Archive for July, 2010
I consider myself fortunate to have also studied the Chinese martial art of Wing Chun Kung Fu (or in Cantonese also known as Gung Fu).
Coming from a Shotokan karate training background I will admit that studying Wing Chun was a real change of pace, if you know what I mean.
But after having read about some other famous practitioners such as Ip Man, Bruce Lee, Ip Chun, Leung Ting, Emin Boztepe, I just had to give it my best shot.
I studied under Sifu Francis Fong, one of the finest kung fu instructors in the U. S.
Wing Chun, translated into English, means ‘Eternal Spring or Beautiful Springtime’ and refers to the name of Yim Wing Chun, who received Chinese boxing training from a Buddhist nun. At the time the style was nameless.
Yim later married and taught her husband this style of fighting. He then simply went ahead and gave the syle her name, Wing Chun.
There are a number of theories and versions about how this style originated. I like the one I just gave you.
The typical stance is supposed to be like a piece of bamboo, firm but flexible, rooted but yielding.
Wing Chun favors a high, narrow stance with your elbows kept close to your body and your arms are positioned across the vitals of the centerline.
Attack and defense follow along an imaginary horizontal line drawn from the center of your chest to the center your opponent’s chest. The prime striking targets are on or near this line, including eyes, nose, throat, solar plexus and groin.
With the emphasis on the center line, your vertical fist straight punch will be your most common strike.
Your kicks are to be kept below the waist. This is typical of southern Chinese martial arts, in contrast to northern systems which apply many high kicks.
Chained vertical punches are used a lot.
You develop your reflexes by searching unsecured defenses through use of sensitivity.
Training through Chi Sao (‘sticking hands”) with a training partner, one practices the trapping of hands. When an opponent is “trapped”, he or she becomes immobile.
Wing Chun also offers forms that are meditative, solitary exercises to develop self-awareness, balance, relaxation and sensitivity. They also help you in the fundamental movement and in generating the correct amount of force.
This style generally consists of three empty hand, one “wooden dummy” and two weapons forms.
There you have it: Wing Chun in a nutshell.
Enjoy this exciting martial art and always protect your centerline!
TheMartialArtsReporter. com
Movie poster plays an important role in advertising a new film. A new upcoming movie may be known and promoted through movie posters, helping audiences worldwide get to know the background of the movie. Nowadays, movie posters are usually displayed inside and outside movie theaters, in shops, on websites, newspapers and magazines. According to differences in size, content, movie posters varies with some versions. In particular, a movie poster often contains an image with text above or below developed from text-only posters to highly visual digital ones of today. The text ever contains the movie title and the names of main actors and actresses, even the name of director, the names of other characters and the release date to theaters. Movie industry is getting more and more developed with a number of history-making movies. There are some movie obtaining successes thanks to impressive advertising from movie posters.
The poster of “Metropolis” contributed to the promotion of science fiction masterpiece in 1927. “Metropolis” was the most successful silent movie ever directed by Fritz Lang. In 2005, one of the 4 remaining copies of its movie posters displayed on a California auction broke the world\’s records of the most expensive movie poster ever at 0,000.
Metropolis (1927)
There is only one movie poster of “The Bride of Frankenstein” displayed at their Beverly Hills Signature Movie Poster Auction in November, 2010. The movie poster is estimated at 0,000 for the auction price. The masterpiece, created by an unknown artist, comes from the Collection of Todd Feiertag, the most famous collection of horror movie posters of all time.
The Bride of Frankenstein (1935)
Dracula (1931) is an horror film directed by Tod Browning and based on the stage play “Dracula” by Bram Stoker of the same name by Hamilton Deane and John L. Balderston in 1931. The movie poster set the world\’s record of the most expensive movie poster at the price of 0,700 in 2009.
Dracula (1931)
King Kong (1993), released in 1933 marked the first application of cinematic techniques in movie industry. The movie depicts the relationship between a giant monkey with the main actress Fay Wray. King Kong\’s movie poster was sold for 4,500 in 1999.
King Kong (1993)
The Mummy (1932) is an horror film produced by Universal Pictures. Its movie poster reached 5,000 at Sotheby\’s auction in 1997 and was the most expensive movie poster until the release of Metropolis (1927). The poster of the Mummy (1932) was designed by Karoly Grosz, one of the top artists of Universal Pictures.
