(Time saving truth from falsehood – François Lemoyne (1688 – 1737) )
ART AS INTRUSION
“Art should be a disclosure of truth”: an artist’s ideal, perhaps; unnecessary romanticism, perhaps; or a necessary ideal to get art back on the tracks and pull it out of the marshlands of nihilism. In any case art is an intrusion – an invasion of the imaginary into the real. It is this feeling of intrusion which makes us aware that we are perceiving a work of art and not just a copy of reality. It is a ‘positive’ invasion; most of the time a welcome distraction, but, occasionally, when there is intersubjectivity at work between our own inner reality and that of the artist, then the intrusion is a profound, soul shattering experience. We may say it works on a spiritual level, which is one way of calling the profound intersubjective experience. Afterwards we may even ‘seek’ the intrusion again. For many, it is the best and most effective way to draw themselves out of the autistic tendency of the contemplative life experience. In that way we see how art is a welcome experience – it is thrown at us, or placed before us again, but now we accept it, we want it, we need it. Or at least some of us need it. Others reject it. Perhaps there are people who have never had an intersubjective experience through art, although that it is doubtful for now there is pop-art, pop-music, pop-vehicles designed to touch the inner experiences of everyone, no matter how narrow their cultural-memory field is.
THE DIFFERENCE BETWEEN POPULAR ART AND DEEP ART
But the difference between popular art and deep art lies in the kind of intrusion that is made. In popular art the intersubjective connection should be immediate, building on easily recognisable connections that have already been made: formulas or tactics that have been proven effective. And it is precisely this mimicry and copying of the provenly effective product that creates the shallowness of the pop intrusion. Of course more and more of the spectators will eventually start to say: ‘I’ve seen and heard this before,’ and will demand something new. The commercial art industry must then resort to novelty: a new way to present the same old intersubjective slogans that it reworks over and over again. Then each brief explosion of originality that the need for novelty brings is reworked, reinvented and remanufactured in the commercial art factories’ production lines of kitsch…
But isn’t this also a folding and unfolding? (SEE OUR EARLIER ENTRY “The Internet as a Deep Art experience of liberation: https://pauladkin.wordpress.com/2013/09/18/the-internet-as-a-deep-art-experience-of-liberation/)
Does the commercial factory work in the same way we propose in deep art? If this is the case, what is the difference between the shallow and the deep?
The difference lies in the kind of intrusion that is being made. Popular art is a forced intersubjectivity; deep art is an invitation. Deep art knows that it requires a certain kind of spectator, willing to trust the artist, who is leaving clues for them and putting up obstacles which may deliberately turn certain spectators away. It is for this reason that the deep-art artists are often accused of being elitists. Of course they are certainly demanding: they know that to go deep there has to be a strong will to do so, and those who lack such a will will be incapable of scratching more than the surface. Deep art, in a sense, is a training ground for intersubjectivity. Its goal is to create a space in which the inner reality can be successfully communicated with a conviction that this intersubjective connection is a necessity, an essential element in human development or evolution.
And so we come back to our original premise, (SEE OUR POST: DOXA AND ALETHEIA – TRUTH AND THE ARTIST https://pauladkin.wordpress.com/2013/06/03/doxa-and-aletheia-truth-and-the-artist-part-one/ ) that true art must be a combination of doxa (opinion/perception) and aletheia (truth/disclosure). Commercial art is buried in doxa, while a dedicated artist may lose him or herself in the autistic struggle with aletheia. Real art must use doxa to seduce a favourable opinion which will be the veneer of the work whilst leaving clues to seduce the spectator into the intersubjective realm of aletheia.