Voltaires philosophical dictionary with notes by Smollett.

StSebastian

ItopenedthingsupintermsofstudiovisitswithmygradstudentsorwithartistsI
know,especiallypainters.Paintersdoblogs,theycurate,theyrunanapartment
gallerypaintingissomethingthattheygettowhentheycan,youknow?

processed-based paintings
MoststudiosIgointonow,theyfeelrelevantpartlybecausetheyhavefourorfive
thingsgoingontheirlaborisfragmented,theiridentityisfragmented.Theydont
talkaboutpaintingasanidentity.Itsmoreperformative,itslikesometimesI
makepaintings.

Well,Ithinkitisanidentity.Imean,itslikeIamapainterinsofarasthepainternow
curatesshows,goestoparties,looksatsimilarvisualstimuliandrespondsina
similarway.

ChrisWool,martinbarre

persononapillar,thepoperidingapig,emilysunbladporno,oysters,ultraminimal
nymphandstary,thenarutoblackandsilverfoilscheme,threepartleluxe,noses
touching,

enlargepartofanoldmasterdrawingtomakeitlooklikemartinbarre?likethat
stupidguywhodoesthisbanknotes.

lineisalsotheintersectionofplanes

it'sunabashedlymodernist

ineedtolookatmoreoldmastersagain.itcanbehardtofindposes.iwould
liketolearnmoregermandogs.

4panelstructure?whitestripes.

"Picardneverhitme"
"imnotPicard"


youcanbuildyouowncolorspaceswithreplacementeffects.itisimportantto
considerthisinrelationtotoneandalsotocolor.itisimportanttoconsider
computergraphicsonceagain.

There is a story about Titian, that he kept his unfinished paintings all over his
house, turned toward the walls so he couldn't see them. A friend of his
watched him walk from room to room, turning each painting around,
painting a few brushstrokes, and turning it back to the wall. If that story is
true, it means his paintings were sometimes the products of very brief
glances, but repeated over very long periods of time. We could then look at
them the same way: perhaps briefly, but repeatedly, over many years,
getting a new "first impression" every time. It's true that modern art seems
very different.
It seems that if we're talking about how long painters take to make paintings,
we should begin by admitting a general truth: modern and contemporary
paintings took less time to make, on average, than medieval, Renaissance, or
Baroque paintings.
Three Philosophers (Aeneas, Evander, and Pallas).
This is where we get to what's strange about this subject. Art historians have
observed that Renaissance artists sometimes painted the heads and hands
of their figures, and gave all the rest of the painting to their apprentices.
That implies that the naturalistic passages were somehow boring. Before
modernism, most of the surface of any given painting was fairly
uninteresting stuff: the idea of the painting might have been interesting, and
maybe the main figure's face. But the majority of the painting was probably
tedious to make. How interested could Titian have been in all those trees?
Boredom is about two hundred years old, young by historical standards.
to try to think of some way to counter or destroy polke.
Theydontevenhaveaproperbar.

Torturedbyalongingforfame,wastinghisdaysinargument,believingincountless
ridiculousideas,insystems,incritics,intheimportanceofthecodificationorthe
reformofart,hehadreachedtheageoffiftywithoutproducinganythingbutsketches.


combinethedogwiththehoop.perhapsafigureofeightarrangement.

falsterbroughbeachhoundscenecombinedwithmatissemodernistplants.

tocopy:fivehounds,durersimplefigures,matissebathers,matissegardenscene,hound
beachscene

tolearnandrevise:perspective,faceshading,hands,wedges,morecomplexperspective
arrangements.

4.Everyimageisacrosssectionthroughavisualcone.Animageisnotformedatthe
viewpoint,becauseapointhasnodimension.Insteadtheimageisformedbymakinga
slicethroughthevisualconeatsomepointotherthantheviewpoint,eitherinfrontof
orbehindit.

justfindagridforthisandstarttodrawonthat.alsodocastdrawings.

informationtheorycanbeimportantbutiamtoostupid.thenumberofbitsinapainting.

