What is a good memory worth? At its essence, oral storytelling is a story spoken to an audience. Throughout history, it's taken many forms including songs, poetry, chants, dance, masks, and so on. A good story is at heart a seducer, and the storyteller and audience build a unique dialogue and interaction as they participate in the creation of living art. Traditionally speaking, a storyteller has been associated with a healer, a spiritual guide, a leader, a cultural secret keeper, an entertainer, and a jester; and the storyteller can either seek to console or amuse.
Telling Truths Through Telling StoriesStorytelling is an art, as well as a skill. It allows the listener to take an idea and shape it into something that is relatable on a personal level. In The Art of Storytelling: Telling Truths Through Telling Stories discovering the tradition of storytelling.
Spaulding covers a wide array of important storytelling elements, from advice on choosing, learning, and presenting the stories to discussions on the importance of storytelling through human history and its continued significance today.
Spaulding covers a wide array of important storytelling elements, from advice on choosing, learning, and presenting the stories to discussions on the importance of storytelling through human history and its continued significance today.
Tell tales they make it into play, verbal art, jokes, stories, drama, aesthetic expression, ritual, and poetic communication. touched my heart. The idea of spirituality was always a basic seed in the development of my art. Becoming academically educated through art was also a really important step for me. emotional connection in our work. Studying art helped me to understand other people's views, history, connections or disconnections, functions or dysfunctions—and [helped me] know that they were just as human as everybody else. I really feel the confidence to use my spirituality as a very basic component to the work Ipassing on a world that's really been damaged. But the art was telling stories, and leaving legacies of honor and respect and what our people really represented. We're starting to lose the [verbal] passing on of stories and traditions because of technology. The important thing, too, is all the different morals in stories. Empower young people. I feel that as a society, we don't really look at how our actions will affect other generations. We have a responsibility to other generations because they're going to be the ones taking care of us.It is a way of passing on the teaching of my life. don't go in front of a mirror and practice my stories.When I talk about my work in public, we talk about the process. We talk about the process that led to the final images Emotional connevtion. I speak from the heart because it's natural, and I want to continue to be natural. I think my education programming comes from really trying to live that.My livelihood as an artist, storyteller, and educator chose me, art being my first love. I am devoted to passing on the teachings of my life, and share my stories with a passion and an openness to anyone wishing to listen. I want an emotional connectionI narrate real or imaginary events My storytelling is informal It is interactive it involves a two-way interaction between a storyteller and one or more listeners. informal The responses of the listeners influence the telling of the story. In fact, storytelling emerges from the interaction and cooperative, coordinated efforts of teller and audience
Storytelling Uses Words. Storytelling uses language, whether it be a spoken language or a manual language such as American Sign Language. The use of language distinguishes storytelling from most forms of dance and mime.
Uses Actions Such As Vocalization, Physical Movement And/Or Gesture. These actions are the parts of spoken or manual language other than words. Their use distinguishes storytelling from writing and text-based computer interactions. Not all nonverbal language behaviors need to be present in storytelling. Some storytellers use body movement extensively, for example, whereas others use little or none.sign language present a story
Storytelling Presents A Story. Storytelling always involves the presentation of a story—a narrative. ritual Some demand certain themes, attitudes, and artistic approaches.
Storytelling Encourages The Active Imagination Of The Listeners. The storytelling listener’s role is to actively create the vivid, multi-sensory images, actions, characters, and events—the reality—of the story in his or her mind, based on the performance by the teller and on the listener’s own past experiences, beliefs, and understandings. The completed story happens in the mind of the listener, a unique and personalized individual. The listener becomes, therefore, a co-creator of the story as experienced.Storytelling can be combined with other art forms. The fruit born by the vital, contemporary storytelling movement includes the development of ways to combine storytelling with drama, music, dance, comedy,
Storytelling Uses Words. Storytelling uses language, whether it be a spoken language or a manual language such as American Sign Language. The use of language distinguishes storytelling from most forms of dance and mime.
Uses Actions Such As Vocalization, Physical Movement And/Or Gesture. These actions are the parts of spoken or manual language other than words. Their use distinguishes storytelling from writing and text-based computer interactions. Not all nonverbal language behaviors need to be present in storytelling. Some storytellers use body movement extensively, for example, whereas others use little or none.sign language present a story
Storytelling Presents A Story. Storytelling always involves the presentation of a story—a narrative. ritual Some demand certain themes, attitudes, and artistic approaches.
Storytelling Encourages The Active Imagination Of The Listeners. The storytelling listener’s role is to actively create the vivid, multi-sensory images, actions, characters, and events—the reality—of the story in his or her mind, based on the performance by the teller and on the listener’s own past experiences, beliefs, and understandings. The completed story happens in the mind of the listener, a unique and personalized individual. The listener becomes, therefore, a co-creator of the story as experienced.Storytelling can be combined with other art forms. The fruit born by the vital, contemporary storytelling movement includes the development of ways to combine storytelling with drama, music, dance, comedy,
1. Storytelling Is Interactive.Storytelling involves a two-way interaction between a storyteller and one or more listeners. The responses of the listeners influence the telling of the story. In fact, storytelling emerges from the interaction and cooperative, coordinated efforts of teller and audience.
In particular, storytelling does not create an imaginary barrier between the speaker and the listeners. This is part of what distinguishes storytelling from the forms of theatre that use an imaginary “fourth wall.”
Different cultures and situations create different expectations for the exact roles of storyteller and listener – who speaks how often and when, for example – and therefore create different forms of interaction.
The interactive nature of storytelling partially accounts for its immediacy and impact. At its best, storytelling can directly and tightly connect the teller and audience.
2. Storytelling Uses Words. Storytelling uses language, whether it be a spoken language or a manual language such as American Sign Language. The use of language distinguishes storytelling from most forms of dance and mime.
3. Storytelling Uses Actions Such As Vocalization, Physical Movement And/Or Gesture.These actions are the parts of spoken or manual language other than words. Their use distinguishes storytelling from writing and text-based computer interactions. Not all nonverbal language behaviors need to be present in storytelling. Some storytellers use body movement extensively, for example, whereas others use little or none.
4. Storytelling Presents A Story.Storytelling always involves the presentation of a story—a narrative. Many other art forms also present story, but storytelling presents it with the other four components. Every culture has its own definition of story. What is recognized as a story in one situation may not be accepted as one in another. Some situations call for spontaneity and playful digression, for example; others call for near-exact repetition of a revered text. Art forms such as poetry recitation and stand-up comedy sometimes present stories and sometimes don’t. Since they generally involve the other four components, they can be regarded as forms of storytelling whenever they also present stories.
5. Storytelling Encourages The Active Imagination Of The Listeners.In storytelling, the listener imagines the story. In most traditional theatre or in a typical dramatic film, on the other hand, the listener enjoys the illusion that the listener is actually witnessing the character or events described in the story.
The storytelling listener’s role is to actively create the vivid, multi-sensory images, actions, characters, and events—the reality—of the story in his or her mind, based on the performance by the teller and on the listener’s own past experiences, beliefs, and understandings. The completed story happens in the mind of the listener, a unique and personalized individual. The listener becomes, therefore, a co-creator of the story as experienced.
Storytelling can be combined with other art forms. The fruit born by the vital, contemporary storytelling movement includes the development of ways to combine storytelling with drama, music, dance, comedy, puppetry, and numerous other forms of expression. Yet, even as it blends imperceptibly into other arts, the essence of storytelling remains recognizable as the intersection of the five components included in the above definition.
Storytelling happens in many situations, from kitchen-table conversation to religious ritual, from telling in the course of other work to performances for thousands of paying listeners. Some storytelling situations demand informality; others are highly formal. Some demand certain themes, attitudes, and artistic approaches. As noted above, the expectations about listener interaction and the nature of the story itself vary widely.
through dialogue with materials.Storytelling
Art Dialogue's mission is to build cultural discourse through creativity, research, the public, and experiential learning.
Our vision is to expand the definition of art into the larger cultural context. ArtDialogue does this by fostering creativity and it’s innate connection to the
natural world; a place where nature and culture meet that is holistic, experiential, and sustainable. We foster a praxis-based, educational environment that grows
from the natural sciences, philosophy and civil society, the arts, and the systems that organize them. Based on our history with the monumental social and
political changes in Central Europe in 1989, from whence our organization began, we are committed to the idea that culture "should be a fundamental enabler of sustainability,
being a source of meaning and energy, a wellspring of creativity and innovation…"
We are committed to the idea of culture as ‘soft diplomacy’ which ignites social change. ArtDialogue engages various social groups, across gender, age and nationality.
