honoured

Keeping track of a lofty man enamoured with life

Category: Print

Meeting your Shadow and taking it out for a cuppa

Morning pages…

http://juliacameronlive.com/basic-tools/morning-pages/

AESTHETICS

Just re-read an essay i wrote quite a while back in Philosophy. Has some good points in it.

 

  Date: 20-10-11

 

By practicing “the aesthetic attitude” it is possible to train oneself to be able to see “free beauty” in potentially everything and this would be a good skill to have.

 

“Aestheticism is a search after the signs of the beautiful. It is the science of the beautiful through which men seek the correlation of the arts. It is, to speak more exactly, the search after the secret of life…” (Wilde, p. 159)

 

Wilde seems to be hinting at what John Keats termed Negative Capability. A state of “intentional openness, mystery, waiting and watching.” (Miller, Lec#9) He believed that to truly appreciate the aesthetic beauties of life that surround us in our everyday living we must surrender ourselves to the mystery of those things. Appreciate and accept them for what they are instead of grasping for what they mean.

 

In the practicality of life “the normal person really only reads the labels as it were on the objects around him and troubles no further.” (Hospers, p. 19) However, if we were to dissociate our understanding of particular objects and the references they incur we may very well experience the external world in a whole new light; with a heightened sensory experience for all things that will enable a greater appreciation for our world and therefore our life. In essence, as David Hume put it, a man with “a more lively feeling of beauties… is delighted with a copious, rich, and harmonious expression.” (Hume, p. 97)

 

It is from Hume’s discussions on the world of aesthetics that Immanuel Kant first drew the theory of Dependent Beauty. Hume claimed “it is impossible to continue in the practice of contemplating any order of beauty, without being frequently obliged to form comparisons between the several species and degrees of excellence, and estimating their proportion to each other.” (Hume, p. 92)

 

In his Critique of Judgment published in 1790, Kant defined Dependent Beauty as presupposing a concept upon the perfection of the object. In other words, whenever we perceive an object we automatically bring with the experience a set or criteria of preconceptions that informs our understanding of it. We either compare an object to another or undergo a sensation we have experienced in the past, therefore prompting a concept relating to that which we perceive.

 

With every new situation we encounter we have been conditioned to deduce our perception by that which we have already been exposed to. “The world of man is not only a world of things; it is a world of symbols where the distinction between reality and make-believe is itself unreal.” (Gombrich, p. 72) With this statement Gombrich is highlighting that we all independently understand the world around us subjectively, albeit sharing a universal understanding of particular symbols within our culture.

 

The film Amélie (2001, dir. Jean-Pierre Jeunet) tells the story of a unique young lady (Audrey Tautou) who has grown up using her imagination for her own sense of entertainment due to having strict, misunderstanding parents.

 

When her mother gives Amélie an Instamatic Camera at a young age, she is immediately smitten with taking pictures, capturing the wonder of the world around her with each picture she takes. One day she encounters a car accident after having had taken a picture. A neighbor tells her she had caused the accident by taking that picture. The young Amélie is instantly traumatized by this connection; especially when she turns on the television and watches the multiple news reports of disasters around the world. She cannot help but think she is responsible for them all, recollecting the fact that she had been taking pictures all afternoon.

 

Like the innocent Amélie, we all automatically form connections with what we perceive in any given moment with what we have experienced in the past. This is the basic building block for how we as humans understand the world around us. It is precisely this fact that advertising agencies capitalize upon, creating associations for their market demographic by conditioning a products appearance with a positive sensation. “Advertising is the ‘wonder’ in Wonder Bread.” (Richards, University of Texas)

 

It is however possible to break out of this mold of Dependent Beauty by practicing what Kant coined Free Beauty: perceiving the world around us free of any past experiences or prejudice. In Kant’s words, Free Beauty  ”cannot be a concept, but is rather the feeling (of the internal sense) of the concert in the play of the mental powers as a thing only capable of being felt.” (Kant, p. 37)

 

To reach this state Jerome Stolnitz explains that one must adopt “a disinterested and sympathetic attention to and contemplation of any object of awareness, whatever, for its own sake alone.” (Stolnitz, p. 19) For example, “when an artist looks at objects (the contents of a room, for instance) he perceives them as pure forms in certain relations to each other, and feels emotion for them as such… He (does) not feel emotion for a chair as a means to physical well-being, nor as an object associated with the intimate life of a family, (etc.) by a hundred subtle ties… (It is) through pure form that he feels inspired emotion.” (Bell, p. 59)

 

To view the world as Free Beauty we rediscover our “ring of enchantment” (Miller, Lec#12). We return to “a childlike wonder to question everything in order to truly comprehend and explore the truth in the external world. To return to the source in order to dispel the power it holds on one’s beliefs.” (Miller, Lec#1) To separate our prior beliefs in objects from our present perception of them we become Negatively Capable as both Wilde and Keats were, and Socrates before them. “It makes life more vivid, animated, living, worth living” (Scarry, p. 24-25) when we let go of the compulsion to explain and answer everything we perceive.

