On understanding as correlation between the parts and the whole

The theoretical aspect

 

According to Gadamer, the miracle of understanding becomes possible due to intentional relation which allows us to form an understanding of a particular object as well as its topic. To him, ‘the miracle of understanding’, in the space of taste judgement, occurs in the meeting between the ‘subjective’ perception and that agreed upon as ‘objective’. For him, the harmonic relation between the ‘I’ consciousness and experience in the ‘world’ is a criterion for understanding the correlation between the detail and the whole. In other words, the semantic relation of matching between understanding ‘things’ and the things themselves reflects the human understanding skill and understanding regarding the state of affairs in the world – examination of the matching between ‘partial understanding’ and the ideal of ‘perfect understanding’.

 

He explains this harmonic relation as a criterion in the following manner: as a semantic law, the structure of collaboration allowing for harmony between the whole and its parts exists in the middle between them, as a uniting entity (see Image a: a is b). This structure explains itself from within itself in an interpretive manner. The ability to understand exists due to providing an explanation on the basis of the requested assumption. Thus, finally, the hermeneutical circularity allows for the promotion of understanding.

 

When dealing with The Taste of Life we must take into account two principles:

a. We must relate to the space of consciousness setting up the art work. This space includes a double theoretical action (both by the creator and by the curator/critic, and even by the interested observer). The first theoretical act engages in analysis on the basis of given materials (in retrospect). The second act simulates, or perhaps assumes (regarding the future). In other words, in order for the act of artistic creation to consolidate in one’s consciousness we need a certain degree of speculative action. An uncertain, somewhat blind action, by everyone around the art work. This action may be related to the aesthetic ‘delayed judgement’. A delay due to which the creation has different moments of understanding.

b. We must remember that the limitation of understanding the given in its entirety allows for the thought and expression towards it. As explained earlier, recognition of the value of ‘an error’ allows us to discover the recognition of the play between the familiar and the strange. Thus, the conscious confrontation between the components of the given becomes possible between clarity and vagueness. The end of the confrontation is a temporary understanding, settling the tension of understanding between the clear and the vague in a dialectic process beginning with a mutual resistance of the different given components (as friction between areas of meaning), and its end: growth based on acceptance of the common ground.

 

He says that beyond the circular interpretation there is the preliminary human concept of ‘wholeness’. That is, the ‘I’’s understanding of the ‘world’ reflects a non-methodical manner of consciousness. In fact, the manner of consciousness is a product of conditions and a reflective process. After all, reflection is based on recognizing the very ‘error’ as a value, as a condition allowing for examination of the ‘consciousness’ in the movement between the familiar and the strange. For Gadamer, ‘the reader’s understanding’ becomes possible as production and not merely as a copy; as ‘production’ out of acting and not only as representation. Thus, culturally speaking, 

the present carries with it information from the past, in manners of understanding (which language makes possible). Thus, ‘the miracle of understanding’ becomes possible with the affinity between the influence of the historical past and a degree of criticism of the current present.

 

Based on the above, ‘the miracle of understanding’ is recognized in retrospect as a criterion of harmony regarding the hermeneutical circle. We can also say that this understanding is based on an intentional relation to a particular object and at the same time its subject. Thus, justification of the human understanding is based on intentional relations allowing for the combination between the ‘given’ and the ‘consciousness’ (see Images b, c, d, e: free doodling in pencil becoming a composition).

 

A case study

 

Through use of a graphic work which I call The Taste of Life (see Images f-g) I demonstrate the relation created between the art work’s parts and its central ideas – as ‘wholes’ bringing together ‘parts’. Moreover, I show how the forces of understanding move its meaning towards deep understanding during the different stages of the creation of the piece, demonstrating an understanding wider than the total understanding of the relations among the components themselves.

 

Relating to the art work The Taste of Life (see Image f-g), let us consider the closeness of its whole components:

a. The syntax between the Coca-Cola logo and the phrase “the taste of life” is acceptable, as the message is taken at face value, and who will oppose the offer of happiness? However, this acceptance is based on a lack of awareness of the false situation inherent in the marker of Coca-Cola. The advertiser has created an affinity between Coca-Cola and the feeling of happiness, characterized by the phrase “great fun”, through use of propaganda. That is, the consumer adopts the message based on moving markers from language to myth.

b. Conversely, the syntax between the swastika and the phrase “the taste of life” (similarly to syntax a) creates a conflict. Initially, the obvious is taken from syntax a, there is disparity in presenting two such opposing areas of meaning. Following this opposition arises. How do we place together an expression reflecting pleasure and the symbol of evil? This is outrageous.

 

This outrageousness is accompanied by emotional stress due to the scandal. However, delaying the initial judgement allows us to unpack the tension in a controlled manner through a change in our manner of understanding of the phrase “the taste of life”. Or perhaps through changing our manner of understanding of the symbol of Coca-Cola. Here, in the face of other aspects of meaning, it is possible to critically consider the level of Fascism present in the way Coca-Cola advertises…

 

To sum up, despite the fact that the art work The Taste of Life is made up of two whole free-standing parts, the relation between these parts turns out to be a matter of principle based on which the entire context determines the way we understand the piece. The principle of the possibility of appearance of the other understanding uncovered in this art work is typical of others as well. As universally accepted, the immortal power of art works is seen in the wholeness based on the relations of their components.

 

 

 

Up above: Image (a): a=b

Up blow: Image (e): ibid, artist: Rawia Zidan.

Center Left, going down: Images (b, c, d): From Doodle to Composition, The Basics of Drawing course taught by Hovav Rashelbach, artists: Keren Taubler-Raviv, Mor Gal, Emil Sparkle.

The size of each unit: 50X70 cm., technique: pencil doodling on paper, 2013.