By Wilson Hurst, Cohort ’13
Concerned with the human condition in relation to the universal, coupled with modes of transcendence, the constant flux of available information provides a plethora of stimulus. Plato’s problem of sensory source insufficiency to account for deficient knowledge does not accurately describe inexhaustible environmental conditions. Corresponding to distinctive varieties of knowledge, the theoretical and poetical depend on the practical, to which action is engaged. Seeking variety within an underlying stable structure is an indispensable adaptation mechanism. Consciousness is more than just sentient response to stimulus, but is the understanding of control potential in each contingency as a function of judgment.
Philosophers draw distinctions between intentional and unintentional consequences, and their relationships. In this vein, visual art is about identifying and isolating the potentially interesting from the larger unrestrained environment. In this assemble process, sometimes happenstance and serendipity play an important role. Mystical experiences that manifest in the world are immanently transcendent. The potential to be transported to another place and time, surpassing what is ordinarily available, constitutes a large component of aesthetic appeal. In the Kantian sense, this process is transcendental because we can only imagine alternatives within the conditions of knowledge possibility itself. Natural events are often conceptualized in modernist, linear, and fundamentally metanarrative forms. In point of fact, essences are structural into which content is poured. Nevertheless, the present moment can only be analyzed by comparison to the past, and in that sense now is always the current end of history.