Wednesday, 27 April 2016

Dialogues of Enlightenment

Through Villa Twaklinilkawt, the dialogues of Enlightenment provide a lovely introduction to future possibilities, with the assistance of history and the digital world.  Whenever people are provided with the opportunity to develop their potential, for the good of humanity, nothing should be permitted to prevent that process.

Even when an opportunity to achieve enlightened success is freely provided, there should, in addition, be nothing to stop anyone from declining to accept.  Free will is paramount.

As any research through the Earl of YouTube's vast collection of notes may indicate, it is usually unnecessary to supply additional versions of anything already achieved sufficiently well elsewhere, in the arts, the sciences or the humanities.  Yet awareness of prior achievements is rarely known within most minds.  Even in minds aware of past achievements, acknowledgement is often insufficient and gratitude is usually inadequately displayed.

Villa Twaklinilkawt has been digitally accessible to ordinary mortals since the Adelaide autumn of 2009.  Adélaïde Labille-Guiard (11 April 1749 – 24 April 1803) ethereally celebrated her 260th birthday in the Adelaidezone in 2009, just before the first blog-pamphlet posting of Adelaide Zone Twaklin was published*.  Celestial negotiations were already well underway for the most famous self-portrait of that great artist and enlightened cultural leader to portray the Adelaidean genius loci.

(*for patrons only)

Adélaïde completed her Self-portrait with two pupils in Paris in 1785.  She was then about thirty-six years of age.  Two years later, Mozart wrote a famous little serenade in Vienna.  He was thirty-one years of age at that time.

The third movement of that serenade, the minuet, has been used for a while now as an introduction to the work of the International Training Centre for the Harmonious Interplay of Beauty, Understanding and Magnificence within Villa Twaklinilkawt.

Both Madame Labille-Guiard and Mr Mozart came from middle class European backgrounds.  They were exceptionally talented individuals whose careers were mainly supported by members of the highest socio-economic echelons of the aristocracy, including royalty.

With whom do you usually experience audiences?  And how would you describe your own audiences?

Before the 18th century, much history had obviously already occurred.  Yet most people, throughout history, have known the world only through oral history and aural history.  They have observed and absorbed the culture around them, and sometimes even the cultures of traders and invaders.

Within Villa Twaklinilkawt, Renaissance portraits have also been required, since 2009, to reflect the enlightened cultural leadership within those earlier times.  A portrait would occasionally be presented as a reference to the respectable accomplishments of talented persons of various ages, in various eras, especially when faced with political challenges.  This has applied both within the times in question and within the context of the work conducted here.

For everyone to overcome the laws of nonsense, dialogues of enlightenment are required.  Those dialogues are especially necessary if the art of election campaigns* is to be properly understood.

What does dialogue mean to you?  Do you ever have a dialogue with the past?  Do you ever have a dialogue with the future?  Do you ever have a dialogue with the real you?

Were you at the public performance here in January this year?

Many philanthropically-provided opportunities* for the development of talents, even amongst members of the public, have been supplied within this location since 2009.

Expanding knowledge of the world in relation to revolutionary stirrings* has frequently been necessary.  Preparing everyone successfully to overcome contemporaneous crises* requires insights still outside the acquaintance of most people.

There is no more enlightened middle class person of the Renaissance than Erasmus.  He has been assisting the Adelaide Adagia team since June 2009.  Have you ever had a dialogue with Erasmus, or even a debate?

And what of enlightened noble persons?  Have you ever had dialogues with enlightened cultural leaders of earlier times?  If so, who are those persons?

During the Renaissance, the Reformation occurred.  It was influenced by the work of Erasmus though he had little direct influence on the events themselves.

Another person whose work influenced the Reformation was Catherine of Aragon. The consequences of her labours were, of course, not to the satisfaction of her megalomaniac husband.

The above portrait has been used from time to time, within Villa Twaklinilkawt, when reflecting on the influence and leadership of intelligent, well-educated, compassionate and popular women, as well as when examining the constraints on their lives.

It is not known for certain if Catherine is portrayed in the picture.  Even so, the shape of the face matches earlier portraits of her by the same artist, Michael Sittow.

The jawline appears to indicate that the picture is not of the sister of Henry VIII, Mary Tudor, Queen of France, although there has been some academic debate in that regard.   Yet reasonably enlightened beings merely wish to ascertain truths relevant to their own professional and personal interests.  In dialogues, however, the first step is to identify mutual interests.

Were you at the public performance here in February this year?

If you are asked to provide a brief but enlightened dialogue for presentation in this ethereal theatre, what would be its essentially enlightening features from the point of view of a reasonably well-educated audience?   Who would be the characters?   What would be their subject?

Would your dialogue be more in keeping with Western philosophy or Eastern philosophy?

How would your dialogue distinguish between philosophy, science and religion?

What would be the political features of your dialogue?

How would the presentation compare with The School of Athens?

How would you adapt your dialogue from speech to music?

What is said is only part of the act of dialogue, or even of a monologue oration.  The manner in which something is said is just as important, if not more so.  The same applies when singing.

What is your dialogue meant to convey, and how, and to whom, and why?

How will you know whether the dialogue has succeeded as intended?

Making a difficult activity seem easy is part of the art of sprezzatura.  As long as it is done with a glint in the eye, a certain graceful charm and effortless, understated panache, and combining the best characteristics of every relevant source.

Yet most difficult activities are not really worth the effort.  Many superficial activities may seem to highlight the art of sprezzatura but they lack the necessary substance.  Drama involves effort and is therefore never an expression of sprezzatura unless seemingly natural.  True art is concealed.

Dialogues of Enlightenment are never shallow.  Their presentation is never a veneer.  Their presenters are never pretentious.  Yet neither are they dull.  Nothing should ever sound contrived or monotonous.  To have sprezzatura is to develop the self to the fullest without that development imposing itself in an unbalanced way.

William Shakespeare, who died just over four hundred years ago, was someone influenced by many features within last month's public presentation in this little theatre.  He was an expert on the art of dialogue, and the art of the non-monotonous monologue.  Alas, poor Shakespeare.  He has always known how to grab attention, even to his own detriment.

The essence of great art, including the art of great science, is not necessarily to make everyone wonder how it has been achieved.  It is to make it look so easy and obvious as to be natural, yet with a competence few have accomplished.

Successfully hiding the art behind the art is the ultimate achievement. Yet when that easy sprezzatura is no longer present, or is yet to be gained, the struggle continues.  Have you ever tried to dance a minuet?

How have you tried to create, or even recreate, a significant work of art, and why?  Baldassare Castiglione is often thought to have combined elegance and discretion in the service of beauty and harmony.  His famous book was a bestseller throughout much of Europe for more than two centuries.  It is still available today, philanthropically free of charge through the Library of Enlightenment.

The main message of The Book of the Courtier to the present, however, is often lost on the uninitiated and the unsophisticated reader.  Its purpose is to moderate the excesses of political leaders, and all leaders, though the skillful guidance of good advisers.

In reality, the successful, tactful adviser becomes the true leader.  The figurehead becomes a mere conduit.  The key to beauty and harmony, however, is for the adviser to ensure the figurehead accurately reflects the best of society, especially in a democracy.  Moderating the power of leaders is a skill most people can learn, at any age.