We work to align ourselves with indigenous and local culture organizations with similar missions, in tune ecologically with sound production and creative practices.
“Sustainable creativity” , implies a whole person in a healthy environment, an idea that nourishes a potential resource to confront the challenges ahead and create
solutions to the impending global environmental crisis. ArtDialogue expedites placing culture into sustainable
qualifiable praxi.
Our Goals and Objectives:
Open a dialogue on Culture as a key pillar in sustainability through support and alignment with co-operating organizations
Foster creativity in the individual, and to that end social change in recognition of civil society.
Promote sustainable creativity via experiential, environmental education
connect waste and consumption practices, focusing on plante health.
As part of the SS PaloAlto project, ArtDialogue is created a sustainability driven exhibition and
interactive event at the site of the Cement Ship at SeaCliff in Santa Cruz. Hosted by CA State Parks
and UCSC Art & Design Place-making Initiatives, the event will took place on October 26th, 2019.,
and was open to the public.The SS PaloAlto project aims to spark dialogue and curiosity in the community
about the intersections between sustainability, marine science and the arts. Artists of all ages and backgrounds
were invited to submit art and science projects that use natural systems and phenomena as a model to rethink human interactions within our environment.
Which is true about the art of dialogue?
True dialogue is an art form. It’s more than just a chat over coffee, a lengthy email string, or a series of texts. Dialogue is a form of conversation
where people genuinely try to access different mindsets, ideologies, and perspectives to enable growth.
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again.
Art & Perception a multi-disciplinary dialog
Old grapes, new painting »« What Makes Good Landscapes?
Art and Communication
Posted by Rex Crockett on November 18th, 2006
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again. That was an artistic phrasing of a larger idea.
Art is a certain kind of specialized communication. Communication is not necessarily art. Art does not equal communication, but all art is communication.
In mathematical terms, art is a member of the set of communication. What makes art different and special is that a communication that has value.
People consider a communication art when it has merit, worth or excellence. Perhaps a better word than value would be quality.
This is how people, ordinary everyday people use the word art. Nothing has been invented here. So this is not really a “theory.” It’s an observation of observed phenomena.
The word “art” is used to describe any communication that can be valued as to excellence.
That’s really a definition for art. The quality of communication.
What is interesting about this way of understanding and analyzing art is the magnitude of predictions and explanations that result. By considering art as an instance in the
class of communication, we have an organizing principle that can be used to predict, measure, enhance or create art.
We have a way of helping our own art, and we have a way of helping other artists.
For example, if art is communication, it follows the rules of communication. If it’s too original, it is difficult for people to understand. If it is too unoriginal,
it is a bore. Too loud and it is irritating. Too quiet and it has no impact. If the subject bears no relationship with the experiences of the perceiver, it is not likely
to be grasped. If it deals with a subject in a way that is not stimulating, it is not likely to be valued.
Second, we see that we can dismiss binary or two valued logic as applied to art. It is never therefore “art or not art;” rather, it is degree of art. Someone might attempt
to make the case, “If that’s true, well then everything is art. And that can’t be true.”
(That’s so easy to refute I won’t even bother; rather, I will leave that as an exercise for the reader. Assuming of course that you actually read this.)
However, considering that art is communication and that the term is used to describe a the quality of communication, we do open the field to many expressions
that have not always been considered art but craft. Craft becomes art when it breaks away from mechanical functionality and begins to “emanate.” One’s personal
appearance becomes art when it transcends the purely functional. One’s life itself becomes an art form when it becomes something more than mere survival. So it is true
that art as the quality of communication expands the definition.
Therefore this is not a trivial idea.
As artists, we have heard many debates in our lives about whether this is art or that is art. Is a sunset art? Is graffiti art? Can animals make art?
But the answers to these questions can be found by applying the above criterion. Are you experiencing it as a communication — conveyed information? Do you value it?
Then yes. It is art. For you.
Sure, we have heard “Beauty is in the eye of the beholder.”
But why?
This is not something new. Artists have “always known” this. They have an intuitive grasp of this even when they deny they are trying to communicate, and it shows in their work.
As an an organizing principle, art as a communication of quality predicts that art is not a universal. Sure. We know that. But why? What will be art for one will not
necessarily be art for another. Why? Because art, as a subset of communication. It succeeds or fails the same ways that communications succeed or fail.
The “artiness” is a matter of opinion because value is a matter of opinion. How much would you pay? Why does a painting appear more valuable in one environment than
another? Why does promotion work? (Clue: there is a relationship between degree of attention and degree of communication) Elitism itself in art is explained by this
principle. Because one group can see it is art (or pretends to) they are therefore more capable of perception than the crowd, and therefore superior. What are they doing?
They saying “This new practice/thing is valuable communication.”
That’s all.
Because I have narrowed the scope of this essay, I do not here treat the relationship between art and technique. But the understanding here can be used to explode that topic.
It could be said, that communication must have intention in order to regarded as “true” communication, but there are several ways to refute that. One, in law, intention
is an ineffable quality that is difficult or impossible to prove or disprove. Second, intention can be the intention to not have an intention. Third, nowhere in any usual
dictionary definition is intention required for the word communication to apply. Fourth, the requirement that only sentient beings can communicate is a peculiarly Northern
European tradition. It is not shared by most of the world, as in Africa or Asia where it is very strongly believed that “inanimate” objects can give and receive communication.
It is nothing unusual for a Latin to talk to his sword or his pistol. In Japan, there is a tradition of “seeing stones.” They are “emanative” rocks. When discovered,
usually in rivers, they are highly prized and will receive special places in gardens. Visitors will be taken near them without being told about them as a test of the visitor’s
sensitivity.
It could also be said that if art is actually defined, then what are we going to talk about?
Art.
Giorgione, The Tempest
To show the possibilities for discourse, I have selected one of my favorite paintings. It was named “The Tempest,” but that came later. No one knows what Giorgione called it.
He never explained it.
Let’s look at it. People have debated this painting for centuries. Whole books have been written about it. It’s “meaning” has always been a huge mystery.
Who is that guy with the walling stick? Is it a walking stick? Maybe it’s a spear shaft. A phallic object the goes with his exaggerated codpiece as was the style then.
Is he the painter? Giorgione resembled this man. He is not looking at the woman. He’s looking off… somewhere, and he seems to be thinking. Perhaps he is looking back in time.
Is he a wanderer? A soldier? There’s a bangage on his leg. Is that significant? And the woman with the child. She looks so vulnerable in her nudity, and yet the way she looks
out at the viewer is anything but vulnerable. It’s like she’s saying, “You see? This is life.” Or is she? Her look can be construed as accusative. Then there is that divide,
that watery gulch between the two figures, and the two figures are so differently painted. There is considerable texture to the man, but the woman is more smoothly painted.
Is that significant? Did he paint these in two different periods? It’s like Giorgione put them together in the picture, but they are really in separate countries.
Is that symbolic?
Was this autobiographical? Did Giorgione get a girl pregnant then leave her to her fate? That seems to be going on here, but maybe the guy died, and this allegorical.
Maybe the woman is a friend of the painter and he felt compassion for her difficulty.
Then there is the storm in the background. We know this is Torino, but it’s a fantasy, Romantic Torino. There is a sense of something imminent. Doom? Danger? Change?
And notice that tippy building behind the man. A world gone askew.
We will never know. Giorgione’s intentions, if he even had any, are not clear. We can only speculate.
What do you think? (There are no wrong answers.)
This painting demonstrates several things. It shows that the artists intentions need not be known for a communication to occur; therefore, artist’s statements of
intentions are not significant. Indeed, it suggests that an artist would do well to dispense with any vanity on the subject. It suggests that the art that will be
considered truly great will be the kind of art that is actually completed by the viewer. This is the singularly remarkable characteristic of art that comes down
through history as truly great. Ambiguity of communication in art is a highly valued characteristic, evidently.
I have completely ignored technique here. That was intentional, but the opportunity for viewer participation (two way communication), when combined with dazzling
virtuoso skill is a one two knock-out punch combination.
But the reason I picked this painting in particular is that it has historically demonstrates an amazing capacity to stimulate dialog. It shows that what makes art the
most valuable in the eyes of people throughout the ages is something that generates communication far beyond it’s own time. That is one thing you can say for sure about
any really famous piece of art.
If ever there was a proof positive that art is about communication, there it is.
Twenty thousand years of art history scream it from the mountain tops. It is writ in letters of fire across the sky.
But I’m afraid I won’t be able to participate in any dialog resulting from this post. I’m taking a long train trip tomorrow, starting before dawn, and as soon as I post this,
I shall have to pack. Please do not think me rude if I do not respond. I will have a look at again Monday, but until then, I shall be offline.