Moreoftentheperspectiveviewpointimpliesatimelessoruniversalwitness,anabstract
vantagethatcanbefilledequallywellbyanyanonymouspasserby.thisisimportantto
rememberinrelationtoawfulabstractionsandcomics,aswellasallthethingswhich
aremultipartwithmanypossibleviewerrelations.

comboexpressionistshitwithmackindolanstyleflatboxesonawhiterectangle.

howtodoplanesinrelationtootherplanes?

SouthGermanaltarpieces,forexample,whichhadalwayscenteredonsculpturalretables,
becameduringDrersdaymoreandmorereliantuponpainted,polyptychwingsin
multiplestatesobjects,whichthemselves,ofcourse,workedthroughthemovementof
folds.2

hespeaksoftheirGeflatterflutteringsinteractiveGermanpropagandawoodcuts

Dinneratthemembersclub?Yes!i'llhaveablackamericanofirstpls


Aspeoplelearnmoreaboutanartform,theycanmoreeasilypredictit,andneedmoreand
morenoveltytokeeptheminterestedlikepornviewerswhoseekoutmovieswith
continuallystrangersexacts.Ifivyleagueuniversitieshaddepartmentsofpornography,
theywouldscoffatthesimplicityoffilmslackingbondage,machines,oranimals.Thiswould
explainfeatures1,3,and5.

threehoopswithanelegantjumpingdog

swimmingdogs,thedogjumpingthroughthreehoops

anyway,ihaveanideaofwhatmightbeproblematicaboutintricateorcompleximagesin
streams.thestreamisgeneratingcomplexityandthefocusonthesingleimagerunscounter
totheurgetoconsumeoftheimagesandthelustforthenewandfornovelty.
glanceaesthetics,orsomethinglikethis.thisisalsowhycartoonandjokepaintingscanbeso
successfulinthecontemporaryenvironment.largeexhibitionsarealsolikethis,butitisa
littledifferent.bandwidthmightalsobesomethingtoconsiderhere,ifyouwerelessstupid.

Ifyoulistentotwosinewavesofnearidenticalfrequencytheysoundconsonant.Widenthe
frequencydifferenceandtheybecomedissonant.Furtherwidenthefrequencydifferenceand
theybecomeconsonantagain.Thiswasmeasuredbackin1967byR.PlompandW.J.M.
Levelt.Theconsonanceofamusicalharmonydependsontheseparationoftheindividual
partials.Weneeda"criticalbandwidth"ofseparationbetweenfrequenciestoclearly
distinguishthem.Youcouldthinkofdissonanceastheunpleasantfeelingofhearingdifferent
frequenciesbutfailingtoresolvethem.

whatdoineedandwishtoreadrightnow?durerfiguredrawingbook.somethingsimpleabout
twopointperspective,leonardo,thesectiononvenetianoilpaintingtechnique.

toreadinthenextmonths:reynoldsdialogs,leonardo,craftsman'shandbook,livesofthe
artists,caravaggiobiographies.

durerhasaverygermansenseofhumour:createshumorousdistortionswiththerigidsystem
hehascreatedalsoquiteslapstick.

ishouldreallywriteaboutthingsagainasitissuchagoodwaytocatchandsolveproblems.

peoplewantsomethingwhichappearstobewrong,butisstillprofessional.


7'x3.5'monochromesize.itisalsopossibletoproduceverbatimcopiesofcrovaxwithout
incurringthewrathoftheproducer,astheproducerdoesnotwishtoknow.thisisfunny,but
perhapstooclever,butilikethemonochrome,sowhocares?

howdoyoumakenicemonochromesanyway?

so,like,artbrutwithcoloredframesandglass.combinationofmirrorlikeslicknessand
outsiderpaintinganddrawing.

itisbettertousedarkgroundsaswhiteislike,urg.metagame,soforth.

jeanarp,jeantinguely

adogwithaharness,adogsleeping.dogsaresohot.

perhapsishouldjustissuearenunciationandtrytoproduceoutsiderart.allyouhavetodois
makeitalittlelargerandbranditalittle.itisalsonicenottobeapartofcontemporaryart.

isupposethisisnowonlyforideas.

