10 kerámikus művész (Fővárosi Tanács Óbuda Galériája, Budapest, 1981)

. . the doctrine on inspiration is nothing but a pretty expression, because if the spirit of art is speculation, then it falls within the sphere of logics, but if it is intuition, then we have returned to easthetic blamed, the subject of which is intuition as form, and to aesthetics, if we want to study intuition as a motion." (József Attila) What is line e.g. is something that can be defined and decided. What is common in the study of the actual meaning of Une is something that is vyorth calling learning or its essence. The reverse of it: we may consider — e.g. the Une to be a cognitive process from various standpoints, because whatever is common in them, that is their essence. The greater the difference among the cognitive agents occupying various standpoints, the broader the field where e.g. we may isolate new standpoints enriched with the knowledge of qualities of Une from their infinite "series".of variation <thus obtaining new Une, etc. qualities <etc. °° Cognitive­­educative activities (e.g. science, art) are nothing else but differences of standpoints presupposing one another. Cognitive-educative activities have different branches in so far as they select from the indefinite "series" of standpoints those, in a specific composition — VARIATION — see e.g. sciences, arts, in a broader context: methods and means of communication. The description of the eternally growing plurals and relationships of cognitive-educative processes by artificial linguistic symbols is the following in plane geometry: concentric circles growing always in space (with an example from three-dimensional geometry: Incessantly growing envelopes of cone) their origin: the material-motion-space-time relationship. The coincidence of two such (concentric) circles that may be represented by one circle does not exclude duality, i.e. that we justify an optical trick when the two are ,,reflected" by one circle. A pair of concentric circles is the annual ring of cognition. In this sense year is an always changing measurement of time, the diameter of the annual ring is an always changing measure of length in relation to the other annual rings. Such circular Unes of art are traces left behind this cognitive-educative activity, within which the natural images of circles are the works of art and as such, with their events they are stories added to the history of the things already understood. Line is general as the artificial linguistic symbol of the nature of movements, it is individual as a symbol copying the relative directions and length of a concrete series of movements. For instance, in the demand for the difference in the achievements of the quality of Une (even within art) the past, present and future of learning, cognition, etc. are presumed. Examples to remind: Line as symbol: a symbolic drawing referring to a given concept. Natural and artificial Une as outline: in the context of patch and object, etc. Static Une: e.g. a borderline drawn by generalization on the basis of one (or more) common characteristics of object of different nature, if by this Une we may exclude the simultaneous overflow of the generalized objects into categories. The dual context of line: a graphic line showing the changes of the periodically or not periodically repeated kinds of motion in space and time. In this sense the work of art, with its Unes in plane and space is the graphic Une of the concrete history of the movement of material. CONTEXTS OF LINE ARTIFICIAL LINES OF NATURAL ORIGIN Writing of participant Katalin Orbán (page 28)

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