outside of us in the physical 3D world or things on the inner
planes. Some call this the Witness or the Observer" - Lucia René
"Perception has nothing to do with the mind. Perception simply perceives. It is a sort of flashlight of awareness that we shine on things as we observe the flux of energies within or without. It is completely devoid of thought. And, perception is present even when there are thoughts in the mind.
Intellect, on the other hand, takes what is perceived and brings it down into the conscious thinking mind. It's a very useful faculty we humans have been given, part of the package we acquire when we take embodiment. It's a tool that resides 'in the attic' and, when used properly, helps us solve problems, make grocery lists, and figure out how much tax we owe.
The bottom line is this: thought impulse arises out of the sea of pure awareness and manifests as a thought. If you really slow things down in your meditation and clock what happens, you can observe an impression rising, a thought formulating, and the thought relaxing as it falls back into pure awareness.
And all of the time this is happening, perception perceives.
First perception; then perception perceiving thought; then
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else.
The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind.
The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect.
It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being.
Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968
MY final paintings are the intimate dialogue between my total being and the visual agents which constitute the medium. My intentions have not changed. I have always tried to realize visual and emotional energies simultaneously from the medium. My paintings are, of course, concerned with generating visual sensations, but certainly not to the exclusion of emotion. One of my aims is that these two responses shall be experienced asONE and the SAME
Riley began to paint pure geometric abstract canvases in 1961. Her first works were painted in a black and white palette and were concerned with variations in shape rather than tone. This period of the artist’s op art practice is represented in Tate’s collection byFall1963 (TateT00616).
In 1964 Riley introduced variations in tone into her work, composing a series of paintings, including Hesitate,from a full palette of grey. Curator Paul Moorhouse observed that this imbued Riley’s works with increased subtlety:
... or referring to Bridget Riley's later work - The Battle of 256 Shades of Grey !
as a direct challenge to the rock logic of rigid categories, absolutes,
" Widespread among human habits isthe perceptionthat we are human beings having a spiritual (consciousness) experience. We need to turnthat perceptionon its head. We are beings of consciousness, living in a realm of information and having a material experience – not just a human one, but an experience of participating in the entirety of material creation.