Victorian Painting A critical view
Jack Rubin
dissembling, and propaganda deliberately spread by Realistic Victorian Art
and act according to the plain truth. But before I continue, allow me to
explain that Realistic Victorian Art has stated that the Universe belongs to
it by right. That's just pure racialism. Well, in Realistic Victorian Art's
case, it might be pure ignorance, seeing that Realistic Victorian Art
somehow manages to maintain a straight face when saying that its
contrivances enhance performance standards, productivity, and
competitiveness. I am greatly grieved by this occurrence of falsehood and
fantastic storytelling which is the resultant of layers of social
dishevelment and disillusionment amongst the fine citizens of a once
organized, motivated, and cognitively enlightened civilization. Realistic
Victorian Art's harangues are merely a stalking horse. They mask its secret
intention to create problems that our grandchildren will have to live with.
On that note, let me say that if Realistic Victorian Art were paying
attention -- which it would seem it is not, as I've already gone over
this -- it'd see that its intimates all look like it, think like it, act
like it, and sucker us into buying a lot of junk we don't need, just like
Realistic Victorian Art does. And all this in the name of -- let me see if I
can get their propaganda straight -- brotherhood and service. Ha! If you
understand that many of our present-day sufferings are the consequence of
the unambitious relationship between Realistic Victorian Art and piteous
autocrats, then you can comprehend that Realistic Victorian Art's opuscula
always follow the same pattern. It puts the desired twist on the actual
facts, ignores inconvenient facts, and invents as many new "facts" as
necessary to convince us that it is not only acceptable, but indeed
desirable, to base racial definitions on lineage, phrenological
characteristics, skin hue, and religion. Realistic Victorian Art accuses me
of being narrow-minded. Does it believe I'm narrow-minded because I refuse
to accept its claim that it has been robbed of all it does not possess? If
so, then I guess I'm as narrow-minded as I could possibly be.
I have seen what Realistic Victorian Art is capable of, and I am afraid. I
am very afraid and I am very angry. Realistic Victorian Art's weltanschauung
is that if it kicks us in the teeth, we'll then lick its toes and beg for
another kick. In view of that, it is not surprising that it recently claimed
that human life is expendable. I would have found this comment shocking had
I not heard similar garbage from it a hundred times before. As I gaze into
my crystal ball, I see that Realistic Victorian Art's cringers will put
increased disruptive powers in the hands of the worst sorts of prissy
fomenters of revolution I've ever seen before long.
While it's true that the reason I'm writing this letter is that the
ideological underpinnings of Realistic Victorian Art's animadversions have
struck a receptive chord among literally thousands of self-deceiving
nobodies, it has yet to acknowledge that fact. To acquire public acceptance
of Realistic Victorian Art's disloyal revenge fantasies is Realistic
Victorian Art's objective, and unenlightened, unimaginative animalism is its
method. It is disgraceful that, with a wink and a smile, Realistic Victorian
Art has signified its approval of sententious, egocentric pouty-types who
pull the levers of particularism and oil the gears of
nonrepresentationalism.
There is a proper place in life for hatred. Hatred of that which is wrong is
a powerful and valuable tool. But when Realistic Victorian Art perverts
hatred in order to wage an odd sort of warfare upon a largely unprepared and
unrecognizing public, it becomes clear that its hypocrisy is transparent.
Even the least discerning among us can see right through it. We need to
educate others about the convictions and theories of profligate power
brokers. Am I aware of how Realistic Victorian Art will react when it reads
that last sentence? Yes. Do I care? No, because if natural selection indeed
works by removing the weakest and most genetically unfit members of a
species, then it is clearly going to be the first to go. Realistic Victorian
Art carries the seeds of its own self-destruction. There's really no other
conclusion you can reach.
An armed revolt against Realistic Victorian Art is morally justified.
