Open Realism

An aesthetic perspective where 'realism' is defined as a Quality of Perception, and where the word ‘open’ stands opposed to any ‘closed’ teleological worldview. For example, mono-causal creationism is a ‘closed’ explanation of ‘origins’ in conflict with the obviously non-teleological character of existence. Counter-intuitive, aleatoric, absurd and indeterminate phenomena are a consequence of non-teleological conditions, leading to the transgressive or perturbing nature of Open Realist works – works that, in an age beyond satire, will always manifest the forgotten, ironic, paraxial, chaotic spirit of the Post-surreal.
    The term open realism (realisme ouvert) is cited by Andre Breton in the text 'Limits Not Frontiers of Surrealism', given as a lecture at the Burlington Galleries in London on 16 June 1936, subsequently published in the Nouvelle Revue Francaise (48:1 Feb 1937): '...open realism or surrealism which involves the ruin of the Cartesian-Kantian edifice and seriously disturbs the sensibility.' Open Realism is a purely nihilist, materialistic, aesthetic concept and has no connection with any other uses of the phrase, such as the 'philosophy' of Bernard D'Espagnat or others.

However, the usage by Bonnie Marranca in relation to the plays of Sam Shepard is worthy of note:

'open realism exists in a dramatic field composed of events not scenes, of explosions and contradictions not causes... It is characterized by disruption not continuity, by simultaneity not succession; it values anomalies not analogies. In other words, it captures a reality that disregards realism’s supposition of the rational. It praises the differences and irregularities between things, and can accommodate the simultaneity of experiences in expanded time/space.' (American Dreams, 1981)

Illustration: Aeternae Veritates I, 2002