 

Amélie and Nino (Mathieu Kassovitz) are a good match for each other for they both view the world with a similar childlike wonder. As each character within the narrative is introduced by their likes and dislikes, thus their perception and attitude defining who they are, it is clear that Amélie and Nino share a similar aesthetic attitude.

Amélie also shares an affinity with the character of Raymond Dufayel (Serge Merlin), “the glass man”, communicating with him by passing sequences of recorded television moments to inspire and revel in the beauty of unique life incidents; A horse joining the tour de France, a dog walking on a cartwheeling man, babies swimming under water, and a one-legged man dancing. Both Amélie and Raymond appreciate the mysteries of life and are enriched from such experiences.

 

The increasing negative associations that we are exposed to in our contemporary society consistently initiate a sense of consternation within me. We are constantly under siege from the media and public at large – use energy efficient globes! Save water! Finish everything on your plate! Loose weight! – to conform to what is “accepted” in society. We look at a shower and no longer marvel at it’s aesthetic beauty let alone it’s capacity to cleanse us but worry about whether it has been switched off correctly and whether it has a water-saver head on it. I by no means am opposed to the idea of decreasing my carbon footprint, but I am annoyed at the fear tactics that advertising and the public at large endorse in order to communicate a message. Many simple beauties have been tainted with troublesome associations that create a sense of angst that is detrimental to our health.

 

We no longer appreciate what is in front of us for itself. We sit down in front of the television to scoff down our dinner instead of truly appreciating the sensation that every ingredient stirs in our taste buds. We no longer allow ourselves the chance to appreciate life. We are in too much of a hurry to realize the future that we do not appreciate the present.

 

Most times it takes a significant incident to stop us in order to reassess our perspective of our lives. For myself, it took a serious internal infection that I developed whilst traveling overseas to stop me in my tracks. As I continue to recover my full health I have been forced to limit my physical activities and become more mindful to what and how I consume my food. By experiencing such an incident I have started practicing meditation and become conscious of the simple magnificence of life around me.

 

Becoming mindful to the present moment in my experience is the best remedy to end the anxieties and pains of life. To negate our need for a goal or will when we perceive external stimuli by practicing meditation or other mind-focusing techniques “it is then all the same whether we see the setting of the sun from a prison or from a palace.” (Schopenhauer, p. 220, para. 232) We are able to appreciate beauty purely with a sense of wonder and euphoria.

 

 

 

 

 

 

 

BIBLIOGRAPHY

 

  • Wilde, Oscar. Oscar Wilde. Ellman, Richard. p. 159, pub. Alfred A. Knopf, INC 1988

 

  • Miller, Robert. Understanding Philosophy: Themes from Popular Culture. RMIT University. Melbourne, Australia.

 

  • Lecture #9. 21 September 2011
  • Lecture #12, 12 October 2011
  • Lecture #1, 20 July 2011

 

  • Hospers, John (ed.). Introductory Readings in Aesthetics, p. 19. London: Collier MacMillan, 1969.

 

  • Stolnitz, Jerome (ed). Aesthetics. Printed by The MacMillian Company, 866 Third Avenue, New York, New York 10022. Copyright Jerome Stolnitz, 1965.

 

  • Hume, David. Of Standard of Taste. p. 97, 92
  • Gombrich, E. H. Artisitc Representation. p. 72
  • Bell, Clive. Artistic Representation and Form. P. 59

 

  • Jeunet, Jean-Pierre (dir). Amelie (2001). 122 mins. Miramax Films, UFD, UGC and Canal+.

