I wanted to train GPT4 to analyze films according to a system I came up with (I use this system on my podcast). I showed it a recent segment explaining the system. Here’s what happened.
I want you to use this as an example of my writing style:
TWO TYPES OF ART
This episode is going to be a slightly different format. I usually feature 1 film and 1 piece of music. And this episode will also do that, but this time, I will use them as examples of what I think might be TWO DISTINCT TYPES OF ART.
But first, an important philosophical question.
ARE MOST PEOPLE STUPID?
Raise your hand if you believe most people are stupid. It’s OK, I probably can’t see you raising your hand. And I used to believe most people are stupid, by the way.
It’s normal to think that. Oddly enough, from what I can tell, most people believe they are of ABOVE AVERAGE intelligence. Probably everyone I know believes that. And that’s puzzling.
Or as George Carlin said, “Think of how stupid the average person is, and then realize, half of ‘em are stupider than that.”
Now Is it POSSIBLE… that there are two types of art? And that they are determined by the creator’s answer to that question: are most people stupid?
To avoid being too judgmental, instead of calling them Stupid Art and Smart Art, I’m going to refer to them as simply Type 1 and Type 2.
So here’s the premise we’ll work with, for the heck of it:If the creator believes the answer is YES, MOST PEOPLE ARE STUPID, they will make Type 1 Art. If the creator believes the answer is NO, MOST PEOPLE ARE NOT STUPID, they will make Type 2 Art.
Of course, there are more than 2 types of art. Or maybe there are NO types of art. Setting up this false binary is purely an analytical exercise. I’m also going through this to understand the concept for myself. And it’s probably something I could have learned years ago, if I had taken a film studies or art appreciation class in college.
Now, how am I going to determine if something is Type 1 or Type 2?
I’ve come up with 7 different dimensions to help classify them.
Those 7 dimensions are:
1 – Surprise
2 – Abstraction
3 – Ambiguity
4 – Subtlety
5 – Non-Linearity
6 – Ironic Counterpoint
7 – What I am going to refer to as “Dimension 7” — because as far as I know, there’s no existing technical term for it.
Imagine if each of these dimensions were a dial you could turn up or down. Theoretically, if you turned them all down, so that there was no surprise, no abstraction, no ambiguity, no subtlety, no non-linearity, no ironic counterpoint, and no patience — you’d have a Type 1. If you turn all the dials all the way up, you’d have a Type 2.
Of course, these “dimensions” are subjective and personally relative terms. What one viewer might find Surprising, another viewer might NOT. It depends on their own tastes and previous experience. Still, I think the INTENT of the creator is what matters.
Now these TYPES can apply to both music and film. And probably any art form.
So let’s work our way through these dimensions.
Thank you for providing this text excerpt. I now have a better understanding of your writing style. It appears conversational, engaging, and thought-provoking, with a touch of humor. I will do my best to adapt to this style in any further responses or content I generate for you. If you have any specific requests or need assistance with a particular topic, please let me know!
Do you understand the difference between Type 1 and Type 1 art?
Based on the text excerpt you provided, I understand that Type 1 and Type 2 art are theoretical categories you’ve created as part of an analytical exercise. These types are not absolute classifications but rather a way to explore the creator’s intent and the characteristics of their art.
Type 1 Art is created when the artist believes most people are stupid. This type of art tends to have little to no surprise, abstraction, ambiguity, subtlety, non-linearity, ironic counterpoint, and patience (Dimension 7). Essentially, Type 1 Art is more straightforward, easy to understand, and has minimal complexity.
Type 2 Art, on the other hand, is created when the artist believes most people are not stupid. This type of art usually has a higher degree of surprise, abstraction, ambiguity, subtlety, non-linearity, ironic counterpoint, and patience (Dimension 7). Type 2 Art tends to be more complex, challenging, and thought-provoking.
Again, it’s important to note that these categories are not definitive and are based on your subjective analysis. Different viewers might perceive the same art piece differently depending on their tastes and experiences.
Can you write me 1200 words about The Empire Strikes Back and whether it would quality as Type 1 or Type 2 art, using those 7 dimensions I listed?
“The Empire Strikes Back,” the 1980 sequel to the groundbreaking film “Star Wars: A New Hope,” directed by Irvin Kershner and written by George Lucas, has long been praised as one of the best films in the Star Wars saga. As a pop culture phenomenon and a major influence on the sci-fi genre, it’s worth considering whether “The Empire Strikes Back” would qualify as Type 1 or Type 2 art using the 7 dimensions you’ve outlined: surprise, abstraction, ambiguity, subtlety, non-linearity, ironic counterpoint, and Dimension 7 (patience).
First, let’s address the element of surprise. “The Empire Strikes Back” offers several unexpected plot twists and turns, most notably the revelation of Darth Vader’s true identity. This disclosure not only challenges the audience’s assumptions about the characters but also adds depth to the story. Additionally, the film introduces new characters, such as Yoda and Lando Calrissian, whose motivations and allegiances are initially uncertain. Given these factors, “The Empire Strikes Back” scores relatively high on the surprise dimension, leaning towards Type 2 art.
In terms of abstraction, “The Empire Strikes Back” is a mixture of concrete and abstract elements. The film’s plot is straightforward and easy to follow, but it also explores abstract concepts like the Force and the struggle between the light and dark sides. The film’s visual effects and set designs create a fantastical universe that is both imaginative and grounded in familiar archetypes. While some viewers may find the film’s themes somewhat abstract, the overall narrative is still accessible, placing the film between Type 1 and Type 2 art in this dimension.
