The Eye and Ear

January 8, 2009

The ear, to me, seems much more adept at seizing three dimensional metaphors than the eye. The “inner ear” (Joyce) seems to expressively react to the three dimensional soundscape of a “picturesque” song, with an ease that the eyes don’t achieve. Music is a spatial metaphor, that shapes the body (literally in dance) in accord with it’s abstract three-dimensional space. The music is seized and it becomes a seizure. The space in music is abstract until one fictionalizes it into anthropomorphic three-demensional shapes. It is an assemblage of lines, shapes, colors and textures, that if seized might become an abstract anthropomorphic rendering, that blasts back at you a myriad of fragments that make non-sense. Sometimes there is something there – a three-dimensional noun, attributed to the abstract adjectives. This spawns the imagination to bound itself into a fictional world of psychosis. These are the power of adjectives – the power of the world in the middle of the Fruedian triad. Language is at work here in music. It becomes alive, when heard as descriptive nouns.

The eye, before re-congnition, sees the landscape without a prefix. The “inner eye” is more difficult to three-demensionalize. An abstract painting still expresses itself in the power of three-dimensions, but most often the multi-dimensional reflection is immediately mapped and pieced together in two-dimensions, meaning the spacial perception is lost in a categorical containment. The sites, I think as well as Smithson, need to take in the three-demsional metaphorical reflection in the mirror without the interpretive mind reducing it to a two-dimensional logical picture.

I think the ambiguous must be embraced to be in the inbetweens of three-dimensional expressiveness, where two-dimensional logical pictures are somehwere in the void of “behind”, where “in front of” is an ambiguous scattering that one does not account for through categorical confines, but rather seizes it through the scale of the eye and the ear. The seizure is the inbetween sensible intuition that is both expresseve and impressive at once. It is where the body meets the world in a spiral of sensation where logic, and reason sink into the “background”. It is a paradox. The inbetween aesthetic expressive-impressive is not thought, but three-dimensionally imagined and felt by the body. The primitive, perhaps, remains in the “inner ear”.

This etyomology is pretty interesting:

Scale – “to climb,” c.1380, from L. scala, from scandere “to climb”. This is also the source (perhaps via It. scala) of the noun in the musical sense (1597), and the meaning “proportion of a representation to the actual object” (1662). Scale down “reduce” is attested from 1887.

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