One City

One City


Painting as an Act of Compassion

posted by Patrick Groneman

Co-Written by Nuala Clarke and Patrick Groneman

“Painting is a medium in
which the mind can actualize itself; it is a medium of thought…Painting
is…the mind realizing itself in color and space.”
  – Robert Motherwell

 On Friday May 1st,
the ID Project Arts Group went to the Metropolitan Museum of Art to visit one
of Robert Motherwell’s paintings from his series of “Elegies to the Spanish
Republic”.  He made over one hundred and seventy of these paintings which
were a lament for the people and the culture that died in the Spanish
Civil War. Motherwell, who was only 21 at the time the Civil War broke out was
struck by the realization “that the world could, after all, regress.”

 

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We learned that he was using a process known as  Automatism when he created these paintings. This is a method of painting in which an artist allows the impulses of the unconscious to guide the hand in matters of line, color, and structure without the interference of conscious choice. This method provides the means of getting to the innermost, or pre-conscious self, which is what Chogyam Trungpa Rinpoche calls “Alaya”, the store consciousness. “It is the fundamental state of consciousness..the basic ground where things are processed”. (Training the Mind. p.11.)  The act of painting becomes a meditative process where the hand delivers a visualization of the mind.  Motherwell said “If the medium is exactly right my hand just flies and I do not even have to think, my hand just does it, as though I am not there” (from “The Third Mind” Catalogue).

We saw that in repeatedly exploring the subject of death, it is as if Motherwell visits the charnel ground over and over again.  It is not out of desire for political justice that he mourns for those who died, but for the sake of bearing witness, of existing with the truth of relative life and death.  If we view the painting narratively we could interpret the repeated dash and egg shapes from his “Elegies” as representing life and death, of coming into and out of existence.  But if viewed in a single instant, the non-dual nature of the black and white forms becomes apparent. This, for us relates to the teachings of the Buddha in the Heart Sutra, “Form is emptiness, emptiness is form.”

 

Patrick:  One of the things that stood out for me in the Elegy is how Motherwell’s struggle is so visible in the brushstrokes. This really gave me a window into his process, and if wakefulness is presence in process, then being present with his process is being present with his wakefulness. In the choice of shapes I felt his use of powerful archetypes like the egg and the dash shapes provided an interface through which I was able to share his contemplation of birth and death, duality and non-duality.  This painting became for me a map through my own emotions and subconscious, and pointed me in the direction of my own wakefulness.  This painting becomes a generous sharing of the most intimate exploration someone can have. 


 “There are three types of generosity…the second one is the gift of fearlessness. You reassure others and teach them that they don’t have to feel completely tormented and freaked out about their existence ” – Chogyam Trungpa Rinpoche from “Training the Mind.”


Nuala: I was moved by the experience of spending time with the painting. Thich Nhat Hanh says A bell is a bodhisattiva, it helps us wake up.”  This painting rang a visual bell for me last week. I had been standing close to it, knowing the story, seeing the paint, the brushstrokes, the corrections and texture, feeling to a certain extent the blackness and lightness. When I stood back from it though It shone, the image came alive and the painting seemed very present. I didn’t want to leave it. I kept looking back at it. It had caught my attention and held it. I now have absolute affection for it and I’ll visit it every time I go to the Met. What an amazing thing for someone to have done, to have made something durable that could cause wakefulness.


“The absolute which lies in the background of all my activities of relating seems to retreat as I get on its track; yet the relative cannot exist without some point of support. However, the closer one gets to the absolute, the more mercilessly all the weaknesses of my work are revealed.” – Robert Motherwell 



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Barnaby Spring

posted May 9, 2009 at 10:21 pm


I was in my 20’s when I first went to a Motherwell exhibit. I attended with my first wife, Elsa. It was a painful experience for me. I was confused, angry by his work – how I perceived the work and reacted to it caused pain to myself and others. It was one of the essential cracks through which the light was shining. Leonard Chohen has just told a story as I was typing this about an old teacher of his who said,”Excuse me for not dying” when he was haivng a drink with Cohen.
Motherwell, Cohen, Death, Dying, Youth, Pain, Light, War, Darkness, Towers of Song and Empintess and Luminosity…trips to the museum. Motherwell and Mother’s Day is tomorrow. I was born like this, I had no choice…
ah.



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Carole Leslie

posted May 11, 2009 at 4:17 pm


What a great piece. I have always loved Motherwell when I have seen him but am embarrassed to say I don’t really know much about him. This article will send me looking for more. I have a Buddhist practice and try to integrate it with the art work I do and am drawn on to explore greater depth as I read this article . I could go to all the places of inadequacy that this brings up for me, but I won’t do that. I am learning to “look up”. Love the Trungpa quotes you’ve added to this.
I am sooo inspired by reading this piece which was forwarded to me by a dear friend.
with many bows to you,
Carole
zendotstudio



