Art, Meaning, and Information
I once read a magazine article about a man who found buffets disgusting: he said there was nothing worse than going into a room full of people who were all trying to eat as much as they could, most of them fat and waddling around, carrying plate after plate back to their table where they gorged themselves in a strange abuse of gustatory pleasure. I have also seen a Doonesbury comic where a waiter comes up to a woman who’s nearing the end of her meal and asks “Are you still working on that?” and the woman says something to the effect of, “I’m not working on it! I’m enjoying my food! This isn’t some chore! . . . I’ll eat as much as I like and then I’ll be done!” Finally, I’ve read the following passage from James Joyce’s Ulysses:
His heart astir he pushed in the door of the Burton restaurant. Stink gripped his trembling breath: pungent meatjuice, slop of greens. See the animals feed.
Men, men, men.
Perched on high stools by the bar, hats shoved back, at the tables calling for more bread no charge, swilling, wolfing gobfuls of sloppy food, their eyes bulging, wiping wetted moustaches. A pallid suetfaced young man polished his tumbler knife fork and spoon with his napkin. New set of microbes. A man with an infant’s saucestained napkin tucked round him shoveled gurgling soup down his gullet. A man spitting back on his plate: halfmasticated gristle: no teeth to chewchewchew it. Chump chomp from the grill. Bolting to get it over.
All three pieces of writing share one trait: they all convey how unpleasant the idea of unabashedly stuffing one’s face can be. Other than that, though, they have little in common: one is a run-of-the-mill article in a local magazine, one a cartoon strip, and one an excerpt from perhaps the most highly-esteemed novel of the twentieth century. And all three have different purposes: the magazine article was long, pedestrian, and (frankly speaking) not something I ever bothered finishing. Most striking was simply the idea: buffets are disgusting. The Doonesbury cartoon, on the other hand, was quick — it provided a little nugget of information and was solely created for that purpose; overeating was the joke and the cartoon was a political statement. And then there’s Ulysses, which has a scene in which Leopold Bloom goes into a restaurant, a scene that’s a small part of an eight-hundred-page novel.
It seems to me that these three texts are illustrative of the different ways humans process information — and of the value of art, personal experience, and the writer’s intent. In other words, What’s valuable about certain types of writing? Are some more important than others? and, finally, Why should anyone care in the first place?
I recently read a rather intricate philosophical article, “Art as Truth,” in The Humanist that addresses this. In it, the author, Carol Wintermute, notes that science and fact have become the privileged form of knowledge in contemporary society and that art is seen as secondary, or an adornment. Wintermute says this is a problem and then goes on to cite the work of the famous philosopher John Dewey who posited that the knowledge art gives is as important as that of science — encountering art, he says, is an event in and of itself. When someone encounters the results of science (facts), one is given information about something that already happened, somewhere else. Whereas an encounter with art is a fresh, personal experience: the point isn’t merely information gathering, but an excitement of empathy, non-literal understanding, and the commonality between humans — when one encounters art, one experiences a transmission of communication: how people think and feel, what they mean, and how it is expressed. But all this is not experienced as one experiences facts; you don’t stand back and think to yourself “What is the artist trying to express?” When truly experiencing art, one’s brain is engrossed in the activity, jiving with what it’s encountering and bringing to bear relevant previous experiences in an orgiastic and epiphanic moment of empathy: things are seen in a new light, understandings and perceptions are changed, previous inklings are confirmed — and it’s all done in a flash.1 According to the article “The Pablo Picasso Alzheimer’s Therapy,” by Randy Kennedy of The New York Times, scientists are beginning to gather evidence about art and dementia that points in a similar direction: empathy, memory and the ability to form non-logical connections are excited in ways they aren’t when people encounter mere facts.
Though conclusive scientific evidence has yet to be drawn, this could mean that knowledge of people and emotions, as well as motivation to act, is best gained through art: as the Wintermute article points out, most people aren’t willing to endure significant change to themselves or their community unless they have an artistic understanding of why such a change is good or necessary: for example, bring people in a sexist society report after report, with statistic after statistic, of why sexism is disadvantageous, and, though they may acknowledge the truth of the facts, the behavior of individuals and society usually won’t change — only once members of this theoretical society can experience an empathetic understanding (often acquired via art) of the suffering caused by sexism will they be motivated to make significant personal and societal changes.
