Trutty-Coohill - Art inspiring transmutations of life
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Although the creative impulse surges in revolt against everyday reality, breaking through its confines, it makes pacts with that realitys essential laws and returns to it to modulate its sense. In fact, it is through praxis that imagination and artistic inventiveness transmute the vital concerns of life, giving them human measure. But at the same time arts inspiration imbues life with aesthetic sense, which lifts human experience to the spiritual. Within these two perspectives art launches messages of specifically human inner propulsions, strivings, ideals, nostalgia, yearnings prosaic and poetic, profane and sacral, practical and ideal, while standing at the fragile borderline of everydayness and imaginative adventure. Arts creative perduring constructs are intentional marks of the aesthetic significance attributed to the flux of human life and reflect the human quest for repose. They mediate communication and participation in spirit and sustain the relative continuity of culture and history. Read more...
Abstract: This book treats art as a unique thread in human communication, a medium that carries the significance of human life and sustains history and culture. The reader takes away a creative experience that transmutes and transforms. Read more...
Abstract: This book treats art as a unique thread in human communication, a medium that carries the significance of human life and sustains history and culture. The reader takes away a creative experience that transmutes and transforms. Read more...
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Part 1
INAUGURAL STUDY
INAUGURAL STUDY
Patricia Trutty Coohill (ed.) Analecta Husserliana The Yearbook of Phenomenological Research Art Inspiring Transmutations of Life 10.1007/978-90-481-9160-4_1 Springer Science+Business Media B.V. 2010
The Pas De Deux: Weaving Thought and Act
Patricia Trutty-Coohill 1
(1)
Siena College, Loudonville, NY, USA
Patricia Trutty-Coohill
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Abstract
In this essay, two metaphors evoke Anna-Teresa Tymmienieckas philosophy: weaving and the pas de deux . To demonstrate two of her arguments, we look to the works of two contemporary artists who weave natures leftover materials. Peggy Wymans cooperates with her materials, allowing the fibers to stretch in all directions and into all dimensions, partner dancing with them. Patrick Doughertys stick works point to the second Tymienieckan thesis, that creativity is not tied to consciousness or intentional acts, but to enjoyment. Enjoyment is not a matter of surrendering to the other, as Moritz Geiger posits. The fact is that free from care/intention, we encounter our true selves. We come to life.
For Tom
How do you know when the work is done?
My answer is always: When the conversation ends.
Peggy Wyman
A mark of Leonardo da Vincis genius is that he was able to visualize a description, to conjure the image of a text, as he does in his famed drawing of Vitruvius description of the perfection of the human body (Venice, Accademia). When it came to drawings from nature, Leonardo attempted an even greater ideal, to capture not only the appearance of nature, but its life force, as he did with the Star of Bethlehem drawing (Royal Library, Windsor) in which the leaves whorl, not as they would appear in a photograph, but to give the sense of the plants energy, its chi .
Finding the analogies between Leonardos drawings and their sources has been one of the joys of my scholarly life. It is only natural then that, since I have worked with the World Phenomenology Institute,1 I have been much concerned with imaging powerful analogies for philosophic thought, especially Anna Teresa Tymienieckas. So a number of my papers are categorized as Visualizations. Please note that I am not trying to find illustrations but works of art that sing the same song as the philosopher.
This study is another such exploration. Its topic is inspired by the theme of the conference, its subject by surprise laid before me in Phoenix in February 2007, and, its method encouraged by Professor Tymienieckas own open-hearted transdisciplinary processes. My discussion begins and ends in the first volume of her Logos and Life because thats where the works of art led me. In a way, though, I will end as I begin like Professor Tymieniecka who returns to certain themes again and again, each time gathering in new inferences, enlarging the scope organically. Her work is about working it out, thinking and living it through. Its about process through process . Indeed Olga Louchakova calls Tymienieckan phenomenology, process phenomenology .
