October 17, 2018

Filed under: Uncategorized — MASTER BEN LAU @ 11:52 am


FIGURE 1: KNOX MARTIN’S GEOMETRY


FIGURE 2: TITIAN’S GEOMETRY


FIGURE 3: DEGAS’ GEOMETRY


FIGURE 4: HOKUSAI’S GEOMETRY


FIGURE 5: SOTATSU’S GEOMETRY

FIGURE 6: BEN LAU’S GEOMETRY

This essay is the actual continuation of the previous one,
“THE WAH-WAH LAND OF DR. WILLIAM FRIED, PH.D, FIPA.”

**********************************************************

Invest the blind with a semblance of authority, and they will pluck the eyes of all the seeing, … .Give a slave his way but for a day, and he will turn the world into a world of slaves.
THE BOOK OF MIRDAD

**********************************************************************

In paragraph 8, Dr. Bill says:

“Martin traces in the works of the great masters whom he sees as his forebears, principles of visual organization that may be termed a poetic calculus. His own word, “”geometry, ” is less accurate, since it fails to account for the movement deliberately initiated by the configurations of shape, line, and color … .”

Dr. Bill is essentially telling his readers that Knox is inaccurate by making the claim that geometry is in the construct of his own compositions in SHE. Dr. Bill further denies Master Knox’s claim of geometrical application through the insertion of an incomprehensible term, ” poetic calculus”, without even clarifying what that is.

If it is believed that through discrediting Master Knox by pointing to this alleged inaccuracy Dr. Bill may then disguise his ignorance, thereby raising himself one rung above the stature of Knox Martin, – William Fried, Ph.D. FIPA is making a very grave mistake indeed!

Seeing is believing!
One picture can speak louder than a thousand words!

In the attachments above, the geometry of the masters from the LINEAGE shows you exactly why Master Knox Martin is right, and Dr. Bill’s “poetic calculus” is just plain gibberish conjecture about art!

It must be understood that geometry is extremely crucial in a real composition, which may be defined as the interactions of Yin and Yang being fully revealed by a bona-fide artistic or poetic genius. Therein is implied a Supreme Relationship being reflected in a creation of the first order. Furthermore, it is only through such a geometrical relationship from which a sublime universal order can be generated that the poetic may be fully revealed, thereby resonating in our collective soul as Beauty through that revelation! As it appeals to the collective soul, in our collective understanding may we uphold the creative act as universal. The first understanding in a new order of creation or its first recognition must be initiated by those whose eyes are open to that beauty, –i.e. the seers or artistic geniuses, with whom Dr. Bill identifies himself by implication through his critique on SHE.

Now let’s make this simple and basic reasoning: were Dr. Bill in truth a seer, wouldn’t he have been able to indicate how Knox Martin actually may be situated in relation to his forebears from the LINEAGE? In other words, shouldn’t Dr. Bill be able to point out the exact ranking of Master Knox Martin in relation to his forebears, or his contemporaries from the LINEAGE? Couldn’t Dr. Bill further acknowledge the artistic contributions to posterity by the extremely inventive Knox Martin? This reasoning is quite valid because someone who claims to bear the standard through critiquing a master from the LINEAGE, namely, Knox Martin, certainly must hold himself accountable as a SEER of sort. Paragraphs 8, 9, 10 or beyond would have provided Dr. Bill his last chance to make that declaration by way of demonstrating to his readers such an unusual endowment, i.e. an implied clairvoyance in art, perhaps. Unfortunately, through his inability to do so, Dr. Bill has just shown us that he is totally blind to the greatness of Knox Martin!

Fortunately for Humanity though, an impostor has just been exposed and unmasked!

*********************************************************

Dr. Bill would have been a fine writer had he stayed away from a subject he knows next to nothing about. He would have been more respected had he confined himself to his writing on psychoanalysis.
Only when he makes travesty into art that he is caught red-handed!

FURTHER GEOMETRICAL APPLICATIONS BY BEN LAU, A.K.A. THE ALPHA SEER:

FIGURE A: SATYR SERIES 82542 BY BEN LAU, A.K.A. THE ALPHA SEER

FIGURE B: BLIND MAN’S BUFF BY BEN LAU, A.K.A. THE ALPHA SEER

FIGURE C: BLIND MAN’S BUFF 0869 BY BEN LAU, A.K.A. THE ALPHA SEER

FIGURE D: GREAT YIN AND YANG, BY BEN LAU, A.K.A. THE ALPHA SEER

Dear readers: take a good look at the power of geometry in real compositions from Figure A to D.

