The accretive theory in its strong form (agnostic disjunction: magick-obtains side) would give us a notion of art in which a) there exists the incoherent art-accretion and b) that the vector that is interpreted as art is imbued literally with the pneuma that the creator (artist) pours into the vector. There is a sense in here that the spiritual sense that Hegel speaks of regarding the Greek experience of the sculpture as spiritual can be reconstituted by this theory. Not in an identical sense but in a sense that seems related. That is, if the pneuminous world can be thought of as plugging into a restraining umbratic (as mediated by the vector field) and if we concede (owing to the magickal interpretation here understood as the ability of the pneuma to affect the umbra -the application of a concept to a vector that would not ordinarily take it) then the pneuminous form shimmers with a literal life of its own. The sculpture of the God is absolutely the God, we perceive the accretion directly.
Art putatively devoid of this characteristic may seem representational, in a sense it is so (there is an assimilation-accretion of representation) however if the accretive theory is held to, then many forms of life can be easily viewed as living spirit (pneuma). The representational image is literally attached to that which it represents -like an inadvertent piece of sympathetic magick. From umbratic restraint, to vector, to pneuma, the connection (in this manifestation) is not illusory but absolutely necessary and potentially potent. We see the accretion directly, the image is the accretion which through fine threads of pneuma is tied back to some distant vector, imprinted in turn by the Narp who engendered it (the artist). Such a theory does of course entail not necessarily that there is a correct interpretation of the work but there is the artist’s interpretation and it does dwell on in the work as a force, a central element of the accretive structure.
What of art of the imagination? Art of the imagination is the pure pneuminous form dragged to umbratic restraint. Vectors assembled and imprinted with pneuminous power. The work as forged in the Narp’s pure pneuminous manipulations, once set down is the accretion bound. This binding is also it’s escape into a wider field. For whilst any accretion may float freely of a particular Narp, when they do they warp and shift as they go, never landing the same twice. Once the work is restrained, other Narps may see it and thus it accretes to their accretions and from their interpretations. In this way the accretion proliferates, exists in the different Narp-fields as that art work, with that name, free to manifest in idle thought, dream and beyond.
Yet of course this is true of everything. All simple things: tables, pens, tupperware pots and cups, are pneuminous forms imprinted upon suitable vectors. They too are alive with pneuma. The difference is precisely in the way the pneuma is seen. The mundanity of the thing is too an pneuminous structure. If we are told this was once a wizard’s pen, maybe we would look upon it differently, we might accrete this wizard to the pen and treat the item quite differently (if it were true the wizard’s imprint would be on the pen whether we liked it or not).
This specialness is true of art. Art is interpreted as art. A creation with an excess well beyond any financial or practical aspect. Art needs engaging with as art. I say ‘this is my art’ and you look at it thusly. Many forms of it are easily perceivable as such. The vectors take the art accretion. Yet since the last century it has been noticed that one may apply the art accretion to a vector that would not ordinarily take it (Duchamp, found objects etc). As if a spell was cast (which it was) the artist says ‘and now this is art’ and by this action the art accretion is attached to it, and thus it is art, for the accretion is literally now in it. But art is not magick as such. This is the difference. Magick intends to affect the vector/umbra. Art, using restraint, arranges the pneuma in such a way that whilst restrained, the restraint fades away, it emphasises the pureness of the pneuminous accretion.
And it seems from here it must possible -as has been noted- that we might take this escaped art accretion and attach as and when we will to whatever we wish. Taking Hegelian spiritual succour from all manner of arrangements of things on our travels. Such a final dissemination of the accretion represents in a sense a true end of art whereby the perception of anything with the correct aspect flip plugs into the art accretion and renders it as this pure image like spectacle, suddenly lifted from its actual home. Art becomes a category of perception.
Whilst it is possible that the work of the best artist in this sense is forced to compete with the creations of the world around us, what is still also true is that the artist themselves as a kind of Narp, will persist. Some Narps are vectors that we aptly apply the concept artist to and some Narps may try to summon the concept of artist to themselves by magick (though it suits them not).