A Belt is Fourth Dimension's Unfinished Business

POLARIS STOOL SHE-D (4) NOT 3-D

From Hermaphrodite Clan Mother to Pseudo Bagperson Suspenders

In the fourth chapter of his 'Poetics' Aristotle says, "Imitation is natural to
man from childhood, one of his advantages over the lower animals being this,
that he is the most imitative creature in the world, and learns at first by
imitation. And it is also natural for all to delight in works of imitation." By
"works of imitation," Aristotle meant works of art. This included products of
human skill that are now regarded as technological. Other terms he could have
used for imitation are "representation" and "depiction."

The 16th-century English poet Thomas Overbury said simply, "Nature is God's. Art
is man's instrument." About 300 years later the English critic John Ruskin
noted, "Art does not represent things falsely, but truly as they appear to
mankind." "Art is the child of nature," wrote the American poet Henry Wadsworth
Longfellow.

The shoe imitates the foot and the glove the hand.

Plato, in his "Sophist" dialogue, remarked that the painter is able to imitate
anything in the world, and it is true that a painter's choice of subjects is
virtually unlimited--landscapes, buildings, people, animals, scenes of battle,
and still lifes of bowls of fruit or flowers. Literature can imitate the drama
of all humankind or the individual life. Poetry, in the classical sense, has
attempted to imitate truth itself. Music imitates the human passions. Music can
also be descriptive in its presentation of sounds that remind a listener of an
event--the roar of cannons as Napoleon invaded Russia in Tchaikovsky's '1812
Overture', the rolling waves in Claude Debussy's 'La Mer' (The Sea), and the
insect noises in Rimski-Korsakov's 'Flight of the Bumble Bee'.

Imitation, in this sense, does not mean duplication. A real house is
three-dimensional, but a painting of the house, though only two-dimensional,
could still be a realistic representation. Sculpture, which is
three-dimensional, makes a closer approximation of reality, but it lacks the
life of what it depicts.

"I paint what I know is there."

To paint what one sees is a description of art as imitation.

Picasso's rather cryptic statement clouds the issue of imitation and puts the
origin of artistic creation entirely within the artist. The artist's goal is
self-expression, not necessarily imitation of any feature of the outer world.
Both the inspiration and the subject matter derive from within. Or the artist
may be trying to distill the essence of what is seen, to create an abstraction
of its qualities.

The Gothic art of the Middle Ages was abstract to some degree in that it did not
pretend to depict literal reality. It was intent on portraying religious
symbolism, but the abstractions were not so removed from normal experience that
they were not easily recognizable by the viewers. Abstract portraits of saints
and depictions of events in the life of Jesus had become familiar to viewers by
long association.


Bing, Being, Boeing, Beijing, Bang
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The SculPTor (1776-1867)

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June 27, 2009
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