There is a Renoir in the MFA of a girl in a red kimono which I remember seeing first when I was an old three,nearly four, and I've seen her from time to time for the rest of my life. The physical meaning, red and yellow,hasn't changed although it dimmed under the cataracts. The social meaning-from big girl to young woman to put it very simply-has changed. And all the other stuff-the painter,who she is,(Suzanne Valadon,I never thought i'd know her name when I was little) is stuff to reflect on while contemplating the fundamental red and yellow . -----Original Message----- From: William Conger <[email protected]> To: aesthetics-l <[email protected]> Sent: Mon, Dec 9, 2013 3:03 pm Subject: Re: comment invited
But how can you tell if the route isn't from the infant to the adult, or maybe a feedback loop? Maybe it's the adult perspective where you are now, that creates the sensation that you are projecting the adult 'preparation' back instead of receiving infant sensations as the thinking, experienced, memory-laden adult. wc ________________________________ From: "[email protected]" <[email protected]> To: [email protected] Sent: Monday, December 9, 2013 1:57 PM Subject: Re: comment invited In a message dated 12/9/13 9:25:36 AM, [email protected] writes:
what does
one think of or what is one
reminded of during the so-called aesthetic
sensation. Those associations
may be crucial, leading back to infancy,
basic sensations.
wc
You may be right, William. Since I confess dumbfounded bewilderment about the WHY of a.e.'s, how could I deny they're drawing on something from early childhood? But when my mind ranges over the variety of genres, some of their best moments do feel dependent on a very "adult" preparation and sensibility.
