Axioms and theorems

 

The act of thinking is inherent in the act of creating: the creative is an impostor, a speculator who plagiarizes the smallest nooks and crannies of the creator, the only true master of renewal, of what art should be without the mess of what is too often presented to us.

Oniroscopism is. Oniroscopism is the truth cheated as it should be.

Oniroscopism misleads and thwarts, deceives and abuses: things photographed, written, set to music or composed are what they are by no longer being, identity is no longer what we think it is.

The Photographic Work of San Damon is a symbol, a disordered allusion to identity; his entire work is a question about identity whether or not there are characters; a kind of mirror effect that complicates the work as much as possible is detailed by the one who scrutinizes it, the examination seems to be that of his own identity; Damon forces us, looking at his works, to stare at the intruder that we are, to grasp ourselves; the question that he raises : Who are we under the masquerade ?

This is necessarily addressed during the intervention in a character work, but not only.

The example of a tree photographed by Damon remains a tree in terms of its architecture but the atmosphere and its surroundings are disrupted, its colours are converted and mainly converted in an unexpected way.It modifies the perception of what we have in memory, our references force us to find what we understand, what we love, and loving something else is not so easy. this aestheticism can only subjugate us; whether it likes it or not, the human being first meets criteria of beauty and some of them are universal.

If we first approach the main precept of photography, light, we can clearly say that San Damon's oniroscopism has its own. the scope he gives it is more than surprising, he manipulates it with an uncommon dexterity. we find it where it should not be and it is where it could not be, it is disorganized.

Let us think of the colours which are mainly declined on tones going from ochre to the earth of Siena or from blue to black while passing by subtle and fertile intermediate nuances. a work of Damon is often underlined of black whose depth is rather rare. the reds and yellows are voluntarily inaccurate. the resolute intention of oniroscopism is found in the memories, in the desires and perhaps in the primary fears which remain us. a work of Damon is psychiatric ?

The objects and subjects, if they are concrete, seem to us as if they are in suspense, but on the other hand, everything that is abstract seems surprisingly palpable to us, a kind of magic of the photographed subjects invades the viewer, the familiar, the ordinary, the common of things is modified without us knowing how and above all why, and perhaps we go further, why are we absorbed in them? Why is it that we rest there without fear when there is danger? But danger is probably not always a threat.

To think about angles is to think about what you know except....if they too, which at first sight seem "normal", manage to deceive the observer of the work, to lie to him about what he knows or how to cheat without him noticing when the doubt is permanent, let us say, obvious.Mastering as well as inventing false perspectives, unexpected counter-plunges or deliberately inappropriate close-ups, it is a certainty, whether it is an isolated or united element, that one immediately recognizes a Damon work, an oniroscopic work, his signature is itself.

The oniroscospist text is an entity in itself, the notion of concept here would be wrong or not sufficient, the being creating a word by giving it a meaning, or the act of a statement that can be heard by others as different from its initial etymology, this being is made of oniroscopism, the words under vowel tension are thrown out of their forms, we understand an intention, an emotion, a disorder, calm and exciting at the same time.

Their prosodies support the notes at a given moment, we must not be able to detach ourselves from them, neither of them, they are the essential elements that found this art in general and under its written language. we could say that in oniroscopic poetry a word is a color; besides that, there is the general staging of the scopism, in other words, of the movement.Then comes the dialogued scenario, the oniros, in other words, utopia, dream, nightmare, first the words, alone, sometimes sentences said whole or not, to suggest but in the sense of imposition, no consensual freedom to the listener.

 

Oniroscopist music is not or no longer acoustic or concrete music, because it is too far from the hubbub of the latter, the melodic line is aesthetic and owes its omnipresence to its omnipresence, it brings a veracity to the work, like oniroscopic words and images, it is held by its own ideology, whether one is in a dream, fantasy or rigour, it leads us to conceive accidents, but are they, like any beauty.

The first oniroscopist symphorapsody consisted of fifteen movements, which were thought to be dissociable by listening to it ?

They would then be universal by and in their genesis, but in this case we would leave the field, the whole field of oniroscopism, the abstract reflection or judgment would be reduced here to an intellectual understanding, to an almost isolated opinion.

A kind of aborted gestation of its main substance, its space, the essence of time and art, its celestial vision.

In oniroscopic music, and only in a certain aspect, a second character, a classical face with an antinomic perception, enters.

