A DISSECTIONAL MOVEMENT OF THE COMPARTMENTAL NOVEL
THE FIRST AMERICAN - GLOBAL NOVEL /By RESTITUTO EMBUSCADO
THE NOVEL COMPARTMENTALIZES A DISSECTED FORM AND CONTENT OF ART, LITERATURE, COMICS, PHILOSOPHY AND CRITICISM
VOLUME ONE: IN THE SHADOW OF AN AUTISTIC AND ARTISTIC REBEL -
AND, THE LAST AMERICAN MYTH
The witch or spiritual doctors called it a supernatural disease, a calamitous word that exhibited a form of silence and suffering, dark in nature, which belonged to the evil spirits. Its relation to the mind was much deeper than the structure of the brain, and the skull, itself; as they knew, this matter was very identical to a person who was possesed with evil spirit or lunacy.
Apart from each contradicting thought, between the psychologist and the supernatural doctor or astrologist, no one was able to speak to Compartmental Man about his strange sickness, brought upon by speechlessness and thoughlessness; that he was locked up in endles silence.
is a copyright (C) and registered trademark 2006 of Restituto Embuscado. All rights reserved. The movies or two film-clips entitled Nuclear Man and Dissectional Man are copyrighted (C) 2006, created, published and produced by Restituto embuscado. No part of any of these five film-clips may be reproduced for publication or downloaded and distributed in any form or any means, or stored in a data base or retrieval system, without prior consent of the publisher.
Compartmental man cannot be super-ficialized, not in the fake-heroic life of darkness, nor symbolical power, nor the portrait of half man-half and half-animal (or anything related to plants, familly of llizards, flies, insects and other demonic beings), because he was an autistic man. Compartmental Man was not a hero. He was a rebel. "Heroes are dead." He said, "Fictionalized heroes -which resided within the forms of symbolical aspirations, to fly between life and death, between north/south or east/west, between Bangladesh shanties and New York tall buildings are a thing of the past. It has lasted a long time ago. These Fake-Heroes have transform the invisible into visible by reconciling the modern spirit of darkness within the frame of the superpower-image, without tangible reality. They are not touchable, but they have affected the senses of mankind; because. the mental illusion of the Fake-Heroic characters, it seemed as hypnotic, have detached reality. In both sesnses, traditional and modern way of life, they have distorted mankind's morality."
The Superficial or Fake-Heroic Men/women covered their heads with colored-bandanas or hoods or cloaks or masks, with a smell as sweet as cherry and honey. Both men and women wore ixpandix-tights, cotton cape or cloak and bikini panties.
When New Yorkers called for help, with no police warning and explanations, the Superficial or Fake--Heroic Men/women were always on their way at most times. Without an authority or constitutional law, they had humiliated the New York policemen because they were not concerned with their human intelligence. The Superficial or Fake-Heroic Men/women could be compared with the animals and plants, because they originated from an artificial branch of Aristutelian's philosophical doctrine: imitation. They had no knowledge of human experienced. Every now and then, just like Eins-tien's pathetic and pestiferous kind of disordered-showmanship, both in false creativity and destructive science, they would moved their bodies, in the same incomplete dimensional spaces, in a twisting-spiral rounded direction, which they thought that the street crowd might truly enjoy. And after they had shown their fake-powers they flowed into a foolish behavior, like an innocent and childish creature, who described themselves as the victims of human insanity, and discriminated by the Roman church, because they were combined in a peculiar way of having a fleshly nature of body-being and human intellect; however, they had no soul and blood. Moreover; they had not suffered like the poor. The Superficial or Fake-Heroic Men became the symbol of the universe and modern life. Their identities were as complicated as their history. They had no culture. They had not understood the meaning of the poor people's history.
Compartmental Man had never made a distinction between the sky and the ground, that was something unusual about him. He knew how to climbed over his imaginative-rainbow, so he could expressed himself freely, and so far as he was aggressive enough to attached himself to many of the dark walls in his entirely unspeakable life. He was terrified by the word super, great power and all kinds of highness which was so superbly connected with infinity, and this idea of super-being repelled him. Compartmental Man was destroyed by the infinite silence. He was not inspired by the universal infinity of dark matter and radiation as the origin of the big-life. The radiated dark-life and the outbreak of the Second World War would always remained a mystery, but the Superficial or Fake-Heroic Men drew attention to this catastrophe; because, these were the two tragic places where they could concealed their crimes against humanity. And, since they had aimed to distort the sky in a highly-super-way, so they could claimed to be the almighty heroic-race, full of tax-payers-dollars inside their bikini pockets, like a hoodlum, and in a tragic sense of their own, they showed thenselves to be wholly radiated at once, assuming to exercise the divine madness of their unsen god.
