Agreed Mel, Arlo, Platt, Marsha,

And don't forget, before motorcycles and rotisseries, also one of
Pirsig's learning experiences was building a boat.
Code of Art in the commonplace.

Regards
Ian

On Tue, Jan 27, 2009 at 10:41 PM, MarshaV <[email protected]> wrote:
>
> Greetings,
>
> I certainly agree.  Both posts were wonderful.
>
>
> Marsha
>
>
>
> At 04:35 PM 1/27/2009, you wrote:
>>
>> Hi All:
>>
>> It appears Mel has struck a deep responsive chord with his recent
>> description of lessons from a boat builder.
>>
>> Mel's post was preceded just a day or two by Arlo's post citing the
>> importance of ZMM reuniting ''art' with everyday activity.
>>
>> I don't know about anybody else, but if after a decade of discussions this
>> site was compelled to come away with just one message for the world, I
>> think it would be these recent posts from Mel and Arlo.
>>
>> I wonder how many other contributors agree that they neatly and memorably
>> summarize the MOQ's guide to personal fulfillment.
>>
>> Regards,
>> Platt
>>
>> > > mel:
>> > > A boat builder with whom I used to work
>> > > frequently repeated a phrase: 'beauty is free'.
>> > > The first few times he said it, the timing was
>> > > a mystery to me--Why did he say that, now?
>> > >
>> > > Eventually I got it. He was prodding me
>> > > towards seeing that how I made the structural
>> > > pieces of the boat look were more important than
>> > > the simple plan-form of structure. Analogous
>> > > to how different the musical score is from the
>> > > performance.
>> > >
>> > > Inevitably, the 'beautiful' elements found
>> > > efficiencies that the purely functional lacked.
>> > > What seemed an accident or a trick was instead
>> > > a deeped insight. Whenever I made a part
>> > > more beautiful in appearance, it was also stronger,
>> > > better fit, more efficient, etc. It was so, because
>> > > I had unknowingly paid attention to more parts
>> > > than simply the abutting or adjacent bits.
>>
>> [Arlo]
>> This may be slightly off your topic, but I've always thought the most
>> important part of ZMM was in reuniting "art" with everyday activity. That
>> is, what both the classisists and the romanticists got wrong was that
>> "art" was divorced from other forms of human activity into a realm of
>> particular behaviors. We (in the general sense) tend(ed) to see "art" as a
>> very specific subset of painting, theatre, music, literature, etc. What
>> ZMM resolved was that "art" was an aesthetic/Quality that could be (and
>> should be) (and IS) an integral part of everything from building
>> rotisseries to repairing a motorcycle to welding a chain guard.
>>
>> In ZMM, both the classisists and the romanticists were seeing "art"
>> from its old perspective, the classisist shrugged off "art" as
>> un-important or trivial (syrup of style kind of stuff), while the
>> romanticists were seeing "art" as a bounded domain of particular
>> activity (drumming or painting or the like). The "rotisserie builder" and
>> the "abstract sculptor", Pirsig reminded us, are both "artists" when they
>> follow Quality in their particular activity. Thus the resolution to the
>> romantic/classic divide is a larger view that begins with a redefinition
>> of "art" and its relation to everyday, lived "life".
>>
>>
>>
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>
> .
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>
> Look, there's no metaphysics on earth like chocolates.
> (Fernando Pessoa)
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