Geometric Art Quotes

But is it not already an insult to call chess anything so narrow as a game? Is it not also a science, an art, hovering between these categories like Muhammad's coffin between heaven and earth, a unique yoking of opposites, ancient and yet eternally new, mechanically constituted and yet an activity of the imagination alone, limited to a fixed geometric area but unlimited in its permutations, constantly evolving and yet sterile, a cogitation producing nothing, a mathematics calculating nothing, an art without an artwork, an architecture without substance and yet demonstrably more durable in its essence and actual form than all books and works, the only game that belongs to all peoples and all eras, while no one knows what god put it on earth to deaden boredom, sharpen the mind, and fortify the spirit?

Be honest: did you actually read [the above geometric proof]? Of course not. Who would want to? The effect of such a production being made over something so simple is to make people doubt their own intuition. Calling into question the obvious by insisting that it be 'rigorously proved' ... is to say to a student 'Your feelings and ideas are suspect. You need to think and speak our way.

Mathematical solutions are selected by the subliminal self on the basis of “mathematical beauty,” of the harmony of numbers and forms, of geometric elegance.

I don't see how it's doing society any good to have it's members walking around with vague memories of algebraic formulas and geometric diagrams, and clear memories of hating them.

Nature itself rests on an internal foundation of archetypal principles symbolized by numbers, shapes, and their arithmetic and geometric relationships.

gold light burned faintly. From his cosy window seat, Mario was tracing a frost-flower on the windowpane with an unsure finger. Were its perfectly-rendered geometric patterns a product of nature, or were they an artefact of metaphysics? Was the frost-flower to the Masters what a work of Art was to him? Did the Masters of Strings truly control every aspect of reality? The fractal flower slowly melted under Mario’s fingertip. “No work of chance here,” he bitterly thought. “This was by design.

Thus nature provides a system for proportioning the growth of plants that satisfies the three canons of architecture. All modules are isotropic and they are related to the whole structure of the plant through self-similar spirals proportioned by the golden mean.

I have little interest in illustration, which lacks a kind of transcendental quality. It is too literal. I find typography more straightforward, conceptual, and appealing, with its strict geometric vocabulary. There is a bridge between typographic design and fine art, especially since typography possesses a complex subtlety. The idea, the method, and the honesty in expression are central to a designer who works with type.

The memory of human blood manifests now as a kind of visceral reaction to seeing people's veins and their necks. The skin on a neck appears to me as different from the skin anywhere else on a body. It seems as thin and consumable as rice paper wrapped around a sweet. It is too blank compared with skin everywhere else, as though it is asking to have marks made on it, like very expensive calligraphy paper, or cold-pressed Fabriano. Often, I wonder whether the urge I have to make art is the same as the urge to consume and destroy the blankness of a human neck. While at art college, I read that the best paper used by artists in the seventeenth century was made from the skins of lamb fetuses. This skin was soft and absorbent, and had an even texture right across its surface. For a long time, the process of creating art has been linked to the killing of living things. My dad, even, used fine silk stretched across wooden frames in his own work as a painter. Once, when we still had some of his pieces, I looked at the odd geometric shapes he created on a huge sheet and thought about all the silkworms who had had their cocoons torn open before they were able to become moths.

This is the kind of subtle geometric disturbance that Hopper was so skilled at, and which he used to kindle emotion in the viewer, to produce feelings of entrapment and wariness, of profound unease.

Ensor sees with his imagination, but his vision is perfectly accurate, of an almost geometric precision. He is one of the very few who can really see. Like you, he has an obsession with masks; he is a seer as you and I are. The common herd, of course thinks that he is mad. ***************** You shall see what sort of man Ensor is, and what a marvellous insight he has into the invisible realm where our vices are created... those vices for which our faces make masks.

The great commander can certainly move fast and strike like lightning, but his art of war consists first and foremost in moderation, measured geometric order, carefully weighed-up knowledge of circumstances and rules, a tranquil 'thinking things over'; without this there is little use in being acquainted with that 'infinity of situations' in which a soldier finds himself.

Tom Ford’s “look,” Bang & Olufsen products, the Factory Records’ covers, the London Underground logo, Brasilia, infinity swimming pools: they all share the same blueprint, which is the geometrical abstract art of Suprematism.

