Wake up, neo … the matrix, AI, and the ancient pintal atenian painting

The ancient painting atenas

The technical skills to imitate reality as a yard where the best Greek and Roman artists are judged. Again once more to Pliny’s Natural HistoryWe heard the two most celebrated painters in the early decades of the fourth century BCE. Real-life life commonplace In their day, old Master Zeoxis in Heraclea and Hotshot Parrhasios in Athens Locked horns of an artistic opponent can solve only a public duel in paints. The award for most life art does not judge, However, by appealing to a fickle public vote, but by far more known and unstable tests:

Matthew Mician: Zeuxis and Parrhasian competition (Frankfurt, 1619)

They say parrhasios are attracted to a competition with Zeuxis, making a picture of the grapes true, even birds hanging on their wings about his wings scenes. For his part, the parrhasios make a picture of a curtain like zeuxis, which is proud of the birds’s approval, called the curtain return. He knew he was duplicated, Zaxis accepted the defeat of fair and square, saying that as he deceived the birds, Parrhasios deceived an actor.

Pliny the elder, Natural HistoryNow 35, Chapter 36

Eva and Adam’s cheating (Hardham, Chancy Arch West)

Pliny’s Parrhasios’s curtain story is the earliest recorded example of a deliberate fraudulent painting. Putting their own work within this delicate tradition of Greek artists, Moram Malalist is happy to borrow a famous curtain figures as a way of showing life Eva and Adam’s cheating for a modern audience. the you to be a mad zeoxis, to give up a hand to pick up ‘apple’ from the serpent? Once again, the illusion pulls us out, not just visually, but physically playing us with the drama. We are the hungry mouse of Sosus’s famous mosaic In ancient pargamon that cannot stop the seizure of the forbidden feast of the trompe l’Eil. After several centuries these mind mechanisms we still continue to stimulate artistic satisfaction to beat the nature and limits of understanding.

OLYATOS Ohanaitos: ‘The unstable floor’ Rome, Villa Hadriana c. 135 KP, After Sosus in Pergamon, 2nd century BCE

This is not a curtain: ‘It’s not a curt’

Parridge with parrhasios is like proudly zeuxis, we want to return the fabric to find out ‘truth’ it hides, just to keep our hand on the wall. We may expect to be fulfilled spiritually, driven, even with the holy images, the windows of birds, like birds of birds with delicious grapes. However, the artist artist breaks our beak, adopted Parrhasios’s ruse to show us no Saints here. Only a few filled walls painted in paint. The value of art is not about owning something made with pigments and dust.

We were drawn to the play of the artist a rematch of the Great Atenian Art Duel, to know that Zeuxis stopped at the table, leaving you in his hand. In this Christian change the paint paintings we are in a warm seat, and surrounds for long stakes. The old Zuxis ruined his personal dignity and reputation by his wrong mistake when he was wrong with something true. If we get this error and reach out for the apple, the evil mistake of Eva and the wisdom of our ancient mother, who lives in our ancient father, who dwells in our gates, crying in Bitter killing of our ancient death in our ancient paradise during the Karnia and Communion of God … there is no pressure.

‘… Grapes are very true, even birds hang their wings around the scene ‘ Matthew Mician: Zeuxis and Parrhasian competition (Frankfurt, 1619), Detail

Eve, the serpent, and the apple HARDHAM, CHANCTL WALL WEST

‘The loss of visible things’

If the painting is the trap, our art involvement can also be our get-out-jail card. Fresco fresco, like an Anaiko mosaic in ancient Sosus, helps practice US to develop what is mysticy by Byzantine Symeon is the new theologian call Blépontes pneumatikōO ‘Spiritual vision’, who frees us from the problem and sentimental relationship with the view threatening to keep us prisoners.

No More Grasping and Painted Fruit: A Liberal Approach to Art, Where Paintings Aren’t Endowed With Value, Or Given A Fixed ‘Meaning, Can Open Our Eyes To An Imaginative World Beyond The’ The Light Which transcends word and thought and every created light ‘(Symeon the new theologian,’ the allegory of the prisoner ‘, Constantinople, late 10th century). Symeon’s ‘Spiritual Vision’ (as Charles Barber Written) The sacred test icon, opened the door to a new method of artistic experimentation and enlightened artistic artistic. The useless paint opens oneself in different interpretations, and to allow. Look at that window right now: Who knows what you see?

If you think that the prisoner of Symeon, who came out of the illusion that took him, began with the sound ‘The matrix’: Wachowskis’ movie screenplay but should own new blogpost.

Icons and idols

The artist work challenges contemporary orthodoxy in the holy icon in the twelfth century, but we continue to deal with our own challenges of the icon today. Our excitement for CGI avatars allow production companies to keep the creation of the life of loved musicians and actors. Pop and screen idols such as Abba and Harrison Ford Recently adjusted to images offering a willing audience of the desired impression that we are blessed in the presence before ages, the Saints in our day.

Our vulnerability and easy affection for image can also lead to problems. Informative AI information can make public numbers and politicians to do and say unexpected things, acting bad and sometimes compromise scenarios. The artist artist asks us: How comfortable if we allow ourselves to be consumed in this good image relationship, and our senses? If we are hoping to move from Eva and Adam we need to know and care for our spiritual hunger for a mutual range of an arbitrar it is a waste of an increase in an arbitrarily one of the most likely one

The birds put on the painted vines of Zeuxis. Unknown artist, Amsterdam 1613

slight

So we are, nine hundred years ago, and Hetham’s tromp The artist of Hetham, who often learned their role in a long and knowledgeable artistic tradition, gained themselves in an area of ​​artistic majorths of ancient Athens.

In this twelfth century remix of the dramatic and facing artwork enjoying the ancient Greece, a direct challenge to the dominant icon as a ‘window of the Saints’. Sure, people can still find HARDHAM painting ‘that is more unique and unique’ in quoting David Park .