Dissectional Art

AN INTRODUCTION TO AXIS MAN, A COMPARTMENTAL COMIC-NOVEL

This essay is written in two compartmental forms: nonfiction (Arial Type) and fiction (Times New Roman). The likeness of stylistic qualities, events and characters, the expression of the same thematic representations and historical resemblances are purely coincidental and unintentional. The nonfiction represents the continuous narration of social-historical process, and significantly extended to other forms, art and politics. After ten years in which this essay has been published, a thorough examination of the world, at large, leads me to revise and expand this reality by the feature of a whole compartmental idea and view of life. The role of compartmental-nonfiction has always been characterized by a fresh understanding of social and religious thought. It is collected from my catalogue, entitled Art and War (A Global Scenario), which coincided with my exhibition of sculpture, painting and drawing at Max gallery (1984)-East Village, New York. This essay also appeared in “ARTSPEAK ,” June 9, 1983 –and, in my book The Aesthetic of Dissectionism.

Copyright @ 1983-2004 by R. E. Embuscado. All rights reserved.

By R. E. Embuscado

THE TWO FRONT WAR AND THE UNHOLY ALLIANCE

The consciousness created by the escalating danger of nuclear arms race has brought this over-all issue from the negotiating table of disarmament in Geneva to new ideological differences between East and West, and comprehension of truth and beauty in the art world. From this point of view, we look at the great contrast of reality that has cast a shadow of anguish between art and war in the forms of contradiction. While the catastrophic images expressed by war falls entirely on the forces of chaos, art stands by the back of a horrifying nature, which is set over against beauty. and, the true nature of aesthetic and historical experiences has fallen into a faded life. nothing has been revealed in a darkened night but the catastrophic visions that haunted the poor people.

Turning the unholy eastern world in a two-front war, it follows that the framework of a collective peace and disarmament agreement has appeared to be coming to an end, Then, the Angloismo and the Frenchismo can't do anything but walk in different directions; because, their ambition to transform the Axis Union into a colonial entertainer did not last long.

Now, their political sins are concealed behind the image of a prince: Columbush: However, he find in the depths of his nightmare that he can walk on water alone. He begins to calculate the error of his friends and enemies, to arrange deceptions, to be realized as the sole figure of ecclesiastical bureaucracy and European aristocracy. He has come to this battlefield with the benediction of darkness. Columbush war certainly expresses the heights of terrorism; he suppressed out the breathless pilgrims, and injected an equal degree of political butchery of the Meka.

This is a far cry from the existing limits of eastern politics and fundamental laws of the Global Nation, which did not allow Columbush to cross the Atlantic and invade the Axis Union. Axis Union is the last battlefield.

In the arts, both dissectional and compartmental picture of life, the thing is to create, and not to imitate an idealized destructive system of modernism. When the incompatible forms of war and false democracy become a new battle cry or employed in a modern political campaign, in bad faith, the result is not a triumphant sort of order; because, the vanquished society and their sovereign art, culture and religion becomes a non-sanctified state.

Art and war are two opposing realities of life. In the East we have a sense of an incoherent situation that hangs in the crucial balance of life and death. But no matter how perplexing this view may sound, the threat of nuclear war, which lies on the boundary of our visual perception, signifies that this scenario of nuclear proliferation, economic and ideological confrontation is an authentic event.

The enormous impact of thinking strategically about chaos could be as deadly as death itself; because, chaos, like a dark horizon, could only offer us a perceptual limitation and a cut-off reality of the future. Life succumbs to the limit of what reality could offer; in the end, chaos will only lead us back to the darkened past.

Art is a form of life. It is the aim of art to dissect the possibility of thermonuclear war, because the poor people begins with all their energy to survive, directly or indirectly aware of the modern events which has nothing to do with their tragic lives; their lives emit a different matter, not doctrines of modern radiation in the forms of colonialism, imperialism and capitalized-communism, but a suffocating smoke of suffering with only one specific direction: terrorized lives and garbage death.

