Everything that has a beginning has an end

Posts tagged “art and artifice

Vision from the Under (Other) World

‘Arrival’ – Denis Villenueve

Martin Shaw

“Myth has something very direct to say. Many of the stories we need now arrived perfectly on time about 5,000 years ago. Old mythologies contain not only stories about our place on the Earth, but have the Earth speaking through them, what the Islamic scholar Henry Corbin termed the mundus imaginalis –  where the human imagination is open to what David Abram describes as the more-than-human world.  So with myth, you are working not just with imagination but with the imaginal, what many aboriginal cultures would call the Dreamtime. In other words, as we turn ideas around in our head, we’re not just thinking but we are getting thought.”

 

Colleen Wallace Nungari

“It’s very hard to talk about the imaginal in conventional language. The most fitting language to address it is poetry or imagery or mythology. If the language is too psychological it reduces the mystery. It makes the mysteries containable and safe.”

 

‘Paterson’ – Jim Jarmusch

“Myth is a robust and ancient way of addressing a multiplicity of consciousnesses that abide in and around the Earth. What is so powerful about an uncolonised imagination, a mythic intelligence, is that it connotes but does not denote. It doesn’t tell you what it is. Its images have a radiance that reveal different things to whoever is beholding them.”

 

Georgia O’Keeffe

“The days of conventional hero myths are not serving us. What is being called for now culturally is a word you find often in Ancient Greece: metis. Metis is a kind of divine cunning in service to wisdom.”

“We can’t be naïve in times like this, because we are in the presence of underworld forces that will do one of two things: they will either educate us, or annihilate us. And in fairy tales whenever the movement is down – and the movement culturally is down right now – you have to get underworld smart, have underworld intelligence, underworld metis. I have a strong feeling that a lot of what wants to emerge through many ancient stories is a kind of wily, tough, ingenious and romantic force that needs to come forward at this point in time.”

S u s a n  S e d d o n   B o u l e t

 

Sharon Blackie

“…in Corbin’s expression of this ancient Sufi philosophy, the material world which we take as real is in fact totally enveloped by a spiritual reality which influences (or perhaps even determines) it.

The reality of the mundus imaginalis communicates itself to human beings through images, so that the act of imagining then becomes an act of connection to it. But we’re not just talking about any old imaginings; as Corbin said:

We must be careful not to confuse it with the imagination identified by so-called modern man with “fantasy”, and which, according to him, is nothing but an outpour of “imaginings”.”

Ernst Fuchs

“This is an important point: Corbin differentiated between the simple everyday acts of daydreaming and fantasising (which are what we often mean when we speak about ‘imagining’) and the reality of this world of archetypes and visions. To stress this point again: the forms and figures which occupy the mundus imaginalis have a real – and the key point here is that ‘reality’ is not just restricted to the material – presence. The mundus imaginalis is the place from where all spiritual and transcendent experience derives. It is the source of synchronicities, ‘psychic’ experiences and creative insights. This world penetrates into our dreams and other visionary experiences, including the places we visit during deep meditation or imaginal journeying.”

 

Jerry Uelsmann

“An awareness of the Otherworld, then, in our own native traditions (which are so potent, and yet so often neglected in favour of cosmologies from other parts of the planet) is an awareness of the power of the Earth itself. The Otherworld isn’t just a pretty place in a fairy tale: it is the source of life and inspiration. The powerful Otherworldly woman in the oldest of our stories isn’t a mere fairy mistress, or a pretty muse in a poet’s dream: she is the moral and spiritual authority of the earth, the anima mundi personified. The Otherworld is more than just a myth; the mundus imaginalis is real. As Corbin’s work suggests:  the material world which we take as real is in fact totally enveloped by a spiritual reality which influences (or perhaps even determines) it.

We ignore it at our peril.”

