29 Realism

THE END OF MAKING_ REALISM

To irk is not to realise reality.

To smirk is not to relate to relations.

To lose caste is not to succeed as a success.

To end making, is to realise realism.

‘Realist monoblepsis is not monocardian’©.  But a divided heart allows for reality against the past, by way of full vision.  There is a reality in continuum but if the heart is not in divided revolutions, then it will not happen to become sublime. 

The end of making is both the end of history and beginning of conceptual living, for it is not orthographic.

Monochromatic, in black allows us to see the image in contrast.  Grey allows for the light and shade of the sun, but black is distinct and absolute. 

‘I saw you

Through a glass darkly

Let my heart sink in

Precious stones

Make up the walls

I saw your face reflected in’

Reflections are after all divided, back to front as our minds move analogously from back to front, front to back etc.  We are by heart dichotomic.  Our rhetoric to self allows a sub-reality, making way for dream making, space to reason, reason to grace.  Making becomes the timeless aim of our pre-historic beginnings, allowing one to constantly envision creativity as a reality by way of conceptual living, the end of making becomes reality.  The product, the vice, the life, the mind, the spirt, soul and body become reality.  The end of making means were are no longer in a historical paradigm, but make believe realities.

We can look around us comforted by objects and creations, daily life, and food.  But reality is the end of its making, its product, its end point.  And so conversely reality a new one is the end of making but imagination through imagery and spatial awareness of the streets that surround us, the world, the heavens as reflections of our new end in making creations.

When ‘things fall apart’ men think they know best, and women often feel better about that despite the friction, and really being in control.  Men can feel better in the struggle of the worst, because of our dichotomy of steroid hormones.  We hunt and conquer, the woman lives with the pain of the menstrual cycle, and therefore finds it easier to nurture, whilst men today nurture just as well.  Elation will be in kindness for both to fulfil their ends, making becomes a conjoint pre-occupation with the glorious transcendent celestially vigorous; through balance of dark and light, in both of them, the same as each other.

Space means we are open to a Universe of clever cunning and pre-occupied with bombarding us with the good and the bad, the living and the dead.  The spirit of wealth means we need both eyes open.   This may be the root of our divided hearts in the stars.  This is Star Wars an end of making – reality.

Architecture is the ultimate attacker to create new scientific refuge for space making and allowing location to signify a researched style or ignorable idol of history.  We make the future the future manifests us.  'Only things that are locations in this manner allow for spaces.  What the word for space, Raum, Rum, designates is said by its ancient meaning.  Raum means a place cleared or freed for settlement and lodging.  A space is something that has been made room for, something that is cleared and free, namely within a boundary, Greek peras.  A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing.  That is why the concept is that of horismos that is, the horizon, the boundary.  Space is in essence that for which room has been made, that which is let into its bounds.  That for which room is made is always granted and hence is joined, that is, gathered, by virtue of a location, that is, by such a thing as the bridge.  Accordingly spaces receive their being from locations and not from 'space'.’  Infinity is nigh.

Location makes us see the outline.

The obligation to order.

The regulating line is a guarantee against arbitrariness.

It brings satisfaction to the mind.

The regulating line is a means; it is not a formula.

Its choices and its expressive modalities are integral parts of architectural creation.

We introduce order (by primitive man designing and building a temple for his god; there is consideration and measurement – the same as any house e.g. Pompeii or Luxor).

The technical side to traversing the end, means we sit in space wondering an eventual end, but forget that is a paradigm of the age.  In the age of contemplation we must reflect upon ourselves and bring forth the new movement through our tripudiate expression.

Continuity

Continuity allows for the self to follow through as creative spells come to an end.  But it is without doubt our depressive selves that take over the erudite reckoning to believe it must really be the end, when we are in mourning for the past and too frightened to stand up with little nervous notion of what happiness is when the good days of past have passed and left us with just ‘not enough love’.

'What is it that distinguishes bringing forth as creation from bringing forth in the mode of making?'

’The creation of a work requires craftsmanship'.

'The Greeks, who knew quite a bit about works of art, use the same word techne for craft and art and call the craftsman and the artist by the same name: technites'.

The techne dance in order to find the ‘new way’ as ‘Realist monocrat’ for their work knows only them, and only they know their work.  The observer perceives through a trajectory of past experience, visual drama, and dependency on what they know.

‘Many practices have become businesses.  Global architects unrelated to past architectures.  Ego.  Other artistic disciplines flourish by engaging with and continuing to build upon their traditions.  The art of choosing from a spectrum of formal and historical possibilities, has always been important in the production of art.’

The only truth to this is that making becomes a collusion of history.  How does the monocrat make sublime to realist grace?  By denying it, and in fact sitting amongst it, boldly in black contrasting with it.

Pervasiveness

‘Of the fateful birth of architecture:

Using right angles – For axes, circles, right angles are geometric truths and are effects that our eye measures and recognizes, while it would otherwise be chance, anomaly, arbitrariness.  Geometry is the language of man.

