The mathematical physicist must simplify in order to get a manageable model, and although his concepts are of great beauty, they are austere in the extreme, and the more complicated crystal patterns observed by the metallurgist or geologist, being based on partly imperfect reality, often have a richer aesthetic content. Those who are concerned with structure on a super atomic scale find that there is more significance and interest in the imperfections in crystals than in the monotonous perfection of the crystal lattice itself.
Recently there is a tendency to pursue distortion in art, but in the case of this jar, natural deformation has raised distortion to the level of spontaneous beauty.
Generally speaking, the Western perception of art has its roots in Greece. For a long time its goal was perfection, which is particularly noticeable in Greek sculpture. This was in keeping with Western scientific thinking; there are no painters like Andrea Mantegna in the East. I am tempted to call such art ‘the art of even numbers’.
In contrast to this, what the Japanese eye sought was the beauty of imperfection, which I would call ‘the art of odd numbers’. No other country has pursued the art of imperfection as eagerly as Japan.
We love to see the process, not just the result. The imperfections in your work can be beautiful if they show your struggle for perfection, not a lack of care.
Society is steadily moving from a material goods society to an information service society. At the time of the American Revolution, say 1780 or so, over 90% of the people were essentially farmers—now farmers are a very small percentage of workers.
What will the situation be in 2020? As a guess I would say less than 25% of the people in the civilian workforce will be handling things; the rest will be handling information in some form or other. In making a movie or a tv program you are making not so much a thing, though of course it does have a material form, as you are organizing information.