43. Fogelklou 2023 | Back Up

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Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958

Form and radiation

is the name of the reflections and meditations that Emilia Fogelklou, one of the most interesting religious personalities in our country, collected in this volume. The essays and studies always revolve around the biggest questions about the place of man in the worldview of the new physics and in the dynamic society, the essence of inspiration, the mystic’s experience of infinity.

The starting point for Emilia Fogelklou’s reasoning and considerations is the crisis situation of Western civilisation, its superficial materialism and egoism. The salvation lies in the indivisible experience of the innermost unity of the universe and all living things. This liberating experience finds the author in contemplation and prayer. Both modern art, science and poetry seek out paths that run parallel to prayer, and the author cites eloquent testimonies about the inadequacy of the mechanical worldview. The searching spirituality that has been Emilia Fogelklou’s daimon for a long life cuts through all given boundaries and bursts all given forms and gets its strength directly from the creative life.

With its interesting issues and great intellectual reach, ‘Form and Radiation’ is a book for anyone interested in the reality behind reality. With her clear intellect, her humble piety and her demand for honesty, Emilia Fogelklou makes the reader see with new eyes phenomena and contexts.

BONNIERS

Purchased 14 May 2022 from Antikvariat Bokbudet Kommanditbolag, Malmö, via Bokbörsen AB, Stockholm, for 406,60 SEK inc. shipping.

Unlikely happenstance and the aesthetics of coincidence…

Emilia Fogelklou | Working Space

Summary: a deeply reflective exploration of her life, writings, and evolving philosophical ideas.

About Emilia Fogelklou

Swedish pacifist, theologian, feminist, author, and lecturer (1878–1972).

• the first woman in Sweden to earn a Bachelor’s in Theology (1909); later received an honorary doctorate (1941).

• a committed Quaker from 1931, she also championed peace activism and progressive education. Her output includes 28 published books covering theology, spirituality, psychology, feminism, and education.

Structure of the Site

The site showcases Fogelklou’s key intellectual contributions, presented as a numbered series of posts—each a thematic fragment rooted in her 1958 work Form och strålning (‘Form and Radiation’). Examples include:

• #06 ‘Gerald Heard | Quaker Mutation’, reflecting on spiritual experimentation, silent community, and creative living.

• #31 ‘gripenhet | apprehension?’, a meditation on how art can open deeper modes of perception and emotional resonance.

Other entries like ‘The Crisis of Art’ (#32–#36) and ‘To Attend’ (#37) revisit similar themes—how artistic form disrupts habits of perception and expands consciousness.

Core Themes & Philosophical Influences

Across the archive, Fogelklou uses “fragments” [åskådningsfragment’] to describe each insight—echoing her view that images must be sources of energy, dissolving and refolding experience to provoke new vision.

She draws on figures such as Gerald Heard, Aldous Huxley, Christopher Isherwood to reflect on meditative spiritual practice and community life. This is linked to avant‑garde aesthetics, ‘rupture’, the informe, the sublime—challenging viewers to a more visceral, open-ended encounter with art—via Carl Einstein, Bataille, Didi‑Huberman, Benjamin, and Barnett Newman.

The texts support:

• an integrative approach: Fogelklou unites art, spirituality, and social criticism, urging active seeing—a stance that values experience over representation.

• fragmented form: emphasis on short, vignette-like entries reflects a belief in momentary insight—encountering the world afresh, without relying on familiar categories.

• practical spirituality: Fogelklou doesn’t just theorise—her writing calls for contemplative communities, ethical reflection, and a creative praxis in daily life.

The following is a layered intellectual space where readers follow Fogelklou’s journey through theology, feminism, pacifism, and aesthetic philosophy—each post a ‘fragment’ meant to expand perception and engagement. It invites us to see art, life, and community as intertwined fields of creative and spiritual experiment.

• • •

https://emiliafogelklou.wordpress.com/1-grans/ Sun, 26 Feb 2023 12:00:39 +0000 https://emiliafogelklou.wordpress.com/?page_id=32 

p24 gränsskillnader border differences

p26 & p246 gränsgenomträngande border penetration

p78 samhörighetsgränser affinity boundaries

p120 & p124 gränsöverskridande cross-border

p124 gränssättningar boundary setting

p164 uteslutningsgränser exclusion limits

p169 gräntsgenomstrålande borderline transmissive

p243 gränsöverskridande cross-border

• • •

Swedish to English

# gräns, -en (gränslinje)

• border, the

• frontier, the

# gräns, -en (gränslinje)

• boundary, the

• restriction, the

• limit, the

# gräns, -en (gränslinje)

• borderline, the

# gräns, -en

• frontier, the

# gräns, -en

• bound, the upper or lower limit in a permitted range of values

# gräns, -en (inskränkningbegränsning)

• restriction, the

• limitation, the

# gräns, -en (barriärbomavspärrning)

• barrier, the

Machine Translations

# gräns border

# gräns frontier

# gräns limit

# gräns frontier

gräns

noun

1. boundary

• limit; → gräns; begränsning;

2. mathematics: value greater (or smaller) than a given set

• bound; → gräns;

3. boundary, border of territory

• bound; → gräns;

4. the line or frontier area separating regions

• border; → gräns.

• • •

p24

gränsskillnader border differences

gräns skillnader border differences

gräns skill nader border divides

gräns skillnader border differences

gräns limit

skillnader differences

p26 & p246

gränsgenomträngande border penetrating

gräns limit

genomträngande penetrate / pierce / permeate / pervade

gräns genom trängande border by crowding

gräns genom trän gande boundary penetrating

gränsgenom trän gande boundary penetrating

gränsgenomträn gande boundary penetrating

gräns limit

genomt through

genomtränga generate

rängande resounding

ande Spirit / mind / intellect / ghost / jinnee / genie / jinn

p78

samhörighetsgränser affinity boundaries

sam together

hörighets belonging

gränser borders / frontiers

sam hörighetsgränser cohesion boundaries

sam hörighets gränser boundaries of unity

samhörighets gränser boundaries of togetherness

p120 & p124

gränsöverskridande cross-border

gräns limit

överskridande exceeding

över skridande over crossing

p124

gränssättningar boundary setting

gräns limit

sättningar setting

p164

uteslutningsgränser exclusion limits

uteslutningsgränser

ute out

slutnings conclusion

gränser borders / frontiers

p169

gräntsgenomstrålande borderline transmissive

gräntsgenom strålande across the board brilliant

gränts bordered

genomstrålande translucent

genom by

strålande brilliant

p243

gränsöverskridande cross-border

gräns överskridande limit exceeding

gräns över skridande limit over progressing

gräns limit

över over

skridande steps / glide / pace

• • •

“…for mortals at least, time is also limited. If our existence in space is confined to the literal boundaries of our own bodies (e.g., we exist “inside” and not “outside” our corpo- real envelopes), our existence in time is also restricted to our chronological lifespan (another physical boundary, as it were). This may or may not explain Newman’s cryp- tic statement about hoping to spark physical sensations of time, but, if this ambition went hand-in-hand with his desire to trigger our awareness of our own presence, then it stands to reason that time and presence are related. Namely, that a sense of our own presence also entails an awareness of where we are now, at this present moment, as well as how we are affected by remembering the past and by anticipating the future — a future that is finite.”

– Claude Cernuschi: ‘The Visualization of Temporality in the Abstract Paintings of Barnett Newman’, 2020

“Looking at the site you feel, Here I am, here […] and out beyond there […] there is chaos, nature rivers, landscapes. […] But here you get a sense of your own presence. […] I became involved with the idea of making the viewer present: the idea that ‘Man is Present’.” [p174]

“[presence] is the sensation of time — and all other multiple feelings vanish like the outside landscape. […] Only time can be felt in private. Space is a common property. Only time is personal, a private experience. That’s was makes it so personal, so important. Each person must feel it for himself. […] The concern with space bores me. I insist on my experiences of sensations in time — not the sense of time but the physical sensation of time.” [p175]

– Richard Shiff: ‘Barnett Newman: Selected Writings and Interviews’, Knopf, 1990

“The greatest, most profound feelings of the human spirit never arise inside a frame of space. They always arise around the concept of time”

– Barnett Newman: ‘Ohio, 1949’ [draft statement]

“In Newman’s thought, the space of external nature is determined by its opposition not only to time as personal […] private experience [p175], but also to place, a main concept of Newman’s instrumentality that is sometimes rendered by its Hebrew equivalent makom [double meaning of “a place” and “The Place” where the Holy One dwells]. Terminologically, place / makom is the locus where an individual becomes keenly aware of his own existence by consenting to be claimed by An-other. Thus, it is not surprising, that Newman regards the synagogue as a place, Makom [p181] and that in connection with the synagogal ritual he stresses the subjective experience in which one feels exalted by realizing the meaning of the Mitzwa: Know before whom you stand.” [p181]

– J. Edgar Bauer: ‘Barnett Newman: Iconoclasm, Heilsgeschichte and the Modern Mythology’, CESNUR International Conference, London School of Economics, 2001, refs: Barnett Newman: ‘Selected Writings and Interviews’, 1990

“Somewhere a portion of contemporary art has to exist as an example of what the art and its context were intended to be. Somewhere…a strict measure must exist for the art of this time and place.”

– Donald Judd: ‘Statement for the Chinati Foundation’, 1987

Donald Judd on Barnett Newman, Studio International, 1970]]> 32 0 0 0 https://emiliafogelklou.wordpress.com/3-fragmented-or-exploded-erik-lindegren/ Wed, 01 Mar 2023 08:23:02 +0000 https://emiliafogelklou.wordpress.com/?page_id=55 

Exploded view

“Our old static world with all its form boundaries has been broken up by a new vision. The one we now live in is, to say the least, a world of movement. Almost breathless with anxiety, a sense of ignorance and eagerness, we seek to capture a species of life outside or inside our senses, with electrons, protons, neutrons, atomic explosions, radioactive radiation, time-space dimensions and other extrasensory phenomena, which through the daily press makes incessant demands on our attention. If we begin to understand some of this clerical Latin about omnipresent phenomena, which we cannot see, we are pushed out of our ingrained ways of viewing and habits of thought to try to orient ourselves before — or in — a universe, where change seems to us to be the only stable and where the dimensions go beyond all reason.”

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’ [‘Viewing fragments’], 1958, p33

“In the midst of the anxiety and impotence that leads in despair to drunkenness, neuroses, murder and theft, we suddenly hear voices of a different kind. Something that, after all, has to do with happiness — on the other side of despair. “Only when the terrifying flow of indignation and sorrow has flowed through my brain, can I from my complaint create a world of happiness”, says Erik Lindegren…”

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, pp198 & 199

“All that seems to be left of mankind are fragments, feelings without bodies: despair and indifference. The word commits suicide and language is lost. There are explosions and the landscape that Lindegren paints reminds us of an anonymous waste land. Lindegren has stated that he wanted to compete with Eliot in his critique of our culture.”

– Daniel Pedersen: ‘Nelly Sachs’ Swedish exile – An encounter with Erik Lindegren’, La Conquête de la Langue, 2013

Erik Lindegren 1910-1968:

Mannen utan väg [The Man without a Way], Bonnier, Stockholm, 1946

Sviter [Suites], Bonnier, Stockholm, 1947

Vinteroffer [Winter Sacrifice], 1954.

“But the will to live, destroyed by war and brutal force, seeks new forms also this time. To experience a second, long predicted world war as a person compelled to neutrality makes one perhaps predisposed to a certain ambivalence, to a more cold-blooded despair than that of expressionism. . . . In its outburst of personal, human and neutralist feelings of anxiety, the new poetry takes on a somewhat nihilistic touch; it seems plausible, however, to regard it as a necessary purgation process…”

– Erik Lindegren, 1944

“You must realize that twenty years ago we felt the moral crisis of a world in shambles, a world devastated by a great depression and a fierce World War, and it was impossible at that time to paint the kind of paintings that we were doing – flowers, reclining nudes, and people playing the cello. At the same time we could not move into the situation of a pure world of unorganized forms, or color relations, a world of sensation. And I would say that for some of us, this was our moral crisis in relation to what to paint. So that we actually began, so to speak, from scratch, as if painting were not only dead but had never existed.”

– Barnett Newman, 1967

“…his is a poetry that depends above all on rhythm and alliteration, on the musicality of the verse; but, more importantly, it is a poetry in which imagery, cadence and thematic content depend on each other to such an extent that any translation seems bound to fail. The detailed imagery cannot be retained without changing the onomatopoeic and rhythmic quality of the verse, and the musicality of the poetry cannot be recreated without mutilating the metaphorical content.” [1]

“The form — the exploded sonnet — wants to convey something of the tension between the rational and irrational in the modern scientific world view; the metaphoric language, which does not avoid the grotesque, wants to emphasise the brutal moment of surprise in today’s reality. The author’s ambition has, briefly speaking, been to give an objective and factual form to painful and pathetic, uncertain and complicated matters.”

– Erik Lindegren: ‘Lyrical modernism’, Bonniers Litterära Magasin, Nr 6, Årgång XV 1946 [below]

“Mannen utan väg is an apocalyptic collection of poems, a descent into the realm of death, a journey through a contemporary purgatorio. But neither Beatrice nor Christ meets the wanderer. Miraculously, however, he emerges from his order, having reached a position beyond faiths and ideologies — a person independence. This attitude is reinforced in the collection Sviter, most notably in the poem ’The Seeker’: ‘I have crushed the central pillars in the house of self-evidence / in order to build me a smaller house which I can call mine.’” [1]

“Mannen utan väg is a collection of forty poems, all identical in form — i.e., written as a series of ‘fragmented or exploded sonnets’, each consisting of seven non-rhyming couplets. The volume combines stylistic rigidity and explosive imagery. The conventional sonnet form is broken to pieces; but a new pattern emerges, and the fragments ultimately convey a sense of utmost poetic discipline, imparting a view of the reality of war not unlike that of Picasso’s Guernica, whose series of shocking montage figures may very well have served as Lindegren’s model, according to Swedish critic Lars Bäckström. [1]

“Vinteroffer marks a return to Mannen utan väg in that it combines a sense of identification with a sense of distance from the subject matter. The central poem, ‘Ikaros’, takes a mythic figure often depicted by poets of all ages, from Ovid to Auden; but Lindegren’s pose is not the conventional one of a meditative observer, watching Icarus ascending toward the burning sun. Icarus travels in his own inner landscape, toward a sun that becomes “more and more cool, more and more chilly.” [1]

Reality overthrown

without reality born!

Birgitta Steene: ‘Erik Lindegren: An Assessment’, Books Abroad Vol. 49, No. 1 (Winter, 1975), Board of Regents of the University of Oklahoma

Erik Lindegren: ‘Lyrical modernism’, Bonniers Litterära Magasin, Nr 6, Årgång XV 1946 [initial translation 01.03.2023]

[p463]

LYRICAL MODERNISM

A survey

ERIK LINDEGREN

Because I happen to know a person within myself who knows me only partially — and anything else is not possible — and because this Chronschough-like person sometimes arouses in me an interest that is inconceivable to others and quite comical, but sometimes also the most complete and most detached indifference, I have considered him at once sufficiently interested, sensible, and impartial to be entrusted with the task of saying a few words about a poem described as singularly incomprehensible. The poem reads:

the invisible within us tears apart all spaces and all completion courses amount to measurable nothingness

and the seconds petrify and the perspectives run into the suns of cruelty with the thirsty dwarves

of the shadows carving into their leathery flesh to give air to the skeleton and surrendering the scene to the waltz

of the breaking point until the vision calls them the darkness of the jagged peaks free the armchair of eternal rest: a denying continent

that on a shield of sun and madness raises its reflection in a favourable moment for our eternal blindness

that cradles the parasite of condemnation on the waves of positivity and writes in spit on the jealous rock of the future:

embalm the worn out of the galley slave Aro in the hall of astonishment embalm the sublimation and trago death in ultra-rapid

The above-mentioned person makes the following attempt at content analysis:

The invisible within us (cf. Pär Lagerkvist’s “The Invisible”) is very often but so far in vain mentioned and hidden as much as possible the aggression drive within us, as from time to time

[column break]

tearing apart all spaces, i.e. all hitherto known religions, gods, ideals, sublimations and superegos but also space in the astronomical sense, a space that crushes us with its greatness and indifference. This aggression thus not only protests against implanted “superegos”, but also against the fundamental conditions of human life. Therefore, it cannot be denied a certain Prometheus trait, but it also contains an element of the unintellectual’s instinctive hatred of the intellectual, here preferably directed at Einstein — after all, due to their intellectual limitation, most people are condemned to believe in [the] authority [of] Einstein’s universe much like the people of the Middle Ages believed in God. (After all, this hatred is considered one of the most important reasons for the success of Nazism, and the irritation that the occasional critic seems to feel at reading a modernist like Eliot is a faint reflection of the same thing.)

With all values, but also all unbearable facts about man’s cosmic situation torn apart, all competition courses (self-assertion, sports, liberalism’s free competition, etc.) amount to measurable nothingness (nihilism, relativism, the universe with its fixed lights, the Stadium with its chronometers and measures bands). This is the moment of rage and unbearable tension, the moment when the subjective sense of time changes (seconds petrify, “time stands still”), the moment when the lion crouches to leap and the young man on the dance floor throws himself the rock, and

[p464]

the hour of the attack is imminent. It is also the moment when the perspective (visual continuation of the drawn, narrowing the race tracks, real-symbolically, for tactical reasons, the drive to an objective overview of the situation) runs into the suns of cruelty (a projection of the damascus mixture that the above-mentioned invisible creates within us). The expression the thirsty dwarves of the shadows perhaps also needs, Chronschough thinks, an explanation. When the Sun of Cruelty stands as close to unity, from an optimistic point of view, people become monstrous shadows of themselves: when the Sun stands in this position, the forests are at their shortest, so they become the satirical dwarfs of their own shadows, thirsty for blood because they the oaks are deceived on “the dyke of life.”

Leather flesh — in a second these shadows of myself are burned by the sun of cruelty, they carve it partly to cool off and partly as an old war dance ritual but also to give air to the innermost wit — and the innermost part of man is the skeleton. This skeleton is actually the most permanent thing in our body, the one that survives us the longest, but at the same time it is an ancient symbol of death, the dwarves carve it to show their pride but also as a secret acknowledgment that destruction is ultimately directed at themselves. Now, then, the great untimely culmination of the breaking point has been reached: the fear-magnified “historical” moment has arrived, the lion takes the leap, the battle strikes its first blow, the attacking army surrenders at the will of God, chance, the commander-in-chief, megalomania or the silent the hand of humiliation, and the armoured columns rush towards Paris — until fatigue sets in (and it does regardless of victory or defeat) and man’s longing for life disguised as vision causes her to turn her gaze upward and call — not space she has probed — but the darkness of the jagged peaks. These peaks are

[column break]

tough because they appear hostile and difficult to climb: they also associate with Auden and Isherwood’s drama ‘Ascent F6’, they are dark because man has a feeling that they hide the real reasons for his action, the secret driving force, in short the unknown truth about herself. That the call is made from eternal rest the armchair returns to a vision — an armchair placed between a crevasse pit and a common, upturned open grave. The eternal rest is a well-known euphemism for the death, and during a war death, once fatigue has set in, can seem somehow comfortable. The call takes place, in my words, in a moment of reflection before death, in a moment of self-abandonment and passivity — here, with the help of the colon, the film-like verb flash into a negating tense — the energetic and progress-seeking Europe is passively self-abandoned in the face of its self-destruction.

The last three stanzas show the man trapped within the Western culture, as on a shield (mirror and protection of the god of war) of sun (desert sun, i.e. the faithless sun of sterile repetition, senseless vivifying sun, sun of cruelty) and madness (the disciplined chaos of war) lifts its mirror image its true face (thousands of reality-corrected books on the true essence of Western culture), lifts its mirror image its true face (thousands of reality-corrected books on the true essence of Western culture) for our rich blindness (even our blindness is relative and tangible: we see, but we do not understand what we see, in any case only for the briefest moment in question). This elusive, self- contained and anti-human continent or culture also cradles the parasite of denigration on the vagaries of the positive, which means that it sentimentalises the tired, failed and dead, whom it actually despises, and writes in sly red with an image that most closely associates to the famous scene at Belshazzar’s guests

[p465]

sneer at our mene tel on the jealous rock of the future. For most of the politicise systems of our time is the solid rock of faith identical with the future, it is its holy name to which all sacrifices are made, but this future is jealous of us, its past; it will only love itself and possibly dream of its own future; it will look down on our time in astonishment and wonder how it could live such a miserable life and make such meaningful sacrifices. So we get the cruel and mocking line to already build a museum and embalming and placing there the most distinctive grand units of the time: first and foremost the worn-out scars of the gall slave (in the promised time of conscription, total war, misinterpreted collectivism and time studies, we are all galley slaves; the plural form Aror suggests that the galley slaves of our time have it many times worse than the old warship rowers, who were, however, at best outnumbered by a macaw), secondly, the sublimation (here ironically understood as our anti-life idealism, our cowardice submission to the tyranny of certain ideas, etc.), and thirdly, the tragic death in ultra-rapid (it) beset us, the slowly but surely defeated, France of 1910, our painful but unfortunately not quite convincing, sometimes self-fulfilling tragic sense of life).

As far as this person’s attempt at elaborate yet abbreviated content analysis, He also asks to point out that the poem should be read in its thematic context, and that his analysis is a first-class example of how easy it is to plunder a poem with the help of the intellect all that even for him essential. He wouldn’t have done it either if he hadn’t been childishly annoyed by all the talk of tongue talk, bluff and the emperor’s new clothes. And now he wants to briefly suggest how it is that the poem took on this “somewhat eccentric” form.

First of all, he wants to emphasise that this poem does not need to be “understood” in the way that he himself understands it; it leaves instead

[column break]

deliberately a certain freedom of association for the reader. The main thing is that the reader “gets” the feeling, thus he has also understood its thoughts. Nothing ages as quickly as a poem’s “thoughts”, and if this man is to be completely honest, he gives e.g. Viktor Rydberg’s historically magnificent brooding poems not infrequently an impression of monstrous poetic banality. Nor can he ever forget the moment when, as a sixteen- year-old, he witnessed a singing teacher’s horrifyingly dramatic and fundamentally false declamation of “Dexippos”. His maybe semi-conscious reaction was that a poem that could be misused in this way must suffer from a seriousness. lied wrong. Nor does he consider it out of the question that one of the many contributing causes to the form of the poem analysed here is this experience. In any case, he eventually arrived at roughly the following line of reasoning, which could of course be rewritten in more objective and grandiose-sounding terms, but which for once he prefers to reproduce in its simplest form: What it is best to convey above all is that almost always complicated feeling — this is romance, it might as well be called emotional realism. It is the feeling that should be loaded with thoughts and not the other way around. The ideological superstructure should be demolished and go underground, only in this situation does it have the opportunity to assert itself in its full force. The poetic “image” should be freed from its subordinate, “decorative” position and become the main element of the poem. The mind should think in images, and the images of the feeling (or the subconscious) should occupy the thought, it is always an interaction. When thought and feeling (and sense impressions) have met in this way in the image and completely impregnated each other, a poem should at best emerge that has the stamp of a vision.

Why his goal was exactly this, I doubt he really knows, in any case space forbids etc. But as he says in his nevertheless sometimes obscure way: The main thing is the compulsion to express is stronger than the need for communication.

Exhibitions:

POSTWAR MODERN New Art in Britain 1945-1965, Barbican, London, 3 March – 26 June 2022 [seen 15.04.2022]

“Postwar Modern explores the art produced in Britain in the wake of a cataclysmic war. Certainty was gone, and the aftershocks continued, but there was also hope for a better tomorrow. These conditions gave rise to an incredible richness of imagery, forms and materials in the years that followed.”

EPIC ABSTRACTION, The Met Fifth Avenue, New York, 17 December 2018 – 4 February 2020 [seen 19.09.2022]

“Newman’s account rightly suggests the feeling widespread among artists of the period that traditional easel painting and figurative sculpture could no longer adequately convey the modern human condition in the wake of unprecedented misery and devastation, including the 1945 atomic bombings in Japan authorized by the U.S. government. In this context, artists such as Newman, Jackson Pollock, and others came to believe that abstract styles — often executed on a grand scale — most meaningfully expressed contemporary states of being.”

Other Sources:

https://litteraturbanken.se/översättarlexikon/artiklar/Erik_Lindegren

https://litteraturbanken-se.translate.goog/författare/LindegrenE/presentation?_x_tr_sl=sv&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc&fbclid=IwAR1T5JR3VDU92Te8TSdaPPgLtbLrIywhehK2DAAIxTNtC3BqqkIeFbit7Vg

https://scandinavian.washington.edu/people/birgitta-steene

https://runeberg-org.translate.goog/blm/1946/0479.html?_x_tr_sl=sv&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc&_x_tr_sch=http

Reidar Ekner: ’The Artist as the Eye of a Needle’, Scandinavian Studies Vol. 42, No. 1 (February 1970), University of Illinois Press, https://www.jstor.org/stable/40917033

Lars Bäckström: ‘Erik Lindegren’, Svenska bokförlaget (Bonnier), 1962]]> 55 0 0 0 https://emiliafogelklou.wordpress.com/3-fragments-birgitta-trotzig/ Wed, 01 Mar 2023 11:09:28 +0000 https://emiliafogelklou.wordpress.com/?page_id=74 

“Beautiful, beautiful, and real! If you feel it, it will be in rapture, not in sensation — such a difference!”

– W. R. Lethaby: ‘Scrip’s and Scraps’, p40

•

[p240]

A BOOK OF THOUGHTS

by Birgitta Trotzig

EMILIA FOGELKLOU: Form and radiation.

Bonniers 1958. 19:50.

‘Form and radiation’, this year’s essayistically designed book of thought…as “fragments of a view…” In other words, it means: the movement of a conscience towards the guidelines and strivings of the present day where it thinks it finds itself again through the forms of expression — it thinks it senses the contours of the secret, passionate greater unity, while perceiving itself as a fragment, an individual nuance.

– Birgitta Trotzig: ”En tänkebok” recension av Emilia Fogelklous Form och strålning, Bonniers litterara magasin med All varldens berattare, 3/1959, pp. 240-242.

• • •

Swedish is a compounding language, where compounding is productive and very common.

Compounds are often ambiguous, as in ”bildrulle” (bad driver or a roll of ﬁlm) which could be made from ”bil-drulle” (”car fool”) or ”bild-rulle” (”picture roll”). Many possible interpretations are unlikely and would be discarded by a human reader. Usually, humans have no problem deciding the correct interpretation of compounds in context, but taken out of context many compounds have several reasonable interpretations.

Finding the correct way to split a compound is in manyways similar to word sense disambiguation. Most of the ambiguity in the sense of a compound will be removed when the correct way to split the compound is given. Many natural language applications need or beneﬁt from the ability to split compounds, including grammar checking, information retrieval, hyphenation, speech recognition, machine translation and text clustering.

– Jonas Sjöbergh, Viggo Kann: ‘Finding the Correct Interpretation of Swedish Compounds a Statistical Approach’, KTH Nada, Stockholm, 2004

• • •

Åskådningsfragment — ‘from the word to the beginning’

[p157]

Meditation — e.g. over a bible word — has a completely different character than an intellectual content analysis. It often begins with an exercise, which an old Bridgettine prayer book calls liberation “from loose and flying thoughts.” Meditation means listening to the full meaning of the text you are pondering while relaxing. As in the case of an artist’s work, the following applies: “Our gift is to make us partakers of his creation, to let his will to express new visions in us, to let (the word) come to life, to be life.”

Åskådningsfragment

In 1958, at the age of 80, the co-founder of the Religious Society of Friends in Sweden, Emilia Fogelklou, published a collection of reflections and meditations under the title ’Form och strålning’ [‘Form and Radiation’]. The book is subtitled Åskådningsfragment. This single word connects ‘spectators’ (åskåd) and ’the view’ (åskådnin), with the word ‘fragment’ meaning to ‘break’ or ‘break up’ in both Swedish and English.

[p173]

att komma “från ordet till begynnelsen”

to come ‘from the word to the beginning’

Åskådningsfragment = ‘View fragment’

Åskådning = View + fragment = fragment

Åskåd = Spectators

Åskådn = Spotted

Åskådnin = The view

fragment, fraction, relic, snippet

*bhrag- / *bhreg-

Proto-Indo-European root meaning “to break”

Sanskrit ‘giri-bhraj’: “breaking-forth (out of the mountains)”

Latin ‘frangere’: “to break (something) in pieces, shatter, fracture”

• • •

Emilia Fogelklou | Form och strålning Compound Words

p11 rymdmålningar space paintings uppmärksammande attention-grabbing p12 mellankrigsårens the interwar years framtidsbekymmer future concerns p15 uppbyggelsemoment building moments koncenträtionslager concentration layer p16 mottagningsorgan receiving body avslutningspaus closing break p17 mottaglighetssituation susceptibility situation p18 medvetenhetselemant awareness element strålningsverkligheten radiation reality p19 bristningsgransen the breaking point p23 genombrytanden breakthroughs p24 vardagssysslorna everyday chores gränsskillnader border differences p26 gränsgenomträngande border penetration p33 okunnighetskänsla feeling of ignorance p39 verklighetsspegling refection of reality p40 verklighetsgrund ground of reality uttrycksvärlden the world of expression p41 uppenbarelseformer forms of revelation p42 framställningskonsten the art of making p44 rörelse-momentet the moment of motion p45 rymdkombinationer space combinations p49 skapelse-uppfattningen the creation concept p52 formuppfinningar form inventions p55 proportionsforryckningar proportional shifts p62 sökarsammanhang search context p68 skuggmoderlighet shadow motherhood p69 efterklangströsten the reverberation comfort tillvarosförnimmelse existence sensation p78 samhörighetsgränser affinity boundaries p80 tomhetsupplevelsen the experience of emptiness p81 “brobyggaren” “the bridge builder “tunnelsprängaren” “the tunnel blaster” p89 bekännelsermeditation confessional meditation p93 förvandlingsöverraskkningen the transformation surprise p95 avgrundsegenskaper abyss properties bekännelseschatteringar confessional chatterings p97 krigslandsungdomar war country youth begynnelsestadium beginning stage p100 “föreningskvaliteter” “association qualities” p105 verklighetsframställningen the representation of reality p112 erfarenhetsverklihet experience reality lyckofönimmelse feeling of happiness p116 totalsannfärdighet total truth förvandlingsansvarets of transformational responsibility p117 rättfärdighetskravet the justification requirement p118 rättfärdighetstankar thoughts of righteousness förvandlingsmäktiga transformative p119 suggestionsövningar suggestion exercises p120 feodalpedagogiska feudal pedagogical gränsöverskridande cross-border p121 tankegenomträngas thought penetrated p122 konstitutionsutskottets of the constitutional committee p123 sanningsfrågan the question of truth tolkningsarvet the interpretive heritage strålningsverklighet radiation reality p124 gränsöverskridande cross-border gränssättningar boundary setting strålningskaraktär radiation character ursprungsmeningen the original sentence sanningstillägnande truth appropriation p125 svårformulerade difficult to formulate p136 kvinnouppfattning women’s perception utstängningsbarriären the exclusion barrier p137 ställningstagande taking a stand p139 kväkarsamfundet the Quaker community p140 tillvarosproblemen the problems of existence mänsklighetsfrågor humanity issues p142 underdånighetsplikt duty of submission p143 jordförstörelse soil destruction p147 kvinnorörelsen the women’s movement p151 sanningssökande truth seeker p153 världsövervinnelse world conquest intensitetsstadierna the intensity stages p154 förklaringsförsök explanation attempts p155 sammanlevnadskonst coexistence art p161 förlossningsprocess childbirth process p162 andaktsgemenskap devotional community gemenskapsfrämjande community promotion p164 uteslutningsgränser exclusion limits p165 förbrytareisken the criminal risk p169 gräntsgenomstrålande borderline transmissive p170 gudsförhållande god relationship förgrundsgestalterna the foreground figures p172 undantagstillstånd state of emergency p173 självtillräacklighetens self-sufficiency p175 stormötesvärld grandmother’s world p179 hjälpverksamhet relief activities p187 gememsamskapskraft community power p194 mottagningsorgan receiving body p195 föreningsfesterna the association parties p196 splittringsfenomenet splitting phenomenon p197 lyckoögonblicket the moment of happiness p198 lyckokrafter lucky powers p200 Dödstillståndet The state of death p201 samhörighetsvisshet togetherness certainty uttrycksmöjligheter possibilities of expression koncentrationslägrens of the concentration camps livsgenombrott life breakthrough p203 livserövringen the conquest of life livshorisonten the life horizon livsvördnad reverence for life p206 föreställningsvärldar imaginary worlds p207 bildningskamp educational struggle likriktningstypen the rectification type p208 Prestationsövningarna The performance exercises verktygsutbildning tool training p209 bildningsaspekten the educational aspect platskonkurrensen the place competition hantverksutlärandets of craft education bildningssynpunkt educational point of view p210 maskinmöjligheter machine capabilities p211 uppmärksamhetsförmågan attention span p212 skenkunskap mock knowledge p214 bildningsingrediens formation ingredient sammanlevnadens of coexistence p215 sammanlevnadsproblem coexistence problems konfliktanledningar reasons for conflict sammanlevadsstudiet the coexistence study p216 enhetsskoleplanerna the unit school plans personlighetsdaningen personality formation personlighetstanken the idea of personality p217 livsvördnaden the reverence for life mekaniseringshotet the mechanisation threat p219 föraldrapedagogiken parenting pedagogy p220 lärjungeplats disciple place verktygsmålsattning tool template setting sammanlevnaden coexistence föränderlighetens of changeability p221 diktargenerationen the generation of poets p222 händelseförlopp sequence of events p224 inbördeskrigets of the civil war p225 smädelsekampanj smear campaign fromhetshorisont horizon of piety p228 varuleverantör goods supplier p230 uppflammanden flare-ups p231 utgångspunkter starting points p232 uppenbarelseögonblick epiphany moment gemenskapssträvanden community endeavours avståndsöverinnandet distance survival p233 omvändelsefråga conversion issue p236 tidningsvägen newspaper route p238 ungdomsbrottslighetens of juvenile delinquency föräldrabbekymret parental anxiety livsomständigheter life circumstances p242 stråningsverklighet radiation reality p243 gränsöverskridande cross-border nyårsbegynnelse beginning of the new year p246 stjärnhimlen the starry skystrålningskrafter radiation forces gränsgenomträngande border penetration p247 medmänsklighetens of fellow humanity

• • •

Working Notes: Olsson | Poetic Fragments 10.07.2022

Extracts from Niklas Schiöler’s review of Anders Olsson: ‘Skillnadens kont. Sex kapitel om moderna fragment’, Bonniers, Stockholm, 2006.

“Poetic fragments are Olsson’s main objects. The fragment, the Latin fragment, refers to a bygone whole that time has turned into enigmatic rubble. It is with such fragments – preserved sculpture parts, demolished temples, leftover text flags – that Olsson’s history begins, with truncated works that were brought to light when the classical heritage was rediscovered.”

[. . .]

“The idea of fragments has been strongly present in contemporary literature, visual arts and philosophy for a couple of decades, not least in Sweden. In his broad-based and perspective-rich book, Anders Olsson places the poetic fragment in a larger historical context: from the Renaissance’s interest in the fragment as an aesthetic idea over the Romantics’ launch of the fragment as a separate literary genre to the close connection between fragments and aphorism in the 1800s and 20th century. Then he can follow how the aphorism becomes poetry in Vilhelm Ekelund and Gunnar Björling, and in close readings by Bengt Emil Johnson, Katarina Frostenson and Ann Jäderlund he shows how important the role of the fragment is in contemporary Swedish poetry.”

– Samlaren / Tidskrift för svensk litteraturvetenskaplig forskning Årgång 127 2006

[26.04.2024]

“Det oavslutade blir något strävande, eftersom den moderna konstnären intrikat och kontinuerligt blir till när han skapar verk. Han blir sig själv genom att frigöra sig som ett objekt…” / “Fragmentet svarar på hans syn på tillvaron som gudlös men styrd av en delvis dold kreativ process…” / “en sorts ars combinatoria” / “…denna nya, interna diskontinuitet, som kommer att stödja oss längre fram är den rikliga användningen av streck som möjliggör avbrott och övergångar i mitten av texten.” / “fragmentet skrivs in i det ändliga livets horisont” / “Fragmentet framträder här som en akustisk marginal till en okänd huvudtext.”

“The unfinished becomes something aspirational, as the modern artist intricately and continuously comes into being as he creates work. He becomes himself by detaching himself as an object…” / “The fragment responds to his view of existence as godless but governed by a partially hidden creative process…” / “a kind of ars combinatoria” / “…this new, internal discontinuity, which will sustain us further on, is the abundant use of dashes that enable breaks and transitions in the middle of the text.” / “the fragment is written into the horizon of finite life” / “The fragment appears here as an acoustic margin to an unknown main text.”

– Anders Olsson: the art of writing in fragments in Skillnadens konst (2006; ‘The Art of Difference’)]]> 74 0 0 0 https://emiliafogelklou.wordpress.com/4-severini-1913-p42/ Wed, 01 Mar 2023 12:17:47 +0000 https://emiliafogelklou.wordpress.com/?page_id=90 

[p41]

“There can be no doubt that modern painting is an attempt in the field of art to create an equivalent to the at once frightening and wonderful worldview of modern research — a style of good and evil which to some seems like a seed to the ultimate doom of art, for others again as a means of penetrating hitherto unknown worlds.” —

Throughout human existence, the worship of light is real and symbolic. This opens up [a] breathtaking perspective of ‘more light’.

[p42]

FORM AND RADIATION

Gino Severini wrote as early as 1913: “Basically, the new art of production is to completely override the usual distribution of light and shadow, which shows the effect of light on objects, an effect that depends entirely on the moment and the moment…” (‘Manifesto’, in Seuphors edition of Knaurs Lexicon.)

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, pp41&42

Note: Michel Seuphor: ‘Knaurs Lexikon abstrakter Malerei’ [Knaurs lexicon for abstract painting], Droemersche–Knaur, München–Zürich, 1957

• • •

“For if art, like religion, belongs to no country, it is perhaps itself the only country and the only true religion. Only those hear its call who have that siren’s song within them. The inner riches of the eyes bring out the secret virtues of the work, and little by little they begin to speak… Every artist, every work of every artist, establishes, in his or its own absolutely inaccessible way, this contact of the spirit with the spirit. Provided of course, that the viewer is in ‘a state of grace’.”

– Michel Seuphor, author, essayist, art historian, critic and advocate Abstract Art. Established Cercle et Carré in 1929. https://prabook.com/web/michel.seuphor/3741943

• • •

“So all things enter into the singleness of the moment, and the moment partakes of the diversity of all things.”

– William Carlos Williams: ‘A Novelette’ (written 1929, published 1932)

“The unity of the perceptual field therefore must be a unity of bodily experience . . . my theory involves the entire abandonment of the notion that simple location is the primary way in which things are involved in space-time. In a certain sense, everything is everywhere at all times. For every location involves an aspect of itself in every other location. Thus every spate-temporal standpoint mirrors the world.”

– Alfred North Whitehead: ‘Science and the Modern World’, 1925

“As for myself, I confess to a preference for clear-cut situations, for radical and even extreme positions. But I also feel a secret and very strong attraction to ambiguous situations… for example, that hovering moment when it is no longer day and not yet night, the shades of emotion between indifference and friendship… (they) are so fascinating because they are so indefinable. That which is pure transition, is all the more appealing to the mind because of its elusiveness. It is the same in the cases of Mondrian, Kandinsky and the Cubists: abstraction and figuration have a common frontier in their work that is so tenuous that we often do not know which side we are on. It is this ambiguity that imports a rare poetic charm to their paintings. Artists like Klee, Miro, and Dubuffet have also pitched their tents on this borderline and constantly travel from one side to the other.”

– Michel Seuphor: ‘Composition No. 8’, 1974 (designed 1929)

• • •

Futurism

“We thus arrived at what we call the painting of states of mind.”

– Umberto Boccioni, 1912

The Italian painter Gino Severini was best known for his role as an integral member of the Futurist movement along with Filippo Tommaso Marinetti, Giacomo Balla, Umberto Boccioni, and Carlo Carrà. He used elements of both Pointilist and Cubist techniques to abstract forms of places and figures, giving his subject matter a sense of dynamic energy.

Gino Severini, aged 30, at the opening of his solo exhibition, Marlborough Gallery, London, and Der Sturm, Berlin, 1913. Between 1913 and 1914, Severini’s studies of light and movement approached total abstraction, but he returned to a robust figurative style for his war paintings of 1914-15.

Gino Severini: ‘Dynamic Hieroglyphic of the Bal Tabarin’, 1912, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.), Museum of Modern Art, New York

The Futurist Painter Severini Exhibits his latest Works Marlborough Gallery, 34 Duke Street, St. James’s, April 1913.

“…but Amenophis does suggest that he was impressed by the one-man show Severini held at London’s Marlborough Gallery in 1913… Writing in the catalogue of this exhibition about some ‘Drawings with Indications of Colour’, which were markedly more abstract than his other work in the show, Severini explained how ‘an overpowering need for abstraction’ had driven him ’to put on one side all realisation of form in the sense of pictural [sic] relief. By the simple indication of values and of mass I have arrived at arabesque. The indication of form and colour should give us the total reality. These drawings are plastic rhythms.”

– Richard Cork: ‘Art Beyond the Gallery in Early 20th Century England’, Yale University Press, 1985

LES PEINTRES ET SCULPTEURS FUTURISTES ITALIENS – Rotterdamsche Kunstkring; Exposition du 18 mai au 15 juin 1913: LES EXPOSANTS AU PUBLIC / TABLEAUX FUTURISTES EXPOSÉS ET VENDUS à Paris, Londres, Berlin, Bruxelles, . . . / CATALOGUE (Boccioni, Carrà, Russolo, Balla, Severini, Soffici) / ‘Prix des Oeuvres’. – FACSIMILE of the Edition ‘Rotterdam, Imprimerie de J. Jong, [1912]’.

ESPOSIZIONE DI PITTURA FUTURISTA di ‘LACERBA’; Novembre 1913 – Gennaio 1914; Firenze, Via Cavour 48: MOVIMENTO FUTURISTA / [INTRODUCTION – Manifesto] / CATALOGO (BOCCIONI; CARRA; RUSSOLO; BALLA; SEVERINI; SOFFICI). – FACSIMILE of the Edition ‘Florence 1913/14’.

