Great question, Charles.
By way of reply, there was an interesting discussion here
about what
abstraction means now in art.
Although it is on some levels a very different
question, there are nonetheless similarities in the role painting and
theoretical science (at least at a high level) play, particularly in their role
of creating frames for thought and giving us an abstract language with which to
apprehend, analyze, and represent the world. So one could ask how the artist’s
role as technician and master craftsman should merge with the artist’s role as visionary,
and how one might balance the practical need to work within an existing
representational tradition with what Arthur in a different context called
extending the frame.
From various other
discussions on modern art here it seems that people feel artists have largely
failed in their role as mediators between the world of representation and that
of life; that art has become too caught up in its own infinite conversation and
not enough concerned with its creative work, with upholding its social contract
to give birth to new physical, emotional, abstract languages and images and tools
which
everyone can use to make sense
of the complexities of living. Science is not so unfavorably judged for now,
though narrowness and specialization are becoming the norm (in part, simply
because of the complexity of the task at hand; but surely not
only because of this).
The subject by itself does not necessarily determine the
profundity of the work. Surely many banal novels were written about “a day
in the life” before Joyce, and even more afterwards. But what he chose to say
was masterful. The deep people can turn almost any mathematical conversation
into something profound, tilting the idea slightly or changing its color or feeling what to abstract. Shortly after the Green-Tao result, when some people were
going on about the problem having been solved and how wonderful it was to have
a proof and be done with it, Tao gave a talk which began with
surprising and strange this all was, how
little it had to do with the primes in some sense, what enormous and
interesting questions it opened up.
The
depth of the person, at least as much as the interest of the question or the
result, determines whether something is an ending or a beginning.
There are various ways of answering the question of choosing
a problem, for different days perhaps. So I’ll give what might seem to be a
selfish answer. One should work on the problems which will allow one to become
great. Obviously I don’t mean famous.
One
should try to be deeply and precisely sensitive to one’s blindness and one’s
gift and take on the riddles which allow one to emerge at much higher levels.
The only paradigm shifts, the only questions
and solutions which are of any permanent interest are ones which emerge in the pursuit
of this kind of understanding.