Art is manipulative.

Art does not exist solely for its own sake. There is always a reason
behind its creation, regardless of the artist's awareness. The reasons
art is created are many and varied, of course, and often intermingle
during inspiration.

This is not to say art is evil, or wicked, or bad. Manipulation,
stripped of its negative connotation, means simply to work and reshape
something with ones hands.

Art is manipulative in that it stirs within us all something new. When
confronted with true art, none can stand firm and unchanged. True art
moves both the audience and the artist.

We use words of motion to describe the affect art has because out
language is limiting and our understanding incomplete, yet we know that
nothing will ever be quite the same after the experience.

It is not just our passage through time that is affected in that moment
we receive art. Art can lift us to higher planes of understanding,
allowing our minds to momentarily absorb and accept ideas that are
forever otherwise just out of mortal reach.

Art can be a powerful force for healing as well. It is said, after all,
that music can soothe a savage beast. Why not also the worried brow or
wounded limb?

I'm sure we can all remember times we have rested better for being happy
and content, so why not let this evidence (anecdotal as it might be)
point to the connection between ones emotional and physical well-being?

Certainly we do not need a lecture on the emotional affect of art. We
have all heard soothing songs, rousing speeches, and inspiring stories.
How art affects our emotions is something probably best left to someone
more versed in the subject.

Instead, let us turn our attention to the interplay between artist and
audience, and how this affects the art created and the various outcomes.

While creating a work of art, an artist has a particular audience in
mind. This audience may be broad and general, or very small and
particular indeed. Some artists never intend their work to be viewed by
others. This affects their work in a number of ways.

Artists who wish their work to be seen by the masses might be more
willing to work on a large, detailed scale, while those who intend their
work for their own amusement might choose smaller or less detailed
styles.

The intended audience will also be a factor how accessible the art is
after completion. Some artists put their work immediately on public
display, while others might hide it away from prying eyes.

Where and how the audience comes upon the art will also affect its
function. Art encountered on accident may be quickly passed by, and have
little chance to work.
Of course, it also might have in that brief moment the ability to
profoundly change someone's life. Art that is anticipated is judged
differently, and because of this it may be more or less effective.

We have seen, then, that the artist and audience both before creation
and after viewing affect art. Art also be affected during its creation.
This is most clearly evident in the performing arts.

Actors, singers, and dancers would doubtless all have tales of times the
audiences' admiration inspired them to higher glories in their
performance, and alternately there are surely tales of unresponsive
audiences sapping the beauty from their art.

A recipe for great art, then, might include such ingredients as the
right artist at the right time creating the required work for the
desired audience, with the right audience in the appropriate mood with
the right expectations arriving and responding at a fortuitous moment.

I an intrigued by this idea of essence from nature, and I look forward
to further discussion of the topic. It puts me in mind to remember times
out in the forests and natural places of the land, when the wind seemed
to carry a tune. Perhaps this could be considered the "world song"?

Also, a thought concerning the idea of "highly structured music" to
drive away Discord: could different structures lend art to different
effects? If so, what might these structures be?

Responses are most welcome, as ever.

Penned by my hand on the 25th of Lupar, in the year 346 AF.