So, what now of beans and bags? p's and q's, even... Best, Jerry R
On Mon, May 16, 2016 at 4:17 PM, Gary Richmond <[email protected]> wrote: > Gary F, Jon S, List, > > Gary F. wrote: "maybe [artists] are driven to think this way by an > irrational urge to create, to do something that hasn’t been done before, or > show us something we haven’t seen before … > > Or even, perhaps, to show *themselves* that they can do something > previously not imagined. For example, the concert I mentioned I was > attending at Carnegie Hall and which featured Mozart's *Great Mass in > C-minor* was held as the companion to a show at the new Breuer branch of > The Metropolitan Museum of Art in NYC, "Unfinshed: Thoughts Left Visible" > which asks the question "when is a work finished?" or, in some case, "why > did an artist leave a work seemingly unfinished?" > http://www.metmuseum.org/exhibitions/listings/2016/unfinished > > Between the two 'unfinished' works on the Carnegie concert was a panel on > the topic including the curators of the MMA show, the conductor of the > concert, Leon Botstein (who is also the President of Bard College), and a > music historian on the staff of the MMA. During the panel discussion it was > noted that much of the text of this mass was not set to music by Mozart, > and yet what he did set is totally satisfying in a concert setting. Indeed, > if Mozart had composed music using *all *the traditionally set text of > the mass that it would be probably be grander in scale than even Bach's > *B-minor > Mass* or Beethoven's *Missa Solemnis*. Yet what he did set was strikingly > original, the arias and ensemble pieces complex and virtuosic in the style > of Mozart's late Italian operas, while the choruses 'reinvent' the older > contrapuntal style (at the time of composing the mass he had recently > 'discovered' and was studying Bach and Handel) making something completely > new--and very Mozartian--of it. > > Well, the long and short of it is that the immense time and effort that > must have gone into writing it at the dimensions at which it is composed > far exceeded anything 'necessary' for Mozart to do (its composition was > prompted by a vow he'd made to his wife) especially given the fact that > Mozart had virtually nothing financial to gain from writing it. It was also > mentioned in the panel discussion that the last three symphonies he wrote > were similarly not commissioned, seemingly inspired by a need to take the > symphonic form further than he--or, at that point, anyone--had taken it. > > Similarly, the MMA show, 'Unfinished', also includes a number of works > seemingly written because the artist was "driven . . . by an irrational > urge to create, to do something that hasn’t been done before." Much of > this work was kept by the artists in their studios and never publicly shown. > > It is well known that Peirce argues that only abduction offers anything > new or fresh in scientific inquiry. I think that it is this originating > power of abduction which has helped bring about some of the greatest > innovations in science and creations of art, music, architecture, > literature, etc. > > Best, > > Gary R > > > [image: Gary Richmond] > > *Gary Richmond* > *Philosophy and Critical Thinking* > *Communication Studies* > *LaGuardia College of the City University of New York* > *C 745* > *718 482-5690 <718%20482-5690>* > > On Mon, May 16, 2016 at 9:03 AM, <[email protected]> wrote: > >> Jon A.S. proposes >> >> that both inquiry and ingenuity are motivated more fundamentally by >> dissatisfaction with the current state of affairs. >> >> >> >> Agreed. And this could apply to artistic creation as well: the artist >> looks out at what’s been done in his or her field and thinks “There must be >> more to it than this!” or perhaps “I can do better than that.” But maybe >> they are driven to think this way by an irrational urge to create, to do >> something that hasn’t been done before, or show us something we haven’t >> seen before … >> >> >> >> Gary f. >> >> >> >> *From:* Jon Alan Schmidt [mailto:[email protected]] >> *Sent:* 15-May-16 21:30 >> >> >> >> Gary F., List: >> >> >> >> Your points are well-taken, especially given my thinking on the "logic of >> ingenuity" as employed by engineers--where there is a cycle of >> abduction/deduction/induction (analysis) nested within another (design). >> And like artistic creation, engineering does not (usually) begin with the >> observation of a surprising fact. What I have posited is that both inquiry >> and ingenuity are motivated more fundamentally by dissatisfaction with the >> current state of affairs--doubt in one case, which is resolved by attaining >> a state of belief; and uncertainty in the other, which is resolved by >> attaining a state of decision. >> >> >> >> Regards, >> >> >> Jon Alan Schmidt - Olathe, Kansas, USA >> >> Professional Engineer, Amateur Philosopher, Lutheran Layman >> >> www.LinkedIn.com/in/JonAlanSchmidt - twitter.com/JonAlanSchmidt >> >> >> >> >> ----------------------------- >> PEIRCE-L subscribers: Click on "Reply List" or "Reply All" to REPLY ON >> PEIRCE-L to this message. PEIRCE-L posts should go to >> [email protected] . To UNSUBSCRIBE, send a message not to PEIRCE-L >> but to [email protected] with the line "UNSubscribe PEIRCE-L" in the >> BODY of the message. More at >> http://www.cspeirce.com/peirce-l/peirce-l.htm . >> >> >> >> >> >> > > > ----------------------------- > PEIRCE-L subscribers: Click on "Reply List" or "Reply All" to REPLY ON > PEIRCE-L to this message. PEIRCE-L posts should go to > [email protected] . To UNSUBSCRIBE, send a message not to PEIRCE-L > but to [email protected] with the line "UNSubscribe PEIRCE-L" in the > BODY of the message. More at http://www.cspeirce.com/peirce-l/peirce-l.htm > . > > > > > >
----------------------------- PEIRCE-L subscribers: Click on "Reply List" or "Reply All" to REPLY ON PEIRCE-L to this message. PEIRCE-L posts should go to [email protected] . To UNSUBSCRIBE, send a message not to PEIRCE-L but to [email protected] with the line "UNSubscribe PEIRCE-L" in the BODY of the message. More at http://www.cspeirce.com/peirce-l/peirce-l.htm .
