The Story of Art, E.H. Gombrich, Page 544, Zettel 152

…in all the struggles and gropings there was one thing he was prepared to sacrifice if need be: the conventional ‘correctness’ of outline. He (Cezanne) was not out to distort nature; but he did not mind very much if it became distorted in some minor detail provided this helped him to obtain the desired effect….he hardly realized that this example of indifference to ‘correct drawing’ would start a landslide in art. - The Story of Art, E.H. Gombrich, Page 544, Zettel 152

How to be an Artist, Jerry Saltz, Page 76, Zettel 150

If you think that all art should be like High Renaissance painting, or like van Gogh, Eva Hesse, or Basquiat, think again. Human beings are hardwired to crave change. The universe is expanding; so are we, and so is art. Which doesn’t mean it’s getting better, or worse, only that all art was once contemporary art, in conversation with its time. yours is, too. Every choice you make - should serve not nostalgia, but your visceral present. You are an artist of modern life. That personal, specific urgency is what finds every successful work of art. - How to be an Artist, Jerry Saltz, Page 76, Zettel 150

WHY POETRY - Matthew Zapruder. page 42 - 43, Zettel 149

Through art, language and therefore experience become “defamiliarized”, so we can feel and experience anew:


The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects “unfamiliar”, to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged - Victor Shklovsky

Poetry exhibits the purest form of defamiliarization. This is because in a poem, other tasks such as telling a story, or fully and exhaustively expressing an idea, never take priority. Therefore, it is in poetry that we see most clearly and powerfully, without any other ultimate distraction, how language can be made deliberately strange, how it becomes especially “a difficult, roughened, impeded language”, in order to jar us awake. - WHY POETRY - Matthew Zapruder. page 42 - 43, Zettel 149

The Story of Art, E.H. Gombrich Page 154, Zettel 148

The great artists of subsequent periods had made one discovery after another which allowed them to conjure up a convincing picture of the visible world, but none of them had seriously challenged the conviction that each object in nature has its definite fixed form and colour which must be easily recognizable in a painting. It may be said, therefore, that Manet and his followers brought about a revolution in the rendering of colours which is almost comparable with the revolution in the representation of forms brought about by the Greeks. They discovered that, if we look at nature in the open, we do not see individual objects each with its own colour but rather a bright medley of tints which blend in our eye or really in our mind. - The Story of Art, E.H. Gombrich Page 154, Zettel 148

Reductionism in Art and Brain Science page 42, Zettel 147

Some birds, insects, and fish have photoreceptors that respond to the ultraviolet light (shorter wave lengths than humans can see), and some snakes, insects; and vampire bats have receptors that can respond to infrared radiations or heat (longer wavelengths than humans can see). Certainly those animals can see spectral “colors” that we cannot and their perceptions are presumably different from ours - Reductionism in Art and Brain Science page 42, Zettel 147

Reductionism in Art and Brain Science page 185, Zettel 143

To be abstracted is to be at some distance from the material world. It is a form of local exaltation but also, sometime, of disorientation, even disturbance. Art at its most powerful can induce such a state, perhaps most potently. - Nancy Princenthal, New York art critique - Reductionism in Art and Brain Science page 185, Zettel 143

Reductionism in Art and Brain Science page 184, Zettel 142

While abstract paintings that appeal to our imagination call into play the brain’s top-down processing mechanism, figurative paintings that appeal to us call into play the default network of the brain. The default network, which was discovered in 2001 by Marcus Raichle (Raichle et al. 2001), consist primarily of the three brain regions: the medial temporal lobe, which is involved in memory: the posterior cingulate cortex, which is concerned with evaluating sensory information; and the medial prefrontal cortex, which is concerned with theory of mind - that is with distinguishing between another person’s mind, his or her aspirations and goals, and one’s own mind…recent studies suggest that the default network is most active during high aesthetic experience in art. (Edward Vesesel Nava Ravin, and Gabriella Starr) This intriguing finding suggests that since activation of the default network is related to our sense of self, its activation in response to art enables our perception of painting to interact with mental processes related to the self, possibly affecting them and even being incorporated into them. This line of thought is consistent with the idea that a person’s taste in art is linked to his or her sense of identity - Reductionism in Art and Brain Science page 184, Zettel 142

Reductionism in Art and Brain Science, Eric Kandel page 161, Zettel 135

Turell describes his work in the following terms: “My work has no object, no image and no focus. With no object, no image and no focus, what are you looking at? You are looking at you looking. What is important to me is to create an experience of wordless thought” - Reductionism in Art and Brain Science, Eric Kandel page 161, Zettel 135

Reductionism in Art and Brain Science, Eric Kandel page 165, Zettel 137

Katz introduced a new reductionist concept into figurative art: his paintings have a flat background and lack of conventional perspective. In addition, he stressed pictorial values over narrative. He explained that “style and appearance are the thing that I’m more concerned about than about what something means. I’d like to have the style be the content, meaning, emptied of content.” (Strand 1984) - Reductionism in Art and Brain Science, Eric Kandel page 165, Zettel 137

