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To be a teacher (Beuys was teaching on the Düsseldorf Art Academy, fh) is my greatest work of art. The rest is the waste product, a demonstration. If you want to express yourself you must present something tangible. But after a while this has only the function of a historic document. Objects aren’t very important any more. I want to get to the origin of matter, to the thought behind it.
--
interview with Willoughby Sharp, 1969; as quoted in Energy Plan for the Western man - Joseph Beuys in America, compiled by Carin Kuoni, Four Walls Eight Windows, New York, 1993, p. 85

 

Joseph Beuys

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The most important thing any teacher has to learn, not to be learned in any school of education I ever heard of, can be expressed in seven words: Learning is not the product of teaching. Learning is the product of the activity of learners.

 

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The first and most necessary topic in philosophy is that of the use of moral theorems, such as, "We ought not to lie;" the second is that of demonstrations, such as, "What is the origin of our obligation not to lie;" the third gives strength and articulation to the other two, such as, "What is the origin of this is a demonstration." For what is demonstration? What is consequence? What contradiction? What truth? What falsehood? The third topic, then, is necessary on the account of the second, and the second on the account of the first. But the most necessary, and that whereon we ought to rest, is the first. But we act just on the contrary. For we spend all our time on the third topic, and employ all our diligence about that, and entirely neglect the first. (51).

 

Epictetus

 

And for the greatest movie artists where there is a unity of technique and subject, one doesn’t need to talk about technique much because it has been subsumed in the art. One doesn’t want to talk about how Tolstoi got his effects but about the work itself. One doesn’t want to talk about how Jean Renoir does it; one wants to talk about what he has done. One can try to separate it all out, of course, distinguish form and content for purposes of analysis. But that is a secondary, analytic function, a scholarly function, and hardly needs to be done explicitly in criticism. Taking it apart is far less important than trying to see it whole. The critic shouldn’t need to tear a work apart to demonstrate that he knows how it was put together. The important thing is to convey what is new and beautiful in the work, not how it was made — which is more or less implicit.

 

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The flowers bloomed, the schools of thought contended, and Mao's executioners went to work. The slogan had the same function as the Constitution of the Soviet Union, which Aleksandr Zinoviev tellingly defined as a document published in order to find out who agreed with it, so that they could be dealt with.

 

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Teaching Latin to someone like me in high school was somewhat like trying to teach a pig to dance. It's a waste of the teacher's time and it irritates the pig.

 

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