Dear Learners,
In my garden there is a old shed in which I found three old
notebooks/sketchpads from the mid and late seventies.
What were you doing in the late seventies?
I was studying both the art and practice of deep creativity in
organisations. Mmmmm.
Matisse, Picasso, Senge, de Lange, you all, me too we have learningful
creativity in common?
In such a 1977 notebook, but in fact not one of these three I wrote, "
Form is energy standing as still as it can."
Mmmm.
Sometimes I like to repeat the phrase, plus ce change, plus ce la meme
chose, which simply means so far as I know, the more things change the
more they stay the same. Mmmm.
In some notes I studies on Senge a few years ago I was interested that he
used the term 'goal' as meaning an 'obstacle'.
Mmmm. Something to approach, become and then unless I am crazy, overcome.
I wonder if [someone] would so honour us to count the amount of times the
word 'unconscious' gets used every year in this LO congregation?
Has there ever been a thread about the 'vitality of the unconscious' in
determining all our human behaviour?
Page 167 Fifth Discipline may be a revelation through the story of the
twoinone of reason and intuition (conscious and unconscious) where I
discover a very formalised tacit appreciation of the first bifurcation
point of the one to one and the one-two-many mapping;-)
Can I be permitted to say (without necessary reference to dictionary or
pictionary) that after an entire life stuffed to the gunnels with imaging
of one kind and another it is very easy for me to see how what is an
aspirational state of freedom state sought (goal) for another, can become
a fruitful 'bind' for me. Why? Because I think a more developed visually
apprehending minds tend toward multiplicities of goals in unlinear
fashion. In brief, create a 'cluster of binds' ('knots' or 'obstacles'),
shake, shake, shake and out pops something like a new emergent 'freeway'
to the next. Next what? Well, what about next "crystalization" (Senge)
Senge quotes Picasso, " It would be very interesting to record
photographically, not the stages of a painting, but its metamorphoses
...snip... But what is really very serious is to see that the picture does
not change basically, that then initial vision remains almost intact in
spite of appearance."
I think the photo's should be a movie, but one like they use for 3D
imaging and we need to see multilevel in his head, outside his head, we
need to see his flickering eyes, we need to sense the temperatures, the
perfumes, the interruptions, we need to record the 'everything' that makes
up the singular' image. And in this way is a Picasso not like the snow
flake? Unique shape through systemic unfolding complexly adapting
reflecting inner necessity and outer determination?
Matisse influenced Picasso and so Picasso Matisse, just as the cripple and
the blind man would 'asone' do samewise;-)
Matisse once said, " From Bonheure de vivre when I was thirty five (1906)
to now (1951) at eighty two and this cut out I have not changed, because
all of this time I have looked at the same things, which I have perhaps
realised by different means."
People often ask me one way or another (many means) how to make the vision
a reality?
It is I think a matter of emphasis (both/and) and not absolute degree
(either/or) and if one can balance in this domain what emerges? Well, my
senses tell me you have a kind of vision held, but I will not say heaven
on earth. Though if you have ever watched an artist at 'work' their 'work'
you might wonder? Please, I beg of you do wonder. Many people watch you
wonder here.
Senge speaks of 'meditation techniques', slowing things down. I have
another view!!!! Speed things up!!!! To do with relativity and deep
creative practice in which time can be transcended, literally learning
faster than the speed of light!!!!! Arghhhhh!!!!!!!!! You do not have time
you say? The time to create a little? Another day pehaps;-))))))))))))
To create his new form/content giving rich abstract spaces (Dance 1909)
Matisse flattened the mere representation of empirical space held up in
his more analytical realistic compositions (The Open Window, Coullioure
1905;-).
He literally went on to cut new space out of flat paper for a whole new
generation of artists by his tensile oppositions expressed best by him
when he wrote, " one conception informed both, a meditation on nature, on
the expression of a dream, for one conception informed both."
The wonderful paradox of the super fast cut out technique in which, like a
tailor's shears through silk the scissors are driven not by clipping but
shearing through the paper like a hot knife through butter, was the
creation of a virtual reality world 'without time'. WITHOUT TIME. please
take a few moments to meditate on that notion and that WITHOUT TIME.
You'd like a sing to that space/place?
OK I will offer my best shot this afternoon. It is the meeting place
between the 'world inside me' and the 'world outside me'. Perfect pitch,
resonance.
*Systemic Interface*. (Ooops......can I TM that one Rick?)
[Host's Note: Trademark? It's not up to me! ..Rick]
Let us imagine an early flattened image as a crystallisation of a surmised
goal consciously and unconsciously sought and attained, that could become
a bind, a trap ...flat may equal no air, no dimension for movement...the
creative unfolding movement, the phasing of Picasso's insight into
morphology, increase size and thin pigment so that the 'ground comes
through. forward.' WHAT, Senge says that, the background is
becoming/become foreground.
Something else happens when you simplify as Matisse periodically did, the
eye seeks edges for interest, it seeks margins for movement, it looks to
new angles for direction that shoot imaginations off from crystalline
imagery to inner oceanic tumblements, so apparent surface passive provokes
deeper play by the apprehending mind.
"Form is energy standing as still as it can"...and that stillness may
command you to dance.
So DANCE!
Mattise saturated his blindness and bedridden body and blasted his visions
to the four walls of his room as he commanded the inert paper, "DANCE,
dance for ever!"
Best
Andrew Campbell
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