By Charl Biederman
"It used to be sheer likelihood that I encountered David Bohm's writing in 1958 ... I knew not anything approximately him. What struck me approximately his paintings and caused my preliminary letter was once his underlying attempt to hunt for a few better feel of truth, which appeared a really humanized search." - Charles Biederman, from the foreword of the bookThis e-book marks the start of a 4 thousand web page correspondence among Charles Biederman, founding father of Constructivism within the Nineteen Thirties, and David Bohm the distinguished physicist identified for his interpretation of quantum idea. to be had for the 1st time, we're given an extraordinary chance to learn via and have interaction in a notable transatlantic, highbrow dialogue on artwork and technological know-how, creativity and idea.
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Additional resources for Bohm-Biederman Correspondence
When we look deeply into ourselves, we find that all our usual well defined ideas about ourselves become arbitrary, unnecessary, fade into nothingness (much as happens in the atomic domain when we try to follow an atomic process in great detail). , because the whole foundation of their being seems to lose its solidity and its value. We discover that the question of what we are is, in considerable measure, ambiguous. And it is not surprising when we think of why this should happen. For in such introspection, one part of the self separates itself and tries to look at another part.
Do you think it impossible for artists and art to sink as low as human behavior sinks in other fields? Are artists some rarefied breed of life, that no matter how absurd, their behavior can never be compared to that among the more ordinary mortals? I am not surprised that such as the Surrealists “cannot go on to something more positive and creative,” to use your words. They only know destruction; if the Nazis are the truth, indeed the Surrealists are the truth. You must forgive me, I do not feel these things with the sterility of objectivity.
This is to speak in terms of your “totality,” is it not? It is not that my kind of artist sees nature only as the limitation of the perceived objects, for us too limited things are only “relatively limited,” as you put it. It is rather, that we extensionalize this level of nature into a deeper perception of its use to art. Let me try again. You write about the problem of the historical past and the future. It seems to me that the physicist is one who, in respect to nature, the further he gets into the “future” of nature, the less he cares about the “past” experience of nature.