San Damon founded Octobery Théorème, this uniquely musical conception is housed in the oniroscopic building he created... The metaphor fits perfectly... and the building is transformed into a skyscraper.

The word symphorapsody, "symphony and rhapsody", is not an illusion.

Orchestration is thought of here as a symphony with its tonal system and diatonic scale, which follow a course that seems logical at first glance, when a dissonant compound conception occurs between the notes giving the impression of instability and/or annoyance, while the dodecaphonism dear to Arnold Schönberg or Anton Webern remains at a distance, and an even different approach is brought here, certainly by a series of notes emancipated from the tonal system, because a different approach is involved, which carries it musically, strange words spoken.A poetry derived from Damon's texts but not interpreted in its entirety, words are like sounds that espouse or partition the tonal composition, the meaning is coherent, the urban sounds that intervene throughout the work are formally incoherent but the whole oniroscopist symphorapsody, and this is what is disturbing, becomes coherent again.

 

The success of this work undoubtedly comes from the fact that San Damon, who composed these fifteen movements, made it by ear in total anarchy and forced the musicians to bring contradictions, breaks in rhythms and inappropriate passages onto the scope.The compound segmentations bring another perception to this strangeness that is the oniroscopic symphorapsody: a feeling of well-being and depression at the same time, one not being incompatible with the other, invades the listener with this fantastic impression of being able to touch by hand the rendering of the final work as if the abstract were transformed in matter.

We can say that at times when all the elements of oniroscopism are combined, we seem to perceive a color for an instrument, a variant of this color for another instrument of the same family, a word for a color, a synonym of this word for a declination of this color, a word meaning a note of an instrument conjugated to a color or its variant, or a word and its synonyms related to an instrument and its scales.An instrument coupled to a color and/or this color would be signified by different words or a photographic work to a sentence supported by a series of chords and harmonies... In short, it is infinity, it is a chess game, dear to Damon, where 64 billion possibilities are made of all majesty.

Abstract value is a notion included in oniroscopism and therefore in San Damon's creative act of it, if he feels the desire to do so, and consists, in photography only, in obtaining a series of photos, or even a single, rarer photo, from a photo that is initially exclusively concrete to a photo that is no longer so.This is a first because it is frequent that a photo is made abstract by the opening of the shutter, by the play of the focal length or by a movement given to the camera... Here, it is not a question of this, but of a real calculation of manual transformation to obtain it.

San Damon often presents them in series because it goes through different complex and clever variants.

The "philomusical" doctrine of oniroscopic symphorapsody consists in particular in the development of the system that Damon developed for it, in other words, he theorizes by a theorem, a composite, heterogeneous demonstration of what the evolution of symphorapsody can become by an approach of slow transmutation, acoustic revolution, metaphor in continuous expansion.His textual narrative must, says Damon, remain identical so that the notes find another way, so that the arrangements are in perpetual imbalance, so that they can wander into "something else", in a movement of unexpected progression.No immobility in this oniroscopist symphorapsody, no waiting for an ear and especially not any note statement too often used in contemporary music or its whore, acoustic music, multiplying the nonsense of infertile pseudo-composers, let us think about how the same work can perpetuate itself by metamorphosing itself, thus disrupting the canons, keys and uses of music in its theories.The axiom and theorem of the possibility of oniroscopist symphorapsody in its syntactic, inventive and innovative morphology lead to a thought, a design whose aesthetics must be infinitely present.

The oniroscopist symphorapsody that was given in the arena of the Brussels planetarium theatre testified to what she has of a tale about death and suicide from San Damon's photographic works.

All the texts, left voluntarily absent in this version, tend to prepare us for the following ones, sung or not, and where the essential part may be elsewhere than where we expect it to be... The magnificent idea of multiple junctions, knots and/or intersections promises as for the final creation of the five phases a unique work.

The oniroscopic symphorapsody is undoubtedly a dream about death and madness from San Damon's photographic works.

All the texts, left voluntarily absent in this version, and poems address or touch these subjects through metaphors of existence, the objective of this first version being to pass through notes, music and its influences on emotion and then, little by little, to enter into the second version in order to bring words into being.

The "textualization" by its very essence imposes a meaning, which is less explicit by abstraction, due to personal interpretations of the musical composition.

Damon's fifteen movements begin by approaching in an unexpected way, as if to put the listener at ease, but already bully the one who is watching since a magnificent monkey has appeared on the giant screen.

