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" Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries.
It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism.
The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered. "
― Adam Hochschild , King Leopold's Ghost
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" Science can now help us to understand ourselves in this way by giving factual information about brain structure and function, and how the mind works. Then there is an art of self knowledge, which each person has to develop for himself. This art must lead one to be sensitive to how his basically false approach to life is always tending to generate conflict and confusion. The role of art here is therefore not to provide a symbolism, but rather to teach the artistic spirit of sensitive perception of the individual and particular phenomena of one's own psyche. This spirit is needed if one is to understand the relevance of general scientific knowledge to his own special problems, as well as to give effect to the scientific spirit of seeing the fact about one's self as it is, whether on elikes it or not, and thus helping to end conflict.
Such an approach is not possible, however, unless one has the spirit that meets life wholly and totally. We still need the religious spirit, but today we no longer need the religious mythology, which is now introducing an irrelevant and confusing element into the whole question.
Itwould seem, then, that in some ways the modern person must manage to create a total approach to life which accomplishes what was done in earlier days by science, art and religion, but in a new way that is appropriate to the modern conditions of life. An important part of such an action is to see what the relationshipbetween science and art now actually is, and to understand the direction in which this relationship might develop. "
― David Bohm , On Creativity
