![]() ![]() We at once become aware that the life of forms in the mind is not copied from the life of images and of recollections. Deliberately forgotten to what ends and by what means? We are entering another realm than that of pure memory and imagination. But the recollection thus 'formed' possesses special properties a kind of inverted memory composed of deliberately forgotten things has already been at work. Even as waking dreams bring the works of visionaries to life, so too does the education of the memory foster in certain artists an inner form that is neither an image, properly considered, nor even pure recollection, but a form that allows these artists to free themselves from the tyranny of the model. Memory likewise places at the disposal of each of us a richly stocked storehouse. But in general, richness, power and freedom of image are by no means the exclusive characteristics of the artist. Is the life of forms in the artist's mind characterized, then, by the abundance and the intensity of its images? One would be inclined to think so at first: to picture such a mind as completely filled with and illuminated by brilliant hallucinations, and to interpret a work of art as the practically passive copy of some inner 'work'. ![]() For this reason, he subconsciously despises the artist's technique, because he finds it necessary to make every activity conform to the processes of rational discourse. ![]() The intellectual, on the other hand, in his approach to reality does have a technique, and it is the technique of logic. And yet, he never loses a certain innocence, a certain wonderment, that might otherwise be tarnished by what is known as taste. is no specialist in the invention and fabrication of what seem to him to be mere utopias of space, mere fabulous playthings. The realization of this fact by the artist is what distinguishes him from the common man and, even more so, from the intellectual. Form., even before it takes possession of matter and space, already exists within them. ![]()
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January 2023
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