THE MANIFESTO OF THE IMPORTANCE OF ART

I perceive this ailment because I recognize its language
and I refuse to genuflect to it in its utter futility.
My partners for truth should rise to avidity to sabotage
the misuse of a fictitious fantasy playing with gullibility.
We adorned with the capability of finding God within
will move our tongues with the Holy Spirit’s injunction.
This decree of emancipation, our intuitive doctrine
will inspire wisdom amongst us to illustrate a montage.
The remarkable pluralistic image is our personal induction
into a multifaceted acceptance of our sentimental humanity.
Just as Nature’s manifold of diversity our personal initiative
is the originality of the resource of our thinking activity.

Every lad and lassie has the instinct of drawing and etching
forming pictures earnestly revealing their glorious fantasy.
Dreamingly glancing as poetry meets their ears indicative
of their innocence as the listeners lust is quite unrelenting.
Each child feels rhythm and begins to imitate with dancing
moving its arms with each accent so strong and creative.
Always amused with storytelling as the script is enhancing
moving their imagination with excitement while inventing.
Then the power of melody and harmony is entrancing
their souls with music as they joyfully sing along so elated.
Before indoctrination, policy, commerce, utilization,
there is the urchin’s hand that draws, the voice that sings,
the body that moves, the mind that boundlessly imagines.

Most children realize this phenomenon and wish to take wing.
Systematically they are slowly taught to forget their abilities.
They sketch not because they have studied aesthetics, yet begin
their reality first as it arrives as shape, color, rhythm and possibility.
They sing before they understand triads, voice-leading and harmony.
They invent before they understand subjective statements of ideology.
They dance before they fathom an audience and a formal performance.
They dream before they appreciate the Greeks and their mythology.

Obviously this logic means creativity is not a decoration or ornamentation.
It is inherently one of many paths the human being first enters its relation.
A child’s drawing is not trivial because it is unsupervised methodology.

It is often sacred because it has not yet been conquered by embarrassment
rooted in graphic advertisement or market logic, or fear of appearing foolish.
It is genuine unadulterated genius spontaneous without superfluous harassment
hindering the strokes of its brush. Art begins there not with conformance
studied in institutions not in the machinery of cultural approval where shrewish
comments in primordial human refusal but in mutual common accordance.

Writing poetry is not merely to arrange language elegantly. The profundity
is to discover that thought itself contains music conveying philosophic
innuendoes blending virtue with compassion bringing a cunningly
enlightenment with naivety of an unblemished view of the theosophic.

The poet needn’t invent the soul. The poet listens to an inspired audibility
moving the inner self to recognize its chastity handling with an egoless
rapport opening the hearts of his readers with a transparent legibility.

Composing music is apprehending that metaphysics can be heard in euphonics.
The occidental revelation of evolving orchestrative colors can become luminous.
The sentiment of deep sorrow can through the harmonic release of benevolence
be so impressive it results in a weeping lamentation as if music was symbiotic.
This ecstasy can become an interval, a rhythm, a breath, or a resolved dissonance.

In dance, in gesture, in pantomime, the body becomes an expressive intelligence.
There are truths that cannot be argued adequately but can be revealed in motion.
A bowed spine, a suspended hand, a turn of the head, a sudden stillness
can disclose grief, eros, reverence, tragedy, more honestly than explanation.
A human stature captivates its audience struck in awe peaceful and gratuitous.

So too in drama, where body, image, speech, silence or myth meet in living emotion
and the human being is permitted, for an hour, to confront itself symbolically
whether in the midst of a real life situation or posing as a clown quite comically.
This is why under many reasons a creative perspective is essential for existence
Because without it, life remains technologically advanced, economically active,
and politically organized while becoming inwardly meaningless and barbaric.
This is on stage or in cinema if the text is moving and literally attractive
various scenes will be imbedded in the memory of the beholder like magic.