War is born of the modern-self or a self-centered life that reveals irrelevant beauty, not reflected by the light but by darkness. Moreover, it belongs to a single view of motion; because, it diminishes the light in which the life flows.

That is strategically the view of a thing of the past that Columbush has taken when he decided to invade the Axis Union: the fragmented notions of modern-universal decadence. Kongres abide by Columbush self-legislated savage doctrine about the first war of the century.

Without speaking the truth Columbush defies the rationality of a world-view he stands alone against the Global Nation. With very narrow support, he deceives the world even when there existed no factual issue or nuclear threat to be considered.

All the errors inherent in Columbush unpopular destruction of the Axis Union's population, national sovereignty and cultural primacy are inherent in his transition from a disillusioned modernist-puppet to a new Makiavellian prince.

Moreover, Columbush action in retaliating against the world community, from the transformation of the Axis union's old identity into a new modern society, as he could not avoided to close his eyes without severely alienating and punishing them, is tightly confined on promoting several crisis in the whole eastern region: firstly, to delineate the boundaries between his allies and enemies; secondly, to promote a state of war. It is another propaganda devised by his double-agent minister: Wolf.

And, by the standard of Columbush personal battles against the Axis Union, the highest reflection of his inhuman-movement is not only to destroy the sovereignty and unity of Arabismo, but also to outline a reflection of global disaster; moreover, he is instructed by Wolf to launch his evil-cause into a thermonuclear war in the foreseeable future

Columbush idea of the Axis Union's sovereignty is of a fictional kind. It is politically obvious that he shrewdly reconstructed himself to justify the fictional reason why he invaded the Axis Union. That his minister's small lie must not be confused from his lie; because, everything that he said is a big lie. He sees all things in fictional distortion, embroidering the reversal of truth: false reality. Columbush fictional method has the advantage of distorting the public opinion, because his authoritarian action serves as a political means to impose his views on war, either, directly or indirectly –and, not to submit to the will of the free society.

“Columbush has become a symbolic figure of human insanity,” Axis Man said. “He has been reading Makiavellian book.

When Columbush has finally conceived the whole thought of Makiavellian principle of fantasy or religious mysticism, of course, unaided by ethics and rationality, he perceived himself as the prince, as one who takes a new identity. It may be an accurate transformation, but to live oneself in the shadow of Makiavelli is to live oneself on the high-tyrannical shadow of the Shahh of Iran and Fedy Marcos. “

The trouble with modern history, notably in critical areas such as the East, has been a combination of political line of extremism and religious rift. The study of ancient-eastern spirit can't be transformed into the modern way, and, at the same time, it leaps up to outward reality as in time. The tribal –people, who carved out the wind of darkness and longed for cultural unity, not like a solitary life of a saint, must be cleverer than the modernis.

The Otoman empire's sensitivity to modern way of life and religious diversity had faced a different direction: its effort to find a dialogue between absolutism and democracy had ended in its pure form of transformation: from Otomanismo to Arabismo.

Because, the western community's continuation of a struggle against Arabismo in the East is not carried away by the rational insight of enlightenment or enquiries about the cultural life of the poor, but by the conditions that beauty and spirituality of nature is distinctly universal. According to the modernis doctrine, the Axis people must pass from the very center of the universe in order to reach the modern kingdom of heaven; and, they have to sacrifice everything, including their ancient-faith and tradition, for the sake of suffering until the end of time. Because, their second lives has no definite reality, no fragrance of the modern self. They can't tell the fortunes by an eastern or central signs of the Asiatic star. It is a distorted star. The Nir-vana and the Khut-ba has no bright future. However, the modernis pointed out that by shaping their disordered theology, everything would be clearly woven into modern and universal pattern, for that is the only way to a higher religion.