As one part of the creative process, artists choose their materials, so as to be able to demonstrate their
craft and express what they wish to express. The selection of materials is an important aspect of the
design process, as well. When materials and processing techniques are combined, new value is
created. Having a face-to-face dialogue with materials is an essential part of the process of creating
objects. At this exhibition, we will offer an introduction to the world of design through four sections that
will focus on materials ― from wood, to metal, to high-tech materials ― and how they have
transformed. The sections are called “Art and Materials,” “Innovation and Materials,” “An Introduction
to Materials,” and “Installations: Bringing Art and Design Together.” Here at the Toyama Prefectural
Museum of Art and Design, where the building itself embodies the allure of materials such as wood,
aluminum, and glass, we are creating a place where visitors can have encounters with art and design
through dialogue with materials.Storytelling
Art Dialogue's mission is to build cultural discourse through creativity, research, the public, and experiential learning.
Our vision is to expand the definition of art into the larger cultural context. ArtDialogue does this by fostering creativity and it’s innate connection to the
natural world; a place where nature and culture meet that is holistic, experiential, and sustainable. We foster a praxis-based, educational environment that grows
from the natural sciences, philosophy and civil society, the arts, and the systems that organize them. Based on our history with the monumental social and
political changes in Central Europe in 1989, from whence our organization began, we are committed to the idea that culture "should be a fundamental enabler of sustainability,
being a source of meaning and energy, a wellspring of creativity and innovation…"
We are committed to the idea of culture as ‘soft diplomacy’ which ignites social change. ArtDialogue engages various social groups, across gender, age and nationality.
We work to align ourselves with indigenous and local culture organizations with similar missions, in tune ecologically with sound production and creative practices.
“Sustainable creativity” , implies a whole person in a healthy environment, an idea that nourishes a potential resource to confront the challenges ahead and create
solutions to the impending global environmental crisis. ArtDialogue expedites placing culture into sustainable
qualifiable praxi.
Our Goals and Objectives:
Open a dialogue on Culture as a key pillar in sustainability through support and alignment with co-operating organizations
Foster creativity in the individual, and to that end social change in recognition of civil society.
Promote sustainable creativity via experiential, environmental education
connect waste and consumption practices, focusing on plante health.
As part of the SS PaloAlto project, ArtDialogue is created a sustainability driven exhibition and
interactive event at the site of the Cement Ship at SeaCliff in Santa Cruz. Hosted by CA State Parks
and UCSC Art & Design Place-making Initiatives, the event will took place on October 26th, 2019.,
and was open to the public.The SS PaloAlto project aims to spark dialogue and curiosity in the community
about the intersections between sustainability, marine science and the arts. Artists of all ages and backgrounds
were invited to submit art and science projects that use natural systems and phenomena as a model to rethink human interactions within our environment.
Which is true about the art of dialogue?
True dialogue is an art form. It’s more than just a chat over coffee, a lengthy email string, or a series of texts. Dialogue is a form of conversation
where people genuinely try to access different mindsets, ideologies, and perspectives to enable growth.
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again.
Art & Perception a multi-disciplinary dialog
Old grapes, new painting »« What Makes Good Landscapes?
Art and Communication
Posted by Rex Crockett on November 18th, 2006
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again. That was an artistic phrasing of a larger idea.
Art is a certain kind of specialized communication. Communication is not necessarily art. Art does not equal communication, but all art is communication.
In mathematical terms, art is a member of the set of communication. What makes art different and special is that a communication that has value.
People consider a communication art when it has merit, worth or excellence. Perhaps a better word than value would be quality.
This is how people, ordinary everyday people use the word art. Nothing has been invented here. So this is not really a “theory.” It’s an observation of observed phenomena.
The word “art” is used to describe any communication that can be valued as to excellence.
That’s really a definition for art. The quality of communication.
What is interesting about this way of understanding and analyzing art is the magnitude of predictions and explanations that result. By considering art as an instance in the
class of communication, we have an organizing principle that can be used to predict, measure, enhance or create art.
We have a way of helping our own art, and we have a way of helping other artists.
For example, if art is communication, it follows the rules of communication. If it’s too original, it is difficult for people to understand. If it is too unoriginal,
it is a bore. Too loud and it is irritating. Too quiet and it has no impact. If the subject bears no relationship with the experiences of the perceiver, it is not likely
to be grasped. If it deals with a subject in a way that is not stimulating, it is not likely to be valued.
Second, we see that we can dismiss binary or two valued logic as applied to art. It is never therefore “art or not art;” rather, it is degree of art. Someone might attempt
to make the case, “If that’s true, well then everything is art. And that can’t be true.”
(That’s so easy to refute I won’t even bother; rather, I will leave that as an exercise for the reader. Assuming of course that you actually read this.)
However, considering that art is communication and that the term is used to describe a the quality of communication, we do open the field to many expressions
that have not always been considered art but craft. Craft becomes art when it breaks away from mechanical functionality and begins to “emanate.” One’s personal
appearance becomes art when it transcends the purely functional. One’s life itself becomes an art form when it becomes something more than mere survival. So it is true
that art as the quality of communication expands the definition.
Therefore this is not a trivial idea.
As artists, we have heard many debates in our lives about whether this is art or that is art. Is a sunset art? Is graffiti art? Can animals make art?
But the answers to these questions can be found by applying the above criterion. Are you experiencing it as a communication — conveyed information? Do you value it?
Then yes. It is art. For you.
Sure, we have heard “Beauty is in the eye of the beholder.”
But why?
This is not something new. Artists have “always known” this. They have an intuitive grasp of this even when they deny they are trying to communicate, and it shows in their work.
As an an organizing principle, art as a communication of quality predicts that art is not a universal. Sure. We know that. But why? What will be art for one will not
necessarily be art for another. Why? Because art, as a subset of communication. It succeeds or fails the same ways that communications succeed or fail.
The “artiness” is a matter of opinion because value is a matter of opinion. How much would you pay? Why does a painting appear more valuable in one environment than
another? Why does promotion work? (Clue: there is a relationship between degree of attention and degree of communication) Elitism itself in art is explained by this
principle. Because one group can see it is art (or pretends to) they are therefore more capable of perception than the crowd, and therefore superior. What are they doing?
They saying “This new practice/thing is valuable communication.”
That’s all.
Because I have narrowed the scope of this essay, I do not here treat the relationship between art and technique. But the understanding here can be used to explode that topic.
It could be said, that communication must have intention in order to regarded as “true” communication, but there are several ways to refute that. One, in law, intention
is an ineffable quality that is difficult or impossible to prove or disprove. Second, intention can be the intention to not have an intention. Third, nowhere in any usual
dictionary definition is intention required for the word communication to apply. Fourth, the requirement that only sentient beings can communicate is a peculiarly Northern
European tradition. It is not shared by most of the world, as in Africa or Asia where it is very strongly believed that “inanimate” objects can give and receive communication.
It is nothing unusual for a Latin to talk to his sword or his pistol. In Japan, there is a tradition of “seeing stones.” They are “emanative” rocks. When discovered,
usually in rivers, they are highly prized and will receive special places in gardens. Visitors will be taken near them without being told about them as a test of the visitor’s
sensitivity.
It could also be said that if art is actually defined, then what are we going to talk about?
Art.
Giorgione, The Tempest
To show the possibilities for discourse, I have selected one of my favorite paintings. It was named “The Tempest,” but that came later. No one knows what Giorgione called it.
He never explained it.
Let’s look at it. People have debated this painting for centuries. Whole books have been written about it. It’s “meaning” has always been a huge mystery.
Who is that guy with the walling stick? Is it a walking stick? Maybe it’s a spear shaft. A phallic object the goes with his exaggerated codpiece as was the style then.
Is he the painter? Giorgione resembled this man. He is not looking at the woman. He’s looking off… somewhere, and he seems to be thinking. Perhaps he is looking back in time.
Is he a wanderer? A soldier? There’s a bangage on his leg. Is that significant? And the woman with the child. She looks so vulnerable in her nudity, and yet the way she looks
out at the viewer is anything but vulnerable. It’s like she’s saying, “You see? This is life.” Or is she? Her look can be construed as accusative. Then there is that divide,
that watery gulch between the two figures, and the two figures are so differently painted. There is considerable texture to the man, but the woman is more smoothly painted.
Is that significant? Did he paint these in two different periods? It’s like Giorgione put them together in the picture, but they are really in separate countries.
Is that symbolic?
Was this autobiographical? Did Giorgione get a girl pregnant then leave her to her fate? That seems to be going on here, but maybe the guy died, and this allegorical.