ABOUT THE ARTIST
At thirty six, Embuscado published his book entitled "The Aesthetic of Dissectionism" (1975). His theory on art and science, as a compartmental whole, has been based upon a dissection of life's relation with every form of reality. In the "Shadow of Nuclear Man," Embuscado wrote:
"The shadow of fear could also resemble the shadow of Nuclear Man. Because, the life of Nuclear Man's shadow trembles and fear reigns over the bizarre annihilation of mankind and he awaits the graveyard distance of his catastrophic destiny. Love has gone and suspicion substitutes trusting. Nuclear shadow like a scarecrow walks a blind alley. This Nuclear Man, popularly known for its display of might and threat is nothing but a rat and scarecrow sitting on a manhole, always alert, always on guard.
During the night of teror, the capsule of detente is forecast betwen the
and the thunder.
The Nuclear Man gazes with sensitive precaution and deadly attention. Finally it is struck by the mirror of its own self , the shadow of his being. Before him the shadow moves swiftly and courageously as he moves and stays firm, undisturbed by the commotion running along the arsenal of his vein and memory. There he seeks in the shadow before him the dreams of eternal love and escape for freedom without armour and reflection of disaster. But only the shadow of the naked self."
Embuscado says that: "My character, Nuclear Man, is not a modern - super-hero, but he is connected, in widest and narrowest sense, with what I called the catastrophic consciousness of nuclear warfare. My themes, theory and practice of the rebirth of true democracy, in visual and literary collection, in observation and imaginative concentration on art and war, have compartmentalizes my dissectional energy with human behavioral conciousness of the past and present catastrophy. In assesments and criticisms of the present situation, history, literature, philosophy, art, comics and nuclear-strategic-ideological conflict that moves far beyond the false-democratic politics of war, I become more attentive in the depiction of a dissectional lifeand nuclear reality."
In 1999 Embuscado published "Compartmental Art." He declared, compartmental art, as the "First American Art Movement." Embuscado says that: "Compartmental Art is the first aesthetic movement in the United States. Modern art is a European art movement. American artist, like the Hudson Art School have spent most of their art education in Europe. They romanticized and aesthetically degraded the American landscape, that the sovereign pictorial forms of the west, as their styles and paintings conveyed, suggested and depicted, had been restricted to a European point of refference, without natural or the inhabitants identification. After the second world war, New York beacme the victim of the European modern school of thought. Abstract and figurative expressionism were linked with the glamour of decorative presentation, all the american artists had aspired to the second-hand style of modernism. American avant-garde artists were strictly conformist, aesthetically frigid, without sense to declare the art revolution, unlike the founding fathers; and, with a faillure to search the view of indepence, liberation of the American art, they have lost in their own inabilities to assert that modern art is dead; that Anmerican art movement or global art, compartmental realism, had no place in modernism. Because, compartmental art and compartmental realism are independent movements."
A dissectional-compartmental body of works from Embuscado's exhibition at Max Gallery in New York, in 1984 continuing into 1985, had taken off in a different direction. He launched, side by side, these two movements; firstly, his dissectional theory keeps pulling art and science into a kind of of reality we cannot expect from the modernists, avant-garde and cosmologist; secondly, his compartmental art, painting, drawing, print and sculpture has set the seal of American art independence. American, Compartmental Art, movement is the starting point.
What is the value or significance of Embuscado's aesthetic decalaration about? In this declaration Embuscado dissected the illegitimacy of the American art. He says that: "The modernists' destruction of American art is not tolerable. This abstraction and degradation of ethnic culturtal diverstity, under modernism and pseudo-multiculturalism, is an illusion. It does not relate itself to truth. The images of diverse -life must not appear like a static image of universal oneness, which constitutes a modern master, and which presents the poor-global nations as culturally backward and illiterate. American or Global art is not a kind of decorative wallpaper on the wall, like a matching of silver spoon and linen table-cover complementing each other, where the ethnic-poor people are not included or a participant. "
Flash of light... still remains
in dissected body...shining
For a short time
Nuclear Man stands alone
When might this great man
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WELCOME TO THE WORLD OF DISSECTIONAL ART
In a tabloid format or periodical platform, Dissectional art presents a compartmental work of art and literature: comic novel. It feature
Dissectional Art has set in the surface and depth of a comic-novel, within and outside the limits of life and reality, the echoes of a dissectional world. Dissectional art, in seeking after the needs of the people who wondered through the dark universe, of which the "Big Bang" which offers a scientific deal of knowledge, without the Christian doctrine of beginning, has entirely gone out of control, that it has remained to this nuclear age as flustered from radiation to gravitation. The modern cosmologists or physicists' universal theories are both derived from the dark matter, like the Superficial or Fake-Heroic Men's powers. My dissectional science and compartmental worlds theorizes and interprets the distinction between the living and the dark matter. i have defined in painstaking accuracy the true reality of nature and life. In art, I have only two forms to dissect, classical and modern art; for I am not fascinated by the ease or false glitter of a its fragmented form, art for art's sake doctrine. The super -modernist have distorted the culture of the poor. The dissectional importance of communal life, for placing the poor people's life and culture into the global sphere, for their light are more than aesthetic and scientific, presents a reality that is not taken for self-modernizing and self-expressed attitude to every day life. And, the scientific image of the human existence is not distinguised by modern space-time singularity, one-sided, incomplete dimensional spaces, but by a compartmental unity.
