The discoveries you make in the making Style is an expression of the interest you take in the making of every sentence. It emerges, almost without intent, from your engagement with each sentence. It's the discoveries you make in the making of the prose itself. Where ambiguity rules, there is no "style"—or anything else worth having. Pursue clarity instead. In the pursuit of clarity, style reveals itself. Verlyn Klinkenborg, Several Short Sentences About Writing The idea grows as they workFour principlesExpressing ideas helps to form them styleclaritymaking
Simple moments of clarity I have seen autistic children drawing at a terrific speed and I've always thought that my drawings should not be less rapid, because that speed gives them insignificance. In this speed lies their abandonment and it may cause them to be overlooked as mere doodles. However, I understand that they are like that pristine light that appears when they tell you that you have a tumour. In an instant, everything becomes clear and well-defined. All contours are cruelly illuminated as if it was worth taking a final look at the world. At such times, although the lines in the drawings clump into a skein of events that are indecipherable to ordinary mortals, they can be described in detail by the victim one by one. These are moments when weeds regain their nature as plants. Only now can I understand these drawings as simple moments of clarity. Smiljan Radić, Death at Home artclarity
Pellucidity A Definition www.thefreedictionary.com Free from obscurity and easy to understand; the comprehensibility of clear expression euphonyunderstandingthinkingclarity
Interlocking "The art world is highly invested in the idea that you can take an object and set it in a room, and the internal relationships will be so strong and so meaningful that all the kinds of change that take place on the object as a result of its being in a new environment will not critically affect our perception of the object. If that is the given assumption, then the object can be moved from one environment to another without its being critically altered, which then gives rise to the illusion that it can be moved from culture to culture, that it has the ability to transcend its cultural specificity, which in turn gives rise to the ultimate illusion that the object can transcend time. Because what is being claimed is that there exist certain objects isolated and meaningful enough to be transcendent, that they have the power to go on and on, that they are, as it were, timeless. "Well, one of the things that I was becoming involved in at that point in playing artist was the growing suspicion that this breaking down of the edge, the idea of the painting's moving into its environment, was putting the whole heightened rationale of the art object into doubt. There is simply no real separation line, only an intellectual one, between the object and its time environment. They are completely interlocking: nothing can exist in the world independent of all the other things in the world." Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees Deep Interlock contextchangeenvironmentobjects