{"corpus":"steiner","locus":"GA 277b/1920-02-22/p007","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"Take painting, for example. The way certain painters painted in the 19th century, the use of colors, the way they handled the brush, and so on, was all embedded in ideas. They had the notion, the feeling that one had to paint in a certain way. All of that had already become conceptualized, intellectualized. Now, the conceptual is actually the death of any real art. One can say: the more thought, which always nuances something abstract, has penetrated the earthly into the artistic, the more unartistic there is in art. The artistic must be sought entirely by circumventing thought, by circumventing all abstract ideas and abstract notions. That is why, for example, in painting, the idea arose of capturing the immediate impression, as it was called, through color and form.","text_trust":"verbatim","quote_safe":true,"title":"51. Eurythmy Performance","site_heading":null,"date":"1920-02-22","location":null,"word_count":130,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-22/p007","alignment_confidence":"medium","alignment_reason":"beads:structural_identity","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1918–1920","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277b/English/SOL2024/19200222e01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"edition_coverage":{"de":["original"],"en":["English"]},"available_versions":[{"lang":"de","edition":"original","edition_basis":null,"is_original":true,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-22/p007"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-22/p007","paragraph_aligned":true}],"record":{"record_type":"unknown","scope":"volume","note":"How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.","evidence":null,"evidence_translation":null,"evidence_source":null},"german_anchor":{"de_prefix":"1920-02-22","de_passages":[{"locus":"GA 277b/1920-02-22/p007","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-22/p007"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":134,"en_words":130,"ratio":0.97,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"paired_german":{"status":"paired","german":[{"locus":"GA 277b/1920-02-22/p007","passage_number":7,"text":"Nehmen wir nur die Malerei. Die Art und Weise, wie gewisse Maler im 19. Jahrhundert gemalt haben, die Verwendung der Farben, die Art und Weise der Pinselbehandlung und so weiter, sie waren eingefasst in Ideen. Man hatte die Vorstellung, das Gefühl: So und so muss man malen. Das alles war schon ideell, gedanklich geworden. Nun ist das Gedankliche eigentlich der Tod einer jeden wirklichen Kunst. Man kann sagen: So viel vom Gedanken, der immer etwas abstrakt nuanciert ist, Irdisches in das Künstlerische eingedrungen [ist], soviel ist Unkunst in der Kunst drinnen. Das Künstlerische muss durchaus mit Umgehung des Gedankens, mit Umgehung namentlich aller abstrakten Ideen und abstrakten Vorstellungen angestrebt werden. Daher ist man zum Beispiel in der Malerei darauf verfallen, den unmittelbaren Eindruck, die Impression, wie man es nannte, durch Farbe und Form festzuhalten.","text_trust":"verbatim","quote_safe":true,"word_count":134,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-22/p007"}],"english":["GA 277b/1920-02-22/p007"],"method":"structural_identity","confidence":"medium","correspondence":"unverified","length_check":{"de_words":134,"en_words":130,"ratio":0.97,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"]},"witness_completeness":{"ratio":1.01,"band":"comparable","note":null,"word_count":3449,"original_word_count":3426,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1918–1920","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277b/English/SOL2024/19200222e01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277b/1920-02-22/p007"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"medium","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. See witness_completeness for how much of the original this witness holds."}}