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ISSN 1409-6900 | UDK 82+7     Blesok no. 35 | volume VII | March-April, 2004



                     Peer-reviewed journal
Blesok no. 35March-April, 2004

Point of View

p. 1
Dejan Ničevski

    Compared to the popular blabbering of the 20th century, the classical philosophical systems are the miracles of consequentiality. It is questionable whether modern man can create such well-deliberated spiritual constructions. Still, even the most prominent philosophers often promoted opposed ideals. Think of freedom, for example. Rarely anyone feels free if he is precisely determined what to do. The biggest freedom means openness to all possibilities, or an absolute indefiniteness. On the other hand, the cognitive ideals seek precisely the opposite. Theorists want to have the most precise knowledge of each thing; everything should be clearly determined or defined. Therefore the presence of pure geometrical ideals in philosophy. Since Pythagoras’ times, truth was compared to a perfect geometrical body, the ball. Of course, the idea was not an egg-shaped or elliptical ball, nor some patchwork of different colors, stitches and marks. The geometrical expression of truth was an ideal ball, which is identical from all sides. No matter how one turns it, no matter where one looks at it, it remains what it is. In other words, it is independent from the point of view.
    Unfortunately, the artistic classification of the perfect geometrical body shows that the ball does not fall under painting, but under sculpture. As a rule, pictures are made on flat surfaces. But, even if that surface would be coarse, wavy, convex or concave, the painting would still in many things depend on the position of the observer. As a standard, the painting as a work of art is seen only from the front, not from the side or the back. So, we will only speak of the frontal distance and the moderate deviations of the observer.
    When a painting is made, the artist is very close to it; sometimes he touches it with his fingers or he literally steps into it. However, the painter must coordinate the direct view with the look from a bigger distance, or from a different angle. Therefore, a good painter’s studio needs space; otherwise, a lot of the knowledge about the painting when it is created remains in the area of assumptions.
    Of course, unless he knows where the painting will be exposed, the painter can only guess from where (what distance, which angle…) that painting will be most often seen. Usually, there is a “polite distance” implied when the viewer does not breathe or cough in the painting. The distance from the recipient to

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