Semi-transparent

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A painting is not a thing in the world: nor is it just a representation of the world. 

In a marvellous phrase of Merleau-Ponty's, we do not see paintings, as much as see according to them.

They are, like people, and the forms of the natural world, neither just objective things, nor mere representations of things: they permit us to see through, and according to, themselves. They have a semi-opaque (or semi-transparent) quality, not disappearing altogether, in which case some reality or other would be seen in their place, a reality which they would no more than represent.

No, they have reality of their own. But equally they are not mere things, existing ‘out there’ independent of us or whatever else it is that exists. We are aware of them but see through them, see the world according to them.

To take the example of the Claude painting: we neither allow our eye simply to rest on the pure thing in front of us, a canvas measuring such and such, with so and so patches of blue, green and brown on it, nor do we see straight through it, as though ignorant that we are looking at a painting, and imagining we look through a window.

Equally with poetry: language does often function as if it were transparent, when we are reading a piece of prose, and unaware of its facticity. But in poetry the language itself is present to us – semi-transparent, semi-opaque; not a thing, but a living something that allows us to move through it and beyond, though never allowing the language to disappear as though it played no part in the whatever it is beyond language that it yields to us.

[Iain McGilchrist]
The Master and his Emissary, p. 183-4


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