 

‘Moonlight’ – Barry Jenkins

 

J.F. Martel

 

“If you look at the last five hundred years in the West, you see the steady growth of a mindset that denies the validity, even the existence, of anything that exceeds the grasp of human cognition. As a result, our environments, physical and psychic, have become increasingly human, increasingly artificial. There is a pseudo-gnostic vein in modern thinking that seeks to place humanity at the centre of the universe. This is why I believe that the recognition of radical mystery as an intrinsic quality of the real is both the most important move we could make and the most repugnant to the existing power structure. Art confronts us with a more expansive view of reality in which humans are peripheral and mystery is inescapable. This is pretty obvious when you consider a weird fiction writer like Lovecraft, but I think it’s also true for Van Gogh, Shakespeare, or Emily Dickinson.”

 

Vincent Van Gogh

“Artifice denotes the use of aesthetics to manipulate the emotions in a predetermined manner. In A Portrait of the Artist as a Young Man, James Joyce calls it “improper art” and defines it as art that presents its content in such a way as to induce a state of attraction or repulsion. There are therefore two kinds of artifice. Examples of the first kind include porn videos, advertisements and generic pop songs. All of these are, at bottom, pornographic. The second kind includes traditional propaganda films and shock art, but also any work specifically designed to push a political or social message: slick PSAs, moral fables and concept art that does nothing but voice an artist’s opinion.”

 

Shepard Fairey

“What Joyce calls “proper art,” on the other hand, uses the aesthetic to reveal things in their original, preconceptual “suchness.” That is, it doesn’t reduce its content to some instrumental end. In doing this, artists end up producing symbols, beacons that point to those vast regions of reality which psychoanalysts call the unconscious. In other words, art doesn’t belong to the conscious world. It belongs on the same plane as dreams, visions and synchronicity. By its nature it calls us out of the trance states that artifice instills.”

‘Knight of Cups’ – Terrence Malick

Martin Shaw –

“I notice that several times a day I go into what you could call a mild trance state. I’m not talking about ouija boards here! I’m just talking about falling under the influence of advertising, or various politically engineered neuroses that might be floating around. But I recognise I have come into a kind of enchantment. And the way I recognise it is that I feel less than grounded. I feel I’m not in the realm of imagination, I’m in the realm of fantasy. So the imaginal is not present; the Earth as a lived, breathing, thinking being is not present. What’s happening is I’m simply fretting – to use my mother’s language – I’m spinning my wheels. And so actually I think stories have a capacity to wake us up.

We are living in a time when we need symbolic intelligence, not just sign language. We are being fed signs, and signs that frighten us, and then paralyse us, and then colonise us. And imagination, through myth, wants to give you symbols to raise you up.”

‘They Live’ – John Carpenter

 

J.F. Martel –

“Art is in itself a form of resistance to the commodification of consciousness. Every bit of time and energy spent creating or experiencing works of art escapes the grasp of those forces that would reduce us all to a quantity or algorithm.”

‘The Man Who Fell to Earth’ – Nicolas Roeg

 

“In a sense, asking what art should do to improve society is like asking what the heart should do to improve the health of the body. The heart can only do one thing: beat. It’s up to the body to live in such a way as to allow it to keep beating. Similarly, the only thing art can do is reveal the non-human forces that shape the world. It oxygenates society by infusing it with a more expansive reality than its preconceptions, opinions or beliefs allow for. Art is the heartbeat of a civilization. For that reason, it’s not up to artists to produce works that will change the world. It’s up to the world to organize itself in such a way that artists are able to make the art they’re called to make. While this doesn’t absolve artists of their civil responsibilities as members of society, it does mean that when they practice their art, they ought to have the freedom to be guided by powers that exceed our understanding. True works of art are powerful symbolic constructs, genuine oracles that can give society access to what’s going on below the threshold of collective consciousness. But they won’t do that if artists feel a need to impose a moral or message on the material. For the magic to happen, vision must lead the way.”

 

‘Only Lovers Left Alive’ – Jim Jarmusch

 

Links to works quoted:

The Mythos We Live By: Uncolonising Our Imagination. An interview with storyteller and mythologist Martin Shaw by Dark Mountain editor, Charlotte Du Cann.

The psychology of mythology: or, why the Otherworld is just as real as this one. Dr Sharon Blackie: writer, psychologist, mythologist from her blog – The Art of Enchantment.

