Friday, 21 May 2010

In a day the leaves have sprung and the blossoms have shown their ivory heads

Art as value:
Art depicts values: it shows where lies the favour and esteem. In our time (the 21st Century) art enjoys to go with the flow, it lacks substance in favour of democratic pursuits, good business, and depicting the 60s and 30s attitude of the absurdity of life.

Let's mention aesthetics. Art is principally a philosophical matter, it neither advances nor declines, there is no such thing as the progression of art. Art is the depiction, the manifestation, the affirmation of values, these are specific to an individual and a people in a time, they are one thing or another. To rank values and the order of rank is itself a part of a value.

The artistic reporter:
The journalism in art endorses the idea tha art is nothign but one days event before the next, and discuss it often as the summury to a morning's business meeting on the one hand, or little more than trolly-gossip on the other. The journalist deems everything necessary so long as it is part of the flow, of that continual pattern, of that series of events. Art magazines are basically the representation of value and goodness based on the direction of the flow of markets; like weathermen.

The Critic:
However, art demands conclusions, whereas art journalism is nothing but reports. The critic was the negotiator of value, he was not the great appreciator like the journalist and the art enthusiast, he was the great affirmer and prosecutor, he upheld and condemed: he concluded. But conclusions destroy the pattern, the series, they dam up the river.

Art and the Populace:
Every art which the populace are interested in has been drained of its substance - every art they are not interested in remains. EVery attempt to merge the high art with the populace kill it - the populace, it seems, are an infectious bile of which there is no cure.

The Romantics:
Of course the Romantics thought of art as religion - they preversed themselves at all costs. The artist as absolute profession (to strive for this at all costs) - that was characteristically Romantic. To preserve oneself as a meanis of living - to war on conflict - that without art one is absolete. The Romantic cannot see beyond art. The romantic required art because he was still unable to preserve himself. Only AFTER art does the contrary type of person to the Romantic exist, who needn't have art, who is strong enough to advance himself and self-surpass himself by his Will.

Jacques Barzun on Romantics:
"To call the passion for art a religion is not a figure of speech or a way of prasie. Since the beginning of the 19C art has been defined again and again by its devotees as the highest spiritual expression of man."

A contemporary interest in art:
I turn my back on art, for I need no approval of my values.

Homeric nods:
There is an extent of nature to which we try to manipulate to make our work flawless - but she laughs heartily at our naivity and fearlessness like Zeus laughed at the challenge of ARchery from Apollo "where would you like me to stand song?" For we ever fail due to the greatness of our ambition.

20C grimace towards life:
This grim view of life comes from decadence and belongs to the decadent, it is the melancholy from having tried to put off life for as long as possible. And Reality was the enemy of their decadence, reality was everything that was against their indulgance. This "reality" is everything which exists outside of "culture" every cultural activity was the positive, which was considered good, the saviour and redeemer and Reality was the enemy, the bringer of winged-harpies. What this reality consists of is what lies beyond culture - Work, Culture was the redeemer and saviour of work. It helped forget reality (work) but reality, or work, is closer to life itself. Because culture is the act of preservation. it is not the act of Will, only creation is the act of will. cultuire rests the will, like sleep rests the muscles. Work is a force of will, it drives forward. To the decadents, to rest this will was their view. Work, of course, can carry its vices just as Culture can project them. and the vices of some of the most successful gave cause for the culture-hungry to resent work the more, that it was a means to produce the dislikable nature. Life neither conists absolutely of sleep nor waking, neither can it exists of a choice between culture and work, both exist to produce the positive end - to enjoy life and the world we live in.

Motion in music:
As a rule, i think music must possess a sense of movement between two points, as the music flowing between. This would reflect the constant flux. Music must possess within it a philosophy about the world around us.

I have no intention of being agreeable to the masses. In order to preserve myself, I must remain exclusive.

Competition and the Greeks:
It is incorrect that the Greeks were obsessed by competition, they were obsessed with achievement. They were achievers and wanted reward (prize) for it.