In the documentary Control Room, there’s a scene in which a member of the American military personnel in charge of human relations in Iraq says essentially the following:
The people here [Iraqis] were always telling me Americans were very insensitive to the feelings of Iraqis who’d seen or undergone tragedies — that we shrug our shoulders and don’t really care that much if a few hundred Iraqis had died — we tell them to get over it. And I tried to listen to them, but I always thought they were just being over-sensitive. You know, you watch CNN and you see a bombed out Iraqi house and some dead, mutilated bodies on the ground and it’s shocking and unpleasant — and I felt it was terrible — but then you go and eat dinner and move on and sort of forget about it and after an hour or two, it’s not a big deal. But then I watched Al-Jazeera and they showed footage of dead American soldiers who’d been mutilated. That really got to me — I tried to eat dinner that night but I couldn’t. I couldn’t stop thinking about it — it made me sick — the whole night I thought about it, I couldn’t sleep. And then I realized: that was what Iraqis felt every day — seeing their own people burned and tortured and killed on TV everyday. They were right — I had been insensitive and now I feel I have such a better sense of what’s happening . . . I can relate to everyone better . . . I try to get my colleagues to understand what the Iraqis are feeling, but it’s difficult.
In the passage, the soldier gains empathy because he quite literally ends up experiencing the same emotions as those he’s trying to understand — once this happens he can behave in the most compassionate and effect manner possible. In this case, art had nothing to do with the man’s new-found empathy — but such a fitting role reversal is not possible in all situations (men can’t be women, the rich can’t understand what it’s like to spend a lifetime poor, urbane Canadians have no idea what it’s like to live in rural Guatemala, etc) but through art a reversal can be approximated to some degree — or rather, if a literal understanding can’t take place, at least communication between people in different situations can take place on a common ground. Empathy, knowledge and true feeling can be exchanged — this, as Dewey argues, is as important a facet of knowledge as facts and information. In other words, one gains important emotional knowledge of ancient Mayans through looking at Mayan art, just as one can gain intellectual knowledge of ancient Mayans through a textbook. One understanding is not “better” than the other — they are simply different parts of a complex body of knowledge.
Though this view point is not currently popular, the idea behind it has been around for several centuries: Isaiah Berlin’s article “The Divorce Between the Sciences and the Humanities” chronicles philosopher Giambattista Vico’s dissatisfaction with The Enlightenment. Vico, who lived in 18th century Naples, was annoyed because for all physicists claimed to know about a physical object (a ball, for example — how it bounces and how gravity and wind affect its trajectory, where it will bounce if you throw it at a certain angle, how high it will bounce on the third bounce if dropped with a certain velocity, etc), no one knew a damn thing about why the object was doing what it was doing — a ball, as Vico pointed out, is still just a piece of rubber. To give another example: gravity is just something that exists; Why does it exist? It just does — there’s no reason for it and, as much as we can predict how gravity pulls on objects, we still don’t understand its motivation. According to Vico, people, of all things, are the only objects that we can truly understand — it’s possible to know why a person lifts his hand, or shakes her head, in a way one can’t understand the motivation behind gravity or a bouncing ball. In people, a deeper (if less precise) understanding is possible, one that’s just as important as the physics of things. Vico believed that The Enlightenment, with its attempt at “a natural science of men treated as purely natural entities, on par with rivers and plants and stones, rested on cardinal error.2” To understand men, (says Vico) one must understand their language, myths and rites; look to the poets to tell how men felt, look at the art to see what was important and why. Berlin, in describing Vico’s ideas, writes:
When we say that our blood is boiling, this may for us be a conventional metaphor for anger, but for primitive man anger literally resembled the sensation of blood boiling with in him; when we speak of the teeth of ploughs, or the mouths of rivers, or the lips of vases, these are dead metaphors or, at best, deliberate artifice intended to produce a certain effect upon the listener or reader. But to our remote ancestors ploughs actually appeared to have teeth; rivers, which for them were semi-animate, had mouths; land was endowed with necks and tongues, metals and minerals had veins, the earth had bowels, oaks had hearts, skies smiled and frowned, winds raged, the whole of nature was alive and active. . . .
The task before those who wish to grasp what kinds of lives have in the past been led in societies different from their own is to understand their worlds; that is, to conceive what kind of vision of the world men who used a particular kind of language must have had for this type of language to be a natural expression of it.
And art is best able to do this — through it one can understand other’s worlds.
However, I am not promoting the blunt (and foolish) idea that if you read (to take an example) The Color Purple, you all of a sudden know exactly what it’s like to be a poor black woman who’s been abused and abandoned by her family. Perhaps you have a slightly better sense of such a situation after reading the novel, but what’s really transmitted is Celie’s (the main character’s) thoughts. In other words, you can’t know what it’s like to be Celie, but you can have some insight as to how Celie thinks, what happened to Celie, and how some of her experiences are related to yours — she, by telling you about her experiences, helps you think about your own experiences. Furthermore, as you think about her experiences (and how they relate to your experiences), you can see why she feels how she does; in other words, the process of understanding how she feels helps you gain in ability to understand other people. And all this happens at once (and without you realizing it) and it’s quite thrilling — Celie is a friend, a medium through which Alice Walker (the author) communicates. (Incidentally, this type of communication isn’t confined to novels — visual art can do the same thing; it’s just a different method. Painter Mark Rothko, with his soap-bars of color floating in soap-dishes of pigment, communicates without words — no more or no less, just differently.3) This sort of communication — the artistic kind, particularly abstraction — is what’s often shunned as unimportant because it doesn’t have any immediate, palpable (and easily describable) benefits. It’s often deemed “useless” or “frivolous.” though, in part because of Dewey’s ideas, that attitude is changing. And it’s a good thing, because if you completely ignore art, you lose out. To demonstrate why, I’d like to return to the quotes at the beginning of this article, the ones about eating.
