Interview Gerlad Bast, David Campbell
“Art is the synapse between the towers of knowledge”
Gerald Bast and David F. J. Campbell emphasize that knowledge is more than the simple accumulation of facts. In their conversation with Robert Czepel they explain how art will revolutionize the concept of knowledge.
How relevant is art for society today? Does it serve as a necessary corrective, or is it merely a jester at the court of wealth and power?
GB: Art was always a jester at the courts of the powerful – whereby capital has replaced the popes and kings of old. And yet art has always had another function reaching beyond the circles of power. I think that at present the relevance of art can be expanded, at least in the broad middle of society. Presumably there never have been – quantitatively – as many art products, exhibitions and auctions as there are today. Aside from art experts, however, a relatively small portion of the population is affected by art. Its effective outreach should be greater.
You are not satisfied?
GB: At an art university one should never be satisfied with the position of the arts in society!
What would be necessary to improve the position of the arts?
GB: With regard to presentation, the arts are strongly limited to museums, galleries, theaters and concert halls. When people visit major cities and go to the museums, their activity is presumably dominated by touristic and economic factors. But one should not forget that the arts also have an enlightening and consciousness expanding function. We have to get the arts out of the classic venues in which they are presented.
The project “ARIS – Arts, Research, Innovation and Society” is seeking to clarify the position of the arts in society. The core of the project will be a series of books that you both will edit together with Elias Carayannis. How do you assess the position of art, Mr. Campbell?
DC: Traditionally the arts are seen as belonging to the realm of aesthetics. And yet there is another approach, which stresses the inquiring and innovative character of the arts and their function in a knowledge-based society. When one adopts this perspective, one must also assert that the arts are of eminent significance to society.
The knowledge-generating power of the arts is underappreciated?
DC: Well, twenty years ago, at least, this aspect was not seen so clearly. The concept of “arts-based research” did not yet exist at this time, and its significance is only really starting to unfold today.
What form does innovation take in the arts?
GB: The whole of art history presents a narrative of innovation. Both aesthetically and in terms of reception. Our overall objective – and the ARIS project is an important part of this aim – is to overcome the technology sector's monopolization of innovation. In the public's perception, the fact that innovation has always been closely linked to art and culture has been forgotten. In the history of the Renaissance this is readily apparent – and thus today there is a loosely organized movement operating under the title “Renaissance 2.0”. Take, for instance, the national strategy of Singapore. It is called: “The City of the Renaissance”. There is a feeling here for what is missing. We want to support this feeling with a theoretical foundation, in order to give it more weight.
How did the ARIS project originate, and how will it develop?
GB: Elias Carayannis and David Campbell invited me to contribute an article to an encyclopedia on the theme of creativity and innovation. My thesis was this: Now, after the industrial revolution, we need a creative revolution. Apparently my assertion generated a certain degree of interest. When the three of us came together in person, we soon decided that it would be a good idea to publish a book and organize a series of events on this subject.