“Human aesthetics correspond to human proportions, human ethics to the laws of social love, which translate to the Wor(l)d languages the biological laws of Eusocial evolution that define the survival of species”
The mind of the super-organisms of history.
The mind of any superorganism of history are the mind memes, neuronal networks that memorize and learn superstructures of ideas that motivate humans to act and replicate a certain superorganism of history, either a nation or a civilization based in metal or life meme, often both. This trove of instruments and ideologies that make us replicate it, becomes extrenmely complex during the industrial revolution as the forms to replicate ideas, ideologies, instruments and other memes multiply and diversify. In that sense, we shall reduce the concept of culture to the human or biological memes that stream out of the human mind, as opposed to instruments made with materials alien to our mind. In plain sense, that higher mind would be made of our natural time-language of verbal words and our visual eyes, expressed in plastic arts. Literature and painting, legal words and housing, and similar ‘natural goods’ form the skeleton of such life-based cultures.
While verbal art, as the mind of civilisations is far more important,
Yet as we create the metal-earth, the superorganisms of metal and machines that will soon substitute us, we have transfered the forms of ‘life’ into machines and that has influenced enormously art, even art based in human forms which tend to degenerate into simpler forms of iron and gold. In that regard the concept of art and culture has spread beyond the limits of a life-based civilization, essentially all before the XVIII century, when even in economy the ‘physiocrats considered the goods of the land the wealth of nations.
What is art? The visual mind of history.
Today the concept of art has expanded well beyond the classic meaning of art in history, which will be the concept used in this pages, that relates art and bio-history. This extension of the classic concept of art has happened mainly because today art works are basically products on sale, and so they have acquired values and definitions proper of the economic world, very different from the spiritual definitions that were used to describe art, when it was not considered a market-product, but the fundamental form of knowledge of mankind. Hence a “sacred” endeavor. Since knowledge was considered to be the highest quality of man, the quality which connected us with “God” and his laws of universal creation (either a personal being, as in most western religions, or an impersonal principle as in science and Eastern philosophies).
This second definition is what interests us here: art is a form of knowledge related to the more complex senses of the human mind, the word and the sight. If we define the human mind as a dual system of perception based on the senses of sight and sound perception, we could sum up our mental essence in a single sentence:
I think words and I see images therefore I am a human mind.
A work of artistic knowledge could then be defined as a form of sound perception (literary art, music) or visual perception (architecture, sculpture, painting), translated from the mind into an external medium. However since the process of creation of words and images by the human mind is constant, art was considered to be only those superior acts of mental perception that “evolved” the human mind, beyond its natural level of perception and creativity.
We only perceive a partial map of the Universe
Your mind creates constantly the reality you perceive. Our mind is not the real Universe, but the sounds and images we collect from it. To differentiate both we will call the vision of the Universe that humans have, thanks to their senses and minds, the “wor[l]d”. A World is a Mental world constructed observing the Universe with a language of time, n the case of man, Words, and a language of space, in the case of man, images. The mental world of man, is different from the mental world of other species which do not use words to explain temporally reality. For example machines use numbers to explain reality, dogs seems to use smells, as ants do… The Universe is the total reality, the world is the linguistic mirror that a mind of any perceptive species use to describe reality. To differentiate all those other maps of realities, made with smells such as those of dogs or ants, from the world made by man with words, and eyes, we call the World of Man, the Wor[l]d (world=word). Since it is a World in which our temporal perception of change, and the laws of survival and extinction that cause such change, takes place through words, that value reality.
I think therefore I am, define essentially man and only man as a word-speaking species Temporal words, are the particular linguistic mind of mankind. We could say that all humans are artists of the Wor[l]d, since all humans see and understand with words the Universe. What an artist does, however, is to go beyond that common wor[l]d, the biological wor[l]d of our senses, to stretch the limits of perception of human words and sight. Art in such a classic sense, adopted here, is the creation and evolution of the human mind made of images and verbal thought. I see and think therefore I am defines Man. I see more, I think more therefore I am an artist defines an artist as a more complex human mind.
That perception is evolved by the artist’s imagination into new forms, which return from the mind into reality in the shape of an artistic form, a “Work of Art”. A new verbal or visual form, becomes “real”, thanks to the use of certain materials, able to conform easily to the will and imagination of the artist, to become a work of art. Wood, stone, paint, metal, paper, allow the forms the artist has elaborated in his mind to become real, to become art. Thus, the artist is a sensitive man who “thinks more and sees more” and expresses his higher mental sensibility through his works of art. Such a theory of art developed by the Greeks and the Italian Renaissance, makes art a sacred endeavor, since art tries to expand the limits of human sensorial perception, in his perennial search for the truth and the essence of the Universe.
