Photogénie - A Definition
Quick Thoughts: Photogénie
A consideration of the morally enhancing image.
I feel I have been profoundly fortunate in my few years, fortunate enough to have learnt much from life, being, reality, the world I live in. In the spirit of melodrama, art as embarrassment, I feel urged to voice one of my most precious lessons: there is no beauty like that of something you helplessly love. That something may very well be a someone. What one can learn from this someone is seemingly infinite and unfathomable. Indeed, one would be lucky to spend a lifetime attempting to learn from this someone. Maybe you understand this.
It is the confluence of love and beauty that can produce incredibly profound affection. Why is this? Why does the mind's eye burst with euphoria upon the sight of a love's eyes? It is the concept of photogénie that brings us close to an answer. We have explored this concept many times before. Here is just one post. My most recent revelation concerning photogénie also concerns the ethereal impact that love has on beauty. Photogénie is indeed a moral process. It is the morality of photogénie that forms a nexus - a fabric. This moral fabric binds reality to something estimating Tao and the realm of the archetypes. That is to say, objective existence can be aligned with transcendent, inherent meaning when morality (a combination of ethic and heart) completes the puzzle. In this sense, photogénie is a phenomena of the eye and psyche - it is not bound strictly to cinema. Cinema, however, with its burgling eye and narrative is a prime place of simulation upon which reality may be aligned with Tao. Cinema is then a place of moral evocation; cinema demands morality and functions upon its assumed existence.
What is and is not moral is not an easy question. Cinema has an inherent capacity for pornographic manipulation. That is to say the moral fibre of photogénie operates in pornographic imagery (it works intensely). Alas, the morality displayed - the meeting of ethic and heart - is veiled in shadow. This shadow can make reality irreconcilable with truth, fact too harsh to be meaningful. Such is a dizzying phenomenon. Truth is cleavable into truth and meaning. Meaning has a moral function. Fact needs this not. Pornographic photogénie operates with morality based on fact: the body may be aroused, the body may be used. Photogénie of a higher function utilises moral meaning; truth resonates with more than fact - a progressive Tao, not a still one. Fact is static, meaning moves; it moves the universe towards higher transcendence. Higher photogénie facilitates this cosmic activity in the human cavity. When beauty is love, when love is beauty, ethic and emotion may find alignment, a kind of bliss or nirvana made tangible. Cinema seeks this. It must.
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A consideration of the morally enhancing image.
I feel I have been profoundly fortunate in my few years, fortunate enough to have learnt much from life, being, reality, the world I live in. In the spirit of melodrama, art as embarrassment, I feel urged to voice one of my most precious lessons: there is no beauty like that of something you helplessly love. That something may very well be a someone. What one can learn from this someone is seemingly infinite and unfathomable. Indeed, one would be lucky to spend a lifetime attempting to learn from this someone. Maybe you understand this.
It is the confluence of love and beauty that can produce incredibly profound affection. Why is this? Why does the mind's eye burst with euphoria upon the sight of a love's eyes? It is the concept of photogénie that brings us close to an answer. We have explored this concept many times before. Here is just one post. My most recent revelation concerning photogénie also concerns the ethereal impact that love has on beauty. Photogénie is indeed a moral process. It is the morality of photogénie that forms a nexus - a fabric. This moral fabric binds reality to something estimating Tao and the realm of the archetypes. That is to say, objective existence can be aligned with transcendent, inherent meaning when morality (a combination of ethic and heart) completes the puzzle. In this sense, photogénie is a phenomena of the eye and psyche - it is not bound strictly to cinema. Cinema, however, with its burgling eye and narrative is a prime place of simulation upon which reality may be aligned with Tao. Cinema is then a place of moral evocation; cinema demands morality and functions upon its assumed existence.
What is and is not moral is not an easy question. Cinema has an inherent capacity for pornographic manipulation. That is to say the moral fibre of photogénie operates in pornographic imagery (it works intensely). Alas, the morality displayed - the meeting of ethic and heart - is veiled in shadow. This shadow can make reality irreconcilable with truth, fact too harsh to be meaningful. Such is a dizzying phenomenon. Truth is cleavable into truth and meaning. Meaning has a moral function. Fact needs this not. Pornographic photogénie operates with morality based on fact: the body may be aroused, the body may be used. Photogénie of a higher function utilises moral meaning; truth resonates with more than fact - a progressive Tao, not a still one. Fact is static, meaning moves; it moves the universe towards higher transcendence. Higher photogénie facilitates this cosmic activity in the human cavity. When beauty is love, when love is beauty, ethic and emotion may find alignment, a kind of bliss or nirvana made tangible. Cinema seeks this. It must.
Previous post:
Kevin Hart: Irresponsible - Return To Form
Next post:
Pet Sematary - A Tragic Failure
More from me:
amazon.com/author/danielslack
