Sunday, March 13, 2011

Cousins of the KKK and Elite Lies


1.  Self Evident:  The KKK, the Taliban, al Qa’ida, The Weather Underground, the Black Panthers (new and old), Hamas, CAIR, Abu Nedal, the Red Hand, Red Brigade, et. al., the truth is that the far right and far left coexist among violent revolutionaries.  Every shade and creed, every person who is affiliated with like groups… all liars.   People who uses the power of fear as a tool, who damage property, harm people, kill people in order to get their point across is lying to themselves and to us all.  They do not wish to convert us; not to their religion, to their way of thinking, to express their ideas, nor even to achieve some imagined end.  What they want is power; an all-consuming lust for power is their only real dream. Those who sympathize with them, who help them, enable them, condone their actions are cowardly liars.  Enablers act out of fear and envy.  Common criminals are better human beings, for eventually they know what and who they are.  Terrorists live and die behind their chosen shield, whether it be religion, the “oppressed” or some new twist on a worn out political hypothesis.

2.  The Elite:  Those who resort to; elitism, to browbeating, name-calling, general meanness, and snappy repartee are afraid of intelligent, thoughtful, open-minded debate in an honest effort to discover the merits.  Elitism is lazy, cowardly, pseudo-intellectual soft mindedness.  They belong on the ash heap of the also ran, of the blip on the screen, in the long list of should-a, could-a, would-a, wannabe’s.  Rather obscurity than hollow fame, the life of a cartoon character is not living.  The life of an intellectual bully is the life and reputation of a child.  The greater the IQ the more worthless the gift when used to fruitless, selfish ends. 

3.  The Hard, Humble Truth:  There is more of value to be learned from the quiet, the obscure, the unknown, from children, from the disabled, from the poor and the homeless than one might learn in decades attending the Ivy League.  Such learning is far more expensive that a little blue blood, for life outside the elite stratosphere teaches humility.  Humility is a price too far, and way too high for most.  To avoid humility we resort to silent lies, to ourselves and to others; “our degree’s make us better, our income proves us better,’ our houses, our trips, our position, our bending down to do charitable work, our taxable income, our wives, our husbands, our superiority from foolish religion, our children all make us better… oh to be superior. Truthfully the elite knee secretly wobbles before the independent, inwardly strong, the solid, oh deepest vanity.  Warning:  Self-revelation makes the blue blood boil.

In theatre and film character is often destiny, how nice if life were that simple.  Life is only simple for fools, and fools come from every walk of life, every level of education.

Thursday, December 23, 2010

Crashed & Cashed

I know that my recent hiatus from this blog has disapointed millions of readers, and I apologize.  My Laptop Hard Drive did a nose dive, crashed, burned, fliiped over and died.  I lost everything I hadn't backed up (it had been over a month "Bad Dobby!!!!").  Anyhow afer the first of the year I should be up and walking... running isn't something I enjoy.

Tuesday, November 9, 2010

Creativity is best fostered by which governmental system?

NOTE:  For the sake of brevity it is assumed (knowing full well the dangers of assuming) by the author that an objective working knowledge of history is brought to this article by the reader.

A brief sketch of the faults of the predominant systems:

Monarchy:  A corrupt leader is inevitable, history shows repeatedly that total power always introduces the poison of human ego inflated to the point of megalomania.

Anarchy: The core fault of Anarchy is that it places complete faith in Human Nature, the very definition of a weak foundation.  Anarchy (complete freedom of action) inevitably devolves into the philosophy of the mobster, the criminal.

Communism:  The core fault of Communism is the distinct lack of faith in human nature; it assumes the incompetence of the individual, which inevitably leads to the complete & thus suffocating control of the state.

Socialism:  The core fault of Socialism is again a total lack of faith in human nature and the self-assumed god-like status of the bureaucracy.  Over time, it represses creative problem solving, innovation and inspiration.

Democracy:  The core fault of pure or direct democracy is the complete domination of the many over the individual, or the few.  Direct democracy inevitably leads to repressive bigotry of the many towards the few, and gradually the untouchable status of those few.

Republic:  The core fault of a pure republic is the implication of an aristocracy, which leads to stagnation, serfdom, and the disintegration of functional structure from within as the aristocracy assumes generational control.