The ideality of the superpower's modern perception of chaos is what draws a distinction between East and West. The same way the avan-garde has transformed the ancient Axis Union's art and culture into a demonic -process. Again, the maniac avan-garde converted the life of the Axis world into distorted motifs of pornographic modernism; from Sarty's Satanic Hyms in the form of a sensationalist literary-propaganda to the avan-garde's pre-post modern imagery of the Axis culture woven into nudity.

Instead of painting the veil with religious part of the Axis cultural life, the modernis painted it with horns and phalluses.

“And so on,” Axis Man said. “It's precisely like the period of the Middle Ages, when darkness has slipped across the eastern regions. And later, after the avan-garde King comes out an oppressive feeling of hate towards the throngs of terrified barbarians, he insisted on burying them alive at the unholy ground. The modernis pray to the devil-god for the Kings fury of hate.

The King who is moved by the power of the devil-god, sadly broke in tears; he concludes that he stand up for modern democracy and the universal race. And after he buried his face in the dark-wall of death, he decides to sign the treaty of unholy alliance.

The politicians of westernis countries demand a global democracy, bearing modern and universal symbols of distorted-life under the influence of the false avan-garde prophet, writer and artist. But the message written and painted by these devilish messengers of death, taken from the old stories of illusionary light, is a falsity in swine. The modernis equated the Axis life with pornography or erotic nihilism; moreover, they combine it with unholy doctrine, faith-reason absurdity and distorted images of the trinity, which in effect serve their devil-god.”

The creation of false democracy in the Axis Union consists of myths and strange stories of deaths. Columbush strives for modern distortion of eastern history.

However, the poor people who regarded their country as product of Arabismo, not modernismo –without an expression of the new, has been pressing their bodies against their oppressed existence and martyred- destiny for many centuries. The westernis state of the art's arrow-precision bomb fiercely cut the poor people's existence, which has been divided in small parts; facing the bloody ground, their dilated-body parts shivered in a desert of darkness.

In art, the modernis treated it the same way; as they stand to an abnormal state of indecency, at a large canvas, they painted with terror; and, they ruined the Eastern life, culture and ancient-based faith completely. They burst into madness and drowned the mutilated body of the Axis poor people into hues of dark and bright colors, as it has been done before. In the poor sense of art for art's sake, the modernis take off their dresses and dream about a butchered-picture of the Axis poor people in the form of eroticism. In the beginning of the night, and for the sickness it fills with creeping madnesss, the modernis set to work; they go to the heart of Axis villages, burns everything in great proportion, then painted the bloody images of the night in a sensational kind of free-expression. In the end, the Axis society is consumed by a modern system of seething catastrophe.

THE SILENT SCREAM

The highest value of art lies in the essence of dissectional consciousness. That is people scream with hearts beating like thunder when confronted with panic or overwhelmed with so much joy. However, the scream speaks not only for crying fear and echo of whirling delight, but also for silence. And in art, this silent scream of consciousness is the essence of dissection. Art is genuinely beautiful only when it becomes the essence of what is not. The poor people scream in silence, for that is the only way to put their grief beyond sense; it is a silent world.

And, it merges their life-time suffering into solitude and despair; turning a dream into nightmare. The poor people can hear their cries in darkness for a long time, but the echo of emptiness has given up listening since the false Christ takes the form of light. His illusionary light has grown still brighter in the nuclear age; and, he pretends to be better, in the sense of religious life, than The True Christ. Silence has slip away. In the depths of coldness, the poor people fill the endless night with a silent scream.

Again, the poor people did not cry so much as modern tragedy stands above their shoulders. They are not worshippers of Shakespearean tragedy. If their world is a tragedy, it remains mysteriously below, not elevated in the false reflection of modern art and democracy. In their darkened lives, silence is pointed to a straight line, like the light; it is founded in the fullness of life. It is the essence of silence that has lifted them from the evil spirit of universality to the flashes of a suppressed life, a life that seems to dawn upon mythological-historical consciousness. In the beginning of this life, between the rising and setting of a dying silence, they seize the light that has fallen on its axis.