Public intellectuals

[joanna bujes]

At 04:09 PM 05/13/2002 -0400, Chuck Grimes wrote:
>What such a relation really depends on in terms of its sophistication
>and articulation is the melding of roles and the inter-changeability
>between these roles. This interchange or reciprocity of a relation,
>the mapping back and forth between these theoretical elements is
>critical to the creative acts, their symbolic significance, and their
>communicative properties that all lay at the foundation of the
>experience and work. In order for the experiences of appraisal,
>enjoyment, and learning to take place, there has to be as little
>experiential or social or material difference as possible between the
>poles that constitute the totality of the creative work. Simply there
>is no painting without a knowledgeable and admiring viewer--one who is
>familiar enough with the materials and methods used to imagine their
>own ability to make the work.

An excellent point, which is normally ignored in a culture focussed on 
"superstar" virtuosity.

We have been so obsessed with the Romantic notion of the lone genius 
artist, we have forgotten that the spontaneity and fecundity of artistic 
creation grows out of a supportive social and cultural soil.

A glaring example: music in a culture where most people are able to play an 
instrument is very different from music in a culture of consumers. 
(Mozart's genius was greatly aided by the fact that his father was a 
composer and a teacher of music.)

Joanna