Impostors of various stripes and colors: please do resist the deadly sin of Vanity and retreat from the limelight of non-art! It is time to sober up to the understanding of how geometry has shaped the compositions of the LINEAGE, as well as those of Figure A to D, and through their investment in geometry there is created a new, powerful, concrete, and everlasting metaphoric presence in the collective consciousness of mankind!

Average Rating: 5 out of 5 based on 205 user reviews.

October 17, 2018

Filed under: Uncategorized — MASTER BEN LAU @ 1:30 pm

This essay is the actual continuation of the previous one,

“THE ALPHA SEER ON AN ARTICLE ON “SHE” BY DR. W. FRIED, PH.D.”

Invest the blind with a semblance of authority, and they will pluck the eyes of all the seeing, … .Give a slave his way but for a day, and he will turn the world into a world of slaves.

THE BOOK OF MIRDAD

**********************************************************************

m

The third observation of the Alpha Seer in this world of phenomena is that if you cannot exist on the basis of reality, you try with all your might to create a para-universe in order to convince the public that your opinions count too. This is precisely what the academics are doing in the realm of art criticism. The academic in the form of a psychoanalyst has done this to art right from the dawn of the modern eras and he has been so wildly successful that his narratives have largely overcrowded the pages of art criticism, and they have suffocated, supplanted, and eventually replaced the original host in the realm of art, the true artist himself! Coupled with what the Alpha Seer calls “a syndrome of Blind Man Feeling the Elephant, ” this fraudulent practice was in full battle cry in our times ever since the first bodies of art criticism were written. I will not go there now as it is the conversation for another day. Almost without exception, one can always sense the psychoanalyst behind the art critic. In fact, the psychoanalyst IS the art critic!!!!! For this predominant archetype of art criticism, the critic’s racket has never gone beyond the shape or purpose of a horse race, with the artists for whom he writes articles, his horses! If any one of those horses wins out, he stands to benefit from the race, in terms of monetary gains, power, or prestige in his circle. One needs look no further than the WHO’S WHOs that stood behind Andy Warhol, promoting him to such a phenomenal status of success, despite the fact that Warhol was a complete art illiterate, and by some biographical accounts, an idiot ! Of course there were other forces in play too in the making of a pop-star in the society, but the opinions of the art critics are always by far the biggest influence in these types of horse races.


This is the real reason why Dr. Bill also digs in, advancing and endorsing his theories of psychoanalysis on art, fabricating a para-universe in the hope of creating the semblance of a school of thinking to convince the society of his clairvoyance. He wants us to know that his opinions count so that his horse may win the race ! Unfortunately, all of his literary efforts here have been shown to be irrelevant and misleading, therefore completely worthless! His opinions have nothing to do with art, - even less so with the subject at hand, – SHE!
Dr. William Fried, Ph.D’s seeing of art remains on the periphery. He is not qualified to perceive its center.

Now that Dr. Bill has spoken, let’s take a good look at what he has to say from paragraph 3 through 5.
Dr. Bill is saying,
1. “Martin’s paintings could all be titled “Ecce Femina, ”  “The iconic image of a man being murdered, ” meaning Crucifixion, is supplanted by the Woman in SHE. Instead of beholding the man, (i.e. Jesus Christ the Man, ) he claims that Knox Martin is now asking his viewers to revert to beholding the Woman.

2. “The show’s title, SHE, the subjective form of the personal pronoun, reflects a critical characteristic of the paintings, the abolition of any conventional distinction between figure and ground. This feature of the works establishes Woman as the complete subject.”

Then he elaborates that the elimination of the so-called “binaries as figure and ground, subject and object, primary and secondary, energy and mass, process and outcome, … ” is essentially what Knox Martin’s achievement is in the creation of SHE. Finally he claims that the unification of the “conventional” (i.e. subject/object) type of “binary vision” into a unitary “vision” is Knox’s chief achievement through SHE. He also proclaims that in SHE, Knox “overcomes the so-called tyranny of subordination that typically limits the ways in which we see.”

The Alpha Seer does not know what exactly he means by “tyranny of subordination, ” nor its relationship to art, but really, what can a blind man see, especially when none of the above has a grain of truth to it!

