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    <title>Eina Bems' public forum</title>
    <link>http://forum.einabems.com//index.php</link>
    <description><![CDATA[]]></description>
    <language>EN</language>
    <pubDate>Tue, 19 Feb 2008 19:48:11 -0500</pubDate>
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    <category>Eina Bems' public forum</category>
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    <item>
      <title>[Painting] Re: What is art?</title>
      <link>http://forum.einabems.com//read.php?2,4,16#msg-16</link>
      <author>Xiao Hong</author>
      <description><![CDATA[How unusual. I never have read something so profound about the nature of art. But how come nobody has a comment to offer? I will recommend this forum to a few friends and hope a discussion could be started about humanity's multiple levels of reality, visual signs as tools for sharing a common worldview between citizens, the sharing of a worldview as the stabilization of societies, ... and &quot;Art is the substance of a visual conversation about reality while form is the language in which the artist expresses that substance.&quot; 

Thanks Laodan for sharing your views.
I'll be back often.]]></description>
      <category>Painting</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?2,4,16#msg-16</guid>
      <pubDate>Tue, 19 Feb 2008 19:48:11 -0500</pubDate>
    </item>
    <item>
      <title>[Fur-art] Fur-art collectibles</title>
      <link>http://forum.einabems.com//read.php?1,15,15#msg-15</link>
      <author>Sharon</author>
      <description><![CDATA[I have a good friend who has a fur assembly workshop. That's how I came into contact with Australian Merino lambskins. I was immediately hooked by their beauty. Such softness and silky look. And I started to dream about assembling a collection of fur-art tapestries realized with such lambskins. 

From the onset I decided to focus as a laser beam on art and design. I wanted a collection that would be unique.

My husband being an artist I asked him to realize a hundred tapestry designs among which we finally selected a group of 16. The next step was to assemble those designs with lambskins.  I had thus my fur-art collection. We set up a company to commercialize our new product. We baptized it Eina Bems and so the story began.

I'm proud of our fur-art works. They are so beautiful!
They are also rare collectibles.for, being offered in such short editions they are bound, in time, to increase in value.

.]]></description>
      <category>Fur-art</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?1,15,15#msg-15</guid>
      <pubDate>Sun, 06 May 2007 22:45:25 -0400</pubDate>
    </item>
    <item>
      <title>[Art theory] In the Air of our Times, Crucial Talk, Artsense.</title>
      <link>http://forum.einabems.com//read.php?4,13,13#msg-13</link>
      <author>laodan</author>
      <description><![CDATA[About method: my approach is to:

1.  syndicate articles and posts from sites I find of interest with [Google Reader](http://www.google.com/reader/view/). Presently I subscribe to 64 different sources. View my [shared pages](http://www.google.com/reader/shared/05555919764428047582)

2.  store those daily readings that I find I should be able to access later on. For doing this I use my blog [In the Air of our Times](http://laodan.stumbleupon.com/) which allows me to add on the spot comments and [del.icio.us](http://del.icio.us/laodan)

3.  After digestion of the content of my daily readings I publish my thoughts on [Crucial Talk](http://laodan.blogspot.com/) and other blogs.

4.  I then later rework my blog posts and eventually publish this reworked content in a book. My posts from 2004 to 2006 were thus reworked to form [Artsense](http://tinyurl.com/kdets) and my present posts will eventually, in the future, form a book that I plan to title &quot;The Way Things Are&quot;.

.]]></description>
      <category>Art theory</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?4,13,13#msg-13</guid>
      <pubDate>Sun, 06 May 2007 22:06:31 -0400</pubDate>
    </item>
    <item>
      <title>[Website design] The Eina Bems website.</title>
      <link>http://forum.einabems.com//read.php?11,12,12#msg-12</link>
      <author>laodan</author>
      <description><![CDATA[This Eina-Bems site has been composed exclusively with Free Open-Source software:

