The Philosophy of Interconnectedness in Gandhian Thought and Quantum Mechanics

by 

Narendra Raghunath

Interconnectedness signifies all entities' deep interrelation and mutual dependence, a pivotal theme in Gandhian philosophy and quantum mechanics. Though these fields of thought emerge from entirely different realms—Gandhian philosophy from ethics, spirituality, and political theory, and quantum mechanics from theoretical physics—the notion of interconnectedness offers a profound bridge between them. For Mahatma Gandhi, interconnectedness was a moral and ethical principle, while it manifests as a physical reality in quantum mechanics. This essay will explore the importance of interconnectedness as a philosophical foundation in Gandhian thought and quantum mechanics and how it invites broader reflections on reality, morality, and the universe's structure.

Mahatma Gandhi's philosophy was deeply rooted in the interconnectedness of all living beings, a concept that shaped his ideas about non-violence (ahimsa), truth (Satya), and Swaraj (self-rule). For Gandhi, interconnectedness was not merely a metaphysical idea but a moral principle guiding how individuals should live in harmony with others.

Gandhi's principle of ahimsa or non-violence stems from the belief that all living beings are interconnected, and thus, harm inflicted upon one being reverberates throughout existence. Gandhi held that hurting another individual—whether through violence, exploitation, or indifference—is ultimately harming oneself because all lives are fundamentally linked. According to Gandhi, this interconnectedness extends beyond human relations and includes all sentient beings, reflecting his deep respect for life in its broadest sense. He argued that only by recognizing this oneness can humans foster compassion, reduce conflict, and work toward the collective well-being of society.

Gandhi's satya (truth) concept also reflects his understanding of interconnectedness. For Gandhi, the pursuit of truth was not an individual endeavour but a collective journey, where the welfare of each person was tied to the welfare of others. His idea of Sarvodaya (the upliftment of all) captures this essence: true freedom and prosperity cannot be achieved unless it encompasses the freedom and prosperity of everyone. He believed societal change would only come through recognizing this deep relationality, which links personal ethics to the broader social and political order.

Quantum mechanics, while a scientific domain, touches upon philosophical questions about the nature of reality and the deep interconnectedness of particles. Unlike classical physics, where objects are considered separate and distinct, quantum mechanics reveals that the very fabric of reality is deeply intertwined.

One of the clearest examples of interconnectedness in quantum mechanics is quantum entanglement, a phenomenon where two particles, once linked, remain connected no matter how far apart they are. When an action is performed on one particle, the other responds instantaneously, even across vast distances, suggesting a level of communication or linkage that transcends the classical notion of separateness. This phenomenon undermines the idea of locality in physics and suggests that the universe is non-local and interconnected at a fundamental level. The implications of this are profound, as it challenges our everyday experience of the world as composed of distinct, isolated objects.

Another aspect of interconnectedness in quantum mechanics is the observer effect, which posits that observing a particle can change its state. This suggests that the observer and the observed are inextricably linked, blurring the line between subject and object. The quantum world challenges the notion of objective reality, showing that observation plays a crucial role in determining the outcome of an event.

Though arising from distinct contexts, the philosophy of interconnectedness in Gandhian thought and quantum mechanics points to a shared understanding of reality as inherently relational. Both perspectives challenge the notion of separateness that often underpins our everyday experiences and conceptual frameworks.

In Gandhian philosophy, interconnectedness is moral, spiritual, and social. Gandhi argued that the community's health depends on its members' ethical actions and that true freedom (Swaraj) is only possible when individuals recognize their obligations to others. His constructive programs, such as promoting self-sufficiency in rural India, reflected this principle of mutual interdependence. Just as individuals are connected within society, Gandhi believed that nations are interconnected globally, a relevant principle in today's age of globalization and environmental crisis.

In quantum mechanics, interconnectedness is demonstrated physically, as quantum phenomena like entanglement and the observer effect highlight the fundamental linkage between particles and observers. This challenges traditional Newtonian views of an objective, deterministic universe where entities exist independently.

There is also an intriguing intersection between Gandhian truth and the indeterminacy in quantum mechanics. While Gandhi believed in Satya as an ultimate, unchanging truth, he acknowledged that human understanding of this truth is limited and evolving. Similarly, with principles such as the Heisenberg Uncertainty Principle, quantum mechanics suggests that certain aspects of reality cannot be fully known. The uncertainty in quantum mechanics is not just a limitation of measurement but a fundamental property of nature, implying that the universe operates in probabilistic rather than deterministic ways.

Gandhi's acknowledgement of the imperfection of human knowledge and quantum theory's recognition of uncertainty leads to a typical humility before the vast complexity of reality. Gandhi's pursuit of truth was coupled with the understanding that humans can only grasp it progressively, and quantum mechanics underscores that complete knowledge of the universe may be beyond reach.

The concept of interconnectedness is foundational to Gandhian philosophy and quantum mechanics, though each approaches it from different angles. Gandhi's interconnectedness is grounded in ethical, social, and spiritual relations, emphasizing the moral imperative to care for others and live harmoniously with nature. Quantum mechanics, on the other hand, reveals interconnectedness at the subatomic level, showing that the universe is a web of relations, not a collection of isolated objects. Both perspectives challenge reductionist and individualistic worldviews, offering a more holistic understanding of reality—whether in moral, social, or physical terms.

The philosophy of interconnectedness is increasingly relevant in today's world, which faces growing political, social, and environmental crises. Whether through Gandhi's ethical lens or the quantum mechanical understanding of reality, recognizing our interdependence can inspire deeper cooperation, compassion, and a commitment to the common good.

References:

• Heisenberg, W. (1958). Physics and Philosophy: The Revolution in Modern Science.
• Gandhi, M. K. (1960). The Collected Works of Mahatma Gandhi.
• Bohm, D. (1980). Wholeness and the Implicate Order.
• Schrödinger, E. (1944). What Is Life? The Physical Aspect of the Living Cell.

Cloth, Skin, Skin cover: Form and Faith as art of visual culture in fashion

By narendra raghunath

This short essay examines the intersection of clothing, identity, utility, and the possibilities that fabric offers, alongside the role fashion plays in shaping visual culture as a reflection of faith and belief systems.

Lady Gaga, the current pop sensation, recently made headlines by attending a fashion show in Paris wearing a dress made entirely of red meat. While no one has since replicated this bold statement, the outfit achieved its intended effect, sparking a global media frenzy and reinforcing Lady Gaga’s status as a cultural icon.

