A philosophy of Art

This section is best read while listening to Shostakovich Symphony #5.... 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 direct feedback. 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.... -^_6

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 NOT exhibited). 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 deveolop. 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) -^_6

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 meaning-^_6less-^_6ness. 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 island universe. What is it? Why is there no light? Who can be responsible for this? 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 thing: Reason.

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. Warnings. Timeless Safeguards not to trust too deeply. not to.... (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.... -^_6

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 beflirmishly so. 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 "certain" duck 0 note: in part of the performance, the part of the left and right parenthesises were played by the numerals 9 and 0.