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Theory of Knowledge

Essay

Essay Question:

What counts as knowledge in the arts?

Discuss by comparing to one other

area of knowledge.

Report word count: 1598

Number of pages: 9

Done by: Sarah Lee Shan Yun

School: ACS (International), Singapore

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Art, the expression of creative skill, comprises a vast selection of genres,

medias, forms, periods and movements. Forms comprise of anything from visual arts

(paintings, installations, photography, etc.) to sound or written performances (music,

theatre, dance, film, literature, etc.). Knowledge in art is an understanding or the

presence of an opinion about a piece of art in the knower. It is assumed that

knowledge in art exists, though this knowledge may be implicit, particularly because

there is no ‘right’ or ‘wrong’ way to interpret a piece of art. The question in this

exploration would thus be: what is the nature of the information acquired from

experiencing art, regardless of its source? Mathematics, by contrast, has a reputation

for being explicit and discernable from the other areas of knowledge. Knowledge in

mathematics, ostensibly, equates to an understanding of theories and formulas, as well

as the methods of applying those devices in problem solving. The knowledge in

mathematics contrasts significantly with the knowledge in art, although surprisingly,

there are similarities, which will be discussed later in this essay. This investigation

explores the following notions: that the artist’s intent (to communicate the brilliance

of the human mind, societal meaning, culture, emotion) and the audience’s response,

all count as knowledge in the arts.

Intentionalism is the thesis that an artist’s intent possesses a determining role

in the creation of an artwork (Livingston, 1951). To know what an artist is aiming to

achieve in an art piece is to have knowledge of the artwork. For example, in the

conceptual installation entitled ‘One and Three Chairs’ by Joseph Kosuth, the artist

strives to encourage ‘an inquiry into the nature of art’ (MoMA, 1999), the implication

Picture 1 – Joseph Kosuth, 1965, One and Three Chairs. Installation. The Museum of Modern Art.

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being that the same object can be comprehended both visually, verbally or

organically. Because the artist was successful in deciding and disseminating his

intentions, the audience thus achieves knowledge in the artwork. By contrast, the

theory of intentionalism does not occur in mathematics because mathematicians

discover knowledge, rather than create it. For example, the ancient Babylonians

discovered the Pythagoras theorem through measurements and recordings of the

lengths of right-angled triangles on ancient clay tablets (Smoller, 2001). It is

impossible for mathematicians to elect the answer that they expect. The knowledge of

the equation a2 + b2 = c2 is the output or result of the process of investigation,

whereas in art, knowledge in the form of intention is the input in the process of

expression.

What, therefore, do artists intend to

convey? Take for example Leonardo Da

Vinci’s acclaimed portrait of ‘Mona Lisa’.

Technical mastery was undoubtedly an

intention of his – to capture the precise

countenance on the subject’s visage. Could

the mastery of skill or ability of the human

mind, be counted as knowledge in the arts?

From the painting, the knower

acknowledges the level of competence of

its creator and thus the intellectual

capability of human beings to create.

Personally, because I take Art as a subject

in school, I understand how an artistic skill,

just like any other skill, such as that of

solving mathematical problems, contributes

to an individual’s overall ability. Da Vinci, himself, has long been revered as the most

diversely gifted genius in history – an artist, philosopher, inventor, scientist, architect,

and most appropriately, a mathematician (Vasari, 1946). Up to this day

mathematicians are constantly uncovering new theories and solutions to problems

(e.g., the mapping of E8 lead by mathematician Jeffrey Adams in 2007 (Tune,

2007.)), imparting on us the knowledge that mathematics, just like the arts, reveals the

perpetual brilliance of the human mind.

Picture 2 – Leonardo Da Vinci, 1503-07, Mona Lisa. Oil on wood.

The Louvre Museum.

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As observed from Joseph Kosuth’s conceptual installation, not all artists

resolve to exhibit great technique. Another renowned artist, whom I have done

extensive research on during my IB course, is Andy Warhol, a man celebrated as one

of the most influential pop artists of all time. Often criticized for his ‘lack of talent’

(Colacello, 1990), Warhol aimed to distance himself from traditional ideals of

proficiency in skill, placing more emphasis on the essence of his work – the hyperbole

of the mass produced, popular culture of America in the 1950s to 1960s (Rosenberg,

2001). In any case, the knowledge consists of suggestions regarding society in

general. Can mathematics, too, reveal knowledge concerning society? The Sistine

Chapel in Vatican, designed by the architects Baccio Pontelli and Giovannio de Dolci

between 1475 and 1481 (Sacred Destinations, 2010.), is an example of a masterpiece

of both mathematics and art. One prominent element of the building would be the

proportions of it’s length to breadth to height in the ratio 3:1:2 respectively. When

interpreted mathematically, this knowledge reports the physical volume, structure and

size of the design. When an artistic approach is taken into consideration, however, the

refinement and magnificence of renaissance architecture is expressed, hence the

notion that the knowledge in mathematics pertains to the tangible aspects of society

whilst knowledge in the arts pertains to the more intangible psyche of mankind.

