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MARSYAS/MYSELF
MYSELF Diptych, Detail
Below is a transcription of the handwritten text on the detail pictured above:
Art
Desire—Creativity—Release
"To embrace absence. To cradle and enfold the freedom and purity of immolation. To distill all need into the heavy metal of desire. To need no allies. To know that there are no allies. To know. To find sustenance in the ashes. To set corms into the ashes and bring forth all that which is no longer there. This is not despair. From this place springs the emptying of self after the purging of ambition. From this place springs Art. I have pitched my tent in this verdant wasteland of contradiction and set no value on any other place. From this vast horizontal, only the horizon defines me. A speck of desire on a polished orb. I hold in amputated hands the future of the future and have dedicated my life to the poverty of self-awareness. I am not afraid. I want nothing. I have no regrets. Let me speak for Art. Let me speak as Art. Am I not qualified? I have destroyed the audience and created silence. For myself, I have created the silence. Silence, then, will be my audience. As Art creates silence, Art speaks for silence. I speak for myself. Am I not qualified? I speak to the silence. Listen. I have established the eternal present. It is on this scale are all illusions weighed. I judge nothing. I am the shifting paradox of possibility. Nothing more. I am now. Nothing more...but there is a caveat: I am of human invention. Like nature, I am. Like rocks and rivers and the passing of days, I am. I exist when perceived. I impose my existence when engaged. Through perception, I confound the conception of time. Through engagement, I re-create myself within the living Now. I am more ancient than the caves of Lascaux and when perceived, I confront human consciousness with the power of Isness. I have no past. Like nature, I am. But within the caveat of human invention, I am born of desire. Though I am the most enduring of human enterprise, my purpose is unclear. Let me speak to this. Some would claim that I exist to illustrate the passage of time thus supporting the invention of history. But history has to do with memory and the cataloguing of events, a neatly arranged rationale of cause and affect, one influence on another through linear time. But this is not my purpose. Because I exist, like nature, in the eternal now, I belie such definition. To impose such limitations on my purpose is to confine me to the cage of intellect. If one accepts this definition, it is he who lives inside the cage, not I, though I concede a certain compassion for this usage as it enables the blind a kind of vision. But I am made of fiercer stuff. Compassion is not my purpose. My purpose is to destroy illusion. Linearity is my enemy and because I exist always in the now, to impose linearity upon me is to pervert my purpose. I am created when perceived. Being born of desire, I mirror the desire of the perceiver. Together we confirm the eternal now. There is no history, only the encapsulated instant of recognition. Only the birth of silence. Only the transforming re-creation of the creator. A duet and a paen to the purging light. I am the by-product of the creator’s desire to create himself. Having himself been created through the purging light of re-creation, his pursuit of the light causes my potential for creation. How simple it seems. What obvious and unquestionable truth. As light feeds the eye and sound the ear, odor the nose, friction the touch and taste the tongue, the now is created and sustained. So, too, is Art. Because I am created by the perceiver, my creation is sporadic and serendipitous. I am of the moment. I am in the now. As long as my materiality exists, my potential for conversion exists, from noun to verb, objectivity to response. Artifact to Art. Those who would force me into linearity turn actions into events and anchor my identity within the reflective mirror of history. They fear me. They fear what they cannot see. They fear what they cannot feel. They fear what they cannot control. They fear chaos. But I, too, have a protocol. Because it alters and redefines their position does not preclude their viability. It simply means that they serve me rather than I them. This is not chaos. It requires only the acceptance of a more humble role. Simply put, the protocol for my Isness is thus: The artist creates himself. The culture-maker creates metaphor. And the perceiver creates Art. Obviously, the recognition of this shift in roles requires an almost total restructuring of the cultural gestalt. I flourish and propagate within the eternal feminine. Masculine entelechy is a hostile and barren landscape. It would nullify my purpose. In this arid desert of the intellect, my sensuality is veiled in sand. I am contained and controlled, bourkhaed in masculine fear. To restrict and confine my purpose to the identity of the artist is to re-enforce linearity, history, knowledge, and illusion. For the one who makes me, I am but a by-product of self-creation. Hermaphroditically conceived within the artifacts of desire, I exist solely for the purpose of connection. He who makes me is not she who creates me. Art is conceived within the womb of perception. I exist when I am created without prejudice, cultural correctness, or linear logic. As for taste, good and bad have nothing to do with my inception. Moral judgment serves group identity. These strictures cannot constrain my birthright. I exist where I