Profound Superficialiy:
How can one be superficial out of profoundness? Because one is profound enough to always be amongst unequals, but one may be amongst equals on appearances. In manners, in beauty, in power.

There is a reason I have not published a book:
Bcause I am yet to read a contemporary book that is flawless - or that I cannot criticize from beginning to end with corrections - the most an editor will do is make a familiar failure out of it.

Horizons, that gives me happiness - without horizions (possibilites) I am miserable. There is above that one thing required for my happiness. Where there are horizons there is a goal, where there is a goal there is power, where there is power there is strength, were there is strength there is health.

Characteristics of art:
Agitation: decadent - Strength amidst bleakness: romantic

The appearance of beauty:
A man doesn't get more beautiful unless he gets better. (one only looks better by becoming better)

Traits of genius:
A trait of genius is that he concentrates attention on himself.

Differences of opinion:
The world and I are two opposing magnets that may never touch, not even with Might.

Romantic in need of art:
The Romantic needs art, and is always at the disposal of art, but let the man stand atop his art and it be at the wishes and dispoal of him. Leti t be deployed to his service and not he be in service of it.

Hobbies as Educators:
Our hobbies are often our better education.

Choosing a trade:
"No one must convince me of my occupation. It must be chosen myself."

Loving to hate:
The decadent does not love life, but we each enjoy ourselves and our actions: the decandent loves resenting life. He loves his hate.

One cannot understand anything until one attempts - the point is to start. Begin first, consider second. The idler does not know how to begin, or wher eto place himself. The worker in his efforts has already begun and recognizes more where to place himself. 'Caution' is the idler's defence.

Good Company:
If he has pursued arts he is a cultivated man, and belongs in rich company.

If he attemps, if he embarks on one feat to the next, he is a man of promotion.

Emerson on money:
"Money is another kind of blood."

My own writings:
There is a serenity to the height of my words that I don't find anywhere else, nor understand where it comes from. But these words are best spoken aloud.

Popular Academys:
These creative writing courses which try to minic our higher academy and conservatories, and try to deny that literature has become a popular art - popular in the most common senses - are lacking in the fundamental quality of all higher arts: prejudice. A contempt for common tastes, a quality of self-surpassing.

Even lack of health is health if one says "i want that health back!"

Horizons and health:
What are horizons but possibilities? What increases possibilities but strength? What increases strength but health?

Quitting the Church:
I have no emancipated from art, I have simply quit the church.

False traits of upper society:
A trait of successful men that is often mentioned is the trait of long-term development, success from picking a path and sticking to it. But this belongs to the truly UNgreat. Constancy is to be despised. Constancy leads to idleness, to decline. "The trick is to always do something else" said Leonardo da Vinci. Self-surpassing is the answer.

Our higher academies and conservatories:
Anyone who pursues art but doesn't go to an academy is frankly doomed, or will doom the rest of us.

Cultural Tyrant:
I have always pursued power over the arts.

Taming correctly:
One should be tamed is one way only - tamed by adapting circumstances to onself - never oneself to circumstances.

Of self-development:
The greater the distance the ship travels, the more crooked its course - for no great man has steered directly in his path.

Language and the French:
Language is more superficial to the French, therefore they know how to use it better and attach deeper meaning behind it. Compared to English reading poetry in the French is like eating fruit. But the french are more prejudice than the english, they hold more in contempt, consequently they are more noble.

The progress of the novel:
It seems for that last one-hundred years all adversaries of philosophy had tried to advance the novel - excuse me - I mean, the French had tried to advance the novel, the only country left with true prejudice - The American novel, and the English novel (the least philosophical novel there can be found anywhere) preserved the familiar formula.

If his greatness is broad he will have attempted much.

I am cultivated and that is not to be compromised . To compromise is to retrat, but greatness ever builds and harm only propels it. In other words, greatness does not retract and never compromises. Unsteady in his footing, greatness holds himself straight.

