THE ARTIST'S MIND
A Manifesto Of Integral Artist Psychology
Movement I: An Overture


Abstract
A manifesto, in its original sense, is, according to Webster's, a written statement to declare publicly the intentions, motives, or views of its issuer. In the movements of The Artist's Mind, Matthew Dallman introduces the aspect of his integral art philosophy that is anchored in John Dewey's theory of art as experience, Howard Gardner's theory of multiple intelligences, and Ken Wilber's "AQAL" model of structural psychology in a manner that is pragmatically streamlined for today's working artists. For Dallman, there is a tripartite dynamic for art: to experience intuition, to convey concretized intuition in objects, and to reflect upon the concretized intuition with others. From a platform of multiperspectival cognition, the artist can consider integral art philosophy as a touchstone for use in their artist practice. Instead of a treatise that aims to be specific to a medium of art, Dallman's The Artist's Mind highlights core aspects of creative endeavor, at the transdisciplinary root, he suggests, of any medium of art. This is a manifesto of artist psychology, intended for practical consideration by working artists.




Table of Contents

I. An Overture
Acknowledgements
Endnotes

Artwork Series by Jeff Lohrius






I. An Overture

over - ture
Etymology: Middle English, literally, opening, from Middle French, from (assumed) Vulgar Latin opertura, alteration of Latin apertura
1 a : an initiative toward agreement or action : proposal,
b : something introductory : prelude
2 a : the orchestral introduction to a musical dramatic work
b : an orchestral concert piece written especially as a single movement in sonata form

Psychologically speaking, what happens when artists produce art? The short answer is a potentially enormous number of things. The unconscious meets the conscious; the unknown meets the known; the ego fights against equanimity, and the will against surrender. Experience reaches a completion, a culmination. Artists feel a whole spectrum of emotions, a spectrum of their own personalities and life traumas, and die in the process of trust; consciousness re-lives as perception by others. Artists flail in experiment, and in the seemingly lowest points, can somehow fly in a spontaneous zone of prolonged creation and luminous inspiration, insight, and intuition. An eternal mystery unfolds; calls high and low are echoed; enchantment and ecstasy explode. Inner experience liberates the repressed soul. The Muse strikes, a creative state blasts, artists deeply feel vibration, they hear a keep call, and something all together strange happens. At some unknown point, almost like a newborn child, a piece of art appears in the world, and we call it a whole. Art can terrify, shake us awake, makes us cry in pain and joy. It can sanctify, redeem, and release the suffering and embedded truths of a people. Even in decadence, art tears apart, then unites and amplifies, separate personae, Apollonian, Dionysian, chthonian. It evokes and transports one person's feelings into another. Art's perception can bring deep remembrance. Our senses, ritualized through the formal arts, are vivified.1

The phenomena which artists experience can take the slippery shape of many forms, contents, and structures, and the experiences of artists can be beautifully adorned with details as diverse and unique as there are souls in the Kosmos. To take stock of basic, observable patterns of artist psychology is a fitful, even idealistic, endeavor. Diversity, as well as the will of artists not to be reduced to formula (rightly on both counts) conspires against metanarratives. Yet not as metanarrative, but rather as consistently observed pragmatic dynamic, I suggest such a basic pattern, nonetheless: artists experience intuition; artists work to convey that intuition through objects through and in an artistic medium (or multiple mediums); and artists reflect upon the concretized intuition with other viewers (in a public venue). All in all, that there is a nuanced and delicate relationship between artist and intuition forms the single most fundamental premise of this manifesto.

What is integral?
In my work, integral is short for 'an integral worldview, founded upon multiperspectival fullness'. A person's worldview is made of the assumptions one has about the world (oneself plus everything external) that are so obvious so as to not realize the assumptions have even been made. Together, these assumptions form the internal undergirding for what we perceive, how we process those perceptions, how we form and attach meaning, and how we communicate with others. Furthermore, one's worldview deeply effects the manner in which one solves problems, as well as produces objects, including artwork. Integral artistry is artistry through an overall cognitive, aesthetic, moral, and participatory lens of fullness, as the goal-less goal of everything we think, say, feel, contemplate, and make. It is cognitive in that it stirs new awareness; it is aesthetic in that it is anchored in art experience and perception; it is moral in that I consider fullness in art to be a better overall attitude and means for judgement than anything else; it is participatory in that it acknowledges the fundamental importance of doing and feeling, as well as experimentation as its basic method.