am perceived. There is no such thing as good or bad art; there is only Art and I am created by the perceiver. All else is artifact. Whenever and wherever I am perceived, Art exists. The fusion that occurs between making and creating forces my becoming and reinforces the eternal now. This fusion is the peak of human experience: Being without metaphor, simile, or trope. As with physical orgasm, the orgasm of aesthetic response is not filtered through the intellect. The experience defines itself through a tautology of sensation. How would one define an orgasm? It simply is. Though procreation is its purpose, procreation is not its definition. This is true also of aesthetic orgasm. Though cultural enhancement is its practicality, the sensation of response is indefinable. Orgasm is the ultimate reality. It is wordless and transcends all boundaries. Its communication is total, a connection so intense that ones existence is confirmed. Some speak of me in terms of spirit; the response I invoke, a religious catharsis. I think not. Religiosity distorts my purpose, and spirit separates me from my totality. Appreciation is another facet of response, as is beauty, as is seduction. I am a gestalt of many metaphors. No one characteristic defines me. I am defined by the indefinable. Totality. When I occur, when Art occurs, it is with the violence of disconnection and the sublimity of connection. In the moment of my creation, the armor of the intellect is pierced with the turgescent light of recognition and my creator is filled with my maker’s desire for self-creation. Because I am a gestalt of many metaphors, by examination and deletion, metaphor by metaphor, I shall define my purpose. Through distillation, I might define my purpose. Because I am all of these and no one of these, my totality is indefinable, unexplainable. My outline can be etched by describing what I am in part and through deconstruction that which presses out may be released. In the orgasm of my inception, the perceiver is disconnected from the linear masculine and enveloped within the spherical feminine. This episode, this moment, this lifetime is my birth. Art is realized within the bourn of the creator. The variables of causation for orgasmic perception are infinite, chaotic, and serendipitous. Like the artifacts that induce the sensation, connection occurs when connection occurs, without judgment or foreplay. Two basics exist for my creation: attraction and seduction...Art can happen to anyone with any artifact at any time. There is no such thing as good or bad Art; there is, however, such a thing as profound or mediocre orgasm. Only the perceiver can distinguish the experience. Whether the orgasm is sexual or aesthetic, it occurs within the bourn. It belongs to the perceiver and no other. It lies beyond the reach and control of the culture-maker’s protocol of intimidation. Culture is my enemy. For it to exist, it must defeat my purpose. For a culture to exist, it must establish its identity on the necklace of linear time. This beaded processing of artifacts and events called history would place one of myriad metaphors above all others as my defining gestalt. That art as evidence defines me is a perversion of my purpose. It would use me as decoration rather than the defining force of human Isness. It is my entirety that defines my purpose and that entirety is revealed with the bourn of the perceiver. That Art is a reflection of its time is as much a truism as Art History is an oxymoron. This propagandizing of a single metaphor as my defining purpose is the ultimate confusion of artifact with Art. Most of my metaphors tie me to concepts of culture and group identities. Two do not. That Art is beauty and that Art is truth may pit the perceiver against the active and pervasive cultural metaphor of the perceiver’s time and require a degree of courage and a desire for self-creation through the orgasm of response with its residual euphoric sense of enlightenment. I have brought perceivers to their knees and tears to their eyes. I have no peer in terms of emotional power and epiphanic response. My ability to split the individual from the numbing complacency of the group can be cataclysmic. My potential to induce the insurrection of solitude is extreme. Of all my metaphors, Art is beauty and Art is truth are linked in controversy. They tend to provoke heated and emotional intellectual criticisms and commentaries on idealism, romanticism, ignorance, taste, sophistication, naivete, sophism, empiricism, fascism, egalitarianism, aesthetics, history, historicism, elitism, and on and on and on. These two metaphors are the intellectual battlefield on which the war between culture and Art is fought. It is a conflict that cannot, will not, and must not be resolved, for it is through this conflict that humankind’s evolution transpires: individual enlightenment vs. cultural control, freedom vs. repression, individual courage vs. group fear. Life vs. death. Art is entertainment is the metaphor whose dominance most contorts and ridicules my purpose. It perverts human endeavor and diverts the search for being. It requires audience, gratification, and applause thus embedding my determination in linear time. It is a crippling, procrustean enabler of social control. This metaphor, with its sibling, Art is money, reduces my significance within the cultural gestalt to product, and my maker, a comedian on the stage of trivialities. These metaphors breed nihility without the blandishments of hope. Their fertility is cancerous eating