§.00 Artistry is nothing without technicity, for the artist is nothing without his tools. Given that all tools are, at the first, conceptual, the ontological enterprise necessarily subtends both. Philosophy (as mental technicity) determines by way of an analysis of the haecceity of one’s muse(s) and subjects(s), which thus determines the technical venue(s) by which pertinent qualia may be internally refined and externally expressed (in art).
§.01 What is interesting to me, in light of this realization, is the way in which the artist (and not merely the designer) as a general matter, takes ontologic assertions (the real purpose of art is X but not Y), as givens, without consideration. The horror writer considers the nature of his work, but does not consider the collective, inter-generational enterprise which brought the entire genre into being and so must fail to apprehend its previous purpose(s), and thus what previously worked in the genre (what linguistic tactics to deploy) even if he has a solid grasp of its present purposes[s]). The painter does not generally realize, or, at the least, does not generally remark upon, the fact that his art is based upon the primacy of a particular privileging of objects (i.e. Futurism’s privileging of speed and the machine), if the issue is raised, such a consideration is likely to be considered trivial, when it is anything but, as the ordering of objects in a fine painting is of central importance to the purpose (whether it is clear or opaque, even to one’s self) of, not just a fine painting, but fine painting as a distinct artistic practice. And so it is with the author, the sculptor, the illustrator, the actor, the dancer and any other type of artist. Implicit internalization and affirmation of this kind should, if recognized, be given to critical reconsideration, for failure to do so can result in a concretized implicit conceptual frame, born of unspoken ontological decision (decision is not, of necessity, the truth and most ‘ontology’ is merely psychological gratification and defense)—what we might call the ancestral decision—which vitiates the very pathways by which one’s desired or considered art would, in their absence, profligate.
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