An image of Music:
Music is a garden of ideas. (and I must hear the life cycle of this garden).

Romanticism and decline:
Romanticism is a declining type, it means the world ceases to inspire.

Aesthetic of the novel:
Let us soon get to grips with the actual aesthetics which make up the novel - under what conditions can a novel be produced. The novel is not a form of literature, it is an aesthetic.

Fate is too gloomy, let is call it Fortune instead. Fortune in the Machiavellian sense.

Dangers in society:
Depicting our dangers in society does far less than how we depict our successes.

Success in misfortune:
My failures are more cunning than my successes, my failures are the shadow of my successes.

The Romantic's way:
"I am a success, the world is a dissapointment." - that is Romanticism.

The word freedom is misunderstood today as the ability to do whatever a person want to do - recklessness. But freedom as I mean it, as self-sufficiency, as self-responsibility, is mistaken also, for autonomy - irresponsibility.

Periods of mediocrity in art:
It might be necessary that art goes through a period of mediocrity before it improves, a stage of mixture, chaos, and confusion.

Art as ethics:
As Horace was to Augustus - art is but a minor subject to politics.

I disagree with the constant flow of novelty in our culture, and one is deemed insane to say so - to speak against that value.

Philosophy and the novel:
Every novel at some pooint depicts the philosophy on the forefront of the work, and for a moment inferiorates the art. but it is not hte business of art to expound philosophical views, but value; to answer, what is goodness, under what conditions would i call tihs success. How this is done most effectivley is as a rule of conduct, a maxim, and not a discourse - the discourse is moralizing and therefore suited to works of comedy because moralizing works are meant to incite the civil goodness in ordinary men. In loftier works a maxim is used amid emotive or contemplative passages of speech, and this has proven to owrk most effectively.

Life as higher than survial:
He is a great man who has valued suffering, valued death, and valued life higher than survival. (see earlier writings for an expansion on the value of each)

Emerson as Romantic:
Emerson was Romantic (though he called the Romantic sick) in literature, Emerson is an orator stood atop a mound addressing the orld. There is the man of miliary addressing his men in Emerson. Yet Horace, his world is addressing men, he levels men as baser to the world which he ranks glorious. Where, in such a world that exists of his own values, and exists of other men of lofty and noble values. And best of all, he concieves this as the active and living world. A world of action, and not of contemplation. In THIS world.

Higher Art Ceremonies:
Though expensive, i think high art needs mothershipped by investments in to ceremonies.

The resentful:
"We often don't do something because it still pleases us to keep doing it. We wish to do somethign else, but we still enjoy haitng hwat we do. We are not done resenting."

Choosing a trade:
I want to bring higher arts in conflict with the market.

My philosophy:
That everything is a philosophy and that everything can be revalued.

Passion and Conflict:
I thin best in conflict, like a military mind, but when in the peace and pleasure of the open air, amongst good company, or agreeable strangers, when the sky its next to me, and i look across to it. When i am comfortable, there flow my passions.

The war is between law, state, and superclass - its no coincidence War rhymes with Law.

Nihilist Generation:
I know that even I am a product of nihilism. The loss of vlaue, the instinct to place value inconsistantly upon anything. Change, change, change, go, go, go. Yet it might encourage a speculative trait, a curious nature - one equipped to remain onsefl amongst dizziness, who chooses where to stop the wheel, and where to get off.

Apathtic age:
Our age is too appreciative, too democrative, too nihilistic.

The necessity of prejudice:
If one truly values, prejudice is crucial; but out of what one is prejudice is important to consider. One must be prejudice out of affirmation, not prejudice out of resentment. One must be in favour of havign sung Yes, to something valued. Prejudice is an element of value. In other periods, prejudice has been the necessity, there has been no progress without it.

It is important to own a journal; a book which we feel to speak to everyone, and no one.

