Hope in this world is a tricky thing, with all the suffering around, should we care to look.
I doubt Williams is invoking the Godhead here, but a ‘Jesus Christ’ might slip out of me or you upon suddenly catching sight of the wretched. Open sores and infections usually indicate deeper physical illness. Rambling speech and shuffling feet usually indicate a disordered mind and soul. Some people could be so far gone they may not be coming back.
But there’s an abandonment in the desire to be free, untethered, and lost within the world.
One of my takes: Love means obligations to others, where abandonment also meets responsibility, not merely abandonment to one’s own desires. Each of us, despite our habits, could become captive to our desires. Watch out for yourselves.
There’s something like a ‘narrative’ race on in the power-centers, and for politicos, right now, because I see U.S. institutions as seriously weakened, overbuilt and stagnant.
On that note, W.S. Merwin came of age during the post-war period, the son of a Presbyterian minister. I’d argue we’re witnessing a religious vision becoming transposed through the Modernist and post-Modernist lenses in his work (especially with the ‘eco’ stuff). This is what I’ve been calling the journey of the (S)elf, within the Romantic bowl of ‘Nature,’ where increasingly isolated individuals are seeking wholeness and transcendence through ‘the environment’ and ‘collective action’ and ‘(S)cience.’ This process of secular humanization is fast upon us here in the U.S. (much more advanced in Europe).
What occurs at the basic level of conception, and once held in the King James Bible, is now more likely to be ‘revealed’ to be a concern with the environment, or the ‘oppressed.’ Notice it’s not really about (S)cience but a kind of belief-level claim to knowledge and truth. Basically, I see ‘true-belief’ and righteous actors as often making things worse, and typically blaming everyone else in the process.
Do the wretches have something to teach? About what and to whom? Are poets exiles (the ones who imagine themselves as drunks)? What about ministers?
The Drunk In The Furnace
For a good decade The furnace stood in the naked gully, fireless And vacant as any hat. Then when it was No more to them than a hulking black fossil To erode with the rest of the junk-hill By the poisonous creek, and rapidly to be added To their ignorance,
They were afterwards astonished To confirm, one morning, a twist of smoke, like a pale Resurrection, staggering out of its chewed hole, And to remark then other tokens that someone, Cosily bolted behind the eyeholed iron Door of the drafty burner, had there established His bad castle.
Where he gets his spirits It’s a mystery. But the stuff keeps him musical: Hammer-and-anviling with poker and bottle To his jugged bellowings, till the last groaning clang As he collapses onto the rioting Springs of a litter of car seats ranged on the grates, To sleep like an iron pig.
In their tar-paper church On a text about stoke holes that are sated never Their Reverend lingers. They nod and hate trespassers. When the furnace wakes, though, all afternoon Their witless offspring flock like piped rats to its siren Crescendo, and agape on the crumbling ridge Stand in a row and learn.
What might work better for a lot of us, a lot of the time, but I don’t really know for sure: The Victorian idea of the ‘deserving’ poor. Reality means having to make decisions in a world of limited resources about how to help those not helping themselves. We all have obligations to others, but they largely occur to those we love, and those whom we must honor and protect.
Forgive the photo. My skills are a work in progress, but thanks, as always, for looking.
Shouldn’t one begin from the point-of-view of neutrality regarding Nature (beyond value-judgment?)
Nature can be: The sweetest-smelling spring meadow and the source of life. The enveloping tenderness of mother and child. It can be a series of renewing calls to adventure in which we find ourselves most alive. I’m guessing the subjugation of one’s ideas about Nature into (Nature), and God, or no God, is where we often find our thoughts returning.
Nature is also: A volcano scorching thousands of men, women and children at a time. The river dangerously rising. Rabies, A.I.D.S. and an uncompromising, relentless disregard for our hopes. It can be the casual disregard of the old by the young, and the sad fading of a loved one into oblivion. Imagine, if you will, the last thoughts and experiences of someone eaten to death by a predator (but my spirit animal is a bear..I’ve always practiced bear/human moral recognition).