The Mummy (1932)
“Flying Down to Rio”, a musical film directed by Thornton Freeland, was produced by Merian C. Cooper and Lou Brock in 1933. The movie hit theater at the time to release by the excellent roles of the co-stars Fred Astaire and Ginger Rogers. The movie poster of “Flying Down to Rio” was sold for 9,000 in 2008.
Flying Down to Rio (1933)
“The Black Cat” is a short horror film directed by Edgar Allan Poe and produced by Universal Pictures. The movie was first released on The Saturday Evening Post in 1843. Its movie poster reached 4,600 in an auction of the most expensive movie posters last year, and 8,800 in 2007.
The Black Cat (1843)
“Frankenstein” (1931) is one of the most influential horror films released in 1931 for the first time. The movie, directed by James Whale, was based on the novel by Mary Shelley. Its movie poster was sold for 8,000 in 1993.
Frankenstein (1931)
Related links:
MoviePosters Sells Movies
MoviePosters – More Than Just MoviePosters
MoviePoster Design
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Whether you are an SLR Professional, a Nikon Novice or an iPhone ‘spur of the moment’ photographer there are certain techniques you can implement to capture images truly worth sharing.
My Top 10 Digital Photography tips are as follows:
10. The Rule of Thirds
Focal points are the key areas of interest in a photograph. If you are taking a portrait it maybe the persons eyes. If you are taking a landscape shot it maybe the mountain in the background.
The golden rule is never place focal points at the middle of a photograph. The powerful effect of a focal point is accentuated when it’s taken off center. Mentally visualize every image as being divided into 9 boxes created by two evenly spaced vertical lines and two even spaced horizontal lines.
Now, picture that middle square in the grid. The four corners of that square mark the locations of your areas of interest.
Consider an image taken of the statue of liberty. Keep the focal point (Statue of Liberty) out of the middle box. This creates a more dramatic image with the Manhattan skyline providing a superb backdrop. This ‘rule of thirds’ is very useful for all types of images e. g. for sunset images use the horizontal top line to position the sun, and thus ensure the foreground accounts for 2/3s of the shot. This gives the images more depth and dramatic effect.
9. Pick a Point to Frame a Shot for Professional Effect
A very effective way to create an instantly professional image is to use a nearby object to give an image perspective or to alter its perspective. For example consider an image taken in a relatively ‘unexciting’ restaurant environment. By purposely using two pint glasses the photographer can add an element of ‘altered perspective’ to the image, by making the pint glasses seem larger than life by positioning the camera near the glasses and the person in the background. It would also emphasize what the individuals in the image were engaging in, at that moment in time.
8. Vary the angle the shot is taken
This is a very simple concept which is seldom realized by amateur photographers. By altering the angle the image is taken, the subject matter can be greatly enhanced. For example whenever I’m at the beach or in a boat, I take images by holding the camera at water level. This provides a dramatic panoramic image that looks liked the camera was floating on the water. In fact this low level camera angle can work very well in many different types of situations. When I was in New York, I used capture images of the skyscrapers by placing the camera at footpath level. This had the desired effect of emphasizing the height of the skyscrapers.
7. Slow Motion Effects Creating a slow motion effect on subject matters ordinarily associated with swift motion, creates photographs that have the ‘wow’ factor. The most effective subject matter for this type of image is waterfalls. Commence by discovering a nice composition with running water, then prolong the time the cameras shutter is open. Be sure to use a tripod to ensure the camera stays study during the long exposure.
It’s advisable to trip the shutter using a self timer. You will need to keep the camera steady during the long exposure so a tripod is strongly recommended.
According to photography expert Dereck Story “If your camera has an aperture priority setting, use it and set the aperture to f-8, f-11, or f-16 if possible. This will give you greater depth of field and cause the shutter to slow down.
Ideally, you’ll want an exposure of one second or longer to create the flowing effect of the water. That means you probably will want to look for streams and waterfalls that are in the shade instead of the bright sunlight.
Another trick is to use your sunglasses over the lens to darken the scene and create even a longer exposure. Plus you get the added bonus of eliminating distracting reflections from your composition. “
6. Expression of Motion
Capturing a moving object is an important conversation in digital photography. You can generally achieve three different types of effect:
a. A complete freeze frame with both the subject and background clear, non blurred and still.
b. An image where the background is still but the subject matter is blurred to illustrate the speed they are travelling
c. An image where everything is blurred
To create an effect where every aspect of the motion is clear and sharp you need to use a high shutter speed. Use a shutter speed of at least 1/300th of a second. Set the shutter speed to 1/1000th of a second if you are shooting a fast moving object.