- [Nvu](http://www.einabems.com/Add%20link_files/made-with-Nvu-t.jpg): a very good WYSIWYG html editor as good as Dreamweaver. 
- [Versluis' java menu Builder](http://www.burmees.nl/menu/menus.htm): a very powerful java menu builder. 
- [Stu Nicholls' CSS code](http://www.cssplay.co.uk/menus/): from templates of web-pages to menus, Stu Nichols is my CSS guru.
- [Netvisualize Bookmark manager](http://www.netvisualize.com/) :  [my link page](http://www.einabems.com/Netvisual/index.html) has been realized with Netvisualize. This is a Windows program that I run without any problem under Ubuntu-Wine.
- [The Gimp](http://www.gimp.org/): the ideal replacement of Photoshop. I use The Gimp, in total satisfaction, since a few years and for nothing on the world would I return to Photoshop.
- [Mozilla software](http://www.mozilla.com/en-US/products/?flang=en-US): Firefox browser + extensions, most importantly the Web Developper Toolbar + the excellent Thunderbird email client.
- [Ubuntu](http://www.ubuntulinux.org/): I'm using Ubuntu since a few years and for nothing on the world would I return to Ms Windows.
- [Drupal](http://drupal.org/): the open source content management platform that I used to realized [The Way Things are](http://laodan.einabems.com/).
- [MySql](http://www.mysql.com/): the most popular database around the world. An Openm-Source free product of great quality that I use to store the pictures on    [my Photo-Gallery](http://einabems.com/G2/main.php), the messages on this forum and the content of my The Way Things are that runs on Drupal.
- [Phorum](http://www.phorum.org/): this forum runs on Drupal and all the messages are stored on MySql.
- [Gallery2](http://einabems.com/G2/main.php): my photo-gallery runs on Gallery2 and the pictures are stored on a MySql database.
- [gFTP](http://gftp.org/): I transmit pictures and files to my web-server with gFTP.

I use also the following Web based tools: [StumbleUpon](http://laodan.stumbleupon.com/), [Blogger](http://laodan.blogspot.com/), [Del.icio.us](http://del.icio.us/laodan), [Flickr](http://www.flickr.com/photos/laodan/sets/), Google Search, Google Homepage, Google reader, Google Notebook, Google Docs and Spreadsheets and Google Webmaster tools,...

.]]></description>
      <category>Website design</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?11,12,12#msg-12</guid>
      <pubDate>Sun, 06 May 2007 21:40:56 -0400</pubDate>
    </item>
    <item>
      <title>[Paper-cuts] Contemporary paper-cuts</title>
      <link>http://forum.einabems.com//read.php?6,11,11#msg-11</link>
      <author>laodan</author>
      <description><![CDATA[I believe that the papercut technique offers a rich avenue for all to express themselves and I wish the papercut craft would be adopted largely as a new mode of graphic expression. The inescapable rigor and focus that are necessary to express oneself in this art are indeed the greatest richness that can be bestowed on an individual. 

A stark differentiation distinguishes the contemporary works realized in the West and those that are been realized in China.

In one word Westerners adapt all the techniques they touch to the spirit of modernity that sustains contemporary western culture. In contrast the Chinese culture remains still largely dominated by rural life. This distinction in terms of the cultural content of contemporary paper-cuts is, I believe, exacerbated by the fact that the creators, the creatives, in the West are largely educated people while in China the craft is mostly exercised by rural folks. Urbanites are indeed rejecting the craft, for, it reflects on the traditions of the country while they are engaged in a wild expansion of modernity in the cities. This is a generalization for sure. As in Europe and the States, at a given stage of industrialization when parents yearn for a higher education for their kids some of those kids feel the urge to make a cultural u-turn to rediscover their roots and the traditions of their ancestors. The same is starting to appear in the cities of China: local cuisines start to be popular in Beijing, Beijing Opera makes a come-back and the price of paper-cuts. when available, are shooting to the roof. A further stage of societal evolution will draw creative urbanites to rediscover the paper craft and inspired by Western creators they shall engage in modern style creations...

.]]></description>
      <category>Paper-cuts</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?6,11,11#msg-11</guid>
      <pubDate>Sun, 06 May 2007 20:47:23 -0400</pubDate>
    </item>
    <item>
      <title>[Fine art-prints] Digital variations versus fractals</title>
      <link>http://forum.einabems.com//read.php?3,10,10#msg-10</link>
      <author>laodan</author>
      <description><![CDATA[A unique fine art print collection of 660 digital works given in limited edition giclee prints. Each fine art print is numbered 1/25 and signed by me. Those prints come in two categories:

- artsense digital variations: 12 variations of 50 acrylics = 600 digital variations given in a limited edition of 25 only.