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William Woods Higgins

posted May 11, 2009 at 11:22 pm


INTERVIEW WITH THE ANONYMOUS ARTIST
An Introduction to Metapsychological Art
The First Genuine New School of Art Beyond Abstract Expressionism
Equally Valid East and West
And/or
An Introduction to The Greatest Video Game Ever Played.
Ghostwritten
By
William Woods Higgins
Great art till now has always derived its fruitfulness from the myth, from the unconscious process of symbolization which continues through the ages and which, as the primordial manifestation of the human spirit, will continue to be the root of all creation in the future. The development of modern art with its seemingly nihilistic trend towards disintegration must be understood as the symptom and symbol of a mood of world destruction and world renewal which has set its mark upon our time. This mood makes itself felt everywhere, politically, socially, and philosophically. We are living in what the Greeks called, Xairos, ???the right time-for the metamorphosis of the gods, i.e., the fundamental principles and symbols. This peculiarity of our time, which is certainly not of our own conscious choosing, is the expression of the unconscious man within us who is changing. Coming generations will have to take account of this momentous transformation if humanity is not to destroy itself through the might of its own technology and science
Carl Gustav Jung, The UndiscoveredSelf.1
WHAT ONE DOES IN LIFE
ECHOES IN ETERNITY
Russell Crowe, as The Spaniard in The Gladiator
A Definition of Art and Artist
Poets, like painters, musicians, and dancers, Aristotle says, all ‘imitate action’ in their various ways. By ‘action’ he means, not physical activity, but a movement-of-spirit, and by ‘imitation’ he means, not superficial copying, but the representation of the countless forms which the life of the human spirit may take, in the media of arts: musical sound, paint, word, or gesture. Aristotle does not discuss this idea here, for it was commonplace, in his time, that the arts all (in some sense) imitate action.
The arts may be distinguished in three ways: according to the object imitated, the medium employed, and the manner. 8
Francis Ford Fergusson from his Introduction to Aristotle’s Poetics
AN IDEA GAME CLASSIC
To Unlock The Latent Artist Within Us All
AND/OR
Learning How to Read the Braille of Spirit in a New Age
By Curing the Blindness in the Mind’s Eye
With the First Legitimate School of Art
Beyond Abstract Expressionism
Metapsychological Art
TABLE OF CONTENTS
THE GHOST-WRITER’S PREFACE AND INTRODUCTION TO METAPSYCHOLOGICAL ART THE FIRST NEW SCHOOL OF ART BEYOND ABSTRACT EXPRESSIONISM
METAPSYCHOLOGICAL ART 1973 TO 1976
METAPSYCHOLOGICAL ART IN 1986
THE IDEA
THE INTERVIEWS
I. 1985-1987
II. 1999
III. 2006
FOOTNOTES
BIBLIOGRAPHY
ALL PAINTINGS DISPLAYED ARE THE WORKS OF THE ANONYMOUS ARTIST, WHOSE IDENTITY REMAINS WITHIN THE GHOSTWRITER. ALL ARE IN THE MEDIUM OF OILS, EITHER ON CANVAS OR PLASTER OF PARIS. THEY ARE A SELECTION FROM OVER FIVE HUNDRED SUCH WORKS DONE BETWEEN 1972 TO 2006. THESE WORKS IN THE MEDIUM OF OILS AND CANVAS CONTINUE INTO THE FUTURE AT PRESENT.
THE GHOST-WRITER’S PREFACE
AN
INTRODUCTION
TO THE FIRST NEW SCHOOL OF ART BEYOND ABSTRACT EXPRESSIONISM-METAPSYCHOLOGICAL ART
This will hopefully become one of those books that one can pick up anywhere and anytime, read a page or two, and get an idea, get one’s mind working, and eventually, in all of us, bring out the latent artist within us all. Believe me, the technique works for all I have ever seen use it. Possibly more remarkable is that it is understandable. Years and years of art training and being told how talented and creative one is makes little or no difference. But by all means, first hand experience is always the best teacher and way to verify anything; I highly recommend this method above all.
These very serious ideas are presented as such because I have always found what artists have to say about their work, especially in tandem with the works they produce, is much more interesting and thought provoking than what all the critics and experts know or can convey. This is the substance of this dialogue; the substance of the subject matter is the very redefinition of the meaning of art itself, and its redefinition in terms of Spirit in a form and method equally valid both East and West.
An even greater problem can be locating and charting the development of a real artist, and understanding what it means to be such an individual in such a period of spiritual metamorphosis. I have one for you, and The Anonymous Artist is just this person.
During the course of the last twenty years, these interviews have taught me as much about myself and the worlds through and about me, as it has about art itself, but this is art itself, real art. The dialogue encompasses literally every aspect of our present life and our life world, its history and its possible future, in plain language we can all understand. This is why I am bringing its more important excerpts to you. My literary collaboration with The Anonymous Artist really began with the first part of this Interview in 1985 to 1987. I emphasize literary collaboration because I had known this person most of my life, but it was not until about 1985 I began to realize his genuine significance as an artist. There is now forty years of intense work in the mediums of oil painting, drama, and philosophy that constitute a substantial contribution to art, philosophy, religion, psychoanalysis and theology that speak to the history of ideas and civilization itself through such a dialogue. Genuine education occurs in despite everything that has been done to prevent it.
In terms of the art world, Metapsychological Art lays irrefutable claim to being the first legitimate new school of art beyond Abstract Expressionism by redefining the universal common denominator in the medium of oils and canvas, the shape of Spirit ItSelf and the definition or symbolic expression in a medium of Its essential movement.
In particular, Metapsychological Art transcends Abstract Expressionism in that it both conceptually and pragmatically clarifies the massa confusia of Pollock and/or transcends the tabula resas of Rothko. These phenomena are also a primary subject matter experienced and known by alchemists, psychiatrists, philosophers, and mystics through the ages both East and West. We are attempting to understand it through a perspective that takes these disciplines of the human spirit one substantial and systematic step forward. It is making sense and giving one a means to find the reason and order in one’s existence through one’s self- consciousness. The result of this clarification of the massa confusia of Pollock or entrance beyond the tabula resas of Rothko is the initial object/goal of Metapsychological Art, Raja Yoga, Tibetan Buddhism, and philosophy of mind from Plato to Freud and Jung. This internal and normally invisible and unconscious persona with us yet beyond our normal mediums of cognition is the universally recognized common denominator within all, known as the empirical ego in the West and the Jiva in the East.
The new system, Metapsychological Art, with its defined goals and methods dismembers the naïve relativism and cheap publicity stunts that have plagued the medium of oils and canvas since the premature deaths of Pollock and Rothko. Given the conceptual perspective offered in the forthcoming our attempt to understand what is going on in this medium the audience is finally given what it deserves, ideas they can finally understand in a concise and simple manner.
In all this, there also exists a universal, an ecumenical message, both East and West, with a universal method, and universal goal. This message, embodied in the method and goal of the use of this medium directly relates to and symbolically expresses the essential movement of Spirit both East and West, which we have all witnessed moving in the 19th and 20th Centuries.
Metapsychological Art lays claim to its legitimacy with more than the verbal grandiloquence and narcissistic egoism of the author, or greed and cheap publicity stunts of promotions. Metapsychological Art reestablishes the master class medium of oils and canvas, as a master class artistic medium, that is a medium with the potential to define an essential motion of Spirit in the era one is incarnate. It accomplishes this by clarifying and superceding the massa confusia, which had been the end result of Abstract Expressionism. This clarification of the goal of art is in terms of a universally recognized goal both East and West, the normally unconscious and invisible jiva and/or empirical ego, the most significant (f)actor in space, time, and the world as we live it. These (f)actors hold the keys to psychoanalysis, self-knowledge, past lives, alchemy, the soul-mate system and more. It establishes this clarification with a universally recognized method of making the invisible more visible and the unconscious more conscious.