DISSECTIONAL ART is published irregularly by Restituto Embuscado. Copyright (C) 2006 by Restituto Embuscado. All rights reserved. No part of this website or publication may be used or reproduced, in whole or in part, or transmitted in any forms by any means, printed, digital, electronic, mechanical including recording or by any information storage, without permission in writing from the Restituto Embuscado.
Notice of Rights: The comic-novel, essays and artworks, including the three dissectional film-clips, entitled Nuclear Man, Dissectional Man and compartmental Man, created and produced by Restituto Embuscado , are a copyright (C) 2006 of Restituto Embuscado. Compartmental Man, Nuclear Man, Nuclear 9-11 Man, Nuclear Cross, Nuclear Woman and all characters used in this website are a copyright of (C) 2006 of Restituto Embuscado. All rights reserved. These dissectional characters are founded, written, published and visually created in the forms of dissectional drawings and other mediums by Restituto Embuscado. Nuclear Man is a Registered Trademark of Restituto Embuscado.
Compartmental Man, Nuclear Man, Nuclear 9-11 Man, Nuclear Cross, Nuclear Woman and other comics characters are works of fictions and products of Restituto Embuscado's imagination. The stories, characters and incidents portrayed in this website or online publication are entirely fictitious. Any similarities to persons, actual or not, living or dead, are purely coincidental and unintentional.
COMING SOON TO
VOLUME ONE, THE FIRST OF A SERIES OF COMPARTMENTAL MAN, A COMIC-NOVEL, WILL APPEAR IN THE SECOND ISSUE OF DISSECTIONAL ART
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Compartmental art is not emitted by an aesthetic universal radiation, as will be presently seen in the tragic events of our time. Modern life has not ceased, and every mutilated image of the poor is exploited by the master painter and storyteller who rose from the ashes of darkness, occupied by the high tradition of modernism. And. even after his death, modern man always presents his duality, partly by racial purity and partly by the illusion that he placed so high a quality upon art. The high traditional-modern- man is always aware of the cultural climate in the United States. Most of his cultural projects, in libraries, in academic books, in writings, literature, politics and history are distorted, and the scope of this evil direction is to make the poor-ethnic-minority Americans confused; like Babel, who had confused the commnon men and women. His god told him to make them disillusioned with their own traditions, oral cultures. The poor Americans became the victim of modern traditions. They have seeked the dream of unity, the link between their cultural past and spatial dimension of freedom in art without modern oppression; they have attempted to free themselves from backwardness, and to set a life against modernistic heritage thinking, but at the end, they saw the horrors of modern art and its destructive perspectives of discrimination.
Compartmental art is the first American art movement. Its images are always associated with the American poor people, not with modern art rich institutions, partly supported and funded by the poor people's tax dollars. To me, the truth is found in the poor neighborhood of the Bronx, the midnight subways that offers a great deal of American way of life in Grand Concourse or the Hunts point, and into that contrasts of modern art museum's trash and the garbages of the American ethnic poor which is incompatible with multiculturalism, and modernism, in New York, in Los Angeles and other states, the democratic vision and free speech, in art and literature, cannot be modernized. American modern art is like bacon and egg. It is rich and fattening, but for health reason, it is not good. It is bad. And, like high and low, though diferent in aesthetic presentation, it remained pure and inseparable which is equally motivated by the idea of singularity. Because, in the universal sense of tradition, classical art and modernism, has always emphasized the abstract anguish of self-expression, a tragic symbol as complex as universality itself. Modern art conveys a distorted view of life and an aesthetic illusion, which asault the senses, but it exemplifies nothing- which is clearly outlined by repetition, fragmentation and the modernistic process of discrimination.
DISSECTIONAL POETIC IMAGERY
Can you fly out in outer space...silence
That we call universe...space
Relating to time...dark matter
Into a confined life, crush by garbage
Tightly, at the end
Of echoes passing through
As a funeral
Cover with darkness
Shade of the poor
Compartmental Man, in and out of his own shadow,
His imaginative life is not falsified, an instance
Wanting to arive at midnight, intense darknes
Characterized by radiated falsity of light, begining and end
On both sides, darkangels declared: they were super-unreal- being
Under all his eyes
He saw the pile up bodies, matter of decay - without speech
Voices of deadly silence - without deformity
Compartmental Man could not established himself on any significant point, accuracy of speaking and stability of the mind, or any relative space, accesible to movement, in terms of forming the basis of thinking like perception of a thing; and consequently, he had been unable to relate himself to any glittering or statict object. He tried to capture this oblject that had moved from one place or condition to another, since his inner perception listened and wandered from light to dark, as a desperate attempt to utter a sound, but not one-syllabled word had untangled his chain of silence. Compartmental Man had suffered from the uniformity of static dimension; that was his source of mental sickness, and the other, was his lack of energy to seperate his suppressed self from the nauseating emptiness, which had confined himself to the hideous reality that could not existed, side by side, at the two circles of a unified movement of life and death. For to that existence, the middle ground, he could not speak, it hurts his vision, and besides his empty tongue, his whole life ceased mysteriously.
SHORT FILM (PART ONE): DISSECTIONAL MAN