- post-psychedelic fractals. 5 series of 12 fractals = 60 fractals given in a limited edition fine art print of 25 pieces only.  

Check this article [Digital variations versus fractals](http://laodan.blogspot.com/search?q=digital+variations+versus+fractals).
- fractals: images resulting from the application of a mathematical formula in a fractal imaging software that are then finished in the Gimp or photoshop.
- variations: I manipulate a digital photo of a painting in &quot;The Gimp&quot; (free imaging software similar to photoshop).

.]]></description>
      <category>Fine art-prints</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?3,10,10#msg-10</guid>
      <pubDate>Sun, 06 May 2007 20:42:59 -0400</pubDate>
    </item>
    <item>
      <title>[Painting] What is modernism after all?</title>
      <link>http://forum.einabems.com//read.php?2,9,9#msg-9</link>
      <author>laodan</author>
      <description><![CDATA[When placed in a societal perspective (economic, social and cultural history) it seems to me that the seeds of modernism started to sprout with the plunder of Middle-Eastern luxuries during the crusades and the flow of trade that ensued along the following centuries.
By the 15th, 16th centuries, art was transitioning in Europe from being exclusively at the service of religion to becoming the illustrator and propagator of the visual signs of modernity. For over a millenium after Constantine imposed Christianity as the religion of the Roman empire, religious stories were the only accepted subjects to be represented in art.

From the 15th to the 16th century art goes from an artistic practice describing religious stories at the attention of the followers of the church to the &quot;sanctification&quot; of the bourgeoisie's new values of individualism and private property.The new visual signs in demand were portraits of the new rich and the members of their families, landscapes around their manors and stills of what lays on their tables. Such subjects will dominate the visual art scene for the next four centuries.

Only in the second half of the nineteenth century do things start to change.
A technological explosion (trains, long distance communications,...) that goes in parallel with the emergence of philosophical rationalism somehow engender changing perceptions about what reality is all about. Van Gogh, Gauguin, the impressionists, the pointillists, the fauvists, the expressionists and others are challenging the traditional &quot;way to paint&quot;. But force is to observe that they continue to represent the first degree images that project on their retinas and what they see are faces and landscapes.

By the end of the nineteenth, beginning of the twentieth century science is blooming. At the contact of their friends mathematicians Picasso and a few other painters want to change the subject of representation by trecourscing to mathematical therory but in the end the only thing they succeed doing is what fast will appear as a trick (triangles and other abstract forms to represent more than one side of a same subject in one painting). They do not succeed to quit representing the same first degree image that projects directly on the retina. The same can be said of the works of Duchamp and the futurists.

At the contact with Psychoanalysis the early surrealists, at least the thinkers of the movement, (Breton, Masson, Miro, Kandinsky...) experiment with automatism but while they escape the first degree image they fail to theorize a new approach of reality.

The second world war represents a radical turning point.

Coming out of the barbarity that had afflicted all nations of Europe artists and intellectuals proclaim their rejection of societal life as it had always been conceived of. The members of Cobra are the most explicit. Constant speaks about the release of knowledge, as an outcome of the discovery of his desires through experimentation, hoping that this newly released knowledge will generate a radically new societal experience. Art is thus conceived of as the description of a reality in the process of becoming and not any longer as an existing system that would be absolute and unchanging. The artist thus mutates into a modern shaman who brings a vision of the rejected barbarity in the hope of gaining better days for all tomorrow.

Having been spared the trauma of life through barbarity and not being excessively burdened by a past of theories and concepts American painters and artists are focusing on their individual feelings. This is best expressed by Jackson Pollock in &quot;Three statements&quot;: &quot;The method of painting is the natural growth out of a need. I want to express my feelings rather then to illustrate them&quot;. Pollock and his colleagues limit their action to the satisfaction of their personal ego, the expression of their feelings, and do not show the least interest for the impact of their works on societal functioning.

Today the knowledge accumulated along the generations has to be learned and memorized by each individual. There is no reason to believe that the large mass of knowledge accumulated earlier should indefinitely need to be memorized. Extensions of the brain to computers are already in preparation... Shared and directly accessible accumulated knowledge is indeed one of the most striking aspects that I envision for Post modernity. Imagine how humanity might then conceive of reality. 