Out of all the human senses, why is it we highlight visual and verbal perception as the origin of art? In biological terms the answer is simple. Sound and sight offer much more information to the human mind than the other senses of touch, taste and smell do. Since the creation of art requires an initially rich sensorial evidence, only those senses can provide the perceptive material needed to create complex works of art. Art is therefore, first the evolution of our linguistic, verbal and visual perception of reality, and only in a secondary level, a product, a work of art for sale in the market.
The former explains why the Greeks considered philosophers, that only talked, and had no products on sale, the highest artists. Since they could combine words -the second level of the mind, that comments on what the sight sees- with such a beautiful logic, as to create new “wor[l]ds”, new linguistic images of reality, only with the power of the mind.
Images and words are the languages of creation of the human mind. They are like mirrors which show the Universe. However the mirror is not the Universe in itself, just an image of it. A linguistic mirror of reality. What you see is not reality, just the creation of your mind.
But all human minds have a genetic, basic way of creating the wor[l]d of sound as images, as all dogs smell and create a world of smells that probably is similar. What differences the artist is its capacity to distort, in several possible ways -what we call artistic styles- that basic biological mirror. He will be a verbal artist, when he makes descriptive models of the Universe with words. He will be a visual artist, when he creates sight-based models of that Universe.
Word Art and Sight Art. The eye-word, preceptor of space and time
It follows that there are two basic forms of “mind art”; Word and sound arts: music, and literature of any gender. And visual arts, architecture, painting, sculpture.
Why are images, and words the main sensorial languages of man? The answer is rather simple. We exist in time and space, the two parameters which define all species of the Universe. We therefore need to exist, survive and interpret such a Universe, a spatial and a temporal sense. The eye scans space. It is our spatial sense.The word remembers events in time. It is our temporal sense. So the eye-word are the human senses of perception of space and time, the main parameters of the Universe. This position places a special importance on the “higher arts”. It gives them a “sacred” meaning, since they deal with the very essence of mankind’s intelligence, our “soul,” which is our consciousness of space and time, of the Universe. The difference between both arts is in the senses which control the creation of the art form. Visual arts depend on spatial perception, through eye-images. Word art is “temporal art”, since man uses words and verbs to measure and explain events which happen in time. Verbs are the “temporal memory of man”, the “scanner of time” of the human mind.
We conclude that art is the highest expression of the human mind, in as much as it takes the mind of man into further evolution beyond its biological limits. The visual artist is the person able to see more and, with a higher sight, he is able to create images in two dimensions (painting) or 3 dimensions (architecture and sculpture). On the other hand, writers and musicians are able to think better in sounds; either in the simplified language of 8 sounds (music) or the more complex language of 24 sounds (words). They are able to explain emotions, sensations and temporal events with more complexity than ordinary people can, and with a higher sense of harmony, according to the natural laws of the Universe.
Mind-art, art of the human senses of space and time, the eye and the word, is clearly the highest level of knowledge man reaches about the Universe by his own linguistic means, with his soul-mind. In this manner, the wor[l]d becomes our soul-mind, the linguistic mirror that words and images craft on the Universe of atomic energy and information.
Even though man has 5 sensorial outlets to the Universe, it is important to distinguish between our “Energy senses” and “Informative senses”. The former might also evolve and create human goods to satisfy our perception (gastronomy, perfumes), but these can hardly inform us about the Universe, since their physiology allows them to accumulate only a small quantity of information. So they give way to simple sensorial objects. The Informative senses of the mind, eyes and words, accumulate thousands of times more information than the lower senses do. So they give birth to much more complex works of art. For that reason those works which relate to the higher senses of man are considered to be the classic arts in History.
However, in the present market-oriented society, the word “art” has been devaluated to allow the sale of many products which traders promote as art when they are mere crafts that do not evolve the human mind. This has an economic reason behind it; “a single genius is a single sale”. It is difficult to find enough truly creative works of art to invade the world market. Therefore the idea of converting any object into art and use the prestige of art to market industrial products, has expanded the notion of art beyond the products of the mind into many other things, from clothing to gastronomy, from images taken by machines to industrial design, of minimal creative content.
Man has existed for 150.000 years and he always considered art a sacred endeavor, and art works the most perfect or innovative forms perceived and recreated by the higher senses of the mind; words and images. Thus only products of “the eye-wor[l]d”, in its classical manifestations: literature, poetry, drama, prose, musical sounds, painting, sculpture and architecture, are considered art in this web. They are the seven arts of classical Greece, which the seven muses embodied.
The lower senses of man, those which have a limited perception of reality, (taste, touch, smell) blurred by the lack of distinct and clear information, create what we might call at best, lower art, forms of Human Goods, that should be promoted and reproduced as much as possible since they are truly the real wealth of nations,the goods mankind needs to survive: gastronomy, sex, textiles, perfumes… Yet precisely for that reason they cannot be unique, or special of a certain human mind, but common and available to all men, in a healthy body of history.
The style of an artist, and the style of a society.
The present earth is changing from a historic ecosystem of human social organisms based in human beings, human goods, and human art into a single ecosystem ruled by metal organisms, networks, and financial systems, that we might call the metal-earth.