References:

Peter Brooke: ‘Cubism and Theology – the case of Albert Gleizes’, 2001

Shannon N. Pritchard: ‘Gino Severini and the Symbolist Aesthetics of his Fururist Dance Imagery, 1910-1915’, The University of New Mexico, 1999

Gino Severini: ‘The Plastic Analogies of Dynamism’ in Futurist Manifestos, ed. Umbro Apollonio, Boston: Museum of Fine Arts Publications, 2001

Links:

Manifesto of Futurism

The Founding and Manifesto of Futurism

Gino Severini 1883-1966

Drawing 2 March 2023

1. Gino Severini: ‘Oval Composition’, 1913, 15 7/8 x 10 1/8″ (40.4 x 25.7 cm) Museum of Modern Art NY, Object number 955.1983 https://www.moma.org/collection/works/38346

2. Virajananda Swami (author) with Gerald Heard and Christopher Isherwood (contributors): ‘Towards the Goal Supreme’, Advaita Ashrama, 1949 (Kindle Edition)

3. Erik Lindegren “Reality overthrown / without reality born!” (‘Ikaros’), Vinteroffer [Winter Sacrifice], 1954

• • •

Working Note 10.03.2023: Jacques Martin Barzun [b. 1907 Créteil], s/o Henri-Martin Barzun / ‘Simultaneism’ [Christopher Townsend] and journal L’Art social (1905-1906), financier in large part the ‘Abbaye de Créteil’ community experience (1906-1908) [“an attempt to meld socialist ideologies with art”] / Georges Duhamel, Charles Vildrac, René Arcos, Alexandre Mercereau. / Abbaye de Créteil artists and writers inc. Apollinaire, Gleizes and Duchamp, etc. / and the later Laboratoire Art et Action. Jacques Barzun: “…as a child in my father’s house I was surrounded by the young poets, painters, musicians, and sculptors who made Cubism, concrete poetry, atonality, and the rest” / Apollinaire, Gleizes, Severini, etc. / Lecture Four: ART the REDEEMER / ART as DESTROYER in ‘The Use and Abuse of Art’, 1975 / Severini & La Vie Unanime / Marinetti and Romains / Severini to Umberto Boccioni, ca. 1911 [Getty Research Institute, Boccioni Archives, acc. no. 880380, Box 3, Folder 14 / Christine Poggi] “They flaunt a great disgust for the nobility of coloring matter and for painting in general. When I wanted to remind Braque that the Greeks put hair on a sculpted head to make a beard, he told me that he adopted the principle, but that the Greeks disgusted him because they tended towards an expression of beauty, while he does not want the his painting is beautiful. … It must be only the result of his brain. This exaggerated repugnance of theirs for the beautiful and for rich materials which can lead to beauty has an explanation in this fact which has been asserted to me by their friends: It seems that they are convinced and fervent Christians. Therefore they employ the humblest materials, to enhance a kind of intimate, modest beauty. …”]]> 90 0 0 0 The Founding and Manifesto of Futurism https://www.italianfuturism.org/manifestos/foundingmanifesto/embed/#?secret=BSfmXgufeQ%5D%5D> https://emiliafogelklou.wordpress.com/4-a-mosaic-of-quotations-julia-kristeva/ Thu, 02 Mar 2023 08:16:28 +0000 https://emiliafogelklou.wordpress.com/?page_id=104 

Intertextuality is a term proposed by Julia Kristeva “to indicate a text’s construction from texts: a work is not a self-contained, individually authored whole, but the absorption and transformation of other texts, ‘a mosaic of quotations’ ” (Payne 1997, 258). An offshoot of deconstruction theory, Kristeva’s ideas borrow from Mikhail Bakhtin’s theory of dialogism to develop her concept of intertextuality. She writes:

“[A]n insight first introduced into literary theory by Bakhtin: any text is constructed as a mosaic of quotations; any text is the absorption and transformation of another. The notion of intertextuality replaces that of intersubjectivity, and poetic language is read as at least double.” [1]

In the same essay, Kristeva expounds on the idea that all written texts are in some way influenced by other texts. However, she seems to be referring not to Harold Bloom’s “anxiety of influence,” which is concentrated on one text being influenced by one author or one work contributing to another, but rather to the almost unconscious inclusion of texts into another text.

– Mary H. Snyder: Chapter 11 ‘The Multiplicitous Nature of Intertextuality: Maria and Sentences’ in ‘Analyzing Literature-to-Film Adaptations A Novelist’s Exploration and Guide’, Bloomsbury Academic, 2011

1. Julia Kristeva (ed. Toril Moi): ‘Word, dialogue and novel’ in ‘The Kristeva Reader’, Oxford, 1986, p. 37

• • •

Petra Carlsson’s 2014 ‘Mysticism as Revolt’ contains an important chapter on Fogelklou, in which she notes that Emilia Fogelklou’s “frequent use of quotations” creates a “split within the autobiographical self.” She concludes that this “use of indirect speech through quotations is common within Quaker spirituality.”

– Petra Carlsson: ‘Mysticism as Revolt: Foucault, Deleuze and Theology beyond Representation’, The Davies Group, 2014.

• • •

Quotes in ’Form och strålning, Åskådningsfragment’, 1958

PREFACE

Blaise Pascal

[page]

Æ: George William Russell

p12

Benedetto Croce

p14

Susan Langer

p16

Vilhelm Grønbech

p18

Walther Eidlitz

p19

C. Day Lewis

p20

Karl-Birger Blomdahl

Ragnar Josephson

p21

Gunnar Ekelöf

Karin Boyes

p23

Brother Lawrence

p25

Pierre Jean Joule

Tito Colliander

Hans Ruin

p26

Randi Fisher

p27

Jarl Hemmer

Natanael Beskow

p28

Albert Camus

p31

Marc Chagall

Gunnar Edman

p36

Arthur C. Clarke

p37

Goethe

p38

Wilhelm Schöne

p40

Werner Haftmann

p41

Franz Marc

Carl Nordenfalk

p42

Gino Severini

Torsten Bergmark

Ragnar Josephson

p43

Poul La Cour

Carl Kylberg

Ludvig Nordstrom

p45

Jean Cassou

André Malraux

Gunnar Edman

p46

Hans Sedlmayer

p48

Jean Cassou

José Ortega y Gasset

p49

Kristian Romare

Hans Ruin

Greta Knutsson

p50

Jean Cassou

p51

Paula Modersohn

p52

Jean Miró

Marc Chagall

Wassily Kandinsky

Jean Bazaine

p53

Herbert Read

p54

Susan Langer

John Summerson

p56

Cennino Cenninis

Virginia Woolf

Carl Kylberg

p58

Kazimir Malevich

Jean Cassou

p59

Piet Mondrian

p60

Henri Laurens

Egon Matthiesen

Michel Senphor

p61

Ben Nicholson

Jean Miró

Nicolas de Stael

Birgitta Trotzig

p62

Teilhard de Chardin

p65

C. Day Lewis

p67

Paul Hübner

p69

Gunnar Edman

Hjalmar Gullberg.

Maria Wine

Gunhild Haller-Augot

p70

Karl Wennberg

Maria Wine

p71

Harry Martinson

Bo Bergman

p72

Örnulf Tigerstedt

Pär Lagerkvist

p73

Johannes Edfelt

Karl Vennberg

p74

Hjalmar Gullberg

Birger Norman

p75

Maria Wine

Gunnar Ekelöf

p76

Karin Boye

Pär Lagerkvist

p77

Jean Anouilh

Gunnar Ekelij

Sven Rosendahl

p78

Birger Norman

Karl-Gustaf Hildebrand

Gösta Carlberg

p79

Morse Peckham

C. G. Bjurström

Gunnel Vallqvist

W. B. Yeats

p80

[Colette?] Audry

M. de Saint Pierre

Paul la Cour

]

p81

Birger Norman

Olle Svensson

p85

Teilhard de Chardin

p86

François Albert Viallet

p89

Nelly Sachs

p90

Judisk Tidskrift / Jossel Rackower

p92

Teilhard de Chardin

p96

Helmut Kirst

p103

Christopher Jacob Boström

Rainer Maria Rilke

p105

Erich Auerbach

p107

Gregory of Tours

Antoine de Saint-Exupéry

p111

Johannes Lindblom

p112

Harald Eklund

p113

Ingrid Segerstedt Wiberg / Torgny Segerstedt

p114

Arnold Norlind

p115

Frances Cornford

p117

R. H. Tawney

p119

Kaj Munk

p121

Thornton Wilder

p122

Herbert Tingsten

p125

Oskar Klein

p126

Gustaf Wingren

p127

Johanns Lindblom

Harald Eklund

p129

Poul Bjerre

Sigmund Freud

p130

S. J. Muckerman

Gallus Jud

p133

Elin Wägner

p135

Siri Zöller née Bergman

p136

Karin Westman-Berg

Barbro Alving

Ester Lutteman

p137

Natanael Beskow

Erik Gustaf Geijer

p139

Ernst Jünger

p140

Karin Westman Berg

W. E. Hocking

Nelly Sachs

p143

Elin Wägner

p144

Katri Vala

Simone Weil’

p146

Elin Wägner

p149

T. S. Eliot

p151

P. D. A. Atterbom

p152

E. I. Watkin

p153

(Douglas V. Sterre)

p154

Albert Camus

(Gerald Heard)

p157

old Birgittine prayer book

p158

Hans Larsson

p159

Britta Holmström

Karl Barth

C. F. Andrews

p160

Emil Liedgren

Thomas Merton

Kristian Schjelderup

Martin Buber

p161

Gerard Heard

p164

Olov Hartman

p165

Martin Buber

Ernst Ahlgren

p166

Thomas Kelly

p167

Yngve Brilioth

Christopher Jacob Boström

p171

Helmut Gollwitzer

p173

Leonard Hodgson

p174

Nathan Söderblom

F. H. Davies

p178

Bede Griffiths

?Samuel Me Crea Cavert

p179

Britta Holmström

p180

W. E. Hocking

Douglas Steere

p181

W. E. Hocking

p183

Chaitanya after Walther Eidlitz

p185

Hans Larsson

p186

Teilhard de Chardin

Martin Buber

p193

Bo Bergman

Ragnar Ekelund

Erik Blomberg

p196

Frans Werfel

p197

Gustaf Wied

p199

Werner Aspenström

Hans Larsson

p200

Antoine de Saint-Exupéry

p201

Vilhelm Grönbech

p202

Birger Sjöberg

Karin Thelander

p204

Antoine de Saint-Exupéry

Gerald Heard

p206

Ananda Coomaraswamy

p207

A.N. Whitehead

p208

Henry Adams

p212

Olof Lagercrantz

Hans Larsso

p213

René Guénon

p214

Mrs. Schlüter-Hermkes

p221

Anna Greta Wide

p222

William James

p223

Simone Weil

Francis Howgill

Elizabeth Fry

p224

William Dewsbury

John William Rowntree

Thomas à Kempis

p225

John Woolman

p227

Helgo Wiberg

p228

Jakob Böhme

Simone Weil

p229

D. H. Lawrence

William Blake

p230

D. H. Lawrence

p231

Erik Gustaf Geijer

p234

Romans 8:23 & 38-39

Book of Isaiah

p244

Matthew 5:44.]]> 104 0 0 0 https://emiliafogelklou.wordpress.com/6-gerald-heard-a-quaker-mutation6/ Sat, 04 Mar 2023 09:09:37 +0000 https://emiliafogelklou.wordpress.com/?page_id=120 

FORM AND RADIATION

“When I came to Pendle Hill, a Quaker study centre in 1939, the biologist Gerald Heard and the writers Aldous Huxley and Christopher Isherwood had just visited, [and] who for the study of contemplation, prayer, also stayed in Indian centres of various types within the U.S.A. Other Europeans have been out in India or with Zen Buddhists in Japan on the same matter.”

THE SEARCH FOR SILENCE

“After a summary of our scientific situation, he emphasises that the greatest need of those now alive — if we are to survive at all — is the capacity for community.”

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’ [‘Viewing fragments’], 1958, pp152 & 155, [also mentioned pages 156, 161, 204]

• • •

Gerald Heard: ‘A Quaker Mutation’, Pendle Hill Pamphlets Book 7, 1940 [extracts]

“What is called for is a course of study, a school of research, experience and experiment. All that a pamphlet may do is to put forward two proposals: (1) An estimate and provisional definition of what has actually to be studied; the terms of reference of the research; and (2) an indication of the type of institution in which the research could with best hope be undertaken. The main problem of Quakerism may be compressed into a phrase—a religious body which, advisedly, refused to have a theology must at some time create a psychology, or it will mislay its essential discoveries. For a time it may by happy accident carry on through intuition, but this will not last.”

“…religions of experience as distinct from those of authority are of their nature experimental, and if, as Dr. Inge has said and said rightly, the whole tendency of the age is not away from religion but from the religions of authority to those of experience, then we should expect an age of keen religious experiment.”

“…the attention and interest must be roused through the whole mind’s realizing quite clearly, however detailed the study at that moment may be, its evident relevance to an ordered knowledge necessary to a complete creative way of living. Once that vision is beheld, the energy to follow the many steps to the fulfillment will not be lacking.”

“The task of practice is, when the essential nature of this force is detected, to put it into group and individual work, not with dogmatic assurance but with true experimental faith that here is a way of creative being which if followed will lead to a new technique of dynamic living.”

• • •

Virajananda Swami: ‘Towards the Goal Supreme (Paramartha Prasanga)’, Advaita Ashrama, 1949

Introduction by Gerald Heard

Forward by Christopher Isherwood

Gerald Heard: INTRODUCTION

This book seems—to a Western reader —to be in the true tradition of Ramakrishna’s and Brahmananda’s teaching. Both in style and in spirit, in its practicalness and its topicality, it reminds us of M’s great transcript of the Master’s actual words, and of Brahmananda’s teaching as given in THE ETERNAL COMPANION. In this book the reader will find no vague uplift or long sustained eloquence about generalities. The remarks show all the freshness of having sprung from actual talk and from the questions addressed to an authority by seekers of different competence and various proficiency. There is, then, something for everyone; and always there is that scientific exactitude, that sense of method and knowledge of technique, which is so often lacking in Western books on spirituality. Most people unacquainted with Vedanta, if they would pick up this book for the first time with an open mind, would find at least their curiosity whetted and perhaps their wonder aroused. If what is said here with such quietness—such assumption that it is true—is true—well then, surely everyone ought to do something about it. And it is that mood this book is meant to rouse. To those who have already made an effort to start upon the Way, it is full of useful information, sudden insights and profound counsels. Yet there is nothing in it that is startling or outré. It is clearly and surely in the Tradition—this is the voice of Ramakrishna, Vivekananda and Brahmananda; yes, and of the whole apostolic succession from the dawn of time, speaking today—speaking in the vernacular, speaking in those short paragraphs and pithy sentences which our hurried minds love, but speaking the Eternal Gospel, and of the life-long—yes, many-lives-long—quest of the Soul for its one rest and reward.

GERALD HEARD *

*A well-known American writer and preacher.

• • •

Further Information:

Memories of Gerald Heard:

https://www.geraldheard.com/writings-and-recollections/2017/8/1/memories-of-gerald-heard [accessed 04.03.2023]

Writings and Recollections:

https://www.geraldheard.com/writings-and-recollections/2017/8/2/temporary-monk [accessed 04.03.2023]]]> 120 0 0 0 https://emiliafogelklou.wordpress.com/7-nike-you-are/ Mon, 06 Mar 2023 08:03:11 +0000 https://emiliafogelklou.wordpress.com/?page_id=137 

TO VIEW / FORM AND RADIATION

I got an overwhelming and lasting impression of time in the Louvre in front of the mutilated Nike from Samothrace.

When I first tried to find words for the liberating and long-lasting shock she gave, there was hardly an attempt to reproduce the idiom. She became symbol. [*] I translated it as: the victory of life over fate, over all destinies.

“What meets us as a great aesthetic experience gives us a revelation of our inner life,” says Susan Langer.

But the artistic form was broken, when I saw Nike.

•

The question then continued: was the power of impression related to the time storm, which is now bursting and shattering? But still unable to kill the spirit of life that has radiated through the forms and still moving, creates triumphs through obvious destruction.

It was a new reality I saw through Nike, at once timed and timeless.

The entire qualification — — for under-

standing art is responsiveness.

Susan Langer

[*] “The genesis of symbolic forms — verbal, religious, artistic, mathematical, or whatever modes of expression there be — is the odyssey of the mind.” Susan Langer, 1946]

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, pp13 & 14

• • •

Emilia Fogeklou: ‘Vi Kvinnor’ Nr. 2, 1911 (republished 1951)

An unnamed artist gave birth to her from his own soul, at a time when others were content to imitate.

The Athenians already had a famous Nlke. By their order, the goddess of victory, against habit, had been chiseled without wings, for they wanted to hold the victory captive forever in Athens.

But this artist did not want to hold on to victory. His Nike was born with wings. They have carried her over times and lands. And he’s got a wonderful story.

Nobody knows about her first formation from someone’s struggle and long tone. We can only imagine that such a victory, like her, must have emerged from long and courageous battles, from great birth–martyrs, from a willingness to the utmost to create and allow oneself to be created.

There is a small piece of her story that research can tell. It moves us to the day in the year 306 BC, when Demetrius Poliorketes, son of Antigonus, in the waters of Cyprus managed to overcome the fleet of the Ptolemies and with his feat won the royal name. To a visible memorial to the victory, she had it erected for Nike, which is now in the Louvre.

Old coins from Demetrius’ time still give an idea of the original condition of the statue. Nike was pictured standing at the far end of a ship’s pole, dying of the winds from the sea set her mantle in motion. With her right hand, she raises a trumpet to her mouth, from which she is blown away by a jubilant fanfare. The left hand follows the side and includes some tool.

It was on the island of Samothrace in the Archipelago that King Demetrius had the pillar erected.

Why on this little rocky island? Research finds it strange. Was it because there was a shrine with famous mysteries? is its questionable answer.

If it were not so, an artist could make her guess, because this island itself resembled a bow, where victory as a background would have nothing less than the sea and the sky in a radiant blue spirituality, against which she could spread her wings to flee, like the whites the seagulls and the sails?

In any case, Nike would not stop at Samotrake.

She was a victory with wings!

In order to be fulfilled as a work of art, she had to go through another strange act of creation about which research can not grind anything, but which reveals itself to inward–looking human eyes.

Nike got a story of suffering that spans centuries. She sank into oblivion, hid in the ground, shattered by shovels and trampled under human feet.

The trumpet, whose happy fanfar seemed to be able to set the air trembling miles wide – it fell out of her hand.

The arm that held it was separated from the shoulder. The other arm with it. The feet that carried her from there in happy handling, the head that was hoisted over the proud neck – all this Nike had to lose.

A pillar of victory, which fate has lost all the attributes of victory, must it not now mean defeat itself, live defeat against fate, the most hopeless and horrific of all?

Come and see Nike, as she is now – a torso on an upturned pole!

She’s alive.

Do you know how she lifts you with her rustling wings? Do you hear the sea roaring around you and forcing you to take deeper breaths? Do you see how the thin mess, when the wind blows it taken next to her figure, betrays a flight of the spirit of life in every fiber?

Something big, inexplicable, wonderful she lets you feel.

How she has not carried you in her arms – she who no arms hear! She did not urge you to look up from the ground and raise your bowed head – she who has no head! She did not force you to lift your feet and start your walk again – she who herself has no feet! Do not feel a ton of victory – from her, who never again blows her jubilant fanfare!

After all, she says, there is victory.

Nike, victory! You were tall and handsome when you first stepped out of a creator’s hand to shimmer against Greece’s blue paradise air. But new beauty has come into being. You have only won on everything you have lost. It is as if you had to lose only that which was never you.

For what Greek marble–looking choice could have borne the splendour of life which we now accustomed to yours? – Or your arms and hands. If in their interest in the trumpet or the palm they have taken away some of your calm in the middle of the movement and your in itself lively lined posture – what a wonderful gain then, that they fell to dust – Or your feet. If they gave weight to your figure and prevented us from exploring the flight of your shawl unharmed – what harm, if you do not lose them, Nike! We understand that you are not a figure of fog, who wants to escape from your own being as from a shell, but just lets all the finest nerves of your body be lifted into the life of the soul.

And the very act of destruction, what a wonderful impression of a chastity of a sage, has not left you! No paralysed armpit or a half–broken foot is there to constantly remind you of what you had to go through, or to adventurously give you a semblance of pride in having suffered. No, this too has disappeared from your inner nature. The fracture surfaces creep so close to the torso itself that they are hardly frowned upon as something foreign. Nike hides its pain from the spectators as much as it can. The undulating folds of the mantle hide the loss of the feet; the rise of the breast and the fall of the cloth over the shoulder make us forget all curiosity about the scar. And about the face, we almost begin to believe that she never even needed anything. We’re just checking as a reassurance that if it existed, it would, after all, have radiated happiness.

Nike, then you got to mean bigger things than Demetrius’ victory over the Ptolemy fleet. The hand of life created you into something more than a victory pillar over what had been. Though all the horrors of death leave ravaging traces in your inner nature, you tell us that real life does not die. You say in the midst of the very destruction of the eternal resurrection miracle of the imperishable.

Nike, you are!

From MEDAN GRASET GROP, Bonniers 1911

Postscript | Musée du Louvre, 10 June 2022

La différence de travail entre les deux côtés de la statue est frappante : de son côté gauche, la draperie est soigneusement sculptée; de son côté droit, les plis sont peu nombreux et simplement ébauchés. La statue n’est pas abîmée mais moins travaillée car le sculpteur savait que ce côté ne serait pas visible par le spectateur.

The sculptural differences between the statue’s sides are also striking: the drapery on the left has been fashioned with great care, while on the right, only a few roughly carved folds can be seen. It is not a question of one side being more damaged than the other; the sculptor simply wasted no effort in perfecting something that was not intended to be seen by the viewer.

Sources:

Marianne Hamiaux, Ludovic LAugier et Jean-Luc Martinez: ‘La victoire de Samothrace. Redécouvrir un chef d’oeuvre’, Somogy éditions d’art et Louvre éditions, Paris, 2014

Musée du Louvre: https://focus.louvre.fr/fr/la-victoire-de-samothrace

“Come and see Nike, as she is now – a torso on an upturned pole!

She’s alive.”

• • •

Working Notes: 13.03.2023

Archaic Torso of Apollo, cast by the Atelier de moulage du Louvre et des musées de France in 1794.

“We cannot know his legendary head

with eyes like ripening fruit. And yet his torso

is still suffused with brilliance from inside,

like a lamp, in which his gaze, now turned to low,

gleams in all its power. Otherwise

the curved breast could not dazzle you so, nor could

a smile run through the placid hips and thighs

to that dark center where procreation flared.

Otherwise this stone would seem defaced

beneath the translucent cascade of the shoulders

and would not glisten like a wild beast’s fur:

would not, from all the borders of itself,

burst like a star: for here there is no place

that does not see you. You must change your life.”

– Rainer Maria Rilke: ‘Archäischer Torso Apollos’ / ‘Archaic Torso of Apollo’, New Poems, 1908, (trans: Stephen Mitchell)

• • •

Between 1905 and 1906, Rilke worked as secretary to the sculptor Auguste Rodin.

Rainer Maria Rilke: ‘Auguste Rodin’, New York Sunwise Turn Inc., 1919

PREFACE [Hans Trausil] [extract]

To estimate and interpret the work of an artist is to be creatively just to him. For this reason there are fewer critics than there are artists, and criticism with but few exceptions is almost invariably negligible and futile.

The strongest and most procreant contact is that which takes place between two creative minds. This book of Rilke on Rodin is the fruit of such a contact. It ripened on the tree of a great friendship for the master. For a number of years Rilke lived close to Rodin at 77 rue de Varenne, in the old mansion surrounded by a beautiful park which was subsequently dedicated to France by the artist and is now the Musée de Rodin. Here the young poet shared the life of the aged sculptor and his most silent hours.

Rodin felt that Rilke approached his sculptures from the same imaginative sphere whence his own creative impulse sprang; he knew that in the pellucid and illuminating realm of the poetic his works found their spiritual home as their material manifestation partook of the atmosphere when placed under the open sky, given wholly to the sun and wind and rain.

[MAIN TEXT]

Perhaps some such thought as that which, five hundred years ago, a monk expressed to young Michel Colombe, may have suggested itself to Rodin on one of the crossways, at the beginning of his work: “Travaille, petit, regarde tout ton saoul et le clocher à jour de Saint Pol, et les belles oeuvres des compaignons, regarde, aime le bon Dieu, et tu auras la grâce des grandes choses.” “And thou wilt have the grace of the great things.” For it was just that which Rodin was seeking: the grace of the great things.

The galleries of the Louvre revealed to the young artist radiant visions of the antique world; visions of southern skies, and of the sea, and far beyond rose heavy stone monuments, reaching over from immemorial civilizations into times not yet existent. There were stones that lay as if asleep but that held a suggestion that they would awake on some last judgment day, stones on which there was nothing mortal. There were others that bore a movement, a gesture that had remained as fresh as though it had been caught there in order to be given to some child that was passing by.

Not alone in the great works and in these monuments was this vitality alive: the unnoticed, the small, the concealed, were not less filled with this deep inward excitement, with this rich and surprising unrest of living things. Even stillness, where there was stillness, consisted of hundreds and hundreds of moments of motion that kept their equilibrium.”

• • •

Poem of the week: Apollo’s Archaic Torso translated by Sarah Stutt, 15.11.2010

Rilke should be re-translated in every new generation by writers who “return to the text – and themselves – rather than their predecessors”.

This is similarly true of ekphrastic poetry: it’s a popular contemporary genre, but only worth the poet’s while if the end-product is something more than a poetic “translation” of the picture or object in question. Rilke’s poem is a real encounter with the sculpture, and these two translations adhere to the spirit of that encounter, and engage thoughtfully with Rilke’s legendary sonnet.

Apollo’s Archaic Torso

We cannot know his incredible head,

where the eyes ripened like apples,

yet his torso still glows like a candelabrum,

from which his gaze, however dimmed,

still persists and gleams. If this were not so,

the bow of his breast could not blind you,

nor could a smile, steered by the gentle curve

of his loins, glide to the centre of procreation.

And this stone would seem disfigured and stunted,

the shoulders descending into nothing,

unable to glisten like a predator’s pelt,

or burst out from its confines and radiate

like a star: for there is no angle from which

it cannot see you. You have to change your life.

(Looser translation)

We will never know his magnificent head,

the ebb and flow of his youth –

an orchard of ripening fruit,

yet his fire has not diminished,

incandescent light radiates

from his torso, and in the curve

of his loins, a smile turns

towards the centre of creation.

Or else this body would be disfigured –

a lump of rock with no vision,

unable to glisten like a lion’s mane.

It would not burst out of its skin

like a star: for its searing gaze

penetrates your soul, the way you live.]]> 137 0 0 0 https://emiliafogelklou.wordpress.com/8-susanne-k-langer-pp13-14-54/ Mon, 06 Mar 2023 11:31:22 +0000 https://emiliafogelklou.wordpress.com/?page_id=151 

The primitive

Natural objects become expressive only in front

of the artistic imagination that discovers

their form.

Susan Langer

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p54

‘Feeling and Form: A Theory of Art’, 1953

A universe created by man and for man, ‘in the image of nature’—not, indeed, by simulating natural objects, but by exemplifying ‘the laws of gravity, of statics and dynamics’—is the spatial semblance of a world, because it is made in actual space, yet is not systematically continuous with the rest of nature in a complete democracy of places. It has its own center and periphery, not dividing one place from all others, but limiting from within whatever there is to be. That is the image of an ethnic domain, the primary illusion in architecture.

– Susanne K. Lanner: ‘Feeling and Form’, Charles Scribner’s Sons, 1953 / chapter 6 The Modes of Virtual Space, p97

• • •

‘Philosophy in a New Key’, 1941, 1951 and 1956

A Prefatory Note to the Third Edition (1956)

Five years ago, when the second edition of Philosophy in a New Key appeared, the book had already taken on, for its author, the character of a prolegomenon to a larger work. A decade had elapsed since its composition, and in that time the theory of music proposed in Chapter VIII had undergone a considerable expansion and had, indeed, grown into a philosophy not only of music, but of all the arts. But this change of character was, as yet, only for the author; the philosophy of art had not appeared in print. Since then it has met its public, and Philosophy in a New Key now is frankly a prelude to Feeling and Form.

Now; what is “now”? We cannot step twice into the same river. We cannot arrest a day, a melody, or a thought. Now, even as the third edition goes to press, the philosophy of art here engendered has in turn become a mere station in the progress of ideas. These ideas, tentative and imperfect as their expression in this first book had to be, now promise to transcend the realm of “aesthetics” (to use the unfortunate current word), and lead us to a new philosophy of living form, living nature, mind, and some of the very deep problems of human society that we usually designate as ethical problems. In the course of such a long development they are sure to undergo changes, like babies grown into men, whose fading snapshots in the family album are hard to reconcile with their football frowns or Rotarian smiles in the newspaper today. Some readers, therefore, who are dissatisfied with many things in this book, may find some misgivings allayed if they pursue the development of certain paradoxical or arbitrary-sounding assertions through their subsequent his-tory; others, who like forensic argument, will triumphantly find that the earlier and later versions of many a concept are inconsistent, so the whole philosophy goes down refuted. But consistency should be demanded only within the compass of a book, including, of course, whatever former work is reaffirmed in it; between two distinct phases of a long thought, improvement is more important, even if it amounts to self-reversal.

So Philosophy in a New Key goes out once more, still the beginning of an unfinished story, but also still its indispensable prologue. It contains the foundations of Feeling and Form, and whatever, with good fortune, may follow from that philosophical excursion into the arts; and above all, it still proclaims the work of a brilliant, though strangely assorted, intellectual generation — Whitehead, Russell, Witttgenstein, Freud, Cassirer, to name but a few — who launched the attack on the formidable problem of symbol and meaning, and established the keynote of philosophical thought in our day.”

S. K. L.

November, 1956

• • •

Barnett Newman told Susanne Langer that aesthetics is for the artist as ornithology is for the birds. It’s now a famous quip.

– Donald Judd, 20.09.1983, Yale University School of Art

‘Painters Painting: The New York Art Scene 1940-1970’ (film), Emile de Antonio (director), 1973. [0:12:45]]]> 151 0 0 0 https://emiliafogelklou.wordpress.com/9-cologne-madonnas-things-that-do-things/ Mon, 06 Mar 2023 17:47:20 +0000 https://emiliafogelklou.wordpress.com/?page_id=164 

TO VIEW / FORM AND RADIATION

A friend had a break in Cologne [and] recommended [that I should] to go and see the old Kolner Madonnas, particularly some mentioned.

I went there, looked for them, obediently, one after the other. And I probably looked, but I could not see them. And I went out sad.

But near the end, suddenly one of these Madonnas happened to catch my eye, completely unexpected and unprepared. And now I could see. Slowly and unintentionally, I walked back through the halls. Then all hearing was blown away, everything changed. Those who had direct messages to me came and found me, unhindered.

Susceptibility — — right into the spectator’s unconscious life — implies spontaneity. From the outside, it can neither be defended nor forced.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p14&15

• • •

Museum Schnütgen

“The Marian cult…the Cologne Madonnas…type and motif (the Infant Jesus standing on the Virgin Mary’s left knee with one leg outstretched and his hand reaching for her attribute) and [measure] 80–90 cm on average and in only three cases more than 120 cm… The Cologne Madonnas were usually characterized by more animated legs and trunks and more dynamic and flexible drapery. . . . Statues and reliquary busts were produced in large series in Cologne in the first half of the 14th century and were supplied to many churches along the Rhine as well as hundreds of kilometres to the east and west.”

– Michaela Ottová: ’Sculpture’ in ‘Open the Gates of Paradise – The Benedictines in the Heart of Europe 800–1300’, The National Gallery in Prague, 2014

Further Information:

Richard Hamann: ‘Die Salzwelden Madonna’, Marburger Jahrbuch für Kunstgeschichte, t. III, 1927

Oskar Karpa: ‘Kolnische Reliquienbusten der gotischen Zeit aus dem Ursulakreis (von ca. 1300 bis ca. 1450)’, Dusseldorf, 1934

Bergmann, Ulrike: Schnütgen-Museum. Die Holzskulpturen des Mittelalters (1000-1400), Köln 1989

Bergmann, Ulrike: Kölner Skulptur der Hochgotik im wirtschaftlichen und historischen Kontext, Wallraf-Richartz Jahrbuch LXVI, 2005, pp. 59–108.

Museum Schnütgen

The Museum Schnütgen has a valuable collection of medieval art on exhibit in one of Cologne’s oldest churches. Many of them are in and of themselves already worth a trip, such as the radiant Parler Bust, the expressive Crucifix from St. George and the unique so-called Comb of St. Heribert, a filigree ivory carving.

The scope of the collection ranges from wooden and stone sculptures, valuable works of the goldsmith’s art and stained glass to rare ivories and textiles.

A distinctive feature of the museum is its largest exhibition space, which dates back over 1,000 years. The stillness and aura of the Romanesque Church of St. Cecilia and the special proximity to the works make it possible to experience their spiritual vibrancy and beauty.

Cologne Cathedral and the age of the Gothic cathedrals

The Museum Schnütgen’s collection includes a large number of masterpieces of Gothic art as well as furnishings that were removed from the cathedral during the Baroque period. Among these are figures from the High Altar that was consecrated in 1322 and fragments of the sacrament tabernacle.

Wooden sculpture

Wooden sculpture was an integral part of interior church furnishings [and] were usually polychrome; in the early Middle Ages, they were sometimes even covered with gold foil. Especially in the 14th century, ever larger altarpieces (retables) began to be created with carved wooden figures; these were often combined with panel paintings on the altar wings. Many of the wooden sculptures that are now part of the Museum Schnütgen’s collection at one time belonged to an altar retable.

Virgin Mary and Christ

Next to the crucifix, the image of the Madonna enthroned or standing with child vividly expresses the Christian belief that God became incarnate through His Son while remaining truly God. Sumptuously clothed and dignified, the Virgin Mother presents her child to believers. As the new Eve she hands Him an apple, which in His hands can become a symbol of sovereignty over the world. . . . The Virgin Mary is of vital importance: she offers emotional access to the Passion of Christ through her compassion and intervenes for humanity during the Last Judgment. Her beauty and a number of the many symbols associated with the Virgin Mary were inspired by the love poems from the Song of Songs. Mary is not only viewed as the Mother of God, but also as the mystical Bride of Christ and the embodiment of the church.

• • •

Postcard from René Arcos to Guillaume Apollinaire, 1912

Paris 23-1-12

My Dear Guillaume,

Sincerely, I rejoice with you on the expected solution which happily ends your business.

I send you my best regards and good memories.

your

René Arcos

25bis rue de l’Armorique XV

René Arcos: ‘Ce qui nait Poème’, 1911, Editeur Figuière et Cie,”très bon état Envoi autographe de l’auteur.]]> 164 0 0 0 https://emiliafogelklou.wordpress.com/10-teilhard-de-chardin-le-phenomene-humain-p63/ Wed, 08 Mar 2023 17:38:27 +0000 https://emiliafogelklou.wordpress.com/?page_id=186 

“It applies to all areas of life,” says paleontologist Teilhard de Chardin in Le phenomène humain, “that when something truly new emerges around us, we do not notice it, for the simple reason that we would need to see it burst forth in the future to be able to notice the beginnings at all, these stages that are hidden, destroyed or forgotten.” He also says: “A new field of psychic expansion, see what we lack and what lies right in front of us, if only we could open our eyes to it.” Has painting’s ‘crisis of freedom’ set us against just a prospect?

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958

• • •

SEEING

THIS WORK may be summed up as an attempt to see and to make others see what happens to man, and what conclusions are forced upon us, when he is placed fairly and squarely within the framework of phenomenon and appearance.

Why should we want to see, and why in particular should we single out man as our object?

Seeing. We might say that the whole of life lies in that verb—if not ultimately, at least essentially.

[. . .]

…I doubt whether there is a more decisive moment for a thinking being than when the scales fall from his eyes and he discovers that he is not an isolated unit lost in the cosmic solitudes, and realises that a universal will to live converges and is hominised in him.

In such a vision man is seen not as a static centre of the world—as he for long believed himself to be—but as the axis and leading shoot of evolution, which is something much finer.

– Teilhard de Chardin: Le phenomène humain, Foreword pp31-36

• • •

Par Moi tout se meut et se coordonne…

Je suis le Charme mêlé au Monde pour le faire se grouper

L’Idéal suspendu pour le faire monter

Je suis l’Essentiel Féminin

– Teilhard de Chardin: ‘L’éternel féminin’, written 1918 and published posthumously (1968)

– Doris K. Donnelly: [Book Review] Henri De Lubac’s ‘The Eternal Feminine: A Study on the Text of Teilhard De Chardin’, Theological Studies, 33(4), 1972]]> 186 0 0 0 https://emiliafogelklou.wordpress.com/11-george-william-russell/Thu, 09 Mar 2023 10:21:35 +0000 https://emiliafogelklou.wordpress.com/?page_id=196 

TO BEHOLD

SHORT PRELUDES

Our hearts were drunk with a beauty

our eyes could never see…

Æ: George William Russell

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958

• • •

George William Russell, 10 April 1867 – 17 July 1935

Russell, George William (A.E.), Irish poet, essayist, journalist, dramatist, novelist and painter who wrote under the pseudonyms Y.O., O.L.S., and Gad, was most well known as A.E., a key figure in the Irish Literary Revival and a well respected member of the Irish Renascence, Russell was also a Nationalist leader, mystic, and economist; a leader in movement for cooperation among Irish farmers and editor of The Irish Statesman from 1923 to 1930.]]> 196 0 0 0 https://emiliafogelklou.wordpress.com/12-gunnar-ekelof-pp21-75/Thu, 09 Mar 2023 11:31:19 +0000 https://emiliafogelklou.wordpress.com/?page_id=212 

Rembrandt’s etching ‘Three Trees’ does not reproduce the three crosses but real trees, which capture the shadows and dawns of the space game, during a battle between heavy clouds and a lingering space of light. One could want to describe [them] with the help of Gunnar Ekelöf:

“I träden hängde stora tårar och molnen strövade gråtande längs horisonten.”

“Big tears hung in the trees and the clouds wandered weeping along the horizon.”

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p21

horisonten = horizon

horisonterna = horizons

Gunnar Ekelöf: Berlinelegier. Var hälsad kära kropp… – Jag hör, du ser… – Jag vände mig bort… Bonniers Litterära Magasin, 1948 årg. 17, nr. 3, s. 166-168

The view has been identified as taken near the Diemerdijk, in the immediate vicinity of Amsterdam. This is the largest and finest of Rembrandt’s landscape etchings, extraordinarily confidently-worked with direct needle and burin lines. Drawn on one of the artist’s many expeditions into the rather flat countryside around the city, here he introduces an intense feeling of drama into the landscape by contrasting the brilliant lights and darks of a sky filled with stormclouds.

– V&A South Kensington, bequeathed by Constantine Alexander Ionides]]> 212 0 0 0 https://emiliafogelklou.wordpress.com/13-piet-mondrian-to-see-universally/ Sat, 11 Mar 2023 10:47:15 +0000 https://emiliafogelklou.wordpress.com/?page_id=241 

The most influential has probably been De Stijl’s programme or perhaps more correctly its main representative, Piet Mondrian. The goal is “functional purity.” Only the three basic colours red, blue and yellow appear in the squares of the fields lined up at angles with black. What is intended is “an elementary and thereby universal harmony, free from individual suggestions and material attachments, a reconciliation of the opposite matter and spirit.” — — — “In order to approach the spiritual in art, you make as little use as possible of reality, because reality is the opposite of spirit. Thus the use of the elementary forms is simplified. As these forms are abstract, we are faced with an abstract art.”

This extreme and shocking simplification is carried in Mondrian by a deep conviction of its social and human meaning. “Only when painting, sculpture, architecture come together in a unified form, the great dream of the unity of art and life is realised.”

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, pp59-60

• • •

It is only when the means of expression of each art are applied in all their purity, that is to say, according to the characteristics of its nature and end, so that each art attains its own essence as an autonomous entity, it is only at this moment that an interlinking, a dovetailing, will become possible, which will demonstrate the unity of the different arts.

– Bart van der Leck: ‘Over schilderenen bouwen’, De Stijl 1, no. 4, March 1918

From the moment that we regard ourselves as part of the whole and no longer judge things only from our temporary position, and regard them from all possible positions – in short, as soon as we begin to see universally, then we no longer see from one point of view. It is indeed a happy phenomenon that the most recent painting reveals a conscious search for a pure and many-sided representation of things, because it expresses the new and more conscious spirit of our time, which aspires to a more determinate expression of the universal. This aspiration has been ascribed to our stronger awareness of the fourth dimension, a conception that actually does come to the fore in recent art as partial or complete destruction of three-dimensional naturalistic expression and reconstruction of a new plastic expression, less limited in its vision.

– Piet Mondrian: letter to Theo van Doesburg, 1922, in Yve-Alain Bois: ‘Mondrian and the Theory of Architecture’, 1987

Michel Seuphor and Georg Schmidt: ‘Piet Mondrian Leben und Werk’, Küln: Verlag M.DuMont Schauberg, 1957 | 443pp – colour tipped-in plates, color & b/w reproductions

Further Information:

Mondrian/Holtzman Trust ]]> 241 0 0 0 https://emiliafogelklou.wordpress.com/15-michel-seuphor-p42/ Sat, 11 Mar 2023 14:17:09 +0000 https://emiliafogelklou.wordpress.com/?page_id=247 

“Seuphors edition of Knaurs Lexicon”

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p42

Michel Seuphor (pseudonym, anagram of Orpheus), born Fernand Berckelaers (Antwerp 1901), painter, draughtsman, designer, writer, associated with Piet Mondrian and Theo van Doesburg, the Cercle et Carré (Wassily Kandinsky), and later Barnett Newman.

– Michel Seuphor: ‘Composition No. 8’, 1974 (designed 1929)

• • •

Summary Publications:

‘l’Art abstrait, ses origins, ses premiers ma’, Maeght, Paris, 1948

‘Le Style et le Cri’, Éditions du Seuil, 1955

‘Piet Mondrian Leben und Werk’, Küln: Verlag M.DuMont Schauberg, 1957

‘Knaurs Lexikon abstrakter Malerei Mit e. ausführl. Darstellung d. Geschichte d. abstrakten Malerei’, Droemer, München, 1957

‘A Dictionary of Abstract Painting’, Tudor Publishing Co., 1958

‘The Spiritual Mission of Art’ [Jean Arp], New York: Galerie Chalette, 1960. Thirty copies with wood relief by Arp, and signed by Arp and Seuphor on separate colophons.

‘Abstract Painting: 50 Years Of Accomplishment’, Dell Laurel Edition, 1964.

• • •

See also:

05. Severini 1913 | p42

13. Piet Mondrian | “to see universally”

• • •

Further Information:

Miriam Rosen: ‘Michel Seuphor’, Artforum, April 1992

MA-g (The Museum of Avant-garde): ‘Michel Seuphor’

Rajesh Heynickx & Jan de Maeyer: ‘The Maritain Factor – Taking Religion Into Interwar Modernism’, Leuven University Press, 2010

By studying the reception and perception of the French Catholic philosopher Jacques Maritain, this book argues that European modernist artists and intellectuals sought a primordial finality in Catholicism. The French poet, writer, and surrealist filmmaker Jean Cocteau converted under the influence of Maritain. For the painters Gino Severini, a pioneer of Futurism, and Otto Van Rees, one of the first Dadaists–both converts–Maritain played the role of spiritual counselor. And when the promoter of abstract art Michel Seuphor embraced Catholic faith in the 1930s, he, too, had extensive contact with Maritain. For all of them, the dictum of the Irish poet Brian Coffey, once a doctoral student under Maritain, applied: modern art needs a Thomist conceptual framework.

Michel Seuphor Rétrospective, Centre Pompidou, Paris, 1977

Cette exposition est consacrée au poète, éditeur et artiste flamand Michel Seuphor – rétrospective initialement organisée par le Gemeentemuseum de La Haye en 1976, à l’occasion du soixante-quinzième anniversaire de l’artiste.

• • •

Working Note 11.03.2023

“Because of the sensation of sensuous wholeness, Arp’s work is never unspeciic, although it is unusually general, even empty in a way.The emptiness suggests that if you are interested in a thing it is interesting, and if you are not it is not.You have to like Arp’s sculptures as single things or they are not going to appear interesting.”

– Donald Judd: ‘In the Galleries: Jean Arp’, Arts Magazine, September 1963

“Part-by-part structure can’t be too simple or too complicated. It has to seem orderly. The degree of Arp’s abstraction, the moderate extent of his reference to the human body, neither imitative nor very oblique, is unlike the imagery of most of the new three- dimensional work. […] A form can be used only in so many ways. The rectangular plane is given a life span. The simplicity required to emphasize the rectangle limits the arrangements possible within it. The sense of singleness also has a duration, but it is only beginning and has a better future outside of painting. Its occurrence in painting now looks like a beginning, in which new forms are often made from earlier schemes and materials.”

– Donald Judd: ‘Specific Objects’, 1965 ]]> 247 0 0 0 https://emiliafogelklou.wordpress.com/14-crisis-void/ Sun, 12 Mar 2023 07:32:15 +0000 https://emiliafogelklou.wordpress.com/?page_id=268 

THE CRISIS OF ART
FROM A HUMAN SEEKER VIEW POINT

…inner world is reality…

Marc Chagall

…and throws
him into the void. The void? Yes. But the
self-overcoming leap out of oneself
turns that void into a living space.

…och kastar
sig ut i tomrummet. Tomrummet? Ja. Men det
självövervinnande språnget ut ur sig skälv
gör det tomrummet till ett livsrum.

Gunnar Edman

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p31

The insecurity of the present calls for new bonds. If this need is met only through external order, in obedience to belief in authority, then we have ‘bypassed’ the real task. Man is faced with the choice to either seek to return to authoritative forms or to reach as an individual the point in the foundation of being, from which an unequivocal unconditionality determines his existence: the freedom to bind himself.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p98

• • •

“…the necessity for understanding the unknowable comes before any desire to discover the unknown.

“Man’s first expression, like his first dream, was an aesthetic one. Speech was a poetic outcry rather than a demand for communication. Original man, shouting his consonants, did so in yells of awe and anger at his tragic state, at his own self-awareness and at his own helplessness before the void.”

