The Highest Peaks Of Appreciation In Art

Come forward with precise ideas about the work you intend to bring to life, in the sense of finding the most expressive form of uniqueness that will define it.

Sergei Eisenstein starts shooting with precise ideas on the work to be done with a clear vision. It is his first sound film and he seems to want to apply the products of the whole theoretical meditation in recent years. Although he starts without sound equipment - it should have appeared only in Kharkov – he shoots all the time taking into account the sound solutions of each scene.

He explained his collaborators: "During the montage this episode will be treated the same way as a composer works on a run on the voices. The material we shoot now is just one of those voices. Most will be used for rear projections and transparency, while close-ups will create a second voice in the foreground... The third and fourth voice (or theme or reason) are the sound - sound and words."

The whole audio-visual construction of the film - and every shooting follows it - is intentionally making a sound film become an expression of specific artistic form and the psychological expression of reality. Likewise, towards finding the most expressive form, the sets are built: sometimes within exaggerated perspective lines, sometimes stylized with metaphorical intentions.*

Can you justify the development of an “update setup” by means of subjective elements that give originality to the way the reference composition is approached?

The content of art expands not through what results from the blending or union of multiple forms of creation, but through what thought can offer originally, in relation to an axis shaped by the resultant of forces acting simultaneously: a force of structure, a force of transformation, a force of continuity, and a force of valuation. And the fulfillment of artistic potential is not merely a form tied to objectivity, offering certainty, but also one derived from the subjectivity of what is considered “significant,” from the activation of what can be expressed in another form, and from the acceptance of what we call projections of the imagination.

Total art, intended to unite new contrasts within the form of expression—contrasts that allow a linear approach to the relations between concepts and notions, under the effect of parallel inspirations converging at the stable reference point of creation—calls for a certain freedom of spirit, supported in a sense by the search for the absolute. Above all, it calls for a certain independence in the face of a reality that neither hears nor speaks, yet keeps opening ever further beyond appearances (which distort the perception of what “improvement” means) before those appearances become permanent.

In this case, the “update setup” reflects an intensified tendency to connect elements of novelty, pushing the boundaries of what can be achieved through science even further, at times by exaggerating the perspective from which things are viewed—somewhere between intuition and logic. This setup defines and outlines the work of creation, contributing to the generation of anticipations and predictions regarding elements of expressiveness through the addition of a blend of innovations that facilitates the discovery of laws, correlations, and relations between meanings and forms, all conceived with rigor.

Creation, as a psychological expression of reality, results from bringing separate elements into relation, thereby generating the framework for the formation of an image that answers the question: “How did we get here?”

Starting to achieve an "update setup" with some subjective elements that confer originality of treating reference composition actually means trying to express an idea suite adjusting its effects by doing research on how it can be enhanced and exploited at its maximum. In short, it means easily adding extra value to your creation because of the rarity and uniqueness provided by thinking that seeks for itself, which introspects, always formulating new findings and interpretations.

Finding the form of expression of personal identity, through the idea linking productively two distinct worlds of art - vision and interpretation - by deliberately exploring theoretical trends, starts where the intention is manifested not only as a lost connection between thoughts and questions, but as the essence and structure of a work that is required to be investigated before it is shared.

The appreciation you deserve represents an added measure of respect for your authentic involvement in the act of creation, even in the absence of the work’s final form.

The Highest Peaks of Appreciation in Art dominate everything you try to project on others, everything you try to convey through creation, in order to meet the clearly defined and recognized self-imposed performance criteria. Appreciation is a form of respect for what you do based on what you are.

* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.