Therefore:

The form of government most likely to flourish for an extended period is an uneasy federation (a sort of permanent marriage) of a republic to a democracy via a firm Constitution.  Democratic election on a regular basis within limited terms discourages an aristocracy.  Republican structure assures a stable foundation with the requirement of positive virtues in leadership, and the regular participatory assent of all adult citizens.  When in precarious balance; the inherent structural indifference (as in the absence of compulsion towards a particular way of thinking) of this form of government provides the most fertile soil for the arts, science, and commerce, all necessary to a lasting civil life.

NOTE #2:  Libertarianism: At this writing I have not studied this philosophy in depth and remain undecided about it.  Instinctively I fear it's potential for being turned into a form of anarchistic capitalism.  Intuitively I like it's ideals regarding the unfettering of human ingenuity.

Capitalism:  Marx was wrong, there is nothing inherently evil about Capitalism... given a firm Constitution, a solid structure of judicial law and enough regulation to prevent monopoly.

Sunday, November 7, 2010

Contemporary Convention and Cliche' in the Visual Arts

11-2010- In the current era of Western Art there is nothing much more conventional than seeking to create a sensation... No content more cliche' in the West than deriding Christianity... Thomas Kinkaide & Andre' Serrano,  Jeff Koons & Lady Gaga, Damien Hirst & Sam Butcher et. al. have simply sold out to different market segments by branding their imitations of other, somewhat less hollow work. 

Who then are the most important, and each in their own way; most radical painters working today?
More importantly, who's work will other serious painters admire 100 years from now?
My picks are: Jasper Johns, Anselm Kiefer, Lucian Freud, Rackstraw Downes, Jenny Saville, and Jerome Witkin.  I'm sure there are other's I'm not thinking about right now, and more I'm unaware of...

Lucien Freud is the painter who's work I'm most certain will be looked to by artists for centuries to come.

What makes their work important, radical, avante garde?
The courage to be subtle, skill, empathy, objectivity, humility.

Sunday, October 31, 2010

Prince Matila Ghyka, The Geomerty of Art and Life & capricious fame

In his home country of Romania and among mathematicians fascinated by geometry Prince Matila Ghyka, (1881-1967) is still respected.  Ghyka's work "The Geometry of Art and Life" should be well known by all visual artists, architects and designers interested in understanding the foundations of composition and design.  It should be the seminal textbook for visual artists, designers and architects.  Yet it has been out of print for decades.  There have been several recent books about geometry and design but none that I am aware of are in Ghyka's league.

In a sense Ghyka was before his time, in that current publishing techniques and styles would have made full color illustrations automatic, in the original small text they are black and white line drawings leaving a great deal to the imagination (which was great for me).  Plus today there would be a layman's explanation of techniques, and the algebraic formulas.  Imagine Hawking's "The Universe in a Nutshell" on geometry.  It would be a beautiful book.

Still the original is wonderful, partially in that it is so little known, like a secret set of formula's not taught in class, but passed on from one finishing grad. student to a newbie with potential (which is how I got my first copy).  Thank you Mike Ruble wherever you are now.  That book sent me into a terrible interior conflict which I struggled with on and off for a couple of decades.  Should I emphasize geometry and systems, should I bury them in my work, should I ignore them, will using these concepts turn my work into a simple set of formula's and kill the creative spirit, will I loose the passionate spark???  Through this struggle I learned the flexibility and utility of geometry as a foundation for creativity, and as a source of inspiration.

If you truthfully want to understand what makes something visually compelling for centuries, not just sensational for a season, find a copy of Ghyka's book and study it carefully.  It contains all of the secret codes of design.  Once you understand them, you can apply them any way you see fit.
http://alsbach-art.com/gallery/4299/GOLDEN+SECTION
http://alsbach-art.com/gallery/5324/

Monday, October 25, 2010

XPost Art

XPost Artists: We are crossing (X) the Post stream (Post-Modern, Contemporary & Post-Contemporary) for a fresh start in this new and challenging era.



The XPost Creed:

1. The fundamental elements of art are perennial.

2. Precedence, fame, style and influence are irrelevant to aesthetics.

3. Gender, sexuality, race, ethnicity, origin, spirituality, temperament et al, are incidental to the merits of the work itself.

