesn't”

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Peter Falk

The Murderer in this episode

Columbo my gosh

www.columbo-site.freeuk.com/pilots.htm

Riveting

Best flu remedies: go!

Many THings Under a Rock The Mysteries of Octopus DAVID SCHEEL Illustrations by Laurel "YoYo" Scheel

I asked in what kinds of habitats could I find octopuses. Those familiar with the glaciated shores and cold green waters of Prince William Sound said, "Octopuses are where you find them." They are everywhere in any marine habitat, and nowhere, being only rarely encountered. They told me that octopuses could not be studied.

Entirely enjoying:

“Octopuses are where you find them”

Good morning! You feel like you’re going crazy because their attempts to bludgeon you into submission with weaponized unreality aren’t working on you.

Keep it up. You’re doing great.

put there “by some one who delighted in inconsistencies”