Sitting and peaceful, he has behind him, on his right side, an immense forest with a mainly magenta tone, the plot arises, as if from the depths of this oniroscopic forest, and by metaphor, from our primal memory, howling and oppressed bodies.On the other hand, it is clear that we can distinguish modern Rome, New York, a representation of excesses, at least for some people, this atmosphere, this decor is explicit and gives in translation the place where we were born, with already the human being in all his mediocrity, and the place where we live where so many things are to say that there is nothing left to say about it.A gun from outside the work, and this is the first distress, because it may be the monkey himself who is holding it to his own head, enters the scene, but the real issue is not only there, from its peaceful side, it is his gaze fixed on the one who looks, who assigns incidence.The fifty billion animals murdered each year by the handsome human being arrive in your face, and even the least sensitive are disgusted by who they are... The reason holds for them in any case by this clever detail, the eyes of the monkey belong to one of ours... They are human eyes who judge you for this genocide.

The opening is based only on sound effects arrangements, which are at first understood as familiar and which are only evocative of the texts, which is one of the reasons why the entire texts and arrangements are from San Damon, the coupling can only be done by intention.Then follows the introduction, a heavy piano, with notes that herald the tragedy, is slow, imposing itself to protrude, strike, hammer and finally take off in a brief intensity, without falling back, the first movement blooms, October Night, which consists in establishing and distorting the tracks both in photographic, textual and musical terms.

The purpose being, when the three elements are combined, to discover other reasons for the evocations, the fundamental aspects are understood alone, but it is together that they give meaning to individual perceptions.

If we take the second movement, Upper Side West, which is a journey into mental imbalance through a neighborhood that in reality is called Upper West Side, the voluntary inversion also applies to texts wandering between thoughts of the past, the past never lived, only evoked by others, the past wounded by grief or the past modified by memory that refuses to restore the facts as they have happened.

Reflex, third movement, is a game between the multitude of human "reflexes", those of thought, body, gesture, fears, in other words, the lived, conscious, unconscious or subconscious of its intrinsic nature, but San Damon clearly evokes the game of the instantaneous.Photography is always a snapshot, but it lasts forever as the reality of the moment, and the evocation widens even further when we know, apart from the common sense for the camera to be a reflex, how much the photographer is one of the few, if he wants to constitute the success of his project, to have to seize this moment as the only one possible.

Luxury Overdose plunges the one who understands it, almost the one who wishes it, into pornography. Its meaning is expressed here in a varied and heterogeneous way, it retraces a face-to-face, a kind of throwing of ideas between the three partners... A sexouze where enjoying would not only be the objective.

Another wandering, all in subtlety and filth, follows this fifth movement, Jerry Slan, a character from the tortuous brain of a Damon who no longer skimp on this fifth approach to vomit everything that passes under his nose, the anagram is a magnificent find, these works as unexpected as ever intertwine objectivity and imagination, the tale is a dream, allegory, a violated convention and the fable continues its way for thousands of souls in agony.

I'm in a rush, the musical audacity is arbitrarily placed, we take a violent return of Damon's arrangements that he submits to his text, in order to "upercut" the mass of oniroscopic images. we turn from one side to the other by a slow and aesthetically beautiful melody for a chopper disgorging words, notes, images. he restores by expelling what we were no longer expecting.

The seventh movement, A dream again, is in fact a nightmare, a morbid and constant hallucinatory appearance; it evokes in writing Jack, a psychiatrist who believes him only through his learned conceptions; a psychiatrist who ends up being afraid to follow him in the labyrinth he has built around different thoughts and where suicide, death, schizophrenia and their incarnations are "living" characters.

The eighth movement, Cat's Steps, is first of all a game he leads with these loves: we see cats playing, coming and going, running, squabbling, sleeping from the sleep of intelligence.

On the road US.466,the ninth movement, is also a road well known for having at the Fresno crossing and Bakersfield is the subject of a novel of the same name. here, death is playful, does not win, then yes, then bof.......... and the game continues.The theme seems to give accelerations as if, sitting with your ass in a low car, you could see a scenery from a truncated point of view and faster, faster than the tempo and where the damonian images scroll one over the other, rubbing, cracking and leaving at a speed in the wind.

