Wednesday, February 25, 2009

By HERBERT MUSCHAMP Published: February 25, 2001

ART/ARCHITECTURE; Imaginative Leaps Into the Real World

Published: February 25, 2001

IN architecture, it is always the Thirties. Buildings can never be entirely divorced from social reality, since they make up a good chunk of it. Nor can they be isolated from the world of ideas. They make up a hefty slice of the intellectual sphere as well. With luck, there will always be openings for those who wish to debate whether architecture is best seen as a form of art or one of social service.

Edmund Wilson's idea of the triple thinker, a Thirties concept imported from literature, offers a useful way to look at the debate. First published in 1938, ''The Triple Thinkers'' set forth Wilson's ideal of the writer's relationship to society. The book, a collection of essays, reflected Wilson's disenchantment with Marxism as a way of reforming society or even adequately describing it.

Wilson's triple thinkers (they include Pushkin, James, Shaw and Flaubert, from whom Wilson borrowed the phrase) are unwilling to renounce responsibility either to themselves or to their society. They reject confinement in a private garden of self-cultivation and the frustration of political action. Instead, they seek meaning in the tensions between their inner and outer worlds. These tensions stimulate imaginative leaps into the triple thought: the work of art that functions as a moral guide.

Art for art's sake. Its antithesis (the double thought) is the dedication of art to social reform. The triple thought is the realization that beauty is not some transcendant, eternal abstraction but something that arises from historical circumstances and that can enlarge the historical awareness of an audience.

What brought Wilson's idea up again for me is the recent announcement that the Whitney Museum of American Art has hired Rem Koolhaas to work on a vision plan for the museum's future development. This is the second important commission Koolhaas has received in New York in recent months. He is already working on a plan, which will include a new building, for the cultural district now being developed in Brooklyn by Harvey Lichtenstein, chairman of the Brooklyn Academy of Music Local Development Corporation. Along with Frank Gehry's design for the Solomon R. Guggenheim Foundation in lower Manhattan, these projects will raise New York architecture to a level that hasn't been seen since the 60's.

No one has done more to draw architecture back to the cultural arena than Gehry and Koolhaas. The concept of the triple thinker helps explain why. The forthcoming projects by these architects will be art works for the public exhibition of art works. They will not help house the homeless. They may even drive up rents. But as practitioners of triple thinking, these two architects have demonstrated how the art of building can be a morally illuminating act.

Koolhaas and Gehry are both poets. The sources of their lyric gifts are unknowable. Still, when their work is set against the field of architecture today, some qualities stand out. Both, for example, have powerfully ambivalent attitudes toward authority. With Gehry, it comes from the tradition of the modern artist, with Koolhaas from the counterculture of the 60's, but the two have ended up with the same confidence in the architect's expertise.

In an interview more than 30 years ago, Gehry said: ''Our architectural vocabulary is better than our clients'; our visual intellect is more highly evolved; we are the experts and that is why we are hired. I want to provide services at the highest possible level, and to do so I have to deal with the real issues, the clearest statement of the problem uncluttered by 'How was it done before?' or 'Give them what they want' hang-ups.''

These hang-ups signify social as well as architectural norms. Gehry's great gift is to present aesthetic disobedience and urban disturbance as pure exercises in social responsibility. His irregular forms evoke the heated discussion between self and society. Often, his imaginative process resembles an exchange between a piece of modern sculpture (de Kooning's ''Clam Digger,'' say, or Brancusi's ''Kiss'') and the rusted remains of the 19th century industrial city as it morphs into the global cultural marketplace of the 21st.

The sculpture is a sign of subjective perception. The city stands for objective fact. Gehry's expertise is to mediate between these two conditions. Robert Rauschenberg's famous description of himself as someone who works in the space between art and life helps explain the importance this American artist has long held for Gehry. Both negotiate deals for space between imperfect selves and flawed social worlds. These spaces are dedicated to the idea of transforming both self and society.

All great modern building -- from the individual monument to the vernacular urban ensemble -- is the product of triple thinking. If that's an overstatement, it's still as reliable a criterion as any I can think of.

Our time is rich in triple architecture. James Ingo Freed's United States Holocaust Memorial Museum in Washington is a masterpiece of the genre. So is Maya Lin's Vietnam Veterans Memorial. Robert Venturi and Denise Scott Brown have been triple thinking for 40 years. Projects by Jean Nouvel, Philippe Starck, Elizabeth Diller and Ricardo Scofidio, Daniel Libeskind, Peter Eisenman, Thom Mayne, Ben van Berkel and Caroline Bos, and other members of the so-called avant-garde, should also be seen as expressive interactions between the architect's creative process and his or her social contract.

As these examples indicate, triple thinking does not produce a particular set of forms or a recognizable style. What it produces is a way of thinking about relationships, on the social and the artistic plane. What it produces is disturbance.

Rem Koolhaas is the most verbally articulate triple thinker in architecture today. A book, not a building, established his reputation, the so-called retroactive manifesto of 1994, ''Delirious New York.'' The book's title fused the two halves of his dialectic. New York is the capital of advanced capitalism. In the absence of a superior analytic tool, the city demands a Marxian interpretation. Delirium, a mental disorder, invites a Freudian reading. These two schools of thought place Koolhaas on a Surrealist playing field. Most architectural games are played on this field today, in fact, even those acted out in ignorance of the boundaries. And, like some Surrealist painters, Koolhaas has the genius to make us forget where we are and know where we are at the same time. We're at once inside our minds and in a post-cold war world, and both of these places have been damaged by history.

The Freudian history is personal, the Marxian history is social, but in both instances a diagnosis is called for. It often seems to me that the architect's task today is to shape spaces that don't make the world more diseased than it is. Koolhaas is a diagnostician who presents his findings in architectural relationships. His rendering of analysis into sensuous form gives these buildings their startlingly immediate sense of life.

Koolhaas's work has long revolved around a dialogue between Europe and the United States. In the early years, it resembled a mid-Atlantic exchange between Mies van der Rohe and Wallace K. Harrison. Mies made light, precise, rational, reductive envelopes of space. Harrison embodied grand, iconic, theatrical gestures, like the United Nations Headquarters and the Trylon and Perisphere at the 1939 New York World's Fair. From these two figures, Koolhaas fashioned a vocabulary of spirals and grids that still informs his designs.

His house for a family in Bordeaux, for instance, is approached by a concrete driveway in the shape of a spiral. The house itself is a rethought, three-story version of Mies's Farnsworth House. The rear wall is punctured with round port-hole windows that recall Harrison's control tower at La Guardia Airport.

New York is no longer the standard bearer of liberal conscience that it was for most of the 20th century. No single art work is going to change this. But imperfect social relationships are the content of the triple thinker's art.

IN his study project for the Museum of Modern Art's 1997 competition to redesign its midtown campus, Koolhaas took circulation as his organizing idea. Using the new Odyssey escalator technology developed by Otis, he proposed a system for moving stairs, platforms and rooms vertically and diagonally through interior space.

He also excised the ground floor from the existing museum, creating a slab that floated over an outdoor space extending from 52nd to 53rd Streets, allowing the city to penetrate the museum envelope. Thus, the design linked the mechanized vertical transport to New York's great horizontal public space, the street.