Reductionism in Art and Brain Science, Erick Kandel page 179, Zettel 139

Thus the reason art pases such an enormous challenge to the beholder is that it teaches us to look at art - and, in a sense, at the world - in a new way. Abstract art dares our visual system to interpret an image that is fundamentally different from the kind of images our brain has evolved to reconstruct. - Reductionism in Art and Brain Science, Erick Kandel page 179, Zettel 139

Reductionism in Art and Brain Science, Erick Kandel page 179, Zettel 140

The art historian Jack Flam (2014) refers to this aspect of abstraction as “a new claim on truth”, By dismantling perspective; abstract art requires our brains to come up with a new logic of bottom-up processing. - Reductionism in Art and Brain Science, Erick Kandel page 179, Zettel 140

The New York Times Opinion Essay, Take a Bow. Madonna - by Mary Gabriel 8/15/2023, Zettel 141

Madonna is a cultural wrecking ball who has dared to be everything - performer, songwriter, producer, actor, director, children’s book author, muse - at a time when women were encouraged to stick to one lane. She has broken through social barriers, too, using her words and her work to confront the music industry, Hollywood, the Taliban, the Putin regime and the Vatican, to name just a few of her adversaries, over sexisum, misogyny, racism, homophobia, and hypocrisy. Because she is a woman and a popstar, critics generally dismiss her political statements as opportunistic grandstanding. But young people looking toward a future that seems closed to them see past that criticism. The novelist Sonich Kamal was introduced to Madonna’s music as a child while living in Jeddah, Saudi Arabia. She said Madonna represented “pure, unadulterated, raw, sextual liberation” and hope: “hope that sexy girls did not necessarily die bad deaths, hope that sexy girls could rule the world. And do.” - The New York Times Opinion Essay, Take a Bow. Madonna - by Mary Gabriel 8/15/2023, Zettel 141

Dr. Akira Miyawaki, New York Times, Sunday 8/27/2023, Planting Tiny Forests and Yielding Big Benefits, by Cara Buckley, Zettel 145

The forest is the root of all life, it is the womb that revives our biological instincts, that deepens our intelligence and increases our sensitivity as human beings - Dr. Akira Miyawaki, New York Times, Sunday 8/27/2023, Planting Tiny Forests and Yielding Big Benefits, by Cara Buckley, Zettel 145

Reductionism in ART and Brain Science, by Eric Kandel, page 144, Zettel 133

Our brain processes different colors as having distinct emotional characteristics, but our reaction to the colors varies, depending upon the context in which we see them and our mood. Thus, unlike spoken language, which often has an emotional significance regardless of context, color is open to a great deal more top-down processing. As a result, the same color can mean different things to different people and to the same person in different contexts. - Reductionism in ART and Brain Science, by Eric Kandel, page 144, Zettel 133

Reductionism in ART and Brain Science, by Eric Kandel, page 143, Zettel 132

Modern abstract art was predicated on two major advances: the liberation of form and the liberation of color. The Cubists, led by Georges Braque and Pablo Picasso, liberated form. Since then, modern art has often represented the artist’s subjective vision and state of mind rather than a naturalistic illusion of form based on the outside world. In the modern era it was largely Henri Matisse who liberated color, freeing it from form and thereby demonstrating that colors and color combinations can exert unexpectedly profound emotional effects. Once color was no longer determined by form, a color that might have seemed “wrong” in a particular figurative context would actually be right, because it was used to convey the artist’s inner vision, not to represent a particular object. Moreover, the separation of color from form is consistent with what we know about the anatomy and physiology of the prime visual system: That is form, color, movement, and depth are analyzed separately in the cerebral cortex. - Reductionism in ART and Brain Science, by Eric Kandel, page 143, Zettel 132

New York Times Arts, July 18, 2023. For Some Films, Go Big or Go Home, Many fans will be doing whatever it takes to see ‘Oppenheimer’ projected in IMAX 70 mm, by Marc Tracy, Zettel 131

“I have to believe I wouldn’t care about as much if it didn’t have an emotional effect,” (Christopher) Nolan said. “There’s a favorite tactic of studio executives, he added, “which is to say, Well, at the end of the day, isn’t it all about story? To which you say, Well, no, otherwise we would be distributing audio books or radio plays. In the last analysis, it is not all about story. It’s about the moving image, it’s about cinematic storytelling, and the greatest movies made could only be films” - New York Times Arts, July 18, 2023. For Some Films, Go Big or Go Home, Many fans will be doing whatever it takes to see ‘Oppenheimer’ projected in IMAX 70 mm, by Marc Tracy, Zettel 131

Chaz Firestone, cognitive scientist, Johns Hopkins University. The New York Times, July 18, 2023. Silence Is a ‘Sound’ that can be heard, by Bethany Brookshire, Zettel 130

… People perceive silence as its own type of “sound”, not just as a gap between noises…”silence is the experience of time passing…an auditory experience of pure time”...”if silence is “not really a sound, and yet it turns out that we can hear it, then evidently, hearing is about more than just sounds.” - Chaz Firestone, cognitive scientist, Johns Hopkins University. The New York Times, July 18, 2023. Silence Is a ‘Sound’ that can be heard, by Bethany Brookshire, Zettel 130