Like Picasso and Braque, Mondrian explored the influential ideas of Paul Cézanne, who greatly influenced the analytic Cubists with his idea that all natural forms can be reduced to three figural primitives: the cube, the cone, and the sphere (Loran 2006; Kandel 2014). Mondrian recognized the plastic elements in analytic Cubism, and he began to echo the Cubists’ use of geometric shapes and interlocking planes. He reduced a specific object, such as a tree, to a few lines and then connected those lines to the surrounding space (fig. 6.4), thus entangling the branches of the tree with its surroundings. Yet whereas Cubist works played with simple shapes in a complex arena of shattered space, Mondrian’s art became more reductionist. He distilled figures to their most elemental forms, eliminating altogether the sense of perspective.

The branches of the leafless tree merge into the man’s body, then into the conical geometrical pattern, and finally into the mountainous landscape. What Leonardo probably began as four distinct elements ended up woven together in a way that illustrates a fundamental theme in his art and science: the interconnectedness of nature, the unity of its patterns, and the analogy between the workings of the human body and those of the earth.

And are we not guilty of offensive disparagement in calling chess a game? Is it not also a science and an art, hovering between those categories as Muhammad’s coffin hovered between heaven and earth, a unique link between pairs of opposites: ancient yet eternally new; mechanical in structure, yet made effective only by the imagination; limited to a geometrically fixed space, yet with unlimited combinations; constantly developing, yet sterile; thought that leads nowhere; mathematics calculating nothing; art without works of art; architecture without substance – but nonetheless shown to be more durable in its entity and existence than all books and works of art; the only game that belongs to all nations and all eras, although no one knows what god brought it down to earth to vanquish boredom, sharpen the senses and stretch the mind. Where does it begin and where does it end? Every child can learn its basic rules, every bungler can try his luck at it, yet within that immutable little square it is able to bring forth a particular species of masters who cannot be compared to anyone else, people with a gift solely designed for chess, geniuses in their specific field who unite vision, patience and technique in just the same proportions as do mathematicians, poets, musicians, but in different stratifications and combinations. In the old days of the enthusiasm for physiognomy, a physician like Gall might perhaps have dissected a chess champion’s brain to find out whether some particular twist or turn in the grey matter, a kind of chess muscle or chess bump, is more developed in such chess geniuses than in the skulls of other mortals. And how intrigued such a physiognomist would have been by the case of Czentovic, where that specific genius appeared in a setting of absolute intellectual lethargy, like a single vein of gold in a hundredweight of dull stone. In principle, I had always realized that such a unique, brilliant game must create its own matadors, but how difficult and indeed impossible it is to imagine the life of an intellectually active human being whose world is reduced entirely to the narrow one-way traffic between black and white, who seeks the triumphs of his life in the mere movement to and fro, forward and back of thirty-two chessmen, someone to whom a new opening, moving knight rather than pawn, is a great deed, and his little corner of immortality is tucked away in a book about chess – a human being, an intellectual human being who constantly bends the entire force of his mind on the ridiculous task of forcing a wooden king into the corner of a wooden board, and does it without going mad!

The differences between religions are reflected very clearly in the different forms of sacred art: compared with Gothic art, above all in its “flamboyant” style, Islamic art is contemplative rather than volitive: it is “intellectual” and not “dramatic”, and it opposes the cold beauty of geometrical design to the mystical heroism of cathedrals. Islam is the perspective of “omnipresence” (“God is everywhere”), which coincides with that of “simultaneity” (“Truth has always been”); it aims at avoiding any “particularization” or “condensation”, any “unique fact” in time and space, although as a religion it necessarily includes an aspect of “unique fact”, without which it would be ineffective or even absurd. In other words Islam aims at what is “everywhere center”, and this is why, symbolically speaking, it replaces the cross with the cube or the woven fabric: it “decentralizes” and “universalizes” to the greatest possible extent, in the realm of art as in that of doctrine; it is opposed to any individualist mode and hence to any “personalist” mysticism. To express ourselves in geometrical terms, we could say that a point which seeks to be unique, and which thus becomes an absolute center, appears to Islam—in art as in theology—as a usurpation of the divine absoluteness and therefore as an “association” (shirk); there is only one single center, God, whence the prohibition against “centralizing” images, especially statues; even the Prophet, the human center of the tradition, has no right to a “Christic uniqueness” and is “decentralized” by the series of other Prophets; the same is true of Islam—or the Koran—which is similarly integrated in a universal “fabric” and a cosmic “rhythm”, having been preceded by other religions—or other “Books”—which it merely restores. The Kaaba, center of the Muslim world, becomes space as soon as one is inside the building: the ritual direction of prayer is then projected toward the four cardinal points. If Christianity is like a central fire, Islam on the contrary resembles a blanket of snow, at once unifying and leveling and having its center everywhere.

