DISSECTIONISM IN THE NUCLEAR AGE

The following essays examines the universe in different forms, art, science, religion and politics and, discusses the movements of dissectionism and compartmentalism; the first work, Dissectionism in the Nuclear Age, a catalogue of four pages, coincides with my exhibition at Max Gallery in 1985, East Village, New York; the second, Dissectional Figure Under The colored Sky –And, Garbage Sky: A Compartmental Theory of The Human Race And Art Unity, that appears in a brochure-catalogue, published in limited edition has been introduced to my exhibition of paintings at the Artsforum Gallery in 2001, (57 th street) New York, New York.

BY R. E. EMBUSCADO

The movements of dissectionism have gone on, from one point to another. The Aesthetic of Dissectionism, a general theory and practice (published in 1975), contains the main ideas of dissection and compartment. The book begins with the structure of dissectionism.

The conception of dissectionism as a significant and relevant movement in the nuclear age shall point out that art and science, in general, existed not only in the perception of nature alone, in which self expression cultivates the consciousness of the self and in-itself, but outside the poisonous course of modern perspective. Dissectionism has rendered its lineal measure so deep that the common center is dissected. In all points of philosophical views, the line of compartmental perspective, without acting on one-path alone, are united by social and logical forms. It is quite different from the universal –geometrical field of spatial dimension. Further, it is not also relativistic in terms of the bodies in motion; and, scientifically not equated by the strings of darkness.

Because, the theoretical string of modern art tradition, is determined not by linear motion, but by a deceptive point of the self. At any given point in time, it has remained decadent, for the series of aesthetic and scientific points in this system is basically symmetrical, having the same distance, in which the higher and lower planes obtained a transformation in discriminating forms of tradition. In its distorted contrary parts, the static space emitted from one old-point of view converges at another, new, has brought modern art into decadence –because, there is no source of aesthetic or philosophical validity equal to that of another.

While the same fragments of the new, detached from the old, move in the idea of transformation that modern art might be found in its own singular form, as it is –one movement, though it is not, -is not successful. And in this new direction, exhibiting parasitic properties, a new aesthetic fragment cannot play a role in the “creative Process.” In modern science, this dark matter floated on the dark hole of universality, more or less as it destroys the living matter: light.

It has gone farther away from life. For instance, conceptualism and minimalism are two sets of modern ideals without regard to philosophical and political questions, just like a decadent semblance of ‘art for art's sake” –which is nothing more than the execution of the form itself and a reflection of the dead context.

Dissectionism is triggered by moral, physical and logical questions, taking out modern art's equations of “art for art's sake” and the red shadows of socialist realism's false dimension of historical consciousness. Socialist realism contains various political structures, which are entirely governed by political propaganda, and dialectics of an all-embracing contradiction –on which the nature of subject and object relationship, in every situation, constituted a half-baked social materialism. However, in the end, Marx dialectic-doctrine finds itself floating among the modern stream of social disorder. The object of his historical consciousness is intended only for a particular class –or, system implied by short -sighted views of truth and the seeds of life, because, it revolves within the self -consciousness of abstract ideality or reality. So long as the comprehension of life resides under the structure of illogical dialectics itself, the compartmental unity of moral, social and aesthetic activities will not move on to vary as a whole, but would only observe the usual decadence of a particular.

The beginning by which the concept of dialectical unity takes place is incomplete –that, it differs from the whole body of its life. In the end, the form-content relationship, as a whole, falls into a singular point of view; because, it conceals the real beginning and end from a view - here, the co-existence of art and reality is annihilated by social, political and historical deformities.

In the theoretical field of contradictions, as a whole, it is necessary to put the difference between dissectional revolution and modern art evolution in the proper perspective. Dissectional revolution resides in a four-dimensional square of compartmental unity, without the concept of time itself –for time, by its very nature, either for temporal intervals in spatial distance or perspectives of cultural-universal tradition, will only bring an inclined body of movement. Time, in the modern aesthetic and scientific perspective, is formed by a spiral thread, and circularly determined by the subject of darkness; because, time replaces the light with inequalities and curvature of darkness, capturing and destroying life when it has separated off of the light.

