This is so far my favorite of the conversations. Please consider posting a conversation with a congenial classical music academic. Edit: I wrote the foregoing before arriving at the last bit, to which I took strong exception. See my lengthier comment above.
I strongly disagree with Roger’s dictum about not editing while you’re being creative. Just in general, what works for some doesn’t necessarily work for all. When I’m stuck, a bit of editing can often be just the thing to get me moving again. More specifically, the real dichotomy at stake here is between analytic thought and synthetic thought, not between thinking and mystically summoning inspiration from beyond. Analysis and synthesis are functions of opposite spheres of the neocortex, but there is a strong physiological neural connection between them called the corpus callosum. The task of the artist is to integrate the spheres, to develop, either figuratively or literally or both, the corpus callosum. The task of the the teacher is to teach technique and to allow and encourage-but not to try to teach-creativity. You teach technique with structured learning (exercises and such). You allow and encourage creativity with unstructured learning, providing access to materials, time, and space-not by imposing aesthetic dicta and dubious and nebulous notions of what constitutes creativity.
Fan and fantastic 👏. One of your best UA-cam conversations. Do consider a follow up - there’s plenty more to discuss on figurative art. The politics and US role post ‘39 was fascinating, but the heart of where figurative art might go when we are still surrounded by avant garde , the capitalist art or commodity art movement, when art needs to be rooted in drawing from statues, plaster casts and life drawing, perspective: the skills that aren’t basic and take thousands of hours, please share more thoughts snd stories.
I have a dream and a group of persons tell to me search about Michael Pearce, buy I don’t know so good the idiom, I need to study Moore to understand better the conversation. Greetings from Colombia
I am not convinced by Roger Dean's explanation of the origin of the term "bohemian" in the sense of an artistic person who eschews conventional standards of behavior. Ask yourself what people would be most likely to attend to the antics of a king of Bohemia: obviously, the inhabitants of Bohemia. Then ask yourself what people would be least likely to use the term "bohemian" disparagingly: obviously, again, the inhabitants of Bohemia. As far as I know, there very well may have been some libertine king of Bohemia or other, but I wonder how much significant and enduring international effect that might reasonably have had on the English language. Moreover, the path of the term "bohemian" in the ultimate pejorative sense from "Bohemian" in the original sense was mediated by "bohemian" in the sense of "gypsy". (Remember that the Romans called foreigners "barbarians". This is the way of things.) My dictionary (the American Heritage first edition, in my opinion the best English dictionary ever compiled--with the possible exception of the OED) does not support Dean's etymology of "hobo" either. It simply says "origin unknown". I suppose it's possible that "hobo" is "bohemian" abbreviated and syllabically transposed, but this really seems to come down to speculation, and professional etymologists do not merely speculate. I don't doubt that Dean really did read this in whatever book that was that he cites, but just because someone manages to get a book published doesn't mean its contents are valid.
An amazing video.
This is so far my favorite of the conversations. Please consider posting a conversation with a congenial classical music academic. Edit: I wrote the foregoing before arriving at the last bit, to which I took strong exception. See my lengthier comment above.
I strongly disagree with Roger’s dictum about not editing while you’re being creative. Just in general, what works for some doesn’t necessarily work for all. When I’m stuck, a bit of editing can often be just the thing to get me moving again. More specifically, the real dichotomy at stake here is between analytic thought and synthetic thought, not between thinking and mystically summoning inspiration from beyond. Analysis and synthesis are functions of opposite spheres of the neocortex, but there is a strong physiological neural connection between them called the corpus callosum. The task of the artist is to integrate the spheres, to develop, either figuratively or literally or both, the corpus callosum. The task of the the teacher is to teach technique and to allow and encourage-but not to try to teach-creativity. You teach technique with structured learning (exercises and such). You allow and encourage creativity with unstructured learning, providing access to materials, time, and space-not by imposing aesthetic dicta and dubious and nebulous notions of what constitutes creativity.
Fan and fantastic 👏. One of your best UA-cam conversations. Do consider a follow up - there’s plenty more to discuss on figurative art. The politics and US role post ‘39 was fascinating, but the heart of where figurative art might go when we are still surrounded by avant garde , the capitalist art or commodity art movement, when art needs to be rooted in drawing from statues, plaster casts and life drawing, perspective: the skills that aren’t basic and take thousands of hours, please share more thoughts snd stories.
Well, that hour just flew by.
I have a dream and a group of persons tell to me search about Michael Pearce, buy I don’t know so good the idiom, I need to study Moore to understand better the conversation. Greetings from Colombia
I am not convinced by Roger Dean's explanation of the origin of the term "bohemian" in the sense of an artistic person who eschews conventional standards of behavior. Ask yourself what people would be most likely to attend to the antics of a king of Bohemia: obviously, the inhabitants of Bohemia. Then ask yourself what people would be least likely to use the term "bohemian" disparagingly: obviously, again, the inhabitants of Bohemia. As far as I know, there very well may have been some libertine king of Bohemia or other, but I wonder how much significant and enduring international effect that might reasonably have had on the English language. Moreover, the path of the term "bohemian" in the ultimate pejorative sense from "Bohemian" in the original sense was mediated by "bohemian" in the sense of "gypsy". (Remember that the Romans called foreigners "barbarians". This is the way of things.) My dictionary (the American Heritage first edition, in my opinion the best English dictionary ever compiled--with the possible exception of the OED) does not support Dean's etymology of "hobo" either. It simply says "origin unknown". I suppose it's possible that "hobo" is "bohemian" abbreviated and syllabically transposed, but this really seems to come down to speculation, and professional etymologists do not merely speculate. I don't doubt that Dean really did read this in whatever book that was that he cites, but just because someone manages to get a book published doesn't mean its contents are valid.
Please invite Odd Nerdrum for an interview.