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ROMANTICISM AND TRANSCENDENTALISM IN PHILOSOPHY LITERATURE MUSIC & THE ARTS ISSUE 06 SEPT - NOV 2014 HANS BAUER * CÉCILE CORBEL * SOPHIE PATRY * TRUE ORPHEUS DIOGENIS PAPADOPOULOS * THE SECRET CRITERION OF AESTHETICS DEVELOP NEW PERCEPTUAL CIRCUITS * CASA BATLLÓ * SUICIDE PARADOX ETHEREAL MAGAZINE EDITOR-IN-CHIEF ISSUE 06 SEPT - NOV 2014 & ART DIRECTOR P R E F A C E Mary Vareli Paradox Ethereal is a quar- ASSOCIATE EDITORS terly digital magazine pos- & sessing a re-enactment char- CONTRIBUTORS acter and related to the Arts, Romanticism, Aestheticism Kim Cascone and Symbolism. We flirt Spyros Papathanasiou Roberta Sparrow with Music - folk, ethereal, Ellada Kralli or experimental forms - Hans Bauer Esoteric Traditions, Trav- Diogenis Papadopoulos eling possessing an explor- Sophie Patry atory character, Art in all Orestis Damianos its magnitude and types, SPECIAL THANKS TO the Absurd in full glory, ev- Zouan Kourtis, Ella Koten, Elena Simatou, Aria S. erything Retro or Vintage, Sofia Alikou, Tony Smith, H. Tomson & many others. Nature, Literature, Psychol- DISCLAIMER Paradox Ethereal is a non-profit digital publication that is distrib- ogy, Philosophy and above uted for free. All content is subject to copy- all the Transcendental. If a right and may not be reproduced in any form reader feels he/she is one of without express written consent of the author. While the editorial team strives to make the us we accept contributions. information as timely and accurate as possi- «The artist is the creator of ble, we make no claims, promises, or guar- antees about the accuracy, completeness, or beautiful things», Oscar adequacy of the contents, and expressly dis- Wilde said. Beauty is a fuel claim liability for errors and omissions in the contents of this publication. All images used and imagination the vehicle. belong to the paradox ethereal team, as for Welcome to the trip! the rest submitted by contributors we plead, fair, educational and non-profit use and lack www.paradoxethereal-magazine.com of any responsibility towards their sources, having made sure we initiated permission to use the creative commons terms. Kenneth Frazier - Woman with a Rose [1891-92] TABLE OF CONTENTS (06) Editorial - The Secret Criterion of Aesthetics (cover photo by Hans Bauer ) ARS LONGA (08) Hans Bauer US - Photographer l interview (16) Sophie Patry l France - Photographer l interview (24) Diogenis Papadopoulos l Greece - Painter l interview ARS AETERNAL (30) Kim Cascone l Subtle Listening - How Artists Can Develop New Perceptual Circuits l essay (37) Mary Vareli l True Orpheus- The Theologian and Reformer of the Ancient Greek Mysteries l article RERUM PRIMORDIA (44) Suicide l Thoughts on a controversial matter l quotes (48) Percy Bysshe Shelley l A Defence of Poetry l essay (pt 6) (54) Ellada Kralli l The Music Box l short story SPIRITUS MUNDI (58) Mary Vareli l Casa Batlló, Barcelona, Spain l photos MUSICA (66) Cécile Corbel l interview (71) In Love with l cd reviews & press releases AL LIBITUM (72) Admired l Photo array (73) Transcendental films l Films on fairy tales AD ABSURDO (74) ParadoxSea l Axolotl (75) Roberta Sparrow l Once Upon a Time l Retro Naivety l photo array CONTACT www. paradoxethereal-magazine.com [email protected] © 2013 Copyright by Mary Vareli Paradox Ethereal Magazine – All rights reserved. You are not permitted to re-transmit, distribute or commercialise the material without obtaining prior written approval. Noncommercial Use Publication call for serious submissions “THE ARTIST IS THE CREATOR OF BEAUTIFUL THINGS” Oscar Wilde The Secret Criterion of Schopenhau- Aesthetics er aesthetic contempla- tion of beau- Aesthetics, as a branch of philosophy, ty is a way to fight the suffering, as it rep- deals wιth the nature of beauty; also called resents the more free human intellect can “sentiment”, “taste” or even “judgement”. be from what the will and politics dictate. The three last characterizations also de- fine a person’s creation or taste in art. I All these are interesting but still do not have observed that when one possesses answer a single question, what is this sublime aesthetics, this fact is always ap- that provides an artist, or a lover of the parent in anything the person creates or arts, with the criterion to avoid the traps uses as an object of beauty; on the other of the opposite of aestheticism? Is it just hand when there is lack of it. this is ap- studies, genes, practice or something parent in all instances similarly, being else? extremely traceable The word “aesthet- ic” comes from the Greek “aisthetikos”, “Beauty is truth, truth beauty” declares meaning “esthetic, sensitive, sentient”. John Keats in the poem Ode on a Grecian Urn. Too