A&O – SENSORY EXPLOITATION in ART and SCIENCE

ART & ORGANISM

SENSORY EXPLOITATION

 

ART is construed in A&O is seen in terms of two parts that are usually (but not always) intertwined: expressive and receptive: that is, the motives and processes of creation and the perceptions and feelings of the perceiver.   

Meaning derives from connections, and while many can be discussed and written about, the affective connections accessible by ART can be the great facilitator of MEANING at levels deeper than thos accessible by words:  Mark Johnson, whose writing is a great resource for understanding how our mind and body co-constitute understanding and meaning  is…   

“following in the footsteps of John Dewey, who argued in Art as Experience (1934) that art matters because it provides heightened, intensified, and highly integrated experiences of meaning, using all of our ordinary resources of meaning-making.  To discover how meaning works, we should turn first to gesture, social interaction, ritual, ritual, and art, and only later to linguistic communication.…”  Johnson pursues “…Dewey’s insight that the arts are a primary means by which we grasp, criticize, and transform meanings. … [he ends up] with the idea that philosophy will matter to people only to the extent that it is built on a visceral connection to our world.” (Johnson 2007).  [from A&O webnotes on CONNECTIONS]

 

  • The value of the process for the artist and the appreciation of her works of art by an audience.  
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  • The artist, by intuition or training 

 

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Sensory Exploitation an undervalued variable in art