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Phillip Somozo skriver for Sunstar og andre publikationer og er konsulent for ARISE, som forestiller sig et bemyndiget samfund af sociale iværksættere og udviklingsentreprenører, hvis initiativer er rettet mod at udrydde fattigdom og skabe innovative måder til bæredygtig udvikling

"Somozo er en storslået og engagerende forfatter" James Baldwin Cohen

Boganmeldelse

Bogtitel: Terrance Lindall Retrospective

Anmeldt af: Phillip Somozo

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Terrance Lindall Retrospective er en vanskelig bog at værdsætte, hvis du ikke er en visionær kunstner, en filosof eller en djævel.

Som titlen antyder, er det en kvasi-selvbiografisk beretning om en mand kendt som den moderne verdens førende illustrator af det største engelske episke digt, Paradise Lost af John Milton. Ufarlig, som det lyder, undergraver det nutidens humanisme. Dette er en bog til folk, der ikke er narren.

Jeg ville ikke skrive en anmeldelse af bogen. Men at læse en side førte mig til en anden og en anden, indtil jeg var færdig med alle 253 sider. Årsagen til progressionen er forfatterens alsidighed, fordi virkelig alsidige mennesker er sjældne og spændende for mit intellekt.

Ved det nye årtusindskift skubbede videnskabelige studier parametrene for alsidighed tilbage, da de er enige om, at mennesket ikke kun har to intelligenser - IQ og EQ - men et dusin. Nogle siger, det er to dusin. I virkeligheden, hvis en person er i stand til at udvikle disse potentialer helt, kan han / hun blive overmenneskelig, endog gudlignende (overvej Lucifer)!

Terrance Lindall, der allerede var 74 år gammel med denne skrivning (2018), har i sit liv vist mangfoldigheden af ​​intelligenser, som et menneske besidder. En gennemgang af Lindall Retro-indholdet vil vise, hvor forskelligartet han har været i sin livs opførsel - en soldat, et hus, personale, økonomichef, kunst- og antikvitetssamler og -forhandler, tegneserieillustrator, forfatter, high-fashion model, kurator, museumsstifter , største surrealistiske arrangør af arrangementer ... og hvem ved hvad der ellers. Jeg tror ikke, at han var uærlig og selvbetjent ved at skrive retrospektivet.

Alle de ovennævnte livsepisoder, iøjnefaldende eller åbent, var blot bifloder til den lidenskab, der brændte hans væsen: illustrering af Lost Lost. Således var min gennemgangsmetode at forbinde punkter, som jeg mener er væsentlige for Paradise Lost, at komme med en historie tilsløret af Lindalls økonomi i fortællende tekst, men antydet af spor og implikationer. Da jeg bor på den anden side af kloden, er det, der er tilgængeligt for mig via internettet, kun e-kopien af ​​The Lindall Retrospective. For nøjagtigheden af ​​referencer kan jeg kun håbe, at dens personsøgning er den samme som for hardcopien.

En intelligent person er ikke uskyldig som Adam og Eva i haven. For det første ved han hvad han vil have i livet og handler derefter klogt for at nå det. Kløhed bliver nødvendig på grund af udfordringer, der er normale metafysiske fastgørelser i samfundet, som det er med tyngdekraften over naturen.

Når vi taler om intelligens, ophører nioghalvfems procent af jordens syv milliarder menneskelige befolkninger individuelt og kollektivt på et eller andet tidspunkt med at opnå progressiv intellektuel oplysning, men konverterer til marionetter fra virksomheden. De gør, hvad de bliver bedt om at gøre uden spørgsmål og tænkning. Værre er, de tjener som nødder og nitter til udbytende samfundsmæssige strukturer og institutioner. Viden kan være frugten af ​​Edens forbudte træ, men kognitiv dissonans (opfundet af Earon Davis) er dens fordøjelsesbesværende symptom.

Ikke Lindall i højere grad end mange succesrige mennesker. Hvis MR kan undersøge kroge og hjørner af hans psyke, bag den glæde, han savrer, mens han udfører forskellige opgaver i sin karriere, er hans mind's Eye, bulende, indhugget og stirrer på Paradise Lost (PL) - en en-spidshed, der betyder, at Terrance Lindall er John Milton er valgt til at belyse PL med klarhed, der passer til den postmoderne periode. Til dette havde Humanismens alsidige undergravende ingen måde at undslippe djævelen til deres gensidige fordel og glæde.

