Bea a © 3 PAU Teele) ee ctr 8 ORO Le -SOn SaCeUTULd ATA ue UU) ORL ee Ve see them but see with them [...] His painting makes no claim to represent what he sees. It rather enacts, in line and colour, the birth of his vision, which, as it opens upon the cosmos, seems to explode like a shower of fireworks (95-96). (¢ Van Gogh, then, is not just painting stars. He is a ES Tee. 1 Coo and paints, with their light. SRA Cee-s once infinitely distant and yet touch the soul (95). So eee cee A ence Red (¢ The painting appeals to us precisely because it both chimes with our experience of what fi Toe coe LU ae (1a aCe Lalo Ue) ce UR ML To OMe LLY ole g ee -1tal- ecko) discover depths in this experience of which we would otherwise remain unaware (94). ( But beams curl around and within things; they are never straight. As the atmosphere to which they belong, beams inhabit the realms of the inbetween. And like the wind, sunbeams get inside and saturate our consciousness to the extent that they are constitutive of our own capacity to see, just as the wind is constitutive of our capacity to feel (98). 7 Milne oR CCl solace ore (orn Por namely, that light needs no eyes to exist; it only [il -tole MN OMT) A MC) Pe] Uexkiill, however, the sun in its shining was to be understood not as a physical entity but as a manifest presence in the world of phenomena (99). a A Ee CaC (LULL) insisted, the eyes must already respond to its light. eT aoe eV o erLa) only shine in a world with eyes capable of so responding. Eyes and sun thus co-respond Cr aa ee straight lines, as rays, but curls like the sparks of a fire or its wreaths of smoken (99). Me Gear resi)