dan wilson on thu 1 may 97
The beautiful pot is ahistorical and analgetic. It is a cultural production
that facilitates phenominal closure. Its production and commoditization
serves to connonize autoelic processes . It homogenizes elite discursive
spaces and resolves conflicts that sometimes appear upon our horizon of
expectations. And in so doing, it is the embodiment of ex-essentialist
idealism as it disolves aesthetic distance when confronted by the sensible
and the sensless mind. The beautiful pot resists deconstruction and is
immune to postmodern madness. It is a perceptual moment that transcends the
concrete and the mysterious and passively resides in the realm above
Platonic beauty. And no one knows exactly where that is.
Dan Wilson
Marget and Peter Lippincott on fri 2 may 97
dan wilson wrote:
>
> ----------------------------Original message----------------------------
Dan:
Thank you for taking the time to share this brilliant treatise on
Ptolomy. It is insightful and well thought out. I give it a 10; I
could really dance to it.
Peter, the mudpuppy in Arkansas
>
> The beautiful pot is ahistorical and analgetic. It is a cultural production
> that facilitates phenominal closure. Its production and commoditization
> serves to connonize autoelic processes . It homogenizes elite discursive
> spaces and resolves conflicts that sometimes appear upon our horizon of
> expectations. And in so doing, it is the embodiment of ex-essentialist
> idealism as it disolves aesthetic distance when confronted by the sensible
> and the sensless mind. The beautiful pot resists deconstruction and is
> immune to postmodern madness. It is a perceptual moment that transcends the
> concrete and the mysterious and passively resides in the realm above
> Platonic beauty. And no one knows exactly where that is.
>
> Dan Wilson
dan wilson on sat 3 may 97
Resonates with homologous indeterminancy. Its mediation of diverging
subjective resistances is not flushable.
Dan Wilson Addressing The Avant Guarde Potters Guild. 1997 "Adding Value
in the Competitive Market"
Hluch - Kevin A. on mon 29 sep 97
Aestheticus, the most promising potter in the workshop of the sculptor
Polykleitos, had learned his lessons well. His amphora of twenty years
ago became the prize of Robustius, the most fleet of foot in the race
through the sacred mountains during the Olympiad. Now, decades later,
Aestheticus had become a master himself. His good friend Adeimantus was
first to note how the reproduction of another persons gestures or tones of
voice or states of mind, if persisted from youth up, grows into a habit
which becomes second nature. It is in this fashion that Aestheticus
forged his ideas and practices from the master sculptor.
And with remarkable alacrity he had trained both the potters,
painters and other craftsmen in his workshop. Much like a chariot team
that could easily strike the swiftest and most agile prey, his craftsmen
produced pottery of indescribable beauty with apparent ease and grace.
Kiln after kiln yielded hundreds of pots of varied and sundry proportions.
Huge numbers of beautiful Kylix, amphoras, hydria, kraters, lekythos and
oenochoe were streaming to the agora from this bustling shop.
With their sandals kicking up the red clay dust among the rows of
potters at their wheels, Aestheticus was bombarded by what seemed
innumerable questions by his new apprentice.
"How can Beauty be instilled in each one of the pots that this
workshop produces? Each is thrown by one hand, trimmed by another, the
handles made by another, each is painted by still others, and other men
fire them to perfection in the smoke belching kilns over yonder?" asked
Ergotimos. "It would seem that a chariot drawn by too many horses would
never win the race at the Hippodrome. How is it that Beauty is so
brilliantly commanded in your pottery workshop?"
Aestheticus was not surprised by these questions. Indeed, he had
asked them himself of his own master.
"Is the beauty you find in these pots any different than the
beauty of the lyre player? How is it that the lyre player can produce such
beauty with so many strings? Is it not the same question for him?
Furthermore, doesn't the beauty of the lyre player also depend upon the
craftsman who made the lyre? And doesn't the lyre player also depend upon
the woodsman who selects and cuts the wood for the lyre maker?"
Aestheticus responded.
From this answer Ergotimos knew he would learn many things here.
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Sat, 12 Jul 1997, Hluch - Kevin A. wrote:
> The pottery apprentice could not understand why he had been sent to the
> the workshop of the sculptor. Certainly the Argive master Polykleitos
> knew nothing of pottery. How, with his reknown, could his ideas help him,
> a lowly potter. Certainly his "Doryphorous" was an expression that
> contained the purest sense of aesthetic balance ever to reside in mere
> stone. And certainly his numerical formulations in three dimensions were
> such that he was considered to have embodied art itself in a work of art.
> No wonder that even though his Doryphorous did not posses any of the
> specific attributes of a particular person it , indeed, engendered the
> aesthetic ideal. In his introductions to the sculpture studio Adeimantus
> was the one who retold the story of Plato who said ,late in the life of
> Polykleitos, "We must seek out those craftsmen whose instinct guides them
> to whatsoever is lovely and gracious: so that our young men, dwelling in a
> wholesome climate, may drink in good from every quarter, whence, like a
> breeeze bearing health from happy regions, some influence from noble works
> constantly falls upon eye and ear from childhood upward, and imperceptibly
> draws them into sympathy and harmony with the beauty of reason, whose
> impress they take." So this is why he must study with such an artist
> who has been so touched by the divine! "To be a slave of such a master
> was to be not a slave at all", he concluded. But there was a quiet
> stillness harboring in his mind. "How can reason be reason and beauty
> beauty and reason be born of beauty too?"
>
> Kevin A. Hluch
> 102 E. 8th St.
> Frederick, MD 21701
> USA
>
> e-mail: kahluch@umd5.umd.edu
>
> On Fri, 11 Jul 1997, Dan Wilson wrote:
>
> > ----------------------------Original message----------------------------
> >
> >
> > On the basis of what has been said so far, beauty is either an extreme
> > position on a continuium or it is the average. The Greek notion of "The
> > Golden Mean" tends to support the later position. To achieve the condition
> > of beauty, the employment of porportional relationships among the elements
> > of beauty to establish balance is required. This can be achieved through
> > the use of the formula: 1.618 to 1. What does this have to do with the
> > beautiful pot? The pot, I have just recently learned, is sometimes thought
> > of as a metaphor for the body. If this is so, then the elements of the
> > beautiful pot should reflect the porportional relationships described above.
> >
> > So, what are the elements of the beautiful? Especially since it is
> > commonly accepted that "everything is beautiful in its own way.". This is
> > the point at which subjectivity enters the equation. Subjectivity is the
> > fulcrum upon which the condition of beauty is balanced. But what exactly;
> > is subjectivity?
> >
> > Dan Wilson
> >
>
>
Hluch - Kevin A. on fri 17 oct 97
The apprentice could not help but ask Aestheticus the most
fundamental of all questions concerning the success of his pottery, "What
IS beauty and how do you insure its presence in something so humble as a
simple pot?"
"Ergotimos, the question is at the surface quite simple, however,
dig a little deeper and and the question is exceptionally complex. My
response provides the answer for the riddle that lies hidden in your
question.
Surprisingly, let us start with the truth. Isn't it so that there
is an important distinction between that which is beautiful and that which is
grotesque? Can we say that each word has the same meaning? Obviously not.
If the grotesque and the beautiful were one there would be no necessity
for two words that describe distinctly different ideas. Of this, we must
certainly agree.
As an example, the field and all of its sundry parts comprise the
landscape beheld while strolling through the valley. Obviously, in every
single step along the way this valley is quite beautiful to behold. On
the other hand, if one strolls through this same valley immediately
following battle between the Spartans and the heathens from the north, a
landscape of horrors will be found. Split bodies, gashed heads, arrow and
spear-pierced moaning warriors on their lonely path to death, and
the stench of blood and spilled offal are an integral part of this second
journey.
Can you tell me, Ergotimos, which comprises the beautiful and
which the grotesque?" Aesthetic us asked.
"But, of course the previous is beautiful while the latter is
grotesque," answered Ergotimos.
"So, indeed, you will admit a difference exists?"
"Surely," the young apprentice responded.
"Also, while perceiving the experiences during each of these
walks,will you be able to retain the same state of mind in each case?"
Aesthetic us inquired.
"Well, no. In the first walk my soul will be lifted up to the
heavens while on the second my mind will linger on the most foul character of
human nature," Ergotimos noted.
"In the matter of your perceptions, which will be more pleasant or
enjoyable?" the Master further inquired.
"Why the first, of course," said Ergotimos.
"Can it be said then that Beauty is that which exalts the mind
and pleases the senses?" Aesthetic us asked.
"That certainly appears reasonable to me," Ergotimos eagerly
responded.
"Now lets sit in the shade of that olive tree, for it has a tale
to tell in this story as well, my fine young, eager friend," said
Aestheticus, not wishing to linger in admiring the short, dark locks that
curled so playfully near the young boy's temples.
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Mon, 29 Sep 1997, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> Aestheticus, the most promising potter in the workshop of the sculptor
> Polykleitos, had learned his lessons well. His amphora of twenty years
> ago became the prize of Robustius, the most fleet of foot in the race
> through the sacred mountains during the Olympiad. Now, decades later,
> Aestheticus had become a master himself. His good friend Adeimantus was
> first to note how the reproduction of another persons gestures or tones of
> voice or states of mind, if persisted from youth up, grows into a habit
> which becomes second nature. It is in this fashion that Aestheticus
> forged his ideas and practices from the master sculptor.
> And with remarkable alacrity he had trained both the potters,
> painters and other craftsmen in his workshop. Much like a chariot team
> that could easily strike the swiftest and most agile prey, his craftsmen
> produced pottery of indescribable beauty with apparent ease and grace.
> Kiln after kiln yielded hundreds of pots of varied and sundry proportions.
> Huge numbers of beautiful Kylix, amphoras, hydria, kraters, lekythos and
> oenochoe were streaming to the agora from this bustling shop.
> With their sandals kicking up the red clay dust among the rows of
> potters at their wheels, Aestheticus was bombarded by what seemed
> innumerable questions by his new apprentice.
> "How can Beauty be instilled in each one of the pots that this
> workshop produces? Each is thrown by one hand, trimmed by another, the
> handles made by another, each is painted by still others, and other men
> fire them to perfection in the smoke belching kilns over yonder?" asked
> Ergotimos. "It would seem that a chariot drawn by too many horses would
> never win the race at the Hippodrome. How is it that Beauty is so
> brilliantly commanded in your pottery workshop?"
> Aestheticus was not surprised by these questions. Indeed, he had
> asked them himself of his own master.
> "Is the beauty you find in these pots any different than the
> beauty of the lyre player? How is it that the lyre player can produce such
> beauty with so many strings? Is it not the same question for him?
> Furthermore, doesn't the beauty of the lyre player also depend upon the
> craftsman who made the lyre? And doesn't the lyre player also depend upon
> the woodsman who selects and cuts the wood for the lyre maker?"
> Aestheticus responded.
> From this answer Ergotimos knew he would learn many things here.
>
> Kevin A. Hluch
> 102 E. 8th St.
> Frederick, MD 21701
> USA
>
> e-mail: kahluch@umd5.umd.edu
> http://www.erols.com/mhluch/mudslinger.html
>
> On Sat, 12 Jul 1997, Hluch - Kevin A. wrote:
>
> > The pottery apprentice could not understand why he had been sent to the
> > the workshop of the sculptor. Certainly the Argive master Polykleitos
> > knew nothing of pottery. How, with his reknown, could his ideas help him,
> > a lowly potter. Certainly his "Doryphorous" was an expression that
> > contained the purest sense of aesthetic balance ever to reside in mere
> > stone. And certainly his numerical formulations in three dimensions were
> > such that he was considered to have embodied art itself in a work of art.
> > No wonder that even though his Doryphorous did not posses any of the
> > specific attributes of a particular person it , indeed, engendered the
> > aesthetic ideal. In his introductions to the sculpture studio Adeimantus
> > was the one who retold the story of Plato who said ,late in the life of
> > Polykleitos, "We must seek out those craftsmen whose instinct guides them
> > to whatsoever is lovely and gracious: so that our young men, dwelling in a
> > wholesome climate, may drink in good from every quarter, whence, like a
> > breeeze bearing health from happy regions, some influence from noble works
> > constantly falls upon eye and ear from childhood upward, and imperceptibly
> > draws them into sympathy and harmony with the beauty of reason, whose
> > impress they take." So this is why he must study with such an artist
> > who has been so touched by the divine! "To be a slave of such a master
> > was to be not a slave at all", he concluded. But there was a quiet
> > stillness harboring in his mind. "How can reason be reason and beauty
> > beauty and reason be born of beauty too?"
> >
> > Kevin A. Hluch
> > 102 E. 8th St.
