https://www.brianhayes.info/philosophy daily 0.75 2024-05-21 https://www.brianhayes.info/philosophy/cheeseburgers monthly 0.5 2022-11-21 https://www.brianhayes.info/philosophy/techonart monthly 0.5 2022-11-21 https://images.squarespace-cdn.com/content/v1/636bef7572e4150b129ec4c9/e9e00637-f985-4000-81f0-73923dad23aa/parasol.jpeg Philosophy - From Fleeting to Decisive: A Dilemma with Value - Take, for instance, Monet’s family in the impressionist work “Woman with a Parasol.” We immediately are struck by the organic colors, the feeling of movement by the wind, the vagueness in his wife and child’s expressions, the lack of placement in time and space else except grass and sky. There’s an omission of detail and substance that releases the viewer from deduction through analysis, and focuses their attention on what’s happening to Monet. Distance, beauty, softness - the gaze of his family towards him. We feel love in the strokes. Yet, we also understand a concept via the work that did not occur ever before in painting: Monet has chosen this moment. He didn’t recreate it or labor on inventing it. It happened to him and in a profound choice, he set his canvas up, and expressed his view for our interpretation. (This is at least what we imagine - whether there was some alteration, we can never be sure.) With that dance of the brush and movement of color, painters gave up their wrestling with higher powers and moved into the realms of mortality and self-expression. Life was suddenly not about any consequential actions leading to the Pearly Gates or eternal damnation; it pivoted in a raucous way to find quality in our passage of time on this earth. https://images.squarespace-cdn.com/content/v1/636bef7572e4150b129ec4c9/2bf80b10-8938-4b99-8e6b-b429d5a72e2e/leap.jpg Philosophy - From Fleeting to Decisive: A Dilemma with Value - Just as we examined the “Woman with a Parasol” painting by Monet, take the instance of Bresson’s infamous “Behind the Gare St. Lazare” photograph. The simple composition of this photograph, with much in silhouette, seems not so impressive by first glance. In fact, the photograph may seem quite comical - it is absolutely without the severity of war! And, in reductionist view, the comedy is at the heart of the image: the irony of grace. For on the one hand, we have a man attempting to leap a puddle (we can guess, without much luck). His freeze-frame just above the water stretched in a perfect leaping posture is humorous! But there is an additional angle to this photograph that sets this moment aside and asks the viewer a question: if all moments in space and time from any angle could be captured, which we be the most poignant? And that revelation is what sets this image apart. Not only has Bresson perfectly timed the man’s leap, using the fact of the image to showcase an instance, but he has also juxtaposed it with a subtly hidden poster of a dancer expressing a much more graceful ballet leap. The viewer can now read much more into the photo, of the contrasts of grace, the fall of beauty, the moment before calamity - hope, tragedy, humor. The photo is immensely accelerated in meaning by the decision to make it at this perfectly timed moment. Utilizing the (1) rules of painting, (2) fact of the moment, and (3) an uncanny timing, Bresson elevates the photograph from documentary weapon into the world of art. This type of photo, of which he spent his life’s work pursuing, captures what Bresson called the “decisive” moment. It’s a picture from an angle that expresses the subject it captures to a degree that could not better be described at any other moment in time. Compared with impressionism, it’s an even more fleeting moment. 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