June 25, 2004

Miro's Chaosmosis, Guattari's Art

Last weekend Emma and I bought a Fundació Miró print of Pintura. This is to go in our bedroom at the new house in Kenilworth. Looking at it reminded me of something that I wrote just after visiting the Fundació, an interesting coincidence of reading a book on Miro and Guattari's Chaosmosis. I've rescued the text from my old MT blog and repeated it below…

Andre Breton on Miro's Constellations: "They belong together and differ from one another like the aromatic or cyclic series of elements in chemistry. If one considers them both in their development and as a whole, each of them assumes necessity and value like a constituent in a mathematical series. And finally, they give the word 'series' that special meaning by their uninterupted and exemplary sequence." Miro by Janis Mink, Taschen 2000.

Felix Guattari on the Production of Subjectivity: "In this conception of analysis, time is not something to be endured; it is activated, oriented, the object of qualitative change…A singualrity, a rupture of sense, a cut, a fragmentation, the detachment of a semiotic content – in a dadaist or surrealist manner – can originate mutant nuclei of subjectivation. Just as chemistry has to purify complex mixtures to extract atomic and homogeneous molecular matter, thus creating an infinite scale of chemical entities that have no prior existence, the same is true in the 'extraction' and 'seperation' of aesthetic subjectivities or partial objects…that make an immense complexification of subjectivity possibile – harmonies, polyphonies, counterpoints, rhythms and existential orchestrations, until know unheard and unknown." Chaosmosis (page 19)

Miro described how he would evolve the elements of his works from partial objects viewed while staring at the ceiling above his bed. He worked these partial objects into existential orchestrations relative to each other, generating a "necessity" (in the Kantian sense) to their being produced. Guattari takes the Bergsonian interpretation of Kant in seeing subjectivity as enduring or being subject to necessities (refrains or exemplary sequences). But like Miro he knows that these necessities are not given, they are produced through knowable mechanisms (time is activated) – and if they can be known, then they can be chosen, so he has the possibility of an ethico–aesthetic paradigm.

- 5 comments by 2 or more people Not publicly viewable

  1. Will you have red curtains to match, or maybe blue?

    25 Jun 2004, 09:35

  2. Robert O'Toole

    Not sure yet. But either red or blue would be good. Perhaps you could design the room for us.

    25 Jun 2004, 09:43

  3. Morrocan red is always a good way to go but it might also send you both loopy.
    Maybe you need a ethico-aesthetic paradigm shift. Let the power of colour into your life!

    25 Jun 2004, 09:51

  4. bruno loeb

    image is everything.

    30 Jul 2004, 22:13

  5. antiochos

    if you want to see very interesting "philosophical portraits" look at Bruno Loeb's site www.brunoloeb.com.
    You'll find Guattari, Derrida, Lacan, Heidegger, Husserl, Glucksmann etc…

    12 Aug 2004, 15:26

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