Most humans, it seems, still put up fences around their acts and thoughts – even when these are piles of shit – for they have no other way of delimiting them. Contrast Paleolithic cave paintings, in which animals and magical markings are overlayed with no differentiation or sense of framing. But when some of us have worked in natural settings, say in a meadow, woods, or mountain range, our cultural training has been so deeply ingrained that we have simply carried a mental rectangle with us to drop around whatever we were doing. This made us feel at home. (Even aerial navigation is plotted geometrically, thus giving the air a "shape".)

At this point the reader should be warned that the argument here developed would not be accepted by all schools of psychology. The Gestalt school would have none of it. The pioneers of this important movement want to minimize the role of learning and experience in perception. They think that our compulsion to see the tiled floor, or the letters, not as irregular units in the plane but as regular units arranged in depth is far too universal and too compelling to be attributed to learning. Instead they postulate an inborn tendency of our brain. Their theory centers on the electrical forces which come into play in the cortex during the process of vision. It is these forces, they claim, that tend toward simplicity and balance and make our perception always weighted, as it were, in favor of geometrical simplicity and cohesion. A flat, regularly tiled floor is simpler than the complex pattern of rhomboids in the plane, hence it is a flat, regularly tiled floor we actually see.

An interesting question is whether symmetry with respect to translation, and indeed reflection and rotation too, is limited to the visual arts, or may be exhibited by other artistic forms, such as pieces of music. Evidently, if we refer to the sounds, rather than to the layout of the written musical score, we would have to define symmetry operations in terms other than purely geometrical, just as we did in the case of the palindromes. Once we do that, however, the answer to the question, Can we find translation-symmetric music? is a resounding yes. As Russian crystal physicist G. V. Wulff wrote in 1908: "The spirit of music is rhythm. It consists of the regular, periodic repetition of parts of the musical composition...the regular repetition of identical parts in the whole constitutes the essence of symmetry." Indeed, the recurring themes that are so common in musical composition are the temporal equivalents of Morris's designs and symmetry under translation. Even more generally, compositions are often based on a fundamental motif introduced at the beginning and then undergoing various metamorphoses.

Isn't it also a science, an art form, floating between those categories as the coffin of Mohammed betwixt heaven and earth, a one-off union of all opposing forces: ancient and yet forever new, technical in its layout and yet only operable through imagination, limited by a geometrically rigid space yet unlimited in its combinations, constantly evolving and yet lifeless, cogitation that leads to nothing, art without display, architecture without bricks and despite this, proven in its very being and existence to be more durable than all books and academic works; it is the only game that belongs to all races and all time, and nobody may know which heavenly power gave it to the world to slay boredom, sharpen the senses and capture the soul. Where is its beginning and where its end? Every child can grasp its basic principles, every dilettante can dabble at it, and yet it is capable within its fixed, tight square of producing a special species of master, bearing no comparison to others, people with a talent solely directed to chess, idiosyncratic geniuses in whom just as precise a proportion of vision, patience and technique is required as in a mathematician, a poet or a musician, merely in a different formula and combination.

Out of all green ends and correlated mystic blend underlying the wholesome beauty only one note could speak and flow when nothing else on the barren wet streets she laughed at my grin speaking of what I missed. How is the realm so lovely when the rain tells me how perfect the self organizing smooth system far less attracted so please the muse to the scene, swirling in utter beauty turn away from conversations of horrific overwhelming tension your sublime nature forces half naked bare legged bathing in geometrical arrangements; a future rebelled, tame and dominate your blessed frightened glass ceiling, breath or goodness spells glitter rains down on your laced chest, taking off your shades and notable note from off your written thoughts on the reality page of mirrored candy smile hair twisting, back alone chasing drinks with cheers toward all we saved in the red ashes; smiling how perfect we feel tonight, I could end any beings or spirit. A sucker for the matter found without presence in unlimited rising smoke you weep and invent forms, or nature reflection internality on how few nerves you leave me squirming producing works of utter biting beauty art works off afternoon body gasping at whatever is near or afar, look how smart you get when you cant always get what you dreamt of, on time naughty morning sun baking eyes in mine.

