https://youtubetranscript.com/?v=A-PmOMWpqOY
The artist is engaged in writing a detailed history of the future because he’s the only one who can live in the present. And then the question I have is what is the relationship between art and time and maybe art in our time. Hmm. One of the things we can notice that can help us understand what you’re talking about, maybe that also that people can see it is the way that art went in the modern age like the way that art developed. And so, it and art manifested itself as this as this decoupling in the 20th century, and maybe even before, as this massive decoupling. And so something which actually its ultimate purpose would have been a kind of coupling of heaven and earth that kind of manifestation of principles in the material world or in the world of phenomena ended up being a decoupling and it happened on several levels once it one it happened in this idea of decoupling what they call high art with low art. So, in the traditional world. Art was the application of these principles into the world. And so you all everything in art usefulness beauty and meaning were together. So, the idea of creating objects of art that had no relationship to to to function was just not something ancient people could ever think about. And so we’ve decoupled it so we have products of mass production and of industrial use. And we have art, which is this, this decoupled world of narratives of event of objects of music that have no bear that have no connection to reality, right, the idea of sitting in, even sitting in a concert hall, listening to a concert is something that a medieval person would would you just sit there and listen to music like no music you have music at a party, you have music and ended up at a wedding and an event at a liturgy you have music to dance to, you know, at least that’s something but just sit there and listen to music that’s such a modern thing. And so that decoupling happened and then within art, the decoupling also happened. So even in the higher. So you have in the modern age, people think of that the modern ages it’s mostly, you know, the kind of deconstruction of traditional art and so you have a kind of you know you have data surrealism, and you have these Jackson Pollock you know throwing his paint on on on on paintings and everything, but you also have massive tyranny that happened at the same time, brutalist architecture was a kind of tyrannical imposition of ideology on space, and you read some of the modern architects for example, who talk about how they wish they could design the people in their buildings right. It’s like, they wish that they could they could they could nail the chairs to the floor. So that so that they so that their designs would be impeccable. And so you have this, you have both this kind of crazy chaotic thing, but also this like massive tyrannical movement of art. So this is what we’re noticing so in order to be able to recapture, we have to be able to first off, heal ourselves from this this problem, you know heal ourselves from the problem first of all of. And you see it even in liturgical artists to my sadness like I see sometimes a kind of a kind of desire to be gallery artists the desire to make high art and to have their have their paintings and shows and have their paintings in catalogs and all of this stuff like that’s not the highest thing right the highest thing is really to have an object which participates in the liturgy, and in, you know, the celebration of the life of a saint or, or of Christ like that is the most embodied real, you know, and highest thing at the same time. So we need to first of all be able to get to try to get out of the, the problem of the high and also the problem of just understanding artists entertainment which is, which is a one of the massive diseases of, of our world to. And so there’s nothing like I said I would say there’s nothing wrong with entertainment and so, but we need to be able to first off heal from these this decoupling. And then once we’ve healed from it then I think a lot of artists can create things which will have meaning which will engage the world. And if even if you write stories that are more fictional than those fictional stories, you’ll write them with a purpose and not a purpose in sense in the sense of ideological or in the sense of kind of writing propaganda or something like that because those always stink, but a purpose of embodying heaven in in in a vehicle, and then being it being it being a place where people can recognize and participate in the pattern to a certain extent to you know at least at a certain level. And so I definitely think that that’s we need, we definitely need artists to, to heal from this disease of art that is happened in the in the modern age and move move towards a more integrated vision of art. Yeah, well said I think you’re doing that I think that, you know, that art will help create the healing as well. So it kind of bridge the gap in terms of I know that’s what I see a lot that you’re doing with your artwork which is is beautiful and it’s meaningful and it’s significant, and it’s got an impact in a sense and I think more of that and I think we can leverage these technologies to connect people that are doing this type of work, and it’s not going to be spread to everyone immediately, but I think you’re happening in little pockets across the country across the globe. I think it’s going to happen in this decentralized localized way and then from there it’ll, you know, ripple out. Thank you.