Fashion, once simply associated with costumes and accessories, has evolved far beyond mere clothing or cover. As human interactions and priorities have shifted over time, fashion has taken on increasingly complex layers, reflecting deeper societal and cultural dynamics.

The human ability to create artificial enhancements to compensate for natural limitations is one of the key traits that distinguishes us from the animal world. Early humans realized that survival often depended on dominating, uniting, or camouflaging themselves, which led to the invention of tools, language, houses, and, crucially, clothing. Much of human civilization has been shaped by this effort to overcome natural constraints through artificial means.

This desire for domination, unity, and camouflage remains central to human nature, and clothing, as one of our earliest inventions, continues to serve this purpose. Fashion, with its accessories and embellishments, plays the game of exclusivity (domination), trends (unity), and mass production (camouflage). It reflects the social agenda of visual representation and serves both symbolic and practical functions in society.

In this light, Lady Gaga’s non-wearable meat dress becomes easier to understand. It wasn’t just a piece of clothing—it was an extravagant display, a means of icon-building, and a commentary on popular belief systems. These underlying layers reflect fashion’s broader function as more than personal style; it operates as art, marketing, and cultural critique.

Fashion functions on multiple levels in society. It can be tailored to the individual, mass-produced for the collective, or displayed as visual art on the runway. At each level, fashion addresses social realities and, in many cases, becomes a response to them. Fashion mediates between the individual and society, often shaping identity and perception.

Several key factors influence fashion: property, possession, indulgence, identity, power, and acceptance. These elements are not only central to fashion but also to personal and social belief systems. Fashion, like faith, carries with it an undercurrent of values and meaning.

For instance, wealth is often reflected in the exclusivity and luxury of one’s clothing. Such choices are influenced by popular perception, cultural consciousness, and social acceptance. The tension between these forces—conservatism and adventurism—gives fashion its cyclical nature. History shows that fashion constantly revisits the past to satisfy human needs, balancing between innovation and tradition.

Throughout the 20th century, fashion mirrored broader societal shifts. The Renaissance, focusing on individualism, humanism, and art, influenced fashion. Art Deco, born during the Industrial Revolution, introduced ideas of gender and human equality. Jeans became a symbol of youthful rebellion and freedom. Fashion reflects these larger cultural movements, balancing societal forces and individual expression.

In post-liberalization India, we see echoes of the European Renaissance, particularly in the way masculinity and femininity are portrayed. Heroes like Sanjay Dutt and Shah Rukh Khan epitomize hyper-masculinity, while icons like Kareena Kapoor and Bipasha Basu showcase a new femininity. As in Renaissance-era Europe, these shifts in cultural representation have sparked a public backlash, as seen in protests against artists like MF Husain or movements against Western holidays like Valentine’s Day.

While these developments are mainly urban, rural India is also experiencing a fashion shift. Traditional dresses are increasingly replaced by modern attire like jeans and tops. Media and pop culture are helping rural India adopt urban amenities and aesthetics, influencing everything from clothing to interior design.

Despite these changes, the basic principles of survival—domination, unity, and camouflage—continue to shape fashion in India. Rural fashion adapts to local conservatism; even in urban areas, fashion varies from city to city. Delhi’s trends differ from Mumbai’s, Mumbai’s from Chennai’s, and so on. Each locale modifies fashion to fit its own cultural context.

The fashion runway, however, is a space where defiance reigns. Couture fashion, driven by art and creativity, often pushes the boundaries of societal norms. It transcends conservative fashion and enters realms where moral judgments are suspended, much like art. Though sometimes viewed as radical, such digressions are essential for human progress. They help prevent societal stagnation, allowing creativity to flourish, even at the risk of controversy.

In India, many designers have yet to fully embrace this level of creative maturity. However, as India continues to emerge as a global power, we can expect these reflections in couture fashion, signalling a deeper connection between artistic expression and cultural evolution.

A Preface to contemporary artist

By narendra raghunath

In the 20th century, there was a significant shift in the art world. Art was no longer just something to look at; the idea became art. This change challenged traditional norms and required artists to think deeply about the nature of art. Artists were expected to create visually appealing works and engage with intellectual and philosophical questions about art. This shift also forced artists to consider the purpose and value of their work and their role in a world where art was increasingly connected to commerce and market forces.

Since the 1970s, money has played a more significant role in art, affecting how artistic merit is perceived. The art market has grown, and art has become more like a commodity. The choices artists make now have broader social implications. Despite this, visual art has struggled to stay relevant to society.

Herbert Read's thoughts, as discussed by George Lechner, highlight this disconnect. Read suggests that most people in modern society do not care much about art. They see it as a cultural asset that enhances social status rather than something that profoundly affects their lives. According to Read, this disinterest comes from modern art's complexity and symbolic nature, which is often only understood by those who have studied its meanings. The tension between art's elite status and the democratic nature of modern society remains unresolved, showing that art is still disconnected from public life.

The concept that "an idea alone can be art" reflects a society increasingly demanding empirical validation for concepts. However, as Paul Klee noted, the alienation of art from the people remains a persistent issue, especially when art becomes so abstract or idea-driven that it loses its emotional or aesthetic resonance with society. Unlike scientific ideas, which can be empirically proven or disproven over time, artistic ideas remain subjective and open to interpretation, leading to further estrangement between art and its audience. In his essay "Concerning the Spiritual in Art," Wassily Kandinsky suggested that each period of culture produces its own art, which can never be repeated, indicating that art's evolution is tied to the unique conditions of each historical moment.

Artists have long faced the paradox of producing work that seeks to break new ground while also contending with the limitations of form and perception. Movements such as Cubism, Dada, and Abstract Expressionism arose from this tension, each presenting its way of interpreting or rejecting the material world. The declarations made by artists—whether aligning themselves with movements like Impressionism or rejecting traditional forms in favour of Conceptualism—represent artistic and personal liberty. Though seemingly undemocratic, these positions offered a personal stance for the artist and a new way of seeing society.

Despite their marginalized positions, artists have historically played a crucial role in pushing the boundaries of human thought and culture. As society continues to evolve, the positions taken by artists may eventually become integral to the broader cultural landscape. This marginalization is also tied to their dependence on patrons and markets, which often limits the full realization of their artistic potential. Nevertheless, the history of art suggests that the innovations artists introduce, even from the fringes of society, have the potential to transform cultural norms over time.

The relationship between art and society remains complex and fraught with tension. As long as art operates at the intersection of market forces and intellectual inquiry, artists will continue to navigate the challenges of balancing creativity with commerce and form with formlessness. The future of art will depend on how well it can adapt to these forces while maintaining its integrity as a vital and transformative force in human civilization.

