Design. Mark McGinnis
was crystallized therein is gone. We are absolutely bankrupt if we are deprived of this specialty, this individuality, which is the only thing we can call our own; and which, if lost, is also a loss to the whole world. It is the most valuable because it is not universal. … The universal is ever seeking its consummation in the unique. And the desire we have to keep our uniqueness intact is really the desire of the universe acting in us. It is our joy of the infinite in us that gives us our joy in ourselves. (Tagore, S, 70)
CREATIVITY
In the previous chapter’s discussion of visual perception it was stated that the basis for understanding the world is the ability to use mental models to compare visual information. In a very similar sense some psychologists believe that the ability to form associations is one of the primary characteristics of creativity. It is the ability to draw associations between similar and apparently dissimilar objects, concepts, actions, or reactions that we can arrive at new theories, systems, and products. This system of association helps us make inferences that permit us to put together seemingly unrelated information to form a new or different theory or idea. Association is a way to store new knowledge and use that new knowledge to change perceptions (Myers 154).
This ability is essentially one of forming new connections between previously not associated areas. These connections can be some of the richest areas for art. John Myers has put it this way:
Broad connections sharpen our art by giving it transfusions of the blood of life from sources outside ourselves, outside our social circles, our country, and outside the arts.
If I am a man, a connection is knowing and feeling how a woman feels; if I am a white Caucasian, it is knowing and feeling like a black person; if I am a Republican, it is knowing and feeling like a Democrat; if I am a citizen of the United States, it is knowing and feeling like an Iranian.
It is knowing and feeling the likeness as well as the differences among things: apples and oranges, pine trees and cyprus trees, leaf cells and body cells, the animate and the inanimate (183).
A grumbling sometimes heard among university art students is “Why do I have to take all this non-art stuff?” That is English, history, natural and social sciences, etc. Myers’ statement eloquently answers that question. The myth of creativity being an innate gift is for the most part just that, a myth. Creativity comes from an open, active mind. A mind that is eagerly exploring new information and making new associations - new connections. Apart from a few exceptions, art is not about art. It is about life. And according Abraham Joshua Heschel:
Life is concern. …A man [person] entirely unconcerned with his self is dead; an man exclusively concerned with his self is a beast…. Man is a being that can never be self-sufficient, not only by what he must take in but also by what he must give out. A stone is self-sufficient, man is self-surpassing. Always in need of other beings to give himself to, man cannot even be in accord with his own self unless he serves something beyond himself. (109)
Art is about religion, history, science, psychology, mythology, business and all other areas that human beings become involved in. The creative artist and designer is a life-long student of life.
AESTHETICS
For many people aesthetics has been an intimidating word with esoteric overtones and perplexing meanings. The word “aesthetics” is derived from the Greek “aisthetikos,” defined as “pertaining to the senses” (Bevlin 8). From the very early use of the word and concept, aesthetics was related to the study of beauty: how it is defined and how people experience and understand beauty (Block & Atterberry 16). Modern times have seen an expansion and modification of that definition. Now the study of aesthetics spans the entire range of human reaction to art. This includes not only the delight, admiration, ecstasy, tranquility, or intrigue that might accompany the study of a work of beauty, but also the shock, disquiet, revulsion, disgust, or even disinterest that might be provoked by a work of art without the traditional sense of beauty (Bevlin 8).
In the late 20th century it is not unusual to find a large portion of the general public and even a good number of incoming art students, who hold to the belief that all art should be what they think is appealing or entertaining. In the late 20th century a great controversy brewed over government financing (grants from the National Endowment for the Arts) and censorship in the arts. At the core of this controversy is a narrow interpretation of aesthetics. Those who would censor and restrict or eliminate government financing have a view of the arts that focuses on what they believe is worthy and non-offensive work. They seem to believe that this view should be forced on the nation as a whole. It is difficult for some people to accept that shocking, disquieting, ugly or even repulsive works of art have merit. If one looks at art as an expression of life, it is obvious that it cannot only deal with the beautiful. If it did it would be ignoring many parts of our thoughts, experiences, emotions and desires. But this is not to belittle beauty, which I have grown to hold as my preferred aesthetic and the one I believe can give me not only enjoyment but also better health and the maximum potential for growth as an artist and human being. The Benedictine sister, Joan Chittister, has expressed this eloquently:
Beauty steeps us in the highest levels of human thought and possibility. It is not a luxury. It is a necessity. Without it, a person can never be fully human. (63)
and
No matter how perfect the symphony, how excellent the painting, how compelling the writing, how magnificent the scene, if we fail to develop a lifestyle and a heart that nourishes itself on beauty, life will be barren indeed. Beauty lies all around us. It simply waits to be born daily in us. (60)
This leads us to a recurring theme in the early chapters of this book: tolerance and understanding. Art can be an important avenue in learning how to broaden your understanding. The multiplicity of expression in the art world reveals that there are many ways of approaching and perceiving life. It is inevitable that there will be many that do not match with our own preferences. We can learn from these varying approaches and we can certainly reject some of them. But it is important to remember that our personal rejection doesn’t invalidate these opposing ideas. What is valid for us does not have to be valid for everyone. For me this seems true not only in art but also in philosophy, religion, government, economics, and personal relations. Tolerance and understanding do not mean acceptance or acquiescence to ideas you don’t believe. On the contrary understanding gives you the right to hold beliefs as strongly as you wish, but tolerance acknowledges the right for others to hold beliefs different from your own. These are concepts at the center of individual and collective freedom.
Another aspect of aesthetics has been called the “aesthetic experience” (Maquet 50). This is an experience that has the power to remove you from everyday life and eliminate competing mental and physical concerns. It is an experience that encompasses your mind and holds your attention. It could be the tranquil, harmonious beauty of early Mozart or the thrashing, crushing power of early Metallica. It could be a dense textural, figurative composition by Andrew Wyeth, or a sparse, minimal non- objective composition by Elsworth Kelly. If a work of art is an engrossing experience for you, you are having an aesthetic experience. Design plays a large role creating such an occurrence. The use of color, line, shape, space, value, texture, and mass can have a great deal to do with holding viewers and transporting them into the world of the art. These elements stimulate the emotions and/or the intellect and create the aesthetic experience. The aesthetic experience takes us back to George Pransky’s concept of receptive thinking. An aesthetic experience is an experience of receptive thought. We are taken from our analytical thinking and transported to the world of the art where our minds can openly experience it. One of the ways this happens most often within our culture is in the world of film and TV. When experiencing an engrossing film our minds are not wandering into our own thoughts, it is experiencing the world created by the filmmaker — it is an aesthetic experience. It can be one that entertains us, deepens our understanding, or poisons our minds, regardless of which, it is still an aesthetic experience.
This experience is cross-cultural; all peoples have aesthetic experiences that fit their traditions and culture. These