> > Frederick, MD 21701
> > USA
> >
> > e-mail: kahluch@umd5.umd.edu
> >
> > On Fri, 11 Jul 1997, Dan Wilson wrote:
> >
> > > ----------------------------Original message----------------------------
> > >
> > >
> > > On the basis of what has been said so far, beauty is either an extreme
> > > position on a continuium or it is the average. The Greek notion of "The
> > > Golden Mean" tends to support the later position. To achieve the conditio
> > > of beauty, the employment of porportional relationships among the element
> > > of beauty to establish balance is required. This can be achieved through
> > > the use of the formula: 1.618 to 1. What does this have to do with the
> > > beautiful pot? The pot, I have just recently learned, is sometimes thought
> > > of as a metaphor for the body. If this is so, then the elements of the
> > > beautiful pot should reflect the porportional relationships described abov
> > >
> > > So, what are the elements of the beautiful? Especially since it is
> > > commonly accepted that "everything is beautiful in its own way.". This is
> > > the point at which subjectivity enters the equation. Subjectivity is the
> > > fulcrum upon which the condition of beauty is balanced. But what exactly;
> > > is subjectivity?
> > >
> > > Dan Wilson
> > >
> >
> >
>
Hluch - Kevin A. on mon 20 oct 97
Squinting from the bright light emanating from the
crystal azure Aegean sky, Aestheticus and Ergomitos made their
way to the shade of the olive tree. Aestheticus absent mindedly
noted the deeply ingrained lines of his own face were as pronounced
in character as the young boy's soft, downy cheeks.
Seated on the abundant, ample rocks from which the olive tree
thrust itself, Ergomitos patient no longer, boldly asked, "How is it
that this tree holds an element of the story of Beauty that courses
through the pottery of your workshop?"
Abruptly, Aestheticus asked, "Is that valley across the way
beautiful?"
"As beautiful as any of those I have seen," the apprentice
responded.
Aestheticus then asked, "If by walking through the valley one can
detect the essential elements of beauty, doesn't this suggest that Beauty
itself must reside therein and therefore is readily available to one and
all?"
As this new question brushed his ear, Ergomitos thinking
carefully, considered that there must be more to the answer than
the obvious. He replied cautiously, "It must be true that for beauty to
appear to us that all of its elements must certainly be present just as
the things that comprise the valley are obvious to the eye."
"Indeed," Aestheticus said.
With an outward glance, the Master noted and pointed out
to the young apprentice the marathon runner practicing his solitary stint
in the distance.
"Do you think that the runner, over yonder, is filled with
wonder at the beauty that permeates the valley as he goes through his
paces in preparation for the next Olympiad?" Astheticus asked.
"I would suppose that since all his attention is focused on
his footing and the maidens who will be at his beck and call if he
wins the race, that he misses much of the Beauty that is found so
effortlessly in the valley," Ergotimos suggested.
"Is the beauty of the valley still present even though the runner
fails to notice it?" asked Aestheticus.
"Of course," the apprentice responded.
"Then would it seem that for the artist to know beauty, one must
first orient one's life so that beauty is ALLOWED to enter it. In this
regard, do you think that there are many at the agora who have the
adroitness to sense the beauty which surrounds them?" Aestheticus asked
his ardent pupil.
"Surely, THIS must be a falsehood. Those people, like the
runner, have only one thing in mind and, certainly, it is not Beauty!"
said Ergotimos with an even, white smile that produced miniature valleys
in each cheek.
Aestheticus, looking directly into the eyes of his apprentice
said, "The coolness of the shade of this olive tree is only equaled by the
tranquility of the setting, is it not?" Not waiting for a reply the
Master continued, "There is more about this tree that I can tell you...
Perhaps, after you've quenched your thirst with a taste of wine,
we can explore these matters further."
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Fri, 17 Oct 1997, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> The apprentice could not help but ask Aestheticus the most
> fundamental of all questions concerning the success of his pottery, "What
> IS beauty and how do you insure its presence in something so humble as a
> simple pot?"
> "Ergotimos, the question is at the surface quite simple, however,
> dig a little deeper and and the question is exceptionally complex. My
> response provides the answer for the riddle that lies hidden in your
> question.
> Surprisingly, let us start with the truth. Isn't it so that there
> is an important distinction between that which is beautiful and that which is
> grotesque? Can we say that each word has the same meaning? Obviously not.
> If the grotesque and the beautiful were one there would be no necessity
> for two words that describe distinctly different ideas. Of this, we must
> certainly agree.
> As an example, the field and all of its sundry parts comprise the
> landscape beheld while strolling through the valley. Obviously, in every
> single step along the way this valley is quite beautiful to behold. On
> the other hand, if one strolls through this same valley immediately
> following battle between the Spartans and the heathens from the north, a
> landscape of horrors will be found. Split bodies, gashed heads, arrow and
> spear-pierced moaning warriors on their lonely path to death, and
> the stench of blood and spilled offal are an integral part of this second
> journey.
> Can you tell me, Ergotimos, which comprises the beautiful and
> which the grotesque?" Aesthetic us asked.
> "But, of course the previous is beautiful while the latter is
> grotesque," answered Ergotimos.
> "So, indeed, you will admit a difference exists?"
> "Surely," the young apprentice responded.
> "Also, while perceiving the experiences during each of these
> walks,will you be able to retain the same state of mind in each case?"
> Aesthetic us inquired.
> "Well, no. In the first walk my soul will be lifted up to the
> heavens while on the second my mind will linger on the most foul character of
> human nature," Ergotimos noted.
> "In the matter of your perceptions, which will be more pleasant or
> enjoyable?" the Master further inquired.
> "Why the first, of course," said Ergotimos.
> "Can it be said then that Beauty is that which exalts the mind
> and pleases the senses?" Aesthetic us asked.
> "That certainly appears reasonable to me," Ergotimos eagerly
> responded.
> "Now lets sit in the shade of that olive tree, for it has a tale
> to tell in this story as well, my fine young, eager friend," said
> Aestheticus, not wishing to linger in admiring the short, dark locks that
> curled so playfully near the young boy's temples.
>
>
>
>
>
> Kevin A. Hluch
> 102 E. 8th St.
> Frederick, MD 21701
> USA
>
> e-mail: kahluch@umd5.umd.edu
> http://www.erols.com/mhluch/mudslinger.html
>
> On Mon, 29 Sep 1997, Hluch - Kevin A. wrote:
>
> > ----------------------------Original message----------------------------
> > Aestheticus, the most promising potter in the workshop of the sculpt
> > Polykleitos, had learned his lessons well. His amphora of twenty years
> > ago became the prize of Robustius, the most fleet of foot in the race
> > through the sacred mountains during the Olympiad. Now, decades later,
> > Aestheticus had become a master himself. His good friend Adeimantus was
> > first to note how the reproduction of another persons gestures or tones of
> > voice or states of mind, if persisted from youth up, grows into a habit
> > which becomes second nature. It is in this fashion that Aestheticus
> > forged his ideas and practices from the master sculptor.
> > And with remarkable alacrity he had trained both the potters,
> > painters and other craftsmen in his workshop. Much like a chariot team
> > that could easily strike the swiftest and most agile prey, his craftsmen
> > produced pottery of indescribable beauty with apparent ease and grace.
> > Kiln after kiln yielded hundreds of pots of varied and sundry proportions.
> > Huge numbers of beautiful Kylix, amphoras, hydria, kraters, lekythos and
> > oenochoe were streaming to the agora from this bustling shop.
> > With their sandals kicking up the red clay dust among the rows of
> > potters at their wheels, Aestheticus was bombarded by what seemed
> > innumerable questions by his new apprentice.
> > "How can Beauty be instilled in each one of the pots that this
> > workshop produces? Each is thrown by one hand, trimmed by another, the
> > handles made by another, each is painted by still others, and other men
> > fire them to perfection in the smoke belching kilns over yonder?" asked
> > Ergotimos. "It would seem that a chariot drawn by too many horses would
> > never win the race at the Hippodrome. How is it that Beauty is so
> > brilliantly commanded in your pottery workshop?"
> > Aestheticus was not surprised by these questions. Indeed, he had
> > asked them himself of his own master.
> > "Is the beauty you find in these pots any different than the
> > beauty of the lyre player? How is it that the lyre player can produce such
> > beauty with so many strings? Is it not the same question for him?
> > Furthermore, doesn't the beauty of the lyre player also depend upon the
> > craftsman who made the lyre? And doesn't the lyre player also depend upon
> > the woodsman who selects and cuts the wood for the lyre maker?"
> > Aestheticus responded.
> > From this answer Ergotimos knew he would learn many things here.
> >
> > Kevin A. Hluch
> > 102 E. 8th St.
> > Frederick, MD 21701
> > USA
> >
> > e-mail: kahluch@umd5.umd.edu
> > http://www.erols.com/mhluch/mudslinger.html
> >
> > On Sat, 12 Jul 1997, Hluch - Kevin A. wrote:
> >
> > > The pottery apprentice could not understand why he had been sent to the
> > > the workshop of the sculptor. Certainly the Argive master Polykleitos
> > > knew nothing of pottery. How, with his reknown, could his ideas help him,
> > > a lowly potter. Certainly his "Doryphorous" was an expression that
> > > contained the purest sense of aesthetic balance ever to reside in mere
> > > stone. And certainly his numerical formulations in three dimensions were
> > > such that he was considered to have embodied art itself in a work of art.
> > > No wonder that even though his Doryphorous did not posses any of the
> > > specific attributes of a particular person it , indeed, engendered the
> > > aesthetic ideal. In his introductions to the sculpture studio Adeimantus
> > > was the one who retold the story of Plato who said ,late in the life of
> > > Polykleitos, "We must seek out those craftsmen whose instinct guides them
> > > to whatsoever is lovely and gracious: so that our young men, dwelling in a
> > > wholesome climate, may drink in good from every quarter, whence, like a
> > > breeeze bearing health from happy regions, some influence from noble works
> > > constantly falls upon eye and ear from childhood upward, and imperceptibly
> > > draws them into sympathy and harmony with the beauty of reason, whose
> > > impress they take." So this is why he must study with such an artist
> > > who has been so touched by the divine! "To be a slave of such a master
> > > was to be not a slave at all", he concluded. But there was a quiet
> > > stillness harboring in his mind. "How can reason be reason and beauty
> > > beauty and reason be born of beauty too?"
> > >
> > > Kevin A. Hluch
> > > 102 E. 8th St.
> > > Frederick, MD 21701
> > > USA
> > >
> > > e-mail: kahluch@umd5.umd.edu
> > >
> > > On Fri, 11 Jul 1997, Dan Wilson wrote:
> > >
> > > > ----------------------------Original message----------------------------
> > > >
> > > >
> > > > On the basis of what has been said so far, beauty is either an extreme
> > > > position on a continuium or it is the average. The Greek notion of "The
> > > > Golden Mean" tends to support the later position. To achieve the condit
> > > > of beauty, the employment of porportional relationships among the eleme
> > > > of beauty to establish balance is required. This can be achieved through
> > > > the use of the formula: 1.618 to 1. What does this have to do with the
> > > > beautiful pot? The pot, I have just recently learned, is sometimes thoug
> > > > of as a metaphor for the body. If this is so, then the elements of the
> > > > beautiful pot should reflect the porportional relationships described ab
> > > >
> > > > So, what are the elements of the beautiful? Especially since it is
> > > > commonly accepted that "everything is beautiful in its own way.". This i
> > > > the point at which subjectivity enters the equation. Subjectivity is the
> > > > fulcrum upon which the condition of beauty is balanced. But what exactly
> > > > is subjectivity?
> > > >
> > > > Dan Wilson
> > > >
> > >
> > >
> >
>
Hluch - Kevin A. on fri 24 oct 97
"Praise Dionysus!" exclaimed Aestheticus before each drained his
small goat skin to quench their newfound thirst.
"Not surprisingly, the two essentials that illuminate Beauty can
be found in its description: that which pleases the senses and exalts the
mind," Aestheticus reminded the young lad.
"And one needs to be receptive to beauty or it simple flies away,
as the swallows dart swiftly to their nests," the apprentice interjected
enthusiastically.
"Ergomitos, are there other qualities in the character of men
that distinguish us from all other animals? That is, are there any
capabilities of men that exist beyond thinking and perceiving the world
with the five senses?" asked Aestheticus.
"Are not men cursed, and the women even more
so, with emotions? Don't the ecstatic Menades who accompany Dionysus portray
these traits just so?" Ergotimos responded, wondering at the insight.
"Without a doubt, you are correct. Also, when you said earlier
that you had been 'lifted up to the heavens' by your walk through the
pristine valley, to what aspect where you referring?" questioned
Aestheticus.
"Well, it is the spiritual element....To experience Beauty is to
linger on Mount Olympus, the dwelling place of our great god Zeus and we, it
seems,are blessed with an indefatigable spirit as well," spoke the boy.
"Thus it is so. The connection between the mind and heaven must
surely be an intimate one," the Master allowed. "For it is the higher
plane of the spirit that the mind seeks: that of the divine."
Aestheticus asked more questions.
"In regard to Beauty and the sensations that you experienced in
traveling through the valley, were your senses continually pleased as
you walked along? In other words, were they good feelings?"
"Of course," Ergotimos responded. "But what does this have to do
with the olive tree?" the apprentice rightfully asked.
