timelets

Contrary to the common belief that moving images help us to see change, we contend that stillness that helps us to see movement and change. Change is constituted through the relationality of the picture series. The series is a synthesis and analysis of development at once. Development is both the individual form and the series of forms – it is stasis as much as flow. locating development in the images we have created is to imagine development as a pictorial relationship. It is the relationship between the visual forms that produce both the individual stage of development and development as a whole – simultaneously and in mutual dependence (Wellmann 2017: 233).
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The ‘fishness’ of the fish is maintained through the transformations; each stage bears a unique gradation of colour, repetition of the same form seen from different angles and scales, moving forwards, backwards and sideways, creating a feeling of emergence from a dark background. Klee’s watercol- our washes elevate the forms to a resonant poetry.
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The essence of rhythm is the fusion of sameness and novelty; so that the whole never loses the essential unity of the pattern, while the parts exhibit the contrast arising from the novelty of their detail’ (Whitehead in Wellmann 2017: 25).



Quoted from Drawing Processes of Life, 2024

Ricoeur’s argument regarding selfhood proceeds through a sequence of stages. He begins from the philosophy of language and the question of an identifying reference to persons as selves, not simply things. This leads to consideration of the speaking subject as an agent, passing through the semantics of action Ricoeur had learned from analytic philosophy during his time in North America. Next comes the idea of the self as having a narrative identity which is then is followed by the question of the ethical aim of being such a self. This hermeneutics of selfhood culminates in the conclusion that one is a self as one self among other selves, something that can only be attested to through personal testimony or the testimony of others. Selfhood is thus closely tied to a kind of discourse that says “I believe-in”. Its certainty is a lived conviction rather than a logical or scientific certainty.( Read more... )

https://plato.stanford.edu/entries/ricoeur/

Recovery, Escape, Consolation.
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Recovery (which includes return and renewal of health) is a re-gaining—regaining of a clear view.

Escape is one of the main functions of fairy-stories. ... the desire to visit, free as a fish, the deep sea; or the longing for the noiseless, gracious, economical flight of a bird, that longing which the aeroplane cheats, except in rare moments, seen high and by wind and distance noiseless, turning in the sun: that is, precisely when imagined and not used. There are profounder wishes: such as the desire to converse with other living things.
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The consolation of fairy-stories, the joy of the happy ending: or more correctly of the good catastrophe, the sudden joyous “turn” (for there is no true end to any fairy-tale): this joy, which is one of the things which fairy-stories can produce supremely well...

--- J.R.R. Tolkien. On Fairy Stories.

My lord was pleased to represent me as a great admirer of projects, and a person of much curiosity and easy belief; which, indeed, was not without truth; for I had myself been a sort of projector in my younger days.
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I was received very kindly by the warden, and went for many days to the academy. Every room has in it one or more projectors; and I believe I could not be in fewer than five hundred rooms.

--- Gulliver's Travels, by Jonathan Swift. 1726.
https://www.gutenberg.org/files/829/829-h/829-h.htm
Part 3, Chapters 4-5.