That one cannot escape the age:
It was said by Emerson that a person cannot shake their time, but belongs to it. This is a nihlistic era, and I am born from the womb of it.

Metaphor 1:
The plant has distate for the air - it drinks from the soil.

Inconsistant appearance of value:
Just as we may shun television (out of disinterestedness, distaste or anything else), the next era of values will shun our constant flux of technology as being nihilistic.

The French and privledge:
The most noble nation of writers, the French, have never favoured rhetoric. Instead they insis on themselves. Reason was used to affirm their point, they had no concern for others to understand them. "So be it!" they'll say "it is a priveledge to understand us."

Aristotle on the world:
"What aims at reality is better than what aims at appearance."

Conduct for strategy:
The seasons are our best model for all things.

20C as a Dark Age:
It is not War that made 20C a "Dark Age", but that it was an age populated by tyranny. - which have given a bad name to all good things, and distrust in good things absolutely, and favour in only what consoles.

Only a democratic and liberal time would have invented such a perjorative as facism.

Choosing a trade:
When someone asks you "What do you do?" they ask you "what level of power do you have in society?" And your aim ought to be no less than to preserve that power that was assigned to you.

Speaking before an audience:
In some, it requires daring to stand before an audience to make a speech, but when exceptional men speak, the floor requires as much daring to hear it. There isn't an art worth our time that doesn't require mutual effort from its audience.

A quote from Byron:
Seek that less often sought than found.

Freedom and the artist:
Wherever there is a composition there are laws which made it. The artist's job is to discover those laws which extend his design. It is the artist who does without this thought that is bound.

Greatness relies on being the exception.

Energy within cities:
The closer to the perimeter of the centre of energy, the higher the place of aspiration. The centre of gravity of aspiration is weaker than at its perimeter - it does not have to work as hard. "Power" it is said "makes stupid" because the power no longer requires the elements which delivered it.

A good place for misfortune:
If one is expected to fail, especially if one is necessary to fail, one had better be in a good place to do it.

We all need to concentrate, and the test of concentration is distraction.

Work seems to require some sort of responsibility, without it we cannot consider it work.

Difficulties strengthen.

Above art:
I am starting to see art not as a height, which the romantics saw it, but as a base; a solid ground to stand on - and to drop no further.

Traits of declining periods:
Our age is characterized by depreciating value.

Philosophy and the novel:
The philosophical novel does not exist. The novel is an aesthetic, not a form of literature. An aesthetic is an affirmation of a set of values. A philosophical work attempts to alter values. A philosophical novel would be a work which attempts to not only contradict itself, but cancel itself out completely. The theological novel may exist, because it is able to reaffirm the aesthetic of the novel. Any philosophical novel that does not intend to be a moralizing work could only appear as Nietzsche's work failed, but attempted to do, with narrative and discourse sitting side by side each other, but as if two minds of concentration - the artist, and the philosophical - are writing together, but not from one hand. In order for there to be a true philosophical achievement in the area of the novel, the novel must first be broken out of its aesthetic and rebuilt as something new, but it would inevitably reappear as something other than a novel, since the novel is the culminating appearance of the aesthetic of the novel.

False Revolutions:
There can be no such thing as a real revolution, so long as two groups of ideas are born in the same time, active in the same time, especially if they are successful at the same time - they are born of the same central values and act of them, regardless of their differing objectives. It can take a century before an Age has left its period.

Affirmation as intoxication:
What is intoxication? That oneself is being affirmed. That the external finds the internal beautiful. That there is an assimilation of values. that the external celebrates the self.

A man who spends his days pursuing his ambition, cannot but return home richer. Whom goes to work, and earns by working towards his wants.

Work 2:
Without respect for work, we shall never know what to do and shall always be poor.

With every experience one grows and learns, one becomes stronger, and more powerful, more capable than before, and because of this, one wants different things because one is capable of things one had not thought of and one has more knowledge and what they want. sticking to one path for life shows a lack of growth, and is not suited to profoundness. "Life is a search after power," said Emerson. That is the only straight path of the profound.