"Like Beauty, the tree stands between earth and sky. From the
earth comes the sustenance and from the sky energy that produces the beauty of
the crown of the tree. Can we expect that the crown should be as the
root? Or that crown should not reach towards the heavens. Or that the
root is not essential for the beauty of crown? And may we expect that
the root and crown produce something beneficial for the tree and its continuing
existence?" the Master asked.
"Without a doubt", the boy responded.
"Continuing Aestheticus stated, "It seems it is the mind then that
reaches toward the dwelling places of the gods and it is the senses that
move men toward the Good. Likewise, it is the philosopher's passion for
wisdom that draws him into sympathy with Beauty."
Ergotimos appeared restless and concerned. His dark eyes narrowed and
an almost imperceptible line, like the mark made by the plow biting into
the dry hard ground, appeared on his brow. He asked, "But when will I
know HOW a beautiful pot is made? If I am to create wonderful work I
will need to know more than just these noble ideas. How can I MAKE beautiful
pottery?"
"These noble ideas, as you call them, correspond to noble work.
For a pot to be beautiful it must also be good. And for a pot to be good it
must serve its purpose well," answered Aestheticus. We will explore these
subjects just as we will explore the valley on the morrow looking for the
sweetest, most fragrant flowers to garland your brow," Aestheticus
replied with the utmost tenderness and patience.
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Mon, 20 Oct 1997, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> "Surely, THIS must be a falsehood. Those people, like the
> runner, have only one thing in mind and, certainly, it is not Beauty!"
> said Ergotimos with an even, white smile that produced miniature valleys
> in each cheek.
> Aestheticus, looking directly into the eyes of his apprentice
> said, "The coolness of the shade of this olive tree is only equaled by the
> tranquility of the setting, is it not?" Not waiting for a reply the
> Master continued, "There is more about this tree that I can tell you...
> Perhaps, after you've quenched your thirst with a taste of wine,
> we can explore these matters further."
>
>
Hluch - Kevin A. on fri 31 oct 97
With the garland of fresh-picked flowers draped languidly around the
crown of Ergotimoss head, the two; Master and apprentice, resumed their
dialogue.
"Ergotimos, I understand your desire to strike quickly the blow
for Beauty in pottery, but is it not possible that the hasty blow will
glance off it's intended target? Does the huntsman release his dogs to
the prey before the hounds have been properly trained to the methods of
the hunt? We must first understand the fundamental reasons why things are
thus and so. Your impatience, however, befits your age... But I have
another question for you: why is it that when the mouth is held open, the
breath exhaled is warm and soft, while when the lips are pursed and the
breath increased, the same air is cold and hard?" the Master inquired.
"It would appear that this is but a single example of a multitude
of examples that informs us of the god's struggle between good and evil,
between the just and the unjust, between right and wrong, between Heaven
and Hades," answered the young apprentice.
"And between the ugly and the beautiful," added Aestheticus.
"Likewise, the olive tree whose roots become one with the earth and whose
crown becomes one with the sky is further evidence of how these opposing
elements are manifested. Considering Beauty, might not opposing forces
also be held in tension much like that of the archer whose bow is bent
for the release of the arrow?" Aestheticus further inquired of his
attentive apprentice.
"So it would seem," Ergotimos responded.
"Furthermore, these pairs of opposing characteristics are
embodied in all things, are they not?" the Master asked.
Perplexed, the apprentice responded, "How do you mean?"
"Where do you find in words the description of our world if not in
the extremities of language? Let me suggest but a few examples. If one
does not know 'in' can one know 'out'? Where is 'high' without 'low'? Can
one sail 'east' and not know 'west'? Can there be 'soft' without 'hard'?
Can one have 'life' and exclude 'death'? Furthermore, didn't the gods
rend asunder by half our four-legged, four-armed ancestors to thereby
lessen our power and thus we have men and women?" Aestheticus queried
the boy.
"This is most certainly agreeable. And it is all well and good
but, again, I must wonder: how does this help me in making beautiful
pottery?" Ergotimos asked with an eagerness bolstered by heightened
expectation.
"Your hunger to know the truth of things in such short order
suggests that the truth you may discern in such a brief pursuit may be of
meager value," the Master replied.
Directing Ergotimos's gaze to the shimmering mountains in the
distance Aestheticus asked, "The welcoming shade of this olive tree
protects us from the fire of the sun and produces a lovely spot to admire
the beauty of this valley does it not?" While Ergotimos enjoyed the view
Aestheticus, not expecting an answer, noted the slight, dew-like beads of
perspiration that laced the upper lip of the young boy. Another
indication of the fleeting hour, thought the swiftly aging Master.
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Fri, 24 Oct 1997, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> Ergotimos appeared restless and concerned. His dark eyes narrowed and
> an almost imperceptible line, like the mark made by the plow biting into
> the dry hard ground, appeared on his brow. He asked, "But when will I
> know HOW a beautiful pot is made? If I am to create wonderful work I
> will need to know more than just these noble ideas. How can I MAKE beautiful
> pottery?"
> "These noble ideas, as you call them, correspond to noble work.
> For a pot to be beautiful it must also be good. And for a pot to be good it
> must serve its purpose well," answered Aestheticus. We will explore these
> subjects just as we will explore the valley on the morrow looking for the
> sweetest, most fragrant flowers to garland your brow," Aestheticus
> replied with the utmost tenderness and patience.
>
>
> On Mon, 20 Oct 1997, Hluch - Kevin A. wrote:
>
> > ----------------------------Original message----------------------------
>
> > "Surely, THIS must be a falsehood. Those people, like the
> > runner, have only one thing in mind and, certainly, it is not Beauty!"
> > said Ergotimos with an even, white smile that produced miniature valleys
> > in each cheek.
> > Aestheticus, looking directly into the eyes of his apprentice
> > said, "The coolness of the shade of this olive tree is only equaled by the
> > tranquility of the setting, is it not?" Not waiting for a reply the
> > Master continued, "There is more about this tree that I can tell you...
> > Perhaps, after you've quenched your thirst with a taste of wine,
> > we can explore these matters further."
Hluch - Kevin A. on sat 8 nov 97
The shimmering mountains across the valley inspired the young
apprentice, Ergotimos, who was eager to continue his lessons, to present a
question. "Certainly, it is true that Beauty pleases the senses and exalts the
mind and those things that are beautiful are distinctly different in character
than those things that are grotesque. It also appears it can be said that
beautiful things and grotesque things each have within them elements of
the other. But to say these elements of opposition co-exist in one and the
same thing gives me pause. How can a thing be both ugly and beautiful at once?
Shouldn't a thing be one unto itself and nothing more?" the apprentice
asked with a furrowed brow and doubt etched in his eyes.
Aestheticus, with an eyebrow raised, asked, "Can you say that the
man who thinks himself wise and an ignorant man are the same?"
"Of course not," replied Ergotimos.
"Of this I am not convinced. Is not the wise man who thinks he
already knows wisdom and therefore refuses to seek it the same as the
ignorant man who does not love wisdom and therefore has no the desire for
it," Aestheticus responded.
"Well, certainly in this I agree", said Ergotimos.
"Then those who do not energetically seek wisdom, both the
ignorant and the already wise, stand in the same place," the Master
replied.
"I must concede your point tho it seems not possible for only
extremes to exist for, in fact, I am neither ignorant nor already wise;
therefore some other abode must exist where these ideas abide," suggested
the young apprentice, quickly gathering confidence.
"Aptly put my young friend. Just as this olive tree possesses not
only crown and root existing in the four essential elements of earth,
air, water and fire but it also has at its mid-section the strongest part
of all: the trunk. Without this, the olive tree could not exist. Thus,
the trunk is the conveyance for the food of the earth and the nectar of
the sun. So it is the case with all things. Do not man and woman seek the
middle to continue that which has continued since the gods divided us?"
asked Aestheticus.
"Alas it must be so," the apprentice admitted.
"Just as the spear must have both a target and a thrower, so it is
with Beauty," said Aestheticus, gently resting this hand on the young
boy's shoulder. "The hour is getting late, let us begin our journey home."
Watching the young boy move gracefully and surely over the rock
dappled terrain the Master voiced aloud what his stomach only murmured,
"Hopefully, the women and slaves have labored well at the cooking fires."
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Fri, 31 Oct 1997, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> Directing Ergotimos's gaze to the shimmering mountains in the
> distance Aestheticus asked, "The welcoming shade of this olive tree
> protects us from the fire of the sun and produces a lovely spot to
> admire
>the beauty of this valley does it not?" While Ergotimos enjoyed the view
> Aestheticus, not expecting an answer, noted the slight, dew-like beads of
> perspiration that laced the upper lip of the young boy. Another
> indication of the fleeting hour, thought the swiftly aging Master.
>
>
> Kevin A. Hluch
> 102 E. 8th St.
> Frederick, MD 21701
> USA
>
> e-mail: kahluch@umd5.umd.edu
> http://www.erols.com/mhluch/mudslinger.html
>
Hluch - Kevin A. on fri 21 nov 97
"Those elements that comprise the livelihood of the potter are the
very same elements that make up our world. The red clay held in the hand
is the same earth on which we tread. There is no other material that
more embodies the true nature of that which the gods have given us. So
from the beginning Ergotimos, consider the clay not only a gift from the gods
but also the Earth which meets our lips in drink. With this intimate kiss we
are in communion with the earth itself. The clay, therefore is the flesh
of the body of the pot. To fashion Beauty from this common substance is
to speak of our connection to the mother of all who cradles us both in
life and in death", spoke Aestheticus, still clutching the broken bit of
pottery.
"Truly, this is the case," responded the young apprentice.
"Water is essential for the potters art as well. Without water,
the pot could never be fashioned. Should the water vanish even
the best, most wonderful and easily worked clay is just crumble in the hands;
suited for neither working nor divining. As with our bodies and the body of
the earth, water is that which animates and gives life. It, therefore, is
the blood of the body," spoke Aestheticus.
"Of this, I must surely agree," responded the young apprentice.
"Air is another critical material of the potter. It is in the
gentle circulation of the air that compells the clay to be fixed in the
shape that the potters wheel describes. In those days of rain the
workshop is a sad and slow place for does not the air lay heavy on the
pots? And like the dew on the grasses it refuses to leave until the the
sun, the source of fire in the world, finally forces the water to leave.
It is to the air that the moisture must accede if the baking of the clay
is to be successful. Lie us the pot needs air to breath," spoke
Aestheticus.
"We are in complete agreement with this," acknowledged Ergotimos.
"Lastly, fire consumes not that which is in the kiln. Of all the
materials that are consumed by fire it is clay alone that is not only not
destroyed but is, indeed, made strong by the heat. And isn't it so that
the islands of our own sea have been built by fire? It is the strength
derived by fire that clay becomes the material that slays time. Fire gives
bones to the clay so that it can stand ever more," spoke the Master.
"Rightly spoken," the boy responded but quickly added, "If we do
not leave soon the night will be upon us and the food that awaits will
nourish only the dogs."
Acknowledging the lateness of the day Aestheticus said, "By Zeus!
Where has the time flown? But soon we will discuss the numbers needed to
describe Beauty. Already you see that the elements of pottery are
described by four, a very special number."
Slowly, with his arm draped on the boy's shoulder and the first
points of light beginning to dot the deeping sky, they made their way across
the calvacade of rocks toward the village.
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Tue, 11 Nov 1997, Hluch - Kevin A. wrote:
>
> "What, pray Zeus, am I to make of this?" the boy asked with some
> impatience that did not offend the older man.
> "It is only the potter's art that strikes the balance with all
> four integral elements of our existence and in so doing fashions an
> eternal strength out of all of the weaknesses that both surround and are
> within us. Therefore, is not the potter's art more truly like a god's
> art?" questioned the Master.
> "I have always thought potters a wondrous lot and that is why
> I have come to learn from you Aestheticus," the boy responded.
> "And I shall learn from you, as well," the older man quietly
> said, rubbing the soft, smooth, hard, ragged shard in his hand.
>
>
>
> On Sat, 8 Nov 1997, Hluch - Kevin A. wrote:
>
> > ----------------------------Original message----------------------------
>
> > "Alas it must be so," the apprentice admitted.
> > "Just as the spear must have both a target and a thrower, so it is
> > with Beauty," said Aestheticus, gently resting this hand on the young
> > boy's shoulder. "The hour is getting late, let us begin our journey home."
> > Watching the young boy move gracefully and surely over the rock
> > dappled terrain the Master voiced aloud what his stomach only murmured,
> > "Hopefully, the women and slaves have labored well at the cooking fires."
> >
> >
> >
> >
> >
> > > ----------------------------Original message----------------------------
> > > Directing Ergotimos's gaze to the shimmering mountains in the
> > > distance Aestheticus asked, "The welcoming shade of this olive tree
> > > protects us from the fire of the sun and produces a lovely spot to
> > > admire
> > >the beauty of this valley does it not?" While Ergotimos enjoyed the view
> > > Aestheticus, not expecting an answer, noted the slight, dew-like beads of
> > > perspiration that laced the upper lip of the young boy. Another
> > > indication of the fleeting hour, thought the swiftly aging Master.