Fra Afton Wilderness til Minneapolis

Ligesom den første mand Adam udforskede og spøgte Lindall i det vilde paradisiske sump i sin barndom i Afton, Minnesota, og søgte altid efter mærkeligt eventyr. Som sommeren kom drengedom og gik. Da han voksede op og gik på gymnasiet og college i Minneapolis, "ødelagde" adskillelsen fra denne vildmark ham.

På college oplevede han mærkelige, omend behagelige, fornemmelser med usynlig tilstedeværelse af et "magtfuldt væsen", der forførte ham med "stor magt", hvis han gav efter. Disse fornemmelser sluttede med smerte og "blackouts". Fordi han modstod fornemmelserne, forsvandt det. Han nævnte aldrig blackouts igen i sin tilbageblik.

I stedet blev han elsket af en smuk ung damekunstner (s. 64). Det var bogstaveligt talt ikke nok at køre hende rundt i en bilvogne til at tilfredsstille Lindalls attraktion for kvinden. Jeg antager, at kvinden er for smart til at lade sig røre, når alle hendes venner holdt øje med, hvor likvægten går.

Ikke desto mindre viser damekunstneren sig at være Lindalls Eve. På kort tid fulgte han hende til den by, der aldrig sover: New York. Der indvarslede skæbnen Lindall til en helligdom i sin psyke, hvor Madonna of Monsters - et af hans mindre kendte malerier - ventede på manifestation gennem sit lærred og malepalet.

New York, Lindall og Fame

Madonna of Monsters er overfyldt af de uhyggelige perversioner, som humanismens afkom var blevet. Stryger forsigtigt slangen fra løgn og løgne (symboliserer religion), den anden hånd trykker kærligt på sultens skulder, hvis ansigt udtrykker tilfredshed, når han når op til hendes hofte. Billedet er teatralsk arrangeret og kan meget vel være et familieportræt af monstre. Andre tilstedeværende familiemedlemmer er blandt andet viden, uvidenhed, frygt, kapitalisme, videnskab og medicin - alt sammen uhyggeligt og forfærdeligt. De blev overset af Gud symboliseret af solen ovenfor, mens djævelens håndlangere svæver over (s. 184-197).

Lindalls billedtekst siger, at Madonna er håb - en falsk, da hun beskrives som forgæves, hvilket tyder på, at det er på grund af håbet om bedre livsforhold og / eller evigt liv, som folk bliver udnyttet af religion, regering og store virksomheder. I overensstemmelse med Lindalls påstand om håbets nytteløshed skifter FN for sine mål tema fra økonomisk fremgang til ren bæredygtighed.

Lindalls luride gengivelse af Madonna of Monsters på lærred er en milepæl, der taler meget om hans psykologiske udvikling fra Minnesota til New York. Hans eget fald fra barndommens paradis har åbnet et tomt rum i hans liv, der skulle udfyldes. Ingen tvivl om, at han må have stødt på John Milton og Paradise Lost, akademisk og mere, på gymnasiet og college i Minnesota.

Det er almindelig tro siden umindelige tider, at en dødes spøgelse vækkes, når de levende taler om de afdøde. Er det et spørgsmål, hvor store personligheder, der for længst er gået, formodentlig opnår udødelighed? Der er mere at forstå om ånd som uforgængelig energi. Jeg tør sige, at det var Miltons spøgelse eller ånd, der i Minessota forsøgte at besidde Lindall, hvilket gav ham meget subjektive behagelige fornemmelser og lovede ham stor magt, hvis han ville give efter.

Lindalls modstand mod de mærkelige fornemmelser resulterede i de tidligere nævnte blackouts, hvilket sandsynligvis tvang Miltons spøgelse til at træffe andre arrangementer for at opnå hensigt. Siden da er Lindalls vej til succes ryddet. Hvis det ikke var Milton, måtte det have været djævelen i sig selv, der fristede Lindall. Enten eller endog begge dele.

