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Favorite Music, Artworks, Movies, Shows, etc.

Found 6 results

  1. I have been studying the Romantic Manifesto and trying to really understand it completely. However there are some aspects that mystify me. I was hoping someone would be interested to discuss these points and spread their rationality by pointing out what I am missing. I have tried getting answers to these questions elsewhere without any luck so I'm trying here. 1. THE ARTIST 1.1) According to Rand an artist portrays what he considers metaphysically essential to make a new concrete that shows the abstraction. Do artists really always do this? Isn't it imaginable that an artist would portray something inessential. What if a novelist were to write about someone going to the bathroom because it's necessary for the story or some other reason? Or what is a painter was forced to paint an insect by a pope. It seems perfectly possible to create metaphysically inessential things in art. 1.2) Rand writes that the purpose of artists is to bring their view of man and existence into reality. I can't say I have ever heard an artist say this was their goal. How do you know the artist didn't just want to paint a pretty picture or write a fun novel? 2. THE AUDIENCE Rand writes that people seek works of art because they have a need to see their view of existence confirmed and see his values concretized. I have never heard anyone say, "Let's go to the cinema, I really need some concretes today!" Don't people engage with art because of fun or beauty? Rand herself wrote in the same book: "I read for the sake of the story" (156) 3. STYLE 3.1) On page 25, she writes that all the decisions of the artist are controlled by his sense of life. Didn't Rand write in various places that "Form follows purpose" and that the artist should make all his decisions based on the theme and purpose of the work? Shouldn't you rationally think about your choices instead of letting your emotions take control? This makes it sound like an artist is just a robot following its sense of life programming to create art. 3.2) She also wrote that a art style that is blurry will move people who are motivated by the fog of his feelings. Isn't it imaginable because of the same "Form follows purpose" rule that an artist would want to express chaos or a moment of confusion and therefore paint a blurry picture or write a confused sentence or film a blurry shot? 4. ETHICS Here I am just confused. Rand wrote that the focus of art is on metaphysics not ethics, but she also says that an artwork necessarily projects a message and metaphysical judgment. So the metaphysical value judgments are not ethics, but aren't the metaphysical value judgments also value prescriptions for the viewer? Doesn't that mean it's ethics? Are there two different messages? A metaphysical one (what should a man be) and a ethical one (the theme or message)?
  2. I discovered the video of the sample-based song “Since I Left You” after encountering a YouTube comment on another video that read: “It [the video] changed my life.” Aside from my reaction to the song (see below), it led me to ask myself: Can a piece of music consisting entirely of manipulated samples of other records qualify as “art” in the full sense, i.e. as the term is applied to an original song? Some people might object to the concept of “art in the full sense.” My thinking is that not everything artistic is art. For example, wallpaper design, handicrafts, and (dare I say it) architecture are not art in the full sense even though they employ many of the tools and techniques of art. In fact, I am sure art evolved out of the streamlining and “beautification” of utilitarian objects. Anyway, such an over-the-top statement as “This video changed my life” piqued my curiosity, so I looked for and watched/listened to it. Here it is: The song, especially as here interpreted, deals with a spiritual awakening of sorts. I had a strong positive reaction; for me, it brought thoughts the call of music as such—a dance in the mind that yearns for physical expression. (Incidentally, I have always found something very life-affirming in the sight of an obese person dancing well. I don’t know if others have this reaction.) Given this result of artistic pleasure, one certainly might be willing to accept sound productions like this as compositions in their own right, and thus as art “in the full sense.” But since art demands thorough selectivity, some might question whether importation of sounds wholesale from other (sometimes famous) recordings allows the degree of control by the artist that seems required. Certainly, the sonic manipulations on this recording are very numerous and varied—tempo, pitch, fades, echo, attack, decay, and many other parameters. But this leaves a lot out of the hands of the “composer.” Once a sound is chosen, it is more or less “frozen” and one is constrained by the original musical idea. However, a musical creation is often built up from a starting idea, and that idea influences the subsequent choices. This phenomenon of continual adjustment, to my mind, is enough to push such massively sampled works into the category of art in the “full” sense that applies to any popular recording. Many people will of course not like or identify with it; many factors are involved in one’s response to music. (Some might be turned off by the slightly weird overall sound.) But that does not prove there is no objective worth in music. (Would anyone maintain, for example, that Chopin’s Etude in E is not a great melody, and a great piano work?) This is from Stylus Magazine writer Ally Brown, quoted in the song’s Wikipedia article under “Critical Reception”: That might be a clue to some objectivity about it at least. I hope some here find “Since I Left You” a happy discovery.
