All models are wrong, some are useful
I've been an active user of ''expressive life'' since I first heard Bill discuss it years ago. The phrase captured the spirit of the more ecological and systemic approach I had been seeking in my teaching and research. And it offered a bigger frame that included our traditional set of ''arts and culture'' but with elbow room for other forms of artistic expression and experience as well. Its closest contender, ''creative life,'' didn't work for me, as creativity is really only a subset of expressive activity.
But in this week's conversation, I'm less concerned about whether ''expressive life'' is exactly the right phrase for everyone, and more interested in whether it offers a USEFUL frame for the real work of our field. The George Box quote used as the title of this post gets to the heart of that issue: Every model we use to engage the world is incomplete or incorrect in some way -- it has to be. What matters is how well those imperfect models move us forward in the specific task at hand.
For me, at least, ''expressive life'' has become an extraordinarily useful model -- in teaching my MBA students about policy and practice, in discussing issues in the arts with peers, in thinking about the cast of characters that influence how we create, present, connect, discuss, preserve, and support both human heritage and individual voice.
As Marian suggests, the phrase doesn't ''do'' much on its own. But I think it allows us to think about, speak about, and go about our work in more productive and connected ways. And that's a start.
But in this week's conversation, I'm less concerned about whether ''expressive life'' is exactly the right phrase for everyone, and more interested in whether it offers a USEFUL frame for the real work of our field. The George Box quote used as the title of this post gets to the heart of that issue: Every model we use to engage the world is incomplete or incorrect in some way -- it has to be. What matters is how well those imperfect models move us forward in the specific task at hand.
For me, at least, ''expressive life'' has become an extraordinarily useful model -- in teaching my MBA students about policy and practice, in discussing issues in the arts with peers, in thinking about the cast of characters that influence how we create, present, connect, discuss, preserve, and support both human heritage and individual voice.
As Marian suggests, the phrase doesn't ''do'' much on its own. But I think it allows us to think about, speak about, and go about our work in more productive and connected ways. And that's a start.
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This Conversation Are the terms "Art" and "Culture" tough enough to frame a public policy carve-out for the 21st century? Are the old familiar words, weighted with multiple meanings and unhelpful preconceptions, simply no longer useful in analysis or advocacy? In his book, Arts, Inc., Bill Ivey advances "Expressive Life" as a new, expanded policy arena - a frame sufficiently robust to stand proudly beside "Work Life," "Family Life," "Education," and "The Environment." Is Ivey on the right track, or more
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