SÉRIE

SERIES

 

III

 

NO INSPIRATION

 

To imagine is to elevate Reality one tone.”

-  Gaston Bachelard -

 

 

An Introduction:

 

For there to be art, or any form of creation, it can be said that will become an indispensable requirement a unique demand: the power of inspiration.

In the absence of this ingredient there will be times when the writer, artist or scientist, just feel an inertia in all their actions, which will affect his productivity. In the absence of any form of development the author finds out the presence of this gap, a lack associated with a decrease of imagination, inspiration, moments in which new ideas won’t emerge or there will be simply missing some kind of form of creativity. At these times, there will always be two concepts to keep in mind that may help overcome this obstacle and continue with the production of your work.

Some reflections to be considered and which are two pillars of utmost importance in any process of evolution and creation, have impact on the nature and meaning of these two words: Transdisciplinarity and Intertextuality. These two concepts keep active, in a conscious way, a granted method to 'know' and also its relationship with ''let it be known", and ensure the line of continuity. To try to explain the meaning of this line we must focus that, for a Science of Creative Art is absolute necessary to refer to Transdisciplinarity. This new discipline offers something new: in order to know something, you need to know everything!

The Transdisciplinarity establishes a dialogue among all different forms of knowledge; between all the sciences, disciplines and sub disciplines; presenting itself as an audacious new concept, capable of addressing simultaneously, for example, Mathematics and Philosophy, Physics and Art.

Transdisciplnarity, or Multidisciplinarity, refers to the study of a subject concerning a single discipline by several disciplines at the same time. In order to move towards an harmony between the various mentality, knowledge and expertise, it becomes necessary to create links between different disciplines.

This form of knowledge aims to a full understanding of the Universe, the unity of knowledge itself, and desires for absolute wisdom. The transdisciplinarity research becomes complementary but essential to the understanding of the whole. For example, in order to address the problems of Cosmology, we cannot forget Quantum Physics, although the study objects of these two disciplines can seem distinguished and are apparently different and well outlined.

The term Transdisciplinarity was only introduced at the end of the XX century by Jean Piaget, however, at the dissemination of this new discipline it is necessary to mention the name of Basarab Nicolescu, a theoretical physicist who was pioneered in the interdisciplinary studies.

 

Another author of an important reference when it comes to Intertextuality is Julia Kristeva.

Being a text a cultural object, intertextuality is a relationship between texts and, therefore, represents the interculturality. One text is a meeting place of several texts, for there are implicit and contained a multitude of other texts. In those previous readings, the writer first assimilated and absorbed other content, apprehended other words, memorized other information and his final literary production reflects all these influences.

Each writer is an ‘updater’ of its own literary memory, and his final composition often is nothing more than a rearrangement, reorganization, relationship and co-presence of several other texts, compiled together in a writing over writing. In this way, and quoting Julia Kristeva: "All text is constructed as a mosaic of quotations; All texts are absorption and transformation of another text.”. In this sense, the concept of intertextuality offers a critical view of the literary work. In a text or a written work it is assumed that the author is the sole creator, but intertextuality argues exactly the opposite.

In every text there are different authors involved, implicitly or explicitly revealed. In this sense it puts into question the literary work as being absolutely unique and original, and causing doubts about the classification of the poet-genius. If a text is nothing more than a mix of new and continuity, a process of evolution in which old and new coexist and live together, a universe of words that allows one to establish contact with other times, authors, values ​​and knowledge; then, any text should be highlighted, not by its author, not by their words, but throughout the whole universe that it represents and reveals.

But even thought, there is always contextual relationships which were recreated, re-imagined, reformatted in a new text more important to the author, with which he identifies himself. In this process only some information is highlighted, only some data are chosen and the rest is left in the shade. Therefore, a new text represents the author's imagination, in which it is introduced a new style and recreated a new importance to a thematic and therefore created a new message.

Despite this, the appreciation of literary, artistic or scientific work should be highlighted to establish a permanent liaison with other writers, other times and other ideas. Because a book refers to other books and therefore leaves to continue living and active the continuous dialogue between the author and the reader.