– Barnett Newman: ‘The Plasmic Image’ (1945), in ‘Selected writings and interviews’, p158

• • •

Emilia Fogelklou & Birgitta Trotzig

A BOOK OF THOUGHTS
by Birgitta Trotzig
EMILIA FOGELKLOU: Form and radiation.
Bonniers 1958. 19:50.

The collection of quotes that she lets speak for the ‘crisis of art’ testifies to a familiarity that is of inner necessity for these sometimes perhaps puzzling radical attachments, is one of the authentically religious attitude’s inherent total freedom from preconceptions, a hesitancy to seek what it can speak to — regardless of preconceived ideals.

– Birgitta Trotzig: ”En tänkebok” recension av Emilia Fogelklous Form och strålning, Bonniers litterara magasin med All varldens berattare, 3/1959, pp. 240-242.

• • •

Working notes: 12.03.2023

Arnold Norlind: ‘Skapande liv. Studier och bekännelser’, Bonnier, 1929

The main content of Skapande liv consists of 13 essays, all from N’s younger years, which matter-of-factly span wide areas: Here are portraits of, for example, Hölderlin and Whitman and insights into Rembrandt’s artistry. The contributions are mainly based on previously published newspaper articles. The collection ends with an impressionistically emphasized description of the Dutch dune landscape that N encountered in connection with the thesis work in a physical and mental border area between earth, water and sky.

– Rättelser / Svenskt biografiskt lexikon

En enda fåfäng dag har jag levat och

lett bland de mina.

Allting söves i sömm, tingen forsvinna

och dö.

A single vain day have I lived and

led among mine.

Everything falls apart, things disappear

and die.

(Hölderlin)

“To the increasing innocence of the spectator’s experience in front of the beautiful object corresponds the increasing danger inherent in the artist’s experience, for whom art’s promesse de bonheur [promise of happiness] becomes the poison that contaminates and destroys his existence.”

– Giorgio Agamben: ‘The Man without Content’, 1999, p5

“To unhinge the world of objects is to call into question the guarantees of our existence.”

– Carl Einstein, ‘Notes sur le cubisme’, Documents 1, no. 3 (1929), trans. Charles W. Haxthausen, 2004.]]> 268 0 0 0 https://emiliafogelklou.wordpress.com/16-henri-laurens-p60/ Tue, 14 Mar 2023 09:02:45 +0000 https://emiliafogelklou.wordpress.com/?page_id=290 

A similar striving towards synthesis is expressed more practically by the French sculptor Henri Laurens: “During our Cubist era we were exclusively individualists. The only problems we dealt with were the pure sensory experience of volume and the search for this volume.” Then it became clear that the special vision must be incorporated into a larger context, sculpture should be connected with architecture, not be extra decoration but be integrated into an organism.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p60

In 1938, Henri Laurens exhibited with Braque and Picasso in a show that traveled from Oslo to Stockholm and Copenhagen. Both Galleri Samlaren and Svensk-Franska Konstgalleriet subsequently organised several exhibitions with Laurens.

“The collaged elements, although they heighten the composition’s physical presence, do not give the objects more reality; often, on the contrary, they have the independent shapes and streamlined opacity of flattened shadows. This ambivalent logic of light and shadow, background and relief, all laid within a single plane, so fundamental to the collages of Braque and Picasso, is also explored, although differently, in Picasso’s constructions in wood and metal and, somewhat later, similarly by Laurens…”

– Margit Rowell: ‘Objects of desire: the modern still life’, The Museum of Modern Art, New York, 1997

A major collector of Laurens’ work in Sweden was Emilia Fogelklou’s publisher, Gerard Bonnier (1917-1987). Bonnier chaired the Friends of the Moderna Museet committee between 1961 and 1977, and in 1989 bequeathed 23 artworks to the museum including works by Picasso, Léger, Mondrian, Chagall, Miró, Giacometti, Gris, Dubuffet, Laurens and Yves Klein. These now form “the backbone of the collection of early modernism.”

In her will, Elisabeth “Peggy” Bonnier (1922-2013), the wife of Gerard Bonnier, later “bequeathed [an additional] eight modernist classics to the Moderna Museet.”

Further Information:

Moderna Museet

Braque-Laurens, Un dialogue, 21 October 2005 – 30 January 2006, Musée des Beaux-Arts de Lyon/Centre Pompidou – Musée national d’art moderne

https://www.revuedesdeuxmondes.fr/georges-braque-henri-laurens-quarante-annees-damitie/

The painter Georges Braque (1882-1963) and the sculptor Henri Laurens (1885-1954) maintained since their meeting, in 1911, a fraternal dialogue. … Throughout the duration of this friendship, the works are distributed in six sequences. After Braque’s Fauvism (1905-1907), particular emphasis was placed on the Cubist years (1912-1919), which brought Braque’s paintings and collages into dialogue with Laurens’ constructions, collaged papers and polychrome stones. The 1920s sent the two artists back to more classical references (the theme of caryatids, in particular), before the deployment of metamorphoses in the following decade (the sirens of Laurens, the ghostly still lifes of Braque). Then it is the withdrawal of the war (1940-1944) and, finally, the reconquered freedom of their ultimate works – the series of the Studios and the Birds of Braque, the line freed from any constraint in the last drawings and sculptures of Laurens. Introduced by essays by Christine Poggi, Ileana Parvu, Sophie Bowness and Marielle Tabart, this book is co-edited by Sylvie Ramond and Isabelle Monod-Fontaine.

Christine Poggi: ‘Braque-Laurens: Les collages et constructions’ in Braque/Laurens: Un dialogue, ed. Isabelle Monod-Fontaine and Sylvie Ramond, with Marielle Tabart, Musée des Beaux-Arts de Lyon (Paris: Éditions du Centre Pompidou, 2005), 24-31.

Marta Edling: ‘From Margin to Margin?: The Stockholm Paris Axis 1944–1953’, Konsthistorisk Tidskrift, 88(1): 1-16, 2019

Alex Danchev: ‘Georges Braque: A Life’, Hamish Hamilton, 2005

Working Notes:

2005 – 2008

Braque’s Paris studio, 31st August 2005

…the Ateliers are a microcosm of the painter’s professional universe…canvases and frames are stacked; on a lectern is a pile of sketchbooks which Braque claims he uses as `cookerybooks’ to provide ideas and suggest subjects for compositions…tables are laden with artists’ materials, while others are covered with pots, vases, musical instruments, bowls of fruit, pieces of sculpture, objets trouvés, philodendron plants and all kinds of odds-and-ends…

– John Richardson: ‘The Ateliers of Braque’, Burlington Magazine XCVII no. 627, June 1955

This is, on one level, a very simple enquiry – what happened to Braque’s studio objects after his death? I’ve just mailed this question to Alex Danchev.

Wouldn’t it be something to find those things that triangulated so essentially with painter and painting?

It isn’t possible to assess to what extent Braque arranged his affairs before his death (Danchev reports that Braque, slipping in and out of consciousness, asked for his palette when close to death, and this suggests the painter had a sense of on-going project, of unfinished business, and not of termination or extinction). So let’s assume that Braque simply left everything to his wife, Marcelle. Or maybe he left all his studio objects to Mariette Lachaud, his studio assistant for over thirty years. Maybe this is as simple as finding a couple of Wills and understanding the distribution of Braque’s Estate.

This could just be a case of chasing the paperwork, and of seeing where this takes us.

Or maybe some provision was made (by Braque, by Marcelle?) whereby the studio objects were dispersed along with the late paintings. The seven volumes of Braque’s Catalogue Raisonne (Maeght Editeur, Paris) don’t extend beyond 1957, and, therefore, are not of much use in this instance. Certainly Marcelle Braque made a bequest to the Musee National d’Art Moderne before her death in 1965. Also, some of the late paintings went to Aime Maeght.

I’m sure I’ve seen somewhere a partial inventory of the objects shown in some of Braque’s paintings… Anyway, to do a full inventory would be fascinating. But better still would be to draw and paint these objects (or the ‘rapport’ with and between these objects) in the hope that this would make “everything possible and right” (again). Perpetual revelation?

Alex Danchev has replied very promptly. He says: “I’m sorry to say that I think they [the studio objects] are either dispersed or inaccessible. After Marcelle’s death, the Braque estate passed to the Laurens family…legally, the inheritor is now Quentin Laurens, the director of the Galerie Leiris.”

• • •

“fantastic, interesting, wise, sweet and witty”

Portrait of Emilia Fogelklou c.1950, Moderna Museet / Siri Derkert (1888-1973), bequest 1973 of the artist.

]]> 290 0 0 0 Georges Braque et Henri Laurens : quarante années d’amitié https://www.revuedesdeuxmondes.fr/georges-braque-henri-laurens-quarante-annees-damitie/embed/#?secret=lvfntYNnhw#?secret=qjPgyWTBqe%5D%5D>  04. Braque | Carl Einstein https://davidpattenwork.com/x-braque-the-absolute/embed/#?secret=Ata2eElGUI#?secret=wHm2HF4XyC%5D%5D> https://emiliafogelklou.wordpress.com/17-only-artists-p60/ Tue, 14 Mar 2023 11:48:13 +0000 https://emiliafogelklou.wordpress.com/?page_id=296 

The slogan “There is no ‘art’, only artists” recurs in the face of these purist trends, especially in the expressed interest in “the unity of art and life.”

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p60

“…Ernst Gombrich who, in his classic The Story of Art (1950) wrote that, ‘There really is no such thing as art, there are only artists’. By this he meant to revive and defend earlier usages when the word ‘signified any skill or mastery’… Decades later he clarified this further by pointing out that skill never exists in the abstract. On the contrary, skill is always ‘for something”.”

– Ciarán Benson: ‘Acts Not Tracts! Why a Complete Psychology of Art and Identity Must Be Neuro-cultural’, 2013

Equally, Gombrich’s famous dictum can be understood in terms of Ad Reinhardt’s 1966 statement:

THERE IS JUST ONE PAINTING (Art-as-Art Dogma, Part XIII)

There is just one art, one art-as-art.

There is just one fine art, one abstract art, one free art.

There is just one museum of fine art everywhere.

There is just one art history, one art evolution, one art progress.

There is just one esthetics, just one art idea, one art meaning, just one principle, one force.

There is just one truth in art, one form, one change, one secrecy.

–

There is just one artist always.

There is just one artist-as-artist in the artist, just one artist in the artist-as-artist.

There is just one art process, just one art invention, just one art discovery, just one art routine.

There is just one art-work, just one art-working, just one art-non-working, one ritual, one attention.

There is just one painting, one brushworking, one brush-overworking.

There is just one painting everytime.

–

There is just one direction, one directionlessness, one size, one sizelessness, one form, one formlessness, one formula, one formulalessness, one formulation.

There is just one image, one imagelessness, one plane, one depth, one flatness, one color, one colorlessness, one light, one space, one time, one timelessness.

There is just one repetition, one destruction, one construction, one dissolution, one evanescence.

There is just one abstraction, one rhythm, one eloquence.

There is just one style, one stylelessness, one matter, one sequence, one series, one convention, one tradition.

–

There is just one qualitylessness, one object, one subject, one standard.

–

There is just one participation, one perception, one invisibility, one insight.

There is just one edge, one framework, one ground, one existence, one fabric, one focus.

There is just one way, one side, one vision, one freedom.

There is just one problem, one task, one obligation, one struggle, one victory, one disciple.

There is just one negation, one value, one symmetry, one monochrome, one touch, one energy.

There is just one shape, one square, one execution, one transcendence.

–

There is just one method, one manner, one interlace, one overall, one overlap, one order, one rule, one thought, one spontaneity.

There is just one material, one materiality, one density, one presence, one absence, one disembodiment.

There is just one simplicity, one complexity, one spirituality, one uselessness, one meaninglessness.

There is just one statement, one technique, one texture, one importance, one silence, one texturelessness.

There is just one reason, one means, one emptiness, one irreducibility, one end.

–

There is just one art-morality, just one art-immorality, one art-enemy, one art-indignity, one art-punishment, one art-danger, one art-conscience, one art-guilt, one art-virtue, one art-reward.

–

There is just one art, one artlessness, one painting, one painterliness, one painterlilessness.

There is just one difference, one sameness, one consciousness, one nothingness, one rightness, one indivisibility, one essence, one fineness.

There is just one thing to be said, one thing not to be said.

• • •

References:

Ernst H. Gombrich: ‘The Story of Art’, London: Phaidon, 1950

Ciarán Benson: ‘Acts Not Tracts! Why a Complete Psychology of Art and Identity Must Be Neuro-cultural’ in T. Roald & J. Lang (eds): ‘Art and Identity: Essays on the Aesthetic Creation of Mind’, Amsterdam, NewYork: Rodopi, 2013

Bridget Riley & Ad Reinhardt: ‘Poor. Old. Tired. Horse. (POTH). 18, Wild Hawthorn Press, 1965

Ad Reinhardt: ‘There is just one painting (Art-as-Art Dogma, Part XII)’, Artforum, March 1966]]> 296 0 0 0 https://emiliafogelklou.wordpress.com/18-kazimir-malevich-p58/ Tue, 14 Mar 2023 17:03:42 +0000 https://emiliafogelklou.wordpress.com/?page_id=308 

…from Cubism’s use of the objects as stereometric building blocks in the composition to the most modern abstract or ‘concrete’ non-figurative art. You must make the room itself visible.

“In my desperate effort to liberate art from the object world, I fled to the square,” writes Malevich. To the reproach that art has been led into a desert, he replies: “But the desert is filled with spirit of the immaterial sensation, which permeates everything.” It was the blissful feeling of liberation from the objects, which drew me away to “deserts where nothing but sensation is reality.” There was no ’empty square’ ——

“Art purifies itself of all conventional inessentials and returns to its basic principles.”

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p58

• • •

In the case of Malevich, it is Zeki’s contention that his new forms—lines, squares, rectangles

“are admirably suited to stimulate cells in the visual cortex, and the properties of these cells are, to an extent, the pre-existing ‘idea’ within us. While one cannot draw an exact causal relationship between the two, one can state with certainty that when we look at the paintings of Malevich, many cells in our brains … will be responding vigorously. One can also state the converse, that if cells in the brain did not respond to this kind of stimulus, then this kind of art would not exist.” (Semir Zeki: ‘Inner Vision: An Exploration of Art and the Brain’, Oxford University Press, 1999: 124-125)

[. . .]

Kazimir Malevich, 1915, Black Suprematic Square, oil on linen canvas, 79.5 x 79.5 cm, Tretyakov Gallery, Moscow

Malevich was formed by Russian culture and when he exhibited his radical new work in Petrograd on December 30, 1915, of central significance was his placing of the painting of the black square. He hung it where an icon would normally hang, high across the corner of the room. Malevich’s revolution in art was to be understood as a spiritual revolution.

Installation view of Kazimir Malevich’s paintings at ‘The Last Futurist Exhibition of Painting 0:10’, Petrograd, 1915

That painting was accompanied by text, and that text showed influences as diverse as Friedrich Nietzsche, Walt Whitman, Henri Bergson, M.V. Lodyzhenski, and the American architect Claude Bragdon, whose book, Man the Square (1912), greatly influenced theosophy. The writings of P. D. Uspensky on the idea of a fourth dimension beyond the space of sensory perception, further influenced Malevich and led him to think about the scientific and the mystical aspects of geometry. There is much more to be said here but the main point is this: the clean geometrical lines of mid-career Malevich were deeply embedded in a welter of ideas and aspirations of the time. The purity of his abstraction cannot be understood apart from them.

– Ciarán Benson: ‘Acts Not Tracts! Why a Complete Psychology of Art and Identity Must Be Neuro-cultural’, pp10&11

• • •

The Black Square is one of the truly mythical works in early Twentieth Century art. It exerts a huge influence over the imagination of subsequent generation of artists as this Hour Zero in modern art. Until 1913 he had worked in lots of different styles.

Throughout 1915 he began to make a new set of paintings for exhibition. It was entirely abstract. And then finally he revealed his work in an exhibition and that exhibition was the last futurist exhibition, 0.10, in St Petersburg. In the original photograph you can see 20 paintings. 12 of these paintings can still be identified today. And we hung them in a way that evokes the way that they were first shown in 1915.

– Achim Borchardt-Hume, curator Kazimir Malevich, Tate Modern London

• • •

It became clear to me that new frameworks of pure colour must be created, based on what colour demanded and also that colour, in its turn, must pass out of the pictorial mix into an independent unity, a structure in which it would be at once individual in a collective environment and individually independent.

– Kazimir Malevich, ‘Non Objective Art and Suprematism’, 1919

• • •

References:

‘MALEVICH’, Tate Modern London 16 July–26 October 2014 [seen 16.08.2014]

Five ways to look at Malevich’s Black Square

Kazimir Malevich: Dynamic Suprematism, 1915 or 1916]]> 308 0 0 0 https://emiliafogelklou.wordpress.com/19-karl-birger-blomdahl-antisocial-incisive-dissonant/ Thu, 16 Mar 2023 08:22:37 +0000 https://emiliafogelklou.wordpress.com/?page_id=323 

[p214]

SHAPE AND RADIATION

When teaching social studies and politics, one should also be able to give more space to the ‘hidden factor’, the types of motives behind resolutions and counter-resolutions, the psychological element and its consequences. One

[p215]

of my own teachers once asked us to try to imagine what it would be like if we really knew for example a symphony, would [we] be able to see the sound waves instead of just hearing. He vividly described the various wave lines from piccolo flute to bass tuba, etc.. One could imagine a kind of corresponding illustration of the invisible psychological interplay or counterplay in a deliberation, any one. It would certainly give a lot to think about!

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, pp214-215

[p19]

TO VIEW

The task of an artist or poet or prophet is to shape the form that transmits the self-conceived, experience [of] life that is transferable to the present. Most of the time, it is hard work, perhaps to the breaking point, to “bring out the song, which until now had always disappeared on the way out”. Why? I only used proven

[p20]

FORM AND RADIATION

means, of the old masters! — — It was clear that what I had in my heart could not be formulated with their means. — — Fidelity to the vision inexorably specified the means, and every deviation means falsification. The precision of the means is the only way to true simplicity.” (Karl-Birger Blomdahl)

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, pp19-20

• • •

In its original form [”Sångens vägar”, i Erkänn musiken!, 1957], the Blomdahl quote continues:

“Att uppmana en tonsättare att vara ”tillmötesgående” är att uppmana honom till medveten förfalskning – och det tycker jag är asocialt.”

“To urge a composer to be ‘accommodating’ is to urge him to deliberate falsification — and I think that is antisocial.”

The artist as antisocial was central to writer Birgitta Trotzig’s [see ‘3. fragments | Birgitta Trotzig] challenging of philosopher Professor Ingemar Hedenius’ vision for the emerging the Swedish ‘Welfare State’ of the 1950s.

“In the works of Hedenius, a vision of the fifties is formed—but a very different vision is formed in Trotzig’s Ett landskap (“A Landscape”; Trotzig 1959). The collision between these two visions reveals aspects of both the welfare state… Swedish writer Birgitta Trotzig (1929–2011)…was a stubborn defender of modernist literature and art, constantly emphasising aesthetic autonomy as the foundation for art’s relevance in today’s society, refusing to have art submit to ideological or religious demands. [. . .] Birgitta Trotzig’s Ett landskap is…an intense plea for art, and for the artist’s rights to the “incisive, dissonant.”

References:

Karl-Birger Blomdahl, ”Sångens vägar”, i Erkänn musiken! [Acknowledge the music!], 1957, 199.

Erik Lindegrens papers / Handskriftssamlingen – Kungliga biblioteket / Reference code: SEE S-HS L105:Vol.38:978 / Title: Underserie 978 – Blomdahl, Karl-Birger (1916-1968), professor, tonsättare: Sångens vägar.

Ulf Olsson: ‘Incisive, Dissonant – Rationality vs. Aesthetic Modernism: Hedenius and Trotzig’, Humanities 2020, 9, 103, 2000

Birgitta Trotzig: ‘Ett Landskap. Dagbok—Fragment 54–58’, Bonnier, 1959

• • •

Working Notes 16.03.2023:

…the artist’s rights to the “incisive, dissonant.”

Ulf Olsson: ‘Incisive, Dissonant – Rationality vs. Aesthetic Modernism: Hedenius and Trotzig’, Humanities 2020, 9, 103, 2000

Abstract:

The Swedish “Welfare State” of the 1950s was described as a rational, well-organized society by leading Swedish philosopher, Professor Ingemar Hedenius. His biopolitical vision emphasized the scientific basis for social reforms, and he was an active opponent to any kind of religious thinking. Hedenius also worked as a literary critic, and he would use that role to confront literary representations of contemporary society that did not fit in with his promulgation of rationality. Hedenius furiously attacked Swedish writer Birgitta Trotzig’s A Landscape (1959). In her book, she challenges any harmonizing vision of society. She does it through representations of the body, and the gaze that does not shy away from the anguished and pained body, the body opening up and giving birth. The body in Trotzig’s work is also the tortured body of Christ. With the Swedish welfare state as a point of reference, this article explores the collision between what can be called a “rational modernism” and aesthetic modernism: Hedenius called Trotzig’s book “evil,” and Trotzig, when she commented upon this almost three decades later, saw Hedenius’s review as an authoritarian assault.

Main Text:

In the works of Hedenius, a vision of the fifties is formed—but a very different vision is formed in Trotzig’s Ett landskap (“A Landscape”; Trotzig 1959). The collision between these two visions reveals aspects of both the welfare state, and the aesthetics of modern literature that still resonate today—in this conflict we see two very di↵erent forms of Modernism at war with each other.

Swedish writer Birgitta Trotzig (1929–2011) slowly became one of the leading and most important writers and critics in Sweden, and she was also a member of the Swedish Academy from 1993 to her death. She was a stubborn defender of modernist literature and art, constantly emphasizing aesthetic autonomy as the foundation for art’s relevance in today’s society, refusing to have art submit to ideological or religious demands.

[. . .]

Birgitta Trotzig’s Ett landskap is…an intense plea for art, and for the artist’s rights to the “incisive, dissonant.”

Other Resources:

Mats Arvidson: ‘Ett tonalt välordnat samhälle eller anarki? : estetiska och sociala aspekter på svensk konstmusik 1945-1960’ [‘A tonally ordered society or anarchy? : aesthetic and social aspects of Swedish art music 1945-1960’], Institutionen för kultur, estetik och medier, Lund University, 2007

Johan Fornäs: ‘Moderna människor. Folkhemmet och jazzen’ [Modern People: Jazz and the Swedish Welfare Society], Stockholm: Norstedts 2004]]> 323 0 0 0 https://emiliafogelklou.wordpress.com/2023/02/26/wp-global-styles-pub%2flivro/ Sun, 26 Feb 2023 08:49:18 +0000 https://emiliafogelklou.wordpress.com/2023/02/26/wp-global-styles-pub%2flivro/ 4 0 0 0 https://emiliafogelklou.wordpress.com/2023/03/09/navigation/ Thu, 09 Mar 2023 19:14:54 +0000 https://emiliafogelklou.wordpress.com/2023/03/09/navigation/ %5D%5D> 236 0 0 0 https://emiliafogelklou.wordpress.com/20-the-will-to-form/ Fri, 17 Mar 2023 08:59:55 +0000 https://emiliafogelklou.wordpress.com/?page_id=331 

[p12]

FORM AND RADIATION

…from structures completely outside the field of vision of our eyes!

These were forms the child admired, was interested in or wanted to imitate. But they did not linger in silence, but instead frantically asked: to what extent? why? The child did not go, it laughed, compared, asked.

It know with its eyes, not through them, to speak like William Blake.

Expression and beauty are not two concepts

but a single one.

Benedetto Croce

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, pp214-215

• • •

Angelo A. de Gennaro: ‘Benedetto Croce and Herbert Read’, 1968

• • •

Herbert Read: ‘The Meaning of Art’, Faber, 1931

9. The permanent element in mankind that corresponds to the element of form in art is man’s aesthetic sensibility. Sensibility as such we may assume static. What is variable is the interpretation which man gives to the forms of art, which are said to be `expressive’ when they correspond to his immediate feelings. But the same forms may have a different expressive value, not only for different people, but also for different periods of civilization. Expression is a very ambiguous word. It is used to denote natural emotional reactions, but the very discipline or restraint by which the artist achieves form is itself a mode of expression.

Form, though it can be analysed into intellectual terms like measure, balance, rhythm and harmony, is really intuitive in origin; it is not in the actual practice of artists an intellectual product. It is rather emotion directed and defined, and when we describe art as `the will to form’ we are not imagining an exclusively intellectual activity, but rather an exclusively intuitive one. For this reason I do not think we can say that Primitive art is lower in the scale of beauty than Greek art, because although it may represent an earlier stage of civilization, it may express an equal or even a finer instinct for form. The art of ‘a period is a standard only so long as we learn to distinguish between the elements of form, which are universal, and the elements of expression, which are temporal. Still less can we say that inform Giotto is inferior to Michelangelo. He may be less complicated, but form is not valued for its degree of complexity. Frankly, I do not know how we are to judge form except by the same instinct that creates it.

[. . .]

23. We must not be afraid of this word `abstract’. All art is primarily abstract. For what is aesthetic experience, deprived of its incidental trappings and associations, but a response of the body and mind of man to invented or isolated harmonies? Art is an escape from chaos. It is movement ordained by numbers; it is mass confined in measure; it is the indetermination of matter seeking the rhythm of life.

• • •

“Art is generally relegated to emotion and feeling, both considered inferior to thought. At best, as in the work of Benedetto Croce, it’s placed too far into feeling. He calls the making and understanding of art ‘intuition’, a less emotive word for him and better at the turn of the century and in Italian than it is here and now. But he also considers ‘intuition’ cognitive in its way, which improves the word enormously. He is concerned, as everyone is, with the crucial distinction between art and science. Certainly art is not cognitive in the same way as science, to the benefit of both.”

– Donald Judd: ‘Art and Architecture’, Yale University School of Art, 20.09.1983

• • •

Working Notes 17.03.2023:

Gary Kemp: ‘Croce’s Aesthetics’, 2021

Angelo A. de Gennaro: ‘Benedetto Croce and Herbert Read’, The Journal of Aesthetics and Art Criticism, Vol. 26, No. 3 (Spring, 1968), pp. 307-310]]> 331 0 0 0 https://emiliafogelklou.wordpress.com/21-stralning-1/ Sat, 18 Mar 2023 08:44:31 +0000 https://emiliafogelklou.wordpress.com/?page_id=342 

Artwork and poems can work through form. But here it is a radiation that can penetrate all kinds of forms, seeing through borders.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p20

• • •

“radiation”

pages: [6], 17, 18, 19, 20, 23, 24, 25, 26, 33, 34, 37, 39, 88, 107, 109, 124, 145, 164, 182, 186, 198, 207, 218, 242.

• • •

Swedish Academy’s dictionary, SAOB, is a historical dictionary that describes Swedish written language from 1521 to the present day.

STRÅLNING, sbst., se stråla, v.

RADIATION, sbst., see ray, v.

stråla v.

STRÅLA strå3la2, v. -ade. vbalsbst. -ANDE, -NING.

Etymologi

intr.

1) corresponding to BEAM 2: shine brightly; spread in beam form etc. Swedberg Ordab. 1050(1722). (Sv.) Ray .. (t.) strahlen. Linden (1749). — peculiar.

a) corresponding BEAM 2 a, if (something understood in the same way as) light source: (in all directions) emit bright light l. (in all directions) emit l. spread its (observable l. ia imagined) rays; shine with bright (o. ss. scattered l. emitted perceived) light; av.: shine with strong (ss. spread l. broadcast perceived) shine; also partly about emitted light: shine brightly l. spread brightly shining, partly (with more l. less clear construction change) about space etc.: be filled with light that radiates, partly opers. The sun shines from a cloudless sky. The stars shine / Around the vaulted blue. Bellman (BellmS) 1: 202 (c. 1771, 1790). The brook shines beautifully in its course, / Than of silver, than of gold. Runeberg (SVS) 1: 246 (1833). Behold, on the ground it glitters and beams: / The dew fills the bowls of alchemy / With a night drink, nobler than wine. Tigerschiöld Poem. 1: 43 (1888). When the girls got home, the flirty ball’s gentle glow greeted them. Wägner North. 123 (1908). It radiates from the cafes (around the square). Nyblom Golfstr. 86 (1911). Consul General Rubin’s floor at Sturegatan .. beamed in full illumination. Söderberg AllvLek. 187 (1912). — cf. FORWARD, IN, DOWN, OUT BEAM etc. — peculiar.

α) in p. pr. in adjectival use: as shining, brightly shining l. shiny (with light perceived l. imagined ss. spread l. emitted or shine perceived l. imagined ss. spread l. emitted); also more general (l. oeg.), about air l. sky etc.: so clear o. light that it gives a certain impression of shining; also in transferred use about day l. period of time: characterized by such air l. sky. Serenius C 4 a (1734). Where did this sound come from? .. / From the radiant air. Thomander 3: 340 (1826). Scarcely had the strange youth finally spoken, / When with a radiant tear in his eye the old man from the chair / Stood up. Runeberg (SVS) 3: 126 (1836). The king rejoices with all his men / in glorious midsummer times. Melin Prince. 10 (1885). The children and the shepherds / gladly follow you, / radiant star! Rydberg Vap. 75 (1891); cf. Ps. 1937, 517: 4. When Moses now descended from Mount Sinai .. he did not know that the skin on his face had become radiant because he had spoken with (God). Exod. 34: 29 (rev. 1893). (It was) a glorious October day with the air full of cool fire, one of those wonderful days, when the light of the past summer and the sharpness of the coming winter meet in high declaration. Siwertz JoDr. 145 (1928); cf. 3. He (ie the poet Virgil) rejoiced at the beauty of all creation in the radiant summer sun as well as in the numbing calm of the evening hour. Grimberg VärldH 4: 321 (1930). Already early in the morning a brilliant cloudless sky. Far too brilliant, no human eye could stand. Defiant Disease. 108 (1972); cf. 3. cf. GOLD-, SILVER-, SUN-BREAMING etc.

β) ss. vbalsbst. -ning, also more concretely, considering the light l. the rays of light; except with bet.: the act of sending out distinguishable rays of light l. shine beam-shaped (o. more concrete use. of this) and in ssgr nowadays less br. Schultze Ordb. 5118 (c. 1755). On them (i.e. the trees in Eden’s garden) in the enamel of the flowers and the fruit / More colorfully the sun reflected its radiation, / Than over the evening sky and the arc of the rain. JGOxenstierna 4: 120 (1815). The light (on the painting) emanates from the newborn (Jesus) child, but without visible radiation. All faces are illuminated by this light. Bremer GWorld. 2: 99 (1860). Around every tree there is a radiation, / which vibrates and breathes slowly, / a flood of light slowly burning. Ekelund Syn. 48(1901). There is always something compelling and threatening in the pale radiance of space over an invisible city. Siwertz Sel. 1: 107 (1920). Your pale forehead was struck by the moon’s brightness / as if by a ray from a silver clasp. Cook From Home 32 (1931). Taube Dream. 12 (1953).

b) corresponding BEAM 2 b: (without the need for a medium) transported l. spread rectilinearly l. radially; partly in general language, about heat spread thought l. by the sensation experienced similar to irradiation by sun rays etc., partly physics, about transport of quanta of electromagnetic energy (including visible and invisible light, radio waves, gamma rays etc.) l. by particles in motion (esp. electrons, protons, neutrons, helium nuclei, ions); preferably (o. phys. almost bl.) in p. pr. in adjectival use l. (in sht) ss. vbalsbst. -ning (see end). Radiant waste, (addition) on radioactive waste from nuclear power plants l. dyl. with ionizing radiation (see end). The theory of radiant heat. Berzelius ÅrsbVetA 1825, p. 54. Heat can .. move from one place to another, without the space between them being occupied by any other movable substance. It is then said to radiate; and in this way e.g. the communication of heat from the sun to the earth. Jib 1Phys. 394 (1854). KemT 1908, p. 158 (: the radiant matter). There is a relationship between a star’s spectrum and the brightness with which a certain part of the star’s surface radiates. Strömgren AstrMin. 2: 39 (1927). Bolin KemVerkst. 47 (1942). — cf. IN-, OUT-BEAM etc. — peculiar. pp. vbalsbst. -ning, in sht (phys.): rectilinear l. beam-like transport (without the need for a medium) of quanta of electromagnetic energy (visible and. invisible light, radio waves, gamma rays, X-ray light) l. of particles in motion (esp. electrons, protons, neutrons, helium nuclei); also on transport of energy quantum l. particles, achieved by means of accelerators in laboratories (often difficult to distinguish from II 2 b); often more concrete, considering the transported energy, etc. Electromagnetic radiation. Ionizing radiation, radiation of particles (e.g. electrons, protons, neutrons, alpha particles) and certain electromagnetic radiation (e.g. gamma and X-rays), which produce ions when passing through media. Radioactive radiation, (nowadays, among others, in ä. fackspr. l. in non-specialist spr.) radiation as a result of radioactive decay, radiation from radioactive substances, ionizing radiation. Infrared radiation or heat radiation. In an electromagnetic spectrum, the radiation is arranged according to wavelength. Wikström ÅrsbVetA 1845-48, p. 730. This the radiation of heat mainly follows the same laws as those which apply to the corresponding mode of propagation of light. Jib 1Phys. 394 (1854). It should be mentioned that since Michelson carried out an extensive investigation of the internal structure of a number of spectral lines from different light sources, he found in the spectrum of the metal cadmium three radiations, one red, one green and one blue of great homogeneity. KnowAOpen. 1908, p. 217. Instruments for measuring the radiation of the sun and sky and for medico-climatic investigations. UNT 20/11 1929, p. 1. The radioactive substance yttrium has been shown to emit γ-rays .. with an intensity of 2 Mev, a radiation which thus far surpasses in effect the action of the radiation from ordinary X-ray tubes. TT 1941, General. p. 442. In photometry, the science of light measurement, we are only interested in that part of the radiation that gives a light sensation. Bergholm Phys. 4: 45 (1957). Radio source .. (ie) an almost point-like center of radio frequency radiation. Wallenquist AstrLex. 177 (1973). cf. ENERGY, K, CATHODE, CORPUSCULAR, LIGHT, RADIO, RADIUM, RESONANCE, X-RAY, SECONDARY, SOLAR, OUT, HEAT RADIATION etc.; special in expression cosmic radiation, radiation from l. in the cosmos (see COSMIC 2 b).

2) in the case of certain cases of gloss which are not comparable to the direct light from a light source and in oeg. l. pic. use which joins this (cf. 3); often in p. pr. in adjectival use (cf. 1 a α).

a) about eyes l. look: (in sht of joy l. rapture l. love) shine with l. emit a strong shine, shine l. shine brightly; cf. 3. Where curls fly brown, / where eyes shine blue. Tegnér (TegnS) 4: 78 (1824). Mrs. Gertrud’s eyes teared up, Annchen’s beamed with heartfelt participation. Scholander I. 2: 157 (c. 1870). But, doesn’t my eye have its first radiation where, / Does a spark still live there from the days of spring? Bäckström Lej. 13 (1875). (Grandfather) looked with a long, wide and radiant gaze out of the window, where the Donkey glittered between the alders, but in fact much further away, into the past, or perhaps infinitely far ahead, into eternity. Arv 1945, p. 20. — cf JOY, HAPPINESS, VICTORY RADIANT. — peculiar.

α) (†) corresponding to RAY 2 c α: see through (ngt); in ssgn THROUGH BEAM.

β) with subj. denoting positive feeling l. characteristic etc. as someone’s look testifies l. seems to testify l. express; formerly also about the destruction in the gaze of the basilisk: pour out l. push out l. dyl. If one realizes that it is not possible to see a Baselian, but one should not do things to die, then it may well be that one comes to him in a few years, but learns that his brilliant Forbidden does not stretch into infinitum or infinity far. RelCur. 256 (1682). Love and joy radiated from their eyes, so that the room seemed to light up from it. Bremen Pres. 236 (1834). Applause beamed from every look. Oscar II I. 1: 51(1858, 1885). cf. FRONT BEAM.

b) about (person referring to) face: shine l. shine brightly (of joy l. rapture l. love l. youth o. health etc.); also if smile (l. nod etc.): given with a beaming face (see above); also (in sht in witter style) with subj. denoting feeling l. characteristic l. health etc., in expression something radiates from someone, etc. in l. over someone’s face l. facial features etc., synonymous with: someone’s face etc. radiates something (cf. II 1 b) or has a radiance that testifies to l. derives from sgt. The bride’s face beamed with joy and happiness. She radiated youth and health. She gave her a beaming smile. With beaming and expectant faces, the children looked at Santa Claus. Rapture radiated from his features. The man walked away, beaming with joy. Leopold 3: 510 (1792, 1816). Involuntary smiles began to beam across her face as they competed with the diamonds. Bremen Pres. 363 (1834). The priestess only gave herself time to nod three radiant nods at (the son) as quickly as possible. Almqvist TreFr. 2: 129 (1842). Then all the good feelings, which otherwise mostly lie hidden in the heart, love, gratitude, happiness and pride, shone in her lively face. Backman Reuter Lifv. 1: 59 (1870). Den gamma Carlamodren (i.e. Queen Dowager Hedvig Eleonora) / In tears beaming gently (at the announcement of the victory at Helsingborg in 1710). Snoilsky 2: 66 (1881). Before long, the drummer was like a new person. Health, joy and handsomeness radiated from his face. LbFolksk. 31 (1890). Maybe she wasn’t so strikingly beautiful .. but she looked healthy and radiant, kind and carefree and happy. Lindström Vindsröjn. 99 (1939). In the lamplight his face shone with gentleness and a kind of simple joy. Martinson ArméHor. 137 (1942). Combüchen Byron 475 (1988). — cf JOY, HAPPINESS, VICTORY RADIANT.

c) in terms of color splendour: (like) shining brightly or intensely (like a radiant light source). The gorse in the meadow rejoices clothed with the blush of purple, / Or his flaky back shimmers with radiant saffron. Adlerbeth Buc. 25 (1807). Now, radiate flowery o land. Runeberg 5: 61 (1860). Seven colors she has on her shiny hair, / And of red her small lips shine. AOlsson (c. 1895) at Skarstedt Pennfäkt. 136. The Madonna shone (in the glow of the wax candles) like a theater queen, in red, blue and

gold. Söderberg MBirck 20(1901). Woven wallpaper, which radiated with colors. Lagerlöf Holg. 1: 159 (1906). Brilliant red, strongly scented (cactus) flowers. SvD(A) 29/8 1920, Sunday car. p. 4. Autumn burned and radiated all around, an aspen trembled with all its golden leaves, a young elm glowed dark red. Clayhill’s Vi 20 (1938). — cf COLOR, RAINBOW RADIANCE.

3) in more l. less picture l. use of 1 a (o. b); cf. 2 a, b; special partly (in the matter of heavenly being etc. l. in the matter of beauty l. splendor l. in the matter of honor l. fame l. the quality of being distinguished etc.): shine l. shine (in a way that brings the thought to radiant light source), show off, partly (in matters of divinity, spirituality, truth, joy, etc.): “flow out” l. emanate (o. “hit” l. “meet” the spectator or the reader, etc.) like radiated light, etc.; also about pain (see c); also in p. per in adjectival use (cf. 1 a α). The high, flamboyant, brilliant and radiant French phrase. Ehrenadler Tel. Foret. 3a (1723); cf. 4. When you (i.e. G. F. Gyllenborg) paint Life’s Pleasures, / One soon sits qval no more min’s; / And from your verse that beauty shines, / That rarely exists in nature. Kellgren (SVS) 2: 105 (1781, 1796). Right in the steam there / In the Swamp’s dark steam .. / There Sumpet’s Genius shines: / You! Aristophanes of flatness! Thorild (SVS) 1: 113 (1784). Truth must radiate from the piece (i.e. from a painting). Bellman (BellmS) 10: 68 (1787). Among the academically learned ladies (in Uppsala in the middle of the 19th century), Thecla Knös shone brightest, who .. was considered fully competent to be promoted to master of philosophy. Hellberg Contemporary 1: 58 (1870). In the world of memory, / .. your name shall shine with the splendor of glory! Rydberg Poem. 1: 63 (1876, 1882). In the century that preceded the fall of the Assyrian empire, it shines in its clearest glory. Mighty conquerors carry its weapons far; all the neighboring peoples must bow under the yoke. Svensén Jord. 159 (1885). He found himself .. he no longer radiated outwards but concentrated. Strindberg Fagerv. 206 (1902). The crowd of children and young people, for whom Christmas always shines in shimmering glory. MinnGPrästgSkara 216 (1928). In the very center (of the city) Riltuna’s pride shines, the giant window of the fashion company. Boye Asst. 32 (1931). He had visions, no glorious revelations that he longed for but rather mere glimpses of the most forbidden. Johnson DreamRoseFire 55 (1949). — cf. FORWARD, IN, DOWN, TOGETHER, BACK BEAM, etc. — peculiar.

a) in terms of someone’s influence on the environment with their personality l. their personal characteristics; i sht i ssgn OUT RADIATION, i sht formerly ev. pp. simple vbalsbst. -ning, radiance; sometimes also with property, etc. subject In her appearance, she has much of the inner beauty and radiance, which I place high above the merely external and more common in young faces here. Bremen NVerld. 2: 416 (1853). Never have I found in a human face such a radiance as that which greeted us from the look and smile of our protégé. Bäckström Song. 150 (1876). One need only glance at .. (a certain portrait) to be struck by the unsympathetic feature that radiates from this whole plus-size, puffy, creaking, self-loving and self-whispering physiognomy. Söderhjelm Runebg 1: 67 (1904). “Radiation” is a key concept for (Emilia Fogelklou). SvLittTidskr. 1973, no. 3, p. 38. — cf. RADIATION.

b) (nowadays few br.) in extr. beam someone in the eyes l. beam at someone, (fierce l. shocked) shine someone in the eyes (see LYSA, v.2 6 a). If the perfections of others are so obvious that they shine in his (i.e. the proud) eyes; so he abhors, and seeks to belittle them. Nohrborg 171 (c. 1765). He had opened the paper with anxiety and wonder; but when the bank-notes beamed at him, he dropped them in dismay in golf wheat. Carlén Klein 15 (1838).

c) about pain; in sht in the special. ex. RADIATE. One, long-seated some nerve branch .. radiating or cutting pain. THeal. 1833, p. 276.

4) [developed from 1 a α o. 2, 3] in p. pr. with reinforcing bet.: extraordinary, superb, fantastic, brilliant; also with preserved bibet. of 1 a l. 2, esp. (about joy, youth): sparkling l. exuberant; also with adverbial use Brilliant appetite, mood, results. Radiant prima donna. Radiant beauty; cf. 2 b. He is a brilliant conversationalist. The theater play is going brilliantly. (He) announces with radiant joy that the ship would set sail the following day. Palm leaves Nov. 2: 243 (1819, 1841); cf. 3. Carlén Köpm. 2: 369 (1860: bright hopes). Always as radiantly beautiful. Jolin Smädeskr. 98 (1863). A cultivated patch of truly glorious greenery. Samtiden 1873, p. 150. What a glorious, unreasonably / indescribably beautiful day! Fröding Guit. 17(1891); cf. 1 a α. Esther had never seen him in such a radiant good mood before. Hammenhög EoA 185(1930). (You had to) not believe that the term grade would be so brilliant, because (etc.). ÅbSvUndH 59: 124(1940). Innocent, bright, radiantly young, she gives comfort and light to homeless hearts. Böök in 3SAH LIV. 2: 127(1943); cf. 2 b. UrDNHist. 3: 62 (1954; on mood). (We) focused (on the Copenhagen visit) .. on only attractions with free entry .. and gorged ourselves .. We made it, but the appetite was more than brilliant, when we re-entered the dorm. Monday Kron. 3: 276 (1955).

5) corresponding to RAY 3 b: radial l. radial l. in the form of rays (l. a ray) emanate (from something); also (with plural subj.) meet in its rectilinear (converging) stretch (in sht in särsk. preb. l. svv. ssgr); also in picture use (if person) as well as in extended use. in terms of (straight-line) movement l. dyl. in the special ones. adverb. RAISE TOGETHER, RAISE, TOGETHER, RADIANT OUT. Here Berghl. 447 (1687). Species of Marantaceæ, some of which had broad, shining leaves, with long petioles, radiating from joints on a movable stem. Lindström Bates 29 (1872). The long, black eyelashes radiated like rays from the pupils. Lundegård Tannh. 1: 112 (1895). Ramstrom CorpStriat. 45(1912). — cf COMBINE, OUT BEAM.