Koolhaas's notes for the project, which have been privately published, show that he began working out these spatial relationships before arriving at the visual forms of buildings. His goal was to weaken the existing boundaries between private (the museum) and public space (the street). His design resumed the modern task of relaxing the conventions of social and psychological encounter.

You will not need ''Das Kapital'' or ''The Interpretation of Dreams'' to find your way around Koolhaas's vision plan for the Whitney. Koolhaas excels in conveying the idea that architecture is an art of organizing urban relationships, not the styling of discrete objects in space. Whether as journalist, screenwriter, teacher or architect, he has done nothing all his life but study the differences between cities, the extent to which it is in their nature to grow and the role architects play in its unfolding. That is his area of expertise.

Yours, too, perhaps. You are invited to assign your own voices to the spatial and formal sequences Koolhaas devises. In fact, as in a classical course of psychoanalysis, you are expected to do so.

But Americans get spooked when people refer to Marx and Freud in a positive light. This is one of the joys of mentioning them. Freud and Marx! Marx and Freud! Trick or Treat! In our public discourse, one stands for the gulag and nuclear warfare, the other for quackery and the insanity defense. They're unwelcome reminders of imperfection on the golden field of success.

I see no cultural advantage in dismissing the schools of thought initiated by these thinkers. As scientific systems, political parties, substitute religions and sources of illustrational art, they're silly or worse. But they continue to provide useful techniques for describing certain features of historical continuity. Along with the continuing debates over their ideas, Marx and Freud still figure in the cultural landscape where European architects build.

Our dismissal of them, in fact, supports the view, advanced by the London School of Economics professor John Gray, that the United States can no longer be regarded as a Western country. We've rejected the modern tradition of self-examination that holds Western societies together. It is as if freedom, equality, accountability and other strands of social tissue have frayed beyond repair. Or, as some have put it, the United States didn't win the cold war. We were just the second to lose it. Instead of mass famine, we've got reality TV.

Misinterpretation of art

i have noticed that most of the people bloging about this topic are rather considerate about the factor of money rather than the topic itself.First i want to clear the fact about the money involved, hey do u think people are dumb enough to pay their hearts out for crap, art is valuable and hence the cost and demand......
My dear students if people want to earn fast money they cant manipulate art according to it because the result will not be an art but rather an element occupying space.I will be pleased if anyone revokes what i am telling,waitin for your replies.............. and for people supporting art for arts sake here is O.GEHRYS reply for that
"art for arts sake is the philosophy of the well fed"

Tuesday, February 24, 2009

ART is a way of expressing emotions. The subject of art can be varied, but the ultimate objective is to touch ones emotions. We all perceive a situation in a different way, the same way people perceive art in different ways. A form of art expresses 'Love' in ones self, whereas it expresses 'Hate' in the other.

Art need not be a painting or a sculpture etc. Dance , Dramatics, Music, Martial arts are all a form of art, all of these have a beautiful history from which it has been originated from.

'Art for Art sake' or 'Art for Life's sake' . Art is something which is done completely out of personal interest, it cannot be done by everyone and anyone. Art can be taken up at many levels. As a kid, art is just an extra-curricular activity, but by age he understands the depth at which it can be done at. It is then when he takes a 'bold decision' in today's context for such a passion, to take it up as a living.

I for one feel that, in today's world it is necessary for both to co-exists.


Art for Arts sake

Talking about art for art’s sake is not so simple we should have interest in any art. The 20th century has focused its artistic attention on progressive modernism to the extent that conservative modernism has been neglected and, indeed, derided as an art form. The so-called academic painters of the 19th century believed themselves to be doing their part to improve the world by presenting images that contain or reflect good conservative moral values, examples of virtuous behaviour, of inspiring Christian sentiment, and of the sort of righteous conduct and noble sacrifice that would serve as an appropriate model toward which we should all aspire to emulate.
The new world order reflected in academic modernism was seen by the progressives as merely supportive of the status quo and offered a future that was little more than a perpetuation of the present. The conservatives wished to maintain existing institutions and preferred gradual development over radical change. The progressives, on the other hand, were critical of institutions, both political and religious, as restrictive of individual liberty. Progressives placed their faith in the goodness of mankind, a goodness which they believed, starting with Rousseau in the 18th century, had become corrupted by such things as the growth of cities.
Others would argue that man had been turned into a vicious, competitive animal by capitalism, the corrosive inhumanity of which was plain to see in the blighted landscape of the industrial revolution.Rousseau had glorified Nature, and a number of modernists idealised the country life. Thomas Jefferson lived in the country close to nature and desired that the United States be entirely a farming economy; he characterized cities as "ulcers on the body politic."
In contrast to conservative modernism, which remained fettered to old ideas and which tended to support the status quo, progressive modernism adopted an antagonistic position towards society and its established institutions. In one way or another it challenged all authority in the name of freedom and, intentionally or not, affronted conservative bourgeois values.
Generally speaking, progressive modernism tended to concern itself with political and social issues, addressing aspects of contemporary society, especially in its poorer ranks, that an increasingly complacent middle class, once they had achieved a satisfactory level of comfort for themselves, preferred to ignore.
Art for Art's Sake is basically a call for release from the tyranny of meaning and purpose. From a progressive modernist's point of view, it was a further exercise of freedom. It was also a ploy, another deliberate affront to bourgeois sensibility which demanded art with meaning or that had some purpose such as to instruct, or delight, or to moralize, and generally to reflect in some way their own purposeful and purpose-filled world. A progressive modernist painter like James Abbott McNeill Whistler, for example, blithely stated that his art satisfied none of those things.

SOURCE : - Art for Life's Sake blog

Monday, February 23, 2009

Art for art’s sake or Art for life’s sake

Well, to start with I would like to share the literal meaning of the word ‘art’. It is “the product of human creativity” or “the creation of beautiful or significant things”. The meaning by itself suggests the importance of the word. But sadly in today’s date, art is treated or dealt with like a business. In other words, it has become so commercial that its fading away to a position which is rather trivial. Gone are the days when an artist actually sat down to compose something which resided close to his heart…which evinced himself. The only motivation behind an artist today to create his masterpiece is his materialistic desires which, for a fact, is really sad. In my opinion, the current day scenario suggests that art has definitely become for life’s sake and if it would make any difference to the readers out there…Art can only be called so if it is genuinely for art’s sake. And the most ironic part - art in itself contains life!!

