J. Dieliaustas “Step and gaze”

E SSAY

STEP AND GAZE

Anima Mundi Academia Jurgis Dieliautas

Freedom is freedom of step and step. Not mechanical, not automatic, not armed with anything, freedom of walking, freedom of step rhythm, freedom of step style, freedom of bringing the gaze and opening the gaze. A step requires a glance, and a glance requires the course of a step, the course of a life and its own. Freedom is its own, going, performed in the course, but at the same time believing in the gaze, the gazes left in the footsteps of the gazes. Sometimes sharp, sensitive, sometimes dim and numb, tired glances. The brilliance of the step, the rhythm of the gaze, the echo and the vision, all in the freedom of visions and visions, visions and observations, in the freedom of self-creation and self-reflection. Step and gaze liberate, bring and meet, stop, disrupt, define places and spaces of freedom. The step and gaze of visual time presented, left, searched, and found. Step support, panorama of the gaze, it is a play of framing and framing, spontaneous and primary exercises. The step collected, found, patched and erected is the distance of the gaze, the perspective of the gaze. A step activates the gaze, aestheticizes the gaze of the gaze. The gaze directs a step into the realms of freedom.

It all takes a walk, a look, a rhythm of step and gaze to check. Check it all out at the sight of empty and echoing corridors, park trails, anxious nights. The meditating rhythm is a peculiar step, a calming step, a silent step, a gaze trying to cover the path of images. It hurts to look at those who are in the dark, on the path of insomnia. You close your eyes as a gusting wind stops the steps. Dream dreams go away, dream scenes are left for themselves. The whirls of urgency, of haste, of urgency, of urgency and persuasion. There is always a progress reserve here. A waking look is always in its uncertainty, uncomfortable, in the threat of recognition. The distance that is forgotten, the tumultuous future that distance welcomes and invites you. Birds that have woken up before you will respond to your steps on the path of the park. They sing the melodies of morning love on top of naked trees swaying from the branches, in the branches. Because they are not afraid of crushing. The wind does not silence them. Step by step, a few more repetitive steps, the gaze wanders farther, into the distant, to the optics that just enter. After a few steps, other steps of intonation, in other glances it will all go away. Because the colors of the future will come of the future. The earth of step and gaze is the eternal present, the present of breakthrough and insight. Sometimes in harmony, when the gaze stops exploring, when it becomes sufficient for itself, then the gaze and the step come together. A disturbed gaze, a daze, an overview, it repeats, takes a step. To the spin step, to the reference step. Then a change of perspectives comes to life, a change of horizons moving away. Then the games of the sun come to life. Step and gaze sometimes coincide with the shadow. The shadows in the lazy note of the sunshine begin to step on their own. The gaze begins to throw, expanding its shadows. A thin painting or drawing line plays an intricate game with shadows. A difficult step, such a step can be a difficult decision. Because a step is also a solution. Sometimes a difficult step is a slowed down solution. Not a sign of fatigue, but just looking for it. The foot, the sole, the foot is looking for a solution that transcends itself. Because the venue doesn’t invite or pull, it doesn’t offer anything. As long as a hard and indecisive step improvises, as long as the gaze tries to blend into this place, nothing changes here. A difficult step is a pending step, turning there and there. Turning and not finding an answer again, not hearing an offer and an invitation. Step into here and not here. The delaying gaze spins the wheels, diving around all around. Here or not here, too, the drawing itself tries to define certainty. This lost and spilled color creates uncertainty. A hard step and a difficult look, waiting for new twilight, confused waiting.

