The influence of the artists

Play (synthesis): We are drawn towards artforms as human beings, it is like words cannot contain all that which can be expressed through artforms, it expand beyond the words, because artforms can be expressed in so amazingly many ways, they are related with our play with the world.

When an art form is developed it become noticed in many different ways, some becomes influenced, some define and categorize it, some copy it and distribute it, some ignore it, simply put, artforms is part of results of human play and we intergrate with artforms in so many ways.

Known (differentiated):
When art forms becomes known they start to enforce a common idea, normally this means that people grow bored of exploring the artform because it has been turned into a defined form, that creates a uniformed understanding. “Ah its one of those”

This way artforms do not get time to influence a diverse development but rather just a single idea. The experience of creating art forms as ones own human expression becomes to fit into the existing forms of art already established. And how can we then inspire and influence eachother into diverse new expressions. It bring forth the human spirit. This is something artforms from human play is needed for.


I think you are right, when an artwork comes to merely reenact previously known forms, it is in essence dead. It is relatively easy to imitate an existing form, style, or idea with some technical training and repetitive practice. It is much harder to bring something hitherto unknown into the world. A real work of art, when it is born, smells fresh like a baby.

Advertising uses art all the time to create fascination with products. This depends to some extent on the art having known effects, which can be manipulated. E.g., using a Beach Boys song to make people feel happy about buying a luxury car. Business exploits the emotional power of art for profit; government for other forms of mind-control.

The artist in society is alive with the divine spark, so cannot just reproduce old forms, but must draw on the deep power of the old in order to create new work with a strange familiarity yet even stranger strangeness. Eventually, this strangeness can be dulled by centripetal social machinations.

However, the power of art always lurks under the surface to be rediscovered in new times and contexts, once encrusted interpretations are broken up and forgotten. It happens again and again…



Thank you for your reply Marco, I agree with everything you wrote. Have you seen Ways of Seeing by John Berger?

Here is episode 1

All episides are available on youtube.

Also regarding commercial manipulation tactics , there is a good documentary serie called Century of Self:




I have seen Ways of Seeing, but it was a long time ago. I will probably watch it again someday and appreciate it even more than I did the first time around.

Century of the Self was really interesting to me, too. I previously reviewed another, similar documentary by Adam Curtis:

I am so glad to read your thoughts on aesthetics not only being about “the beautiful” but also many other feelings, perceptions, patterns, and nuances of experience that do not reduce to a single category.

I also love that extended quote from Anais Nin’s diary. It is one of the hardest things, I think, for an artist (or any human) to realize the sovereignty of the soul—which is not the same, in fact quite the opposite, of doing whatever one wants. It is a high form of responsibility to follow one’s truest callings, even when it appears that one is being totally selfish.

I seems wise to me to be suspicious of both capitalistic and communistic political ideologies. Neither seems to me to hold the best interests of artists at heart.

Finally, that’s a great quote about musical emotions and how they harmonize cognitive dissonances… maybe even hold paradoxes, contradictions? I remember hearing Bono say once that he thought U2’s music created new kinds of emotional terrains. I thought that was an interesting observation, that music actually changes how we feel in real time, and makes it possible to feel new things, or old (perhaps incompatible) things in new (harmonic) ways.

Thanks for spilling your brains onto this forum! I have been super-busy lately, preparing for my brother to move across the country and into my neighborhood. We are taking care of my mom who has dementia. But I look forward to catching up with some of your other posts, too, as I get my life into some semblance of order.

Btw, I saw something you posted about learning math, but didn’t get to read what you had in mind (before, perhaps, it was deleted?). I would like to follow up on this. I want to bring together mathematical and poetic intelligences. I believe they are very deeply related (as with music).


Thank you for your reply! :slight_smile: One thing Im exploring with my aesthetic is that of imperfection, quirks things that a perfectionistic aesthetic despise. There is a randomness to imperfection that I like, there is much more aesthetic voices there than just one.

