Then to be a serious artist you must meet these 3 conditions?
JBF: These points synthesize, and what should be a full bodyartist today.
But not everyone can reach this level, so only geniuses can do it?
JBF: The genius formerly worked in the periphery, was that individual, however, it should be noted that it is 90% work and the remaining of genius. The second aspect is that pedagogy does not work on the periphery of the formation of the hypothetical genius, but it is at the core to form and prod the student, or particular artist, for their appetites, and this process is a work of art, this inner discovery, the travel not the arrival matters, rather the journey.
Still on the subject of masterpieces you say "that a masterpiece of art has to be understood in their time", if not ultimately has to be amorphous?
JBF: No, a masterpiece has not necessarily to be understood in his time, in fact, history is full of examples in which they are understood in hindsight. I understand that a masterpiece vibrates, is not amorphous, lives of balance, substance and information, is something that makes jumping the senses and feelings. Is customizing the artist's vision together with the balance of the use of the tools and knowledge to pass the message. There are a number of factors that transform a piece into a masterpiece, which is primarily an epistemological work is revolutionary, but not in the sense that it is expecting it to be, but brings us something different, recently discovered, is the aerodynamic of art.
So is often a masterpiece is recognized outside its time, ceases to be revolutionary?
JBF: It is indeed revolutionary. What is a pure and sociological phenomenon. The work is already there, but in his time whether there is understanding and interpretative ability, that is another issue. We have a work in a particular medium is not readable and maybe would be understood in another. A picture of abstract art can be appreciated rightfully in New York and the same does not happen in other areas not worth mentioning. Also relies heavily on the evolutionary frame of the community in question.
You also speak of works that generate revulsion, these also cannot be considered masterpieces, since provoke a reaction in the audience who sees them?
JBF: Often the masterpieces are confused with eccentricity maneuvers, which are ways to draw attention, as often happens in the music world, for example, as in the case of "pussy riots" that followed a punk aesthetic, from the late twentieth century. This is a revival in their midst and that particular function is to alert people to a thematic, the artists opted for shock, where there is a whole social context in which such behavior is used as a form of artistic expression, is a way as any other depending on the environment.
In another chapter you approach poetry and says "it is a positive energy that triggers the best that is in us" and when it is depressing?
JBF: The poetry continues to trigger the best that is in us, even if it is hypothetically depressive, or when descontructs, and the best that is in us comes only later when we peeled, hypothetically when we withdrew this darker area, we feel more unclothed, but able to look at the light. Poetry demonstrates what is the best that is in us, after a process of deconstruction and also why not, its darker side.
There is a chapter dedicated to the strife of the Franco-German classical music, what is the importance of this topic as specific in your essay?
JBF: My background is musical, I continue to be a musician, in addition to the role of writer and I am concerned about the issues related to this area. Which brings us to a related reasoning to music and art in general, in this case the Franco-German strife is a topic that had never seen be addressed, at least to my knowledge. Among the nineteenth-twentieth century, the Germans have always had a more austere approach in terms of the arts in all forms, from music, painting, etc.. The French have always had a more expansive approach that fits the music, but also in other European artistic expressions.
You said that art is a benign spark within us, is it?
JBF: This makes the art descent from the heights, as this book. It should be of daily use and not something that can be dusty in a shelf, so art is a tool that allows us to see the real sharpness of reality and interact on two aspects, to make all the themes of the day-to-day can be covered by it and then for most insignificant it looks like, ie, we need to break this barrier that art is purely contemplative and become an everyday utilitarian and practical use.