1. Harrison Charls- Art and Language-:Basil Blackwel: 1991, P:1 pg:33
2. Harrison Charls- Art and Language-:Basil Blackwel: 1991, P:1 pg:33
3. Lechner Georg -Philosophy of modern art: Herbert Read, quote from Art –east and west: p5:p9 Art today : Marg Publication
4. Lechner Georg -Philosophy of modern art: Herbert Read, quote from Art –east and west: p12:p10 Art today : Marg Publication

Art and contemporary concerns: approach and implications

Varanasi-ekh film poster (industrial paint on canvas 12 ft x 9 ft)

“Since no form is intrinsically superior to another, the artist may use any form, from an expression of words to physical reality, equally” . Sol Le Witt

Without a doubt, every human being is captivated by their own image more than anything else. As a child, I would spend hours talking to the animated reflection in the mirror, watching it bring my thoughts and imaginings to life. Over the years, my interactions with that image not only involved minor adjustments to my appearance but also played a larger role in shaping my life. Now, when I observe my little daughter engaging in the same act and compare it to the billions of human images scattered across the Earth, it reaffirms what we have always known—images have a profound connection to human existence.

 Nearly every species on Earth has developed its own unique form and image through the process of evolutionary adaptation. However, intriguingly, only human beings can create and reproduce images, whether or not they are tied to an evolutionary context.

 This ability represents a significant leap beyond the mere mimicry observed in the animal kingdom, and it has propelled human civilization to its current state. It becomes even more fascinating when we consider the triangular depictions of the human body created by our cave-dwelling ancestors. Despite their skill and capability to portray animals in great detail, they deliberately omitted intricate human features from those geometrical representations. The intrigue deepens when we observe our ancestors' exaggeration of the human form through body paintings, as well as the Greek and subsequent civilizations' preoccupation with the idealized perfection of the human body. Throughout history, there are countless examples of the pursuit of perfection and the abstraction of forms in human civilization, in various aspects of life and expression. In essence, the history of human civilization can be seen as an ongoing endeavour in this direction. Whether it is in the realm of visual arts, language, communication, science, physicality, metaphysics, or thought, all these pursuits revolve around and search for different forms. Sol Le Witt's statement, "Since no form is intrinsically superior to another, the artist may use any form, from an expression of words to physical reality, equally," reinforces this notion (1).

Since this discussion pertains to life and its ever-changing, non-absolute nature, it becomes clear that no particular form alone can achieve perfection or absolute capacity to convey meaning or evoke expression in art. Each form is inherently limited in its possibilities and constraints, sometimes differing from alternative forms of meaning and expression. In light of this, one might disagree with Sol Le Witt's assertion, as a particular form can complement or supplement another in its entirety. Furthermore, none of these forms is absolute in their entirety, and equality should not be understood strictly in a literal sense. Hence, we have different art forms catering to different expressions.

 Every form has its own advantages and disadvantages, as Sol Le Witt states in the tenth sentence: "Ideas alone can be works of art: they are in a chain of development that may eventually find some form. All ideas need not be made physical" (2).

 Therefore, it becomes important to comprehend art from the perspective of both the artist and the viewer. Graeme Sullivan, in the essay "Explanation, understanding and Beyond Art Practice as Research," highlights the ongoing debate regarding the production of knowledge in the visual arts. One common distinction questions whether knowledge resides in the art object itself or is constructed in the mind of the viewer. Insightful accounts are emerging that seek a deeper philosophical basis for situating art practice as a form of research within institutional settings. Neil Brown, for instance, presents a realistic perspective, viewing artworks as institutional artefacts that exhibit primarily objective, theory-dependent, and knowable properties, thereby providing access to insights that can be intuitive, mindful, and discoverable (3).

 However, it is interesting to note that, apart from being discoverable, the faculties of intuitiveness and mindfulness cannot be strictly methodological within a primary objective, theory-dependent, and knowable framework. As the terms imply, these faculties are not solely procedural outcomes. They can vary from logical inference to impulsive decisions driven by the human inclination for adventure, representing a methodology of irrational human behaviour.

 In this context, it becomes evident that art forms do not always adhere to a strict methodology in their emergence and existence within the artist-viewer phenomenon. Graeme Sullivan, once again citing Greta Refsum (2002), discusses the question of theoretical framework or methodology in art practice and artwork. Refsum suggests that artists and the field of visual arts primarily deal with the processes that occur before artworks are created. This realm represents their specialised arena, while what follows belongs to the realm of the humanities. If the field of visual arts aims to establish itself as a profession with a theoretical framework, it must build its theory production on the processes leading to the finished art object (4).

The argument advocating for the regimentation of the "arrival of art in the artist" contradicts the art of the twentieth century and beyond. In a renowned letter to the New York Times in 1943, painters Rothko and Adolph Gottlieb defended their recent work against critical incomprehension by asserting the profoundness of its content: "There is no such thing as good painting about nothing. We assert that only subject matter is valid which is tragic and timeless" (5).

 Charles Harrison, in the midst of this critical incomprehension, notes that the "attuned" spectator found a form of security in the face of works falling under the operative descriptions of painting and sculpture, particularly the colour-filled paintings and abstract and constructed sculptures of the 1960s (6). David Hopkins, in his book "After Modern Art 1945-2000," quotes Duchamp's important lecture from 1957, titled "The Creative Act," where Duchamp argues that "the work of art is not performed by the artist alone and that the spectator's point of view affects the all-important 'transubstantiation' of inert matter into art." Here, the Catholic overtones of ritualism are intriguingly related to Etant Donnes, but what is most significant is the strategic undermining of the modernist conception of the art object's internal self-sufficiency in favour of acknowledging its dependence on contingent external factors, such as audience participation (7).

 These arguments clearly demonstrate the futility of theoretical regimentation in the "arrival of art," as art continues to arrive at multiple levels and layers, and redefinition is an empirical reality. While Rothko and Adolph Gottlieb defend art for its profound content, Charles Harrison explains its success. Duchamp challenges the internal self-sufficiency of art in favour of recognizing its reliance on contingent external factors, such as audience participation.

