By R.E. Embuscado

Most of the mythology comes from the same cultural climate. As a tradition of that historical consciousness, and the oral experienced in itself, suggests that the refection caught between fiction and reality can take form in a comic-novel. For the same reason, this comic-novel, Myth Man, is entirely equivalent on a collective context, and its story concludes, in mythological sense, that it is wholly original. Myth Man interweaves the mystery of thought and action; that is, life and the whole human condition.

COMING IN THE NEAR FUTURE

A FILM BY EMBUSCADO

 

Modernism, as a whole, is a circular form of delusion. Revolving in the axis of in-itself and for-itself. The modernists buried their aesthetic image in their deep-rooted chaotic perceptions. No line of unification can be drawn between their negative immediacy and fragmentary conceptions. Because, its form is merely the pictorial sensation of the irrelevant subject matter: chaos and death.

The determination of form and context, under a compartmental movement has to be linked with dissectional aspects of relationship. Comic periodicals strengthen the relation between one work of art from another. Art is a world of compartments, when its center or axis of rotation is dissected. And here too, in the course of dissectional process, not fragmentation or transformation, the particular image remains in its place, and proceeds in the same dimension without shifting its exact nature. And all that has remained in the compartmental-space which succeeds in dissecting the line of demarcation, in a given form and as it develops, becomes the basis of determined compartmental relations.

Painting, comic periodicals, drawing and photography appears to be a sense of aesthetic oneness, and brought into relations, only when it is dissected by a compartmental mode of unity. They retain the whole notion of aesthetic movements without fragmenting the form of consciousness. For instance, drawing and photography has an image of its own uniqueness which sets the form of contradiction; however, the cause of communal context, not seen as projecting antithesis between form and content to some rendering of popular life for aesthetic reason, were conceived in compartmentalized movements. Form and content are not the whole community of aesthetic experience. There are other grounds for exploring the crude-garbage characters, without the immediacy of modern-form and social-dialectical content, whose criticism make their way against art-life relationship as a forsaken element.

This is only the beginning of communal modes of behavior. The uncharted territory of communal art-life movement can give this world a profound understanding of creative life in the sense of dissectional direction withdrawn from modern idealism and socialist realism. In which it is seen not only from the glimpses of the dream of life, but also in the wretched lives of the various communal landscapes.