Replying to LO28384 --
That is one of the clearest descriptions of artistic systems that I have
read. I have a lot of trouble explaining to non-artists about styles and
systems and how they have right and wrong ways of doing things. What
constitutes a correct way of performance or interpretation as opposed to
an incorrect one. What goes with a system and what goes against the
aesthetic universe that the composer, choreographer, painter, sculptor
etc. has set down. Most people think it is just a matter of "opinion"
rather than a matter of aesthetic language. As a result their like or
dislike or opinion makes in their mind a valid judgment about the value of
what is being said. But the only value they really know are the values of
their own perceptive filters that they superimpose on the work itself.
Gunther Schuller once said to me that the only way you had a half-way
decent chance of knowing the value of a composition and its place in
history was to enter into its world and accept its rules and if they
created a coherent universe then they had passed the first test. How much
that universe fits with mine or whether I like it or not has little to do
with its value as a work of art. But I cannot know if it is safe to have
around me in my universe unless I can know its laws and values first and
how they will change me as a result of being around them.
Ray Evans Harrell
> May I repeat again what I wrote some years ago (I think) into this group.
> It concerns what I construe to be a level of application of color among
> adults. The results at the time, when "viewed" within the total program,
> represented a watershed in my life.
> Over 25 years ago, when I was about 30, I attended Jacques LeCoq's school
> of Mime and Movement in Paris. Part of our curriculum extended to the
> movement of the colors of the spectrum.
"Ray Evans Harrell" <firstname.lastname@example.org>
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