Confession: I am the author of Couldn't Wouldn't.
WC

--- On Sat, 9/6/08, William Conger <[EMAIL PROTECTED]> wrote:

> From: William Conger <[EMAIL PROTECTED]>
> Subject: Re: Inspirations and intentions
> To: [email protected]
> Date: Saturday, September 6, 2008, 9:38 AM
> Quivers notwithstanding, there is always something
> enlightening about good art.  It can put you in an
> unexpected state of mind, either surprising you with
> experiences you didn't expect or thought you would have
> dismissed as trivial.  The best conceptual art does this
> with our opinions. I mean it evokes paradox, enabling you to
> value a statement or image-thought in at least two ways,
> each one negating the other. It's like Gombrich's
> famous use of the rabbit-duck image. Here's a recent
> example.  At an exhibition one was confronted by a large
> book and a feather-pen.  The directions were to list the
> person you'd like to kill.  Rather horrifying, but the
> pages were filled by visitors' choices, the usual
> political and criminal suspects mostly.  One stood out: 
> "Couldn't Wouldn't".  Now does this mean
> that the author wouldn't and couldn't kill anyone or
> does it mean he or she would kill the person who hesitates
> to kill, that is, Mr or Ms. Couldn't Wouldn't?  In
>  this entry you recognize yourself holding the first view
> and then the other, more shocking view.  Art has a way of
> putting you in unexpected frames of mind, or experiencing
> unexpected feelings. The delight-awakening is recognizing
> your capacity to do that.
> WC 
> 
> 
> --- On Fri, 9/5/08, armando baeza
> <[EMAIL PROTECTED]> wrote:
> 
> > From: armando baeza <[EMAIL PROTECTED]>
> > Subject: Re: Inspirations and intentions
> > To: [email protected]
> > Cc: "armando baeza"
> <[EMAIL PROTECTED]>
> > Date: Friday, September 5, 2008, 10:30 PM
> > I think a work of art is judge by the parts that
> shine/that
> > stand  
> > out, the parts that say design,
> > but justify the parts that don't, that distinctive
> > taste, when the  
> > Melody lingers on, when one feels that quiver between
> the
> > eyebrows.  
> > And so on............
> > mando
> > 
> > On Sep 5, 2008, at 9:38 AM, Chris Miller wrote:
> > 
> > > Cheerskep wrote:
> > >
> > > "So the response to the quote from Chris
> above is
> > this: In general,  
> > > writers
> > > will "please themselves" the most when
> a bit
> > works for BOTH  
> > > themselves and the
> > > audience."
> > >
> > >
> > > ... and I'm wondering if we can't just
> replace
> > the word "writers"  
> > > with the
> > > phrase "professionals of any kind" ---
> to
> > include not just painters  
> > > and
> > > musicians -- but anyone who is responsible to a
> client
> > - whether  
> > > that client
> > > is an investor or a consumer.
> > >
> > > Responsibility is testable --- it's either
> there
> > -- or it isn't --  
> > > the client
> > > is either pleased or he's not --- which is
> more
> > than could be said  
> > > about
> > > inspirations and intentions which seem to flicker
> on
> > and off with  
> > > personal
> > > whimsy.
> > >
> > > And then Cheerskep wrote:
> > >
> > > But Chris appears not to appreciate that both
> clarity
> > and ambiguity  
> > > are a
> > > matter of degree. Every work of art is a
> composite of
> > many bits  
> > > ("No work is
> > > ever just a single work.")
> > >
> > > There are bits that are themselves composites of
> bits
> > -- and it  
> > > appears to me
> > > that only the smallest bits can be understood
> with
> > clarity.
> > > Did the Richard Gere character learn some 
> fighting
> > techniques  on  
> > > the streets
> > > of Manilla ? Yes -- he did -- that much is clear.
>  But
> > what that  
> > > says about
> > > his relationship with a martial arts tradition --
> and
> > his character  
> > > -- that
> > > can only be ambiguous -- as well as the big
> question
> > of why we  
> > > should care
> > > about his story at all.
> > >
> > >
> > >
> > >
> > >
> > >
> >
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