The first piece, if you’ll remember, was a mediocre magazine article — I don’t really remember much about it other than the idea: buffets are disgusting. It wasn’t something I’d never thought of before — I’d always enjoyed buffets (and, in fact, enjoyed trying to eat as much as I could) and the idea that someone felt differently was intriguing, especially because the person gave some examples of why it was unhealthy, why it looked terrible, etc. Though the idea stuck with me, I didn’t remember any of the corresponding facts. It was, quite simply, information — not art. And it had value — it certainly planted a seed in my mind, but it did little to actually change my opinion.
And then there’s the Doonesbury cartoon, which was very succinct, clever, witty. I remember it not just for the idea transmitted, but because, when I read it, the woman’s anger was completely unexpected, and yet it was so justified and so well-put. Furthermore, she provided an insight into our cultural attitude: the language we use to describe eating presumes that we view it as a gorging, a task, a challenge. The Doonesbury cartoon not only made me consider something, but it gave me an opinion: I, too, felt restaurants served too much, that our attitude about food was absurd — I’d adopted the woman’s annoyance as my own, because, as I’d read the cartoon, I felt I was somehow privy to the conversation, as though I was there when it happened . . . Doonesbury was art transmitted in a direct and effective manner.
And then there’s the Joyce quote. When I read this I was struck not only by the accuracy of it, but the sheer beauty of expression. As I was reading it, I wasn’t thinking, “Boy, that’s a solid critique,” but rather, I was (to sound corny) transported there — Joyce has an uncanny ability to make his worlds feel three-dimensional, as though you’re walking in them; I was walking into this restaurant and seeing it as Bloom saw it and Bloom’s vision was similar to mine, but just different enough in its description and attitude that I was compelled to pay attention — it captivated me. A sooty dive with grubby, greasy men, the horrible stench of overcooked meat — those were my thoughts, with an overwhelming sentiment of: disgusting, unpleasant gorging. On a visceral level I felt what the mediocre magazine article told me via facts, and what the Doonesbury cartoon gave me an emotional allegiance to — Ulysses was a case of art reinforcing and confirming what I already thought was probably true in real life.
And so we can see from the three writings a progression from giving me ideas to finally making me experience them; while the facts of the magazine article gave me the impetus to see things differently, it was only after reading Ulysses that my opinion of buffets had undergone a full reversal — art sealed the deal. However, this is not to say that facts, science, and essays are bad (this is, after all, an essay that uses facts and philosophy) but that facts and science aren’t (as is commonly perceived) the only means of transmitting information or the only valid means of understanding; art is an often-neglected mode of thought. So the next time you’re in a museum and someone turns to you and says about an abstract painting, “What does that mean? — Worthless!” you can tell him he’s not paying close enough attention — that science and philosophy say he’s missing a lot.
Alex Starace (alex@professoryeti.com) is a writer and art critic.
1. Having experienced this sensation, I can only say that it makes you very excited, happy, and causes you to be short of breath. You feel lifted-up and have a strange, zen-like sensation of overarching knowledge, even as crazy ideas and connections ping-pong around your brain. It’s very exciting. . . . Most of Todd Solondz’s movies (every one except Palindromes) do this for me, as does Chuck Close’s famous self-portrait, Bergman’s Autumn Sonata, Vonnegut’s Slaughterhouse-five . . . and, well, there’s no point in making this laundry-list longer.
2. This quote is Berlin’s from the article mentioned above.
3. However it’s difficult to describe how Rothko does it because there don’t seem to be as many words to describe how a painting communicates to a viewer. The vocabulary seems to be limited enough that, in some sense, when it comes to visual arts, we’re all inarticulate gesturing idiots, saying, “No, but it’s great — the colors — it just does! It’s great because — I don’t know — see the blue! See the blue! That’s real! The blue says something!” Further complicating the description of painting: in experiencing literature (as an example opposed to painting) there are words and logic and plot to hang onto; whereas in experiencing a painting there’s only pure emotion, visualization, and sensation, making the medium (besides having a smaller vocabulary) more difficult to describe than a piece of writing.
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