A Quote by David E. Cooper
Things only 'show up' for us as they do, as Heidegger would put, in and through practical engagements with the world that enable objects to have significance and salience - as hammers, pots, trees or whatever.
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I was keen to dispel a familiar misunderstanding: that existentialists somehow relish the alienation of human beings from the world. This may have been Camus's attitude, but it was certainly not that of Heidegger, Sartre and Merleau-Ponty, each of whom tried to show that we can only experience the world in relation to our own projects and purposes. The world is initially one of 'equipment', said Heidegger: it is a world of 'tasks', said Sartre.
My pictures are devoid of objects; like objects, they are themselves objects. This means that they are devoid of content, significance or meaning, like objects or trees, animals, people or days, all of which are there without a reason, without a function and without a purpose. This is the quality that counts. Even so, there are good and bad pictures.
Like Nietzsche, Heidegger also gave up on the prospect that schools and universities would nurture the kind of reflective openness to the way of things that, certainly by the 1940s, he identified with authentic thinking. The authentic person is not the Promethean, iron-willed figure that pops up in Nietzsche, but someone more like the Daoist sages whom Heidegger admired.
But why should a religious person be interested in a work like Heidegger's that many regard as the epitome of nihilism? For a start, because Heidegger forces us in a way that few philosophers do to really think through the seriousness and all-encompassing nature of our mortality.
Every Jewish holiday has a religious significance, a historical significance, and a relevance to the time of year in the natural calendar of the seasons and trees and growing things, as well as a personal significance. So you are always looking backward, outward, inward and forward.
For it is only framed in space that beauty blooms. Only in space are events and objects and people unique and significant-and therefore beautiful. A tree has significance if one sees it against the empty face of sky. A note in music gains significance from the silences on either side. A candle flowers in the space of night. Even small and casual things take on significance if they are washed in space, like a few autumn grasses in one corner of an Oriental painting, the rest of the page bare.
I'm striving to make things which are the most exciting things I can make that will fit in people's homes. And in that respect, working on the wheel is economically about the only answer I know, because one can, as Leach said, make 50 pots in a day. You can make 100 pots in a day. A really good potter can make 400 pots in a day.
To the documentary director the appearance of things and people is only superficial. It is the meaning behind the thing and the significance underlying the person that occupy his attention... Documentary approach to cinema differs from that of story-film not in its disregard for craftsman-ship, but in the purpose to which that craftsmanship is put. Documentary is a trade just as carpentry or pot-making. The pot-maker makes pots, and the documentarian documentaries.
Perhaps looking out through big baby eyes - if we could - would not be as revelatory experience as many imagine. We might see a world inhabited by objects and people, a world infused with causation, agency, and morality - a world that would surprise us not by its freshness but by its familiarity.
In looking at these pots at the Field Museum, Alix [MacKenzie] and I both came to a conclusion individually but also collectively that the pots that really interested us were the pots that people had used in their everyday life, and we began to think - I mean, whether it was ancient Greece or Africa or Europe or wherever, the pots that people had used in their homes were the ones that excited us.
A dynamic person is one who really makes a difference in the world; who does something that changes things or other people. The magnitude of the work done may not be great, but the world is different because that person has lived and worked. The real secret of a dynamic personality is to believe that God works through you, whatever you may be doing; to put his service first, and to be as sincere, practical, and efficient as you know how.
There is always a reason behind things that are made, and if there isn't, there will be one when they travel through the world. The objects of beauty are used to impress, seduce, overwhelm, make money, support identities, and show power or style, among other things.
Frequently these loaded images or objects are used by me without my attaching a particular significance to them. In other words, what I'm doing is letting whatever power, whatever affect they have, work on its own.
The lure of the past came up to grab me. To see a dagger slowly appearing, with its gold glint, through the sand was romantic. The carefulness of lifting pots and objects from the soil filled me with a longing to be an archaeologist myself.
Count up the almonds, Count what was bitter and kept you waking, Count me in too: I sought your eye when you glanced up and no one would see you, I spun that secret thread Where the dew you mused on Slid down to pitchers Tended by a word that reached no one’s heart. There you first fully entered the name that is yours, you stepped to yourself on steady feet, the hammers swung free in the belfry of your silence, things overheard thrust through to you, what’s dead put it’s arm around you too, and the three of you walked through the evening. Render me bitter. Number me among the almonds
A myth is a way of making sense in a senseless world. Myths are narrative patterns that give significance to our existence. Whether the meaning of existence is only what we put into life by our own individual fortitude, as Sartre would hold, or whether there is a meaning we need to discover, as Kierkegaard would state, the result is the same: myths are our way of finding this meaning and significance.
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