  3. Hello, I'm new here so thought i'd introduce myself a bit. Figured, what better way than to show some of my work? The short version would be something like: Scandinavian Objectivist, enforcer, lawyer, photographer and aspiring artiste. My friends would call me a dog. I say i'm wonderful. ;) I have a degree in digital graphics, but never worked with it professionally. I prefer working on my own things, when I need to, and i'm not good enough yet to pick and choose. A few years ago I took up photography as a new, fun, hobby. Bought my dads Nikon D90 and went with it. Got a new D7000 a year later. Sold everything off last summer, to go off and see the world a bit. I also needed to focus more on my drawing and painting skills. Still do. Anyhow... This is my first successful photograph. It was a real bitch to take. Imagine crawling on all fours trying to aim the camera and direct theese tiny little bugs. The don't take direction very well. With a 60mm macro lense you also have to get really, really close. All the while you have gusts of wind ruining every shot. Well, almost every shot... I wanted the lovely golden light juxtaposed with silver. It took quite a while to get the right silver grey.. And here's more of that silver My favorite color. I like how the shadows in the center of the flower adds drama, and danger... It's beautiful, but I wouldn't want to touch it. This flower would be more calm, reflective and introspective...
  4. I would argue that the comic book format, as it is envisioned and presented in western culture, is both historically and contemporarily some of the most consistently Objectivist art available. Most comics have a clear theme, a clear demarcation of good and evil, a respect and reverence for the human body in the form of it's beautiful, strong and physically fit heroes, most comics punish evil and uphold good as triumphant, a respect for science and identity (atleast within the artist's own metaphysical constants) etc,. Some comics are appraised and worth thousands to millions of dollars because people still value them. I find it interesting no other form of art in western society has consistently upheld herioc themes or hero worship except comics. Is the the last refuge of classic Greek/pure objectivist ideals in our society? Thoughts?
  5. Anthem Art Poster Designed by Artist Kerry O'Quinn 20" x 10" Our Price: $25.00 Statement From the Artist: My ANTHEM movie billboard illustration After six years at the University of Texas, I left Austin in 1963 and moved to Manhattan, eager for the excitement of Broadway and big-city life. I thought my education was complete, but my friend David Houston (with whom I pioneered 8 mm film making in high school) had just discovered a lecture series on the philosophy of Ayn Rand, and he twisted my arm into attending #4 in Basic Principles of Objectivism – “The Concept of God.” I had been raised a good Methodist, so imagine my shock when Nathaniel Branden destroyed God before my horrified eyes -- in an evening of infallible logical, with a twinkle in his eye. I couldn't argue with what he said that night, so I bought a paperback of ATLAS SHRUGGED, and for the next three months, on the subway to and from work, I read the twelve-hundred-page novel while attending weekly gatherings at the Roosevelt Hotel, completing the 20-lecture series that had captured me. From the moment I read Ayn Rand’s smallest book, ANTHEM, I saw it as a serious science-fiction movie. I was an artist, so I did several sketches of scenes I envisioned for ANTHEM, the movie – in Technicolor and CinemaScope, of course. I met Ayn Rand and Frank O’Connor, Nathaniel and Barbara Branden, Allan and Joan Blumenthal, Alan Greenspan and others in that amazing inner-circle, humorously called “The Collective.” When I started producing TV and radio commercials for Grey Advertising, my promotional mind inspired me to paint a billboard illustration to promote ANTHEM, the movie – and that is the art you have just purchased. In 2001 I moved to Hollywood and attended a Beverly Hills party where I met Jim Snider, another writer/producer who shared my passion for ANTHEM. We became friends and set about to devise a feature film that would dramatize this simple morality tale -- “Romeo and Juliet, in a future society that prevents their love by practicing what we’ve ever preached - uncompromised altruism.” While dramatizing all the memorable moments from ANTHEM, our screen treatment adds new characters and events that give the story a powerful plot, which Ayn Rand said the book did not have. We want to create a thrilling motion picture adventure for Rand fans worldwide, and for a new generation. Barbara Branden once told me, “You are the man born to make the movie of ANTHEM.” Kerry O’Quinn, Texas, New York, Hollywood, Earth
  6. We're making advances Recalling an early scene Remember you in the times We don't realize Will never be the same Rehearsing the old moves What do the chosen Choose for you You'll never get much of me There's just enough To go around You think you're god's little gift to the world God's little gift To the world Return to the holy land Let's see what you've planned No amount of destruction Will change your mind Will you ever see A neurotice old romance Is claiming new men Soon we'll be a page In your history But we'll never meet again You think you're god's little gift to the world God's little gift To the world Everyone I know Has gone insane Like a girl that screams In your ear She's got the secret Of the year Well here is an army to fear God's little gift to the world god's little gift to the world God's little gift To the world Return to the holy land Let's see what you've planned No amount of destruction Will change your mind Will you ever see It's a rotten old romance And it's claiming new men No amount of seduction Will ease the pain We'll never meet again You think you're god's little gift to the world God's little gift To the world