Lennon as a Leaven - Mysteries Open
- Was mixing in with the crowd...
A Lever casual reaching out to people!
""All that surrounds us, the daily events,
the usual relations, the habits of our way of life,
have an influence uninterrupted on ourselves,
and, because of that, impossible to notice them all,
but of the greatest importance."!
The great aesthetic question of the first romantism
is precisely the one of the contemporary world
and of many 20th century forerunners:
abolish the distance erected by the institutions,
between the history of art and ideas and
'art and life'.
We can rightfully then speak of an aesthetic romantic revolution.
This revolution operate first from within the art field
by the reorienting of the aesthetic codes
and the de-localization of the forms.
The ordinary irrupt in the hall, if not to say
the fortress, of the beautiful and noble art
with the form of minor genres traditionnaly
depreciated because of their triviality
(popular tale, caricature, prose, anecdote...)
Playing all kinds of tricks to hierarchy,
the romantics put the above below and the below above.
The painter Caspar David Friedrich paint landscapes
(minor genre) as religious scenes (the genre most noble),
and Théodore Géricault elevates a daily news event
(the wreck of a ship, The Medusa) to the dignity
of a great historical painting, while conferating
on it an ephemeral status. [...]
A reciprocal movement of "elevation and descent"
[...] Without order and ceaseless [...]
Breedings (plastic art, music, prose, poetry)
[...] Dreaming aloud [...] but never imposing a system [...]
caring not for: "rank and position,
of the first and of the last - of tallness or smallness".
[...] taking place amidst the most diverse experimentations.
From these gropings which appear aleatory,
comes out the notions of exchange and passage
which are themselves aesthetical.[...]
Dynamic aesthetic [...] which is in fact
an aesthetic of relation, i.e. life.
[...] attemtps to write this "uninterrupted flux"
[...] all marked by the seal of the unfinished, the infinite.
This point is decisive [...] in producing 'a possible'
[...] Consciously in the unachieved and the process
[...] versus the finished product, [...] pioneers "dematerialization"
[...] The romantic effusion of art in life
and life in art finally constitute
the making of life itself into an art.
Its expression is not only an affair of writing
and of representation, but one of behaviours
and way of being [...] What is art if not
a very peculiar way of "being-in-the-world",
a desperate or leisurely way to increase
our existence and, as poetry, to:
"always maintain our sense of vitality 'awake'"?
(Translated from the French)