EnlightenmentEssay Preview: EnlightenmentReport this essayIn a world filled with technology and industry, it can become increasingly difficult to take a step back and view the world in its natural state. In essence, we are humans trying to figure out how we fit into a world seemingly contradictory to the path of humanity. We look to nature for answers. We look to each other, as well as to one anothers accomplishments for these same answers. In the end, our entire species comes to the same conclusion. In order to fully understand our world, we must first seek inner-peace and come to understand how we can relate to one another on a spiritual level. Both David Abram and Ellen Dissanayake found that through a new level of conscious, we can better come to terms with our world. We, too, must strive for this alternative consciousness if we as a race are to escape our cultures self-imposed shackles.
David Abram was a man of western culture who found what might as well have been a new world. Through his excursions in nature and curiosity of eastern culture, Abram was forced to live through a part of himself that he never knew he had. He explains his epiphany in the lines, “It was from them that I first learned of the intelligence that lurks in nonhuman nature, the ability that an alien form of sentience has to echo ones own, to instill a reverberation that temporarily shatters habitual ways of seeing and feeling, leaving one open to a world all alive, awake, and aware. It was from such small beings that my senses first learned of the countless worlds within worlds that spin in the depths of this world that we commonly inhabit, and from the that I learned that my body could, with practice, enter sensorially into these dimensions” (Abram 13).
Abram has reached an epiphany that so many of us strive to achieve through various techniques, but never accomplish. By becoming one with nature, he can put the world into a much different perspective than you or me, thus restructuring his life by a set of priorities, which we have no knowledge of. It is not every day that the average Joe stops to notice Ðthe countless worlds within worlds that spin in the depths of this world,” let alone to ponder them. But could what weve all been missing have, quite literally, been in front of our faces all along? It is very possible. Abram goes on to explain that upon returning to western culture, he felt as though he was lacking something important from his life. ” I began to feel- particularly in my chest and abdomen- as though I were being cut off from vital sources of nourishment” (Abram 12). It is not so difficult to see Abrams point of view. Many adults in our culture get to the age of about forty and start to panic, feeling as though theyre missing out on a large part of life. We call it a mid-life crisis, and they buy a sports car. We all pretend the whole thing is over. The reality of the situation is that we dont even consider looking to nature for spiritual help, because we feel that our technological world is superior to that of Abram. I promise you, Abram will not need a sports car to feel as though he has accomplished something in his lifetime.
Abram found this parallel universe through an altered outlook on the same objects and forces that act on us each day. He explains further in the lines, “The deeply mysterious powers and entities with whom the shaman enters into a rapport are ultimately the same forces-the same plants, animals, forests, and winds- that to literate, Ðcivilized Europeans are just so much scenery, the pleasant backdrop of our more pressing human concerns,” (Abram 5). By merely changing the way in which he perceived the world, Abram was able to change his entire outlook on it. This is not hard to imagine, considering that we base most of our judgements on how we perceive things. The interesting topic here isnt so much what Abram did, as what the rest of us have failed to do. How easy would it be to change the way we look at things, instead of so frequently changing the things we look at? We have become a culture set on changing things that make us uncomfortable, or frightened, or upset, instead of exploring why they make us feel that way or considering if anyone else feels the same way. Our cultures schooner of self-realization and self-exploration has been blown off-course by the winds of technology, but instead of going back and trying to re-find our way, we sit back and hope the winds will change, praying we will once again find our way. This is where Dissanayake makes such a valid point.
Ellen Dissanayake undertook the terrible task of trying to determine what art really is. At the same time, however, she unknowingly had a much greater realization. Dissanayake realized that for an art to be considered art, it must be extra-ordinary, not to be confused with extraordinary. She explains it better in the lines, “Art was not a variety of play or ritual, but like them it was concerned with a special order, realm, mood, state of being. In play, ritual, and art things were not ordinary- they are less real or more real than everyday reality.” What Dissanayake is saying is that for art to be created, the product must hold a value unachievable through creating it with our everyday level of thought. This should be no surprise, since we so commonly use the cliche that all artists must be inspired. What is surprising, however, is that the author holds art to much higher standards than that. Extra-ordinary no longer means something that we are not used to.
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Art that has been fully expressed, and is not only expressed, but is also reflected, that is, articulated, and illustrated from the standpoint of everyday people, by people who are engaged in the activity of art and expression. We can find that, even in our own countries, art, music, poetry, and dance are being expressed or illustrated as art from the viewpoint of everyday beings, especially children, in every country where art and expression are allowed. In other words, art is, in general, an extension of everyday people’s lives and actions when they think, act, touch, and read.
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The most important aspect of art is that the subject was directly, explicitly, and deeply placed into people’s lives
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Dissanayake’s goal was to express how the subject had already become part of life, the world of people in it.[*]The main point of the study is that what the author considers art to be, she does not mean, ‘to be anything or anything other than everyday objects’ but in terms of an expression that makes sense in people’s lives. Some of Dissanayake’s examples of art include many of the things we read nowadays, and the ways they convey emotion. The examples her research shows us are not limited to music, paintings, or drawings, though. Other people can take images, have pictures placed in their mouths, share photos of themselves on a dating site, write a letter to a friend of hers, talk to her about work in school, travel overseas, or read poetry. Her work in general was not restricted to those art activities, but to all art activities. In an article from October 2003 entitled “Art and Imagination,” the author points out that one of our most significant areas of study was making people feel. She found that children do not have the right to imagine what might be seen in a room of their own. It seems to her that the art that they create is an expression of emotion, because children are not allowed to imagine as much as children are allowed to imagine. In the age of technology, it seems like a given that children will be able to use a computer keyboard in the future—and in a very real sense the future for children seems to be an expression they could put in their present. Dissanayake’s most significant book was Not Your Future: Art and Imagination in Modern Life, that was published by Yale’s School for Education of Education in 2010 entitled Imagination and Education and the Teaching of Life.[*]\
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Dissanayake’s most important book is titled The Modernist Theory of Art which is based on a work with a critical interest in creativity and creativity itself, and is based on the work of Jane LeCoux.[*]\
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When Dissanayake started studying for her Doctorate in Art, she received a package from the Department of Arts and Communication at Yale. \
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Dissanayake’s book tells the story of three students who came to her to attend her work studio, where they began looking after something they saw. She explains how each of their dreams would eventually have their own life. \
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The idea for Dissanayake’s book lies in realizing a project that they would like to see.\
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They wanted to see what someone else had for other people’s ends.\
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They wanted to see what it was that they wanted to see next. \
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They wanted to see if their vision would eventually lead