If you seek to blur everything in the shot to convey to the viewer how fast everything is moving, slower the shutter speed to 1/100th of a second or less.
To achieve ‘panning’, motion blur of the background while the subject stays clear you need to use a slower shutter speed while moving the camera at the same rate as the moving object.
5. Taking Spectacular Night time Images
The key secret here is to always use a tripod. This is necessary to achieve a clear exposure with a great depth of field. Many professional photographers integrate a foreground object in the frame. This gives the object depth and serves to frame the image.
4. Taking Portraits
The most effective portrait photos are those taken when the subject is not expecting or not ready. Many top photographers will take the image when the subject is fixing their hair, or clothing while getting ready for the shot. These provide more genuine images that are far more appealing.
3. Take Black and White
Black and white images are a very effective means of transforming the mood of a photograph. If you find yourself at a beach on a cloudy day, a black and white image will appear more scintillating and bring to life shots which would otherwise have appeared colorless. This technique is also useful for night time images taken within big cities e. g. Manhattan.
2. Timing is Critical
Whether you are on a city break to Prague or visiting the Pyramids in Egypt, taking images at dawn or dusk will present more exciting photo opportunities. You are more likely to get a clear landscape shot because less people are around early on. Considering the sun shines at different angles through out the day, you will gain from varying intensities of shadows and colors. This is particularly noticeable in the evening when the light becomes warm and golden.
1. Monetize Your Images
Upload your images to sites such as shutterstock. com and get paid for every time someone downloads your images.
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“Art is a lie that makes us realize truth. ”- Pablo Picasso
What kind of lie does contemporary art support today?
What kind of truth are we realizing through the contemporary art?
Contemporary scene of visual art resembles the space filled with broken mirrors, where images reflect each other in the multidimensional sphere of media circus. The technique of cataloguing and classification, creation of categories, could serve as the key to the mapping and understanding of complexity of the multitude of approaches and streams that exists in today’s global art scene. Criteria for both, the creation and the selection are borrowed from random structures, and theoretically are questioning relevance of the evolution of art.
The initial categories for the whole system are those of matter and consciousness. They provide the trunk from which all the various branches of the other categories stem. All elements are so interconnected that, each can only be understood as an element of the whole. -Dialectical Materialism (A. Spirkin)
Determination of the significance of styles or tendencies, of the main art stream, groups or any other structures, will become irrelevant in near future. “Anything goes” was replaced by “And What?” With all the information and tools available today, everybody could become an artist. People of all professions are playing with new media. Does Garage Band make a musician, or graphic software a designer, or using digital camera a photographer? New technologies create a game where in competitive manner consequently everybody wants to win. Winning in art, means also experience “15 minutes of world-fame” and becoming a “superhero. ” Consumer society deals with superficial substitution for happiness. Who is going to watch the game if everybody plays. Fortunately we can not play at the same time. Audience varies from small groups (family members and friends) to large social groups. In larger social communities, like national structures, demand for “heroes-artists” diminishes and culture is broken into small pieces of individualized performances of regional character. Researching tendencies of art scene behavior in context of contemporary philosophy of art we tend to accept a concept, that everybody is or could be an artist. The meaning, importance and consequences of such mind stream are very profound and have a great impact on cultural and social live. Why? It requires dropping the concept of conceptual thinking.
My artistic approach is created on such foundations. Not that I would be able to perform non-dualistic processes, but I am trying to pronounce a little speculative futuristic prognoses of the era after the end of art. Sooner or later this trend will be labeled as some kind of Unthinkable Art. Historically, realization of such path becomes a paradox to common sense (especially on collective level); however, similar trends are reflected in the air of the post-postmodern rain, and will soon appear on the sky as a rainbow.
Today’s curators are looking for unique and interesting angles to make their point across when using selective techniques for art shows. The usage of traditional approaches secures the system of art cycle, from creation to the distribution, and protects the capital of cultural bureau. Even the most alternative scenes (Technologies vs. Art, or other forums of so called “new media”) are not resolving the issue of foundation of the role of art on the contemporary global cultural platform, because they are based on the traditional curatorial, selective and preconceived mechanisms. What do I mean by that? I refer to the study of the designation processes of mind in relationship to the definition of what we labeled: The Art. As a reference to dialectic philosophies is an example of demonstration the potential of the idea pronounced by A. Danto, about art becoming philosophy. Such Ideas would need to be adopted, not only by artist themselves, but especially reformulated by structures that officially support the larger cultural platforms.