This is a summary of an illustrated article on  [**Crucial talk**](http://laodan.blogspot.com/2007/05/what-is-modernism-after-all.html)

.]]></description>
      <category>Painting</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?2,9,9#msg-9</guid>
      <pubDate>Sat, 05 May 2007 10:25:46 -0400</pubDate>
    </item>
    <item>
      <title>[Formating your posts.] Markdown syntax</title>
      <link>http://forum.einabems.com//read.php?10,8,8#msg-8</link>
      <author>laodan</author>
      <description><![CDATA[The markdown syntax has been enabled.  Markdown is intended to be as easy-to-read and easy-to-write as is feasible.

**Check here for some tables of code:**
[Daring Fireball by John Gruber.](http://daringfireball.net/projects/markdown/dingus )
[PHP Markdown Extra by Michel Fortin.](http://www.michelf.com/projects/php-markdown/extra/#table )
[Markdown in Wikipedia.](http://en.wikipedia.org/wiki/Markdown )     

.]]></description>
      <category>Formating your posts.</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?10,8,8#msg-8</guid>
      <pubDate>Fri, 04 May 2007 21:14:01 -0400</pubDate>
    </item>
    <item>
      <title>[Rules of the game.] Rules of the game.</title>
      <link>http://forum.einabems.com//read.php?8,7,7#msg-7</link>
      <author>laodan</author>
      <description><![CDATA[This document is to clarify the rules of the game on Eina Bems' public forums.


**Rules sections.**

    1.  Forum rules
    2.  Signatures
    3.  Avatars
    4.  Show Off
    5.  Policing
___________________________________________________________________________________________


**1.  Forum rules.**
        
         1. 1. Posts are to be made to the forum that is most relevant to their content.  Users should read the forum description in the sticky posts before posting. Those who consistently post to the wrong forum will be warned and if they don't obtemporate shall be banned from Eina Bems' forums.

         1. 2. Users should post in a way that is respectful of other users. Flaming or abusing users in any way will not be tolerated and will lead to a warning.

         1. 3. Users are asked not to act as &quot;back seat moderators&quot;. If members note an issue which contravenes something in this policy document they are welcome to bring it to the attention of a member of the Eina Bems' Team.

         1. 4. Users should remember that this board is aimed at a general audience. Posting pornographic or generally offensive text will not be tolerated and could lead to a banning from Eina Bems' forums.

         1. 5. Users are asked to respect the copyright of other users, sites, media, etc.  If it comes to Eina Bems' attention that users simply post stolen content they'll be removed from this forum.

         1. 6. Users should post in a way that is consistent with &quot;normal writing&quot;. Users should not post excessive numbers of emoticons, large, small or coloured text, etc.

         1. 7. Users should use an appropriate, descriptive title when posting a new topic.

         1. 8. Spam is not tolerated here under any circumstance. This includes offering hosting services (charged and free), installation services, solicitation etc. Recruiting of any sort , be it for paid or unpaid jobs, is not permitted either. Spam post will be removed.

         1. 9. The moderating and support team reserves the right to edit or remove any post at any time. The determination of what is construed as indecent, vulgar, spam, etc. as noted in these points is up to Team Members and not users.

         10. The above forum rules where applicable also apply to private messaging. Abuse of the private messaging system may lead to the revokation of the private messaging service.


**2. Signatures.**
        
         2. 1. Signatures may contain up to five lines *(one line being that displayed on a browser opened to 800px width)* of text (of small or normal size) and/or one image, valid combinations include; a single image of no more than 60px high, 468px wide and 6kB (6000 Bytes) in size. Signatures containing an image this large may also include one line of small size text. Signatures containing an image of 30px high may include up to three lines of small size text or two lines of normal size text. Images of 15px height or less may allow up to three lines of normal size text or four lines of small size text.

         2. 2. Text sizes should be between 75% and 100% (small and normal). Text in signatures is subject to the same conditions as posts with respect decency.

         2. 3. Links in signatures are permitted to a maximum of four unique pages or sites. You may not link to warez, porn or political, racist or other similar hate sites. Links are included in signature size limits.

         2. 4. Users abusing these rules will be warned and their membership terminated if they don't obtemperate.
 

**3. Avatars.**
        
         3. 1. Users are permitted to utilise a gallery avatar or to link to one of their own (subject to previous points on misuse of bandwidth). User defined avatars are to be no larger than 60 pixels square, contain no animation, contain no image which attempts to portray the user as having an official status here , may not exceed 4kB (4000 Bytes) in filesize and have a consistently high availability (i.e. links to images on slow servers or those prone to failure may be removed).