whitemonochromeonboard(foam)withathinbluestripatopit.boatsandkeys.

howtodrawagoodboat?

germaninsultletters.whatdesignoftortureorpigsdoesthisrequire?pigsfeedingmen,small
demons.

oneoftheproblemswithsophisticationisthatitmakeyoudesirethingswhichareeither
perfectorunsophisticated.thisisastupid,butplausible,explanationformuchoftherecent
germanpainting,andthepaintingassociatedwiththatsortofgermanpainting.

orthattryingtobeunabletoresolveissomethingwhichnowappliestoproductionaswellas
thethingswhichareproduced.

addition:thiseffectappearstohavemovedtoeverybodyincludingcomicsandfashion.iwas
justalittletoonarrowtoseeitwheniwasconcernedonlywithart.(butifyoulookatthe
brand,itisreallyhardtotellifitisinpoortasteornot).theattractiontolines.notbeingable

totellifsomebodydidsomethingornotisnowapropertywhichcanbeidentifiedand
cataloged,orametriconecanaimfor.thisisalsoabane.

adragonwithanoddspatialconstruction.

whatyouactuallywantisaconnecttoanentitywithpowerorvalue.metallogos.alsosome
sortofprimaldriveorattractiontotransgressiveorriskyobjects.youshouldtrytogetgood
atmetalgraphics?

acceptableiconography:geometry,curves,churches,wands,skulls,skeletons,trees,flowers,

templeofbaalsvases.

skeletonridingahorseholdingalampandabell.thehorsedrawsacartfullwithskulls.

morestoleniconography:cartwheels,pillars,largearchedwindowswithmanydivisions,

somenotesontheconstructionofmetalgraphics:thefiguresarefilled,withoutline.the
backgroundcolorisusedfordetails,notforthemass.

tomakesomethingwhichhasnoelementsbutthemostcomplexinteractionsofreferencesor
stolenobjectseegamedesign.perhapsthisshouldbeamonochrome.toarticulateallofthe
possibleslotswhichmayaccommodateorcanbeusedtoreferents.frame,edge,fabric,etc.it
isalsopossibletodividethecategorieswithease.

lacqueredbamboo.

showidea:insultlettersandtheannoyingscholarpainting.

insultletterpaintings:unfoldedstationarywithgermantextinblackandwhiteakintoawood
cut.imightdrawthistonight.

HesaysIhavemanycatsandtheyaretheoneswhoreallypaintmyworks.IadmititnowasI
nearmydeath.Itrieddogsbutitdidn'tworkaswell.

shellstheleavesofplants,flowerstolearnaboutturningplanesandlightchanges.

notesontheintersectionoflight:whenaplaneisatangleinrelationtoalightsource,the
planeishitbylesslightrays.thiscreatestonaldifferences.whenaplaneisperpendicularto
light,ahighlightiscreateed

thestrangepaintingsofthedream.orangetrollsquare.cartoonishlandscapewithfiguresand
hills,oddcolors.unfinishedtoosooniskrebberbasicallyagermanversionofchristopher
wool?

bluecrossgameboardpainting.outlineandcross.

godtier,godtyre.atyregod.

SuShih,forinstance,declaredthatanyonewhojudgespaintingbyformlikeness
showsmerelytheinsightofachild.Scholarofficialpaintingwasthusinfusedwithlife
notsomuchbytherepresentationofrealityasbyevocationandreflectionandthe
elicitationofassociationsthatliewithintherealmoffeeling."

poempaintings,orpaintingswhichfuserpgmanualswithpainting.alsotouse
abstractionforthisscholarpaintinggoal,ratherthannature.math?

blackribbonpainting,blackbarpaintingwithdrawings.notsoheavyanymore,i
suppose.

whatdoweneedtorememberaboutlight?guamt,luminescenceadaption,contrast
effects(simultaneous,opposing),saturationlevels.

howtodrawbodies:

tolearn:flowers,trees,hands,uppertorso.

howtocreatefearorintimidation:

needmoreideasandbetterprocessforgeneratingabstractions.

