AR<T

AR<T

 

 

As an Artist, I have long contemplated the concept of doing Art and what indeed is meant by the term.

First... This is what a dictionary has to say:

ART: ART, SKILL, CUNNING, ARTIFICE, CRAFT—the faculty of executing well what one has devised.

  • ART implies a personal, unanalyzable creative power.
  • SKILL stresses technical knowledge and proficiency.
  • CUNNING suggests ingenuity and subtlety in devising, inventing, or executing.
  • ARTIFICE suggests technical skill especially in imitating things in nature.
  • CRAFT may imply expertness in workmanship.
  • Merriam-Webster’s Collegiate Dictionary

Merriam-Webster’s statement, “ART implies a personal, unanalyzable creative power,” goes far toward the direction of my thinking. But I would take this statement a step or two further.

I would expand the term “personal” to include the full spectrum of power, from personal to impersonal.  To only imply an artist’s personal “unanalyzable creative power” limits the range of inspiration and, I could argue, suggests that Art is more mundane than profound in its magnitude...

For example, look at the intensity flowing from the nozzle of a fire hose hooked up to a high-pressure line. It would be only somewhat correct to say that the shape of the nozzle’s interior walls in relation to its orifice and the pressure in the line creates its power (an analysis on the order of “personal creative power”).  Yet the true power comes from the high-pressure flowing into the nozzle (an analysis on the order of “impersonal creative power”).  In this analogy, the personal aspect of the nozzle channels and directs the power, but only when connected to a reservoir (‘an impersonal’ source) wherein the water’s high-pressure is created.

 

Personally, I desire the profound. Without a connection to a reservoir of true power, all creative designs or thoughts of personal power are just conjecture. My interest in Art is more toward the connection with the reservoir, the ‘impersonal’ source.  Such Art I term AR<T (Art Realized from Totality)—a Totality realized in its manifest appearance, but more importantly a Totality whose extreme potential is inspired by that reservoir of unlimited possibility well beyond the personal, well beyond myself.  Such a reservoir offers an infinitely larger scope, scale, and power than we can yet feel, see or understand.  And while I have termed such a source ‘impersonal’ (to distinguish it from a source bound by any limitation or ego), such a possibility stirs with an intense desire to be known, a potentiality personal unto itself, but completely impersonal to even the most awake of us. 

Our personal awareness, as human, existing within a medium of only 3 or 4 dimensions with some folks cognizant of a few more, represents only a small fraction of the potentiality of Totality, and yet, I could say, Humanity itself is an Ar<tist, a talent of the Creator.

“ART implies a personal/impersonal unanalyzable creative power”—By using the word “unanalyzable”, the authors of Merriam-Webster’s imply that a level of Art does exist beyond ordinary understanding. Yet, while a work of Art carries into manifestation that which in inspiration is “unanalyzable,” the subtlety or secret of Art itself can be dissected into a useful understanding.

Look at the design of an axe head. If its edge is dull or blunt, it will bounce off of what it’s trying to enter. If sharp, but there is not enough mass or taper—the edge will enter but barely penetrate.  If the mass is great, the edge keen, but the taper is too flat or sharp—the axe will go in deeply but be very difficult to remove and will lose its edge quickly. If these factors are in correct relation, the axe goes in deeply, removes easily and keeps it edge.

Humanity as the Artist, the talent of the Creator, is like a head of an axe. Most of Humanity is involved in personal agendas without concern for ‘the big picture’. But they do provide the required mass. The ultra-sharp edge is made up of a rare breed of Ar<tist that has the courage or wisdom to let go of his/her personal agendas and concepts, caress the profound and dive deeply into cutting edge. Then, there is the range of Artists who have the faculty of Art, Skill, Cunning, Artifice and Craft to execute well what they have devised.  These Artists make up the taper of the penetrating axe-like, evolving form of this Ar<tist called Humanity.

If one could hone an axe to the ultimate edge of sharpness, it would consist of a single row of molecules.  This single row of molecules of an axe in motion following its dharma (the purpose of it design) will slip between the molecules of the object it intends to enter and, depending on the mass of inertia backing it up, will penetrate deeply, or split apart, that which it has entered. This extremely delicate edge of sharpness would be destroyed by the slightest touch, were it not for the pyramiding support (the taper of the blade) which channels the force of the mass (inertia) into this single edge of intent.

The axe head must be cast soundly. Every part must follow its dharma (purpose of design).  If there are subtle incongruities in the casting, they will become exposed as fissures when the taper is being forged.  When the axe is put into service, this adharma (misalignment of purpose) may cause self-destruction.

In the above analogy, the Ar<tists living on the edge of the blade are the Seers. In ancient times, they were the Oracles or Shamans, who live a very different life than that of the masses.  In more recent times, when an Ar<tist is finally understood, usually in retrospect, such a soul is often referred to as “ahead of their time.”  The Artists, living within the taper of the blade that created the pyramiding structure of support for the Ar<tists, translate to the masses, in a palatable form, that which the Ar<tists see and experience on the edge.  The Artists are vital to this understanding, because it is they through their Art, Skill, Cunning and Artifice, who influence or reprograms the inertia of the masses into reflecting the truth of the Seer’s vision. Such an analogy speaks to Humanity as an Ar<tist. 