I am certain that Dr. Bill must have conducted an interview with Knox before he set out to create his para-universe in this article on SHE. One may reasonably expect Knox to have told him about his artist intention in creating SHE. Unfortunately, Dr. Bill, being the blind man that he is, one who was trying desperately to feel the elephant, had come to this interview with the preconditions of a psychoanalyst! As if that baggage were not heavy enough, he thought he had already known what kind of an article he would have for SHE even before he sat down in discussion with Knox. He already had everything figured out even before the consultation with the great master Knox Martin! Dr. Bill’s aim is not in learning art from a master, he is bent on pursuing his own agenda! I am quite sure that Knox had mentioned the LINEAGE of art, and explained patiently how SHE had also come from that LINEAGE. But instead of trying to understand what an elephant is, Dr. Bill is just too earnest in making up his own version of the elephant!
But the outcome is just as one would have anticipated. the outcome is what we have mutually experienced here. Yes, you’ve guessed it: it is a monstrosity, a psychoanalyst’s version of an elephant! It is the para-universe of a psychoanalyst!
Dr. Bill’s deliberate misinterpretation of Knox’s intention is deep-rooted, and his desire in supplanting the reality of art with the fabrications of his own para-universe is just so blatant!

As the Alpha Seer has pointed out from the beginning, none of what Dr. Bill sees in SHE, neither of what he perceives as SHE’s relationship with art, is valid in any shape, color, size, smell, or form. There is no archetype of “Ecce Femina” in SHE, nor any of such garbage as an “evolution” from a binary form to a unitary form in Knox Martin’s art! In fact, that can never happen, since upon correct understanding of the LINEAGE, (or of true art itself, ) one can recognize with supreme clarity that the precise science of painting sustains absolutely nothing that is based on figure and ground!
Where was Dr. Bill when the great Knox Martin expounded the knowledge of art? Where was Dr. Bill when Knox explained his own heritage through SHE to LINEAGE? Was Dr. Bill daydreaming about his naked Woman in metallic sheen, or was he simply distracted by Mr. Boo, Knox’s favorite African grey parrot who seems to enjoy every visitor regardless?

None of what Dr. Bill has written about SHE is based on REALITY!
Yes, there is such a thing called the REALITY of art!  The only trouble is, artistic reality cannot be understood by everyone in the world. It really takes an artistic genius to access it. Unfortunately, Dr. Bill is not that person!
Matisse says, “Art cannot be taught!” It is not just something being said to exclude the rest of Humanity, it is a statement of fact!
Dr. Bill remains a blind man in the knowledge of that elephant! He remains blind to art!
Knox Martin cannot change that reality even if he had wanted to!
Knox is NOT evolving from the LINEAGE, as Dr. Bill implies, on the contrary, Knox is reinforcing and advancing this LINEAGE through SHE!
But Dr. Bill has no access to that knowledge!

Average Rating: 4.7 out of 5 based on 193 user reviews.

October 17, 2018

Filed under: Uncategorized — MASTER BEN LAU @ 7:15 pm

Figure A: Dr. W. Fried on SHE

Figure B: Dr. W Fried on SHE


FIGURE 1: EESHA (“SHE”) by KNOX MARTIN

FIGURE 2: DANAE(“SHE”) BY KNOX MARTIN

FIGURE 3: CAILIN 2 (“SHE”) BY KNOX MARTIN

FIGURE 4: WOMAN WITH RED SHOES (“SHE”) BY KNOX MARTIN

Dr. Bill says:

The paintings in this exhibit are a set of variations on the theme of Woman, the continuation of a tradition dating from ancient representations of the female through the work of Cezanne, Matisse, Picasso, and deKooning.

Dr. Bill errs seriously in his opener. The first observation of the Alpha Seer in this world of phenomena is that when you are not saying something based on facts, you must tap into your imagination. Here, Knox does not produce a set of variations on the theme of Woman. There are no “variations, ” neither is there a “theme of Woman.” To talk of the entirety of SHE as a set of variations is like mentioning the Atlantic Ocean alongside with the swimming pool in Paris Hilton’s backyard. First, you describe the Hilton swimming pool as, “Ah, so big!!!!!!!” then, you go on to claim that that swimming pool can be compared with the Atlantic Ocean!

