because this removes a sensation that revealed everything through animal instinct. We look for the shapes of faces and figures in twisted tree roots or in wind eroded rocks, and artists paint pictures, carve sculpture, compose music, etc. I will be asserting that when we ‘feel’ any recall of animal instinct within our ordered intellectual view of the world we sense it as a disagreeable sensation, and the response of intelligence is to remove this ‘feeling’ by attracting us to find, or impose, ordered patterns into what surrounds us. It was never understood that we have evolved from animal origins and so no one entertained the idea that we inherit other older ways of sensing the world that are now overwritten and suppressed by our capacity of mind. Aesthetic intellectual consideration has always been upheld to be the goal of artistic achievement rather than intuitive raw response, and the idea of beauty, that was always associated to the concept of art, has never been considered to be the outcome of a need to suppress recall of our older way of sensing. This shifts the emphasis on artistic endeavour from that of an aesthetic intellectual consideration of ordered thought to that of a behavioural response to a natural impulse of mind. In art this theory equates to the idea that guiding material to create a work of art suppress any hint of the original view, which is at it's most powerful when the artist acts spontaneously to create an object that holds no intelligent or intellectual meaning or value.Īt the core of modern art lies the need for the freedom to act in a raw natural way rather than through controlled learned technique. In other words, we respond to what we see around us to remove any recall of a naïve way of sensing that has become redundant and lost to us behind the ideas we learn to project over all we see and do. This implies their must have once been, and probably still is, a primary awareness at work in the depth of our minds, and that this process has become suppressed by a behavioural response that works to remove any perceptual impulses that we inherit from our distant ancestors. An original way of sensing objects is therefore considered to be hidden from us in day-to-day life by the way our intelligence transforms older impulses of mind, and the view generated for us by the intellect is built upon previously acquired ideas rather than direct experience. In philosophy of mind, naïve realism, also known as direct realism, is the idea that the senses provide us with a primary awareness of objects as they really are, but our learning and our beliefs transforms this direct view into a secondary experience in our powers of perception. Redundant Perception: An Artist's Enquiry. Art has always worked to suppress rather than reveal an original way of sensing sight, shape, sound, and movement, and it is this realisation that I believe was the motivation for challenging the established principles of art upheld by the founding pioneers of modernism. A state of mind therefore exists that once allowed us to conceive of the world in a natural way, but artists have always created intelligently structured artificial images rather than the spontaneous intuitive results need to glimpse the instinctive insight. This experience of mind now lies buried behind our modern day thought processes, and for any artist aware of this the implications are that the way we create art through intelligent learned ideas hides an experience of deeper natural form. It is also probable that our brains generate the remaining impulses from an older redundant power of perception that once gave our distant ancestors an ‘animal’ awareness of objects and events. This is known as the ‘tail-bone’ because it is considered the remains of the full tail that our ape-like ancestors once possessed. Examples would be the flightless wings of penguins and ostriches, and the vestige of a tail in we humans which is made of three small loosely fused bones called the coccyx. Living things often display redundant and unused appendages of physical characteristics that once served to give them an advantage in the struggle for life.
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