Picture 3 – Andy Warhol, 1962, Soup Cans. Synthetic polymer paint on canvas. The Museum of Modern Art.

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Expressionism is a

style of art that seeks to

express emotional experience

rather than impressions of

the external world. Edvard

Munch’s ‘The Scream’ was

sold for a hefty price of $120

million in May 2012

(Hayden, 2012), making the

knowledge within the work

relatively significant.

Expressionism also prevails

in music. One notable figure

in the movement was Arnold

Schoënberg, who

experimented with

unorthodox free atonality in

his piano works (Schirmer,

2010). His composition

entitled “Three Piano Pieces,

No.1” expresses erratic variations in mood through abrupt shifts in tempo, dynamics,

harmony and discordance. The artist’s emotions can therefore serve as knowledge in

the arts, comprehended by the audience through sensory perception of the artist’s use

of elements, principles and devices. How does this compare with mathematics as an

area of knowledge? Emotion, as a way of knowing, is hardly associated with

mathematics. Although, when one mentions the moment where Archimedes cried

“eureka” and charged down the streets naked in excitement upon discovering the

buoyancy principle (Russel, 2001), this hypothesis does not seem to be true. Whilst

emotions may result from the revelation of knowledge, it is not however, the

knowledge attained from the actual investigation. Emotions are learnt through the

experiences of life, even before an understanding of simple reasoning is grasped (e.g.,

an infant’s cry upon the absence of a parent). Therefore, unlike in the arts, emotion is

probably not knowledge in mathematics.

Picture 4 – Edvard Munch, 1893, The Scream. Oil, tempera and pastel on cardboard. National Gallery,

Oslo, Norway.

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In the anthropology of art, the socio-cultural context of aesthetics (be it objects

used in beliefs and rituals or sculptural materials) is studied (Coote, 2009). Cave

paintings in the Paleolithic era were the earliest form of art known to man

(Encyclopedia of Art, 2012). The lion dance, performed in my country during the

Chinese New Year period, forms a prominent element of Chinese culture. These are

examples of art forms that reflect traditions and the customs of life surrounding the

environment of the artist or performer. Through the analysis and examination of these

crafts, we gain a better awareness the heritage and history of communities, old and

new, therefore culture is knowledge in art. Can mathematics relate to culture as well?

Mathematics is often described to be a ‘universal language’ (Annenberg Foundation,

2012) because in today’s world, most countries use the same symbols and numbers to

communicate concepts through formulas and equations. However, this notion cannot

be generalized because some populations in countries, such as China, still utilize

different mathematical systems (i.e., the abacus, which I learned to use in primary

school (Zhou, 2012)). Yet the number ‘1’, though communicated using different

languages, fundamentally means the same thing. In essence, the concepts of

mathematics remain the same (e.g., π will always equal 3.142… no matter how it is

written) and thus culture is unlikely to be knowledge in mathematics.

Picture 5 – Unknown, 2500000 – 10000 BCE, Paleolithic Cave Paintings. Minerals, ochres, burnt bone meal and charcoal mixed with water.

UNESCO world heritage site.

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So far the theory of

intentionalism has been discussed, but

on the other hand, does unintentional

art exist? If so, does it still possess

knowledge? Elephant art is an example

of anti-intentionalism, allowing the art

piece to take on a life of its own. For

my theory of knowledge presentation,

Jackson Pollock, an abstract

expressionist, was the focus of

investigation, where a survey was

conducted amongst my peers to

determine the effect his paintings had

on emotion. To some, his paintings

reminded them of fabric, whilst to

others, of vegetation and chaos. I came

to realize that knowledge in art does

not necessarily have to be inclined by

the artist, but rather, may arise from

the audience. The viewer’s own interpretation, be it the painting’s significance, value,

meaning, emotion or culture, creates interest in the art piece, and thus knowledge,

regardless of the artist’s intent. This explains how Jackson Pollock’s action paintings

have long survived as a topic of discussion, fetching high prices in art auctions ($140

million (Vogel, 2006)), even though he does not provide much insight into the

intentions of his paintings. Knowledge in mathematics, however, cannot vary because

there is always a truth – i.e., the answer to a mathematical problem is always the

same, regardless of the individual attempting to solve it.