That is basically the intellectual habit of the New York academia, their favorite trend.

There are no set of variations. To make a claim otherwise is to willfully belittle the greatness that is Knox Martin. Is a given work of Picasso a variation of the one preceding it? Or, by the same token, the one following it a variation of the aforementioned? If your answer is “No!”, or even, “Not necessarily!” Then where in the world are Knox’s SHE variations?

There is so much uniqueness to each individual work in the SHE exhibit that the Alpha Seer may even suggest that each one is a seed to a completely new way of painting for the future generations to come. Each is a unit of the painterly revolution in its own right, a revolution that was first started by the artistic genius that is Knox Martin dating from the time of his own maturation, or his ” AH HA!” moment in the understanding of painting.

Now Dr. Bill, without the clarity of mind, nor a true understanding in painting, is claiming that Danae is a variation of EESHA. He also characterizes the entire SHE as a set of variations. Just a set of variations? Is the Atlantic Ocean just a swimming pool in Paris Hilton’s backyard?

Can one make the ludicrous claim that Picasso had created nothing but a set of variations in his whole life? Or that Picasso had really done nothing in his life except producing variations of his drawings, repeating the same old, same old…?

That brings us to the erroneous view of Dr. Bill in his flawed understanding in the true poetry that is called the LINEAGE of artistic geniuses.

Dr. Bill is telling us that Paris Hilton’s swimming pool is big.

How big?

Why? it is like the Atlantic Ocean!

Now to say that SHE is nothing more than a theme of Woman is adding more insult to the injury that has been inflicted! SHE is never about a theme of Woman. It has never been intended as something about woman in the first place. Knox Martin has never been interested in the theme of Woman, though he had found woman most interesting from the days of his puberty, but so had the Alpha Seer, or for that matter, every real man in the world! That is the extent to which Knox is interested in woman!

SHE is a theme of ART. In SHE Knox may have adopted the figure of woman, but that is just an excuse. The theme that Knox is really interested in is the theme of ART!
That is not what Dr. Bill sees. His is the wrong view!

The Alpha Seer’s next observation upon the world of phenomena are focused on 1. in order to create an illusion as far removed from reality as possible, the practitioner of the Wah-Wah Land always uses convoluted language to cover up the tracks of his/her imposture, and 2. quotations from past notables are made to support a narrow and personal point of view. No matter what that view is, the result is never original, always invalid, irrelevant, and counter-productive. It may not even have a consistent bearing on the topic being discussed!

Dr. Bill maintains, in his second paragraph, that Knox’s SHE are no more than “a set of variations” on ” the theme of Woman”, and that the body of that woman has been both very provocative and engaging to him. How engaging? He quotes the words of Shakespeare on Cleopatra’s naked body to summon up “…the infinite variety” of Cleopatra in the nude. Then he also reports to us what kind of experience he had entertained upon viewing SHE, ” and finally he imagines the viewers would be “seduced” by SHE the way he was. He has used the word “tease” as in “strip tease”, and “provoke” as in sexual provocation” to describe that narrative, completely turning an erotic moment into one of pornographic delight! That which provoked delight in him is nothing beyond a personal one, a narrow flight of fancy, or a piece of pornographic remembering from his past encounter with a naked woman, –( Perhaps a fetish on someone who had painted her naked body with metallic sheen?) Then he goes on to quote the “Attic sculpture” and the gilded “medieval and Renaissance frescoes”, – a ploy being used to give credence to his own sexual experience and a personal point of view.

So far Dr. Bill has reported on the coloration of SHE with some elaborations. Even though he has also mentioned the intention of the artist by his “following the logic of the composition”, as well as “the precision” in the relationship of each part to the whole, he has not been able to break through with answering the “why” and “what for” in that artistic intention.
That is a central noble question, but with so many words lost on the convoluted use of language, Dr. Bill has missed that opportunity!

In the second paragraph Dr. Bill has given us his own narrow interpretation of SHE deriving from a piece of pornographic memory in the past. It does not matter how well he might have quoted from Shakespeare or the gilded Medieval and Renaissance frescoes, he has not in actuality touched base with the readers on SHE! Instead he elaborates on his own memory of a naked woman and her provocative metallic sheen in that nakedness. He has failed to answer the intention of the artist Knox Martin. He has elaborated on what is in his mind, but he has not been able to answer the question of what is on the artist’s mind.