And so my own presentation here is also about process, about discovering relationships, about uncovering the discovering; its title about connecting, intersecting, and collaborating. The metaphors are multiple (but not mixed) because that is what I found. The texts I present act to disclose the sense of the artworks, like the male dancer in the pas de deux stabilizes and at the same time reveals the movement of his partner. The reverse is also true: the artwork discloses the revelations of the text.
There is another way to see the relationship: the critic is the stabilizing dancer who reveals the relationships between word and image, who beckons the beholder to witness their harmony. To fully envision the pas de deux I propose, however, a little backstory is necessary. And that backstory is about my own process of understanding. So I need to backtrack to explain how I got into this.
Its Gary Backhaus fault. I found, in a paper I struggled with at his behest, that my analogy of Tymienieckas complexity to tapestry was both inadequate and inappropriate because it only dealt with surface effects and not with structure and technique. Let me explain. The common type of weaving, on a loom, is inadequate as an analogy to Tymienieckas thought because its boundaries and framework are fixed and its fabric is made through linear progress. Loom weaving then is better suited to a philosophy based on a rigid framework stasis and reason, one that progresses linearly, than it is to Tymienieckas open phenomenology of life.
The analogy to tapestry only applies to the elaborate, its brilliant surface pattern, not to its technique which is diametrically opposed to Tymienieckas: the technique of tapestry serves to hide the process of its weavingits color patterns are brilliant because all we see are the colored wefts which are combed in tightly to hide the strong but dull linen of the structuring warp. With Tymieniecka, the method is apparent throughout; we travel on the shuttle, our eyes on warp, our hands on the weft. Her philosophy, based on a creativity that is not merely rational or sensuous, comprises all modalities, stretching in all directions and into all dimensions. We need a weaving system in a Tymienieckan mode, one in which the warp is not stretched in taut fixity from a quadrangular frame, but rather strung by and from the dynamic forces of life itself. What art form could illustrate the principle of a logoic life warp we could come to know through our own lived experience, in and through the shuttling our own becoming?2
Invention
The work of two sculptors who work with natural fiber fill the bill: Peggy Wymans small works and Patrick Doughertys giants. I met both in Phoenix in February, shortly after my discussions with Gary Backhaus. The timing couldnt have been more perfect. Since both work to invent harmonies of art and nature through their processes, their works will be my key analogies for this discussion.
Let us first summarize one of Tymienieckas discussions on how invention sets off on its own, taking a distance from our natural function or from Nature.3 In the first chapter, first part of her first book of the Logos of Life series, she dwells on invention, especially on its operational meaning-bestowing specificity ( LL 1 , p. 121). As an example she compares hearing the sounds of nature to listening to those sounds with a musical attitude. In the first hearing our awareness is attuned to our vital concerns, e.g. danger; in the second listening, however, on the wings of invention we leave associative entanglements that tie us down to the earth behind ; we replace them by enchantment with nature. [We become] disinterested in the vital cares of the moment. Our sensation [incorporates itself] into a larger experiential complex. At such a turn Art takes off, leaving Nature behind; it is the incipient moment of Art crystallized in a pre-perceptual sensation, Husserls pre-sensations ( LL 1 , p. 122). In an analogy with biological terms, she says, the creative function is a radical mutation responding to pressures of subterranean pre-perceptual sensation and specifically human virtualities.
Tymieniecka does not limit her inquiry to merely the manifestation of evolutionary progress, but on the contrary, seek[s] its modi operandi ( LL 1 , p. 123). Indeed , her gift is to describe as and ascribe to the process of creation the entire self-interpretive operational system of the living individual-on-the-brink of turning into a specifically human self-construction ( LL 1 , p. 123). In this way, she shows that the creativity involves a turning away from, indeed a deconstruction of, the life-subservient perception constitutive of natural phenomena. The creator, then, is free to take new roles within a different constructive system ( LL 1 , pp. 122123).4
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