The+Arts

=__The Arts__= = = El arte es una mentira que nos acerca a la verdad. [Art is a lie that brings us nearer to the truth.] Pablo Picasso “The arts” is a very broad field. It is hard to say clearly what it includes; it is even harder to characterize it simply. As used here, the term certainly includes literature, from group 1 of the Diploma Programme, and the various forms in group 6: dance, film, music, theatre and visual arts. The differences between the forms may be at least as interesting as their similarities. For example, how much is there in common between knowing a poem and knowing a dance? Is it entirely clear what “knowing” means in either case? With one exception, none of the following questions mentions specific works of art. Most of them, however, need relevant cases, or examples, to “come alive”.

Nature of the arts 
• Does art have to have meaning? Conversely, if something is meaningless, can it be art? • Is a work of art enlarged or diminished by interpretation? What makes something a good or bad interpretation? • Can anything be art (for example, Duchamp’s Fountain, Cage’s 4’33”)? Are there limits to what is acceptable in art (for example, Kirkup’s The love that dares to speak its name, Hirst’s Mother and Child Divided)? Who decides? • Some languages, such as Balinese, have no generic word for “the arts”. To what extent might the concept be a culturally relative one? To what extent, even within those languages that have a generic term, is the term “the arts” elastic in definition? • Do all the arts share certain common features? What might these be? Is there a distinction between arts and applied arts (crafts)? • What roles do the arts play in people’s lives? Are these roles unique to the arts? (Can art change the way we interpret the world? Does involvement in the arts help the development of personal value systems? Can art express emotion? Does art enlarge what it is possible to think?) • Are the arts a kind of knowledge, or are they a means of expressing knowledge? If the latter, what knowledge might they express?  • How important is form in art? C’est joli la vie, mais cela n’a pas de forme. L’art a pour objet de lui en donner une… [Life is very nice but it lacks form. It’s the aim of art to give it some.] Jean Anouilh • What is the origin and nature of a sense of beauty? Is this sense specific to the individual or to the culture, or is it universal?

The arts: Methods of gaining knowledge 
• What is the proper function of the arts: to capture a perception of reality, to teach or uplift the mind, to express emotion, to create beauty, to bind a community together or to praise a spiritual power? Are there functions omitted here? Do the various arts have the same functions? • To what extent and in what ways might the arts be regarded as a representation of reality? What kinds of art might be seen as “realistic”? • Is originality essential in the arts? Is the relationship between the individual artist and tradition similar in all the arts, in all cultures and across all times? • Most arts have used technology, over many centuries (for example, musical instruments, pencils). Has the relationship between the arts and technology changed as a result of the possibilities of mechanical reproduction and digital manipulation?

The arts and knowledge claims 
• Does familiarity with art itself provide knowledge and, if so, of what kind? Knowledge of facts? Of the creator of the art form? Of the conventions of the form or tradition? Of psychology or cultural history? Of oneself? • Does art, or can art, tell the truth? If so, is artistic truth the same as truth in the context of the natural sciences, the human sciences, or history? How might the knowledge claims of art be verified or falsified? • In science the idea of progress is dominant: new knowledge builds on what is already known; knowledge once discovered cannot be “unlearned”. Is the same true in the arts? • What do artists do to exercise “critical control” over the imagination, in Popper’s phrase? Far from being engaged in opposing or incompatible activities, scientists and artists are both trying to extend our understanding of experience by the use of creative imagination subjected to critical control, and so both are using irrational as well as rational faculties. Both are explaining the unknown and trying to articulate the search and its findings. Both are seekers after truth who make indispensable use of intuition. Karl Popper • Is explanation a goal of the arts? How do the arts compare in this regard with other areas of knowledge? • What did Frank Zappa mean when he claimed that “Talking about music is like dancing about architecture”?

The arts and values 
• What is the value of learning an art form (for example, Diploma Programme music or visual arts)? What is of value in each of the different art forms (dance, film, literature, music, theatre, visual arts, and so on)? Are any of the arts of more or less value than the others? Can what is of value in arts education be learned in other ways? How are value judgments in the arts justified? How is “good art” recognized or decided on? • What are the justifications and implications of claiming that there are absolute standards for good art, or that the only standard for good art is individual taste? • Does the artist carry any moral or ethical responsibility? Is it possible for an artwork to be immoral? Should art be judged on its ability to please or shock? • What is the role of education in creating art, and in appreciating it? Is an art form legitimate if it can be enjoyed only by those trained in its appreciation through having had relevant education or through having become familiar with it in their own cultural context? (Would your answer be the same if the question was about the legitimacy of, for example, quantum physics?) Is a critical assessment of an art form legitimate if it is made by someone with no relevant education or cultural familiarity? • If art has power to change how people think, does this mean it should be controlled? Should art be politically subversive? Or should it serve the interests of the community, or the state, or the patron or funding organization?

The arts and knowledge perspectives
• What knowledge of art can be gained by focusing attention on the artist? Can or should artists’ intentions, and the creative process itself, be understood through observing artists or knowing something of their lives? Is the creative process as important as the final product, even though it cannot be observed directly? Are an artist’s intentions relevant to assessing the work? Can a work of art contain or convey meaning of which the artist is oblivious? • What knowledge of art can be gained by focusing attention solely on the work itself, in isolation from the artist or the social context? Can or should technical virtuosity in itself, a skilled mastery of the medium, be enough to distinguish a work of art? Are certain compositions, ways of structuring sounds or shapes, inherently more pleasing than others? Can a work be judged primarily by the harmony of form and content, the way in which structure and style work effectively to create or support the subject matter? • What knowledge of art can be gained by focusing on the reader or audience’s response? Can it be plausibly argued that art is brought into being only in the response of the audience, that a work is created anew each time it is viewed, heard or read? What is the role of the critic in judgment of the worth of art? Are any of the following sufficient indicators of the value of a work: its popularity, its commercial value in the market, its universality in its appeal beyond its cultural boundaries, and/or its longevity? • What knowledge of art can be gained by focusing attention on its social, cultural or historical context? To what extent do power relationships determine what art or whose art is valued? Is all art essentially a product of a particular place and time in terms of its subject matter and conventions of expression? Is art best seen as anthropological or historical documentation, bringing to life a remote society or era, but understood esoterically, only with independent knowledge of that remote life? Does art become obsolete? Is art understood more fully by emphasizing what all cultures have in common rather than by stressing what is unique to each?