Power over others - or, consolation for not having power over ourselves.

Originality is the re-visioning of tradition.

Of making decisions:
The fact that it satisfies is not enough. One has to think "What have I chosen to do this out of?"

The Age:
The best minds make use of the conditions of the age, and now allow it to make use of them. If you cannot love the age, love it conscious of it working to the ends of your direction.

A lesson from Duc Valentino:
The only compromise one should make is the appearance of compromise.

To think naively is pardonable. To act naively - never.

Metamorphosis of the Hermit:
"The hermit did not sit back in to a place of peace, but of conflict, bitten on all limbs, with foul water and bad air, each retreat was a provider of new strengths. When he appeared to men again, he was new."

Art and Effort:
All higher art demands a certain concentration. If one could concentrate on festivities, one might come closer to cheerfulness as high are, not cheerfulness as escape.

Nietzsche on festivals:
"What do all our art of artworks matter if we lose that higher art, the art of festivals."

The goodness of being under pressure:
Contemporary man lacks the ability to be in the proximity of pressure. - A pressure that is good for him. "Can you work under pressure?" as though pressure were a bad thing. Pressure gets results.

Art and Effort 2:
Whether natural or man made, what has always made good art is work.

Generics for sublimity:
The precise elements of my time I might never truly enjoy - but the generic elements - that we have them - these elements which, by another type - by substance, by even appearance, by sublime culture, I could love - I might very much enjoy the time. If I now and first of all root for generics - that we have the stage and the costumes, if not yet the roles and the actors.

Truly knowing something:
I do not know a thing until I have found fault with it? I do not know a thing until I can laugh.

My Inferno:
"Obscurity corrected. Hot lava solidified. A depth, not which one leaves, but one corrects, establishes, refines, a depth one can always Rely on,and return to when one wishes. A depth, a lava, one can use to burn off, one can un-self from becoming the crowd, can follow the same path back to the self, - not a Hell, a necessity."

The appearance of success:
We treat successful men and women as though they possess a gift by which they attain it. But it is more of a habit; for spotting opportunities, for reserving power amidst chaos, and placing oneself wherein is the lesson.

Fortune and success:
Each great thinker has agreed so far that success of greatness has been due to Fortune. Though, let it be said, virtue makes Fortune a little sweeter.

Esteem for the present age:
Have I found something to like, to favour, to esteem, in our age? That everything is a ceremony, a festival?

Characteristics of epic characters:
The men found in epic literature were men of practical ability. Their speeches revealed their depth, their actions their practical ability, and their deeds their courage. Almost every piece of action, that is whenever a character is not speaking, it is written as though an achievement of practical ability. This, in turn, provides a dream-like vision, something one cannot hold on ot, setting us at a distance, as though the action occurred a moment prior and was acted before us on stage, though the stage may be a world. Every word is an announcement that something has been created.

Of humility:
I am not a man humbled by success. What humbles me is only the distance to greatness; the deed. Humbled because I honour it. I am only humbled by the greater presence of my future self, when I have a taste of it in the beginnings of my task.

Proving one's worth:
It behoves a man of rank to want to earn that rank in every office.

The condition of the novel:
The novel is a Christian piece of art. Who have always been the best novelists? The Russians, the English - those acquainted best with the Christian Bible.

Stay close to those who value the same things.

Decadent aesthetics:
Where agitation enters art I find no pleasure.

A quote by an ancient poet:
"To that he bends himself, to that each day allots most time, wherein He is indeed the best part of himself." (appears in Aristoteles' Ars Rhetorica)

Regaining health:
What strength we had. Not only do we lose it at the proper time, we regain it at the proper time too.

Everything at the proper time:
Everything that has ever happened to me has been at the proper time, and everything that will happen to me will be at the proper time. I do not regret anything, I do not bear anything - I love it.