Relationship between Fine Arts and Work Productivity - Literature review Example

Literature Review: Relationship between Fine Arts and Work Productivity Aristotle has said that “the aim of art is to represent not the outward appearance of things, but their inward significance” and that is the whole truth. That is the essence of all art; it also gets pleasure in giving pleasure.What would life be without music? It is a sad reality that many of us die without discovering the music that lies within each of us. Art is a manifestation of that same song of the soul in all its varying forms and colors. Industry and music is not a bad combination .In fact it is one of the best kinds in synthesis of two drastically different spheres of life. But if one brings these two together in fusion, it will result in an abundance of work productivity like they say “all work and no play make Jack a dull boy.” Economic value of the industries will be recreated by ideas at the intersection of the arts, technology and business. Leveraging on the multi-dimensional creativity of people, for example in genres of artistic creativity, technological innovation and entrepreneurship, can result in the much-needed work productivity in the scheme of things. Creative cluster provides to the economy directly as well as indirectly. The economic impact of the fine arts can be held at four levels, according to Chartrand H. Harry, former Research Director for the Canada Council for the Arts. The Primary Economic Impacts of the Fine Arts apply their direct and quantifiable provision to the national economy. This involves how much the arts participate in the Gross Domestic Product (GDP) and employment. The Secondary Economic Impact of the Fine arts applies their indirect but quantifiable contribution to the national economy .This participation includes the “multiplier effect” of expenditure in the fine arts. The Tertiary Economic Impact of the fine arts applies their direct but less definite participation in the national economy .This incorporates the contribution of the arts to industrial devices, innovation and differentiation and finally economic combat. The last of the list is The Quaternary Economic Impact of the fine arts which is concerned with their indirect and non-quantifiable contribution to the standards of life, cultural identity and pluralism. The performing arts, IT, cinema and advertising are amongst the industries heading towards a steady and swift growth. The influence of concern here is the Secondary Economic Impact with spin-offs resulting from expenditure in creative firms. This occurs because the creative industries assure production in other industries as they buy goods and work for their own production. In the UK, the multipliers for creative industries are included to give a sense of the whole potential of these industries. The creative industries in the UK are supposed to be the most developed in the world where the government plays an important role in nurturing these industries. As a whole, the manufacturing industries acquire a substantial percent of inputs from the creative industries. The US, UK and Australia commissioned studies which stressed the importance of both domestic and foreign markets in pushing the growth of the creative firms. The acquiring power of the buyer as well as industrial demand for creative inputs would be employed to estimate domestic demands measured indicators. The creative industries’ foothold into international markets can estimate the country’s ability to penetrate overseas requirements. Howkins, J.Author of the Creative Economy says that (creativity) flows most when and where they are rewarded and the most marked growth is not actually in the creation of new products but in their exploitation, distribution and trade. A nation’s institutional support needs to be able to look after creative goods. The performing arts, the media, IT and museums are the physical protection for creative industries including the public expenditure on the fine arts like music.. Between March – November 2000 through a series of four conferences and public programs, a group of internationally renowned personalities in their relative fields assembled in the Kitchen to answer various questions, which was made possible by the Ford Foundation group. In terms of what was going to work for this next generation of artistic creativity, Jonathan Secor, director of performing arts at MassMoca, North Adams, MA stated most clearly that to create changeable, versatile areas is the target and also a technological platform where artists can decide and do their thing without having to put up with being dictated to. Kathy Brew, director of Thunder gulch, Lower Manhattan Cultural Council, New York, advocated that technology is a platform which offers everything ranging from potential new models , new possibilities and new interactive collaboration with others. With it people can accomplish a lot on their computers, especially those who are sitting at home but that doesn’t negate the need for a more personal space for people to come together. Participation is more important than an appointment in programming and it is also vital for cross-platform activity to take place. Keeping in light the relation between art and industry, George Cisnersos, artist and director of DCCI community