functions as a substitute

of religion, such as Mallarmé’s poetry, while artistic practice

becomes a substitute of religious ritual. Hence, the perception of Art evolved from

being complementary or even parallel to religion to becoming a

new religion

. In this

light, ‘artwork’ is seen

 

as ‘altar’ (Acconci, 2002), while the artist is seen as a spir

itual

figure; a priest, a shaman, a mystic, a martyr, a saint, or a primitive.

(ibid: 802). These functions are becoming increasingly unimportant. As society moved away from the primitive format, the artist may be perceived as a surviving relic of a by-gone era, often granted ‘poetic license’ (ibid: 802)

- permission to be illogical or inaccurate and diverge from linear logic. In fact, one might say hyperbolically that the artist ‘is older than other human beings’ (Harmon, 1976: 802)

in the sense that artistic creation has its roots in great depths of time, created by and providing a sense of unity, which in turn the auience ‘may recognize without

intellectually unerstaning it’ (ibi: 806), giving a sense of familiarity with suppressed elements of the human nature.

4. Make sure you have arranged for someone (probably someone else in the class) to document your performance (probably, though not necessarily via video and still photographs)

5. There will be a class critique of the performance.

6. After completing the performance, you will complete a self-analysis on Angel of elements/principles of design in the piece you performed.