| AoA part fourteen: Using the Architecture of Art
The AoA came about as a result of the idea that the better you understand something, the better you can use it. So we better have an idea of what art is, and what it consists of.
As such it can be studied merely as a philosophical and abstract thing for people who are interested in art and creation in general, but it can also be studied be people who intend to DO something about it. The artist. It can be used as a tool in creation.
One word of warning: The AoA is a very powerful tool, and like any such, it can be very destructive if used for purposes it is not intended for. This especially goes for criticism. If I ever catch anyone using the AoA as a tool of criticising art, no matter how good the intensions are, I will personally hunt down that person like a dog. The main reason for this is that the AoA shows flaws in extreme magnification. And since there is nothing in the universe that is perfect, this can make even the most brilliant work of art look very bad. Which is an evil thing to do.
The AoA is for use in creation. It is not something to follow you about for the rest of your life, like riding a bicycle it should quickly become effortless and intuitive.
You can use it for entrance point when starting a new work, since chosing one part of it cuts down confusion. And more importantly it can be used for trouble-shooting in the middle and late part of a process.
The way you use it is simply to compaire the work as it is against the scale, find the weak parts, and improve them.
Use it very lighthandedly. Don't think you can work over a work of art until every part on the AoA scale is 100%. That is impossible, as well as almost ridiculous overkill. Even very great works of art often have great weaknesses on several of the points of the scale, and getting any and all parts over a mid-point is a brilliant accomplishment. So it is used for rough adjustments.
Of course when I talk about "50%" and "100%" this is in itself rather silly. Most of this is very subjective, especially when you go towards the top of the scale. This can only be judged by the creator himself, on a direct-observation basis. Never ask anyone else to do this. This would be like an athlete or a dancer having someone else control his body, it simply doesn't work.
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ART
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essence
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| nativeness |
| creation |
| integrity |
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process
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| energy |
| attraction |
| content |
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form
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| placement |
| association |
| materials |
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