away the potential for joy and replacing it with the immediacy of amusement. And though pleasure is often a part of me, it is subsidiary to my purpose. Culture is my enemy because it selects a single metaphor from my pantheon of metaphors to define my significance within its gestalted singularity in linear time. It manipulates me to control individual response and maintain the status quo. That Art is entertainment and that Art is money are metaphors of a fearful culture, stagnant and repressive, hostile to excellence. These metaphors, if taken as my primary distinction, condemn my artifacts to flaccid mediocrity. This is not a judgment against the majority; rather, it is a complaint for the minority which seeks neither to be entertained nor to buy and sell art. Their desire leads toward challenge rather than pacification and materialism. They are forced to seek me outside the paradigm of the culture of entertainment. This most self-creating segment of culture is driven into the linear past to create the eternal now. Branded as elitists, these futurists secure my furtherance. The most avid culture-makers force the artifacts of first appearance as their definitions of my being. Newness, however, does not define me; it reflects, rather, their own ambitions. Art is created by the perceiver regardless of cultural imperative. The culture-maker has no purchase in this transaction. Nor does history. The shoulds and shouldn’ts of cultural propriety are the shoulds and shouldn’ts of cultural identity. Exactly that. To be culturally correct has to do with the ordering of the group, not with the creation of Art. The perceiver may or may not create Art from the acceptable artifacts of the culture. If the perceiver cannot, Art will be created outside of that culture’s prerogatives. I exist when and where I am created. No authority can prejudice my becoming. My essence is amoral. Because aesthetic orgasm is my purpose, I do not qualify the means of attainment whether by attraction and consent or rape. Seduction or surprise, my inception is irrepressible. I occur within the being of the perceiver and my only recordation lies within the perceiver’s bourn. My only history is aesthetic memory. Cultural and artifactual history lie within the purview of the intellect. Further deconstruction of my gestalt would be the metaphor Art is communication: what the perceiver reads into me, what he is told to read into me, and what is discussed about me. It is through communication that the hierarchy of the culture is established, promoted and maintained. Constructed on military, traditionally proven protocols of control, words used like cattle-prods direct and channel large segments of the cognoscenti into an oligarchy of historical distinction. This oligarchy is dependent on an elite group of culture-makers which has jockeyed itself into positions of authority through education, political wisdom, and brilliance of intellect, qualities which have nothing whatever to do with my creation. How tribal the human condition! How masculine the fierce competition for advancement and retainment of control, rank, and command. The ordering of culture is controlled from the top down. With military pragmatism, the ordering of culture-making proceeds from the upper ranks of the culturally elite and descends through the various levels of worth, wealth and sycophantism. Through response, curiosity, education, intimidation, and imposition, culture-makers initiate, propagate and maintain cultural correctness through the various structures of communication. The artists of any culture are not necessarily culture-makers; all induce aesthetic orgasm and thus the creation of Art. Through communication, culture-makers create history. Through silence, perceivers create Art. Happily, for the evolving human condition, we are not mutually exclusive. As cultures invent and record the repetitions of linear time through the alphabets of history, I await discovery by the perceiver within the artifacts of silence. Words do not enhance my perception. Alphabets of communication obscure my purpose, bits and pieces, shards of descriptive analyses opaque my seduction. Aesthetic orgasm does not occur within the mind; it occurs unexpected and unexplained within the fertile bourn of the perceiver. My inception can be neither induced nor denied by instruction or imperative. Acculturation is my enemy. It muddies and opaques my transparency of purpose. Noise. Business. Confusion. I am recorded within the wisdom of myth rather than the knowledge of history. Transformed by the tongues of silence into the nodding recognition of self, I await my perceivers. I am discovered where I am found. Without qualification or judgment, I mark their journeys. As history records the alphabet of repeat, Myth affords the epiphanies of evolvement. Myths are connections within the eternal now for the self’s process of becoming. They transport my significance. My most expedient and perplexing metaphor is: Art is what artists make. This truism absolves the culture-maker from the advancement of aestheticism to the promotion of artists. Celebrity becomes product and its creation becomes culture. On the beaded necklace of linear time, this metaphor is of little moment. Its artifacts are created and sustained by contrivance: Culture-makers create culture-makers who create history. The perceiver, the artist who creates me, re-creates my maker in the eternal now. Through this creation-re-creation, one sees what the other seeks. This is my purpose. This is Art.