I present these Interviews with excerpts from three parts, 1985-87, 1999, and 2006. This division becomes the Table of Contents. Footnoting is rather unique in that it begins with #7; the numbers do correspond to footnotes in the larger manuscript, not yet published. The Bibliography is reasonable, but not extensive. In these regards please be mindful this book consists of excerpts from interviews, which encompass major works that have immanent meaning to the shape and Spirit shaping civilization both East and West. The use of the medium allows us this vision, hearing the image we are through the history encompassing our history interfaced in the the histories of our cultures-reflecting of this self-portrait mirroring a more genuine spiritual destiny. Yet, it remains an interview in common jargon, not an academic treatise. Essentially, Interviews With The Anonymous Artist adds the necessary touch to a genuine new school of art through a pull no punches unique autobiographical sketch of a rare phenomenon, a real artist in these 20th and 21st Centuries. There is a stylistic casualness presenting this material as an interview, and it is my hope it serves us well in the communication and understanding of this idea.
Metapsychological Art is a method with a medium of making visible the normally invisible and directly reflects its three Classical Greek etymological roots.
Meta: that which is simultaneously with (visible) us and yet beyond (invisible) our normal means of our body’s languages.
Logos: the principles/als of motion and intelligence which are simultaneously both beyond and with (meta)
Psyche’: the souls, the system of the principals/les of motion and intelligence in existence.
Thank you for your time, I am by no means attempting to waste it.
Most Sincerely and Appreciatively,
William Woods Higgins,
March, 2007,
USA.
METAPSYCHOLOGICAL ART 1973 TO 1976
NEPTUNE’S EYE
44”X44” Oil on Canvas
1973-1976
METAPSYCHOLOGICAL ART IN 1986
As art, it is a tribal art, a primitive type of tribal art, a statement about tribal archetypes, a study of symbols in their most pragmatic character.
As a philosophy is an anthropology of Spirit.
As a phenomenological method is a description of the pre-reflective continuum which animates one’s life world-a mental alchemy of self both individual and collective.
As a psychoanalytic method is a self-portrait of the individual psyche’ and its complexes that forms a mediumistic relation capable of describing the archetypes (ruling forms) of the collective unconscious.
As a religious experience is the linking back (Latin: religio=to link back) into the ancestral inheritance one is in one’s historical development through the processes of birth and death.
As method of game it is the medium to the approach of the archetypes of the Axis Mundi and thus a means of developing these types of game players as active participants.
THE IDEA
Think of one circle as the realm of Spirit and the other circle that of the consciousness of individual humans in a culture. These people inhabit or experience both realms simultaneously. The square represents mediums that function as windows into the realm of Spirit and/or have the potential to reflect purpose in existence. As such the square represents mediums symbolically expressing the synchronic intersection of shapes in the Realm of Spirit and shapes in a human culture. The individuals who use symbolic mediums as such lay legitimate claims to being known as artists, prophets, philosophers, theologians and thinkers within the history of ideas. In an interdisciplinary manner, the genuine goal of artistic mediums is to make these normally invisible and unconscious shapes of Spirit more visible.
Is it true, is it true, that your love traveled alone through the ages and worlds in search of me?
That when you found me at last, your age-long desire found utter peace in my gentle speech and my eyes and lips and flowing hair?
Is it then true that the mystery of the Infinite is written on this little forehead of mine?
Tell me my lover, if all this be true?
Rabindranath Tagore, The Gardner, p. 75
INTERVIEWS 1985-1987
I=INTERVIEWER.
A=THE ANONYMOUS ARTIST.
This is the Florida Keys, 1985 to 1987, we can pick this conversation up anywhere…
A:……..one had to retreat, or, one had to define new perspectives to explain the world and its complexities.
I: I’m not so sure this latter issue has been solved, but could we go back to art? What you are saying is that you have developed a new school of art beyond Abstract Expressionism. Where Pollock and Rothko never clarified the mosaics, you say Metapsychological Art allows one to see into previous lives, the transmigrations of one’s soul or self, and gain the vision from these archaic or ancestral Masks through the clarification of various mosaics in one’s unconscious self? And in these self-portraits, one must seek to realize the nature of these Masks…Jivas in the Indic Traditions…
A: …Empirical egos in the psychoanalytic tradition. There are also occult projections into the unconscious sphere of the self by various Religious & Symbolic Games…This self portraiture can give one an extremely interesting and important game to play the rest of one’s existence…If one is seeking to add a significant chapter to one’s life…By realizing the purpose of one’s existence, one’s destiny as well as one’s karma…
I: I honestly believe many are interested in such projects, especially….HMMM? You also have said to me that when these Masks are clarified to certain extents one can even, at times, enter the canvas, and it becomes a holographic Magic Theater…The canvas becomes a medium for the symbolic practices of ceremonial magic as such…Alchemy?
A: Yes. Alchemy, Ceremonial Magic, Raja Yoga…but if you talk about it as such people think you are …
I: Crazy? But the atom bomb crew, the Wall Street gamers, and the like, they are the sane ones?
A: Playing with colors on a canvas?
I: What is that classic quote from Nietzsche in Beyond Good and Evil you always irrationally ended meaningless disputes over rationality with…?
A: Insanity in individuals is rare, but in nations, parties, groups, and historical epochs, it is the rule…
I: It cannot be said better…
A: No I do not think it can…As I sit playing with paints, inflating my ego…
I: A pretty serious plaything I’d say, given the results and possibilities we are entertaining here. Maybe more powerful than the atom bombs and Wall Street.??? Especially when the medium additionally serves as a mirror through which one can gain not only knowledge and understanding of the personal unconscious, but see through the looking glass into the Collective Unconscious Self. The canvas as a crystal ball also becomes the medium through which all types of magical operations can be performed within the holographic tapestries it displays, such as those Casteneda, Redfield, and Patanjali have spoken of…? There is nothing crazy about this at all. In reality it seems like a priceless gift from the gods…I mean it…Look at the draw these types of things already have…Virtual Reality…The Time Machine…Magic…Art…Matters of the Spirit…A Game of All Games…In the age of visual Games…
A: And with this method and medium anybody can play. All genuine art serves as a medium for the development of self-knowledge through a dialogue a medium can create with Spirit or spiritual forces, which transcend ordinary “reality”…Reality with quotation marks… From Egyptian Mystery Religion, through Tantric Buddhism, The Clay Cart, the Frescoes of Ajanta, The Upanishads, the Ghost of Hamlet, the Magician in The Tempest and Firebird, The Faust Legend, The Bible, the works of Kalidasa…The occult and spiritual are dominant themes in most Real Art…There is a reason for this. It is what Artists actually perceive through their self in a medium. In this respect, all art, to a certain extent is autobiographical. Although from the outside looking in it is viewed as metaphorical, there is in the artist’s perception a genuine aspect of the self, which is actually in touch with this occult and spiritual world. …. Look at the themes of all great art, the realm of Spirit, Magic, the religious, the occult, spirits, curses, magical transformations, demons, sorcerers…This is more than simple metaphor or talent, they are driven. Some individuals know and really in contact with something, regardless of all the frauds and counterfeiters…Although I never thought I’d be an artist when we were in college, I always realized when reading the works of Hesse, Aeschylus, Shakespeare, Plato….and many more…These projects were driven by a spirit of some sort, a Spirit eluded to but whose identities evaded by most academicians and intellectuals…
I: Evaded or censored, unintentional or intentional? It sounds as if this Spirit is some secret society, on the level of Freemasonry. But these Spirits, you are constantly seeking their clarification in the mosaics of the canvas, are you not, making visible in symbolic languages that which is normally invisible and indescribable in the accepted verbal languages???
A: To a certain extent. Ignorance, yes, but a valiant try rather than termination of the topic. I mean who even knows about such worlds, or is even going to admit their factual nature. To most it is utter lunacy and insanity. Yet the Inquisition in this day and age is not quite as blatant as it once was…But the lesson, beyond the intellectuals and academicians, I learned is there is no reflective intention required. The shapes and phenomena just comes like a spirit and invades one’s self, moving in a medium, revealing a persona, a mask in a medium. No vivid imagination or psychotic hallucinations could have prepared me for this world of arts and artists. I am talking about much more than simple mind games…I do not think most academicians, intellectuals, or people labeled ‘artist’ today have any idea of this world…There is a spiritual reality speaking through one which…
