forward

Paolo didn't know what he created. At an intuitive level he did, when he created it, but when it came time - with time passing - to explain it, he didn't know what it was. He though it was, or suggested it was, the salvation of the world. This is the kind of thought that emerges when people don't know. He may have explained it as a form of destiny. He identified it as having something to do with something like passion. These latter constructs are relevant and not incorrect. Still, they are ways of saying (correctly, usefully) that we don't know. They refer, in effect, to effects. He signed off saying that space is the only reality, which is half true, and only that. Space, too, is an effect. We can say that we are creating various effects, but effects of what. Then we need to speak of architecture, which, in the moment of creation, he did. Architecture, the material origin of effects, that is, matter. Shapes, really, that is, matter. Intuitively Paolo discovered something, a possibility, in matter, but he thought what he had discovered was an effect. It's a human impulse: rejecting the material. "This base stuff cannot be what this sublimity is. We must look elsewhere." But no, the matter is what is sublime. It is where the sublime effect originates. What Paolo discovered was a shape. He called it, half-comprehending, complexity. We must reclaim that discovery from Paolo's wandering, beautiful, lean, mean mind, and move forward.