The
Freeing of Art
DEREK: If, as you
claim, art evolves from the mundane to the transcendent, from materialistic
sculpture to impalpable holography, and does so via a number of intermediate
stages ... like murals, paintings, and light art, it must have begun bound to
the Diabolic Alpha and only gradually emancipated itself from that ... as it
tended towards the Divine Omega. Thus
the higher the development of art, the more free must it be from utilitarian
concerns, which pertain to the mundane.
KENNETH: Oh
absolutely! The lowest stages in the
development of art were, by contrast, the most utilitarian, as in the case, for
example, of ancient Greek sculpture.
DEREK: But how was this
sculpture utilitarian?
KENNETH: Through its
connection with pagan religion. The
ancient Greeks, particularly the earliest ones, were given to idolatry, both
completely and partly. By personifying
their gods in sculptural form, they acquired a concrete reference-point for
purposes of religious devotion. The
simpler Greeks would have worshipped the statue as the god, which was
pretty much the religious norm in pre-atomic times. Especially would this have been so in the
earliest phases of Greek civilization, before statues acquired the lesser
status of images of the gods, who dwelt elsewhere.
DEREK: Presumably on
KENNETH: Yes. But whether these statues,
these sculptures, were worshipped directly as gods or indirectly as images,
their function was strictly utilitarian, in accordance with the nature
of art in its lowest stages of development.
Besides worshipping gods, however, the ancient Greeks also worshipped
heroes, who would sometimes become gods in the course of time, and they built
additional statues personifying abstract virtues, such as Strength, Courage,
and Fortitude. There was no free
sculpture, as we understand it. They
would have been deeply shocked by the concept of art-for-art's sake! Art had to be connected with a utilitarian
purpose, even if one less exalted than the worship of natural phenomena. Incidentally, although the Renaissance
attempted to revive certain Graeco-Roman values and
to reaffirm the importance of beauty as a creative ideal, the resulting
sculptures weren't used for purposes of worship, as their pagan prototypes had
been, but stood as a kind of Renaissance art-for-art's sake in revolt against
Gothic iconography. The men of the
Renaissance honoured the form but not the spirit of Greek sculpture! They wanted to create a free sculpture.
DEREK: And succeeded
admirably! However, as the utilitarian must
precede the free, it is evident that art continued to be largely if not
exclusively utilitarian throughout the pre-atomic age, and even into the atomic
age of Christian civilization.
KENNETH: That is
so. Or if not directly then, at any
rate, indirectly connected with utilitarian ends, as with the vase paintings of
the Greeks, who naturally made use of their vases for carrying water and
storing wine, to name but two uses. The
concept of a free vase wouldn't have appealed to them. Yet vase painting definitely marked a
development beyond sculpture which was closer to murals, since a combination of
the two, in that two-dimensional figures were applied to a curvilinear form
resembling, and doubtless deriving from, the human body, with particular
reference to the female. It was left to
the Romans, however, to develop murals and mosaics to any significant extent,
thereby beautifying their walls and floors.
DEREK: Which could be
described as the raison
d'être of murals and mosaics.
KENNETH: Yes. Just as the Greeks had beautified their vases
with figure paintings commemorating heroes and battles or, alternatively,
referring to aspects of their religion, so the Romans adorned the walls of
their dwellings with murals depicting much the same thing. Even explicitly erotic figures possessed a
religious significance, insofar as paganism was nothing if not sensual and,
hence, sexist. But a mural signifies a
superior stage of aesthetic evolution to vase painting, because the figures are
applied to a flat surface, namely a wall, rather than to a curved one, which
stands closer to nature in imitation of the human form. There is something partly transcendental
about a flat surface, even when it forms part of an
utilitarian entity, like a wall.
DEREK: Doubtless one
could argue that, considered separately from the overall function of a
dwelling, a wall is less utilitarian than a vase, which may be subject to
direct use.
KENNETH: I agree. And for that reason the mural was a stage
before painting ... as the application of figures to a flat surface not
directly connected with utilitarian ends, because forming the basis of an
aesthetic entity hanging on the wall.
DEREK: And yet such an
entity could be indirectly connected with utilitarian ends, couldn't it?
KENNETH: Yes, to the
extent that its owner may look upon it as a means to beautifying his house,
rather than as something which exists in its own right as a completely
independent entity. It would then be
like a kind of removable wallpaper, existing in a transitional realm between
the mundane and the transcendent, the bound and the free.
DEREK: Though
presumably this would only be so while its content appealed to the aesthetic
sense by actually being beautiful or, at any
rate, partly beautiful, which is to say, until such time as art became either
ugly or truthful, and thereby bedevilled aesthetic considerations.
KENNETH:
Precisely! Though while art remains
attached to canvas it can never become entirely free from aesthetic
considerations, even when it aims, as some modern art does, at Truth, because
the very medium in which it exists - the canvas, oils, et cetera - suggests a
connection with the past, with past phases of painterly development, and is
itself to a certain extent materialistic and naturalistic. A modern painting may intimate of Truth
rather than approximate to the Beautiful in one degree or another, but, in
hanging on a wall in someone's house, it won't be entirely free from
utilitarian associations. It will be
less free, in fact, than an identical or similar painting hanging in a public
gallery, where it would be absurd to suggest that its presence there was
intended to beautify the gallery.
DEREK: You are
suggesting that one should bear in mind a distinction between the private and
the public, between art in the home and art in the gallery.