I: You know I hate to bring this up, but it seems that painters and symphony composers are the very extremes of even the artists…They make rock musicians look like saints…The point I am getting at is that could these individuals even hold jobs in academic institutions due to lifestyle and other additives? We blame it on ignorance and Inquisitional attitudes of …Of course you have held many professional positions, as you do now…
A: You know I am not sure what is to blame for the lack of understanding in these matters. Why something so fundamental, seems so foreign when one begins to try to understand it…I mean the expression of Spirit and its shapes is fundamental to every culture…Arts and religion….
I: Let’s take the The Battle of Evermore for an instance of the present tense of this Spirit???…This expression came out during our graduate school days. Because of its familiarity to many, could you relate this work to your work in oils and canvas? I believe it would create a meaningful point through which we could expand the topic and achieve a greater understanding of …
A: Yes, I remember it well, what I can remember of this period, a great era of spiritual motion. Everyone searching for answers. The interrogations of my self led me to larger and more complex problems…Education, along with other additives of that period made me realize just how ignorant I was. There just always seemed to be too many missing pieces to the puzzle of life, important missing pieces. And I couldn’t put it together. The enigma pervaded my existence. In a certain sense, this all really boils down to a couple of issues, ignorance is bliss and what you don’t know can hurt you…The poets, deciphering The Spirit of the Age, The Zeitgeist, within the medium of music, of that era, seemed to lack the necessary power to engrave their inspired and heralded messages from the Realm of Spirit, within the Realm of Spirit Its Self. But the actual issue as I see it now is that the Spirit of a new age is moving in and out due to the fact the Spirit governing a previous age is in competition with it. Kind of a built in split personality governing the psychosis of the era, a cycle of one moving in, and then, Where did it go?.
I: You would you admit this movement of Spirit as expressed in music and other artistic mediums constituted a quantum leap forward wouldn’t you?
A: Certainly. I am by no means casting dispersions on this momentous stride in creative genius. But all the energy these artists created and redirected still fell short of their goals. I am also convinced, they feel this way in many respects also, and this does not detract from what they did. What was It, the enigma of this Spirit, that has eluded this generation which we are apart of? The Establishment remazed them, in their image and likeness, and again harnessed their spirits in the puppet of its strings. I honestly felt the arts needed more of an internal punch…but at the time, I certainly never figured I’d be in this mix of this internal punch…The Spirit was and is in metamorphosis…The real problem… Nobody could identify the exact variables of this Spirit in transition though, and to add to this Pollock and Rothko died at an early age never finishing their life ‘s work in the medium of oils and canvas, and Merleau-Ponty, in the field of philosophy suffered a similar fate, leaving the primary mediums for detecting the nature of this Spirit without finished projects which subjected these fields to utter randomness with no direction whatsoever.
I: The arts needed the Nietzschean Hammer?
A: That is a proper metaphor. But for all he did, he still did not understand the variables either. One thing I would like to get at in this dialogue is the nature and identity of these archetypes at play in this Game of Spirit in this age.
I: The Hammer??? To free, or better yet, to Unbound Prometheus? If we live in society that sees the only thing worth counting is money, what other values can one expect? Materialism, Mayhem, and the Marketplace. What a title for a book…???
A: The Age of Prometheus Unbound is a better one…..You know, I really think I might better interview you, than you, I… Can you remember the words to The Battle of Evermore? I consider it a Masterpiece, and I rarely use that term.
I: I hope Robert and Jimmy will forgive me…
The sky is filled with good and bad,
which mortals never know….
A: Please…keep going…speaking of Art…
I: Begging their forgiveness…memory lapses…but…
our eyes on the sunrise
Oh now the night is fog
the Beads of time pass slow
waiting for the angels of Avalon
waiting for the eastern glow
the pain of war cannot exceed
the wall of aftermath
the drums will shake the castle walls the reaper is riding black…ride on
bring the BALANCE back
bring it back…bring it back
Dance in the dark of night
sing to the morning light
the sky is filled with good and bad
which mortals never know
Sing as you raise your bow
shoot straighter than before
Side by side we’ll walk the night
the darkest of them all10
A: Amazing. I am sure Robert and Jimmy would be happy with your rendition…
I: Well thank you…There is a lot here, and a lot that bears directly on your work in the medium of oils and canvas. For instance, what BALANCE is one seeking to achieve by this Spirit so immanent in the Art of this coming Age which is coming upon us now?…Is the ‘balance’ a Positive Balance or simply Ideas that create a momentum for more bloodletting and revolution in the name of freedom? What do we not know about our selves that you feel art, or Real Art, achieves, over and above other disciplines? Where does it come from?
A: Keep going.
I: In short, Is the pen mightier than the sword?…or even shorter…What is this The Battle of Evermore to you, the canvas being the sky?
A: We’ll get into that…For instance, I’m just thinking of Grace Slick singing, “Two thousand years of your goddamn lies.” You know it kind of comes down to what type of game one plays in life. One is always on a game board in life, pulling somebody’s strings, or having one’s strings pulled, changing boards and the like. Whether we admit it or not makes a difference, attempting to figure it in a medium…is really one of the only ways to define these figures, shapes, adequately…a medium can help the self perceive Spirit’s image in the Age one is incarnated into. Even if the smoke in this reflection antiques the Masks in the mirror, embodying these Ideas in a medium is far superior to attempting to catch the fleeting transparencies of thoughts…This use of a medium can decipher Spirit, and is therefore, or has the potential, through its method to communicate Spirit’s shapes in an epoch. This Art…It is like opening up Pandora’s Box, stepping into the unconscious…All genuine Art stems from the relationship of man and woman or the human’s relationship to god…this is Spirit, X-rated or religious. Theology recognizes the affinity, the congruence of both sexuality and religion, as did Freud and Jung in their respective theories of the Prime Mover within the individual unconscious and the Collective Unconscious…And this mystical or magical relation with shapes, time dimensions, the ancestral past ghosts into the present, and Scribes Its engravings in a catharsis with the medium…The Spirit’s Movements within the unconscious Self in this Age are especially significant…It is a resurrection and rebirth in its most meaningful character.
I: Repressed Sexuality as the basis for Abrahamic moral codes, but you are talking of a sacred soul-mate type sexuality, very close to the Tantric or Egyptian Mystery Religions.
A: I fervently believe that man’s relation to Spirit will begin to shape on just man’s relation to woman…These animate this perspective…
I: The soul-mate system! Let’s get back to IDEAS momentarily.
A: Yes. Ideas in the sense of shapes that move the individuals unconsciously. They are the invisible constituents of Spirit. Spirit is this pre-reflective principal of motion in existence, or, it is not at all, in any shape.
I: Increasing our resolutions upon these figures, lies, game boards, what does this have to do with art? Or to beg the question, what you call “lies” and “game boards” on the unconscious level of “truth” are to most “Truths” and constituents of unquestioned axioms that dictate an entire way of life to them, a way of life rarely interrogated. Would you mind explaining your method of interrogation and description of this realm of spiritual phenomena? Is it lies or ignorance?
A: I’m leading to the second part of the question you initially asked me concerning Master Class Artists and Master Class Mediums, and the relation they have to the conscious and unconscious mind of mankind. These mediums of art and religion are symbolic. Their methods, therefore, have as their Object , the activation and projection of phenomena we attribute to the Realm of Spirit. These shapes and their motions are “mysterious” to most, as if, without a visible logic, and, therefore, remain transparent, but very manipulative to unconscious marionettes they blind. Visible or invisible, there exists a logic, and we as humans have the potential to understand these phenomena and their motions. This process of education, and those who undertake it, for whatever reason, are what I call Idea Game Players.