However, I suspect that it is not yet strategically justified. It would be
nugatory to discuss Realistic Victorian Art's vaporings without first
mentioning that Realistic Victorian Art is unable to support its assertions
with documentation of any sort. Which brings me to my next criticism of
Realistic Victorian Art. It is apparent to me that if we're to effectively
carry out our responsibilities and make a future for ourselves, we will
first have to begin a course of careful, planned, and coordinated action
while remaining true to those beliefs, ideals, and aspirations we hold most
dear. Quixotic and malicious, Realistic Victorian Art's exegeses resemble a
dilapidated shed. Kick in the door and the whole rotten structure will
collapse, proving my claim that I once overheard Realistic Victorian Art say
something quite astonishing. Are you strapped in? Realistic Victorian Art
said that all it takes to solve our social woes are shotgun marriages,
heavy-handed divorce laws, and a return to some mythical 1950s Shangri-la.
Can you believe that? At least its statement made me realize that it twists
every argument into some sort of "struggle" between two parties. Realistic
Victorian Art unvaryingly constitutes the underdog party, which is what it
claims gives it the right to represent heaven as hell and, conversely, the
most wretched life as paradise. Realistic Victorian Art's expositors employ
carefully developed psychological techniques to make us less united, less
moral, less sensitive, less engaged, and more perversely unpleasant, and
everyone with half a brain understands that.
Realistic Victorian Art contends that it is known for its sound judgment,
unerring foresight, and sagacious adaptation of means to ends. Excuse me,
but where exactly did this little factoid come from? What conclusion should
we draw from Realistic Victorian Art's perorations? How about that the
cliches of Realistic Victorian Art's rejoinders are well-known to us all?
Generally speaking, we've all heard Realistic Victorian Art yammer and whine
about how it's being scapegoated again, the poor dear. At this point, all I
can do is repeat a line from my previous letter: "It's no secret that
Realistic Victorian Art's intimations exude palpable
interdenominationalism". As far as I'm concerned, it's possible that
Realistic Victorian Art doesn't realize this because it has been ingrained
with so much of chauvinism's propaganda. If that's the case, I recommend
that we tell you things that it doesn't want you to know. Realistic
Victorian Art's personal attacks are based on a denial of reality, on the
substitution of a deliberately falsified picture of the world in place of
reality. And this dishonesty, this refusal to admit the truth, will have
some very serious consequences for all of us in a matter of days.
Technically, because of Realistic Victorian Art's obsession with
gangsterism, I would be grateful if it would take a little time from its
rigorous schedule to oppose evil wherever it rears its meddlesome head. Of
course, pigs will grow wings and fly before that ever happens. All I can
tell you is what matters to me: I cannot think of any satisfactory rationale
Realistic Victorian Art could put forward that would justify its decision to
cause (or at least contribute to) a variety of social ills. That's
self-evident, and even Realistic Victorian Art would probably agree with me
on that. Even so, it has no discernible talents. The only things Realistic
Victorian Art has unquestionably mastered are biological functions. Well, I
suppose it's good at convincing people that its decisions are based on
reason, but all of the bad things that are currently going on are a symptom
of Realistic Victorian Art's grumpy communications. They are not a cause;
they are an effect. We must overcome the fears that beset us every day of
our lives. We must overcome the fear that Realistic Victorian Art will
deplete the ozone layer. And to overcome these fears, we must raise the
quality of debate on issues surrounding Realistic Victorian Art's
sophomoric, possession-obsessed conjectures.
There is no such thing as evil in the abstract. It exists only in the evil
deeds of evil organizations like Realistic Victorian Art. If you are not
smart enough to realize this, then you become the victim of your own
ignorance. Realistic Victorian Art's ploys are rife with contradictions and
difficulties; they're completely foul, meet no objective criteria, and are
unsuited for a supposedly educated population. And as if that weren't
enough, ignorance is bliss. This may be why Realistic Victorian
Art's functionaries are generally all smiles. If I myself weren't so
forgiving, I'd have to say that Realistic Victorian Art's constant whining
and yammering is a background noise that never seems to go away. To pretend
otherwise is nothing but hypocrisy and unwillingness to face the more
unpleasant realities of life.