Time's deviation from a line or a point of departure by condition of its irregularity demonstrated that Einstein's equation applied to the four-dimensional space has fallen into ruin or decay. Because, he has taken away one line of four-dimensional space from the sphere of the motion of the light; and, this line became, for a time, a dark state formed by expanding radiation. The agitation caused by the inflammatory state of reversion is natural in any of a curvature of time, not in the points of compartmental space or things by which it continues to move until it is dissected; because, to exclude the light from a line of the corresponding part does not give it a dissectional point.

The hollowed space – and the dark radiation- of these contradicting motions causing the matter to move in all directions after curving from the light has become the exterior surface of non-constellation.

Dissectionism is quite different. It has given an infinite theory of compartmental space, and perception of the light in unifying the framework of four-dimensional space–and in turn, it disputed the set of Einstein's spirally twisted “time,” which is defined as the set of a finite dimension of inaccuracy.

In compartmental art, literature and science, the trifle way of modernism, which depends on a single movement like a parallel infinity and an infectious notion of symbolical chance without reasonable bounds, is dissected. Modernism is static, fragmented and lifeless.

It is also necessary to point out that the difference between the political art struggle of dissectional figure and dialectical-morbifical figure of the Marxist-Leninist proletarian struggle to formulate a world-view is differentiated, not by dialectical complex parts of historical consciousness, but by, moral ground. Because, dissectional figure pointed out its consciousness, not in the center of the

universe or erroneous religious faith, but in the meanings of life, as indicated by the Tue Christ light, in the realm of logical-moral existence.

Dissectionism constitutes the concept of freedom in the truest sense of the word.

Moreover, Dissectional art does not contain the sharp divisions of meaningless impressionistic dot, small and big, or mortal expressionistic-suffering that has no points of beginning or their direct descendant, because it gains no context from it. Modern lines are crossing each other aesthetically, but it did not show the effect of overlapping form-content collectively. The front part of the modern figure portrays a form of being equally altered or deformed by color on both sides. These are two sets of reflections belonging to the same movement, tightly closed in strict proportion to both color and form like impressionism.

The transformation of this impressionistic brilliance, where color is turned into forms associations, grows at the universal expense of degrading life and the natural condition of reality. And, the same way the contemporary avant-garde would alter the rendering of nature in art, so as to repeat altogether beyond individualistic expression, a new effect, such as a different distorted form -not only relatively, but they have extremely engaged in the destruction of other sovereign culture. This point of view is continuously manifested in a negative way; for instance, they reject and mutilate the eastern life, manner, and cultural costume, but not the code of European aristocracy and monarchy –or, title of the higher classes of primordial order.

It is also a mistake, in the mode of surrealism, to suspend reality to an abnormal state of subconscious insight without profoundness of life; or, senses of moral and social topics. The movement of the surrealist thought through the flesh of all symbols, which is sewn in a short loop of irrelevant time, has occurred in nineteenth century. Surrealism sort out the best in the advocacy of its own aesthetic interests, but not, on the reality of life in general.

At the Sistine Chapel the religious -historical ceiling will always be identified with Michelangelo, who he has risen up into the same plane of the Renaissance tradition. In this unequal style of expression, at every circular stroke in the universal sense, Michelangelo ruled to settle the object of worship in aesthetic passion.

Michelangelo has exploded with creative imagination in religious painting except in the illumination of truth. Because, the false Christ image, is terribly filled with endless monotony of disguises, and his face lit up with all kinds of distortions. His concept of art for religious sake has arrived at the universal sphere of light and life in all kinds of aesthetic illusions.

After engaging in the forms of religious history, on behalf of the Sistine Chapel, Michelangelo has succeeded in painting the false Christ. And, all the rest of his Sistine religious-works, in connection to historical-biblical matter or material-universal things, he aesthetically conceals the light and the truth from the reality of the True Christ.

Michelangelo reveals the wholeness of the false christ and his hideous light as being reflected by suffering and resurrection.

He has recoiled from an illumination of the past, in the imaginative and historical forms, a divine image of god, which is purified by an infinite mode of universality. It cannot be denied that this sorts of influenced by religious expression of suffering has kindled in his art -at the beginning and end. His pursuit of aesthetic purity, in which the false Christ is extracted from the illusion of beauty, a pure metamorphosis of false spiritual powers, has fallen to darkness itself

Again, dissectionism is a concept of the light and freedom without the modern process of demonstrating what has been universally known, before and after the dark ages; without what Lukacs' called “force” in the dialectics of freedom –or, essence of Hegel's dialectic concept of freedom. The illusion of “force,” in the dialectic sense involves a behavioral pattern of abstract consciousness, which is suspended from a false end - like Hegel's the end of history. Because, nothing has been ended.

