Painting With Sound, Playing With Color
For example, painting, architecture, and sculpture are both static and objective: "these are above all forms; their universality is an objective symbolism of of these forms."
I don't remember much of the art classes I took in college, but I do remember analyzing various masterpieces for the balance and harmony of elemental forms beneath the image. If I'm not mistaken, abstract expressionists such as Kandinsky were aiming at revealing the "form of form," or pure form, so to speak.
Better look it up: Kandinsky "developed an intricate theory of geometric figures and their relationships, claiming, for example, that the circle is the most peaceful shape and represents the human soul" (wiki).
But in Kandinsky's case -- and contrary to Schuon -- he was specifically aiming at an art that was dynamic, subjective, and musical. According to the wiki article, he related the act of painting to creating music, writing that "Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul." Indeed, "music is the ultimate teacher."
The article goes on to say that the influence of music was very important to "the birth of abstract art, as [music] is abstract by nature -- it does not try to represent the exterior world but rather to express in an immediate way the inner feelings of the human soul. Kandinsky sometimes used musical terms to designate his works; he called many of his most spontaneous paintings 'improvisations,' while he entitled more elaborated works 'compositions.'"
If there are visual artists who compose music, are there musicians who paint in sound? Miles Davis comes to mind. He really uses the trumpet like a paintbrush.
Now, this is interesting: "Kandinsky felt that an authentic artist creating art from 'an internal necessity' inhabits the tip of an upwards moving triangle. This progressing triangle is penetrating and proceeding into tomorrow." Or, one might say, into the vertical.
The artist/prophet "stands lonely at the tip of this triangle making new discoveries and ushering in tomorrow's reality. Kandinsky had become aware of recent developments in sciences, as well as the advances of modern artists who had contributed to radically new ways of seeing and experiencing the world."
More generally, Kandinsky "compares the spiritual life of humanity to a large triangle.... The point of the triangle is constituted only by some individuals who bring the sublime bread to other people. It is a spiritual triangle which moves forward and rises slowly, even if it sometimes remains immobile. During decadent periods, souls fall to the bottom of the Triangle and men only search for external success and ignore purely spiritual force."
Sounds to me like what we call (↑), which is the spiritual aspiration that penetrates O and is met by (↓). In fact, I used a quote from Kandinsky on p. 94, which was just perfect for what I was trying to say about genetically human animals evolving into the transcendent and nonlocal space of true humanness. He is talking about the development of his art:
"I was like a monkey in a net.... only with great pain, effort, and struggle [↑] did I break through these 'walls around art,' which like that of nature, science, political forms, etc., is a realm unto itself, is governed by its own laws proper to it alone, and which together with the other realms ultimately forms the great realm [O] which we can only dimly divine."
This (↑) is the "inner necessity" of the striving artist. It is is for Kandinsky the principle which facilitates "contact of the form with the human soul." "This inner necessity is the right of the artist to an unlimited freedom, but this freedom becomes a crime if it is not founded on such a necessity. The artwork is born from the inner necessity of the artist in a mysterious, enigmatic and mystic way, and then it acquires an autonomous life; it becomes an independent subject animated by a spiritual breath." It is the fruit of what we call (↑↓) or O→(¶).
Recursive Cosmic Fractal or Great Attractor? O generating ʘ reflecting O attracting ʘ: