15.0-17.0 – From the Black Book

15.0 Why do we create? Art, music, literature? Is it for ourselves or others? Doing it for approval, acceptance, that it might inspire is a by-product. Do we do it because of the joy of creation, producing work that is unique (perhaps) and saying that this is me?

15.1 Basing our work on the approval of others is fine to a point. To hope others are inspired by it, to feel pleasure from others awe (what is this?), to punish ourselves because of derision (also a pleasure mode), these are okay, sometimes productive, sometimes catalysts to further work, but not solely the reason, in that ‘approval’ proves unsubstantial.

15.2 What is this joy in creating? Surely not instinctive, the by-product of a lonely mind?

16.0 The mind, with conscience and reasoning, along with an active sub conscience and reasoning, understands it is aware, and that it is alone, and that one day, it will perish. What are the by-product of this?

16.1 The by-product of a LONELY mind, cut off from communication except through the filter of the conscious mind (with all it’s distractions) must be powerful and overwhelming.

17.0 Assessing 15.x and 16.x, the brain creates and produces art, literature, architecture etc, as an expression of awareness, a semblance of stability in the chaos of a reasoning mind. Outwardly we create for the sake of creating. Inwardly we do it as an anchor point for the aware and reasoning brain. Saying ‘I am’ re-enforces stability. Thus the joy.

As usual, the black book is a mess of vomited thoughts and ideas, so it goes without saying that it’s full of holes. Feel free to comment and pull it apart.

And if you click on the picture above it goes to a full page image of the Sistine Chapel, for the old image collection.

3 thoughts on “15.0-17.0 – From the Black Book”

  1. At this point its hard to say that inspiration is a byproduct because most of us take our inspiration from previous work and start work of our own because we know great work of art can be done.

    We have aspirations to create works of art just as our predecessors. This is why most people get into art, because an artist has touched them with their work in some way or another and it has caused them to want to create just the same. We wouldn’t know to do it otherwise. If you never saw a painting in all of your life, how you would know to do one?

    I don’t think it’s always the by-product of a lonely mind, but the byproduct of a creative mind. As in, the joy of creating comes from the necessity to create because of a mind that always thinks in a creative way. This comes out in many different forms of course.

    “16.1 The by-product of a LONELY mind, cut off from communication except through the filter of the conscious mind (with all it’s distractions) must be powerful and overwhelming.”

    I don’t know about that, look at the Sistine Chapel that you posted a picture of. Michelangelo was forced to paint it, but took inspiration from previous artists, as well as the bible, in order to create this, additionally; it was his inspiration from the human body and constant dissections that he was able to capture the human form so well (which is the real subject of this work and not religious). Was he lonely? Only out of choice and paranoia, but he most definitely wasn’t cut off from communication. His life, and the turmoil caused by it, as well as by his family, was inspiration for his work.

    The wall directly to the back of the Chapel shows the Judgment scene of the bible, in it and towards Jesus in the center, either one of the angels or one of the apostles is holding someone’s torn off skin, the face of it resembles Michelangelo’s, and many art historians believe it to be a self portrait based on the letters he wrote to his father at the time of this work.

    Moving on.

    I agree with your end assessment, in 17, but not how you get there.


    As a side note, the first three panels on the ceiling, the ones in the foreground before the infamous creation scene, were the ones he started with first, you can tell this because of how much smaller his figures are then in the other sections. He repainted the first few panels many times over because he didn’t know how to work with the materials. At the time there were masters of wall frescoing, yet Pope Julius the second had a thing for Michelangelo. He only noticed how small the figures were after he came down from the scaffold, (ones of his own design and still used today), that he saw his error in size.

    We then see the middle panel, the creation of Adam, and from there on he had an idea of how to paint. By the end and during the painting of the sides, he was skipping the preliminary phases of the process of frescoing, and painting directly into the wet intonaco. Which is pretty much unheard of until Michelangelo did it, and I don’t think many artists did it afterwards. He was truly a master; he was by far, one of the fastest learning artists to have ever lived. I think this is true still today. Many people say Bernini was the greatest sculptor, but they forget that Michelangelo was one himself, but forced to paint for a good portion of his life. To this day, when we talk of great works of art, Michelangelo’s David comes to mind. Because of the Excellency of David, it became the first ever-nude statue to be displayed in public during a very strict and unstable time. Not only did he redefine the arts as a whole, but also how people perceived it because of his love of the human anatomy.

    Well anyway, off my art history high horse for a while, just thought I would give a little history lesson to help people appreciate it even more than before.


  2. I apologize for not being more specific. I didn’t mean a lonely person, but a lonely mind. That is, a mind that is self-aware, and cut off from other forms with consciousness, except through basic forms of communication. (we manufacture illusory connections, such as the ‘one mind’ idea (no evidence) and religious connections (again no evidence), this is a by product of that loneliness). Of course, creativity does not stem from basic loneliness, but the brain creates because it needs an anchor point of existence, and the pure joy that exists at the moment of creation stems from that affirmation. Inspirations are the tools by which we create, and provide the chassis around which we mould are creations, but the desire to create is built in, in my opinion, only because of the reasoning self-aware mind.

    Hope that’s clearer.


  3. Wouldn’t you say though, that part of creativity is making illusory connections with the creations you are making. Say a character in a story, I feel a deep sense of connection with characters I either read in a book or create for a book, and in this, is very similar to feeling connected with something not yourself.

    I think it stems from the same thing, but takes different forms.

    But I do agree with what you said that, “inspirations are the tools by which we create, and provide the chassis around which we mould are creations, but the desire to create is built in, in my opinion, only because of the reasoning self-aware mind.”



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