Maybe the woman is a friend of the painter and he felt compassion for her difficulty.
Then there is the storm in the background. We know this is Torino, but it’s a fantasy, Romantic Torino. There is a sense of something imminent. Doom? Danger? Change?
And notice that tippy building behind the man. A world gone askew.
We will never know. Giorgione’s intentions, if he even had any, are not clear. We can only speculate.
What do you think? (There are no wrong answers.)
This painting demonstrates several things. It shows that the artists intentions need not be known for a communication to occur; therefore, artist’s statements of
intentions are not significant. Indeed, it suggests that an artist would do well to dispense with any vanity on the subject. It suggests that the art that will be
considered truly great will be the kind of art that is actually completed by the viewer. This is the singularly remarkable characteristic of art that comes down
through history as truly great. Ambiguity of communication in art is a highly valued characteristic, evidently.
I have completely ignored technique here. That was intentional, but the opportunity for viewer participation (two way communication), when combined with dazzling
virtuoso skill is a one two knock-out punch combination.
But the reason I picked this painting in particular is that it has historically demonstrates an amazing capacity to stimulate dialog. It shows that what makes art the
most valuable in the eyes of people throughout the ages is something that generates communication far beyond it’s own time. That is one thing you can say for sure about
any really famous piece of art.
If ever there was a proof positive that art is about communication, there it is.
Twenty thousand years of art history scream it from the mountain tops. It is writ in letters of fire across the sky.
But I’m afraid I won’t be able to participate in any dialog resulting from this post. I’m taking a long train trip tomorrow, starting before dawn, and as soon as I post this,
I shall have to pack. Please do not think me rude if I do not respond. I will have a look at again Monday, but until then, I shall be offline.
As one part of the creative process, artists choose their materials, so as to be able to demonstrate their
craft and express what they wish to express. The selection of materials is an important aspect of the
design process, as well. When materials and processing techniques are combined, new value is
created. Having a face-to-face dialogue with materials is an essential part of the process of creating
objects. At this exhibition, we will offer an introduction to the world of design through four sections that
will focus on materials ― from wood, to metal, to high-tech materials ― and how they have
transformed. The sections are called “Art and Materials,” “Innovation and Materials,” “An Introduction
to Materials,” and “Installations: Bringing Art and Design Together.” Here at the Toyama Prefectural
Museum of Art and Design, where the building itself embodies the allure of materials such as wood,
aluminum, and glass, we are creating a place where visitors can have encounters with art and design
Art Dialogue's mission is to build cultural discourse through creativity, research, the public, and experiential learning.
Our vision is to expand the definition of art into the larger cultural context. ArtDialogue does this by fostering creativity and it’s innate connection to the
natural world; a place where nature and culture meet that is holistic, experiential, and sustainable. We foster a praxis-based, educational environment that grows
from the natural sciences, philosophy and civil society, the arts, and the systems that organize them. Based on our history with the monumental social and
political changes in Central Europe in 1989, from whence our organization began, we are committed to the idea that culture "should be a fundamental enabler of sustainability,
being a source of meaning and energy, a wellspring of creativity and innovation…"
We are committed to the idea of culture as ‘soft diplomacy’ which ignites social change. ArtDialogue engages various social groups, across gender, age and nationality.
We work to align ourselves with indigenous and local culture organizations with similar missions, in tune ecologically with sound production and creative practices.
“Sustainable creativity” , implies a whole person in a healthy environment, an idea that nourishes a potential resource to confront the challenges ahead and create
solutions to the impending global environmental crisis. ArtDialogue expedites placing culture into sustainable
qualifiable praxi.
Our Goals and Objectives:
Open a dialogue on Culture as a key pillar in sustainability through support and alignment with co-operating organizations
Foster creativity in the individual, and to that end social change in recognition of civil society.
Promote sustainable creativity via experiential, environmental education
connect waste and consumption practices, focusing on plante health.
As part of the SS PaloAlto project, ArtDialogue is created a sustainability driven exhibition and
interactive event at the site of the Cement Ship at SeaCliff in Santa Cruz. Hosted by CA State Parks
and UCSC Art & Design Place-making Initiatives, the event will took place on October 26th, 2019.,
and was open to the public.The SS PaloAlto project aims to spark dialogue and curiosity in the community
about the intersections between sustainability, marine science and the arts. Artists of all ages and backgrounds
were invited to submit art and science projects that use natural systems and phenomena as a model to rethink human interactions within our environment.
Which is true about the art of dialogue?
True dialogue is an art form. It’s more than just a chat over coffee, a lengthy email string, or a series of texts. Dialogue is a form of conversation
where people genuinely try to access different mindsets, ideologies, and perspectives to enable growth.
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again.
Art & Perception a multi-disciplinary dialog
Old grapes, new painting »« What Makes Good Landscapes?
Art and Communication
Posted by Rex Crockett on November 18th, 2006
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again. That was an artistic phrasing of a larger idea.
Art is a certain kind of specialized communication. Communication is not necessarily art. Art does not equal communication, but all art is communication.
In mathematical terms, art is a member of the set of communication. What makes art different and special is that a communication that has value.
People consider a communication art when it has merit, worth or excellence. Perhaps a better word than value would be quality.
This is how people, ordinary everyday people use the word art. Nothing has been invented here. So this is not really a “theory.” It’s an observation of observed phenomena.
The word “art” is used to describe any communication that can be valued as to excellence.
That’s really a definition for art. The quality of communication.
What is interesting about this way of understanding and analyzing art is the magnitude of predictions and explanations that result. By considering art as an instance in the
class of communication, we have an organizing principle that can be used to predict, measure, enhance or create art.
We have a way of helping our own art, and we have a way of helping other artists.
For example, if art is communication, it follows the rules of communication. If it’s too original, it is difficult for people to understand. If it is too unoriginal,
it is a bore. Too loud and it is irritating. Too quiet and it has no impact. If the subject bears no relationship with the experiences of the perceiver, it is not likely
to be grasped. If it deals with a subject in a way that is not stimulating, it is not likely to be valued.
Second, we see that we can dismiss binary or two valued logic as applied to art. It is never therefore “art or not art;” rather, it is degree of art. Someone might attempt
to make the case, “If that’s true, well then everything is art. And that can’t be true.”
(That’s so easy to refute I won’t even bother; rather, I will leave that as an exercise for the reader. Assuming of course that you actually read this.)
However, considering that art is communication and that the term is used to describe a the quality of communication, we do open the field to many expressions
that have not always been considered art but craft. Craft becomes art when it breaks away from mechanical functionality and begins to “emanate.” One’s personal
appearance becomes art when it transcends the purely functional. One’s life itself becomes an art form when it becomes something more than mere survival. So it is true
that art as the quality of communication expands the definition.
Therefore this is not a trivial idea.
As artists, we have heard many debates in our lives about whether this is art or that is art. Is a sunset art? Is graffiti art? Can animals make art?
But the answers to these questions can be found by applying the above criterion. Are you experiencing it as a communication — conveyed information? Do you value it?
Then yes. It is art. For you.
Sure, we have heard “Beauty is in the eye of the beholder.”
But why?
This is not something new. Artists have “always known” this. They have an intuitive grasp of this even when they deny they are trying to communicate, and it shows in their work.
As an an organizing principle, art as a communication of quality predicts that art is not a universal. Sure. We know that. But why? What will be art for one will not
necessarily be art for another. Why? Because art, as a subset of communication. It succeeds or fails the same ways that communications succeed or fail.
The “artiness” is a matter of opinion because value is a matter of opinion. How much would you pay? Why does a painting appear more valuable in one environment than
another? Why does promotion work? (Clue: there is a relationship between degree of attention and degree of communication) Elitism itself in art is explained by this
principle. Because one group can see it is art (or pretends to) they are therefore more capable of perception than the crowd, and therefore superior. What are they doing?
They saying “This new practice/thing is valuable communication.”
That’s all.
Because I have narrowed the scope of this essay, I do not here treat the relationship between art and technique. But the understanding here can be used to explode that topic.
It could be said, that communication must have intention in order to regarded as “true” communication, but there are several ways to refute that. One, in law, intention
is an ineffable quality that is difficult or impossible to prove or disprove. Second, intention can be the intention to not have an intention. Third, nowhere in any usual
dictionary definition is intention required for the word communication to apply. Fourth, the requirement that only sentient beings can communicate is a peculiarly Northern
European tradition. It is not shared by most of the world, as in Africa or Asia where it is very strongly believed that “inanimate” objects can give and receive communication.