It could be said that Borluut was in love with the town. But we only have one heart for all our loves, consequently his love was somewhat like the affection one feels for a woman, the devotion one entertains for a work of art, for a religion. He loved Bruges for its beauty and, like a lover, he would have loved it the more, the more beautiful it was. His passion had nothing to do with the local patriotism which unites those living in a town through habits, shared tastes, alliances, parochial pride. On the contrary, Borluut was almost solitary, kept himself apart, mingled little with the slow-witted inhabitants. Even out in the streets he scarcely saw the passers-by. As a solitary wanderer, he began to favour the canals, the weeping trees, the tunnel bridges, the bells he could sense in the air, the old walls of the old districts. Instead of living beings, his interest focused on things. The town took on a personality, became almost human. He loved It, wished to embellish it, to adorn its beauty, a beauty mysterious in its sadness. And, above all, so unostentatious. Other towns are showy, amassing palaces, terraced gardens, fine geometrical monuments. Here everything was muted, nuanced. Storiated architecture, facades like reliquaries, stepped gables, trefoil doors and windows, ridges crowned with finials, mouldings, gargoyles, bas-reliefs - incessant surprises making the town into a kind of complex landscape of stone. It was a mixture of Gothic and Renaissance, that sinuous transition which suddenly draws out forms that are too rigid and too bare in supple, flowing lines. It was if an unexpected spring had sprouted on the walls, as if they had been transubstantiated by a dream - all at once there were faces and bunches of flowers on them. This blossoming on the facades had lasted until the present, blackened by the ravages of time, abiding but already blurred.

Absolute continuity of motion is not comprehensible to the human mind. Laws of motion of any kind become comprehensible to man only when he examines arbitrarily selected elements of that motion; but at the same time, a large proportion of human error comes from the arbitrary division of continuous motion into discontinuous elements. There is a well known, so-called sophism of the ancients consisting in this, that Achilles could never catch up with a tortoise he was following, in spite of the fact that he traveled ten times as fast as the tortoise. By the time Achilles has covered the distance that separated him from the tortoise, the tortoise has covered one tenth of that distance ahead of him: when Achilles has covered that tenth, the tortoise has covered another one hundredth, and so on forever. This problem seemed to the ancients insoluble. The absurd answer (that Achilles could never overtake the tortoise) resulted from this: that motion was arbitrarily divided into discontinuous elements, whereas the motion both of Achilles and of the tortoise was continuous. By adopting smaller and smaller elements of motion we only approach a solution of the problem, but never reach it. Only when we have admitted the conception of the infinitely small, and the resulting geometrical progression with a common ratio of one tenth, and have found the sum of this progression to infinity, do we reach a solution of the problem. A modern branch of mathematics having achieved the art of dealing with the infinitely small can now yield solutions in other more complex problems of motion which used to appear insoluble. This modern branch of mathematics, unknown to the ancients, when dealing with problems of motion admits the conception of the infinitely small, and so conforms to the chief condition of motion (absolute continuity) and thereby corrects the inevitable error which the human mind cannot avoid when it deals with separate elements of motion instead of examining continuous motion. In seeking the laws of historical movement just the same thing happens. The movement of humanity, arising as it does from innumerable arbitrary human wills, is continuous. To understand the laws of this continuous movement is the aim of history. But to arrive at these laws, resulting from the sum of all those human wills, man's mind postulates arbitrary and disconnected units. The first method of history is to take an arbitrarily selected series of continuous events and examine it apart from others, though there is and can be no beginning to any event, for one event always flows uninterruptedly from another. The second method is to consider the actions of some one man—a king or a commander—as equivalent to the sum of many individual wills; whereas the sum of individual wills is never expressed by the activity of a single historic personage. Historical science in its endeavor to draw nearer to truth continually takes smaller and smaller units for examination. But however small the units it takes, we feel that to take any unit disconnected from others, or to assume a beginning of any phenomenon, or to say that the will of many men is expressed by the actions of any one historic personage, is in itself false. It needs no critical exertion to reduce utterly to dust any deductions drawn from history. It is merely necessary to select some larger or smaller unit as the subject of observation—as criticism has every right to do, seeing that whatever unit history observes must always be arbitrarily selected. Only by taking infinitesimally small units for observation (the differential of history, that is, the individual tendencies of men) and attaining to the art of integrating them (that is, finding the sum of these infinitesimals) can we hope to arrive at the laws of history.

ART VS. COMMERCE he artist stood back to view the geometric precision of his latest creation. "Beautiful," he murmured, "but will it sell?" No time to examine the philosophic implications. Customers, buzzing with excitement, hovered near the piece. He wrapped up a deal quickly. "This is business," the spider said with a vicious smile. "It ain't art.

He discovered its self-accumulating, self-reproducing nature and gave the spiral a motto (perhaps the only one associated with a geometric shape): Eadem mutato resurgo—Although changed, I arise again the same.