No wonder our default is to explain through mythology, idealization, and highest conceptualizations along with the calling forth of deepest desires during intensest experience.
The modern flavors of myth veer into Romantic Primitivism and Collectivism, Radical Western animism and the ideological discontents of the ‘Modern’ age.
How’s that stuff working out?
Beware the modern theologies of (M)an? Back to the old theologies of God and all those attendant problems?
What are the artists up to? How have so many, so often, come to undervalue, and overvalue, the Arts, and the (S)elf?
The search for meaning goes on.
Land-art pieces are site-specific. They require you to be there and experience them, designed as they are to be within the specific spaces they occupy.
In so doing, they break from previous modernist ‘Readymades‘ and reproduced images (I don’t know about you, but I’m tiring of so many commentaries on consumerism, the desire for craft over mass production, a certain collective vagueness against such disposability…the dream of unique Selfhood, celebrity even, amidst a thousand urinals).
As a viewer, you’re supposed to interact with these pieces and start feeling and thinking differently than perhaps you might have otherwise. Walk around, through, and over them.
Time is clearly intended to be an element, here; the long sweep of geologic and/or historical time as the artist understands it, as well as the relative brevity of personal time during just a 10-minute visit.
These pieces can act as signposts towards Nature and what we can begin to observe of our specific natural environments (steel rusts in unique, but perhaps underlying, patterns…winds blow at different angles and around different obstacles in one grove as opposed to another, these lichens are growing here…other lichens over there, are they the same species?).
If you pull the piece out of its specific environment, it may just wither and die, looking out-of-place as many other products of civilization do amidst natural settings (a jar in Tennessee). Perhaps, though, they won’t look quite so out-of-place as mass-produced objects because of such careful design and attention to detail.
That said, these pieces will eventually look quite awkward undergoing the changes they will undergo if Nature’s Laws are any guide (Romantic/Modernist recreations of Nature can promise the comforts of Home).
Here’s Wikipedia, keeping it simple:
‘Land art, earthworks (coined by Robert Smithson), or Earth art is an art movement in which landscape and the work of art are inextricably linked.’
‘Robert Smithson and Richard Serra both believed that sculpture should have a dialog with its environment. This program explores the challenging dialectic of the site-specific sculpture of Smithson and Serra through examples of their work. In an interview, Serra discusses the aspects of time and context in relation to his art as well as the influence of Smithson.’
Maybe it’s worth pointing out that Serra seems interested in symmetry, visualizing and realizing abstract shapes with the help of some mathematics and the practice of drawing/drafting. Interesting problems can arise from tooling around with shapes on paper (a practice of Serra’s), the kind I’m guessing folks fascinated by puzzles and software and math love to solve.
But Serra’s not a mathematician nor an engineer nor an architect. He’s not writing a proof for its own sake nor building bridges nor houses for practical use.
Rather, the intuitive and creative impulses of the artist take over in his work, a kind of creative exploration, as well as the dialog between fellow artists, living and dead.
Much (A)rt, of course, is useless for most, if not all, purposes. It’s one of the things that can make it meaningful for people. There can be a significant gap between what the artist may have felt, thought and realized, and which emotions, thoughts and experiences any viewer/listener might have in interacting with a particular piece.
Serra, in his work, wants to alter the thinking of anyone moving through the space he creates by manipulating specific substances like steel (he has a facility with the material), and by getting viewers to a point of reorientation of spatial and temporal awareness.
Of course, this involves reorientation towards certain ideas as he understands them, and by promising people a return to themselves, or a state of experience and creative play perhaps similar to that of the artist.
Here’s a Charlie Rose interview:
More about Land Artists:
Any thoughts and comments are welcome. Feel free to highlight my ignorance…
‘Contemporary liberalism does not depreciate emotion in the abstract, and in the abstract it sets great store by variousness and possibility. Yet, as is true of any other human entity, the conscious and the unconscious life of liberalism are not always in accord. So far as liberalism is active and positive, so far, that is, as it moves toward organization, it tends to select the emotions and qualities that are most susceptible of organization. As it carries out its active and positive ends it unconsciously limits its view of the world to what it can deal with, and it unconsciously tends to develop theories and principles, particularly in relation to the nature of the human mind, that justify its limitation.’