Art for arts sake

Art itself is a topic so vast to be debated because to each art has a totally different meaning.however, concerning this topic i would defenitly go for art for arts sake. Art , can never attain its full meaning or be expressed until and unless it is done with pure passion for it. To me art expressed in its full meaning could not possibly hav any other driving force behind it other than the true passion for it. Understanding this is simple, look at this way, submissions done just for the sake of it is always less intresting and less expressive than the one done due to the passion for it. so, i would still stand by 'art for arts sake' cause I believe thats whats goin to take art further and keep it alive.
First of all lets see what art is. According to my interpretation, art is a form of expressing a thing. It can be anything, it can be right teaching, sports or even a mason building a building. If a mason have to build a house, he have to know the art of building.
Most probably, when the word art is attered , the first thing that strikes a persons mind is painting. Painting is only a form of art. In that art the artist express or the painter expresses what he feels in his heart. A good artist solely believes his heart. There is no bound for his imagination, whether it is logical or inlogical.
Those were the days when respect was given for both the art and the aritist. People considered art sacred. Artists were given respect especially during the kings rule in India. Poets and singers played a unique role in the kings court. They had a good position in the court. That’s how the literature of India grew. People really liked to enjoy art of all kinds. The kings use to hold competation of all kinds like poetry, painting , singing, dancing, martial arts, etc. People also truly respected the master from whom they learn the art. They do things devotedly to learn and to teach. They give the art a separate respect. That’s called Art for Art’s sake.
Today every thing has changed upside down. Today money has become the prome factor. Most of the people do therir work fro money. The person who teaches an art, his prime motive would be to earn money. Similarly the person who learns the art, would not learn the art because he loves it. He would be learning it os that he can earn through that in the future. This happens in most of the cases. That is by education in our country has become a business today. Today any one who has money can become a doctor in our country.
Most of the people take up their subject so seeing whether they can earn through it or not. There are very few people who takes a subject because they like it. So people who are rich are ready to the seat for the course they prefer. Hence the person who is really eligible wont be able to study the subject. Finally no one will be able to study what they are eligible for or what they are skilled at. A person may be good at one thing , but his fate may make him practice some other art. This is called art for life sake

Sunday, February 22, 2009

Art for Art's sake or Art for Life's sake or Both

I think we should follow both the thing. As both are like T scale and set square one without other is useless. If a architect is adopting Art for Art's sake in the beginning of his career he won’t get any project or if he is adopting Art for Life's sake he wont be famous. So I think that during the earlier days of our career we should give more preference to Art for Life's sake and vice versa. The above statement is to be followed when u want to become as a famous architect. But for a good architect function is the primary objective.

Art for Art's sake OR Art for Life's sake!

Art for Art's sake OR Art for Life's sake!......this is something I wouldnt like to debate upon cause its an open topic and in ones own view, one is right.There's is no wrong or right to it.Art is a vast and complicated word which can be made beautiful, by the way one expresses it!The quality and beauty lies on ...how much that person is interested and with how much passion,that person has contributed to mould his piece of art into something beautiful, whether its a building ,sculpture,dance ,music etc.The originlity and the purity can be easily understood,from the approach of the person on creating the art. A distinction between
aesthetic properties and artistic properties, perceptually striking qualities that can be directly perceived in works, without knowledge of their origin and purpose, and the latter to be relational properties that works possess in virtue of their relations to art history, art genres, etc.Art for life sake is more of something what we see nowadays....because nobody has the time and the patience to sit and think about something creative.Itz mainly because of lack of interest for creating something different as everybody is running behind
fast money....!!!!!!

art for art's sake or art for life's sake

Art for ‘art’s sake’ has actually originated from the French slogan “l’art pour l’art”,that actually means art itself doesn’t need any justification.It’s the freedom of self to express oneself. It opened the way for artistic freedom of expression in contemporary and modern form of art.Art itself began as a form of delivering a message. The value of art lies in serving some moral purpose.
In my opinion, as an aspiring architect, we’ll have to make some restrictions in our form of art due to the wants from our clients. We might not be able to think and work freely as people used to. So, in order to satisfy their needs, we can no longer count on the strategy of ART’S SAKE.Also,these days, the designing of buildings needs modern and sophisticated technology which might just prove costly for the architect.Hence,depending on pure moral satisfaction doesn’t help and art has to be seen for LIFE’S SAKE for the sake of an architect’s life.

Saturday, February 21, 2009

art for art sake or art for life sake

Art! The term art is a most complicated innovative and creative form of bringing out an artist’s opinion , likes dislikes and fascination towards oneself and society! its an expression of emotion of a mind of an artist, that’s an artist who sees art as an art , who justifies an art in his way at the same time respecting its originality. An art need not be a painting it’s a varied option like dance, music , writing etc. an art should not be compared with any public issues…. What is an art? How is it useful to the public? How far it reaches the lay person? there comes the problem where the society do not appreciate art as an art rather compare it with other issues. This phrase well goes to the artists and then the public. Art is a form or way for an artist to go in depth into the art and find out the beauty of an art! An art should be viewed only in that perspective to get the importance of an art itself. An art gives one a freedom to explore the nature. But artists do face problems from the society due to lack of answer in their hand which proves their lack of understanding for that art. These problems occur as some art forms depicts the human forms , life structure in response to culture and economy prevailing. This phrase might give artists confident and respect towards the art as well respect from the society where artists can face with confident. An art is to be preserved , protected , retain its originality and quality.! But outlook towards the art before and at present seemed to have caused drastic change in the form of art. Now the whole purpose of art has changed due to the cost of living , pressure from the society. In this growing world the actual talent is lost or the talent is misused. People treat an art only as a source of income in the form of selling an art. Hence again the importance as such as art is lost and quality of art is filtered. In this case artists follow the phrase ‘art for life sake’. But this will not sustain longer!

art for art's sake

art for art's sake ....art means 'kala'.art is the process of arranging elements in away that appeals the sense and emotions.generally art is made the intention of making thoughts and emotions.
art is a skill and a skill is being used to express the artist's creativity which consider by the people .some persons convey the value ,the emotions and feelings of the art which done bythe artistand some persons go to in diff way. in other side if we see in this world everything is in art form but it has life ,value ,emotions...

Friday, February 20, 2009

Reading exercise 5

October 3, 2007 - The New York Times
Herbert Muschamp, 59, Architecture Critic, Dies
By NICOLAI OUROUSSOFF
Herbert Muschamp, a writer for The New York Times whose wildly original and often deeply personal reviews made him one of the most influential architecture critics of his generation, died on Tuesday night in Manhattan. He was 59 and lived in Manhattan.

The cause was lung cancer, said Michael Ward Stout, his lawyer.

As the architecture critic for The Times from 1992 to 2004, Mr. Muschamp seized on a moment when the repetitive battles between Modernists and Post-Modernists had given way to a surge of exuberance that put architecture back in the public spotlight. His openness to new talent was reflected in the architects he championed, from Frank Gehry, Rem Koolhaas, Zaha Hadid and Jean Nouvel, now major figures on the world stage, to younger architects like Greg Lynn, Lindy Roy and Jesse Reiser and Nanako Umemoto.

He also paid close attention to architects who were recognized for their theoretical writings. Mr. Muschamp seemed as interested in the ideas that pushed architecture forward as he was in the successes and failures of buildings themselves.

His criticism stood out for the way he wove together seemingly unrelated themes in an arch, self-deprecating tone, a signature style that helped break down the image of the critic as an all-knowing figure who wrote from atop a pedestal.

In a typically sprawling review, of Mr. Gehry’s newly opened, titanium-clad Guggenheim Museum in Bilbao, Spain, in 1997, Mr. Muschamp evoked the ghost of Marilyn Monroe:

“After my first visit to the building, I went back to the hotel to write notes. It was early evening and starting to rain. I took a break to look out the window and saw a woman standing alone outside a bar across the street. She was wearing a long, white dress with matching white pumps, and she carried a pearlescent handbag. Was her date late? Had she been stood up?

“When I looked back a bit later, she was gone. And I asked myself, Why can’t a building capture a moment like that? Then I realized that the reason I’d had that thought was that I’d just come from such a building. And that the building I’d just come from was the reincarnation of Marilyn Monroe.”