What are results of the conference that took place in Teheran in 2001? Art is still presented to the public in the manner of presentation from early 20 century. Structures that support such static views certainly do not elevate the public consciousness and awareness of issues of modern art world. The Artist Mark Kostabi makes allusion to the idea, of the art being a servant of market. Some curators are trilled by this statements. In the global picture of westernization, M. Kostabi’s phenomenon is becoming a guide – a hero, who is ideal combination of qualities, that contemporary artist should posses. It is also the best demonstration of lie that helps us to realize the truth about art of today.
Like a flashes of neon sign, art is reflected, from the pieces of mirrors everywhere.
Looks like a new quality of question have arisen since Arthur Danto published his ideas in book called “After the end of art, 1998. “Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. ” Art is becoming a philosophy.
I always believed in finding the answers in the space between, looking for the middle course. Neither postmodernism nor new media approaches are answers to the understanding of the positioning of the art of tomorrow. Postmodern world is a world of entertainment. It’s like an amusement park, where possibilities are endless and we feel overwhelmed for a while, but we have a need to relax from excess information and go back home.
Kostabi is one of those, who understood the art market, and because of his intelligence he penetrated the system, took advantage of it, so he can do whatever he wants. We pay for expensive tickets out of our pocket. I admire him because he realized the dream of every artist. Or is it not a dream of every artist to get recognized and sell art work all over the world?
If not, what is?
Is it still relevant to ask question, such as, what is Art? How do we deal with it? What is the nature of beauty? I would like to refere to the dialog between Einstein and Tagore from 1930.
EINSTEIN: There are two different conceptions about the nature of the universe – the world as a unity dependent on humanity, and the world as reality independent of the human factor.
TAGORE: When our universe is in harmony with man, the eternal, we know it as truth, we feel it as beauty. ”
E: If there were no human beings any more, the Apollo Belvedere no longer would be beautiful?
T: No!
E: I agree with this conception of beauty, but not with regard to truth.
T: Why not? Truth is realized through men.
E: I cannot prove my conception is right, but that is my religion.
T: Beauty is in the ideal of perfect harmony, which is in the universal being; truth is the perfect comprehension of the universal mind. We individuals approach it through our own mistakes and blunders, through our accumulated experience, through our illumined consciousness. How otherwise can we know truth?
- by Dmitri Marianoff, published in NewYork Times, August 10, 1930
“Contemporary artists would never approach new horizons. One of the reasons of this failure seems to be the separation of artistic activity from speculative thinking. “
2001 Tehran Museum of Contemporary Art, International Conference on the Philosophy of Art.
What happened since the time of the conference? How to overcome speculative thinking, if it arises as a cultural result of values supported by society we live in?
How to identify or place individual art work into the world of already so complicated and diverse art scene, without compromising originality, respecting evolution in art? How do we deal with the fast passing, minute to minute changing tendencies of art? How the individual artist contributes to the art of its lifetime, and not just contributes to the 15 minutes type of history? What are the values, reasons of art of tomorrow? Is there analogy in art history to the situation of our era? What are the future forms of the visual exploration? What will the production of art going to be in near future, 10 years from now? What is the role of new media? Does artist have to be involved in the philosophy of art? Could individually created piece of art be created in isolation? If so, how are art processes structured on individual level and on the global level?
It is intriguing to think about becoming a pioneer of the new Era of Art. My motivation is to explore the field of possibilities. In have no interest in inherent aspect of art rather I am interested in the evolution of possibilities of artistic thinking. In 1999 I have graduated in Academy of Fine Arts in Bratislava, with installation inspired by I. Kabakov, where I exhibited my workspace with drawings and prints on floor and the white canvases, with intention to question the meaning of the art itself. White canvas was there to raise the question of reason for continuation of mark making and the End of art narratives. I have seen closed circle of possibilities. If anything was possible, and everything was an art; than nothing was an art anymore, so Art was Death. But as I realize today, that was just the beginning of my long journey to the realization of truth about art.
The Incredibles (2004) refreshed feelings about the End of Art.
“When everybody is a superhero than nobody is superhero”.