It is nothing unusual for a Latin to talk to his sword or his pistol. In Japan, there is a tradition of “seeing stones.” They are “emanative” rocks. When discovered,
usually in rivers, they are highly prized and will receive special places in gardens. Visitors will be taken near them without being told about them as a test of the visitor’s
sensitivity.
It could also be said that if art is actually defined, then what are we going to talk about?
Art.
Giorgione, The Tempest
To show the possibilities for discourse, I have selected one of my favorite paintings. It was named “The Tempest,” but that came later. No one knows what Giorgione called it.
He never explained it.
Let’s look at it. People have debated this painting for centuries. Whole books have been written about it. It’s “meaning” has always been a huge mystery.
Who is that guy with the walling stick? Is it a walking stick? Maybe it’s a spear shaft. A phallic object the goes with his exaggerated codpiece as was the style then.
Is he the painter? Giorgione resembled this man. He is not looking at the woman. He’s looking off… somewhere, and he seems to be thinking. Perhaps he is looking back in time.
Is he a wanderer? A soldier? There’s a bangage on his leg. Is that significant? And the woman with the child. She looks so vulnerable in her nudity, and yet the way she looks
out at the viewer is anything but vulnerable. It’s like she’s saying, “You see? This is life.” Or is she? Her look can be construed as accusative. Then there is that divide,
that watery gulch between the two figures, and the two figures are so differently painted. There is considerable texture to the man, but the woman is more smoothly painted.
Is that significant? Did he paint these in two different periods? It’s like Giorgione put them together in the picture, but they are really in separate countries.
Is that symbolic?
Was this autobiographical? Did Giorgione get a girl pregnant then leave her to her fate? That seems to be going on here, but maybe the guy died, and this allegorical.
Maybe the woman is a friend of the painter and he felt compassion for her difficulty.
Then there is the storm in the background. We know this is Torino, but it’s a fantasy, Romantic Torino. There is a sense of something imminent. Doom? Danger? Change?
And notice that tippy building behind the man. A world gone askew.
We will never know. Giorgione’s intentions, if he even had any, are not clear. We can only speculate.
What do you think? (There are no wrong answers.)
This painting demonstrates several things. It shows that the artists intentions need not be known for a communication to occur; therefore, artist’s statements of
intentions are not significant. Indeed, it suggests that an artist would do well to dispense with any vanity on the subject. It suggests that the art that will be
considered truly great will be the kind of art that is actually completed by the viewer. This is the singularly remarkable characteristic of art that comes down
through history as truly great. Ambiguity of communication in art is a highly valued characteristic, evidently.
I have completely ignored technique here. That was intentional, but the opportunity for viewer participation (two way communication), when combined with dazzling
virtuoso skill is a one two knock-out punch combination.
But the reason I picked this painting in particular is that it has historically demonstrates an amazing capacity to stimulate dialog. It shows that what makes art the
most valuable in the eyes of people throughout the ages is something that generates communication far beyond it’s own time. That is one thing you can say for sure about
any really famous piece of art.
If ever there was a proof positive that art is about communication, there it is.
Twenty thousand years of art history scream it from the mountain tops. It is writ in letters of fire across the sky.
But I’m afraid I won’t be able to participate in any dialog resulting from this post. I’m taking a long train trip tomorrow, starting before dawn, and as soon as I post this,
I shall have to pack. Please do not think me rude if I do not respond. I will have a look at again Monday, but until then, I shall be offline.
As one part of the creative process, artists choose their materials, so as to be able to demonstrate their
craft and express what they wish to express. The selection of materials is an important aspect of the
design process, as well. When materials and processing techniques are combined, new value is
created. Having a face-to-face dialogue with materials is an essential part of the process of creating
objects. At this exhibition, we will offer an introduction to the world of design through four sections that
will focus on materials ― from wood, to metal, to high-tech materials ― and how they have
transformed. The sections are called “Art and Materials,” “Innovation and Materials,” “An Introduction
to Materials,” and “Installations: Bringing Art and Design Together.” Here at the Toyama Prefectural
Museum of Art and Design, where the building itself embodies the allure of materials such as wood,
aluminum, and glass, we are creating a place where visitors can have encounters with art and design
through dialogue with materials.Storytelling
Art Dialogue's mission is to build cultural discourse through creativity, research, the public, and experiential learning.
Our vision is to expand the definition of art into the larger cultural context. ArtDialogue does this by fostering creativity and it’s innate connection to the
natural world; a place where nature and culture meet that is holistic, experiential, and sustainable. We foster a praxis-based, educational environment that grows
from the natural sciences, philosophy and civil society, the arts, and the systems that organize them. Based on our history with the monumental social and
political changes in Central Europe in 1989, from whence our organization began, we are committed to the idea that culture "should be a fundamental enabler of sustainability,
being a source of meaning and energy, a wellspring of creativity and innovation…"
We are committed to the idea of culture as ‘soft diplomacy’ which ignites social change. ArtDialogue engages various social groups, across gender, age and nationality.
We work to align ourselves with indigenous and local culture organizations with similar missions, in tune ecologically with sound production and creative practices.
“Sustainable creativity” , implies a whole person in a healthy environment, an idea that nourishes a potential resource to confront the challenges ahead and create
solutions to the impending global environmental crisis. ArtDialogue expedites placing culture into sustainable
qualifiable praxi.
Our Goals and Objectives:
Open a dialogue on Culture as a key pillar in sustainability through support and alignment with co-operating organizations
Foster creativity in the individual, and to that end social change in recognition of civil society.
Promote sustainable creativity via experiential, environmental education
connect waste and consumption practices, focusing on plante health.
As part of the SS PaloAlto project, ArtDialogue is created a sustainability driven exhibition and
interactive event at the site of the Cement Ship at SeaCliff in Santa Cruz. Hosted by CA State Parks
and UCSC Art & Design Place-making Initiatives, the event will took place on October 26th, 2019.,
and was open to the public.The SS PaloAlto project aims to spark dialogue and curiosity in the community
about the intersections between sustainability, marine science and the arts. Artists of all ages and backgrounds
were invited to submit art and science projects that use natural systems and phenomena as a model to rethink human interactions within our environment.
Which is true about the art of dialogue?
True dialogue is an art form. It’s more than just a chat over coffee, a lengthy email string, or a series of texts. Dialogue is a form of conversation
where people genuinely try to access different mindsets, ideologies, and perspectives to enable growth.
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again.
Art & Perception a multi-disciplinary dialog
Old grapes, new painting »« What Makes Good Landscapes?
Art and Communication
Posted by Rex Crockett on November 18th, 2006
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again. That was an artistic phrasing of a larger idea.
Art is a certain kind of specialized communication. Communication is not necessarily art. Art does not equal communication, but all art is communication.
In mathematical terms, art is a member of the set of communication. What makes art different and special is that a communication that has value.
People consider a communication art when it has merit, worth or excellence. Perhaps a better word than value would be quality.
This is how people, ordinary everyday people use the word art. Nothing has been invented here. So this is not really a “theory.” It’s an observation of observed phenomena.
The word “art” is used to describe any communication that can be valued as to excellence.
That’s really a definition for art. The quality of communication.
What is interesting about this way of understanding and analyzing art is the magnitude of predictions and explanations that result. By considering art as an instance in the
class of communication, we have an organizing principle that can be used to predict, measure, enhance or create art.
We have a way of helping our own art, and we have a way of helping other artists.
For example, if art is communication, it follows the rules of communication. If it’s too original, it is difficult for people to understand. If it is too unoriginal,
it is a bore. Too loud and it is irritating. Too quiet and it has no impact. If the subject bears no relationship with the experiences of the perceiver, it is not likely
to be grasped. If it deals with a subject in a way that is not stimulating, it is not likely to be valued.
Second, we see that we can dismiss binary or two valued logic as applied to art. It is never therefore “art or not art;” rather, it is degree of art. Someone might attempt
to make the case, “If that’s true, well then everything is art. And that can’t be true.”
(That’s so easy to refute I won’t even bother; rather, I will leave that as an exercise for the reader. Assuming of course that you actually read this.)
However, considering that art is communication and that the term is used to describe a the quality of communication, we do open the field to many expressions
that have not always been considered art but craft. Craft becomes art when it breaks away from mechanical functionality and begins to “emanate.” One’s personal
appearance becomes art when it transcends the purely functional. One’s life itself becomes an art form when it becomes something more than mere survival. So it is true
that art as the quality of communication expands the definition.
Therefore this is not a trivial idea.
As artists, we have heard many debates in our lives about whether this is art or that is art. Is a sunset art? Is graffiti art? Can animals make art?
But the answers to these questions can be found by applying the above criterion. Are you experiencing it as a communication — conveyed information? Do you value it?
Then yes. It is art. For you.