6) (now less br.) corresponding to RAY 5: spray l. run (out l. front) in a jet l. rays. In front of the house’s porch surrounded by vines, there is a brilliant Watten art. LfF 1889, p. 186.

II. tr.

1) radiate (in bet. I 1) o. send out l. transport (ngt).

a) (in sht i witter style) corresponding to I 1 a: radiate (in bet. I 1 a) o. send out l. spread (sunlight, light, etc.); let l. cause (something) to shine (on something l. something); special in p. pf. The splendor of the light on the (butterfly’s) wing beamed, / The joy of life for the eye painted. Atterbom LÖ 1: 303 (1824). Golden clouds in the air / Summo and beamed light towards the earth. Runeberg (SVS) 3: 132 (1836). Under the lamp he placed the microscope .. the depth sounder and the dipsticks, the varnished brass of which radiated a warm sun-yellow light around them. Strindberg Hafsb. 32(1890). (The language in K. G. Ossiannilsson’s books) clarifies things by shining sunshine on them. Hedén 4: 293(1909). — cf. FORWARD, IN, DOWN, OUT BEAM etc. o. SUN-RADIATED.

b) in more l. less oeg. l. pic. use of a l. I 2 a, b, 3. The work of genius, as divinity shine. Lidner (SVS) 3: 296 (1792). Multiple layers / Shadows his curly hair / And the looks beam his soul. Stagnelius (SVS) 1: 35 (1814). The fifteenth of my springs sprinkled / With beautiful flowers the meadows of Fyris, / And the Sun shone joy in the soul. There s. 4: 88 (c. 1818). I feel the hate like an ice cellar when it radiates cold. Strindberg Dam. 113 (1898). If you wanted to see an eye that could still reflect the blue sky and radiate reason, you had to go down to the animals. Its. Fagerv. 42 (1902). How much pain and happiness bleeds up in my being at that Arcadia of the mind’s beautiful harmony, which this book (ie “Healthy source of sorrow” by I. Conradson) radiates from every side. VEkelund in LD 20/3 1907, p. 3. The slanted eyes, which radiated shame under their finely brushed brows. Mörne Elef. 43 (1931). — cf. FRONT, REAR, IN BEAM, etc. — peculiar. with connection to STRÅLE 3 b; cf BESTRÅLA 2. The violet, clothed in gold, with purple stripes radiated. JGOxenstierna 2: 121 (1796, 1806).

c) corresponding I 1 b: radiate out l. spread (ngt), radiate; special with reference on heat; in sht in the special. preb. REAM OUT o. in ssgn REAM OUT. The radiator radiates heat.

2) beam (in bet. I 1) on (ngt l. ngn), irradiate. — cf BE-RAY, BE-RADIATION.

a) (in sht in witter style, nowadays less br.) corresponding. In 1a; also in oeg. l. pic. use (cf. I 3). Then flew in the wide Verd a glorious Ähr-Goddess, / De Himlar’s eye lust and Hieltar’s mistress .. / The golden Chariot of her streaks was radiant. SColumbus White. 86 (c. 1678). Earth, as irradiated by summer sun, / when you (i.e. the rain) with the flow of water. Wiedersheim-Paul Poem. 40 (1918).

b) phys. etc. with with reference on person l. thing: make subject to l. subject to l. treat by means of radiation (in sht x-ray l. other ionizing radiation), irradiate; special pp. vbalsbst. -ning (cf. I 1 b end). Harlock (1944). The radiation does not replace the cold as a preservation method, but in combination with the cold it can double or even quadruple the possible storage time. DN(A) 10/9 1963, p. 14. Radiation is used for a very wide range of diseases, injuries and controls. BtRiksdP 1969, 11: no. 20, p. 1. Irradiated food no more dangerous than cooked. SDS 15/6 1983, p. 1. After three treatments, Tage Eriksson was referred to the Regional Hospital in Umeå. “You must be irradiated,” said the doctors. PiteåT 2/12 1985, p. 6. You can irradiate food to kill bacteria and microorganisms with Cobolt 60 or Cesium 137. SvD 4/9 1986, p. 24. GbgP 18/4 1989, p. 2.

Special. prev.: SHINE ON. (†) to II 1 a: beam on l. irradiate; found among others in picture use (cf. ray, v. I 3 (o. II 2 a)). In the Heavens, as our North with edre Liu’s irradiated / .. In the ray ok-saw me in this Mind another, / That I can my value Prince omqveda worthily. SColumbus White. 85 (c. 1678). —

FRONT BEAM10 4. cf. front beam.

1) to I 1 a; special about the sun: shine brightly l. come into view, sometimes approaching bet.: quickly appear; also more generally, in terms of shine l. brightness: (suddenly) appear with its clear shine l. its clear light l. ss. clear light opening l. dyl. Serenius Yy 3 a (1734). The sun shines through the clouds. Schultze Ordb. 5118 (c. 1755). Through the open door she looked out into the greenery, towards the birches where the blue sky shone through the foliage. Ottelin BSorl. 126 (1904). Here, over this Tsushima, Japan’s sun has shone forth at its full midday height. Nyblom Österut 144 (1908). If views of the high mountains did not shine forth in the clearings, the heath birch forests with their poverty of both birds and flowers would be rather bleak. Selander LevLandsk. 112 (1955).

2) in oeg. l. more l. less image l. usage; cf. radiate, v. I 3. Our innermost motives radiate through our actions. Tenow Solidar 1: 154 (1905). This Schellingian poetic philosophy, which taught that the divine soul of everything shines forth in color, fades out in music. Vetterlund Sketchbook 23 (1908, 1914). (Stagnelius has in one of his elegies) a dream vision, in which he is transported to Eden .. the poet’s image beamed forth in its primeval luster from the source. Nilsson SvRom. 335 (1916). In the shaft of the unfathomable / Still hidden his thought is, / But shines forth once with power / Like the sun clear and sharp. PS 1937, 366: 2. —

STRÅLA IHOP10 04, ev. TILLHOPA040 l. 032, ev. HOP4. special (ngt vard.) to I 5: radiate together. The signage seems to be spot on. So we (i.e. police and detective) beam together and quite rightly, it’s the same guy. Edlund Chandler EneDöd 93 (1952). You were so down .. and Malla was just as down .. and that’s why you beamed together and drank together. Trent Run. 173 (1958). —

RADIATION IN10 4. cf. special 1) to I 1 a: shine l. shine in with its rays l. its radiant light, send in (its) rays (l. a beam). The sun shone in through the open door. Östergren 3: 736 (1929). Daylight shines into the room. SvHandordb. (1966).

2) to I 5: stretch l. go in towards (something) which is l. seen as a middle point. The medieval city’s irregular but smooth town plan with the main streets radiating towards the square. SvGeogrOpen. 1931, p. 25.

3) to II 1 c: gm radiation convey l. transmit heat l. light. The temperature condition for life on a planet is maintained .. only by the fact that, on the one hand, heat and light are radiated in in sufficient quantity from its sun, and on the other hand, a constant, equally strong radiation into space takes place. Arrhenius World. 35 (1906).

4) (more add.) in image no. use of 3; cf. beam, v. II 1 b. (Two newly engaged), beaming into each other in love whatever is the deepest and greatest they possess within themselves. Bremer Letters 3: 322 (1853). —

BEAM DOWN10 4, ev. DOWN40 l. DOWN4. cf. radiate down.

1) to I 1: cast rays downwards (o. in that way come down l. push down). Stagnelius (SVS) 2: 57 (c. 1820).

2) to I 2 b, about person: radiant look down l. cast radiant glances l. smiles l. dyl. down. You, who from Parnassus’ peak / With the festive flare beaming down, / Happy among the race of Delphic women, / Orgies’ prest, Dionysus! Thomander 3: 270 (1826).

3) (nowadays, among other things, in white style) to II 1 b: bring something down (to someone l. over someone). The sun stood red and terrifying and .. seemed to linger in its path to beam down mischief over the ground. Engström Life 96 (1907). —

STRÅLA SAMMAN10 32 l. 40, l. TILLSAMMAN(S)040, ev. 032. cf. converge. to I 5, on straight lines meeting in a point; cf. ray in 2. särsk., in oeg. l. transferred l. more l. less image l. use, partly about roads and paths etc., partly about interests and ideas etc.; also about people who come together from different places at a fixed time or place to meet l. who meet temporarily or by an event; cf. beam together. In one place (in the city of Groningen), where several canals from different directions converge into a wider stream, the pot-bellied boats lie as close together as the houses in a block. Holmström ResHoll. 92 (1915). The core, where all his interests converged. Segerstedt Hand. 354 (1926). All the waterways and roads of Bohemia converge in Prague. Bolinder FolkEur. 13 (1928). We beamed together in the newspaper rooms at the Atheneum. Böök Ranns. 157 (1953). One day when the hunting party had gathered together, it became apparent that (etc.). SDS 1957, No. 286, p. 22. —

BEAM TO 10 4.

1) to I 1 a: suddenly, for a short moment, shine with a stronger light than usual. Sometimes it gets lighter and the sun shines for a while. SvHandordb. (1966).

2) to I 2 a o. b, about eyes l. look l. facial expression etc.: suddenly for a short moment light up o. “radiate”. His eyes beamed, “there is no .. more than such a mother as mine”. Roo’s Son 79 (1904). His face shone as if a flood of light had fallen upon it. There s. 203. (He) beamed, hope smiled upon him. Rönnberg Bridge guard. 131 (1904). “Yes, that was a thing!” said Jonke, beaming with glee. Högberg Storf. 14 (1915). —

BEAM TOGETHER, see beam together. —

BEAM TOGETHER(S), see beam together. —

SHINE UP10 4.

1) to I 1: spread in a beam form gm to rise upwards o. outwards. Of the heat developed during combustion, Peclet assumes that half radiates up towards the roof and sides of the fireplace. Frykholm Angm. 75(1881). It goes like a golden-red haze from the sun’s fire, radiating up over the sky and out over the earth. Rosenius Naturst. 97 (1897). The heat radiates up towards the dome-shaped vault and the other wall surfaces. TT 1927, General. p. 201.

2) in Fig. use of 1; cf. radiate, v. I 3. (The necklace) listens quietly .. / To the pious breath of the maiden’s bosom, / And counts, how closely from breast to eye / Its thoughts radiate up in light blue day. Atterbom Lyre. 3: 249(1826).

3) to I 2 a, b, about look l. facial expression etc. l. about person: suddenly become bright o. beautiful o. get new life o. give expression to joy l. happiness l. love etc.; also about mood l. temperament that suddenly improves. Benedictsson Peng. 288 (1885). Their eyes met. How the brown eyes widened and beamed up! Its. Ms. 283 (1887). (Tavaststjerna’s) countenance brightened (at the announcement that his wife was on her way to his sickbed): it was the last great glimmer of joy in his life. Söderhjelm Tavaststj. 316 (1900). When a sunny day finally came, everyone’s spirits brightened. Ödman Reseb. 1 (1907). How he did not light up, when the waitress spontaneously brought (the right kind of punch). Henning HbgMinn. 1: 14 (1950).

4) to I 3, about a city that becomes bright and beautiful and flamboyant. The old military city (Turin) shines .. (in spring) up, adorned by its plane trees, surrounded by the great amphitheater of its Alps. PT 1898, No. 185, p. 3.

5) (now e.g. in white style) to II 1: (suddenly) give strong light to something; also in oeg. l. more l. less image l. usage; cf. II 2. Radiate the darkness of others. ST(A) 12/11 1900, p. 4. The moon illuminates the large pewter dishes and copper bowls that hang on the wall. Martinson Woman. 212 (1933). —

BEAM OUT10 4.

I. intr.

1) to I 1: spread outward.

a) to I 1 a, esp. about light. That’s the nature of light: it wants to radiate in all directions. Wikner Preach. 436(1881).

b) to I 1 b, esp. about heat. NordT 1896, p. 121. The heat of their bodies radiated and flowed around them through the thin summer clothes. Beijer BritaGrossh. 91 (1940). Bolin KemVerkst. 46 (1942).

2) to I 3, if something abstract: pour out, spread out in different directions. One is spared (in Edinburgh) the agonizing, poor-gentile suburban architecture, which radiates many miles into the landscape from London’s .. fringes. Steffen BrittStröft. 316 (1895). Through it (i.e. actress B. Nansen’s gaze) radiates a nature whose whole essence is enchantment. Söderhjelm Rev. 68 (1906). There seemed to be an emanation of idle sympathy from the old lady with the corkscrew curls. Fahlcrantz Church. 293 (1907). special to I 3 c, on pain. If you have e.g. a damaged tooth, the pain that starts in this tooth can radiate, so that it hurts in the whole jaw, this is a reflex. Wretlind Heal. 3: 143 (1895). (The pain) radiates into the back or shoulder. Jacobæus HeartBloodSj. 134 (1935).

3) to I 5, if lines l. streets l. roads etc.: (straight-line) starting from a single point; also in extended use, in terms of (people’s) movement etc.; cf. beam together, beam in 2, beam together. The many smaller railways that radiate from the capital (Vienna) to different parts of the kingdom. Thorpson Eur. 2: 45 (1896). Hedin Pol 2: 455 (1911; on ship lines). From their original homes they (i.e. humans) radiated out to the various continents and developed into today’s .. human races. There s. 588. The work crew moved in ranks that radiated across the bog where the fresh peat was being transported away. Lundkvist FlodHav. 52(1934). The narrow ridge above the north side of the Iao valley (on the island of Maui) and the ridges between the gorges which from this radiate towards the NW are partly covered with open marsh without tree or higher shrub vegetation. Ymer 1940, p. 7.

II. (in sht in witter style) tr.: spread out (ngt), send out (ngt).

1) to II 1 a, c, with par. on gloss l. heat. The sky radiated a brightness never before seen. Atterbom Memory. 2: 268 (1842). A stove radiates heat across the room. Almquist Health. 453 (1896).

2) to II 1 b. The happy innocent look (of a child) .. radiates its own spring light into space. Geijer Minn. 2 (1834). The chilly scent of the earth, despite its freshness, has something of the same that a corpse radiates, a mysterious coldness. Engström Also 102 (1908). His black eyes radiated eroticism. Its. Ink 126 (1914). Matte red and matte green deepen the touch against the matte gold and radiate a warm wave in the first autumn chill. Boye Asst. 22 (1931). The face radiated an incendiary energy. Beijer BritaGrossh. 80 (1940). A pure happiness, a true happiness .. it has a strange ability to radiate warmth, light and kindness. Hedberg DollDance. 222 (1955). special about color. A flower that drinks the sunlight and radiates its color in the fluttering air. Segerstedt Hand. 21 (1922, 1926).

Ssgr [in general with counterparts (l. role models) in t. (in sht strahl- resp. strahlen o. strahlung-)]: A (in general to I 1 b, in sht phys. o. med. l. tekn. Note. Plural of the ssgrs brought to I 1 b can alternatively, but perhaps less naturally for today’s sense of language, be perceived as ss. compounded with ray; cf. the ssgrs listed under d. o.): STRÅL-APPARAT. apparatus (see d. o. 3 a) for emitting rays l. for radiation; cf – equipment. special

a) (†) to I 1 b. Full sleep. 1893, p. 140. A group of therapeutic aids, which are widely advertised with medical expositions .. are the electrical ones — especially radiation apparatus, but also heat treatment apparatus. SvLäkT 1935, p. 1307.

b) to I 6. All work done by such jet apparatus (by jets of steam), may be brought under the heading of work done by the continuous action of combined mass and velocity. TT 1875, p. 231. Blasting apparatus for compressed air or steam. JernkA 1894, p. 321. —

-APPARATUS. cf -apparatus o. radiation apparatus. LD 1959, No. 280, p. 1. —

(I 1 b, II 2 b) -TREAT. in sht with. treat (see d. o. 5 e) (ngt l. ngn) with (ionizing) radiation, make (ngn l. ngt) subject to radiation treatment. Auerbach Addendum (1918). —

(I 1 b, II 2 b) -TREATMENT. in sht with. treatment (see d. o. 2 e) of (body part l. person who has) malignant tumor with ionizing radiation, radiation therapy. 2NF 24: 169(1916). —

-BIOLOGY. radiation biology. Ahlbom Strålbeh. 8 (1939). —

-BIOLOGICAL. biol. radiation biological. North Med. 1964, p. 1452. —

-SMOOTH. (in sht in witter style) so blank (see blank, adj. 3) that the resp. it shines, brilliantly shiny. The star father came, with gleaming sword. Atterbom LÖ 2: 151 (1827). And without waves, calm and radiant / in front of us rests the sea, lit by the moon’s flare. Risberg Poem. 69 (1893). —

-DOSE. phys. etc. with radiation dose. Cancer. 189 (1930). Protective devices must … be such that the worker is not normally exposed to radiation doses exceeding the size that can be permitted by the radiation protection authority. Exercise in 2 combs. 1958, no. 142, p. 10. The amount of ions can be measured electrically, and this gives a measure of the amount of radiation, the radiation dose. Dædalus 1960, p. 85. TNCPubl. 36: 72 (1962).

Ssg: radiation dose measurement. North Med. 1959, p. 944. —

-EXPERT. radiation expert. SvD(A) 1963, no. 305, p. 10 (title). —

-PHYSICS. radiation physics. Ahlbom Strålbeh. 110 (1939). —

-ABILITY. in sht phys. radiation capacity. Selander ÅrsbVetA 1837-41, p. 31. —

-HYGIENE. (few br.) radiation hygiene. The National Council for Radiation Hygiene. DN(B) 1958, No. 23, p. 7. —

-STOVE. stove (see d. o. 2) which spreads heat through radiation from an electrically heated heating element. KatalInstallAsea 1931, p. 233.

Ssg: radiator element. element (see d. o. 5 b) in l. for radiant stove. KatalInstallAsea 1931, p. 233. —

-CHEMICAL. radiation chemical. TNC Publ. 55: 110 (1975). —

(I 1 b, II 2 b) -SURGERY. with. surgery, i.e. neurosurgery, where treatment takes place so that rays, l. a large number of narrow beam beams, are directed at a limited target, usually. tumor in the central parts of the brain. Expressen 8/5 1962, p. 6. —

(I 1 b, II 2 b) -SURGICAL. with. which belongs to l. refers to radiosurgery. SvD(A) 9/3 1964, p. 8. —

(In 1 a, 2 a, b) -DONE. (in white style) radiant clear l. clear as rays of light l. radiant light; also in picture use (cf. ray, v. 3). Seldom, however, was his face more radiant / The peace in his mind shone again. Atterbom Poem. 1: 116 (1837). Listen / Elves, who float in / the clear air! Lönnberg Ragnf. 121(1873). In vain I thought our love would build, / a bright memory on the mountain of Parnassus. Josephson SvRos. 67(1888). Her cheeks began to regain their roundness and color, her blue eyes were once again bright. Bååth-Holmberg Sekl. 2: 97 (1897). You bright stars / Korag, you leader of / Night-voiced cheers, / Son of Zeus, O stand forth / With your flock of maenads. Risberg Sof. 50 (1910). High above Gothic whales .. / circling with radiant screams, whirling that sees past / swallows in flaming air. Oak KostbHvil. 8 (1914). —

(I 1 b, II 2 b) -KNIFE. with. for (finer) surgical interventions use directed radiation (for the function similar to a surgical knife). SvD(A) 19/1 1959, p. 22. “Laser guns” can also be used as beam knives in finer surgical procedures. DN(A) 29/11 1963, p. 25. SvD 12/5 1970, p. 10.

Ssg: beam knife-, av. ray knife operation. operation (see d. o. 5) with a beam knife. SvD(A) 1961, No. 43, p. 15. —

(I 1 b, II 2 b) -CONSERV. (in trade publication) cf. conserve 2 o. -conserve. DN(A) 5/1 1964, p. 21. —

(I 1 b, II 2 b) -CONSERVE. (in trade journal) preserve (see d. o. 2 end) (food) by means of irradiation (with microwaves l. gamma rays); cf. radiation-preserved. DN(A) 10/9 1963, p. 14. —

(I 1 b, II 2 b) -CONSERVATION. (in trade journal) cf. -conserve o. radiation conservation. SvD(A) 24/7 1953, p. 8. —

-FORCE. power l. intensity with which something radiates, radiant power.

1) to I 1 a, b. The sun (burns) your whole body through its low position and strong radiant power. Strindberg Flower. 36 (1888). Diamonds are made phosphorescent by the action of radium and can thereby be distinguished from rhinestone imitations, whose radiant power is very small. Ringertz Curie Mor 218 (1937). Preparations with radium emission must… be topped up after a couple of weeks, because the radiation power decreases so quickly. Ahlbom Strålbeh. 62(1939).

2) in more l. less picture l. use of 1 (cf. ray, v. I 3). (People who) one fine day emerge as protagonists in possession of power, authority and epic radiance. 3 Collect. 30: 94 (1949). Spiritual radiance. IllSvLittH 1: 286 (1955).

3) to I 6. Ahlström Eldsl. Ann. pp. 38 (1879). —

-SOURCE. radiation source. TT 1897, M. p. 29. Ahlbom Strålbeh. 14 (1939). —

(I 1 a, b) -SOLVED, adj.1 (adj.2 see sp. 12932). which lacks radiation. Grenander Radio act. 32(1909). Radium B was long considered to be a radiation-free product. Ramstedt and Gleditsch 96 (1917). —

-AMOUNT. phys. etc. with amount of radiation; cf -dose. Bergman Jordkl. 302 (1766). Cancer. 195 (1930). —

-METER. (in sht in fackspr.) radiation meter.

a) about meter of quantity and intensity of solar rays, actinometer. NF 1: 333 (1875).

b) on meters of quantity and intensity of infrared rays, radiometer. Berndtson (1880).

c) about meters of quantity and intensity of rays from radioactive substances, radiation dosimeters. SvD(A) 1962, No. 72, p. 18. —

-MEASUREMENT. radiation measurement. Ahlbom Strålbeh. 85 (1939). —

(I 1 a) -ROCKET. (†) about the firework rocket whose fire beam brightness is enhanced by a special additive to the rocket’s igniter. Torner Fourv. 158 (1885). There s. 159. —

-RELAY. (now few br.) device for determining suitable exposure data using the light flow in the beam path from e.g. the objective of a magnifying device, (photo)timer. Beam relay (ie) Device for determining the appropriate exposure data .. Called in English photo-timer. SEN R 8601: 19 (1954). —

-RISK. radiation risk. SvD(A) 26/5 1955, p. 15. —

– SICK. with. disease caused by l. summary name for disease symptoms caused by exposure to ionizing radiation (partly during radiation treatment, partly when using l. samples with nuclear weapons etc.); cf. radiation sickness. Ahlbom Strålbeh. 100 (1939). DN(B) 1962, No. 26, p. 26 (caused by nuclear weapons). There s. 10/3 1967, p. 20 (as a result of radiation treatment). —

-DAMAGE. in sht with. damage (see damage, sbst. 1) caused by ionizing radiation; cf. radiation damage. Ahlbom Strålbeh. 76 (1939). SvD(A) 26/5 1955, p. 15.

Ssg: radiation damage preparedness. SvD(A) 1960, No. 285, p. 10. —

-DAMAGED. in sht with. damaged by ionizing radiation; cf. radiation-damaged. DN(B) 1960, No. 352, p. 1. —

-PROTECTION. esp.: protection (see d. o. 2 a) against ionizing radiation (esp. in connection with radiation treatment l. during nuclear weapons tests etc.); special concrete(s), partly: device l. objects, etc. that provide such protection, partly (o. in sht) about the summary of l. about bodies that handle measures l. devices (o. equipment) for such protection; cf. radiation protection. Kosmos 1932, p. 189. Radiation protection new duty (within civil defence). DN(B) 1960, no. 12, p. 4. The detectors and measuring instruments used in radiation protection. TT 1963, p. 344. All personnel who work with and expose patients to ionizing radiation must have the required knowledge of radiation physics and radiation protection. Against Riksd. 1977-78, no. 786, p. 11. SpriMedTeknUtr. base word 34 (1983; on protective equipment and protective devices).

Ssgr: radiation protection device. cf device 1 a δ. BookNat. Mater. 319 (1953).

-expert. cf. expert. SvD(A) 27/6 1963, p. 13.

-research. cf. research 1. NordMed. 1957, p. 1107.

-physics. cf. physics 1. Arbetet 10/11 1957, p. 9.

-apron. apron specially made to act as radiation protection. SEN P 51: 20(1950).

– regulation. cf. regulation 3. SFS 1978, p. 429.

-glass. special if glass (see d. o. 1) specially manufactured to function as radiation protection. SEN P 51: 20 (1950).

-glove. cf. glove 1 etc. -protective apron. SEN P 51: 21 (1950).

-pendant. cf pendant 1 a β o. -protective apron. SEN R 8601: 22 (1954).

-inspector. inspector in charge of radiation protection (see official at the Norwegian Radiation Protection Institute, etc.). LD 1958, no. 175, p. 15. The Radiophysics Department in Stockholm is looking for a Radiation Protection Inspector in Ae 23. DN(A) 23/11 1964, p. 29. SvD(A) 2/9 1966, p. 25.

-institution. institute (see d. o. 1) for radiation protection; special in expression The State’s Radiation Protection Institute, established in 1976 as a state institute for radiation protection. SFS 1965, p. 496. The State Office proposes that the radiation protection institute be given responsibility for environmentally oriented radiation protection research. PropRiksd. 1975-76, No. 123, p. 15.

-commission. cf commission 5. SvD(A) 1960, no. 167, p. 4.

– committee. cf. committee. LD 1958, No. 13, p. 7.

-law. law (see law, sbst.1 1) which regulates conditions in connection with protection against ionizing radiation. GbgP 1956, no. 295, p. 15. Likewise the Radiation Protection Act of 14 March 1958. SFS 1958, p. 1841.

-average. means (see means, sbst. 13 b) to achieve radiation protection. TNC Publ. 36: 73 (1962).

-authority. authority (see d. o. 5) tasked with supervising radiation protection. LD 1958, No. 175, p. 15.

-board. (formerly) on (state) board (see d. o. 2 b) (tasked with dealing with cases regarding radiation protection). GbgP 1956, No. 295, p. 15.

-teaching. teaching in radiation protection. LD 1960, No. 291, p. 3.

-Operation. activities that involve work in l. with radiation protection; also more concretely, including the organization of other bodies for such activities. North Med. 1957, p. 1110. Organs for free research .. and radiation protection activities. LD 1958, no. 175, p. 15. PropRiksd. 1961, No. 1, Car. 13, p. 45.

-wall. cf. protective glass. Course Nuclear physics. 97 (1947). —

-PROTECTED, p. adj. provided with protection (see d. o. 2 b) against ionizing radiation; cf. radiation-protected. Ahlbom Strålbeh. 77 (1939). Radiation-protected transport of radium from the care wards back to the radium repository. North Med. 1959, p. 944. —

-PROTECTIVE, p. adj. which protects (see protect, v.2 2 b) against ionizing radiation. RöstRadioTV 1963, no. 27, p. 21. —

-SCREEN. screen (see d. o. 1) with low permeability to some radiation; cf. radiation screen. TNC Publ. 36: 73 (1962). Radiation shields for reactors. TT 1972, no. 19, p. 52. —

(I 1 a) -STONE, sbst.1 (sbst.2 see sp. 12935). (†) on species of opal; cf. sun-sten 2. (Sv.) Strålsten .. (fr.) Girasol. Nordforss (1805). ÖoL (1852). —

(I 1 b, II 2 b) -STERILIZATION. (in trade journal) radiation sterilization. SvD(A) 28/4 1965, p. 25. There. 30/1 1968, p. 16 (on conservation method). —

-SURE. radiation safe. Anti-radiation tank. SvD(A) 1962, no. 242, p. 8. —

-THERAPY. with. radiation therapy. LbInternMed. 2: 1187 (1918). —

-PRINT, sbst.1 (sbst.2 see sp. 12936). (minor br.) radiation pressure. Nyblom FantH 47 (1910). Roth Jeans World EverythingMystery. 61 (1931). —

-OVEN. (in sht in fackspr.) radiation furnace. TT 1927, General. p. 199. —

-EFFECT. phys. etc. with radiation action. Cancer. 189 (1930). BookNat. Mater. 319(1953). —

– EFFECT. phys. etc. with radiation effect. Cancer. 191 (1930). There is a fairly thorough knowledge of radiation effects in the therapeutic area. North Med. 1957, p. 1107. —

(I 2 c) -WHITE. (in white style) brilliant white. Your radiant white caressing hands. Andersson Befr. 38(1907). A bright white figure of light. Agrell Purp. 10 (1909). —

-WARMER. technology radiant heater. Electric radiant heater. SvD(A) 25/10 1923, p. 15. —

-HEAT. radiant heat. The direct radiant heat from the glowing coal pile. TT 1895, General. p. 148.StKokb. 340 (1940). —

-SURFACE. (in sht in fackspr.) radiation surface. To give the fiber an outer light-emitting coating, it is dipped in a salt of the oxide, such as e.g. the acetate, which does not leave carbon behind after annealing and gives a white radiant surface. TT 1899, General. p. 215. —

(I 2 a) -EYE.

1) (in witter style) radiant eye; also partly metonymically, about person, partly figuratively. use That period of History (shall) begin, when former love, awakened from its long slumber, opens its beaming eyes in the shadow of the banner of former heroism. PoetK 1816, p. XLIV. Bright-eyed (ie the bright-eyed Pallas Athena) may see what it is to fight against one’s father. Lagerlöf HomIl. 130 (1912).

2) [probably image use of 1, with some connection of the forelimb to ray 3 a β] bot. the plant Telekia speciosa (Schreb.) Baumg. (which has large dark yellow flower baskets edged with ray flowers). Söderberg TrädgBlom. 551 (1946). —

(I 2 a) -ÖGD, p. adj. who have radiant eyes, who have “radiant eyes”; also in picture use Bright-eyed goddess Athene. Johansson HomOd. 8: 19 (1842, 1844). Human beauty, that bright-eyed smile. Österling Offerkr. 100 (1905). Believably bright-eyed sleeping dolls. Lindström Leksaksb. 126 (1931). An extraordinarily optimistic belief, bright-eyed like a feverish person. NDA 29/1 1933, Sunday Car. p. 2.

B (in gen. to I 1 b the end, in sht phys.): RADIATION ABSORPTION. (in trade journal) the condition that radiant energy is absorbed, i.e. absorbed, e.g. of vegetation. TNC Publ. 43: 26 (1969). —

-APPARATUS. apparatus for radiation; cf. beam apparatus. Ymer 1957, p. 271. —

(I 1 b the end, II 2 b) -WORK~020. special (in trade publication) on work that involves (risk of) radiation. TNC Publ. 55: 102 (1975). —

-SPECIES. species (see d. o. 3 l. 8) of radiation; cf. beam art. 2NF 22: 868 (1915). There s. 24: 185(1916). SvPlant breeding. 1: 673 (1951). —

(I 1 b) -COOLING. if cooling something gm that heat is given off gm radiation. SvNaturv. 1968, p. 194. —

– BALANCE. balance between against a surface, peculiar. the earth’s surface, incident and outgoing radiation; cf. balance I 3 c. Ymer 1957, p. 26. —

(I 1 b the end, II 2 b) -TREATMENT. with. o. phys. radiation therapy. KemT 1914, p. 128. —

-BIOLOGIST. cf. biologist and biology. SvD(A) 1959, no. 331, p. 18. —

-BIOLOGY. about the part of biology that deals with the impact of ionizing radiation on biological systems; cf. radiation biology. DN(B) 1958, No. 7, p. 9. —

-BIOLOGICAL. cf. -biology. NaturvForsknRådOb. 1948-49, p. 140. —

-BELT. belt (see d. o. 2) of radiation; special about such a belt around a celestial body, in which energetic particles are captured by its magnetic field. SvD(A) 1958, no. 295, p. 7. TNC Publ. 53: 101 (1973). —

-DETECTOR ~detek2tor, r. l. m.; beast. -n; e.g. -er ~detek1tω2rer. [cf. e.g. radiation detector, Eng. (radiation) detector, fr. radiation detector; cf. mlat. detector, vbalsbst. to detegere, discover, reveal; about instrument that reveals l. discovers o. registers something] device l. device for indication l. measurement of radiation. NaturvForsknRådOb. 1950-51, p. 16. Radiation detector .. (ie) device for the direct or indirect conversion of radiant energy into energy of a form more suitable for indication or measurement. TNC Publ. 55: 124 (1975). —

-CHART. diagram of radiation; special over radar or radio antenna radiation. Radio technology Ordl. 33 (1944). —

(I 1 b) -DIMMA. meteorol. fog that forms in connection with the lower air layer coming into contact with a ground surface that has been greatly cooled due to heat radiation and is cooled. Radiation fog, which is characterized by temperature inversion and clear skies. Carell and Edelstam 85(1931). —

(I 1 b the end, II 2 b) -DOS. dose of radiation; cf dose, sbst.1 1, o. radiation dose. By inserting lead filters of various thicknesses between the radium preparation and the flies, (F. B.) Hanson and Florence Heys (1929) varied the radiation dose in a series of experiments. Plant Life 4: 148 (1938). The effect (of the radiation treatment) is calculated in advance to appear after a couple of weeks or a month depending on the size of the radiation dose. Hospital care should then not be needed except for follow-up checks. SvD(A) 1959, no. 16, p. 3. Future passengers in the French-English supersonic plane Concorde may be exposed to dangerously high doses of radiation. There s. 1/12 1971, p. 1. —

-DOSIMETER. device for measuring radiation dose, dosimeter. DN 22/10 1974, p. 17. —

-DOSIMETRY. cf. dosimeter. BookNat. Mater. 319 (1953). —

-ENERGY. energy (see d. o. 2 b) contained in radiation l. which is transferred gm radiation. For photosynthesis, plants need the participation of the sun’s radiant energy. NF 18: 13(1894). From each light source (emitted) a part of the energy, which is supplied the same in the form of fuel or electric current as radiant energy, which propagates in wave movements. Optik 1934, p. 11. The irradiation induces mutations by absorbing the radiation energy and causing ionization in the tissues. BookNat. Life. 35(1951). Husén Psych. 27 (1954). —

-EXPERT. radiation expert; cf. beam expert. SvD(A) 21/4 1965, p. 7. —

-DANGER. danger (see danger, sbst. 1 b) for l. due to (in sht ionizing) radiation. LD 1958, No. 197, p. 3. Radiation hazard .. (ie) hazard due to ionizing and non-ionizing radiation. TNC Publ. 73: 161 (1979). —

-PHENOMENON. phenomenon (see d. o. I 1) relating to radiation l. which comes from l. arises gm radiation. Moll Phys. 2: 41 (1898). —

-FILTER. filter (see d. o. 2) that absorbs radiation within certain spectral ranges or lets through radiation with a different wavelength, radiation filter. SvUppslB (1935). —

(I 1-3) – RIVER. special (in white style) to I 1 a β: ray flow. A .. Dionysus chalice .. / Of gold and azure fused, of god wine / With undiminished radiant flood filled to the brim. Atterbom LÖ 2: 162 (1827). —

-FORM. form of radiation; cf. beam form 2. Ahlbom Strålbeh. 8 (1939). —

-RESEARCH. Edqvist Shadow. 47 (1958). —

-PHYSICS. about the part of physics that includes (properties of, and. effects of) radiation; i sht of field of physics dealing with (the properties of l. the effects of) ionizing radiation; cf. beam physics. Cancer. 224 (1930). —

-PHYSICIST. cf – physics. Edqvist Shadow. 49 (1958). —

-ABILITY. ability to radiate, radiation ability; in sht phys.; also in more l. less imagel. use Jib 1Phys. 424 (1854). Different objects have .. different radiation capabilities: shiny surfaces radiate less (of heat) than rough and uneven ones. Timberg Meteor. 30 (1908). 2NF 23: 1271 (1916; in radioactive substances). VFl. 1924, p. 21 (at radio antenna). (Freedom’s) essence was radiation — like radium. But with the difference that its radiation capacity increased instead of decreasing in strength. Hellström Malmros 306 (1931). —

-ATTEMPT. special about scientific experiments (see d. o. 1) relating to radiation. Civil engineer Wilner (among others) demonstrated .. a number of radiation experiments in atomic physics. TSvLärov. 1953, p. 108. —

-HYGIENE. (more add.) about the activity of protecting against (l. modifying) radiation damage, radiation protection; cf. radiation hygiene. DN(A) 5/9 1963, p. 13. —

-CHEMISTRY. chem. (o. phys.) on part of chemistry: the doctrine of the chemical effects on matter of high-energy radiation. TNC Publ. 36: 73 (1962). —

-CHEMICAL. chem. (o. phys.) cf. chemistry o. radiation-chemical. BonnierLex. 13: 763 (1966). —

(I 1 b the end, II 2 b) -CONSERVED, p. adj. (in trade journal) preserved (see preserve 2 end) by means of (be)irradiation; cf. ray-conserve. TT 1963, p. 677. —

(I 1 b the end, II 2 b) -CONSERVATION. (in trade journal) preservation of foodstuffs by means of irradiation (with microwaves, gamma rays, etc.); cf -preserved o. ray-preservation. LD 1958, No. 185, p. 6. —

-FORCE. power (see d. o. 1) to generate radiation, radiation power.

1) to I 1 b the end; cf. force 5 o. beam-force 1. Klint (1906). Radium, this strange substance, whose radiant power is more than a million times greater than that of uranium. 19 Yrs. V. 1: 175 (1922). NaturvForsknRådEd. 1947-48, p. 12.

2) in Fig. use (cf. ray, v. I 3): radiant power (see d. o. 2). The radiant power of Nordic folk poetry. FoF 1937, p. 3. —

-BODY. phys. body (see body, sbst.1 5) emitting radiation; cf. ray-body 1. 2NF 27: 401 (1918). —

-SOURCE. source (see d. o. 2 b) which is the origin of radiation, source of radiation. If you hold the radiometer in sunlight or in front of a lamp, the wheel turns, whereby the blackened surfaces move away from the radiation source. Bergholm Phys. 4: 132 (1925). Damage caused by ionizing radiation from a radiation source other than nuclear fuel or radioactive product in a nuclear facility. SFS 1968, p. 342. Radiation sources (ie) point-like centers of radio frequency radiation. They are also called radio sources, sometimes radio stars. Wallenquist AstrLex. (1973). —

-LAW. law (see law, sbst.1 5 a) applicable to radiation (in sht in pl.); special on heat and light radiation law; special in expression Planck’s radiation law, law established by the German M. Planck in 1900. Stefan’s l. Stefan-Boltzmann’s radiation law, law established by the Austrian J. Stefan in 1878 and theoretically derived by the Austrian L. Boltzmann in 1884. KemT 1912, p. 28. ( M. Planck’s) theoretical investigations into the radiation of bodies, culminating in his familiar radiation law. 2NF 21: 1007 (1914). The surface layers of the sun, which radiate heat, are calculated according to J. Stefan’s radiation law to have an absolute temperature of approximately 6,000°. There s. 33:3 (1921). Strömgren AstrMin. 2: 39 (1927: the so-called radiation laws). IngHb. 2: 949 (1948: Stefan-Boltzmann). 2SvUppslB 27: 999 (1953: Stefans). Wallenquist AstrLex. 165 (1973: Planck’s). —

-TEACH. (nowadays hardly br.) learn(n) (see learn, sbst. 2) about radiation l. the radiant energy; cf. law. Planck’s radiation theory. Svedberg ArbDek. 91 (1915). Several works, among which the most prominent fall within the theory of heat, especially the theory of radiation. 2NF 32: 750 (1921). 2SvUppslB (1953). —

-AMOUNT. (in sht in fackspr.) quantity (see quantity, sbst.2 1 d β) of radiation, amount of radiation. BookNat. Mater. 319 (1953). —

-MEASURING, p. adj. which measures radiation. A sensitive radiation measuring instrument. Ymer 1924, p. 14. —

-METER. meter (see d. o. 3) of radiation; special partly about meters of luminous intensity, photometers, partly about meters of ionizing radiation, radiation dosimeters; cf. beam meter. 2NF 1: 442 (1903). Radiation meter (ie) photometer. Östergren (1948). After work measurement of radioactivity. Every worker at Ringhals also wears a personal radiation meter. SvD 19/8 1976, p. 5. —

-MEASUREMENT. measurement of radiation (with reference to quantity and intensity); cf. meter and beam measurement. Ymer 1918, p. 307. The radiation measurement is done much like when you tune a radio. The atoms of each element emit “radio signals” at one or a couple of wavelengths. DN(B) 1958, No. 49, p. 13. —

-ACCIDENT. special accident (see accident, sbst. 2) caused by ionizing radiation. TNC Publ. 55: 103 (1975). —

-PLATE. technology plate (see plate, sbst.2 1 d) which transfers heat to cookware etc. (mainly) gm radiation. SvTeknUppslB 2: 427 (1939). —

-PROCESS. (in sht i fackspr.) process (see process, sbst.1 5) which radiation constitutes, process in the form of radiation. Klein Light. 196 (1925). Fly Against the Bible. 4: 72 (1935). —

-RISK. risk (see d. o. 1) of radiation; esp.: risk associated with ionizing radiation l. risk of radiation damage, radiation risk. LD 1957, No. 296, p. 11. —

– SICK. with. radiation sickness. LD 1957, No. 257, p. 11. —

-DISEASE~02 l. ~20. with. radiation sickness; also about each o. one of several different disease states caused by radiotherapy. Radiation diseases: the sum of pathological general reactions after irradiation; in the narrower sense, the action of energy-charged, ionizing rays is meant. Wernstedt (1959). —

-DAMAGE. radiation damage. Course Nuclear physics. 95 (1947). —

-DAMAGED, p. adj. radiation damaged. Edqvist Shadow. 12 (1958). —

– SCUR. phys. burst (see burst, sbst.1 1 c δ) formed gm nuclear reaction when particles in cosmic radiation fall into the atmosphere. TNC Publ. 53: 92 (1973). —

-PROTECTION. protection against radiation, radiation protection. Carell and Edelstam 27 (1916; on protective device). The plant needs radiation protection in drier premises. NatLiv 2: 193 (1930). This thing about radiation protection is so important that it overrides both your and my private interests. Edqvist Shadow. 171 (1958). TNC Publ. 43: 26 (1969). —

-PROTECTED, p. adj. radiation protected. The control devices (in the cyclotron facility in the laboratory at the Academy of Sciences’ research institute for experimental physics) are .. in an adjacent, radiation-protected room. NFMonkr. 1939, p. 575. The earth is full of bomb-proof radiation-protected document centers. Wästberg Vattensl. 150 (1968). —

-SCREEN. technology beam screen. RadioteknOrdl(Khvn) 172 (1954). —

-SPECTRUM. spectrum (see d. o. 2) of (all) radiation. The experimentally found laws for the energy distribution within the radiation spectrum. BookNat. Mater. 78 (1953). —

(I 1 b the end, II 2 b) -STERILIZATION. sterilization gm ionizing radiation; special on conservation method; cf. radiation sterilization. Radiation sterilization of food. TT 1966, p. 52. —

-STRENGTH. strength of radiation. Nyblom FantH 66 (1910). —

-SURE. if something has the ability to exclude radioactive radiation: safe from radiation; cf. radiation-safe. Edqvist Shadow. 49 (1958). —

-DECOMPOSITION~1020. chemical decomposition caused by ionizing radiation, radiolysis. Radiation decay, or radiolysis (compare electrolysis!), is of course going on all the time in a reactor — but normally the water can be easily degassed, and any significant concentrations of oxygen and hydrogen never occur. SvD 2/4 1979, p. 5. —

-TECHNICIAN. special about a person who belongs to the technical staff at a hospital department for treatment with ionizing radiation. DN(B) 1959, no. 18, p. 5. —

(I 1 b the end, II 2 b) -THERAPY. with. radiation therapy, radiotherapy. KemT 1914, p. 128. —

-PRINT. pressure exerted by (electromagnetic) radiation on a body (which is equal to the amount of energy contained in the radiation). Arrhenius World. 78 (1906). (Researchers’) questions about the balance between plasma and radiation pressure in the many millions of degrees hot plasma. DN(A) 14/9 1963, p. 11.