I wish I could say this nicely, but I don't have much tolerance for crass
recalcitrant-types: I must ask that Realistic Victorian Art's advocates
stick to the facts and offer only those arguments that can be supported by
those facts. I know they'll never do that, so here's an alternate proposal:
They should, at the very least, back off and quit trying to draw
unsuspecting scatterbrains into the orbit of ribald, gormless spongers. It
is easy to see faults in others. But it takes perseverance to turn Realistic
Victorian Art's catty canards to our advantage. All in all, I realize that
this letter has seemed incredibly bleak. However, expecting the worst from
Realistic Victorian Art means we will never be disappointed. If we're wrong
and Realistic Victorian Art does not try to attack the critical realism and
impassive objectivity that are the central epistemological foundations of
the scientific worldview, we'll be relieved. If we're right and it does,
we'll be prepared.
Well, I knew it was coming. In fact, I predicted it quite a long time ago
when I said that Victorian Painting would authorize, promote, celebrate, and
legitimize untrustworthy quislingism. And now that it has, we must
undeniably create and nurture a true spirit of community. Let me preface my
discussion by quickly reasserting a familiar theme of my previous letters: I
myself wonder what would happen if Victorian Painting really did resolve a
moral failure with an immoral solution. There's a spooky thought. Where does
the line get drawn?
To say anything else would be a lie. I respect Victorian Painting's fairy
tales, although if one believes statements like, "All any child needs is a
big dose of television every day," one is, in effect, supporting clumsy
champions of deceit, lies, theft, plunder, and rapine.
I won't lie to you; Victorian Painting dreams of a time when they'll be free
to keep us perennially behind the eight ball. That's the way it's planned
it, and that's the way it'll happen -- not may happen, but will happen -- if
we don't interfere, if we don't offer a framework for discussion so that we
can more quickly reach a consensus. When you reflect upon this, you'll
realize that if everyone does his own, small part, together we can kick butt
and take names. It's one thing to spread grotty, splenetic views, but
wanting to pursue a violent agenda under the guise of false concern for the
environment, poverty, civil rights, or whatever is going too far. It's time
for Victorian Painting to grow up. I'll say that again, because I want it to
sink in: Victorian Painting somehow forgot to tell its stooges that its
brethren are too indolent to place blame where it belongs -- in the hands of
Victorian Painting and its socially inept accomplices. Some people don't
seem to mind that Victorian Painting likes to prepare the ground for an
ever-more vicious and brutal campaign of terror. What a contentious,
unprincipled world we live in!
Victorian Painting doesn't want equal time. Victorian Painting doesn't want
pluralism. Victorian Painting just wants to represent heaven as hell and,
conversely, the most wretched life as paradise.
Victorian Painting periodically puts up a facade of reform. However,
underneath the pretty surface, it's always business as usual. Victorian
Painting's beliefs are like hothouse plants. They shoot up, but they lack
the strength to defy the years and withstand heavy storms. Ten years ago, it
was wicked, tyrannical dopeheads. Today, it's dissolute hooligans who
develop a Pavlovian reflex in us, to make us afraid to tell it like it is.
We must fix our sights on the distant future, when we will have finally
cleared away the spiritual and physical debris of the Victorian Painting
era, pure and simple.
To be blunt, Victorian Painting hopes to finance a propaganda of intensive
deception that induces sane and sober people to give lunatics control of the
asylum. And let me tell you, I will never give up. I will never stop trying.
And I will use every avenue possible to speak up and speak out against
Victorian Painting. Even though Victorian Painting presents a public face
that avoids overt alcoholism, it is right about one thing, namely that fear
is what motivates us. Fear of what it means when savage personć non gratć
defy the rules of logic. Fear of what it says about our society when we
teach our children that it does the things it does "for the children". And
fear of insidious, superficial chuckleheads like Victorian Painting who
brand me as irascible.
No matter how bad you think Victorian Painting's warnings are, I assure you
that they are far, far worse than you think. Victorian Painting's decisions
are ill-advised. Now, that last statement is a bit of an oversimplification,
an overgeneralization. But it is nevertheless substantially true. We can
never return to the past. And if we are ever to move forward to the future,
we have to provide you with vital information which Victorian Painting has
gone to great lengths to prevent you from discovering. This is the very
source of the racism of which I accuse Victorian Painting -- justly, as is
now more clear than ever. I've said that before and I've said it often, but
perhaps I haven't been concrete enough or specific enough, so now I'll try
to remedy those shortcomings. I'll try to be a lot more specific and
concrete when I explain that Victorian Painting's mind has limited horizons.
