"Wang Daxun Aesthetics", The Art of Mankind (52)

Without such a profit or loss, there would be no externalization of information and storage to social systems. The difficulty of artistic creation is not the difficulty of awakening and stirring up the extraction of pre-conscious images and emotions, but the difficulty of moving out to the consciousness level, that is, transforming into a rational form, and the difficulty of transferring and storing words with the materialized and solidified form of the smallest personalized profit and loss to the social system. And all this is the difficulty of transforming what Su Dongpo called "bamboo in the heart" into "bamboo in the pen". However, the materialized solidification of the transfer to the social system and the separation from the self-phase contain the form of experience containing individualization and emotion become art, while the untransformed content is only an emotional stream of experience for the individual to enjoy himself. Mental image mental sense can only affect the self can not affect others and society, externalized mental image can affect both the self and others and society, the mental image of the heart is immediacy and living, at any time and at any time to extinguish, with the activity of the living body and the existence of such activities disappear and disappear, with the existence of the living body and stored in its heart domain, but also with the death of the individual, that is, the demise of the individual heart domain and the demise. Art, on the other hand, is the overcoming and elimination of the limitations and defects of the above-mentioned existence.

Art has a temporal nature because the symbols and words of the physical existence that it penetrates into and moves into are timeless. The perceptual experience forms of personality, such as apparent imagery, etc., are stored or floated in the pre-conscious mental system, and their existence has three limitations: First, for the emerger, the perceptual content of its current awakening experience is both dynamic and instantaneous, if it cannot overcome its immediateness of the present, the information and emotional content it feels can only be disposable, non-repeatable and non-transmittable, and will end with the end of the process, disappear with the disappearance of the process, and such a process is irretrievable. The second is that the active pre-conscious system in which it is stored is identical with the active existence of the human body, and it is also as limited and defective as the living existence of the human body. Although such storage has the characteristic that the unit is extractable and repeatable, the emotional flow process of the connection association as the individualization of the element is non-reproducible and non-repeatable. I can repeatedly extract and use my image units and elements, but I cannot re-replicate and experience the process of personally connected associations they once had; there are no two identical leaves in the world, nor are there two identical streams of imagery and emotion in the world. A process of passing images and emotions is inherently irretrievable. Third, the subject can store his immediate personalized images and emotions of perceptual experience in his pre-conscious system to overcome the defects and limitations of his present immediacy, but this overcoming is extremely limited, because the existence of the physiological and psychological systems of individual activity in both time and space is limited; that is, the physiological and psychological existence of the individual is cyclical, and when such a cycle ends, its physiological and psychological system will be lost, and the perceptual activity of all the images stored in it is the individual experience content of the perceptual activity. It will perish with its loss, and it will perish with its demise. Obviously, the symbolization marked by rationality and materiality and the art form with it as the carrier are the comprehensive overcoming, elimination and transcendence of the limitations of the above three defects.

It is precisely because of this that art acquires the infinity of the existence of time-space, that is, the characteristics of not existing with the existence of the living body, nor dying with the demise of the living body. The so-called eternity of artistic existence is the dual characteristics of its physical existence and social existence, the former enables it to achieve effective separation from the living body to transcend space-time, and the latter enables it to achieve storage, that is, transmission, reproduction and sharing in the social system to transcend space-time. Symbols, words, are rational and material, but also social, and these three are also characteristics of art. The content of art is individualized experiential sensibility, soft and active warm, and the form it represents, the material symbol of rational sociality, is the hard inactive basket. Only when all perceptual empirical content is loaded into such a basket can it be materialized and rationalized, and its transmission to others can be transferred and stored to the social system. In this sense, everyone can become an artist, because everyone has the generation of individual perceptual experiences, the flow of pre-conscious images and emotions. But from the latter point of view, most people cannot become artists, because individualized perceptual experiences are easy to generate and easy to feel, but they are difficult to transform into rational symbolic forms of materiality, that is, difficult to express or accurately express the feelings in their hearts. Just as everyone can see bamboo, everyone has the bamboo in their eyes, and everyone can generate the bamboo in their hearts, but not everyone can draw the bamboo in their eyes.

The artist can also be called a craftsman, who is good at generating the image in the eye and the image in the heart, and also good at expressing the image in the center of his eye. The so-called process of creation is to generate both the image in the mind and the image in the heart, to transform the perceptual elements felt in the mind into conceptual words in the form of symbolic and lexical material audio-visual forms, and to transform the non-temporal and spatial forms of the perceptual elements and their interconnections into material forms that are both temporal and spatial. Musicians transform it into sounds and melodies, writers convert it into words, painters convert it into colors and lines, sculptors convert it into stone and metal, and so on.

The artist who enters the creative process is a form of expression that generates mental images and mental sensations while using their respective symbolic words, connecting and combining them to form an organic rational materiality. Take the writer as an example, the process of writing is like a child collecting shells by the sea, he is picking up his beloved shells, while casually loading the small basket in the other hand, without loading the basket, he has no way to take them away, only into the basket can be taken to a far place, brought home for relatives and children to see.