A LESSON FROM SHAKESPEARE FOR WRITERS AND FILMMAKERS
TO PURGE MISTAKES AND TO BOOST THEIR SUCCESS
by Mark Abraham
One might think that artists know what it is in their art that captures the
public, or the art lovers know what they so enjoy in art. For example, can
anyone explain why making strange noises in the name of singing or making
frivolous moves in the name of dancing, renders so much pleasure to this
purposeful paragon of intelligence; humans? Or, why even the best of filmmakers
admit that they have no formula to help them choose the right story for a film
to avoid failure. This new study, for the first time, presents the center of
gravity and the attractive power of each brand of art and enables the artists to
further refine their talents and helps filmmakers to avoid choosing unpopular
stories for their films and preventing failure.
Wrongly we have always tried to understand art in the material world of “art objects”. Art divides into different categories, each consisting of an endless number of art objects such as novels, music, films, paintings, sculpture, poetry and so on. However, we have yet to formulate a holistic understanding of art as a phenomenon. Although all of such objects are art, most of them have nothing in common. For example, novels and songs, or dancing and paintings, have nothing in common.
The world of philosophy admits that we have failed to define art in a way that would be acceptable to all, although our species has relished art for a very long time. The oldest musical instrument found is a flute made of bone that is estimated to be between 32,000 and 50,000 years old. Aristotle wrote the first book on art, Poetics, some 2400 years ago. Tolstoy cataloged the gist of the thoughts of many renowned philosophers on art in his book, What is Art, in which he critiqued them all and refuted each for a different reason. Then, he uttered his own theory that was even less acceptable. Thus, we have always enjoyed art, but never understood it. I argue that art is to be understood not in the material world of art objects, but in the mind, by identifying what in the human mind longs for art and why. This study, 25 years in the making, “The Interactions between Instincts and Intellect and Their Impact on Human Behavior,” shortened into, “Meet Your Mind,” by Mark Abraham, achieves this aspiration for the first time.
I propose that art divides into three distinct categories: rhythmic, imitative and abstract. Rhythmic arts consist of music, poetry, dancing, Persian rugs and certain architecture. The rhythm in them becomes their attractive power and the center of gravity, as it satisfies one of the 17 human instincts, the instinct of rhythm. Imitative art consists of painting, sculpture, writing stories, films and acting, in which the artists use their skills to replicate what already exists. For example, painters create images of real objects, stories mimic real life examples and in acting you are imitating a character or a real person. Science fiction and surreal arts are also explained, but not here. The instinct of rhythm with an unquenchable hunger for rhythmic repetition quests rhythm from the external world and rhythmic art satisfies this hunger and we enjoy this process as pleasure.
However, human intellect by nature strives for perfection and excellence in everything humans deal with. Imitative art pleases this attribute of human intellect by producing excellence and perfection in artistically replicating, or “imitating”, real objects. Instincts as an integral part of all beings and humans from the inception of the species is basic and much stronger, as well as more readily excitable, than is the intellect that humans have acquired in time and through evolution rendering it secondary. While that explains imitative art, the abstract art pleases a different instinct...
© Copyrights 2012-13 Mark Abraham