WHAT IS ART?
_____________
1.
Art is an intentional human act of making or framing that is not exhausted by utility.
In other words:
Art is something a person deliberately creates or presents, and its whole reason for existing is not just to be useful.
What it includes / excludes:
Includes: paintings, songs, poems, sculptures, even a beautifully shaped chair if the maker cared about more than pure function.
Excludes: a flat-head wooden plug that fills the round hole in the hardwood floor - whose only purpose is to fit into the existing shape - a purely practical object with strictly limited form or expression.
Examples:
• A chef who carefully plates a dish so it looks beautiful is doing something artistic. The same food dumped on a plate only to fill the stomach is not.
• A purely functional parabolic dish designed only for the highest possible efficiency of a speaker — every curve is forced by physics and performance requirements, with no room for personal taste — versus the same speaker placed inside a wooden cabinet that the maker has carefully shaped, proportioned, and finished so that it also looks and feels beautiful.
2.
It contains free formal or expressive choices that could have been otherwise.
In other words:
The creator made choices about shape, color, sound, words, or movement that were not forced by pure necessity — they could have done it differently and it still would have “worked.”
What it includes / excludes:
Includes: choosing a particular melody when many others would have been possible; choosing one word over another that means almost the same thing, but has a different deeper effect.
Excludes: a design in which every single decision was dictated by material limits or pure function, with no room for personal choice.
Examples:
• A potter who shapes a mug so the handle feels pleasant in the hand and the curve is graceful is making free choices. A factory mold that produces the cheapest possible functional cup has almost no free choices left.
• A songwriter who chooses varied and unexpected chords that evoke special impressions and feelings instead of a computer generated tonal sequence as a result of a simple mathematical formula (e.g fire truck siren melody)
3.
Because humans are constitutively social, the act is oriented (even if only latently) toward reception by other humans.
In other words:
Since we are social creatures by nature, even when we create alone we still carry an unspoken sense that the work is meant to be received by other people.
What it includes / excludes:
Includes: a writer composing a novel and thinking and adjusting it to have a better and stronger effect when read – in this case by someone else, since the writer already knows it;
Excludes: a routine reminder list of things to do – which is only made to be used by the author
Examples:
• A teenager writing songs in their bedroom still hopes, even secretly, that someone might one day hear them and understand. That quiet hope is the social orientation.
• A person who writes a letter they never plan to send, yet carefully chooses every word as if someone will eventually read it, is still oriented toward reception.
4.
That reception — which may be full or partial, immediate or delayed — transfers a shaped perception or inner state and, when successful, enriches the receiver, expanding experiential range or capacity.
In other words:
When another person receives the work (even years later, or only understanding part of it), something of the creator’s way of seeing or feeling is passed on. If it works, the receiver becomes richer — they can feel or notice something they couldn’t before.
What it includes / excludes:
Includes: hearing a piece of music that suddenly makes you feel a kind of longing you never knew you could feel.
Excludes: looking at something that leaves you exactly the same as before, with no new feeling, insight, or capacity.
Examples:
• Someone who has never felt deep homesickness hears a song that captures it perfectly. Afterward they understand that emotion in a new way — their inner world has expanded.
• A person sees a painting of quiet solitude and, for the first time, recognizes a feeling they had carried for years but never been able to name. Afterward they understand themselves a little better.
5.
Enrichment can announce itself in immediate bodily and affective markers (awe, heightened attention, new horizons) and serves as an impetus for growth.
In other words:
You can often feel the enrichment right away in your body and emotions — your eyes widen, your heart jumps, you feel awe or sudden new possibility. That feeling pushes you toward growth.
What it includes / excludes:
Includes: the moment a painting makes your breath catch, or a story makes you sit up straighter because something new has opened.
Excludes: mild mood shift that is pleasant but leaves no lasting mark or impulse to grow – like elevator music or muzak, or hotel lounge music.
Examples:
• Standing in front of a powerful sculpture and feeling your mouth slightly open and your chest expand — that physical reaction is the first sign that something inside you has been enlarged.
• Listening to a piece of music that makes the hair on your arms rise and leaves you sitting in silence for a minute afterward, sensing that something in you has shifted.
6.
The cumulative effect is the strengthening of interpersonal bonds and of humanity itself.
In other words:
Over time, when many people receive these enriching experiences, the connections between people grow stronger and humanity as a whole becomes a little more capable and resilient.
What it includes / excludes:
Includes: shared cultural works (songs, stories, images) that help people feel they understand one another better.
Excludes: works that isolate people, increase mutual distrust, or leave them weaker and more fragmented.
Examples:
• A national folk song that generations sing together creates a shared emotional language. People who know that song feel a quiet bond with one another across time and distance.
• A novel that helps thousands of readers recognize the same hidden loneliness in themselves can make those readers feel less alone and more connected to others.
• At a concert where the whole audience knows the music and feels the same emotion at the same moment, people become aware that they are sharing that experience together. That shared feeling strengthens the bond between them on a deeper level.
7.
Because works are often multi-layered, success in any significant strand that passes the discernment filter of direction and effect is sufficient for that aspect (and for the work as received by that person) to function as art.
In other words:
A single work can have many layers (music, words, images, ideas). If even one important layer successfully enriches the person receiving it, that layer — and the work for that person — can still count as art.
What it includes / excludes:
Includes: loving the music of a song while ignoring the lyrics, yet still being deeply moved by the music alone.
Excludes: a work in which every layer fails to enrich or actively diminishes the receiver.
Examples:
• You may dislike the lyrics of a progressive-rock song but find the instrumental power and invention so strong that it expands you. For you, that musical layer is still art.
• Someone watches a film mainly for its visual beauty and cinematography, while remaining indifferent to the plot, and still leaves the cinema feeling enlarged by what they saw.
8.
First-level judgment is therefore receiver-relative; deeper levels of assessment involving ethics, values, and long-term consequences may move toward more shared conclusions.
In other words:
At the first, personal level, something can be art for one person and not for another. If we look more carefully — considering values, ethics, and long-term effects — we can sometimes reach broader agreement.
What it includes / excludes:
Includes: one person saying “this moved me deeply” while another says “this did nothing for me.” Both can be honest first reactions.
Excludes: the idea that a work is automatically art for everyone just because an expert or institution says so.
Examples:
• A film may leave one viewer in tears of recognition and another completely cold. At the personal level both responses are valid. Later discussion about its deeper effects may bring more shared judgment.
• One person finds a contemporary installation deeply moving while another finds it empty; both experiences are real at the first level, even if further reflection leads to different evaluations.
9.
Discernment remains necessary: the decisive question is where the work is leading — toward greater human potency, clarity, connection, and resilience, or toward their diminishment.
In other words:
We still need to look carefully at the direction the work is pointing. Does it make people stronger, clearer, more connected, and more resilient — or does it leave them weaker, more confused, more isolated, or less capable?
What it includes / excludes:
Includes: difficult or dark works that ultimately help people see truth and grow stronger.
Excludes: works that mainly spread despair, confusion, or the desire to tear things down with no path toward repair or greater strength.
Examples:
• A novel that shows human cruelty in a hard light, yet leaves the reader more determined to protect what is good, passes the test. A work that simply glamorizes emptiness and leaves the reader smaller does not.
• A song about heartbreak that helps the listener feel their pain more clearly and then move through it strengthens them; a song that only deepens hopelessness without any opening toward recovery does the opposite.