Ssg: radiation pressure law. PedT 1907, p. 391. —

-OVEN. (in sht in fackspr.) furnace in which heat transfer from heat generator l. heat source to the goods mainly takes place through radiation, radiation furnace. JernkA 1890, p. 24. —

(I 1 b the end, II 2) -WARM-UP. heating by radiant heat. Master builder. 1929, Gen. p. 204. Fornv. 1953, p. 117. —

-EFFECT. action of radiation, radiation action; special on the action of ionizing radiation. In order to make effective use of the radiation effect, the (atomic) bomb should explode a bit above the ground and not in the ground surface. Ahlgren Atomic War 64 (1946). BookNat. Mater. 170 (1953). —

EFFECT. effect l. consequence of radiation, radiation effect; special on the effects of ionizing radiation. DN(B) 1958, no. 118, p. 7. —
-SCIENCE~102 l. ~200. Department of radiation science, university department for teaching and research in the science of electromagnetic radiation and particle radiation. NaturvForsknRådOb. 1987, p. 258. —
-WEATHER. meteorol. in weather with clear skies (o. not too strong wind), when the temperature conditions during the day are determined by radiant heat stored in the ground layer from the sun, during the night by the cooling that occurs when the same heat is emitted by heat radiation into space. NF 17: 1529 (1893). —
-WARMER. apparatus for spreading heat or heating by means of radiation; cf. radiant heater. Master builder. 1930, Gen. p. 8. Primus radiant heater. SvD(A) 20/6 1966, p. 1. —
-HEAT. heat transferred by radiation; cf. radiant heat. SvRike I 1: 283 (1899). —
-SURFACE. (in sht in trade journal) special. surface that emits heat gm radiation; sometimes about surface heated by radiation; cf. beam surface. Heating element, Radiator .. (i.e.) a device .. which, through cam-flange tube or pleated form, has a large radiating surface at the smallest possible volume. 2NF 7: 374 (1907). IllSvOrdb. (1955). —
-INCREASE. increase in radiation; special on increase in ionizing radiation. SvD(A) 1958, No. 310, p. 3.
Deceased: STRÅLARE, r. l. m.; beast. -one; e.g. =. (i sht i fackspr.) to I 1 (II 1): object l. device that produces or. emits rays; special (techn.) partly about a heat source that conveys heat by means of radiation, partly about a device that electromagnetically generates or emits rays. TT 1941, K. p. 69. Graphic symbols Microwave technology Emitters. SEN 012766: 19 (1961). The safety risks that exist when working near electromagnetic emitters are sometimes ignored. NTeknik 1974, no. 36, p. 19. (Solarium) with individually adjustable radiators. SvD 18/2 1976, p. 17. cf: β-emitters that can emit a positively or negatively charged electron, β-particle. IngHb. 1: 143 (1953). special phys. about matter that emits radioactivity. Tritium has a peculiarity that sets it apart from all other emitters. SvD(A) 29/10 1964, p. 19.

• • •

Swedish Academy’s dictionary, SAOB, is a historical dictionary that describes Swedish written language from 1521 to the present day.

STRÅLNING, sbst., se stråla, v.

RADIATION, sbst., see ray, v.

stråla v.

STRÅLA strå3la2, v. -ade. vbalsbst. -ANDE, -NING.

Etymologi

intr.

1) motsv. STRÅLE 2: lysa starkt; spridas i strålform o. d. Swedberg Ordab. 1050(1722). (Sv.) Stråla .. (t.) strahlen. Lind (1749). — särsk.

a) motsv. STRÅLE 2 a, om (ngt uppfattat på samma sätt som) ljuskälla: (åt alla håll) utsända starkt ljus l. (åt alla håll) utsända l. sprida sina (iakttagbara l. bl. tänkta) strålar; lysa med starkt (o. ss. spritt l. utsänt uppfattat) ljus; äv.: glänsa med stark (ss. spridd l. utsänd uppfattad) glans; äv. dels om utsänt ljus: lysa starkt l. spridas starkt lysande, dels (med mer l. mindre klar konstruktionsväxling) om utrymme o. d.: vara fylld av ljus som strålar, dels opers. Solen strålar från en molnfri himmel. Stjernorna stråla / Kring det hvälfda blå. Bellman (BellmS) 1: 202 (c. 1771, 1790). Skönt i loppet strålar bäcken, / Än af silfver, än af guld. Runeberg (SVS) 1: 246 (1833). Se, på marken glittrar det och strålar: / Daggen fyller alkemillans skålar / Med en nattdryck, ädlare än vin. Tigerschiöld Dikt. 1: 43 (1888). När flickorna kom hem, strålade flirtkulans milda sken dem till mötes. Wägner Norrt. 123 (1908). Det strålar ur kaféerna (runt torget). Nyblom Golfstr. 86 (1911). Generalkonsul Rubins våning vid Sturegatan .. strålade i full belysning. Söderberg AllvLek. 187 (1912). — jfr FRAM-, IN-, NED-, UT-STRÅLA m. fl. — särsk.

α) i p. pr. i adjektivisk anv.: som strålar, starkt lysande l. glänsande (med ljus uppfattat l. tänkt ss. spritt l. utsänt resp. glans uppfattad l. tänkt ss. spridd l. utsänd); äv. allmännare (l. oeg.), om luft l. himmel o. d.: så klar o. ljus att den ger visst intryck av att stråla; äv. i överförd anv. om dag l. tidsperiod: präglad av sådan luft l. himmel. Serenius C 4 a (1734). Hvadan kom detta ljud? .. / Från den strålande luft. Thomander 3: 340 (1826). Knappast hade till slut den främmande ynglingen talat, / När med en strålande tår i sitt öga den gamle från stolen / Reste sig opp. Runeberg (SVS) 3: 126 (1836). Konungen sig gläder med alla sina män / i strålande midsommartider. Melin Prins. 10 (1885). Barnen och herdarne / följa dig gärna, / strålande stjärna! Rydberg Vap. 75 (1891); jfr Ps. 1937, 517: 4. Då nu Mose steg ned från Sinai berg .. visste han icke, att huden på hans ansikte hade blifvit strålande däraf att han hade talat med (Gud.). 2Mos. 34: 29 (öv. 1893). (Det var) en strålande oktoberdag med luften full av sval eld, en av dessa förunderliga dagar, då den gångna sommarens ljus och den kommande vinterns skärpa mötas i hög förklaring. Siwertz JoDr. 145 (1928); jfr 3. Fröjdats har han (dvs. skalden Vergilius) åt hela skapelsens fägring i strålande sommarsol såväl som i kvällstimmens domnande ro. Grimberg VärldH 4: 321 (1930). Redan så tidigt på morgonen en strålande molnlös himmel. Alldeles för strålande, inget mänskligt öga kunde stå ut. Trotzig Sjukd. 108 (1972); jfr 3. jfr GULD-, SILVER-, SOL-STRÅLANDE m. fl.

β) ss. vbalsbst. -ning, äv. konkretare, med tanke på ljuset l. ljusstrålarna; utom med bet.: handlingen att utsända urskiljbara ljusstrålar l. lysa strålformigt (o. konkretare anv. härav) samt i ssgr numera mindre br. Schultze Ordb. 5118 (c. 1755). På dem (dvs. träden i Edens lustgård) i blommornas emalj och fruktens / Mer färgrikt Solen speglade sin strålning, / Än öfver aftonskyn och regnets båga. JGOxenstierna 4: 120 (1815). Ljuset (på tavlan) utgår från det nyfödda (Jesus)barnet, men utan synbar strålning. Alla anleten upplysas af detta ljus. Bremer GVerld. 2: 99 (1860). Kring hvarje träd det står en strålning, / som dallrande och långsamt andas, / en ljusflod sakta lågande. Ekelund Syn. 48(1901). Det är alltid något manande och hotande i rymdens bleka strålning över en osynlig stad. Siwertz Sel. 1: 107 (1920). Av månens glans begöts ditt bleka änne / som vid en strålning från ett silverspänne. Kock Hemifrån 32 (1931). Taube Dröm. 12 (1953).

b) motsv. STRÅLE 2 b: (utan behov av ett medium) transporteras l. spridas rätlinjigt l. strålformigt; dels i allmänspråket, om värmespridning tänkt l. av känseln upplevd i likhet med bestrålning av solstrålar o. d., dels fys., om transport av kvanta av elektromagnetisk energi (bl. a. synligt o. osynligt ljus, radiovågor, gammastrålar o. d.) l. av partiklar i rörelse (särsk. elektroner, protoner, neutroner, heliumkärnor, joner); företrädesvis (o. fys. nästan bl.) i p. pr. i adjektivisk anv. l. (i sht) ss. vbalsbst. -ning (se slutet). Strålande avfall, (tillf.) om radioaktivt avfall från kärnkraftverk l. dyl. med joniserande strålning (se slutet). Theorien för strålande värme. Berzelius ÅrsbVetA 1825, s. 54. Värme kan .. förflytta sig från ett ställe till ett annat, utan att rummet dem emellan upptages af något annat vägbart ämne. Det säges då stråla; och på detta sätt sker t. ex. värmets meddelning från solen till jorden. Fock 1Fys. 394 (1854). KemT 1908, s. 158 (: den strålande materien). Det existerar en relation mellan en stjärnas spektrum och den ljusstyrka, med vilken en viss del av stjärnans yta strålar. Strömgren AstrMin. 2: 39 (1927). Bolin KemVerkst. 47 (1942). — jfr IN-, UT-STRÅLA m. fl. — särsk. ss. vbalsbst. -ning, i sht (fys.): rätlinjig l. strålformig

transport (utan behov av medium) av kvanta av elektromagnetisk energi (synligt o. osynligt ljus, radiovågor, gammastrålar, röntgenljus) l. av partiklar i rörelse (särsk. elektroner, protoner, neutroner, heliumkärnor); äv. om transport av energikvanta l. partiklar, åstadkommen medelst acceleratorer i laboratorier (ofta svårt att skilja från II 2 b); ofta konkretare, med tanke på den transporterade energin osv. Elektromagnetisk strålning. Joniserande strålning, strålning av partiklar (t. ex. elektroner, protoner, neutroner, alfapartiklar) o. viss elektromagnetisk strålning (näml. gamma- o. röntgenstrålning), som producerar joner vid passagen genom media. Radioaktiv strålning, (numera bl. i ä. fackspr. l. i icke fackmässigt spr.) strålning till följd av radioaktivt sönderfall, strålning från radioaktiva ämnen, joniserande strålning. Infraröd strålning eller värmestrålning. I ett elektromagnetiskt spektrum är strålningen ordnad efter våglängd. Wikström ÅrsbVetA 1845—48, s. 730. Denna värmets strålning följer hufvudsakligen samma lagar, som de, hvilka gälla för ljusets motsvarande fortplantningssätt. Fock 1Fys. 394 (1854). Nämnas (bör), att sedan Michelson genomfört en omfattande undersökning af den inre strukturen hos en mängd spektrallinier från olika ljuskällor, han i metallen kadmiums spektrum .. påträffade tre strålningar, en röd, en grön och en blå af stor homogenitet. VetAÅb. 1908, s. 217. Instrument för mätningar av solens och himlens strålning och för medikoklimatiska undersökningar. UNT 20/11 1929, s. 1. Det radioaktiva ämnet yttrium har visat sig utsända γ-strålar .. med en intensitet av 2 Mev, en strålning som sålunda i effekt vida överträffar verkan av strålningen från vanliga röntgenrör. TT 1941, Allm. s. 442. I fotometrin, läran om ljusmätning, intresserar oss endast den del av strålningen, som ger en ljusförnimmelse. Bergholm Fys. 4: 45 (1957). Radiokälla .. (dvs.) ett nästan punktformigt centrum för radiofrekvent strålning. Wallenquist AstrLex. 177 (1973). jfr ENERGI-, K-, KATOD-,KORPUSKULAR-, LJUS-, RADIO-, RADIUM-, RESONANS-, RÖNTGEN-, SEKUNDÄR-, SOL-,UT-, VÄRME-STRÅLNING m. fl.; särsk. i uttr. kosmisk strålning, strålning från l. i kosmos (se KOSMISK 2 b).

2) i fråga om vissa fall av glans som inte är att jämföra med det direkta ljuset från en ljuskälla samt i oeg. l. bildl. anv. som ansluter sig härtill (jfr 3); ofta i p. pr. i adjektivisk anv. (jfr 1 a α).

a) om ögon l. blick: (i sht av glädje l. hänförelse l. kärlek) lysa med l. utsända en stark glans, lysa l. glänsa starkt; jfr 3. Der flyga lockar bruna, / der stråla ögon blå. Tegnér (TegnS) 4: 78 (1824). Fru Gertruds ögon tårades, Annchens strålade af innerligt deltagande. Scholander I. 2: 157 (c. 1870). Men, har mitt öga ej sin första strålning qvar, / Bor der en gnista dock väl än från vårens dar? Bäckström Lej. 13 (1875). (Farfar) blickade med en lång, vid och strålande blick ut genom fönstret, där Åsnen glittrade mellan alarna, men i själva verket mycket längre bort, in i det förgångna, eller kanske oändligt långt framåt, in i evigheten. Arv 1945, s. 20. — jfr GLÄDJE-, LYCKO-, SEGER-STRÅLANDE. — särsk.

α) (†) motsv. STRÅLE 2 c α: se tvärs igenom (ngt); i ssgn GENOM-STRÅLA.

β) med subj. betecknande positiv känsla l. egenskap o. d. som ngns blick vittnar l. tycks vittna om l. uttrycka; förr äv. om det förgörande i basiliskens blick: utströmma l. utskjuta l. dyl. Wil man inwenda at dhet icke är möyeligit at see een Baselisk, uthan man icke skal giöra sigh saker at döö, så kan dhet wäl wara, at man ey fåår komma honom alt förnär, doch lärer hans strålande Förgifft icke sträckia sigh in infinitum eller oändeligen långt. RelCur. 256 (1682). Kärlek och glädje strålade ur deras ögon, så att rummet tycktes bli ljust deraf. Bremer Pres. 236 (1834). Bifall strålade ur hvarje blick. Oscar II I. 1: 51(1858, 1885). jfr FRAM-STRÅLA.

b) om (person med tanke på) ansikte: lysa l. skina starkt (av glädje l. hänförelse l. kärlek l. ungdom o. hälsa o. d.); äv. om leende (l. nick o. d.): ges med ett strålande ansikte (se ovan); äv. (i sht i vitter stil) med subj. betecknande känsla l. egenskap l. hälsa o. d., i uttr. ngt strålar från ngn, äv. i l. över ngns ansikte l. ansiktsdrag o. d., liktydigt med: ngns ansikte osv. utstrålar ngt (jfr II 1 b) resp. har en strålglans som vittnar om l. härrör från ngt. Brudens ansikte strålade av glädje och lycka. Hon strålade av ungdom och hälsa. Hon gav henne ett strålande leende. Med strålande och förväntansfulla ansikten såg barnen på jultomten. Hänförelsen strålade från hans anletsdrag. Mannen gick bort, strålande af glädje. Leopold 3: 510 (1792, 1816). Ofrivilliga leenden började stråla öfver hennes ansigte i kapp med diamanterna. Bremer Pres. 363 (1834). Prostinnan gaf sig bara tid att som hastigast nicka tre strålande nickar emot (sonen). Almqvist TreFr. 2: 129 (1842). Då strålade alla de goda känslor, som annars mest ligga gömda i hjertat, kärlek, tacksamhet, lycka och stolthet, i hennes lifliga ansigte. Backman Reuter Lifv. 1: 59 (1870). Den gamla Carlamodren (dvs. änkedrottning Hedvig Eleonora) / I tårar strålar blid (vid underrättelsen om segern vid Helsingborg 1710). Snoilsky 2: 66 (1881). Inom kort blef trumslagaren som en ny människa. Hälsa, glädje och käckhet strålade från han ansikte. LbFolksk. 31 (1890). Kanske var hon inte så påfallande vacker .. men hon såg frisk och strålande ut, snäll och sorglös och glad. Lindström Vindsröjn. 99 (1939). I lampskenet strålade hans ansikte av mildhet och en sorts enfaldig glädje. Martinson ArméHor. 137 (1942). Combüchen Byron 475 (1988). — jfr GLÄDJE-, LYCKO-, SEGER-STRÅLANDE.

c) i fråga om färgprakt: (liksom) lysa starkt o. intensivt (likt en strålande ljuskälla). Gumsen på ängen fröjdas beklädd med purpurens rodnad, / Eller hans flockiga rygg omskimras af strålande saffran. Adlerbeth Buc. 25 (1807). Nu, stråla blomsterprydt o land. Runeberg 5: 61 (1860). Sju färger hon har på sitt glänsande hår, / Och af rödfärg små läpparne stråla. AOlsson (c. 1895) hos Skarstedt Pennfäkt. 136. Madonnan strålade (i skenet från vaxljusen) som en teaterdrottning, i rödt, blått och guld. Söderberg MBirck 20(1901). Vävda tapeter, som strålade av färger. Lagerlöf Holg. 1: 159 (1906). Strålande röda, starkt doftande (kaktus)blommor. SvD(A) 29/8 1920, Söndagsbil. s. 4. Hösten brann och strålade runtomkring, en asp skälvde med alla sina guldslantslöv, en ung alm glödde mörkröd. Clayhills Vi 20 (1938). — jfr FÄRG-, REGNBÅGS-STRÅLANDE.

3) i mer l. mindre bildl. anv. av 1 a (o. b); jfr 2 a, b; särsk. dels (i fråga om himmelskt väsen o. dyl. l. i fråga om skönhet l. prakt l. i fråga om ära l. berömmelse l. egenskapen att vara framstående o. d.): lysa l. glänsa (på ett sätt som för tanken till strålande ljuskälla), prunka, dels (i fråga om gudomlighet, andlighet, sanning, glädje o. d.): ”utströmma” l. utgå (o. ”träffa” l. ”möta” åskådaren resp. läsaren osv.) likt utstrålat ljus o. d.; äv. om smärta (se c); äv. i p. pr. i adjektivisk anv. (jfr 1 a α). Det höga, prålande, lysande och strålande Fransöska ordalaget. Ehrenadler Tel. Föret. 3 a (1723); jfr 4. När du (dvs. G. F. Gyllenborg) Lifvets Nöjen målar, / Man snart sit qval ej mera mins; / Och från din vers den skönhet strålar, / Som sällan i naturen fins. Kellgren (SVS) 2: 105 (1781, 1796). Rätt i ångan där / I Träskets dunkla ånga .. / Där strålar Sumpets Genius: / Du! platthets Aristophanes! Thorild (SVS) 1: 113 (1784). Sanning skall ur stycket (dvs. ur en målande framställning) stråla. Bellman (BellmS) 10: 68 (1787). Bland de akademiskt lärda damerna (i Uppsala i mitten av 1800-talet) strålade ljusast Thecla Knös, hvilken .. ansågs fullt kompetent att promoveras till filosofie magister. Hellberg Samtida 1: 58 (1870). I minnets verld, / .. ditt namn skall stråla med ärans prakt! Rydberg Dikt. 1: 63 (1876, 1882). Under det århundrade, som gick före det assyriska väldets fall, strålar det i sin klaraste glans. Väldige eröfrare föra dess vapen vida; alla närboende folk måste böja sig under oket. Svensén Jord. 159 (1885). Han återfann sig själf .. han strålade icke längre utåt utan koncentrerades. Strindberg Fagerv. 206 (1902). Barn- och ungdomsskaran, för vilken julen väl alltid strålar i skimrande glans. MinnGPrästgSkara 216 (1928). I själva centrum (av staden) strålar Riltunas stolthet, modefirmans jättefönster. Boye Ast. 32 (1931). Han hade syner, inga strålande uppenbarelser som han längtade efter utan snarare bara glimtar av det mest förbjudna. Johnson DrömRosEld 55 (1949). — jfr FRAM-, IN-, NED-, SAMMAN-,ÅTER-STRÅLA m. fl. — särsk.

a) i fråga om ngns påverkan på omgivningen med sin personlighet l. sina personliga egenskaper; i sht i ssgn UT-STRÅLNING, i sht förr äv. ss. enkelt vbalsbst. -ning, utstrålning; stundom äv. med egenskap o. d. ss. subj. Hon har i sitt utseende mycket af den inre skönhet och strålning, som jag sätter högt öfver den blott yttre och mera vanliga hos unga ansigten här. Bremer NVerld. 2: 416 (1853). Aldrig har jag i ett menniskoansigte funnit en sådan strålning som den, hvilken mötte oss ur vår skyddslings blick och leende. Bäckström Sång. 150 (1876). Man behöfver blott kasta en blick på .. (ett visst porträtt) för att frapperas af det osympatiska drag, som strålar ur hela denna plussiga, pösande, knarriga, egenkära och själfviska fysionomi. Söderhjelm Runebg 1: 67 (1904). ”Strålning” är ett nyckelbegrepp hos (Emilia Fogelklou). SvLittTidskr. 1973, nr 3, s. 38. — jfr UT-STRÅLNING.

b) (numera föga br.) i uttr. stråla ngn i ögonen l. stråla mot ngn, (häftigt l. chockartat) lysa ngn i ögonen (se LYSA, v.2 6 a). Om andras fullkomligheter äro så uppenbare, at de stråla honom (dvs. den högmodige) i ögonen; så afundas han, och söker at förklena dem. Nohrborg 171 (c. 1765). Han hade med oro och förundran öppnat papperet; men då bankosedlarne strålade mot honom, släppte han dem bestört i golfvet. Carlén Klein 15 (1838).

c) om smärta; i sht i den särsk. förb. STRÅLA UT. En, långsåt någon nervgren .. strålande eller skärande smärta. TLäk. 1833, s. 276.

4) [utvecklat ur 1 a α o. 2, 3] i p. pr. med förstärkande bet.: utomordentlig, ypperlig, fantastisk, lysande; äv. med bevarad bibet. av 1 a l. 2, särsk. (om glädje, ungdom): sprittande l. sprudlande; äv. med adverbiell anv. Strålande aptit, humör, resultat. Strålande primadonna. Strålande skönhet; jfr 2 b. Han är en strålande konversatör. Teaterpjäsen går strålande. (Han) förkunnar med en strålande glädje, att skeppet följande dagen skulle afsegla. Palmblad Nov. 2: 243 (1819, 1841); jfr 3. Carlén Köpm. 2: 369 (1860: strålande förhoppningar). Alltid lika strålande vacker. Jolin Smädeskr. 98 (1863). En odlad fläck af verkligt strålande grönska. Samtiden 1873, s. 150. Hvilken strålande, orimligt / obeskrifligt vacker dag! Fröding Guit. 17(1891); jfr 1 a α. Esther hade icke sett honom på ett så strålande gott humör förut. Hammenhög EoA 185(1930). (Man fick) icke tro, att terminsbetyget skulle bli så där strålande, ty (osv.). ÅbSvUndH 59: 124(1940). Skuldlös, ljus, strålande ung, skänker hon tröst och lisa åt hemlösa hjärtan. Böök i 3SAH LIV. 2: 127(1943); jfr 2 b. UrDNHist. 3: 62 (1954; om humör). (Vi) inriktade oss (vid Köpenhamnsbesöket) .. på endast sevärdheter med gratis entré .. och svalt oss fram .. Vi klarade det, men aptiten var mer än strålande, när vi återinträdde på studenthemmet. LundagKron. 3: 276 (1955).

5) motsv. STRÅLE 3 b: radiärt l. strålformigt l. i form av strålar (l. en stråle) utgå (från ngt); äv. (med pluralt subj.) mötas i sin rätlinjiga (konvergerande) sträckning (i sht i särsk. förb. l. motsv. ssgr); äv. i bildl. anv. (om person) samt i utvidgad anv. i fråga om (rätlinjig) förflyttning l. dyl. i de särsk. förb. STRÅLA IHOP, STRÅLA SAMMAN,STRÅLA UT. Hiärne Berghl. 447 (1687). Arter af Marantaceæ, af hvilka somliga hade breda, glänsande blad, med långa bladstjelkar, som strålade från leder på en rörlik stam. Lindström Bates 29 (1872). De långa, svarta ögonhåren strålade som radier från pupillerna. Lundegård Tannh. 1: 112 (1895). Ramström CorpStriat. 45(1912). — jfr SAMMAN-, UT-STRÅLA.

6) (numera mindre br.) motsv. STRÅLE 5: spruta l. rinna (ut l. fram) i en stråle l. strålar. Framför boningshusets af slingerwäxter omslutna veranda är .. anordnad en strålande wattenkonst. LfF 1889, s. 186.

II. tr.

1) stråla (i bet. I 1) o. utsända l. transportera (ngt).

a) (i sht i vitter stil) motsv. I 1 a: stråla (i bet. I 1 a) o. utsända l. sprida (solljus, ljus o. d.); låta l. få (ngt) att stråla (på ngt l. ngn); särsk. i p. pf. Ljusets prakt på (fjärils)vingen strålad, / Lifvets fröjd för ögat målad. Atterbom LÖ 1: 303 (1824). Guldskyar i luften / Summo och strålade ljus mot jorden. Runeberg (SVS) 3: 132 (1836). Under lampan placerade han mikroskopet .. djuploden och pejlstockarna, hvilkas fernissade mässing strålade ett varmt solgult ljus omkring sig. Strindberg Hafsb. 32(1890). (Språket i K. G. Ossiannilssons böcker) klargör tingen genom att stråla solsken över dem. Hedén 4: 293(1909). — jfr FRAM-, IN-, NED-, UT-STRÅLA m. fl. o. SOL-STRÅLAD.

b) i mer l. mindre oeg. l. bildl. anv. av a l. motsv. I 2 a, b, 3. Snillets verk, som gudom stråla. Lidner (SVS) 3: 296 (1792). Mångfaldig lager / Beskuggar hans lockiga hjessa / Och blickarne stråla hans själ. Stagnelius (SVS) 1: 35 (1814). Den femtonde af mina vårar strödde / Med fagra blomster Fyris ängar re’n, / Och Solen strålade i själen glädje. Därs. 4: 88 (c. 1818). Jag känner hatet som en iskällare när den strålar köld. Strindberg Dam. 113 (1898). Ville man se ett öga som ännu kunde spegla den blå himmelen och stråla förnuft, fick man gå ner till djuren. Dens. Fagerv. 42 (1902). Hur mycket smärtsamt och lyckligt blöder ej upp i mitt väsen vid det Arkadien af sinnets vackra harmoni, som denna bok (dvs. ”Friska sorgens källa” av I. Conradson) strålar från hvarje sida. VEkelund i LD 20/3 1907, s. 3. De sneda ögonen, som strålade skälmskhet under sina fint penslade bryn. Mörne Elef. 43 (1931). — jfr FRAM-, GEN-, IN-STRÅLA m. fl. — särsk. med anslutning till STRÅLE 3 b; jfr BESTRÅLA 2. Violen, klädd i guld, med purpurns ränder strålad. JGOxenstierna 2: 121 (1796, 1806).

c) motsv. I 1 b: strålformigt utsända l. sprida (ngt), utstråla; särsk. med avs. på värme; i sht i den särsk. förb. STRÅLA UT o. i ssgn UT-STRÅLA. Radiatorn strålar värme.

2) stråla (i bet. I 1) på (ngt l. ngn), bestråla. — jfr BE-STRÅLA, BE-STRÅLNING.

a) (i sht i vitter stil, numera mindre br.) motsv. I 1 a; äv. i oeg. l. bildl. anv. (jfr I 3). Då flög i vidan Verd en herlig Ähr-Gudinna, / De Himlars ögnelust ok Hieltars älskarinna .. / Den gylne Carlevagn af hennes strimor stråltes. SColumbus Vitt. 86 (c. 1678). Jord, som strålats av sommarsol, / när du (dvs. regnet) med vattnets flöde. Wiedersheim-Paul Dikt. 40 (1918).

b) fys. o. med. med avs. på person l. sak: göra till föremål för l. utsätta för l. behandla medelst strålning (i sht röntgenstrålning l. annan joniserande strålning), bestråla; särsk. ss. vbalsbst. -ning (jfr I 1 b slutet). Harlock (1944). Strålningen ersätter inte kylan som konserveringsmetod, men i kombination med kylan kan den fördubbla eller tom fyrdubbla den möjliga lagringstiden. DN(A) 10/9 1963, s. 14. Strålning används för en mycket lång rad sjukdomar, skador och kontroller. BtRiksdP 1969, 11: nr 20, s. 1. Strålad mat inte farligare än kokt. SDS 15/6 1983, s. 1. Efter tre behandlingar fick Tage Eriksson remiss till Regionsjukhuset i Umeå. — Du ska strålas, sade läkarna. PiteåT 2/12 1985, s. 6. Man kan stråla mat för att döda bakterier och mikroorganismer med Cobolt 60 eller Cesium 137. SvD 4/9 1986, s. 24. GbgP 18/4 1989, s. 2.

Särsk. förb.: STRÅLA AN. (†) till II 1 a: stråla på l. bestråla; anträffat bl. i bildl. anv. (jfr stråla, v. I 3 (o. II 2 a)). I Himlar, som vår Nord med edre Lius bestrålen / .. I strålen ok-så mig i detta Sinnet ann, / At jag min värde Prins omqväda värdigt kann. SColumbus Vitt. 85 (c. 1678). —

STRÅLA FRAM10 4. jfr framstråla.

1) till I 1 a; särsk. om solen: strålande framlysa l. komma till synes, stundom närmande sig bet.: hastigt visa sig; äv. allmännare, i fråga om glans l. ljushet: (plötsligt) visa sig med sin klara glans l. sitt klara ljus l. ss. klar ljus öppning l. dyl. Serenius Yy 3 a (1734). Solen strålar fram emellan målnen. Schultze Ordb. 5118 (c. 1755). Genom den öppnade dörren såg hon ut i grönskan, mot björkarna där den blå himlen strålade fram mellan löfverket. Ottelin BSorl. 126 (1904). Här, öfver detta Tsushima, har Japans sol strålat fram i sin fulla middagshöjd. Nyblom Österut 144 (1908). Om inte utsikter över högfjällen strålade fram i gläntorna, skulle hedbjörkskogarna med sin fattigdom på både fåglar och blommor vara rätt tröstlösa. Selander LevLandsk. 112 (1955).

2) i oeg. l. mer l. mindre bildl. anv.; jfr stråla, v. I 3. Våra innersta motiv stråla fram genom våra handlingar. Tenow Solidar 1: 154 (1905). Denna schellingska diktarfilosofi, som lärde att alltets gudomliga själ strålar fram i färg, tonar ut i musik. Vetterlund Skissbl. 23 (1908, 1914). (Stagnelius har i en av sina elegier) en drömsyn, vari han förflyttas till Eden .. skaldens bild strålade fram i sin urglans från källan. Nilsson SvRom. 335 (1916). I outgrundlighetens schakt / Än gömd hans tanke är, / Men strålar fram en gång med makt / Som solen klar och skär. Ps. 1937, 366: 2. —

STRÅLA IHOP10 04, äv. TILLHOPA040 l. 032, äv. HOP4. särsk. (ngt vard.) till I 5: stråla samman. Signalementet tycks stämma på pricken. Så vi (dvs. polis o. detektiv) strålar ihop och mycket riktigt, det är samma kille. Edlund Chandler EneDöd 93 (1952). Du var så nere .. och Malla var lika nere hon .. och det var därför ni strålade ihop och söp ihop. Trenter Spring. 173 (1958). —

STRÅLA IN10 4. jfr instråla. särsk.

1) till I 1 a: lysa l. skina in med sina strålar l. sitt strålande ljus, sända in (sina) strålar (l. en stråle). Solen strålade in genom den öppnade dörren. Östergren 3: 736 (1929). Dagsljuset strålar in i rummet. SvHandordb. (1966).

2) till I 5: sträcka sig l. gå in mot (ngt) som är l. ses som en medelpunkt. Den medeltida stadens oregelbundna men smidiga stadsplan med huvudgatorna strålande in mot torget. SvGeogrÅb. 1931, s. 25.

3) till II 1 c: gm strålning förmedla l. överföra värme l. ljus. Temperaturbetingelsen för lif på en planet upprätthålles .. endast därigenom, att å ena sidan värme och ljus strålas in i tillräcklig mängd från dess sol och å andra sidan en ständig lika stark utstrålning i världsrymden äger rum. Arrhenius Värld. 35 (1906).

4) (mera tillf.) i bildl. anv. av 3; jfr stråla, v. II 1 b. (Två nyförlovade), strålande in i hvarandra i kärlek hvad djupast och störst de äga innom sig. Bremer Brev 3: 322 (1853). —

STRÅLA NED10 4, äv. NEDER40 l. NER4. jfr nedstråla.

1) till I 1: kasta strålar nedåt (o. på det sättet komma ner l. tränga ner). Stagnelius (SVS) 2: 57 (c. 1820).

2) till I 2 b, om person: strålande blicka ner l. kasta strålande blickar l. leenden l. dyl. neråt. Du, som från Parnassens topp / Med högtidsblossen strålar ned, / Glad bland delphiska qvinnors ras, / Orgiers prest, Dionysos! Thomander 3: 270 (1826).

3) (numera bl. i vitter stil) till II 1 b: nedbringa ngt (till ngn l. över ngn). Solen stod röd och förfärande och .. tycktes dröja i sin bana för att stråla ned ofärd öfver marken. Engström Lif 96 (1907). —

STRÅLA SAMMAN10 32 l. 40, l. TILLSAMMAN(S)040, äv. 032. jfr sammanstråla. till I 5, om raka linjer som möts i en punkt; jfr stråla in 2. särsk., i oeg. l. överförd l. mer l. mindre bildl. anv., dels om vägar o. stigar o. d., dels om intressen l. idéer o. d.; äv. om personer som från skilda håll kommer samman på bestämd tid o. plats för att mötas l. som möts tillfälligt o. av en händelse; jfr stråla ihop. På ett ställe (i staden Groningen), där flera kanaler från skilda väderstreck stråla samman i ett bredare bäcken, ligga de bukiga båtarna så tätt som husen i ett kvarter. Holmström ResHoll. 92 (1915). Kärnpunkten, där alla hans intressen strålade samman. Segerstedt Händ. 354 (1926). Alla Böhmens farleder och vägar stråla samman i Prag. Bolinder FolkEur. 13 (1928). Vi strålade samman i tidningsrummen på Atheneum. Böök Ranns. 157 (1953). En dag när jaktsällskapet strålat samman, blev det uppenbart att (osv.). SDS 1957, nr 286, s. 22. —

STRÅLA TILL10 4.

1) till I 1 a: plötsligt, för ett kort ögonblick, stråla med kraftigare ljus än vanligt. Ibland lättar det och solen strålar till en stund. SvHandordb. (1966).

2) till I 2 a o. b, om ögon l. blick l. ansiktsuttryck o. d.: plötsligt för ett kort ögonblick lysa upp o. ”stråla”. Hans ögon strålade till, ”det finns icke .. mera än en sådan mor som min”. Roos Son 79 (1904). Hans ansikte strålade till, som om en flod af ljus fallit däröfver. Därs. 203. (Han) strålade till, hoppet log emot honom. Rönnberg Brovakt. 131 (1904). ”Ja, det var en sak!” lät Jonke, strålande till av uppsluppenhet. Högberg Storf. 14 (1915). —

STRÅLA TILLHOPA, se stråla ihop. —

STRÅLA TILLSAMMAN(S), se stråla samman. —

STRÅLA UPP10 4.

1) till I 1: sprida sig i strålform gm att stiga uppåt o. utåt. Af det värme, som vid förbränningen utvecklas, antager Peclet, att hälften strålar upp mot eldstadens tak och sidor. Frykholm Ångm. 75(1881). Det går som en guldröd dis från solbranden, strålande upp öfver himmelen och ut öfver jorden. Rosenius Naturst. 97 (1897). Värmet strålar upp mot det kupolformade valvet och de övriga väggytorna. TT 1927, Allm. s. 201.

2) i bildl. anv. av 1; jfr stråla, v. I 3. (Halsbandet) lyssnar tyst .. / På jungfrubarmens fromma andedrag, / Och räknar, huru tätt från bröst till öga / Dess tankar stråla upp i ljusblå dag. Atterbom Lyr. 3: 249(1826).

3) till I 2 a, b, om blick l. ansiktsuttryck o. dyl. l. om person: plötsligt bli ljus o. vacker o. få nytt liv o. ge uttryck åt glädje l. lycka l. kärlek o. d.; äv. om humör l. lynne som plötsligt förbättras. Benedictsson Peng. 288 (1885). Deras blickar möttes. Hur de bruna ögonen vidgades och strålade upp! Dens. FruM 283 (1887). (Tavaststjernas) anlete strålade upp (vid meddelandet om att hans hustru var på väg till hans sjukbädd): det var den sista stora glädjeskymten i hans lif. Söderhjelm Tavaststj. 316 (1900). När det nu ändtligen kom en solskensdag, så strålade med ens alla lynnen upp. Ödman Reseb. 1 (1907). Hur strålade han inte upp, när servitrisen självmant kom med (den rätta punschsorten). Henning HbgMinn. 1: 14 (1950).

4) till I 3, om stad som blir ljus o. vacker o. prunkande. Den gamla militärstaden (Turin) strålar .. (om våren) upp, prydd af sina plataner, omgifven af sina alpers stora amfiteater. PT 1898, nr 185, s. 3.

5) (numera bl. i vitter stil) till II 1: (plötsligt) ge starkt ljus åt ngt; äv. i oeg. l. mer l. mindre bildl. anv.; jfr II 2. Stråla upp andras mörker. ST(A) 12/11 1900, s. 4. Månen strålar upp de stora tennfaten och kopparbunkarna som dinglar på väggen. Martinson Kvinn. 212 (1933). —

STRÅLA UT10 4.

I. intr.

1) till I 1: sprida sig utåt.

a) till I 1 a, särsk. om ljus. Det är så ljusets natur: det vill stråla ut åt alla håll. Wikner Pred. 436(1881).

b) till I 1 b, särsk. om värme. NordT 1896, s. 121. Deras kroppars värme strålade ut och flöt omkring dem genom de tunna sommarkläderna. Beijer BritaGrossh. 91 (1940). Bolin KemVerkst. 46 (1942).

2) till I 3, om ngt abstrakt: strömma ut, sprida sig ut åt olika håll. Man är (i Edinburgh) besparad den pinande, fattig-gentila förstadsarkitekturen, som strålar ut många mil in i landskapet från Londons .. utkanter. Steffen BrittStröft. 316 (1895). Genom den (dvs. skådespelerskan B. Nansens blick) strålar ut en natur, hvars hela väsen är tjusning. Söderhjelm Upps. 68 (1906). Det tycktes stråla ut idel sympati från den gamla damen med korkskrufslockarna. Fahlcrantz Kyrkoh. 293 (1907). särsk. till I 3 c, om smärta. Om man har t. ex. en skadad tand, så kan värken, som börjar i denna tand, stråla ut, så att det värker i hela käken, detta är reflex. Wretlind Läk. 3: 143 (1895). (Smärtan) strålar ut i ryggen eller skuldran. Jacobæus HjärtBlodSj. 134 (1935).

3) till I 5, om linjer l. gator l. vägar o. d.: (rätlinjigt) utgå från en enda punkt; äv. i utvidgad anv., i fråga om (folkgrupps) förflyttning o. d.; jfr stråla ihop, stråla in 2, stråla samman. De många smärre järnvägar, som från hufvudstaden (Wien) stråla ut till rikets olika delar. Torpson Eur. 2: 45 (1896). Hedin Pol 2: 455 (1911; om fartygslinjer). Från sina urhem stråla de (dvs. människorna) ut till de olika världsdelarna samt utvecklas till våra dagars .. människoraser. Därs. 588. Arbetsskaran rörde sig i led som strålade ut över mossen där den färska torven transporterades bort. Lundkvist FlodHav. 52(1934). Den smala kammen ovanför Iao-dalens nordsida (på ön Maui) och ryggarna mellan de raviner, som från denna stråla ut mot NV, äro delvis täckta av öppen myr utan träd- eller högre buskvegetation. Ymer 1940, s. 7.

II. (i sht i vitter stil) tr.: sprida ut (ngt), sända ut (ngt).

1) till II 1 a, c, med avs. på ljusglans l. värme. Himlen strålade ut en aldrig tillförne skådad glans. Atterbom Minnest. 2: 268 (1842). En kamin strålar ut värme öfver rummet. Almquist Häls. 453 (1896).

2) till II 1 b. Den glada oskuldsfulla blicken (hos ett barn) .. strålar ut sitt eget vårljus i rymden. Geijer Minn. 2 (1834). Den kyliga doften af jorden har trots sin friskhet något af detsamma som ett lik strålar ut, en mystisk kyla. Engström Äfv. 102 (1908). Hans svarta ögon strålade ut erotik. Dens. Bläck 126 (1914). Mattrött och mattgrönt djupnar inslaget mot det matta guldet och strålar ut en varm våg i den första höstkylan. Boye Ast. 22 (1931). Ansiktet strålade ut en tändande energi. Beijer BritaGrossh. 80 (1940). En ren lycka, en sann lycka .. den har en märklig förmåga att stråla ut värme, ljus och vänlighet. Hedberg DockDans. 222 (1955). särsk. om färg. En blomma, som dricker solljuset och strålar ut sin färg i den dallrande luften. Segerstedt Händ. 21 (1922, 1926).

Ssgr [i allm. med motsvarigheter (l. förebilder) i t. (i sht strahl- resp. strahlen o. strahlung-)]: A (i allm. till I 1 b, i sht fys. o. med. l. tekn. Anm. Flertalet av de ssgr som förts till I 1 b kan alternativt, men åtm. för nutida språkkänsla mindre naturligt, uppfattas ss. sammansatta med stråle; jfr de under d. o. anförda ssgrna): STRÅL-APPARAT. apparat (se d. o. 3 a) för utsändande av strålar l. för strålning; jfr -apparatur. särsk.

a) (†) till I 1 b. Helsov. 1893, s. 140. En grupp terapeutiska hjälpmedel, som i stor utsträckning utreklameras med medicinska utläggningar .. äro de elektriska — särskilt strålapparater, men även värmebehandlingsapparater. SvLäkT 1935, s. 1307.

b) till I 6. Allt arbete uträttadt med dylika strålapparater (med ångstrålar), kan hänföras under rubriken af arbete, utfördt genom den kontinuerliga verkan af kombinerad massa och hastighet. TT 1875, s. 231. Strålapparater för tryckluft eller ånga. JernkA 1894, s. 321. —

-APPARATUR. jfr -apparat o. strålnings-apparatur. LD 1959, nr 280, s. 1. —

(I 1 b, II 2 b) -BEHANDLA. i sht med. behandla (se d. o. 5 e) (ngt l. ngn) med (joniserande) strålning, göra (ngn l. ngt) till föremål för strålbehandling. Auerbach Tillägg (1918). —

(I 1 b, II 2 b) -BEHANDLING. i sht med. behandling (se d. o. 2 e) av (kroppsdel l. person som har) elakartad tumör med joniserande strålning, strålterapi. 2NF 24: 169(1916). —

-BIOLOGI. strålningsbiologi. Ahlbom Strålbeh. 8 (1939). —

-BIOLOGISK. biol. strålningsbiologisk. NordMed. 1964, s. 1452. —

-BLANK. (i sht i vitter stil) så blank (se blank, adj. 3) att den resp. det strålar, strålande blank. Stjernfadern kom, med strålblankt svärd. Atterbom LÖ 2: 151 (1827). Och utan vågor lugnt och strålblankt hvilar / framför oss hafvet, lyst af månens bloss. Risberg Dikt. 69 (1893). —

-DOS. fys. o. med. strålningsdos. Kräftsjukd. 189 (1930). Skyddsanordningar skall .. vara så beskaffade, att arbetstagaren normalt icke utsättes för stråldoser överstigande den storlek, som av strålskyddsmyndigheten kan medgivas. Motion i 2 kam. 1958, nr 142, s. 10. Jonmängden kan mätas på elektrisk väg, och härigenom fås ett mått på strålmängden, stråldosen. Dædalus 1960, s. 85. TNCPubl. 36: 72 (1962).

Ssg: stråldos-mätning. NordMed. 1959, s. 944. —

-EXPERT. strålningsexpert. SvD(A) 1963, nr 305, s. 10 (rubrik). —

-FYSIK. strålningsfysik. Ahlbom Strålbeh. 110 (1939). —

-FÖRMÅGA. i sht fys. strålningsförmåga. Selander ÅrsbVetA 1837—41, s. 31. —

-HYGIEN. (föga br.) strålningshygien. Statens råd för strålhygien. DN(B) 1958, nr 23, s. 7. —

-KAMIN. kamin (se d. o. 2) som sprider värme gm strålning från ett elektriskt uppvärmt värmeelement. KatalInstallAsea 1931, s. 233.

