biotect
Designer
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CONTINUED FROM PREVIOUS POST
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21. Is heroic "Virtue Figuration" even possible in an era disenchanted by Science?
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Here we come back to Weber's "disenchantment" thesis, the idea that the the descriptive success of Science and the practical success of technological control, instead of completely liberating us, have cast us adrift, no longer grounded in a norms or values that once had non-scientific "sacral" or "religious" backing -- see https://en.wikipedia.org/wiki/Disenchantment and http://maxweberstudies.org/kcfinder/upload/files/MWSJournal/1.1pdfs/1.1 11-32.pdf :
The positive side of disenchantment is that we no longer believe in ghosts or demons, we no longer think magic controls the world, and we no longer believe in curses or spells cast by witches. But we also no longer believe in saints, angels, or God either. Even more troubling, Science and technology by themselves can only describe and provide us with instruments of control. Science can't prescribe, it can't tell us what is right or wrong. Science can only tell us how things are, and how to manipulate the things that are; it cannot tell what we should or should not manipulate, what we should and should not do with our knowledge. Many spheres of life can be "rationalized", but Weber quotes Tolstoi's observation that although Science can answer "What?" and "How?" questions, Science cannot answer "Why?" or "Should?" questions about meaning, purpose, and value -- see http://anthropos-lab.net/wp/wp-content/uploads/2011/12/Weber-Science-as-a-Vocation.pdf .
The problem for Art then seems quite clear. How does one create convincing heroic "Virtue Figuration" – figurative Art that points towards transcendence, and that reaches beyond a given group of religious insiders – in a culture that no longer believes in Angels, Heaven and Hell, the afterlife, God, or even the human Soul? How does one create “enchanted” and “enchanting” visual Art for an age disenchanted by Science?
It seems to me that figurative Art produced in our era has two options. On the one hand, it can see its role as purely descriptive, as merely "mirroring" reality, as merely reproducing in the aesthetic realm Science's hard-headed impetus to describe the world "as it really is". Or alternatively, Art can be unapologetically visually utopian, deliberately synthesizing aesthetic, political, and moral ideals in holistic visions that could be considered "hypothetical" proposals for better futures. Needless to say the legacy of Soviet socialist utopian Art casts a dark shadow over the latter enterprise. But here one might argue that the problem is not that Soviet Art was utopian, but rather, that its utopian content was state-dictated, and the utopia depicted was always a collectivist nightmare in which the individual had disappeared. One might just as easily describe the illustrations of Norman Rockwell as utopian, but the difference is that in Rockwell the idealistic content consists of quotidian moments in family or individual life:
Before one strongly condemns such illustrations as "sentimental kitsch", it's worth reflecting that in terms of content they are not that much different from work produced by the pre-Raphaelites, Renoir, or Italy's Macchiaioli :
Furthermore, it's worth observing that in the aesthetic realm it is equally naive to think that there can be such a thing as emotionally dispassionate and ethically neutral "Realist" Art, Art that merely mirrors or reflects "reality". 20th century anti-heroic figurative Art is not merely "realistic", but rather, it is positively dystopian. It is an Art that does not merely "reflect" a disenchanted worldview. Rather, it is an Art that positively celebrates disenchanted, anti-idealistic cynicism about the human condition. It celebrates anti-heroic cynicism as the most intelligent and sophisticated perspective we might adopt.
In the social sciences there is a long-standing debate as to whether purely descriptive, value-neutral social science is even possible. Most intelligent observers have concluded that it is not; that all social-science is shot through and through with normative or "value" presuppositions. The gathering, quantification, and mathematization of empirical evidence will always be central to the social sciences, but so too, becoming completely explicit and transparent about one's value presuppositions is also central. So if the social sciences have concluded as much, it seems just absurd that writers or artists should ever think it possible to produce "value neutral", merely descriptive Art that is "Realist", and not dystopian. When 20th century painters of the kind catalogue in post # 222 at sass painted human beings as spiritually eviscerated, lonely, isolated, sometimes depraved and cruel slabs of meat, they did not merely describe. They also passed a value judgment, advancing a normative anthropology, a prescriptive vision that limits our conception of what human beings can and should aspire to become. In their paintings they effectively state, "This is all we are; this is truly what we are; we can be nothing more noble than this. It is foolish to even aspire to become something more noble than this."