Reclaiming Art: An Interview with J.F. Martel  The author in an interview with Jeremy D Johnson for Reality Sandwich.

 


The forces that come from deep down – The Chaos of the Real

 

 

 “…when I say that artists shape the symbols, I don’t mean that they construct them according to their own preferences or opinions. That’s precisely what I call artifice in the book. I mean that they collaborate with forces that come from deep down, they call out of the chaos of the Real, new forms that they themselves won’t necessarily understand. In fact, artists may often be the people who are least likely to understand what it is they have done.

If beauty and symbol are not human contrivances but partial apprehensions of more-than-human realities, it follows that some objects or events will be more direct avenues to those realities than others are. For people of vision (whether or not they are practicing artists) all objects are potential avenues to those realities. But that’s just the point. Artists are people who can frame out the signs that make up the ordinary means-and-ends world in order to reveal those signs’ imaginal depth as symbols on the aesthetic plane of nature. As Henri Bergson says, if we could perceive reality directly, we wouldn’t need art. The reason we need art is that the intellect is constantly reducing reality to a conceptual order that accounts only for an infinitely small portion of what is real. Art is what allows us to glimpse the world beyond the conceptual order. So while it is true that everything is fundamentally aesthetic and so belongs to the reality which art reveals and discursive thinking conceals, we need art to see that. We need good art — that is, non-ideological art — to see that.

Some artists couldn’t care less about any of this, and that’s no doubt for the best. I didn’t write this book for artists who are getting on with it; I wrote it for people who are concerned about where our culture is going, as well as for genuine artists who may be experiencing some cognitive dissonance between their deepest intuitions and what contemporary culture tends to promulgate as fact. There are very good reasons to believe that art is much, much more than a form of entertainment or a platform for communicating opinions.”

J.F. Martel

 

“When we are frightened it can feel like we are trapped under water, under ice. The mythic directive in such a moment is unusual. It says this: go deeper. Attend to the Goddess underneath the unfolding. There’s no restoration without courtship. Don’t smash your knuckles raw on the ice, but dive down further – seemingly the opposite of what everyone on the surface wants you to do. But of course, the diver swims down not just with their terror, but with their stories, their artfulness, their skill. Most importantly, most wonderfully, their love. Ironically, only by diving deeper can the ice melt. In such times, attend to your soul-ground. And that is not some interior – unless everything is interior – it radiates out to a related field of kiddies, sickly elms at the edge of a motorway, the distracted young mum at the food kitchen, the galloping ecosystem of your nightly dreaming.

We are living in a time when every one of us is going to have to make that descent. All of us. Not in some inflated way, but “with the grandeur of our ordinary tears”, because it is what defines us as true human beings. It is simply the right way to behave. If we can’t find our mythic ground, then we have little ground. When you swim down to Sedna you are in the business of alchemy: the tributary of your own fears meets the ocean of your artfulness and suddenly you are giving a gift, not seduced by your own wound. It is quite wonderful. We could learn the home-making skills again to welcome such stories back into our lives. We can’t stick plasters over the Fisher Kings wound.”

Martin Shaw

 

 

“Sometimes, anger and grief is a necessary precursor to transformation. Sometimes, we need to let the wild woman rage. To grow feathers and fur, and run wild through the woods. Sometimes, we need to bite. To stop being nice and talking about love and light and thinking that we can make the world a better place just by pretending that it’s so, or that we can make Donald Trump a better man by sending him love and light through the ether. (Yes, I’ve seen that proposed as a solution to yesterday’s catastrophe by women I’d expect to know better. It beggars belief.) These are dark days in our history, and dark days for women. If women want to change that, we need to take hold of that pure, honest energy which fuels our necessary rage and grief, and use it next for transformation. Find the hag energy. Use it. Transmute it; transform it. It’s what all good alchemists do, and women are born alchemists.

What I particularly like about the story of Mis is that her transformation comes from bringing together both male and female energies. Dubh Ruis is a gentle man; he literally loves her back to life. Like Mis, women can’t do this work alone. Fortunately, there are still good men out there, and I believe that between us, we can do the great work of turning the base metal of a decadent and decaying culture into gold.”

