sarbfacewallpaper

sarbfacewallpaper
Originally uploaded by dnyanesh.

feb.2006

Where have I reached in these years? Where was I going? The residual feeling.. Why is it always anxiety, uneasiness?
Witness has not been entirely non-prejudiced. Witness has for long been participating in the drama and that to, sentimentally. And the witness may not stand outside the stage; non-participation or rather participation is not an issue. Exploration of the unfolding drama with or without involvement on all the levels of operations would ensure feeling every bit of the mind operation in time and space. The problem is the witness has stuck with only the austere sage, wandering around, the Sthitapradnya. The other players playing their parts have become annoyance.

There always will be a inherent conflict within. Artistic endeavors, expressions, are means of explorations in this conflict. Painting a Himalayan scene, designing an austere, serious, dignified space and on the other bank, sculpting with strength, searching the conviction within.. The journey from one to the other.. only that will give the perspective and the true witness. Wholeness of the participation, it seems only that can provide the vantage point to observe.

self

self
Originally uploaded by dnyanesh.

selfeyes

selfeyes
Originally uploaded by dnyanesh.

soundarya bhaavanaa-aesthetic emotions

Many sensations, memories, concepts, thoughts keep on giving messages to the brain through the context surrounding the individual. The messages arising out of the brain are accompanied with the sensations coming through the body. The brain categorizes this grouping of messages. If we consider this activity of the brain, it is evident that the brain can categorize these messages into three categories. 1. Psychological, 2. Logical and 3. Soundaryatmak (aesthetic). E g . when one sees a tiger, he will remember a circus, from that a clown, from that he will imagine things about the life of the clown; then he will think of human life as a clown on the life stage. The streams within the Conscious-unconscious soudnya Shakti may look unconnected, chaotic. But there is a thread within. This is psychological ordering. From there, ‘the tiger is a fierce animal and one should run away before the tiger catches and kills’ –is a logical order. And lastly, the tiger’s yellow colour, the complementing black stripes on it, the curves of the back and the tail, how the balance each other… this is Soundaryatmak sangati (aesthetic order).
The order in which messages come to the brain from the context is the psychological order. When the messages and their meanings are arranged in ordered so that there is no contradiction left it becomes logical order. And then the ‘Indriyasavedanaatmak’ (sensory) messages arranged according to their ‘Gunanurodh’ (merit) and other messages arranged according to the ‘arthaanurodh’(meaning) in just the complementary and contradictory groups then it is the soundarya Shaastriya Sangati (aesthetic order).
What ‘I’ want my role to be in the process? The same question is relevant for me when I am working on designs for the destitute like the Bhopal gas victims. The event may be a traumatic experience for some… but should I be ashamed of looking at the dead and distorted through a soundarya bhaavana (aesthetic emotion)? Right balance of looking at things through all the three perspectives is a good approach, but even if we want to express ourselves only through soundarya bhaavana (aesthetic emotion), honestly of course, then it has to be our freedom. I think Le Corbusier, when he designed his cities, or rather his Capitol for Chandigarh was concerned only with this approach. And I see no reason to blame him. From other perspectives, psychological or logical…it will be a wrong preposition.
So from an artist’s perspective, killing may look beautiful…. No action or individual can be termed wrong….
The biological aims are just two, ‘survival’ and ‘reproduction’, the basic instincts. If the importance of an emotion is just biological, then it’s link with the truth of the situation is vital. Because internal-external physical response is focused in providing energy for changing the situation. And the situation can not be changed unless the truth of the situation is understood. The emotion can be based on a false knowledge of the situation, but when the truth is revealed the emotion and the physical response will disappear. The knowledge of truth is not just based on the merits and interrelation of the sensations coming of the situation. The sensations, merits and relations are just flag posts. The truth-knowledge is based on the ‘meaning’ they provide. So the ‘meaning’ may remain the same even if relations and merits of the sensations are changed. If that happens, the emotion based on the truth-knowledge of the situation will change or diminish. But the Soundarya bhaavanaa (aesthetic emotion) based on the same emotions and their qualities will not change, because the soundarya bhaavana is not supposed to provide energy to change the situation for helping the ultimate goals of survival and reproduction (Vanvsha Vardhan). If we keep a model of a tiger in a jungle, a spectator will be frightened on the first sight. But if he comprehends that its just a model, the sensations and their relations coming from the situation even though the same, will project a new meaning and so there remains no fright. But the soundarya bhaavana based on the sensations and their relations remains the same.
In other words, RagaDveshaadi (rage, jealousy etc.) Soundaryetar bhaavana (other than aesthetic emotions) will be based on the statements regarding the situation, and the soundarya bhaavanaa is based on the construct of the situation. The existence of Yataartha (correct) knowledge of the situation will not alter the soundarya bhaavanaa so it will not help in the ultimate goals of survival and reproduction. “
What’s the role of we designers in this context? Can we address both these concerns… for the users and for ourselves? Will continue…

The inquiry into the complexes reveals the futility of the struggle. Dealing with the complexes externally using outside means is one way. But the other way is more sustainable. More ‘shaashvat’. The inquiry within, the witness makes the complex and its manifestation visible as just an image. Freud’s contention that even a simple thing like forgetting a name is arisen out of complex complexes is just a part of the whole image making.

layatatva

the manifestation of expressions in one part attains a exalted position through the balance between the contrasts, harmony between the ‘sthira’ and the ‘chala’ ‘shaashvat’- ‘ashaashvat’, constant- moving, anchoring- revolving elements, i. The ‘Laya’ of the ‘constants’ of a design, and the undulations of a different Laya (which has a order of it’s own) of the ‘moving’ elements of design, both have to be skillfully interwoven. The design, unless calls for a totally free pattern, has to be anchored at some points with the ‘constants’. The overall ‘laya’ ryhtm, can neither be totalluy free, nor can it be totally simple.
Layatatva- principle of Rhythm is essential ingredient of all the human endevours….. music, painting, architecture, literature……poetry.

The Saadhana, is the effort of making the expressions effortless through a grooming process. Imbibing the emotions (not sentiments) within, through a process of dehumanized constant repetition of the elements of a medium of expression, involving both body and mind creates a situation where the flow from within becomes spontaneous and effortless.

Living on the border is always a vulnerable position. The chances of getting in the zone of insanity are not unrealistic. Being optimistic is a safe posture. So-called pessimism is never a true place on the other side of the fence. Just the points of hope are placed on a different plain. Unless one becomes absolutely neutral, the border position is a difficult situation.
One feels the burden of future……. Past can not disturb… but it is like taking a long walk on an unknown path even when one has reached the end of one’s journey.
The last choice has to be with me… may be a choice of no choice. Why not to exercise the last choice before the inevitable renders one helpless?
And one can not elude from the past even………. undoing will surely take much pain, effort, which again is a new beginning.
I never felt so close to loosing control….. because I never realized before I wasn’t the one in control or there was really anything to control.
The desires, the life source…. They spring from within, nothing from outside.. yet they are involuntary. Controlling them without an alluring force like keeping a thriving frame of mind …. And all this when all philosophies have fallen of quietly like dead leaves.