A philosophy of Art
This section is best read while listening to Shostakovich
From the primoridal darkness we come. We are dragged onto the
unlit shore. We make our way without thought; for at this point
there is only pure ego and even no realisation of it.
For the moment we are free.
Pure creativity, un-encumbered by critical method other than
And then this thing called "reason" starts to intrude;
we are inculcated and indoctrinated in the "ways of the world".
And then (if we are lucky - or not), in the sixth grade they
(who are this they? educators? a policy board?) then they
begin to have us learn to sing and to paint.
And yet overhead; all, around; are the weapons of war.
The harsh world stidently shaping our young minds into
what is NEEDED - the leader demands it. We learn the
proper salute, the proper oaths, the proper allegiances.
We learn that THEY might at any time come to our door
and try to get us to become ONE OF THEM.
and for what small purpose.... ?
do we garner the flag and wave it, marching in lockstep with
the COMMON, RIGHT AND PROPER good?
The King demands it; so, thus it is.....
(if you have reached 11;20 minutes into the first movement,
then you may certainly change the music....)
and open your clenched fingers and look towards some hidden
heaven or at least the ceiling....
A second philosophy of art
(at this point, switch to Shostakovich Symphony #6, 3rd movement)
By the age of 12 or so, the human brain/mind becomes very self
aware. As such, it tends to view the world around it as a
thing to be understood (analytically) and interacted with
(both physically, and emotionally) in ways that here-to-fore
weren't simply not thought of.
For example, a mind in such a state might well "discover"
(for that is the right word) the number pi. And then
(affraid that it might forget it, concentrate very
consciously on memorising it; a conscious effort here-to-fore
And yet the preconditioning (if it has indeed been present
and more importantly prevalent) will remain. Conflicts
will occur. This is part of the process of becoming an
independent entity. The brain (indeed, the entire body)
begins to not just explore what is possible or what "i"
am able to do - more importantly: "Why do i belive such
and so?", "Why are things the way that they are?", and
so forth. It is at this point that the next stage in the
ontiologoical development of what for the first time
we might refer to as the thing's "mind" begins to
The person (may we use that term for both a human and a robot?)
begins to not just respond to external stimulae, but to create
internal ones as well. In the mental (eg, cerebro-physical)
a "rushing forward" towards some in-definable goal is felt.
Though this is an almost purely mental effect, its manifestation
becomes at the very least psycho-physical.
(this concludes this section)
A further philosophy of art
(at this point, use Shostakovich Symphony #9, 2nd movement)
At this point in the development of the subject (unit), certain
thoughts come in which are of a much less lightly lit nature;
we (as artists usually refer to this as "darkness" - since we
associate the absences of light and colour as being dark,
un-lit, without sound, silent (or nearly silent), and for that
reason most probably introspective).
Primary among this affect is the concept of death. A questioning
of the meaning of life, its purpose, and pourhaps even its
The death of a pet, relative, friend, or even family member at
this time. Or just possibly even the realisation that there is
indeed no justice in the world - or at least no idylic justice
where all that hear the strum of the world, the beat of the
electrons in their infinite danse - that for many there simply
isn't ANY justice.
Worse yet: That these misseries are completely preventable.
That just a little care or concern or even an occassional
word might prevent the death of a pet turtle in its plastic
What is it? Why is there no light? Who can be responsible for
And it is at this point, that dreams become less random and
chaotic and the mind speaks (crys? sings? laughs?) to itself
and the dolls of dreams, the puppets, even a pet dog that
never existed become silent (or not so) partners in a new
a partial conclusion/answer in the philosophy of art
If one thinks about it, the way that we view the world
(even if "blind" - and those that refuse to see are (sadly)
the blindest of all; for indeed we have books).
Helen Keller always said: Libraries are my Utopia. Or as the
Buddhist philosophy puts it: A book is a garden that you can
carry in your pocket.
The crash of the world comes about us, so gently that we often
are scarce able to perceive it. The massive, mostly unfathomable
weight of it, slowly crawl over us to engulf, ensnare, and
corrupt us. To turn us into a part of it.
Slogans of predjudice are sliced out of tasty pies, and plopped
down in front of us like so much gold, dross, power, and comfort.
And slowly, insidiously we are swept out to sea, until we are
so far from shore, that we not only begin to doubt that there
ever WAS a shore of any sort - but, that the morass of hatred
and unifying feelings of being part and partner in the greater
good for the RIGHT AND PROPER PEOPLE / COUNTRY / NATION / RACE...
And yet, some still quiet voice within us, hopes that we can
somehow escape. For we were taught meaningless tales in youth.
Of Hansel and Grettle, and of Big Bad Wolfs.
Meaningless. And yet... Cautionary.
Timeless Safeguards not to trust too deeply.
(you should be at about 7:00 or 7:30 or so)
A non-sequitur philosophy of art
There is no resolution for the world.
It's arguments of :might makes right:, and
:nlu - Not Like Us:, and :The One, Treu Faith!:
---^_6They are simply too strong. Every reasoned
argument against them will fail.
like oersites, there is NO escape from the furies...
(simply press STOP to halt the 2nd movement;
then move the pointer back to the first
movement of Shosty Symp #9 ... or take a brief break...)
PRESS PAUSE, since, first....
A non-sequitur philosophy of art
(for the next sub-segment, i prefer:
"Mystery Men; track 5", but the
1st & 2nd movements of Black Star will work as
well as "Take Five" (jazz greats vers) as
well - party like it's 1999 all over again..
the next segment requires a (a brief) diversion into hyper-space text...
This way to the clown parade; exit?
CUE UP SHOST #9, MOVMEENT 1...
play take five 9create cusp here0
a cat is cool; but a bird is cooler still.
STOP PLAY ON TAKE FIVE
play #9/mvt 1...
somewhere in california a pinhead drawer is contemplating waffles
and tuesday weld.
somewhere in manhattan a earth quake can only happen if a pidgeon
drop isn't taken
from this we derive that two C (or one D) battery and an un-retired
cartoonist best known as the fleas that inhabbit certain owls can
show that evolution is wrog, wrong, frog, frong, flerm and
and then out into the snake's glowing red light danse nikita kruschev
and lyndon johnson but suddenly they are joined by a block mon from
down under protesting that the resident of a sheep paddock didn't
even think to canvas any of the "lowlies" her/his revenge is of
course to wrap books on the southside of dallas and that wasn't
even on a tuesday.
(ms. weld was not available for comment)
and yet in a wax museum, the world pauses for comment that
the hotel is wrapped by two mad artists (one is not jean-claude
and the other is most DEF not christo)
but, just then, a singing bard stombles onto a piece of burlap
and keeps on stombling for some other time it is not to be
tried at home (even if your brother's name IS Buster)
and of all of this comes a final blow which odd for a violin.
9and as the curtain draws to a close,
we see the ushers opening the outer doors,
but it turns out not to be a non otter but
indeed - as we see that it is indeed a
note: in part of the performance, the part of the left and
right parenthesises were played by the numerals 9 and 0.