I wish you and your family well .



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Craft is not the same as the product. As an artist I appretiate the craft of artistry, but most people find the product of artistry appealing.


I think you would really like the book, “Reclaiming Art in the Age of Artifice,” by J.F. Martel, who has contributed to this site a few times in the past. He is basically my favorite living aesthetic philosopher and sums up a lot of what I believe about art, on a philosophical level, in his book. This essay would also be worth revisiting:

I would also love @Carmen_Leilani to see your “muse” sketches. She has actually been a living (beautifully imperfect) muse to me, among whom I would count a few other daughters of Zeus and Memory. Yet once our ears and eyes are attuned, we can sense the muse at work in anyone or anything. The muse comes to live in our breast, if we give her a home.


Thanks for an interesting book tip, will check it out. I have read The necessity of art by Ernst Ficher. There is also two good books about the logic of intuition by the philosopher Hans Larsson, also I really appretiated Music, Passion and Cognitive function by Leonid Perlovsky.


“At first glance, mimesis seems to be a stylizing of reality in which the ordinary features of our world are brought into focus by a certain exaggeration, the relationship of the imitation to the object it imitates being something like the relationship of dancing to walking. Imitation always involves selecting something from the continuum of experience, thus giving boundaries to what really has no beginning or end. Mimêsis involves a framing of reality that announces that what is contained within the frame is not simply real. Thus the more “real” the imitation the more fraudulent it becomes.”

The painting shows an image of a pipe. Below it, Magritte painted, " Ceci n’est pas une pipe ", French for “This is not a pipe”.

The famous pipe. How people reproached me for it! And yet, could you stuff my pipe? No, it’s just a representation, is it not? So if I had written on my picture “This is a pipe”, I’d have been lying!

— René Magritte

The painting is sometimes given as an example of meta message conveyed by paralanguage,[11] like Alfred Korzybski’s “The word is not the thing” and “The map is not the territory”, as well as Denis Diderot’s This is not a story . One interpretation is that the pipe in the painting is not a pipe, but rather a drawing of a pipe.


This is one of the most interesting things about art, to me—that it can bring awareness not only to what is said or expressed, but also how it is conveyed. This is also a question of style, the individual spin we give to our representations.

A synchrony of style creates a mood, or vibe, which is transmitted and emits a field. Ripples of intelligent information amplify or cancel each other creating interference patterns, which can be open intuited or spidey-sensed by attunement with the paralanguages in play. By their vibes you shall taste the fruit.

I really like your writing, note-taking, and cartoons. It is like a pond of interestingness, with many little nooks and shady spots, plays of sunlight and sounds of living things and occasional plopping of dark green water sound.

Intuition as a synthesis of instinct and intellect is, I think, a good one, and also related to the integral, which has a way of harmonizing mental, mythic, and magical modes. Really, I’m not sure how one can be ‘integral’ without being an artist (or, ontological craftsperson) in a broad sense.


Found this awesome book!

Graphic Intelligence.pdf (2.4 MB)

"Intelligence that have been until now considered
able to describe and contain this particular type of human intellectual competence. Graphical intelligence is the ability to use graphic skills and, more generally, the ability to integrate the use of eye, mind and hand to solve problems of various kinds and generate effective products aimed at creating, acquiring and
communicating knowledge.

Therefore, the graphic intelligence should be
considered equally important like the best-known linguistic and logical-mathematical intelligence on which the school today tends to focus more. It can complete and enrich the already investigated
visual and spatial intelligence that, according to the literature produced so far on the subject, include and coordinate with the skills in the graphic field. Thinking about graphic skills as a form of intelligence obliges us to focus not only on the graphic product but also on the cognitive process that led to the
representation of that product. This change of perspective, based on the cognitive potential of drawing, is able to suggest new approaches to didactics at all levels and in all fields of
education. Consequently, learning graphics has to be considered preliminary to graphic learning."