THE POETICS OF ART
IMITATING LIFE IMITATING ART: Continuity of Spirituality and the Transformation
K. Brown II
In the struggles
to preserve those moments and events life has to offer, an individual
within a community creates a haven to shield one's self from the inundation
of perverse and oversimplified images that either complicate or debase
one's tribalist perception of what is spiritual and meaningful.
finds the capacity to overcome these inundations from the community by
manufacturing (a collection of) images that sustain a representation of
indigenous identity: revelations of nativity; sentiments (endearments)
within the preknowledge of an experidyll.
a previous knowledge occurring unjuxtaposed in time and space in which
an individual considers an image to be endearing, is a (natural) condition
of spiritual revelation that is confined in the moments happening. The
experidyll is an ideal experience, a point of return to the desires and
routine that are occurring and are assimilated to compose meaning for
the preknowledge. Preknowledge is saved through an anticipation based
on the experidyll; the individual creates a modus operandi system (MOS)
to nurture time and space--motives and manners, examples mechanized within
a territory of events.
a working knowledge of preservation in the event of an occasion--an interaction
with other (unsavory) images. With a MOS, the individual manifests a consistency
of reason, a heritage to recognize moments. Secure in this manner, the
individual continues to appreciate (satiable) forms of images, in the
spirit and meaning intended, conditioning the moment as it is "supposed
toward a heritage (a cognitive growth) manufacturing images that enable
opportunities for indigenous identification, the individual, in the creation
of a MOS, contrives a persona to fascimilate an experidyll to negate perversities
The MOS is
an artistic prosthesis, an example that serves as a substitution of spirituality
and meaning by utilizing an aesthetic and metaphor of the self, projected
in aesthetic reflection in one's likeness. The Art in the MOS is created
by the individual who gives an image life through the portrayal (personification)
of a living being: an anthropomorphic recapitulation of identity.
what is recapitulated, the individual's life (desirous and routine moments
from which spirituality and meaning are derived), is the prosthesis serving
as a device for the mimesis of cognitive and behavioral reactions/responses
in relation to the immediate events surrounding moments of time and space.
The image is preserved through a spiritual continuum of preknowledge,
and a transformation of meaning (of an experidyll).
by the individual, of naturisms begins as a form of sentimental reverence
that progresses pregressively into egotistical esteem that nurtures the
occurrence of opportunity for moments that are satiable. With this happening
does the fugue of art and life commence.
is the poetics of art imitating life imitating art as the continuity
of spirituality and the transformation of meaning. This ronde
is a series of paradigm shifts that sustain sentimental and egotistical
perspectives. The fugue serves as an analysis for comparing and contrasting
(monitoring) variable repetitive images--perpetual metaphors and aesthetic
reflections of individual moments within communal events.
individual is sentimental and desires to experience life as a routine
self-revelations of the conditions found in nature, while the heritable
individual is motivated to imitate life egotistically as mannered by the
consistency of nurture, which secures conditions through self-manifestation
individuals (re)cycle indigenous and heritable identification, the concern
of this essay is the mimesis that aspires toward images of nature, towards
(native) sentiments, yet in doing so builds a system that nurtures images
of ego. The essay will also discuss how this mimesis is the impetus for
individuals to come full circle and develop relationships within a community
to worship a nuance of nurtured nature.