> > >
> > >
> > > Kevin A. Hluch
> > > 102 E. 8th St.
> > > Frederick, MD 21701
> > > USA
> > >
> > > e-mail: kahluch@umd5.umd.edu
> > > http://www.erols.com/mhluch/mudslinger.html
> > >
> >
>
>
Hluch - Kevin A. on tue 23 dec 97
In their meander back to the village Aestheticus could not help
but question his young apprentice about one more important topic before
he began his lesson in the Numbers.
"Ergotimos, is it possible for the potter to be spoilt by both
wealth and poverty?" Aestheticus asked.
"Of course not," replied the apprentice. " For does not the
craftsman with little money have not the burning desire to make pottery?
Does not this desire for Beauty burn as hot as his kiln? This alone is
the necessary requirement for his trade. Also, the rich potter has all
means at his disposal for the elucidation of Beauty. Therefore, he cannot
help but capture success as the hawk grasps the quail from the sky," the
boy confidently concluded.
"If these things are true then in the first instance, how will the
potter so poor in coin build his kiln and wheel or buy the necessary clay
and wood to produce the pottery that spins in his head?" Aestheticus
asked.
"If the potter is without wealth perhaps the gods will bless him
with benefactors when they see his honest and good desire for Beauty,"
Ergotimos answered with much sincerity but little conviction.
"But if the gods do not bless this hapless potter's admirable
affliction then the potter will not have the tools and other requisites for
his trade. Surely then, he will produce inferior articles and his sons
and apprentices will likewise be afflicted by this lack," spoke
Aestheticus.
"Indeed, this does appear to be the case," replied the lad.
"On the other hand, will the potter who has grown rich care more
or less about tending to his craft?" the Master asked.
Of course he will care much less about his trade and he will
certainly become more engaged in those worthless pursuits that
wealth begets," the boy enthusiastically responded with a glint of
understanding in his eye.
"Then we will become a worse potter at the increase of his wealth
for he will most certainly become idle, derelict and show little concern for
the practice of his craft. Not only this. Soon even his apprentices will
be as listless in their ways as a result of a lack of direction as he is
in his," Aestheticus responded. He concluded, "Thus it can be said that
both wealth and poverty deteriorate the production of potters."
"And by this example you show further the balance necessary in the
fortunes of the potter which is likewise in keeping with the larger
equipoise that the gods have practiced since they created both the world
and us," continued the young apprentice.
"Of this grace we are beholden to the gods indeed," spoke the
Master still gently rubbing the smooth yet ragged pottery shard found at
the first hint of sunset. Both Master and apprentice could now see the
twinkling yellow lights of the village in the distance beckoning them
home. But certainly it was the smoky smell of the cooking fires obscuring
the diamond lights of the night that prompted new energy in their pace.
Kevin A. Hluch 102 E.
8th St. Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Fri, 21 Nov 1997, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
>
> "Those elements that comprise the livelihood of the potter are the
> very same elements that make up our world. The red clay held in the hand
> is the same earth on which we tread. There is no other material that
> more embodies the true nature of that which the gods have given us. So
> from the beginning Ergotimos, consider the clay not only a gift from the gods
> but also the Earth which meets our lips in drink. With this intimate kiss we
> are in communion with the earth itself. The clay, therefore is the flesh
> of the body of the pot. To fashion Beauty from this common substance is
> to speak of our connection to the mother of all who cradles us both in
> life and in death", spoke Aestheticus, still clutching the broken bit of
> pottery.
> "Truly, this is the case," responded the young apprentice.
> "Water is essential for the potters art as well. Without water,
> the pot could never be fashioned. Should the water vanish even
> the best, most wonderful and easily worked clay is just crumble in the hands;
> suited for neither working nor divining. As with our bodies and the body of
> the earth, water is that which animates and gives life. It, therefore, is
> the blood of the body," spoke Aestheticus.
> "Of this, I must surely agree," responded the young apprentice.
> "Air is another critical material of the potter. It is in the
> gentle circulation of the air that compells the clay to be fixed in the
> shape that the potters wheel describes. In those days of rain the
> workshop is a sad and slow place for does not the air lay heavy on the
> pots? And like the dew on the grasses it refuses to leave until the the
> sun, the source of fire in the world, finally forces the water to leave.
> It is to the air that the moisture must accede if the baking of the clay
> is to be successful. Lie us the pot needs air to breath," spoke
> Aestheticus.
> "We are in complete agreement with this," acknowledged Ergotimos.
> "Lastly, fire consumes not that which is in the kiln. Of all the
> materials that are consumed by fire it is clay alone that is not only not
> destroyed but is, indeed, made strong by the heat. And isn't it so that
> the islands of our own sea have been built by fire? It is the strength
> derived by fire that clay becomes the material that slays time. Fire gives
> bones to the clay so that it can stand ever more," spoke the Master.
> "Rightly spoken," the boy responded but quickly added, "If we do
> not leave soon the night will be upon us and the food that awaits will
> nourish only the dogs."
> Acknowledging the lateness of the day Aestheticus said, "By Zeus!
> Where has the time flown? But soon we will discuss the numbers needed to
> describe Beauty. Already you see that the elements of pottery are
> described by four, a very special number."
> Slowly, with his arm draped on the boy's shoulder and the first
> points of light beginning to dot the deeping sky, they made their way across
> the calvacade of rocks toward the village.
>
>
>
> Kevin A. Hluch
> 102 E. 8th St.
> Frederick, MD 21701
> USA
>
> e-mail: kahluch@umd5.umd.edu
> http://www.erols.com/mhluch/mudslinger.html
>
> On Tue, 11 Nov 1997, Hluch - Kevin A. wrote:
>
> >
> > "What, pray Zeus, am I to make of this?" the boy asked with some
> > impatience that did not offend the older man.
> > "It is only the potter's art that strikes the balance with all
> > four integral elements of our existence and in so doing fashions an
> > eternal strength out of all of the weaknesses that both surround and are
> > within us. Therefore, is not the potter's art more truly like a god's
> > art?" questioned the Master.
> > "I have always thought potters a wondrous lot and that is why
> > I have come to learn from you Aestheticus," the boy responded.
> > "And I shall learn from you, as well," the older man quietly
> > said, rubbing the soft, smooth, hard, ragged shard in his hand.
> >
> >
> >
> > On Sat, 8 Nov 1997, Hluch - Kevin A. wrote:
> >
> > > ----------------------------Original message----------------------------
> >
> > > "Alas it must be so," the apprentice admitted.
> > > "Just as the spear must have both a target and a thrower, so it is
> > > with Beauty," said Aestheticus, gently resting this hand on the young
> > > boy's shoulder. "The hour is getting late, let us begin our journey home."
> > > Watching the young boy move gracefully and surely over the rock
> > > dappled terrain the Master voiced aloud what his stomach only murmured,
> > > "Hopefully, the women and slaves have labored well at the cooking fires."
> > >
> > >
> > >
> > >
> > >
> > > > ----------------------------Original message---------------------------
> > > > Directing Ergotimos's gaze to the shimmering mountains in the
> > > > distance Aestheticus asked, "The welcoming shade of this olive tree
> > > > protects us from the fire of the sun and produces a lovely spot to
> > > > admire
> > > >the beauty of this valley does it not?" While Ergotimos enjoyed the vi
> > > > Aestheticus, not expecting an answer, noted the slight, dew-like beads
> > > > perspiration that laced the upper lip of the young boy. Another
> > > > indication of the fleeting hour, thought the swiftly aging Master.
> > > >
> > > >
> > > > Kevin A. Hluch
> > > > 102 E. 8th St.
> > > > Frederick, MD 21701
> > > > USA
> > > >
> > > > e-mail: kahluch@umd5.umd.edu
> > > > http://www.erols.com/mhluch/mudslinger.html
> > > >
> > >
> >
> >
>
Hluch - Kevin A. on sun 25 jan 98
Aestheticus and his young apprentice Ergotimos had eaten their fill of
roasted goat, figs and olives. Perhaps it was the wine and water mixed in
the krater and served in the kylix decorated with the images of the
Medea, daughter of Aeetes, king of Colcis and niece of the sorceress
Cirece that inspired him. Now, two maidens, Arges and Opis,visiting from
Delos entered from a doorway and joined them. But it was the bright,
brash youngster of Pilos who posed the first direct, question of the
evening in their small intimate gathering.
"How is it now, my dear Master,that numbers can express the
potter's art?"
Aestheticus, turning from his slight conversation with Opis
answered, "Is it no surprise that the most youthful would also ask
directly the most difficult of questions. For it is honesty in the search
for the truth that most inspires this recklessness. And it is the
fearfulness for the answer that youth knows not."
With this, Arges and Opis smiled shyly in agreement.
Aestheticus, cast his gaze to the youngster and said, "Your
spirit, Ergotimos, is admirable. As the years march past us like the
warriors marching to battle, the search for the truth becomes less
earnest, and simultaneously more treacherous, as in war itself. But let
this be just another nevermind. Let us pass from the abstract to the
concrete.
Can I put your query in my own way? Your ask: how can numbers
whose character is that of the spirit manifest and become that which is
concrete as in a work of beautiful pottery? This, it would appear to be
an intractable dilemma.
Let us remind ourselves: what is the basis for the question that
has be currently posed. Certainly it is the search for Beauty. From the
world we have fashioned this idea and now it is our duty to re-fashion it
again in our own works. This is our duty to the gods.
And Beauty has been determined to be that which pleases the senses
and exalts the mind. Furthermore, we have discovered that the basis for
Beauty resides in the dualistic character of everyday reality that
confronts us: that is, the balanced character to be found in all things.
Some of the mysteries of numbers as the relate to this can be
found in the followers of Pythagoras who have shown us how our world is
based in the power of ten. And these ten are based in contrast. For is
not Limit and Unlimited, Odd and Even, One and Many, Right and Left, Male
and Female, Rest and Motion, Straight and Curved, Light and Dark, Good
and Bad, Square and Oblong the aggregate of our existence? Who can deny
these truths? These categories, as you shall see, can explain many things.
Furthermore, the number ten finds its locus in the base numerals
of 1, 2, 3, 4. For in their sum lies the sense of our world again -
ten. The number ten also displays its own dualistic nature in that it is
composed of one and zero. Is not zero, nothing and one, something? It
can be seen that we can not escape the dualistic character of our
existence, even at the very foundation of abstraction. These numbers,
rightly so, also describe the colossal pyramids of the ancient Egyptians."
Having said this Aestheticus grasped a piece of charcoal from the
fire and drew the following on the packed earth at his feet:
a
a a
a a a
a a a a
As the three peered at this picture he continued, "Perhaps you
recall our previous discusssion? We have found that the essentials of our
keramic reside in the base elements that comprise our world: earth, air,
fire and water. Again, we see the power of the numbers of 1,2,3,4. In the
picture that I have drawn let the four elements at the base represent
these fources.
Our understanding of the world and ultimately the understanding of
Beauty in pottery must reside in understanding the pattern by which
universal elements manifest themselves throughout our world. Just as these
patterns exist all about us they must also be present in the Beautiful
Pot."
With this Aestheticus beckoned to Arges for another cup of wine.
Kevin A. Hluch 102 E. 8th St. Frederick, MD 21701 USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Tue, 23 Dec 1997, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
>
> "And by this example you show further the balance necessary in the
> fortunes of the potter which is likewise in keeping with the larger
> equipoise that the gods have practiced since they created both the world
> and us," continued the young apprentice.
> "Of this grace we are beholden to the gods indeed," spoke the
> Master still gently rubbing the smooth yet ragged pottery shard found at
> the first hint of sunset. Both Master and apprentice could now see the
> twinkling yellow lights of the village in the distance beckoning them
> home. But certainly it was the smoky smell of the cooking fires obscuring
> the diamond lights of the night that prompted new energy in their pace.
>
> On Fri, 21 Nov 1997, Hluch - Kevin A. wrote:
>
> > ----------------------------Original
message----------------------------
> >
> > derived by fire that clay becomes the material that slays time. Fire gives
> > bones to the clay so that it can stand ever more," spoke the Master.
> > "Rightly spoken," the boy responded but quickly added, "If we do
> > not leave soon the night will be upon us and the food that awaits will
> > nourish only the dogs."
> > Acknowledging the lateness of the day Aestheticus said, "By Zeus!
> > Where has the time flown? But soon we will discuss the numbers needed to
> > describe Beauty. Already you see that the elements of pottery are
> > described by four, a very special number."
> > Slowly, with his arm draped on the boy's shoulder and the first
> > points of light beginning to dot the deeping sky, they made their way across
> > the calvacade of rocks toward the village.