Animals, tenth movement, the text and music are a heartbreaker that from the beginning grabs your throat, tears submerge unceasingly... We feel such shame to be this human being who massacres the animal to which we have invited ourselves and to whom we have taken everything.The etymologies of the words "bestiality" and "animosity" should be changed to those of "humanity", and vice versa.The text and the music finally show us this ridiculous human-killer: the animal is here the one who questions the so-called superior being, his confusion to be the only being in this world to have to suffer without ever being able to defend himself, the hope, out of obligation, in the one who claims to have that heart of which he speaks so often, the fear because the assassin is above all a barbarian, the death that he distributes according to his imbecility, to finish by the utopia of a freedom that this assassin already no longer has himself.

Puzzle, eleven movement, protest text and music that makes him understand, against the obligatory identity, the big brother in person, bursting with laughter at the corner of his cheeks, takes a lot of trouble, the character of the text distracts himself, fools himself, deceives himself until he abuses the constraints of society.

Onirosman is the construction by images, texts and music of a great mess in the middle of a chess game, where the characters clash, betray each other, human of course.

The bubbles is the sequel to the escaped chess character who spends his last night knowing how he will kill himself and end up hanging himself, the only way to be sure to end it without fear of being caught again.

The circle, fourteen times political, fourteen times seeking in the same movement the exit, run away from the bipedal mind.

Spleen my love, the fifteenth and last movement is combined in a false repetition of the theme for a text of great disillusionment where death by suicide is preferable to boredom. the theme returns seven times, gets excited three times, calms down once and leaves again in an alienation, a monomaniacal disorder of a very great aestheticism one last time. sang, the theme should return fourteen times, a magnificent challenge, clearly overcome.

The segments that unite the movements are sometimes evocative of the main themes but played in a different configuration.

San Damon speaks of segments when it comes to music: these segments take the name, when he leads us into his photographic works, of abstract value, yet they are indeed at the origin of the so-called clear photos presented in the previous movement, but playing with the old-fashioned development, he overexposes or, conversely, distorts the movement or movements of the said work or part, saturation, desaturation, includes a density specific to black and white or involves some chemical acids and this in the same work.

Astonishing result, in the domes of planetariums the effect is prodigious, the works fall on the viewer by the zenith, surround him, cover him... New York captivates again under an aspect necessarily unknown.

"Zero humanity", the name of the first phase, or the joyful observation that imposes itself in an undeniable realistic vision.

The margin and the apprehension of colours, as Drieu la Rochelle would have described them, are there, thinking, in an inevitable but delighted despair, a kind of melancholic sorrow, a kind of sticky decisive going straight to the right note in a contradiction of the games, the nuances and a feverish density.

The colours of oniroscopism created by Damon in 2004 are probably derived from parts of Hering,Maxwell and Grassmann's theories that during the 19th century long theorized about fundamental colours, saturation, density and luminosity. San Damon believes that there are no fundamental primary colours, but simply primary colours that are more practical than others.

Johann Wolfgang von Goethe, at the same time, states that only yellow and blue are perceived by us as entirely pure colours, yellow is the gateway to light and blue the gateway to darkness, these two opposite poles between which all other colours can be ordered.

It seems that oniroscopism approaches these deductions at times, one has the feeling that Damon has exploited the aspects of metameric colours with great dexterity. the play of light by an architecture with particular axes gives a perception not always perceptible to the naked eye, hence the metamerism.

As observed by the same Gœthe, the same light had a yellow dominant in front of a white background, then a bluish dominant in front of a black background, just as white paper brings a natural light source and a strength to colours.

Oniroscopism violates the balance of the poles, the almost indescribable variants mix and tear themselves away from the evidence, from habits, from the conventions of what our eye expects and from the world of colours that surround us.

It is a conformation, a gait, an allegorical and mystical outline of the color gushing from oniroscopism.

To quote Thierry Lenain (aesthetician and art theorist at the Université Libre de Bruxelles, "extract from the documentary film,San Damon oniroscopism") on the rendering of time that San Damon develops...... And so, in the face of this difficulty of living time, the images of San Damon, in my opinion, can help us a little bit... Already by showing this polymorphy of time.And I believe that this polymorphy of time which is in a certain way demonstrated by practice, through the art of San Damon, is a good thing since it offers in a way a possibility of choice, (...) all these photos are indeed photos, what is more, silver photos, of a kind, it is true, quite special, but which do not prevent us nevertheless from making a visual recording of a state of things which was there at a given time and in a given instant.(...) And what is quite remarkable about this work is that this photographic illegibility results in a great plastic power, that is to say that we are almost there in a kind of abstract painting (...) so something organic and spontaneous, which reminds of course of gestural painting, action painting... Here, we can say that San Damon works as a gestural photographer.