claim

active

claim:the-elder-mr-ishiguro-s-black-plaster-possesses-a-profound-quality-of-direct-relatedness-between-person-and-matter-a-something-that-has-escaped-modern-consciousness-while-his-son-s-green-plaster-lacked-it

The elder Mr. Ishiguro's black plaster possesses a profound quality of direct relatedness between person and matter—a 'something' that has escaped modern consciousness—while his son's green plaster lacked it.

The story of the black plaster as a concrete, experiential demonstration of the difference made by relatedness.

Neighborhood — ranked by edge-count

Claims (1)

claim

All these works stand out because we experience in them a special quality of relatedness—relatedness of ourselves to the universe.
supports
The core experiential signature of great works, which holds a clue to the process of creation.

Questions (1)

question

What was the difference between the black plaster and the green plaster?
gates
Alexander's direct question to Mr. Ishiguro, crystallizing the inquiry into the ineffable 'something'.

Related by similarity (8)

cosine ≥ 0.65 · no typed edge

Entities in the same semantic neighborhood but without a typed relation to this one — candidates for new edges or unrecognized duplicates.

The pure black columns in the Great Hall, as built by Ishiguro, lack the depth of feeling that the dark reddish black mockups possessed.claim0.756
In this painting there is a quality of tears. The bright colors, reds and yellows, are not bright. They are almost somber, worn by the cares of the world, yet seeming to have the quality of family love, or old affection.claim0.729
The specific painting achieves the sadness quality through its somber, affectionate color relationships.
The relatedness we experience with living things is not a psychological illusion but a real, actual material connection between self and matter.claim0.728
Central thesis of the chapter: the feeling of connection is literal and fundamental.
The rough humanity visible in these pictures, is no less modern than the titanium struts, glass, plastic sheets, and shimmering homogeneous facades we presently think of as modern.claim0.728
Redefining 'modern' to include the kindlier morphology of living processes.
The feeling of such a floor cannot be accurately judged from a drawing made in advance.claim0.726
Justification for physical mockups and on-site design adaptation.
If the feeling is genuine and does arise out of the site itself, then it must be thought of as an absolute which later stages of design and construction must only strengthen, deepen.hypothesis0.725
A conditional rule for the unfolding process.
In the black columns, the key was the initial vision of dark glowing feeling, achieved through intense inner effort, not just trial-and-error painting.claim0.723
Specific light yellowish green glaze irreplaceable for living structurefinding0.723
A unique green glaze created the necessary harmony in a tile floor; when the manufacturer discontinued it, no alternative could replicate the living field.