"And yet, I wondered, was she not partly right? For there is often a struggle, and sometimes, even more interestingly, a collusion between the powers of pathology and creation. Perhaps, in his cubist period, there might have been both artistic and pathological development, colluding to engender an original form; for as he lost the concrete, so he might have gained in the abstract, developing a greater sensitivity to all the structural elements of line, boundary, contour—an almost Picasso-like power to see, and equally depict, those abstract organisations embedded in, and normally lost in, the concrete. . . . Though in the final pictures, I feared, there was only chaos and agnosia. We returned to the great music room, with the Bösendorfer in the centre, and Dr P. humming the last torte." Oliver Sacks The Man Who Mistook His Wife for a Hat
Posted on: Mon, 12 Aug 2013 15:04:19 +0000
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