An integral worldview means that within one's life in today's art world, with adventures and ordinary days as a working artist of integrity, one's artistry is infused with a deeper, wider consciousness, and an enriched vibrancy of perception that comes from kinship with the multiple perspectives we can take in our views of the world, and of ourselves. Integral artistry, I believe, operates with an open, receptive awareness, with truth coming potentially from any source we study. As artists we take stock and consider that which is at our disposal for creative outlets and purposes. When we can perceive clearly and undergo (to adopt John Dewey's important idea) the energies that we have to work with—individually, collectively, internally, and externally—then our art, I believe, can be all the more enriched, coherent, sculpted, fine-tuned, and polished, as a means for the spirit of creativity to reflect in radiant luminosity. Our art is no mere craft, or predetermined logical game or activity, but a full expression and representative sign for the mystery, the spirit, the essence at the heart of all of us. That special 'thing' that glows around great art can glow around anyone's art, I believe, if one's artistry is approached comprehensively. The more we know, the more, paradoxically, we can release for others to perceive.

Any artist, from the beginning of time to the present, who has operated with fullness, can be thought of in the terms of 'integral artist', because great art is predicated, I believe, on the artist on one hand undergoing an experience or set of experiences in a way that they are able to perceive fully (if only intuitively) and on the other are able to employ the full set of technical tools of the craft of their discipline of art towards the extension of their experience, their consciousness, into a material form in a manner that satisfies as a culmination. Historically speaking, the determination of fullness in art is a sliding scale, push deeper and wider by the world's great artists from previous epochs. Our knowledge of the human body, mind, and spirit/breath-force evolves as our sciences of each develop and expand. The truths of each science gather, likewise, from a comprehensive study that incorporates truths from premodern, modern, and contemporary science. Fullness in the arts cannot ever be truly defined or limited—it is pushed deeper and thus is sliding. But our full-throttle efforts to embody and evoke fullness in our artwork are means for the recognition of timelessness necessary, I believe, to the sustainability of life. Seeking fullness puts you in fabulous company.

In basic terms, I suggest that an integral artist can use integral art philosophy as a broad conceptual touchstone. By "touching it", you consider how you might consider and then experience the perspectives that are "named". Doing so can support and challenge artists who want to work at their own leading edge. Creating new inquiries based upon this sturdy model of fullness can push our art into the cleared zones where our deepest intuition is the only guide we have, or need. We are informed from out lives in a multiperspectival world, yet we seek an interior space where there is nothing but intuition. Here, the deeply particular can be the widest universal. Call it avant-garde, call it innovation or novelty, call it brilliant and genius—by another other name, I suggest that from the deepest intuition comes authentic art.

What is integral art philosophy?
Integral art philosophy is a platform for fullness in the art world. It suggests that a necessay step towards fullness is to understand that humans have multiple perspectives, and to highlight the primary perspectives at play. It is a philosophy for "whole-person approach", "whole art approach", or in this case, a whole-artist approach. It advocates that artists can operate holistically in their artmaking practice, with fully-exposed consciousness, and with fully-manifested light that shines through our created objects. Integral art philosophy recognizes the value of hierarchy and heterarchy, or depth and span. And artists can consider and apply knowledge, insight, and methodology that can come from any source, from other disciplines of art, from other cultures, from other fields of human thought, or whereever. As artists, we often most resonant with the feeling of truth, insight, and methodology, because our feelings, our affections and senses, spark our intuition. We make in art a metaphor for what we feel in life, through gestation, birth, suffering, transcendence, death, and reincarnation of souls.

Artists today can be multiperspectival. And what does that mean? It means, in short, a consciousness and worldview live that can account for multiple perspectives, without undue privilege or attachment to any particular perspective. The anchor of multiperspectivity is practical life, the contexts when our consideration has space to expand and influence our behavior. For artists, this can lead to decisive artwork production, an ongoing contemplation or meditation upon the nature of life, and the restraint to know what belongs and doesn't belong in your artwork so as to be the most powerful and resonant artwork you can produce. An multiperspectival consciousness helps us make truly informed distinctions. We can reckon more, and we can experience more. Experience here and now sets the stage for the creation of tomorrow's great works of art.