Now some will argue that Art can only recover "enchantment" in the wake of spiritual, religious, moral, or political revival. That it's first the job of ethicists or religious thinkers and leaders to reinvest Western culture with normative and/or spiritual direction, and a re-enchanted Art will then follow. This is partly true, but on my own view the wider cultural process has already begun. For instance, there are probably more truly committed pacifists alive today in Europe and the United States than at any prior point in history. More Americans and Europeans are now taking up yoga than ever before, and if yoga is the religious practice of Hinduism, then the West is becoming spiritually Hindu, adopting a practice that tends to create more compassionate, kind, and non-violent people. The threat of various resurgent forms of fascism, including extremist anti-secular Islamo-fascism, has also wonderfully concentrated minds on reasserting the foundational principles of liberal democracy. Just as the re-emerence of xenophobic, nativist, nationalist, and racist candidates and political parties has encouraged those inclined in the opposite direction -- those inclined towards full-blown globalism and cosmopolitanism -- to truly commit and loudly proclaim their allegiance to the latter.
So on my own view, there already is lots of "utopian" figurative content available waiting to be depicted, in the here-and-now, ready-to-hand. And yet no figurative artists have produced paintings depicting Western yoga studios, or volunteers taking part in Habitat for Humanity, or activists taking part in peaceful anti-fascist protests, or volunteers assisting with migrant integration.... Our contemporary world is full of heroes, people who are trying to change themselves and the world for the better. Why virtually none of this gets reflected in contemporary figurative Art is beyond me.
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22. Can Figurative Art & Sculpture Recover Idealism?
..
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.....The Challenge of post-Hegelian, post-Deterministic Art History and Criticism
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CONTINUED IN NEXT POST...
CONTINUED FROM PREVIOUS POST
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21. Is heroic "Virtue Figuration" even possible in an era disenchanted by Science?
********************************************
Here we come back to Weber's "disenchantment" thesis, the idea that the the descriptive success of Science and the practical success of technological control, instead of completely liberating us, have cast us adrift, no longer grounded in a norms or values that once had non-scientific "sacral" or "religious" backing -- see https://en.wikipedia.org/wiki/Disenchantment and http://maxweberstudies.org/kcfinder/upload/files/MWSJournal/1.1pdfs/1.1 11-32.pdf :
For Weber the disenchantment of the world lay right at the heart of modernity. In many senses, in fact, it is definitive of his concept of modernity, ‘the key concept within Weber's account of the distinctiveness and significance of Western culture' (Schroeder 1995: 228). It is the historical process by which the natural world and all areas of human experience become experienced and understood as less mysterious; defined, at least in principle, as knowable, predictable and manipulable by humans; conquered by and incorporated into the interpretive schema of science and rational government. In a disenchanted world everything becomes understandable and tameable, even if not, for the moment, understood and tamed. Increasingly the world becomes human-centred and the universe—only apparently paradoxically—more impersonal.
Disenchantment has two distinct aspects, each utterly implicated in the other. On the one hand, there is secularization and the decline of magic; on the other hand, there is the increasing scale, scope, and power of the formal means–ends rationalities of science, bureaucracy, the law, and policy-making.
The positive side of disenchantment is that we no longer believe in ghosts or demons, we no longer think magic controls the world, and we no longer believe in curses or spells cast by witches. But we also no longer believe in saints, angels, or God either. Even more troubling, Science and technology by themselves can only describe and provide us with instruments of control. Science can't prescribe, it can't tell us what is right or wrong. Science can only tell us how things are, and how to manipulate the things that are; it cannot tell what we should or should not manipulate, what we should and should not do with our knowledge. Many spheres of life can be "rationalized", but Weber quotes Tolstoi's observation that although Science can answer "What?" and "How?" questions, Science cannot answer "Why?" or "Should?" questions about meaning, purpose, and value -- see http://anthropos-lab.net/wp/wp-content/uploads/2011/12/Weber-Science-as-a-Vocation.pdf .
The problem for Art then seems quite clear. How does one create convincing heroic "Virtue Figuration" – figurative Art that points towards transcendence, and that reaches beyond a given group of religious insiders – in a culture that no longer believes in Angels, Heaven and Hell, the afterlife, God, or even the human Soul? How does one create “enchanted” and “enchanting” visual Art for an age disenchanted by Science?