 

 

  • Kant, Immanuel. Translated by John Miller Dow MeikleJohn. The Critique of Judgment. Book I. First published, 1790. p. 37

 

  • Stolnitz, Jerome. Aesthetics and the Philosophy of Art Criticism. Published by Houghton Mifflin, 1960. P. 19

 

  • Scarry, Elaine. On Beauty and Being Just. Copyright Princeton University Press, 1999. P. 24-25

 

  • Schopenhauer, Arthur. The World As Will And Representation. Norman, Judith; Welchman, Alistair; Janaway, Christopher. Published by Cambridge University Press, 2010. p. 220, para. 232

Writers Agencies

AGENCIES

A starting point

 


Novel

 

AMC (incorporating The Almost Managing Co. Pty Ltd.)

almost@mpx.com.au

 

Australian Literary Management

alpha@auslit.com

http://www.auslit.com/

 

No scripts for radio, film, television or stage, nor poetry, short stories or self-help. Also do not consider children’s books by unpublished authors.

 

The Authors’ Agent

www.theauthorsagent.com.au

 

Primary focus: Adult non-fiction. No poetry, fantasy, sci-fi, scripts, self help, New Age or spirituality. No unsolicited submissions accepted.

 

Barbara Mobbs

beemobbs@bigpond.net.au

 

Literary adults and children’s books.

 

Bryson Agency Australia Pty Ltd

http://www.bryson.com.au

 

Books, plays, scripts, electronic projects. Does not take poetry.

 

Callaghan Literary Management

Deborah Callaghan

debclm@bigpond.net.au

 

Adult non-fiction.

 

Cameron Creswell Agency

Sophie Hamley

http://www.cameronsmanagment.com.au/

 

Represents writers from the full range of film, television, live performance and publishing industries.

 

Curtis Brown Pty Ltd

reception@curtisbrown.com.au

http://www.curtisbrown.com.au

 

No children’s picture books, poetry, stage or screenplays, short stories or translations.

 

Drummond Agency

info@drummondagency.com.au

http://www.drummondagency.com.au/

 

Primary focus is adult fiction and non-fiction, plus YA fiction. No sci-fi, fantasy, poetry, stage or screenplays, short stories or translations, children’s picture books, middle grade fiction or books for younger readers.

 

Golvan Arts Management

golvan@ozmemail.com.au

http://www.golvanarts.com.au/

 

Represents Fiction, Non-Fiction, Poets, and Children’s authors. Also screenwriters, visual artists and composers. Emphasis on promoting texts for Educational purposes plus obtaining Film and TV rights.

 

Hay House Australia

http://www.hayhouse.com.au

 

Self-help, new age, sociology, spirituality, philosophy, health, diet, psychology, men’s/women’s issues, celebrity biographies.

 

Jacinta di Mase Management

jacintadimase@ozemail.com.au

 

Commercial fiction and non-cition for adult and children’s markets.

 

Jenny Darling Associates

http://www.jd-associates.com.au

 

Primarily adult fiction and non-fiction.

 

Margaret Kennedy Agency

http://www.margaretkennedyagency.com/

 

Primarily adult non-fiction, general fiction, and children’s.

 

Mary Cunnane Agency

http://www.cunnaneagency.com/

 

Adult fiction and non-fiction. Does not represent Children’s, YA, Fantasy or Sci-Fi.

 

The Naher Agency

http://www.naher.com.au

 

Adult fiction and Non-Fiction.

 

Nanette Halliday

halliday@picknowl.com.au

 

Children’s authors and illustrators.

 

Selwa Anthony Author Management Agency Pty Ltd

http://www.selwaanthony.com.au/

 

Fiction, Non-Fiction, YA and Children’s only.

 

Screen

 

Anthony Williams Management

awagency@primus.com.au

 

Initial contact via query letter by post. Represented works by screenwriters and authors, film, theatre, radio, directors and television. Does not accept short stories, poetry or academic writings.

Cameron Creswell Agency

http://www.cameronsmanagment.com.au/

 

Represents writers from the full range of film, television, live performance and publishing industries.

 

HLA

hla@hlamgt.com.au

http://www.hlamgt.com.au/

 

Does not accept unsolicited material. Film, TV and theatre only.

 

RGM Associates Pty Ltd

Contact: Louise Spence

louise@rgm.com.au

 

Rick Raftos Management

raftos@raftos.com.au

http://www.richraftosmanagement.com.au

 

Primarily represents performance writers (i.e. screen and stage) as well as directors, producers and writers seeking to expand their projects into other mediums.

 

ScreenHub

http://www.screenhub.com.au

 

Online employment portal for screen practitioners.

