[Arlo previously]
Broadly, for Tolstoy, "art" is (high-quality), deliberate, communicative 
endeavor, but bear in mind that this endeavor is historical, becoming a 
"relationship both with him who produced, or is producing, the art, and with 
all those who, simultaneously, previously, or subsequently, receive the same 
artistic impression."

[John]
But communication is more than personal.  Who communicates with himself?  If 
Art is communicative, then some other must be intended, no?

[Arlo]
Just a quick answer here, because its a little off-topic. You have to remember 
that in the Russian tradition 'communication' is both 'internal' and 
'historical'. Bakhtin summarized this with the term "ventriloquation". Simply, 
the manipulation of symbols is inherently social, inherently communicative, as 
it always is 'responsive' and 'anticipative'. That is, everything we 'say' 
(through language or some other form of symbol-system) is at heart a response 
to a previous statement and at the same time framed to anticipate being itself 
responded to. In addition to this historical aspect, Bakhtin explains the 
interalized-sociality of expression by pointing out that all expressed symbols 
inherently include the voices of others. In the simplest sense, thinking to 
yourself in a quiet room all by yourself is a social-communicative act. In this 
light, to answer your last point, yes, communication always anticipates (or 
intends) some 'other', as well as itself being responsive to some '
 other'. 

[Arlo previously]
Last point about Tolstoy's essay, which I think is still relevant today (and 
echoes, IMO, the central theme of ZMM): "Art, in our society, has been so 
perverted that not only has bad art come to be considered good, but even the 
very perception of what art really is has been lost. In order to be able to 
speak about the art of our society, it is, therefore, first of all necessary to 
distinguish art from counterfeit art."

[John]
What art really is, cannot be defined, except badly.  Art can't be defined.  
Art can only be experienced.  Art IS Quality.

[Arlo]
While I agree that art cannot be defined, I think it can be understood, and I 
think what Tolstoy (and Pirsig) are saying is that the modern social-cultural 
understanding of 'art' has been perverted. Neither are proposing a rigid 
definition, but neither are both saying that its so mystic we can't talk about 
better ways to understand what art is. 

For example, Tolstoy writes, "It is true that this indication is an internal 
one, and that there are people who have forgotten what the action of real art 
is, who expect something else form art (in our society the great majority are 
in this state), and that therefore such people may mistake for this aesthetic 
feeling the feeling of diversion and a certain excitement which they receive 
from counterfeits of art."

This correlates strongly with what Pirsig saw in ZMM, "Along the streets that 
lead away from the apartment he can never see anything through the concrete and 
brick and neon but he knows that buried within it are grotesque, twisted souls 
forever trying the manners that will convince themselves they possess Quality, 
learning strange poses of style and glamour vended by dream magazines and other 
mass media, and paid for by the vendors of substance. He thinks of them at 
night alone with their advertised glamorous shoes and stockings and 
underclothes off, staring through the sooty windows at the grotesque shells 
revealed beyond them, when the poses weaken and the truth creeps in, the only 
truth that exists here, crying to heaven, God, there is nothing here but dead 
neon and cement and brick."

"Art is the Godhead as revealed in the works of man" is not a bad definition of 
art. It is, I'd argue, quite good. But "good" in a MOQ sense, as a map that 
does a good job of orienting our travels (and importantly, a better job than 
the one currently in use by many). 

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