         3. 2. Avatars are subject to the same conditions as posts with respect decency, and so forth.

         3. 3. Users abusing these rules will be warned and/or may lose their avatar privileges.


**4. Show Off.**

         4. 1. Users may not promote their sites through their own posts. Such posting constitutes spam and may lead to a warning.

 
**5. Policing.**

        5. 1. Permanent bans are a last resort but it should be understood by all users that it is the privilege of Eina Bems' team to ban anyone who contravenes the rules set in this paper.

.]]></description>
      <category>Rules of the game.</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?8,7,7#msg-7</guid>
      <pubDate>Fri, 04 May 2007 21:08:43 -0400</pubDate>
    </item>
    <item>
      <title>[Painting] What is art?</title>
      <link>http://forum.einabems.com//read.php?2,4,4#msg-4</link>
      <author>laodan</author>
      <description><![CDATA[X(
Art is a trial at answering the question &quot;what is reality?&quot;.

The visual mechanic of human eyes let us know what is moving around us so that we could possibly do what it takes to preserve our existence. In other words our eyes are no more than functional sensors that human evolution gratified us with in order to help us assure our preservation... In a sense, yes, our eyes reflect in our brains images of reality. But these images that our eyes give us to see are only a very narrow segment of the whole that there is to see. So with the development of scientific approaches towards multiple fields of reality our brains somehow encouraged us to develop visual images of what we started to understand but that our eyes could not apprehend.

Visual imaging has been for many tens of thousands of years at the center of the mechanics of human survival and thus established themselves as our most preeminent sensors. Other animals developed different sensors based on the application of other principles: infra-red, sound and so many other principles, many, still unknown by science.

The preeminence of the visual for survival over the timespan of hundreds of thousands of years expanded its role as the knowledge accumulation tool by excellence. Visual images must indeed have been used since far longer then the oldest known cave images.

But Visual arts were not perceived, in the age of animism nor in the age of the gods nor in early modernity, in the same light as they are nowadays. Images were indeed not considered as art. Those visual productions had a direct functionality, they were illustrations of the ideas and values of the men of knowledge of their day: the shaman under animism, the priest under the gods, and the merchants under early modernity. The artists were simply image makers, illustrators, publicists of the ideas of the men of knowledge of their days.

The worldviews of the men of knowledge were imposed by the men of power and the artist's job was to illustrate those worldviews. The freedom of the artist was limited to form, content was imposed on him.

Modernity has its &quot;way of seeing&quot; that is basically ideological: the reign of individualism and private property. This ideology develops as an outcome of a few centuries of plundering by the European aristocracies and merchant adventurers. From those accumulated &quot;richnesses&quot; develops a logic of rationality (the logic of capital) and the individuals who own those richnesses want to experience the prestige that comes with them. So we see portraits. landscapes and stills on the walls of their mansions and for a few centuries painting is exclusively about that.

Coming out of the first world war &quot;thinker-artists&quot; reject that model but they don't succeed in finding a new &quot;way of seeing&quot; that could be validated by their societies. This story will end later in &quot;whatever&quot; being presented as art. (a certain shark for example, is it not Mr. Saatchi?).

We sense today that a new &quot;way of seeing&quot; is there somewhere out of the door waiting to be shared by the whole world. I mean that the world, the whole world for once, is searching for sense out of the chaos wrought about by the fast changes induced by science, on one side, the impact of globalization on another side and finally the side-effects of modernity that day after day appear to become a greater threat to the survival of life on earth. All this is happening simultaneously on a worldwide scale and at an accelerating rhythm due to the multiplying interactions between those 3 factors!

All those signs give us to understand that new ideas and values are emerging that will bring us a mutation of the worldview that the whole of humanity shall be sharing in the future, This also implies a mutation of the content of visual arts. 

Visual arts should be acting like a lamppost unveiling, for those who are curious and observing, a first draft of a sketch of what postmodernity is all about. But please let's remember that postmodernity comes after the societal completion of the expansion of modernity to the 4 corners of the world...

At the peak of modernity painters have been discharged of the obligation to represent visual signs of the worldview of the men of knowledge of their times. But let's be honest towards ourselves. Most painters and other visual artists today are lost not knowing what to illustrate nor what ideas to express in their creations. 

