From the Abecedary. D for desire.



Max Cole Interview

KDJ:  You have mentioned your works as a search for essence. What is this essence? How does your understanding of essence relate to time, space, or existence? Have you noticed any difference or changes in your search for and understanding of essence over the years?

MC: Essence is the transcendent quality of life and it is the ultimate mystery. Glimpses of it exist when a painting lives and it is the quality that I have spent my life continually searching for. I don't believe that it is necessary to understand or quantify it. The search is enough.

Tolstoy, What is Art

Very clear, written from a masculine, socialist perspective.
Quite upright, with some good points.

"Art is not, as the metaphysicians say, the manifestation of some mysterious Idea of beauty, or God; it is not, as the æsthetical physiologists say, a game in which man lets off his excess of stored-up energy; it is not the expression of man's emotions by external signs; it is not the production of pleasing objects; and, above all, it is not pleasure; but it is a means of union among (hu)men :P, joining them together in the same feelings, and indispensable for the life and progress toward well-being of individuals and of humanity." -pg. 388

 "Evidently the Greek sages began to draw near to that perception of goodness which is expressed in Buddhism and in Christianity, and they got entangled in defining the relation between goodness and beauty. Plato's reasonings about beauty and goodness are full of contradictions. And it was just this confusion of ideas that those Europeans of a later age, who had lost all faith, tried to elevate into a law. They tried to prove that this union of beauty and goodness is inherent in the very essence of things; that beauty and goodness must coincide; and that the word and conception καλο-κἀγαθία (which had a meaning for Greeks, but has none at all for Christians) represents the highest ideal of humanity. On this misunderstanding the new science of æsthetics was
[398] built up. And, to justify its existence, the teachings of the ancients on art were so twisted as to make it appear that this invented science of æsthetics had existed among the Greeks." - pg. 398

Æsthetic theories arose about one hundred and fifty years ago among the wealthy classes of the Christian European world, and arose simultaneously among different nations,—German, Italian, Dutch, French, and English. The founder and organizer of it, who gave it a scientific, theoretic form, was Baumgarten.
With a characteristically German, external exactitude, pedantry, and symmetry, he devised and expounded this extraordinary theory. And, notwithstanding its obvious insolidity, nobody else's theory so pleased the cultured crowd, or was accepted so readily and with such an absence of criticism. It so suited the people of the upper classes, that to this day, notwithstanding its entirely fantastic character and the arbitrary nature of its assertions, it is repeated by learned and unlearned as though it were something indubitable and self-evident." - pg 400
"And the consequence of this absence of true art showed itself, inevitably, in the corruption of that class which nourished itself on the false art. All the confused, unintelligible theories of art, all the false and contradictory judgments on art, and particularly the self-confident stagnation of our art in its false path, all arise from the assertion, which has come into common use and is accepted as an unquestioned truth, but is yet amazingly and palpably false, the assertion, namely, that the art of our upper classes[100] is the whole of art, the true, the only, the universal art. And although this assertion (which is precisely similar to the assertion made by religious people of the various Churches who consider that theirs is the only true religion) is quite arbitrary
[403]and obviously unjust, yet it is calmly repeated by all the people of our circle with full faith in its infallibility.
The art we have is the whole of art, the real, the only art, and yet two-thirds of the human race (all the peoples of Asia and Africa) live and die knowing nothing of this sole and supreme art. And even in our Christian society hardly one per cent of the people make use of this art which we speak of as being thewhole of art; the remaining ninety-nine per cent live and die, generation after generation, crushed by toil, and never tasting this art, which, moreover, is of such a nature that, if they could get it, they would not understand anything of it. We, according to the current æsthetic theory, acknowledge art as one of the highest manifestations of the Idea, God, Beauty, or as the highest spiritual enjoyment; furthermore, we hold that all people have equal rights, if not to material, at any rate to spiritual well-being; and yet ninety-nine per cent of our European population live and die, generation after generation, crushed by toil, much of which toil is necessary for the production of our art which they never use, and we, nevertheless, calmly assert that the art which we produce is the real, true, only art—all of art!" - pg 403

"Moreover, it cannot be said that the majority of people lack the taste to esteem the highest works of art. The majority always have understood, and still understand, what we also recognize as being the very best art: the epic of Genesis, the gospel parables, folk-legends, fairy-tales, and folk-songs, are understood by all. How can it be that the majority has suddenly lost its capacity to understand what is high in our art?" -433

"But an artistic impression, i.e. infection, is only received when an author has, in the manner peculiar to himself, experienced the feeling which he transmits, and not when he passes on another man's feeling previously transmitted to him. " -438

FUCK YEAH, BAUDELAIRE (the perverse cloud speaks)

I must note that unintelligibility has its merits...
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