> >
> >
> >
> > On Tue, 11 Nov 1997, Hluch - Kevin A. wrote:
> >
> > >
> > > "It is only the potter's art that strikes the balance with all
> > > four integral elements of our existence and in so doing fashions an
> > > eternal strength out of all of the weaknesses that both surround and are
> > > within us. Therefore, is not the potter's art more truly like a god's
> > > art?" questioned the Master.
> > > "I have always thought potters a wondrous lot and that is why
> > > I have come to learn from you Aestheticus," the boy responded.
> > > "And I shall learn from you, as well," the older man quietly
> > > said, rubbing the soft, smooth, hard, ragged shard in his hand.
> > >
> > >
> > >
> > > On Sat, 8 Nov 1997, Hluch - Kevin A. wrote:
> > >
> > > > ----------------------------Original message----------------------------
> > >
> > > > "Alas it must be so," the apprentice admitted.
> > > > "Just as the spear must have both a target and a thrower, so it
> > > > with Beauty," said Aestheticus, gently resting this hand on the young
> > > > boy's shoulder. "The hour is getting late, let us begin our journey home
> > > > Watching the young boy move gracefully and surely over the rock
> > > > dappled terrain the Master voiced aloud what his stomach only murmured,
> > > > "Hopefully, the women and slaves have labored well at the cooking fires.
> > > >
> > > >
> > > >
> > > >
> > > >
> > > > > ----------------------------Original message-------------------------
> > > > > Directing Ergotimos's gaze to the shimmering mountains in th
> > > > > distance Aestheticus asked, "The welcoming shade of this olive tree
> > > > > protects us from the fire of the sun and produces a lovely spot to
> > > > > admire
> > > > >the beauty of this valley does it not?" While Ergotimos enjoyed the
> > > > > Aestheticus, not expecting an answer, noted the slight, dew-like bead
> > > > > perspiration that laced the upper lip of the young boy. Another
> > > > > indication of the fleeting hour, thought the swiftly aging Master.
Hluch - Kevin A. on mon 9 mar 98
Arges responded with the grace that befits the women of Delos and
handed Aestheticus another kylix of wine.
"And how is it that Beauty can be found in the simple
repetition of various marks? And what of these marks? Surely there are
as many marks that can be made in clay as patterns created from them.
With this affluence of possibility certainly this idea must be the
wellspring of confusion and ugliness, not Beauty, my Master. These
patterns of nature by virtue of their abundance and perplexity
be surely enough to make an apprentice potter like myself completely mad,"
Ergotimos complained.
Sipping his wine and fingering the broken shard that still
rested in his hand Aestheticus, turned to Arges and Opis so that his back
was turned from the young apprentice and said, "Certainly, my young
friend, you must then find the countenance of these young women from Delos
to be equally confusing?"
"Well....But .... Yes, I mean NO. Of course theirs is a beauty
that is not difficult to comprehend at all," Ergotimos said with the
tinge of embarrassment slowly spreading across his face like a sunrise.
"Then why would it be thus that Beauty would be so difficult to
discover in the potters' art?" the Master asked.
"I suppose it is the practice of it that confuses me so," the boy
responded.
"So let us note some of the tools by which the potter effects
Beauty in his work: We have already discussed the importance of balance
in the work by noting the ten Pythagorean fundamental contrasts found
in nature. The power of these elemental characteristics like odd and
even apportion Beauty for the artist. Likewise these opposites find unity
when enjoined.
We have also seen that the basis of the eternal found in the
number ten is produced by the sum of the sequence of the numbers from 1
through 4.
In addition, we have found that water, air, clay and the fire are
the four elements that form the essential basis for the potters art much
like the four sides of the pyramid give stability to the Egypts Great
Pyramid. This , while simultaneously compelling its form to reach for the
sun during the two times of the year when the sun is most high.
These numbers of four are also present more specifically in the
very nature of the potters' handiwork. For does not the number one
signify the point, while number two forms the line, three the surface,
while four describes the solid itself? The potter can not escape working
with these eternal elements while elucidating Beauty. Look again upon the
face of either Opis or Arges and perhaps your understanding
will most surely grow," commanded the Master.
Somewhat ruefully, Ergotimos countered, "Of these things, I have
not yet fully contemplated."
With a an smile and a wink, Arges whispered to Opis, "One
wonders of the number and scale of things of which this boy has not
thought."
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Sun, 25 Jan 1998, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> Having said this Aestheticus grasped a piece of charcoal from the
> fire and drew the following on the packed earth at his feet:
>
> a
> a a
> a a a
> a a a a
>
> As the three peered at this picture he continued, "Perhaps you
> recall our previous discusssion? We have found that the essentials of our
> keramic reside in the base elements that comprise our world: earth, air,
> fire and water. Again, we see the power of the numbers of 1,2,3,4. In the
> picture that I have drawn let the four elements at the base represent
> these fources.
> Our understanding of the world and ultimately the understanding of
> Beauty in pottery must reside in understanding the pattern by which
> universal elements manifest themselves throughout our world. Just as these
> patterns exist all about us they must also be present in the Beautiful
> Pot."
> With this Aestheticus beckoned to Arges for another cup of wine.
>
> Kevin A. Hluch 102 E. 8th St. Frederick, MD 21701 USA
>
> e-mail: kahluch@umd5.umd.edu
> http://www.erols.com/mhluch/mudslinger.html
>
> On Tue, 23 Dec 1997, Hluch - Kevin A. wrote:
>
> > ----------------------------Original message----------------------------
> >
> > "And by this example you show further the balance necessary in the
> > fortunes of the potter which is likewise in keeping with the larger
> > equipoise that the gods have practiced since they created both the world
> > and us," continued the young apprentice.
> > "Of this grace we are beholden to the gods indeed," spoke the
> > Master still gently rubbing the smooth yet ragged pottery shard found at
> > the first hint of sunset. Both Master and apprentice could now see the
> > twinkling yellow lights of the village in the distance beckoning them
> > home. But certainly it was the smoky smell of the cooking fires obscuring
> > the diamond lights of the night that prompted new energy in their pace.
> >
> > On Fri, 21 Nov 1997, Hluch - Kevin A. wrote:
> >
> > > ----------------------------Original
> message----------------------------
> > >
> > > derived by fire that clay becomes the material that slays time. Fire give
> > > bones to the clay so that it can stand ever more," spoke the Master.
> > > "Rightly spoken," the boy responded but quickly added, "If we do
> > > not leave soon the night will be upon us and the food that awaits will
> > > nourish only the dogs."
> > > Acknowledging the lateness of the day Aestheticus said, "By Zeus!
> > > Where has the time flown? But soon we will discuss the numbers needed to
> > > describe Beauty. Already you see that the elements of pottery are
> > > described by four, a very special number."
> > > Slowly, with his arm draped on the boy's shoulder and the first
> > > points of light beginning to dot the deeping sky, they made their way acro
> > > the calvacade of rocks toward the village.
> > >
> > >
> > >
> > > On Tue, 11 Nov 1997, Hluch - Kevin A. wrote:
> > >
> > > >
> > > > "It is only the potter's art that strikes the balance with all
> > > > four integral elements of our existence and in so doing fashions an
> > > > eternal strength out of all of the weaknesses that both surround and are
> > > > within us. Therefore, is not the potter's art more truly like a god's
> > > > art?" questioned the Master.
> > > > "I have always thought potters a wondrous lot and that is why
> > > > I have come to learn from you Aestheticus," the boy responded.
> > > > "And I shall learn from you, as well," the older man quietly
> > > > said, rubbing the soft, smooth, hard, ragged shard in his hand.
> > > >
> > > >
> > > >
> > > > On Sat, 8 Nov 1997, Hluch - Kevin A. wrote:
> > > >
> > > > > ----------------------------Original message--------------------------
> > > >
> > > > > "Alas it must be so," the apprentice admitted.
> > > > > "Just as the spear must have both a target and a thrower, so i
> > > > > with Beauty," said Aestheticus, gently resting this hand on the young
> > > > > boy's shoulder. "The hour is getting late, let us begin our journey ho
> > > > > Watching the young boy move gracefully and surely over the rock
> > > > > dappled terrain the Master voiced aloud what his stomach only murmured
> > > > > "Hopefully, the women and slaves have labored well at the cooking fire
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > > > ----------------------------Original message-----------------------
> > > > > > Directing Ergotimos's gaze to the shimmering mountains in
> > > > > > distance Aestheticus asked, "The welcoming shade of this olive tree
> > > > > > protects us from the fire of the sun and produces a lovely spot to
> > > > > > admire
> > > > > >the beauty of this valley does it not?" While Ergotimos enjoyed the
> > > > > > Aestheticus, not expecting an answer, noted the slight, dew-like be
> > > > > > perspiration that laced the upper lip of the young boy. Another
> > > > > > indication of the fleeting hour, thought the swiftly aging Master.
>
Dan Wilson on sat 14 mar 98
From Mercy's Journal: "Notes on the Avant Garde and The Beautiful Pot"
So we took the trek to the "Mountain of the Eye of Heaven" and spent twenty
one days. Each of us with our eyes set in a different direction. Against
the advice of our friends I might add. Nobody traveled much then. We lived
on "Brickbats and Water in Little Brown Bowls" and we breathed the heavy
mist as it swirled around us in threads, you know. I look back on it now
and then and wonder why?... I mean, we could have done just about anything
else. I guess sometimes we have to do things. Have to act as if they're
important and the right thing to do... Meaningful in spite of evidence to
the contrary.
In Friendship;
Dan Wilson
Hluch - Kevin A. on tue 17 mar 98
The tittering, giggling and knowing glances that flickered between
Arges and Opis annoyed Aestheticus. He responded, "If it is your wish to
join our conversation, please be thus invited, for it is either in
silence that you learn or in speech that you teach. By your actions it is
my wonder as to the precise nature of YOUR schooling, if any!"
With that Opis said,"While our schooling is not as broad as
yours, it is certainly true that we are not bereft of education.
Likewise, it is my wonder as to the nature of these opposite elements that
you say comprise Beauty.
Surely, you can not mean that the spirit is forgone when those
elements of Limited/Unlimited, Odd/Even, One/Many, Right/Left,
Male/Female, Rest/Motion, Straight/Curved, Light/Dark, Good/Bad, Square
/Oblong alone chart the attributes of a pot. The beautiful pot not only
fills our bellies with wine but also fills our spirit with joy... And,
if this system of understanding is so, how did it come about? What I
mean is this: obviously, 'some thing' cannot arise from 'no thing'."
Arching his eyebrows, Aestheticus looked supiciously at the young
maiden.
"Since it is true that things must arise from other things since
they cannot arise from no thing then you may understand that both must
also comprise the one. It is this unity to which Beauty speaks. It can
also be said that nothing, including pottery, is purely and entirely
white or black or good or bad or, for that matter, either beautiful or
grotesque. The nature of a thing is held to be that which is be found to
predominant in character and quality."
"But what of the spirit?" Opis inquired again with consternation
wrinkling her smooth clear brow and narrowing the space between her dark,
deep eyes.
"On this subject there are some who say that women, in particular,
are too filled with the mystical ecstasy that the spirit of the god
Dionysus solicits. Pehaps you would, as a result, be more favored in
answering this particular question," Aestheticus responded.
"In regard to this question and this question alone, shall I be
your slave," Opis returned briefly glancing at Ergotimos before peering
at Aestheticus with a knowing and steady gaze.
"The relationship between Spirit and Beauty lie on a path whose
course is long, arduous and complex. Perhaps each of you will join us in a
cup of wine before we commence such a trek. Ergotimos, fetch these fine
young maidens some wine before we let fly these arrows to the mark."
Now scowling, Ergotimos the fine apprentice that he was, did as he
was told.
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Mon, 9 Mar 1998, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> These numbers of four are also present more specifically in the
> very nature of the potters' handiwork. For does not the number one
> signify the point, while number two forms the line, three the surface,
> while four describes the solid itself? The potter can not escape working
> with these eternal elements while elucidating Beauty. Look again upon the
> face of either Opis or Arges and perhaps your understanding
> will most surely grow," commanded the Master.
> Somewhat ruefully, Ergotimos countered, "Of these things, I have
> not yet fully contemplated."
> With a an smile and a wink, Arges whispered to Opis, "One
> wonders of the number and scale of things of which this boy has not
> thought."
>
>
>
>
> Kevin A. Hluch
> 102 E. 8th St.
> Frederick, MD 21701
> USA
>
> e-mail: kahluch@umd5.umd.edu
> http://www.erols.com/mhluch/mudslinger.html
>
> On Sun, 25 Jan 1998, Hluch - Kevin A. wrote:
>
> > ----------------------------Original message----------------------------
> > Having said this Aestheticus grasped a piece of charcoal from the
> > fire and drew the following on the packed earth at his feet:
> >
> > a
> > a a
> > a a a
> > a a a a
> >
> > As the three peered at this picture he continued, "Perhaps you
> > recall our previous discusssion? We have found that the essentials of our
> > keramic reside in the base elements that comprise our world: earth, air,
> > fire and water. Again, we see the power of the numbers of 1,2,3,4. In the
> > picture that I have drawn let the four elements at the base represent
> > these fources.