He went on: “What twins the actress and the building in my memory is that both of them stand for an American style of freedom. That style is voluptuous, emotional, intuitive and exhibitionist. It is mobile, fluid, material, mercurial, fearless, radiant and as fragile as a newborn child. It can’t resist doing a dance with all the voices that say ‘No.’ It wants to take up a lot of space. And when the impulse strikes, it likes to let its dress fly up in the air.”

Mr. Muschamp’s reviews could also be devastating, and maddening to readers who took exception to his quirky and, some argued, self-indulgent voice.

“Herbert’s criticism was full of passion — too much for some readers,” said Joseph Lelyveld, a former executive editor of The Times. “But that passion lit up his writing and the world of architecture. One of his great themes was that New York deserved real architecture, for our times — not what developers often try to pass off.”

Herbert Mitchell Muschamp was born in Philadelphia on Nov. 28, 1947, the son of a business executive. He fell in love with New York in the mid-1960s while visiting the city as a freshman at the University of Pennsylvania. Soon afterward he became a regular at Andy Warhol’s decadently carefree Factory, sometimes crashing at Warhol’s house on weekends. He dropped out after his second year to study architecture at Parsons School of Design; a year later he headed to London to study architectural history and theory at the Architectural Association.

Mr. Muschamp returned to Parsons as a teacher in 1983, where he became the director of its graduate program in architecture and design criticism. Around the same time, he began his career as a critic, writing for magazines like Vogue, House and Garden and Art Forum. He was appointed architecture critic at The New Republic in 1987. He was named the architecture critic for The Times in 1992, succeeding Paul Goldberger.

Mr. Muschamp continually returned to analyzing the psychological forces that shape the visual world. Reviewing the Holocaust Memorial Museum in Washington in 1993, for example, he described a visit to the concentration camp at Dachau, which had a gas chamber.

“The small size of the gas chamber comes as a surprise,” he wrote. “There is nothing to see besides four walls, a floor, a ceiling and the door that leads outside.”

“It is when you cross the threshold of that door that you grasp the reason for visiting Dachau. You walk out into daylight, but part of you does not leave. The doorway divides you. The part that is free to walk through the door feels disembodied, a weightless ghost. You feel lightheaded, as though you have broken the law, as indeed you have. Your passage through that door has violated the design. The room was not meant to be exited alive.”

Some of Mr. Muschamp’s most scathing reviews were reserved for the rebuilding efforts at ground zero, where he argued that political concerns had trumped the city’s cultural welfare. In a 2003 appraisal of Daniel Libeskind’s master plan for ground zero, he mocked the architect’s 1,776-foot Freedom Tower and other elements as “a manipulative exercise in visual codes.”

“Even in peacetime that design would appear demagogic,” Mr. Muschamp wrote. “As this nation prepares to send troops into battle, the design’s message seems even more loaded. Unintentionally, the plan embodies the Orwellian condition America’s detractors accuse us of embracing: perpetual war for perpetual peace.”

In other articles he lambasted the city’s Landmarks Preservation Commission, which he asserted had fallen into lockstep with powerful developers. And he fretted that New York had lost much of its creative momentum and would never fully recover it.

In 2004 he left the critic’s post, and he later became a writer and columnist for T: The New York Times Style Magazine, with his subjects ranging from rhinoplasty to the Venetian empire. (“I spy for dead empires,” he wrote. “It’s my way of coping with the imperial ambitions of the living.”)

Reading exercise 4

ABRAHAM MASLOW

1908-1970

Dr. C. George Boeree

Biography

Abraham Harold Maslow was born April 1, 1908 in Brooklyn, New York. He was the first of seven children born to his parents, who themselves were uneducated Jewish immigrants from Russia. His parents, hoping for the best for their children in the new world, pushed him hard for academic success. Not surprisingly, he became very lonely as a boy, and found his refuge in books.

To satisfy his parents, he first studied law at the City College of New York (CCNY). After three semesters, he transferred to Cornell, and then back to CCNY. He married Bertha Goodman, his first cousin, against his parents wishes. Abe and Bertha went on to have two daughters.

He and Bertha moved to Wisconsin so that he could attend the University of Wisconsin. Here, he became interested in psychology, and his school work began to improve dramatically. He spent time there working with Harry Harlow, who is famous for his experiments with baby rhesus monkeys and attachment behavior.

He received his BA in 1930, his MA in 1931, and his PhD in 1934, all in psychology, all from the University of Wisconsin. A year after graduation, he returned to New York to work with E. L. Thorndike at Columbia, where Maslow became interested in research on human sexuality.

He began teaching full time at Brooklyn College. During this period of his life, he came into contact with the many European intellectuals that were immigrating to the US, and Brooklyn in particular, at that time -- people like Adler, Fromm, Horney, as well as several Gestalt and Freudian psychologists.

Maslow served as the chair of the psychology department at Brandeis from 1951 to 1969. While there he met Kurt Goldstein, who had originated the idea of self-actualization in his famous book, The Organism (1934). It was also here that he began his crusade for a humanistic psychology -- something ultimately much more important to him than his own theorizing.

He spend his final years in semi-retirement in California, until, on June 8 1970, he died of a heart attack after years of ill health.

Theory

One of the many interesting things Maslow noticed while he worked with monkeys early in his career, was that some needs take precedence over others. For example, if you are hungry and thirsty, you will tend to try to take care of the thirst first. After all, you can do without food for weeks, but you can only do without water for a couple of days! Thirst is a “stronger” need than hunger. Likewise, if you are very very thirsty, but someone has put a choke hold on you and you can’t breath, which is more important? The need to breathe, of course. On the other hand, sex is less powerful than any of these. Let’s face it, you won’t die if you don’t get it!

Maslow took this idea and created his now famous hierarchy of needs. Beyond the details of air, water, food, and sex, he laid out five broader layers: the physiological needs, the needs for safety and security, the needs for love and belonging, the needs for esteem, and the need to actualize the self, in that order.

1. The physiological needs. These include the needs we have for oxygen, water, protein, salt, sugar, calcium, and other minerals and vitamins. They also include the need to maintain a pH balance (getting too acidic or base will kill you) and temperature (98.6 or near to it). Also, there’s the needs to be active, to rest, to sleep, to get rid of wastes (CO2, sweat, urine, and feces), to avoid pain, and to have sex. Quite a collection!

Maslow believed, and research supports him, that these are in fact individual needs, and that a lack of, say, vitamin C, will lead to a very specific hunger for things which have in the past provided that vitamin C -- e.g. orange juice. I guess the cravings that some pregnant women have, and the way in which babies eat the most foul tasting baby food, support the idea anecdotally.

2. The safety and security needs. When the physiological needs are largely taken care of, this second layer of needs comes into play. You will become increasingly interested in finding safe circumstances, stability, protection. You might develop a need for structure, for order, some limits.

Looking at it negatively, you become concerned, not with needs like hunger and thirst, but with your fears and anxieties. In the ordinary American adult, this set of needs manifest themselves in the form of our urges to have a home in a safe neighborhood, a little job security and a nest egg, a good retirement plan and a bit of insurance, and so on.

