real

Because it is hopeless to try to shake off an excommunication only by saying that we’re damned by blacker things than ourselves; and that the damned are those who admit they’re of the damned. Inertia and hypnosis are too strong for us. We say that: then we go right on admitting we’re the damned. It is only by being more nearly real that we can sweep away the quasi-things that oppose us. Of course, as a whole, we have considerable amorphousness, but we are thinking now of “individual” acceptances. Wideness is an aspect of Universalness or Realness. If our syntheses disregard fewer data than do opposing syntheses–which are often not syntheses at all, but mere consideration of some circumstance–less widely synthetic things fade away before us. Harmony is an aspect of the Universal, by which we mean Realness. If we approximate more highly to harmony among the parts of an expression and to all available circumstances of an occurrence, the self-contradictors turn hazy. Solidity is an aspect of realness. We pile them up, and we pile them up, or they pass and pass and pass: things that bulk large as they march by, supporting and solidifying one another–

And still, and for the regiments to come, hypnosis and inertia rule us–

Charles Fort, ‘The Book of The Damned’

history and realness.

hypnosis and the death of history, and the end of shadows

pencil and sanguine in sketchbook, a5, 2013

pencil and sanguine in sketchbook, a5, 2013

landscape n masonry.

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2 thoughts on “real

  1. Pingback: In the beginning | On art, painting, and ... anything else

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