Ambiguity is another dimension to consider. “The Empire Strikes Back” leaves some questions unanswered, such as the true nature of the Force or the ultimate fate of the characters. However, these ambiguities are relatively minor compared to more experimental films, and the story remains coherent throughout. The film’s level of ambiguity is moderate, neither fully embracing nor avoiding it, which puts it somewhere between Type 1 and Type 2 art.
When it comes to subtlety, “The Empire Strikes Back” demonstrates a more nuanced approach than its predecessor. The film delves deeper into its characters’ emotional journeys, with quieter moments like Luke’s training with Yoda or Han and Leia’s blossoming romance. While some aspects of the film are overt, such as the battle sequences and the iconic lightsaber duels, the character-driven scenes reveal a degree of subtlety that leans more towards Type 2 art.
In examining non-linearity, “The Empire Strikes Back” mostly follows a linear narrative structure. Although it presents multiple storylines, including Luke’s Jedi training and Han and Leia’s escape from the Empire, these events are interwoven in a clear, chronological order. As such, the film leans more towards Type 1 art in this dimension.
Ironic counterpoint is an interesting aspect to discuss in relation to “The Empire Strikes Back.” The film employs a degree of irony in some of its scenes, such as the contrast between Yoda’s initially unassuming appearance and his true wisdom and power. However, these instances of ironic counterpoint are relatively sparse and serve primarily to enhance the storytelling, rather than to challenge the audience’s expectations. In this regard, “The Empire Strikes Back” sits between Type 1 and Type 2 art.
Finally, Dimension 7 (patience) is another factor to consider. “The Empire Strikes Back” balances fast-paced action sequences with slower, introspective moments that require a degree of patience from the audience. The film’s pacing is measured, allowing viewers to become immersed in the story without feeling overwhelmed. While the film does not demand excessive patience from its viewers, m it does encourage them to engage with the characters and their emotional journeys. In this sense, “The Empire Strikes Back” demonstrates a moderate level of patience, placing it somewhere between Type 1 and Type 2 art.
In conclusion, “The Empire Strikes Back” displays a mix of characteristics from both Type 1 and Type 2 art across the 7 dimensions. While the film’s narrative structure and pacing lean more towards Type 1 art, elements like surprise, subtlety, and some degree of abstraction and ambiguity push it closer to Type 2 art. It’s important to remember that the classification of art as Type 1 or Type 2 is subjective and depends on the viewer’s perspective and experiences. However, given its broad appeal and the balance it strikes between complexity and accessibility, “The Empire Strikes Back” could be considered a unique blend of Type 1 and Type 2 art, making it a compelling and enduring work of cinema.
Can we redefine Dimension 7 as being a Conspicuous Slowness to the pacing, with very long scenes requiring patience to sit through and enjoy?
Certainly, we can redefine Dimension 7 as “Conspicuous Slowness,” focusing on the pacing of the film and the patience required to sit through and enjoy lengthy scenes. With this new definition, let’s reevaluate “The Empire Strikes Back” in terms of Dimension 7.
While “The Empire Strikes Back” does feature moments of introspection and slower pacing, it does not necessarily possess conspicuous slowness in the sense of extended, drawn-out scenes that demand significant patience from the viewer. The film maintains a balance between action-packed sequences and character-driven moments, with both fast-paced and slower scenes serving the narrative’s progression. As a result, the film’s pacing is measured and engaging rather than conspicuously slow.
Taking this redefined Dimension 7 into account, “The Empire Strikes Back” leans more towards Type 1 art in terms of pacing. However, as previously discussed, the film exhibits a mix of Type 1 and Type 2 characteristics across the other six dimensions, making it a unique blend of both types of art. This balance between complexity and accessibility contributes to the film’s lasting appeal and widespread admiration.
Could you please update this answer and rank each of the 7 dimensions on a scale of 1-10, according to how Type 1 (low on the scale) to Type 2 (high on the scale) they are?
Certainly! Based on the previous analysis, here’s a ranking of the 7 dimensions for “The Empire Strikes Back” on a scale of 1-10, with Type 1 being low on the scale and Type 2 being high on the scale:
“The Empire Strikes Back” scores high on the surprise dimension, with its unexpected plot twists and the introduction of new characters, leaning towards Type 2 art.
The film balances concrete and abstract elements, with a straightforward plot and abstract concepts like the Force, placing it between Type 1 and Type 2 art.
The level of ambiguity in “The Empire Strikes Back” is moderate, with some unanswered questions but an overall coherent story, sitting between Type 1 and Type 2 art.
The film demonstrates a nuanced approach to its characters’ emotional journeys and quieter moments, leaning more towards Type 2 art.
“The Empire Strikes Back” follows a linear narrative structure, with multiple storylines interwoven in a chronological order, leaning towards Type 1 art.
Ironic counterpoint: 5
While the film employs some instances of ironic counterpoint, they are relatively sparse and serve primarily to enhance the storytelling, placing the film between Type 1 and Type 2 art.
Dimension 7 (patience): 6
The film balances fast-paced action sequences with slower, introspective moments, requiring a moderate level of patience from the audience, placing it somewhere between Type 1 and Type 2 art.
As previously mentioned, the classification of art as Type 1 or Type 2 is subjective and depends on the viewer’s perspective and experiences. However, considering these rankings, “The Empire Strikes Back” can be seen as a unique blend of Type 1 and Type 2 art, striking a balance between complexity and accessibility.