4. The concepts, idea, explanation, rational, novelty and/or intent are subservient to the potency of the work.

5. The artists' hand is vital.

6. Work that intentionally harms, encourages the harm, or celebrates the harm of a sentient being is not Fine Art.

7. Place, time, experience and inward emotional texture transmuted through a rich interior life are the heart of the Arts.

8. Media, technology, technique and process are means, not the end.

9. Politics are transient... Art remains.

10. Integrity, humility, curiosity, and consistent, honest effort are the artists' best route to acquiring the necessary knowledge, understanding and craft.

11. The Arts' ancient resonance speaks from our most inward, unique, yet universal living language (our prime language) whose foundations we each build upon using our earliest and inmost experiences.

12. A personal synthesis of inner passion with patiently acquired virtuosity is the most fruitful road.



All rights reserved by F. A. Alsbach, The Stuckists, and The Smoldering Quiet llc. (With suggestions, comments and encouragement from: Charles Thomson (Co-Founder of the Stuckists), Ellen Disanayake (author; Homo Aestheticus), Mario Henri Chakour (Virtual Pose series, artist & architect), W.J. Williams (sculptor), Lita Kenyon (painter), Marc Bohne (painter), Jim Pailott (illustrator), Frank Picini (illustrator) & Lynda Mead Alsbach (graphic designer and ever patient wife).

NOTE: XPost is not a stylistic movement in the traditional sense. It is a trail blaze upon this new and challenging era. In the arts this era began in London with the Stuckists. For Americans it began on 9-11-01, reinforced by the deep recession. We believe this is a time when substance trumps style, when skill and talent trumps attitude, when excess is the opposite of essence. If you agree join us! Simply send an email to: falsbach@sbcglobal.net stating that you agree with the XPost Artists Creed and wish to join us. Folks from every branch and discipline of The Arts are welcome, at every stage of development, as well as critics, historians and art lovers.

Current Members: Marina Umana, Frank Picini, Dee Yoh O Hanlon, Patrick O Hanlon, Lita Kenyon, Merry Meyer, Mario Henri Chakkour, Darla Arni, David Niehaus, Cyn Burkhardt, Mary Kowalski Pope, Tighe Reeder, Yvonne Grinstead, Sara Gross, Victor Kirk Maritsas, Nick Christos, Rommie Martinez, Jim Paillot, Lisa Balsamo Magruder, Shannon Johnson, Bill Brown, Thomas Poole, Jessica Burnett, Stephen Moore, Lynda Mead Alsbach, Virginia Andow









Hypothesis

Hypothesis: The Arts as prime container & expresser of compressed tacit knowledge.

The Arts (in their largest sense) embody the ageless & universal living language of the human mind, the deep prime language of thought and of dreams. Since we began the Arts have been humankinds method of containing & transmitting compressed tacit knowledge. Thus my view that Helen Dissanyake’s term Homo-Aestheticus is more accurate than the conventional term Homo-Sapien-Sapien for modern humans, us.

[NOTE: There have nearly always been everyday functionalities layered within the Arts; generally, the crafts have maintained their everyday functions. All of the arts have retained a degree of functionality even in this era of faceted & tenuous social & aesthetic structure, even when the function is ephemeral, vague or intentionally not apparent.]

The Artist, by developing a refined ability to tap into the prime & primal language of the mind and encapsulate elements of tacit knowledge, learns to make hyper-containers of understanding, a coherent whole, uniquely crafted in their details by each individual, universal within the spiraling latticework of the fundamental structure of human interior knowledge.

This language, the core of self-consciousness and the central manifestation of the subconscious, is born as the mind forms in the womb. The foundations are finished sometime in early childhood (where common primal experiences are the first building blocks of understanding). These sensory blocks of experience become multi-media hieroglyphs carved on the cave walls of self. The artist speaks to us first and best by tapping in to the flow of this language and communicating directly from one to another self. This then is the source of Arts power and the reason for the influence it wields in a diluted state as mass marketing, pop music, paperback romances, and so on. It is also the reason societies spend a great deal of time, talent, & treasure making, enjoying and caring for these hyper-containers of the deep interior well of emotional texture within every human life.


F. A. Alsbach (all copy and reproduction rights reserved)