Ssg: strålkamin-element. element (se d. o. 5 b) i l. för strålkamin. KatalInstallAsea 1931, s. 233. —

-KEMISK. strålningskemisk. TNCPubl. 55: 110 (1975). —

(I 1 b, II 2 b) -KIRURGI. med. kirurgi, i sht neurokirurgi, där behandling sker gm att strålar, l. ett stort antal smala strålknippen, riktas mot begränsat mål, vanl. tumör i hjärnans centrala delar. Expressen 8/5 1962, s. 6. —

(I 1 b, II 2 b) -KIRURGISK. med. som hör till l. avser strålkirurgi. SvD(A) 9/3 1964, s. 8. —

(I 1 a, 2 a, b) -KLAR. (i vitter stil) strålande klar l. klar som ljusstrålar l. strålande ljus; äv. i bildl. anv. (jfr stråla, v. 3). Sällan dock hans anlet mera strålklart / Återglänste friden i hans sinne. Atterbom SDikt. 1: 116 (1837). Lyssnen / Alfer, som sväfven i / strålklara luften! Lönnberg Ragnf. 121(1873). Förgäfves tänkte jag vår kärlek bygga, / ett strålklart minne på parnassens berg. Josephson SvRos. 67(1888). Hennes kinder började återfå sin rundning och sin färg, hennes blå ögon voro åter strålklara. Bååth-Holmberg Sekl. 2: 97 (1897). Du strålklara stjärnors / Korag, du ledare för / Nattuppstämda jubelrop, / Son af Zevs, o framträd / Med din flock menader. Risberg Sof. 50 (1910). Högt öfver gotiska hvalf .. / kretsa med strålklara skrik, hvirfla som syner förbi / svalor i flammande luft. Ek KostbHvil. 8 (1914). —

(I 1 b, II 2 b) -KNIV. med. vid (finare) kirurgiska ingrepp använd riktad strålning (till funktionen lik en operationskniv). SvD(A) 19/1 1959, s. 22. ”Laserpistoler” kan också användas som strålknivar i finare kirurgiska ingrepp. DN(A) 29/11 1963, s. 25. SvD 12/5 1970, s. 10.

Ssg: strålkniv-, äv. strålknivs-operation. operation (se d. o. 5) med strålkniv. SvD(A) 1961, nr 43, s. 15. —

(I 1 b, II 2 b) -KONSERV. (i fackspr.) jfr konserv 2 o. -konservera. DN(A) 5/1 1964, s. 21. —

(I 1 b, II 2 b) -KONSERVERA. (i fackspr.) konservera (se d. o. 2 slutet) (födoämnen) medelst bestrålning (med mikrovågor l. gammastrålar); jfr strålnings-konserverad. DN(A) 10/9 1963, s. 14. —

(I 1 b, II 2 b) -KONSERVERING. (i fackspr.) jfr -konservera o. strålnings-konservering. SvD(A) 24/7 1953, s. 8. —

-KRAFT. kraft l. intensitet varmed ngt strålar, strålningskraft.

1) till I 1 a, b. Solen (bränner) hela din kropp genom sin låga ställning och starka strålkraft. Strindberg Blomst. 36 (1888). Diamanter göras fosforescerande genom radiums inverkan och kunna därigenom skiljas från strassimitationer, vilkas strålkraft är mycket ringa. Ringertz Curie Mor 218 (1937). Preparat med radiumemanation måste .. påfyllas efter ett par veckors tid, emedan strålkraften så raskt avtager. Ahlbom Strålbeh. 62(1939).

2) i mer l. mindre bildl. anv. av 1 (jfr stråla, v. I 3). (Personer som) en vacker dag stiger fram som protagonister i besittning av makt, myndighet och episk strålkraft. 3Saml. 30: 94 (1949). Andlig strålkraft. IllSvLittH 1: 286 (1955).

3) till I 6. Ahlström Eldsl. Ann. s. 38 (1879). —

-KÄLLA. strålningskälla. TT 1897, M. s. 29. Ahlbom Strålbeh. 14 (1939). —

(I 1 a, b) -LÖS, adj.1 (adj.2 se sp. 12932). som saknar strålning. Grenander Radioakt. 32(1909). Radium B gällde länge för att vara en strållös produkt. Ramstedt o. Gleditsch 96 (1917). —

-MÄNGD. fys. o. med. strålningsmängd; jfr -dos. Bergman Jordkl. 302 (1766). Kräftsjukd. 195 (1930). —

-MÄTARE. (i sht i fackspr.) strålningsmätare.

a) om mätare av mängd o. intensitet av solstrålar, aktinometer. NF 1: 333 (1875).

b) om mätare av mängd o. intensitet av infraröda strålar, radiometer. Berndtson(1880).

c) om mätare av mängd o. intensitet av strålar från radioaktiva ämnen, strålningsdosimeter. SvD(A) 1962, nr 72, s. 18. —

-MÄTNING. strålningsmätning. Ahlbom Strålbeh. 85 (1939). —

(I 1 a) -RAKET. (†) om fyrverkeriraket vars eldstråles ljusstyrka förstärkts gm speciell tillsats till raketens tändsats. Törner Fyrv. 158 (1885). Därs. 159. —

-RELÄ. (numera föga br.) apparat för fastläggande av lämpliga exponeringsdata gm utnyttjande av ljusflödet i strålgången från t. ex. objektivet i en förstoringsapparat, (foto)timer. Strålrelä (dvs.) Anordning för fastläggande av lämpliga exponeringsdata .. Kallas på engelska photo-timer. SEN R 8601: 19 (1954). —

-RISK. strålningsrisk. SvD(A) 26/5 1955, s. 15. —

-SJUKA. med. sjukdom orsakad av l. sammanfattande benämning på sjukdomssymtom orsakade av exponering för joniserande strålning (dels vid strålbehandling, dels vid användning av l. prov med kärnvapen o. d.); jfr strålnings-sjuka. Ahlbom Strålbeh. 100 (1939). DN(B) 1962, nr 26, s. 26 (orsakad av kärnvapen). Därs. 10/3 1967, s. 20 (som följd av strålbehandling). —

-SKADA. i sht med. skada (se skada, sbst. 1) orsakad av joniserande strålning; jfr strålnings-skada. Ahlbom Strålbeh. 76 (1939). SvD(A) 26/5 1955, s. 15.

Ssg: strålskade-beredskap. SvD(A) 1960, nr 285, s. 10. —

-SKADAD. i sht med. skadad av joniserande strålning; jfr strålnings-skadad. DN(B) 1960, nr 352, s. 1. —

-SKYDD. särsk.: skydd (se d. o. 2 a) mot joniserande strålning (särsk. i samband med strålbehandling l. vid kärnvapenprov o. d.); särsk. konkret(are), dels: anordning l. föremål o. d. som ger sådant skydd, dels (o. i sht) om sammanfattningen av l. om organ som handhar åtgärder l. anordningar (o. utrustning) för sådant skydd; jfr strålnings-skydd. Kosmos 1932, s. 189. Strålskydd ny plikt (inom civilförsvaret). DN(B) 1960, nr 12, s. 4. De inom strålskyddet brukliga detektorerna och mätinstrumenten. TT 1963, s. 344. All personal som arbetar med och utsätter patienter för joniserande strålning måste ha erforderliga kunskaper i strålfysik och strålskydd. MotRiksd. 1977—78, nr 786, s. 11. SpriMedTeknUtr. Basordl. 34 (1983; om skyddsutrustning o. skyddsanordning).

Ssgr: strålskydds-anordning. jfr anordning 1 a δ. BokNat. Mater. 319 (1953).

-expert. jfr expert. SvD(A) 27/6 1963, s. 13.

-forskning. jfr forskning 1. NordMed. 1957, s. 1107.

-fysik. jfr fysik 1. Arbetet 10/11 1957, s. 9.

-förkläde. förkläde speciellt tillverkat för att fungera som strålskydd. SEN P 51: 20(1950).

-förordning. jfr förordning 3. SFS 1978, s. 429.

-glas. särsk. om glas (se d. o. 1) specialtillverkat för att fungera som strålskydd. SEN P 51: 20 (1950).

-handske. jfr handske 1 o. -skydds-förkläde. SEN P 51: 21 (1950).

-hänge. jfr hänge 1 a β o. -skydds-förkläde. SEN R 8601: 22 (1954).

-inspektör. inspektör med överinseende över strålskydd (ss. tjänsteman vid Statens strålskyddsinstitut l. dyl.). LD 1958, nr 175, s. 15. Radiofysiska institutionen i Stockholm söker Strålskyddsinspektör i Ae 23. DN(A) 23/11 1964, s. 29. SvD(A) 2/9 1966, s. 25.

-institut. institut (se d. o. 1) för strålskydd; särsk. i uttr. Statens strålskyddsinstitut, år 1976 inrättat statligt institut för strålskydd. SFS 1965, s. 496.Statskontoret föreslår att strålskyddsinstitutet får ansvaret för den miljöinriktade strålskyddsforskningen. PropRiksd. 1975—76, nr 123, s. 15.

-kommission. jfr kommission 5. SvD(A) 1960, nr 167, s. 4.

-kommitté. jfr kommitté. LD 1958, nr 13, s. 7.

-lag. lag (se lag, sbst.1 1) som reglerar förhållanden i samband med skydd mot joniserande strålning. GbgP 1956, nr 295, s. 15. Jämlikt strålskyddslagen den 14 mars 1958. SFS 1958, s. 1841.

-medel. medel (se medel, sbst. 13 b) för att åstadkomma strålskydd. TNCPubl. 36: 73 (1962).

-myndighet. myndighet (se d. o. 5) med uppgift att utöva överinseende över strålskydd. LD 1958, nr 175, s. 15.

-nämnd. (förr) om (statlig) nämnd (se d. o. 2 b) (med uppgift att handlägga ärenden angående strålskydd). GbgP 1956, nr 295, s. 15.

-undervisning. undervisning i strålskydd. LD 1960, nr 291, s. 3.

-verksamhet. verksamhet som innebär arbete i l. med strålskydd; äv. konkretare, med inbegrepp av organisationen av o. organ för sådan verksamhet. NordMed. 1957, s. 1110. Organ för fri forskning .. och strålskyddsverksamhet. LD 1958, nr 175, s. 15.PropRiksd. 1961, nr 1, Bil. 13, s. 45.

-vägg. jfr -skydds-glas. KursKärnfys. 97 (1947). —

-SKYDDAD, p. adj. försedd med skydd (se d. o. 2 b) mot joniserande strålning; jfr strålnings-skyddad. Ahlbom Strålbeh. 77 (1939). Strålskyddad transport av radium från vårdavdelningarna tillbaka till radiumförrådet. NordMed. 1959, s. 944. —

-SKYDDANDE, p. adj. som skyddar (se skydda, v.2 2 b) mot joniserande strålning. RöstRadioTV 1963, nr 27, s. 21. —

-SKÄRM. skärm (se d. o. 1) med liten genomtränglighet för viss strålning; jfr strålnings-skärm. TNCPubl. 36: 73 (1962). Strålskärmar för reaktorer. TT 1972, nr 19, s. 52. —

(I 1 a) -STEN, sbst.1 (sbst.2 se sp. 12935). (†) om art av opal; jfr sol-sten 2. (Sv.) Strålsten .. (fr.) Girasol. Nordforss (1805). ÖoL (1852). —

(I 1 b, II 2 b) -STERILISERING. (i fackspr.) strålningssterilisering. SvD(A) 28/4 1965, s. 25. Därs. 30/1 1968, s. 16 (om konserveringsmetod). —

-SÄKER. strålningssäker. Strålsäker stridsvagn. SvD(A) 1962, nr 242, s. 8. —

-TERAPI. med. strålbehandling. LbInternMed. 2: 1187 (1918). —

-TRYCK, sbst.1 (sbst.2 se sp. 12936). (mindre br.) strålningstryck. Nyblom FantH 47 (1910). Roth Jeans VärldsalltMyst. 61 (1931). —

-UGN. (i sht i fackspr.) strålningsugn. TT 1927, Allm. s. 199. —

-VERKAN. fys. o. med. strålningsverkan. Kräftsjukd. 189 (1930). BokNat. Mater. 319(1953). —

-VERKNING. fys. o. med. strålningsverkning. Kräftsjukd. 191 (1930). Om strålverkningarna inom det terapeutiska området har man en tämligen grundlig kännedom. NordMed. 1957, s. 1107. —

(I 2 c) -VIT. (i vitter stil) strålande vit. Dina strålvita smekande händer. Andersson Befr. 38(1907). En strålhvit ljusgestalt. Agrell Purp. 10 (1909). —

-VÄRMARE. tekn. strålningsvärmare. Elektrisk strålvärmare. SvD(A) 25/10 1923, s. 15. —

-VÄRME. strålningsvärme. Det direkta strålvärmet från den glödande kolhögen. TT 1895, Allm. s. 148.StKokb. 340 (1940). —

-YTA. (i sht i fackspr.) strålningsyta. För att gifva fibern en yttre ljusutstrålande beklädnad doppas den i ett salt af oxiden, såsom t. ex. acetatet, som ej kvarlämnar kol efter utglödgningen och gifver en hvit strålyta. TT 1899, Allm. s. 215. —

(I 2 a) -ÖGA.

1) (i vitter stil) strålande öga; äv. dels metonymiskt, om person, dels i bildl. anv. Den period af Historien (skall) begynna, när den fordna kärleken, vaknad från sin långa sömngång, slår opp strålögonen i skuggan af det fordna hjeltemodets fana. PoetK 1816, s. XLIV. Strålöga (dvs. den strålögda Pallas Atena) må se, hvad det är mot sin fader att strida. Lagerlöf HomIl. 130 (1912).

2) [sannol. bildl. anv. av 1, med viss anslutning av förleden till stråle 3 a β] bot. växten Telekia speciosa (Schreb.) Baumg. (som har stora mörkgula blomkorgar med kant av strålblommor). Söderberg TrädgBlom. 551 (1946). —

(I 2 a) -ÖGD, p. adj. som har strålande ögon, som har ”strålögon”; äv. i bildl. anv. Strålögda gudinnan Athene. Johansson HomOd. 8: 19 (1842, 1844). Människoskönhet, som strålögd log. Österling Offerkr. 100 (1905). Troskyldigt strålögda sovdockor. Lindström Leksaksb. 126 (1931). En utomordentligt optimistisk övertygelse, strålögd som en febersjuk. NDA 29/1 1933, Söndagsbil. s. 2.

B (i allm. till I 1 b slutet, i sht fys.): STRÅLNINGS-ABSORPTION. (i fackspr.) förhållandet att strålningsenergi upptas, dvs. absorberas, t. ex. av vegetation. TNCPubl. 43: 26 (1969). —

-APPARATUR. apparatur för strålning; jfr strål-apparatur. Ymer 1957, s. 271. —

(I 1 b slutet, II 2 b) -ARBETE~020. särsk. (i fackspr.) om arbete som medför (risk för) bestrålning. TNCPubl. 55: 102 (1975). —

-ART. art (se d. o. 3 l. 8) av strålning; jfr strål-art. 2NF 22: 868 (1915). Därs. 24: 185(1916). SvVäxtförädl. 1: 673 (1951). —

(I 1 b) -AVKYLNING. om avkylning av ngt gm att värme avges gm strålning. SvNaturv. 1968, s. 194. —

-BALANS. balans mellan mot en yta, särsk. jordytan, infallande o. utgående strålning; jfr balans I 3 c. Ymer 1957, s. 26. —

(I 1 b slutet, II 2 b) -BEHANDLING. med. o. fys. strålbehandling. KemT 1914, s. 128. —

-BIOLOG. jfr biolog o. -biologi. SvD(A) 1959, nr 331, s. 18. —

-BIOLOGI. om del av biologin som behandlar joniserande strålnings inverkan på biologiska system; jfr strål-biologi. DN(B) 1958, nr 7, s. 9. —

-BIOLOGISK. jfr -biologi. NaturvForsknRådÅb. 1948—49, s. 140. —

-BÄLTE. bälte (se d. o. 2) av strålning; särsk. om sådant bälte kring himlakropp, i vilket energirika partiklar infångats av dess magnetiska fält. SvD(A) 1958, nr 295, s. 7.TNCPubl. 53: 101 (1973). —

-DETEKTOR ~detek2tor, r. l. m.; best. -n; pl. -er ~detek1tω2rer. [jfr t. strahlungsdetektor, eng. (radiation) detector, fr. détecteur de rayonnement; jfr mlat. detektor, vbalsbst. till detegere, upptäcka, avslöja; om instrument som avslöjar l. upptäcker o. registrerar ngt] anordning l. apparat för indikering l. mätning av strålning. NaturvForsknRådÅb. 1950—51, s. 16. Strålningsdetektor .. (dvs.) anordning för direkt eller indirekt omvandling av strålningsenergi till energi av en form som är mera lämpad för indikering eller mätning. TNCPubl. 55: 124 (1975). —

-DIAGRAM. diagram över strålning; särsk. över radar- eller radioantenns strålning. RadioteknOrdl. 33 (1944). —

(I 1 b) -DIMMA. meteorol. dimma som bildas i samband med att undre luftlager kommer i beröring med en på grund av värmeutstrålning starkt avkyld markyta o. avkyles. Strålningsdimma, som karakteriseras av temperaturinversion och klar himmel. Carell o. Edelstam 85(1931). —

(I 1 b slutet, II 2 b) -DOS. dos av strålning; jfr dos, sbst.1 1, o. strål-dos. Genom att inskjuta blyfiltra av olika tjocklek mellan radiumpreparatet och flugorna varierade (F. B.) Hanson och Florence Heys (1929) strålningsdosen i en serie försök. VäxtLiv 4: 148 (1938). Effekten (av strålbehandlingen) beräknas på förhand uppträda efter ett par veckor eller en månad beroende på strålningsdosens storlek. Sjukhusvård bör då inte behövas utom för efterkontroller. SvD(A) 1959, nr 16, s. 3. Framtida passagerare i det fransk-engelska överljudsplanet Concorde kan komma att utsättas för betänkligt höga strålningsdoser. Därs. 1/12 1971, s. 1. —

-DOSIMETER. apparat för mätning av stråldos, dosimeter. DN 22/10 1974, s. 17. —

-DOSIMETRI. jfr -dosimeter. BokNat. Mater. 319 (1953). —

-ENERGI. energi (se d. o. 2 b) som finns i strålning l. som överförs gm strålning. För fotosyntesen behöver växterna medverkan av solens strålningsenergi. NF 18: 13(1894). Från varje ljuskälla (utsändes) en del av den energi, som tillföres densamma i form av bränsle eller elektrisk ström som strålningsenergi, vilken fortplantar sig i vågrörelser. Optik 1934, s. 11. Bestrålningen framkallar mutationer genom att strålningsenergin absorberas och framkallar en jonisering i vävnaderna. BokNat. Liv. 35(1951). Husén Psyk. 27 (1954). —

-EXPERT. expert på strålning; jfr strål-expert. SvD(A) 21/4 1965, s. 7. —

-FARA. fara (se fara, sbst. 1 b) för l. på grund av (i sht joniserande) strålning. LD 1958, nr 197, s. 3. Strålningsfara .. (dvs.) fara på grund av joniserande och icke joniserande strålning. TNCPubl. 73: 161 (1979). —

-FENOMEN. fenomen (se d. o. I 1) som rör strålning l. som kommer av l. uppstår gm strålning. Moll Fys. 2: 41 (1898). —

-FILTER. filter (se d. o. 2) som absorberar strålning inom vissa spektralområden o. släpper igenom strålning med annan våglängd, strålfilter. SvUppslB (1935). —

(I 1—3) -FLOD. särsk. (i vitter stil) till I 1 a β: strålflod. En .. Dionysos-kalk .. / Af gull och azur sammansmält, af gudavin / Med oförminsklig strålningsflod till brädden fylld. Atterbom LÖ 2: 162 (1827). —

-FORM. form av strålning; jfr strål-form 2. Ahlbom Strålbeh. 8 (1939). —

-FORSKNING. Edqvist Skugg. 47 (1958). —

-FYSIK. om den del av fysiken som omfattar (egenskaper hos o. verkningar av) strålning; i sht om område inom fysiken som behandlar (egenskaperna hos l. verkningarna av) joniserande strålning; jfr strål-fysik. Kräftsjukd. 224 (1930). —

-FYSIKER. jfr -fysik. Edqvist Skugg. 49 (1958). —

-FÖRMÅGA. förmåga till strålning, strålförmåga; i sht fys.; äv. i mer l. mindre bildl. anv. Fock 1Fys. 424 (1854). Olika föremål ha .. olika strålningsförmåga: blanka ytor utstråla mindre (av värme) än skrofliga och ojämna. Timberg Meteor. 30 (1908). 2NF 23: 1271 (1916; hos radioaktiva ämnen). VFl. 1924, s. 21 (hos radioantenn). (Frihetens) väsen var strålning — liksom radiums. Men med den skillnaden, att dess strålningsförmåga tilltog i stället för att minska i styrka. Hellström Malmros 306 (1931). —

-FÖRSÖK. särsk. om vetenskapligt försök (se d. o. 1) som rör strålning. Civilingenjör Wilner (m. fl.) demonstrerade .. ett antal strålningsförsök i atomfysik. TSvLärov. 1953, s. 108. —

-HYGIEN. (mera tillf.) om verksamheten att skydda mot (l. modifiera) strålskador, strålskydd; jfr strål-hygien. DN(A) 5/9 1963, s. 13. —

-KEMI. kem. (o. fys.) om del av kemin: läran om de kemiska verkningarna på materia av strålning med hög energi. TNCPubl. 36: 73 (1962). —

-KEMISK. kem. (o. fys.) jfr -kemi o. strål-kemisk. BonnierLex. 13: 763 (1966). —

(I 1 b slutet, II 2 b) -KONSERVERAD, p. adj. (i fackspr.) konserverad (se konservera 2 slutet) medelst (be)strålning; jfr strål-konservera. TT 1963, s. 677. —

(I 1 b slutet, II 2 b) -KONSERVERING. (i fackspr.) konservering av födoämnen medelst bestrålning (med mikrovågor l. gammastrålar o. d.); jfr -konserverad o. strål-konservering. LD 1958, nr 185, s. 6. —

-KRAFT. kraft (se d. o. 1) att alstra strålning, strålkraft.

1) till I 1 b slutet; jfr kraft 5 o. strål-kraft 1. Klint (1906). Radium, detta märkliga ämne, vars strålningskraft är mer än en million gånger större än urans. 19Årh. V. 1: 175 (1922). NaturvForsknRådRed. 1947—48, s. 12.

2) i bildl. anv. (jfr stråla, v. I 3): strålkraft (se d. o. 2). Den nordiska folkdiktningens strålningskraft. FoF 1937, s. 3. —

-KROPP. fys. kropp (se kropp, sbst.1 5) som utsänder strålning; jfr strål-kropp 1. 2NF 27: 401 (1918). —

-KÄLLA. källa (se d. o. 2 b) som är upphov till strålning, strålkälla. Håller man radiometern i solljuset eller framför en lampa, vrider sig hjulet, varvid de svärtade ytorna röra sig bort från strålningskällan. Bergholm Fys. 4: 132 (1925). Skada som orsakas av joniserande strålning från annan strålningskälla i en atomanläggning än atombränsle eller radioaktiv produkt. SFS 1968, s. 342. Strålningskällor (dvs.) punktformiga centra för radiofrekvent strålning. De benämns även radiokällor, ibland radiostjärnor. Wallenquist AstrLex. (1973). —

-LAG. lag (se lag, sbst.1 5 a) gällande för strålning (i sht i pl.); särsk. om lag för värme- o. ljusstrålning; särsk. i uttr. Plancks strålningslag, lag uppställd av tysken M. Planck år 1900. Stefans l. Stefan-Boltzmanns strålningslag, lag uppställd av österrikaren J. Stefan år 1878 o. teoretiskt härledd av österrikaren L. Boltzmann år 1884. KemT 1912, s. 28. (M. Plancks) teoretiska undersökningar öfver kroppars strålning, utmynnande i hans bekanta strålningslag. 2NF 21: 1007 (1914). De ytlager af solen, hvilka utstråla värme, beräknas enligt J. Stefans strålningslag ha en absolut temperatur af omkr. 6.000°. Därs. 33: 3 (1921). Strömgren AstrMin. 2: 39 (1927: de så kallade strålningslagarna). IngHb. 2: 949 (1948: Stefan-Boltzmanns). 2SvUppslB 27: 999 (1953: Stefans). Wallenquist AstrLex. 165 (1973: Plancks). —

-LÄRA. (numera knappast br.) lära(n) (se lära, sbst. 2) om strålning l. den strålande energin; jfr -lag. Plancks strålningslära. Svedberg ArbDek. 91 (1915). Åtskilliga arbeten, hvaribland de förnämsta falla inom värmeläran, särskildt strålningsläran. 2NF 32: 750 (1921). 2SvUppslB (1953). —

-MÄNGD. (i sht i fackspr.) mängd (se mängd, sbst.2 1 d β) av strålning, strålmängd. BokNat. Mater. 319 (1953). —

-MÄTANDE, p. adj. som mäter strålning. Ett känsligt strålningsmätande instrument. Ymer 1924, s. 14. —

-MÄTARE. mätare (se d. o. 3) av strålning; särsk. dels om mätare av ljusstrålningsstyrka, fotometer, dels om mätare av joniserande strålning, strålningsdosimeter; jfr strål-mätare. 2NF 1: 442 (1903). Strålningsmätare (dvs.) fotometer. Östergren (1948). Efter jobbet mätning av radioaktiviteten. Varje jobbare på Ringhals har dessutom en personlig strålningsmätare på sig. SvD 19/8 1976, s. 5. —

-MÄTNING. mätning av strålning (med avs. på mängd o. intensitet); jfr -mätare o. strål-mätning. Ymer 1918, s. 307. Strålningsmätningen går till ungefär som när man ställer in en radio. Varje grundämnes atomer sänder ”radiosignaler” på en eller ett par våglängder. DN(B) 1958, nr 49, s. 13. —

-OLYCKA. särsk. olycka (se olycka, sbst. 2) orsakad av joniserande strålning. TNCPubl. 55: 103 (1975). —

-PLATTA. tekn. platta (se platta, sbst.2 1 d) som överför värme till kokkärl o. d. (huvudsakligen) gm strålning. SvTeknUppslB 2: 427 (1939). —

-PROCESS. (i sht i fackspr.) process (se process, sbst.1 5) som strålning utgör, process i form av strålning. Klein Ljus. 196 (1925). FlygMotBibl. 4: 72 (1935). —

-RISK. risk (se d. o. 1) för strålning; särsk.: risk förknippad med joniserande strålning l. risk för strålningsskador, strålrisk. LD 1957, nr 296, s. 11. —

-SJUKA. med. strålsjuka. LD 1957, nr 257, s. 11. —

-SJUKDOM~02 l. ~20. med. strålsjuka; äv. om vart o. ett av flera olika sjukdomstillstånd orsakade av strålbehandling. Strålningssjukdomar: summan av patologiska allmänreaktioner efter bestrålning; i trängre bemärkelse menas verkan av energiladdade, joniserande strålar. Wernstedt (1959). —

-SKADA. strålskada. KursKärnfys. 95 (1947). —

-SKADAD, p. adj. strålskadad. Edqvist Skugg. 12 (1958). —

-SKUR. fys. skur (se skur, sbst.1 1 c δ) bildad gm kärnreaktion då partikel i kosmisk strålning faller in i atmosfären. TNCPubl. 53: 92 (1973). —

-SKYDD. skydd mot strålning, strålskydd. Carell o. Edelstam 27 (1916; om skyddsanordning). Växten behöver strålningsskydd på torrare lokaler. NatLiv 2: 193 (1930). Det här med strålningsskydd är så viktigt att det står över både dina och mina privatintressen. Edqvist Skugg. 171 (1958). TNCPubl. 43: 26 (1969). —

-SKYDDAD, p. adj. strålskyddad. Manöverorganen (i cyklotronanläggningen i laboratoriet på Vetenskapsakademiens forskningsinstitut för experimentell fysik) befinna sig .. i ett bredvidliggande, strålningsskyddat rum. NFMånKr. 1939, s. 575. Jorden är full av bombsäkra strålningsskyddade dokumentcentraler. Wästberg Vattensl. 150 (1968). —

-SKÄRM. tekn. strålskärm. RadioteknOrdl(Khvn) 172 (1954). —

-SPEKTRUM. spektrum (se d. o. 2) av (all) strålning. De experimentellt funna lagarna för energifördelningen inom strålningsspektret. BokNat. Mater. 78 (1953). —

(I 1 b slutet, II 2 b) -STERILISERING. sterilisering gm joniserande strålning; särsk. om konserveringsmetod; jfr strål-sterilisering. Strålningssterilisering av livsmedel. TT 1966, s. 52. —

-STYRKA. styrka hos strålning. Nyblom FantH 66 (1910). —

-SÄKER. om ngt som har förmåga att utestänga radioaktiv strålning: säker mot strålning; jfr strål-säker. Edqvist Skugg. 49 (1958). —

-SÖNDERDELNING~1020. kemisk sönderdelning orsakad av joniserande strålning, radiolys. Strålningssönderdelning, eller radiolys (jämför elektrolys!), pågår förstås jämt i en reaktor — men normalt kan man lätt avgasa vattnet, och några nämnvärda koncentrationer av syre och väte uppstår aldrig. SvD 2/4 1979, s. 5. —

-TEKNIKER. särsk. om person som tillhör den tekniska personalen vid sjukhusavdelning för behandling med joniserande strålning. DN(B) 1959, nr 18, s. 5. —

(I 1 b slutet, II 2 b) -TERAPI. med. strålterapi, strålbehandling. KemT 1914, s. 128. —

-TRYCK. tryck utövat av (elektromagnetisk) strålning på en kropp (vilket är lika stort som den i strålningen ingående energimängden). Arrhenius Värld. 78 (1906). (Forskares) frågor om balansen mellan plasma och strålningstrycket i den många miljoner grader heta plasman. DN(A) 14/9 1963, s. 11.

Ssg: strålningstrycks-lag. PedT 1907, s. 391. —

-UGN. (i sht i fackspr.) ugn i vilken värmeöverföring från värmealstrare l. värmegivare till godset i huvudsak sker gm strålning, strålugn. JernkA 1890, s. 24. —

(I 1 b slutet, II 2) -UPPVÄRMNING. uppvärmning medelst strålningsvärme. Byggmäst. 1929, Allm. s. 204. Fornv. 1953, s. 117. —

-VERKAN. verkan av strålning, strålverkan; särsk. om verkan av joniserande strålning. För att effektivt utnyttja strålningsverkan bör .. (atom)bomben explodera ett stycke över marken och ej i markytan. Ahlgren Atomkrig 64 (1946). BokNat. Mater. 170 (1953). —

-VERKNING. verkning l. följd av strålning, strålverkning; särsk. om verkning av joniserande strålning. DN(B) 1958, nr 118, s. 7. —

-VETENSKAP~102 l. ~200. Institutionen för strålningsvetenskap, universitetsinstitution för undervisning o. forskning i vetenskapen om elektromagnetisk strålning o. partikelstrålning. NaturvForsknRådÅb. 1987, s. 258. —

-VÄDER. meteorol. om väder med klar himmel (o. ej alltför kraftig vind), då temperaturförhållandena under dagen bestäms av i markskiktet magasinerad strålningsvärme från solen, under natten av den avkylning som sker då samma värme avges gm värmestrålning ut i rymden. NF 17: 1529 (1893). —

-VÄRMARE. apparat för spridande av värme o. uppvärmning medelst strålning; jfr strål-värmare. Byggmäst. 1930, Allm. s. 8. Primus strålningsvärmare. SvD(A) 20/6 1966, s. 1. —

-VÄRME. värme som överförs gm strålning; jfr strål-värme. SvRike I 1: 283 (1899). —

-YTA. (i sht i fackspr.) särsk. yta som avger värme gm strålning; ngn gg äv. om yta som uppvärms gm strålning; jfr strål-yta. Värmeelement, Radiator .. (dvs.) en apparat .. hvilken genom kamflänsrör eller veckad form eger stor strålningsyta vid minsta möjliga volym. 2NF 7: 374 (1907). IllSvOrdb. (1955). —

-ÖKNING. ökning av strålning; särsk. om ökning av joniserande strålning. SvD(A) 1958, nr 310, s. 3.

Avledn.: STRÅLARE, r. l. m.; best. -en; pl. =. (i sht i fackspr.) till I 1 (II 1): föremål l. apparat som alstrar o. utsänder strålar; särsk. (tekn.) dels om värmekälla som förmedlar värme medelst strålning, dels om apparat som på elektromagnetisk väg alstrar o. utsänder strålar. TT 1941, K. s. 69. Grafiska symboler Mikrovågsteknik Strålare. SEN 012766: 19 (1961). De säkerhetsrisker som finns vid arbete intill elektromagnetiska strålare nonchaleras emellanåt. NTeknik 1974, nr 36, s. 19. (Solarium) med individuellt höj- och sänkbara strålare. SvD 18/2 1976, s. 17. jfr: β-strålare som kunna utsända en positivt eller en negativt laddad elektron, β-partikel. IngHb. 1: 143 (1953). särsk. fys. om ämne som utstrålar radioaktivitet. Tritium har en egenhet som skiljer det från alla övriga strålare. SvD(A) 29/10 1964, s. 19.]]> 342 0 0 0 Artikel https://www.saob.se/artikel/embed/#?secret=sDLKaFeBec%5D%5D> https://emiliafogelklou.wordpress.com/22-stralning-2/ Sun, 19 Mar 2023 07:51:34 +0000 https://emiliafogelklou.wordpress.com/?page_id=362 

[RADIATION ABSORPTION]

[p27]

TO VIEW

To see is road, path, window to something other than oneself. It is to be the presence of someone or something.

From Natanael Beskow, the preacher and painter, I received the following description in 1930 in a summer letter from Brindberg’s cottage.

— — — “The other day I was looking at a landscape that consisted only of a stone, surrounded by such soft, juicy moss, which forms a pattern of bright stars against a dark mysterious deep background, and of lingonberry rice and a little other green in varying colours.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p27

[p197]

…before the new view of reality. No limit,

[p198]

FORM AND RADIATION

not restlessness, but radiation, circulation, renewal, living interplay down to the smallest detail is its very essence.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, pp197-198

[p242]

FORM AND RADIATION

In the vast outer universe — that’s what you learn nowadays in school — reality is not the large fixed quantities with distinct boundaries that we see, but the beauty of reality is a radiation that permeates all life in the universe and that we cannot see with the naked eye, only perceive in its effects.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p242

• • •

“I’m trying to make a distinction between an aesthetic object and a work of art. In this regard, I think of my painting as an object but only as an object in a grammatical construction.

“When I was a young kid studying French, I studied with a man, Jean-Baptiste Zacherie, who used to teach French by saying, “Moi, je suis le sujet, I’m the subject; vous, vous etes l’objet, you are the object; et voici le verbe,” and he’d give you a gentle slap on the face.

“The empty canvas is a grammatical object — a predicate. I am the subject who paints it. The process of painting is the verb. The finished painting is the entire sentence, and that’s what I’m involved in. Those who emphasise the world of objects and insist that an object can be art must, it seems to me, in the end make man himself an object. Now, this attitude is okay for generals, for politicians, for professional patriots, and for pagan aestheticians, who make man into so much material; but I think man is more than an object. Anyway, I am not interested in adding to the objects that exist in the world. I want my painting to separate itself from every object and every art object that exists. It is hard to say what one has accomplished. The work speaks for itself. However, one of the things that can be said is that I helped change painting from the painting of pictures to the making of paintings. I never use the word ‘picture’. Those who make pictures, whether realistic or abstract, are not making paintings. What I have done is help take the plumbing out of painting, the outdoor plumbing of American scene and the sophisticated plumbing of the Paris boulevards. The other thing that I think was accomplished was that we removed the non-objective from non-objective art and gave abstract art the possibility of a new set of human subjects.

“I have helped elevate into a new grand vision …. To create a work of art means, to me, to express something that is deep in one. It’s not acting out one’s neurosis, it’s not expressing one’s sensations; but it is an attempt to put down what you really believe and what you really are concerned with or what really moves you or interests you.”

– Barnett Newman, Interview with Lane Slate (1963), in ‘Barnett Newman Selected Writings and Interviews’, University of California Press, 1992, p.253

• • •

RADIATION ABSORPTION

B (in gen. to I 1 b the end, in sht phys.): RADIATION ABSORPTION. (in trade journal) the condition that radiant energy is absorbed, i.e. absorbed, e.g. of vegetation. TNC Publ. 43: 26 (1969). —

B (i allm. till I 1 b slutet, i sht fys.): STRÅLNINGS-ABSORPTION. (i fackspr.) förhållandet att strålningsenergi upptas, dvs. absorberas, t. ex. av vegetation. TNCPubl. 43: 26 (1969). —

Swedish Academy’s dictionary (SAOB)

• • •

Working Notes 19.03.2023

“And in the end — in the end — size doesn’t count. Whether the easel painting is small or big is not the issue. Size doesn’t count. It’s scale that counts, it’s human scale that counts. And the only way you can achieve human scale is by the content.”

– Barnett Newman in ‘Painters Painting: The New York Art Scene 1940-1970’ (film), Emile de Antonio (director), 1973 ]]>362 0 0 0 https://emiliafogelklou.wordpress.com/23-stralning-3/ Mon, 20 Mar 2023 08:26:44 +0000 https://emiliafogelklou.wordpress.com/?page_id=370 

[SHINE]

[p204]

FORM AND RADIATION

“Descend into my soul, shine upon the dark depths of this chamber of rubbish. Linger within,” cried Augustine. “We must,” says contemporary biologist Gerald Heard, “burst the boundaries of our little self and unite our life with the whole.”

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p204

[p18]

FORM AND RADIATION

Indian piety speaks of Uddīpana, that is, some form comprehensible to the senses, which lets infinite love to shine forth.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p18

• • •

“The revolutionary artist is born into a world of clichés, of stale images and signs which no longer pierce the consciousness to express reality. He therefore invents new symbols, perhaps a whole new symbolic system.”

– Herbert Reid: ‘The Philosophy of Modern Art: Collected Essays’, 1971, p47

Barnett Newman: ‘Shining Forth (to George)’, 1961, o/c, 114 x 174 ins / 290 x 442 cm Musée National d’Art Moderne, Centre National d’Art et de Culture Georges Pompidou, Paris.

Barnett Newman: Surgit la lumière (Pour George) 1961

“What interests me is the plenitude that is born of the emotion itself, and not the explosion that precedes it.’’ (Newman)

Beginning in 1946, Barnett Newman achieved a radical simplicity in his painting, with monochromes punctuated by vertical stripes (‘zips’). Shining Forth, dedicated to his brother who died in the same year, installed three of these subtly dissymmetrical stripes on a background that was left blank, the one on the right being presented as a negative of the first. The title of the work plays with the English translation of George Newman’s name in Hebrew [Zerach], meaning “to shine”.

• • •

Schein…means the relation, not the harmony or the shining forth, of nature and spirit, of concept and intuition, of meaning and configuration.

– Gillian Rose: ‘Hegel: Contra Sociology’, A&C Black, 2000

• • •

SHINE

Swedish Academy’s dictionary, SAOB

1) corresponding to BEAM 2: shine brightly; spread in beam form etc. Swedberg Ordab. 1050(1722). (Sv.) Ray .. (t.) strahlen. Linden (1749). — peculiar.

[…]

a) about eyes l. look: (in sht of joy l. rapture l. love) shine with l. emit a strong shine, shine l. shine brightly

[…]

b) about (person referring to) face: shine l. shine brightly (of joy l. rapture l. love l. youth o. health etc.); also if smile (l. nod etc.): given with a beaming face (see above);

[…]

In the world of memory, / .. your name shall shine with the splendor of glory! Rydberg Poem. 1: 63 (1876, 1882).

[…]

“Radiation” is a key concept for (Emilia Fogelklou). SvLittTidskr. 1973, no. 3, p. 38. — cf. RADIATION.

[…]

1) radiate (in bet. I 1) o. send out l. transport (ngt).

a) (in sht i witter style) corresponding to I 1 a: radiate (in bet. I 1 a) o. send out l. spread (sunlight, light, etc.); let l. cause (something) to shine (on something l. something);

[…]

b) in more l. less oeg. l. pic. use of a l. I 2 a, b, 3. The work of genius, as divinity shine.

[…]

Special. prev.: SHINE ON. (†) to II 1 a: beam on l. irradiate; found among others in picture use (cf. ray, v. I 3 (o. II 2 a)).

[…]

FRONT BEAM10 4. cf. front beam.

[…]

RADIATION IN10 4. cf. special 1) to I 1 a: shine l. shine in with its rays l. its radiant light, send in (its) rays (l. a beam). The sun shone in through the open door. Östergren 3: 736 (1929).

[…]

BEAM TO 10 4.

1) to I 1 a: suddenly, for a short moment, shine with a stronger light than usual.

[…]

SHINE UP10 4.

1) to I 1: spread in a beam form gm to rise upwards o. outwards.

[…]

• • •

Working Notes:

12.09.2021 | ‘bursting out & shining through’

“…he sees everywhere that which shines through appearance”

– Lorna M. Marsden: ‘Beyond Sociology’ (1974), in ‘Discipline of Waiting’, 1978

“Where’er we turn our gazing eyes,

Thy radiant footsteps shine;

Ten thousand pleasing wonders rise,

And speak their source divine.”

– Anne Steele: Hymn XXXI, 1789

The absolute relation is absolute actuality. Just as the being of light is not a thing but its very shining, so too is the manifestation of actuality a shining forth as what it is. In other words, we cannot look elsewhere for its essence or nature, which is directly exhibited in the excitation of appearances.

– Stanley Rosen: ‘The Idea of Hegel’s “Science of Logic”‘, University of Chicago Press, 2013

Art is Schein not Vorstellung. In the context of Greek society, Schein means the ‘shining forth’ of meaning in a sensuous medium, not the re-presentation of an external meaning which is not at one with the medium of presentation. In societies where religious representation is the dominant mode of self-consciousness, of self-misapprehension, artistic Schein means illusion, the illusion which corresponds to the re-presentation. Schein in the latter case means the relation, not the harmony or the shining forth, of nature and spirit, of concept and intuition, of meaning and configuration.

– Gillian Rose: ‘Hegel: Contra Sociology’, A&C Black, 2000

emphasis (n.)

1570s, “intensity of expression,” from Latin emphasis, from Greek emphasis “an appearing in, outward appearance;” in rhetoric, “significance, indirect meaning,” from emphainein “to present, exhibit, display, let (a thing) be seen; be reflected (in a mirror), become visible,” from assimilated form of en “in” (see en- (2)) + phainein “to show” (from PIE root *bha- (1) “to shine”).

13.10.2022

Barnett Newman | the new artist

“The present painter is concerned not with his own feelings or with the mystery of his own personality but with the penetration into the world mystery. His imagination is therefore attempting to dig into metaphysical secrets. To that extent his art is concerned with the sublime. It is a religious art which through symbols will catch the basic truth of life which is its sense of tragedy.” [p140]

“The new painter owes the abstract artist a debt for giving him his language, but the new painting is concerned with a new type of abstract thought… He [the new painter] is declaring that the art of Western Europe is voluptuous art first, an intellectual art by accident. He is reversing the situation by declaring that art is an expression of the mind first and whatever sensuous elements are involved are incidental to that expression. The new painter is therefore the true revolutionary, the real leader who is placing the artist’s function on its rightful plane of the philosopher and the pure scientist who is exploring the world of ideas, not the world of the senses…. so the artist is today giving us a vision of the world of truth in terms of visual symbols.” [p142]

– Barnett Newman: ‘The Plasmic Image’ 1943-1945, in ‘Barnett Newman Selected Writings and Interviews’, University of California Press, 1992, pp140 & 142

20.03.2024

Barnett Newman | Dorothy Gees Seckler interview, 1962

SECKLER: A general public image of your work conceives of it as excessively logical, hieratic, involved with structure and intellectual dialectic.