The philosopher Jean Gebser writes: multiperspectival "expresses a process of liberation" from an exclusive perspective. And it is ultimately (and simultaneously) concerned with "wholeness".2 I echo Gebser through my usage of the Koestler term holon. A holon is both a whole and a part. It is a whole/part. The primary holons I examine in my work are that of the artist, the artwork, the art institution, and the art interpretation. I believe that sentient beings can perceive from a variety of dimensions and perspectives, and in fact a spectrum of dimensions. A liberated wholeness allows us, I believe, to be artists with clearer perception. In my philosophy, by working to be a more intuitive whole artist, we provide, through our artwork, the means for clearer, fuller perception for others.

What is AQAL and what is the aim of knowing it?
'AQAL' is an acronym that stands for all-quadrants, all-levels, all-intelligences, all-states, all-types. Taken in turn: QUADRANTS are the dimensions of subjective, intersubjective, objective, and interobjective that emerge as a lens upon any context; for every context can be percieved via these four dimensions. INTELLIGENCES are the Howard Gardner-researched capacities/potentials available to humans, which he names as Logical/Mathematical, Spatial, Kinesthetic, Interpersonal, Intrapersonal, Musical, Linguistic, and (possibly) more. LEVELS (or waves, or stages) refer to progressive steps of development in human intelligences— the practical diagnostic scale of 'preconventional to conventional to postconventional'—although a more detailed conception is sometimes necessary (such as with Piaget-researched cognitive/logical intelligence). STATES are the short-term but potent conditions of the mind either natural, altered, or induced. TYPES refers to gender dispositions (commonly, masculine and feminine) that are available equally to men and women alike. (For further demonstration of these elements, as well as research sources used to support these five elements in AQAL, see Part II of this Manifesto).

The aim is to introduce a touchstone (from Gardner and Wilber) grounded in the background of artwork creation (from Dewey and McLuhan) that spurs inclusive fullness applied towards artistry and artist practice. If artists ask 'What is the best way for my intuition to end up as art?', then the five elements of AQAL provide useful perspectives to consider in a personal way. This touchstone can often evoke new kind of thought, but also it can remind us of knowledge or insight that used to be considered widely but is now forgotton. For it is not the case that approaches in contemporary art schools are out and out wrong, or that historical accounts of artistic education and practice are useless to our understanding. An inclusive account of the art world does not ignore the past, but takes the truths offered by those who came before us and reconciles their reported experiences and discoveries with our contemporary cultural, technological, empirical, scientific, and phenomenological development. The more we know, the more we can release into the unknown, and make art from that intuitive space. This touchstone names several of the discreet patterns of artist psychology, and can support intuitive invesigations in that way. The goal of this touchstone—or a "mental filing system" 3— is to provide study paths for artists to forge, experience, remember, expand, and extend consciousness into material form. The focus, always, is to produce more resonant artwork.

This manifesto is not particular to any specific discipline of art, in part because I believe that strategies for fullness can be applied in any discipline of art. Our ultimate subject matter is creativity, which can concretize in music, film, poetry, metal-work, theatre, sculpture, architecture, painting, dance, and every discipline, through any objective vessel. I follow McLuhan is that we extend our senses (our nervous system) through consciousness into material form. Perceived creativity can rush forth, electrically, along a river of one's own. The more an artist can take stock of and dig into fullness, the more, I believe, the artist can feel further and deeper into that for which there is little to no evidence or research. Your ability to be honest with the mystery can transform. I refer to every artist's deepest essence, the most discreet vibrations, the energies that scare the crap out of us from time to time, yet precisely those energies that truly illuminate and radiate something intense, something of love, something of passion, vision, transcendence, and perhaps oneness. Simply put, you can become aware of what was and what is. Then your artist intuition can guide you to what might be. Follow the bliss of your deepest feel. Train and trust your intuitive voices and movements. And follow its rush. Face your fear.

This rush of inspiration, for artists, yields something concrete that we like to call artwork. This is an important dynamic—a 'something from nothing'. Psychological growth, in part, occurs when we recognize as an object that which was previous embedded in our psyche as a subject. For example, many in the 'boomer' generation of the American 1960s were embedded, so to speak, in a certain psychological subjective attitude, exemplified in hippie and countercultural activities, fashion, aesthetics, nutrition and politics. Now, over forty years later, many of those some people look upon their own 60s experiences in, ehem, much more objective ways. Many laugh at their old lives (as they should), and many have refined initial truths into more sustainable lifestyles. My point is that their radical mind-frame was their psychological subject. Now it is something else, an object. They see, more clearly, the folly of how they used to be (as well as the dignity). And because of that, pscyhologically speaking, they have grown.

