From: khaled Alkotob (khaledsa@juno.com)
Date: Mon Apr 25 2005 - 19:37:31 BST
The point I was trying to make is that without the LABEL certain things
are not accepted or validated.
For example I had a booth at a “wine and art show”. There were 2 kinds of
people there, the “pedestrians” who happen to be going through the mall
and the “connoisseurs” strolling by wine in hand enjoying the art fair.
When a “pedestrian” would go by, you would hear comment such as “mom,
look how pretty that is” or “ hey look at that, wouldn’t mind taking it
home.”
When the connoisseur went by, wine in hand, there was no reaction, they
would look at the display, nod, and as they were almost passed it, they
would notice the framed review in the local newspaper. The story about me
and what I do. Now they came in closer to examine the art work.
One can argue that certain things are of the value they are because a
critic said so, a market said yes and paid the price, and investors
thought it a safe place for their money. Case in point: Thomas Kinkaid,
the painter of light.
So the question is, if a well known author, whose work is usually
published in the New Yorker, submits an article without a credit line, or
under another name, A good article, will the magazine accept it and
publish it?
That’s the point I was trying to make when I gave the example of John
Sutherland refusing the fix to his handlebars because he was not able to
see the quality in the shim made out of the aluminum can. Pirsig offered
him quality, pure quality in its simplest form, yet john couldn’t see it.
Then comes the point of delivery. A baseball player may know nothing
about calculus, but every time a ball is thrown and caught, thousands of
calculations are done to achieve such a task flawlessly.
There are those who can read and write music, and there are those who
play by ear. The problem arise when you ask the person who plays by ear
to transcribe what she just played so you can send it to another person
to play, she can’t. You can use a tape player, but that may not work if
the other person is only used to reading music off a sheet.
One of the beauties of Pirsig’s book is that he did not bother you with
the music notes; he made you hear the piece.
Khaled
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