SHE is universal. SHE is erotic!
Yet Dr. Bill has not mentioned it.
He has not mentioned it because he did not see it.
Dr. Bill has failed to see the beauty which is so pervasive in SHE.
He has only elaborated on his own sexual experience with female nakedness!

And why has he not mentioned it, i.e. the fact that SHE is both universal and erotic?
He has not because he has failed to see it.
And why has he failed to see it?
He has failed to see it because he does not have the sensibilities of a seer.
Feelers for poetry in general, and the seeing of universal beauty in SHE specifically, is required of a genuine seer!

Snake pretending to be a branch on a tree in order to catch a snack, that is all that academics can do!

By the way, an erotic SHE is very different from one being pornographic!
Obviously, Dr. Bill is unable to tell the difference!

The pornographic deals with private parts of the respondent with a dirty mind, while Erotica evokes the human spirit in his soul!

Erotica is a religious experience, evoking a poetic responsiveness, not one that has something to do with lust!

FIGURE 5: PAINTING BY TITIAN, THE ARTIST OF ARTISTS

FIGURE 6: PAINTING BY VAN EYCK, GREATEST PAINTER OF ALL TIMES

FIGURE 7: PAINTING BY FRANZ HALS

FIGURE 8: PAINTING BY ADRIAEN BROUWER

Krishnamurti said, ” I don’t know what love is, but I do know what it is not!” By the same token, the Alpha Seer can say the same thing about beauty in general, but universal beauty in art in particular. The attached paintings shows a very small portion of this LINEAGE in order to give the readers some idea about the universal beauty inherent in those paintings. The same universal beauty is pervasive in SHE. The Alpha Seer cannot put words to universal beauty, but there is the universal beauty in LINEAGE from which Knox Martin derives his own nevertheless. That beauty is called universal not because everyone in the world can understand it but because it contains the core of values fully shared by every artistic genius right from the beginning of art. Since it is not something that can be easily understood, not everyone in the world can fully grasp that poetic reality, – and since only a handful of people endowed with the gift of artistic genius can, it may serve as a crucial point of evidence to prove its absence in Dr. Bill’s calling. In other words, the Alpha Seer can tell you whatever claim that is made of an understanding in the beauty in SHE must first come from a thorough understanding of this LINEAGE from which Knox Marin derives his art. NOT a trace of that understanding can be found in Dr. Bill’s critique on SHE! But again, there is still not enough evidence to prove Dr. Bill’s imposture.

The Alpha Seer has often wondered why Dr. Bill is always looking at SHE under the lens of psycho-analysis. Driven by curiosity, the Alpha Seer checked on Dr. Bill’s professional background. A click on the Google search engine immediately shows the psychoanalyst that is Dr. Bill.

Dr. Bill had come into the SHE exhibit with the preconditioned mindset of a psychoanalyst, and he has written the critique on SHE accordingly.

Big mistake!
How so?
There are two major principles to consider:
1. Art has no relationship whatsoever with psychoanalysis, which harks back to an atheist called Sigmund Freud. In fact, psychoanalysis is the very antithesis of art. The atheist’s belief and observation is grounded in matter, but matter decays in time!
Art looks beyond matter and find beauty, and beauty is timeless and deathless!
2. A critique must meet the basic assumption that the critic understands what he/she is talking about. If that is not the case, then consider the scenario of a seeing-eye dog leading the blind, something I learned from my visit to Morristown, where my childhood friend Dr. San lives. If the blind person decides to lead the dog instead, then whichever corner he turns great danger abounds, and horrific accidents await him!

With these two principles in mind, we may now set out to prove Dr. Bill’s imposture in his critique on SHE. Remember: this is not the fallacy of just one person. The hapless Dr. Bill has been singled out by the Alpha Seer as an example to show how widespread imposture in the realm of art is, and really, imposture has brought about many unsightly trends such as Symbolism, Realism, Surrealism, Postmodernism and countless other “isms”, – endless monstrosities which have nothing to do with true poetry at all, and which can manage to exist only on the periphery of the LINEAGE.

Invest the blind with a semblance of authority, and they will pluck the eyes of all the seeing, … .Give a slave his way but for a day, and he will turn the world into a world of slaves.

THE BOOK OF MIRDAD

Average Rating: 4.5 out of 5 based on 246 user reviews.

Powered by WordPress