Humanity is also the talent of the Creator.  Here, in my definition of Art... that I have coined Ar<t:

“Art Realized from Totality” (AR<T)—a Totality not only in its manifest appearance, but more importantly, a Totality of extreme potential; a reservoir of potential well beyond the personal; an infinity larger in scope, scale, and power than we have yet to feel, see or understand; a universal potentiality that stirs with an intense desire to be known.

“A desire to be known.”  Yes, the impersonal desires to be known, but not to us, as our personal agendas would like us to believe, but unto itself.  The impersonal (pure structure and objectivity) desires a personal (through pure essence and subjectivity) relationship with itself; thus we are born into the Leela (the play of the Divine) as the talent of the Creator.

Looking at Ar<t from this perspective, we see that the Ar<t which Humanity produces is a momentary recognition of the state-of-the-art of the Divine knowing. We are as impersonal to the Divine as a mirrored image is to ourselves.  Yet, the personal in the Divine is like the nozzle I spoke of earlier. It channels and directs the flow of its unfathomable immensity into an Ar<t-form to fulfill its desire to know itself.  So the Creator creates and then steps into Creation as an impersonal talent of itself. Any Ar<tist, Divine or mortal, does exactly this.

A Leela is holographic.  Every time we consciously desire to know something and this intention is returned with an ‘AH-HA’ and we have no idea where this AH-HA came from, what we have experienced is very profound—an Ar<tistic event.  Our intent has created an (impersonal) axe filled with the inertia of our intent.  This axe driven by the nozzling effect of our desire has created a Knowing.  This work of Ar<t is then perceived to us as an AH-HA—a new state of being.  We are personally gratified, but the whole process is impersonal, so that we don’t have the slightest idea what has happened.  Although, at times we have the illusion that we created our knowing out of our keen intellect… but that’s our inertia speaking.

The new word created here: Ar<t—an important word for those living on the edge—was born of the acronym AR<T: “Art Realized From Totality.”  Did you notice the little nozzle pointing its flow from “Totality” towards “Art Realized”? And even more subtly, did you notice our axe-like reality symbolized as “Realized”?  Have you ever noticed how the enlightened appear so unattached, so impersonal—especially to their own personification.

Chop wood, carry water
               before enlightenment.

 Chop wood, carry water
               after enlightenment,
                                 goes the ancient saying.

You are the Ar<tist, the talent of the Creator,
               before you know it
                                 and after you know it.

You carry the Totality of impersonal potential
ready to flow at your slightest intention,
               before you know it
                                 and after you know it.

It’s always the same, but upon enlightenment…
               you know what you chop
                                 and you know what you carry.

The Divine has been forging Heaven on Earth since the conception of Humanity.  Forging is a process of heating and coaxing. A simple cycle that is repeated over and over until the axe is finally formed. Heating weakens the resistance in the material (Humanity in this scenario) making it more malleable. Coaxing with gentile taps (which can appear as heavy hammer blows if we get are too out of alignment) moves and elongates the the individual grains of the material into a synchronistic flow toward the edge of the blade—the business end of the axe. The mass is formed rather quickly; there alignment is not as critical. But as the taper is coaxed out of the mass, more and more attention is placed on the cycles of relaxing and elongation until the blade has been drawn to a point. The individuals who finally reach the the edge of the blade have been stretched great distances. Some may still have there origin grounded somewhere in the mass of the blade. Then comes the process of honing. Excess material is now removed ( in this scenario, the remaining obsessions of the ego) until the edge is lean and mean—aligned and focused.

“Heaven’s Stepping Stones” is itself a holographic axe among many that are being honed at the edge of this blade called Humanity. A single pair individuals acting as one has reached its edge. For years they have been honed. The initial level of pyramiding support for this individual pair—Hada & Hadani—is the AR<T Foundation. A few of the “One Thousand Mother Divines of Heaven’s Stepping Stones” (the next level of support) have come forward as their lives are going through the honing process. At present the remaining Mother Divines are still in the process of being forged. Because there are so many holographic axes working simultaneously on the edge of Humanity, the world will be soon ready for the Ar<tistic event “Heaven’s Stepping Stones.”

This blade call Humanity was put into motion a very long time ago, Yet it took millenniums before its movement was even noticed. At this point of its developing exponential flow, it’s impossible to ignore. It is now carrying us at such a breathtaking speed that you can almost hear the explosive sounds as it breaks through the boundaries of Heaven. The blade has been forged as it moved. Were now being honed for final entry. The excess is being removed. Only those who have honed their intention will survive the force of becoming boundless.

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The Art Realized From Totality Foundation
9721 Sterling Creek Road
Jacksonville, Oregon 97530-8930
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