I may know it as a Persimmon and Give Thanks

We seem to like an artist, approve of his works. Then what does he say of our views? Does he represent a moral stance? Does he engage a view that is part of our discourse? Is he Christian? Is he antichrist? Is he vaguely Judeo-Christian, or does he sort of think Jesus was a nice guy? Or does he deny or ignore all of this? What, indeed, does he defend?

It is only afterwards that we ask how the content of his art demonstrates his stance.

This is what is meant by asking an artist to take a moral stand. Who does this, nowadays? It may be our job to encourage them to do so, or to call such efforts to recognition when we see them. We need critics to address these issues. Few do.

Though full definition is elusive at present, low fruit appears below the fog that still obscures branches above; I may pick one. If it makes me pucker, I may know it as a persimmon, and give thanks.

Community Bridge

Community Bridge

I'm still picking my way through this fascinating website; however: a theory as to why this strikes such a chord (despite its non-slick web design): its creation, albeit in flimsy materials, bears strong resemblance to the method of the Gothic cathedral builders. There, master masons, spanning generations, provided a core of direction, but each individual stone carver had much freedom to depict his subject within certain bounds. True, the Medieval stone carvers of Europe were highly trained craftsmen, where some participants in a modern mass project, like this bridge, might almost be accused of doing "paint-by-numbers", but the overall effect had profound effects on their respective communities. I appreciate the referral to this site from the head of the Foundation for Community Arts. Can Christendom do better than encourage human artistic sub-creation to the end of coalescing a community that encourages brotherly love?

Notice 3 qualities about the symbols — they are:
• subjective — they adopt a point of view, as good art should;
• figurative (though occasionally geometric with cultural references);
• emotive — they express emotion of the artist & attempt to impart it to the viewer.

I see the first quality as exemplified by the Stuckists and perhaps by critics such as John Gardner, Fred Chappell, and those holding related views; the second as embodied in works by Pre-Raphaelites, Classicists, and various traditionalists for better reasons and mediocre ones; the third might meet certain of the standards for art of Leo Tolstoy.

Suffice it to say that the creation of works similar to this is an encouraging sign for our culture. We nevertheless must discover the core values we choose to defend in that milieu.

Out Of The Sky

Out Of The Sky

Well, at last a note since 3/2/07 — the author has been catatonic in the wash of culture, no doubt overwhelmed by the loss of Anna Nicole and angst over Britney. But for a tonic, I took a look at the website linked with this post. It's authored by David Clark, a radio commentator, author, story-teller, folk singer, and observer who sometimes travels the country and tells about it. Some of his writings appear as reporting of daily mundaneities, almost as frequent and seemingly insignificant as journals of personal encounters; then, after a spell, he'll put together many of his experiences to produce a series of essays with so much common sense that they upend our daily headlong rush. All of this is related from the view of a world-awareness based solidly in the soils of Middle Georgia, written with hands that do much of the work about which he writes. If you like what you read, he offers CDs and books, as well.

YouTube - Chinese Ballet Circus pas de deux troupe du Guangdong

If dance can bring tears to the eyes, this can.
YouTube - Chinese Ballet Circus pas de deux troupe du Guangdong
"David, wearing a priestly linen outergarment, dances before the Lord with all his might, while he and the entire house of Israel bring up the ark of the Lord with shouting and the voice of a trumpet." (2 Samuel 6:14-15)

He did not stumble. If America stumbles, if Christendom falls in worldly paths, it will be from a softness that does not seek excellence. To tolerate the average and not advance the best will put us on our knees in the arts first — the field we ignore — and in civilizational morality, finally in industry, engineering, science, medicine. To ignore a blessing is to reject it. To fail to seek is to lack confidence (faith) in success. It is legitimate to reject a "praying for dollars" doctrine; it is less legitimate not to work in all ways as though for God. And in the arts, we communicate our exultation as worship to Him and our delight to one another. If indeed these depicted dancers are non-believers, the culturally Christian West must step up or ask to whom it will yield the stage as it bows out: the Muslim or the Han? "Is there anybody out there?" (Pink Floyd, The Wall)

Musings on Heroes and Remnants

The playground suggests innocence of the new participants, or perhaps childishness or naivetë, yet the seriousness of this revenant redoubt and the hallowed regard for the ground on which the blood of its sentinels was shed present a contrast we will contemplate as our conversation develops. It invites visions of flickering movies in black and gray, of cobwebs brushing past a viewer exploring an abandoned monument of ancient, fallen civilization, building anticipation of the loosing of violent, destructive forces, of Lovecraftian Old Ones, who upon release will tear asunder our heretofore placid world. What in our heritage leads us to seek that ubermensch who will shutter the Evil One in its pit? Who in post-modern society expects any remnant to straggle forth and follow our hero in his quest?

Well, with that heavy and abstract intro concluded by two questions unanswerable in a reasonable post, let's segue into places where we can seek these answers at greater length. One opportunity is found in gatherings such as those conducted by a local singer and writer called Christopher, Philosopher. He offers monthly discussions on topics of importance to our society. Another remnant is found exalting often neglected fine artists who seek to advance a moral position through positive expression. The Foundation for Community Arts is a group of Christians strengthening select communities by encouraging those fine artists whose works inspire the human heart.

Defending What?

Let's state the basics. This is a series of views whose objective is the retaking of a culture from the nekulturny who have hijacked it. It is named for an earthen fortress that once protected a young city against attack, but which was abandoned as a new and unsuccessful strategy evolved to defend the city. The defenders were routed in the field, the city evacuated and plundered, eventually to be rebuilt under rule of the conquerors. A playground lays where cannon stood. The conquerors had their good points and readily assimilated some of the better points of the vanquished, so society functions with domestic tranquility, lawfulness, industry, and art. But some notes still don't ring true, and our prime objective is to identify false notes and recast the bell.