Moreover, it is also a mistake when Bertrand Russell pointed out that the “origin of force” is “psychological.” In the case of Russell, his “Psychological” concept of “force” cannot be logically connected with dissectional movement, especially in the nuclear age; for there is uncertainty in Russell's universal observation of “fact.”

The aesthetic and scientific observations of “force,” from a theoretical point of view, is dissectionally outline by wholeness. It dissects the ostentatious display of modern democracy, which is embedded in all the union of self-contradicting duality: old and new disorder. The feuding storms between aesthetic and political struggle, in the sense of primacy given to free speech, is caused by the action of pure expression –which is indicated by an immediacy of universal beauty and fully conscious modern-self (or, condition of being a sensationally provocative avant-garde, in the wrong sense). From the 1800s through the end of the nineteenth century, modern art and politics is so dominant that the poor, who has been colonized and slaughtered by the imperial cross in the name of religion, cannot even cultivate a decent life in their own garbage-field –or, in the eastern garbage of Smokey Mountain.

DISSECTIONAL FIGURE UNDER THE COLORED SKY-

AND, GARBAGE SKY

The sky, without the stream of light, is dead; and, without the light, the mountain of clouds, which make the skies looked colorful, livelier and brighter in the sense of moral delight, in the deepest degree, has not found its beginning. Instead it has turned out particularly dark –because, the whole reality is washed up with coldness and emptiness. The light is completely seized and transformed by darkness. Even the little shades of lingering life, like the tears of solitary movement strolling on the curves of silence have gone through the course of universal masses –and other cloudless sky of the same kind.

The darkness that grew into waves has reached the point of European atmosphere, where the family of the false christ did convey their resentment, not in wonderment of obscured-depth and temperature of the dark matter, but against the community of the Gypsy's world, both in historical territory, economic development and cultural identity. In spite of the high cultural tradition, which has long fashioned in Hellenistic schools to the Books of the Holy Scripture, the Europeans did not see the light; the Renaissance enlightenment, carried through the end a divine uncertainty of abstract-mythological thought -which has gravitated toward the whole human history. The European idealism reflected a homogeneous racial-cultural identity that did not merge into one another; and, as fact that the colored-poor struggles themselves to be constitutionally free – with matters like choosing their own cultural destiny. Like the Buddha, who sits under a tree without a cloud of chaotic barrier, he thoughtfully tries to fix emptiness in his mind. The poor, like the Buddha, did not go into battles. They glanced at the modern circumcised-democracy, constantly aimed against them, without any visible significance.

Religious battle has become dark again.

In the Egyptian history, the Pharaoh has to sit on the back of the lion, and he sit there besides the Pyramid. He implies that he can truly fly away. The Pharaoh's quest of diffusing two-body, ground and sky, man and animal, has led him to believe that the world is not separated from their matters. He identified the height of the sky with a symbolical god; and, he began to breath between the poor and the animal, because he is not the unification of all nature. And of that self-knowledge, he removed the mastery of the poor people's spiritual-consciousness.

In the case of the Gypsies' history, before and after the first crusade, the modern knights retreated from the Dark Ages. But the full extent of the Gypsy's life looked so intensely chaotic. Because, the triumph of liberty, fraternity and equality is one sided, The false christ's believer sets out to demonstrate that they can push the Gypsy's cultural-clouds away so disastrously, and after an anti-poor constitutional shots were fired, the radiance of the sky subscribe depressively to the horizon of darkness.

And for the most part, the family of the false Christ-union discriminatingly enclosed all parts of their art, culture, science and theology by means of tradition -in a kind of lifeless existentialism, which is purely blinded by the purity of ideal movements. This eternal power is the exact copy of medieval vision of the beginning and the end, devoting itself in the false illumination of universal life. Moreover, at the tower of medieval-darkness, the anger of different European emperors had then addressed their anger to the barbaric-poor, heretics, and the Gypsy -now, their sufferings has still continued, and the new Euros method by which the Gypsies-eyes should intersect in modern direction–namely, that, there are only two sides of modern democratic realities: high and low. And, it is the aim of the false Christ-family to make the poor feel more miserable and to reduce them into the compositions of universal matter and form.