Anjali Deshmukh
Statement and Info
Sentences on Rational Formalism, Inre--

Rational formalists may be "rational mystics." They may create logical conclusions where none exist.

The object is necessarily a representation and embodiment of a moral order. Encompassing process, this morality drives, forms, regulates, and restricts the decision-making process within parameters that appear to be external to the maker.

This moral order may be particular to one work, and therefore not relevant to other objects, or it may be applied in any number of other objects.

A maker should be uncompromising, rigid, and inflexible in following the moral order, meaning, and intent of the object.

A maker is obligated to constantly and flexibly evaluate the meaning, order, and content of the work.

An object's content and concept must allow for an extensive branching in terms of the functionality of that content; if the object made does not offer an absolute potential for the generation of multiple ideas and formal offshoots from the original object, then it is a so-called “dead end” and therefore not worth following.

The "content" is a series of "intentions" and "ideas" in an object that as a whole create a "concept" or "larger ideological vision." According to the wishes of the maker, a single concept can apply to one work, a body of work, or a lifetime of work.

A concept can be composed of multiple concepts.

There is no such thing as a banal concept or form; there are only banal ideas and intentions.

Depending upon the maker's intent, content and moral order may be one and the same. It is up to the maker to determine what distinguishes or identifies content from or with the moral order.

In order to avoid redundancy, an object's potential multiple offshoots of form and ideas should not be unnecessarily incorporated into or integral to other objects.

However, an object's potential multiple offshoots can make new work if they are elements attached to a distinctly new form. This renders it a new idea.

An "object" can be any perceivable phenomena—that which can be tasted, smelled, seen, heard, etc...

Or, an object's form can be real or imagined, fact or fiction. This does not deny it of its objecthood.

Excepting occasions when content and moral order are identical, the cumulative conceptual idea, or any individual element of content, can change from initial idea to the object's completion.

Further, a maker's will is secondary to the evolving demands of said cumulative conceptual idea and corresponding form.

Compromising the formal qualities without conceptual justification may only be the maker's ego. Compromising conceptual qualities without formal justification may only be the maker’s ego.

Accordingly, formal offshoots can precede the object itself. For at the initial onset of a concept, a single idea can correspond to many different forms. Similarly, a single form can correspond to many ideas.

Accordingly, for each form that becomes physical through its correspondence to an idea, there may be many others that do not. Similarly, for each idea that becomes realized in correspondence to a form, there may be many others that do not.

Accordingly, an object can precede or follow in physical form the generation of the content. Similarly, an idea can precede or follow in realization the generation of the form.

In other words, an object's form must be dictated by and conform rationally to its moral order and content.

In other words, an object's form must dictate the rationale and content.

Formal art is essentially irrational.

Rationality is essential irrational. (And/Or, rationality is capable of being form without content.)

All artists, regardless of medium and genre are bound by chosen and unchosen histories.

A work cannot not inhabit multiple genres.

Because an object can attain the status of objecthood without leaving the imagination of the maker, an object does not need to have an audience in order to become art.

It is impossible for an object not to leave the imagination of the maker. Only the appearance of the object may change as it wrinkles with age.

The maker may not, nor need not, be aware that the young and old objects are one and the same.

Attaining the perfect concept, constellation of concepts, or constellation of ideas to architect a concept requires the ability of a skilled craftsman.

The craftsmanship of the perfect concept constellation demands an equal craft of form constellation. Yet it must not be inferred that either idea or form need be explicitly complex in order to compete for a state of perfection.

There is no such thing as a perfect concept, only the striving for it.

Published in Issue 4 of Daily Constitutional