Art And Life

In The Darjeeling Limited, Jason Schwartzman plays a writer who uses moments from his real life as the basis for his short stories, then insists to his brothers that the highly recognizable characters are fictional. The Darjeeling Limited is a gem-like movie, and this aspect of the story left me with a new insight, or the beginning of an insight into the relationship between art and life.

The actions of Schwartzman's character create a text within the text. Schwartzman co-wrote the screenplay with Wes Anderson, the film's director. So, we have the screen-writer playing the role of a writer who fictionalizes real moments in his life. The movie isn't about art, Schwartzman's fiction plays a minor role in the plot, but the film is about artificiality in life. The characters keep the world at arm's length, rarely entering into events fully, yet believing that they do.

We use and appreciate art as a construct and technique to distance ourselves from reality. When it works, this distance provides a perspective that permits us to apprehend reality more fully, or to access a part of our perspective that would otherwise be hidden from us.

The artist takes a feeling or perspective, conscious or subconscious, and transfers it to some external medium (canvas, music, sculpture, text, etc.). After watching The Darjeeling Limited I was left with a new sense of life as unconscious art, or if not art then something akin to it.

Today is Halloween. Never in my recollection have I wanted to wear a Halloween costume nor enter into the spirit of the holiday, much to the disappointment of my wife and children. As I walked to the train this morning and reflected on this and on the premise of The Darjeeling Limited I felt a strong correlation between the two and the overlay of art in life.

If we think about distancing and abstraction as a critical construct of the artistic process, all of a sudden much of what we do in life starts to seem if not artistic then representational. Two days ago I got my hair cut, for instance, and felt disquieted by the relative neatness and attractiveness of my hair afterward. I now think that I was put out by the artificial construct of a haircut. We clothe ourselves partly for warmth, but the way we clothe ourselves is to a greater or lesser degree a representation of the image we seek to project to those around us. We are wearing an abstract perspective of ourselves.

The way we speak, the way we behave, the way we move, everything but the most automatic, innate impulse bears the impression of conceptual intervention. Focus on your breathing for a moment and all of a sudden you become conscious of how fast, how deep, how measured and the pattern of your breathing changes even if it doesn't in fact become faster, deeper, more or less measured. The observation of your breathing makes it somehow different.

But whereas good art uses distance to bring us closer to something real, affectation in life distances us without achieving this ultimate closeness. Good art lets us feel or apprehend something more directly, more pertinently. A good haircut does nothing to bring us closer to reality. In fact, it takes us more deeply into the concept of ourselves as a person with attractive hair.

I'm not suggesting that we go about wearing sacks and with long, lank locks. But I am suggesting that being aware of the artificiality we invest in a good part of our waking life may actually be a step toward living more fully in the moment rather than in our minds.