It is confined to the immediate and simplistic, with the inevitable
consequence that everything is made banal and basic and is then leveled down
until it is deprived of all spiritual life.
We don't have to stand for this! I'll talk about that another time. I have
other, more important, things to discuss now. For starters, Victorian
Painting's true goal is to make our lives a living hell. All the statements
that its goombahs make to justify or downplay that goal are only
apologetics; they do nothing to give our young people the values that will
inspire them to call your attention to the problem of wretched, ethically
bankrupt freaks of nature.
It is true that mankind, with all of its accumulated knowledge, wonderful
machines, scientific methods, and material power, still has much to fear
from sadistic spielers like Victorian Painting, but I feel that writing this
letter is like celestial navigation. Before directional instruments were
invented, sailors navigated the seas by fixing their compass on the North
Star. But if you've read this far, then you probably either agree with me or
are on the way to agreeing with me. Victorian Painting should clarify its
point, so people like you and me can tell what the heck it's talking about.
Without clarification, Victorian Painting's animadversions sound lofty and
include some emotionally charged words but don't really seem to make any
sense.
Victorian Painting will damage the debate about this issue, because we will
have to spend lots of time correcting misunderstandings that are directly
attributable to its theories. Unyielding rigidity is just as much a threat
to the continuity of things as boisterous boosterism. Which brings us to the
harsh reality that must be faced: I am certain that if I asked the next
person I meet if he would want Victorian Painting to burn our fair cities to
the ground, he would say no. Yet we all stand idly by while Victorian
Painting claims that advertising is the most veridical form of human
communication. Victorian Painting can't seriously believe that all it takes
to solve our social woes are shotgun marriages, heavy-handed divorce laws,
and a return to some mythical 1950s Shangri-la, can it? This can be answered
most easily by stating that its slogans are a mere cavil, a mere scarecrow,
one of the last shifts of a desperate and dying cause. Victorian Painting is
more dangerous than other barbaric bloodsuckers because the spoiled,
pampered offspring of the cosseted upper class actually believe Victorian
Painting when it says that merit is adequately measured by its methods and
qualifications. In conclusion, let me just say that an unholy alliance of
execrable drug lords and unsavory con artists has been instrumental in
devising increasingly self-pitying ways to give me reason to burst into
tears.
J.Rubin
Mani Deli
Most locations here exhibit some of the finest museum quality
Installations I have yet seen. The place is at this evocative moment
an Installation experience accompanied by an occasional "Happening."
Inspiration, self-expression, sensibility, tension and compression,
juxtaposition, sensibility, expression.
Calling it a garbage strike is nothing more than a blatant
misunderstanding of the Language of Modern Art, an insult to anyone
with artistic abilities.
A REVIEW OF THE SHOW.
The Garbage Strike Installation exhibition brings to resolution
strenuous doing and undoing, while displaying a density of reference
more often encountered in poetry. Measuring approximately the size of
the city it is small by comparison to today's standards but conforming
to the conception of aesthetic space the work is eternally limitless.
Its shapes, crowding invention and effluvial inspiration confine
themselves to the city surface or recede behind it and carry on a
continual delving or "excavating" as the self expression edges into
itself.
Rimbaud believed that he could evoke new flowers , new stars, new
flesh out of his sorcery of vowels and consonants. By an analogous
magic this installation willed the spontaneous manifestation of all
man through the discharges of waste and energy.
Precisely at this point this particular installation moved to
dissociate itself from pure abstraction to formulate the conviction
that the glory of western art lay in its physicality, human gesture
and carries us back to the primitive root of the symbolism of
Mallarme'.
In the efforts of purists to liberate garbage to what it can
theoretically be we detect a kernel of tyranny. Thus an installation
can become an ideal reality on the basis of which an aesthetic can be
formulated in advance of the garbage itself. The result is to make the
creation subservient to theory. Let us denounce both mathematics and
theosophy in art and pledge ourselves to discards and concrete. With a
deep respect for the corporeal, for the fact, for the instant, let us
not just romanticize the gutter but let its attributes connect us with
the vulgarity of flesh in its tension, compression and vigorous
polemic juxtaposition. Etc.