Sure, we have heard “Beauty is in the eye of the beholder.”
But why?
This is not something new. Artists have “always known” this. They have an intuitive grasp of this even when they deny they are trying to communicate, and it shows in their work.
As an an organizing principle, art as a communication of quality predicts that art is not a universal. Sure. We know that. But why? What will be art for one will not
necessarily be art for another. Why? Because art, as a subset of communication. It succeeds or fails the same ways that communications succeed or fail.
The “artiness” is a matter of opinion because value is a matter of opinion. How much would you pay? Why does a painting appear more valuable in one environment than
another? Why does promotion work? (Clue: there is a relationship between degree of attention and degree of communication) Elitism itself in art is explained by this
principle. Because one group can see it is art (or pretends to) they are therefore more capable of perception than the crowd, and therefore superior. What are they doing?
They saying “This new practice/thing is valuable communication.”
That’s all.
Because I have narrowed the scope of this essay, I do not here treat the relationship between art and technique. But the understanding here can be used to explode that topic.
It could be said, that communication must have intention in order to regarded as “true” communication, but there are several ways to refute that. One, in law, intention
is an ineffable quality that is difficult or impossible to prove or disprove. Second, intention can be the intention to not have an intention. Third, nowhere in any usual
dictionary definition is intention required for the word communication to apply. Fourth, the requirement that only sentient beings can communicate is a peculiarly Northern
European tradition. It is not shared by most of the world, as in Africa or Asia where it is very strongly believed that “inanimate” objects can give and receive communication.
It is nothing unusual for a Latin to talk to his sword or his pistol. In Japan, there is a tradition of “seeing stones.” They are “emanative” rocks. When discovered,
usually in rivers, they are highly prized and will receive special places in gardens. Visitors will be taken near them without being told about them as a test of the visitor’s
sensitivity.
It could also be said that if art is actually defined, then what are we going to talk about?
Art.
Giorgione, The Tempest
To show the possibilities for discourse, I have selected one of my favorite paintings. It was named “The Tempest,” but that came later. No one knows what Giorgione called it.
He never explained it.
Let’s look at it. People have debated this painting for centuries. Whole books have been written about it. It’s “meaning” has always been a huge mystery.
Who is that guy with the walling stick? Is it a walking stick? Maybe it’s a spear shaft. A phallic object the goes with his exaggerated codpiece as was the style then.
Is he the painter? Giorgione resembled this man. He is not looking at the woman. He’s looking off… somewhere, and he seems to be thinking. Perhaps he is looking back in time.
Is he a wanderer? A soldier? There’s a bangage on his leg. Is that significant? And the woman with the child. She looks so vulnerable in her nudity, and yet the way she looks
out at the viewer is anything but vulnerable. It’s like she’s saying, “You see? This is life.” Or is she? Her look can be construed as accusative. Then there is that divide,
that watery gulch between the two figures, and the two figures are so differently painted. There is considerable texture to the man, but the woman is more smoothly painted.
Is that significant? Did he paint these in two different periods? It’s like Giorgione put them together in the picture, but they are really in separate countries.
Is that symbolic?
Was this autobiographical? Did Giorgione get a girl pregnant then leave her to her fate? That seems to be going on here, but maybe the guy died, and this allegorical.
Maybe the woman is a friend of the painter and he felt compassion for her difficulty.
Then there is the storm in the background. We know this is Torino, but it’s a fantasy, Romantic Torino. There is a sense of something imminent. Doom? Danger? Change?
And notice that tippy building behind the man. A world gone askew.
We will never know. Giorgione’s intentions, if he even had any, are not clear. We can only speculate.
What do you think? (There are no wrong answers.)
This painting demonstrates several things. It shows that the artists intentions need not be known for a communication to occur; therefore, artist’s statements of
intentions are not significant. Indeed, it suggests that an artist would do well to dispense with any vanity on the subject. It suggests that the art that will be
considered truly great will be the kind of art that is actually completed by the viewer. This is the singularly remarkable characteristic of art that comes down
through history as truly great. Ambiguity of communication in art is a highly valued characteristic, evidently.
I have completely ignored technique here. That was intentional, but the opportunity for viewer participation (two way communication), when combined with dazzling
virtuoso skill is a one two knock-out punch combination.
But the reason I picked this painting in particular is that it has historically demonstrates an amazing capacity to stimulate dialog. It shows that what makes art the
most valuable in the eyes of people throughout the ages is something that generates communication far beyond it’s own time. That is one thing you can say for sure about
any really famous piece of art.
If ever there was a proof positive that art is about communication, there it is.
Twenty thousand years of art history scream it from the mountain tops. It is writ in letters of fire across the sky.
But I’m afraid I won’t be able to participate in any dialog resulting from this post. I’m taking a long train trip tomorrow, starting before dawn, and as soon as I post this,
I shall have to pack. Please do not think me rude if I do not respond. I will have a look at again Monday, but until then, I shall be offline.
As one part of the creative process, artists choose their materials, so as to be able to demonstrate their
craft and express what they wish to express. The selection of materials is an important aspect of the
design process, as well. When materials and processing techniques are combined, new value is
created. Having a face-to-face dialogue with materials is an essential part of the process of creating
objects. At this exhibition, we will offer an introduction to the world of design through four sections that
will focus on materials ― from wood, to metal, to high-tech materials ― and how they have
transformed. The sections are called “Art and Materials,” “Innovation and Materials,” “An Introduction
to Materials,” and “Installations: Bringing Art and Design Together.” Here at the Toyama Prefectural
Museum of Art and Design, where the building itself embodies the allure of materials such as wood,
aluminum, and glass, we are creating a place where visitors can have encounters with art and design
Storytelling
Art Dialogue's mission is to build cultural discourse through creativity, research, the public, and experiential learning.
Our vision is to expand the definition of art into the larger cultural context. ArtDialogue does this by fostering creativity and it’s innate connection to the
natural world; a place where nature and culture meet that is holistic, experiential, and sustainable. We foster a praxis-based, educational environment that grows
from the natural sciences, philosophy and civil society, the arts, and the systems that organize them. Based on our history with the monumental social and
political changes in Central Europe in 1989, from whence our organization began, we are committed to the idea that culture "should be a fundamental enabler of sustainability,
being a source of meaning and energy, a wellspring of creativity and innovation…"
We are committed to the idea of culture as ‘soft diplomacy’ which ignites social change. ArtDialogue engages various social groups, across gender, age and nationality.
We work to align ourselves with indigenous and local culture organizations with similar missions, in tune ecologically with sound production and creative practices.
“Sustainable creativity” , implies a whole person in a healthy environment, an idea that nourishes a potential resource to confront the challenges ahead and create
solutions to the impending global environmental crisis. ArtDialogue expedites placing culture into sustainable
qualifiable praxi.
Our Goals and Objectives:
Open a dialogue on Culture as a key pillar in sustainability through support and alignment with co-operating organizations
Foster creativity in the individual, and to that end social change in recognition of civil society.
Promote sustainable creativity via experiential, environmental education
connect waste and consumption practices, focusing on plante health.
As part of the SS PaloAlto project, ArtDialogue is created a sustainability driven exhibition and
interactive event at the site of the Cement Ship at SeaCliff in Santa Cruz. Hosted by CA State Parks
and UCSC Art & Design Place-making Initiatives, the event will took place on October 26th, 2019.,
and was open to the public.The SS PaloAlto project aims to spark dialogue and curiosity in the community
about the intersections between sustainability, marine science and the arts. Artists of all ages and backgrounds
were invited to submit art and science projects that use natural systems and phenomena as a model to rethink human interactions within our environment.
Which is true about the art of dialogue?
True dialogue is an art form. It’s more than just a chat over coffee, a lengthy email string, or a series of texts. Dialogue is a form of conversation
where people genuinely try to access different mindsets, ideologies, and perspectives to enable growth.
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again.
Art & Perception a multi-disciplinary dialog
Old grapes, new painting »« What Makes Good Landscapes?
Art and Communication
Posted by Rex Crockett on November 18th, 2006
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again. That was an artistic phrasing of a larger idea.
Art is a certain kind of specialized communication. Communication is not necessarily art. Art does not equal communication, but all art is communication.
In mathematical terms, art is a member of the set of communication. What makes art different and special is that a communication that has value.
People consider a communication art when it has merit, worth or excellence. Perhaps a better word than value would be quality.
This is how people, ordinary everyday people use the word art. Nothing has been invented here. So this is not really a “theory.” It’s an observation of observed phenomena.
The word “art” is used to describe any communication that can be valued as to excellence.
That’s really a definition for art. The quality of communication.