NEWMAN: This is not art criticism. This is art politics. It is advanced by painters, and their institutional friends, to give themselves the cloak of romantic spontaneity. I repudiate all these charges. I like your phrase that I am concerned with the immediate and the particular without using a general formula for the painting process with its many particulars. My concern is with the fullness that comes from emotion, not with its initial explosion, or its emotional fallout, or the glow of its expenditure. The fact is, I am an intuitive painter, a direct painter. I have never worked from sketches, never planned a painting, never ‘thought out’ a painting. I start each painting as if I had never painted before. I present no dogma, no system, no demonstrations. I have no formal solutions. I have no interest in the ‘finished’ painting. I work only out of high passion.

– Barnett Newman: ‘Frontiers of Space’ interview with Dorothy Gees Seckler for Art in America 50, no. 2 (Summer 1962), pp83–87 / ‘Barnett Newman Selected Writings and Interviews’, University of California Press, 1992, pp247–250]]> 370 0 0 0 https://emiliafogelklou.wordpress.com/24-stralning-4/ Tue, 21 Mar 2023 07:22:55 +0000 https://emiliafogelklou.wordpress.com/?page_id=377 

“What happens in the individual is, in fact, art’s eternal struggle for liberation from the foundation from which it grew.” (Ragnar Josephson.) But this time the liberation from something and even more the liberation to something [are] more stressful than before. Something has run out. And there are times when you do not see a future.

[p43]

THE CRISIS OF ART

Poul La Cour has the strong words to “crush the Poem to liberate Poetry.” Doesn’t it look as if something similar happened to art? We hear slogans around us such as “the artists against art” or “there is no art, only artists.” The creative artist increasingly refuses to depict what we all see. He wants to reveal something inside.

“I can not spend precious time convincing people of what they already know, such as what a flower looks like to most people or what a tree looks like to most people. I want to convince people that the eyes of their souls can also see,” writes Carl Kylberg.

With us, Ludvig Nordstrom, who after all represents both poetry and art, has over 40 years ago in his diary given clear expression to this change:

“The old way of depicting visual memories is over. A whole world is broken apart. It is a new art that — laboriously pours itself out within me. It is not a representation of anything visible. It is a composition of invisible forces, which I have to make perceptible and tangible.”

And in another place: . . . “a breathtaking sensation. — — — Partly by the air, partly by its height, partly by the light, by the distance, not by the mathematical, cold, dead distance — — — but by the living, threatening and mysterious living distance in a dynamic, eternally changing nature, it is the eternal change seized

[p44]

FORM AND RADIATION

in one moment, with all its inherent possibilities for change that are now coming in. It is something mysterious after the rationalism of the past. The anthropomorphic and homocentric are gone. Nature as its own enigmatic being apart from us with its own independent life and it own laws emerges. It is the path to the modern art of movement — — — then one sees how super-individual art is and how the development of art follows laws, which the individual practitioners never know but for which they are tools.”

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, pp43-44

• • •

‘EPIC ABSTRACTION’, 19.09.2022

The Met Fifth Avenue, New York, 19.09.2022

We felt the moral crisis of a world in shambles, a world devastated by a great depression and a fierce world war, and it was impossible at that time to paint the kind of painting that we were doing—flowers, reclining nudes, and people playing the cello. . . . So we actually began . . . as if painting were not only dead but had never existed.

—Barnett Newman, 1967

Newman’s account rightly suggests the feeling widespread among artists of the period that traditional easel painting and figurative sculpture could no longer adequately convey the modern human condition in the wake of unprecedented misery and devastation, including the 1945 atomic bombings in Japan authorized by the U.S. government. In this context, artists such as Newman, Jackson Pollock, and others came to believe that abstract styles—often executed on a grand scale—most meaningfully expressed contemporary states of being.

Barnett Newman: ‘Vir Heroicus Sublimis’, 1950-51, MoMA New York, [The Metropolitan Museum of Art New York, 19.09.2022]

Jackson Pollock: ‘Autumn Rhythm (Number 30)’ [detail], 1950, The Metropolitan Museum of Art New York [19.09.2022]

• • •

VISIBLE / INVISIBLE

Swedish Academy’s dictionary, SAOB

[…]

IN-, OUT-BEAM etc. — peculiar. pp. vbalsbst. -ning, in sht (phys.): rectilinear l. beam-like transport (without the need for a medium) of quanta of electromagnetic energy (visible and. invisible light, radio waves, gamma rays, X-ray light) l. of particles in motion (esp. electrons, protons, neutrons, helium nuclei); also on transport of energy quantum l. particles, achieved by means of accelerators in laboratories (often difficult to distinguish from II 2 b); often more concrete, considering the transported energy, etc. Electromagnetic radiation. Ionizing radiation, radiation of particles (e.g. electrons, protons, neutrons, alpha particles) and certain electromagnetic radiation (e.g. gamma and X-rays), which produce ions when passing through media. Radioactive radiation, (nowadays, among others, in ä. fackspr. l. in non-specialist spr.) radiation as a result of radioactive decay, radiation from radioactive substances, ionizing radiation.

• • •

Working Notes 21.03.2023

Barnett Newman: ‘Response to the Reverend Thomas F. Mathews’, in Revelation, Place and Symbol (Journal of the First Congress on Religion, Architecture and the Visual Arts, New York and Montreal August 26–September 4 1967), in ‘Barnett Newman Selected Writings and Interviews’, University of California Press, 1992, pp286-289

Valerie Hellstein: ‘Grounding the Social Aesthetics of Abstract Expressionism: A New Intellectual History of The Club’ (thesis), Stony Brook University, May 2010]]> 377 0 0 0 Artikel https://www.saob.se/artikel/embed/#?secret=eUuUhfFpDu%5D%5D> https://emiliafogelklou.wordpress.com/25-the-seeing/ Wed, 22 Mar 2023 06:52:04 +0000 https://emiliafogelklou.wordpress.com/?page_id=394 

[p20]

Artwork and poems can work through form. But here it is a radiation that can penetrate all kinds of forms, seeing through borders.

[p28]

I would like to include here a contemporary testimony of formless seeing together with the recipient’s evaluation of it after decades. I take from Albert Camus.

[p30]

It then becomes, as it is called in the preface of 1958, “a long-term wandering to rediscover” this seeing through the detours of art.

Are we as a generation currently stuck on detours around a rediscovery?

[p62]

Art is supposed to be a born unity of seeing and form.

[p131]

…the importance of seeing through pseudomysticism and other things…

[p214]

This spontaneously meditative silence before a living thing provides a completely different learning ingredient that triggers the seeing, meditative, holistic search within us.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958

• • •

“…all by himself in confrontation with himself. In front of him is his empty canvas. . . . Nobody can help him.” / “What’s going to happen?” / “One is in the presence of a kind of presence: oneself.” / [located [italic] within [italic] the process of creation, utterly alone. This was the artist’s sublime “terror.”] / “oneself” / “One is in the presence of…” / [with no guide other than intuition, whether to proceed, whether the existence of this thing has validity.]

– Richard Shiff: ‘Barnett Newman’, 2002, p81

• • •

SECKLER: Can you clarify the meaning of your work in relation to society?

NEWMAN: It is full of meaning, but the meaning must come from the seeing, not from the talking. I feel, however, that one of its implications is its assertion of freedom, its denial of dogmatic principles, its repudiation of all dogmatic life. Almost fifteen years ago Harold Rosenberg challenged me to explain what one of my paintings could possibly mean to the world. My answer was that if he and others could read it properly it would mean the end of all state capitalism and totalitarianism. That answer still goes.

• • •

Working Notes:

16.07.2022 [QUG]

To see beyond desire is to “open up vast profundities of significance to the deeper contemplation they invite” and in this, the ‘seeing’ is the ‘doing’.

• • •

16.06.2022

30. NO ORDINARY SEEING BUT ABSOLUTE SEEING IN WHICH THERE WAS NEITHER SEER NOR SEEN

Seeing is of two kinds, ordinary and real. Ordinary seeing is a function of the mind as connected with the visual sense; it is an act, and as such it has a beginning and an end. But the seeing that belongs to the Self is like the heat and light of fire; being the very nature of the witnessing Consciousness it has neither beginning nor end. . . . This ordinary seeing, however, is related to the objects seen through the eye, and of course has a beginning . . . The eternal seeing of the self is metaphorically spoken of as the witness and although eternally seeing, is spoken of as sometimes seeing and sometimes not seeing. But, as a matter of fact, the vision of the seer never changes.

– Shankara: ‘Commentary on the Brihadaranyaka Upanishad’

28.08.2021

In other words, effective visual art does not, as Zeki claims, parallel the operations of the visual brain, which always favor generalized repetition of the previously seen; rather art is continually unsettling and refiguring our construction of the visual world, working against the brain’s reproductive and classificatory operations. Vision has the potential for agency. As Einstein puts it: “In the act of looking we change man and the world.” He wrote these words with reference to cubism, and it is in his writings on cubism that we find his ideas most fully developed.

– Charles W. Haxthausen: ‘Carl Einstein, Daniel-Henry Kahnweiler, Cubism, and the Visual Brain’, NONSITE issue 2, 2011

Carl Einstein: ‘A Mythology of Forms’ (1926) / chapter 7 ‘Cubism’, pp158-160

das vorstellende Sehen, envisaging seeing / imaginary vision

vorstellende = introductory / Sehen = sight or vision vorstellen (verb)

to introduce
to imagine

to put forward to conceive
to showcase to envisage

to visualise

der Vorstellende (noun) = introducer

…Einstein’s account of seeing, as he believed it to be embodied in cubist paintings, anticipates by half a century a fundamental breakthrough in the neuroscientific understanding of vision.

[Picasso] “…the decisive step that detached cubism from the previous language of painting. . . . He had pierced the closed form”

das vorstellende Sehen, envisaging seeing

neuroarthistory and neuroaesthetics, see: John Onians, Neuroarthistory from Aristotle and Pliny to Baxandall and Zeki (New Haven and London: Yale University Press, 2007), 1–17.

Issue #2: Evaluating Neuroaesthetics

Neolithic Childhood [Berlin, seen June 2018] “examines how the artistic avant-gardes reacted to the multiple crises of European modernity around 1930 – the ‘crisis of consciousness’, the revisions of early and pre-history, the imperialist struggle, the barbarism of technological mass war, the shock of capitalist industrialization, the failure of the Second (Socialist) International, the endgame of bourgeois humanism and the hypocrisies of colonial discourse.”

09.11.2022

[the uninhabitability of the present] / [an inversion of figure–ground relationships] / [dissolutions of boundaries] / . . . [“man […] no longer is a mirror, but a possibility of the future.”] / […his work delineates ideas for a radical conception of art that explodes the institutional disciplining of art and the limits of academic knowledge. For Einstein, art was a means of revolt and a medium for an ontological opening. Its reality-constituting dimension was activated…as a model and instrument of a force that effectively transforms inner and outer reality.] / [kind of primitivism, pursuing the critical inversion of the gaze] / [revealing prehistoric deep time] / [between self-affirmation as an aesthetic practice and anti-modern self-transcendence] / [the works of art reflect the search for a productive, ecstatic mimesis].

– Anselm Franke and Tom Holert: ‘Neolithic Childhood. Art in a False Present, c.1930’ at HKW, Berlin, 2018]]> 394 0 0 0 https://emiliafogelklou.wordpress.com/26-explodera-atomsprangningar/ Thu, 23 Mar 2023 06:44:08 +0000 https://emiliafogelklou.wordpress.com/?page_id=411 

explodera | explode

atomsprängningar, radioaktiva strålning | atomic explosions, radioactive radiation

[p31]

Exploded view

Our old static world with all its form boundaries has been broken up by a new vision. The one we now live in is, to say the least, a world of movement. Almost breathless with anxiety, a sense of ignorance and eagerness, we seek to capture a species of life outside or inside our senses, with electrons, protons, neutrons, atomic explosions, radioactive radiation, time-space dimensions and other extrasensory phenomena, which through the daily press makes incessant demands on our attention. If we begin to understand some of this clerical Latin about omnipresent phenomena, which we cannot see, we are pushed out of our ingrained ways of viewing and habits of thought to try to orient ourselves before — or in — a universe, where change seems to us to be the only stable and where the dimensions go beyond all reason.

[p52]

[p144]

FORM AND RADIATION

— — — When will the exploding death fall

in the midst of the wondering children?

My children in the land of the unborn,

I am ashamed of the world to which I bring you.

————

You have been horribly wounded,

beautiful life, when the mothers say:

Better for the child to die.

Katri Vala (translation Rundt, Ljungdell).

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958

• • •

My concern is with the fullness that comes from emotion, not with its initial explosion, or its emotional fallout, or the glow of its expenditure.

– Barnett Newman: ‘Frontiers of Space’ interview with Dorothy Gees Seckler for Art in America 50, no. 2 (Summer 1962), p83 / ‘Barnett Newman Selected Writings and Interviews’, University of California Press, 1992, p247

• • •

Working Notes:

23.03.2023

“exploding” / “explosion” / “explode”

pages: 31, 52, 185, 113, 120, 124, 144, 186, 197, 198, 200, 242, 243

• • •

Swedish Academy’s dictionary, SAOB

EXPLODE äk1splωde4ra, av. -plo- l. -plå-, in Sveal. also -e3ra2, v. -ade. vbalsbst. -ANDE, -ING, EXPLOSION (see d. o.).

Etymology

1) (†) tr.: reject, dislike. (We request that) the .. article (in the Landslagen), that Sweden is an electoral kingdom and not a hereditary one, must be exploded, exposed, scrapped and reduced to nothing. RA 2: 149 (1566). An oration, which .. (Verelius) held .. contra Wormium, which he explodes for what he wrote et Lexicon Runicum. SvMerc. 3: 180 (in trade from 1725).

2) intr.: come to sudden eruption (with a bang).

a) e.g. if gunpowder, igniter, gas, etc.: instantly ignite or burn (during violent development accompanied by a bang l. expansion of gas); if bomb, mine, etc.: suddenly discharged or run (spoil); about steam boiler, etc.: break apart, explode, fly to pieces with a bang; also with weakened bite.: suddenly break apart, fly to pieces. The steamer .. exploded. JernkA 1835, p. 290. (On) the gas in a coal mine explodes. Svedelius Statsk. 4: 23 (1869). An exploding primus kitchen. SDS 1894, No. 305, p. 2. — in p. pr. in adjectival use: explosive. UB 3: 106 (1873).

b) [cf. use in Eng.] in transferred l. imagel. use: not being able to keep (quiet) any longer, but suddenly burst out (with a “bang” l. in general in a startling way, e.g. in a burst of laughter). Aunt was silent, but father exploded. Topelius Vint. I. 2: 242 (1862, 1880). Resentment exploded in an oath. Lundegård Tannh. 2: 123 (1895). (It) began .. to explode little half-suffocated laughs here and there. Fröding ESkr. 2: 205 (1895).

3) [cf. use in Eng.] (almost bl. in trade publications) tr.: cause (something) to explode (in bet. 2 a). A glass vessel, in which air and hydrogen gas explode, is covered with moisture. Berzelius ÅrsbVetA 1840, p. 48. Explode bombs. Wachtmeister Tur. 86 (1876, 1885).

Ssg (see also under EXPLOSION): EXPLOSION MOMENT(ET)~102, ex. ~200. (addition).

Column E 854 volume 7, 1922

—

atomsprängningar

Synonymer till atomsprängning

fission, kärnklyvning, klyvning av atomkärna, delning, splittring

atomsprängning är sammansatt av

atom och sprängning

atomic explosions

Synonyms for atomic explosion

fission, nuclear fission, fission of atomic nucleus, division, splitting

atomic blast is composed of

atom and explosion

• • •

[EXPLOSION]

[p120]

We are part of an explosion of feudal pedagogical, static cases around the border-crossing life of faith.

[p185]

There are times in the life of the family when something significant,

[p186]

FORM AND RADIATION

a ‘mutation’, an ‘atomic explosion’ — to take different images — is taking place somewhere in the inner cosmos, creative forces have been released into new radiation of life within and through people, and made the view of other living beings completely different.

[p200]

It was like a kind of atomic explosion through the old narrow limits of life.

[p242]

Sometimes it is purely an atomic explosion that we need…

[p243]

…as revolutionary as the atomic explosion for the technological age…

[EXPLODE]

[p113]

Torgny Segerstedt himself speaks much later about “response to the inconceivable force, of which everything holy is an outflow, the one limited by nothing, sensed but never thought captured [the] power that man groped for, glimpsed and experienced in moments when life seemed to explode, the eternal unknown, which people called God.”

[p124]

Because the basic question becomes: Is the truth something static, forever shaped, or something that from its living root grows, lives, breathes and explodes our interpretations?

[p186]

Its unredeemed charge explodes, it too, in fatal catastrophes, which tear apart human connections and out of terror kill living life, as its only means of expression.

[p197]

…before the new view of reality. No limit,

[p198]

FORM AND RADIATION

not restlessness, but radiation, circulation, renewal, living interplay down to the smallest detail is its very essence. Rock-heavy material can be x-rayed, atomic nuclei can explode, power is released.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958]]> 411 0 0 0 https://emiliafogelklou.wordpress.com/27-sprangd-form-1/ Fri, 24 Mar 2023 07:40:06 +0000 https://emiliafogelklou.wordpress.com/?page_id=421 

Alfred Mombert (& Martin Buber)

Sprängd form / Exploded view, p33

Synsättens förvandlinger / The transformations of views, p37

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958

• • •

Swedish Academy’s dictionary, SAOB

Kosmisk trängtan och sprängd form äro karakteristiska för Alfred Mombert. 2NF 38: 1012 (1926).

Cosmic urgency and exploded form are characteristic of Alfred Mombert. 2NF 38: 1012 (1926).

• • •

Beginnings / “The world is not,” writes Martin Buber in an essay on the Jewish poet Alfred Mombert, “it is done.” It is done eternally and is itself eternal “doing,” an ever-new beginning of worldliness, whose createdness and creativity have fallen into oblivion in the modern age. “Primal man,” Buber muses about Mombert’s mythical trilogy Aeon (1901–7), “experiences the world as creation, not by reflecting on it…but by experiencing his own creatorship.” The experience of a created world, this obscure “image-dream” that ties myth to modernity, is not the same as the dogmatic image of the creator-God. There is “preworldly” creation, for Buber, creation before and outside of history and humankind, and there is “eternal” creation, repetitions of the primal beginning requiring the fellowship of man. In the eternal act of creation, in the idea of a world to be done, lies the meaning of art; and no one, for Buber, understood this meaning more profoundly than the artist of the Sistine Chapel: “From the self-experience of eternal creation emerges the movement of the creator-God on the Sistine ceiling.”

– Asher Biemann: ‘Dreaming of Michelangelo Jewish Variations on a Modern Theme’ / ‘Fragments of Desire’, Stanford University Press, 2012, pp79-80

Note:

Alfred Mombert: ‘Aeon’, Berlin Schuster & Loeffler, 1907-1911

Volume I Aeon the World Wanted. Symphonic drama 1907

Volume II Aeon between the women 1910

Volume III Aeon before Syracuse 1911

• • •

Working Notes:

Alfred Mombert, by Martin Buber

What makes Mombert a phenomenon of nature and of the spirit is that a primal conception is genuinely expressed through this “late” human being, not as a traditional, imagined, expressed content, but as the violence that supports the life and work of this human being, the Reason from which he grows and which he obeys. There is neither arbitrariness nor confession, there is worldly necessity; not a word that is put in the mouth, but a word that is put into the mouth. This poet, who appears detached from the law of the poetic tradition of his writing, is not lawless: he stands in the law of the original conception, which expresses itself through him. She is the support of his ecstasies and the rule of his visions; she orders him the images and the sounds. She makes his work appear beyond today’s poetry, The same goes for the form-like and the form-breaking—the first in an incompleteness and incompleteness of pure legitimacy, the second in a monumental absoluteness. It is the original conception of the world as creation: the conception that the world is created and will be created, and that its being created and being created directly affects the spirit living in man. It seemed as if she had been crushed in the hustle and bustle of religions and theologies, of literature and rhetoric; Mombert testifies that she remained an element. that the world was created and will be created, and that its being created and being created directly concerns the living spirit in man. It seemed as if she had been crushed in the hustle and bustle of religions and theologies, of literature and rhetoric; Mombert testifies that she remained an element. that the world was created and will be created, and that its being created and being created directly concerns the living spirit in man. It seemed as if she had been crushed in the hustle and bustle of religions and theologies, of literature and rhetoric; Mombert testifies that she remained an element.

The “primeval man” experiences the world as creation, not by contemplating who made all the things, but by experiencing his own authorship in tremendous shocks, in catastrophes of the soul. Anyone who suddenly saw the tool he had made and often used; who, who, with his articulated call, had repeatedly persuaded his companions to adopt a certain attitude and action, suddenly noticed; who, after child after child was born to him by woman, suddenly understood that he had begotten them: these late men (for how many generations may have passed their lives before they recognized it!), these early men (for how many generations had to experience the same recognition again and again until it became knowledge and heritage of knowledge!), did not experience themselves, but the world. It would be an intellectual interpretation to speak here of a “projection” or even of a “conclusion of analogy”, as if the person experiencing such a god then thought up a God and attributed his own authorial drive and authorial power to him; the process is deeper and simpler, it has the character of an approach. Henceforth man stands in the sign of the creative, which connects him with God, who has now become more familiar. The myth of the creation of the world in its manifold forms—creation through doing, through saying, through witnessing—is the language of this basic relationship. The dogma schematizes the image of the Creator God; the inner teaching constantly builds up the self-knowledge of man in a great and lively way that he is of God’s race and his companion in the work of creation. That proclaims the prehistoric this expresses the eternal act of creation. Art means him when it touches the mystery of the beginning: the movement of the Creator God on the ceiling of the Sislina stems from the self-awareness of eternal creation.

Our age seems to be completely alienated from the presence of the creator spiritus through sheer development and winding up. Creation has become a proposition of the catechism and the creative has become a popular literary metaphor. Even so-called Expressionism with its outbursts of psychological lava cannot hide this fact. Mombert stands alone as a true manifestation of permanence.

“Do you know the transition from he to I?”

This is the basic motif in Mombert’s work, from which alone it can be understood. That the unity is not given – that we confront the spirit being that broods over the waters with our own breath of spirit – that we bear the seeds of the incomprehensible within us as procreators – that what was from the beginning gives birth to itself eternally anew in transitory becoming – and that the little spark in its self-experience becomes aware of such infinity that it can hardly say you to the primal fire: from this lived unthinkability these poetry—not mythical, but pre-mythical—come forth in all their power and impotence. On a word from the margins, a person has once again dared his utmost to become his mouth out of necessity. From this comes the imperfection of the poet and his greatness.

The world will not. The world is done. Whoever feels this way, whoever recognizes this way, in immediacy, all object becomes the music of the subject, and the subject cannot be immediate enough. I do this tremendous creation – even the perception of things, under the wings of the Fantasia, is lived as a creation of things – isn’t this the creation of the world? “I”—but the I of the individual among countless individuals has vanished; here the I of the human spirit speaks, no longer isolated. No abstraction: the lived, creative, procreative human ego: Aeon.

In three pictorial dreams, each of which succeeds in conquering its predecessor, this ego tries to withstand the terrible distance and closeness of the Creator God, the vibrations of the “transition”.

One pictorial dream is: remembrance — throwing oneself back into the subject of primal creation, from an insurmountably lingering, yet over-sounding distance. “Once there was nothing here but my job. Today I lie bodily in big dreams between white foamy waves and talk to the light that I created.” This is the dream of identity.

The other pictorial dream is: taking over, the further development or transformation of creation; most clearly in the vision of the giant under the firmament: I took his word, I took his light and then took his whole burden on my shoulders.” That is the dream of the story.

But the strongest and most vivid is the dream of encounter. “I raise: awake: the hand in morning greeting: so you smile from your dawn.”

In the first of the dreams, the I sinks into the He, saying I of him. But then the I is just a feeling.

In the second He passes into the I. But then He is only an idea.

In the third alone it says, as from being to being: I and you.

This is how the process of approaching has taken place here.

The world is done. Whoever becomes aware of the spirit as its doer in himself, can become aware of it: all nature is disclosed to him in a peculiar way—and withdrawn from it. For him, the harsh detachment of the material world of our disciplined waking consciousness from the whirlpool of dreams does not exist; the spell that turned things away from us into their fixed forms and into their safe places is broken; a powerful counter-magic of penetrating and penetrating each other works, the world would like to perish on people, on the “wonderful spirit-tissue that unites and binds the many worlds”. The law of a creative dream, a dream that does not happen but is done, becomes the law of creation.

The creative dream, in which the powers do not stagnate as objects, but wave as elements, overcomes the reliable world of individuation. It is not the case here, with the poet Mombert, as we have experienced in all nature-viewing and nature-interpreting poetry of modern times in the West: that the beings, rocks, plants and animals, the spatial configurations, mountains, waters and stars, in remaining within the limits of their individuality and uniqueness, so that the oak of the poem is not revealed as “the” but as this, this individual and unique, but transfigured as this. Rather, the beings and formations here are vessels of vibrating powers, of all the sensuousness and sensual devotion of the dream, but not isolated but cosmic, not unique but aeonic. dear of this world.

They are all demons, the players and opponents of the unwritten and unwritable drama, the fragments of which are Mombert’s poems, and also those who do not count themselves among the demons. Whatever they are called—the earth giant, Asia, the woman, the sea—they are all demons, and all, acting, suffering and singing, are immersed in the one great play of the dream-world demon, which is the eternal dialogue, three-course—because the spirit is the third – surrounded by chaos and cosmos. And these two, the “women”, between whom Aeon stands, the dark Ur-Frühe and the bright Tiona, are demons. They are not gods. Gods are not powers, but absolute individuals, as individual and unique as “this” oak tree, but transfigured into an unchangingly enthroned permanence; they are immortal; they are not eternal. Demons are mortal but eternal; for they are powers. Don’t ask them to show you a divinely glorified single-being face!

Her game revolves around the dialogue between chaos and the cosmos. The world is done. The world is done forever. Not only once was chaos and not only now is the cosmos, as mother was not once and son is not now. Rather, the fact that the world is done means eternal mastery, eternal mastery of one another. Because in every crystal there is chaos and in every fermentation there is cosmos, as forces. Every body feels all its limbs growing from primordial mush and dying into it, and the fate of incompletion, which the boundless marble picture defies, stares out at the sculptor from its very features as the fate of the world. In all the expanse of space and time, the holy form grows infinitely out of the holy fullness, sinks—and lasts. Every second of every atom is a crucible of the eternal foundry spirit. For he is the culprit of the world. He begets in chaos, he shapes the cosmos, he speaks his word between the two as the third party. He loves both. He did not struggle against the abyss as an enemy, he touched it reverently and succumbed to it triumphantly as a lover, and only when he entered it did he become aware of himself. He cannot turn away from him entirely to perfection; if he loses himself in it, in the glory of what has become, his eternal deed would be lost.

He “does not wish to be blessed; don’t want to freeze. He wants to witness.” That is why in the world of the poet Mombert every woman bears the signs of both as a symbolic image; each is primal womb and promise of form, each dancer of chaos and its bloom.

But whether the cosmos is also born in every moment: the fact that man and the beings he can imagine live in a single-line time running in one direction (the parable of which is the individual life with its movement from birth to death) live, spans the original conception of the world as creation in the form of history. On its fringes stand the mystery of the beginning—the great depth under the breath of the spirit—and the mystery of the end—the perfection of the world from the spirit. Between these mysteries, shrouded in memory and intuition of that which cannot be anticipated by thought, occur the deeds of the spirit, to serve and sacrifice, to bear and to which man is called to confess his eternal self.

What is significant about Mombert is that he sees the history of the human spirit as inextricably embedded in the history of the world spirit, with proud humility. The Spirit speaks: “So the peoples once fell away from me. So once the sea waves betrayed me. So early stars left me.” And: “Creations of the world played around my crown, time played the harp in my heart cave”. The spirit that reigns in human history, the spirit liberator, who begets peoples, leads them into the struggle to become free, to become themselves, who resounds in their harmony and dies and rises in their downfall, discovers itself to be of the same essence , who loosed the belt of chaos. Fantasia comes to him as a lure, but also as a reminder from space. And the Mother of Nations said to him: “They all live in you.

History is. And history is creation.

In temporality, creation is tragedy. Aeon’s companion “in the dreadful game,” his shadow-spirit, is “the shattered one,” on whose head all the horror from which the deeds of history arise is heaped, like the sins of Israel laid upon the goat of Asazael. And Aeon’s work itself fails on earth. The “new people” he longs for is not born. In a great hour, at the end of a world age, the peoples die and he dies after them. But from the dying the spirit arises in a new form, Sfaira, ‘man’s joy’, and asks: ‘What about man? Does he have a goal? Should I continue to work on him on this star?” And it sounds like an answer from another poem: “Blessed world youth! The ancient extinct granite Himalayan world: replaced by a whiff of spirit.” And again: “Then flowers will bloom like none before. Then a great spring will come upon the world. Then people will flourish like never before.”

Future is. And the future is also creation: in which the tragedy of creation dissolves into mystery. Proclaiming it, the poet obeys the law of the primal conception, which expresses itself through him. For both images: creative origin in the beginning of time, creative redemption in its end, are the two sides of a God’s robe, woven by One Spirit; whose Sinaitic voice echoes the voice announcing the “great spring” in Mombert’s poem, as it ends with the words: “Deum sempiternum omniscium onnipotentem a tergo vidi et obstupui.”

[“I saw the eternal, all-knowing, all-powerful God behind me and I was astonished.”]

• • •

Martin Buber in Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958

[p160]

Martin Buber: “Only to introduce God into our ordinary life itself, as it is added and sent to us, only

[p161]

THE SEARCH FOR SILENCE

this conveys redemptive power. God always dwells in the hidden.”

[p164]

“We can not

[p165]

THE SEARCH FOR SILENCE

wash clean the word God — — but stained and torn as it is, we can raise it from the ground and raise it above a moment of deep sorrow.” (Martin Buber.)

[p186]

An individual has a ‘now’, a ‘path’, a ‘choice’, and always a ‘relationship’ to ‘others and other’ (‘das Zwischen’ [the between’], as Buber called it).

[p218]

Like no other, Martin Buber has made our life a dialogue.

• • •

– Max Fischer: ‘Alfred Mombert (1872-1942)’ , Monatshefte Vol. 44, No. 4/5 (Apr. – May, 1952), pp. 207-211, University of Wisconsin Press]]> 421 0 0 0 https://emiliafogelklou.wordpress.com/28-sprangd-form-2/Fri, 24 Mar 2023 16:40:02 +0000 https://emiliafogelklou.wordpress.com/?page_id=436 

Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958

pp33–36

[p33]

Sprängd form / Exploded view

When a layman with wide-awake eyes works to orient himself as far as he can in this cosmos beyond his senses, neither nature nor time nor space may retain their old faces. They don’t look at us like they used to. They have acquired a strange diversity of aspects, layers,

[p34]

FORM AND RADIATION

vibrations, ‘quanta’, radiations. A world — in any case, a world view — has perished. Is another perhaps still in the grip of birth pains? A kind of world that seems far from rock-solid or graspable, rather light-trembling and, in a world threatened by darkness, even light-losing. The dangers of this planet’s suicide right now are terrifying. The dedication required for creation and viewing is exposed to unrelenting disruption, fragmentation, emptiness, anxiety.

Far away, as a parallel, Heraclitus’ vision of the constant destruction of worlds and the coming into being of [new] worlds reappears. “This cosmos has been, is, and shall be a fire, which is always alive, kindled in due degree and extinguished in due degree.” And “only one wisdom exists. It wants and still does not want to be mentioned by the name of Zeus.” (Fragment 65.)

But not only has space had its borders blown up. Man too is forced in a more compelling way than before to look into the most current existence of his own unconscious life, to start with at least its more superficial sub-layer, perhaps even in the ‘collective unconscious’. One ‘who sees in the hidden’ is still rarely discernible unless in a hidden searchlight, which is driven from within.

At the same time, in the West, the old feudal outer layer of ‘fixed order’ — through upbringing to imitation

[p35]

THE CRISIS OF ART

— weathered away, before even democracy, within the peoples who at least nominally profess to it, has matured for the way of life: community out of difference.

Our half of the 20th century also became the epoch of the world wars. The young and middle-aged generation were torn away from normal lifestyles. Death, crippledness, hunger, birth defects, chronic grudges, life as a refugee and other injuries marked too many into the next generation. Along with the human during this eclipse of the human itself, pessimism, anxiety have carved indelible traces, even if light has penetrated all the way to the depths, where anguish can meet innovation. Political storms of unrest with passes and anti-passes, loaded with disharmony, not least anonymous, become aware hour after hour through the press and radio, also for all ‘neutrals’. It is as if, as far as the political situation is concerned, we are all trapped in the same thick fog of barren habitual thinking, despite the achievements of the new terms and conditions.

And yet! Never before have individuals as now, thanks to press, social media and new means of communication, been able to experience as their own cultures and events, which previously could be considered foreign and did not significantly affect ‘us’. Not to mention archeology’s discoveries of buried cultures. We are introduced to people brought to life who were previously just names from the past.

[p36]

FORM AND RADIATION

We are a unit. But still involuntary and disharmonious, and we are in dire need of the unifying element.

Without the war’s aftermath of misdirection and suffering and all that Hiroshima confronted man with, the new world view could have filled us with happy amazement. We could have experienced it as a new act of creation. We would have discovered a multitude of ‘parables’ with the workings of the spiritual life.

“All that we now call history, will perhaps one day be regarded as the brief introduction to the great era of human development, which unfolds against the background of the starry sky.” (Arthur C. Clarke, The Way to World Space, Sv.D. 17/2 57.)

But with that optimism must be juxtaposed how the people — in their knowledge and their inhumanity — are in the process of abusing the newfound powers.

• • •

Working Notes:

24.03.2023 (Fragment 65)

John Burnet: ‘Early Greek Philosophy’, A. & C. Black third ed., 1920

Fragment 65: “By mixing opposites there is the unmoved.”

– G. T. W. Patrick: ‘Heraclitus on Nature/Fragments, Concepts and Thoughts in Pseudo-Hippocrates’, N. Murray Baltimore, 1889

– Donald Judd: ‘Donald Judd Writings’, David Zwirner Books, 2016, p465]]> 436 0 0 0 https://emiliafogelklou.wordpress.com/29-synsattens-forvandlingar-1/ Sat, 25 Mar 2023 10:42:19 +0000 https://emiliafogelklou.wordpress.com/?page_id=449 

[The transformations of views]

Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958

pp37–45

SYNSÄTT

1) about the action l. the relationship to see (see d. o. I 1), seeing; also in view of the visual impression, often synonymous with: åsyn l. sight, special. in expression at the sight of something l. something; also transient in bet. partly: look l. eye glance etc. (see special g), partly: eyes l. eye (formerly special in expression believe his vision); in sht formerly ev. with objective gen., in exp. someone’s sight, the sight of someone’s sight.

FÖRVANDLA

1) give (something l. something) another shape l. shape l. another appearance l. another nature; transform, (completely) change; remake, change, transform; nowadays in sht in the matter of a sweeping change that takes place as in a context l. in a supernatural way; also pp. dep. l. (nowadays in sht in higher style) refl.: change shape l. form etc., change oneself, be replaced; switch; also image When he bathed his face was changed, and his clothes were white and shining. Luke. 9:29 (NT 1526). Iagh weet .. How the seasons of the year sigh change. Wish. 7: 18 (Bib. 1541; ex. 1792: alternating). Either the standstill happens in 50 or 30 years, it can be the same, because before then the time can change a lot. RP 5: 92 (1635). He thought with painful melancholy, how different everything around him now seemed, how transformed he himself was. Knorring Ståndsp. 2: 137 (1838). His small round limbs lay undissolved, as death immediately transforms them. Hallstrom Than. 42 (1900); cf. d. What does not transform itself, dries up prematurely and dies. Heidenstam What do we want? 6 (1914). — cf. VOWEL-, BACK-CONVERT and UN-CONVERTED. — peculiar.]]> 449 0 0 0 https://emiliafogelklou.wordpress.com/29-synsattens-forvandlingar-2/ Mon, 27 Mar 2023 06:47:22 +0000 https://emiliafogelklou.wordpress.com/?page_id=467 

Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958

pp37–45

[p37]

Synsättens förvandlingar / The transformations of views

Colours are the sufferings and deeds of

light.

Goethe

Much earlier than in our century, restructuring in the visual field has taken place of a radical nature.

The big change in the painting’s picture light in new scientifically illuminated by Wilhelm Schöne in Das Light in der Malerei.

All image light in the Middle Ages is an inner light, a radiation from within the image itself. Exterior lighting and switching between shadow and light do not exist for the artist. “The light of the world of image is immanent and strikes spectators immediately, like the light of a light source. It it was extinguished, the world of images became not only invisible but non-existent. Förf calls this ‘self-light’ [‘natural-light’] and ‘late light’ in contrast to ‘pointer light’ [‘indicator light’] of the external lighting which we have been accustomed to reckon with in the art of painting since the Renaissance.

We encounter ‘self-light’ [‘natural-light’] distinctly in the manuscripts illuminations. But especially in the [stained] glass windows (Chartres), “the culmination of self- light.” This light is most closely associated with the deeply religious [aspect] of medieval cosmology

[p38]

FORM AND RADIATION

worldview, as it was most clearly portrayed by Dante. Colour is here a direct function of light. I agree with Wilhelm Schöne’s ambiguous concluding remarks on modern art, where colour has become an intrinsic value and light a function of colour: “One may ask about the colour of his his being (wesenhaft) stepped into the light of illumination? Or if the the illumination light has just hidden in the colour? In any case, it itself has become invisible.”

The great upheaval takes place during the 15th century, along with the Renaissance’s strong shift in interest from the divine to the human. In painting, this direction of light discovered by the shadow means “the opposite pole of worldly light.”

During the collapse of the medieval worldview, with insecurity and anxiety in an era where customs were dissolved and anonymous evil forces are seen to playing tricks on the weak and lustful people, an artist emerges, who reveals striking kinship with the anxiety of out own time. — I am thinking of Hieronymus Bosch (1460-1516). Empty in his paradise (Eve’s creation) one sees the cat take a rat, and the birds a frog close to the eyes of the first newly created humans. Spaces are filled with fantastic evil games, with striking features from the real world. The abhorrence of present-day humanity erupts in the physically overpowering beings, with faces of evil, stupidity and complete indifference, as Bosch

[p39]

THE CRISIS OF ART

stands close to the cross-bearer with his eyes closed and his suffering features.

From the Renaissance, painting became tied to visible reality, especially the human with all its variations.

But again, there has been a great change in our inner embrace of the eyes’ reflection of reality. Man asks new questions before things. Their physicality no longer exists so confidently. She sees force fields, wave motions, radiation, structures, instead of boundary lines. Nature opens up new layers for man.

In front of the tree e.g. it is perhaps more the growth and flowering itself than the static, plastic form the eye encounters, which cries out for expression. The interest in trees, flowers, streams is shifted to the dynamic events: grow, bloom, flow. Do not reproduce the car, but the speed.

Even a non-artist may, after confrontation with the new worldview, come to say that — I would even physically — perceive it, as vibrating life throughout creation, in a state where all weight and inertia are gone and where levitations and light phenomena in legends and elsewhere are remembered as related sensations. It happens on the other side of colour and form, but it belongs to movement light, with radiation. Or rather with a new perception of reality as permeated by life and movement rhythms the

[p40]

FORM AND RADIATION

eye can not even catch, but all nerves can vibrate off. It is like a memorisation of the birth of all the witnesses of the senses, a state which in the century of intellectualism has been considered inferior and superfluous. It can not be defined, not even as ‘materialised light’, because it has somehow come beyond the boundary, with openness to “what no eye has seen and no ear has heard and what in no human heart has originated.”

But I return to contemporary art and return more often to Haftmann‘s views.

Modern painting is “a form reflex of a definite situation within modern man,” a reflection of change, of a new reality basis for the world of expression. Therefore, one can not reject that form reflex without rejecting one’s own existence in this time.

The ‘image of man’ is hereafter included within the work of art itself. She comes along as a kind of “Bildinnenlicht” [‘image interior light’]. The old question of “the human league in art” — if you mean it by imagery — reveals a helpless misunderstanding of this idea, says Haftmann. “Reproduction of the outside world is a lost function.” Art does not consist in reproducing the visible but in making something visible. The abstract painting wants to reproduce the experience in the inner region (without reproducing the outer).

The talk about the godlessness of modern art is meaningless. [p41]

THE CRISIS OF ART

You can speak about distance from God, if by that you mean a sense of distance towards a being far from the human dimensions. (Haftmann.)

Franz Marc, who sought to portray the animal ‘in himself’, not just in relation to man, states the artist’s goal as follows: “To find and manifest the laws that govern the universe, to reach beyond the individual and enter into metaphysical realms.”

I take a few sentences from Carl Nordenfalk‘s review of Wilhelm Schöne’s book (D.N.21 AND 23/11 1955): “Ancient art was able to render the radiant light of God, it could capture the different forms of revelation of artificial and natural light in nature, in short, all the light phenomena that have hitherto entered the sphere of human experience.”

But modern science has since proven the existence of previously unknown forms of light.

Throughout human existence, the worship of light is real and symbolic. This opens up [a] breathtaking perspective of ‘more light’.

[p42]

FORM AND RADIATION

In the Swedish daily press I find the following description of a young painter’s work! “…whose mysterious power has its main means of expression in the constant transformation of colour into light. . . . a message, where each form has completely absorbed the light. In ‘Horse in the Shadow’ the light problem is reversed, but even in this all-black shadow lives brightness. Almost every image has its own special magical radiance. ‘One believes’ with renewed vigour in painting’s inexhaustible possibilities as a meditator of experience and message beyond words.” (Torsten Bergmark)

The review — I unfortunately haven’t been able to see the painting — seems like a direct illustration of a new phase in the history of image illumination.

•

[p43]

THE CRISIS OF ART

With us, Ludvig Nordstrom, who after all represents both poetry and art, has over 40 years ago in his diary given clear expression to this change:

[p44]

FORM AND RADIATION

The gains of industrial technology, machine information, and even the ‘beauty of speed’ have at least before the last war been able to have a stimulating effect, not least for the artistic illustration of the moment of movement itself. (Calder’s mobiles! – At the sight of the triumphs of aviation technology with wooden propellers, a young artist turned to a comrade: The art of painting is over! Who could surpass the propeller! Can you?)

The photography and film equipment has increasingly taken over matters that were previously reserved for artists.

The artist has no part in the great technical advances. He is soon said to be the only one who manually instead of indirectly deals with the natural. The devices have gained inexorable mobility and the ability to convey in a single image or series of images the spaces and

[p45]

THE CRISIS OF ART

space combinations, which the art of painting first learned only through the centuries of change learned to capture. The film initiates us into the optically unconsciousness. (J. Cassou, Situation of Modern Art.)

The increasingly exquisite reproductions of works of art, indeed the museums themselves have more than one side. The former “intellectualises art” (Malraux). “The collection and burial place of art we call a museum” (Gunnar Edman) accumulates art treasures and attracts through its abundance to fleeting, quick, also skilfully comparative thorough observations, rather than to the undisturbed immersion before any individual work of art, in such a contemplation, which the ancient Chinese found equally necessary for the spectator and for the creative artist.

• • •

Working Notes:

27.03.2023

05. Severini 1913 | p42

15. Michel Seuphor | p42

Jack Flam: ‘Ad Reinhardt’s Black Paintings, the Void, and Chinese Painting’, The Brooklyn Rail, undated

Michael Hatch: ‘Learning about Asian Art from Ad Reinhardt’, The Brooklyn Rail, undated

[ONENESS] Notes on Ad Reinhardt’s unpublished and undated text, 2014

AD REINHARDT: ‘ONE’, 2014

AD REINHARDT: [IMAGELESS ICONS] 2014]]> 467 0 0 0 https://emiliafogelklou.wordpress.com/31-gripenhet-apprehension/ Wed, 29 Mar 2023 11:08:17 +0000 https://emiliafogelklou.wordpress.com/?page_id=492 

QUICK SUMMARY

The post is a rich meditative exploration of how art and perception can transcend the visible, evoking a potent experience of being ‘gripen’—caught, moved, or captivated—with profound philosophical and aesthetic implications.

‘Gripenhet’ is not mere representation—it’s the subjective experience of being deeply moved; and art that embodies this moves us beyond stable forms, into a space where vision, sensation, and perception fuse.

Core Concept: Gripenhet (‘apprehension’)

• Form & Radiation: Fogelklou emphasises moving beyond mere representation—she seeks to depict the “inner structure of the world,” creating visual signs that express a deep, visceral engagement (“apprehension”) with reality rather than depicting familiar motifs.