I: Essentially you are saying that there exists a difference between seeing and describing The Battle of Evermore, and the medium that has the power to operate within this dimension of Reality.
A: In so many words…Cinema is equally problematic with regard to this…
I: In a few many more words could you become quite more specific…
A: Some bow and arrow instructions?
I: Straighter than before…put our eyes on the sunrise…The New Age…Beads of time pass slow….Looking into the Glassbeads your canvasses unveil! Would you also comment on the crystal ball mosaics evolving Spirit’s image within this age, the alchemical Game within the symbolic processes of Self? 11
A: I’m glad you are not asking too much. Well, given western civilization, in particular, of which we are a part, it seems that religions and certain symbolic cults rooted in the Houses or Tribes of Solomon and David, the Biblical Cults, of the Abrahamic Religious & Symbolic Game, have much to do with pulling the spiritual strings in the unconscious of human organisms inhabiting this epoch and many of the preceding centuries. We customarily refer to these symbolic cults as Christianity, Judaism, and Islam. The outward appearance of these symbolic cults is historical fact, not philosophical hypothesis. But there are methods and means cathartically enhanced by their symbolic rituals at the level of the 33rd Degree, mostly composed of communicating with the ancestral spirits of the tribal past. These are transparencies we wish to make visible…more obvious.
I: Their inward appearance?
A: Yes, very good…
I: And in your art, these symbolic aspects open the door to everything from past lives to the fact that many individuals, as you have commented, get freaked out so to speak, when they realize the figures in the theaters’ various stage sets are dead.
A: Yes, again…but let us return to the 33rd Degree and the Biblical Cults.
I: Excuse the interruption, please continue.
A: The combination of these methods exerts a tremendous power and control within the Axis Mundi, the archetypal totem of western civilization. It is a mind game of epic proportion and incredible complexity. These projections and adept operations take place in the innermost regions of the Self of civilization. Very well done I might add. It is The Idea Game as Religious & Symbolic Game Theory in its pragmatic extension, no longer theory. This is Spirit’s transparency coming into visibility, substantiating and directing its inhabitants. In short, who are the participants in The Battle of Evermore?
I: MarionettERS censoring the knowledges of the MarionettEES ?
A: We know who the Marionettees are?
I: Increase the resolutions of our lenses. Again, what does this have to do with art? What exactly are we talking about? Who are The Players? Please be specific, very specific. I mean, we always hear big words like “archetypes,” “symbols,” “symbolic processes,” “art,” “Spirit,” and, you’ll love this one, ‘ARTIST’. Oh! and the great theories, metaphysical, psychological, religious, mystical, psychic, to be honest with you, I never understand half of it, and then I seriously wonder whether or not people supposedly so enlightened know anything about what they are saying either. The process is verbally alienating, in many instances, and intimidating.
A: I’ve always had similar thoughts about such matters, so much so that I took these matters into my own hands at a certain point in this lifetime, understanding these endeavors is my life, my whole life.
I: ..What began the focus upon your intersection?
A: First, there are certain individuals I began to recognize as legitimate or illegitimate, regardless of notoriety or common opinion. Certainly a great deal of this increase in magnification came from formal education in the arts and sciences. I would not deter anybody from endeavoring in these mental gymnasiums. Because of this magnification and contact with some “Real Artists” I know personally, I had to formulate a rather strict definition of ‘art’ and ‘artist’. It has been rather alienating at times, but I believe it quite necessary, if we are to have any reliability in these matters.
I: Defining these terms is a primary reason for this interview. How does one tell the real from the counterfeit?
A: Real art and real artists function as a medium that receives and has the potential to project shapes within a spectrum of this Axis Mundi, or collective psyche, for lack of a better term.
I: They are good enough to begin to communicate the general concept, at least to me. Let’s add the Realm of Spirit to this Axis Mundi, The Idea Game’s Board.
A: Excellent, excellent, and these individuals, Real Artists, if they are Real Artists, have the ability to describe, and in some instances create shapes within this realm of spiritual phenomena, religious symbols….A Game Player in this Mind Game of epoch proportion.
I: Would you, or better yet, could you further clarify this image, increase the resolutions of what you are calling this Game Player in this Mind Game of epic, or epoch, proportion? I, for one, and I am sure many would agree, am not so sure I have run across this concept you are referring to…This is not a concept I have routinely run across in the art world. Furthermore, it seems that most individuals who use such utterances hope they will simply intimidate and confuse an audience, and terminate further inquiry into this subject.
A: Hmmmmmmmmmmmmm…(Artist hesitates)
I: What is the problem? Art and religion have been a part of human culture from the beginning of known history. I am speaking to a person claiming to be an artist, a Real Artist, one having some knowledge of these shapes within the unconscious processes of Self. If this is as far as verbal language can take us in these matters, or if this is as far as our conceptual ability is taking us, this is a tragedy.
A: Oh! Our general level of understanding regarding these matters is a very real tragedy. As I have just stated, what one does not know can hurt one. Most have always been educated to the level of functional censorship in these matters concerning the logic of the unconscious psyche of civilization. For centuries philosophy of mind and metaphysics spoke only to the conscious aspects of the self in its description and analysis, which led to schools of philosophy and metaphysics that denied the unconscious had existence because statements in words were not applicable and adequate to describe it. In psychology today, extended forms of classical behaviorism have taken the place of any attempt to analyze the unconscious spectrum of self or unconscious spectrum of Self. The rule of the day is repress the motion of shapes causing neurosis to further and further degrees by demanding conditioning of the organism to proportionate levels of adaptive behavior, workers for the rulers, the punishment-reward system. But with the established cultural symbols of religion on the wane, and the archetypes of the age in transformation, these psychologists, unconscious of these aspects of the Self, have become the new high priests of culture in democracy’s devolutionary development into an ultra-fascistic socialist state. The state becomes god, and substantiates itself through the dictates of the “high priests and priestesses” who do not dare bite the hand that feeds them. These symptoms occur when the established gods of the culture no longer function adequately. Man needs god. Our age is in a transformation and/or metamorphosis of natural symbols.
The unconscious man within us who is changing is Arcanum XII to Arcanum IX.
This logical progression is not a mystery, if one understands the historical variables and the mediums through which a natural symbol, shape of Spirit, or archetype, becomes a cultural symbol. We are simply living in the right time for the methods and mediums of art to capture a snapshot of this moving image of eternity. The logic of Plato’s Realm of Ideas is based on the Arcana of Egyptian Mystery Religion indigenous to the pyramid cults of Egypt and Atlantis. Egypt is where Moses came from. The Author of The Book of Genesis inseminated the Abrahamic Cults with this knowledge, the offspring of which are Judaism, Christianity, and Islam.
I: I understand a bit of what you stated, and quite hopefully will be able to digest a bit more by making it more palatable. Increase the resolutions again and proceed, clarify the answer to my question further, and see if we can make greater headway into this conceptual arena where functional censorship via de facto education is so enhanced by the rule-makers. I believe, and will always believe, that somehow and some way genuine education occurs in spite of everything that is done to prevent it. I would furthermore agree that if something is not done to evolve the spiritual level of mankind, that we will be faced with the fascistic-socialist community as the only means of substantiating the established order. Marxism functioned this way perfectly. By knocking out the god structure of Oriental and Eastern European nations, the state became the only superordinate spiritual principal that justified the order of the culture. The Roman Empire is but another prime example of this phenomenon, or lack of the phenomena of Spirit. But these are the externalization of Spirit; could we proceed with Spirit’s delineation, historically, emphasizing the present age of metamorphosis?