 However, David Hopkins later quotes Benjamin Buchloh from his essay "From the Aesthetics of Administration to institutional critique" (8) in "After Modern Art 1945-2000," offering instances where Duchamp's aforementioned argument diverges from these interpretations. He states, "Kosuth was making a bid to raise the theoretical stakes in the aftermath of minimalism. He also took the opportunity to place himself, alongside British artists Terry Atkinson and Michael Baldwin, as the first producer of authentically 'analytic' conceptual art in 1966. Certainly, his Art as Idea series (1966), comprising photographically enlarged dictionary definitions of words such as 'meaning,' was among the first works of the 1960s to assert a strict identity between verbal concept and artistic form. However, his reading of Duchamp was narrowly focused on the issue of nomination (the conferral of art status). It might be argued that in reducing artworks to tautologies (self-definitions), he was simply reiterating a modernist credo of formal autonomy. Conceptual purity now stood in for optical refinement."

Many Indian contemporary conceptual artists are already embracing this argument and pushing the boundaries of art. This is essential because, as Kandinsky states in his essay "The Spiritual in Art," "Every period of culture produces its own art, which can never be repeated." Art practice cannot remain stagnant; it must constantly push boundaries, innovate, renew, and redefine itself, especially in conceptual art where every idea serves as a protest against another.

 Charles Harrison, in his book "Essays on Art and Language," argues that viewing ideas as discursive items of art is a challenging concept to sustain in practical and social spaces. It requires considering the hypothesised object not merely as art but as an object of inquiry, strategically claiming the status of art. The conviction held by Art & Language was that the inquiry itself had to be the work, becoming the focal point (9).

 While this argument is open to debate, it becomes convincing in defining art practice. As Harrison continues to explain, "Changes in the art are generally insignificant unless they involve some form of cognitive change and unless they impose or presuppose some modification of the triangulation process, which locates a spectator, a work of art, and a world of possible practices and referents relative to each other" (10).

 Sol Le Witt's statement that "no form is intrinsically superior to another, and the artist may use any form, from an expression of words to physical reality, equally" becomes a decisive idea in the context of meaning-making. We have already established that forms are not equal in themselves, and now we see that it is not possible to use different forms equally. Each form has inherent limitations and requires modification to achieve art as an idea, as every idea serves as a protest or modification against another.

 Considering the constraints of individual forms and the ongoing modifications in ideas, it is crucial for any art practice to embrace these arguments and analytical developments in art and ideas. Rejecting regimentation and accepting modifications to existing practices becomes imperative. As Harrison emphasises, the relative location of a spectator, a work of art, and a world of possible practices and referents are of greater importance for art, prioritising meaning-making in that context rather than being solely concerned with the art form.

In the current art landscape, as Thomas Craw mentions in his foreword to Charles Harrison's Art and Language, "almost no possible artistic decision is free from the burden of historical and theoretical self-consciousness." Today, whether it is traditional art forms like painting, sculpture, installation, performance, theatre, singing, photography, cinema, computer graphics, or new age art forms like virtual reality, gaming, and internet/transponder projections, they all offer distinct possibilities and limitations. The realm of art is rich with potential and freedom, making it essential for artists not to confine themselves to a single form or prioritize one over another. The validity of every form of expression remains intact and will continue to do so. Throughout history, the fundamental aspects of human relationships and the underlying foundation of artistic endeavours remain unchanged. This is evident in my childhood fascination with mirror reflections and the universal human fascination with the countless images that abound in our interconnected world. These experiences testify to the enduring significance of art in our lives.


1. P2:pg:47 conceptual art: Art and Language- Charles Harrison :Basil Blackwel: 1991
2. P2:pg:47 conceptual art: Art and Language- Charles Harrison :Basil Blackwel: 1991
3. P3 pg:87 Explanation, understanding and beyond, Art practice as research, Graeme Sullivan, Sage publication-2005
4. P2 pg:87 Explanation, understanding and beyond, Art practice as research, Graeme Sullivan, Sage publication-2005
5. ( Mark Rothko and Adolph Gottlieb, letter to the New York Times, 7th June, 1943) Oxford University press ,2000 : After Modern Art 1945-2000: David Hopkins P:3:Pg:7
6. Basil Blackwell publication: Essays on art and Language: Charles Harrison, 1991 p: 3 pg:31
7. Oxford University Press, 2000: After Modern Art 1945-2000: David Hopkins P:2:Pg:41
8. Oxford University Press, 2000: Benjamin Buchloh “from the aesthetics of administration to institutional critique” October, 55, 1990 pp: 124-8 and passim): After Modern Art 1945-2000: David Hopkins P: 2: Pg: 177
9. Basil Blackwell publication: Essays on art and Language: Charles Harrison, 1991 p: 2 pg:49
10. Basil Blackwell publication: Essays on art and Language: Charles Harrison, 1991 P:2 page: 30
11. Basil Blackwell publication: Thomas craw: forward to Art and Language :Essays on art and Language: Charles Harrison, 1991 P :5 pa:13

"Plato is dear to me, but dearer still is the truth."

If we approach Aristotle's famous words objectively, they can provide a sufficient summary of his philosophy that rejects the Platonic view "that the moral evaluations of daily life presuppose a 'good' which is independent of experience, personality, and circumstances" (1). 

Aristotle (384-322 BC), one of the founding fathers of Western philosophical inquiry, was born to a physician named Nicomachus, who served as the royal physician in the court of Amnytas II, King of Macedonia. Raised in an academic atmosphere, Aristotle went on to study under Plato in Athens and remained there until Plato's death in 347 BC. He later became the tutor of Alexander, the thirteen-year-old son of King Philip. Although there is no historical evidence to suggest that his teachings influenced Alexander's conquests and idea of political unity, Alexander did subsidize many of Aristotle's research works in natural sciences. At the age of fifty-two, Aristotle founded the Lyceum, one of the four important schools of Western antiquity. The years that followed were of great significance in Aristotle's life as he is reputed to have written more than four hundred works during the period. He combined the roles of encyclopedist, scientist, and philosopher and also founded the largest libraries of the Greek era. After the death of Alexander and the subsequent anti-Macedonian uprising, Aristotle moved to Chalcis on the island of Euboea and died in exile. Aristotle's works mainly deal with a) theoretical sciences - Metaphysics, Physics, Astronomy, Biology, and Psychology; b) practical sciences - Nichomachean ethics, Eudemian ethics; c) political sciences - Rhetoric, Poetics; and d) Logic - Organon.

