I don't know what gives Cheerkep the feelings of "graceful, powerful,
efficient and effective" from either television images of A-Rod or photos of
Discobolus.
And I know nothing about A-Rod. (except that I hope he signs with the Cubs)
But regarding Discobolus, I would say that it's the overall design (within a
limited range of views) that gives me those feelings, and note that it has
little to do with "definable and measurable" truths, because every good design
defines its own measurable proportions.
Though I would concede that gross changes in proportion would kill those
feelings -- as they do, for example, with Michelangelo's David, with it's huge
head and hands. (but then "David" is not supposed to be a great athlete, is he
?)
BTW, I question the example ("Waiting for Godot") which Cheerskep has offered
as an exception to William's statement that "Good art appeals to all, I mean
it offers something -- some access -- to any viewer. That has always been
true of the best art."
First -- because verbal arts are necessary connected to specific languages
which can only appeal to those who are fluent.
And second - because although, like Cheerskep, I loathe that play, I also see
no reason to concede that it is among "the best art" just because "Some
(presumably famous critics) have called it the greatest work of theater art
in the twentieth century."
If Cheerskep were a kid who played video games instead of going to theatre, I
would, of course, discount his reaction. But since he seems to have immersed
himself in the theatrical arts of the English language for something like 50
years , his judgment is no less important than that of any published critic.
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