Realist expressionism in the
last years of the twentieth century
© Prof Noggy Newark plc 1992
Consider if you will, the dichotomy between causation and accusation.
On one hand the beauty of the other, we find an endless finish, one particularity
remaining inscrutable and vague. It is this quantity which I shall try and
address in this paper, without treading the well trodden cliché of
paths.
Firstly, in the early to mid twentieth century, mind was not mindless but
somehow not physical, not of matter. Does this matter, and more importantly
should we mind? Conversely is realism merely the disease of an extinguished
imagination; a mind without mind. If so, can the realist school prove more
than a society without identity, an institution without intellection. Is
the school devoid of all but the vagarity of fact, a factory for the vagabond
of the society which spawned the arguments of causation which we shall not
deal with here.
Secondly, the semaphorical nature of meter can all but consume the hardiest
imagination, the least fragile temperament. The realism intrinsicly held
in such rhythms collapses upon higher scrutiny from the dry witticisms cast
down upon the printed word and the painted work. The true character of the
psyche of the word as an art form is second only to the pretence of art
as a word form. This is clear masquerade, a simple nature of complex disresolution
- the dissidents of disillusion are nevertheless of primary unimportance
when viewed in context of the larger, more complete picture presented in
the light of the whole.
What then is the answer to this very question? There are many answers, all of
which may be correct prior to the answering, though only one answer once the
response has been given - the answer is thus temporally defined and the nature
of the question therefore fluctuates with time. So how solid then is the word
viewed in context of world stability?
Is not the meaning of the word as instable and subjective as the 'art form'
and therefore what can we give as the definition of the distinction? The
apparent dichotomy between paint and point can no longer be exercised nor
excused with this in mind. The distinction surely lies in the way we entrust
the symbolic word as a uniform semantic trigger rather than a source of
beauty or inspiration. What then is the value of the scribe when the scripture
is misunderstood or conveys misinformation?
The answer to this question can be found in the paper Realist expressionism
in the last years of the twentieth century.