Friday, February 7, 2014

Another Dark Age


Blake Viola 2/1/14

Our society, what it clings to and aspires to, is the super-ordinary, the utterly painfully hyper-human.  By this I do not mean super-human or a state transcending what is human, I mean utterly basely ordinarily human.  The funny thing is with all of our physical advancements and our technologies and our spectacles, especially within popular culture and in the performance realm of the arts, all has the illusion of pushing the senses to the point of something that is beyond what is ordinary and what we are.  People have even argued that celebrity culture is the new hero cult.  But I would argue what makes it so shocking and so spectacular to the viewers is that it is hyper-ordinary, almost impossibly ordinary, so ordinary it is grotesque, and purely mere entertainment.  As though the ideal forms of Neoplatonism were stretched to the degree of only comprising the absolute ordinary pleasures and experiences of human entertainment and mundane unessential qualities of daily life.  The Middle Ages, despite its cruelty and barbarity and mass ignorance, at least had an aspiration throughout its societies towards these essential states and experiences of beyond, to the Absolute.   All throughout history human beings have had these aspirations in all societies, all the way until the modern age.  Despite our perceived “humaneness” and our sensitivities and our “civility” and our belief that we have “repaired” our old ways by severing our violent roots and our ignorance and have become “enlightened”, we have robbed ourselves of our essential qualities of living, of our true humanity, to go beyond what we are, to live in what we are made of and born of.  We have turned our backs on ourselves and on the world and have aspired to an impotence of living purely for entertainment and material gain and pleasure.  I say we are not so wise, we are diseased and fickle, powerless and utterly cowardly, aspiring only to the life of decadent physical enjoyment turning away from that which is our essential raison d'être, that true quality which makes us human.  This crisis has lead many fringe groups of people in the west to attempt in filling this void, in bringing back this aspiration for the beyond.  There have been a few successes, though mostly individuals, but generally what this has lead to is mass lies, confusion, corruption, pacification, filtration, desecration and disempowerment of the Absolute.  What is needed is a mass disciplined revolution on a grand inner scale.  Human beings have shown they are incapable of living in freedom (such a thing as true freedom cannot and will not exist), so we must succeed in delivering a spiritual blow so painful and powerful, that its shockwaves will last generations to come.  The means of the delivery must be in the realm of the arts.  By art I refuse to include the present day filth of what we today would attribute as artistic expression within the realms of the art world, especially in America (there are a few exceptions as always, but not nearly enough to conclude that in general the present day art world in America should not be completely and utterly wiped off the face of the earth).  By the realm of art I mean to say any expression which traditionally has been used throughout the world as a means to access the divine, the Absolute, be it sound, visual imagery, poetry, performance, dance, even slaughter.  And as art that is not separated as it is in our western modern world, but as an essential component of our lives, as essential as breath, created not for the sake of exhibitions but for the sake of living, and NOT in a way we would call “utilitarian”, but in an inner way that deals with essential inner states, states of warfare or of becoming and death, exorcisms and catharsis, or works made specifically for the dead or the invisible world rather than the living, etc (as it has been with many of the traditions of so-called “primitive” cultures today).  We are living in another Dark Age, it is time for renewal. 

A Theater of Cruelty


Lot and His Daughters, Lucas van Leyden


According to Antonin Artaud, what is accomplished in this painting is what theater should be.  It has nothing to do with the literary aspect of the tale, Artaud is not interested in literature or dialogue or plot as we would know it when it comes to the theater. He does admit that Lot is pictured here as almost living off his daughters as a kind of pimp, which he seems to delight in for its profound sexuality and for its position as almost the only social element in the entire painting. All of the other elements are metaphysical, he describes them as a kind of visual poetic language whose function is the manifestation of certain inner states such as becoming and fatality, chaos, equilibrium and the miraculous, "impotences of speech", etc.  (See the chapter "Metaphysics and the Mise en Scène" in "The Theater and its Double" by Antonin Artaud.)

It is less about attempting a complete understanding, because complete known understandings are dead frozen subject matter for the theater and for poetry and art, we need something more volatile. But that is not to say excluding completeness that is the result of a sign or sound that encompasses a universe, such as a man’s voice with a burning quality that produces tears or shivers or the experience of the sun just before dusk clawed by streaks of clouds. 


Friday, December 16, 2011

Red Deer Antler Headdress


Early Mesolithic, about 9,500 years old
From Star Carr, Vale of Pickering, North Yorkshire, England.

Saturday, October 22, 2011

Bocio, "Empowered Cadaver", "Cadaver that Possesses Divine Breath", from the Fon people

"When asked the underlying meaning of the term bocio, Sagbaju noted that "this art form is like a man who does not open his mouth because he is dead." In other words, like a cadaver, bocio address at once the world of the living and the dead. Each such work can be said to represent "death living a human life" (Kojève, in Bataille 1990:10)." 
 - Suzanne Preston Blier, "African Vodun: Art, Psychology, and Power", University of Chicago Press 1996
 
"When we say that someone is "speechless" we do not mean that they have nothing to say. On the contrary, such speechlessness is really a kind of speech. In German the word Stumm (mute) is connected with the word stammeln (to stutter or stammer). Surely the distress of the stutterer does not lie in the fact that he has nothing to say. Rather, he wants to say too much and is unable to find the words to express the pressing wealth of things he has on his mind. Similarly, when we say that someone is struck dumb or speechless (verstummt), we do not simply mean that he has ceased to speak. When we are at a loss for words in this way, what we want to say is actually brought especially close to us as something for which we have to seek new words." 
- Suzanne Preston Blier, "African Vodun: Art, Psychology, and Power", University of Chicago Press 1996

This is the foundation of all true poetry.