3. The love and belonging needs. When physiological needs and safety needs are, by and large, taken care of, a third layer starts to show up. You begin to feel the need for friends, a sweetheart, children, affectionate relationships in general, even a sense of community. Looked at negatively, you become increasing susceptible to loneliness and social anxieties.

In our day-to-day life, we exhibit these needs in our desires to marry, have a family, be a part of a community, a member of a church, a brother in the fraternity, a part of a gang or a bowling club. It is also a part of what we look for in a career.

4. The esteem needs. Next, we begin to look for a little self-esteem. Maslow noted two versions of esteem needs, a lower one and a higher one. The lower one is the need for the respect of others, the need for status, fame, glory, recognition, attention, reputation, appreciation, dignity, even dominance. The higher form involves the need for self-respect, including such feelings as confidence, competence, achievement, mastery, independence, and freedom. Note that this is the “higher” form because, unlike the respect of others, once you have self-respect, it’s a lot harder to lose!

The negative version of these needs is low self-esteem and inferiority complexes. Maslow felt that Adler was really onto something when he proposed that these were at the roots of many, if not most, of our psychological problems. In modern countries, most of us have what we need in regard to our physiological and safety needs. We, more often than not, have quite a bit of love and belonging, too. It’s a little respect that often seems so very hard to get!

All of the preceding four levels he calls deficit needs, or D-needs. If you don’t have enough of something -- i.e. you have a deficit -- you feel the need. But if you get all you need, you feel nothing at all! In other words, they cease to be motivating. As the old blues song goes, “you don’t miss your water till your well runs dry!”


He also talks about these levels in terms of homeostasis. Homeostasis is the principle by which your furnace thermostat operates: When it gets too cold, it switches the heat on; When it gets too hot, it switches the heat off. In the same way, your body, when it lacks a certain substance, develops a hunger for it; When it gets enough of it, then the hunger stops. Maslow simply extends the homeostatic principle to needs, such as safety, belonging, and esteem, that we don’t ordinarily think of in these terms.

Maslow sees all these needs as essentially survival needs. Even love and esteem are needed for the maintenance of health. He says we all have these needs built in to us genetically, like instincts. In fact, he calls them instinctoid -- instinct-like -- needs.

In terms of overall development, we move through these levels a bit like stages. As newborns, our focus (if not our entire set of needs) is on the physiological. Soon, we begin to recognize that we need to be safe. Soon after that, we crave attention and affection. A bit later, we look for self-esteem. Mind you, this is in the first couple of years!

Under stressful conditions, or when survival is threatened, we can “regress” to a lower need level. When you great career falls flat, you might seek out a little attention. When your family ups and leaves you, it seems that love is again all you ever wanted. When you face chapter eleven after a long and happy life, you suddenly can’t think of anything except money.

These things can occur on a society-wide basis as well: When society suddenly flounders, people start clamoring for a strong leader to take over and make things right. When the bombs start falling, they look for safety. When the food stops coming into the stores, their needs become even more basic.

Maslow suggested that we can ask people for their “philosophy of the future” -- what would their ideal life or world be like -- and get significant information as to what needs they do or do not have covered.

If you have significant problems along your development -- a period of extreme insecurity or hunger as a child, or the loss of a family member through death or divorce, or significant neglect or abuse -- you may “fixate” on that set of needs for the rest of your life.


This is Maslow’s understanding of neurosis. Perhaps you went through a war as a kid. Now you have everything your heart needs -- yet you still find yourself obsessing over having enough money and keeping the pantry well-stocked. Or perhaps your parents divorced when you were young. Now you have a wonderful spouse -- yet you get insanely jealous or worry constantly that they are going to leave you because you are not “good enough” for them. You get the picture.

Self-actualization

The last level is a bit different. Maslow has used a variety of terms to refer to this level: He has called it growth motivation (in contrast to deficit motivation), being needs (or B-needs, in contrast to D-needs), and self-actualization.

These are needs that do not involve balance or homeostasis. Once engaged, they continue to be felt. In fact, they are likely to become stronger as we “feed” them! They involve the continuous desire to fulfill potentials, to “be all that you can be.” They are a matter of becoming the most complete, the fullest, “you” -- hence the term, self-actualization.

Now, in keeping with his theory up to this point, if you want to be truly self-actualizing, you need to have your lower needs taken care of, at least to a considerable extent. This makes sense: If you are hungry, you are scrambling to get food; If you are unsafe, you have to be continuously on guard; If you are isolated and unloved, you have to satisfy that need; If you have a low sense of self-esteem, you have to be defensive or compensate. When lower needs are unmet, you can’t fully devote yourself to fulfilling your potentials.

It isn’t surprising, then, the world being as difficult as it is, that only a small percentage of the world’s population is truly, predominantly, self-actualizing. Maslow at one point suggested only about two percent!

The question becomes, of course, what exactly does Maslow mean by self-actualization. To answer that, we need to look at the kind of people he called self-actualizers. Fortunately, he did this for us, using a qualitative method called biographical analysis.

He began by picking out a group of people, some historical figures, some people he knew, whom he felt clearly met the standard of self-actualization. Included in this august group were Abraham Lincoln, Thomas Jefferson, Albert Einstein, Eleanor Roosevelt, Jane Adams, William James, Albert Schweitzer, Benedict Spinoza, and Alduous Huxley, plus 12 unnamed people who were alive at the time Maslow did his research. He then looked at their biographies, writings, the acts and words of those he knew personally, and so on. From these sources, he developed a list of qualities that seemed characteristic of these people, as opposed to the great mass of us.

These people were reality-centered, which means they could differentiate what is fake and dishonest from what is real and genuine. They were problem-centered, meaning they treated life’s difficulties as problems demanding solutions, not as personal troubles to be railed at or surrendered to. And they had a different perception of means and ends. They felt that the ends don’t necessarily justify the means, that the means could be ends themselves, and that the means -- the journey -- was often more important than the ends.

The self-actualizers also had a different way of relating to others. First, they enjoyed solitude, and were comfortable being alone. And they enjoyed deeper personal relations with a few close friends and family members, rather than more shallow relationships with many people.

They enjoyed autonomy, a relative independence from physical and social needs. And they resisted enculturation, that is, they were not susceptible to social pressure to be "well adjusted" or to "fit in" -- they were, in fact, nonconformists in the best sense.

They had an unhostile sense of humor -- preferring to joke at their own expense, or at the human condition, and never directing their humor at others. They had a quality he called acceptance of self and others, by which he meant that these people would be more likely to take you as you are than try to change you into what they thought you should be. This same acceptance applied to their attitudes towards themselves: If some quality of theirs wasn’t harmful, they let it be, even enjoying it as a personal quirk. On the other hand, they were often strongly motivated to change negative qualities in themselves that could be changed. Along with this comes spontaneity and simplicity: They preferred being themselves rather than being pretentious or artificial. In fact, for all their nonconformity, he found that they tended to be conventional on the surface, just where less self-actualizing nonconformists tend to be the most dramatic.

Further, they had a sense of humility and respect towards others -- something Maslow also called democratic values -- meaning that they were open to ethnic and individual variety, even treasuring it. They had a quality Maslow called human kinship or Gemeinschaftsgefühl -- social interest, compassion, humanity. And this was accompanied by a strong ethics, which was spiritual but seldom conventionally religious in nature.