Subsequent to the completion of STUDIO SECTION 2002-2005, Marsyas/Myself, the artist created another studio section, STUDIO SECTION 2005-2007, The Seven Deadly Sins and Three Diptychs from The Winter Notebooks. On Pages 7 and 8 of The Winter Notebooks he reprised MARSYAS/MYSELF in retrospect visual and verbal consideration and wrote the following excerpt about it:
"Marsyas/Myself was completed in 2005 and entered into the permanent collection of the Crocker Art Museum in November of that same year. My three year involvement with this studio section was epiphanic and liberating, the separation nearly complete. However, the song of the artist, the skin of Marsyas, hangs heavy and will not be silenced. It lingers still, as Myself lingers still, and will not be silenced. As long as artists create artifacts and as long as viewers persist in creating Art from these artifacts, the myth of Marsyas is the truth of the artist; his life, his pain, his ecstasy, and his fate. By subjection of myself as a particular artist in equation with the corpus of Marsyas, an attempt was made to recast the drama of art into an anti-fascisttic and non-authoritarian process; a complete reassignment of roles wherein the viewer becomes the sole creator of Art and all else is cultural rhetoric. It was also an attempt by this artist at total honesty. As we know virtually nothing about Marsyas, it was my intention to reveal everything about Myself even to the extent of confessional boredom. All information has been made available to the viewer. Setting the plight of Marsyas in his challenge of Apollo within the context of a contemporary sculptor’s studio establishes the parallel of the cautionary myth with all artists who would gamble their lives on a rigged contest. There is no drama greater than the artist’s struggle with his own mortality. The transmutation of mortal desire into material artifact into immortal response is the distinguishing principal of humanity and it is the artist who personifies this principal in its sublime purity. No challenge is greater, no reality more intense. Marsyas is the artist’s myth and it is to this myth all artists conform…."
STUDIO SECTION 2002-2005, Marsyas/Myself is a multi-part installation work that requires a space approximately 40' x 40' for exhibition in its entirety. It consists of free-standing sculptures, and large panels hanging on the walls and a combination of these and evenly divided into two metaphorical dimensions: "Marsyas" and "Myself."
Collection:
Crocker Art Museum
Sacramento, California
Graduate students display their research at the Graduate Research and Creativity Showcase. November 9, 2017
Putting together colours we'd chosen. I had inadvertently recreated Paul Klee's "Prizewinning Apple" painting
Crystal Evening Moscow
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EVENTS
Per Fractal's request...here is where I flickr from. I also eat, do my nails, work on jewelry, and annoy my animals from here as well...that accounts for some of the mess ;) Hey, creativity breeds clutter, right? ;)
Audience member asks a question at the USC Creativity & Collaboration in the Academy conference December 3, 2010. The conference was hosted by the USC Vice President of Research, Randy Hall, and Marty Kaplan and Johanna Blakley from the USC Annenberg Norman Lear Center. Find out more about the event at learcenter.org.
Today I finished a pair of kimono room shoes. I took some photos of the process.
Pattern by sewingwithme5 (Ithinksew.com)
Audience looks on at the USC Creativity & Collaboration in the Academy conference December 3, 2010. The conference was hosted by the USC Vice President of Research, Randy Hall, and Marty Kaplan and Johanna Blakley from the USC Annenberg Norman Lear Center. Find out more about the event at learcenter.org.
An audience member asks a question as part of the USC Creativity & Collaboration in the Academy conference December 3, 2010. The conference was hosted by the USC Vice President of Research, Randy Hall, and Marty Kaplan and Johanna Blakley from the USC Annenberg Norman Lear Center. Find out more about the event at learcenter.org.
