An article by the late Colin Wilson, published in Philosophy Now:

“What is the trick of transforming ordinary perception into creative vision?

“We can begin by noting that poets do it all the time, so do great painters like Van Gogh. Read Shelley’s ‘Ode to the West Wind’ and you can feel the ‘phenomenological vision’. Or look at a great painting by Van Gogh or Vlaminck or Soutine. When I was working in a tax office in Rugby in my teens, I remember my boss saying with disgust that he thought Van Gogh simply distorted everything he painted. He was missing the point: that Van Gogh was saying: “This is how I see things when I put on my creative spectacles.” Rupert Brooke said that on a spring morning he sometimes walked down a country road feeling almost sick with excitement.

“Brooke realised that he could bring on this feeling by looking at things in a certain way. And what was really happening when he did this was that he had somehow become aware that he could see more, become aware of more, by looking at things as if they possessed hidden depths of meaning. For it is true. He was becoming conscious of the intentional element in perception, that his ‘seeing’ was in itself a creative act….

“The mind can deliberately change the way it sees things. Brooke tells how he can wander about a village wild with exhilaration:


‘And it’s not only beauty and beautiful things. In a flicker of sunlight on a blank wall, or a reach of muddy pavement, or smoke from an engine at night, there’s a sudden significance and importance and inspiration that makes the breath stop with a gulp of certainty and happiness. It’s not that the wall or the smoke seem important for anything or suddenly reveal any general statement, or are suddenly seen to be good or beautiful in themselves – only that for you they’re perfect and unique. It’s like being in love with a person… I suppose my occupation is being in love with the universe.’

“We can grasp what Ricoeur meant by ‘the very seeing is discovered as a doing’.”

via Phenomenology as a Mystical Discipline | Issue 56 | Philosophy Now

Read the entire article by Colin Wilson at Phenomenology as a Mystical Discipline | Issue 56 | Philosophy Now.


LiturgicalCredo is going straight for the well-worn phoenix simile. We’re not even going to apologize.

We will publish a new edition this fall, and we’re accepting submissions from July 2 to July 31.

We think we have a really cool “About” page, so please read it.

Then, learn what and how to submit.

We will rise like the phoenix to publish again. You can send us that peculiar griffin from your imagination.


A griffin in the Vatican Museum, Vatican City, Italy

Have enough aesthetic and literary knowledge to know what you’re up to. You need not be up to a lot, you just need to know how to do what you’re up to. That way, knowledge and intention can meet, and you will produce a complete compositon. — Colin Foote Burch


Putting things together...

Robin Williams photo and quotation from Dead Poet's Society

A Robin Williams meme — photo and quotation from Dead Poets Society.

Thanks to Painted Bride Quarterly for posting this on its Facebook page.
Learn about Dead Poets Society on IMDB.

From Time magazine:
REVIEW: Black Jesus Laughs With, More Than At, Its Son of God. It’s worth reading, even if you aren’t interested in the show.


Andrew Burch's illustration inspired by a quotation from Miyamoto Mushashi

Illustration by Andrew Burch

Colorful, bullish, striking exteriors have nothing inside. Some of Hopper’s best paintings of architecture are brightly lit and strongly colored, yet many of the unavoidable windows are dark. Some doors, too, seem nearly cavernous. Some windows and doors yawn blackness. (Perhaps my own mind is to blame, but my eyes are drawn to some of those windows and doors.) They appear ominous, similar to our experience of cracked closet doors or staircases fading down into an unlit basement.

When Hopper shows us an interior, he shows us isolation. If human figures aren’t alone in a room, they are situated singularly. Some solitary individuals stare out windows. Paintings like “Sun in an Empty Room” only emphasize these themes of loneliness and emptiness.

The modern world looks outstanding from the outside, but the inside can be hollow, lonely, even scary.

As Leslie Jamison wrote in a somewhat different context, “We often find loneliness gazing back at us from those corners where we’ve tried to take refuge from it.”

Also see “Edward Hopper’s art, through his wife’s eyes.”

Creative Commons License
“A brief observation: The exteriors and interiors of Edward Hopper” by Colin Foote Burch is licensed under a Creative Commons Attribution 3.0 Unported License.

More on Art.

Eleanor Leonne Bennett, who has published several photographs in LiturgicalCredo, is the featured artist in Issue 41 of Brevity, an online journal of brief nonfiction.

One of our personal favorite Bennett photos in the current Brevity accompanies “Green Light” by Sven Birkerts.

See a short bios of Bennett here and here.

Eleanor Leonne Bennett

November 25, 2011

Eleanor Leonne Bennett is a 15-year-old photographer and artist who has won contests with National Geographic, The Woodland Trust, The World Photography Organisation, Winstons Wish, Papworth Trust, Mencap, Big Issue, Wrexham Science , Fennel and Fern and Nature’s Best Photography. She has had her photographs published in exhibitions and magazines across the world including the Guardian, RSPB Birds, RSPB Bird Life, Dot Dot Dash, Alabama Coast, Alabama Seaport and NG Kids Magazine (the most popular kids magazine in the world). She was also the only person from the UK to have her work displayed in the National Geographic and Airbus sponsored “See The Bigger Picture” global exhibition tour with the United Nations International Year Of Biodiversity 2010. She was also the only visual artist published in the Taj Mahal Review June 2011. She was the youngest artist to be displayed in Charnwood Art’s Vision 09 Exhibition and New Mill’s Artlounge Dark Colours Exhibition. View a LiturgicalCredo gallery of her photography here.

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