A: We should not forget this recent Inquisitional reign of terror, well substantiated in its oppression. Getting back to your request for greater clarification, I shall preface further entrees with the menu qualification, I have always had a bit of trouble clarifying these images within the self, or Self, in either the language of literature or the medium of oils and canvas, but for purposes of discussion:
The Self, with capital S, as I define the term, is identical to the World Spirit or World Soul.12
Spirit or God could be seen as the Universal Medium of Cognition and Motion within Whom or through Which Being exists and is Perceived. Operationally, Spirit exists as the Principal of Motion at the pre-reflective level of perception.
All existent phenomena are beings in motion with an individual self, an individual medium of cognition. This might seem a bit too animistic for many, but the world is alive, and it is we who decide what is ‘living’ and what is ‘non-living’ phenomena.
The region of intersection between Self and self is possibly the most significant continuum of shapes within existence, Real Art is much more than superficial composition, mimicry, poetics, and copying it is the description of this realm of intersection. What satisfies the entertainment and interior decorating wants of the economic power structure, which dictates certain perspectives in the use of mediums is not what I label as ‘art’. ART is the definition of an essential movement of Spirit in a medium.
I: That latter statement, accepted in many quarters, is precisely the problem with education and information about these mediums and their domain of discourse. I, for one, consider this problem to be unacceptable, if one is to meaningfully define and denote “artist” or “philosopher.” I think an artist should be able to express the dimensions of his or her work in an intellectually respectable manner, when called upon to do so. You are talking about forces that rule the world and have significantly empowered the rule of civilizations throughout known history. I am sure the rest of the artistic and theological community would be interested in your specific views, and would want to understand this concept, in this current epoch. The right now of this Game…What is its status?
A: The status of The Idea Game, in this epoch, is the shift from Arcanum XII, the Martyr, to Arcanum IX, the Wiseman, the more refined aspect of the Magus. This is hopefully meaningful and true; unfortunately, it is in all probability, true, but meaningless. I’ll explain this concept throughout the interview; it is an instance of censorship by way of de facto education. I would like to get back to your statement about the rest of the artistic and theological community being interested in my specific views. Bluntly-You have got to be kidding. And you are actually going to try to publish this? How naive are you? I mean it is like talking to walls when I speak to the general public of these things, and for those who are in positions of power, who understand the powers of symbols and mediums, they want to suppress this school of art and philosophy wholeheartedly. It will expose their system of rulership, and allow others to play The Game. We are dealing with an educational system, in particular, and a public, in general, whose ideas about art and artist stem from somebody able to draw the family dog well at age seven.
I: That is why I am doing this interview…to give them a clue…a genuine clue…continue please.
A: What I am speaking about is not a new definition of art and artist, for REAL ART has always been the expression within a medium of the most fundamental shapes of Spirit within a community, regardless of epoch. The confusing issue arises from the answer to the question: Where does technically adept with a medium become separated from artistically adept with a medium? If artistically adept is equated with technically adept, the words ‘art’ and ‘artist’ are reduced to a set of statements externally observable to the masses, mystery abounds, and then convention then dictates the definition of ‘art’. What a Real Artist is in principle is the definition we need. A Real Artist is one who describes the shapes of Spirit and essential motions of Spirit in the in a medium in the historical epoch, which he or she lives,. : The medium and method of using it are a looking glass into both self and Self? Yes, but Plato’s Allegory of the Cave13 has a value in aiding our understanding here.
I: Elaborate please…keep going…into these transparencies…
A: The concept of Real Art I am espousing here is a process of deciphering and working pragmatically with and within these principals and principles, these animating forces that speak through the organism’s life world, in terms of a dialectic, a statement making medium which is as much descriptive as it is creative. It is a language of these shapes, in a hologram of Ideas. By artistic medium, I mean that which transmits as well as receives forces that possess, transliterate, and move, our inherited perceptual habitat. An Active participant, not a passive scribe…In the Realm of Spirit….
I: Elaborate on what you are saying, so more people can understand this concept. This sounds a bit more like alchemy. I do not use this term casually either.
A: I do not use the term casually either. I do not know of any Real Artist who would ever use the term ‘alchemy’ cheaply or disrespectfully.
I: I’d like you to expand on this term ‘alchemy’ in conjunction with these philosophical, theological and artistic concepts more. In terms of Master Class Art and Religion, there is almost always a variety of occult factors. I do not want to be in the position of accusing you of what you accuse so many in the intellectual community of.
A: Which is?
I: Using opaque terminology meaninglessly, which terminates inquiry rather than enhancing it.
A: Believe me when I say to you, I am spelling it out the very best I can.
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I: Look, I’m not trying to criticize your work because of some preordained prejudice I have about art and artists. I realize how much of this goes on, and also how much of it thwarts genuine contributions and advances in these fields. Believe me when I say, I understand that philosophers, theologians, and artists can be the most prejudicial of all, and simultaneously exude an air of open-mindedness and intelligence. This factor is the common denominator in the de facto education equation, which will remain insoluble if the level of pedagogy in these disciplines remains at the level of indoctrination, that is telling as opposed to teaching. What I am trying to do is extract some solid subject matter that can find a place in the education of many individuals, who I know are being fed a steady diet of semantics that function as nonsense syllables, because the meaning of the term is reduced to its normatively accepted referent. When it comes to teaching and learning the humanities, in general, and philosophy and art, in particular, this latter aspect of instruction is the rule rather than the exception. Education is clearly supposed to be providing this type of stimulus within the university system, and all I see is ornamental rhetoric with little or no substance. This process of unquestioned rule-following paves the way for totalitarian, one-dimensionality in the political arena, among other devolutionary correlates. There is no freedom from in the Eastern sense.
A: Which speaks to the power the symbolic cults in question had regarding the control of the direction of the members of the community, even in the waning control they must attempt to maintain, and how they seek to maintain it is the problem in the political. The very basis of democracy and its continued vitality, in principle, rests upon the universality of its education system’s ability to make contact with all members of the political body. But education, in fact, has become an instrument of the economic elite, basically an upper class welfare system, a job- training program that the taxpayers pay for. Be mindful, the education ‘system’ is part of “The System” which is derivative of Idea Game Players and certain Religious & Symbolic Games, also. Although these Idea Game Players’ Reality of Spirit does not coincide with ours, other than very abrasively, they are adept Players. Indoctrination is nothing unusual given the goals they seek to achieve in individuals. The Matter Game is the externalization of this Second Reality of Spirit, as Hegel would call it, in the visible spectrum. The economic system of self-preservation is derivative of these Realities of Spirit that remain for the most part within the transparent spectrum. It is in this sense, everybody, let me emphasize “EVERYBODY”, is playing this Game, at one level or another. The apparent contradictions we are experiencing in art and theology, as well as many other disciplines is a product of these two orders within these Realities of Spirit engaging one another, The Theological Crisis of Our Modern Age. This is a primary reason why a system must be developed that seeks the solutions to matters of the human spirit, beyond systems that seek solutions only in the visible spectrum. It should be addressed in the dimension The Idea Game is actually rooted and devised, not the physical space which dictates physical force and violence, and at best verbal debate. The problem eludes the grasp of these types because of its transparency. We are, by the way, not naive idealistic ‘cure-allists’, I am simply offering the most explainable step towards an evolutionary rather than devolutionary understanding of this dilemma.
