Having come through the Humanities of the 90s I have spent a great deal of my time caught in the complexity of Theory: from Faucault to Freud, from Nietzsche to Kierkegaard, from Socrates to Social Darwinism, from Keynesian Economics to Milton Friedman's Economic rationalism, and from the Italian Renaissance Neo Platonism to Post Colonial Surrealism, and so on. Like Narcissus, I have been trapped at the waters edge of Theory gazing into the lines and crevices, to see a picture of the landscape of the human mind and history, unable to pull away from the beautiful puzzle. Narcissus, it should be remembered, starved to death and there in lies the reason for the stories endurance - it is a warning.
Philosophy is intergal to the life of human society whether we aware of it or not. They are the visions in which we live. The theories of the 20th century have extended the ability to scrutinize ourselves, our past, our modes of thinking and to see the stratus of convention that make up a civilization. Analysis though does not alter the conditions of society nor do they quell the individual's internal needs and feelings. As was written above the Temple at Delphi, to
Know Thyself means not only to recognize the relative state of things but to understand ones position within the current state and the value you bring to that position. These are the most difficult for the journeyman on the path of knowledge because the answers will come only from crossing outside of theory into the path of power and responsibility (to cross from the University to the Senate as it were). These are the parts that contain the truth as it is to oneself - Narcissus must turn away from his refection to regain his body and his face so that he might live.
Theory's trap is to keep one in a state of reflection - to see the myriad of choices, but to stun the motivation to choose. This is a normal function, that is what rational thinking is for, it acts as a pause - a look before you leap. Unfortunately, once the enormous scope of choice and consideration is opened up to the mind, resolve is paused almost indefinitely as one's mind filters through every possibility for the "correct answer" to guide action. The correct answer will never come as reality in this sense is infinitely relative. But we are not only rational, and this should not be forgotten. Of equal importance are the other three Zoas; who are passion, sensation and instinct. They each play a living part in our lives and
will us to act with or without reason. Truth as it is to oneself is found here. It is only via the expressions of true feeling in ones actions that one can really
live in the world. In effect, it is to choose and to act bravely upon those choices - be them flawed or no.
If theory gives us anything it gives us the knowledge that in the world, vision competes with vision and the vision that holds influence is the one we give into. Civic duty is the participation in creating and supporting one's vision of the world, to advocate among your peers and in the everyday interaction. As human beings we are filled with visions many of them poor sketches of the brilliant bowls of human existence, we need not let them overpower us. Knowledge's gift is to bring colour, clarity and contour to vision to paint it in rich hues that enliven the spirit. Artists need not be philosophers, nor need they create art that is merely the mirror reflecting theory's face. They can feel free to create there own visions and we, the audience, may feel free to be convinced or to object. Let only that we stand proud and respect ourselves enough to speak our minds.
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This post has been written in response to Larry Buttrose's essay "Reality's Triumph Over the Relative" from
The Sydney Morning Herald September 16-17 2006 (not able to be linked) and to the post by Adam
"Back to Reality, Again" from the University of Sydney's Thinking Culture blog. This is a slice of my thoughts as they are when considering the nature of Theory and the Arts. A small slice.
The two images are by Hundertwasser (one of my favourite artists). The first is
Landscape with Violet Sun, Paris, 1956, mixed media, 51 x 25 cm. The second is
Irinaland Over the Balkans, Rome, November 1969, mixed media, 36.5 x 51 cm. (forgive the book spine image) These pictures are from the book
Hundertwasser.
Tags:
art, theory, philosophy, vision, narcissus, Zoas, WindBag and Thunder, Florence Forrest, artist, storyteller
But there is also a more personal side to this story. I have dedicated these toys to my grandfather, Archibald Walmsley. When my sister and I were younger we spent all of our holidays with my mother's parents. Poppy had a special friend, his dark blue budgerigar whom he called Pimmie. I remember his care and thoughtfulness for Pimmie; how he would take us into the garden and show us the thistle leaves to pick and just how to wedge then into the cage so Pimmie could eat them without them falling out of the cage. Later I had my own blue budgerigar call Bluey and that tender care was passed on to me. When considering the name for these toys I remembered dear Pimmie; and so Pimmie Parrots were born.
I've been so busy making toys for the State Library of Queensland these last 7 months that I've hardly had time for anything else! But I've managed to squeeze a few hours of designing in from time to time, and as usual continue my obscure studies.
I have a fascination with folkart, perhaps because the best of it contains just enough perfection and just enough humanity.
In 1997 I decided to read the Dante's The Divine Comedy . I studied it with three different versions of the translation: one was poetic, another a simple translation and the third had huge discussion and annotated sections. Was this part of some course I was studying? No, as usual I had taken it upon myself to study something other than what I was supposed to be working on. While working on it I thought it would be a good idea if I could recite some by heart. The first Canto of The Inferno was committed to memory via the method of pacing back and forth in my tiny "Ivory Tower" aka bedsit reciting aloud until I had it word perfect. If the people in the opposite tower where to have looked in and saw my pacing they would have thought I had a good reason to be living in government housing (albeit a very pleasant Canberra one with views of the War Memorial Dome and Captain Cook's Fountain in the distance over the leafy trees.)
Its Ekka time in Brisbane. In August the wind swings 'round to the west and the country comes to town for the Royal Queensland Show - known colloquially as The Ekka, short for The Exhibition. Begun in 1876, the Ekka showcases local and state agriculture, pastoral farming and industry and also performed an important social role in bringing together the city folk with their country cousins. The fabulous pineapple trophy pictured above from c1910 is an example of the Ekka glory days. To read more about the history of the Ekka, the Queensland Government has some great articles and historical pictures, here.
Today, there's still plenty of country action: wood chopping, a seemingly endless array of cows, bulls and chickens and plenty of Blundstones and Akubras milling around....
But we weren't the only strange people getting about The Ekka. The first display we encountered on entering was a street art troupe. I couldn't work these guys out for the longest time; but the kids seemed to love them, laughing and giggling in the most over the top way. There was no explaining it...but then I remembered all the lollies and dagwood dogs they were munching on and it all began to make sense. I made a mental note for future exploitation that street art is improved with the right consumables.....
I did take a few photos of cows but I thought this one was the best, particularly as it managed to find itself in such a precarious position!
Finally, we thought it was time to check out The Alley! - Sideshow Alley, that is. Here's were the camera got a good work out as The Accordion and I compared shots. This suited my budget perfectly, all the fun of the ride but none of the hip pocket pain. I walked away with their souls and nobody thought to ask for payment..hahhahahahhhhaaa.
This weekend I had the privilege to see many of the puppet stop animation work of Kihachiro Kawamoto as a part of the Brisbane International Film Festival. The highlight for me was undoubtedly his recent master piece "The Book of the Dead" based on the story by the noted Japanese folklorist Shinobu Orikuchi (1887-1953) set in the Nara period around the 8th century Japan. Midnight Eye has a good interview with him about the film, click here.
Here are few shadow figures for you to try - you might like to use them as your next party piece. This is a mid 19th century print of a set of 16 shadow figures by Hiroshige II. I can make out what each figure is except the last one in the lower right hand corner. 
Last Sunday, in my village Sandgate, was the annual EIN BUM PIN festival. Ein Bum Pin comes from the local aboriginal word for lagoon. Sandgate is located around two lagoons just back from the edge of Moreton Bay. The smaller of the two is in the centre of the village. The lagoon brings the village together. Everyone that lives here is proud of our help each other attitude. You'll often here the phrase, "I like to keep it in the village." In other words, to do business with locals.