It’s easy to believe that because you know one thing pretty well, or a few things reasonably well, that what you know is known by all, and that this knowledge is universal. What if what you can know is bound up with your experiences, and is acutely limited?
A 20th century address of such problems:
‘But my object is not to refute Rationalism: its errors are interesting only in so far as they reveal its character. We are considering not merely the truth of a doctrine, but the significance of an intellectual fashion in the history of post-Renaissance Europe. And the questions we must try to answer are: What is the generation of this belief in the sovereignty of technique? When springs this supreme confidence in human ‘reason’ thus interpreted? What is the provenance, the context of this intellectual character? And in what circumstances and with what effect did it come to invade European politics?’
Oakeshott, Michael. “Rationalism In Politics“. Rationalism In Politics And Other Essays. Liberty Fund, 1991. Print. (Pg 17).
One of the more solid moral foundations for why you should be liberal still comes from J.S. Mill:
“The likings and dislikings of society, or of some powerful portion of it, are thus the main thing which has practically determined the rules laid down for general observance, under the penalties of law or opinion. And in general, those who have been in advance of society in thought and feeling, have left this condition of things unassailed in principle, however they may have come into conflict with it in some of its details. They have occupied themselves rather in inquiring what things society ought to like or dislike, than in questioning whether its likings or dislikings should be a law to individuals. They preferred endeavoring to alter the feelings of mankind on the particular points on which they were themselves heretical, rather than make common cause in defence of freedom, with heretics generally. The only case in which the higher ground has been taken on principle and maintained with consistency, by any but an individual here and there, is that of religious belief:…”
John Stuart Mill, On Liberty (New York: Barnes & Noble, 2007), 8-9.
“More recently Richard Rorty made an attractive attempt to reconcile the most avant-garde postmodern theory with a defence of the institutions of the Western liberal democracies, but the Mill of On Liberty still reigns supreme.”
Snow falls: years of anger following hours that float idly down — the blizzard drifts its weight deeper and deeper for three days or sixty years, eh? Then the sun! a clutter of yellow and blue flakes — Hairy looking trees stand out in long alleys over a wild solitude. The man turns and there — his solitary track stretched out upon the world.
‘Intersectionality is not just a branch of feminism, a means by which to advance women’s interests, or an analysis of matters of social concern. It is an all-encompassing philosophy that advances a unique politics, metaphysics, aesthetics, and epistemology, as well as its own (rather bizarre) interpretation of history. It is effectively a secular religion.1′
Many liberation-based ideologues and radical discontents have ridden the postmodern waves into academies and various other institutions of influence.
This blog operates under the assumption that, generally, people who’ve only conceived of the world as a series of power relationships, or fumblings of Self against the objectively meaningless void, or through lenses of collectivist oppression and victimhood, are generally people to be nowhere near positions of authority and stewardship.
Hey, it’s just the Arts & Sciences, as well as your freedoms.
Who is ‘Rasta Dale’?
Despite his humble beginnings as the bastard son of an itinerant diplomat and the global-warming journalist sent to cover him, Dale has worked hard to become the supreme leader of Peace Pavilion West. He oversees daily work assignments, Temple activities and breeding celebrations.
Protecting the environment, promoting women’s freedom and protesting warmongers here on Spaceship Earth are all in a day’s work in the community, and for Dale.
Here are some recent articles Dale wholeheartedly supports:
As I’m doing PR for PPW, I like to include my commentary when relevant.
Community Gardens IN THE SKY!
Of course Dr. Seuss should get political! Make everything political!
Dale had a dark period after the last EPA raid. He was found in the Temple by himself mumbling ‘Now we are all zero-waste:’
A little bit about politics and also the politics amidst fellow writers and critics:
‘…when in doubt, I always follow the simple method of choosing that line of conduct which may be the most displeasing to the Reds and the Russells.’