The main effect of that change is the increasing obsolescence of human art and human minds, submissive today to the industrial design of software for thinking machines.
However in the past, in the ecosystems-organisms of history that we have called nations and civilizations, words, legal systems and art were far more important, because they were the informative networks of societies. Verbal and visual knowledge and Art were the mind of civilizations as historic organisms, organized by legal information, and religion.
And so art, as the social networks of information of civilizations, was not so much an individual phenomena, but a collective phenomena. And the artist felt himself with a social role, as the neuronal cells, the informative organs of his society. It was for that reason the art of any artist was basically similar, to the art of all other artists of its society. It was “style-art”, because the style, was the collective message of a civilization. Today however, because civilizations are no longer ruled by human minds, but by networks of financial information, by company-mothers and its lobbies, by networks of metal-minds that produce information in industrial processes, the artist no longer has a social role of relevance. So he is free of any collective style. The style that controls ideas of artists, exists however in radios, televisions, internets, and all other forms of industrial information. A style which is controlled, and tailored to produce the basic message of industrial societies: men have as only purpose to work=reproduce machines, and test=consume them. Of course this message is presented with al the rhetoric of beauty, and freedom necessary to hide the fact, that work and consume are not acts that necessarily develop and increase the human sensorial Freedom, but basically evolve and multiply machines. Yet the message has reached so much sophistication, that most human beings today, believe that to be a worker and a consumer is the paramount Freedom of mankind; while to evolve human senses, and enjoy Human Goods, and the pleasures of human existence is either a “sin”, an act of “laziness”, and “weakness” and a “lost of time”. The fact is that all top predators in the Universe, exist to be lazy, lions of the savanna, enjoying the basic pleasures of his organism, to reproduce (sex-love), to feed energy [food, movement], and to receive its natural information (verbal thought and visual beauty in the human case). That is, the ideals of society before the industrial revolution – the ideals of Renaissance, and the aristocracy, top predator caste of that age. And vice versa, and ideal world dedicated to the freedoms of machines, will imply that men-slaves of machines would dedicate their time to the reproduction of machines (work) its evolution (industrial research) and its vitalization as species in movement (consume of machines that vitalize their existence).
So it is evident that the Freedom of the market, the Freedom of the economy, is the Freedom of machines and its company-mothers. While the biological Freedom of the citizen, of the human being, were the ideals expressed by the art styles of historic civilizations. Those facts have of course enormous historic relevance, and explain why under such brain-washing propaganda, the classic historic, social, religious art and his aesthetic and ethic ideas, clash so deeply with modern ideologies of economical men and yet they were accepted and enjoyed by the citizens of Historic civilizations. They found in the social ideas of religious art, and the sensorial ideals of individual art, the pursuit of their self-realization as individual, biological human beings, and as part of a macro-social organism, a culture, or civilization, that social art harmonized, as nervous messages harmonize social cells in a body.
In all those cultures art was sacred, art was considered the informative network of the Historic organism. Art caused the evolution of the collective human mind. Art was the mind of civilizations, and acted in the social historic organism, as the nervous networks act in the human organism.
Art the informative mind of the civilizations. The canon of ethics and aestehtics
Since we have defined human art, as the visual and verbal perception olf space and time by the human ind, it fllows that collectiv e art was also visal and verbla rt, of colletive nature. And that collective nature imposed upon social art, two socila concepts: ethics and aesthetics of human nature. So classic art always had two basic forms, social ethic art, and individual aesthetic art, and two canons, moral, and beauty, carried by the word, and the eye of the human artist.
Today, even artists find those ideals, something of the past, because the artist today is not the valuator of reality, and has no ethic role. He does not educate the rest of the cells of society. So sacred art, religious art (which tried to create a social, harmonic morality among the different cells of society), even legal thought, has declined. Of course this has given individual Freedom to artists, to reflect their individual personality since nobody cares really anymore for what we, the artists, neurons of humanity, have to say.
Yet for most of history, Art has been a social phenomena, since men, lived in a social organism. The artist lived within a society. His ideas were similar to those of other artists of that society, fruit of customs and learning processes within that society. And so, the information that the mental cells of a civilization developed (the artistic information of a culture) was similar in most of the artists of a civilization. Styles in art gathered those similar mind-wor[l]ds, coming from people living in the same place, at the same time, as neurons work in the same manner, in the same organisms.
Individual art, the genius… and its relationship with social art
The style of an artist, is the peculiar way in which the mind of the artist, transforms the biological “Wor[l]d” of perception, that all humans have in common; the sounds and image we perceive as the Universe. While most people see reality under those biological limits, the artist goes beyond the subjective eye-Wor[l]d of the human species, and adds certain personal subjective changes to those images and words. This is the artist’s style.
