DOXA AND ALETHEIA – TRUTH AND THE ARTIST (PART TWO)

(CONTINUED FROM PART ONE)

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The nature of aletheia as a revealing, implies that not even the artist him/herself can be certain of what is actually being revealed. The process of artistic truth is that which uncovers or brings forth something which has been sensed or intuited by the artist. The need for doxa to achieve that unveiling implies the artistic necessity of objectivity. First of all a right position has to be found wherefrom we may observe if we are ever to grasp what it is we are truly searching for. In other words the artist must create his/her own doxa that will allow the artist a position from which to uncover the truth of the work. The doxa position must be one of a detective or a spying position, armed with a telescope or a microscope or with X-ray eyes. The aim of authentic art is not to describe what is there but to uncover what we think is there but what we cannot sense unless it is uncovered. The voice of doxa can never be the artist’s own voice, it has to be another one, the right one for a perspective to be established, allowing a disclosure to take place. The truth has to be tempted, encouraged, seduced, perhaps even tricked, if it is ever to step out and reveal itself.

To become true artistic dialog, the conversing between doxa and aletheia has to arrive at an agreement. Aletheia may concede: – I will show you my nakedness if you promise not to laugh – or – I will reveal myself to you, but only in a dull light –  then Doxa might respond: – No, of course I will not laugh, my interest is a purely scientific one – or – Ah, but a dull light will not satisfy my lust for you: I need you, need to see you in all your brilliance, for I have no doubt that you are perfect –

In fact, true art is always a dialogue. A dialogue between reality and imagination; between that which is hidden and the explorer, detective, researcher, miner, or lover that needs to uncover it. Nevertheless, the doxa that the artist chooses may or may not have a desire to uncover the subject. In the latter case it is the subject that needs to be revealed or freed. It becomes a prisoner in need of an escape; a shipwrecked sailor who needs to be rescued; a damsel in distress locked in a tower or in the dragon’s cave – but at no time is it ever really any of these things. The truth to be revealed can only be intuited for if the truth is known beforehand there can be no aletheia involved.

The true work of art is the process of disclosure and its dialogue with opinion during that process.

(TO BE CONTINUED)

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3 thoughts on “DOXA AND ALETHEIA – TRUTH AND THE ARTIST (PART TWO)

  1. “In fact, true art is always a dialogue. A dialogue between reality and imagination; between that which is hidden and the explorer, detective, researcher, miner, or lover that needs to uncover it”.

    In the realms of the ‘chicken and the egg’ would not known reality exist without the imagination? Or without an imagined known of reality, imagination could not exist!. Drawing upon the essence of the imagination, could not exploration of reality be beyond reality, exposing what would be accepted as a view of reality through art, or are we blind to grasp an imagined reality that can be drawn from dislocation from known reality.

    • I think quantum theory would tell us that imagination affects reality. I prefer to think that it’s not a cause and effect process in art but a continual process, circular rather than linear, liquid rather than solid, of mutual influence and dependence that is only fully appreciated through a scientific or artistic uncovering. Both the artist and scientist turns this into a dialogue, trying to uncover the real essence by creating some sort of objectifying mechanism to get under the surface of appearances. Of course the science and art disciplines are very different. Science is trying to get a grasp of the physical plane of reality, art is more interested in the psychological (spiritual) and emotional planes of existence. For both of them, imagination is a fundamental tool for uncovering the hidden side of reality. But rather than being opposed to reality perhaps we should see imagination as a key toward uncovering its depths.

  2. Thanks Paul, a deep insight to my “chicken and egg” perception of how we may discover the complexity of imagination and (reality) whatever that is to the individual. I fall into the world of Fractals’ as wonderful as they present reality found in every form of Nature and more complex systems, they simply illustrate reality, if true this can be said of the imagination that imagination emerges from an undefinable experience. Thus the reality sought after that exposes a form that becomes an accepted reality is a totally new dimension grasped by reality to validate reality.

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