In this post I thought further elaborating on the subjective/objective divide in art, more specifically, the intentionality of each side. Of the subjective, it is becoming increasingly clear that by creating stories and artwork, the unconscious is being actualized and formalized from the abstract mental phenomena into the objective side, to be again examined and reflected back for the artist - hence the term "Mirrors for the Psyche". These mirrors, after being actualized, can then be be pondered of their meaning and to be hypothetized as to why they take the form they do. This elusive intentionality was first discussed in On Authenticity, I: The Intent post, where I mused on the seemingly random nature of the abstract artworks, as they, despite their erratic nature, seemed to contain some kind of hidden - and very exact - intentionality.
Since then, after moving further with art-experimentation, I've partially figured out this intentionality, the above image being the first noticeably successful attempt in helping to understand this process. That picture, as such, most likely speaks nothing to any other outside observer - perhaps it produces mild subjective resonance, perhaps not - I could spend pages explaining the connections of the mental framework in a propositional manner... but, since the full perspectival understanding is impossible as already explained, it would be a waste of time. So, in short, let's just say that with this image, two key components happened to align, namely; 1. The reason for why AI enhancing seems to work well, mostly as the background. 2. The reason why this particular female image is so subjectively resonant. Of the first (AI alteration) I could say that - for this specific image - it aids producing a chaotic forest-like ambience that aligns well with many of the stories. This is particularly evident when mirroring with "Gloom in the Mortuary of Melancholy", in which deep, confusing woods play a major role. These woods then have their own corresponding meaning within the unconscious, something that's too long to go into here - nevertheless, the effect I've noticed AI alteration to do, is to add the necessary chaotic and unplanned effect for the image, something that one fully cannot represent otherwise. It is the cold, Lovecraftian force of the universe that I feel like being a crucial part in this whole art project, in other words. There is much more to be said of AI alteration, particularly of different blending images and algorithms, but since much of that is still to be explored, I shall leave it for later. Of the second (The female character/image), the reason is two-fold: on one hand this character is obviously an anima-representation, something that the unconscious very clearly affiliated itself and resonated with, such that it insisted to be actualized in a multitude of differing forms (both in stories and in artwork) - this much should be evident by this blog itself, since so much of it is discussing about the difficulties of accurately representing this figure. So far, the best - or purest - attempts are these latest ones, which are made using the "less original, more accurate" -method. With this most recent image though comes the second aspect, and following realization; that by slightly altering the original image (from which it is created), the result can steer into a specific representation of the anima... and sometimes even coalescending into two archetypal representations as one - here, both as Sophia - the young anima image - and the divine child of "Gloom in the Mortuary of Melancholy". With the child-like appearance of the character (but one which is also distinctly feminine), it was quite a realization to understand that some very specific images, with practise and experimentation, can "distill" into something more potent than a singular representation of an unconscious force. If this distillation is taken even further, hypothetically many iterations over, it may end up as something like a holy symbol, such as the Christian cross - and this, indeed, is powerful... powerful enough to potentially deeply resonate with a large number of outside observers. If the artist was capable of its creation, of course. Most likely the creation of such powerful images would require tapping into the collective unconscious, thus moving away from the personal, and so, for me, it will most likely be such that my art will remain obscure, the dividing chasm of subject/object understanding unbridged. Addendum: While writing this I realized that I didn't even get to the objective intentionality. Perhaps there's no need to say of anything that, after all, since I'm only interested in what subjective insights these "mirrors of the psyche" will bring to me, and at least for now I'm largely uncaring whether or not they produce any effect in outside observers. Maybe they do, maybe they don't. It's all so tiresomely subjective that it's pointless to ponder. Perhaps in time I will get an answer, but for now I will continue this experimentation in solitude. For Sophia.
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