And these people had a certain freshness of appreciation, an ability to see things, even ordinary things, with wonder. Along with this comes their ability to be creative, inventive, and original. And, finally, these people tended to have more peak experiences than the average person. A peak experience is one that takes you out of yourself, that makes you feel very tiny, or very large, to some extent one with life or nature or God. It gives you a feeling of being a part of the infinite and the eternal. These experiences tend to leave their mark on a person, change them for the better, and many people actively seek them out. They are also called mystical experiences, and are an important part of many religious and philosophical traditions.

Maslow doesn’t think that self-actualizers are perfect, of course. There were several flaws or imperfections he discovered along the way as well: First, they often suffered considerable anxiety and guilt -- but realistic anxiety and guilt, rather than misplaced or neurotic versions. Some of them were absentminded and overly kind. And finally, some of them had unexpected moments of ruthlessness, surgical coldness, and loss of humor.

Two other points he makes about these self-actualizers: Their values were "natural" and seemed to flow effortlessly from their personalities. And they appeared to transcend many of the dichotomies others accept as being undeniable, such as the differences between the spiritual and the physical, the selfish and the unselfish, and the masculine and the feminine.

Metaneeds and metapathologies

Another way in which Maslow approach the problem of what is self-actualization is to talk about the special, driving needs (B-needs, of course) of the self-actualizers. They need the following in their lives in order to be happy:

Truth, rather than dishonesty.
Goodness, rather than evil.
Beauty, not ugliness or vulgarity.
Unity, wholeness, and transcendence of opposites, not arbitrariness or forced choices.
Aliveness, not deadness or the mechanization of life.
Uniqueness, not bland uniformity.
Perfection and necessity, not sloppiness, inconsistency, or accident.
Completion, rather than incompleteness.
Justice and order, not injustice and lawlessness.
Simplicity, not unnecessary complexity.
Richness, not environmental impoverishment.
Effortlessness, not strain.
Playfulness, not grim, humorless, drudgery.
Self-sufficiency, not dependency.
Meaningfulness, rather than senselessness.

At first glance, you might think that everyone obviously needs these. But think: If you are living through an economic depression or a war, or are living in a ghetto or in rural poverty, do you worry about these issues, or do you worry about getting enough to eat and a roof over your head? In fact, Maslow believes that much of the what is wrong with the world comes down to the fact that very few people really are interested in these values -- not because they are bad people, but because they haven’t even had their basic needs taken care of!

When a self-actualizer doesn’t get these needs fulfilled, they respond with metapathologies -- a list of problems as long as the list of metaneeds! Let me summarize it by saying that, when forced to live without these values, the self-actualizer develops depression, despair, disgust,alienation, and a degree of cynicism.

Maslow hoped that his efforts at describing the self-actualizing person would eventually lead to a “periodic table” of the kinds of qualities, problems, pathologies, and even solutions characteristic of higher levels of human potential. Over time, he devoted increasing attention, not to his own theory, but to humanistic psychology and the human potentials movement.

Toward the end of his life, he inaugurated what he called the fourth force in psychology: Freudian and other “depth” psychologies constituted the first force; Behaviorism was the second force; His own humanism, including the European existentialists, were the third force. The fourth force was the transpersonal psychologies which, taking their cue from Eastern philosophies, investigated such things as meditation, higher levels of consciousness, and even parapsychological phenomena. Perhaps the best known transpersonalist today is Ken Wilber, author of such books as The Atman Project and The History of Everything.

Discussion

Maslow has been a very inspirational figure in personality theories. In the 1960’s in particular, people were tired of the reductionistic, mechanistic messages of the behaviorists and physiological psychologists. They were looking for meaning and purpose in their lives, even a higher, more mystical meaning. Maslow was one of the pioneers in that movement to bring the human being back into psychology, and the person back into personality!

At approximately the same time, another movement was getting underway, one inspired by some of the very things that turned Maslow off: computers and information processing, as well as very rationalistic theories such as Piaget’s cognitive development theory and Noam Chomsky’s linguistics. This, of course, became the cognitive movement in psychology. As the heyday of humanism appeared to lead to little more than drug abuse, astrology, and self indulgence, cognitivism provided the scientific ground students of psychology were yearning for.

But the message should not be lost: Psychology is, first and foremost, about people, real people in real lives, and not about computer models, statistical analyses, rat behavior, test scores, and laboratories.

Some criticism

The “big picture” aside, there are a few criticisms we might direct at Maslow’s theory itself. The most common criticism concerns his methodology: Picking a small number of people that he himself declared self-actualizing, then reading about them or talking with them, and coming to conclusions about what self-actualization is in the first place does not sound like good science to many people.

In his defense, I should point out that he understood this, and thought of his work as simply pointing the way. He hoped that others would take up the cause and complete what he had begun in a more rigorous fashion. It is a curiosity that Maslow, the “father” of American humanism, began his career as a behaviorist with a strong physiological bent. He did indeed believe in science, and often grounded his ideas in biology. He only meant to broaden psychology to include the best in us, as well as the pathological!

Another criticism, a little harder to respond to, is that Maslow placed such constraints on self-actualization. First, Kurt Goldstein and Carl Rogers used the phrase to refer to what every living creature does: To try to grow, to become more, to fulfill its biological destiny. Maslow limits it to something only two percent of the human species achieves. And while Rogers felt that babies were the best examples of human self-actualization, Maslow saw it as something achieved only rarely by the young.

Another point is that he asks that we pretty much take care of our lower needs before self-actualization comes to the forefront. And yet we can find many examples of people who exhibited at very least aspects of self-actualization who were far from having their lower needs taken care of. Many of our best artists and authors, for example, suffered from poverty, bad upbringing, neuroses, and depression. Some could even be called psychotic! If you think about Galileo, who prayed for ideas that would sell, or Rembrandt, who could barely keep food on the table, or Toulouse Lautrec, whose body tormented him, or van Gogh, who, besides poor, wasn’t quite right in the head, if you know what I mean... Weren’t these people engaged in some form of self-actualization? The idea of artists and poets and philosophers (and psychologists!) being strange is so common because it has so much truth to it!

We also have the example of a number of people who were creative in some fashion even while in concentration camps. Trachtenberg, for example, developed a new way of doing arithmetic in a camp. Viktor Frankl developed his approach to therapy while in a camp. There are many more examples.

And there are examples of people who were creative when unknown, became successful only to stop being creative. Ernest Hemingway, if I’m not mistaken, is an example. Perhaps all these examples are exceptions, and the hierarchy of needs stands up well to the general trend. But the exceptions certainly do put some doubt into our minds.

I would like to suggest a variation on Maslow's theory that might help. If we take the idea of actualization as Goldstein and Rogers use it, i.e. as the "life force" that drives all creatures, we can also acknowledge that there are various things that interfere with the full effectiveness of that life force. If we are deprived of our basic physical needs, if we are living under threatening circumstances, if we are isolated from others, or if we have no confidence in our abilities, we may continue to survive, but it will not be as fulfilling a live as it could be. We will not be fully actualizing our potentials! We could even understand that there might be people that actualize despite deprivation! If we take the deficit needs as subtracting from actualization, and if we talk about full self-actualization rather than self-actualization as a separate category of need, Maslow's theory comes into line with other theories, and the exceptional people who succeed in the face of adversity can be seen as heroic rather than freakish abberations.