I New York fik han fingerfærdighed over sine hænder, børsten og farvepaletten, som han manifesterede atypiske visioner på lærred med. Selvom han ikke uddybede sin formelle kunstuddannelse, er det tydeligt, at hans malerikompositioner er påvirket af Hieronymus Bosch. Men Lindall vovede sig videre ved at dreje humor med rædsel og omvendt, ellers blandede han dem så godt for sin unikke, nu genkendelige, surrealismemarkering.

Forfærdeligt humoristisk, komisk bizar blev han en sensation i NYs samtidskunstscene og efterspurgt af prisbelønnede rædsler og futuristiske forfattere (kopier af Heavy Metal Magazine nåede mine hænder, selv da jeg boede en ung eneboer i et tropisk sydøstasiatisk landskab fra midten af ​​70'erne til begyndelsen af ​​80'erne). Ødelæggelsen forårsaget af at forlade hans drengedommers vildmark erstattes nu af en anden form for spænding.

I retrospektivet er jeg overrasket over, at Lindalls kunststil ikke blev beskrevet af kritikere som humoristisk. Beskrivelser som visionær, fantasi, fortælling og surrealistisk i flere versioner var korrekte. Men ingen af ​​dem, der lavede definitionerne, så humoraspektet (s. 6 og 123). Til det savnede de et meget vigtigt fortolkningselement.

De grimme perverse billeder (beskrevet af New York Art World Magazine som DNA gået berserk), der befolker hans lærreder, er bestemt uhyggelige. Men at se igennem de opkast-inducerende og frygtinspirerende scenarier kan man skelne mellem humor, der strømmer gennem kunstnerens vene. Det er for mig meget vigtigt for fortolkningen, som jeg senere skal uddybe.

Den berømmelse, han fik, tillod ham at købe luksusbiler (Mercedes Benz) og fast ejendom (s. 86), kunne være en af ​​grundene til, at han afskød pant. Hvis min spekulation er sand, kan man binde den sammen med hans socio-politiske-økonomiske desillusion (s. 110-136 og overalt). Forståeligt nok kom hans akademiske uddannelse af Paradise Lost til at involvere sig i selvrefleksion og dialog.

Paradise Lost Foremost Contemporary Illustrator

Vi lærer en person at kende ved at lære om, hvad han gør, taler og tænker (maler eller skriver).

Lindalls magna cum laude fra Hunter College, om filosofi og engelsk med mindreårige om psykologi og fysisk antropologi, er et testamente, at han ikke personligt afviste social overensstemmelse, men at nedværde den indefra. På kløgtig vis brugte han de sociale kvalifikationer, han havde opbygget, og talte frit om hans sind, selvom det fornærmede andre, for det meste mennesker i stilling, jeg tidligere henviste til som etableringsdukker og nødder og nitter til undertrykkende samfundsmæssige strukturer (s. 51-52 A Få af mange kontroverser).

At han havde organiseret historiens største surrealistiske begivenheder nogensinde (Brave Destiny og Miltons 400-års fødselsdagsfest, s. 76 og 29) og den anerkendelse, han fik som nutidens verdens førende illustrator af Paradise Lost (s. 5 og 30) er hidtil de sande beviser, den store magt, der tilbydes ham, er nu i hans hænder.

Ved at skrive essayet The Post-Art World (s. 114-116) risikerer han at blive alles fjende og, ligesom den Hasidiske professor, Kapitalisimo, blive skudt ihjel (s. 118-119). Lindall indrømmer, at han ikke er så meget avantgarde. I kunstmedium og teknik sandt, men i tanke er han avante garde. Da han åbent beskrev sig selv som en hermeneutisk kunstner (s. 123), neutraliserede han den blivende snigmorder (hvis der var nogen). Den selvmodsigende, absolutte, vestlige værdi af postmoderne kulturel relativisme, som han verbalt nedsatte, reddede ham uden at miste sin elitistiske niche i nutidskunsthistorie i New York og videre.

Mere end en kunstner er han en filosof. En visionær fortaler for de dårlige nyheder om, at kunst og filosofi er død, hvilket historisk set er en forløber for civilisationens sammenbrud. Hans argumenter, uacceptable for mange, er sunde og velbegrundede.

Kognitiv dissonans, siger samfundskritiker Earon Davis, får en person eller en gruppe mennesker til at opretholde et system, hvis de drager fordel af det, selvom de overtræder loven eller strider mod etiske standarder. Det er, hvad der sker nu for den store verden.