The artist with his style goes beyond the “common way of perceiving reality”, and shows those other possible Worlds, that maybe some other species in some far away planet perceive directly (imagine a world where eyes see with the colors of a fauvist painter).
Still in the Earth, men see reality in a certain manner, and only artists are able to break with those conventions of the mind. Such individual artists are rightly called genius, since they create an entire new way of perception. When such new way of perception is meaningful, and harmonic, and can be understood at least partially by the audience, we have found an original artist.
Yet, in as much as men belong to social organisms, where they communicate in-form-ation to other human “cells” of the social organism, even individual genius, and its perception of reality, reproduces into works of art, that transmit the information to other “neurons” of the social organisms. In this manner, styles are transmitted, and create “schools” of art where many similar artist display the same style.
If the individual artist expresses its mind experience through its personal art, we can say that the society expresses its collective mind experience through schools of art.
If individual art is the evolution of the mental senses of the artist towards regions never explored by the common human mind, the style-art is the evolution of the collective mind of civilizations. It reflects the social mental state, of such civilization (as individual art reflects the mental state of the individual artist). In that sense, art becomes the collective mind of a civilization.
It is then clear that in classic history the role of artists was indeed sacred, fundamental, because verbal and visual artists, were in charge of recreating a Wor[l]d pleasant to man, where human social cells were in harmony, and shared as cells in any organism do, their vital information and energy. Ethic priests ruled the verbal minds of people with messages of love and ethics. Artists created beautiful environments, well constructed cities. Energy workers (farmers) fed the cells of the organisms. Literature educated the feelings of people, allowing bondage among individuals, at several levels (love, family, citizenship, religion). There was therefore a clear idea of what a social nation was, and what artists had to do in such society. That is why artists tried to find “canons” of beauty, that people would imitate, as role models.
The canons in classic art. What are ethics and aesthetics?
We can now understand the concept of a canon, both in verbal art (canon of ethics) and in visual art (canon of beauty). Today in individual art, when art is no longer the mind of civilizations, but science is, canons do not matter, but in the past, when art guided cultures, and took care of its survival and welfare, it was necessary and fundamental.
There was a canon of beauty in space, that had as element of reference the human form. Since we are humans, and we were top predators of the Earth, as all top predators do, we designed a Wor[l]d to our image and resemblance. So spatial arts, had as canon of beauty the proportions of human beings, and in its most beautiful creations (Greek, Italian art), that canon was respected, to create an environment in which man felt happy, in harmony with his surroundings, and dedicated to the pursuit of sensorial pleasure. This is the case of Greek and Renaissance sculpture and architecture.
There was also a canon of beauty in time, defined by the biological language of measure of time, that mankind uses: verbal thought.
How can we define beauty on time? It is self-evident, that if you ask anyone, what he would want to happen in time, he would say, “I want to survive”. So survival is indeed, the canon of beauty in time. And survival has in social thought a name: Ethics. Ethic societies that promote peace, and abhor war, do not die away. Societies that create systematically weapons end in civil wars, or in national wars. Thus, the people that were considered great artists of verbal thought in the past, were the prophets and writers that praised peace, and with poetic parables, preached the well being and harmony among human beings. Philosophy and religion were considered the highest forms of verbal thought. This, as we said no longer holds, since we are no longer ruled by words, but by numbers, by men, but by machines and prices. But we cannot ignore the fact that ethics and religious thought have controlled mankind. And the great artists of the word have been those prophets such as Jesus and Buddha, that talked against weapons and money, and praised love, and human senses. The artist is indeed the prophet, not the church, or the latter commentator. The master of the Word is Jesus, that defends a prostitute, and foresees that those “who kill by the sword, will die by the sword”, not the Catholic Church or Luther, and Calvin that acceptmoney and war, and repress sensorial love.
The quality of verbal art
As a consequence of the biological nature of languages, we cannot regard any longer verbal art, as a product, or a secondary commodity. “Literature for the sake of aesthetics; art for the sake of art” is far less relevant than “sacred art”, literature with an educational mission, either social literature and philosophy, or sensorial literature (fiction), which educates the senses and feelings of the people. There are qualities in the forms of literature, because literature has a function. Literature is not useless entertainment. Verbal Art is the biological language of mankind, and our societies. Its function is to mirror reality and explain the universe to man, from our own point of view, with the aim of helping human societies to survive. This means that we can qualify the quality of literature, according to such function.
It will be good literature, either legal, religious, fiction or logic literary art, a verbal construction that through its reading and practice, improves the capacity of an individual to behave ethically and in harmony with the other members of his society. It will be bad art, those literary and verbal forms that harm the harmony of societies.
So “War and Peace” is good art. So it is the “bill of rights” or the “Gospel”. They try to give the reader an “ethic sense of life” that favors peace over war; human rights over the rights of machines; and love and poverty, and despise for money and war, (the message of the gospel). Since history proves that those attitudes are positive for the survival of the individuals of society. On the other hand bad verbal art, is that art, which harms the energy and information of civilizations, pushing individuals against each other.
