Inevitably in our modern world an artist’s work enters a labyrinth of sceptical interpretation no matter how much, no matter to what extent, that the artist brings something to life by his art. The artist’s work, and in my case my writing, is also and inevitably shaped by the times in which he lives. To put this another way, we are all embedded in a particularity and it is the empathy of the artist for the particular that makes his work universal or at least universal to the extent that others are capable and willing to assume the framework of interpretation, the point of view, of the artist.
It is the members of the community within which and for which the artist writes which generates this framework of interpretation. These points of view and whatever truths they embody are relative because man, the knower, is relative, finite and limited.-Ron Price with thanks to Julian Lamb, “Every Poem is an Epitaph,” Australian Theological Forum Ltd. , 1996-2004; and William Hatcher, “The Science of Religion,”Baha’i Studies, Vol.2, September 1977, pp.1-45.
Life’s richness and complexity, giving words their currency and wonder, resuscitating each other from some gallows and giving both a fresh, new life, new configurations, an ever- varying splendour, where faith and doubt meet head-on amidst ignorant armies which clash at night, amidst science and the experience of spiritual realities based on prophetic revelation.... ........ such is the framework where no statement can be held to be absolutely true for no statement is independent of other statements; and, for us, the feeling of certitude, our dependence on assumptions can be had with little knowledge and is not the same as knowledge: it is faith and we all assuredly have it as we all assuredly have a mind.
The emotional reorientation required to assimilate new truths is often great. There is always a theoretical uncertainty even with the surest of statements and it is our awareness of this uncertainty that is our greatest asset in adaptation, in possessing any true humility and understanding our true limitations which are many, seen and unseen.
Ron Price 1 June 2007
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This full frontal facial photo was taken in 2004 when I was 60. The photo was taken in Hobart Tasmania. With its light and shadow, its light side and its dark side, it is an appropriate photo to symbolize … more