Last fall, a friend of mine did a special scrapbook and she had to come up with words or ideas to describe herself for each letter of the alphabet. Since it's always good to exercise your creative side, I thought it would be great to do it here on the blog.
Join me over at Chiot's Run chiotsrun.com/2011/08/01/the-alphabet-in-august/
Join the Alphabet in August Flickr Photo Group
Presentation at the USC Creativity & Collaboration in the Academy conference December 3, 2010. The conference was hosted by the USC Vice President of Research, Randy Hall, and Marty Kaplan and Johanna Blakley from the USC Annenberg Norman Lear Center. Find out more about the event at learcenter.org.
ha! a real bargain, for little money 160 plus buttons, hand-and-heart selected... :)
how childish? happiness for playful souls!
I enjoy presenting myself as a creative human being; a transvestite in a creative town surrounded by artwork
Special thanks to Alan Lam,
Fashion Artist: Lui Sung Yan
Canon 5DMarkII 1/160sec F8 ISO200
Lens: Canon EF 35mm f/1.4 USM L
Flash Light: from the right
Reflector : Nil
White Balance:AWB
Lightroom 3 touched up
Anche quest'anno, a fine maggio Como ha ospitato nelle sue piazze i lavori creativi degli studenti di Como. Il tema di quest'anno era: "I Colori". Ed anche se la mia scuola non ha partecipato, la creatività cromatica e la voglia di stare insieme non sono di certo mancate!
Creativity + Conflict Resolution: A Leadership Development Workshop with Guila Clara Kessous. At the Boston University Castle. Thursday, April 28, 2016.
An interviewed Portrait I did with the ever so lovely Aisha A.K.A Miss Betty-Sue.
Read more here: (In Dutch) www.twentwatchers.nl/people/2016/03/30/aisha-reehuis-bett...
I'think photography is one of the most creative and at the same time passive type of art. What is the most important thing in art? Create! Create something Original, something new, something never seen before. But for photography is more difficult than every other type of art, because it's only a reproduction of something that already exists. Where is art in photografy? It's in the Photographer! Art in photography is located in the sensibility of the Photografer, who after a long improvment of the camera, is able to take fast-Photo at everything that catch his or her attention, giving the color tridimensionality that he/she wants, and producing the volumetric effect that desiders.
I take this photo in a moment in which I've never seen a man photoed before, so I make it thinking making something new,something extrimely realistic and easy,and why not selfironic.
Special thanks to Alan Lam,
Fashion Artist: Lui Sung Yan
Canon 5DMarkII 1/160sec F6.3 ISO200
Lens: Canon EF 35mm f/1.4 USM L
Flash Light: from the right
Reflector : from the left
White Balance:AWB
Lightroom 3 touched up
.Fotos CRISTIANO BORGES @cristianoborgesphoto Fixo: (62) 3536-3392
Celular: (62) 9682-8281
E-mail: cristianoborgesgyn@gmail.com
fotonoticiagyn@yahoo.com.br
WWW.CRISTIANOBORGESCOM.BR Ousadia e criatividade são as qualidades mais notórias deste fotojornalista. Premiado ao longo de seus 20 anos de experiência profissional, ganhou prêmios como duas edições do Prêmio New Holland de fotojornalismo, menção honrosa do Wladmir Herzog, Top Etanol Nacional de Fotojornalismo e Prêmio Celg de Artes Visuaise outros . www.facebook.com/CRISTIANOBORGESFOTOGRAFIA
Por causa de sua visão única, já contribuiu com as mais importantes agências de fotografia do Brasil e do mundo, como a Agência Estado e Folha de São Paulo, Reuters e Associated Press (AP), com fotos publicadas em veículos como Época, Globo Rural e Los Angeles Times.
Boldness and creativity are the most notable qualities of this photojournalist. Awarded throughout his 16 years of professional experience, he has won awards like two editions of the New Holland prize for photojournalism, honorable mention of the Wladmir Herzog, Top Ethanol Photojournalism Award and Celg for Visual Arts
Location: Washington D.C
Camera: Canon 550D
Lens: EF-S 18-55mm f/3.5
Photographer: Chanvannak Chhim
Date: 08-Jul-10