While being set free, the basic need for self-expression activates and asserts a new artistic relationship to things. The inner meanings of objects are enigmatically recognized through the artist’s self-awareness, and both are manifested in the work together.
“Direction upon an external object therefore finds expression through a drive, and this drive emerges directly from the contradiction between the idealizing and the intuiting self, and is directly bent upon restoring the lost identity of the self.” – Friedrich Wilhelm Joseph Schelling
Supporting creativity, both man and nature keep their essential identity while experiencing the assimilation of the other. Functioning within the free play of imagination, beauty becomes much more than just a political instrument, but rather the entry portal into significant metaphysical inquiry. This includes but is not limited to questions of identity, universality, and the fundamental nature of reality.
“All these nonhuman things return to man a quality of the human mind which is concealed in them.” – Jacques Maritain
Certain ambient conditions stimulate a speculative unity of nature and spirit. Perpetual ocean dynamics, operative as a durational event, emphasizes intense emotion as a valid source of aesthetic experience. Being there places fresh emphasis on wonder, beauty and sublimity, with individual imagination the critical prerogative yielding freedom.
“There is no quality in this world that is not what it is merely by contrast. Nothing exists in itself.” – Herman Melville
The intellect operates far beyond concepts and logic when it exercises itself in vital connection with imagination. Yearning for liberation, I have managed to make the ninety-mile journey to the airport interesting and productive by transforming it into an art project. Born in a flash of intuitivity, each contingent configuration approachment summons another distinct creative moment.
“This new stage is reached not by some process antecedent to the act of attention, but by that act itself. Attention or awareness is a kind of activity different from mere feeling, and presupposing it.” – R. G. Collingwood
Necessity of somehow
Nature radiates with latent signs and virtual significance at that very moment when the earthly wanderer is influence by splendor. As Kant explicates, pleasure is felt in an emotional experience as the judgment of taste determines an object independent of concepts, with respect of delight in affirmed beauty.
“Conceptual knowledge, in its true form, which is the philosophical, is always realistic, aiming at establishing reality against unreality, or at reducing unreality by including it in reality as a subordinate moment of reality itself.” – Benedetto Croce
Mobile and incomplete
Once in consciousness, cognition can move towards transcendental idealism by virtue of Kantian imaginative free play. Kant’s notion of free play amongst cognitive powers is a harmony between imagination and understanding that is unrestricted by the concept of an object. Kant claims that the imagination, which operates functionally close to the emotions, animates the mind.
“Hence the state of the mind in this representation must be one of a feeling of the free play of the powers of representation in a given representation for a cognition in general.” – Immanuel Kant
Imagination can be part of the preconscious life of the intellect. Used to make known and express what is singular and conceptually inexpressible, preconceptual imagination fuels creative intuition. The use of images in creating artworks is an act of transforming images present to the preconscious intellect concretely to express deep spiritual experience.
“The images thus stirred are themselves in a state of fluidity–not organized but movable by every wind–and part of the preconscious life of the spirit.” – Jacques Maritain
Modern thinking introduced a ‘politics of beauty,’ after which beauty became not only subjective but also controversial. Contemporary fine art is expected to be politically motivated and decidedly non-aesthetic. With few exceptions, the presence of beauty today is deliberately and vigorously disparaged, with aesthetics and material concerns holding at best subordinate roles in fine art.
“Love of beauty is taste. The creation of beauty is art.” – Ralph Waldo Emerson
To analyze is to examine critically and realize essential elements by conceiving an object or event as a function of something other than itself. All analysis is accordingly a translation, a development into a conventional representation based on experience familiarity. Familiarity can hide the aspects of things that are most important.
“What is relative is the symbolic knowledge by pre-existing concepts, which proceeds from the fixed to the moving, and not the intuitive knowledge which installs itself in that which is moving and adopts the very life of things.” – Henri Bergson
The exacting and solitary road of discovery is the road to the unknown. Salvation in art comes only through creative intuition, the primary power of authentic renewal.
“Every thing is what it is, and not another thing.” – Joseph Butler