How does a work of art come to be considered great?

The intuitive answer is that some works of art are just great: of intrinsically superior quality. The paintings that win prime spots in galleries, get taught in classes and reproduced in books are the ones that have proved their artistic value over time. If you can’t see they’re superior, that’s your problem. It’s an intimidatingly neat explanation. But some social scientists have been asking awkward questions of it, raising the possibility that artistic canons are little more than fossilised historical accidents.

Cutting, a professor at Cornell University, wondered if a psychological mechanism known as the “mere-exposure effect” played a role in deciding which paintings rise to the top of the cultural league. In a seminal 1968 experiment, people were shown a series of abstract shapes in rapid succession. Some shapes were repeated, but because they came and went so fast, the subjects didn’t notice. When asked which of these random shapes they found most pleasing, they chose ones that, unbeknown to them, had come around more than once. Even unconscious familiarity bred affection.

When a work of art is considered great, we may stop thinking about it for ourselves. Ian Leslie explores why in Intelligent Life. 

The Paradox of Art as Work

A. O. Scott, The New York Times:

In the popular imagination, artists tend to exist either at the pinnacle of fame and luxury or in the depths of penury and obscurity — rarely in the middle, where most of the rest of us toil and dream. They are subject to admiration, envy, resentment and contempt, but it is odd how seldom their efforts are understood as work. Yes, it’s taken for granted that creating is hard, but also that it’s somehow fundamentally unserious. Schoolchildren may be encouraged (at least rhetorically) to pursue their passions and cultivate their talents, but as they grow up, they are warned away from artistic careers. This attitude, always an annoyance, is becoming a danger to the health of creativity itself. It may seem strange to say so, since we live at a time of cultural abundance and flowering amateurism, when the tools of creativity seem to be available to anyone with a laptop. But the elevation of the amateur over the professional trivializes artistic accomplishment and helps to undermine the already precarious living standards that artists have been able to enjoy.

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But it is, nonetheless, a job. The risk in separating the labor of making points and differences from its worldly reward lies in losing sight of the fact that it is labor, and therefore has a value that is material as well as abstract. In March, the National Endowment for the Arts released a report estimating that more than two million American workers identified themselves as artists, and noted that they had, since 2008, undergone the same bumpy, piecemeal recovery as other workers. An earlier report, from 2011, calculated that “the production of arts and cultural goods and services contributed $504.4 billion to the U.S. economy,” or 3.25 percent of gross domestic product. It may be relevant to note that the single largest category of artistic endeavor was advertising — a sign, perhaps, that the distinction between art and commerce is finally moot — but the upshot is that what artists do represents a significant quantifiable share of the nation’s wealth.

Mark Ronson: TED Remixed & The Exhilarating Creativity of Remixing

 TED Remixed: Sampling isn't about "hijacking nostalgia wholesale," says Mark Ronson. It's about inserting yourself into the narrative of a song while also pushing that story forward. In this mind-blowingly original talk, watch the DJ scramble 15 TED Talks into an audio-visual omelette, and trace the evolution of "La Di Da Di," Doug E. Fresh and Slick Rick's 1984 hit that has been reimagined for every generation since.   

The illusion of life

Cento Lodigiani demonstrates the 12 basic principles of animation developed by the 'old men' of Walt Disney Studios, amongst them Frank Thomas and Ollie Johnston, during the 1930s. Of course they weren't old men at the time, but young men who were at the forefront of exciting discoveries that were contributing to the development of a new art form. These principles came as a result of reflection about their practice and through Disney's desire to use animation to express character and personality.

This is also a great primer for user interface designers. 

Maya Angelou's Wisdom Applied To Creativity

“I've learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.”

Maya Angelou

For the past few days that quote by Maya Angelou keeps popping up everywhere. In blog posts, TED talks, marketing books, student design work, branding podcasts, everywhere, because it reveals a simple truth, it is all about how you made them feel.