See Paris and die
The same city that I did not recognize at first! Every person with a visual vector of a certain cultural cross-section, who has never even been in the realities of this city, knows it perfectly and figuratively, that's why this catch phrase about seeing and so on …
“See Paris and die” is a sacramental phrase that has never before served as a reason for me to think, especially systemic.
I remembered this phrase in one of the weekends of this summer, which at first did not promise anything from such a series of metaphorical impressions. After a busy business trip, a bonus was supposed - a relaxing weekend in a city already more or less familiar, which is in vain compared with St. Petersburg. It is similar to Peter only in that the same H2O formula flows in excess through numerous medieval and younger canals, cheerfully carrying pleasure tourist boats in the daytime, and closer to night, lying under bridges in Rembrandt shadow clots.
Late on Friday evening, someone from a spontaneously formed multilingual company came up with the idea to spend one day in Paris, since the distance of five hundred kilometers with an additional weight is not a long journey by Russian standards. Some of the fellow travelers fell away, like my prudent Dutch friend, while the rest drove southwest in their rented car.
The highway, unbearably smooth in contrast to the St. Petersburg ring road, robbed by compatriot archetypal leather workers for some important asphalt ingredients, seemed to be carrying a stream of self-actualized drivers who were not twitching and not reckless. Or maybe the whole thing was just a gadget of automatic cruise control. The highway, modest at the entrance to northern Belgium, brought it to France a few hours later, and then here it is - Paris!
The same city that I did not recognize at first! The same city about which many in their dreams repeat "See Paris and die"! The one who said this to himself once and walks with this dream through life cannot but be a spectator.
Every person with a visual vector of a certain cultural cross-section, even who has never been in the realities of this city, knows it perfectly and figuratively, that's why this catch phrase is about seeing and so on … Well, I agree that the discerning reader knows the art and cinema very well. literary visual series, the front side of visual perception. In order not to destroy this prediction of Paris, one must land from a hot air balloon directly to the Eiffel Tower, since the suburbs are not Paris, this is some kind of Egyptian one, which may not be the slapdash Mumbai.
Fortunately, we quickly found ourselves in the very center, a bridge over the Seine - and here it is, foreseen: both those gorgeous fields of chanson, and in fact a wonderful tower in cast-iron curls. And all of it is in creamy light tones, which are so magnificently set off by the large green spot of the Bois de Boulogne and the modern dark geometric cluster of new buildings. The rest of the evening and night was a celebration of the visual vector. Even the magnificent burgundy seemed to drink with the eyes - together with the brut dried to the limit from the stomach, it was directly absorbed into visual emotions and expressed in the best visual feelings. And everyone around - both fellow travelers and local Parisians - communicated only on the bright side of the visual vector: philanthropy, friendliness and other "liberte, egalite, fraternite".
Let's move on to a systemic summary, which I developed after the city of Paris made me think about one phraseological unit.
“See Paris and die” - this catch phrase, launched by the bearer of the visual vector, can talk about the state of this vector. If the visual vector is not so fully developed and realized, but rather flimsy for the modern picture of the world, or has not been born with a great temperament, then his desire to change the observed and pleasure from changing the picture (changing the visual landscape) may be the strongest and dominant. And this can overshadow the rest of the storehouse of potential visual realization. The masses of such spectators with soap-cameras around their necks get their greatest personal pleasure only from changing the picture. In the kaleidoscope of superficially numerous tours, the main thing is to "take pictures against the background of a coolly large number of species." Seeing Paris, you can die - weak,the visual function, focused on its own consumption, can be said to have reached the peak of desire, at which the curtain can be lowered.
On the contrary, when the visual vector as a whole is developed and implemented, then the addition to visual properties from changing the picture is a well-deserved prize from Nature for the personal labors of sublimation of one's visual vector qualities. And, it seems, the same actions - emotional admiration and enjoyment of the beauty of nature, works of art, music of beautiful cities, aesthetics of human relations - are painted in a completely different tonality and produce a completely different effect. And enjoyable photo shoots in dizzyingly beautiful places from developed vision are a completely different song.
Therefore, co-owners of the systemic visual measure, I propose to reformulate the metaphor: See Paris - and want to develop your visual vector even more!
PS: Why implement your visual vector systemically? And then, in order to return to Paris after the peak of realization at the highest level of development that is possible for a modern visual Human, making his own specific contribution to the advancement of the entire human whole: from a human-half-animal-half-humanoid - to a Human humane and spiritual.
