Post-Capsule Roundup

OK, as I mentioned in my most recent post about Capsule, it was hard to find time to blog during the build. But that does not mean that things were not happening... things that I wanted to write about.

This post will be a wide-ranging catch-all for all that 'other stuff' that was going on during the Capsule build.

First I'd like to discuss the 673-page book that I'm trying to get through, Sexual Personae by Camille Paglia. You may have heard of it; it's a famous book that caused a bit of a stir in the early 1990's when it was finally published after 9 years of rejections.

The web is full of synopses and summaries of this book (one of which is easily found at the link above) so I'm not going to bother with too much of that. It will suffice for this discussion to say that it's an exhaustive history of Western art in which Paglia makes the case that history's greatest art comes out of the tension and conflict between the Dionysian impulse (which is nature, disorder, liquid, and female) and the Apollonian impulse (which is rigid, linear, ordered, and male). Furthermore, the parade of art history's greatest hits always manifests as one of a number of 'sexual personae,' or characters which are defined by their sexuality, their relationship to the other gender, or their relationship to the concept of 'gender' itself. She also makes the claim that most great art, and indeed western civilization itself, was created almost entirely by men, motivated by their never-ending Apollonian drive to escape the engulfing power of the Dionysian female, symbolized by the mother and the vagina... a claim which won her the enmity of a generation of feminists.

It is gratifying and downright exciting to read a book which aligns with many of your own basic opinions but goes much further. Like me, Paglia apparently regards abstract art as irrelevant; it's not even mentioned. Her focus on the Apollonian and Dionysian is something I discussed, by way of Nietzsche, in an earlier blog post, but she goes further and deeper. The female character that I find endlessly compelling in art, the strong and focused type that I have identified with Wonder Woman, is discussed at length. And her expressed intent of exposing the eroticism latent in great art is something I both agree with and applaud.

But Jesus, it's a challenging book to read. Her writing style is difficult and dense, sometimes to the point of impenetrability. Every sentence is laden with references, sometimes to points she's previously made but other times to cultural touchstones which I occasionally have to look up. If I'm tired, I can't read the book at all because I don't understand what the hell she is saying. Most of the time the passage in question makes sense when I approach it again, well rested, but not always. Sometimes I listen to a section of the audio-book version but that is never enough; I must also then read that section in the book. I routinely read entire sections twice: the first time is to get the sense of it and the second time is to underline the important parts. I was so tired of trying to find good pencils for underlining that I just made a pencil holder on the spine of the book.

As a working artist I am treating the book as a 'how-to' book, not in the sense of how to make art, but rather how to make art that is meaningful. It's also raised a lot of questions for me, though, and I am considering writing a letter to Ms. Paglia with these questions. My main question is whether she believes that artists 'engineer' their artworks to incorporate specific elements of the Dionysian or the Apollonian in order to either make a statement or try to achieve success or fit in with the flow of art history in some way, or if on the other hand they are functioning as unknowing mediums who are unconsciously transmitting the zeitgeist through their works... and what is the role of personal psychology in informing artistic output, and is personal psychology really just the same thing as channeling the zeitgeist? Paglia almost never mentions psychology or biographical details; she only discusses the art itself and the way it fits into this longer-arc flow of ideas that she is illuminating, but she doesn't get into why an individual artist might have made the work in that way... and that is interesting to me. 

For instance, this small sculpture that I made a few years ago

has newly revealed layers of meaning when viewed from the Apollonian / Dionysian framework, and yet I was largely blind to these meanings until reading Paglia's book. In fact the entire idea for this sculpture came out of my head fully formed, with little conscious intervention, and so I feel it's really a product of my unconscious psychology. It was not 'engineered' to 'say something' about the Apollonian or the Dionysian, or to 'say something' about my psychology, and yet it does. At this point I feel that Sexual Personae has a bit of a blind spot insofar as it does not delve into the motivation of the artists, but maybe Ms. Paglia felt that the task of exposing these long-arc trends in art history was enough of a feat, and that artist psychology was another topic entirely, and too 'squishy' anyway. 

If I write her with these questions, and she answers, I'll let you know.

If anyone else has read this book and wants to discuss, please let me know.

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New topic: The Elusiveness of Unstructured Thought

On page 222/223 of Sexual Personae, Paglia writes: "Rationalists have their place, but their limited assumptions and methods must be kept out of the arts. Interpretation of poem, dream, or person requires intuition and divination, not science."

