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SpaceSpace--Time in Arts and HumanitiesTime in Arts and Humanities
NavjyotiNavjyoti SinghSinghIIIT Centre for Exact HumanitiesIIIT Centre for Exact HumanitiesHSS401: L01HSS401: L01--0202 0101--08/08/201208/08/2012
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1. Conceptions of Space and Time1. Conceptions of Space and Time
Course deals with:
Indic, Greek and Modern Conceptualizations
Continuous vs. Discreet
2. Problem of Human Action2. Problem of Human Action
Artistic Action
Social Action
Carlos J. Moya,A Philosophy of Action: An Introduction, Polity Press, Cambridge
Rice Freeman-Zachery , Tonia Davenport (ed.), Creative Time and Space: Making Room for Making Art
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COURSE TOPICS:COURSE TOPICS:
PART I: FOUNDATIONSPART I: FOUNDATIONS
Problem of Human Action:
Panorama of classical Indian, Greek and Modern explorations on Space, Time and MotionContinuum and Discontinuum: Continuous vs. Discrete Ideas of Space and Time
Concepts of aspatial locus: Situation
Concepts of synchronic duration: Moment or Event
Varieties of spatio-temporal Extensions: Compounds of variedly Extended Realms
Conceptualizing Human Action: Components and Composition
Foundational Issues in Discretization of Space and Time
PART II: ARTSPART II: ARTS
Nature of Artistic Activity: Sensation, Imagination and Action: Affectance and Affordance
Typology of the disciplines of Arts: Spatio-temporal foundations of the typology
- , ,
Spatio-temporal aspect of Music, Dance and TheaterInteractive spaces and times of different Art Disciplines
General theory of the Making of any Painting
Songs: Space-time blending of Poetry and Music
General Theory of Films: Material Intentionality, Human Situations and Events
PART III: SOCIETYPART III: SOCIETY
Categorical decomposition of human being: Extensional and Intentional features
Conceiving unified action despite divergent space-time extensions of components
Nature of dis-position and dis-tending
Conceptualizing forces that govern human action and Motion
Human Relations, Roles and Community Formation
Concepts of Situations and Events: Dispute, Judgment and Resolution
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"Zeno of Elea by Carducci or Tibaldi" Image by Bartolomeo Carducci or Pellegrino Tibaldi
Jon McLoone. Wolfram Demonstrations Project. Zenos Paradox: Achilles and the Tortoise. 2011
MOTION
IS
IMPOSSIBLE
*Limit:
Tending to Zero
*
Counter Version
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The IrrationalThe Irrational
Reasoning with IrrationalsReasoning with Irrationals
1:2 ::2 :21 2
2
2 is not line but square number 2
fire:air::air:water & air:water::water:earth
1/(343433) + 1/(343434)
GREEK INDIC
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Nature of Painting Topos
EscherEscher
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Nature of Painting Topos
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Nature of Painting Topos
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Unfurling Line into a Square
(Creation of higher dimension Topoi)
-- Line has a hidden Depth
that can be unfurled to surface
-- Surface hides Volume
1 2
2
3
Sketch/Painting Topos is Unfurling/Unfolding of
Patches/Marks/Strokes
Painting Topos is between
You and Receding Horizon
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All strokes are partial objectpartial object
(collaborative patches of partial objects)Depth/Width furl/fold gives us
fuller object in imagination
Thus, painting isThus, painting is
Imagination isImagination is
neither 2D or 3D spaceneither 2D or 3D space
Can their be a painting
which never gives us an extended object beyond patches
which has no depth/width points of invisible
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Nature of Patches: Line is between 2D and 3D
Next Patch
: Every patch-stroke is a turn:
Make typology of patch-strokes
Patch unfolding in imaginationPatch unfolding in imagination
Road
going out of city
or
trail of
moving object
Consolidation in imaginationConsolidation in imagination
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ToposTopos of Paintingof PaintingClosure in which Imagination can DiscloseClosure in which Imagination can Disclose
Folding of Space betweenFolding of Space between
Receding Horizon and SpecReceding Horizon and Specttaatortor
by Paby Pattches/Marks/Pigmenches/Marks/Pigmentsts on 2D Surfaceon 2D Surface
Any paAny pattch can partiallych can partially mapmap toto
Potential Semantic ObjectsPotential Semantic Objectsthat rubs on Memorthat rubs on Memoryy
for ifor itts Imaginary Comples Imaginary Completiontion
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Inversion of VisibleInversion of Visible--InvisibleInvisibleMakingMaking InvisibleInvisiblerr VisibleVisibleii in Imaginationin Imagination
1.1. PaPatches Visibletches Visiblerr
Algorithm: (Are all Algorithms Computable?(Turing Computable)) ??
..
Semantically VisibleSemantically Visibleii
in Imaginationin Imagination
3.3. VisibleVisible--Invisible IterationInvisible Iteration
of Imaginationof Imagination--PatchPatch
4.4. PainPainting Completeting Complete
when Patches disappearwhen Patches disappear
Write pseudo code
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VisibleVisible--Invisible Iterations ofInvisible Iterations of
RecursiveRecursive MappingMapping of theof the
Topology of Imagination (Topology of Imagination (KalpaKalpa topostopos))and Topology of Patches (and Topology of Patches (RealReal topostopos))
Judgment
Affordance PoinAffordance Pointsts
KalpaKalpa topostopos is not 2D or 3D (no perspective)is not 2D or 3D (no perspective)
While paintingWhile painting
changes sequentially (episodically: major turns)changes sequentially (episodically: major turns)In mind
While sketching list major turns
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Real Space:Real Space:Infinite Divisibility;
No neighbouring point of a point; no Contiguity;
Real Space vs. Image Space
Continuum vs. Contiguum
Given set of points no line can be made
Image Space:Not Infinitely Divisible
Point as Neighbours in relation
Cantinguities can be constructed
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DIK & KALADIK & KALA
---- ToposTopos && ChronosChronos of Bodyof Body
ACTIVITYACTIVITY
---- ToposTopos && ChronosChronos of Imaginationof ImaginationARTISTIC ACTIONARTISTIC ACTION
---- ToposTopos && ChronosChronos of Dispositionsof Dispositions
SOCIETAL ACTIONSOCIETAL ACTION
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Assignment 01 Submission: 14/08/2012
Draw a prominent S Curve (first patch)
Physical Submission of Drawing/Sketch with Notes
Make a fuller drawing/sketch around it
Write a Note on sequences of patches while you
drew the drawing/sketch. Note major turns.
Write a note on what trans-formation of space did
various progressive patches did till sketch is finished
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