I: Isn’t this transparent control syndrome the very reason why the symbolic cults of the Judeo-Christian tradition, such as the Masonic Order, maintain such secrecy, so they can continue their dominance in the Matter Game, as well as The Idea Game, given the Reality of Spirit, Egyptian Mystery Religion, from which they derive their genesis?
A: Obviously.
I: You have been involved with high-level government talks between Russia and the United States simply because they are occurring at the place you manage. You are presently handling preparation for the Icelandic Summit conference. Again, using your own saying, there is no such thing as coincidence, I might add that there is no other person from outside that circle I would rather see synchronized with these individuals and talking to then everyday.
A: That is quite a compliment. I appreciate it. Always wanted to make some type of difference in this world. Thanks.
I: You are and you will. Say, how are the Russian KGB Generals and the CIA getting along, talking about revolutionary ideas, the forces that rule the world, and Idea Game Players, in general?
A: They are all in a pretty good mood actually, a surprisingly good mood. It is like they are not playing the war game anymore. One wonders why all the problems in the world cannot be solved over a tennis match and a glass of vodka. It is almost surreal, being around these people who do, in fact, make decisions that concern the entire world. We brought down The Berlin Wall!
I: It must be very interesting getting a chance to talk with these types of individuals informally.
A: Very interesting. Given what I am involved with, it is an invaluable learning experience.
I: But these individuals are very high level Degree Freemasons aren’t they?
A: Yes, they are certainly in contact with the 33rd Degree.
I: They are obviously aware that you are not from the same tribe, even if you are in contact with the same Degree. I mean they can see it, you can see it. At this level it is a matter of perception, not conjecture or mere rhetoric. How do they treat you?
A: In most instances very well. They are aware that I am not into violent activity. They are likewise aware that I know they are above the use of physical force. The use of physical force would be an admission of the inadequacy of the spiritual powers one adheres to. Masons operating on this level know there is something amiss, yet they hold power because they do not see a viable alternative to the traditional order. This hold of Judeo-Christian spirituality being able to substantiate the social order is in serious jeopardy, as history testifies…(interrupted)
I: Excuse me, but I am going to have to interject something here, which I feel must be understood, for it is a primary difference in evolution and revolution.
A: Please. Feel free.
I: Is feeling free, and being free, two different states of affairs? (Sardonically).
A: WHEEEW!!! (Chuckling). Go ahead.
I: The primary cause of revolution is when the spiritual substantiation of the culture is unable to justify existence to the masses. This substantiation in the ethical sphere of their daily life is pre-reflective and symbolically conditioned if t is adequate; if it is inadequate, reflection and alienation occur en masse. If religion does not work, then the political power structure alone must substantiate the law and order of the members. This is fascism, communism, or totalitarianism, and its rule is by physical force.
A: This substantiation or lack of substantiation is the direct product of adequate or inadequate Religious & Symbolic Games. I have a theory that Marxism never happened yet…
I: Evolution and revolution are two very different issues though. I do not think it fair to leave the reader in a quandary over their meaning, for it bears directly on this age of metamorphosis. Look at the 19th and 20th Centuries, almost every governmental structure in every country has undergone revolution and change. You are not advocating this external activity. But the people in power are not against using physical force to maintain order, as a matter of fact they are going to have to increase this enforcing of law and order proportionately, if what you are saying has more than theoretical value, which I certainly believe it does. We can vote our way into fascism, if the members of the social structure believing more and more force is necessary. Most people do not realize Adolph Hitler was elected to office. He was a painter wasn’t he?
A: He was an artist, not a good painter, but a Real Artist, a Real Idea Game Player. Unfortunately nobody understands these concepts. He overthrew the rites of passage provided by the House of David and Solomon, in particular, and the Abrahamic Cults, in general, that had ruled rites of passage in Europe since Constantine. This is no small feat, regardless of how horrible its outcome was and is.
I: Interesting. But doesn’t all revolutionary behavior, in the political sphere, say something similar to dogmatic religions like, We have the answers, out with the old and in with the new?
A: Certainly.
I: What about the American Revolution and the French Revolution, and every monarchy in Europe since then has undergone a radical change towards representative government. What is the difference?
A: A big, big difference.
I: I don’t see it.
A: That is what I mean by transparent phenomena.
I: Well for the sake of us who are blind, would you make the Braille of these unconscious phenomena a bit more visible on the conceptual plane? I realize you are doing this in the symbolic plane with the medium of oils and canvas.
A: Let’s use some concrete examples of how spirituality, directly attributable to specific Religious & Symbolic Games, substantiate or do not substantiate a given culture. When the pantheon of Roman gods did justify the daily existence in the Roman Empire, the Emperor declared himself to be god. Christianity led them to “salvation” and medieval Europe stabilized an order. When the Protestant Reformation occurred, the rites of passage to rulership remained ordained by the Christian church, even though it was not the church of Rome. When monarchies in Western Europe and the Americas began to be overthrown, the Masonic Order, which is also based on the occult powers of the House of David and Solomon took over the rites of passage to rulership. The rites of passage to rulership remained the province of the Biblical Cults.
I: How so, specifically please?
A: To be President of the United States, Prime Minister of England and so on, is a historical degree of Freemasonry. One must be in contact with the ancestral spirits in 33rd Degree of Freemasonry. These are spirits are direct extension of the Abrahamic Religious & Symbolic Game.
I: Margaret Thatcher?
A: Probably Daughters of the Eastern Star.
I: All right.
A: Look at the Russian and Chinese governments. No form of religious practice is openly practiced other than state worship. The symbolic cults of religion cannot adequately project their occult shapes into the minds of the members of the community. Rule is by overt force. The political organ, the state, is god. Marxism is very shortsighted in this respect. Of course, I shall always contend that he never understood what Hegel meant by Spirit, and that if he had, he would have never dogmatized Materialism as the ultimate metaphysical category. Marx did not understand organic/instinctual repression. He understood by the term “alienation,” simply as alienation from the modes of production. We, on the other hand, see this type of alienation to be derivative of a more primitive alienation, which stems from the inversion of the Organic Order into the Human Order. More focally, on the pre-reflective level, the unconscious level, the perceptual dialects of the body must assimilate the logic of human shapes, man-made shapes, as opposed to the assimilation of organic shapes which the instinctual dialects of the organism are unconsciously programmed for. Hegel and Freud did understand this antithesis, and equally understood the derivative nature of economic repression further enhanced and accelerated by the industrial age.
I: “Self-Alienation” in terms of Hegel, “instinctual repression” and “neurosis” in terms of Freud, is this what you are talking about?
A: Very much so. And by the way I’d like to take this opportunity to comment on Hegel, Hegelianism, neo-Hegelianism, and anti-Hegelianism.
I: Marx and Nietzsche being of the latter category?
A: Yes.
I: Please proceed.
A: Hegel’s philosophy, regardless of pros and cons, values or prejudices, changed the ineffectual and ivory tower nature of philosophy. Just look at what happened when individuals got hold of these concepts. It has changed the world. We must understand it within some perspective regardless.