This statement is typical of her staccato declarative style, and if I took everything she wrote as an inviolable directive, I would have to pack it all up and find another career. Because, I would say, I am a rationalist about 97% of the time. This is of course a huge strength when it comes to designing machines and effectively managing the construction of ambitious projects from start to finish. 

But what about the mystical, magical moments when an idea for an artwork is born? That is not the time for rationalism. In those moments something else is required: loose, allusive, non-linear thought patterns. Inspiration. Dreams. Daydreams.

I find it difficult, if not impossible, to control these modes of thought. But I'd like to get better at it.

I rarely remember my dreams, but I find that dreams can be a tremendous resource. I find it so cool that, once in a while, a dream can feature some thing that does not exist in real life. I think many people undervalue the fact that when they have dreamed about some thing that doesn't really exist, such as a machine or a piece of art or an animal or whatever, they have invented that thing. If the dream invention is original and interesting, and the dreamer takes the time to make it (or a facsimile of it... whatever makes sense in the context) then a real invention is born. Christina has better access to her dreams than I do and occasionally makes use of this creativity methodology, something that makes me vaguely envious.

The last time I really slipped into an unstructured sort of daydream state (that I can remember, anyway) was a few months ago, sitting in the passenger seat as Christina and I drove to our friends Matt and Richard's house for dinner. In those few moments an idea for a new mechanical sculpture came to me, as if out of nowhere, and I've spent many hours since then applying my rationalist faculties to figuring out how to actualize it. It is a sculpture that I think would work best on a large scale, but, lacking a budget or a destination, I've begun building it on a small scale. The smaller version currently in progress is a working prototype of the theoretical larger version, but it will also be a stand-alone sculpture in itself. 

Detail image of new sculpture prototype

(As I stated, the birth of this idea came in a moment of unstructured daydreaming, and I've put the rational mind to work since then in service to that one moment. I have also, under the influence of some of the ideas in Sexual Personae, attempted to understand the meaning of the idea behind the sculpture, or in other words I've tried to subject that moment to a rationalist framework in order to parse it. But I think that impulse can be a bit of a trap. If you decide to alter the piece to conform with certain ideas, then you run the risk of no longer being true to that unstructured moment, that bit of unconscious flow, that bit of zeitgeist flowing through you or unconscious psychology piercing the veil. You have to protect your ideas, and treat them as if they are fragile.)

Anyway, just as I wish I could remember my dreams more consistently, I also wish I could better control the transitions between conscious rational thought and unstructured daydreaming. I can tell you that there are many aspects of modern life that are not good for the encouragement of daydreaming. Parenting is in general not good for it. Stress and being busy are not good. Computers and phones are not good! Put down the damn phone and let yourself think! Meditation probably is good, but I cannot manage to do it, and that is not for lack of trying.

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Does everyone know what a bookplate is? Basically it's a label affixed to the inside of a book, near the beginning, to indicate ownership of the book, and it's typically embellished with a graphic design that says something about the owner. It can be a nice way to tie together a book collection. Click here if you want to know more about them. 

I have a lot of books, and I have a penchant for buying art books, especially when they are so cheap online these days. So I decided to design a bookplate. I wanted the design to express my interest in art, my belief that the female nude is most noble subject of art, and the idea that one comes to know oneself through art practice. 

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Eating crickets is good for you, and it's also good for the environment. They're almost all protein, very little fat, and they have a much lower impact on the environment than conventional forms of meat. I have started to add them to my smoothies. 

You can buy crickets as human food online, which I've done... but they are small and by the time they get to you, all their legs have fallen off. The big guys in the photo above were hand-caught by Kodiak right outside the house. If we could get a lot of these big, intact crickets then I would cook them up with butter and garlic, which is also good. 

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Lastly, Christina and I recently watched The Cook, The Thief, His Wife, and Her Lover, the 1989 Peter Greenaway film. The last time I watched that movie I was 19 or 20 years old and I found it really disturbing. Watching it 30 years later, I saw it as much more of a parable of the age-old war between the classes and the rapaciousness of the ruling class, and it was much less disturbing in the visceral sense; in fact I thought that it could have gone further (in terms of Georgina's revenge on Albert). My immediate reaction after watching it was how distasteful it was, overall, as a movie. 

But I can't stop thinking about it.

Thanks,

Bye