The social condition of Aristotle’s time

In Aristotle's time, the Cretan cities were settled by tribal invaders from the north who had sacked the city of Cnossus and conquered the Cretan empire around 1400 BC. These invaders established their own communities that were rigidly divided along class lines, with a polytheistic belief system and aristocratic monarchic governance. By the sixth and seventh centuries BC, as the population increased, the poverty of the lower classes, especially the farmers, created tremendous pressures for social reform and revolution. Cities like Athens found a solution by engaging in commerce and trade, which proved successful, and Athens subsequently became the centre of a new awakening in the Greek Peninsula. The aristocratic rule gave way to democratic experimentation with the emergence of wealthy trading people. Foreign trade interactions brought numerous new knowledge bases, and ordinary citizens began participating in political decision-making by the assembly, resulting in public courts. This gave rise to the Sophists, the predecessors of modern-day lawyers, who believed that "the purpose of an argument is victory, not truth." Later on, resentment towards this legacy became the root cause for the making of Socrates and his disciple Plato, who was Aristotle's teacher.

A bird’s view of Aristotle’s arguments

During his early days as a student of Plato, Aristotle supported and promoted Plato's ideas through arguments and writings. However, as he became more independent, he began to question and analyze Plato's ideas. According to Werner Jaeger, Aristotle lacked Plato's ability to synthesize his entire vision of the universe into a concise passage or paper, but he meticulously analyzed philosophy into its distinct streams and thoroughly examined each one.

Aristotle recognized the limitations of reason and understood that it could not function without the aid of the senses, unlike Socrates and Plato, who exaggerated the independence of the soul and the power of reason. Plato did not differentiate between logic and philosophy, but Aristotle sharply distinguished Logic from philosophy (Ontology) and the science of nature. Logic is dealt with in separate treaties, including the categories, of interpretation, and prior and posterior analytics. It is an instrument for gaining knowledge about being and not a theoretical or practical science.

Aristotle argued that every concept in the world corresponds to some form in nature, and that form is never abstract but remains an aspect of individual existence. Therefore, the universality of the form exists only in the mind as knowledge, and it is a logically related intelligence that does not necessarily correspond to any real relation in nature. The act of logical relation or universalization is always an act of selection and omission, indicating the incapacity of the intellect to understand the totality. Thus, while human minds cannot fully understand reality, they can still gain some understanding. The complexity of this partial understanding leads to a failure to distinguish between logic and Philosophy (ontology).

In contrast to Plato, who believed that individual things in the material world were copies of pure forms, Aristotle argued that physical entities do exert causal efficacy. He believed that when one form is replaced by another, the change is not simply reduced to succession, like a ripple in a pool, but rather physical entities pass on the motion (soul) that they receive.

Among this change of perspective between Aristotle and Plato, Aristotle’s critical and conscious attitude towards knowledge stands tall in Western thinking. He argued that the material world of nature is not the partial reflection of a pure of abstract universals. Even if they are partial reflections, the abstract universals in our minds are a partial reflection of the world of nature. “This world is not an array of copies, but they have an individual existence indeed. We do not come to know individual things by knowing other things first, they are the primary object of human knowledge”(5). These are firsthand knowledge derived through sense and these are real beings and are not individuated by something external including space and time. Although this argument is contestable, but he believed the change is not a mere succession. He argued a principle does not exist by itself, for its existence it has to have a union with a form. It is an enabling capacity for the form for other structures. So the form derives the ability for succession as well as discontinuity. “They not only suffer change; they also have active powers and exercise causal efficacy” (6).

Aristotle may have differed from Plato in many instances in their belief, but both of them believe in the concept of “all dependant on an ultimate first principle” For the universe remained an order of changing entities at different levels being organic and inorganic.

 For Aristotle, man is the outcome of a long process of evolution, where he holds a reasoning capacity which differentiates them from otherworldly beings. For him, a man was composed of matter & form and the soul is bound by it. If there is nobody with corporeal organs for sense even the power of reason will not have any existence. He believed it is only with difficulty and indirect that the soul can come to understand the nature of itself and its non-physical operations. But still, this reasoning is bound to the body, so Aristotle tread very cautiously regarding God’s position in the universe. Nevertheless, he man with all his limitations of reasoning, with the aid of sense our rational faculty can gain accurate insight concerning physical things, including the unmoved mover of nature, God, the non-physical existence.(7) 

3) Plato argued in Republic that there is no higher individual group substance and social unity depends upon common agreement with respect to the common good. But men are also bound together into smaller groups like family and other for other less conscious needs. So if one rationally transforms these needs then for society such small groups like family will become unnecessary. Aristotle differed from Plato and argued all children born at the same time will never become brothers and sisters because human reason is bound to the body. Hence Flesh of flesh and blood of blood will be closer than Plato’s common brotherhood. 

In practical reasoning, Aristotle believed that both a theoretical element and a practical reason drive an action. This judgment is not solely based on an individual's intelligence, but also on their long experience and discipline. Aristotle believed that the combined judgment of many ordinary individuals in matters of politics was often sounder than that of a few experts. He asserted that the ideal state consists of good men of reason and virtue, and this can be achieved through a highly disciplined and developed system of education.

Aristotle advocated for a mixed form of governance called "polity," which is a combination of oligarchy and democracy. He believed that man is a political animal and cannot exist as an individual by himself. A fully developed society consists of individuals and families cooperating together for the sake of living well. Aristotle argued that this would help in deriving customs and laws for the common good and would also eliminate extremes in society.

Aristotle acknowledged the existence of non-physical beings, which he called eternal substances, but he doubted the ability of the human mind to attain higher knowledge of them. He believed that God is a living being, eternal, and most good, and he did not sharply separate religion from philosophy.

For Aristotle, the human soul is the first animating form of a natural body and cannot exist as a whole without it, although the rational part is separable and immortal. The body is a physical thing located in space, and the animal part provides the faculties of sense and organs of locomotion. Aristotle detailed this further in De Anima, stating that the sense organ should receive actual stimulation from physical pressures, sounds, colours, etc. However, this is only the first condition of sensory feeling, and the feeling is already prepared beforehand. The colours are already embedded in the eye to differentiate and precipitate the sensory feeling, and simply having an eye drawn on the face would not be sufficient to perceive the feeling.

According to his argument, our senses allow us to perceive physical objects in our surroundings. However, since we have no control over these objects, such as the light that enables us to see, we only get a partial view of them due to the perspectival nature of vision. In response to this, he suggests that the imagination, which is under our control, helps us to create a near-complete picture of our sensory perceptions. Nevertheless, Aristotle notes that even with our imagination, we can never fully understand a situation, as seen in the example of a person who can only see the front of a house and can never fully explain it without visiting it.

 Aristotle also discusses the state of universality in human intellect, which involves separating everything irrelevant from the pure. He notes that if a concept relates to the matter that something is made of, it is specific. On the other hand, if it is acquired through a process of change, it is accidental. Therefore, all concepts are either generic, specific, or accidental.