> > Our understanding of the world and ultimately the understanding of
> > Beauty in pottery must reside in understanding the pattern by which
> > universal elements manifest themselves throughout our world. Just as these
> > patterns exist all about us they must also be present in the Beautiful
> > Pot."
> > With this Aestheticus beckoned to Arges for another cup of wine.
> >
> > Kevin A. Hluch 102 E. 8th St. Frederick, MD 21701 USA
> >
> > e-mail: kahluch@umd5.umd.edu
> > http://www.erols.com/mhluch/mudslinger.html
> >
> > On Tue, 23 Dec 1997, Hluch - Kevin A. wrote:
> >
> > > ----------------------------Original message----------------------------
> > >
> > > "And by this example you show further the balance necessary in the
> > > fortunes of the potter which is likewise in keeping with the larger
> > > equipoise that the gods have practiced since they created both the world
> > > and us," continued the young apprentice.
> > > "Of this grace we are beholden to the gods indeed," spoke the
> > > Master still gently rubbing the smooth yet ragged pottery shard found at
> > > the first hint of sunset. Both Master and apprentice could now see the
> > > twinkling yellow lights of the village in the distance beckoning them
> > > home. But certainly it was the smoky smell of the cooking fires obscuring
> > > the diamond lights of the night that prompted new energy in their pace.
> > >
> > > On Fri, 21 Nov 1997, Hluch - Kevin A. wrote:
> > >
> > > > ----------------------------Original
> > message----------------------------
> > > >
> > > > derived by fire that clay becomes the material that slays time. Fire gi
> > > > bones to the clay so that it can stand ever more," spoke the Master.
> > > > "Rightly spoken," the boy responded but quickly added, "If we d
> > > > not leave soon the night will be upon us and the food that awaits will
> > > > nourish only the dogs."
> > > > Acknowledging the lateness of the day Aestheticus said, "By Zeu
> > > > Where has the time flown? But soon we will discuss the numbers needed t
> > > > describe Beauty. Already you see that the elements of pottery are
> > > > described by four, a very special number."
> > > > Slowly, with his arm draped on the boy's shoulder and the first
> > > > points of light beginning to dot the deeping sky, they made their way ac
> > > > the calvacade of rocks toward the village.
> > > >
> > > >
> > > >
> > > > On Tue, 11 Nov 1997, Hluch - Kevin A. wrote:
> > > >
> > > > >
> > > > > "It is only the potter's art that strikes the balance with all
> > > > > four integral elements of our existence and in so doing fashions an
> > > > > eternal strength out of all of the weaknesses that both surround and a
> > > > > within us. Therefore, is not the potter's art more truly like a god's
> > > > > art?" questioned the Master.
> > > > > "I have always thought potters a wondrous lot and that is why
> > > > > I have come to learn from you Aestheticus," the boy responded.
> > > > > "And I shall learn from you, as well," the older man quietly
> > > > > said, rubbing the soft, smooth, hard, ragged shard in his hand.
> > > > >
> > > > >
> > > > >
> > > > > On Sat, 8 Nov 1997, Hluch - Kevin A. wrote:
> > > > >
> > > > > > ----------------------------Original message------------------------
> > > > >
> > > > > > "Alas it must be so," the apprentice admitted.
> > > > > > "Just as the spear must have both a target and a thrower, so
> > > > > > with Beauty," said Aestheticus, gently resting this hand on the you
> > > > > > boy's shoulder. "The hour is getting late, let us begin our journey
> > > > > > Watching the young boy move gracefully and surely over the rock
> > > > > > dappled terrain the Master voiced aloud what his stomach only murmur
> > > > > > "Hopefully, the women and slaves have labored well at the cooking fi
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > > > ----------------------------Original message---------------------
> > > > > > > Directing Ergotimos's gaze to the shimmering mountains i
> > > > > > > distance Aestheticus asked, "The welcoming shade of this olive tr
> > > > > > > protects us from the fire of the sun and produces a lovely spot t
> > > > > > > admire
> > > > > > >the beauty of this valley does it not?" While Ergotimos enjoyed t
> > > > > > > Aestheticus, not expecting an answer, noted the slight, dew-like
> > > > > > > perspiration that laced the upper lip of the young boy. Another
> > > > > > > indication of the fleeting hour, thought the swiftly aging Master
> >
>
Hluch - Kevin A. on tue 26 may 98
"Aestheticus!" the young apprentice interrupted defiantly, "You
appear to be no expert in the matter of beauty for until now you only
speak to the subject. For some days I have yet to see your words
become action. It appears to me that your character is more like a
woman's than a man's in that your speech overpowers you ability to act."
Casting a glance at the two women to his left Ergotimos blurted,
"Perhaps it would be better to take these women, Opis and Arges, as your
students. Like the Naiads they have wasted more time in idle chatter at
the fountains than it took the craftsmen to build the temple to Athena."
Not unduly surprised by his young apprentices outburst
Aestheticus responded, "Perhaps you, like Narcissus and unlike Athena,
see only the beauty that your eyes give you in the reflection of the
stream. If you would but lift your eyes to the rest of the world you
might see that beauty plays its part in every part of our lives. And if
this be so, it is both our right and our duty to enquire as to its eternal
and universal nature so as to manifest it more honestly in our own
creations. Likewise, if the craftsman sees only a kind of beauty that
befits himself and no other, then how can it be that others find in that
work something that is akin to an appreciation of their own likeness?
If, on the other hand, you concur that others may find beauty in the
countenance of Narcissus and to such a degree that many maidens have
fallen madly in love with him than, indeed, we might agree that we all
are capable of sharing in the joys that beauty may bring.
What do you say to this? Or are you so busy creating beauty that
you have never stopped to consider how, what, or why you are doing this
things?"
The young apprentice, flustered to have been chastened in front of the
most attractive maidens from Delos, could only gaze sheepishly at the
diminishing fire.
Arges, sensing the opportunity of the moment lightly asked,
"Aestheticus, could you continue with the discussion about the
relationship between Beauty and Spirit that you alluded to before?"
Ergotimos lifted his eyes to Aestheticus and averting the dark, deep
pools of Arges said, "That would also please me as well."
Raising his kylix filled with the wonderful elixir of water and wine
Aestheticus responded,"Beauty and Spirit are both tied to the desire of
Immortality and in this, there is no escape."
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Tue, 17 Mar 1998, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> at Aestheticus with a knowing and steady gaze.
> "The relationship between Spirit and Beauty lie on a path whose
> course is long, arduous and complex. Perhaps each of you will join us in a
> cup of wine before we commence such a trek. Ergotimos, fetch these fine
> young maidens some wine before we let fly these arrows to the mark."
> Now scowling, Ergotimos the fine apprentice that he was, did as he
> was told.
>
>
> On Mon, 9 Mar 1998, Hluch - Kevin A. wrote:
>
> > ----------------------------Original message----------------------------
> > These numbers of four are also present more specifically in the
> > very nature of the potters' handiwork. For does not the number one
> > signify the point, while number two forms the line, three the surface,
> > while four describes the solid itself? The potter can not escape working
> > with these eternal elements while elucidating Beauty. Look again upon the
> > face of either Opis or Arges and perhaps your understanding
> > will most surely grow," commanded the Master.
> > Somewhat ruefully, Ergotimos countered, "Of these things, I have
> > not yet fully contemplated."
> > With a an smile and a wink, Arges whispered to Opis, "One
> > wonders of the number and scale of things of which this boy has not
> > thought."
> >
> >
> >
> >
> > On Sun, 25 Jan 1998, Hluch - Kevin A. wrote:
> >
> > > ----------------------------Original message----------------------------
> > > Having said this Aestheticus grasped a piece of charcoal from the
> > > fire and drew the following on the packed earth at his feet:
> > >
> > > a
> > > a a
> > > a a a
> > > a a a a
> > >
> > > As the three peered at this picture he continued, "Perhaps you
> > > recall our previous discusssion? We have found that the essentials of our
> > > keramic reside in the base elements that comprise our world: earth, air,
> > > fire and water. Again, we see the power of the numbers of 1,2,3,4. In the
> > > picture that I have drawn let the four elements at the base represent
> > > these fources.
> > > Our understanding of the world and ultimately the understanding of
> > > Beauty in pottery must reside in understanding the pattern by which
> > > universal elements manifest themselves throughout our world. Just as these
> > > patterns exist all about us they must also be present in the Beautiful
> > > Pot."
> > > With this Aestheticus beckoned to Arges for another cup of wine.
> > >
> > >
> > > On Tue, 23 Dec 1997, Hluch - Kevin A. wrote:
> > >
> > > > ----------------------------Original message----------------------------
> > > >
> > > > "And by this example you show further the balance necessary in t
> > > > fortunes of the potter which is likewise in keeping with the larger
> > > > equipoise that the gods have practiced since they created both the world
> > > > and us," continued the young apprentice.
> > > > "Of this grace we are beholden to the gods indeed," spoke the
> > > > Master still gently rubbing the smooth yet ragged pottery shard found at
> > > > the first hint of sunset. Both Master and apprentice could now see the
> > > > twinkling yellow lights of the village in the distance beckoning them
> > > > home. But certainly it was the smoky smell of the cooking fires obscuri
> > > > the diamond lights of the night that prompted new energy in their pace.
> > > >
> > > > On Fri, 21 Nov 1997, Hluch - Kevin A. wrote:
> > > >
> > > > > ----------------------------Original
> > > message----------------------------
> > > > >
> > > > > derived by fire that clay becomes the material that slays time. Fire
> > > > > bones to the clay so that it can stand ever more," spoke the Master.
> > > > > "Rightly spoken," the boy responded but quickly added, "If we
> > > > > not leave soon the night will be upon us and the food that awaits will
> > > > > nourish only the dogs."
> > > > > Acknowledging the lateness of the day Aestheticus said, "By Z
> > > > > Where has the time flown? But soon we will discuss the numbers needed
> > > > > describe Beauty. Already you see that the elements of pottery are
> > > > > described by four, a very special number."
> > > > > Slowly, with his arm draped on the boy's shoulder and the firs
> > > > > points of light beginning to dot the deeping sky, they made their way
> > > > > the calvacade of rocks toward the village.
> > > > >
> > > > >
> > > > >
> > > > > On Tue, 11 Nov 1997, Hluch - Kevin A. wrote:
> > > > >
> > > > > >
> > > > > > "It is only the potter's art that strikes the balance with all
> > > > > > four integral elements of our existence and in so doing fashions an
> > > > > > eternal strength out of all of the weaknesses that both surround and
> > > > > > within us. Therefore, is not the potter's art more truly like a god
> > > > > > art?" questioned the Master.
> > > > > > "I have always thought potters a wondrous lot and that is why
> > > > > > I have come to learn from you Aestheticus," the boy responded.
> > > > > > "And I shall learn from you, as well," the older man quietly
> > > > > > said, rubbing the soft, smooth, hard, ragged shard in his hand.
> > > > > >
> > > > > >
> > > > > >
> > > > > > On Sat, 8 Nov 1997, Hluch - Kevin A. wrote:
> > > > > >
> > > > > > > ----------------------------Original message----------------------
> > > > > >
> > > > > > > "Alas it must be so," the apprentice admitted.
> > > > > > > "Just as the spear must have both a target and a thrower,
> > > > > > > with Beauty," said Aestheticus, gently resting this hand on the y
> > > > > > > boy's shoulder. "The hour is getting late, let us begin our journe
> > > > > > > Watching the young boy move gracefully and surely over the rock
> > > > > > > dappled terrain the Master voiced aloud what his stomach only murm
> > > > > > > "Hopefully, the women and slaves have labored well at the cooking
> > > > > > >
> > > > > > >
> > > > > > >
> > > > > > >
> > > > > > >
> > > > > > > > ----------------------------Original message-------------------
> > > > > > > > Directing Ergotimos's gaze to the shimmering mountains
> > > > > > > > distance Aestheticus asked, "The welcoming shade of this olive
> > > > > > > > protects us from the fire of the sun and produces a lovely spot
> > > > > > > > admire
> > > > > > > >the beauty of this valley does it not?" While Ergotimos enjoyed
> > > > > > > > Aestheticus, not expecting an answer, noted the slight, dew-lik
> > > > > > > > perspiration that laced the upper lip of the young boy. Anoth
> > > > > > > > indication of the fleeting hour, thought the swiftly aging Mast
> > >
> >
>
Dan Wilson on thu 11 jun 98
What is the connection between the spirit and the Beautiful Pot?
Captured by the Spirit
Once week or so, during the fall, Wanda would drive down to the river to
perform the dance of the Avant Garde she'd learned that day back in 63
hoping to catch the spirit of the mountains as it passed by. She'd strip
naked so as to appear like a classical nude you'd see in one of those old
paintings by Rubens or something like that and then draw the moving water
with a little bowl she'd made for the ocassion. I remember the salmon,
bright red, and the elephants passing by, impassive I suppose, by the light
of the fire and the yellow moon. Accompanied by a shooting star... I
remember that bowl cause it seemed to have a life of its own.
