Several aesthetic discussions have entailed an appropriation of the essential nature of aesthetic judgment / enjoyment. Kantian ‘disinterestedness’ has been examined in numerous possibilities and shades. Such discussion rises partly out of genuine query and partly out of a need to justify aesthetics as a proper discipline. Theorists like Derrida, Barthes – “it is the language that speaks, not the author” – (Barthes 1977, p.143) and others in one sense, side with Indian aesthetics which considers Ras-nishpatti (consummation) in the Rasika (enjoyer) as the culmination point in aesthetic cycle.
Complex, strange and uninspiring definitions of Art abound. To Camus a work of art is a confession, to Seneca imitation of nature. To Maugham it is expression of soul’s adventure; Lloyd Wright condemns ‘art for art’ as philosophy of the well-fed. Marshal McLuhan finds advertising is the greatest art form while a contemporary thinker holds that Art begins where advertising ends. Yet, all of them attempt to define the dalliance of curious imaginative human spirit. Infinite museums, theatres, concert halls and libraries attempt to chart, evaluate and preserve it. Poets celebrate it in songs, potters in designs and painters through myriad moods of splashing colors.
Excerpt from O. Henry’s
A Service of Love
“My purchaser from Peoria,” said Joe, “and Gen. Pinkney are both creations of the same art–but you wouldn’t call it either painting or music.
And then they both laughed, and Joe began:
“When one loves one’s Art no service seems—” (..too hard)
But Delia stopped him with her hand on his lips. “No,” she said– “just ‘When one loves.'”
In any Indian city you can locate a busy street in its traditional bazaar known as Sarrafa. Sarrafa is group of jewelry shops (Sarraf ~ Jeweler) – some deal in finished goods, others trade in precious metals.
Mirror’s coverage of British artist Anish Kapoor’s latest work – Leviathan, at Grand Palais in Paris – is a happy re-examination of limit to human creativity. The work is another example of architecture blending with Art. This artist has been known for sculpting mammoth shapes in his search ‘to create a space within a space’. For a critic’s view point please read Martin Newman’s review in Mirror.
Designboom image of Anish Kapoor’s Leviathan. View Time Photo Essay Continue reading
Youth today would find it hard to imagine a world without facilities available to them. As a writer quipped that in future, grandchildren would laugh at you, if you told them you could not read Amazon books on Kobo or Sony format on Nook. Apart from ease, what else is it that technology realizes? Empowerment. Which may work both ways.
The sufferer is economically deficient class, community and individuals. Less, through poverty and more through refusal to get distracted, did a number of communities invite a techno-bias. There is nothing that hurts as neglect. It is an invisible weapon of decay.
Often, perfection in their knowledge-system demanded insularity and Indian sciences survive today only where this rule is followed. Far more blunt than imaginary deductions of physics that lead to uncertainty, is the truth that any interaction between two systems is certain to change them both. To an alloy the touch of gold would bring little change in its value, but the purity of gold gets destroyed at once.
Indian artiste is the wrapt most self-situated individual. To qualify this statement, consider his motivation. His art is the medium granted to him to offer his gratitude to creator for having been granted the ability to offer it. Tautology? All forms of art transcend words that concretize thought. Suffice here then, for some incomprehensible reason, he would behave in a fashion that does nothing to weld a relationship between his art and the world that surrounds him. Why? Why, is he not bothered by presence of others besides him, on this planet? Is it not his duty to acknowledge them and do something for them?