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Atman Art
The Art the Muslims banned,
and the Iconoclasts of old killed and died for: Atman Art
Any type of entertainment that makes us feel good, SurrealBliss, defines Atman Art. Atman Art is thus the art of inside-rewards/values. The same SurrealBiss the artist gets from entertaining can activate the same SurrrealBliss in a receptive observer. If an artist gets this SurrealBliss from painting an image, and then this image activates the same SurrealBliss, inner-rewards, in a receptive observer then that painting is Atman Art.
Outside values more or less turn all art/entertainment into Pavlov’s Art: the art/entertainment of outside-values.
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When the first Caveman painted an image onto a cave wall
he did it purely for its own reward, Atman Art.
In a society this pure creativity is more or less diluted with outside values. If the caveman was paid for painting the image then the money would have polluted the pure creativity of the painting to some degree.
Outside values thus divide this creativity into two types of “art.” Atman Art is the pure creativity when its inside-reward is not diluted with outside values. When outside values start to dilute the picture then it turns Atman Art more and more into Pavlov's Art, the Art of outside-values.
Money can only pollute the picture of Atman Art,
with Pavlov's Art the only real picture is money.
The difference: The more an artist paints for himself, just for the pure pleasure or inside-reward of creating, bringing an image to life -- regardless of outside values and opinions -- the more this inside-reward makes it Atman Art.
The more an artist has to paint for outside values, like the needs of a fad, gallery or a customer, the more these outside values pollute the picture of Atman Art and turn it into the art of outside rewards, Pavlov's Art.
The artist who has finally exploded out of History's Black Hole to personify Atman Art is Gustav Klimt. More than any other artist, Gustav Klimt set the artistic stage that every illustrator needed to become successful.
The same way Mozart influenced every composer that followed him so too Gustav Klimt influenced every artist that knew his works -- until recently mostly Illustrators.
All his life Gustav Klimt loved what he painted, and the paintings that gave him the most reward often infuriated his critics the most only to turn out to be his most creative paintings, now that his critics are dead. If ever there was an artist who did not have an ego that interfered with the reward-inside he got from painting then it was Gustav Klimt.
To a receptive observer the paintings Gustav Klimt got the most inside-reward for painting will manifest this same inside-reward in the receptive observer.
Art is thus no different from music. The music that turned Elvis on the most is the same music that turned the public on the most – regardless of what the dogs, music-critics, Pavlov's Dogs, were barking.
SO TOO IN ART: the paintings that give the artist the most reward-inside will be the paintings that turn the unprompted public on the most – regardless of what the art-critics keep barking with the logic Jesus needs to be a heretic in the same way illustrators are non-artists.
From what Norman Adams has told me: most of the illustrators he has known over six decades never considered painting as doing/being work. They were thus exactly like musicians and entertainers who get paid for entertaining the public. When the pleasure the entertainer gets from entertaining is the same pleasure the public gets from the entertainer, entertainment, then this entertainment is Atman Art.
When critics and intellectuals get between the entertainer and the public, his audience, -- like the critics did when Elvis started moving his hips -- all they can do is pollute the entertainment into Pavlov's Art ... like when Elvis had to sing/perform only from his waist up.
When Elvis performed without having to worry about his critics it was pure Atman Art, and the audience loved it. When Elvis had to hold back with his movements and lyrics to keep his critics happy then the critics turned his -- creativity-is its own-reward -- Atman Art into Pavlov's Art, and the audience knew it even better.
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It is a rare artist like Vincent van Gogh, Gustav Klimt, John Atherton, Robert Fawcett, Harold von Schmidt and Norman Adams who were so consumed with this reward-inside SurrealBliss that nothing else seems to matter to them, for their whole life.
These artists are the exception. Most artists that start creating for its own reward end up coveting outside rewards.
In his early years Salvador Dali painted some breathtaking paintings of pure unbridled creativity before outside values, like fame and money, dominated his picture mostly with Freudian genitalia. The outside values of fame and wealth polluted his art so that more and more the only real picture left in his art was money.
And if Dali's story is “surreal” then the money behind his name, signature, tells his surreal story.
Many if not most of his so called “signed prints” made Dali lots of money even though they had nothing to do with him, except for his name, and money.
Money took over the picture for Dali when he paid others, like students, to sign his name on blank pieces of paper. He paid students to sign his name onto tens of thousands of blank pieces of paper that he then sold to any printer who wanted to print images onto the paper, in his name. He could care less what was printed onto the paper because at this stage all he was interested in was the money his name could buy him.
When outside-values start to pollute the Picture of Atman Art it turns into Pavlov's Art.
Pavlov's Art no more needs a brain to value or appreciate than it takes a brain to spend the money the painting sells for.
Money can only pollute the picture of Atman Art,
with Pavlov's Art the only real picture is money.
The story of this money is personified by the “most insanely manipulated commodity known to money and the IRS”: Modern Art.
-- Geza Palotas
Introduction:
This story of Atman Art does not come from any artist or art historian or expert or art critic. It comes from the stories Norman Adams' paintings bring with them out of History's Black Hole. And these stories are about a lot lot more than just art. They tell us everything there is no know about Black Holes. This includes all Black Holes. This is because these stories tell us that History's Black Hole works exactly like Physics' Black Holes, the Black Holes in Galaxies. And part of this story of Black Holes is the story about the Universal reward-inside SurrealBliss, kundalini, of Atman Art which is just Physics' Unified Field without which there would be no Black Holes.
Norman Adams could never have told us these stories his paintings bring with them out of History's Black Hole. Norman Adams could never have told us about how Black Holes work. Nor could he ever have told us about the reward-inside SurrealBliss of kundalini that these paintings not only tell us about but also make him/us feel... to tell their incredible stories, about Physics and Atman Art... the Art that starts with the Caveman and then explodes into history in times of unbridled spirituality, as it did with the Iconoclasts of early Christianity... the same Atman Art that exploded again when technology finally gave the common man control of creativity: Atman's Big Bang.
If it were not for these paintings there would be no story about Atman Art. And the story about the “greatest explosion of artistic creativity the world has ever seen,” Atman's Big Bang, would still be buried inside of History's Black Hole for perhaps as long as the Italian Renaissance was buried from History, until historians dug it up 300 years later.
Norman Adams could never have written the story about Atman's Big Bang because the story is as unbelievable to him as it is to anyone else. But unlike most of us, Norman Adams chuckles at this story because he was smack bang in the middle of it, so it must have happened.
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