 

Shanahan Management Pty Ltd

Nellie Flannery

admin@shanahan.com.au

Stacey Testro International

melb@sti.com.au

http://www.sti.com.au/

 

The Yellow Agency

contact@theyellowagency.com

http://www.theyellowagency.com/

 

One produced credit and CV needed to request representation.

 

Unsolicited Manuscripts

 

Pan Macmillan ‘Manuscript Monday’

http://www.panmacmillan.com.au/manuscript_monday.asp

 

300 word synopsis and double-spaced first chapter of manuscript as separate Word documents.

 

Allen & Unwin ‘The Friday Pitch’

http://www.allenandunwin.com/default.aspx?page=462

 

300 word synopsis and double-spaced first chapter of manuscript as separate Word documents.

 

Penguin’s ‘Monthly Catch’

http://www.penguin.com.au/getting-published

 

300 word synopsis and manuscript as separate Word documents. Also a brief summary (2-3 sentences), author bio (2-3 sentences), previous publishing history, intended audience/marketability, whether it has been sent to other publishers, etc.

 

Pegasus Elliot Mackenzie Publishers Ltd.

http://pegasuspublishers.com/submissions.php

 

Baen Books

http://www.baen.com/submit.asp

 

Boyds Mills Press

http://www.boydsmillspress.com/writers-and-illustrators-guidelines

 

DAW Books

http://us.penguingroup.com/static/html/daw/submissions.html

 

TOR Books

http://www.tor.com/page/submissions-guidelines

 

In My Shoes

“Gee you’re tall”

Gee you’re short

“Ever played basketball?”

Got an 80 year old spine in a 25 year old body

“How’s the weather up there?”

Do you mind if i sit down? Then we don’t both have to strain our necks

“Want a beer?”

No thanks

“Why not?”

Yeh, why not?

Interview with Richard Price – The Believer

http://www.believermag.com/issues/200805/?read=interview_price

 

Worth a read. Like many prolific middle-aged artists he seems to have some contradictory beliefs. An inspirational read nonetheless.

1984 – George Orwell

Stars: **half

Recently i have been tackling some of the old classics in an effort to build up my knowledge base and expose myself to a broader range of writing styles. Nineteen Eighty-Four has been on my list for quite some time now so i feel proud when finally i find myself ticking it off!

Written in 1949 depicting a dystopian future set in 1984, it tells the first hand account of Winston Smith – somewhat an unlikeable anti-hero – who is struggling to live out his existence in an oppressive societal structure. A fusion between Nazi Fascism and Stalinist Communism, Oceania (the fictional continent encompassing the Americas and Britain) is besieged from the inside out by the Thought Police and the outside in by world war with the other two heavy-weights in the world circuit (Eurasia and Eastasia) making for quite a grim world for poor old Smith to live in. When he begins to test the boundaries of what he can get away with he tumbles down the rabbit hole of political/spiritual/emotional resistance, sparking a secret romantic affair with the younger woman Julia. As he keeps telling himself throughout the bulk of the narrative, “it is only a matter of time until we are found out.”

Exploring issues of Nationalism, Sexual Repression, Censorship, Surveillance and Basic Human Rights, this science-fiction novel was like opening a time capsule to another period of time in our world’s history. When the threat of Fascism was still very much evident in the mind of the public, the future undetermined both politically and socially.

I feel this book is somewhat dated now. It is still important for it to be on the list of classics though for it is almost like a warning cry of what our society could potentially become.

I was captivated by the story of Winston and Julia although bored out of my mind when the trivialities of Ingsoc (English Socialism) was detailed so meticulously in large sections of the book. Clearly this was his greatest interest when writing this book, however, i feel it has bogged down the entire narrative in unnecessary political detail. What is so great about War Of The Worlds and many apocalyptic (ie. zombie – The Walking Dead) narratives  is the personalization of the narrative. You are experiencing the effects of the environment from a fist person, visceral perspective rather than getting caught up in the entire context of the environment itself. Does it really need to be explained in such great detail? Perhaps for a scholarly, academic audience – but for the common consumer? I doubt it. I am more interested in the immediate ramifications for the characters we are sharing this journey with. That’s where the connection is, not in the political manifesto where complex jargon and wordplay dwell on the inner workings of legislation and so forth.

I feel i have got a handle on Orwell now and feel i can just skip to the animated version of Animal Farm instead of diving into his novel.

 

PS. I love the fact that Orwell coined the term “Big Brother Is Watching You” when we now understand this phrase through our experience of reality television.