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Monthly Archives: September 2012

Looking at a greetings card website called ‘Down to Earth‘. I like the greetings cards but I’m wondering why the same motifs are used again and again? Almost like a print run.


The Dance of the Deadbeats. Watching the locals in a small park in Boscombe, moving from bench to bench and back again.

John Moores Painting Prize 2012, Shortlisted prize winners HERE

On what criteria are the judges judging this prize? I don’t understand!

A 50 mile cycle ride crossing Cretaceous sedimentary rocks which were deposited c.65 – 142 million years ago.

Have just read A Death in the Family by Karl Ove Knausgaard. Ashes to ashes and dust to dust.

Contemplating ‘The Well-Wrought Broken Hammer‘ by Graham Harman.
Page 185:

‘1. Kant distinguishes between phenomena and noumena. The things-inthemselves lie beyond all possibility of human access, given that all experience
is confined to the twelve categories and the pure intuitions of space and time. Human beings are finite; absolute knowledge is unavailable to them. The things-in-themselves can be thought but never known.

2. For Kant, the human-world relation is philosophically privileged. From the standpoint of Kantian philosophy, the relation between two colliding physical masses is something best left to the natural sciences, while the relation between human and world is where the genuine problems of philosophy unfold.

Now, whereas Meillassoux rejects 1 and affirms 2, my own position affirms 1 and rejects 2. That is to say, Meillassoux rejects Kantian finitude in
favor of absolute human knowledge, while I reject absolute knowledge and retain Kantian finitude, though broadening this finitude beyond
the human realm to include all relations in the cosmos—including inanimate ones.’

I agree with Meillassoux on this point.

How could you make a painting where the viewer doesn’t look at the painting but looks outside the painting? How to push the eye outside the painting? Perspectives + focus?