WHISK

Gutta cavat lapidem, non vi sed saepe cadendo (The drop excavates the stone, not with force but by falling often) - Ovid

As children, everything is new for us, and our observational skills develop, or retard, according to the level of curiosity we are allowed to display. Parents with social strictures, rules of etiquette and the fearsome lady with the nasty backhand eventually lead us to observe more inwardly than outwardly. As an adult, having gone through four years of strenous labor and disciplined teachings designed to break the childhood stigma of staring at something, it is incredible that I am still affected by societal codes of conduct; that I have very gracefully and naturally receded to the inner observatory where there are no windows. The sad part is that this is acceptable to our community of ‘lateral’ thinkers: marketeers, advertisers and designers. In fact, nothing else will do.

The disciplines of Fine Arts, Design, and Architecture have evolved because, rather than inspite, of social, economic and political environments. As far back as Early Man, everyone is taught that cave paintings were the first forms of artistic expression. In fact, they were expressions of man’s language. In those days, men drew pictures of animals, and related stories of their time. They represented their world through their eyes. Every artist since has done the same.They have looked at their surroundings, have been horrified, or pleased or propelled to express what they saw. The Romans believed, and still do, that Art and Culture are the finite factors in the development of civilization. That when the masses have come to appreciate the works of an Artist, they have understood and imbibed his or her vision, and are better civilians because of it.

In the last century alone, the diversity that has emerged within the Arts has been a direct result of economic and political events. Wars and economic disparaties have resulted in propoganda, the creation of public relations, ‘fluid’ architecture, flower art, peace rallies (yes, they are a part of the Arts. No one protests stronger or with more fervour than the Artist), genetic art, and a host of derivatives that have redefined traditional Fine Art, design and architecture in every sense. For instance, in 1916, Woodrow Wilson, then President of the United States, established the Creel Commission, a government propaganda machine designed to change public opinion to support America’s inclusion in World War I, which, prior to his election, the people of the United States vigorously opposed. The success of the Creel Commission evolved into a sophisticated Public Relations industry, used to bring public opinion in line with the economic objectives of the country, and later, of individual businesses and corporations. In the second World War, Hitler used these same tactics to brainwash an entire generation of Germans into believing that mass genocide was the only way to cleanse their country of the Jews. PR was a recognized and authoritative industry.

The concepts adopted by the Creel Commission still control businesses today, as they ‘brand’, ‘market’ and ‘sell’ their product through research and analysis. All divisions of Communication Design and Advertising today, follow these same doctrines.

With every era, there have been artists, musicians, actors, film-makers and writers who have consistently and effectively offered an opposing and equally strong point of view to every issue. The reality of bi-partisan debate in a Democracy seems to be on the streets, which is where the guardians of liberal thought actually should be. Even in Pakistan, the days of the most oppressive and debilitating government (1979 to 1988 – Zia’s ‘Islamic’ Regime) were the days of the most creative and powerful works of art, film, TV, theater, music, poetry and prose that we have ever seen. We haven’t seen that quality since.

Applying the principles of history in our artist communities, it is important to broaden the vision of our artists and expose them to the events and issues that concern the society they live in. The terms ‘meaningful debate’ and ‘sustained development’ has to be included in the responsibilities of those that have the power to sway public and government opinion. As much as external issues affect an artist, the artist in turn has tremendous influence on those members of society that can change the course of history.

Traditionally, the public has been relegated to the status of sheep. From the Greek chorus to the anti-Islamic lynch mobs in Mid-West America, the general public has always been viewed with disdain by the intellectual elite for their mindlessness. Communication has been skillfully exploited by people with no background in creative expression. As a designer, I understand that I also have that power. Ironically, I have become a victim of the very instrument which I claim to wield.

What will it take, for myself, and for every artist we admire for their ‘non-conformity’ (the irony in this is that non-conformity has become a buzz-word among the creative, which, in my opinion, recreates it’s efficacy. It is no longer original to be original. Everyone is doing it.), or for their conformist work, to step out of the circle of influence and really push their fist through a wall? How do we recognize it?