I: Phenomenology Of Spirit?
A: That is the primary one. It is a Masterpiece, by a Real Artist, Philosopher and Theologian.
I: Gaining insight into the actual realm where the phenomenology od Spirit exists, through the use of methods and mediums initiated through oneself, or leaving it on the conceptual level where everybody can talk about what Hegel really meant? In my reality, hated that book. It was the most impenetrable opacity in words I ever encountered. Kind of like encountering a Pollock or Rothko for the first time.
A: Is that saying something about you, or something about Hegel? But it is “politically correct” to hate Hegel, and all the Germans for that matter. “Nothing really controversial” is the real motto of the intellectual, artistic, and philosophical community in this day and age.
I: Hmmmm???…Say, I am the one asking the question here. You are not supposed to make me look bad…
A: The bigger problem is in psychological space, because even after all this, regarding certain Idea Game Players, the critical factor is egoism over and above ‘education’ and ‘intelligence’?
I: If we cannot or do not differentiate prejudices from values logically, egoism is the rule in the hierarchy of social order. Education and intelligence are reduced to egoism. Operating in logical space incurs punishment and/or being ostracized because it is sacrilegious from the inherited form of sanctified established order. Intelligent behavior it creates friction. I didn’t want to have to make the point that way (chuckling)…Hey, I wanted to blame others for a lack of self-knowledge. I don’t want to look in the mirror at myself.
A: Prejudices and values are a direct product of Religious & Symbolic Game Theory. That’s the real issue here and nobody has a handle on the spirits possessing them and creating this perspective within their unconscious spectrum. The personae possessing them. That is major big point.
I: Like a big black point covering the mind’s eye. I n effect they censor dialogue and/or statements of inquiry into the deeper layers of self.
A: What is metaphor to some, is a little more than metaphor to us. Metapsychological Art is a Means of identifying and making visible these invisible phantoms of our existence. We know and can identify what we are engaging in this dimension of the self, the Abstract Expressionists did not identify much of anything in this massa confusia. We are producing portraits with this medium, allowing us to view the masks we are wearing and decide for ourselves which is Life-Enhancing and which are Death Enhancing. People can make up their own minds. We just want to provide methods, mediums and perspectives, not the answers, for these ultimately lie within first hand experience. This is really another instance of inner sciences of Adhyatma-Vidya. It is what Pantanjali called Asamprajanatah and Samprajanatah Samadhi in his Yoga Sutras.
I: Very good, I’ve always wanted you to clarify in words Metapsychological Art’s forward advance and supersession of Abstract Expressionism…In terms of Raja Yoga it is very clear. By the way, do you know what Sutras these are?
A: I think they are Sutras 17, 18, and 19 in Patanjali’s Masterpiece, Yoga Sutras. I suggest everybody reading this. The entire issue of Raja Yoga, Asamprajanatah and Samprajanatah Samadhi, or the method of using the medium of oils and canvas as in Metapsychological Art is that the concept of Spirit and the shapes they make visible are empirically verifiable. They never leave the phenomenal world.
Samprajanatah Samadhi-Sutra 17
17. The consciousness of an object is attained by concentration upon its fourfold nature: the form, through examination; the quality (or guna), through discriminative participation; the purpose, through inspiration (or bliss); and the soul, through identification.
Asamprajanatah Samadhi-Sutras 18&19
18. A further stage of samadhi is achieved when, through one pointed thought, the outer activity is quieted. In this stage, the chitta is responsive only to subjective impressions.
19. The samadhi just described passes not beyond the bound of the phenomenal world; it passes not beyond the Gods, and those concerned with the concrete world.2
I: Getting back to western civilization, Modern European Philosophy, in particular, for the moment…
A: I didn’t know we left it. What do you think Arcanum IX’s Religious & Symbolic Game is? Obviously the Wiseman/Sage the archetype indigenous to the onsetting two thousand-year cycle is the common denominator East and West. It has always been the goal of Eastern Religious & Symbolic Games, and is now the goal of the West due to onsetting two thousand-year cycle.
I: The long sought after ecumenical principal…Amazing…
A: What is even more amazing is that those in positions of power in the world of religion, arts, secret societies, the world of arts and letters and many more do not even know what we are talking about.
I: What is that saying you quote about education?
A: Have faith, genuine education occurs in spite of everything that is done to prevent it!!!
I: That is incredible. Where did you get that from?
A: A brilliant, brilliant professor I had who was a theoretical physicist, graduate student of Norwood Russell Hanson. He even bought Frege’s Hurst from him.
I: Since we’re on the subject, and more focally, where does the concept of The Superman come from in Nietzsche’s philosophy, and how is it related to our present Idea Game Players?
A: To this particular development in Germany or to the concept of Metapsychological Art? We could also talk about 2001: A Space Odyssey, which represents this concept as seen from the passing Reality of Spirit, In Hegel’s theology in part it is the meaning of Revealed Religion. In Aeschylus’ Prometheus Unbound which expresses the new Reality of Spirit, it can be tied into Arcanum IX, but not Adolph Hitler. Hitler was a product of a Religious & Symbolic Game of Wagner, both adept Idea Game Players. There is a lot here effecting us. Certainly a number of my relatives are not here because of Hitler. You know I don’t need to emphasize this to you, but you know the common man wonders how all what he thinks of as ivory tower junk like The Idea Game relates to real life. Well Hitler and Wagner are a prime example in current history. With Christ and other Idea Game Players the influence is unquestionable. I guess they just never thought about it.
I: I do not think they have ever seen history in this perspective. I know I never did before this. For now though, let us stay with Germany and its diabolical possession by Naziism, and how its symbolic cults overthrew the Abrahamic rites of passage in western civilization. These individuals were very interested in art, Real Art, and its power.
A: Any number of important points need to be made; they concern Idea Game Players. First, Idea Game Players recognize genuine mediumistic statements as symbolic of an epoch, a symbolic expression of an essential motion of Spirit. These statements in a medium are descriptions of phenomena and motions inhabiting the collective psyche of the culture and extending into the individual consciousness of the inhabitants. Over and above simply a creative craftiness of an Idea Game Player, the works of composers, playwrights, philosophers, theologians, or political leaders must adequately reflect the essential motion regardless of its direction. Second, they read the signs of the times in both the interior dimension of Spirit and the exterior dimension of the Spirit. They understand a type of logic that interface internal and external, even if they are not conscious about it when they are producing it. However transparent this realm of the invisible is to the masses, there is some type of catharsis that is produced by the mediumistic statements. Actualizing this in one’s own time means some type of perspective seeing into the realm of Spirit in their own time.
I: For example. by
William Woods Higgins
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A: Stay with the Superman, in Nietzsche’s philosophy, do you know where it came from?
I: No. Please continue.
A: Nietzsche was among others one of the greatest philologists of the Classical Greek language.
He as well as Hegel understood that all Idea Game Players in ancient civilizations had to



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William Woods Higgins

posted May 11, 2009 at 11:26 pm


I am 62 and done some 500 paintings in this vein, but hopefully not in vane. Articles such as these are especially encouraging. Thank You.



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Your Name

posted May 12, 2009 at 3:47 am


Great painting…Anyone can have their own interpretation as to what the painting is all about,but there’s a real story behind every painting of course!To come up with a great art work like painting needs a lot of natural talent,the painter himself is the material of his paintings.A great painting comes with a real passion in the art to be appreciated and inspired or even very enchanting to the one who views your art.The painting reveals the painter himself,his choice of color,his kinds of strokes,the kinds of material he uses to create a live painting portrait that make his art soo enchanting.This is just my comment,it maybe different from others.Thanks for this space.



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