Along the summer I have been alternating with writing and experimenting with visual arts. Although not many new pieces have been created, this experimentation still seems - at least to me - worthwhile enough endeavour, at least sufficiently so that I retain the feel that not all time has been wasted. I any case, the point of this post was to examine this experimentation, to document its results, and analyze whether it has brought enough "objective" value to the whole of sublimation process.
Starting from spring, I increasingly learned to use Krita (the digital editing software), discovering a number of useful tools for enhancing images. No doubt the true professionals, those who have grown into the art from a younger age, or who have gone through years of schooling in the subject, would consider my findings trivial and/or mandatory. To someone like me though, who works in isolation, any small step is a worthwhile one, and so, knowing to use just one more style of brush or learning the meaning of "dodge" in visual arts terms, feels like a victory. From this experementative journey I ventured forth into Deep Dream algorithm - an AI system that was developed a few years ago by Google, something that I looked into back when it was new and novel, but subsequently forgot, until it unexpectedly resurfaced in a random Discord discussion. From there, I took to making an account for myself, to try and see how this new AI aid would alter my art-mediation. The results were, well, not entirely unexpected, but interesting nonetheless. The important question remains though, as I alluded before, whether this "improvement" - albeit unquestionably effective in visual terms - remains the correct path. If a larger number of observers find the images more alluring, resonating, better in short, does that still mean that they are more accurate? I do not know. There's so much, in general, about the subjective realm that is exceedingly difficult to bring into objective measurement. This is why I referred the subjective side of art-mediation as quickmire back two years ago in my "about" section of this site. I still retain that opinion, and it's unlikely to change. One remains so alone, so isolated, in his or hers journey of mediation and experimentation. Still, as so many times repeated, it remains the only reasonable manner of existing after being confronted with such vistas of the numinous. Sublimation, as Zapffe wrote and Ligotti later concurred, will ever be the only sufficient manner of dealing with such existential phenomena. For an especially attuned artist, that is. The rest of the folk will remain content in their distractions and other trivial nonsensicalities. Blessed be those who cannot see.
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A.K
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