A typical script made in Hollywood that makes an apology of violence and murder is bad verbal art, regardless of its technological achievements. Its consequence is to multiply the use of weapons in our society, of technological species, that harm mankind.
The decalogue scripts of Polish director K. Kieslowski, are master pieces of filmed literature, despite its minimal technology because they make us reflect on the basic matters of love and life and death, far more important than the designed special effects of digital computers. A fascist law is also bad art. A religion which does not accept the equality of all men, a tribal religion of “chosen of God”, is also bad ethic verbal art. Since it allows war between tribes. Those facts are self-evident to any human being that thinks naturally about the purpose of art and verbal thought. They might collide with the “economic view”, that favors all forms of literature, specially those forms of literature, that multiply the use of machines, even weapons (economic and military nationalism, advertising, etc.)… according to the old lemma “you will defend me with your sword, and I will defend you with my word”.
Such art is considered here “rhetoric art”, bad literature, since its purpose is the opposite to the biological function of verbal thought. However in present societies most verbal art is rhetoric art, art that has neither a moral, ethic standing, or even any relationship with the reality of man as an individual or member of a human society. Why is that? Because words are no longer the language of information and power of our societies, a role that today belongs to money.
As a consequence, verbal thought is no longer the language of power, the sacred language, and it has no longer the role of guiding the survival of mankind. For that reason words enter in decadence, and loose “logic, realistic power”, becoming “fiction”, a language used to describe false realities. The value of things now is given by its price, not by its verbal meaning. And so mathematics describes reality, while words are used to describe fictions, and those realities of lesser power, such as the individual lives – no longer the social lives of people… Literature is now too often fiction, or science, or shallow I-literature, ego-trips and bio-pics of little relevance, or books on secondary senses and products (from gastronomy, to do-it-yourself manuals). Sacred literature has almost died away…
The function of visual art
What was the social role on that sacred view, of visual art? If we have considered verbal art, to be in charge of the temporal perception of a civilization, visual art, obviously will be in charge of the visual perception of such culture. Visual art therefore has also a human canon, an aesthetic, spatial canon, referred to the relative dimensions of man. If verbal art has to create temporal harmony among individuals, visual art has to create spatial harmony, beauty, in the space of that civilization.
Such is the classic vision of architecture and sculpture, urbanism and painting, even gardening, or agricultural development. All those arts that transform the space around us tried to create a harmonic environment in societies. And when both canons succeeded, we talk of a harmonic civilization in which ethics and aesthetics (the moral of the eye), favor a Wor[l]d built to the image and resemblance of mankind.
The function of art, is to shape the environment of man in a pleasant way. Yet since all measure in space and time is relative (Theory of Relativity), a pleasant space for man has the references of human size and form. To make of man the center of creation, the God of the Earth. This was understood perfectly by the theoretical minds of Renaissance, the last human culture, previous to the Industrial Revolution. The aim of renascence artists was to create ethics and aesthetics, for the Italian society. They worked hand in hand with the church in charge of the ethics of Christian societies. They tried to create “canons” of beauty as the gospel tried to create canons of ethics. They affirmed that men should try to achieve a mind and a body according to such canons. The artist, as the most complex mind of society, was the guide of the individual, which tried to achieve personal perfection as a human being, imitating those ethic and aesthetic roles, the artists showed him.
The destruction of the Renaissance caused by the evolution of gunpowder weapons, the creation of religions that worshipped money instead of words as the language of information of human societies (Calvinism, Anglicanism), and the beginning of science with its despise for human words and human eyes, meant the collapse of the artist as the guide of human societies.
The human paradise as the goal of history also was lost. A new culture, and a new civilization appeared, where the goal of history became the progress of the machine, and the human goal, the paradise of human senses, where “man is the measure of all things” was forgotten.
We are living the consequences of such mistake, in a world in which man no longer matters, where humans and words are submissive to mathematics and machines…
Yet only the best human minds, verbal priests, and social activists that follow the original ideas of his wor[l]d-masters, sensorial artists, that do not renounce to explore fully the human nature, and rebels of thought that do not accept the brain-washing of scientific myths, and market-propaganda, realize of the errors of our society.
The myth of superman
All this bring us to a final reflection on the nature of the Human Masters, the great artists of verbal and visual wor[l]ds that have confronted throughout History, the metal masters, warriors, traders and scientists that base their power, not in their own senses and biological nature, but in the power of energy-metal (lines of metal or weapons from swords to missiles, cycles of metal, ormoney, and metal-minds or scientific instruments).
Human Masters who “think more and see more”, are the true masters of mankind. Since mankind is a mental race -its body is not even the strongest of all carbolife species- and the master artist is the most developed human mental race, it is the artist, the “super-man”, not the warrior, or the scientist, that rely on weapons and metal-minds, to power up their bodies and minds. This was the vision of the Greek philosophers, and it is the biological truth. Hence, human masters, masters of the wor[l]d should rule human societies, as Plato wisely understood. They do not rule our societies, because warriors, traders and scientists, impose their power with the help of their metal and as a consequence, they also corrupt art, which becomes another ‘informative’ myth, used to glorify animetal castes in power.
