The Soul of Fine Art: Delve into: art, passion, writing, dharma, character, consciousness, culture, intuition, evolution, and the spirit we call soul.
eden's weblog
Tuesday May 13, 2003
Please, Release Me
You may recall the line: If you want to make God laugh, tell him your plans.
One of the most difficult and most liberating of challenges is giving up judgments about this and that.
I don’t mean to give up your sense of morality or what is ethically good—treat your neighbor as you would have him treat you.
Friday May 09, 2003
The Relunctant Gallery-Goer
Excerpt from: But is It Art?: The Value of Art and the Temptation of Theory
Book by B. R. Tilghman; B. Blackwell, 1984.
For more on But is It Art, visit Questia —the online library for research.
A persistent feature of the last hundred and more years of art history has been the seasonal recurrence of what Ian Dunlop has labeled The Shock of the New.
On any number of occasions during this period the artworld has been shocked by the appearance of avant garde movements that have seemed to challenge artistic traditions and prevailing conceptions of art. One thinks immediately of the impact made by the first impressionist showings, the fauves, the post-impressionist, the surrealists, and so on. Professional critics and casual gallerygoers alike have been disturbed and puzzled by these new developments that they did not know what to make of.
Thursday May 08, 2003
Just Fine
"Fine art” is yet another unfortunate label of confusion. After all, what is so fine about it?
The answer lies in the art’s creation. Fine art comes into the world without a motive. It has no agenda except to be born. A piece of fine art adds to nature; this art doesn’t copy or rearrange existential matter. This is not a comparison; it is a distinction.
There is art and then there is advertising; the former is from the soul and the latter an invention. The two can coexist beautifully. Wouldn’t you want to know the difference? If yes, you must find out the distinction for your self and the right direction is labeled “feeling.”
Tuesday May 06, 2003
Rosebud in Babylon
F For Fake (1973) was written and directed by Orson Welles who shows us that you can make a brilliant film for about a “dollar.”
The cast alone is enticing: Orson Welles (Himself), Oja Kodar (The Girl), Joseph Cotten (Himself), François Reichenbach (Himself), Richard Wilson (Guest), Paul Stewart (Himself), Gary Graver (Himself), Peter Bogdanovich (Himself), William Alland (Himself), Laurence Harvey (Cameo), Clifford Irving (Himself), Nina Van Pallandt (Herself), and Elmyr de Hory (Himself).
“Can a forgery be a work of art?” and “Are forgers artists in their own right?”
Monday May 05, 2003
Streaming Words
Listen.
Listen to someone talking. There is more going on that meets the ear. When you hear the words being spoken, it seems there are pauses between the words. These “pauses” or gaps allow us to identify each audible word in the same way that we read text: there are spaces between words in a sentence.
Despite what we think we hear, there are no specific pauses between words in everyday speech. The words we hear are an interconnected stream of words and phrases being hosed into our ears. So, how do we make sense of one another’s speech? The marvelous processing power of the brain interprets this stream into a coherent form that we can understand, and it seems to us that there are pauses between words.
Prove this phenomenon to your self. If you listen to computer-generated speech, you can hear the mechanical pauses as the machine attempts to segregate one word from another. And that’s why computer-speech sounds artificial.
