Friday, February 11, 2011

Dated June, 2009
I begin this entry with the intent of continuing my series of internal dialogues of life and an artist's perspective as I know it so far. Although I'm concurrently assembling another playlist of tracks that will run non-stop tonight as I embark on a quest that will likely destroy the next few days of my life. There is no gain without sacrifice, I believe, so I will have to offer sleep in exchange for glory. Okay, enough pre-asides.
I made a move today. It wasn't the most bold or heroic of attempts, but it was still a motion out of my natural, hum-drum daily routine. It was a well-intended and simple gift, tinged with a shade of snobbish, know-it-all sincerity that comes with almost every sentence I deliver. That is more than likely the problem with the way I act in most encounters with the opposite sex. Either I'm not douchebag and cool enough to play the part, or too mild and uninteresting to pull it off. I obviously don't smile like a rampant toss of the joker card. My flaws are more than public. Unexpected stutters, vicious silences, schizophrenic belligerence, an oddly common habit of looking off into some interesting distant scene when speaking to others (a.k.a. bad eye contact), and laborious insertions of vocabulary exclusively used by intelligencia paint a basic picture of my eccentricism. I don't know what to do, and I probably may never will. Though, for the little trouble of
Allow me to set the stage. This will be a rant. I drank/drunk 5 beers and a hot shot of Cutty Sark. While chain-smoking the rest of my pack of Camel filters and downing said beers, I formulated this idea.
Artists are purely an emotional lot. That's not to say no other professional archetype employ some form of passion. However, the artist nowadays is moved by a specifically primal state of mind. As I see it, I cannot FORCE work when I'm in some kind of funk. There's very little point to push myself when I am not mentally and emotionally inclined to it. However, I am most likely wrong in trying to generalize my predecessors or contemporaries. Though the concept remains that we are in a ready state when we are at some kind of brink or motivating instance that compels us to produce. Just like our will to make love or fight, these things don't readily appear because it is conveniently 5:04 in the afternoon on a Friday. There is some kind of impetus.
Psychological Morphology

Any form is the diagram* resulting from the adaptation of the moving internal energies to obstacles created by the environment. The morphology of swirls, osmotic growths, periodic precipitates, indicates the diagram of non-miscible bodies, such as stains of car oil in damp streets, or the layout of two Ripolin* colors. Time would be for us a medium* comparable to a gelatinous water accepting in a rhythmical way transformations occurring with high or less high speeds. The eye is tuned on a certain speed only. Psychologically, a morphology of optical images only relates to the theoretical sections* made at a given moment in the morphological age of the object. I call psychological morphology the diagram of the transformations according to the absorption and the transmission, of the energies in the object from its initial aspect until it reaches its final form in the geodesic psychological medium*. This medium, psychological space-time, is a symbolic congruence of the Euclidian space. The object located in a given moment-point of this medium intercepts the pulsations which are proposing transformations according to an infinity of directions. It is located at the impact point between this encounter and each transformation. The infinity of the chances of interpenetrations missed by the object increases the intensity of the further pulsations during all the time the object will follow this morphological direction.
The concept of a psychological-time medium in which the objects are transforming, leads to compare it with an Euclidian space caught in a rotative and pulsatile transformation in which the object, with each risk of interpenetration may oscillate from point-volume to moment-eternity, from attraction-repulsion to past-future, from light-shadow to matter-movement. The fourth dimension would be the diagram of the risks encountered during the complete duration of the transformations.
In the area of consciousness, a morphological psychology would be the diagram of ideas. It should be conceived before optical images may give us the form of ideas if we want to stay in the transforming medium. The optical image is only a theoretical section* within the morphological fall of the object.
The image is retained* to calm the anxiety. Only one among the possible forms of the object is preserved.
Reality is the sequence of the explosive convulsions modeled in a pulsatile and rotative medium exposed to rhythms. The eye as the agent of memory is a means to simplify. The consciousness of the development of a psychological morphology in the passional or spiritual sense* leads to a pneumo-optics of the object. This pneumo-optics, which is a congruence of perspective, generates the creation of specific sciences. So, the diagram of the idea of a snow ball thrown on a flame shall be a splitting in two without deformation*, whereas the emotional libido awakened by a river or a tree shall be expressed by an osmotic growth in the geodesic psychological medium, true gelatin of blood stained milk in periodic precipitate.
Such a morphology shall be perceived when the eye and the consciousness shall draw the immediate and impulsive diagrams of man's convulsive emotion in a new art. The perception of the growth and of the accidents of objects when achieved simultaneously shall allow to feel the psychological biology of the object. The co-psychology of the opposites in a single idea-object remains pulsatile without deformation* in a psychological morphology, whereas the symbolist trials called paranoia-critique are based on a transformation of optical images in a caricatural sense*. The same happens with the forms of the so-called abstract art.

Roberto Matta, 1938