relations, San Antonio, TX, states- “ As artists we think we’re driving it [ industry ], the toys and bells and whistles - and while we might be driving public perception, but we’re not in the industry .” He also says that since the industry will never tell society about what is happening, it is up to the artists to fulfill the needful l and not ignore these blatant signs. Brenda Laurel, previously at interval, stated that the failure of business models is invariably blamed stupidly at the innovation of art; she says that research and art are supposed to be brought together and not separated. She also commented on the ongoing rifts between the fine arts and culture where it seems that the pure fine artist and the artistic community are in argument with each other while people on the popular culture side are involved in another dialogue with the cultural and public institutions. The discussions on the collaboration of art and industry led to the need for industry experts and cultural practitioners to work together through interdisciplinary gathering places. This need was frequently voiced by those present. The forum decided that there is a synthesis between art and entrepreneurship even if they are not the same and one needs to work towards a standardization of value through identifying valuable markets rather than pitting art and industry against one another. In a surfacing and modern economy, different industries have to find ways to exist together. Manufacturing firms are said to benefit from fine arts like music as a platform to generate more market value, which speaks for the chemical industries doing exorbitantly well, given their expenditure in advertising and IT. In conclusion, The Kitchen summarizes that following areas emerged as important arenas of future inquiry: new definitions of artistic ownership and fair use brought on by digital distribution networks how technological obsolescence can be institutionally handled the “digital divide” in local, regional, and global contexts the need for a network to connect artists, cultural institutions, technology industries, and audiences worldwide In his book, the Creative Economy, Howkins has stressed on the same subject. Creativity is the ability to generate something new and contributes in upholding creative economy. It is the business of ideas, the means by which new inventions and ideas are sold and marketed. It is the combination of all creative acts and intellectual works. He talks about harnessing this overflowing creativity and turning it into cash. His guidance is wide ranging and practical laying more emphasis on the basics of the creative economy, what we as individuals want and what we are good at, throughout the book. In Stockholm, Sweden, most of the manufacturing firms have music as their main business focus. Music as well as technological innovation comprise the history of the music industry. Technological change has had a significant role in the growth of the industrial composition of the music industry as well as the business aspects of the industry. The music industry was cited and interviewed by firms as their main source of inspiration, experiences and staff most of the time, where they found out that in most cases the interviewee had received his training or started his/her career from the music industry itself. The evolution of a music services sector in Stockholm is suggestive and indicative of a much better shift in the music industry. The fine arts ( like music ) have been known to contribute to the one option for states looking towards building dynamic workforce for the future. They have been known to provide valuable learning chances, produce better educational performance, increased expertise and lessen absenteeism. It also contributes to increased self-esteem, the acquisition and development of creative job skills, helps in problem solving and communication skills, widening productivity areas. The previously held beliefs regarding productivity have been reshaped by the New Economy. Workplaces demand assets like flexibility, interpersonal and problem solving skills. Old and restrictive organizational structures are giving way to path breaking kinds of learning organizations where hierarchy is not as important as it used to be in the past. The states utilize arts as a means to better the enthusiasm at workplaces as well as firms and industries. Such programs have proven to be developmental and productive in many ways. For example, a manufacturing firm which uses a musical band will contribute significantly to the creation of work productivity. That effort can also lead to the building of workers with an inclination towards adaptation and flexibility which is much in demand in today’s economy. It is a break away from the old to the new with beneficial results and effective outcomes. Basic functions of humankind are art and music. It is impossible for them to function without one another. As humans we always try to create or make new things, like sound or involve ourselves in sound in any way. The worth of music in our society is immense whether it is explicitly known or not. Listening to music or attending a concert is the most common way for people to enjoy it or benefit from it. But the new approaches taken by many firms of today to introduce music as part of a workplace