 Like Socrates and Plato, Aristotle's moral theory is based on a refined ontology. He identifies two basic types of moral virtue: justice, which concerns the rational direction of social acts, and passional virtue, which deals with controlling our own subjective passions. Aristotle believes that these virtues cultivate a good life, which is the primary aim of sound statesmanship. He argues that through education, one can distinguish between practical and theoretical disciplines, such as moral virtue versus art. Art deals with the creation and use of tools for human life, while practical discipline is concerned with human actions. Aristotle notes that voluntary mistakes are preferable in art, but not in life.

 Aristotle believed that the cultivation of moral virtues is essential for attaining the good life, which is the ultimate goal of sound statesmanship. He also argued that through education, a clear distinction can be made between practical discipline, which pertains to human actions, and theoretical discipline, which is concerned with the manufacture and use of tools necessary for human life. In the context of art, he claimed that a voluntary mistake is preferable to an involuntary one, but this principle does not hold true for life (15).

 Aristotle's contributions to Greek thought extended beyond his exploration and expansion of the ideas of his predecessors. He conducted a critical investigation into the nature of human knowledge, laying a strong foundation for reason as the most important of all human faculties. However, he also recognized its limitations and weaknesses, demonstrating a deep and empirically accurate understanding of human cognition. In light of this, Aristotle remarked, "Plato is dear to me, but dearer still is the truth."

Ref:-
1-The concept of man in Greek thought –John Wild- P:48:5, George Allen & Unwin ltd, London
2)-W Jaeger, Aristotle (Tr. Robinson, Oxford, Clarendon Press)
3) De Anima 430 A 14-19
(4) Meta VI Ch 4
5) The ideas of men in Greek thought (p:56-98), Meta vii ch i
6) The concept of man in Greek thought –John Wild- P:79:2, George Allen & Unwin ltd, London
7) W Jaeger, Aristotle (Tr. Robinson, Oxford, Clarendon Press)
8) Pol. Ch. II
9) Pol. I 1253 A I
10) Pl. I ch. I and Ch .2 1252 B-27-ch 3
11) Book 12 Metaphysics.
12 De An 412 A 29
13) Categories ch.2
14)Nic. Eth. V,iii, cha 6-iv, ch 8
15) Nic Eth vi 1140 B 20-30

Form and abstraction in 20th century (Western) art

The term "abstract" in art comes from the Latin word abstractus, meaning "drawn away" or "detached." Abstract art moves away from representing reality. It has significantly influenced the art world and has been used in literature. Despite some misunderstandings, abstraction has remained an iconic force in art history. In the 20th century, almost every artist produced at least one abstract piece.

Modern abstraction in Western art can be traced back to the early 19th century when radical changes in scientific understanding profoundly impacted societal consciousness. Einstein's theory of relativity and Bohr's quantum interpretations shattered the traditional view of a singular, objective reality. These groundbreaking theories introduced a more complex and multi-faceted understanding of the universe, influencing science and how artists and thinkers engaged with the world. Realizing that reality could not be fully comprehended through fixed perspectives led to innovation in art, where abstraction became a powerful tool for exploring realms beyond the physical and perceptual.

The devastation of World War I further fueled this shift in creative expression. The war's brutal destruction of human lives and values left an indelible mark on the collective psyche. Artists grappling with this existential trauma sought to explore and express realms beyond the material world. In its early stages, abstract art emerged as a response to this desire to transcend the mortal frame and search for deeper truths.

In the early stages of abstract art, artists grappled with the balance between formlessness and form. Many still aimed to ground their work in recognizable shapes, ideas, and identities. For instance, Pablo Picasso's exploration of Cubism deconstructed reality into fragmented perspectives, offering a new way of seeing while maintaining some connection to the material world. This struggle mirrored the broader human dilemma of reconciling the known and the unknown, the tangible and the intangible.
Religious and spiritual beliefs influenced the development of early abstract art. Faith often provides a framework through which individuals and societies comprehend existence. In this sense, abstraction in art and science reflects the human quest to understand the universe beyond the material realm. The tumultuous events of World War I revealed the fragility and futility of material existence, prompting artists and thinkers to explore abstract concepts to transcend this harsh reality.

Despite the potential for abstraction to offer new insights, human curiosity in pursuing the eternal has often grappled with breaking free from formal constraints. Physical form is relative—merely an enclosure or a set of coordinates within the universe. In this context, the contributions of artists like Jackson Pollock and the abstract expressionists are particularly noteworthy. Abstract expressionism emerged in post-World War II America and represented a departure from the form-driven art of earlier periods. Pollock's work, characterized by its lack of objectivity and meaning, pushed the boundaries of abstraction, creating a new mode of expression that transcended traditional artistic conventions.

Interestingly, abstract expressionism originated in America—a nation relatively untouched by the physical and psychological devastation that Europe experienced during the war. This artistic movement, unburdened by the weight of reconstruction and mechanization, could delve into pure abstraction, free from the need for form or meaning. However, even in its most radical forms, abstract expressionism still made a statement within the context of national and cultural identities.

As abstraction evolved, it departed from traditional art, material, and style concepts. Modernism, conceptual art, and postmodernism embraced this newfound freedom, often aligning with broader social movements like hippie culture. Yet, despite their innovative approaches, these movements frequently reverted to orchestrated manipulations of form. In any orchestrated manipulation, the form retains an external attribute, which merely supplements the subject rather than constituting the essence of abstraction.

Accurate abstraction, in theory, involves distilling the essence of a subject rather than attributing external meaning to it. This can be likened to extracting the purest form of a subject, much like extracting sweetness from sugar. Abstraction should transcend form and meaning, offering insight into the underlying reality of existence.

Philosophers and scientists have long explored the "observer-observation-observed" algorithm in their pursuit of knowledge. In art, however, achieving accurate abstraction has been a challenge. Artists like Pollock and the abstract expressionists made strides in exploring inner and outer realms, but accurate abstraction has often been limited by human perception and the need for form.
Similar struggles can be seen in Oriental art forms that have inspired Western developments. While these art forms show innovation and creativity, they can also become constrained by manipulations of form, whether as new creations or protests for or against the subject.

In conclusion, abstract art has been crucial in transcending the material world and exploring deeper realms of existence. However, the quest for accurate abstraction remains an ongoing challenge. While artists like Pollock and the abstract expressionists have made significant contributions, the tension between form and formlessness continues to shape the evolution of abstract art. As human consciousness evolves, so will our understanding and expression of abstraction in art, science, and philosophy.

