Material Themes



Friedrich Nietzsche said “It is my ambition to say in ten sentences what others say in a whole book.”

In seeking this approach to content, one faces an inevitable cost of syntactic precision, that inductivists are quick to denounce; an example of which is “relegate” which I use in the English football sense, in step with the Latin ‘to banish’; not demotion but exile. The honorific compression of the ideated model that results, is intended not at the reduction of comprehension. As simple as possible, “but not simpler”, to paraphrase Einstein (alleged).

Disregard for definitional primacy promotes the “artful” quality; an ignorance of convention becomes the path to expression – becoming at times a lambasting, as such Nietzsche opens in Beyond Good & Evil (“Supposing truth is a woman – what then?”) with singular irreverence, as I might describe modern education as “academic”, invoking that it is not of practical use rather than pertaining to scholarly pursuits.

Semantic integrity therefore, is disposed in Nietzsche’s initial salvo, and installing the frame of abstraction takes precedent as an introverted intuitive is wont to do, the operating space for his play instinct. As Oscar Wilde remarked, “art is the most intense mode of individualism that the world has known.”, as it is an imposition if not reverie. It must know that which it assaults.

The form of the content is produced due to aesthetic arrangement, as the incipiency of the ideated value intends to seize the present and hold it for ransom. The abstraction occurs as an amalgamation of sensorial accumulation, thus producing an admixture of objective sense impression.

The subjective intuition transforms the symbolic resonance of a holographic concept into a lexical rendering, undergoing significant resolution loss, but preserving the composition, the seed of meaning affixed by a translatable form.

Produced is an attempted maximal confirmation of the temporal limitation of the potent idea, while the unconscious cognitive agent ensures an extemporaneous nature. Therefore, the instance of creation must be committed to a summative essence, where it may be experienced anew for others, or its death is as rapid as its birth.

Hence, considered explication requires extensive recall, seldom a talent for visual-spatial antagonists that treat the emergence of thought as a pictorial event or a sensual emergence. Those that think in networks, and trace packets to their source are better equipped, but aesthetics for such individuals remain elusive.

Jung, as regarded by John Beebe, boasted pronounced “psychological realism” – a claim I can in part extend to myself, therefore the particulars of my deductive method are charged with the incisive dynamics of an objective perception. I am gifted with a concomitance of sight and understanding, espousing nuance not through a logical determination but a perception that operates on panoptic awareness.

The introverted intuitive, as Nietzsche and Jung themselves were models of, was called to be “an enigma to his own circle” by Carl Jung himself, thus absent the predilection for explication aforementioned, the output of such a mind may bewilder.

In times of sporadic consideration, further weight may be offered, but as a matter of course the river flows in one direction. There will always exist a gap between the produced opus and its commonalities, that only long-form writing can hope to address.

Understanding is a luxury for the artist.

  1. andrew

    wandering but precise. well written

    1. Adam

      Thank you, an artist must remain curious.

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