I received the following email from Gareth Costello of Dublin, Ireland, which balances my somewhat negative review of Maslow:

One mild criticism I would have is of your concluding assessment, where you appeal for a broader view of self-actualisation that could include subjects such as van Gogh and other hard-at-heel intellectual/creative giants. This appears to be based on a view that people like van Gogh, etc. were, by virtue of their enormous creativity, 'at least partly' self-actualised.

I favour Maslow's more narrow definition of self-actualisation and would not agree that self-actualisation equates with supreme self-expression. I suspect that self-actualisation is, often, a demotivating factor where artistic creativity is concerned, and that artists such as van Gogh thrived (artistically, if not in other respects) specifically in the absence of circumstances conducive to self-actualisation. Even financially successful artists (e.g. Stravinsky, who was famously good at looking after his financial affairs, as well as affairs of other kinds) do exhibit some of the non-self-actualised 'motivators' that you describe so well.

Self-actualisation implies an outwardness and openness that contrasts with the introspection that can be a pre-requisite for great artistic self-expression. Where scientists can look out at the world around them to find something of profound or universal significance, great artists usually look inside themselves to find something of personal significance - the universality of their work is important but secondary. It's interesting that Maslow seems to have concentrated on people concerned with the big-picture when defining self-actualisation. In Einstein, he selected a scientist who was striving for a theory of the entire physical universe. The philosophers and politicians he analysed were concerned with issues of great relevance to humanity.

This is not to belittle the value or importance of the 'small-picture' - society needs splitters as well as lumpers. But while self-actualisation may be synonymous with psychological balance and health, it does not necessarily lead to professional or creative brilliance in all fields. In some instances, it may remove the driving force that leads people to excel -- art being the classic example. So I don't agree that the scope of self-actualisation should be extended to include people who may well have been brilliant, but who were also quite possibly damaged, unrounded or unhappy human beings.

If I had the opportunity to chose between brilliance (alone) or self-actualisation (alone) for my children, I would go for the latter!

Gareth makes some very good points!

Bibliography

Maslow’s books are easy to read and full of interesting ideas. The best known are Toward a Psychology of Being (1968), Motivation and Personality (first edition, 1954, and second edition, 1970), and The Further Reaches of Human Nature (1971). Finally, there are many articles by Maslow, especially in the Journal of Humanistic Psychology, which he cofounded. For more information on-line, go to http://www.nidus.org.

Copyright 1998, 2006 by C. George Boeree

Reading exercise 3

Frank Lloyd Wright speaks on Architecture - Conversations with Frank Lloyd Wright

Essentially a human art as well as an affair of material, architecture is governed and limited by many practical requirements which do not apply to the work of painters, sculptors and musicians. It also provides a key to the habits, thoughts and aspirations of the people, and without a knowledge of the art the history of any period lacks that human interest with which it should be invested. The study of architecture opens up the enjoyment of buildings with an appreciation of their purpose, meaning and charm. The real tradition of architecture is that a building must express the material whereof it is built, the method whereby it is built, and the purpose whereof it is built.

Architecture through the ages has grown and developed along with technology. ‘New’ buildings came into existence with ‘new’ technology coming to the fore. Architecture has been a reflection of the society at the concurrent time, it has mirrored the past like no record ever can, it has showcased human life on earth like no biography ever can, it has really been the guiding force that encourages every man in his struggle for survival against nature.

Architecture is the very epitome of human life as it puts to end all doubts and arguments about who rules this planet. Through architecture, man has been able to create a second nature that safeguards him the elements of nature that threaten human existence. Thwarting al these challenges and to have come into a position today where only man can destroy himself, man has freed himself of all dependencies on force majoire! But, has he really freed himself from himself? If he has, his architecture does not reflect it.

We have understood that earth revolves around the sun, the sun itself is not the center of the universe. We have understood that man represents the highest point in the evolution of life on earth. We have split the atom, we have discovered the universe and we have discovered the black hole!

And for the first time in the history of mankind, we can boast of technology that is ahead of time. All along, we have had to fight the nature, and by nature is meant to engulf the nature of materials, their availability and ways to use them. All through history every creator has had to develop a new technology to bring his creation to life. But, for the first time, we have the technology and a whole array of knowledge and information to make the job of creation more like solving a jig-saw puzzle, cost being the only prohibitive factor. We don’t really have to worry about masking joints in timber with flutes, we don’t have to worry about ornamentations and carvings and moldings to camouflage ugly junctions and details, we don’t have to worry about buttresses and piers and counterweights to have vaults and domes and arches! Just identify the pieces of the puzzle and put them together to get the entire picture.

But, what are we doing with the technology that we have in hand? Since Renaissance and the industrial revolution, human life has undergone a sea of change. Time is so much a factor of life that it has come to determine human life styles. From being the slave of nature, we have now become the slave of time. As a result, we can see almost ‘instant’ everything in our world today. All of life has moved ahead except architecture. Look at cars or any other mechanical device, and their design and one can realize that aesthetics in machines and aesthetics in buildings are two entirely different entities and a total mismatch.

Another important aspect of architecture is the effect which it has on the average man, which is received by him unconsciously. We know that there are a few people who are keenly alert to technical architectural values, but it is not in their minds that the important result is produced. The important thing in architecture is the effect that is having on the man in the street, who, are subconsciously influenced in their thoughts and action by the kind of forms and spaces which they habitually encounter, and it appears that architects who are engaged in producing these forms and spaces are exerting a quite definite influence on people in general. But if by the average man, it is mean to be the ‘unspoilt man’, the man would be a good audience. It is but a demoralized audience as a rule that we have to appeal to, so to make conscious appeal to the man with little knowledge which is a dangerous thing, would be something like what an actor might experience were he to appeal to the ‘gallery’. I think that as architects we can only look to that which shines for us, and with what intelligence we have when it comes to the essential architecture of our problems. For, after all, when a man does that, he is appealing to the true man, because inherent in all men is the same ideal, shared perhaps in greater of less degree. Usually, every man who truly builds is true to himself. When we make any criterion outside of ourselves, that is to say, when we set up anything as a judge or an objective – call it ‘popular opinion or ‘society’ or what you please- we fall into its power and lose our own, and we cease really to be the artist. Just as an actor, I am sure, were he to have his eye on the gallery- were he to speak his lines and make his interpretation to and for the gallery- would fail, and we know he will fail. We know that type of actor, and I think we know that type of architect who is his counterpart.

The ‘new’ architects are ‘new’ merely because they are more true to tradition almost than any tradition can be true to itself. It is, of course, the spirit of anything that deserves to live and that eventually does live. This is no less true of tradition than of anything else. We have had an erroneous idea of tradition as something entirely fixed, a form fastened upon us somehow by faith and loyalty perhaps, and which eventually takes us by the throat and says ‘no’ to pretty much everything of life we have. But tradition, too, is a living spirit. Architecture is not the buildings that have been built all over the world. The buildings are only the residue, the wreckage perhaps, thrown upon the shores of time by this great spirit in passing. This spirit lives now. To be true to this spirit is what we are all endeavoring to do, each in his way. And to be true to it we must with the materials at hand and in the spirit of our own time produce those forms which are to become characteristic and true forms of our day, as these forms we violate in the name of tradition were true to their day; or else we merely stupidly violate tradition only to keep ‘tradition’ for selfish or sentimental purposes.