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There are no more fundamental rules, no more criteria of judgement or of pleasure. In the aesthetic realm of today there is no longer any God to recognize his own. Or, to use a different metaphor, there is no gold standard of aesthetic judgement or pleasure. The situation resembles that of a currency which may not be exchanged: it can only float, its only reference itself, impossible to convert into real value or wealth. Art, too, must circulate at top speed, and is impossible to exchange. 'Works' of art are indeed no longer exchanged, whether for each other or against a referential value. They no longer have that secret collusiveness which is the strength of a culture. We no longer read such works - we merely decode them according to ever more contradictory criteria. Nothing in this sphere conflicts with anything else. Neo-Geometrism, Neo-Expressionism, New Abstraction, New Representationalism - all coexist with a marvellous facility amid general indifference. It is only because none of these tendencies has any soul of its own that they can all inhabit the same cultural space; only because they arouse nothing but profound indifference in us that we can accept them all simultaneously.

I have one A–Z alphabetical physical filing system for general reference, not multiple ones. My e-mail reference folders are also organized this way. People have a tendency to want to use their files as a personal management system, and therefore they attempt to organize them in groupings by projects or areas of focus. This magnifies geometrically the number of places something isn’t when you forget where you filed it. Once you have filtered all the reminders for actions into your next-action lists, this kind of data is simply the content of your personal library. You should have the freedom to be as much of a pack rat as you wish. The only issue you need to deal with is how much room you have for storage, and how accessible the information is when you need it. One simple alpha system files everything by topic, person, project, or company, so it can be in only three or four places if you forget exactly where you put it. You can usually put at least one subset of topics on each label, like “Gardening—pots” and “Gardening—ideas.” These would be filed under G.

Rule number three: only three may play. No more, no less. Three. A number favored as much by art as by science: primary colors, points required to locate an object in space, notes to form a musical chord. Three points of a triangle, the first geometrical figure. Incontrovertible fact: two straight lines cannot enclose a space. The points of a triangle may move, shift allegiance, the distance between two disappear as they draw away from the third, but together they always define a triangle. Self-contained, real, complete.

The ruling class will look to art, above all, as the symbol of the calm and stability which it aspires to attain in life. For if the High Renaissance develops artistic composition in the form of the symmetry and correspondence of the separate parts, and forces reality into the pattern of a triangle or circle, then that does not imply merely the solution of a formal problem, but also the expression of a stable outlook on life and of the desire to perpetuate the state of affairs which corresponds to this outlook.

We must rediscover the structure of the perceived world through a process similar to that of an archaeologist. For the structure of the perceived world is buried under the sedimentations of later knowledge. Digging down to the perceived world, we see that sensory qualities are not opaque, indivisible "givens," which are simply exhibited to a remote consciousness—a favorite idea of classical philosophy. We see too that colors (each surrounded by an affective atmosphere which psychologists have been able to study and define) are themselves different modalities of our co-existence with the world. We also find that spatial forms or distances are not so much relations between different points in objective space as they are relations between these points and a central perspective—our body. In short, these relations are different ways for external stimuli to test, to solicit, and to vary our grasp on the world, our horizontal and vertical anchorage in a place and in a here-and-now. We find that perceived things, unlike geometrical objects, are not bounded entities whose laws of construction we possess a priori, but that they are open, inexhaustible systems which we recognize through a certain style of development, although we are never able, in principle, to explore them entirely, and even though they never give us more than profiles and perspectival views of themselves. Finally, we find that the perceived world, in its turn, is not a pure object of thought without fissures or lacunae; it is, rather, like a universal style shared in by all perceptual beings. While the world no doubt coordinates these perceptual beings, we can never presume that its work is finished. Our world, as Malebranche said, is an "unfinished task." If we now wish to characterize a subject capable of this perceptual experience, it obviously will not be a self-transparent thought, absolutely present to itself without the interference of its body and its history. The perceiving subject is not this absolute thinker; rather, it functions according to a natal pact between our body and the world, between ourselves and our body. Given a perpetually new natural and historical situation to control, the perceiving subject undergoes a continued birth; at each instant it is something new. Every incarnate subject is like an open notebook in which we do not yet know what will be written. Or it is like a new language; we do not know what works it will accomplish but only that, once it has appeared, it cannot fail to say little or much, to have a history and a meaning. The very productivity or freedom of human life, far from denying our situation, utilizes it and turns it into a means of expression.