Dan Wilson
Hluch - Kevin A. on mon 15 jun 98
"Aestheticus, I am truly in need of a teacher since I do not
understand how Beauty can be tied to Soul and Immortality. However, I do
understand how there must necessarily be a difference between that which
is beautiful and that which is ugly. For this is plain for all to see.
Further, I understand that the basis of Beauty lies in the balance of the
ten fundamental characteristics like odd and even that have been so ably
demonstrated by the teachers of the Pythagorean school.
And certainly it is true that number can represent the elements
of pottery. Without earth, air, water, and fire there could be no Beauty
manifested in the kylix you hold.
Doubtless, as you say, it is also true that the number four is an
essential number in that one, two, three and four gives us the sum ten
which is, of course, the foundation for all our numbering.
The four directions of east, west, south and north are the
extent and limit of our world and give further proof to this idea. But,
pray Zeus, what does any of this have to do with Beauty and Immortality or
pottery for that matter?" the frustrated apprentice demanded with a
forceful tone designed to impress the lovely maidens from Delos.
With patience the Master began his reply, "Beauty, for men, must
spring from something since we have previously shown that no thing can
be the father of some thing. In the pursuit of Beauty it is this spot
that must be the starting mark in the race. A man cannot win a foot race
by not running. But the race begins at rest and ends at rest. In other
words, can it be true that a man pursues Beauty because he already
possesses it? Can one win the race by not running?"
"Of course not," replied Ergotimos. "A strong man desires not
strength just as a man who is already healthy does not yearn for health.
One cannot desire that which one already has."
"So you agree that one who seeks Beauty does so because of it is
something that he has not got or is absent to him? Simply, would you
agree that men are desirous of those things that they lack?" Aestheticus
asked.
"Of course," Ergotimos responded.
Casting a quick glance to both Opis and Arges, Aestheticus asked,
"Of these two women, whom do you find the most beautiful?"
With embarrassment flushing his splendid face Ergotimos hesitated,
then answered while looking directly into the eyes of Arges, "Without
doubt, the beauty of each of these maidens would be welcomed by the all
the gods in heaven."
"For the purposes of this discussion let us remain on earth,"
Aestheticus gently suggested while acknowledging the self-conscious
laughter of the Opis and Arges.
"As for this choice, it would be foolish on your part to try to
divide their qualities as each are desirable on account of the attributes
bestowed upon them by Moira, the Goddess of Beauty and Fate.
Furthermore, it is on this basis that the intercourse between
men and women is in begetting and thus divine in origin. Birth and
generation, as guided by the Goddess Eilithyia, are the immortal elements
found in everything that is mortal. For it is in this way that things
pass from not being to being, that is, by making and creating. And just
as there are makers of many things, including pottery, there are makers of
love. They too are seeking that which they lack: their other half.
Finally, when men reach a certain age it is natural for them to
desire to beget. While this desire grows strong in the presence of Beauty
it wilts with the ugly just as all that is inharmonious is ugly to all the
gods.
It is a result of drawing near the beautiful that the full power
of men rejoices and they pour forth to beget. While in the presence of
the ugly their desires shrink and they slink away and do not beget."
"But Aestheticus," interrupted Ergotimos, "This may be all well
and good but what of pottery?"
"Just as men desire to be immortal by acquiring fame, money,
doing good deeds, writing poetry or having many children, potters become
immortal by fixing Beauty in the everlasting and indestructible earth.
Men, I think, do many things, but they are most certainly in love with
the immortal," he replied.
With his eyes locked in embrace with the eyes of Arges, Ergotimos
said, "Of this, I understand."
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Tue, 26 May 1998, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> Arges, sensing the opportunity of the moment lightly asked,
> "Aestheticus, could you continue with the discussion about the
> relationship between Beauty and Spirit that you alluded to before?"
> Ergotimos lifted his eyes to Aestheticus and averting the dark, deep
> pools of Arges said, "That would also please me as well."
> Raising his kylix filled with the wonderful elixir of water and wine
> Aestheticus responded,"Beauty and Spirit are both tied to the desire of
> Immortality and in this, there is no escape."
>
>
> On Tue, 17 Mar 1998, Hluch - Kevin A. wrote:
>
> > ----------------------------Original message----------------------------
> > at Aestheticus with a knowing and steady gaze.
> > "The relationship between Spirit and Beauty lie on a path whose
> > course is long, arduous and complex. Perhaps each of you will join us in a
> > cup of wine before we commence such a trek. Ergotimos, fetch these fine
> > young maidens some wine before we let fly these arrows to the mark."
> > Now scowling, Ergotimos the fine apprentice that he was, did as he
> > was told.
> >
> >
> > On Mon, 9 Mar 1998, Hluch - Kevin A. wrote:
> >
> > > ----------------------------Original message----------------------------
> > > These numbers of four are also present more specifically in the
> > > very nature of the potters' handiwork. For does not the number one
> > > signify the point, while number two forms the line, three the surface,
> > > while four describes the solid itself? The potter can not escape working
> > > with these eternal elements while elucidating Beauty. Look again upon the
> > > face of either Opis or Arges and perhaps your understanding
> > > will most surely grow," commanded the Master.
> > > Somewhat ruefully, Ergotimos countered, "Of these things, I have
> > > not yet fully contemplated."
> > > With a an smile and a wink, Arges whispered to Opis, "One
> > > wonders of the number and scale of things of which this boy has not
> > > thought."
> > >
> > >
> > >
> > >
> > > On Sun, 25 Jan 1998, Hluch - Kevin A. wrote:
> > >
> > > > ----------------------------Original message----------------------------
> > > > Having said this Aestheticus grasped a piece of charcoal from th
> > > > fire and drew the following on the packed earth at his feet:
> > > >
> > > > a
> > > > a a
> > > > a a a
> > > > a a a a
> > > >
> > > > As the three peered at this picture he continued, "Perhaps you
> > > > recall our previous discusssion? We have found that the essentials of o
> > > > keramic reside in the base elements that comprise our world: earth, air
> > > > fire and water. Again, we see the power of the numbers of 1,2,3,4. In th
> > > > picture that I have drawn let the four elements at the base represent
> > > > these fources.
> > > > Our understanding of the world and ultimately the understanding
> > > > Beauty in pottery must reside in understanding the pattern by which
> > > > universal elements manifest themselves throughout our world. Just as the
> > > > patterns exist all about us they must also be present in the Beautiful
> > > > Pot."
> > > > With this Aestheticus beckoned to Arges for another cup of wine.
> > > >
> > > >
> > > > On Tue, 23 Dec 1997, Hluch - Kevin A. wrote:
> > > >
> > > > > ----------------------------Original message--------------------------
> > > > >
> > > > > "And by this example you show further the balance necessary in
> > > > > fortunes of the potter which is likewise in keeping with the larger
> > > > > equipoise that the gods have practiced since they created both the wor
> > > > > and us," continued the young apprentice.
> > > > > "Of this grace we are beholden to the gods indeed," spoke the
> > > > > Master still gently rubbing the smooth yet ragged pottery shard found
> > > > > the first hint of sunset. Both Master and apprentice could now see th
> > > > > twinkling yellow lights of the village in the distance beckoning them
> > > > > home. But certainly it was the smoky smell of the cooking fires obscu
> > > > > the diamond lights of the night that prompted new energy in their pace
> > > > >
> > > > > On Fri, 21 Nov 1997, Hluch - Kevin A. wrote:
> > > > >
> > > > > > ----------------------------Original
> > > > message----------------------------
> > > > > >
> > > > > > derived by fire that clay becomes the material that slays time. Fir
> > > > > > bones to the clay so that it can stand ever more," spoke the Master.
> > > > > > "Rightly spoken," the boy responded but quickly added, "If
> > > > > > not leave soon the night will be upon us and the food that awaits wi
> > > > > > nourish only the dogs."
> > > > > > Acknowledging the lateness of the day Aestheticus said, "By
> > > > > > Where has the time flown? But soon we will discuss the numbers need
> > > > > > describe Beauty. Already you see that the elements of pottery are
> > > > > > described by four, a very special number."
> > > > > > Slowly, with his arm draped on the boy's shoulder and the fi
> > > > > > points of light beginning to dot the deeping sky, they made their wa
> > > > > > the calvacade of rocks toward the village.
> > > > > >
> > > > > >
> > > > > >
> > > > > > On Tue, 11 Nov 1997, Hluch - Kevin A. wrote:
> > > > > >
> > > > > > >
> > > > > > > "It is only the potter's art that strikes the balance with a
> > > > > > > four integral elements of our existence and in so doing fashions a
> > > > > > > eternal strength out of all of the weaknesses that both surround a
> > > > > > > within us. Therefore, is not the potter's art more truly like a g
> > > > > > > art?" questioned the Master.
> > > > > > > "I have always thought potters a wondrous lot and that is wh
> > > > > > > I have come to learn from you Aestheticus," the boy responded.
> > > > > > > "And I shall learn from you, as well," the older man quietl
> > > > > > > said, rubbing the soft, smooth, hard, ragged shard in his hand.
> > > > > > >
> > > > > > >
> > > > > > >
> > > > > > > On Sat, 8 Nov 1997, Hluch - Kevin A. wrote:
> > > > > > >
> > > > > > > > ----------------------------Original message--------------------
> > > > > > >
> > > > > > > > "Alas it must be so," the apprentice admitted.
> > > > > > > > "Just as the spear must have both a target and a thrower
> > > > > > > > with Beauty," said Aestheticus, gently resting this hand on the
> > > > > > > > boy's shoulder. "The hour is getting late, let us begin our jour
> > > > > > > > Watching the young boy move gracefully and surely over the rock
> > > > > > > > dappled terrain the Master voiced aloud what his stomach only mu
> > > > > > > > "Hopefully, the women and slaves have labored well at the cookin
> > > > > > > >
> > > > > > > >
> > > > > > > >
> > > > > > > >
> > > > > > > >
> > > > > > > > > ----------------------------Original message-----------------
> > > > > > > > > Directing Ergotimos's gaze to the shimmering mountai
> > > > > > > > > distance Aestheticus asked, "The welcoming shade of this oliv
> > > > > > > > > protects us from the fire of the sun and produces a lovely sp
> > > > > > > > > admire
> > > > > > > > >the beauty of this valley does it not?" While Ergotimos enjoy
> > > > > > > > > Aestheticus, not expecting an answer, noted the slight, dew-l
> > > > > > > > > perspiration that laced the upper lip of the young boy. Ano
> > > > > > > > > indication of the fleeting hour, thought the swiftly aging Ma
> > > >
> > >
> >
>
Dan Wilson on mon 13 jul 98
Beep. Beep. Beep. Attention Arbitrons! I am Zarvox!
When last we talked I introduced the TAF. I would like to continue
now and describe the TAF and its relation to time and space. Until
recently, the TAF (total aesthetic form) was meant to inform the subject
through concentrated stimulation of the senses. This was achieved with the
immediately sensible object. A highly organized concentration of elements
arranged in sensible order with clearly defined spatial and temporal
boundaries. The viability of the TAF depended upon its immediate impact
upon the subject. Time and space did not play a significant role because
the TAF could be "absorbed" almost immediately. The traditional beautiful
pot conforms to this model. The rise of the AGPG though, brought about
changes in the beautiful pot.
A new breed of potters who sought to attack the traditional
beautiful pot on the basis of what was known about the TAF (which, if you
will remember, was a structuralist approach to the analysis of objects of
art.) began a series of experiments that eventualy focused on time and
space. By reducing the beautiful pot to its essential elements
(Sphere,cone,cylinder,line shape and color ect...) it soon became
apparent that each of these elements were themselves objects that could be
categorized according to their empathic and sympathic characteristics and
that space and time were the only elements of the TAF that allowed for
further experimentation (concerning the beautiful pot) on aesthetic
grounds. It was then that the elements of the TAF became extended and
eventualy dispersed throughout time and space to such a degree that
beautiful pots became un-aesthetic objects. Not beautiful if you will. "We
have entered a new realm." Declared Thomas Purdy (Co-founder of the AGPG)
at the annual meeting of the New CCA. "The beautiful pot no longer has
immediately discernable spatial and temporal boundaries. Furthermore, the
aesthetic experience has now become an accumulation of moments brought
about, not by concentrated stimulation of subjects by objects immediately
sensible, but by the accumulation of aesthetic stimulus remembered over
time and space... We don't have to "Get into it any more." He declared. "
We're already in there."
Yes, thats it. Return now. To your production schedule. Beep. Beep. Beep
Note: Mac users should listened to the voice of "Zarvox".
Dan Wilson.
Hluch - Kevin A. on tue 14 jul 98
"So the search for beauty is simply the quest for immortality?
And the potters' art..." Ergotimos began to ask as he turned to
Aestheticus.
