Sunday, September 25, 2005
State of the Arts - The Enemy is Outside
For those working in the arts, it is rare to pass one day without hearing some form of lament somewhere about the lack of government support, audience apathy, etc. And this take place in many places even those known to be cultural hubs.
Perhaps it is time for the arts community to stop one second, and focus their energies on where the enemy is. For most people, artists or not, our defensive mechanism often kick in and shout "The Enemy is Outside."
It is perhaps useful for the arts community to look inwards, and ask if the enemy is really outside, or inside. Take, for example, the issue of audience support - is it the audience who is not cultured enough to appreciate our work? or are we failing to produce quality work - much as the term "quality work" still begs defining.
That's some food for reflection.
Perhaps it is time for the arts community to stop one second, and focus their energies on where the enemy is. For most people, artists or not, our defensive mechanism often kick in and shout "The Enemy is Outside."
It is perhaps useful for the arts community to look inwards, and ask if the enemy is really outside, or inside. Take, for example, the issue of audience support - is it the audience who is not cultured enough to appreciate our work? or are we failing to produce quality work - much as the term "quality work" still begs defining.
That's some food for reflection.
Crisis of the Architect's Profession
I was reading an interview in the recent RIBAS magazine with Jack Pringle, the 71st President of RIBAS. In his interview, he highlighted problems that the Architect's profession face today such as pay, fees, etc.
My take on this is that the profession needs to review its relevance in today's fast moving world, just as it did a century ago. Companies and governments expect things faster, in fact, it is corporate truism that our bosses always give us our assignments at the end of the day telling us that it was due yesterday!
Similarly, projects are all fast-tracked today. Of course, the artist in the architect would argue that the world should slow down, and that too much haste would not allow quality projects to be delivered. Alas, the world moves on, and the profession either catch up, or be kicked out.
Already, I have heard that Ove Arup developed software that helps in the architectural design process by running through possible design scenarios based on fixed requirements. This speeds up the design process leaving the architect to focus his energy on variables, and to exercise his or her art.
Some negative harbingers will say that such software will replace architects in the future. Maybe so, but rather than enter futile speculation, I have other concerns. In fact, even if such software becomes a norm for the profession, it will not improve the general state of architects today. What it will do though, is line the wallets of the principals of the architecture firms. This is so because architects are trained to work with their passion, and by definition, that also implies accepting the worst conditions and renumeration. Consequently, even if firms adopt such design software, even though working hours might reduce, the firms are likely to just take on more projects. In other words, the profession has already lowered its own level by creating a bizarrely low per hour wage due to their passion, and firms will definitely ride on that.
For the profession to solve its issues, it might be more useful for the profession to relook at its fundamentals, and understand our relevance to our clients, and how we can best provide them value at optimal cost. Also, if firms adopt software such as that mentioned above, the principals should have enough sense to understand that time savings in this instance is only a normalisation of the architect's working hours, and not just another opportunity to grow their bank accounts.
My take on this is that the profession needs to review its relevance in today's fast moving world, just as it did a century ago. Companies and governments expect things faster, in fact, it is corporate truism that our bosses always give us our assignments at the end of the day telling us that it was due yesterday!
Similarly, projects are all fast-tracked today. Of course, the artist in the architect would argue that the world should slow down, and that too much haste would not allow quality projects to be delivered. Alas, the world moves on, and the profession either catch up, or be kicked out.
Already, I have heard that Ove Arup developed software that helps in the architectural design process by running through possible design scenarios based on fixed requirements. This speeds up the design process leaving the architect to focus his energy on variables, and to exercise his or her art.
Some negative harbingers will say that such software will replace architects in the future. Maybe so, but rather than enter futile speculation, I have other concerns. In fact, even if such software becomes a norm for the profession, it will not improve the general state of architects today. What it will do though, is line the wallets of the principals of the architecture firms. This is so because architects are trained to work with their passion, and by definition, that also implies accepting the worst conditions and renumeration. Consequently, even if firms adopt such design software, even though working hours might reduce, the firms are likely to just take on more projects. In other words, the profession has already lowered its own level by creating a bizarrely low per hour wage due to their passion, and firms will definitely ride on that.
