AN ARTIST PHILOSOPHER IS A PERSON WHO SHAPES AND STYLES THEIR EMPRACTICAL INSPIRATION. WHAT IS ‘EMPRACTICAL INSPIRATION’ ANYWAY? MANIA? CRAZINESS? GENIUS? EMPRACTICAL INSPIRATION IS A PHYSICAL AND SPIRITUAL CREATIVE IMPULSE TO SHAPE AND CREATE CHAOS.
An artist philosopher shapes the empractical. Artistic philosophy, as it were, doesn’t only reflect or talk about ‘art’ in philosophy; rather it talks about how philosophy is shaped when it meets face to face with art. Philosophy doesn’t become true philosophy only when it’s mathematical and logical. Philosophy only becomes philosophy when it’s aesthetic. Truth simply cannot be separated from beauty. There are two types of artist philosophers: empractical and performative ones. Or to quote Nietzsche: Dionysian and Apollonian. There are artists who focus on events and others who focus on experiences. Art can be evolutionary or transhuman.
Art is living, shaped living.
Performers don’t have empractical inspirations. They set the scene. They believe you can set everything instrumentally. They are not empractical, spiritual, nor physical. They’re rooted to what they show. Admittedly, improvisation does play a minor role, allowing the empractical side to meekly raise its head, but they’re always nipped in the bud when setting the stage.
The artist philosopher isn’t only an empractical person, but also an expractical one. A person placed beyond the flow of everyday life, embodying absolute independence. This independence, this divided existence from life itself endangers him and makes him appear as dangerous. The artist philosopher radicalises the empractical and turns it into the expractical. He’s an outsider, standing above everyone else. He’s sovereign. Sovereign art is expractical as much as an aesthetic empractical element. The sovereignty of the artist philosopher is expractical determination. Borders crumbles under the expractical determination to set new ones. The artist philosopher crosses borders, his art is the bridge. The disorder of the pulsion and desires in the expratical world doesn’t need to justify itself to anyone. It’s beyond good and evil, it’s what allows us to differentiate between good and evil in the first place. Artistic sovereignty doesn’t need to justify itself with usefulness– it represents the sense of everything and everyone by not being. It is absolute.
The artist philosopher is no humanist, rather an ex-humanist, an ecstatic humanist, a nihilist, a humanist-cumnihilist. He’s decadent, goes against culture. When he hears the word ‘culture’, he takes the safety catch off his revolver. His aesthetic utopia, his metatropism, rallies against the spirit of false impressions, against the moral poison of political correctness. He fights the cancer of human empathy which infects you if you read too much of Kant’s Critique of Practical Reason. The artist philosopher rejects taboos to create new values. Prohibitions are broken to make new rules. That is a requirement. The philosopher artist breaks, he opens new doors. He’s placed on the threshold of being a criminal. His time is the threshold of time, the time of breaking and entering, the time to take off.
His sovereignty is reflected by the fact he gets the take-off time just right, he skips over time in the river of time. He jumps into nothing and meets the time of events. That’s how he proves his sovereignty. He jumps into nothing to become everything. He breaks existence, he breaks presence, he lives outside his own self to ensure he’s not just there. A sovereign is independent.