Reading exercise 2













Reading exercise 1






art for art sake or art for life sake

Art for arts sake or art for lifes sake..basically what i hav understood from the topic is art out of the true passion for it or art for the sake of survival. Personally i woudnt go for either one because both of it together make more sense . ie, art for the true passion of it would obviously create much better results but on the contrary art for arts sake wouldnt survive in the world we live today. It defnitly would be more intresting to read the blogs supportin art for arts sake but frankly i dont think it could stand on its own. Why it wouldnt survive on its own is simple, acceptance and appreciation are two things without which art cannot keep goin, so obviously when you get out of your own creativity and style to create something that would please the audience it would no longer be art for arts sake.On the other hand, if you would rather go for a combination of both, ie, accepting the fact that the former wouldnt survive on its own and letting a little bit of ‘art for lifes sake’take over i guess things would be at peace and so would this topic;)

Art for art’s sake or art for life sake

Before we begin characterizing it, we need to define this complex phenomenon i.e. art.

Art can be looked upon as the act of progressively arranging facets in a mode which is appealing to our eyes and brain.
Art is something which can neither be created nor destroyed; it’s a process which continues from an era to another, where different individuals add to it.
The process of art starts from the mind itself, developes from the thoughts and expressed in different ways. Every individual has his own way of perceiving and expressing art.

But the mechanical world of today has changed the tradition of art.
The mechanical lifestyle has lead to the mechanization of art itself. People are not interested in creating art, but using art for opening materialistic avenues. They invest in it just for the sake of filling up galleries or other such inferior purposes.
Art for art’s sake – sadly, this is what we have come to.
Art does not need to be created. It is omnipresent, needs to be recognized and felt.
I personally believe art is objectivist, which takes on various forms and moulds according to the view of observer.
It is rightly said “beauty lies in the eyes of beholder”.
Art is beautiful and it certainly lays it open to be perceived as whatever observer’s sub-conscious desires.

Art adds a different dimension to our mundane life. Life without art in it will leave us as living forms with artificial intelligence.

Each and every human being has same mechanical functioning of brain and body, what makes us different is our thoughts, skills, talent and ability or in a single word that’s art.

ARTS FOR ARTS SAKE OR ARTS FOR LIFE'S SAKE......

ARTS FOR ARTS SAKE this term itself seems so vague to me as i think that everything in this world has a meaning and some use, so arts for arts sake is definitely so out of my reach of understanding and even if it so, i would strongly recommend against because it really clashes with my subjects which thrive on the factor FORM FOLLOWS FUNCTION.i rarely agree to theories of the high end personalities such as ["true" art, is divorced from any didactic, moral or utilitarian function] ,because if art was only limited to paper what they said would have been true, but art travels beyond what can i think or any human being can think ,it is not really not defined by us maybe it is explored by us but not created by us ,even a leafs vein is an invisible art surrounding me and it also has a function and both combining forces of function and form brings out its beauty.Art is never defined then why the pain of segregating it for Arts or life's sake ,art is something which has a utility of making us like it,it should be shared with everybody never confined to its own sake but having a use out of it by liking or hating it making itself a utility thereby coming back to life's sake rather than "ARTS"sake.at the end what is the use of doing arts for arts sake where it cant be shared and loved by everyone and being loved by its creator........

Being a great fan of art and a artist myself i want my art to reveal meaning out of it rather than being a piece of art occupying space and time.So my art has the utility of making people thinking or liking it.Art may sometimes be explored to say something in a different way or tell something different in a simplified way. ARCHITECTURE the biggest chunks of art on the planet does have live upto 'utility' rather than evolving for the individuals fancies .......there lies the beauty of creating it imploring and exploring from other peoples mind rather than our own CPU.this topic cannot be cleared on any amount of debating as it purely lies on ones own thinking and theories ,the sole aim is to keep the fire alive for art and its beauty.

Thursday, February 19, 2009

Arts for Life's Sake

According to me each and every piece of art has its own life that convey something. Each and every individual has there own way of looking on or using the piece art. Life is given to the piece of art by the way the individual thinks or uses it. A simple example "A simple dot in a paper is an art, but for some it looks just like a dot and some can find out many meaning for the dot". Here the dot is given life by the way the person look on to it.

Art in architecture has life. It doesn't mean that the building should be designed according to the utility of people even though its very important. Sir i am against your statement that Taj Mahal is just build for art sake. Taj Mahal has its own life which make us to watch it for hours. A good example for this is Tsunami Memorials. Designing memorial is a real challenge for architects. Even though the utility of the memorial is not defined the sculpture has a life that make us to remember the destruction that caused.

Each and every small piece of art has life that make us to turn around and look at it..

Art for life sake

I don't believe in the idea of art for art sake because even from the time man was not able to read and write it used symbols (which again is a kind of art form) for their required purposes . Art for art sake is a myth as u said sir but i would like to add that u told art for art sake is a myth for architecture but i believe it's true to all forms of art that man has ever discovered so i strongly favour art for life sake

Wednesday, February 18, 2009

Art For Art's Sake


Art is a beautiful medium to express oneself. It gives one complete freedom to express all emotions with no set boundaries.

But every time one uses art to express, emote, to establish supremacy, for financial purposes , the art no longer remains pure and true because then there is some added element that takes it away from what it should have been originally.

“Art for Art’s sake ” is best expressed in mindless doodles and afrt forms that just take art forward.

It is an odd incident that can be cited here, which seems to be an apt example when once , alongwith a friend, I used lipstick at paint, smearing it on paper with our hands.

The outcome looked good to us, probably because we had no specific expectations from it.it was just an effort to  create something.

It is important to relish art for what it is, to practise it for the joy it gives us, to take it forward and just use it as a means to achieve something.

Tuesday, February 17, 2009

Course plan and schedule

Course objectives - Promote critical thinking, identify relevance of architecture within social context, enhance writing and photography skills and enhance presentation skills

Assignment 1 - opinion essay on 'Art for Art's Sake or Art for Life's Sake'

Week 1
Language of Architecture - introduction, exercise

Week 2
Reading assignment
Assignment 2

Week 3
Styles in modern architecture - identify, examples, analyze trends and context in social history

Week 4
Styles in modern architecture - identify, examples, analyze trends and context in social history

Week 5
Architecture critics

Week 6
Architecture critics
Assignment 3

Week 7
Introduction to photography

Week 8
Photography techniques

Week 9
Field trip

Week 10
Project Work - Assignment 4

Model Exam

Final Exam

Course Grading
Internal - 30%
Assignment 1 & 2 - 10%
Assignment 3 & 4 - 10%
Model Exam - 6%
Class participation - 4%
External (Final Exam) - 70%

Course Rules
1. Assignments and reading materials will be posted to this blog. It is the responsibility of the student to ensure access to the articles.
2. Submissions must be published to the blog within the stipulated time, which is normally 6am on the day assignment is due, unless otherwise noted.
3. Group work for assignments and presentations will be permitted on prior approval of instructor and on condition of reporting progress.