But before he could finish his question, Aestheticus answered,
"Indeed, it is the potters fire that quenches the immutable, hot iron of
constant renewal that is analogous to the universe at large. So it is
with you too.
From baby to old man you are called Ergotimos but constantly you
are in a state of change, of creation. Every fiber of your being
including your hair, muscle, bones, and blood are being renewed until
which time you die. Even then, that which is left will be changed and
renewed again."
Looking directly at Ergotimos, Aestheticus smiled, "The worms,
indeed, have plans even for you."
After the mirthful laughter of the maidens trailed off Aestheticus
renewed his discussion.
"You are thought of as one and the same but as an old man you will
be nothing of what you were as a child. The quiet heat of your body,
that which keeps you alive, must be held in perfect balance. For when you
are cold you are dead and when you are hot like the iron, you will also
be soon dead. It is this constant warmth that proves your continuous
rebirth.
So it is with the potters' art. For without the roar, hiss and
spark of the fire the clay will be without bones and the pot can never
last but the briefest of moments."
With a slight glance to Opis, Aestheticus said,"It is not without
significance that the heat also rises when the time for begetting
commences. For the most part, we hold our heat quietly over a long period
of time while the potter requires great temperatures of short duration to
breath life into his work.
The potters' art lies in harnessing these on-going processes and
so shape them into an indivisible whole whose character has the proximity
of permanence. We share in this illusion as we share in this fire. It is
this zeal for immortality that the potter produces the amphora. And notice
without proper handling this kylix can instantly become nothing."
With that, Aestheticus dropped the pot to the floor and it
shattered spectacularly.
"Now, in the place of this shattered vessel the potters' workshop
has rows and rows to replace it. These are works that are always in the
process of becoming and, as we have just seen, unbecoming. Just as the
skin is replaced after the cut of the sword, so is the pot. This
generation and regeneration is precisely what we see both in heaven and
earth - with all creatures, with all things," the Master concluded.
"And this is why we must begin early in the workshop tomorrow,"
responded Ergotimos with a nod and wink to Arges.
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Mon, 15 Jun 1998, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> It is a result of drawing near the beautiful that the full power
> of men rejoices and they pour forth to beget. While in the presence of
> the ugly their desires shrink and they slink away and do not beget."
> "But Aestheticus," interrupted Ergotimos, "This may be all well
> and good but what of pottery?"
> "Just as men desire to be immortal by acquiring fame, money,
> doing good deeds, writing poetry or having many children, potters become
> immortal by fixing Beauty in the everlasting and indestructible earth.
> Men, I think, do many things, but they are most certainly in love with
> the immortal," he replied.
> With his eyes locked in embrace with the eyes of Arges, Ergotimos
> said, "Of this, I understand."
>
>
> On Tue, 26 May 1998, Hluch - Kevin A. wrote:
>
> > ----------------------------Original message----------------------------
> > Arges, sensing the opportunity of the moment lightly asked,
> > "Aestheticus, could you continue with the discussion about the
> > relationship between Beauty and Spirit that you alluded to before?"
> > Ergotimos lifted his eyes to Aestheticus and averting the dark, deep
> > pools of Arges said, "That would also please me as well."
> > Raising his kylix filled with the wonderful elixir of water and wine
> > Aestheticus responded,"Beauty and Spirit are both tied to the desire of
> > Immortality and in this, there is no escape."
> >
> >
> > On Tue, 17 Mar 1998, Hluch - Kevin A. wrote:
> >
> > > ----------------------------Original message----------------------------
> > > at Aestheticus with a knowing and steady gaze.
> > > "The relationship between Spirit and Beauty lie on a path whose
> > > course is long, arduous and complex. Perhaps each of you will join us in a
> > > cup of wine before we commence such a trek. Ergotimos, fetch these fine
> > > young maidens some wine before we let fly these arrows to the mark."
> > > Now scowling, Ergotimos the fine apprentice that he was, did as he
> > > was told.
> > >
> > >
> > > On Mon, 9 Mar 1998, Hluch - Kevin A. wrote:
> > >
> > > > ----------------------------Original message----------------------------
> > > > These numbers of four are also present more specifically in the
> > > > very nature of the potters' handiwork. For does not the number one
> > > > signify the point, while number two forms the line, three the surface,
> > > > while four describes the solid itself? The potter can not escape workin
> > > > with these eternal elements while elucidating Beauty. Look again upon t
> > > > face of either Opis or Arges and perhaps your understanding
> > > > will most surely grow," commanded the Master.
> > > > Somewhat ruefully, Ergotimos countered, "Of these things, I hav
> > > > not yet fully contemplated."
> > > > With a an smile and a wink, Arges whispered to Opis, "One
> > > > wonders of the number and scale of things of which this boy has not
> > > > thought."
> > > >
> > > >
> > > > On Sun, 25 Jan 1998, Hluch - Kevin A. wrote:
> > > >
> > > > > ----------------------------Original message--------------------------
> > > > > Having said this Aestheticus grasped a piece of charcoal from
> > > > > fire and drew the following on the packed earth at his feet:
> > > > >
> > > > > a
> > > > > a a
> > > > > a a a
> > > > > a a a a
> > > > >
> > > > > As the three peered at this picture he continued, "Perhaps you
> > > > > recall our previous discusssion? We have found that the essentials of
> > > > > keramic reside in the base elements that comprise our world: earth, a
> > > > > fire and water. Again, we see the power of the numbers of 1,2,3,4. In
> > > > > picture that I have drawn let the four elements at the base represent
> > > > > these fources.
> > > > > Our understanding of the world and ultimately the understandin
> > > > > Beauty in pottery must reside in understanding the pattern by which
> > > > > universal elements manifest themselves throughout our world. Just as t
> > > > > patterns exist all about us they must also be present in the Beautiful
> > > > > Pot."
> > > > > With this Aestheticus beckoned to Arges for another cup of win
> > > > >
> > > > >
> > > > > On Tue, 23 Dec 1997, Hluch - Kevin A. wrote:
> > > > >
> > > > > > ----------------------------Original message------------------------
> > > > > >
> > > > > > "And by this example you show further the balance necessary
> > > > > > fortunes of the potter which is likewise in keeping with the larger
> > > > > > equipoise that the gods have practiced since they created both the w
> > > > > > and us," continued the young apprentice.
> > > > > > "Of this grace we are beholden to the gods indeed," spoke th
> > > > > > Master still gently rubbing the smooth yet ragged pottery shard foun
> > > > > > the first hint of sunset. Both Master and apprentice could now see
> > > > > > twinkling yellow lights of the village in the distance beckoning the
> > > > > > home. But certainly it was the smoky smell of the cooking fires obs
> > > > > > the diamond lights of the night that prompted new energy in their pa
> > > > > >
Dan Wilson on tue 21 jul 98
Today we should explore "Sensory Impact" and "Content" and evaluate their
relevence to interpreting the beautiful pot and other works of art.
Before I begin to define these terms for you though, maybe we should all
take a short break and have a cup of tea or maybe a mug of coffee. Or my
favorite, a big blue bowl of sourdough...
Dan Wilson
Hluch - Kevin A. on sat 22 aug 98
Upon waking , Aestheticus wanted immediately to go to the pottery.
Hearing the Master's insistent knocking at his door, Ergotimos
tried to block the piercing sunlight that stabbed his still half-closed
eyes. He tried to rise but almost tripped over the lovely bodies of Opis
and Arges lying soundly asleep in a disheveled heap on either side of him.
Surprised to see them, he struggled without success to remember
the terminus of the previous evening.
Ergotimos thought, "Would that the gods had blessed my memory as
they blessed me with slumber... I certainly would have risen a radiant
man like the loathsome sun that now pains my eyes!" Pulling on his now
wrinkled dress he met his Master at the door.
"I trust you slept well, Ergotimos?" Aestheticus asked.
"Yes, indeed, like the dead," the apprentice answered with a
slight scowl modifying his brow.
"Our endeavor today is to visit the pottery and see how our words
mesh with our actions. I hope you can recall some of the principles that
we have labored over in our quest to wrest Beauty from the jaws of the
Grotesque?" the Master ventured.
Ergotimos, gaining steadiness and purpose responded, "The gods
have blessed my memory on at least this subject. We had discussed
numerous issues regarding Beauty, that is, those things that please the
senses and exalt the mind.
For example, we have spoken of numbers essential for framing
beauty, particularly the numbers one, two, three, and four that give us
the magical sum ten: the source of all numbers.
We have also seen that these first four numbers also give us
point, line, plane and solid: the currency of the plastic arts. These
first four numbers also give us the materials of our craft: earth,
air, fire and water.
We have seen that the number ten also illustrates the dualistic
character of our world. One and zero are components of ten which comprise
everything: something and that which is nothing. We have found opposite
qualities to be the stable mates of unity in pottery. Just as unity is
created when humans join in begetting.
We have also examined the ten principles of the Pythagoreans in
regard to this dualism which also effect the essential character of our
craft.
In addition, we have found it is in the begetting of art that most
reminds us of the reflexion of nature as a desirous wish for immortality.
We draw near the beautiful so as to continue the generations that are
heaped upon one and another forever and forever without end. And the
beautiful has a spirit that will never die," the young apprentice
answered with some pride.
Hearing the soft moan of a female voice from the other room
Aestheticus remarked, "Apparently, you have learnt well and have already
put some of these thoughts to practice."
Having no memory of the better half of the previous evening,
Ergotimos stared dumbly at the floor and muttered indistinctly, "Well,
Master I AM your apprentice."
Kevin A. Hluch
102 E. 8th St
Frederick, MD
USA
e-mail: kahluch@umd5.umd.edu
http://www.erols.com/mhluch/mudslinger.html
On Tue, 14 Jul 1998, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> "Now, in the place of this shattered vessel the potters' workshop
> has rows and rows to replace it. These are works that are always in the
> process of becoming and, as we have just seen, unbecoming. Just as the
> skin is replaced after the cut of the sword, so is the pot. This
> generation and regeneration is precisely what we see both in heaven and
> earth - with all creatures, with all things," the Master concluded.
> "And this is why we must begin early in the workshop tomorrow,"
> responded Ergotimos with a nod and wink to Arges.
>
>
>
> On Mon, 15 Jun 1998, Hluch - Kevin A. wrote:
>
> > ----------------------------Original message----------------------------
> > It is a result of drawing near the beautiful that the full power
> > of men rejoices and they pour forth to beget. While in the presence of
> > the ugly their desires shrink and they slink away and do not beget."
> > "But Aestheticus," interrupted Ergotimos, "This may be all well
> > and good but what of pottery?"
> > "Just as men desire to be immortal by acquiring fame, money,
> > doing good deeds, writing poetry or having many children, potters become
> > immortal by fixing Beauty in the everlasting and indestructible earth.
> > Men, I think, do many things, but they are most certainly in love with
> > the immortal," he replied.
> > With his eyes locked in embrace with the eyes of Arges, Ergotimos
> > said, "Of this, I understand."
> >
> >
> > On Tue, 26 May 1998, Hluch - Kevin A. wrote:
> >
> > > ----------------------------Original message----------------------------
> > > Arges, sensing the opportunity of the moment lightly asked,
> > > "Aestheticus, could you continue with the discussion about the
> > > relationship between Beauty and Spirit that you alluded to before?"
> > > Ergotimos lifted his eyes to Aestheticus and averting the dark, de
> > > pools of Arges said, "That would also please me as well."
> > > Raising his kylix filled with the wonderful elixir of water and wi
> > > Aestheticus responded,"Beauty and Spirit are both tied to the desire of
> > > Immortality and in this, there is no escape."
> > >
> > >
> > > On Tue, 17 Mar 1998, Hluch - Kevin A. wrote:
> > >
> > > > ----------------------------Original message----------------------------
> > > > at Aestheticus with a knowing and steady gaze.
> > > > "The relationship between Spirit and Beauty lie on a path whose
> > > > course is long, arduous and complex. Perhaps each of you will join us in
> > > > cup of wine before we commence such a trek. Ergotimos, fetch these fin
> > > > young maidens some wine before we let fly these arrows to the mark."
> > > > Now scowling, Ergotimos the fine apprentice that he was, did as
> > > > was told.
> > > >
> > > >
> > > > On Mon, 9 Mar 1998, Hluch - Kevin A. wrote:
> > > >
> > > > > ----------------------------Original message--------------------------
> > > > > These numbers of four are also present more specifically in th
> > > > > very nature of the potters' handiwork. For does not the number one
> > > > > signify the point, while number two forms the line, three the surface
> > > > > while four describes the solid itself? The potter can not escape work
> > > > > with these eternal elements while elucidating Beauty. Look again upon
> > > > > face of either Opis or Arges and perhaps your understanding
> > > > > will most surely grow," commanded the Master.
> > > > > Somewhat ruefully, Ergotimos countered, "Of these things, I h
> > > > > not yet fully contemplated."
> > > > > With a an smile and a wink, Arges whispered to Opis, "One
> > > > > wonders of the number and scale of things of which this boy has not
> > > > > thought."
> > > > >
> > > > >
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