In order to continue in activities leading to product that is labeled as an art, I had to formulate and reconsider following facts:
1. Analysis of situation.
2. Underlying misconception of self and wrong motivations.
3. Formulating the solutions and strategies.
4. Continual fabrication and visual symbioses with reality.
1. ANALYSIS OF SITUATION
From the Teheran’s conference: Post-Modernism & Contemporary Art,
27 April – 1 May 2002
The Problems of Contemporary Art:
- Aesthetics in Contemporary Art
- The Fine Line between Artistic & Non-Artistic Work
- The Language & Expression of Contemporary Art
- Contemporary Literature & Art
- Contemporary Art & Technology
- Globalization & Contemporary Art
- Post-Modern Art: Features & Characteristics
- The End of Art
Post-Modernism & Trends of Contemporary Art:
- Minimalism
- Conceptual Art
- Land Art
- Video Art
- Body Art
- Anti-Art
- Local Art
- Feminism
- Post-Modern Architecture
Theoretical Origins of Post-Modern Art
Theoretical Principles of Modernism from the viewpoint of Modern Philosophers:
- Humanism
- Rationalism
- Subjectivism
- Nihilism
- Aesthetics
- Enlightenment
2. UNDERLYING MISCONCEPTION OF SELF AND MOTIVATION
I have slightly touched topics of traditional dilemmas of dualistic mind. The acceptation of dual aspect of things, leads to judgmental thinking, not only in art. Creation of categories is beginning of the tragedy of the era after the end of art. This is why Beauty and any other category could be defined, which leads to the continual labeling.
Definition of other reasons of misconception is based on juxtaposing Nietzche’s and Malraux’s models of art and processes of creation.
Nietzche
a. One seeks for oneself a less artistic public. The superstitious belief in the “genius”
b. One harangues the obscure instincts of the dissatisfied, ambitious, self-disguised spirits in a democratic age: importance of poses.
c. One transfers the procedures of one art to the other arts, confounds the objectives of art with those of knowledge or the church or racial interests (nationalism), or philosophy.
d. One flatters women, sufferers, the indignant, etc. False “intensification”.
Malraux Andre
Art is a display of universal creativity of individual. Through art work man was, and is, opposing and transcending limitations of his physique, his personal and social (historical) destiny. Malraux refuted to explain art works in relation to the biography of their creators, and was against this method in explaining motives and contents of art.
3. FORMULATING THE SOLUTION AND STRATEGY/ VISION-UTOPIA
a. Revival of Iconic Quality.
Because of the degenerated Era of Spiritual Values and the End of time of Old Gods; which migration and multicultural blend is responsible for, I am looking for Possibility of New Sacral Form. This is not a creation of transcendental art. It is a search for artistic form that allows the content to respect dialectic evolution of social wisdom, where an essence of sacral secrecy is highly respected. It is a new level of the sphere of new colors, shapes and structures. Renewal of art forms is based on reevaluation of sacral attributes from history and than elevating the forces of modern era which define motives and perspectives of redefined sacral forms. It is revival of existing symbols, on global level. It is not a creation of a new religion, but it is a new level of social consciousness. Form remains the same, mind is different. Technology, art and philosophy are integrated into continuous symbioses.
b. Role of the Artists, Galleries and Cultural Industry. Combination of Two Worlds. New Cultural Wisdom. Utopia.
This would be the end of “…marketing game governed by art dealers, Gallerists and publishers, who have to run the business of Cultural Industry. ”
The society on global level would be governed by New Cultural Wisdom. Creation of art is not considered anymore as the act of creation. “The art will be spontaneous as breathing. ” Artist is producing form, that is instantly and naturally blending into the environment, so the sub-consciousness is directed by wisdom that eliminates the dilemma of hierarchic model. Gallery space is no more required and the whole space is becoming a showcase. The whole space does not require the poses. It is an art of conscious depiction of picture plan, from retinal experience, or selection of the picture frame in consciousness and placing the required aesthetics upon it. Artists are fabricating art that is already blended into environment as natural portion of space and serves as perceptive potential for public depiction. Cultural Wisdom is defined by human consciousness that provides unlimited potential for defining the pictorial framing of reality, and its limits are limits of understanding the phenomenon of reality.
c. Clash of Civilizations. Global Culture. Meta-code, and New Artistic Religion.
We experience on global level formation of new cultural qualities that are based on cultural clashes. (Example: Global cultural experience is formed in LA house, with my Persian and Mexican friends listening to the Japanese techno music, eating Bulgarian cheese with Arabic bread, Russian pickles and drinking French wine while discussing Slovak culture, or latest fashion trends in London. ) East meets west or south meets north processes are not completed yet and it is hard to predict the results from the cultural clashes. But we need to look at the presence as the formation of the universal space, where cultural identities will be redefined. This will result in temporary crisis of individual identities but eventually will lead to the identity of global consciousness.
