The film has a
phantasmal ineffability that's embodied by pockets of darkness on screen, which are punctuated by shafts of a bar's noir - ish light.
Case in point: his Work No. 202: Half the air in a given space, 1998, whose Robert
Barry-esque ineffability (compare that artist's designation as works, in 1969, of quantities of inert gases released into the atmosphere) is belied by the infantine delight of seeing it embodied by thousands of party balloons.
Incomparability is also related to
ineffability.
The mystic is cautious in the use of models; he is likely to stress
the ineffability of the experience.
The theme of the «
ineffability» of mystery is taught to one degree or another by all the religious traditions.
That's not surprising, because as William James pointed out in «The Varieties of Religious Experience», two of the defining qualities of mystical experience are noetic quality and
ineffability.
In its exposure to surprise, genuine hope yields to the future in a way that allows the latter to retain its «otherness» and
ineffability.
Each was given a 100 - item mystical «states of consciousness» questionnaire 7 hours after taking the drugs, in which they were asked to rate their experience on a 6 - point scale in each of 7 domains: transcendence of time and space,
ineffability, sacredness or reverence, infinite love, intuitive knowledge of ultimate reality, pure awareness, and unity of all things.
Many of his subjects reported quasi-religious sensations of bliss,
ineffability, timelessness, and reconciliation of opposites; a certainty that consciousness continues after death of the body; and contact with «a supremely powerful, wise, and loving presence.»
The lecture and debate programme promises equal diversity: while Serpentine Gallery co-director of exhibitions Hans Ulrich Obrist will deliver a talk on the Daily Practice of Curating, Brian Dillon — Cabinet UK editor, Frieze journalist and philosopher of aesthetics — will query whether mystery and
ineffability can survive in our cold intellectual climate.
Reflecting on a work of art can open up conceptual meaning, but if we can suspend our preconceptions in the actual encounter, we can enter a state of contemplation, rather than reflection, in which we experience the nature of what is actually there —
its ineffability, its inability to be pinned down, or somehow defined or even known.