Technological art: evolution of metal-minds.
What about modern technological art? It is obvious, and we treat the theme when studying metal-communicators, that modern art is rhetoric art to the service of power, of people-castes and corporations.
In that regard, both the software of modern technological art, merely visual, evident, and based in ‘motion’, which implies violence and ‘skin views’, which implies racism, and the hardware – the machine that evolves digital thought, are NOT forms of human art but ‘ab=use’ human memes degrading art, since the age of TV (film still kept due to the difficulty and inclusion of multiple arts a high quality of human sensorial memes, bust mostly at an emotional, already lowering scale of awareness):
The graph from the 92 book ‘the extinction of man’, shows truly what fiction means, the extinction in life of most of the active existence of human beings hypnotised by screens that deactivate their eusocial love with selfish messages – you kill for money resumes the meaning of most telefilms, and instil the animetal idol-ogies of the system, mechanism, abrahamic cults, nationalism and worship of money.
Now this trend has extended in the process, of ‘murdering’ of art by markets and Warhol-style propaganda and advertising art. So the process of death of visual art is really advanced.
And what is more telling, as the price of trash-art, Warhol industrial mechanical posters, overcomes that of the best eclectic artist of the post-photograph age of inward, baroque informative eclectic art, Mr. Picasso, we can be sure that not even ‘critiques’ and collectors do understand the meaning of human sacred art.
In the graph, the last age of human art, was the eclectic, inward, informative 3rd age of human I=eye Wor(l)ds, which peaked with Picasso destruction of the outer world forms of the visual eye, improved by machines, by the internal mind ‘ I paint thoughts’ he said.
After that, there was a long silence broke by the hijacking of art by industrial systems of reproduction of photographs, which plagued the American post- Pollock/Hooper, non-artistic age of ‘Fakes’, perfectly described by Orson Welles, in his film on art markets. Warhol and his series of audiovisual, mechanical artists, with minimal human information (The Beatles copying Beethoven chords and put silly simple words, such as ‘I love you’, in every other word), shows clearly that art started with the arrival of audiovisual media a massive simplification previous to the present degeneration of art into electronic music, repetitive beats and minimalist thought.
Craft still exists.
So the best art today is either happening in 3rd world societies (as the Dakkar biennale shows) or in the regression to simple crafts, which have more value than a Wharhol poster. It is a root grass movement of normal people doing good imitative art, given the fact that the search for sacred art and humanist art is exhausted, and the role models of society are ‘eviL people’, intensely fighting for the destruction of all human values, pursuing those digital values of the ‘language of money’ that treat men as object.
Evilwood is NOT art, trust me. I arrived there with Mr. Pitt and Mr. Mandel, actor and producer, and a script hired to write for them and stay around for a decade. In a perfect world, Hollywood would be a holly-sacred place of astounding artistic films enhancing the nature of mankind, and a bigger number of documentary pieces.
As it is today is just the idol-ogical branch of the FMasters and the Military-Industrial Globalized Complex of corporations.
How can we classify the third type of products that the market today sells as “art”, and are neither Human Goods, not Human evolutionary visual/verbal art?
They are either crafts and industrial designs that use forms of energy and information of minimal complexity, (geometrical cycles and lines) easy to be mass-produced, with machines. They are also creative forms, such as photographs or computer art, which are new, evolved images that seem to have the characteristics of sacred art, yet lack the fundamental element of human art: the human mind is not the main creator of those forms, but a machine, a “metal-head” is. That is they are metal-mind art, the art of machines, the art of science…
In that sense we have to differentiate the human method of verbal/visual knowledge, the art of the human mind, that uses words and eyes to understand the Universe, with the method of knowledge that animetal scientists use to perceive the universe of space and time: the scientific method.
If both art and science search for knowledge of space and time, then what is the main difference between the two of them? The difference is radical, when we realize that art and science use different sensorial instruments of perception to search for that knowledge. Art uses the biological organs of mankind to understand space and time. The word, our biological language that measures time, is used in art to express thoughts and ideas about the passing of time, and its 3 dimensions, past, present and future, which verbs mirror with its 3 temporal forms. The eye, our biological organ of perception of space, is used in art to define our understanding of the three dimensions of spatial reality, width, length and depth (created in 2-dimensional painting with perspective or cubist deformation).
On the other hand, science uses sensorial organs which are not human organs, but machines, made basically of another type of atoms, metal. So we can baptize the organs of perception of science, “metal-minds”. They are “metal-sensorial organs”, machines that perceive time (clocks and computers) and machines that perceive space (telescopes, microscopes, cameras).