The same dynamic of subject-becomes-object applies in a more local and microgenetic manner with the production of art ('microgenetic' means personal and moment-to-moment). 4 Artists make objects (artworks) to reflect and concretize an intuition that is both conscious and unconscious. The ongoing process of art production allows the artist to make shape of the Mystery, one curve and line at a time. As we produce art, artifact by artifact, we give a more concrete quality to that which is intuitive and seemingly ineffable.

So as we produce art, I suggest, we micro-evolve, bit by laborious bit. Our intuitive subject culminates our individual experiences to become a concrete object. When we are satisfied that the object's creation is complete, we look at what we once only felt. This is part of the reward of art. It is part of why we are artists. We want to see what we feel. As we give voice to the only faintly heard, we transmit energy to others, to fuel new and novel creativity, to push, support, and evoke Spirit, and to flush the world with its own alchemical life-essence. The more we trust our intuition, the more we automatically encourage others to do the same for themselves.

So the aim of this manifesto is to introduce the practical aspects of artist psychology (or those aspects of psychology that can grow through practical experimentation) so that artists can have a truly informed multifaceted touchstone, as a personal platform, from which to dive into the Sea, rocket into Space, and to be inspired by the lyricism, rituals, adventures, and ordinary days that evoke the simple moments of enlightenment and deep recognition in everyday life.

How do I use this philosophy for art?
Integral art philosophy can bring forth many questions—such as: What are actions, behaviors, methodologies, critiques, institutions, interpretations, and artwork that are consonant with an integral worldview?

The short answer is that anything resonant with one's integral consciousness are consonant with an integral worldview. Like find like; fullness finds the fullest means to express itself. Fullness is found in open-ended ways. Of course part of the search for fullness is the reality that the search often means the artist pushes into new areas and zones of knowing and being, which is a position that is lonely and scary. A cursory glance at the history of art around the world shows that it is more the rule than exception that the deepest significance and value of an artwork is recognized long after it was introduced to a culture. We have to be courageous. Artists, and specifically the energy evoked by their best artworks, are often ahead of the curve, compared with society at large and the energy common to a culture in a given time and place. Value judgments, while always a part of art no matter how much we might try to take evasive action, can over radically over time, especially about a particular piece of art. Obviously this is a dynamic to take into account whenever an artwork is introduced to a particular situation. But the point is that an integral worldview, instead of a means to assign a qualitative judgment upon an artist or artwork, can instead function as an open-source form of heuristic endeavor.

And what does this mean? It means, in simple terms, that you learn what "fullness" is as you go, through problem-solving, experimentation, trial and error, collaboration, and education that refines consciousness and behavior. Multiperspectivity means a more tactile embrace of our inquiries, because we have more angles to understand what we seek to experience and know. As concisely expressed by Rilke, to the young poet:

And the point is, to live everything. Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing it, live your way into the answer. 5

Our inquiries are personal, mental, and spiritual questions to be investigated and reflected upon. And as inquiries grow and are lived-into over time, the artist can irrigate the experiences that pop, as molten, explosive intuition informed by the fires of a lived inquiry. I believe artists stand to be helped to usefully frame their vast interior terrain. Through an embrace of inquiries of that terrain (which is none other than a self-reflective investigation of the artist's own consciousness), experiences vibrate and, as a neat and nifty by-product, artist psychology is alchemized. The questions we ask directly impact what we feel. Our inquiries beget our intuition. Our curiosity rocks us awake.

From our inquiries, we experiment. For example, the inquiry of 'Who am I?' is often explored through the experiment of contemplative meditation. One common manner to do this is for a person to sit on the floor, enter a quiet, reflective space, concentrate on the question, and notice the energy that might arise in doing so. Immediately, this particular question may seem elementary, or so vague as to be useless. But over time, as the question is not just posed as mediocre high-school metaphysics, but kneaded within one's interior intuition, the inquiry of 'Who am I?' can become a source for profound self-understanding, and a profound interior clearing for artist to live into, and reflect through art.