Lindalls allestedsnærværende anvendelse af øjenbilleder i hans kompositioner udtrykker hans altoverskyggende og beregnende tilbøjelighed til at observere objektiv virkelighed. Hans filosofiske romantik med det høje metanarrative Paradise Lost øgede hans observation og uddybede fortolkningen af ​​samfundet over for PL. Det er stille det eneste, der betyder noget for ham.

Alle hans andre sociale forpligtelser er underdanige og efterfølgende suppleret med Paradise Lost. Nogle af hans arbejdsgivere fornemmede og udtrykte irritation over det. Men hvordan kunne de aflede ham fra en livslang lidenskab? Ubevidst behandlede de en kunstner-filosofkæmpe, der blev født i denne historie for at udføre en mission.

Bundlinjen for det menneskelige problem er grådighed - for penge, magt, berømmelse - en lille knibe for de fornuftige. Mennesket blev skabt i Guds billede, men blev forurenet af Lucifers grusomhed. Fordi det har været menneskets operationelle tilstand i tre tusind år, blev det en vittighed. Bloben (s. 132) er i live, replikerer sig selv over hele kloden og spiser alt og ofrer alle.

Lindall er en, der tager denne tilstand alvorligt, men klogt tager en kreativ omvej fra irritation til humor, for at ens følelsesmæssige eksistens ikke lider mest, og du savner glæden ved planetarisk tur. Han gjorde en usædvanligt rigtig ting ved at behandle en kæreste til en ligevogn. At få det bedste ud af en dårlig handel, så siges det. Nogle revner valgte at foretage en 9/11 eller masseskydning.

Er hans livsopgave at vælte humanismen? Ikke så. Hans kærlighed til klassikerne - kunst og litteratur - taler om god og høj standard. Der er en zen, der siger "Vi smider ikke babyen væk med badevandet." Uddannelse, personlig vækst, samfundsudvikling, eksisterer med historisk sammenhæng. Der er visdom fra fortiden, at hvis den bevares, kan den forhindre humanismens skorpion i at stikke sig ihjel. Denne visdom løber gennem historiens farveskala og udtrykker sig gennem forskellige medier - personer, der er indbyrdes forbundne med en udviklende tankegang og danner som et voksende og kompleksiserende økosystem.

Bienvenido knogler Bañez og Felix Culpa

Moderne historie er et fortsat fald af civilisation, der kan gå ned med forskellige dele i opløsning, afbrudt, dysfunktionelt og tilintetgjort. Det var sket før. Det sker igen på trods af udviklingen af ​​samfundsmæssige operativsystemer. Advarsler drukner i politisk uro.

Så quo vadis, homo s. sapiens? På højdepunktet af hans hermeneutiske undersøgelse af Paradise Lost og efter at have afbrudt (post) moderne humanisme gennem kunst og filosofiske argumenter, hang dette spørgsmål i Lindalls sind. Fascinationen med djævelen toppede med en følelse af taknemmelighed. Kunne dette være det mest forfærdelige produkt af Lindalls helvede-oplyste sind?

Utilsigtet blev Lindalls taknemmelighed udfældet af en anelse fra den hermeneutiske surrealistiske kunstner Bienvenido Bones Bañez 'udsagn om, at "Satan giver verden farve." I et offentligt foredrag indrømmede Lindall at have været inspireret af Bones udtalelse.

I Edens Have er der intet internet, ingen sociale medier, ingen mobiltelefoner. Alt er i perfekt orden og harmoni. Den menneskelige befolkning var kun to - den ene mand, den anden kvinde. Hver dag smilede de bevidst til hinanden og fortsatte med deres salige uskyld. De spiste kun frugt. Ingen grill eller McDonald's.

De gik nøgen til fods og talte med planterne og dyrene. Ingen intellektuelle samtaler. Du og jeg var ikke der, fordi der ikke var nogen chance. Før efteråret vidste vores oprindelige far, Adam og mor, Eva ikke om sex. Kan du tilbringe evigheden et sted som Edens have? Hvis du ikke engang kan være veganer i denne verden, skal du ikke være hyklerisk ved at svare Ja.