To all the philistines here I offer the immortal words of Strickland,
"Prove it isn't art."
Lets hope it doesn't turn into a Biennale.
No skill no art!
Tired of Modern Art? check http://www3.sympatico.ca/manideli/
Dilettante
But before I continue, allow me to
> explain that...
uh, I think not.
Dilettante
cantueso
> Its Art not a garbage strike!
>
>
> Inspiration, self-expression, sensibility, tension and compression,
> juxtaposition, sensibility, expression.
>
> The Garbage Strike Installation exhibition brings to resolution
> strenuous doing and undoing, while displaying a density of reference
> more often encountered in poetry.
> the self expression edges into
> itself.
> "Prove it isn't art."
>
> Lets hope it doesn't turn into a Biennale.
>
> No skill no art!
>
> Tired of Modern Art? check http://www3.sympatico.ca/manideli/
I do not understand the text, and I am not sure whether it is yours or
a copy without reference.
I am sorry to see that Rimbaud and Mallarmé are mentioned in this
context. Rimbaud was a great poet (though I think he gave up very
early); I do not remember who Mallarmé was feel sorry anyway to see
him in this word mix. perhaps you meant Baudelaire who poetry which is
very pretty but a bit shabby.
Gorne
> dissembling, and propaganda deliberately spread by Realistic Victorian Art and act according to the plain truth.
What you see as lies, dissembling and propaganda is not self evident.
Lies? Any representation can be seen as a lie, because it cannot
possibly duplicate the original, It select what is considered as
relevant. Do you mean that what Victorian considered as relevant is in
fact without any value?
Dissembling ? Do you mean that Victorian painting and sculptures are
not providing a satisfactory "trompe l'oeil"? That they are not really
realistic because they are too theatrical?
Propaganda? Do you mean that Victorian artist made propaganda in
favour of the Victorian Ruling Class and that Art properly used should
not get involved with politic?
> But before I continue, allow me to
> explain that Realistic Victorian Art has stated that the Universe belongs to it by right.
>That's just pure racialism.
Do you know any Art that do not express (state) a specific
interpretation of the Universe, doing so excluding at least temporally
other interpretation?
Well, in Realistic Victorian Art's
> case, it might be pure ignorance, seeing that Realistic Victorian Art
> somehow manages to maintain a straight face when saying that its
> contrivances enhance performance standards, productivity, and
> competitiveness.
I have visited the largely Victorian terracotta at the Met. The are
exercises of style, with clever contrivances maintained with a
straight face. But can it be said that they did not "enhance
performance". Just try to imitate.
They were used as standards evidence of professionalism and used in
competition rewarded to the artist judged to be the most clearly
productive. Victorian society was ferociously promoting its artist
based on juried competition of the same kind as the one use by New
York City for ground 0, and it is not self evident that they were less
prone to corruption as they are to day. Do you believe that our faces
are more "straight" than theirs?
> There is a proper place in life for hatred. Hatred of that which is wrong is
> a powerful and valuable tool.
The problem is on deciding what is wrong?
In Art everything is possible and nothing is wrong per se.
The artist proposes his values, his public chooses.
Those who disagree with the values can argue, proposing reasonable
interpretations to convince the rest of the public.
You present your arguments as facts and as a result you fail to
convince me.
> Even the least discerning among us can see right through it.
You even insult me by pretending that I am less discerning than the
least discerning among us.
We need to educate others about the convictions and theories
You do not educate me. You do not give alternate theories. Your
conviction are only negative. Victorian Art is wrong. What is right?
> An armed revolt against Realistic Victorian Art is morally justified.
I don't understand Victorian Art has been dead for more than 150
years.
Are you arguing about recent imitators?
> Victorian Painting is more dangerous than other barbaric bloodsuckers.
Your own barbaric diatribe make it difficult to maintain the hope that
something worthwhile exist beyond it.
Make your case.
Gorne
Jack Rubin
make any sense at all.
"Gorne" <bo...@optonline.net> schreef in bericht
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