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Richard 's Story > Chapters > Prologue

The Artistic Manifest- 

 
Date Range: 06/01/2010 To 06/20/2100   Comments: 0 Views: 6426
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The Artistic Manifest- 2011

Richard Ozanne c.

Weather an artist is made by his own existence, taking the triumphs, trials and tribulations of their life in stride, or have followed the guides of ease, as a matter of least resistance, to find oneself in that position-"an artist", by popular elevation, instance and the sight of culture being upon them and so addressed of 15 minutes of fame and popularity, the artist singularly has a manifest written outside the vanity of the scheme to produce,embellish, augment and continue the craft either within the confines of the "game", or silently, in the background as a tribute to that "manifest"

In our world of popularism, things going up-and around the corner,being "famous" or coming down as a matter of markets, cultural perspectives, likes-dislikes, changing notions, its comforting to note a stable, where the artist has a studio and produces through that studio the character of what art is made, "originality".
Conventions come and go like the stock market. Worth may fly up and then fly down upon a matter of perspective, even what was though of as stable currency may indeed fly out the window to what may be the only true worth, that of the work and imagination of human beings and their art-vs. induced and controlled markets, which may pan out to produce palaces, or be tilled under by the next generation to fit utilitarian purposes such as parking lots.

Things change. Our world is not a given. The best of given circumstances may be what mankind has to share, that man is a vessel of intelligence and integrity which is mankind in all the glory once understood. The final count is the word "meaning", not necessarily description, product of a mind, skill, ingenuity or work that builds the lattice of a full value within, and puts to loss the temporal world that exists on the outside, the lesser of the great escapes which we can call 'profit' and gain from material. 

It is the Lord who put human beings on this planet. What mankind has done is either an asset or a deficit according to the terms of flow, making, being or folding under the resources given to us by our Lord. (I am aware that there are some who have "science" as a Lord, and others who are athiest, and others that have no fulcrum for existence other than the origin and decay of Carbon 12. The Lord I would like to describe is not by religion, nor by prescription to certain identities---I would furthur describe the Lord as "Intelligence" that moves through and among all things and, the Lord being the vessel of all things real and True, has placed upon this capacity upon One,meaning "Lord" which is the underlaying capacity of cause, creation, multiplication, division--in a Metaphysical game of greater/lesser-'cause'-effect, we being the metaphorical cue ball from whatever 'relationship' with the universe we choose to play- at cause or being the effect! I place this word "Lord" as a governing "Principle" and "Principal" of all things of cause, production, art, beauty, perceptible and inperceptable-(beyond conceived notions, or words that tend to be become lesser than greater in description of the composite unit which we are single and individual parts of. The creator is the vessel from which the Lord looks out upon the Universe- acts at positive 'reflective' cause, meaning 'generosity'-artful production- and the effect being -one of "being"- Philosophies may include many names of "Lord"-but there is only one) 

The artist can never be sole creator-but his/her hands making motion though those artful, make reason-cause/the effects being beautiful, to those hopes, dreams, manifest realities that are true to those who know them and can "see" them (if we choose to look up, and out, open our eyes!)

The artists work goes beyond the terminal cadence to this Earthly Symphony which is drawn to the conscription of the perscribed, altered version of-who we may be according to man, or who we all are according to Truth. 
In the 'end game' there is only one that is redeemed-and it whole-handed one of prima facia-face value. Whatever a person can do in their lives, whatever mountains climbed, and inquiries made-into the microcosm or macrocosm it is the venture of the artistic spirit that makes these. Inclined to greatness, fame and fortune is not the element of the artistic spirit, but the inclination to "be of cause" is, actuating the human spirit of endeavor, to grasp and hold-take as it is-prima facia (at face value) this can be a magnificence that is to large to be held, or as you choose! (a simple paycheck that is too hard-earned to be believable) 
In the end-game, the contract if fulfilled-either greater or lesser of our full potential realized, we who allow ourselves to see (a marker, unconcious and material) or grasp for one finality of one fraction of the greatest attribute of mankind-To Be, and to be the best one can be, recognized or un-recognized, causal aspirations or human deflections into the gelatine composite of co-relationships of what greatness is, or to become, the interior aspirations of reaching to that point of who we truely are! One finds Ego too often putting a metaphorical screwdriver in the machine, and as this happens, so jealousy and a composite of negative conditions grinding to a halt any prosperous future for ourselves and others- human discontent in a nutshell! The co-producer of beauty and art is the artist-within him/her the vessle of challenge to be, look beyond, make-compose-produce- The Lord being the "Producer" there should be no conflict with identity, for all fine reaching thoughts, deeds and actions are a part of the Great Whole, Big Picture-The little elements that have made the origin and destiny of Intelligence one greater aspect- The Artists Manifest.

In the end-game, the material focus loses on all accounts. In this end game, portfolios down, all machinery ceases-cell phones and lap-tops cease, the great Rolls Royce needs to be towed away, and guilded ploys of our condition need to be reaconed with. Right becomes: What has one done! Recognizing this standpoint, it completes the cycle: What has one done that has been purposeful to improve ones existence as well as others? What has one done? To recognize the cycle of causal relationships one realizes the contract of a creator (an artist) This is the Artists Manifest- 


SCRIPT ENGINE
Depression or reconstruction, ??,$$a, two against three, the wealth of a nation at hand, reaching deep, to the end, and then fall-Fall sweet butterfly to the the peril, and see that wealth has little to promise, and faith??, God?? Quote, John, Job, Bible- Sincere, edicate, proper, dice, royalty ;"++ ??The "To be or not to be" soliloquy from the 1603 quarto of HamletThe term memorial reconstruction refers to the hypotheses concerning the transcription of 17th century plays from memory by actors who had played parts in them, and the subsequent publication of those transcripts. The theory is intended to explain the existence of so-called "bad quarto" versions of plays, in which the text differs dramatically from a later published version, or appears to be corrupted or confused in some way.In 1623, the preface to the First Folio of Shakespeare's works specifically marketed its content as correct, in contrast to the garbled texts of "stolen and surreptitious copies" published previously. Memorial reconstruction has been supposed to be one of the ways in which texts were "stolen". Examples of possible memorial reconstructions are early editions of Shakespeare, including the second quarto (1598) of Richard III and the 1603 first quarto of Hamlet. CriticismCritics have argued that memorial reconstruction is not as prevalent as has been presumed (some use the term "memorial reconstruction" loosely to refer to both the supposed methods of illicit reconstruction: from actors and auditors). Notes and references^ a b British Library Publishing Drama in Early Modern Europe Retrieved: 10 December 2007.^ Probes, Christine McCall (2008). "Senses, signs, symbols and theological allusion in Marlowe's The Massacre at Paris". In Deats, Sara Munson; Logan, Robert A. Placing the plays of Christopher Marlowe: Fresh Cultural Contexts. Aldershot, England: Ashgate. p.?149. ISBN?0-7546-6204-7.?^ a b c Gabriel Egan, The Struggle for Shakespeare's Text: Twentieth-Century Editorial Theory and Practice, Cambridge University Press, 21 Oct 2010,








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