Black Path (Bunhill Fields), 2013, a cast of the path at William Blake’s grave. Photograph: Courtesy the artist and Frith Street Gallery
What an interesting mind to be able to spot the potential to achieve this work.
Adam Thirwell presents a short history of shock. His final statement ‘The future art work can be as quiet as it likes in the way it shocks. I would just like to make sure that it survives.’ leads me to believe that the movement is running out of steam. Perhaps we can now focus on something more enriching.
The BBC programme Making Art Work: First Idea to Final Piece gave insight into the working practice and ideas of six young and very different artists.
Anna King a young Scottish artist, allowed glimpses of her passion for the disused and unloved. Painting on a slightly washed out style, with pencil detail, she breathes life back into the overlooked building and landscape. Following on from my thoughts on regeneration, there is plenty of unloved in Hastings. I need to explore and keep wabi sabi in mind.
Nick Gentry was all about surfaces and sharing. Working with donated floppy disks, negatives and X-rays he developed images integral to the surface.
Stuart Semple was inspired by music, producing square format collages and paintings, reminiscent of album covers. Each of the works representing a track on the album. He used word association for ideas, something I need to explore.
Artists on Film: Scenes from Working Lives.
Another BBC gem showing abstract painters, admittedly all male, in the 60s , 70s and early 80s. Patrick Heron, William Hayter, Victor Passmore, Anthony Caro and John Hoyland. What was striking was the time and intensity of deliberation, the response to mark making and the belief in what they were doing. Hayter used the simple technique of painting with his canvas at 45 degrees to the horizontal to imbue the dripping paint with breeze like energy. Passmore ‘s studio was unexpectedly pristinely white, but it was Hoyland that I found more interesting. The energy, the straightforwardness of approach, the honesty that he didn’t find it easy that I found so reassuring.
Dame Zaha Hadid DBE
Hadid is a Iraqi-British architect, twice winner of the Sterling Prize in 2010 and 2011, and the first female winner of the Pritzker Prize in 2004.
She is the controversial designer of the 2020 Tokyo Olympic stadium.
What I love about this designer is her ability to take a motif and apply it to everything from shoes
Zaha Hadid turns shoe designer, teams up with Melissa
designs for The Abu Dhabi Performing Arts Centre http://uk.phaidon.com/agenda/architecture/articles/2013/july/09/zaha-hadid-buys-the-design-museum/
The question seeing the breadth of her work could be which medium should I be working in, but with such confusion already raining, I will sidestep the question and let evolution and reflection play their parts.
I think it was Mathew who mentioned his interest in energy waves, now I can see why https://www.youtube.com/watch?v=GtiSCBXbHAg
David Icke and a n other talk about the secrets of Cymatics and Sacred Geometry https://www.youtube.com/watch?v=F6AM2s8gbWw
They mention Goethe’s belief that music is geometry and geometry is music. There is reference to the frequency 432hz (inward experience of feeling, appears to fill a room, harmonic of light ) and that Goebbels changed the natural frequency to 440hz (concert pitch A, linear) and with it created issues. There followed commentry on the importance of the dodecahedron found in DNA, earth, uranium, and Phi (5.218) and Phibonacci principlesrelating to the symmetry of golden ration throughout history.
Toroidal_and_poloidal was also mentioned, but as the explanation rapidy descended into that dark crevase of sines and cosines, my eyes glazed over. http://en.wikipedia.org/wiki/Toroidal_and_poloidal
https://www.youtube.com/watch?v=G4mgt2f6TEQ endorses the above but also focuses on the number 432 and its importance with regard to Stone Henge. Rudolf Steiner warned against the use of the higher pitch.
Dire Straits – Sultans of Swing converted from 440 hz to 432 hz. https://www.youtube.com/watch?v=weSCGRoaqz4 ‘432hz sounds fuller and nicer on the ear whereas 440hz sounds thinner. 432 Hz touches the full 12 scale octave overtones of all music, whereas the music of today vibrates at 440 Hz. This 440Hz only touches 8 scale octave overtones. 432hz music touches your heart which makes listening to music a more emotional experience.’
This led me to sacred Geometry to Connect to Higher Dimensions https://www.youtube.com/watch?v=_-Sw9i0cthk in the thought dimension sound, through light to spiritual. The importance of pattern throughout the natural world. Reference to Kundalini Rising, a higher way of thinking and experiencing. Disease is the blocking of energy from Source.
Which brings me back to the teachings, practices and numerology with Angad.
Low frequency brings conflict, higher frequency brings harmony. How to Connect to your Higher Self through DNA Activation https://www.youtube.com/watch?v=CBdG7VH-cD8 stellar activation cycles every 26,556 years. This again ties in with Kundalini yoga and the exercise of raising the energy through the seven chakras.
How to Change Your Frequency to Change Your Reality https://www.youtube.com/watch?v=CuM678WXs0c
Positive and negative with a source energy holding it all together. Dr Imoto, with intention you can change your environment. He demonstrated it through the use of frozen water. Dr Braud used red blood cells. Book Power v Force. Attaching a fear to a manifestion creates a negaive. Pay attention to the ‘because’, ‘I dont know’, traced back to parental justification, blocking intuition. Check patterns of speaking. Your soul emanates. Choose and be aware. ‘I cant do that, is it really true?’ Carry an index card for a week, every ‘I cant, or a judgement’ ‘say I get paid for being me’ ‘what would it take… to get your desire’ ‘Bless and be grateful for what is already already in my life’ Reframe ‘I am so grateful and thankful that I have .. in my life’. from the space of oneness (take your energy and expandit out of the room, building, country, planet, the infinity, the white light), ask any question and follow the guidance. http://www.awesomenessfest.com
Which brings me back to an NLP plus course I took with Dr David Shepherd, Re-engineering the Self. I have the answer all along.
‘In ancient Greece, mimesis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty,truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative. After Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society, and its use has changed and been reinterpreted many times since then.
One of the best-known modern studies of mimesis, understood as a form of realism in literature, is Erich Auerbach‘s Mimesis: The Representation of Reality in Western Literature, which opens with a famous comparison between the way the world is represented in Homer‘s Odyssey and the way it appears in the Bible. From these two seminal Western texts, Auerbach builds the foundation for a unified theory of representation that spans the entire history of Western literature, including the Modernist novels being written at the time Auerbach began his study. In art history, “mimesis”, “realism” and “naturalism” are used, often interchangeably, as terms for the accurate, even “illusionistic”,representation of the visual appearance of things.
The Frankfurt school critical theorist T. W. Adorno made use of mimesis as a central philosophical term, interpreting it as a way in which works of art embodied a form of reason that was non-repressive and non-violent.‘
T S Eliot
I have been listening to the book Young Eliot on Radio 4, who spent time in Bosham, where I used to sail, and with the Bloomsbury set at Charleston, which I also know. Knowing little about him, but feeling a connection, I checked Wiki and in particular his epic poem The Waste Land. Without studying the poem in detail, I was drawn to how he had called upon a ‘dissonant range of cultures and literatures’, and how important it is to read and research widely, never knowing how or where this influence might be used.
‘Eliot’s poem loosely follows the legend of the Holy Grail and the Fisher King combined with vignettes of contemporary British society. Eliot employs many literary and cultural allusions from the Western canon, Buddhism and the Hindu Upanishads. Because of this, critics and scholars regard the poem as obscure. The poem shifts between voices of satire and prophecy featuring abrupt and unannounced changes of speaker, location and time and conjuring of a vast and dissonant range of cultures and literatures.’