also:itisimportantthatyouproducethingswhichyoucannotresolveandcannotread,
oryouwillinevitablyproducethingswhichyouwilltireofandthenbegintoconsider
bad.irresistibleisstillthemostimportantproperty.

ishouldalsowritevariousidioticmanifestos:whyipaint
cardgamepainting:thisshouldbebasedonjyhad.itshouldusebloodcounters(canwe
thinkofsomethingwhichislikethethingsthoughtofscholarpainting?thatthesemay
beusetohavearepresentationalnonrepresentationalfunction(theyarearecounters

whichrepresentblood,butthesecountersrepresentsanotherthingsymbolsare
funny)).cardsoverlapping,cardswithcountersonthem,poolsofcounters,ablackskull,
hands,libraries,woodensurface(thisdarkoak).thisisalmosttooeasyihate
contemporaryart.

adiaryoninformationtheory.

toconsiderinrelationtoabstraction:adreinhardblackpaintings,johnsgrey,
rauschenbergwhite,manzoni,olivermosset,richtergrey.kireanalsotalkedabout
tendenciestowardmathematicalabstraction,whichseemstobeareasonableanalogfor
theprogressofsomepartofmodernistpainting.

TheeminentpoetandstatesmanSuShi(10371101)explicitlyrejectedtheattemptto
captureappearanceasbeneaththescholar.Paintingsshouldbeunderstated,not
flashy.HispaintingofRockandOldTree,below,executedwithadrybrush,exhibits
roughqualitiesanddoesnotaimatpleasure.Thepaintingismoreakintoanexercise
aimingtoimproveanddevelopcalligraphicskillthanthesortsofpaintingsdoneby
contemporarycourtpainters.Emphasizingsubjectivity,SuShisaidthatpaintingand
poetryshareasinglegoal,thatofeffortlessskill.

Figuresdonewithathinline,ratherthanamodulatedone,wereconsideredplainerand
moresuitableforscholarpainters.brightcolorsandpunsarealsoconsideredbadby
scholars.

flowersandplants:pine,plum,orchid,peach.flowersofdispair.

duckpaintings.

personalexpressioncouldbeveryamusing,asitissomethingihaveneverdone.
allegoricalexpressionisoneofthedumbestthings,soifeellikeicoulddothat.

duckpaintingwithpatternbackground.duckpaintingislikekippenberger.scholarsaid
itisbadtomakeobviousjokeduckjokeisobviouswhenusingformatofgerman
paintings(chinese/german?)(threepartpatteren:figure,patternground,addtional
object(inthiscase:textbutthisisoftenacartoon)sotheobjectoftheoriginaljoke
wouldthinkthatthisisabadjokewhichwouldmakeitagoodjokeforthegermans.

curvilinearperspective.isoluminance.

hundredsofoverlappingpatchesoftransparentpurecoloraureolin,rosemadder,yellow
ochre,burntsienna,viridian,cobaltblue,prussianblueandblackappliedverymuchinthe
wayCzannebuiltuphislateoilsthroughthinglazesofpaint.

whattopaintwhichwillallowforformwithcolor?howtopaintonrawfabricwithacrylic?thisis
actuallyverysimilartopaintingonrawfabricwithoil.nosomuchtrix.tomakenotesaboutthe
pigmentqualitiesofthepaintsyoubought.

noteforgamingpaintingorseries:paintingsmusthavepowerinrelationtooneanother.one
mustbelessvaluable,whilealsomustbeofthecorrectlevel.objectscanactinrelationships
whichhavesomedimensionwithqualities(thisoneismorered)whichallowforrelationsand
judgementsfromthis,interactionsmaybeproduced.butitcanbehardtoimbuethesethings
(perhapsitcanworklikedepthortone:youjustneedatleastthreeforidiotpatternrecognition
totrigger(ishouldmakeajokeaboutbeingabletonoticepattern:ifyounoticethepattern,you
lose))withjustpainting.

itisstillbadtohaveasingleobjectgoal.isortofforgotthis.anythingwhichdoessomethingis
bad.seebadpoliticalart,performances,functionalormaterialbasedconceptualism.

iguessthisisfinished.