Comments on: Getting to Into http://slowmuse.wordpress.com/2008/05/04/getting-to-into/ By Deborah Barlow Fri, 18 Dec 2009 03:38:25 +0000 http://wordpress.com/ hourly 1 By: Deborah Barlow http://slowmuse.wordpress.com/2008/05/04/getting-to-into/#comment-1280 Deborah Barlow Tue, 06 May 2008 11:11:30 +0000 http://slowmuse.wordpress.com/?p=556#comment-1280 E, Thank you so much for this. I have Yi-Fu Tuan's book and haven't dipped deep into it yet. But this is exactly the timbre of what I am trying to express, connect with and understand. As always, you are right on the mark. E, Thank you so much for this. I have Yi-Fu Tuan’s book and haven’t dipped deep into it yet. But this is exactly the timbre of what I am trying to express, connect with and understand. As always, you are right on the mark.

]]> By: Elatia Harris http://slowmuse.wordpress.com/2008/05/04/getting-to-into/#comment-1277 Elatia Harris Tue, 06 May 2008 03:06:39 +0000 http://slowmuse.wordpress.com/?p=556#comment-1277 Deborah, if you like Edward Casey then you will like Yi-Fu Tuan, a geographer at the University of Minnesota. In Space and Place, he quoted the musicologist Roberto Gerhard: "form in music means knowing at every moment exactly where one is; consciousness of form is really a sense of orientation." When I read that I thought of all the artists who might be striving for its painterly counterpart. That is, must it obtain only to the temporal arts? Yi-Fu Tuan, however, writes that "the various sensory spaces bear little likeness to one another. Visual space with its vividness and size differs strikingly from diffuse auditory and tactile-sensorimotor spaces. [...] sound enlarges one's spatial awareness to include areas behind the head that cannot be seen." Painting should do that too. Deborah, if you like Edward Casey then you will like Yi-Fu Tuan, a geographer at the University of Minnesota. In Space and Place, he quoted the musicologist Roberto Gerhard: “form in music means knowing at every moment exactly where one is; consciousness of form is really a sense of orientation.” When I read that I thought of all the artists who might be striving for its painterly counterpart. That is, must it obtain only to the temporal arts?

Yi-Fu Tuan, however, writes that “the various sensory spaces bear little likeness to one another. Visual space with its vividness and size differs strikingly from diffuse auditory and tactile-sensorimotor spaces. [...] sound enlarges one’s spatial awareness to include areas behind the head that cannot be seen.” Painting should do that too.

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