What is interesting about this way of understanding and analyzing art is the magnitude of predictions and explanations that result. By considering art as an instance in the
class of communication, we have an organizing principle that can be used to predict, measure, enhance or create art.
We have a way of helping our own art, and we have a way of helping other artists.
For example, if art is communication, it follows the rules of communication. If it’s too original, it is difficult for people to understand. If it is too unoriginal,
it is a bore. Too loud and it is irritating. Too quiet and it has no impact. If the subject bears no relationship with the experiences of the perceiver, it is not likely
to be grasped. If it deals with a subject in a way that is not stimulating, it is not likely to be valued.
Second, we see that we can dismiss binary or two valued logic as applied to art. It is never therefore “art or not art;” rather, it is degree of art. Someone might attempt
to make the case, “If that’s true, well then everything is art. And that can’t be true.”
(That’s so easy to refute I won’t even bother; rather, I will leave that as an exercise for the reader. Assuming of course that you actually read this.)
However, considering that art is communication and that the term is used to describe a the quality of communication, we do open the field to many expressions
that have not always been considered art but craft. Craft becomes art when it breaks away from mechanical functionality and begins to “emanate.” One’s personal
appearance becomes art when it transcends the purely functional. One’s life itself becomes an art form when it becomes something more than mere survival. So it is true
that art as the quality of communication expands the definition.
Therefore this is not a trivial idea.
As artists, we have heard many debates in our lives about whether this is art or that is art. Is a sunset art? Is graffiti art? Can animals make art?
But the answers to these questions can be found by applying the above criterion. Are you experiencing it as a communication — conveyed information? Do you value it?
Then yes. It is art. For you.
Sure, we have heard “Beauty is in the eye of the beholder.”
But why?
This is not something new. Artists have “always known” this. They have an intuitive grasp of this even when they deny they are trying to communicate, and it shows in their work.
As an an organizing principle, art as a communication of quality predicts that art is not a universal. Sure. We know that. But why? What will be art for one will not
necessarily be art for another. Why? Because art, as a subset of communication. It succeeds or fails the same ways that communications succeed or fail.
The “artiness” is a matter of opinion because value is a matter of opinion. How much would you pay? Why does a painting appear more valuable in one environment than
another? Why does promotion work? (Clue: there is a relationship between degree of attention and degree of communication) Elitism itself in art is explained by this
principle. Because one group can see it is art (or pretends to) they are therefore more capable of perception than the crowd, and therefore superior. What are they doing?
They saying “This new practice/thing is valuable communication.”
That’s all.
Because I have narrowed the scope of this essay, I do not here treat the relationship between art and technique. But the understanding here can be used to explode that topic.
It could be said, that communication must have intention in order to regarded as “true” communication, but there are several ways to refute that. One, in law, intention
is an ineffable quality that is difficult or impossible to prove or disprove. Second, intention can be the intention to not have an intention. Third, nowhere in any usual
dictionary definition is intention required for the word communication to apply. Fourth, the requirement that only sentient beings can communicate is a peculiarly Northern
European tradition. It is not shared by most of the world, as in Africa or Asia where it is very strongly believed that “inanimate” objects can give and receive communication.
It is nothing unusual for a Latin to talk to his sword or his pistol. In Japan, there is a tradition of “seeing stones.” They are “emanative” rocks. When discovered,
usually in rivers, they are highly prized and will receive special places in gardens. Visitors will be taken near them without being told about them as a test of the visitor’s
sensitivity.
It could also be said that if art is actually defined, then what are we going to talk about?
Art.
Giorgione, The Tempest
To show the possibilities for discourse, I have selected one of my favorite paintings. It was named “The Tempest,” but that came later. No one knows what Giorgione called it.
He never explained it.
Art Dialogue's mission is to build cultural discourse through creativity, research, the public, and experiential learning.
Our vision is to expand the definition of art into the larger cultural context. ArtDialogue does this by fostering creativity and it’s innate connection to the
natural world; a place where nature and culture meet that is holistic, experiential, and sustainable. We foster a praxis-based, educational environment that grows
from the natural sciences, philosophy and civil society, the arts, and the systems that organize them. Based on our history with the monumental social and
political changes in Central Europe in 1989, from whence our organization began, we are committed to the idea that culture "should be a fundamental enabler of sustainability,
being a source of meaning and energy, a wellspring of creativity and innovation…"
We are committed to the idea of culture as ‘soft diplomacy’ which ignites social change. ArtDialogue engages various social groups, across gender, age and nationality.
We work to align ourselves with indigenous and local culture organizations with similar missions, in tune ecologically with sound production and creative practices.
“Sustainable creativity” , implies a whole person in a healthy environment, an idea that nourishes a potential resource to confront the challenges ahead and create
solutions to the impending global environmental crisis. ArtDialogue expedites placing culture into sustainable
qualifiable praxi.
Our Goals and Objectives:
Open a dialogue on Culture as a key pillar in sustainability through support and alignment with co-operating organizations
Foster creativity in the individual, and to that end social change in recognition of civil society.
Promote sustainable creativity via experiential, environmental education
connect waste and consumption practices, focusing on plante health.
As part of the SS PaloAlto project, ArtDialogue is created a sustainability driven exhibition and
interactive event at the site of the Cement Ship at SeaCliff in Santa Cruz. Hosted by CA State Parks
and UCSC Art & Design Place-making Initiatives, the event will took place on October 26th, 2019.,
and was open to the public.The SS PaloAlto project aims to spark dialogue and curiosity in the community
about the intersections between sustainability, marine science and the arts. Artists of all ages and backgrounds
were invited to submit art and science projects that use natural systems and phenomena as a model to rethink human interactions within our environment.
Which is true about the art of dialogue?
True dialogue is an art form. It’s more than just a chat over coffee, a lengthy email string, or a series of texts. Dialogue is a form of conversation
where people genuinely try to access different mindsets, ideologies, and perspectives to enable growth.
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again.
Art & Perception a multi-disciplinary dialog
Old grapes, new painting »« What Makes Good Landscapes?
Art and Communication
Posted by Rex Crockett on November 18th, 2006
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
That phrasing was a writer’s device. Paul, quoting or perhaps paraphrasing Stephen Dietz said “Art is about craft.”
I held up a contrary mirror to that statement and used the word “about” again. That was an artistic phrasing of a larger idea.
Art is a certain kind of specialized communication. Communication is not necessarily art. Art does not equal communication, but all art is communication.
In mathematical terms, art is a member of the set of communication. What makes art different and special is that a communication that has value.
People consider a communication art when it has merit, worth or excellence. Perhaps a better word than value would be quality.
This is how people, ordinary everyday people use the word art. Nothing has been invented here. So this is not really a “theory.” It’s an observation of observed phenomena.
The word “art” is used to describe any communication that can be valued as to excellence.
That’s really a definition for art. The quality of communication.
What is interesting about this way of understanding and analyzing art is the magnitude of predictions and explanations that result. By considering art as an instance in the
class of communication, we have an organizing principle that can be used to predict, measure, enhance or create art.
We have a way of helping our own art, and we have a way of helping other artists.
For example, if art is communication, it follows the rules of communication. If it’s too original, it is difficult for people to understand. If it is too unoriginal,
it is a bore. Too loud and it is irritating. Too quiet and it has no impact. If the subject bears no relationship with the experiences of the perceiver, it is not likely
to be grasped. If it deals with a subject in a way that is not stimulating, it is not likely to be valued.
Second, we see that we can dismiss binary or two valued logic as applied to art. It is never therefore “art or not art;” rather, it is degree of art. Someone might attempt
to make the case, “If that’s true, well then everything is art. And that can’t be true.”
(That’s so easy to refute I won’t even bother; rather, I will leave that as an exercise for the reader. Assuming of course that you actually read this.)
However, considering that art is communication and that the term is used to describe a the quality of communication, we do open the field to many expressions
that have not always been considered art but craft. Craft becomes art when it breaks away from mechanical functionality and begins to “emanate.” One’s personal
appearance becomes art when it transcends the purely functional. One’s life itself becomes an art form when it becomes something more than mere survival. So it is true
that art as the quality of communication expands the definition.
Therefore this is not a trivial idea.
As artists, we have heard many debates in our lives about whether this is art or that is art. Is a sunset art? Is graffiti art? Can animals make art?
But the answers to these questions can be found by applying the above criterion. Are you experiencing it as a communication — conveyed information? Do you value it?
Then yes. It is art. For you.
Sure, we have heard “Beauty is in the eye of the beholder.”
But why?
This is not something new. Artists have “always known” this. They have an intuitive grasp of this even when they deny they are trying to communicate, and it shows in their work.