We could say that art is knowledge through human senses, and science is knowledge through metallic senses. It follows that arts evolve the human perception of the universe, while science evolves the perception of machines. And so, thanks to science, the primitive systems of temporal perception of machines (the clocks of Mr. Galileo) have become computers. And the primitive first “metal-eyes” of Mr. Galileo, founder of modern science (his telescopes), have become today the sophisticated cameras we see all around us.
If we are strict in our classic, biological definition of art, the languages and images which cannot be reproduced by human minds and humans hands are not human art. So science and its machines does not produce human art. Please leave aside your western ideologies that worship machines, and consider machines abstract species. Technological art is not “a creation of the human mind”, but of a “metal-mind”. And the role of man in its creation will always be secondary to the role of the machine.
If in a painting, the canvas is the passive element, and the painter the active element, in a computer-designed art form, or a photography, the human mind plays the role of the passive “canvas” adapting his style to the properties of the machine. And the active creator is the machine, which imposes his language to the “craftsman”.
So we have to be much more exigent with technological crafts to consider them a form of human art. Only those forms of technological art focused in the human experience, that require a lot of human creativity (such as “art films”, or some photographic work by masters like Cartier or Capra), can be seriously consider a technological form of human art.
The other forms of technological crafts, specially those created with computers, or related to mere mathematical, and digital shapes, belong to the “lower arts”. We call them crafts because their human content is minimal. To disguise those obvious truths, the technological artist rhetorizes his work and markets it with arrogant statements to make-belief that he is the only artist, and the machine a mere extension of his mind, not a metal-mind with his own linguistic properties (the language is the message).
That anthropocentric concept of technological art, might be true, of art made with “primitive metal-minds” (classic film-making). Yet the arrival of computers and special effects gives predominance to the machine over the human manipulator. So today Hollywood films are made by computers, according to the computer and metal-eye properties that seek higher movement and hence violence, brutality with the human body, and distortion of human feelings with dramatic effects. They are genres imposed by the machine not by the artist.
Today the arrogance of the animetal artist grows as his role in the act of creation diminishes. So we can hear sentences, such as those of a well-known Asian video artist, that considers his last work of electronic distortions, his entering on “a sublime period, like the great French gothic cathedrals”. Or the sentences of a well-known computer mogul, that considers the 010011 crunching of his software programs, “a form of creative art, like anything the great masters have ever done”. Or the evil=anti-live sentences of the father of robotics, that says he wants to play god, and construct a species superior to the human mind…
In technological crafts as in market-art, rhetoric and the cult to the machine, takes over real human creativity. Animetals can occupy their creativity in whatever they want, specially when they pursuit money and fame, which are market-oriented concepts, but we cannot pretend to make Leonardos of Animetals, children of human thought, working with Basic, Adobe Photoshop, or a video-monitor… to the risk of loosing any perspective on the nature of our human mind, and the importance that human art has to develop the human soul, our sense of ethics and aesthetics, in freedom of thought.
A more detached view though is the higher perspective of the laws of the bio-ethic laws of the organic Universe, a level of comprehension I rarely bring to this web, as it might seem ‘too far out’ for those who ignore all about General Systems Sciences. Yet it is necessary to understand the perfect man to compare and put into perspective each of our souls and that of those we observe riding us with the 4 apocalypse horses (myths are always metaphors of higher truths which give a poetic perspective)…
So let us try… The Universe is a ‘System’ made of organisms of energy and information, from physical systems, made of an informative particle moved over a body/field of energy, to human beings, made of informative heads moved by energetic bodies, to societies ruled by a neuronal class in control of our languages of social power, (money and words, and its submissive energetic language of weapons which money and words always command), which direct a body mass of working middle classes…
This must be understood – the pantheist universe constructs its ultimate laws of science and all its sub-sets of beings, made to the image and likeness of the whole departing from that simple duality.
And so to survive it selects those entities with a more perfect ‘body’ of maximal energy, brain of maximal information and the system that maximizes both, Max. E x Max. I, which mathematically happens when E=I (so for a total of 10, 5×5=25 > 6×4=24>7×3=21, etc.)
Now departing from those laws of General Systems, applied to human beings, there is a potential perfect man, which maximizes those 3 survival functions:
– A man of maximal Bravery; Max. E, or mental energy to challenge the wrongs of life by applying its Intelligence (max. Information), to create an ethic and aesthetic balance (E=I), between truth (Max. Information) and Happiness (Max. strength) – yes, good people who help others have been proved by experiments to be happier, to emit more oxytocin, the drug of love and happiness).
This simple function: Max. E -> Max. I -> Max E=I, defines the survival species of reality creating a perfect world of maximal ethics and beauty, the canon of being human (which we observe in ‘classic forms’ of aesthetics and ethics, that is of art and literature, with balance between energy and form, or in the 2nd age of maturity of any entity).
