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THE POETICS OF ART IMITATING LIFE IMITATING ART: Continuity of Spirituality and the Transformation of Meaning
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by Edward K. Brown II

In the struggles to preserve those moments and events life has to offer, an individual within a community creates a haven to shield one's self from the inundation of perverse and oversimplified images that either complicate or debase one's tribalist perception of what is spiritual and meaningful.

The individual finds the capacity to overcome these inundations from the community by manufacturing (a collection of) images that sustain a representation of indigenous identity: revelations of nativity; sentiments (endearments) within the preknowledge of an experidyll.

Preknowledge, a previous knowledge occurring unjuxtaposed in time and space in which an individual considers an image to be endearing, is a (natural) condition of spiritual revelation that is confined in the moments happening. The experidyll is an ideal experience, a point of return to the desires and routine that are occurring and are assimilated to compose meaning for the preknowledge. Preknowledge is saved through an anticipation based on the experidyll; the individual creates a modus operandi system (MOS) to nurture time and space--motives and manners, examples mechanized within a territory of events.

One establishes a working knowledge of preservation in the event of an occasion--an interaction with other (unsavory) images. With a MOS, the individual manifests a consistency of reason, a heritage to recognize moments. Secure in this manner, the individual continues to appreciate (satiable) forms of images, in the spirit and meaning intended, conditioning the moment as it is "supposed to happen."

The impetus toward a heritage (a cognitive growth) manufacturing images that enable opportunities for indigenous identification, the individual, in the creation of a MOS, contrives a persona to fascimilate an experidyll to negate perversities and/or oversimplifications.

The MOS is an artistic prosthesis, an example that serves as a substitution of spirituality and meaning by utilizing an aesthetic and metaphor of the self, projected in aesthetic reflection in one's likeness. The Art in the MOS is created by the individual who gives an image life through the portrayal (personification) of a living being: an anthropomorphic recapitulation of identity.

Central to what is recapitulated, the individual's life (desirous and routine moments from which spirituality and meaning are derived), is the prosthesis serving as a device for the mimesis of cognitive and behavioral reactions/responses in relation to the immediate events surrounding moments of time and space. The image is preserved through a spiritual continuum of preknowledge, and a transformation of meaning (of an experidyll).

This mimesis, by the individual, of naturisms begins as a form of sentimental reverence that progresses pregressively into egotistical esteem that nurtures the occurrence of opportunity for moments that are satiable. With this happening does the fugue of art and life commence.

This fugue is the poetics of art imitating life imitating art as the continuity of spirituality and the transformation of meaning. This ronde is a series of paradigm shifts that sustain sentimental and egotistical perspectives. The fugue serves as an analysis for comparing and contrasting (monitoring) variable repetitive images--perpetual metaphors and aesthetic reflections of individual moments within communal events.

The indigenous individual is sentimental and desires to experience life as a routine self-revelations of the conditions found in nature, while the heritable individual is motivated to imitate life egotistically as mannered by the consistency of nurture, which secures conditions through self-manifestation (of examples).

Being that individuals (re)cycle indigenous and heritable identification, the concern of this essay is the mimesis that aspires toward images of nature, towards (native) sentiments, yet in doing so builds a system that nurtures images of ego. The essay will also discuss how this mimesis is the impetus for individuals to come full circle and develop relationships within a community to worship a nuance of nurtured nature.

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Copyright © by Edward K. Brown II
P.O. Box 2160
Philadelphia, PA 19103
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