A Quote by Semir Zeki
I view all art as an effort to translate brain concepts into a work. These brain concepts are synthetic ones - the result of many experiences. But a single work of art, or even a series of works, more often than not cannot translate these synthetic concepts adequately. Yves Saint Laurent once said that he suffered greatly when creating. He is not alone in that. Most artists do the same and say as much.
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Every morning I'd have coffee with my wife and we would discuss ideas. Sixty percent of what I did for the stores was concepts. The other forty percent was correcting and cleaning up other concepts in house, or doing final art on my concepts. Most of my concepts were so finished they could turn them over to somebody else.
I carried on buying paintings, works of art, and Yves Saint Laurent, if I may say so, had a right of inspection. We even shared a common reading of the history of art. It would never have crossed Yves's mind to say to me, "Ah, I saw a Pablo Picasso . . ." He knew perfectly well what was interesting with Picasso, as did I.
It may, however, be said that the level of experience to which concepts are inapplicable cannot yield any knowledge of a universal character, for concepts alone are capable of being socialized.
For strictly scientific or technological purposes all this is irrelevant. On a pragmatic view, as on a religious view, theory and concepts are held in faith. On the pragmatic view the only thing that matters is that the theory is efficacious, that it 'works' and that the necessary preliminaries and side issues do not cost too much in time and effort. Beyond that, theory and concepts go to constitute a language in which the scientistic matters at issue can be formulated and discussed.
Words are acoustical signs for concepts; concepts, however, are more or less definite image signs for often recurring and associated sensations, for groups of sensations. To understand one another, it is not enough that one use the same words; one also has to use the same words for the same species of inner experiences; in the end one has to have one's experiences in common.
There are many concepts of spirituality, among them, various notions of divinity developed in the Judaeo-Christian-Islamic religions. Within these the concepts vary greatly.
Definitions are temporary verbalizations of concepts, and concepts- particularly difficult concepts- are usually revised repeatedly as our knowledge and understanding grows.
I am not really sure that Diana Vreeland did Yves Saint Laurent a favor, as opposed to the world, by putting that exhibition at the Met in 1983. Because I'm sure that Saint Laurent started looking back at his own work. You see that with artists, don't you? Once they get their first retrospective, it's really hard for them to push ahead.
Most artists, or at least most of the ones I know, deny having a philosophical outlook that they try to translate into their works. Some had thought of the work of Cezanne and others as being a 'painted epistemology.' But Cezanne himself denied this and Daniel-Henri Kahnwiler, the art critic and art dealer, insisted that none of the many painters he had known had a philosophical culture.
Metaphysics is the study of the most general nature and basic structure of reality, and therefore the concepts of metaphysics, concepts like time, space, identity, resemblance, substance, property, fact, event, composition, possibility, etc., are the most fundamental concepts. Thus metaphysics is the most fundamental theoretical discipline.
It is a thoughtless and immodest presumption to learn anything about art from philosophy. Some do begin as if they hoped to learnsomething new here, since philosophy cannot and should not do anything further than develop the given art experiences and the existing art concepts into a science, improve the views of art, and promote them with the help of a thoroughly scholarly art history, and produce that logical mood about these subjects too which unites absolute liberalism with absolute rigor.
The Most Secret Quintessence of Life is an original work filled with rich, new research, relying on important primary literature which has not, until now, been plumbed and digested. In this book, Chandak Sengoopta offers both a history of hormone discovery and a chronicle of how this discovery transformed our concepts of the body and how our existing concepts of sex and sexuality, in turn, informed our concepts for understanding hormones.
Most of my work comes from ideas. I can usually do only a few versions of each idea. Land Art and Body Art were particularly strong concepts which allowed for a lot of permutations. But nevertheless, I found myself wanting to move onward into something else.
I enjoyed cross-country road trips. And I found the work challenging because it was art that existed on the land rather than mere concepts in a gallery or photographic documentation, or any of the paraphernalia that can be used to indicate that. The art was on the land.
The only justification for our concepts and systems of concepts is that they serve to represent the complex of our experiences; beyond this they have not legitimacy.
In man's brain the impressions from outside are not merely registered; they produce concepts and ideas. They are the imprint of the external world upon the human brain.
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