Though it may be evident that there is knowledge in art, it is difficult to define

this knowledge, let alone ‘count’ or list it down. Perhaps there is no knowledge in art

at all or perhaps the knowledge in art is limitless. However, a general idea of the

information garnered through experiencing art tells us that the knowledge in art

differs greatly from that of the other areas of knowledge, particularly in mathematics.

It is only upon appreciating these differences that we get closer to understanding the

theory of knowledge.

Picture 6 – Nong Bank (Elephant), 2012, Untitled. Acrylic on canvas. Samutprakan

Zoo, Thailand.

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Bibliography

Internet

• Annenberg Foundation, 2012. Man in daily life, The Universal Language.

<http://www.learner.org/interactives/dailymath/language.html> [7/08/12]

• Colacello, B., 1990. Holy Terror: Andy Warhol Close Up.

<http://www.warholstars.org/warhol/warhol1/andy/warhol/can/feld23.html>

[6/08/12]

• Coote, J., 2009. Anthropology of Art.

<http://www.discoveranthropology.org.uk/about-anthropology/specialist-

areas/anthropology-of-art.html?lang=> [7/08/12]

• Encyclopedia of art, 2012. Earliest art.

<http://www.visual-arts-cork.com/earliest-art.htm#first> [7/08/12]

• Hayden, E., 2012. Buyer of Edvard Munch’s $120 million ‘Scream’ Revealed.

<http://newsfeed.time.com/2012/07/12/buyer-of-edvard-munchs-120-million-

scream-revealed/> [7/08/12]

• Livingston, P., 1951. Intentionalism in Aesthetics.

<http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/new_literar

y_history/v029/29.4livingston.html> [6/08/12]

• Rosenberg, J., 2001. Andy Warhol.

<http://history1900s.about.com/od/artists/p/warhol.htm> [6/08/12]

• Russel, D., 2001. Archimedes.

<http://math.about.com/library/blbioarchimedes.htm> [7/08/12]

• Sacred Destinations., 2010. Sistine Chapel.

<http://www.sacred-destinations.com/italy/rome-sistine-chapel> [6/08/12]

• Schirmer, G., 2010. Arnold Schoenberg.

<http://www.schirmer.com/default.aspx?TabId=2419&State_2872=2&Compo

serId_2872=1390> [7/08/12]

• Smoller, L., 2001. Isaac Newton (1642-1727).

<http://ualr.edu/lasmoller/newton.html> [6/08/12]

• The Museum of Modern Art, 1999, MoMA Highlights

<http://www.moma.org/collection/object.php?object_id=81435> [6/08/12]

• Tune, L., 2007. Math Breakthrough by UM-led Team Excites Congress and

the World.

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<http://www.newsdesk.umd.edu/scitech/release.cfm?ArticleID=1421>

[6/08/12]

• Vasari, G., 1946. Lives of the Artists: Biographies of the Most Eminent

Architects, Painters and Sculptors of Italy.

<http://www.ucmp.berkeley.edu/history/vinci.html> [6/08/12]

• Vogel, C., 2006. A Pollock is Sold Possibly for a Record Price.

<http://www.nytimes.com/2006/11/02/arts/design/02drip.html?_r=1>

[7/08/12]

• Zhou, R., 2012. The Chinese Abacus.

<http://www.chinahighlights.com/travelguide/culture/the-chinese-abacus.htm>

[7/08/12]

Pictures

1. Joseph Kosuth, 1965, One and Three Chairs. Installation. The Museum of

Modern Art.

<http://www.moma.org/collection/object.php?object_id=81435> [6/08/12]

2. Leonardo Da Vinci, 1503-07, Mona Lisa. Oil on wood. The Louvre Museum.

<http://www.davincithegenius.com/> [6/08/12]

3. Andy Warhol, 1962, Soup Cans. Synthetic polymer paint on canvas. The

Museum of Modern Art.

<http://farm2.static.flickr.com/1128/562288842_4317a25b67.jpg> [6/08/12]

4. Edvard Munch, 1893, The Scream. Oil, tempera and pastel on cardboard.

National Gallery, Oslo, Norway.

<http://www.arts-stew.com/wp-content/uploads/2012/05/The-Scream.jpg>

[7/08/12]

5. Unknown, 2500000 – 10000 BCE, Paleolithic Cave Paintings. Minerals,

ochres, burnt bone meal and charcoal mixed with water. UNESCO world

heritage site.

<http://leseyzies-tourist.info/tag/southwestern-france> [7/08/12]

6. Nong Bank (Elephant), 2012, Untitled. Acrylic on canvas. Samutprakan Zoo,

Thailand.

<http://news.xinhuanet.com/english/photo/2012-05/30/c_131620276_2.htm>

[7/08/12]