i find brown is organic-center, all colours mixing.
it indicates organic accuracy, refined and highly complex of energy-patterns and their balances. there are so many shades of brown, all up to gold back to olive, to deep dark blackened brown.
(grey would be the planning-board version, that's what happens with pure light, mix all colours and you get white/grey depending on the intensity. i also found this out when i was experimenting with colours on the web-page of les enfants du paradis)
this is something that i believe was (internally) known to our predecessors in the European societies in history. one example i know of are the paintings of Jan van Eyck, his portrait of the man holding a carnation (NL- "anjer", D- "Nelke"). German painter Otto Dix tried the same theme but in 1912, and there is no sense of depth or space or this refined organic accuracy, it was not the point anymore, not part of the experience.
i am also interested in the consequences of being organically accurate, it takes a great amount of refinement in perception and control/actions. computers are the exact opposite of this, they are made from extractions of metals, silicones, and electricity, much more crude and simple patternings than organic cells.
so still-lifes interest me as well now, and i am still interested in conveying energetic immediacy in everything that i do and publish.
Gertrude Stein wrote -so she said- without such editings she just wrote things down directly, and i find it still can be felt in her writings. it is the difference of letting the connections of the moment work together, instead of altering them or even cutting them, again from a point of reflection/death/virtual.
in the end all comes back together in the organic existence reality of our lives our dimension place planet, the condition which our ancestors were so intent on escaping, escaping mud, disease, illnesses, hunger, into the mind, the abstract. and ever since the lessons were that if one doesn't include our physical, organic aspect of existence sufficiently, a lot of those good intentions are about to fail.
organic knowledge of processing means there need be left time for processes to take their course and happen. it means the acknowledgement of multiplicity and complexity, but also a keen awareness of threshholds and limitations, how far something can go of itself.
this is a kind of wisdom that i believe is getting lost a bit, as more and more of our virtual aspirations are being possible and realised ever the better, at the same time that is what these ever more drastic and far-reaching realisations teach, that one gets to better and better understand organics. a far way to go from 'brown'... ☺
it indicates organic accuracy, refined and highly complex of energy-patterns and their balances. there are so many shades of brown, all up to gold back to olive, to deep dark blackened brown.
(grey would be the planning-board version, that's what happens with pure light, mix all colours and you get white/grey depending on the intensity. i also found this out when i was experimenting with colours on the web-page of les enfants du paradis)
this is something that i believe was (internally) known to our predecessors in the European societies in history. one example i know of are the paintings of Jan van Eyck, his portrait of the man holding a carnation (NL- "anjer", D- "Nelke"). German painter Otto Dix tried the same theme but in 1912, and there is no sense of depth or space or this refined organic accuracy, it was not the point anymore, not part of the experience.
i am also interested in the consequences of being organically accurate, it takes a great amount of refinement in perception and control/actions. computers are the exact opposite of this, they are made from extractions of metals, silicones, and electricity, much more crude and simple patternings than organic cells.
so still-lifes interest me as well now, and i am still interested in conveying energetic immediacy in everything that i do and publish.
Gertrude Stein wrote -so she said- without such editings she just wrote things down directly, and i find it still can be felt in her writings. it is the difference of letting the connections of the moment work together, instead of altering them or even cutting them, again from a point of reflection/death/virtual.
in the end all comes back together in the organic existence reality of our lives our dimension place planet, the condition which our ancestors were so intent on escaping, escaping mud, disease, illnesses, hunger, into the mind, the abstract. and ever since the lessons were that if one doesn't include our physical, organic aspect of existence sufficiently, a lot of those good intentions are about to fail.
organic knowledge of processing means there need be left time for processes to take their course and happen. it means the acknowledgement of multiplicity and complexity, but also a keen awareness of threshholds and limitations, how far something can go of itself.
this is a kind of wisdom that i believe is getting lost a bit, as more and more of our virtual aspirations are being possible and realised ever the better, at the same time that is what these ever more drastic and far-reaching realisations teach, that one gets to better and better understand organics. a far way to go from 'brown'... ☺
posted by Thomas Körtvélyessy at 7:35 AM
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