Performance art installation

Theory states that "performance art can encompass any situation involving four fundamental elements: time, space, the performer's body, and a relationship between the performer and the audience." The roots of performance art can often be traced back to the Dada movement, and it has remained a significant aspect of the twentieth century's artistic landscape. Looking back, one may perceive performance art as a response to the reduction of human existence to mechanical operations, as its primary focus has consistently revolved around the artist's interaction with fellow human beings rather than the objects in their surroundings.

An artist doesn't create another object, such as an art piece, in their situation; instead, they generate an idea or an expression to define their art. In this context, time, space, and the artist's body become essential elements of artistic expression. In contrast, installation art, as per theory, is defined as "the artistic creation in which the artist transforms an area, a situation, or a space using material objects to define the relationship between humans and objects."

In installation art, the artist often considers the viewer's sensory experience over elements like time, space, or the artist's body. To better understand this art form, we can view it in the context of the ongoing mechanization of human life, where the objects of mechanization or contextual interventions have deeply impacted personal human life. As the industrial revolution reduced human capabilities to mere operations, and with the emergence of nanotechnology, questions arise about the "presence of human existence" in a material world that's shrinking to zero size, with even operations becoming increasingly detached from human abilities. Simultaneously, technological innovations like TVs, cell phones, digital cameras, computers, and printing inundate us with countless self-imposing visual images, effectively becoming large installed objects in our human existence.

Given this backdrop, it becomes crucial for art to define its domain clearly. Monumental installations that blow up the microscopic world as a protest against the nano-culture, as currently practiced, are becoming irrelevant, as they are seen as part of the problem itself and do not depict or address the human condition. Additionally, within the complex landscape of human existence in the computer age, where mechanization itself has taken on a life of its own, as seen in the internet and computers, which have direct consequences for human life, relying solely on performing art may not be sufficient to represent or express art in its entirety.

Taking these ideas into consideration, it is time for art to explore new dimensions. One such effort is the fusion of performing art and installation art, known as "performing art installation."

Practice: Performing Art Installation

The challenge in this art form lies in defining, deriving, and expressing the human condition within life and context. Performance may occur in the "absentia" of the performer, symbolizing the elimination of the human race by technology, even at the "operator" level. Meanwhile, digital visual imaging gives the illusion of self-importance. For instance, techniques such as wrapping up the performer or deliberately eliminating the "visibility" of the performer's body have been explored in this art form. Silence serves as the sound, and natural shadows provide the lighting. With each installation, the artist retains the right to derive thematic, artistic, and aesthetic perspectives and meanings. The installation remains open-ended, allowing viewers to interpret it from their own perspectives, even if that means ridiculing the entire performing art installation. In other words, the entire creation should always remain an open-ended ideation, preserving the viewer's prerogative. The complete formation should be free of distracting objects, sounds, and lighting to isolate the objective, relying instead on "conceptual" placements of objects, time, and space (in contrast to non-conceptual objects in traditional installation art).

Concept:

Our silent performance art invites viewers to actively participate. When viewers encounter the installation, they become spectators. Upon pausing with curiosity and inquiry, they become integral to the installation. As they engage with the idea, either by accepting it (becoming witnesses, conscious actors) or rejecting it (still witnesses, but passive actors), they begin enacting the drama by carrying the idea. While artists remain motionless and silent, discussions and judgments occur.

Burn Doors – First Performing Art Installation

Venue:

Faculty of Arts and Humanities,

CEPT University,

Commerce six roads,

Navrangpura,

Ahmedabad.

Date: 02.02.2009

Time: 10.30 am to 6 Pm

Participants: Narendra Raghunath, Hansil Dabhi

Every door beckons us into an enclosure, yet we often find ourselves passing through doors in search of freedom. Behind each door, we encounter a belief, a faith, a culture, a heritage, an ideology, complete with conventions and promises of a brighter tomorrow. Burn doors...

(We extend our sincere gratitude to the Faculty, Mrs. Sharmila Sagara, Mrs. Suchitra Sheth, and Dr. Seema Kanwalkar for their wholehearted support. Their effective pre-installation communication contributed to the success of the show. We thank them for voicing our thoughts to our viewers as we remained silent throughout the day.)

Review of Performance Art Installation in Times of India dated 03.02.2009 by Mr. S D Desai

Modern practitioners of art confront form and sometimes the conventional aspect of meaning underlying a concept. In the process, at times, they dramatically blur lines of demarcation between art forms. Two postgraduate students of arts and communication at the new premises of CEPT’s Faculty of Arts and Humanities near Commerce Six-Roads did that with a piece of performance art installation Burn Doors’.An unusual spectacle greeted invitees, visitors and passers-by right at the gate the entire day on Sunday. On the right of a rostrum covered fully snow white was a navy blue door slightly damaged at the top. In the centre were statues of two human figures covered with faded yellow sheets of cloth. A closer look revealed them to be two still and mute persons, represented by two students, Narendra and Hansil.At their feet were a variety of books, fiction, mathematics, yellow pages and all open, but their pages half burnt. Thick large borders of pure white enclosed the rostrum area. The word performance’ roused anticipation, but there was no movement, no sound. Those who had gathered round the novel work of art started figuring out keenly what it signified!Portals to conventional preserves of knowledge a library, a shrine, a heritage site, a museum, for example do not open to infinite knowledge and wisdom. They lead to enclosures within enclosures. The performance art installation, involving space, time, performer and viewer, stops at making the statement. The viewer, normally a passive one at a gallery, gets animated and activated for a participatory experience.Sneaking up to performers when they were left alone, I tried to assess their role. They were agreeably sensitive and articulate. “We are experimenting communication with silence,” they said. On being asked, how many people understood their work, they answered, “There were only a few who heard and understood Buddha.” One of them added reassuringly, “Today the whole world listens to him.”SD Desai
Times of India

Contemporary art concerns on art and artistic merit

In 2003, the Stuckism international gallery exhibited Eddie Saunders' shark under the title "A Dead Shark Isn't Art". The shark was first put on public display two years before Hirst's 1991 "the physical impossibility of death in the mind of someone living" in his Shore ditch shop, JD Electrical Supplies. The Stuckists questioned why Hirst's shark was recognized as great art while Eddie's, which was on exhibition for two years beforehand, wasn't. They suggested that Hirst may have got the idea for his work from Saunders' shop display.