Hvis du ærligt svarer NEJ, vil jeg ikke tilbringe evigheden i Edens have for alle de ting, jeg har været vant til og helt sikkert ville savne, så burde du også være taknemmelig over for Satan. Der ligger konnotationen af ​​Bones udtalelse Satan giver farve til verden! Det var på grund af djævelens forførelse, at den første mand og kvinde faldt fra Guds perfekte nåde og landede i denne verden af ​​modsætninger: kærlighed og had, glæde og smerte, rigtigt og forkert, berømmelse og skam, fred og krig.

og Evas fald var humanismens fødsel, uddyber Lindall. De var nu alene for at skabe mening ud af denne verden, hvor et liv er mad for et andet.

Satans særegenheder

Den karmiske trylleformular, som djævelen kastede over hele verden, skød mennesket til virkeligheden at skulle overleve inde i en løvehule, for at sige det (profeten Daniel gjorde det bogstaveligt). Interessant nok oplevede mennesket inspiration til sine succeser over udfordringer og blev dygtig til kunst og bogstaver, skabte smukke figurer og billeder og skrev historier om sine livsudnyttelser i forhold til universet omkring sig. Menneskets fald placerede ham i en position til at stræbe efter noget bedre. Fra et filosofisk perspektiv er mennesket en modtager af djævelens ejendommelige nåde, forklarer en felix culpa (heldigt fald) Lindall.

Bestemt har Satan en vigtig rolle at spille i dramaet om Guds skabelse, uden hvilket formål ikke ville blive opnået, da Kristus ikke ville være blevet korsfæstet og oprejst uden forræderiet af Judas. Ironien med mennesket er, at han giver efter for og nyder Satans forførelser, men gør djævelen til den grimeste, mest bange og dårlige af alle skabninger. Lindalls skildring som monstre ud af humanismens arbejde og af mænd som fanget i et forfærdeligt, men humoristisk scenario er berettiget.

Lindall erklærer endvidere, at hvis kristne skal fejre jul, bør deres udtryk for taknemmelighed over for Frelseren omfatte Satan. Denne er svær at fordøje for middelmådige sind, der er blevet indhyllet i årtusinder af en kulturel praksis, der i første omgang blev arvet fra hedninger.

Satan projiceres altid af kirken som nogen, der skal frygtes og foragtes. Således programmering af menneskeheden med binær tænkning. Valget er enten Gud eller djævelen, enten / eller. Gennem tiden omdannede det binære valg til mit eller dit trossystem? Mennesket faldt forståeligt nok for djævelen, ellers ville samfundet og verden ikke være i et sådant rod. Alligevel stagnerer menneskelig underbevidsthed på trods af al teknologisk og systemudvikling i mørkealderen.

Fordelen ved at sætte pris på Lindalls taknemmelighed for Satans ejendommelige nåde er, at de, der forstår, ville være i stand til at overskride den binære programtænkning og udjævne ens forståelse af Guds altomfattende kærlighedsorden: Ordo Amoris. Det er et stort skridt op, hvis du udvikler medfølelse med Judas, idet du får mandat med en vanskelig opgave at udføre og forstå dybere djævelens rolle. Elsk din fjende, et kristent diktum, der føles som sten, der skal spises (The Stone Eater s. 152). Når først dette er opnået, forsvinder frygt.

Lindall elsker klassikerne, men forfærdet over, hvad der er blevet af humanismen, især i den postmoderne periode. Mens han anerkender den postmodernistiske reaktion på åbenlyst kunstforretning som gyldig, afviser han behandlingen af ​​kulturel relativisme med absolut værdi. Modsigelse i termer, det er hvad det er. I stedet krønner han efter "elitisterne" inden for kunsten - de meget få, der har "dommen til at vide, hvad der er værd i menneskelig præstation", hans egne ord.

På trods af alle hans undergravende udtalelser om humanisme har Lindall stadig tillid til det menneskelige og siger, at en ny og større mand (og kvinde) vil dukke op fra kunstens aske. Men før det skal en begivenhed eller to endnu ske. Alt i alt er afslutningen på Lindalls filosofiske argumentation den dør, han åbnede, men ikke helt var kommet ind. Der hænger et skilt ved døren, hvor der står Ordo Amoris.

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