THE ALLURING AND THE INSATIABLE part two LIVE TALK

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THE ALLURING AND THE INSATIABLE part two LIVE TALK

THE ALLURING AND THE INSATIABLE
part two

David Mario Callan. CALLASSA

Here is a link to part one
http://www.callassa.com/readarticle.php?article_id=5

Here is a link to part three:
http://www.callassa.com/readarticle.php?article_id=7

So you want more...more...That's wonderful because the intention is precisely that. I have to say that it's also an infinite amount more in every dimension, those dimensions you know and those in retreat you might already be feeling.

I was thinking that I can't remain within constraints that some would rather I did. The context we are in, the here and now, it just cannot be ignored and what I mean is; that which transpires by virtue of what people think and do can't be ignored. CALLASSA...CALLASSA...What a plethora of considerations. What a Pandora's box of emotions many of which rage and tear until their holder becomes as her. That is quite an introduction, don't you think? It has to be so because what we are intending is an embrace of the most important aspect of life. Beauty...female beauty..the alluring and the insatiable. This, as it manifests in the gravity, the import of the CALLASSA message. There is nothing else to compare because everything else is mere support, something to tickle and contort the mind's content throughout its limited duration. As we said in the last talk, there is nothing that can have any diminutive effect on the power of the she-bird song, the enormity of the female form.

I like to see smiling faces. That's good. So, should we turn our attention toward those who think not as we? Those who tarry in a mind state more or less antiththetical? The answer is no.

Let's indulge ourselves for a while. What do you say?

I stand accused of using the CALLASSA repertoire in all its superb and glorious form and saying that CALLASSSA is the world.
Simply put, the subject of the books have been taken by me and made real. What do you think, my friends? What can anyone think?

Our (my) charge becomes insubstantial in the light of the evidence before you, evidence that supports my contention that CALLASSA existed before she became substance and weight, the alluring and the insatiable.

Let's get quickly to the point by asking a question. I'm not saying I can give the answer to it, but the process of discourse set in motion will be enlightening, I would say. In fact and this is important, are we intending massive response? We'll see. Are you ready? Are you excited at the prospect? Think about that for a moment or two.

So, how about this for a first thrust into the fray...An all encompassing phenomena encapsulated in the body of work
and subsequently creating its own form and adventure named CALLASSA. No one would believe that was possible or should I say that it was not an empirical consideration. We would counter by saying, let her state her own case. Isn't it just a fabulously intoxicating reality wherein the unbelievable is actually female?

We could plunge into the oblivion of contention and state further that...let me just think this over because it could come back at me...OK. Who has been the creator of the CALLASSA repertoire? Where did the devastating compulsion in me come from? The answers to these first two questions I can answer in a roundabout way. "Believe in me and all that I tell you shall become the substance of your thoughts. He is my own and he knows I am here."

Let's stop here just for a short while because we must consider what it is we are telling people and how they might deal with it. We also have a great deal more to say. We have everything more.

Interlude.

Are you ready? Really? How often do you read or are told something that does what we have said and clings to the inner reasoning then becomes the all consuming? Never? Often, you say? Well let's shake things up a little more. We need to pad out what we admitted just now regarding the who, why and how of CALLASSA.

The best way of doing this I think is for me to read from one of our books and do so as though you and I are elsewhere. You see, we can create contexts too! Here goes and it will be interesting to view the effect in progress later.  This is part of a conversation between Stephen Lewis my old friend and the character, Evangeline:

   Soon, I would ask him about the 'company' whom he represented. They, who had beckoned me into their midst. That and order something laced with calories from the menu. For now, I was content to listen to this enigmatic man who represented a group of people whose identity and purpose at this point I could not have guessed in a million years.

"You see, my dear Evangeline," he said. "It is that art teaches the lessons that lifetimes lived and most often squandered cannot. These lessons are more than the saved instants within scenes, the history of powerful men, or the scooping of that, the machination in conflict which is posthumously regarded as conscience. The lesson is of love's dispensation and its judgment of horrors."

"You mean that the product of art is always here and you see an overriding message in it which prevails?"   I thought my answer was, at the time, to be rather uninspiring and didn't really embrace the profundity of his thought, but I was unsure what he meant. I was trying to connect a work of art with an intention to judge its onlookers and also trying to identify which art could be most easily attributed to this intention, if any. He went on to address my questioning.

"Art," he stated and emphasized with a tap of a spoon upon the table. "Yes my dear, art, is the only manifesting of love amid love's pointless thwarting. In its attempts and success at being made meaningful in human minds soured through misunderstood and overriding inclination. Consider what, by virtue of human inclination is projected upon you and your opposing and becoming ostracized by its supposed reality, the invented codes of thought and of conduct therein. The lesson of art is more than satisfaction of the senses through the contriving with sound and light upon ideas. You have seen what is made and what of it is deemed to carry a message. I refer not merely to films of this time, but religious and political ideologies. The list is endless."

I replied. "Much that is mind, as you put it, is made because of what is seen and heard, its lesson too. This is modern life, the media, the film industry at its zenith using examples of situations, events and so on. What else could there be?"

"What else could there be? Evangeline, you should ponder. Yes ponder, as did I ponder my olive tree and its light-filled fruit. Realization came to me at the earliest age that I could be guided by something that the supposedly purposeful contriving and the manufactured values abounding could never do. I could not surrender to what, even then, I considered to be destruction of self. I refer to a self become transcendent, all powerful."

I was trying to identify what the element that guided him was when my aperitif arrived. This had served to break my concentration. I was thinking of a painting by Guido Reni, one of the artists he admired, this being Phoebus and the Hours, Preceded by Aurora. I vividly recalled such feeling for beauty and evocation of myth, a work so filled with sentiment.

"What I still see is what I saw then," he was saying. "Equally as inspiring and disabling. It forces itself with great ferocity through all what is here and now triviality. There are those in the world whotake it upon themselves to make urbanized collectivities wherein their subordinates roam as flocks of unenlightened peasantry. They do thisunwittingly, all be it through an arrogant assuming of their place in the scheme of things, their appeal to higher authorities that will not and cannot answer in their way. Oh, I know Evangeline my dear, that you are thinking that there are those who make claims to be doing the opposite by virtue of some imagined connection to experience, that there are those too who claim impartiality in their rule and want only that deemed by them as worthwhile for everyone. 'In God they exist and in God they kill, they hate, they abuse, they make thoughts that are lies attired with smiling promise of forgiveness'. They make the worst insult to eternity there can possibly be. Such abusing is what I meant when I referred to the 'thwarting of love's lesson'."

He was watching my reaction to what he was saying and I was trying to make the connection between the qualities he had attributed to art and the machinations of mankind. That he seemed to be saying, if I had understood him correctly, that the products of art, certain art, was the product of a higher order conscience and that art was its enduring and beautifying contribution, that higher order conscience possibly being construed as the beauty and the love inherent within nature's continuity. Possibly, he was saying that art was the product of supreme intention and that the human race was, before its majesty, nothing more than an insult that desecrated and claimed sameness of its subject through expectation and speculation. Again, I was thinking him to be of extreme sentiment and I, through his prompting, was forging ahead.

COPYRIGHT (C) 09 CALLASSA MEDIA COMPANY LTD.

WWW.CALLASSA.COM

The Alluring and the Insatiable LIVE TALK is set to continue in part three. In addition soon to be shown at The Callassa Electric Theatre. It's all free so please come!

questions? please email callassa@callassa.com