Or another inquiry is might be 'How musical can my everyday awareness be?' An experiment might be to choose to attune awareness to surroundings, as if your life is one enormous film. And this film stars you in a leading role (or a supporting role, or as an extra, or a fly on the wall—you choose!). As you walk around, say, your neighborhood, you can be and listen as if everything around you is a 'film score' (car honks, the bells of ice cream vendors, airplanes overhead, lots of different spoken languages, my own breath, kids kids kids). Of course, since I live in a large city, this might be my soundtrack. So what is yours like, for your life? 6

Naturally for different people, the soundtrack will be different. But your soundtrack experience, as evoked by this experiment and felt all across your internal terrain, and can be a source for inspiration. And if you talk about the experience with other artists who have similar experience, or are inclined towards this kind of experience, or have performed a similar experiment, your experience might not only be supported and noted by others, but in fact might also be expanded or even confirmed (and possibly refuted, in a certain sense, if a degree of delusion is present, which can certainly happen to anyone). All in all, the inquiry creates a cleared space into which the artist, via experiments of this kind, can live, look, feel, touch, and relate with others. Pose an inquiry, investigate with an experiment, and report back to others. (More on this sequence in parts two and three.)

There is one more point I'd like to make. Take note that is 'soundtrack' experience (or experience from any experiment) might pop as a spontaneous altered experience, or what I referred to above as a 'state of consciousness'. Over time, an artist who accesses or induces various kinds of states can develop and enrich their life. We grow from our experiments. We are permanently altered, and so is our capacity to produce novel artwork.

What else happens because of an integral worldview?
Seeking fullness further supports an interdisciplinary commonality of the arts, and all artists. Because fullness belongs to all disciplines of art, painters exploring inslusive fullness can learn from like-minded musicians, who can learn from like-minded poets, from painters, sculptors, filmmakers, and artists in all other mediums, through evolving language and energy born of integral experience and unfolded commonality. This stirs a transdisciplinary dialogue because "fullness within one's interior terrain" incorporates the fundamental psychological forces at the root of any creative endeavor. The integral worldview is "radical"—at the core of being. When something can infuse artist's life and work no matter what medium or discipline, then that something is transdisciplinary and radical.

Furthermore, of course creativity touches any human endeavor. More people can come together. Artists can learn from psychologists, who learn from ecologists, who learn from lawyers, mystics, doctors, sociologists, scientists, businesspeople, and practitioners in all other domains of human endeavor. A creative interior is our tea. Each can rightly nest as manifest aspects of the Good, the True, or in the case of art, the Beautiful. We can truly work in concert, because we, as full-humans, can know the what, where, how, and when of whole-living born of fundamental interdependency within our widest and deepest sentient waves. We can go soul to soul a find our human tones.

Integral art philosophy can therefore provide a way out of the confusion from excessive perspectives that can be part of contemporary artistic life, and by extension parts or even all of contemporary life. Why? It is a matter of the simple commonality born of an integral touchstone. Real life presents the need for pragmatism. Yet within such pragmatism, perhaps, if you allow me a dream ...

... people from any walk of life can interact and engage for mutual benefit, and, just maybe, for the simultaneous benefit for all beings on the planet, even in discreet and subtle ways. This can happen in ways so full, so present, so embodied, so forceful, with so much love and compassion that our own common sense might even change and expand. I happen to think that an integral worldview is already present in the world, and thus exist the conditions for a world-wide open dialogue on how best to fully live, love, and how best to operate. Because integral is a worldview, ultimately, then here will be no need to use the word 'integral' just like, in common vernacular, there is no need to use the word 'pluralism', which is the dominant worldview in many cultures today. An integral worldview is an expanse so deep and wide that there will be 10,000 ways x 10,000 ways to make integral artwork (and by this I mean, in spirit, countless ways). And our integral worldview will simply bring forth material for our mind, to release our mind, as our spirits soar and our bodies groove in a deep union we weave and a full-spectrum love we strive to pass on to our children.

But I am a dreamer. Certain things, though, are clear and pragmatic. You must face your fears. You must nurture, reflect, and concretize your intuitive 'inner need' in the fullest possible manner. Inspired, you must inspire other people. You must allow yourself new experiences. You must experiment.

In other words, you must cultivate an ongoing gift of respect—for yourself and your art, for other artists and their beautiful art, and for a spirit that creates and permeates the fabric of existence. We cultivate this respect and restraint through traditional and contemporary ways informed by a consciousness of fullness: namely, gain true and authentic experience, as fully and openly as we know how, and then simply live.

If we honor as much human experience as is possible, and preserve its sustainability, I believe that we open and receptive as artists to the vast spectrum of all of our potentials and core energies, both personal and communal, all of which lay patient, in wait of our artistic embrace as openness, and in wait of our abilities to gently but purposefully open potentials for others through art. Liberation from our fear liberates others. And in the end, as in the beginning, art can be a humble vehicle. Some may say art is a vehicle for entertainment. Others might say education, and still others enlightenment.