All the art experts, all the big galleries, if not maybe quite all of the humble folk who look at them, agree Jackson Pollock’s splatter paintings do indeed count as great art. And JP intended it to be art too. But what’s curious about most of the most radical artists of the post-Second World War period is that they came from nowhere to prominence with the support of . . . the CIA! Yes, the American secret services actively promoted (through books, funding schemes, newspapers and of course galleries) radical art as part of a labyrinthine strategy to undermine the Soviet Union. This was all part of a special strategy to win over intellectuals – including philosophers – described as ‘the battle for Picasso’s mind’ by one former CIA agent, Thomas Braden, in a television interview in the 1970s. Tom Braden was responsible for dispensing money under the heading Congress for Cultural Freedom. Naturally, most of the people he gave money to had no idea that the funds, and hence the artistic direction, actually came from the CIA. Intellectuals and great artists, after all, hate being told what to think. And what was the communist empire doing meanwhile? They were promoting, through galleries, public funding and so on, a very different kind of art supposedly reflecting communist political values. ‘Soviet realism’ was a kind of reaction to ‘Western Impressionism’ (all those dotty – pointilliste the art-experts call them – landscapes and swirling, subjective shapes) and ensured that people in the paintings looked like people, decent, hard-working types too, and what’s more were doing worthy things – like making tractors or (at least) looking inspirationally at the viewer. When Soviet art wasn’t figurative (as this sort of stuff is called), it was very logical and mathematical, full of precise geometrical shapes and carefully weighted blocks of colour.

Grid art has only gotten better over time. In a Times crossword from 2009 by Elizabeth Gorski, the black squares at the grid’s center formed a spiral, with THE SOLOMON R GUGGENHEIM / MUSEUM as answers spanning the top of the spiral, and—for the geometrically impaired—SPIRAL SHAPE across the bottom. Eight artworks hanging in the spiral-shaped Guggenheim museum appeared as clues, with each artist hung as an answer in the puzzle.

Who says that art and science cannot coincide? Art is seen as subjective, and science is seen as objective. Paintings, drawings, and sculptures can contain geometric patterns. Most anything you can mix in a beaker or a Petri dish could be displayed as art. The point is that there is art in science, and there is science in art.

the Inka style was severe, abstract, stripped down to geometric forms—startlingly contemporary, in fact. (According to the Peruvian critic César Paternosto, such major twentieth-century painters as Josef Albers, Barnett Newman, and Mark Rothko were inspired by Inka art.)

The ancient Japanese art of sashiko is all the rage among modern-day sewists and quilters, using thick, contrasting thread (traditionally white on dark fabric) to turn repairs into mini works of art, with bold geometric patterns in stitching that’s supposed to be seen.

With agriculture, art lost its variety and became standardized into geometric designs that tended to degenerate into dull, repetitive patterns, a perfect reflection of standardized, confined, rule-patterned life.

Poem of the Phalanx (Perception as Visual Personal Art) Memories, shard, intersect and twitch, Create images anew as they inter and switch. Amid blackness eternal, the ground breaks the day And the shape which cuts the ground— Phalanx in time—reapers way. 5 Thoughts as geometric planes galley the night mind, Images thoughted, float raging ever by. Comets to the mind–bolt outta the black they mortise and fly– Disappear they do–into their midnighted cry. (Yea, evil is wrought from the want of the want of Love’s lost ought. 10 Goodness wrights of the abundance of Love in blood ’twas bought. —Live the moment within God’s Mind too, For once missed she will pass by you. But He alone shall remember thy days, For in His Heart He will hold thy ways. 15 (. . . Surmount untold; reproaching its summits hidden self face, Can’t make for a daydrop of lost opportunity and regret’s disgrace. Yes, eternities of regrets can never create The day’s bested instance that was forsaked). Fleets of illusion harbor and snag, 20 Bristled spears impale with emotive jags. Willish anvil beaten and enhammored in bers red embs, Guards the hellgates unhinged in forged remembered contems. (Aye, the anvil of will beaten and wrought Sentinels the gate ripped in forged oughts). 25 Phalanx of dreams penetrate they deep, Guard thy soul they do lest the enemy storms thy keep. They rancor and barb thyself under penalty of arms, And kill the dragons that would do thee most harm. Yea, in the Belly of the Beast thy wounds do feel pierced, 30 For Love Eternal must cut darkness as the Spirit is so fierce. The hour of shadows exalt—! ’Gainst the Christ in His plain splin‴try array– Yet curshed in a moment on that ill-fated day. The way of caution doth forbear to tread beyond the mire In those bleak hours when the ‘Powers that Be’ seek to solace thee in thy soulish desires. 35 Mercy travails deep upon the Fires of His Winds To heal by His cut; His own everlasting His– Is to die to Love Eternal with He, –as He now does and is . . . Hell for others, heaven for some, His work ’tis finished all given and in all thrust done. 40 As Love rejoices His shed blood run red for thee—, —Things Divined and precioius for you and for me forever in He (The spear that killed Him gave Him life –the enemy’s travesty). Phalanx comes, phalanx goes, Wither are thou—dost thousest know? 45 Are ye pierced through and through out within? Seek his face so life may begin Sharp keys to hell the warriors doth say, Yet unlock they the gate to heaven’s pathway. End

