| "Rules: Logic and Applications" 2nd Workshop, Dec, 2019 |
| Aesthetic Morphisms |
| Jocelyn Ireson-Paine |
| www.jocelyns-cartoons.uk/rules2019/ |
| "Rules: Logic and Applications" 2nd Workshop, Dec, 2019 |
| Aesthetic Morphisms |
| Jocelyn Ireson-Paine |
| www.jocelyns-cartoons.uk/rules2019/ |
| Slides as PDF | Artistic Techniques Database Demo | Artistic Techniques Database Video | Contact |
|
Ernst's quote below, from his "What is the Mechanism of Collage?" is terribly reminiscent of conceptual blending. One difference is the addition of a third element which, as it were, throws the other two into relief:
❝ A ready-made reality, whose naive destination has the air of having been fixed, once and for all (a canoe), finding itself in the presence of another and hardly less absurd reality (a vacuum cleaner), in a place where both of them must feel displaced (a forest), will, by this very fact, escape to its naive destination and to its identity; it will pass from its false absolute, through a series of relative values, into a new absolute value, true and poetic: canoe and vacuum cleaner will make love. The mechanism of collage, it seems to me, is revealed by this very simple example. The complete transmutation, followed by a pure act, as that of love, will make itself known naturally every time the conditions are rendered favorable by the given facts: the coupling of two realities, irreconcilable in appearance, upon a plane which apparently does not suit them....
One rainy day in 1919, finding myself in a village on the Rhine, I was struck by the obsession which held under my gaze the pages of an illustrated catalogue showing objects designed for anthropologic, microscopic, psychologic, mineralogic, and paleontologic demonstration. There I found brought together elements of figuration so remote that the sheer absurdity of that collection provoked a sudden intensification of the visionary faculties in me and brought forth an illusive succession of contradictory images, double, triple, and multiple images, piling up on each other with the persistence and rapidity which are peculiar to love memories and visions of half-sleep.
These visions called themselves new planes, because of their meeting in a new unknown (the plane of non-agreement). It was enough at that time to embellish these catalogue pages, in painting or drawing, and thereby in gently reproducing only that which saw itself in me, a color, a pencil mark, a landscape foreign to the represented objects, the desert, a tempest, a geological cross-section, a floor, a single straight line signifying the horizon...thus I obtained a faithful fixed image of my hallucination and transformed into revealing dramas my most secret desires — from what had been before only some banal pages of advertising.
Under the title "La Mise sous Whisky-Marin" I assembled and exhibited in Paris (May 1920) the first results obtained by this procedure, from the Phallustrade to The Wet Nurse of the Stars. ❞