What I say is that art is a vehicle for all three—entertainment, education, and enlightenment. It is a concrete metaphor for the mystery. Birth, life, death, suffering, and silence. We contemplate, muse, and witness. Why? Because, at its core, all of life is a play.

And once more I say art is a medium and is a vehicle, the best we have, for the flow of conscious light, radiant presence, luminous glow, sheer ineffability, and the naked divine, unmasked as pure love in all directions for all willing to look, to feel, to share, to recognize, and to breath. With our consciousness sparked alive, and with a river of electric inspiration irrigated as authentic honesty, we can reach a place where we all want to be.

We can let our art speak for itself, from the core of human mystery, extended in form outwards, as fully as possible.

MD
Chicago, Illinois
October 2004 (rev. Feb 2005)


Acknowledgements
Harmonic bows to Jeff Lohrius for his artwork contribution. Thanks to Aaron Moore and Orange Element Design for the spiral logo. Thanks to Andrew Carlson and TCBands.com for web support. I also give thanks to Ken Wilber, Sean Hargens, Matt Rentschler, Katie Heikkinen, Willow Pearson, John Forman, Forest Jackson, the associates of Integral Institute, Victoria Lansford, Stuart Davis, Philip Rubinov Jacobson, Haydn Anthony, Frank Visser, Paul Salamone, Erik Fabian, Rommel de Leon, Mark Raterman, Fuad Ahmed, Nick Jones, Ben Rogerson, Dana Tanner, Justin Bolognino, Marco Morelli, Derek Tresten, Matt Demerritt, the IntegralChicago collective, the IS of Art collective, all of the used bookstores and libraries in the world, my parents Robert and Kathy, and brother Chiristopher. I thank my daughter, Twyla. And most of all, I thank Hannah, my wife, for her beauty, patience, love, challenge, and support.


Endnotes
1 See Manifesto: a century of isms, edited by Mary Ann Caws. (2001), Lincoln: University of Nebraska Press, as well as Sexual Personae. Paglia, Camille; Vintage, 1991. Just to be inspired by what other artists do and say, and just to absorb the true meaning, and power, of artistic decadence.

2 Gebser, Jean (1985), The Ever-Present Origin, p. 3. Athens: Ohio University Press. This book is, in my view, one of the prime manuals for integral art philosophy. Note especially his discussions of aperspectival/multiperspectival consciousness in particular mediums of art. And his work to distinguish various epochs—archaic, magic, mythical, mental/rational, pluralistic, and integral—is a useful index for the history of knowledge.

3 From Saul Williams, in conversation with Ken Wilber, in a talk called "Art as a Contemplation of Being. Part 1." From www.integralnaked.org. Subscription, unfortunately, required.

4 See Integral Psychology, pg 680, n. 36, Collected Works, Volume Four. Boston: Shambhala, for a brief discussion on 'microgeny'. What microgeny suggests is moment-to-moment evolution and development, in a single person (as opposed to a sex (male/female), or the entire human species). What the production of a piece of art can be, instead of wide-ranging means of development from egocentrism to ethnocentrism and beyond (which is entirely not what making art does, in the moment-to-moment sense), is what Wilber also calls 'mini-stages', which are smaller unit stages that have to do with the acquisition, for example, of certain skills. Art production, in the studio, is in this microgenetic ballpark. But Spirit, even in its microgenetic form, is still Spirit, and thus the micro-production of art can be a reflection of Spirit, of your own Deepest Resonances. An artwork is an object fueled by spirit. So in producing artwork, you make an object of a slice of spirit. 'Transcendence' sounds like a mystical event. I hereby demystify it, in the tradition of Coomaraswamy's similar edict. Produce art with integrity and honesty to yourself, and you are not only an artist, but a mystic. To make art requires an act of deep courage and faith. Salud.

5 From "Letter Four, Worpswede, near Bremen, July 16, 1903". From Letters to a Young Poet, Rainer Maria Rilke, M.D. Herter Norton (Translator), W. W. Norton & Company; Reissue edition, 2004

6 In general, I adapt this from Mathieu, W.A. (1994), The Musical Life. Boston: Shambhala. From the chapter "Be A Movie", p. 43. This is another seminal book, and I give it my highest recommendation.


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