The Body Without the Mind

January 21, 2009

ice_crystals_800

As I see it, the artist is one that sets thier own irrational limits.  However, it is a logical irrationality. By “logic” here, I mean after setting up limits within (meaning “inside”) a field of study, like optics. The creation of limits within a field (like optics) is irrational, yet after certain concepts, and/or things are irrationally taken out of the field, and placed elsewhere, the logic can resume with the removed concepts or things. It creates a whole new set of irrational limits, that the artist then has to work with. He must find logic in the new limits, and extend it towards it’s irrationally logical end (for instance – stereoscopic vision, where the focal point is removed, and what is left are two images). The artist does this, I think, not to simply create for creations sake, but to create a logical three-dimensional object (sculpture) that contains a (sometimes) violent metaphor that seeps through the glass body with a potency like that of music. It is a way for the artist, in a sense, to progress the human body, and bring it further to reality, and away from analytical thinking of the mind.

In a few words, the artist is an agent of the real, manifesting powerful sculptures that enter the glass body of experience, bringing culture back to their senses.

It is the metaphysical notion that what is irrational, is dogmatic.  The artist, I think, does not see it this way at all, but rather in reverse.  Metaphysics is a prison to the artist, that keeps within its walls a old set of untenable doctrines that lock culture into a dogma of fallable, fictional, untenable pre-suppositions, that when challenged, inverted, or thrown in the trash, give warrancy to the metaphysician to bark like a gaurd-dog at the irrationality of the artist.  It is not rationallity the artist is interested in, but the logic involved in irrationality.  The artist is manifesting a powerful bodily experience, that in some cases flattens the the mind into a one-dimensional point, where the object is pointless.  The mind is a series of points, and the art “object” an array of metaphorical matter that, sometimes, obliterates the mind into submission of the glass body of experience. 

The ice crystals above, are the glass body.  It’s penetrated, and transformed by light and entropic matter.  This is the body.  It doesn’t live without the mind, but it can be experienced without the mind.  Smithson’s indoor earthworks are a fiddling of matter by an agent of the logic of the body without the mind.

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