THE |
|
a cache of usenet and other text files pertaining
to occult, mystical, and spiritual subjects. |
To: alt.magick.tyagi,alt.magick,alt.pagan.magick,talk.religion.misc,alt.consciousness.mysticism,rec.arts.misc,talk.philosophy.misc From: tyagi@houseofkaos.abyss.com (nigris (333)) Subject: Art and Magick (was Poo-Pooing Art and Magick....) Date: 18 Jun 1997 11:10:03 -0700 49970613 aa2 Hail Satan! Friday the 13th! Lucky Day! E6 C.L.K.: #> your not caring for it and it not being Art are really two different things. perhaps it should have been qualified "it is not art to *me*". #> It's funny, because I practice [collage] as have I. I wasn't going to respond to the original dismissal because it seemed to me tangental to the discussion of Thelema and magick, but I see the topic coming round and would join in. #> ...when the Muse and Great God Art whistles through my head and out #> my hand I personally have learned to never never never look a Gift #> God in the eye and say what the fuck is this???? not art surely??? criticism is an important part of the artistic process. never to criticize, especially oneself, is to abandon one's artistic development. Fabio: #...if this is a forum of Magick, since it is very connected with art.... I would like to discuss this connection where possible. it is something which I have not contemplated deeply enough and constitutes one of the major holes in magical philosophy today, from where I sit. #Simply because art could be either all the things and no things, so #everyone could call himself an artist and probably be believed. this is precisely the case with all appellations. one might call oneself 'Satanist', 'Thelemite', 'Artist', 'Scientist', even 'Master' and there are those who will accept this without question. this was one basis which brought on the anti-art movement (daDa) and, I contend, Satanism functions in a similar, revolutionary manner within the religious sphere. I am but an ignorant student of art, yet in my brief exposure to daDa I see the attempted return to authentic process, the deconstruction of Art as Product, the pointing of a finger to a toilet with admiration (more on excretory appreciation below). #I hate critics for they base their judgements only in their conceptions, #and truth is never unique, critics are a necessary outcome of real artistic process. they are one half of that process, the other being the portion which most critics cannot access and which is typically called 'art' in itself (the ability to create, to innovate, bringing forth an expression of deep feeling and consciousness). #but many times I've met people that say so: "It doesn't matter what is #beautiful, matter whatever one likes" and I become, indeed, sad, like Rimbaud. I agree with this strongly. there is art, there is criticism (which I contend is an imperative process in the development of artistic skill), and there is aesthetics, the ability to fully apprehend the depth and beauty of what is expressed by the artist. I think that aesthetics is a reflection (passive) of the latter part (expression) of the artistic process. just as criticism without aesthetic expression becomes sniping, so does aesthetic expression without criticism lack depth, regardless of its sincerety. it is beautiful, but undeveloped. this is the difference between the art of a child and that of a master, even if the child has the *potential* to become a master. #I've lived, like you know from my introductory post, all of my youth in #the way of literature and poetry. The first thing that I know is that #beauty (that is the primary basic of art for me) is not a common thing. I presume that you mean a very specific thing here by 'beauty'. I agree that beauty is imperative to a complete analysis of art and the process. I think you are saying that your beauty contains *precision* which can only be achieved by practice and experience, self-criticism and refinement. I think what you are saying is not necessarily that nothing but 'fine arts' can be aesthetically pleasing, but that there exists a certain complexity and depth which is (at present, at least, perhaps inevitably) uncommon. my impression is that 'depth' is relative and that, while your observation, if I have not mistaken it, is accurate, your terms may be somewhat extreme in response to CLK. I think it is not that simple or undeveloped artwork contains NO BEAUTY, but that this beauty is shallow (aesthetically pleasing but doesn't hold more than one or two dimensions). #My beauty could not be yours, but when a thing could be done from every #single human that awake in the morning, then is not more beautiful. and I would rephrase this that when a piece of art arise from any random person without experience, then it lacks DEPTH. it is one thing to call it 'art', for in a simplistic light this is precisely what it is. the daDaist wants the common folk to engage it, taking bicycle wheels and putting them into toilet bowls. demonstrate the simple imperative. and when this is placed in the category of 'high art' (implying a complexity and depth), then this shows how constrained are the categories of people and what they produce. now only 'masters' can make art. Art is Dead. better that the high art be dessicated and the process return to the common folk. even random acts (drawing fragments from bags and reading them as poetry) can be artistic when done with precision and refinement. #So, if one, looking at my shit in the morning say: "How beautiful!" for #me he is very stupid. He could like it, but could not say that is #beautiful. I would expand on this, for I agree and disagree with its implications. this has very directly to do with magick, also. if the critic (which you support well) says "disgusting!", then she errs by lack of aesthetics. if she merely says "that is not art!", then we must begin to look into you and your relationship to your crapping. the