• Etymology: The Swedish ‘gripenhet’ derives from ‘gripen’—meaning deeply moved, enraptured, or captivated—connoting a powerful emotional or spiritual state.

Philosophical Context

Carl Einstein (1934) is quoted: images are “sources of energy,” fragmenting and dissolving, activating the universe through vision—seeing becomes action emiliafogelklou.wordpress.com.

Art isn’t about affirming the visible world; it’s about rupturing norms and making the unseen or “not yet visible” perceptible, thus opening new modes of understanding.

Drawing on mid-20th-century theory: cubism, Georges Braque, Benjamin, Bataille, Didi-Huberman, and Barnett Newman, the entry underscores art’s power in:

# disrupting conventional perception.

# materializing sight and sensation.

# revealing a “concrete absolute” rooted in raw, experiential immediacy.

This reflects a radical rethinking of art as active, dynamic, and transformative—not communicative or decorative.

Petra Carlsson, 2013, relates Fogelklou’s ideas to broader philosophical debate—urging openness to the unexpected and resisting the tendency to immediately classify or categorize what we see. The invention of form overtakes adherence to familiar motifs, enabling a genuine encounter with the world.

FORM AND RADIATION

Leaving the visible there does not mean contempt for creation, but it is done in order to bring the new, expanded perception of creation, the “mysterious inner construction of the worldview,” to visibility in a picture, to give signs of an apprehension towards the world, where inventions of form replace the motifs.

– Emilia Fogelklou: ‘Form och strålning, Åskådningsfragment’, 1958, p52

• • •

“…images only retain their active force if one considers them as fragments dissolving themselves at the same time as they act, or rapidly decaying as do weak and mortal, living organisms. Images only possess a meaning if one considers them as sources of energy and intersections of decisive experiences. […] Works of art only acquire their true meaning by dint of the insurrectionary force they contain. […] It had been forgotten that space was only a labile intersection between man and the universe. Now, vision only has human meaning if it activates the universe and casts its turmoil therein. Visual divination is equivalent to action, and seeing means setting still-invisible reality in motion.”

– Carl Einstein: ‘Georges Braque’, 1934

• • •

till åskådlighet i bild, för att ge meddelelsetecken från en gripenhet inför världen

to visibility in image, to give signs of communication from an apprehensiveness before the world

to give the signal of an arresting entity to the world

for clarity of image, to show signs of apprehension towards the world

• • •

“gripenhet”

känsla | feeling or sense or sensation or impression or touch

emotion | emotion

rörelse | movement or motion or stir or agitation

sinnesrörelse | emotion or affect

upprördhet | indignation or excitement or discomposure

gripenhet | “grip unit” / excitement or rapture or caught

GRIPEN gri3pen2, p. adj. -pet; -pne, -pna; -pnare.

Etymologi

(i sht i vitter stil) hänförd, hänryckt, betagen; (djupt) rörd. Här har den alltid behärskade varit hejdlöst gripen som ett barn. Hallström Skepn. 33 (1910). (Tegnér) bjöd lyran farväl i de gripna orden: ”Farväl, du dikt (osv.)”. Böök 1Ess. 91 (1913). Stämningen (stiger) i djupt gripet jubel. Hedvall RunebgStil 76 (1915). Vi (sade) ett gripet farväl till vår Cadillac. Böök ResSv. 221 (1924).

Avledn.: GRIPENHET, r. l. f. (i sht i vitter stil) Ett tillstånd af själens gripenhet. Ahnfelt Minn. 1: 39 (1905). Wrangel Dikten 246 (1912). Young .. ryckte med sig genom den personliga gripenheten och uttryckets suggestiva styrka. 2NF 33: 579 (1922).

Spalt G 941 band 10, 1929

GRIPEN gri3pen2, p. adj. -pet; -pne, -pna; -pnare.

Etymology

(in sht in witter style) enraptured, enraptured, captivated; (deeply) moved. Here, the always restrained has been unrestrained like a child. Hallström Skepn. 33 (1910). (Tegnér) bid farewell to the lyre in the arresting words: “Farewell, you poem (etc.)”. Böök 1Ess. 91 (1913). The atmosphere (rises) in deep cheers. Hedvall RunebgStil 76 (1915). We (said) a poignant farewell to our Cadillac. Böök ResSv. 221 (1924).

Derived.: GRIPENHET, r. l. f. (in sht i witter style) A state of the soul’s grip. Ahnfelt Minn. 1: 39 (1905). Wrangel Poems 246 (1912). Young .. was carried away by the personal poignancy and the evocative power of the expression. 2NF 33: 579 (1922).

Column G 941 volume 10, 1929

TRADITIONALISM trad1iʃωn1alis4m, r. l. m.; best. -en.

Etymologi

teol. om riktning som tror på traditionen (se TRADITION 1) ss. komplement till bibelns skrifter. I predikan liksom teologi hade en ny traditionalism trätt i stället för reformationstidens omedelbara gripenhet inför det återupptäckta gudsordet. Brilioth SvKyrkKunsk. 11 (1933).

TRADITIONALISM trad1iʃωn1alis4m, r. l. m.; beast. -one.

Etymology

theology of direction that believes in the tradition (see TRADITION 1) ss. supplement to the scriptures of the Bible. In preaching as well as in theology, a new traditionalism had taken the place of the Reformation era’s immediate apprehension before the rediscovered word of God. Brilioth SvKirkKunsk. 11 (1933).

Yngve Brilioth: ‘The Anglican Revival: Studies in the Oxford Movement’, 1933

Hans Andreasson: ‘Gripenhet och engagemang [Compassion and commitment], Svenska Missionsförbundets identitet speglad genom missionsföreståndarnas predikningar vid generalkonferenserna 1918-1993’, Åbo Akademis förlag, 2002

• • •

In a quote almost as snarky as the one reproduced by Björk, Fogelklou writes: “Leaving the visible there does not mean contempt for creation, but it is done to bring the new, expanded concept of creation, the ‘mysterious inner construction of the world’, to visibility in image , to give signs of communication from a grip before the world, where inventions of form replace the motifs.” (Form and radiation, Bonniers, 1958) What does this mean? Well, for Fogelklou it is simply about an encounter with the world, but an encounter with reality as it actually appears to us rather than as we expect it to appear. It’s about seeing even what we don’t think we see, that is, seeing even what we rarely put into words because our language limits what we call reality to certain categories. It is therefore about making the world bigger, to “broaden the concept of creation”, by not immediately comparing phenomena or people with already familiar phenomena or people. To not immediately fall back into well-known forms, norms or “motives”, but to remain open to the fact that what we encounter may actually be completely different than we think, and that this requires our deep respect. “Inventions of form may replace motifs”, not only in contemporary art (which interests and inspires her) but also in our approach to the world.

– Petra Carlsson: ‘Viewing the world beyond categories’, Number 5, 29 October 2013

• • •

Summary Notes

26.11.2021

“[…] images only retain their active force if one considers them as fragments dissolving themselves at the same time as they act, or rapidly decaying as do weak and mortal, living organisms. Images only possess a meaning if one considers them as sources of energy and intersections of decisive experiences. […] Works of art only acquire their true meaning by dint of the insurrectionary force they contain.”

[…]

Then came the lightning-flash of cubism. At last it happened that some men wanted something other than to be limited to painting and confirming an aged world. […] Without doubt these painters were scarcely aware of the transformation which was taking place in other domains. But what matters is that these men, possessed by a future reality, saw themselves reflected in their work. […]

It had been forgotten that space was only a labile intersection between man and the universe. Now, vision only has human meaning if it activates the universe and casts its turmoil therein. Visual divination is equivalent to action, and seeing means setting still-invisible reality in motion. […]

Art has too often been considered an attempt to organise the given image of the universe; for our part, art represents above all a medium that permits rendering visible the poetic, augmenting the mass of figures and the disorder of the concrete, and consequently increasing non-sense and the inexplicable in existence. It is precisely in destroying the continuity of becoming that we acquire a slight chance of freedom. In a word, we underline the value of that which is not yet visible, of that which is not yet known.

– Carl Einstein: ‘Georges Braque’, 1934, in Georges Didi-Huberman: ‘Picture = Rupture, Visual Experience, Form and Symptom according to Carl Einstein’, 2007

‘hallucinatory interval’ | verformen: it ‘irrationalises the world’ [Einstein]

‘Seeing means setting still-invisible reality in motion’ / [Benjamin] ‘dialectic at a standstill’ – “that wherein what has been comes together in a flash with the now to form a constellation.”

Einstein: “…spouts from the living present to flow back towards the vanished past. It scintillates like a simple projection of the present moment. The selection and appreciation of lost times [a fundamental problem of the discipline of history] are determined and formed by the structure and power of the present. It cannot, therefore, be a question of singular, objective history; on the contrary, all historical crystallisation is a perspective constructed along the sightline of the present.”

…oscillate [swing back and forth] and scintillate [sparkle] / the temporal complexity of artworks / “the action of the artwork consists in the destruction of the beholder” [Michel Leiris, ‘A propos du “Musée des Sorciers”,’ Documents 2, May 1929]

A form-field [more than aesthetic] to restate the real or substance ‘in another form’. [Carl Einstein: ‘Georges Braque’] / invent a force-field capable of ‘creating the real’, of ‘determining a new reality by a new optical form’ / not representing, but of being, of working [travailler] …a fecund decomposition and a production that never finds repose or fixes its end-point, precisely because its force resides in the anxious opening, the capacity for perpetual insurrection and self-decomposition, of form…

…vision was limited to passive observation. …the visionary world was beyond it, and the secret structures of processes appeared unimportant to it.

…vision not as faculty, but exigency [an urgent need or demand], work / reject the visible (that is to say the already visible) and demand the oscillation of the visual / rejects the voyeur and demand the seer / always disruptive, visually declare something which is not yet visible, something we do not yet know / a future of representation / an ‘ancient prophetic power’ which liberates the ‘future real’ in the ‘dissolution of conventional reality’ [Carl Einstein: ‘Georges Braque’] / its fragility, its gratuitousness, …its pure effect of disinterested truth / it avoids the dogmatism of religious or ideological types of prophecy / a potential future [which] is not messianic / a ‘hallucinatory interval’: it ‘irrationalises the world’ / it delivers us over to the still-elusive. Because it is dialectical and inventive; because it opens time.

[“Seeing means setting still-invisible reality in motion”]

‘being not yet visible’ / ‘reawakening’ [Walter Benjamin] / a non-knowledge / between a repression and its lifting: it is a transition, a pivot of transformations / it must relentlessly combine ‘regression’ and ‘progression’, ‘survival’ and ‘novelty’ / the very fragile force of the augural ‘reawakening’

…non-knowledge at the centre of its problematic and to make of this problematic the anticipation, the opening of a new knowledge, a new form of knowing, if not of action / the unrealised, unfinished, multifocal, even shattered…

With the objective world ruptured, seeing is made ‘conscious’. The spectator is left with a language of ‘verformen’ — of disruption, transgression and sabotage — severed (all be it temporarily) from logic and the written word. Without the scaffold of simile and reference the ‘I’ is unable to orientate.

“Instead of making cathedrals out of Christ, man, or ‘life’, we are making them out of ourselves, out of our own feelings.” – Barnett Newman

“This absolute confined as it is within the limits of an experience, is simply a marker of the intensity of human self-assertion.” – Carl Einstein

…a secularized notion of transcendence — an experience of an unknowable other grounded in the immediacy or physicality of presence.

Einstein: ‘tableau = coupure’ (picture = rupture)

…painting must resist description and reveal only function, i.e. the experience of the real manifest through the tactility of ‘hallucinations of pure act’

…painting as an absolute of material immediacy / from the language of critical interpretation, historical narrative and aesthetic gymnastics to the language of the painted surface — primary, experiential and true / spontaneous expression of forms devolved to formlessness, direct and sensational, with process made visible through visual gesture, through ruptured perspective, material presence and the artist’s mark / painting conjures an absolute determined by raw materials [Tatlin]

“I had no idea, when…I was allowed to borrow [Bataille’s] L’experience interieur’ that this was the only copy in any public library in Sweden.”

– Emilia Fogelklou: ‘Om Georges Bataille. Mystiker och kritiker’, 1963, pp113–114

Georges Bataille #1

Georges Bataille #2

“Experience attains in the end the fusion of the object and the subject, being as subject non-knowledge [nothing], as object the unknown.”

[“…the search for a rupture of the elevation carried to its height, and a glare with blinding pretension has a part in the elaboration, or in the decomposition of forms…” – Bataille, ‘Soleil pourri,’ 174 / Form as dialectic and destiny: ‘Seeing means setting still-invisible reality in motion’]

…disassociated from the metaphysical as a religious, ideological generality, nevertheless, it has specificity in terms of a secularized notion of transcendence — an experience of an unknowable other grounded in the immediacy or physicality of presence. / Einstein’s conception of painting as a language centered on what he saw as its capacity to de-familiarize form. His term ‘verformen’ is closely bound to broader conceptions of the informe, which, as developed by Bataille in Documents, ‘desublimates and reveals, and thus lays bare, the material, physiological base of imaginary formal processes as open’.

Newman’s Two Edges might then be approached in relation to the language of the informe. The informe image is one in flux. It is not statement of fact, relating to the nature of objects, but rather the fact of stating seeing as subjective process. Such subjectivity, post representation, drives painting towards a reduced base state — towards the physical immediacy of gesture, mark, and the material relationship between support and medium. Through the prism of the informe painting becomes an open proposition — a form of material discourse. By virtue of its isolation from memory and cliché, or because of its capacity to destroy them, mid-century avant-garde painting, driven by the informe, serves as vehicle for critique. Such production, Didi-Huberman categorizes as a ‘dialectical image’, one that corrodes traditional aesthetic experience through material insistence. Under these terms the painted surface, autonomous and irrational, becomes theoretical — it becomes an ontological statement on the limits of vision. With the objective world ruptured, seeing is made ‘conscious’. The spectator is left with a language of ‘verformen’ — of disruption, transgression and sabotage — severed (all be it temporarily) from logic and the written word. Without the scaffold of simile and reference the ‘I’ is unable to orientate. The compass needle snaps and ‘self’ is lost, abandoned. The limits of cognition are exposed in prototype forms. Interpretive systems are superseded by visual gesture processed purely experientially — but nonetheless concretely.

Einstein uses the term ‘concrete’ to strip the absolute of mysticism and the divine. He makes his case explicitly:

This painting of the absolute, this grasping of the pure visual function, demonstrated that the absolute is not some ideological generality, but always a perfectly concrete individual experience that has nothing to do with any metaphysical or posthumously retrospective theoretical product. / The experience of the absolute can be represented as fully or as inadequately as any other experience, once the artist, instead of representing lazy, run-down metaphorical objects, turns to inventing freely the forms appropriate to this function. / Einstein positions painting as conduit for an absolute of material immediacy, and in so doing provokes the shift from discourse on the sublime, to discourse of the sublime; from the language of critical interpretation, historical narrative and aesthetic gymnastics to the language of the painted surface — primary, experiential and true.

– Georges Didi-Huberman: ‘Picture = Rupture, Visual Experience, Form and Symptom according to Carl Einstein’, 2007

— — —

Carlsson, Petra: ‘Mysticism as Revolt: Foucault, Deleuze and Theology beyond Representation’, The Davies Group, 2014

Didi-Huberman, Georges: ‘Picture = Rupture, Visual Experience, Form and Symptom according to Carl Einstein’, 2007

Fogelklou, Emilia: ‘Om Georges Bataille. Mystiker och kritiker’ in ‘Minnesbilder och ärenden’, Bonniers, 1963, pp113–130

Forsey, Jane: ‘Is a Theory of the Sublime Possible?’, Journal of Aesthetics and Art Criticism, Fall 2007

Hollier, Denis: ‘Surrealism and its Discontents’, University of Manchester, 2007

Threapleton, James E: ‘The Corroded Surface: Portrait of the Sublime’, UAL, 2016]]> 492 0 0 0 https://emiliafogelklou.wordpress.com/32-the-crisis-of-art-1/ Thu, 30 Mar 2023 05:55:03 +0000 https://emiliafogelklou.wordpress.com/?page_id=502 

pp46–47

[p46]

“The Crisis of Art”

Art must have a purpose for the laymen of its time, not just for those who are art-savvy or productive. In my context, I shall not indulge in the “isms” at all, only recall some of the tendencies that, from the point of view of the human search, mark the time movements and crossroads of different art trends or the individual’s wanderings through different camps during the recent years. Clearly and consistently, Werner Haftmann, in Malerei des 20 Jahrhunderts [1954 / ‘Painting in the Twentieth Century’ 1961], has placed the entire aspirations of the last era of art under the influence of the new worldview [1], which provides connection, insight and overview in terms of tendencies which in others inspired only pessimism through the ‘loss of centre’.

Hans Sedlmayer calls art “the last metaphysical activity of European nihilism.” From the entries in his summation of the characteristics of art in the present situation (Verlust der Mitte) [‘Art in Crisis: The Lost Center’, 1948], I would like to mention: attraction to the inorganic, rootlessness, downward suction,

1 The word taken in a broader sense than the physical-astronomical one.

[p47]

THE CRISIS OF ART

detachment of man and inability to empathise (Uneinfühlbarkeit). Sedlmayer’s list could be extended with reminders of the ease of imitating much of today’s art, of “monotonous, inarticulate and overly coherent attempts at originality” or of the purely technical period of decadence we are in (the lack of resistance of colours to time, etc.) in order to now not to mention the appetite for what Betsy the chimpanzee accomplishes in terms of ‘abstract art’.

But despite his pessimism, Sedlmayer suggests how “repressed needs lead to deep and terrifying experiences of the dead, chaotic, demonic, which call for renewal, order, and purification of the combined stock of man and the world.” It is impossible, also according to his thought, to seek salvation through a return to the past. All attempts “to combat the inhumanity of the times only through ‘humanism’ are only expressions of longing without healing powers.”

I emphasise some distinct tendencies in the recent search: Away from the human; the unconscious and the new introspection; the return to primitive forms, eagerness for the geometric and abstract (called ‘concrete’).

• • •

“The machine entered this world victoriously and disturbed the everlasting harmony of organic life. Since this revolutionary event everything has changed in human life, all has been broken in it. . . The rhythm of the organic flesh in the life of the world has been disturbed. Life was cut off from its organic roots. The organic flesh is being substituted by the machine; organic development finds its end in the mechanism. Machinisation and mechanisation is a fateful irresistible cosmic process… [it] must be understood as dematerilisation, as the scattering of the flesh of the world, the sprawling of the material structure of the cosmos.”

– Nicholas Berdyaev: ‘The Crisis of Art’, 1918

“I want…a writing (which now may really be possible, in the ruins of a great coercive discourse) that actually lingers for a moment in the state induced, time and again, by a new Cézanne, or an old one encountered after long enough away: the feeling of everything else in the world, especially the world of art, being so comprehensible by comparison; the feeling of the world ‘occurring’ in this particular pattern of line and colour, and pushing both to behaviours that are more like conjuration than composition, more like… / More like what?”

– T. J. Clark: ‘Not Writing about Cézanne’, The Threepenny Review, 2023

Working Notes:

25.03.2023

…Sedlmayr says, [Cézanne] is a “key to understanding modern painting as a whole” / “In Cézanne an apple has the same physiognomic value as a face.”

– Roger Kimball: ‘Art in crisis’, The New Criterion, December 2005

Paul Cézanne: ‘Still Life with Apples and Pears’, 1891-92, Stephen C. Clark bequest 1960, The Met Fifth Avenue, New York. Last seen 19.09.2022.

“His extremely close attention to nature and to color, the inhuman character of his paintings (he said that a face should be painted as an object), his devotion to the visible world: all of these would then only represent a flight from the human world, the alienation of his humanity.

[. . .]

“Cezanne did not think he had to choose between feeling and thought, between order and chaos. He did not want to separate the stable things which we see and the shifting way in which they appear; he wanted to depict matter as it takes on form, the birth of order through spontaneous organization. He makes a basic distinction not between “the senses” and “the understanding” but rather between the spontaneous organization of the things we perceive and the human organization of ideas and sciences. We see things; we agree about them; we are anchored in them; and it is with “nature” as our base that we con struct our sciences.

[. . .]

“…it is Cezanne’s genius that when the over-all composition of the picture is seen globally, perspectival distortions are no longer visible in their own right but rather contribute, as they do in natural vision, to the impression of an emerging order, of an object in the act of appearing, organizing itself before our eyes.”

– Maurice Merleau-Ponty: ‘Cezanne’s Doubt’, 1945

Paul Cézanne: ‘Still Life with Apples’, 1895-98, Lillie P. Bliss bequest 1931, Museum of Modern Art, New York. Last seen 22.09.2022.

“But it is in Cezanne’s willingness to embrace this paradox that we find the key to his genius and the originality of his work. For Cezanne, there is a basic distinction to be drawn between the spontaneous organization of our perceptual life and the human organization imposed upon this perception by our science and tradition. The meaning of his painting lies in his continual attempt to unearth, beneath its human organization, the spontaneous unity of our natural perception. At this primordial level, the classic dichotomies which structure our thought about painting and perception — seeing vs. thinking, nature vs. composition, primitivism vs. tradition, feeling vs. thought, appearance vs. reality — have no hold.”

– Theodore A. Toadvine, Jr.: ‘The Art of Doubting’, Philosophy Today, Winter 1997

— — —

Berdyaev, Nicholas [Tom Willett (ed.)]: ‘Creativity Will Save the World: Toward a Spiritual Humanism’, Alva Addison, 2021

Clark T. J.: ‘If These Apples Should Fall: Cézanne and the Present’, WW Norton, 2022]]> 502 0 0 0 https://emiliafogelklou.wordpress.com/33-the-crisis-of-art-2/ Thu, 30 Mar 2023 06:07:24 +0000 https://emiliafogelklou.wordpress.com/?page_id=509 

pp48–50

[p48]

“Away from the human”

Ruskin could not have dreamed of such an approach, he who says that everything truly great in art is limited to the human. In Situation de l’art moderne (1952), Jean Cassou emphasises: “The incredibly rapid and violent change of forms and styles within a short space of time enables us to read the search’s movements as clearly as if it were a single individual’s instead of about the breaks of a whole era.” This ‘reading’ is made clearer by not having artists during their different periods represent several of the different movements (not least Picasso, who expressed his individuality through all of them).

The overly personal is banned, as is the pretence of being an artist. Ortega y Gasset portrays in a bitterly playful tone the impasse into which the visual arts have stumbled and from which there is no way back. I quote the Norwegian edition: “The tendency towards pure art does not rob [it of its] arrogance, as many people think, but rather modesty. An art that has freed itself from

[p49]

THE CRISIS OF ART

human pathos is a thing of inconsequential importance. It is simply Art without other pretensions.”

An art connoisseur highlights “artists’ willfulness among the unlimited creative possibilities in a society that neither offers resistance nor raises demands. That is for many artists the big dilemma today.” (Kristian Romare)

Hans Ruin: “At a time when more than ever we should be faced with an interplay of human forces, art fails its task and carves out for itself a narrow area for purely formal, aesthetic relations.” (On two fronts D.N. 7/2 1955)

The artist Greta Knutsson poses a serious question: “Can the irreplaceable quality we call artistry arise and disappear from a painter’s life, like faith and love can from every existence?” (Food Review 1952)

I would like to replace the words “from the life of a painter” with “the life of an era.” It can be given periods of time, where life, the danger of life, the transformation of life are most relevant, and when the practice of art enters the shadow of something else, — comparable to “crush the Poem for cold Poetry.” A time when the new man in his dumb becoming cannot be bound by the old of his pattern. Maybe that ‘dehumanization’ in art, after all, is not as devoid of ‘human pathos’ as it appears?

[p50]

FORM AND RADIATION

As far as the artistic union search itself is concerned, Cassou sees in the ‘dehumanisation’ of the work of art an effort to get right down to the foundation of the language of form through the question: What is line? colour? volume? What is form? “One wants to access the proportions and rhythms inherent in the universe, to see the world in a grain of sand — in pure form and with scarce external means.”

• • •

Working Notes:

Pablo Picasso: ‘Maquette for a sculpture of a guitar’, paperboard, cardboard, paper, string, wire, before November 15 1913, MoMA, New York

27.03.2023

Jean Cassou: Situation de l’art moderne’, Éditions de Mínuit, Paris, 1950

“It is 1950 and the new director of the Musée National d’Art Moderne in Paris, Jean Cassou, brings out a volume in the collection L’Homme et la machine, directed by Georges Friedmann for Les Éditions de Minuit. This is an influential collection, representing the cultural adaptation of an important collection, representing the cultural adaptation of an important sector of the Left intellectuals and the literary Resistance in France to the post-war world. Cassou’s contribution is entitled Situation de l’art moderne, a subject wholly in line with his status as an experienced novelist, poet and art critic who, politically and aesthetically speaking, has been steadfastly on the good side of modernity and has established the authority to think through just such an ensemble of problems. In the title of his book the apparently insignificant lack of the definite article, ‘La’, before the word ’Situation’ indicates something of the nature of his project, and perhaps more than he allows for. Cassou himself does draw attention to this little absence, — but only to the oddity or inappropriateness of the word ‘Situation’ rather than to its nudity. For him ’situation’ implies ‘je ne sais quoi de stable et de configure que l’on considérerait avec une sérénité toute objective’ (‘A certain indefinable sense of stability and shape which stability and configuration that one would consider with a quite objective peace of mind’, p114). Yet, he continues, ought one not to add the word ‘disquiet’? With modern art everything is a matter of perpetual movement. Modern art is a disquiet that ‘aspires to a possible situation’, and to suggest that it has one already made for it is to foreclose on the discussion.

[…]

“No less problematically, Cassou continues in Situation, spacing, being spaced or placed in modern, industrial society, is itself a process which for art founders on a double contradiction. Modern artists, he argues, do indeed have conditions of production and distribution. That is to say they work in a market, furnished with galleries, surrounded by followers of fashion, immersed in snobbism. But it is not such an economic and social dynamic that sustains the production of art. Rather, he writes, it is out of the ‘pulverising of bourgeois society by capitalism that the artist finds support and outlets, not in this society’s spirit and in its coherent will’ (p114).”

– Adrian Rifkin: ‘Ingres Then, and Now’, Taylor & Francis, 2005, pp117–118]]>509 0 0 0 https://emiliafogelklou.wordpress.com/34-the-crisis-of-art-3/ Fri, 31 Mar 2023 09:50:44 +0000 https://emiliafogelklou.wordpress.com/?page_id=519 

pp51–53

[p51]

The unconscious and the new introspection

Influence from Freud, Jung and psychoanalysis — as well as escape from the brutally recent reality of the outer world — calls for the direct manifestation of the unconscious. Surrealism’s first manifesto was written by poets, not painters, and aimed at a way of life, with the unification of dream and waking reality in a new surreality (Sur-réalité).

Already early on, one of the members of the painter’s colony at Worpswede: “It would be nicest if I could express the unconscious in a picture, which often so easily and tenderly stirring inside me.” (Paula Modersohn)

“The unconscious is what must be brought to light… That is the great secret of art.”

It is dreams, memories, not least the absurd, strange, disgusting ones, which in some places come to the fore. A passive, automatic, through various means, including poisons, stimulated retrieval from the unconscious of images, figures and swirls of colour is indicative. “My painting has always come about in a state of hallucination, caused by some shock, subjective

[p52]

FORM AND RADIATION

or objective, for which I am totally without responsibility.” (Miró.) At the same time, the artist himself wants to give a shock, which breaks free from traditional and habitual vision. (Chagall). “In the past, people ascended into the unconscious. We descend into it.”

Kandinsky, forerunner in painting without a model in the outer world, lyricist and geometrician, formerly at the head of other art movements, says about the atomic explosion: “It struck me with a terrible force, which had brought in the end of the world. — — — All things gained transparency, without statute or volume.” And he erased the world of things from his artistry. He wanted to paint “a dialogue with the inner world.” He raises the question: “Why wouldn’t we get there to create colour harmonies that correspond to our psychological states?” Leaving the visible there does not mean contempt for creation, but it is done in order to bring the new, expanded perception of creation, the “mysterious inner construction of the worldview,” for clarity in the image, to show signs of apprehension towards the world, where inventions of form replace the motifs.

“We clearly feel that the dark intuition that guides the game,” says another artist, Jean Bazaine, “drives us, groping in a darkness where intelligence no longer stands by us, violently towards the most particular, the most universal in us.” — “Only within the lonely, within the individual, can the contemporary cultural threshold be exceeded,

[p53]

THE CRISIS OF ART

it says further. “It is in you that you must look, not around you”, it had already been said before (by Delacroix).

One would rather say imagination than inspiration about what the artist does. You want to get beyond or within yourself, all that is personal, and lift into the day the original, even when there is chaos. It is “a crumbling of man’s old ego structure to free the irrational drives from the dungeon of the unconscious.[“] (Herbert Read) [‘Mutations of the Phoenix’]

• • •

Working notes:

‘Palette once belonging to Delacroix’, Musée National Eugène-Delacroix, Paris. Seen 10.06.2022.

30.03.2023

31. ’gripenhet’ | apprehension?

Worpswede colony and artists]]> 519 0 0 0 https://emiliafogelklou.wordpress.com/35-the-crisis-of-art-4/ Fri, 31 Mar 2023 10:04:46 +0000 https://emiliafogelklou.wordpress.com/?page_id=527 

pp54–57

[p54]

The primitive

Natural objects become expressive only in

front of the artistic imagination that discovers

their form.

Susan Langer

“Any material object can be made alive, if there is a vital correspondence between its form and kind and the imagination of the artist. Herein lies the primitive and genuine essence of the artist’s relation to the outer world. Old Alfred Wallis of St. Ives, who never saw or cared about a canvas and never set foot in a studio, made one discovery after another within the four crowded walls of his untidy room. One day it was the mortar of the doorpost, another a long, narrow piece of beam that appeared somewhere or the back of a mountain on some cheap Victorian print. Every discovery was about an idea. — — — What was natural and inevitable to the pensioner in the retirement home became for Ben Nicholson, the 20th-century artist, something to be arrived at through experience. But, though on a different plane, one of Wallis’ cardboards and a Nicholson canvas have the same character of ‘newly discovered objects’ entered into a painting.” (John Summerson, Ben Nicholson)

[p55]

THE CRISIS OF ART

being in and of itself, something magical, something whole, free, apart from all human use, a stimulus for the imagination of form. Also from that point of view, one is drawn towards the primitive, where one does not have to stand in a combat position against tradition, if this is only at sufficiently large distance and spirit that it reveals the unity that the modern artist is looking for. These objects are then set in a somewhat surprising environment, such as e.g. Paul Nash’s loose porcelain doll head on a cliff by the sea or Moomintroll’s rocking chair in the primeval forest.

The interest in children’s drawings, including small children’s lines and circles, and in primitive cultures with all their forms of expression or representation (cave paintings, Inca and Mayan art) is palpable. You get beyond the usual world of forms and arrive at a symbolic pictorial writing similar to primitive ideograms. (Klee‘s cipher language.) Imagination creates animals and shapes them as it pleases. Primitive art changes the body’s proportions and excludes or adds organs and limbs. To primitive conceptions the invisible world is no less immediate than the other. It sometimes turns time and space and perspective upside down, as well as anatomy. You can see the figures at the same time in profile and full face. There will be a kind of bridge to modern space- time concepts. Our inner vision is fundamentally similar to the outer, it is claimed. In the face of all the distortions to proportion of the last art

[p56]

FORM AND RADIATION

in relation to the eye’s accustomed visual vision, I remember the old pilgrimage maps of Rome, where the places of pilgrimage were marked on a much larger scale than the “normal” topography that was otherwise reproduced. The damage from point of interest overrides all static objective measurement concepts. It is mental images, dreams and free imaginations that you want to express — all in an effort to shake the reality we have locked ourselves into and that we have to leave. Like Birgitta’s visions of heaven and drastic hells, like William Blake‘s flea in human character or his heavenly being in the images for the book of Job, the worn-out visions of general observation are now pushed aside for the emerging visions of the unconscious. No vision of hell is shunned, rather the heavens.

From a colouring book from the 15th century (Cenninis) many found themselves in the task of “finding new things hidden under the form of nature, grasping them with the hand and making them clear so that you believe in something you previously did not believe existed.” Give, don’t give back!

It is important to be able to retain as much as possible of the original, the immediate input, which charged the sketch, in the final work of art. (Aspirational for a writer as well! Cf. Virginia Woolf: “Suppose one manages to preserve the quality of a sketch in a finished, fully composed work.”)

“Save me from the barren landscape of loitering,” cries Carl Kylberg.

[p57]

THE CRISIS OF ART

The attraction to the primitive is also an effort to upset the locked-in reality that the people of the new world view must be freed from in order to experience new creation.

• • •

Working Notes:

[René Acros postcard to Guillaume Apollinaire]

Paris 23-1-12

My Dear Guillaume,

Sincerely, I rejoice with you on the expected solution which happily ends your business.

I send you my best regards and good memories.

your

René Arcos

25bis rue de l’Armorique XV

• • •

29.03.2023

“L’auteur fut le premier à présenter la sculpture traditionnelle africaine en termes esthétiques, par opposition à le artefacts ethnographique, postulant une façon de voir l’espace : ‘plastiches Sehen’ [‘plastic vision’] qui aborde les problèmes du cubisme.

“The author was the first to present traditional African sculpture in aesthetic terms, as opposed to ethnographic artifacts, postulating a way of seeing space : ‘plastiches Sehen’ [‘plastic vision’] which addresses the issues of Cubism.”

– Carl Einstein: ‘Negerplastik’, Leipzig, 1915

Neolithic Childhood examines how the artistic avant-gardes reacted to the multiple crises of European modernity around 1930 – the “crisis of consciousness,” the revisions of early and pre-history, the imperialist struggle, the barbarism of technological mass war, the shock of capitalist industrialization, the failure of the Second (Socialist) International, the endgame of bourgeois humanism and the hypocrisies of colonial discourse. Seen June 2018.

“The new painter is in the position of the primitive artist, who since he was always face-to-face with the mystery of life, was always more concerned with presenting his wonder, his terror before it or the majesty of its forces, rather than with plastic qualities of surface, texture, etc. The primitive artist practiced a nonvoluptuous art and concerned himself with the expression of his concepts. The new painter, similarly, is anxious to act as a medium for the muse to link the beholder with essences.”

– Barnett Newman: ‘The Plasmic Image’, 1945 / ‘Barnett Newman Selected Writings and Interviews’, University of California Press, 1992, p145

“It is becoming more and more apparent that to understand Modern art, one must have an appreciation of the primitive arts, for just as modern art stands as an island of revolt in the stream of western European aesthetics, the many primitive art traditions stand apart as authentic aesthetic accomplishments that flourished without benefit of European History.”

– Barnett Newman: ‘Northwest Coast Indian Painting’ (catalogue), Betty Parsons Gallery, New York, September 1946 / ‘Barnett Newman Selected Writings and Interviews’, University of California Press, 1992, p106

“In the course of the last fifty years the painters who freed themselves from the necessity of representation discovered whole new fields of form-construction and expression (including new possibilities of imaginative representation) which entailed a new attitude to art itself. The artist came to believe that what was essential in art—given the diversity of themes or motifs—were two universal requirements: that every work of art has an individual order or coherence, a quality of unity and necessity in its structure regardless of the kind of forms used; and, second, that the forms and colors chosen have a decided expressive physiognomy, that they speak to us as a feeling-charged whole, through the intrinsic power of colors and lines, rather than through the imaging of facial expressions, gestures and bodily movements, although these are not necessarily excluded—for they are also forms.

“That view made possible the appreciation of many kinds of old art and of the arts of distant peoples—primitive, historic, colonial, Asiatic and African, as well as European—arts which had not been accessible in spirit before because it was thought that true art had to show a degree of conformity to nature and of mastery of representation which had developed for the most part in the West. The change in art dethroned not only representation as a necessary requirement but also a particular standard of decorum or restraint in expression which had excluded certain domains and intensities of feeling. The notion of the humanity of art was immensely widened. Many kinds of drawing, painting, sculpture and architecture, formerly ignored or judged inartistic, were seen as existing on the same plane of human creativeness and expression as “civilized” Western art. That would not have happened, I believe, without the revolution in modern painting.

“The idea of art was shifted, therefore, from the aspect of imagery to its expressive, constructive, inventive aspect. That does not mean, as some suppose, that the old art was inferior or incomplete, that it had been constrained by the requirements of representation, but rather that a new liberty had been introduced which had, as one of its consequences, a greater range in the appreciation and experience of forms.”

– Meyer Schapiro: ‘The Liberating Quality of Avant-Garde Art’ [extract], ARTnews, Summer 1957

Andreas Michel: ‘Our European Arrogance: Wilhelm Worringer and Carl Einstein on Non-European Art’, in Colors 1800/1900/2000, Brill, 2016, pp143–162]]> 527 0 0 0 https://emiliafogelklou.wordpress.com/36-the-crisis-of-art-5/ Fri, 31 Mar 2023 10:21:16 +0000 https://emiliafogelklou.wordpress.com/?page_id=537 

pp58–63

[p58]

‘The Geometric and the Abstract’

As a counterpoint to the reproduction of the fantasy play of the unconscious impulses in the image of the colours, there is, alongside or earlier, the attraction to the geometric in its different forms, from Cubism’s use of the objects as stereometric building blocks in the composition to the most modern abstract or ‘concrete’ non-figurative art. You must make the room itself visible.

“Art purifies itself of all conventional inessentials and returns to its basic principles.” In these words, Cassou underlines the ascetic feature of the new artistry, where one of the roads leads from

[p59]

THE CRISIS OF ART

Impressionism’s immoderate joy of colour to sober geometric figures.”

Some primitive peoples have also warded off demons through strictly geometric art. And one remembers how the Pythagoreans saw all elements stereometrically shaped: cubes, heptahedrons, octahedrons, pyramids, etc..

Among many of the youngest, intellectualisation is a strong emphasis. “The development of painting is nothing but the truth in the field of optical cultivation. — — — We are painters who think and measure. — — — Outside of what is created by thought, everything is baroque.”

This extreme and shocking simplification is carried in Mondrian by a deep conviction of its social and

[p60]

FORM AND RADIATION

human meaning. “Only when painting, sculpture, architecture come together in a unified form, the great dream of the unity of art and life is realised.”

Or in the matter of painting, to speak with a Danish artist, Egon Matthiesen: “Important that the impression does not lie more, for example, in the face’s sensitivity but in the combination of all the image’s parts, its colour and fabric.” The pendulum swings between the geometric and a more organic art.

The slogan “There is no ‘art’, only artists” recurs in the face of these purist trends, especially in the expressed interest in “the unity of art and life.”

For Mondrian, who, like most modern artists, previously expressed his painting through other art forms, the canvas with the lines and squares becomes an object of meditation, “a kind of icon of mathematical-technical spirit in harmony with universal harmony.” Mondrian wants to “paint the divine in itself” (Michel Senphor, Piet Mondrian).

[p61]

THE CRISIS OF ART

I remember how Ben Nicholson described his powerful impression of this man of conviction in his Parisian studio above the noise of trains and railway tracks: “Up there you got a feeling not unlike the sensation of those old hermit caves, where lions used to enter to get thorns out of their paws.”

An older generation stands puzzled before the painter (Cubist) Herbin‘s coloured circles and triangles, which he describes with deep movement as a picture of Christ, an achieved goal of “non-figurative, non-object art,” in the conviction that every single person, whether he knows it or not, seeks to realise the idea of God. “What matters in the work — — — is what the work of art, while it is being created, reveals the human truth, the artistic inventions in themselves do not have the slightest importance,” says Miró.

“All my life I have needed to think painting, to see paintings, to make paintings to help me live, to free myself from all impressions, all sensations, all anxieties that I have never found anywhere else way out of than painting” (Nicolas de Stael). Birgitta Trotzig depicts his break with external objects. — — From now on (1942) his painting is often repulsive, but always essential: it is a path of renunciations, the temporary results are ashen, the tasteful, the artistic is sacrificed again and again, blown up

[p62]

FORM AND RADIATION

broken, rejected: his goal was not to make beautiful in it paintings, but to shape one’s life — — — a purification, almost to the annihilation of the personal.” (Cf. Knaus’ lexicon about the last phase.)

Art is supposed to be a born unity of seeing and form. Has the strong introversion now in artistic creative life led to new values in the relationship between art and life? Has the transferable form work moved to a new floor? There lives here an awareness that there may not be finished works of art, but that there is a transferability, if only as “the testimony of our senses.” Is [there] here [something here for] sensitive souls — I do not count imitators in my search [of] context — something brand new on the way, which is still unrevealed in terms of embodiment? (Although there are elements of “the emperor’s new clothes.”)

[p63]

THE CRISIS OF ART

In any case, where the introspection is strong and genuine, you see that there is something in common for all of us who live in the honest search of contemporary art — regardless of the transferability of the result [as] inspiration in ourselves.

• • •

Working Notes:

Working Note: ‘Small Wonder’ (drawing) 31st January 2007

We have received a request under the Freedom of Information Act 2000 (FOIA) for the following:

The big poll tax demonstration and files relating to the recent anti-globalisation riots in London over the last few years. Files held on the policing of the anti-globalisation protests in London over the last few years.

We released the following information on: Date: Wed Jan 10 00:00:00 GMT 2007

Due to the size of the documents this information is available in hard copy only. If you would like copies of the released information please contact Information and Record Management Services (IRMS) on 020 7035 1029 quoting ref FOI 698.

[www.homeoffice.gov.uk]

03. fragments | Birgitta Trotzig

10. Teilhard de Chardin | Le phenomène humain, p63

13. Piet Mondrian | “to see universally”

15. Michel Seuphor | p42

16. Henri Laurens | p60

18. Kazimir Malevich | p58]]> 537 0 0 0 https://emiliafogelklou.wordpress.com/37-att-askada-to-attend/ Sat, 06 Apr 2024 10:46:23 +0000 https://emiliafogelklou.wordpress.com/?page_id=583 

pp14–15

TO VIEW / TO ATTEND

The entire qualification — — for under-
standing art is responsiveness.

Susan [sic, Susanne] Langer

A friend had recommended me for a stay in Cologne to go and see old Cologne Madonnas, especially some mentioned.

I went there, sought them out, obediently, one by one. And I probably looked, but I couldn’t see them. And I went out sad.

But near the exit, one of these madonnas suddenly happened to catch my eye, completely unexpectedly and unprepared. And now I could see. Slowly and aimlessly I wandered back through the halls. Then all superficial obedience was blown away, everything changed. Those who had direct orders for me came and found me, unimpeded.

Receptivity — right into the unconscious life of the beholder — implies spontaneity. It can neither be averted nor imposed from the outside.

•

ATT ÅSKÅDA

The entire qualification — — for under-
standing art is responsiveness.

Susan Langer

En vän hade för ett uppehåll i Köln anbefallt mig att gå och se gamla kölnermadonnor, särskilt några nämnda.

Jag begav mig dit, sökte upp dem, lydigt, den ena efter den andra. Och nog tittade jag, se dem förmådde jag däremot inte. Och jag gick bedrövad ut.

Men nära utgången råkade plötsligt en enda av dessa madonnor hämta mina ögon, helt oväntat och oför- berett. Och nu kunde jag se. Långsamt och föresatsfritt vandrade jag tillbaka genom salarna. Sen all ytlig hörsamhet var bortblåst, ändrades allt. De som hade direkt bud till mig kom och fann mig, ohindrade.

Mottaglighet — ända in i den skådandes omedvetna liv — innebär spontaneitet. Den kan utifrån varken av- värjas eller påtvingas.

[06.03.2024 | Emilia Fogelklou: ‘Form och strålning / Åskådningsfragment’, Bonniers, 1958, pp14-15 ]

NOTE: ‘att åskåda’: to glance at; look at; observe; see; spectate; view; watch.]]> 583 0 0 0 https://emiliafogelklou.wordpress.com/2023/02/26/post/ Sun, 26 Feb 2023 11:18:22 +0000 https://emiliafogelklou.wordpress.com/2023/02/26/post/ %5D%5D> 14 0 0 0 https://emiliafogelklou.wordpress.com/2023/02/26/home/ Sun, 26 Feb 2023 11:19:20 +0000 https://emiliafogelklou.wordpress.com/2023/02/26/home/ %5D%5D> 15 0 0 0  

David Patten

"…a convergence of lines of interest rather than a bounded field of study" [Tim Ingold]

43. Fogelklou 2023 | Back Up

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