As an an organizing principle, art as a communication of quality predicts that art is not a universal. Sure. We know that. But why? What will be art for one will not
necessarily be art for another. Why? Because art, as a subset of communication. It succeeds or fails the same ways that communications succeed or fail.
The “artiness” is a matter of opinion because value is a matter of opinion. How much would you pay? Why does a painting appear more valuable in one environment than
another? Why does promotion work? (Clue: there is a relationship between degree of attention and degree of communication) Elitism itself in art is explained by this
principle. Because one group can see it is art (or pretends to) they are therefore more capable of perception than the crowd, and therefore superior. What are they doing?
They saying “This new practice/thing is valuable communication.”
That’s all.
Because I have narrowed the scope of this essay, I do not here treat the relationship between art and technique. But the understanding here can be used to explode that topic.
It could be said, that communication must have intention in order to regarded as “true” communication, but there are several ways to refute that. One, in law, intention
is an ineffable quality that is difficult or impossible to prove or disprove. Second, intention can be the intention to not have an intention. Third, nowhere in any usual
dictionary definition is intention required for the word communication to apply. Fourth, the requirement that only sentient beings can communicate is a peculiarly Northern
European tradition. It is not shared by most of the world, as in Africa or Asia where it is very strongly believed that “inanimate” objects can give and receive communication.
It is nothing unusual for a Latin to talk to his sword or his pistol. In Japan, there is a tradition of “seeing stones.” They are “emanative” rocks. When discovered,
usually in rivers, they are highly prized and will receive special places in gardens. Visitors will be taken near them without being told about them as a test of the visitor’s
sensitivity.
It could also be said that if art is actually defined, then what are we going to talk about?
Art.
Giorgione, The Tempest
To show the possibilities for discourse, I have selected one of my favorite paintings. It was named “The Tempest,” but that came later. No one knows what Giorgione called it.
He never explained it.
Art Dialogue's mission is to build cultural discourse through creativity, research, the public, and experiential learning.
Our vision is to expand the definition of art into the larger cultural context. ArtDialogue does this by fostering creativity and it’s innate connection to the
natural world; a place where nature and culture meet that is holistic, experiential, and sustainable. We foster a praxis-based, educational environment that grows
from the natural sciences, philosophy and civil society, the arts, and the systems that organize them. Based on our history with the monumental social and
political changes in Central Europe in 1989, from whence our organization began, we are committed to the idea that culture "should be a fundamental enabler of sustainability,
being a source of meaning and energy, a wellspring of creativity and innovation…"
We are committed to the idea of culture as ‘soft diplomacy’ which ignites social change. ArtDialogue engages various social groups, across gender, age and nationality.
We work to align ourselves with indigenous and local culture organizations with similar missions, in tune ecologically with sound production and creative practices.
“Sustainable creativity” , implies a whole person in a healthy environment, an idea that nourishes a potential resource to confront the challenges ahead and create
solutions to the impending global environmental crisis. ArtDialogue expedites placing culture into sustainable
qualifiable praxi.
Our Goals and Objectives:
Open a dialogue on Culture as a key pillar in sustainability through support and alignment with co-operating organizations
Foster creativity in the individual, and to that end social change in recognition of civil society.
Promote sustainable creativity via experiential, environmental education
connect waste and consumption practices, focusing on plante health.
As part of the SS PaloAlto project, ArtDialogue is created a sustainability driven exhibition and
interactive event at the site of the Cement Ship at SeaCliff in Santa Cruz. Hosted by CA State Parks
and UCSC Art & Design Place-making Initiatives, the event will took place on October 26th, 2019.,
and was open to the public.The SS PaloAlto project aims to spark dialogue and curiosity in the community
about the intersections between sustainability, marine science and the arts. Artists of all ages and backgrounds
were invited to submit art and science projects that use natural systems and phenomena as a model to rethink human interactions within our environment.
Which is true about the art of dialogue?
True dialogue is an art form. It’s more than just a chat over coffee, a lengthy email string, or a series of texts. Dialogue is a form of conversation
where people genuinely try to access different mindsets, ideologies, and perspectives to enable growth.
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
It was a comment in one of Paul Butzi’s elegant posts The Four Seductions that I said “Art is about communication.”
Art is a certain kind of specialized communication. Communication is not necessarily art. Art does not equal communication, but all art is communication.
In mathematical terms, art is a member of the set of communication. What makes art different and special is that a communication that has value.
People consider a communication art when it has merit, worth or excellence. Perhaps a better word than value would be quality.
This is how people, ordinary everyday people use the word art. Nothing has been invented here. So this is not really a “theory.” It’s an observation of observed phenomena.
The word “art” is used to describe any communication that can be valued as to excellence.
That’s really a definition for art. The quality of communication.
What is interesting about this way of understanding and analyzing art is the magnitude of predictions and explanations that result. By considering art as an instance in the
class of communication, we have an organizing principle that can be used to predict, measure, enhance or create art.
We have a way of helping our own art, and we have a way of helping other artists.
For example, if art is communication, it follows the rules of communication. If it’s too original, it is difficult for people to understand. If it is too unoriginal,
it is a bore. Too loud and it is irritating. Too quiet and it has no impact. If the subject bears no relationship with the experiences of the perceiver, it is not likely
to be grasped. If it deals with a subject in a way that is not stimulating, it is not likely to be valued.
Second, we see that we can dismiss binary or two valued logic as applied to art. It is never therefore “art or not art;” rather, it is degree of art. Someone might attempt
to make the case, “If that’s true, well then everything is art. And that can’t be true.”
(That’s so easy to refute I won’t even bother; rather, I will leave that as an exercise for the reader. Assuming of course that you actually read this.)
However, considering that art is communication and that the term is used to describe a the quality of communication, we do open the field to many expressions
that have not always been considered art but craft. Craft becomes art when it breaks away from mechanical functionality and begins to “emanate.” One’s personal
appearance becomes art when it transcends the purely functional. One’s life itself becomes an art form when it becomes something more than mere survival. So it is true
that art as the quality of communication expands the definition.
Therefore this is not a trivial idea.
As artists, we have heard many debates in our lives about whether this is art or that is art. Is a sunset art? Is graffiti art? Can animals make art?
But the answers to these questions can be found by applying the above criterion. Are you experiencing it as a communication — conveyed information? Do you value it?
Then yes. It is art. For you.
Sure, we have heard “Beauty is in the eye of the beholder.”
But why?
This is not something new. Artists have “always known” this. They have an intuitive grasp of this even when they deny they are trying to communicate, and it shows in their work.
As an an organizing principle, art as a communication of quality predicts that art is not a universal. Sure. We know that. But why? What will be art for one will not
necessarily be art for another. Why? Because art, as a subset of communication. It succeeds or fails the same ways that communications succeed or fail.
The “artiness” is a matter of opinion because value is a matter of opinion. How much would you pay? Why does a painting appear more valuable in one environment than
another? Why does promotion work? (Clue: there is a relationship between degree of attention and degree of communication) Elitism itself in art is explained by this
principle. Because one group can see it is art (or pretends to) they are therefore more capable of perception than the crowd, and therefore superior. What are they doing?
They saying “This new practice/thing is valuable communication.”
a test of the visitor’s
sensitivity.
To show the possibilities for discourse, I have selected one of parrots. It was named “The Tempest,” but that came later. N
This painting demonstrates several things. It shows that the artists intentions need not be known for a communication to occur; therefore, artist’s statements of
intentions are not significant. Indeed, it suggests that an artist would do well to dispense with any vanity on the subject. It suggests that the art that will be
considered truly great will be the kind of art that is actually completed by the viewer. This is the singularly remarkable characteristic of art that comes down
through history as truly great. Ambiguity of communication in art is a highly valued characteristic, evidently.
I have completely ignored technique here. That was intentional, but the opportunity for viewer participation (two way communication), when combined with dazzling
virtuoso skill is a one two knock-out punch combination.
But the reason I picked parrots in particular is that they historically demonstrates an amazing capacity to stimulate dialog. It shows that what makes art the
most valuable in the eyes of people throughout the ages is something that generates communication far beyond it’s own time. That is one thing you can say for sure about any really famous piece of art.
art is about communication,
As one part of the creative process, artists choose their materials, so as to be able to demonstrate their
craft and express what they wish to express. The selection of materials is an important aspect of the
design process, as well. When materials and processing techniques are combined, new value is
created.
I Would Love to Have You Visit Soon!
Nancy Forrester's Secret Garden
Home of Key West Parrots
518 Elizabeth Street, Key West, Florida 33040
HoursEveryday: Including Holidays 10 am - 3 pm
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Telephone305-294-0015
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