Referred to me during a lunch break at the university, “Escape from Reason” by Francis Schaeffer.
It is called, “a penetrating analysis of trends in modern thought”.
I am looking to delve into the content to do a little analyzing myself. A few things have caught my attention, let alone the reference within the material to art history, one of my most beloved subjects for it encompasses all walks of life through philosophy, political science, sociology, anthropology, etc. etc.
Now, due to the fact I attend a Christian college, the book is, of course, written with the concept of Christianity being a main focus. It relates to how each of these categories, falling under art history, are intertwined with Christian beliefs.
Chpt. 3 touches on sexuality-
“The twentieth-century pornographic writers all trace their origin to the Marquis de Sade (1740-1814). The twentieth century now treats him as a very important man — he is no longer just a dirty writer. A generation ago, if anyone was found with one of his books in England he was liable to have difficulties with the law. Today he has become a great name in drama, in philosophy, in literature. All the nihilistic black writers, the writers in revolt, look back to de Sade. Why? Not only because he was a dirty writer, or even that he has taught them how to use sexual writing as a vehicle for philosophic ideas, but also basically he was a chemical determinist. He understood the direction that things would have to take when man is included in the machinery.”
But how does one view the material if they are of another religion?
What points of intellectual debate are founded for the Gnostic, the Atheist, the children of Modernism?
These are questions I will ask myself as I begin to read.
This particular post will touch on the artistic inspiration of tantric sex. I feel that these pictures relate the vividness and intimacy of achieveing the tantric state. What is the tantric state? How is it achieved?
Where did this expression come from?
The origin is unsure, however, its meaning is known world wide.
We have seen those jump for joy when claimed the winner, the ones who jump at the revelation of good news, such as a letter/email from someone you love and miss, or jumping at being surprised with something long wished for.
We can suppose that the feeling of joy originates with that first, hard pump of the heart when that combination of dopamine and adrenaline is released in our brains at the onset of something that elates or excites us.
As it stands, all of us look to have those moments in life where we experience joy. It provides a natural “high”. In a world that is oppressed with so many varieties and combinations of “downers”, it is no wonder that we find something to relieve them.
Actually, jumping releases natural endorphines which provide you with the same kind of high you might experience with the use of a drug. Endorphines are essential to reduce pain and anxiety and increase the feeling of well being. They actually cause an increase in your levels of dopamine ( you feel this when in love or when achieving sexual gratification).
Hmmmm, Maybe that’s why base jumpers do it?
There was an artisit/photographer who believed there was psychological science behind the jump. In a jump the subject, in a sudden burst of energy, overcomes gravity. He cannot simultaneously control his expressions, his facial and his limb muscles. The mask falls. The real self becomes visible. One has only to snap it with the camera.
The Laurence Miller Gallery in Manhattan currently has an exhibit of Phillippe Halsman’s photography of “Jumpology”. He was the first to capture the joys of jumping as a tribute to both psychology and art.
Enjoy the imagination; the possibilities are endless.
Today is the anniversary of the largest art theft in US history (1990). Twenty years ago, twelve paintings, collectively worth around $300 million, were stolen from the Isabella Stewart Gardner Museum in Boston, Massachusetts. This included Vermeer’s The Concert and three Rembrandts (including his only seascape The Storm on the Sea of Galilee). To date, these paintings have not been recovered.
What is it, do you think, that made the thief want to steal these two paintings in particular? Or do you think it was a mere “grab and go” just to prove that it could be done? Why do you think that after all these years, they have never been recovered?