THE PRO/LA ART
In the PRO/LA Art there is, exclusively, a thinking process
similar to the derivatives of cognitive criteria of the predicabilia of their
This type of Art expresses a total need for an asystematic creation, a 'something' that is to be understood as a 'uniqueness' of PRO/LA. A critical radicalness distinguishes here a willingness from a need, in other words, the Art of creative facts, which in the mind of an intellectual constitute a cause without inspiration. PRO/LA has nothing to do with inspiration. Because inspiration is nothing more but a dejective and secondary condition to what we shall call the PRO/LA Art.
Therefore, it will be this Art of phylosophic terming which is characterized by the absence of its exploitation, and the 'a priori' beginning of this Art means its automatic end. Manifestations of this Art are not to be called 'works' but at the best the PRO/LA Facts, which ready-made by their appearance-entrance, do not have an exit. Otherwise, any development of these facts deprives PRO/LA of the conditión of self-existence. An example with the notion of 'forming of an object' in order to receive a 'rigorous model' (not optional) constitutes a cognitive act of the very job - but without any possibility of an analitic penetration of mind, since it is an absurd to base analitic statements on experience. People used to think that a man is born ready-made. For those who consider the bringing-up as a determinant of one's development - PRO/LA will remind about a sense idiom releasing the real on the grounds of uselessness. Actually, the uselessness means not at all the absence of utiiization: it sums up the whole of the Universe; therefore the uselessness derives from some physical phenomena, by means of subtracting or dividing, and this makes us approve of, a lesser or bigger, known error. The PRO/LA Art will not deal with this.
Very typical will be an example of a historical record of the first biblical themes about God's creation of the Worid and then of the first Man. This record does not mention about his education, but of the worning against the Tree of Knowledge. The first man, endowed from the very beginning with a marvellous wisdom of how to dwell on earth, finally must loose by pride. Pride here is a cause, or may be, a liberation of a man from God himself, and therefore - a primary Fact of the PRO/LA Art, because no inspiration is being concerned with, here, but a self-existence of the originally perfect reflex, transmitted by a perfect consciousness.
Upon the abcwe considerations, we suggest the notions of self-control inherent in a man, eliminating the law of fear. And in this way we have come back to the first proposal of the PRO/LA Art, which is not concerned with inspiration nor any external development. The basie example of the PRO/LA Art - physical paint before recognition. At the moment of recognition - which is based on a real experiencing of a gain - this Art expressed in two words 'physical pain' - disappears, because as mentioned above, PRO/LA does not acquire experience but only the effect the homogenity of the reason of the not intended cause. Besides the above, in the PRO/La Art there is mainly subtraction. This results from the fact that we remember a scheme of a picture and not the picturc itself .......... i.e., as if through a growth of this substraction, which makes every figure homogenious.
This in the PRO/LA Art has been called 'a causative factor'; it is this homogenity that makes its time - by numbers up to 9, being self-sufficient through ccmparizons with other possible causes constituting the basis of different numerical systems of counting, but never in an even number, in order to avoid dividing into two, since indivisibility 'a priori' by itself is a concern of PRO/LA. Despite major differences, the PRO/LA Art is unquestionably close to the Conceptual Art - it has emerged through a revision of 'conceptualism' by which it deviates: when in the Conceptual Art the value of an original is diminished by means of multiplication. In the PRO/LA Art this problem does not exist, because the game is played in a non-existing world, 'a priori' to a healthy reality, with no pretense to mean anything to people's health (example with pain).
When in the Conceptual Art we can assume the understanding of something by means of a previous understanding through an exchange of information, or Epigone's cutting of any materials of a single item and spreading of its elements all over the worid with corresponding adnotations. In PRO/LA there is no visual variety regarded as the reality of certain materiality capable of growth. PRO/LA is a one-man Art - and therefore it eliminates the question of communication - an internal curse on creative attitudes. In PRO/LA a man being a reason for himself has to fulfill an informative condition of himself for
someone, and not of something for someone. This fact of a critical system is a shortlasting effort with an artist, who can possess a full culture of a man being in the society and at the same time self-interested in himself by means of this contradiction that Art gives to him - eliminating any uniformity which can be useful, but at the same time, destructive. A conceptual information will not substitute for the beauty of a one-man untransmittable asceticism. We have to admit that there are certain limits to the Freedom of PRO/LA, a certain fault included in the programme: firstly, the asceticism as some information about disappearance of an astral body: another astral body to be considered as a non-existence of PRO/LA, sensed as pain prior to recognition. Of course all this manner of approaching our propased Art, where the fundamental notions like: aethics, knowledge or ideology find littie appraise, or are treated in some extraordinary (conventional) way for the benefit of all undertakings - it makes the author of PRO/LA accept the unreal exclusively as a proof of the truth. When making this remark, we tace a question of an ability to distinguish Art from Art, as we speak here about a presentation of a thing which does not exist, or which is created by means of misses or uselessness to such an extend that it can lead astray even a bright mind, to confirm again the truths that exist without motivations proving their highest significance about what has occured due to one's own inability. I shall revert, now, to the situation called 'CAUSE-ELIMINATION OF INSPIRATION'.
All statements about the degree of perception are an external side of the space - i.e., a general forming of all what is possible in a non-internal perception; sometimes of all possibilities at all. These laws, as anticausative proofs in this set of evaluation, will be too weak, from the point of view of philosophy, to eliminate the notions of inspiration in the PRO/LA Proposal. The more worthwhile introducing, as forming the cathegory of cognition of CAUSE, is an inability to plan a concrete fact, (planning ratio), i.e., an inability to maintain, for good, the logie of acting in case of appearance of a creative fact by the PRO/LA method.
The durability - does not exist - these sections of modality of an abstract chance to deal further with the non-existence of utilization admit the appearance of Art by itself, without the participation of an author in his hope for intervention bringing about its end - always despite the constructive perspectives. The PRO/LA Art - equip other spheres of Art using a pricelist of knowledge about casual and interdisciplinary techniques to free notions from their temporal value, which automatically eliminates the traditional symbol of inspiration in favour of a Non-existence of Utilization, i.e. of motivations in a close relation to an example with the product of PRO/LA 'Physical pain before recognition'. The product of the PRO/LA Art, to be such a product it must have for itself a strict pattern of predicabilia of force and to express by itself a strict pattern of predicabilia of force and to express itself entirely through this pattern. Example with the Pattern of the PRO/LA Product Physical Pain prior to recognition.