abstract? Bourdieu makes an ef- It is not always clear as to what defines fort to differentiate aesthetics from taste, the possession of this ability, though examining how class, background and there is a secret “language” concerning education define the exposure to values the characteristics of what causes the like taste. I am not satisfied either, think- sensory contemplation, or appreciation ing of cavemen and the sweet harmony on an object, and the opposite of course. of their works of art. Aesthetic judgments can be internally contradictory. For Friedrich Schiller the ability to recog- nize and appreciate beauty is the perfect No matter how much I elaborate on this reconciliation of the sensual and ratio- secret criterion I still have not found an nal parts of human nature. For Immanuel answer, I only reach side-conclusions. If Kant this is subjective, but still a human all answers were given, who knows, may- truth, so, like Plato, he claims that all peo- be the beauty would dissolve and in its ple should agree that “this rose is beau- place we could find a lovely volume of tiful”. “the secrets of art appreciation and per- fect creation”. Boring... l For Oscar Wilde beauty is for beauty’s sake only, as Art must not have any didac- Mary Vareli tic purpose, or any usefulness. For Arthur József Rippl-Rónai Woman with a Bird Cage, 1892. hans bauer Kerrville, Texas the veil has been lifted try and Los Angeles. Hans Bauer You are also the writer of the novel “Fishtale” and the screenwriter of “Ana- conda”. Impressive! Fishtale, which deals with four kids and their epic encounter with a titanic catfish on the Mississippi delta, began as an original screenplay; Jaws, Moby Dick, or perhaps An- aconda for kids. The script was never filmed. Anaconda: The Writer’s Cut, is also based on my original screenplay, this time resulting in a potrait of the artist as a young man the popular movie franchise. The movie was quite a success, but never matched my orig- inal vision, hence, “The Writer’s Cut.” Mary Vareli: Hans, tell us a few things about your studies and your initial drive What is your personal philosophy, your to become an artist. will path that you, successfully indeed, follow and reflect in your path? Hans Bauer: My adopted father, who worked for the Library of Congress, was a You have to find a way to be free to follow great lover of art books. His basement li- your muse. I’ve been extraordinarily blessed brary was crammed with them. That was my in finding mine. first exposure, and from there my awareness grew and grew. For my thirteenth birthday, What inspired you? Can you describe I was gifted with a book of Fredrick Reming- yourself and your surroundings when the ton paintings and a model dinosaur kit. The Muse visits you? dinosaur is long gone, but the book is still within reach. I don’t have the experience of not being in- spired. I have so many projects on the back To the extent that I’m blessed with any par- burners, the challenge I have is finding time ticular artistic abilities, I am self-taught. But I for all the muses. suppose it always begins with a code, some- thing in our DNA, mine just happens to be Concerning photography, in which genre largely visual. I think that’s evident in my would you categorize yourself? Is it mag- writing, as well. ical realism? You are Austrian-born living in Texas My images fall under a number of themes; right? Arcadia, Goddess in Ruins, Season of the Witch, and the Lost Tarot, among others, I Yes, an Austrian citizen with a green card, al- agree that all present an air of magical real- though you’d never know it if I hadn’t told ism. It “speaks” to me. you. I’ve been here a long time, dividing my time between the fabulous Texas Hill Coun- Can you recall the first time that you shot in a transcendental mood? Meaning shooting the essence of your topic, not what your sight could see. It happened very quickly, initially in my Goddess in Ruins series, when I realized that some aspect of any particular image; a col- or scheme, a blot of cloud, a patch of turf, whatever, could also be found in work by others that I greatly admired. Perhaps I was unconsciously channeling. You work is characterized by intense sym- bolism, where do you draw your influenc- es from? Gradually, there’s been a shift toward mono/sepia. Many of the old master painters have been my greatest influence. I never cease to be You seem to love worlds and landscapes dazed and amazed, there’s always some- that are “unfamiliar to most.” Are you a thing new to see and learn. kind of visual explorer in your life gener- ally? Do you also read the Tarot cards? You have created your own deck in the man- Yes, I love to just drive and I’m always look- ner of an adept.
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