aesthetic without critical faculties (which I think CLK support well) says "that is beautiful!" and, coming to see that you are not practiced in the art of pinching loaves as an intentional enterprise, we may pass off this evaluation (forgive the pun) for a lack of critical skill. but wait! then we all turn our heads and notice that Old Dung-Meister, in the corner there, has produced a new fecal exhibit. ODM (as his admirers call him) is particularly refined in his shit-laying. eating very specific types of food to produce his fecal expressions, he has integrated a sincere and extremely-skilled aesthetic depth to his offal. the critic who knows nothing of excretory expression repeats the same worn evaluatives. but the poo-connisseur and critic comes to both piles and peers closely, perhaps smelling, getting good angles and lighting, observing the intricate care which ODM has given to both process and to product. your dingleberries, he decries, are substandard. but the turds of ODM, magnifique! what beauty! what talent! what genius!! another ODM BM Masterpiece! it is this careful qualitative examination which truly discerns beauty, not some dismissal of Art Fecale because of its medium. this is the same for collage and any other 'simplistic' artform. look at the taoist masters. how much work & talent does it take to draw a circle with a brush and ink? ask them and their admirers. it takes *extreme* talent to do it arightly. the artist must train. she must observe hir product. she must compare, contrast, self-criticize. in short, she must attend to the process and the result. she must make the tools of the process (whether brush or fingers or gastrum and rectal hole) exquisite in their abilities. she feels, she moves into the form, she expresses through her medium in an intentional and direct fashion, she grunts, she groans, she feels the art pour forth from hir! true Art, just like true Science, is no different than Magick. #So my words are better these: "Is beautiful what is beautiful, and one #likes what one likes" that are much better. 'one' may differ in aesthetic taste and refinement of observation. to know the artform, to see its particularities, to understand the depth or shallow- ness, this allows real criticism. too often the talentless become the critics and forget the process in their struggle to steer the social eye. 'liking' is liking. it is of subjective value. limited. refined taste comes of exposure and culture. while not an absolute 'better', it is objectively more skilled at observation. reflecting thereafter and expression of that reflection will determine skill at criticism. #Collage could be very good, but is difficult to find people that #practices it and do something new, very, very difficult. I've find #nobody until now. few are obsessed enough with any artform to practice it unto mastery (I am not excluded from this; my collage is very rudimentary). this does not mean that the rudimentary is not 'beautiful', if shallow of depth. #But is true also that there're so many recognized artists that have #nothing new in their stories, why this? novelty is an overworn evaluative of skill. like the koan, a new answer is just that. real feeling, real depth, whether in an old cloak or new, may be rare and valuable. in fact the novelty *distracts* from a serious evaluation of skill. we may be carried away by our emotional appreciation of an oasis in a desert of traditionalism instead of looking carefully at the style of the brush, the tonalities of the lower vocal range, the addition of blue food to the cacapiece, at the qualities which we find valuable to assess within the whole field of the art itself. #But is also true that these artists are always reconnected at their #originals and could be never be free. This is the money they must pay... if I understand your words arightly, you say that the masters must continue to reproduce the works for which they are popular in order to remain in favor, and that this becomes ball and chain to them. I agree, and this is one of the reasons that I have tried to disregard favor, especially in connection with my art and my livelihood. it quickly becomes a trap when hard-wired. yet the real artist innovates, advances, develops depth untold even if the work appears the same over and over. one may go deeply into the tradition, one may break from tradition and range over the scape of possibility. it is the *attention to the work* which sets it apart, making it 'masterpiece', not its medium, and not its novelty. E6/6/6 3 3 3 tyagi@houseofkaos.abyss.com
The Arcane Archive is copyright by the authors cited.
Send comments to the Arcane Archivist: tyaginator@arcane-archive.org. |
Did you like what you read here? Find it useful?
Then please click on the Paypal Secure Server logo and make a small donation to the site maintainer for the creation and upkeep of this site. |
The ARCANE ARCHIVE is a large domain,
organized into a number of sub-directories, each dealing with a different branch of religion, mysticism, occultism, or esoteric knowledge. Here are the major ARCANE ARCHIVE directories you can visit: |
|
interdisciplinary:
geometry, natural proportion, ratio, archaeoastronomy
mysticism: enlightenment, self-realization, trance, meditation, consciousness occultism: divination, hermeticism, amulets, sigils, magick, witchcraft, spells religion: buddhism, christianity, hinduism, islam, judaism, taoism, wicca, voodoo societies and fraternal orders: freemasonry, golden dawn, rosicrucians, etc. |
SEARCH THE ARCANE ARCHIVE
There are thousands of web pages at the ARCANE ARCHIVE. You can use ATOMZ.COM
to search for a single word (like witchcraft, hoodoo, pagan, or magic) or an
exact phrase (like Kwan Yin, golden ratio, or book of shadows):
OTHER ESOTERIC AND OCCULT SITES OF INTEREST
Southern
Spirits: 19th and 20th century accounts of hoodoo,
including slave narratives & interviews
|