RECEPTUAL ART

Some thoughts on "Receptualism":

Receptualism is a neologism (1970) that designates a conceptual approach to an art form that is born of an intense and critical interest in the nature of the fragile reality of minimal distance. This specific version of knowledge recognizes the power of passage as an operational necessity which eliminates all that resists it and thus serves as an illucidation of the impossibility of a fully developed nothingness. On a deeper level, however, receptualism presupposes difference as essence and ascribes eternal qualities exclusively to aesthetic and ethical modes of existence. To accentuate further the primal stature of difference, dissimilar strenghs and values are assigned to thehistorically

inseparable roles of necessity and chance. Chance is posited as an all-pervasive, living, unknowable and superior mode of reality, whereas necessity reflects and maintains only provisional and temporary versions of "living" existence. 

Receptualism proceeds and acquires effectivness by researching, exploring and exploiting the "womb" of operational necessity as a focal point for the deliverance of abstraction and reversals. It gains an ability to alter inevitabilities and to create and objectify new "ethical" life forms and values (art) by harnessing the positive powers of critical selections.

Receptualism brings to light new conceptions of "being" and breathes new life into the verb to be.

Receptualism calls the uncritical concept of truth into question and reconstructs its source of origin and investigates the grounds for its preservation.

Receptualism gains insights and gathers strengths by contemplating the presupposed and superior qualities of active oppositional terms.

Receptualism discerns the material world not as real and self-sufficient but as versions of historical necessity.

Receptualism arouses a deeper understanding of the active meaning of training where methods and means self-destruct and disappear in the product.

Receptualism denounces the blind acceptance of permanence and perfection as being the final disguises of a false search for truth.

Receptualism recognizes the propagation of the same as a falsified movement of formative activity.

 

Receptualism aspires to create an immanent state or synthesis which contains fresh formative principles that serve as conditions for the production of new meanings.

Receptualism endeavors to establish, reconstruct and reinterpret the circumstances under which admirable human potentials were led astray.

Receptualism penetrates into the reality of singular and specific standpoints and perspectives. 

 

Receptualism treats the power of a "winning combination" with critical suspicion.

Receptualism apprehends the material world as not an end in itself but as a willed product of historical pressures.

Receptualism investigates a reality that is by necessity independent from the processes that occasioned its emergence.

Receptualism perceives the only means for the self destruction of falsehoods by recognizing their temporary state of superiority.


"WEIGHTLESSNESS"

Receptualism recognizes weightlessness as containing one of the fundamental keys to meaning.

Receptualism is mistrustful of the counterfeit dignity that is the product of a weighty and gloomy way of thinking.


"UP AND DOWN UNRAVELED"

Receptualism rejects all uncritical and inflexible concepts of "completeness" and "self-sufficiency".

"Difference Unraveled - Cloth Collapsions" IV

"DIFFERENCE UNRAVELED": A "meeting place" for the liberation of chaological notions.

"CHAOLOGY" (Neologism, 1969):

A protean monism or the art of uncovering "the being" of a multiplicity of relations between forces and an investigation into that which throws light on the historical uniqueness of this "being" or "singularicity" - (refer to posters of innertube sculptures entitled: CHAOLOGICAL TOTEMS, 1971 & PROTEAN BEINGS, 1972).

re: "CLOTH COLLAPSIONS": (deep chaological relevations)

An attentive surface examination of the "cloth Collapsions" is likely to bring to light the self-evident fact that the "up and down" - "back and front" - "push and pull" dualisms of counteracting forces can never fully merge or jointly give form to eternal and unchanging laws or permanent entities.

However, the "cloth and Paper Collapsions" imply a dimension, a collapsed dimension or, rather, a "distance" in which oppositional and adverse natures and forces meet and grapple with each other in a kind of an out-of-reach coadaptive dimension where all permanent resolutions have been outlawed in advance but where entirely momentary truths are produced.

The unfolding of this indivisible, spaceless and placeless dimension uncovers the domain of CHAOLOGY, a protean monism. Its presence might be thought of as a straight "line" that both separates and binds the two irreducible "push and pull" natures, a kind of solidification whose only resolution never takes the form of a reply, but appears in a form of a unique emergence and operational conditions or the chaological linguisticities which underlie the self-induced functioning of the womb of operational necessity.

Paradoxically, we are here face to face with the unraveling of the unravelable -- an enigmatic domain of unstable force relations where all potentialities for transformations and changes find their sole operational conditions.