By Guy Sircello
Guy Sircello's research of the types of expression and his use of them to justify a specific view of the human brain make clear a couple of debatable issues in modern philosophy, between them the suggestion of "artistic acts," language as expression, the expression of rules, expressions as "natural signs," and the character of the causal courting among an expression and what's expressed.
Originally released in 1972.
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Extra resources for Mind and Art: An Essay on the Varieties of Expression
And that further explains why expres sions of the latter are less frequently discussed; they are simply not encountered very often by most people. " The second reason which explains the neglect of the lat ter cases of expression is prima facie more legitimate. g. their creators. Such austere concern for the work of art isolated from the conditions of its creation shows, of course, the in fluence of New Critical theories of literature. " We have only to consider the most 63 T THE MIND IN ART accessible forms of expression such as cries, grimaces, and gestures to realize that what they express is somehow per ceptible "in" them.
On the basis of certain features of Cretan paintings Devambcz might be entitled to infer that the painters loved nature; but until we discover more about the particular painters in question, we cannot confirm or disconfirm Devambez's hypothesis. There arc simple but powerful arguments against this suggestion. First, in a case like that of the Greek painters it is obvious that neither Devambez nor any intelligent 67 THE MIND IN ART reader would ITeat the statement as a sort of hypothesis awaiting confirmation.
Ll) His inspiration drawn from lubricious, sad and bestial sources, remains lofty and serious; bound to a sensual world which he cannot overcome, he succeeds in ren dering it colossal, tragical, sublime, and here too he appears as a "'rebel angel": a heroic poet compressed and yet unable to abandon his heroics, which he cre ates upside down, by means of the lustful and the horrible. What there is in his creations that :flashes out in irony, or rather in satire, is nothing but the con sciousness of evil, inseparable from his mode of em bracing the evil.
Mind and Art: An Essay on the Varieties of Expression by Guy Sircello