Un comentario en “Inhuman”

1. “Art can only arise from a consensual face to face between love and death. This human basic fear of divine union urges Man into a self study. He’s forced to stay aware of his tragic fate and transcend the rotting of the flesh, which reminds him inexorably of his doom.

   InHuman is this deeper and deeper search of the mysterious ways of our mind, the foreseeing picture of our connection to the body and the simultaneous revelation of our link to the world : the tearing apart of the mind, the spleen, this urge to test our body to feel alive; the pleasure to feel and to be. This is the mechanical and sensual expression of a dark doom, the very absence of any contingency, the stage direction of a naked worm whose random and ridiculous twisting already set up the beginnings of a definite death. This artificial beauty is a cathartic opium soothing the anticipation of the Nought.

   Resolutely apart from a morbid and suicidal outburst of the mind, the work of art is a brave will to tame death to give life a real meaning. Memento mori.

   Thus, InHuman appears to be a sensitive and developed answer to existential anxieties; the main concern for the artist is to overcome the universal trauma and to cherish Art with a spiritual spring all the more alienating. InHuman is in fact deeply human since it’s dealing with the very essence of Man.

   This seemingly dictatorship of the mind is set up in a deliberately open work of art which urges the listener to get involved in the working out of the meaning itself. The feeling linked to any artistic discovery generates images. This feeling mirrors a story and a life so clearly connected. This interpretative subjectivity, established by the work of art, embodies in fact a directed creation whose music polysemic potential is the only proof. InHuman doesn’t so much imply the rebuilding of its primary meaning, consciously or unconsciously desired by the artist, that the very rebuilding of this meaning which has to account for one of the meaningful potentialities of the work of art.

   InHuman is thus inscribed in a double cognitive dimension where the truth can only be revealed from a deliberate and permanent exchange between music and the listener : the latter enriches the work with a new meaning, each time he listens to a once unknown work. This reminder part taken by the work protects it in return from forgetfulness since time is the only way to establish the real value of art.”

   
   By Tony Leduc-Gugnalons
   

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