KENNETH: Particularly
with regard to modern art, which will approximate more to the free or
transcendent than it would otherwise do ... if attached to the wall of a
private dwelling. A truly free art,
however, could not adopt canvas form but would be detached from walls, floors,
et cetera, in a medium which transcends the utilitarian and thereby exists in
its own right, in complete independence of its physical surroundings. Such an art to a certain extent already
exists in the context of light art, which has no connection with the
utilitarian use of artificial light but, quite the contrary, shines
independently to the lighting necessary for the illumination of a public
gallery at any given time of day.
Indeed, such art is never better served than when displayed in
conjunction with the utilitarian use of artificial light, its presence thereby
being shown superfluous by any utilitarian criteria. And yet, important as this art may be in the
gradual liberation of art from the mundane, it is still connected to its
surroundings, if only to the extent that it hangs from the ceiling or is
supported on a tripod or has an electric current flowing through it via an
insulated wire that connects to the mains at some point in the gallery. The evolution of art is incomplete until the
illusion of a totally free art is created through holographic techniques, which
should project an impalpable image, or hologram, of a material entity into
surrounding space, and thereby present to the viewer the arresting spectacle of
its detached transcendence, the image, independent of floors, walls, wires,
pedestals, et cetera, having no utilitarian associations whatsoever! Thus not, in its ultimate manifestation, a
representational image, like a telephone, but a completely abstract one, such
as would intimate of transcendent spirit.
DEREK: And this ultimate stage in the evolution of art would have
to be public, like the preceding stage ... of light art?
KENNETH: Yes, and
preferably within the context of a meditation centre, which is to say, as an
ingredient in religious devotion - at any rate, certainly if abstract and thus
unequivocally religious in character.
DEREK: But wouldn't
that make it utilitarian, much as Greek sculpture was when housed in a temple?
KENNETH: No, because
not an entity to be worshipped, either directly or indirectly, but simply to be
contemplated, as an intimation of Truth.
Both the pagans and, to a lesser extent, the Christians worshipped
statues; but Transcendentalists would simply contemplate an appropriate
hologram from time to time during the course of their meditation session, not
as an alternative but in addition to meditation, kept mindful, by its presence,
of the goal of evolution in transcendent spirit.
DEREK: So that which,
as sculpture, began publicly in a religious context would, as holography, end publicly in such a context?
KENNETH: Yes, the
distinction being one between the mundane and the transcendent, sensual public
art and spiritual public art, which is nothing short of an antithesis between
the bound and the free - the former approximating to Absolute Beauty, the
latter intimating of Absolute Truth.
DEREK: Just as a
similar antithesis presumably exists between vase painting and light art.
KENNETH: Yes, the vase
being an opaque container illuminated externally by paint but intended, all the
same, to hold sensual phenomena like wine or flour in a predominantly
utilitarian context. By contrast, light
art may be defined in terms of translucent containers, whether bulbs, tubes, or
tubing, illuminated internally by artificial light - which, depending on the
type of light art, can be regarded as symbolizing the spirit - and not intended
for any utilitarian purpose. Quite a
contrast, when you think about it!
DEREK: Indeed! And yet, despite its association with
utilitarian purposes, vase painting was presumably a fine art during that
pre-atomic epoch in time when it was especially fostered - as, for that matter,
were murals.
KENNETH: And quite unlike modern vase paintings or murals, which
correspond to a folk art. The
distinction is more one of chronology in evolutionary time than quality of
work, though the latter will still of course apply. I mean, the vase paintings and murals of the
ancient Greeks and Romans respectively, being an integral part of evolutionary
progress in the development of art from highly materialistic origins, were the
work of the most aesthetically-gifted people of the time, whereas modern vase
paintings and murals are the work of relatively uncivilized people, i.e. the
folk, and therefore devoid of chronological relevance in the overall evolution
of art - the foremost developments of which having attained to the level of
light art and, to a limited extent as yet, even gone on to that of holography. A typical modern mural, on the other hand,
whether on the gable wall of a house or stretching along a public wall in some
street, suggests a creative affinity with ancient-pagan and early-Christian
times, and is more likely to be the work of someone whose creative disposition
corresponds to the relatively primitive level of the ancients ... than of a
civilized artist who has temporarily abandoned light art, or whatever, for
murals.
DEREK: One is reminded
of what Freud once wrote concerning the unequal levels of spiritual development
which exist in human society - some people virtually living on the primitive
level, others in the Middle Ages, yet others in the
eighteenth century, and so on. Only a
comparatively small minority of people truly live in their age, as its creative
masters.
KENNETH: A situation
that will doubtless continue so long as class distinctions remain inevitable,
as they will do for some time yet - certainly until such time as a post-atomic
civilization gets properly under way.
For where there is a distinction between a civilized class and a folk, a
distinction will also exist between fine art and folk art, the latter embracing
not only vase paintings and murals, but certain types of sculpture and painting
as well. Such art may be described as
barbarously naive, because it doesn't pertain to civilization in its successive
transmutations. Now since contemporary
Western civilization is predominantly petty bourgeois, it follows that the
foremost art of the age will be produced by petty-bourgeois artists, whose
religiosity - and civilization in any true sense is inseparable from a relevant
religion - derives, as a rule, from the Orient.
They pertain to the leading civilized class of the age, a class which
has taken over from the middle and grand bourgeoisie in the evolution of
Western civilization. One day, however,
the folk will become civilized, and when they do it won't be folk art but
holography that will appeal to them.
Their art will be completely detached from material constraints. Their religion no neo-Orientalism but full-blown Transcendentalism, the religion
of an ultimate civilization - one antithetical, in character, to that of the
ancient Greeks. Not the alpha of
Beauty, but the omega of Truth! Not the
bound appearance, but the free essence!