Froebel’s Gifts were meant to be given in a particular order, growing more complex over time and teaching different lessons about shape, structure and perception along the way. A soft knitted ball could be given to a child just six weeks old, followed by a wooden ball and then a cube, illustrating similarities and differences in shapes and materials. Then kids would get a cylinder (which combines elements of both the ball and the cube) and it would blow their little minds. Some objects were pierced by strings or rods so kids could spin them and see how one shapes morphs into another when set into motion. Later came cubes made up of smaller cubes and other hybrids, showing children how parts relate to a whole through deconstruction and reassembly.
These perception-oriented “Gifts” would then give way to construction-oriented “Occupations.” Kids would be told to build things out of materials like paper, string, wire, or little sticks and peas that could be connected and stacked into structures.
If there were a part of life dark enough to keep out of it a light from art, I would want to be in that darkness, fumbling around if necessary, but alive.
And I rather think that contemporary music would be there in the dark too, bumping into things, knocking others over and in general adding to the disorder that characterizes life (if it is opposed to art) rather than adding to the order and stabilized truth beauty and power that characterize a masterpiece (if it is opposed to life).