For the profession to solve its issues, it might be more useful for the profession to relook at its fundamentals, and understand our relevance to our clients, and how we can best provide them value at optimal cost. Also, if firms adopt software such as that mentioned above, the principals should have enough sense to understand that time savings in this instance is only a normalisation of the architect's working hours, and not just another opportunity to grow their bank accounts.
What is Art? (Attempt 1)
What is art?
For me, art, like other domains such as science, mathematics, language, etc, are means for us to convey some sense from nature, our environment or our own imaginations. Scientists, for example, do so by understanding the laws of nature, and also finding new applications. The relationship between art and meaning can probably be summarised into three parts:
Art re-presents meanings.
Art creates meanings.
Art questions meanings.
For me, art, like other domains such as science, mathematics, language, etc, are means for us to convey some sense from nature, our environment or our own imaginations. Scientists, for example, do so by understanding the laws of nature, and also finding new applications. The relationship between art and meaning can probably be summarised into three parts:
Art re-presents meanings.
Art creates meanings.
Art questions meanings.
Saturday, September 10, 2005
My Backyard is too Small
I was recently having a discussion with my friend from "Ampulets", and we had an interest insight about the cultural "economy" of Singapore. Some would kill me for even pitting the two words "cultural" and "economy" together, and I have to therefore clarify here, that "economy" here is not necessarily about $$, but rather the simple demand and supply dynamics in Singapore's cultural scene.
Many artists (or for that matter, entrepreneurs) lament that Singapore's small population of 4 million is just too small for them to be sustainable. They are probably not wrong, but the truth might just be worst than they imagined!
Singapore is not only one small market of 4 million, but this market can be significantly further sub-divided into 4 smaller markets, as indicated by the main cultural contexts, that is, Chinese, Malay, Indian and the Others. There are of course some cultural products, such as "Forever Fever" by Glen Goei or some Michael Jackson song, which might be able to cut across the 4 segments, but more often than not, most cultural products appeal only to one of the 4 sub-groups.
Of course, artists generally do not like to "universalise" their work for the sake of gaining a broader audience, but the reality is that if they only appeal to a small niche group, they might have problems making ends meet.
Many artists (or for that matter, entrepreneurs) lament that Singapore's small population of 4 million is just too small for them to be sustainable. They are probably not wrong, but the truth might just be worst than they imagined!
Singapore is not only one small market of 4 million, but this market can be significantly further sub-divided into 4 smaller markets, as indicated by the main cultural contexts, that is, Chinese, Malay, Indian and the Others. There are of course some cultural products, such as "Forever Fever" by Glen Goei or some Michael Jackson song, which might be able to cut across the 4 segments, but more often than not, most cultural products appeal only to one of the 4 sub-groups.
Of course, artists generally do not like to "universalise" their work for the sake of gaining a broader audience, but the reality is that if they only appeal to a small niche group, they might have problems making ends meet.
Pop vs Classic
In the world of the arts, there seems to be a perpetual battle between pop or popular culture and classical culture. Many practioners of more classical arts forms, such as Chinese opera, Shakespearean Theatre, etc, tend to snub pop culture, and feel confident that their art form is "better" whereas pop culture is only transient, and not likely to stand the tests of time. Can art works be judged as simply? Surely, within the confines of Jazz, Hip Hop, Heavy Metal, New Media art, etc, there will be some who will stand the test of time and remain enjoyable for all time?
Evolution processes
Another way of looking at this battle is to consider the tension between the incumbent and the emerging. The incumbent - when it that it is losing popularity against the emergent - would snap back usually. Snide remarks will be made.
This process has repeated itself quite a few times in history, for example, in classical music, Bach's composition was too "out of this world" by the classics of that era. But nevertheless, a century or two later, his music was re-discovered, and it took up its position in western artistic history.
Evolution processes
Another way of looking at this battle is to consider the tension between the incumbent and the emerging. The incumbent - when it that it is losing popularity against the emergent - would snap back usually. Snide remarks will be made.
This process has repeated itself quite a few times in history, for example, in classical music, Bach's composition was too "out of this world" by the classics of that era. But nevertheless, a century or two later, his music was re-discovered, and it took up its position in western artistic history.