Interaction of the eye, sight and steps, visual and tactile sensation as a creative action. The gaze is that open trace of action and impact, of certain visual effort. Sometimes we walk in the footsteps of the gaze, the footsteps of the glowing, the twinkling, the shining. But sometimes we look at the horizon of a step, in the definitions of a step. We walk, we walk, we march in an intelligent rhythm with the outlines of visibility. The step contains an overview, a circle of thoughts, a collection of senses. In the horizon of steps, in circles of discretion, in counties of vision, in the rippling of perceptions. Forgotten and abandoned steps, broken and crushed steps, remnants of reconnaissance. Drifting in step and gaze, distractions of thought. Aide of effort, in a hurry, a distant, distancing gaze of thought. In the gaze of the heavy, self-spinning wheels, the duration of the action, the duration of the interrupted thought. In the spotlight of the step, the line of thought in the oval of thought, the play of the loop of thought. An outbreak of the first step, a spontaneous, uninitiated breakthrough, a breakthrough of unknown direction, a stepping-up and a visible breakthrough. The eyes are straight and meandering in their own story, the step echoes in its own sequence. The visual history of the eye is history. The sequence of the step is already a visual saga, hearing, seeing the commandment, leaving the saga of precepts. Open step and closed, immersed gaze, minimal rhythm of vision and gait. Excited and excited sight, agile line of eye and foot, foot and sole, line of firm feeling. A drawing is an open passive reference, a notched, drawn, scratched reference. The suggestion of a step, the impending suggestion, is that “here and now,” that “sudden.” The suggestion of looking “there,” “from elsewhere”. A searching step, a missing, self-denying step, it is in search, in search of gaze, in potential lack. The eye is always looking for the rhythm of a forgotten, necessary, untraceable step. A step of fatigue, a step scattering the marks you need, a step looking for a continuation. Imaginative gaze, gaze of insights and reviews, opinions, and attitudes. There is a sequence of steps and there are steps in the sequence itself. The step of the stairs is an endless overcoming, overcoming sequences, shallows, and heights. The gaze glides in the space of change. Sequence is change, not always successful change. Change of steps, change of rhythm, searching for the boundaries of the gaze, parameters, thoughts stretched and scattered in the landscape. A step change in a stair step that does not recur, albeit in a descended step, in a slippery step. Followed by other, misunderstood and unimportant steps. The steps of the puzzle in change, in the course. The step copies the vertical of the gaze, climbs up, searches for the height of the gaze, the height measured with the feet. Tired fatigue in a moving vertical. Step by step and step by step. An unattractive and unattractive step. Always below eye level, always in effort. This is not a step of the hurdle. The duration of a movement is measured in steps, unfolded and fitted into a step, in a direct or only metaphorical step. In the step of review and exploration, in the step of sight. A broad metaphor is already beginning to operate here. The metaphor of the step itself is just beginning to work. The metaphor of the step initiates all existing, possible, real and virtual insights, and reviews. And there is already an individual experience here, a personal step and a personal gaze. Looking at yourself and the other is a step in the solution. The step initiates the approach. Steps that accompany delay, impatient and unsafe steps. The gaze entered this square, the gaze turned to this street, the gaze left in the arch. There is an echo of distance, an echo of longing or joy in the step. A step to greet the rising morning sun before the gaze widened. Distance-measuring gaze, flash-measured gaze. The place is the intersection of steps and gazes, the place of scratching, the place of evaporation. Echoes of meetings and expectations in a place of intense change.

Empty night streets and spaciousness. Step and gaze work again. The rhythm begins to operate again in the rhythm of its steps. Reduced steps of dusk, sublimated glances, a mood of return, an open application for yourself and only for yourself. Something else is not needed at all. Everything is in that step accompanied by dusk. Dizziness calms down a bit, falls silent. The step is a load, a burden to the eye, but the step itself is a rhythmic state. The whole visual being overwhelms and unfolds. A step surrounded by emptiness, a stimulus to fatigue. Without any environmental dizziness. A smile, a slight step-accompanied by smile. A step, like a changed look, has to change the language. Not only language but also movement is viewed. Without any artificial charm. Careful and unhurried, albeit a protracted step. Through the gazes of the city at dusk. It shows nothing more and doesn’t exist because nothing is needed anymore. But the step is nothing. Emptiness is just space. The step does not cost anything, because the steps are used to gather the gazes left by others, lined up, traces of the gazes. You enter yourself at least temporarily, you enter the inner rhythm. Step by step is all the other, secluded, forgotten insights into the city. The step requires emptiness, solitude, late twilight. The step has learned to keep quiet and not be disappointed in yourself. Back, back to yourself, with the full burden of excitement and bustle, sounds and smells. But who is that back? The step overshadows the steps.

Philosophy on foot introduces us to another controversy that is inseparable from philosophy itself. Walking is a tradition known from the origins of philosophy. However, this book is not only and not so new to the tradition of peripatetic. There is a new variation in the tradition of seeing and thinking, thinking and touching, feeling and thinking movement. It’s not a jigsaw puzzle for recreational routes, not planned trips. The tradition of thinking is walked away on foot. Such a walk of the thinker here is not a purely philosophical path or path. There are walkers of step and gaze, passion or power walking.

© Alfio Catania Bruciovento (Italy), Title: “Series pop virus two” acrylic and oil, on canavas, 70 x 50 cm, 2022 Through authorial and biographical routes, lifecreating routes. Where there are many spontaneous, turbulent, unsafe, unregulated steps. Many irrational glances from personal tradition here. Therefore, these are not completely isolated or in some way usurped routes. The author’s simple, but emotionally suggestive, open rhetoric opens up and embraces a plethora of different steps. There are steps towards value heights, towards further coping and risk. However, there are also steps of withdrawal, withdrawal, permanent departure. Complicated and often complicated, sometimes openly conflicting steps. Such steps are dictated by biographical tensions and creative persuasions. Nonetheless, these are not exotic or chic, they are steps of individual choice and discovery. It is necessary, unsolicited, broadening, empowering, clearing steps. As already mentioned, the steps are glances, traces and signs, glances found and collected in passions, cultural exchanges, religious enthusiasm, poetic vision, social conflict, because the gaze has its traces. Philosophy is not just an experience and reflection in the era of walking, comfort and mobility, it is a broad and expressive philosophy initiated by step and gaze, the foot and the eye, their open and personal interactions. All authorship is walked and discovered, moved out of inertia and amorphousness. In the step, all possible and necessary foundations are awakened.