Real Line / 'Carving A Playable Violin'
Detail from The Same Thing / Slow Motion
The two lines do not 'actually touch' but are carved to be right next to each other; the 'touching' part is the part in wood that has not been touched by carving and thus keeps the lines 'united' in wood.
Are the lines a representation of lines, because they do not 'actually' 'touch' as lines, but are merely part of the same piece of wood? If the lines were rounded fully to the point of no longer being connected in wood would they thus at that point become real lines ? Or useable lines? And what would that mean? Are the lines which are still connected in wood less real or useable? What role does the wood play? Grinling Gibbons carved a violin that was so 'close to' being a 'real' violin that it could -almost- be played. But the lines seem even closer to 'being a playable violin' ...
What does this mean for the nature of the line of the continuous rounded loop / a closed line which does not reveal its cross-section?
In how far does a carved chess piece differ from my forms in wood?
A surface is not something physical - it is something in-between the physical and the idea shaping this surface.
As if dealing with different 'kinds of' 'reality':
wholeness is either achieved through
the presence of a hole which turns the line into a loop
('wholeness' in wood and form)
(space and hole are one / are surrounding and penetrating / form and space are mutually containing)
(= the 'highest order' of wholeness?)
a hole implies 360 degrees of total curvature of the surrounding form
(to carve: a hole = surface paradox - mere extending / gliding along the surface without reaching depth;
the form envelops the surface.
(In Aleph this leads to a wooden form which is changing the subject-object relation; it is 'in control' / not a passive object )
or : a connectedness of several lines in wood as in the photo above-
'wholeness' in wood only,
separation in form only / space is surrounding
total angle curvature of the piece of wood = 360 degrees
carving = the surface envelops the form; the form does not impact on the original surface
as opposed to
lines carved in wood and then fully rounded / separated from each other
(disconnectedness in form and wood) (surrounding space as a container for separate things)
total angle curvature of the surrounding space = ?
carving = the form ruptures the surface / original wholeness and creates 'many universes')
wholeness and surface cannot be considered separately
The last phase in making the wooden forms is always concerned with the uniformity of the surface of the line. In the 'sculptures' made of rounded lines/loops the line is intrinsically uniform and unchanging throughout. The parts that create the detail and the whole grow simultaneously - they produce each other. One cannot precede the other or arrive with a delay. The detail emerges from the whole; everything comes into being at once.
A fundamental difference between detail that emerges at once with and from the whole, or detail that is intended right from the start to be implemented at the end as a prima causa -with delay- thus detail and whole are one (which is possible in painting and reliefs, but not in 'sculpture'), or detail that is added as a mere decoration or afterthought.
"The less dependent a thing is on other things for its existence, the more real it is."