Creative Compartmentalisation:
Perspectives Governing Art:
Within my mind, it would seem as though there is very little difference, and/or distinction between the act, and process of 'drawing', and that of 'painting'; save for that of discerning (and deciding there upon) where such peripheries are extant; perceiving an apparent demarcation; and acknowledging a divergence as assigned to the individual composition—of the media within use—and the application of the quality, type, and 'nature' within the usage of each medium; that is of the marks made (through the process of mark-making) resulting. Seemingly—and quite paradoxically—a symbolic, communicative 'manifestation'/representation, can be of a simpler composition, and yet elicit a far greater complexity within the mind of both the creator; and of the 'interpreter' of such a creation; that by intention, and through design, may one 'channel' the elemental, the fundamental, and yet evoke nuance, and intimation (demanding more of one's perspicacity, and 'delivering' seemingly more depth, and appealing to the in-direct, and of subtly of mind.) There exists a potential (through the withholding of information) that one may extract such 'meaning', where a mind made malleable can be better able to delve its deeps, to learn of its cipher, to approach, and access such esoteric knowledge, and of personal experiences accordingly. One may draw comparison to poetry, and prose (those symbolic conveyances, and intelligible representations within written communicative formats); have it so that whilst poetic depictions, display far fewer pieces of distinct information (that is less is written, with fewer words, grammar, and other such 'constituents' of form, and composition; of said 'communicative formats') it maybe perceived as being of a more prominent simplicity, than that of prose; as the latter of which may employ further use of the 'tools' available: and while upon a fundamental level, there maybe accuracy to this assessment, it however seemingly exempts itself from the notion that more is the ‘ideal’; or more so, that through the provision of an apparent ‘more’, can one acquire, assume, and inhabit a greater experience; although the ‘more’ need not be within opposition to such an ambition as this; as through an apparent ‘less’, may then (through want) can one may work towards the achieving of this; where of the somatic can such ‘ease’ cause ‘atrophy’; the body responds to challenge; it is strengthened by it, and so to may this apply to one’s thought, one’s memory, indeed one’s experience; ‘more’ is seemingly required of the participant (the individual, or audience engaged within the act of its interpretation). I could make a comparison of this to other concepts, of the study of language, and of communication (perhaps more so of the organising of one's own thoughts, as opposed to external, communicative interactions). Specifically how 'semantics' outlines the intended meaning of words, a direct presentation, and appraisal of information, of data; while 'pragmatics' is of a more elusory experience, of a level of sophistication that appeals towards the subtlety of mind; drawing upon a tacet knowledge, and of learning. I thus draw a comparison towards/between 'linguistic descriptavism', and 'linguistic prescriptavism'; that is one as an attempt seemingly to 'detach' oneself from presupposed notions, from the risk of dogmatic biases, and overtly personal perceptions; whilst the other the result seemingly of a system imposed by those with seemingly greater ‘power’, and influence, of a ruling class/elite, that has decided upon such ‘rules, and regulations, subject to the zeitgeist; and so as to more readily disengage with certain 'proclivities', and in order to adopt a greater 'holistic' appraisal, than one may be of an inclination to view these concerns, these subjects, these words such as 'drawing' and 'painting' (and of the associated meanings/processes) as being governed by perspective, one that may further be ‘challenged’, and within so doing, granting/bestowing the power of decision, and of the influence, and the ability of choice. Explore this further.