for thinking people
February 7, 2022
This post continues – after quite some time – the “Authors Talk” series. You can think of it as an author interview and, indeed, that is the name of the blog category. However, I prefer to see it as a friendly chat between fellow authors. Today I’m having this virtual discussion with David Maxwell, author of The Drift. A list of useful links to David’s work can be found at the end of this post.
January 10, 2022
The beauty of art – true art, where you simply don’t care about marketing, audience reception (or even intended audience), and the like – is that the artist can reach realms of unimaginable freedom. My Medēn art project is such an artistic work. It’s still in progress, and it will never finish – a project such as Medēn can never finish.
But that’s not the only peculiarity about it, as you’ll soon discover.
Part of true, liberated art, is that the artist can choose what to share, when, and in which shape. Should art be free? Should it be sense-making? Maybe true meaning is only sense-making when it doesn’t make immediate sense.
In any case, I’ve decided it’s time to turn on the faucet, allowing some colorful water to trickle down the canvas.
Stream-of-consciousness? Conceptual fusion? Perhaps no more (or less) than an experiment. Medēn is here and now, and yet it’s always been. Medēn is what it is, ultimately; we all are.
November 1, 2021
Today’s post – “The Industrialization of the Arts: Meaning in a Capitalist Framework” – is authored by Igor da Silva Livramento. He’s a fellow academic from UFSC, fellow author, fellow creative-writing advisor, and overall a great fellow. He’s also a composer, music theorist, and producer. Check out his papers on Academia.edu, his music on Bandcamp, and his personal musings on his blog – in Portuguese, Spanish/Castilian, and English. You can also find him on LinkedIn.
The lack of exploration of style, and the absence of style development strikes me as a trait of the industrialization of the arts. The artist no longer has to make poetry, no longer has to open up worlds to be experienced in all their familiarity or strangeness; now the artist must only provoke intense subjective experiences one after another.
It is an impoverishment of art to the level of killing it and reducing it to the same criteria as plain entertainment. I call it the aestheticization of life. The whole life has been made the object of aesthetics.
