https://youtubetranscript.com/?v=GQqdODk2A9Y
One of the things I was thinking, and I mentioned texture earlier, is that I actually think that besides whatever symbolic aspect there is, there’s another layer of symbolism beneath the more obvious layers. And that is to say, for instance, as I’ve looked at texture, I’ve seen that the textures themselves are kind of like a nutrition. And that is to say, if you live, for instance, if we all lived with walls like our refrigerator, particularly a white refrigerator, if we had that for our walls, we were not allowed any sort of decoration, although the desire to make graffiti on that kind of a surface would be overwhelming. But if that was our life, something would be wrong with us. We are influenced, and it’s not even images as much as it is the fact that, you know, you work with wood. You understand looking at wood that almost every piece of wood is like a living breathing, even though it’s been cut and killed. It’s still, it’s got so many textures in it. And to carve it, you have to look at those textures. You have to say, which way is the grain going? Yeah, well, it’s the texture is something like, it’s the glory of the particular, right? That’s what texture is. It’s like particular things have a glory of being particular. They have an excess. They have a kind of overflowing of their particularity, which is not necessarily directly related to their purpose or their identity, but nonetheless, organically, let’s say, adds, like you said, for example, like let’s say I’m building a house and I realize that one piece of wood is particularly beautiful and it’s in its grain. Well, that’s not, it doesn’t, it wouldn’t have to be for the house to be functional, but it has a, but it, because of its particularity, it adds to the glory of the house. It adds kind of this, this, you know, I often talk about how there’s a relationship between death and glory. There’s a relationship between the, the, the, say, the, the thorns as this, all this like excess of particularity, it’s like granular particularity and how it becomes a, it can become a type of glory. You see that like in the Psalms, it says, it says that even the white hair on the, on the head of an old person is their glory. And so it’s like, as they become, let’s say particular, as they age and their texture starts to appear in the, you know, you, you see someone who, who ages, all of a sudden they start to shine. If you’re attentive, they start to shine in a, in a way that’s very different from like a beautiful young woman, let’s say there’s a different kind of, of shine to it, like experience. Yeah. That, that, that is the particularity of that person that that’s glowing. Yeah. Well, one thing I discovered about texture is that nobody is looking at it. Nobody’s talking about it, except now and then people in the fashion industry and most ominously people in the computer graphics realm. Yeah. They’re very, they want to know how to reproduce it. But meanwhile, we’re emptying it out. So many people live in white boxes where the only real texture is their, their television screen. You know, they live with artificial objects. You know, I, I’ve been looking for furniture recently. It is so hard to find real wood. It’s not that it’s not that it’s hard to find that it’s expensive now. It’s like, because it’s, if you want to have a real thing, it’s expensive to have a real thing. And that’s exactly. And we’ve been conditioned to not care about the real thing. Yeah. But you’re totally right. Like we, we, we rebuilt our house in 2019 and because of the, of the flood and my, my wife was very particular to have a matte, like this, this kind of old matte paint, like this lime paint on the walls in the house. And it’s like, you know, we’re used to this acrylic paint that just shines and you don’t even realize that it reflects the light all the time. You don’t, you don’t notice it, but man in my living room feels amazing. And I, and it’s because of that, it’s because of the texture of the walls that it creates like this warm space.