The Neoteric Artful
Universe
L.
Edgar Otto Sunday, 23 December, 2012
The man from planet X
from so far away from our familiar Hobbit holes our sense of fear of the near
unknown takes on both the attraction and the disgust for the exotic beyond the
horizons of both our sensible view of the world and wide longings for the dirty
green pastels hills and holes to fill in the nothingness of our broken
symmetries of imagination.
There is a fine line,
in the claiming of the creative cosmic laws and their frontiers of breaches
foreseen in simulation deep in our dreams as advertizements or warnings. The poet and artist are always suspect when
the revolution and competition in the hegemony of a state obligies the common
man to choose in these questions of conscience, ideological sides that today's
entertainment is the agenda of future propaganda- so in the harnessing of
source and destiny we build the whole of years by the efforts of the days and
yet- in the nonnecessity and uncertainty in the reality beyond our existential
moments and relatively fixed certain logic of our ground, the draw or
enjoyment, abandon to fantasy as if good or evil its authority unto some
purpose or end we so heed the cosmic voices or subdue them.
Yet we cannot comment
on what we have not seen or felt so as to describe some comprehensive theory of
the irrational world or its unified design, not even justification of our
material choices, right or left our brains and hand, in the dance also of
interesting times, the feast of Saturn before repentance, the apocalyptic civil
war between acetic austerity and the audacity of utopian abundance, to which if
this world has any sense of reason it lags sometimes between the technique and
what for the sane such intuitions unseen are sound. To this end wisdom as well as our mechanisms
known in this creative world may not match our comprehension.
I came across the PBS
show last night called Art 21, art in the twenty-first century- at a time I was
looking into the principles of the cosmos from my new understanding of the
cosmic model most general so far I call the Omnium. The channel promises, the voice of a pretty
and pleasant young black gal- perhaps an alloy of images thought most listened
to in the idea of unity in the diversity of this generation, she the musician
as if music is the universal language and a deep need of art itself made free
and accessible to everyone. But the show
was profound and raises the emotions as does all the pain of childbirth
awakenings and challenges to souls craving learning not left in sleep.
But what is this if
not more than our cultural conflict in our day that really goes beyond our use
of art as a place to jump off into technique and philosophy, perhaps continue
the same old themes of treason and tradition into a post modern era if not that
we go far beyond it despite the motives and agenda of the messages of which
they preach?
What these artists
had in common was ways to explore space, and in the doing so were ahead really
as understanding than by the direct apprehension of art reflecting the modes of
new science as if for creative souls in passionate intensity or in the
iconoclast stance of the need to explore for its own sake, indeed for the
average souls the belief they need the guidance- and this is among the possibilities as in the end our universe as well as souls cannot be so characterized and its creatures not so molded into narrow paths of direction-
that art for arts sake will satiate and satisfy them or that for those born
evil so to speak they cannot hide and can be made known and filled with reason
and remorse that by the rule of law of our local universe these creatures learn
to know their place.
One artist in
particular showed his technique in spatial sculptures, he claimed he was drawn
to science as well but felt art a better way to express his thoughts and
dreams. He used, symbolically, the ear
as a symbol of super sensitivity to sound, and molds of his hands for that of
touch. He liked the pastels, and did so
with a little dirty color to balance them.
He mentioned he was gay, and Jewish... how the ideas came up to see the
world with his not necessary confessions as innuendo or appeasement for the
biases of the Left to make the great projects of discovery explain this lifestyle
that it be accepted by the masses as natural, when the great Freud suggested
otherwise.
But such a place of
creative space at the frontiers, and Freud rears his head again - damn Freud,
no puns or disruptive bawdy humor in this sentence at least intended- for in
the ongoing sculpture by the artist it takes on a life of its own as do
characters in any good novel, obeying some creative laws. For one of those laws seems to me the idea of
compliments and reversals- the orifices to probe and multiply that for him the
artist said a hole thru the torso is seen as darkness and death yet for him it
was a way to reverse it all and so bring animation and energy, life to the hand caressed and molded angels with many ears for wings that watch is back as we
project our Jungian dreams on to them.
Another law perhaps
was the clouds that did not conform to the general centering and sense of the
aesthetic as beauty so defined in the balance of body as symmetry to some
origin or centering of which from it there were rays that set the general idea
of origins and directions, perhaps from nothingness or the unspoken name of
God, an origin.