Here was light, and flowers, and colours in profusion. There was a loom in the corner, and baskets of fine, thin thread in bright, bright hues. The woven coverlet on the bed, and the drapings on the open windows were unlike anything I had ever seen, woven in geometric patterns that somehow suggested fields of flowers beneath a blue sky. A wide pottery bowl held floating flowers and a slim silver fingerling swam about the stems and above the bright pebbles that floored it. I tried to imagine the pale cynical Fool in the midst of all this colour and art. I took a step further into the room, and saw something that moved my heart aside in my chest. A baby. That was what I took it for at first, and without thinking, I took the next two steps and knelt beside the basket that cradled it. But it was not a living child, but a doll, crafted with such incredible art that almost I expected to see the small chest move with breath. I reached a hand to the pale, delicate face, but dared not touch it. The curve of the brow, the closed eyelids, the faint rose that suffused the tiny cheeks, even the small hand that rested on top of the coverlets were more perfect that I supposed a made thing could be. Of what delicate clay it had been crafted, I could not guess, nor what hand had inked the tiny eyelashes that curled on the infant’s cheek. The tiny coverlet was embroidered all over with pansies, and the pillow was of satin. I don’t know how long I knelt there, as silent as if it were truly a sleeping babe. But eventually I rose, and backed out of the Fool’s room, and then drew the door silently closed behind me.” - Robin Hobb | Farseer Trilogy Book 1 | Assassin’s Apprentice Chapter Nineteen | Journey

As a Caribbean born, I understand the self as a multi geometric entropic process always connected with the communal self. I do not seek history as a way to find points of origins, but to articulate historical locations in a traveling interconnected knowledge system that provides solutions for my subjective migrant experience. In a deeper process, the encounter with these places of interceptions, the crossroads, could become turning points to return, do depart, to convey, and to arrive to the present. African Aesthetics still nurtures contemporary artistic practices in the Caribbean, as well as in Africana Americana Diaspora and the US/Latino Diaspora. Writing the Decolonial Mariposa Ancestral Memory CARIBBEAN INTRANSIT ARTS JOURNAL VOL. 1 | ISSUE 4 | SPRING 2013

Here was light, and flowers, and colours in profusion. There was a loom in the corner, and baskets of fine, thin thread in bright, bright hues. The woven coverlet on the bed, and the drapings on the open windows were unlike anything I had ever seen, woven in geometric patterns that somehow suggested fields of flowers beneath a blue sky. A wide pottery bowl held floating flowers and a slim silver fingerling swam about the stems and above the bright pebbles that floored it. I tried to imagine the pale cynical Fool in the midst of all this colour and art. I took a step further into the room, and saw something that moved my heart aside in my chest. A baby. That was what I took it for at first, and without thinking, I took the next two steps and knelt beside the basket that cradled it. But it was not a living child, but a doll, crafted with such incredible art that almost I expected to see the small chest move with breath. I reached a hand to the pale, delicate face, but dared not touch it. The curve of the brow, the closed eyelids, the faint rose that suffused the tiny cheeks, even the small hand that rested on top of the coverlets were more perfect that I supposed a made thing could be. Of what delicate clay it had been crafted, I could not guess, nor what hand had inked the tiny eyelashes that curled on the infant’s cheek. The tiny coverlet was embroidered all over with pansies, and the pillow was of satin. I don’t know how long I knelt there, as silent as if it were truly a sleeping babe. But eventually I rose, and backed out of the Fool’s room, and then drew the door silently closed behind me.” - Robin Hobb | Farseer Trilogy Book 1 | Assassin’s Apprentice Chapter Nineteen | Journey

As a Caribbean born, I understand the self as a multi geometric entropic process always connected with the communal self. I do not seek history as a way to find points of origins, but to articulate historical locations in a traveling interconnected knowledge system that provides solutions for my subjective migrant experience. In a deeper process, the encounter with these places of interceptions, the crossroads, could become turning points to return, do depart, to convey, and to arrive to the present. African Aesthetics still nurtures contemporary artistic practices in the Caribbean, as well as in Africana Americana Diaspora and the US/Latino Diaspora. Writing the Decolonial Mariposa Ancestral Memory CARIBBEAN INTRANSIT ARTS JOURNAL VOL. 1 | ISSUE 4 | SPRING 2013

The lavishly decorated interior of the mausoleum displays glorious mosaic panels and lunettes, set off by decorative geometric and floral bands. In the center of its dome, an enormous golden cross floats on a dark blue, star-spangled ground. Surrounding the cross are more than 550 eight-pointed golden stars, laid out in concentric circles. The cross is oriented toward the east, rather than aligned with the north-south axis of the building—possibly an indication that it was intended to point toward Jerusalem. The four living creatures of Revelation (symbols of the four evangelists), also depicted in gold, appear in the pendentives.

