Sunday, October 19, 2014

Sabbath of the penal servitude of willing




"before the subject attempts to formulate judgments about that experience  or -aesthetic experience consists in the subject's achieving will-less [willenlos] perception of the world. In order for the subject to attain such perception, her intellect must cease viewing things in the ordinary way—relationally and ultimately in relation to one's will—she must “stop considering the Where, When, Why and Wherefore of things but simply and exclusively consider the What” (WWR I, 201). In other words, will-less perception is perception of objects simply for the understanding of what they are essentially, in and for themselves, and without regard to the actual or possible relationships those phenomenal objects have to the striving self. the Sabbath of the penal servitude of willing wheel of Ixion stands still ugly can lead to the necessary state of will-lessness that is necessary for the aesthetic experience.
beauty When the subject's transition to the tranquil, will-less state of aesthetic contemplation occurs easily, that is, when the objects “meet that state halfway,” becoming “representatives of their Ideas by virtue of their intricate and at the same time clear and determinate form” (WWR I, 225), then the subject experiences the beautiful. Natural objects, especially flora, accommodate themselves most easily to the experience of the beautiful.
However, objects can be resistant to aesthetic contemplation in two main ways: either they may be stimulating to the bodily appetites or they may be hostile in some way to the human will to life." Copyright © 2012 by 

Saturday, October 18, 2014

Idol Hands

If ever I have drunk a full draught of the foaming spice—and confection-bowl in which all things are well mixed:
If ever my hand hath mingled the furthest with the nearest, fire with spirit, joy with sorrow, and the harshest with the kindest:
If I myself am a grain of the saving salt which maketh everything in the confection-bowl mix well:—
—For there is a salt which uniteth good with evil; and even the evilest is worthy, as spicing and as final over-foaming:—
Oh, how could I not be ardent for Eternity, and for the marriage-ring of rings—the ring of the return?
Never yet have I found the woman by whom I should like to have children, unless it be this woman whom I love: for I love thee, O Eternity!
For I love thee, O Eternity!-Nietzsche  Teehee he said foaming...
P.S. Beware the syphilitics teaching morals.

Saturday, October 11, 2014

Mercurial grate

Now, as I said before, Ruskin was perfectly aware of all this, but he had no such metaphysical background which would enable him to state definitely what he meant. The result is that he has to flounder about in a series of metaphors. A powerfully imaginative mind seizes and combines at the same instant all the important ideas of its poem or picture, and while it works with one of them, it is at the same instant working with and modifying all in their relation to it and never losing sight of their bearings on each other—as the motion of a snake’s body goes through all parts at once and its volition acts at the same instant in coils which go contrary ways.  

Romanticism and Classicism (1911)

BY T. E. HULME


If there is an ounce of midnight sun in my blood it is the ounce that prays for peace….

Friday, October 03, 2014

Wandering Stars

Eleusinian mystagogues: "Do you fall on your knees, multitudes, do you divine your creator?"

Shifting Sands

art-speak blubber bomb in three two…
questions-
1.What three words would you use to describe yourself as an artist? (not the artwork)
2.What words would you use to describe your artwork?
3.What influences can you discern?
4.What materials do you avoid?
5.What materials do you favor?
6.What materials have you always wanted to try, yet have not?
 7.Whose work do you like? (art or otherwise)
8.What kind of style would you say describes your work?
 9.What kind of artwork do you like?
10.What kind of artwork do you dislike?

answers- 1.Idiosnchratic,exploratory,social
2.Voyueristic in the sense that my content is mainly about people and their stories and the spaces those stories require. There is a sense that the subjects in my experiments are vaguely aware of my gaze as the diviner of their experience.
3.The fall of an Ottoman Empire. I trace my early visual influences to 70’s television and cinema. Most of my memories of ecstatic moments are associated with cartoons and animated visionary speculative realism. I think there is a visceral reaction to tumultuous shifts in social meta structures that causes us to seek distillations and reductions in our environment. Animation and intense characterization are by products of these reactions. The Wizard of Oz impressed me greatly. A paracosm of novelty and problems that call for innovation. I see the Ottoman Empire falling as such a shift in world events prior to the turn of the century. I think this fall left a void that created options in many fields. It would be difficult to say but I think People like Frank Baum were looked to for sewing reality back together. 4.Toxic ones
5.Economicaly sustainable materials. Materials that cultivate their elegance from genesis to revelation. Low maintenance materials. Materials with indigenous color.
 6.Bronze casting Sheet metal-automotive processes without the mechanical elements.
7. Anonymous mediaeval pen trial doodlers. 8.Home made, intimacy, folk,outsider or faux naive as defined by a neurotic entertainment of the necessity to make. Immediacy in the formal aspects, layered in content.
8.Maximalist non linear non sequential hyper narrative speculative realism graphic illustration. 9.Traditionally my taste could be described as sublime in that I find I am attracted to works that address a fleeting nature associated with the event we are perceiving as reality. That can manifest in a variety of creative, destructive, nurturing or stasis driven acts.
10. Work that attempts to maintain defunct meta structures or systems. However the grotesque theatre that arises from gestures defined by this form of sloth and lethargy has the potential to be radically engaging at the moment of their decay or sudden implosive demise.

Friday, September 26, 2014

Algernonia Beyond the Chifforobe.

I am getting smarter I can feel it. The drugs are working! I start work at the bakery tomorrow. - (Illusive tablet formatting)

Thursday, September 11, 2014

Subterranean and Baudrillard

The hyperreal space of digital simulation - whether it be the space of cinematic special effects or video games - is characterized by a new depthlessness. (Pierson1999) Andrew Darley (2000) places CGI as an important cultural form within an emergent 'digital visual culture', alongside video games, pop videos, digital imaging in advertising and computer animation - he argues that these visual digital forms: Lack the symbolic depth and complexity of earlier forms, appearing by contrast to operate within a drastically reduced field of meaning. They are about little, other than their ability to interest the sight and the senses. Popular forms of diversion and amusement, these new technological entertainments are, perhaps, the clearest manifestation of the advance of the culture of the 'depthless image'. (Darley 2000) Alleyn's School Media Studies Department

Wednesday, September 10, 2014

Maid of the Mist

Alfred North Whitehead proposed ... that history grows toward what he called a "nexus of completion." And these nexuses of completion themselves grow together into what he called the "concrescence." A concrescence exerts a kind of attraction, which can be thought of as the temporal equivalent of gravity, except all objects in the universe are drawn toward it through time, not space. As we approach the lip of this cascade into concrescence, novelty, and completion, time seems to speed up and boundaries begin to dissolve. The more boundaries that dissolve, the closer to the concrescence we are. When we finally reach it, there will be no boundaries, only eternity as we become all space and time, alive and dead, here and there, before and after. Because this singularity can simultaneously co-exist in states that are contradictory, it is something which transcends rational apprehension. But it gives the universe meaning, because all processes can be seen to be seeking and moving in an effort to approximate, connect with, and append to this transcendental object at the end of time. — Terence McKenna, Timewave Zero and Language These two really aspire to sculpt with words I believe. -------------------------------------------------------------------

About Me

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St. Augustine, Florida, United States
I spill ink ,it collects here.