It seems to me that figurative Art produced in our era has two options. On the one hand, it can see its role as purely descriptive, as merely "mirroring" reality, as merely reproducing in the aesthetic realm Science's hard-headed impetus to describe the world "as it really is". Or alternatively, Art can be unapologetically visually utopian, deliberately synthesizing aesthetic, political, and moral ideals in holistic visions that could be considered "hypothetical" proposals for better futures. Needless to say the legacy of Soviet socialist utopian Art casts a dark shadow over the latter enterprise. But here one might argue that the problem is not that Soviet Art was utopian, but rather, that its utopian content was state-dictated, and the utopia depicted was always a collectivist nightmare in which the individual had disappeared. One might just as easily describe the illustrations of Norman Rockwell as utopian, but the difference is that in Rockwell the idealistic content consists of quotidian moments in family or individual life:
Before one strongly condemns such illustrations as "sentimental kitsch", it's worth reflecting that in terms of content they are not that much different from work produced by the pre-Raphaelites, Renoir, or Italy's Macchiaioli :
Furthermore, it's worth observing that in the aesthetic realm it is equally naive to think that there can be such a thing as emotionally dispassionate and ethically neutral "Realist" Art, Art that merely mirrors or reflects "reality". 20th century anti-heroic figurative Art is not merely "realistic", but rather, it is positively dystopian. It is an Art that does not merely "reflect" a disenchanted worldview. Rather, it is an Art that positively celebrates disenchanted, anti-idealistic cynicism about the human condition. It celebrates anti-heroic cynicism as the most intelligent and sophisticated perspective we might adopt.
In the social sciences there is a long-standing debate as to whether purely descriptive, value-neutral social science is even possible. Most intelligent observers have concluded that it is not; that all social-science is shot through and through with normative or "value" presuppositions. The gathering, quantification, and mathematization of empirical evidence will always be central to the social sciences, but so too, becoming completely explicit and transparent about one's value presuppositions is also central. So if the social sciences have concluded as much, it seems just absurd that writers or artists should ever think it possible to produce "value neutral", merely descriptive Art that is "Realist", and not dystopian. When 20th century painters of the kind catalogue in post # 222 at sass painted human beings as spiritually eviscerated, lonely, isolated, sometimes depraved and cruel slabs of meat, they did not merely describe. They also passed a value judgment, advancing a normative anthropology, a prescriptive vision that limits our conception of what human beings can and should aspire to become. In their paintings they effectively state, "This is all we are; this is truly what we are; we can be nothing more noble than this. It is foolish to even aspire to become something more noble than this."
Now some will argue that Art can only recover "enchantment" in the wake of spiritual, religious, moral, or political revival. That it's first the job of ethicists or religious thinkers and leaders to reinvest Western culture with normative and/or spiritual direction, and a re-enchanted Art will then follow. This is partly true, but on my own view the wider cultural process has already begun. For instance, there are probably more truly committed pacifists alive today in Europe and the United States than at any prior point in history. More Americans and Europeans are now taking up yoga than ever before, and if yoga is the religious practice of Hinduism, then the West is becoming spiritually Hindu, adopting a practice that tends to create more compassionate, kind, and non-violent people. The threat of various resurgent forms of fascism, including extremist anti-secular Islamo-fascism, has also wonderfully concentrated minds on reasserting the foundational principles of liberal democracy. Just as the re-emerence of xenophobic, nativist, nationalist, and racist candidates and political parties has encouraged those inclined in the opposite direction -- those inclined towards full-blown globalism and cosmopolitanism -- to truly commit and loudly proclaim their allegiance to the latter.
So on my own view, there already is lots of "utopian" figurative content available waiting to be depicted, in the here-and-now, ready-to-hand. And yet no figurative artists have produced paintings depicting Western yoga studios, or volunteers taking part in Habitat for Humanity, or activists taking part in peaceful anti-fascist protests, or volunteers assisting with migrant integration.... Our contemporary world is full of heroes, people who are trying to change themselves and the world for the better. Why virtually none of this gets reflected in contemporary figurative Art is beyond me.
********************************************
22. Can Figurative Art & Sculpture Recover Idealism?
..
.
.....The Challenge of post-Hegelian, post-Deterministic Art History and Criticism
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CONTINUED IN NEXT POST...
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