The Ugly Slaves To The Decay Rar
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The Ugly Slaves To The Decay Rar
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Richard-- you saw all the snuff films Yeeks!I don't disagree that-- with all our problems-- we live in a blessed country at a blessed time, and that much of the darkness we find in the arts can be attributed to decadence and puerile adolescent cynicism. It's easy to see that some of these trends are pure affect.Still, even rich and healthy individuals can be haunted by personal demons or have their hearts broken or be psychologically damaged. Even during a generally sunny social era, individuals can be traumatized by epic misfortune, or they can perceive truths about the human condition that they need to express. These conditions are of great interest and artistic validity, for what they reveal about all of us-- even the most bovine among us.Alfred Hitchcock chose to make films about horror, but critics agree he was one of the greatest directors in history. Horror was just the vehicle he chose for a variety of reasons. Francis Ford Coppola chose to make films about crime and death, but again his dark subject matter didn't hinder the quality of his art. How are we supposed to tell the difference between great art about dark subjects and bad art about dark subjects Well, that's the trick, isn't it That's the challenge of all art. I wouldn't presume to tell people what filter to use for separating wheat from chaff, except to say that disqualifying "ugly" subject matter is clearly not the right way to go.
chris bennett and Kev Ferrara: "What compels us to put our heart into itThat is a damned good question." One possibility is that art is a tiny rebellion by organic matter against the entropy that will ultimately finish us. Regardless of what Kev believes about the end of the universe, surely even he acknowledges the second law of thermodynamics, which says we are moving inexorably from a state of uniquely low entropy to states of increasingly higher entropy-- that is, to states of increasing disorder where complex life systems will be increasingly untenable. That one way trip is why the dimension of time only permits us to move in one direction, while we can move back and forth freely through the three dimensions of space. We can't walk backward from scrambling an egg (to use the popular example of entropy showing that the increase in disorder is irreversible.) I'm not suggesting that people are compelled to make art because they've studied theoretical physics (although even children realize that all the king's horses and all the king's men can't put Humpty Dumpty together again). I'm suggesting that, as each of us is a bag of physical particles that has been gifted with consciousness which includes awareness of our inevitable personal end, it's not much of a leap to suggest that embedded in that same consciousness is an implicit awareness of the destination of entropy and the end of all life. Under this scenario our little efforts to arrange matter in pleasing designs and patterns is a temporary exorcism of disorder, a pocket of resistance (or at least admiration) which gives us pleasure down to our conscious protons. What Thomas Mann called the touching sympathy of organic life for what is destined to decay.
Don't feel bad about not having heard of mathematism