Americanization of world can serve as model of globalization of globe with its positive and negative aspects. Migration to caves is limited. S. J. Lewy
4. CONTINUAL FABRICATION AND VISUAL SYMBIOSES
I would like to scratch the surface beyond the point of A. Danto’s philosophical questions about the end of art. Not that I would have “the guts” to elaborate on his ideas from philosophical perspective, but I just want to reflect on some fragments and articulate them strictly as an artistic vision.
“A philosophical question arises whenever we have two objects which seem in every relevant particular to be alike, but which belong to importantly different philosophical categories.
…and this is no less the case when seeking to account for the differences between works of art and mere real things which happen exactly to resemble them.
…for example, regards paintings as very complex perceptual objects. So they are, but since objects can be imagined perfectly congruent with those which are not art works, these must have equivalent complexity at the level of perception. After all, the problem arose in the first place because no perceptual difference could be imagined finally relevant. But neither can possession of so-called “aesthetic qualities’ serve, since it would be strange if a work of art were beautiful but something exactly like it though not a work of art were not. In fact it has been a major effort of the philosophy of art to de-aestheticize the concept of art. It was Marcel Duchamp, a far deeper artist than Warhol, who presented as “readymades” objects chosen for their lack of aesthetic qualities – grooming combs, hat racks, and, notoriously, pieces of lavatory plumbing. “Aesthetic delectation is the danger to be avoided,” Duchamp wrote of his most controversial work, Fountain, of 1917. It was precisely Duchamp’s great effort to make it clear that art is an intellectual activity, a conceptual enterprise and not merely something to which the senses and the feelings come into play. And this must be true of all art, even that most bent upon gratifying the eye or ear, and not just for those works which are regarded as especially “philosophical,” like Raphael’s School of Athens or Mann’s The Magic Mountain. Were someone to choreograph Plato’s Republic, that would not, simply because of its exalted content, be more philosophical than Coppelia or Petrouchka. In fact these might be more philosophical, employing as they do real dancers imitating dancing dolls imitating real dancers!
Where are the components for a theory of art to be found? I think a first step may be made in recognizing that works of art are representations, not necessarily in the old sense of resembling their subjects, but in the more extended sense that it is always legitimate to ask what they are about.
Now of course not all representational things are works of art, so the definition has only begun. I shall not take the next steps here. All I have wished to show is the way that the philosophy of art has deep questions to consider, questions of representation and reality, of structure, truth, and meaning. In considering these things, it moves from the periphery to the center of philosophy, and in so doing it curiously incorporates the two things that give rise to it. For when art attains the level of self-consciousness it has come to attain in our era, the distinction between art and philosophy becomes as problematic as the distinction between reality and art. And the degree to which the appreciation of art becomes a matter of applied philosophy can hardly be overestimated. ” – A. DANTO
I believe that art should reach the level, where its own representation would be representation of the pure existence. What do I mean by pure existence? Ii is purification on the level of non creation. All creation is pregnant by its causes. Consequently purifying the causes of creation will purify the act of creation itself.
Global consciousness on the level of cultural wisdom will create the platform, where all representational things will become work of art. It would be consciousness and its possibility to frame the fragment of reality and apply the aesthetic quality upon it. The reality in cultural wisdom level is ultimately de-aestheticized. Marcel Duchamp’s idea of the danger of aesthetic delectation would be eliminated and his vision completed.
Every aspect of reality could become art, but Wisdom Culture does not allow the reality in dualistic (judgmental) sense to become the art neither on collective level, nor on any regional level. It would only exist as a potential view, on the level of one’s consciousness. However in later stages of development of wisdom culture, in the stage of ultimate equanimity, the nonjudgmental aesthetic experience of reality as ultimate art could be realized simultaneously in more than one person. Evolution of collective experience could follow. The result of such parallel experience manifests the evolution of human kind toward the subtle spiritual qualities and realization of inseparable quality of beauty from the existence itself. It is experience of highest aesthetics. This will lead to the formation of new social structure, where “shamans” will protect the global Sanctum.
The essence of the Sanctum is present in every aspect of reality, which holds the door to the potential creation, where the seed of the nature of beauty could be found.