But when determining the respective distances of objects, he invented rhythms, rhythms sensible to the eye, clear in their relationships.  And these rhythms are at the root of human activity.  They resound in man through an organic inevitability, the same inevitability that inscribes the golden section in children, in the elderly, in savages, in the educated.  A module measures and unifies; a regulating line constructs and satisfies.’

A HOUSE AS LANDMARK

A HOUSE AS MONUMENT

MASS PRODUCTION = LOSS OF THE POETIC

THERE ARE NO LONGER STYLES

VANISHING

PERSPECTIVE

DISAPPEARING

DISSIPATING

FADING AWAY

RECEDING FROM VIEW

WITHDRAWING

DIMINISHING

EVANESCENT

FRAMES & SURFACE

EVANESCE=PASS OUT OF SIGHT, MEMORY OR EXISTENCE

To pervade is to diminish style by the end of making into conceptual realities of researched new paradigms; making boundary, location and dynamic space a priority.  Our ownership lies inside, what if it were surface to mesh of land mass, building, and art if only parts of; defined by premise.

Whole

‘In every domain of industry, new problems have been posed, tools capable of solving them have been created.  If we set this fact against the past, there is revolution.’  The purity of machine means the whole as parts is now inevitable if not for taking a mass and carving out a niche, the cataclasis of domain means we can create new parts of wholes, to create new wholes, 'solid to slice'.

‘Fair-minded and objective are interdefinable.’  Do not forget the ‘realist monocardian’© way causing sublimity for end, but in an age of Meta we will all need a slant, and a guard to climb.  'I call “absolute” whatever has within it the pure and simple nature in question; that is, what is viewed as being independent, a cause, simple, universal, single, equal, similar, straight, and other qualities of that sort.' The absolute means we can create mighty valorous making.

Do we rest on history.  Better to re-interpret the past.  Is there a way out to begin again?  The mind is caught in past dreams continuing its comfort in knowing itself, but really we will find ourselves again through cursed beginning to say that was good, that was bad, now none of its important; let me put one foot in front of the other and begin from here.  Maybe revolutionary?  Why do I say maybe?  Because revolution becomes party politic, ‘Anonymous’, partisan religiosity, making something important in the end, that could be caught in a moment.

So the whole needs united untied people, making a new weave from the web we entice ourselves under.  The entrism of us all never mind our current governmental coalesce, will make us sing and exclaim for our lives.  If Big Society has still not arrived or is so long ago, the magnitude of language will go on breaking our hearts or in some instances making us look up, to something more confounded. 

Similar

We are all similar and feel this current trend in psychotic disturbances, under currents of megalomania hidden in the dark.  Live by your comforting dream, but when you break out of the spell you will see the reflection in difference in banality.  Make it the end of making, a reality in new fresh starts for the creativity will come.

‘Equations: Knowns & Unknowns.

Series: Most to least of absolute things.

Simple Natures: 'Purely Intellectual, Purely Material, Common to Intellectual and Material things.'

The undeniable equation to this dilemma, and trickery in making in the Universe is thus:

X(unknown) = A(Intellect) + B(Highest) – C(Material) – D(Lowest).  Where ‘X’ is the future.

To include ‘C’, and ‘D’ allows the continuation of Game Theory to take and to gain, but the ‘X’, the result is unkown.

This is the end – a beginning of divison through to a later future of ‘realist monocardian’© living. ©

There is no black, the regret of fire, death to behold a quiet, left lake to a timber quake in an inner-ear chaste; for every melody is a make, of chosen promise making me.  For music is the sound of colour and as my daily 'GP' states, 'The biggest healer in the World'.  For a boy.  For a girl.  And if the girl doeth not exist, then the man is made as a healthy congenial King forever knowing his breadth of knowledge in power, officiation and bellowing heart for the poor and smart.  And if heathen be their end to be saint, and start, then heathen be only smart in heaven and not believing in a dream of heaven.

Don't get me wrong 'black power exists', but a colour can't be, without identity.  When all doubt clouds the mind, for they have not had their holy chance and headed time.  Once reckoned in jealous colours of black it does not exist in my trigger.  All things grey, end in 'play,play, same, same, money, money'.  And there is no time for sex and playing with my head of thieves; too much confusion in this debt.  So when all colours are seen there will be a team of teachers of love's senders and guides, both black and white, when really we are flesh.

The guides not in the mind of drug takers could be the only call to instinct, for when you fight truth by harm then only evil exists in your heart.  And if that's all there is only one answer:  One prayer, to determine what is the kindest and the fairest action to take not section another break.  For I believe I am the King of only progress and this my pseudonym of not only progress but a digression in time to recover except for I and mine.

For Sir, Madam, as if?  When I get my time I will be all heavenly sublime not ferrous, desolate or recourse to rehearse the wrong show.  But the most generous, honest and humblest if not the kindest man in the world to see all these drug takers I despise!  Good work OK.