When considering the failure of Stuckism and the astronomical success of Damien Hirst, the idea of 21st-century art, or the end of 20th-century art, becomes an issue for society. The British art scene in the nineties brought about a blast of new ideas to art lovers worldwide with controversial works such as a split-open pregnant cow in formaldehyde and a bed with dirty linen and used condoms by Tracy Emin.

The advertising czar Charles Saatchi played a significant role in promoting British art, particularly Damien Hirst. The most significant change brought about by these new idioms for British art was the undefined meaning. Materials, ideas, colours, forms, and their presentations all underwent a drastic makeover, tearing apart the taboos of conventional society.

The impact of these new art movements was tremendous in Britain, Europe, and America. Damien Hirst, in particular, became a cult figure of this new idiom. However, the unconventional nature of this art and the artists behind it made it a complex phenomenon challenging to accept for the world.

Social conventions were challenged, and the boundary between sarcasm and madness often became blurred. For instance, in an interview with BBC News Online on 10 September 2002, Hirst made controversial remarks about the 9/11 World Trade Center attack, comparing it to an artwork in its own right, which sparked debate and controversy.

The controversial comment sparked public outrage and forced him to issue a statement through his company, Science Ltd, apologizing for upsetting public sentiments. This incident exemplifies the evolving nature of contemporary art.

Hirst's public recognition of specific images as art draws attention to the media's longstanding use of similar photos. For decades, media outlets have circulated and profited from wartime and disaster photographs, while governments have employed these images for propaganda due to their powerful visual impact. For example, during the Iraq occupation, the USA used the coverage of "shock and awe" to garner public support.

However, when an artist like Hirst attributes artistic merit to such images, it causes public dismay. While the public acknowledges the use of distressing visuals for media agendas, they expect art to represent "something else."

Hirst's art challenges this conventional sensibility, prompting public debate about whether it embodies eccentricity and creativity or mere gimmickry and manipulation. This discussion has reverberated globally, including in India.

In India, numerous movements and practices have emerged concurrently. Still, some artists have achieved unprecedented global recognition and success by embracing this new artistic approach.

Many emerging artists have defied traditional Indian art norms, with some even incorporating themselves into their art (such as Chintan Upadhyaya from Baroda and Subodh Gupta from Bombay). The concept of Indian art has transcended national boundaries. The proliferation of new communication channels, such as television and the internet, along with the growing affluence of Indians worldwide, has transformed the behaviour of Indian art since the 1990s.

This new approach is portrayed as a "migration of Indian art to universal art." Notable artists like Krishnamachari Bose, TV Santosh, Riyas Komu, Chintan Upadhyaya, Partho, Biju Patwardhan, Sudarshan Shetty, Shibu Nateshan, Subodh Gupta, Bharati Kher, Jitish Kallat, Atul Dodiya, Anju Dodiya, and Sheela Gowda, among many others, have been at the forefront of this revitalization of Indian art.

Many people have become world travellers and foreign university residents. There have been changes in the concept of art galleries as well. Gallery owners are no longer just wealthy housewives passing the time; they have become highly professional financial consultants who can influence markets. They have created global opportunities and large spaces for artists to experiment and explore new ideas and materials with greater possibilities.

New markets have emerged due to changing affluence and economic development. Art is now sold at prices and auctions unimaginable a decade ago. In India, there has been a newfound acceptance of art by the public. More media and public spaces have become available for art and artists.

However, a new reality has also emerged. The language of this new art is no longer purely Indian and has been accused of catering to Western sensibilities.

Art is mainly happening in metros and showcased to metros, or at least to a specific segment of society that speaks English better than their mother tongue.

It is important to note that the drastic change in sensibility is not limited to fine art. The changing scenario of emerging financial affluence and global reach has changed the priorities of fine and performing arts in India. Multiplex films, designer dresses, food tastes, architectural concerns, and financial expectations have all undergone changes.

While this new reality was taking shape in society, a contradicting reality was also emerging. This is evident in the various counter-movements that have arisen, such as objections to MF Husain paintings, the Baroda MSU fiasco, the Mumbai art gallery instance where a painting had to be withdrawn due to nudity, the anti-dance bar movement in Mumbai, anti-jeans or anti-cyber cafe movements in Lucknow, and the anti-Valentine's Day movements by Shiva Sena. Many people find these new aesthetic idioms to be outrageous in their culture. However, awareness of cultural idioms is a debatable issue.

Whether art should be responsive to a national consciousness or have universal appeal has been debated since the 1920s. We argue that art needs to be responsive to national consciousness. In that case, we must acknowledge that such movements in India have often resulted in regressive fundamentalism. On the other hand, if art is only for universal appeal, we must consider what is truly universal. Oriental art only gained importance in the Western world when the West adopted such practices. Therefore, the question of universal art should be thoroughly discussed in India.

The initial acceptance of merely imitating Western sensibilities on the global stage will ultimately degrade Indian art. Similarly, today's celebrated Chinese art often needs more versatility and aesthetics of traditional Chinese culture instead of producing second-rate European copies.

The changing world order has also affected the way art is considered. Today, the idea of art as a mere investment has become prevalent worldwide. Artists are often forced to choose between art as a representation or subject and whether art is a career to shock or a practice of self-expression.

With the radical developments in communication, mediums, and avenues for art, ambiguity has contributed positively to art with inferences and experiments. However, it has yet to come to a clear conclusion. The ongoing debate over practice versus shocking has seen some artists, such as Van Gogh and Gauguin, choosing practice over shocking, while others, like Dali, prioritized showcasing over practice.

Practising is often more critical than shocking as a moral reminder. Famous artists like Picasso and Goya even created noteworthy works that served as moral reminders, which usually stood out as the best among their creations. This doesn't mean that these were the best works in terms of skill, craftsmanship, and composition, but instead that they stood apart in their response to human expression in treatment—the true meaning of art.

In today's world, art is often judged based on its price, raising whether art is meant to shock or is a practice. This is important because auction manipulations can influence price tags, creating shock waves in art. Artistic shock waves are typically performances similar to the ultimate performance in cinema. The most successful revenue generator today may become outdated in a few years, while the works of Eisenstein, Vittorio De Sica, Akira Kurosawa, and Chaplin will be revered for ages to come.

The film can be very profitable in its short life with a mass subscription. With its limited subscription, art will never make as much profit. We must either accept art as an investment that requires well-defined artistic merit or risk creating a 'tulip bubble' of 1637.

The answer to our question, "Art – shockwave or is it a practice", will then be self-explanatory.

As it has always been, the biggest challenge remains the question of artistic merit. Most often, merit is assessed based on the artist's success in terms of name, practice, marketability, and the money the artist commands in society.