Sharon Blackie

 

(All Photographs by Jerry Uelsmann)


The Powerlessness of Self Expression – One aspect of Hypernormalization

 

WE LIVE IN A STRANGE WORLD

OF DREAMS WIRES AND LIES

IT WAS BUILT TO PROTECT US

AND KEEP EVERYTHING STABLE

BUT NOW WE DO NOT KNOW

WHAT IS TRUE OR WHAT IS FALSE

WE HAVE BECOME LOST IN A FAKE WORLD

AND CANNOT SEE THE REALITY OUTSIDE

(HyperNormalisation)

 

Adam Curtis has released a new documentary, HyperNormalisation. This is how he describes its basic premise –

We live in a time of great uncertainty and confusion. Events keep happening that seem inexplicable and out of control. Donald Trump, Brexit, the War in Syria, the endless migrant crisis, random bomb attacks. And those who are supposed to be in power are paralysed – they have no idea what to do.

This film is the epic story of how we got to this strange place. It explains not only why these chaotic events are happening – but also why we, and our politicians, cannot understand them.

It shows that what has happened is that all of us in the West – not just the politicians and the journalists and the experts, but we ourselves – have retreated into a simplified, and often completely fake version of the world. But because it is all around us we accept it as normal.

 

In an interview promoting the release of his new film, he discusses how the idea of ‘self expression’ especially radical self expression feeds into the illusion of bringing about change while in fact it only perpetuates the status quo as it becomes an empty symbolic perhaps beautiful yet powerless gesture to bring about change.

 

“I think one of the most fascinating giant shifts that’s happened in recent history started in the late 1960’s and really took off in the 70’s which was the rise of a sort of powerful individualism, a feeling throughout western society… that I as an individual [am] the most important thing and what I feel, what I want is the most truthful authentic and right thing. And the idea that you should be told what to do by politicians, by those in power over you is wrong. Its inauthentic … [and] that you should be true to yourself.

That became a very powerful thing … It was good in many ways. It liberated people and stopped us from being told what to do by corrupt elites … But it had a very strange effect on politics … If you’ve got a society of millions of individuals who all have their own desires, their own truth, their own idea of what is true then it is very difficult to craft a collective movement together … If you then get individualism rising up what you don’t want to do is give yourself up to [a commitment of] years, to a movement that you subsume yourself into. You want to express yourself. And why I think Patti Smith is interesting is that she is one of the first people you see making a shift from the idea that radicalism is giving yourself up to a group and becoming a part of something bigger to an idea that no, to be radical is to be a self expressive individual and the way to do it is through art. And what you can use art for is as an imaginative expression of your radicalism …

[The question is] How much power [do] you have as a radical expressive artist?

What was happening was that modern consumer capitalism was looking at this ‘me’ generation and these individuals and going, ‘We can help you express yourself’ and suddenly instead of giving you the same car, the same coat, the same clothes, you can have a whole range of different ones so that you can all be self expressive in your different ways. And there is an argument that … modern consumerism was rescued by the ‘me’ generation because it suddenly allowed you to sell lots and lots of different things to lots of different people who wanted to express themselves in different ways. Which means that the idea of self expression becomes absolutely central to the power of modern capitalism … So then if you have a radical art which is based on the idea of self expression … then however radical your message is and however powerful what you are saying is, the fact that you are doing it through self expression means that actually what you are doing is feeding the underlying ideology of modern consumer capitalism because it depends on the whole idea of you as a self expressive individual.”

According to Curtis, radical gestures are just that – gestures, and are absorbed into the dominant culture and are even, along with some movements, manipulated and in some cases created by powerful behind the scene forces so that the question of what is true or false has no clear answer. This is one of the dilemmas of living in a Hypernormal world. That we are being manipulated and are buying into the manipulation ourselves is just one aspect of the challenges we face at the end of an era. It remains to be seen how to break out of this illusion and see the world for what it really is. Perhaps as the film suggests it is not how we break out of the illusion but that reality will literally come smashing in. It already has begun to do so.

Please see his new film embedded below.