Reading harold_maude's journal

Sep 29, 2005 13:27 # 39124

harold_maude *** posts about...

The map

I'm putting the finishing touches on a particular peice of work.
I've come to the conclusion that what I was given is a map as to an explaintion of what time is.
If no one can give a definate explaintion and anything is possible, it's very possible that what I've been given is an explaintion of time.

One of the things I came up against was the idea of probablity and possiblity.
One is finite, the other is open ended.
To understand the idea of time you with probablity as part of the equation makes it not possible to solve, at least in part.
In order to see it at all you have to use possible as part of the equation.
It makes it work.

At least that's what came through with what I was given.

There is the flower of life in the center and then the golen mean sprial and the traces of the febinachi sprial, and notations as to vortexes and convergant realities..neither of which I really understand. But the insturctions were clear.
Step by step.
And the understanding of the nessity and value of art in the matrix of communication.

Through this process I understand why the goverment would push art and music out the door.
If you take away the two venus that encourage thought on an abstract level which is where problems are solved by the way, you have effectivly taken away all history and all clues as to who we are.
In a few generations what you have is a very aimless people.
Very easy to control and manipulate.

Fortunately so far there are still emerging children who do art and are not stopped in what their doing.
There is still art taught, but now it's an elective rather than part of the foundation of learning.

Soon, if things keep going they way they are, there will only be room in the social, economic structure designed by the goverment the only art that will be allowed will be with in certian perameters.
You can see alot of it in the galleries. It's hard to get into a gallery with out it fitting certian requirments.
And many galleries charge showing fees, aka wall space for your work.

I saw a thing on the news about some huge gallery in new york and the work that was shown in part of it made no sense and was nothing more than just an aimless expression of the moment.
Alot of what they showed had no life to it. It was as if the artist was standing at a distance giving directions to someone else who's only participation in the work was putting it down on canvas or paper.

Alot of artists who are actually saying something have to find an alternative route.
It's funny, when you put it in direct access to the public and make it reasonable as far as the price, what you find is that they want it.
It speaks and they are wanting something that speaks.
I know that there is a huge segment of the population that buys the crap that looks like it was slapped together, for some reason when a person shells out big bucks for a work they get the idea that it's like the crown jewels or somthing.
It seems that all the propagana surrounding what art is, is defined by a few individuals who have this need to have an eletist group.

Every time I read an artist's magazine I see the same things over and over.
It's the standard of what's acceptable. Very little space is given to the majority of what's actually out there.
You have to basicly kiss alot of ass to be even given a chance.
And it's all subjective to the gallery owners.
It's pretty messed up.

In the art schools what I've seen come out is this: people who are great immitators of the teachers, because the teachers don't understand they arn't suppose to be reproducing themselves, but rather guiding the students into who the student is as an artist.
And they've been so conditioned by the time they graduate to do and see art only in a very boxed up limited way, that they can't even begin to relate to their immatination.
They are terrified of their immagination.
I've run into these people who have been to tradional art schools and if you put something in front of them to do, they want to know what you want, and then if told what do you want to do, they sit there and think of what they should draw.

They can't seem to grasp the notion that art is not ment to be in a box.
It's been beaten, if you will excuse the expression, out of them until they are good immitators.

I think I've gotten a bit side tracked.
Anyway, the map is almost complete now.
Then we'll see what's next in the journey.

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