My own take on this whole story is that visual artists, if they want to make sense out of what they are doing, have no escape but to accumulate scientific and philosophic knowledge. This is the only way that  they can help themselves to regurgitate a plausible vision of the worldview that a surviving humanity will come to share within the next decades. 
 
Only the works of those artists who make the effort to go through such a process of learning have a chance to remain of interest in the eyes of those who will be living a century from now. &quot;Whatever&quot;, sharks or drippings, shall have vanished from their memory.

.]]></description>
      <category>Painting</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?2,4,4#msg-4</guid>
      <pubDate>Fri, 04 May 2007 18:46:46 -0400</pubDate>
    </item>
    <item>
      <title>[Painting] The societal function of visual art.</title>
      <link>http://forum.einabems.com//read.php?2,3,3#msg-3</link>
      <author>laodan</author>
      <description><![CDATA[Past imposed subjects have been abolished and the free will of the artist has generally been accepted as the driving creative force. In this process the artist has assuredly gained the freedom to declare that &quot;whatever&quot; is art, but this has led us all into the greatest of confusions. 

My thesis is that out of this great confusion will eventually emerge a second Renaissance, an age of great awakening. 

The side-effects of modernity are so severe already that we can say without a shred of a doubt that the survival of life on earth, in the not so distant future, will depend on our capacity at realizing a fast and dramatic &quot;primitive accumulation&quot;, of knowings in science and in the worldviews of the different cultures of the South, out of which a postmodern worldview could emerge that rejects the diktats of the logic of capital and its mechanist rationalism.

A new visual paradigm is already starting to emerge, not at the hands of artists but out of scientific endeavor. First there were those images from the macrocosm (telescope) and from the microcosm (microscope) or from scanning what is there (body, materials,...) then came images as illustrations of abstract reasoning or of patterns detected from long series at the hands of computers (Internet network visualizations, cellular automata's, etc).

This kind of visualization comes to the eye not as a first degree image of what is there that projects on the retina but as an illustration of something that is not directly accessible to the eyes, something that appears as a dimension of the mind.

Visualization is now acting as the illustration of processes initiated by the mind.

Those images are being used to gain a better grasp on the existing level of scientific abstract reasoning and also to help scientists project their abstract reasoning a step further. This is most visible in the neurosciences where scientists are observing how the brain reacts to this or that stimulus through scan &quot;imaging&quot;. The image of the scan gives them the location where an action takes place in the brain and from there they can zoom into the molecular structure in order to understand the biochemical processes at work at the micro-level.

The lessons from what is going on in the scientific world have vast implications for visual artists. Unfortunately the art academies are still rooted in past realities and are thus not preparing the brains of future artists for this new age. As Marcel Duchamp famously said this leads to &quot;being dumb as a painter&quot;. What Duchamp meant was that artists need more than just the knowledge of brushes and pigments. They first and foremost need a deep knowledge in science for being able to put their feet on reel visual steps towards a representation of the worldview of our times.

But scientific knowledge is not enough. Science is one of the drivers towards post-modernity, that's a fact, but it is not the only one. A cultural mutation is also been generated out of economic globalization that will have an impact as important on the fashioning of our understanding of reality as science itself.

Only the works of those artists who make the effort to go through such a process of learning have a chance to remain of interest in the eyes of those who will be living a century from now. &quot;Whatever&quot;, sharks or drippings, shall have vanished from their memory.

It is the artist's role, it seems to me, to materialize in visual signs the emerging ideas about reality. Science and the philosophies shared by the majority of the people on this earth (China, India,...) will somehow fuse to give us a paradigmic new vision about reality that redresses all the ill side-effects of modernity. 

Form is not dominant in art, as Kandinsky says &quot;The artist may use any form which his expression demands, for his inner impulse must find suitable outward expression. ... The close relationship of art throughout the ages, is not a relationship in outward form but in inner meaning.&quot; (Kandinsky in The Spiritual in Art)
- art = the technique to put out the idea about reality for all to share.

.]]></description>
      <category>Painting</category>
      <guid isPermaLink="true">http://forum.einabems.com//read.php?2,3,3#msg-3</guid>
      <pubDate>Thu, 03 May 2007 23:23:39 -0400</pubDate>
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