A society may still function while forgetting how to perceive without persistence.
One may still prosper following its capital while becoming spiritually illiterate.
Whatever the case the creative faculty is degraded, the human being is reduced:
from mysteries to functionality , from a blessed soul to a role of the inconsiderate.
Being a thoughtless consumer who is sacrificing his inwardness to miserable profile,
from a personality to a zombie of business and a slave without a distinct resistance.
Art stands against this reduction. Not as luxury alone, nor as mere entertainment
nor as a prestigious refinement but the last methodically practiced disciplines
through which the human being remains larger than these decadent systems
that would attempt to define them by scoffing their importance recklessly and vile.

To defend art is to defend one of the deepest conditions of human freedom.
This liberty is God-given and a human instinct and remains an ascertainment
as the entire world whines for this recognition. All infants can truly imagine
their dreams in fulfillment having seen the Mona Lisa in the Louvre Museum.
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Now I will venture through the millennium of Music where many styles existed
and listen to centuries of changing metaphysical climates in our fascinating occident.
A civilization’s music reveals what reality was accepted during various phases of time.

In the austerity of Gregorian chant, one hears not merely devotion but verticality.
Our souls turned upward without ornament needing to announce itself in monophony.

In the flowering of early polyphony, one hears the first great astonishment
that many voices might remain distinct without ceasing to belong to one order.
The advancements of Hildegard von Bingen was the first accomplishment
of composition beyond the Gregorian Chant with a mysticism as a departure.

The Middle Ages brought a modal harmony with cadences with amazing resolutions.
Especially the compositions of Guillame Machaut written for the Notre Dame cathedral
From Ars Antiqua to Ars Nova, the mind of Europe begins to hear itself toward evolution
with increasing intricacy. Time measured daringly, yet still under heaven though medieval.

Then the Renaissance: not sentimentality with radiant proportion developing contrapoint.
Voice meeting voice with a stringent order created in Florence under Giovanni Palestrina
The oils of rituals like Extreme Unction were introduced to sanctify the sick and anoint
the passing of the soul returning to the bosom of Abraham and a celestial ballerina.

Gabrieli and Frescobaldi were pioneers of tonality freeing the devil of music the Tritone.
The Baroque harnessed the tritone with its resolution power hidden inside the dominant.
These magnificent architects of motion developed the harmony we recognize as home
where counterpoint becomes almost theological as the age of the Fugue became prominent.
A world in which exuberance and discipline still recognize one another with Vivaldi and Bach.

Then the Classical, where form achieves a nearly moral clarity with concepts of dynamics
asserting articulation and beginning the modern age of sophisticated instrumentation.
In Joseph Haydn, wit and structure become grace writing masses for the messianic.
In Wolfgang Amadeus Mozart, proportion becomes tenderness, and elegance revelation.
Also the harmonics of Haydn and Mozart were inventive and their music did interlock.

In Franz Schubert harmonic advancement, the private soul became musically visible
intimate, fragile, wandering toward distances nonetheless a visionary who was pivotal
inspiring a generation including Berlioz with his Requiem and Symphonie Fantastique.
This brought the Romantic into a realm of mystery and inner depth and fascination.
Shortly thereafter Richard Wagner presented his Tristan and Isolde Praeludium
which freed the tritone from tonality paving the way for late Romantiscm.

Finally in Gustav Mahler, civilization itself seemed to begin hearing its own fracture.
Nostalgia, irony, deep darkness, and a longing for redemption was hidden in rapture.

The Impressionism of Debussy built upon the freedom of the tritone using modal
concepts as well the whole-tone symmetry reigned in a new age. This was the global
destiny of the this enhancer.

Maurice Ravel’s Gaspard de la Nuit stood side by side with his Russian compatriot
Alexander Scriabin with their revolutionary harmonic modal concepts found in Jazz.
Sound strains toward ecstasy, delirium and theosophy.
Bela Bartok and Stravinsky upended earth and ritual with their energetic rhythm whereas
Olivier Messiaen opened timelessness; birds become theology, and his harmonic coloristic
the modern world had never heard in this capacity.
This Manifesto is to awaken the sleeping giant of creativeness for the futuristic.