Now this simple function is broken, because E=I, ethics and aesthetics of human origin have been SUBSTITUTED by the ethics and aesthetics of the machine that destroy our collective social, ethic mind.
Thus the function of bio-ethics, of a human civilization based in the values of man, which is explained all the ‘messages’ of all the prophets of history worth to mention is now gone. But that does not mean that the search for human beauty and ethics, the natural goal of our species is not truth. It is and it will always be. So there will always be as long as humans exist in the past, present and future among the highest minds those who seek to define and practice the conduct of the perfect man, guided by the survival balance and sense of justice of the Universe, represented in our species by human ethics and aesthetics, E=I:
For example in Plato is the ‘idea of man’, the ideal man which is our potential perfect man, of which each of us, is a mere shadow, reflection in the ‘cave’, parable of the Mind of God, the Logos, or rational laws of the Universe, of that perfect man. Socrates expressed it also with its life and dictum that ‘an intelligent man (max. I) can only be a good man (E=I)’
In non corrupted Abrahamic Religions, he is the prophet, the canon of which all of us must be a reflection, trying to achieve his perfection. This was better expressed in the great philosophers of the first age of christianity before ‘animetal cultures’ of gold and weapons degraded this religion, from Orestes to Saint Augustine, in its ‘citadel’. Here the function most cherished is E=I (Ethics).
It was expressed from Confucius (Jen Man) and Mo-Ti to Buddha in all the Eastern religions. And here as in Plato we find a close description of this Jen/Buddha man, in its 3 functions (the right fold path)
It will be again expressed by neo-platonic renaissance which stressed the 3rd final function of balance and beauty, as the Greek-Latins did (mens sana in corpore sanum).
It was NOT, expressed, contrary to belief in most prophets of the Jewish-Protestant culture, since the Old testament is hihgly polluted by selfish tribal memes of go(l)d and war; but Moses and other prophets of the Isaiah cycle brought us the closest image of it.
So we had to wait till the French-American R=evolution and all those who imitated those Founding Fathers of modern ethics (including the marxist r=evolutionary man).
And so the Ideal, Canonical, Rightful, R=evolutionary ‘Perfect’ man exists at least in the mind of the poets of love that use the ethics of the wor(l)d to guide and create by imitation and right action, a critical mass of perfect men.
On that view modern humans and their animetal, mechanical cultures must be qualified as the Imperfect men, hence once that will not survive, because the Universe is perfect and only selects those perfect species who are made to the image and likeness of its logos, that a few of those men we quoted understood, because they had in themselves the seeds of the perfect man.
But the Universe and its selective system is both deterministic (as there are rules and laws that define what survives in the future) but also probabilistic (as a perfect universe should even forgive those who are imperfect, yet allowing them also a minimal probability of existence; hence most men are born potentially perfect, good Rousseaunian savages).
We are in that ‘Sigma 2’ using again mathematical terms of the more complex level of equations of bio-history (that dream of Asimov, which I resolved two decades ago and have seen unfolding every time ever since).
That is, we are the tail of the imperfect man, a planet with no critical mass of ethics, inteligence and aesthetics.
I. NEO-PALEOLITHIC: 3RD AGE OF HUMIND
The overproduction of mass-media kills the mind of mankind, in the same manner the overproduction of robotic weapons kill our bodies. Yet as all phenomena related to ‘invisible information’ most people do not realize both processes are equally destructive. It is the violent neopaelolithic in which we live, the key to interpret the neofascist and neocolonial attitudes of our countries and the tv-hate parallel to the radio-hate phenomena of the last crisis. Thus in this section of the zeitgeist of the age we study the neo-fascist, neo-colonial and mentally degenerated tendencies of our age, the ‘neo-paleolithic’, when visual thought regresses man beyond the logic height of our age of verbal thought.
IN THE GRAPH, AS MACHINES EVOLVE THEIR MINDS, by the paradox of History,
Max. Technological Evolution = Min. Human Evolution, in the same manner weapons kill our bodies and energetic machines atrophy them, informative machines atrophy our mind and make us hate our neighbor, becoming neo-paleolithic, homo bacteria, with a simple visual, emotional mind and so we regress to a lower state of consciousness from the complex dual logic of this blog and even lower than the previous simple lineal logic of rational thought:
To introduce this theme, the age of neofascist art, you should first understand at least the basis of the cycles of art, as we are going to talk in this section of the 3rd cycle of audiovisual media, the age of hate speeches, ‘baroque films’, of evilwood and neofascism that we forecast 20 years ago in our exhibits on art ages at six flags brooklyn museum, Columbia u. etc.
Thus we copycat the articles on art ages for the ‘wider, historic view’ of biohistory and its cycles. YOu can consider as the fractal universe works that you will descend from the wider view – Art as the subconscious collective of mankind, and reflection of the mental ages of the superorganisms of history, into the lower view, American art, into it 3 ages, the epic, classic and baroque age, into an specific art, film, in its baroque age, evilwood.