Boyd Varty: What I learned from Nelson Mandela

"In the cathedral of the wild, we get to see the best parts of ourselves reflected back to us." Boyd Varty, a wildlife activist, shares stories of animals, humans and their interrelatedness, or "ubuntu" -- defined as, "I am, because of you." And he dedicates the talk to South African leader Nelson Mandela, the human embodiment of that same great-hearted, generous spirit.

Sunday, November 24, 2013

Blog 30: Culture, Beauty, Art

Due Saturday, November 30th by Midnight

Choose one from below to answer.

1. In response to the TedTalk above, is art the only area of knowledge in which one can go through various reincarnations as "creator", or do you find that this is a trait in other areas of knowing? How does changing the way one self-expresses over a lifetime get us closer or further away from truth?

2 What knowledge of art can be gained by focusing attention on its social, cultural, or historical context? To what extent to power relationships determine what or whose art is valued? Is all art essentially a product of a particular place/time? Is art understood more fully by emphasizing what all cultures have in common rather than by stressing what is unique to each?

3. If art has the power to influence how people think, does this mean it should be controlled? Should art be politically censored? If a monetary value is placed on art, who should determine that value? (example: the open market? The artist? The audience? The government? Explain!)

4. In all the various art forms--literature, poetry, sculpture, painting, photography, dance, theater, music--there are common threads. What, to you, are some of these common threads? What are your "aesthetic standards" when it comes to the giant body that is the Arts? And finally, do you believe works of art in any/all of the categories above are static and maintain their meaning over time, or are they fluid and change their meaning? What is the use of art that constantly shifts in meaning and art that remains static in its meaning?


5. Explore: "Art is a lie that makes us realize the truth--at least the truth that is given us to understand." --Pablo Picasso

6. Explore: "Good writers define reality; bad ones merely restate it." --Edward Albee

7. Explore: "The essential function of art is moral." --DH Lawrence


Sunday, November 17, 2013

Blog 29: Stumbling Upon Art

Blog 29: Due Nov. 23 by Midnight

American Beauty--Plastic bag scene: http://www.youtube.com/watch?v=Qssvnjj5Moo

Objects of beauty come to us from all corners of our worlds. Sometimes, all it takes is slowing down and recognizing that something we normally walk by, barely notice, or are used to is actually aesthetic in its own way. Alexa Meade discovered her art form by noticing shadows (TedTalk above). In the youtube clip above, a plastic bag floating in the wind becomes a hypnotically rare piece of art through the lens of a video camera. This is what is referred to as 'found art'.

1. Describe something out of what we ordinarily label as "art", that you have noticed as aesthetically pleasing--try to describe in as much detail as you can so that by reading your post, we can easily understand why this object, moment, sound, sight, etc caught your artist's eye.

2. Is 'found art' really art? If there is not motivation behind it (as you posted about last week), or if there is not a human instigator creating it or setting it into motion for the purpose of art, does it qualify? Explain.


Sunday, November 10, 2013

Blog 28: Art in Exile

Blog 27: Due November 16, 2013 by Midnight



More information on exiled artists: http://www.ac-grenoble.fr/comenius/berges/Documents/France/Travaux/Italie/ExiledArtisit.pdf

Essay: "Imaginary Homelands" by Salman Rushdie http://philosophy.ucsc.edu/news-events/colloquia-conferences/Rushdie1992ImaginaryHomelands.pdf

In the above Essay, Rushdie explores the meaning of "Home" from the point of view of someone who was forced away from the place he called Home. He uses this platform to philosophically contemplate that which we tie ourselves to and the reasons, sometimes worthy and sometimes not, for untying ourselves. It is a short read--I highly recommend. (Hemingway wrote of his craft as a "moveable feast", one that he could do from anywhere in the world--he could gorge himself on his artworks. It makes me wonder, do many artists feel this way? As though they 'trick' those in power by taking their platform with them, even in exile?)

This week, we barely brushed the very controversial surface of the purpose of art, the motivators of art, and why we create. For this week's blog, I want you think about the motivator of art being a voice for the silenced. Many artists, once their art is made public, are seen as threats to the government, to the state of "calm" (or control) perceived by those with power, or as a threat to power. Perhaps this is why the marginalized are not the ones recording History.

Pablo Picasso (painter, Spain), Salman Rushdie (Essayist/Novelist, India), Shirin Neshat (Photographer/artist see TedTalk above, Iran), Azar Nafisi (novelist Reading Lolita in Tehran), Eugene Ionesco (writer), and many, many others have  been forced away from their homelands due to the art they create. The question we want to ask them: Was it worth it? Was being able speak through your art worth being kept from 'home'? 

We can't help but think that there must be another reason motivating these artists to produce this kind of art--but what is that motivation?

In your response ruminate on the concept of artists in exile. Feel free to find an example if you like, or just write in general:

  • What is their motivation? 
  • Why do they create art despite the horrifying consequences? 
  • Is the art they produce more/less important than the art someone who isn't faced with such consequences made?
  • What work does this kind of art do in the making of meaning? How does it contribute to the collective/individual knowledge spheres? 
  • What truths, if any, does this kind of art hold? 

Sunday, November 3, 2013

Blog 27: Moving from History to Art

Blog 27: Due November 9, 2013 by Midnight

The TedTalk above is kind of a fun transition from History to Art, as areas of knowledge; although, many would argue that there is no transition to be made--they are limbs of the same tree--but, as we are seeing, we could say that about every area of knowledge!

There is certainly a connection between Art and History that is special, it cannot be denied. Many of you wrote about Artists in the last blog as having a great influence upon history.

Remember, as we begin to talk about Art as an area of knowledge this week, that we include: literature, poetry, painting, sculpture, photography, film, dance/movement, theater, music/lyrics, etc. Try to think beyond the canvas, so to speak, when contemplating Art.

Question Options: Choose one of these
1. If you could spend a day with any artist, living or deceased, who would it be and what would you ask him or her?

2. Do you think archaeologically discovered artifacts, such as clay pots and hieroglyphics, belong in a Museum of Art or a Museum of History? Explain or answer.

3. What makes art..."Art"? What gives a piece of art credibility and how does one differentiate between "good" and "bad" art? (Don't simply quote your textbook...I'm curious what you think!)

4. Some argue that Art, creativity, and the ability to express ourselves for no other reason than to be creative, is what ultimately separates human beings from the rest of the mammals. Do you agree or disagree with this?

AND (everyone answers this)

What is your preferred mode of creativity? Notice, I'm not asking you what you are best at doing...I'm asking what you like to do as a creative outlet. What is your most creative time of day?