On the Situations and Names of the Winds is the title of a fragment of a pseudo-Aristotelian treatise, most likely written by a later author of the Peripatetic school. The two-page work identifies and briefly describes the names not just of the four anemoi, but gives a wind-name to each of the twelve points of the so-called “wind-rose”, slightly less poetically the “compass rose”, which is the figure seen on classical nautical charts and maps that shows the cardinal points as well as points intermediate.
...In both agricultural and maritime settings, the names of the winds were at once practical and phenomenologically basic: to step outside and to feel them was to know how things were in the most basic sense, to “know which way the wind is blowing”, as we still vestigially say, and to find the language to speak of it.
...If I were ever permitted to teach a course on the philosophy of wind, I would begin with the questions: How did the winds lose their names? And what does it mean for us to live in a world of nameless winds? I step outside and I feel a gust. “That’s wind,” I think to myself, and I have nothing more to add beyond that. I don’t know the winds.
To see with fresh, uninstructed eyes and an open mind requires a deliberate, self-aware act by the observer. Abstract artworks represent themselves and should be first viewed for themselves. When looking at outdoor abstract pieces, concentrate initially on the unique optical experience produced by the artworks. See as the artist saw when making the piece.
A focus on optical experience does not deny stories, it postpones them. Viewing an artwork may evoke interesting narratives – or just tedious artchat recalling similar art or artists, concocting playful tales, realizing how scrap metal was repurposed into art, making judgments about the artist's intentions or character, or contemplating an artwork's provenance, price, politics. Let the artwork stand on its own. Walk around fast and slow, be still, look and see from up down sideways close afar above below, enjoy the multiplicity of silhouettes shadows dapples clouds airspaces sun earth glowing. Your only language is vision.