He said to me one day in the second week of July, “Asher Lev, there are two ways of painting the world. In the whole history of art, there are only these two ways. One is the way of Greece and Africa, which sees the world as a geometric design. The other is the way of Persia and India and China, which sees the world as a flower. Ingres, Cézanne, Picasso paint the world as geometry. Van Gogh, Renoir, Kandinsky, Chagall paint the world as a flower.

must reason your way through the problem. Using line only, draw one simple geometric shape, such as a square, triangle or circle. Without overlapping or intersecting, draw a different shape. Now, draw another. Choose your favorite. Make the other 2 like your favorite. Enlarge one of the shapes. Reduce one of them. Make one shape touch one edge of the page. Make the other

What distinguishes language from isolated gestures and signs, no matter how numerous, is that it forms a complex ramifying structure, which in its conceptual entirety presents a Wiltbild or comprehensive symbolic framework capable of embracing many aspects of reality: not a static representation like a picture or a sculpture, but a moving picture of things, events, processes, ideas, purposes, in which every word is surrounded by a rich penumbra of original concrete experiences, and every sentence brings with it some degree of novelty, if only because time and place, intention and recipient, change its meaning. Contrary to Bergson, language is the least geometric, the least static; of all the arts.

Pythagoras, in particular, was fascinated by the geometric proportions found throughout the natural world. Before Pythagoras, there is little evidence that musicians tuned their instruments using any particular system or scales. It's understood that Pythagoras experimented with a monochord, a single-stringed instrument with a moving bridge, to identify the way that plucking a string of various lengths creates particular musical notes. The proportions that he identified to be most harmonious happened to match the proportions of animal and plant growth (which we'll investigate later in this book). His observations were the foundation of the Western scale of music. This is a great example of isolating natural elements and combining them into a new art from. So magical seeming were his discoveries to conservative authorities that he feared for his life and started a secret society to study nature's mysteries more deeply.

Many artists of all kinds wanted to make their artistic work useful to people in everyday life — and so the new, geometrical visual style was turned into plates, clothing, furniture, and, most famous of all, posters that revolutionized the world of art and brought the new art to the people. Russia suddenly was on the forefront of the future.

Understanding and applying the geometric properties of human space, particularly its patterns of connections, is essential. We, as urban designers, or as architects — or really, as designers of any kind — have to take this problem seriously. The art of our work lies in the way we elaborate and elucidate these deeper realities of life.

Not merely is the art of the second half of the fifth century influenced by the same experience which formed the ideas of the Sophists; a spiritual movement such as theirs, with its stimulating humanism, was bound to have a direct effect upon the outlook of the poets and artists. When we come to the fourth century there is no branch of art in which their influence cannot be traced. Nowhere is the new spirit more striking than in the new type of athlete which, with Praxiteles and Lysippus, now supplants the manly ideal of Polycletus. Their Hermes and Apoxyomenos have nothing of the heroic, of aristocratic austerity and disdain about them; they give the impression of being dancers rather than athletes. Their intellectuality is expressed not merely in their heads; their whole appearance emphasizes that ephemeral quality of all that is human which the Sophists had pointed out and stressed. Their whole being is dynamically charged and full of latent force and movement. When you try to look at them they will not allow you to rest in any one position, for the sculptor has discarded all thought of principal view-points; on the contrary, these works underline the incompleteness and momentariness of each ephemeral aspect to such a degree as to force the spectator to be altering his position constantly until he has been round the whole figure. He is thus made aware of the relativity of each single aspect, just as the Sophists became aware that every truth, every norm and every standard has a perspective element and alters as the view-point alters. Art now frees itself from the last fetters of the geometrical; the very last traces of frontality now disappear. The Apoxyomenos is completely absorbed in himself, leads his own life and takes no notice of the spectator. The individualism and relativism of the Sophists, the illusionism and subjectivity of contemporary art, alike express the spirit of economic liberalism and democracy—the spiritual condition of people who reject the old aristocratic attitude towards life, with all its gravity and magnificence, because they think they owe everything to themselves and nothing to their ancestors, and who give vent to all their emotions and passions with complete lack of restraint because so whole-heartedly convinced that man is the measure of all things.