The other artists
were as profound if we get past the local colors designed to disturb as well as
awaken the sensibilities of the audience.
To take from social commentary or to be itself a commentary, the Japanese lady and the privacy or watching eyes save in the internet chat
stalls in the rest room of which in giving up a child for adoption a friend of
hers is depicted as with her child flushed down the toilet bowl to what she
said was the sink of waters to a lower level to some other implied dreamland.
Or that lady with her
fabulous fabrics and urethane who sees the objects of space as if a
painting, globs of paint into space itself,
her idea of some in phosphorescence that in the viewing in the dark the objects
seem to rise as well as descend with light from the canvas of gravity. One long
strip of this medium someone told her looked like a Kotex and she said at first
she was offended, yet later knew it a
profound insight and truth.
Another lady did
sculpture on on the soft semi-tropical New Orleans bricks... to cover a well
for someone in India and she made a great planter in the form and first attempt
to carve and elephant. But after that
the surfaces and flow went way beyond the idea to redefine or find and
alternative for the idea of a wall.
I did not catch all
the show. I note one of the sponsors was
a formal agency in Japan, but for the sake of our learning let us not always
ask to follow the money. The universe
and art is more than we are now or can be even if in the intellectual stance we
can be enslaved (did not the black artist mention slavery relating to his art?)
and so confine our freedom to so explore new worlds, and what is intellect if
it confines our hearts?
* * * * * * *
A Technical Footnote
on Existential Design Graphic Art:
I do not have the
manual for the open source GIMP program but have from time to time found
certain functions there of great utility when I saw them. I used, in the semi-artistic illustration
with this post one of its pallets of the pastels. I jotted down some first glance informal
principles in that they may relate to my recent cosmology generalizations
having at least seen once the standard ways physicists use mathematics. The list is of course not complete and as a
post is done both intuitively and of that property in higher forms of number
and space that there may not be a particular order. This itself the potential for creativity in
the higher world view of philosophy and science as art.
*In existential
design (ED or ExDgn) we use the golden
ration liberally for of a sea of quasic pixels the final photo is an omnic
solution of the real in four-space and the complex plane, as if what is
material defined from one of the branes or planes in perspective.
*We use inverses of
color contrasting liberally over our definitions of what in the unbiased planes
and lines are perceived as real. (here the usual ambiguities of our
mathematical terms, imaginary, irrational, real, transcendental, and so on meet
the linguistic senses).
*The position of
objects in the overall unity of an illustration acknowledges higher spaces
implied in the quasic brane as also the general yod or jot product of diversely
defined vectors that can be still or externally (off the plane as if a time
element real or implied as animation) moving tho independent points between
hyper configuration functions in their own absolute and perceptibly discrete
paths.
*A dimensioned entity
is a quasi-simulation of a pattern or picture.
*An inverse coloring
may balance things over the continuous path with holes at the region or quasic
boundary and can so divided the plane if we add pixels to close such holes
(quasibits).
*A set of vectors in
a basis, and the configuration in other paths may be distinct relative to the different types of branes or planes including diverse tablecloth fractals.
*The conversion of
sign or parity situation as absolute, biases the overall asymmetry by the
chosen diverse brain system globally as well by our existential multiplicity of
choices. This includes decisions not connected
but are at a distance even in the dark implied non-necessary emptiness.
*Particle - field
(figure - ground) relate brane types that can be assigned a point origin of a
singularity as if multiply. (in the cosmic background it is implied that each
city on the earth like analogy map may contain the patterns identical or
evolving differently of the totality (as if the baby universe theory under our
usual ideas that ground inflation).
These principles were
written down before I saw the Art 21 program, and they seemed to apply as if
the program intruded into or was attracted to my ongoing project as if
synchronicity. But as the one lady
artist said, if water is frozen can we say which way it flows, up or down? So too
our ideas foundation-ally of entropy and time.
I have always,
despite how prolific I coin them, maintained I do so conservatively and
logically (English has grown for some time now to adsorb its Greek roots for
our century of science) but I note that the artists love to coin new words for
their own sake- I wonder if from the
artistic viewpoint that if these correspond to sound intuition they are in a
way a sort of necessity- in which case the mere manipulation of words as a
social influence on behavior despite how words do influence, even hurt us, as
well that left unsaid or forbidden, is a social project that persists and
recurs but is doomed to failure.
* * * * * * *
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