Wednesday, February 06, 2008

... Ken Wilber has pointed out in some of his writings on the nature of consciousness that we cannot escape from the intersubjective worldspace that we are born into. In this sense it is then, according to this theory, not possible for an artist or anyone else to transcend that worldspace, That all works of art, as a product and exploration of consciousness, great or not, are in some ways entirely the product of and impacted by the world in which they are created. There must however also be a sense that some aspects of art, and perhaps those aspects which might lead to the general agreement on ‘greatness’ are reliant on a subconscious or higher state of consciousness that perhaps is less prone to a cultural or social bias – is more primordial. For instance, one of the fundamental building blocks of art; The Golden Section (which is a method of dividing a line or space in a perfectly harmonious and aesthetically pleasing way) has not changed from one culture to another or from one time frame to another. It is a rule that transcends cultural and socially specific influences but provides an aesthetic reference point for the viewer in all times and cultures. It is a rule that is outside of time and space. The Golden Section is a very simple device to illustrate the point here but this primordial connectivity to that which is beyond our normal awareness, that is outside of locale/time-frame-dependency, is, it seems something that is inherent to a significant degree only within those works of art - from all genres and forms - that we might consider are able to transcend their particular reference to the time and spatial context within which they were created. Such works as Michelangelo's 'Pieta' and Picasso's 'Les Demoiselles d'Avignon' being classic examples. ...

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