As our work is the only witness of our thoughts, our writings, our ideas are the only part of us that remains beyond life and the only confirmation of our existence. The work of art, in existence almost infinite in time, aspires to a perpetual life, unlike our life that is practically extinguished.

Art continues to do what it always did: reflect the perception of the outside world through the perspective of the artist, revealing internal processes of the mind of that same artist and transmitting his vision of the world around him. In a constant rediscovery in which the image of the visible and the invisible is captured, transformed, and elevated to a maximum limit. Letting it show, even if only subtly, what a man has placed in an intentionally way, a composition that follows a personal logic, extremely deep, and even unconscious.

The only change of artistic styles is a demand for a constant innovation and originality. It’s a fact that, for a long time man has been interested in art, and has never been an exception to this rule; but perhaps never existed a time as passionate as ours. Since the Romantic period of the XIX century that man has witnessed a constant change of artistic serials, styles of movements and counter-movements, because the world of art presents itself in an attitude of permanent change.

The end of the XIX century and first half of the XX century, originated more artistic movements, many 'isms', than in all other previous periods: Realism, Impressionism, Expressionism, Cubism, Surrealism; Futurism, etc!

Also, another important movement of the XX century is the notion of 'Vanguard', defined as the group of people who in their way of work, lifestyle and thoughts, are advanced in relation to the time in which they live. From a psychology perspective in Art History, the picture may emerge as a mean to communicate and transmit a message of harmony and beauty or, conversely, of shock and anger, or even as a way to raise awareness, requiring acuteness, attentiveness and sensitivity from the viewer and the critic, so that the image can be properly internalized, appreciated, judged and understood.

What the artist creates, the critical analyzes and questions. From the artist it is withdrawed an inner reality and a work that was born from the senses. While the other—the critic—goes down to the sources of creation and tries to conceive, understand, analyze and make lucid everything that fueled the artist's work; all that has propelled it, its genesis and primary causes of this force. If the artist would have taken the time to make this work, would have lost their momentum and their natural instincts, and the artwork would have been sterilized. However, art is always an inseparable manifestation from the body, soul and conscious mind, because: "Painting is a visible poetry” – Leonardo da Vinci –.

The idea of an ​​individual genius is not a new idea. If one remember, for example, of Michelangelo and again of Leonardo da Vinci, whose eloquent works would irrevocably resist to the erosion of conventions and traditions, these are examples of how the works of a good artisan are not ephemeral productions, associated with artistic movements, fashion and epoch styles. Because a constant newness can eventually become tireless and annoying ... but the work of a good artisan, by the contrary, lasts forever.

In conclusion, it is necessary to understand that Science, Art, and Philosophy are not strangers to each other. In fact, these disciplines have a lot in common and transmit a mutually enrichment. We can remind ourselves that Science was born from Philosophy. Philosophy, Art and Science, all of these areas are faced with several issues essential to our existence, because they explore the knowledge and human existence. In this way, they aspire to achieve a much deeper understanding; being that, they all make perpetual use of thought, reflection and inspiration. And, although they may apparently seem to went through separate ways, the ultimate objective is common to all of them and always the same: to reveal and share all possible creations, concepts and discoveries.

The Intertextuality and Interdisciplinarity can emerge as tools and as an engine for a source of inspiration, but maybe all of that is unnecessary and useless because probably the only essential ingredient for this combination to come is simply one… the imperative necessity to create:

 

   The work of art is born of the necessity. It is this origin, and nothing else, that determines the judgment of its value. For this reason, dear sir., I cannot give you any other advice beyond this: go inside yourself and explore the depths from which your life flows, it is in that source  that you will find the answer to the question: Do I have to create?

   Admit the answer, whatever it is, without interpreting it. Maybe you will find out that you were born to be an artist. In that case, you must accept your fate, carry your weight and greatness, without asking for benefit that can come from outside. The creator must be a world for himself, must find everything within himself and in the Nature that he has joined.”.

 

 RAINER MARIA Von RILKE – Letters to a young Poet -