curriculum has shown huge benefits in regard to the employee’s work productivity. Music can stimulate and relax the mind at the same time and can affect one’s mood since it has different ranges of emotional content. Even in education, music has immense worth. Art can be used in many different ways , policies and strategies by governors of the states. They are an effective means towards the development of advantageous workforce and the beginning of lucrative programs. Some of them are: Arts to be a part of an all-inclusive education And an improved legislation. Open interaction among governors’ education policy advisors, economic growth pioneers, and school leadership—especially in those quarters with high numbers of delinquent youth. The top arts and culture officers of a state are the best strategies to use in such scenarios. Promote artists’ participation in community development programs As well as artist-in-residence programs, assistance to youth in primary and secondary schools, neighborhood centers and programs, and detention centers. Encourage the private sector to participate in the arts by contributing seed funding and starter grants to innovative arts-based education programs. Insist that legislation promoting the arts in education be subject to Ongoing outcome measurement, and consult with national Organizations and centers of excellence to determine best practices in Program evaluation. Encourage collaboration among arts educators and juvenile detention centers to facilitate programs for detained adolescents. In an economy which is widely human capital and knowledge based, the loss of workforce productivity is worse than shooting one’s own foot. Globalisation is growing at a rapid speed which has involuntarily led to a workforce that is alarmingly decreasing and a population which is experimental to aging. It is an important step to maintain the exploration of newer facets for industrialists and government which guarantee better higher yielding prospects including financial viability for their firms and states respectively. Even the SAT has introduced an Art and Industry liaison office whose aim is to encourage the industry sector to benefit from the creative capabilities of the SAT members, also to extend an invitation towards them to develop new avenues. American and European models are the sources from which this program has been developed. The Art and Cultural industry has been allegoric in globalization in two ways. They are in the cultural sense, the homogenization of cultural tastes; and in the economic sense that it is dominated by oligopolistic transnational conglomerates. There are two questions that can be asked pertaining to the funding of arts and culture, excluding the common dialogue about the state’s function in opposition to the market, keeping in mind the subject of individual options. The first is the size of government funding of the arts in various different countries which is a very straightforward question as well as one without a definitive answer; the causes being the difference between the datasets that are available. The second question relates to the various origins of funding which supposedly has an effect on the style and content of cultural but what is unbelievable is the evidence which favors this theory. ‘Art worlds consist of all the people whose activities are necessary to the production of the characteristic works which that world and perhaps others as well, define as art. Members of the art world co-ordinate the activities by which work is produced by referring to a body of conventional understandings embodied in common practice and in frequently used artifacts,' as according Becker, S.H. (1982).Art World. It is sad that fine arts and music in our society are viewed upon as an extra discipline which is not necessary to the workings of our culture and society. Contrary to common belief, it is not only a fun thing to do but it has other advantages as well. One can learn substantially and gain a huge amount of experience from it. In a materialistic and superficial society fringing on judgment and ego, it is essential that artists and musicians make a conscious effort to advocate their cause so that people will know and regard the importance of art to them , society as well as other forms of industry. As Albert Einstein has rightfully noticed , “Anyone who has never made a mistake has never tried anything new.” Music has played a vital role in the many variances of life. It has always had a positive effect and will always have one; be it in workplaces like manufacturing firms , in hospitals , in schools and universities or in our normal routine of daily life. References Becker, S.H. (1982).Art Worlds. Howkins, J.The Creative Economy. Penguin Core research Program in the Study of Art and Culture.(2003-2005). Retrieved July 12, 2006 from http://www.fhk.eur.nl/onderzoek/arts.html Galindo, G. (2005-2006).The Importance of Music in our Society. Retrieved July 12, 2006 from http://www.g_galindo.homestead.com/importanceofmusic.html The Kitchen/the Ford Foundation. Art and Technology conferences.(2000).Retrieved July 12, 2006,from http://www.thekitchen.org/past/FordExec.pdf The Impact of Arts Education on Workforce Preparation.(2002).Retrieved July 12, 2006,from http://www.nga.org/cda/files/050102ARTSED.pdf. Read More