‘Who’s in, who’s out, and where are the snows of yesteryear. All very amusing. I am a little sorry to be left out. Nobody can decide if I am a middle-aged American writer or an old Russian writer—or an ageless international freak.’
On his professional collection of butterflies:
‘The pleasures and rewards of literary inspiration are nothing beside the rapture of discovering a new organ under the microscope or an undescribed species on a mountainside in Iran or Peru. It is not improbable that had there been no revolution in Russia, I would have devoted myself entirely to lepidopterology and never written any novels at all.’
Via Youtube: An interviewer, Nabokov and Lionel Trilling discuss ‘Lolita:’
Making the ‘personal political’ tends to politicize all aspects of life. It’s unsurprising that a few good artists will fall on more conservative sides of topical political discussion.
As I see the world: Radical doctrines weaponize personal confessions into political (C)auses. Envy is a deep and nearly constant human emotion, and when the green eyed monster appears, honest self-criticism is much harder than righteous indignation (maybe this guy is smarter/better than me…what can I learn from him?).
I should add: There are plenty of religious prigs who are, essentially, failures at life. More than a few have traced their bitterness into a God-shaped mold.
It’s no surprise the basics learned in youth sports (how to lose honorably, the long hours of toil and sacrifice, the daily practice) are eschewed by most ideologues. If you’re weak and/or losing, becoming anointed into an ideology plugs into one of the deepest human desires: Defining yourself by what you are not, and finding group membership and meaning. The thought that ‘they’ are winning, and thus, I’m (we’re) losing is powerful stuff.
I’m somebody. I can win. I’m less racist than you. I’m more deeply (H)uman than you. I feel more authentically than my enemies. Sister Nancy is the most God-fearing gal in the whole convent.
Human nature hasn’t changed all that much, as every revolutionary radical seems to find out the hard way.
For anyone not in dire straits (genuine need and/or actual oppression), inviting the clumsy hands of ideological (C)ause into the bedroom is a kind of lunacy. Liberation doctrines valorize anti-heroes, medicalize illnesses and glamorize vices into badges of authenticity.
This tends to lead to a lot more failure, and more ideology to fill the holes.
I’m pretty sure: Deep down, rebels and anti-heroes still have authoritarian tendencies and tragic flaws: See History. Most sane people don’t idealize sickness and disease. When it comes to drugs, alcohol and the Zubercocks of this world, what awaits is often just a sad lonely death and a whimper.
Word to the wise: Placing your eggs in the activist basket is a long-term losing game (gays/lesbians/actual minorities) as I see the world. Short- and mid-term gains gather into an ever-growing list of human ‘rights’ which normalize the marginalized and politicize the personal. But politics is a thing. It’s about distributing unequal resources and making decisions. It’s contentious and corruption is usually the rule, not the exception. Believing in politics won’t bring more ‘peace’. Bureaucracy is a large organization where power and authority accrue, but instead of corporate bureaucracies subject to market forces, they continue on with bad incentives and the same amount of inequality as before.
Individual eggs get scrambled into unrecognizable omelettes of mass justice. Many individuals find out too late there’s no real space for individuals in mass movements and passionate (C)auses.
This blog welcomes lenses with which to view works of modern art.
‘Clarity: As I’ve said, the movie abstracts from concrete reality certain general character types, purges from them the nuance and complexity in which we find these general patterns embedded in everyday life, and re-embodies them in extreme characters so that we might more carefully consider those types. Just as we know more clearly what it is to be a triangle by abstracting from particular triangles (red ones, green ones, triangles drawn in ink, triangles drawn in chalk, etc.) and considering the general pattern, so too does the movie allow us to see more clearly what it is to be a desperate man, a cruel man, a weak man, a dishonest man, a broken man, and so on, by way of its skillful caricatures.
So, in its integrity, proportion, and clarity, Glengarry has the marks of a beautiful thing, despite its grim subject matter. One need not admire and approve of Satan in order to admire and approve of Dante’s or Milton’s literary representations of Satan, and one need not admire or approve of the sorts of people represented in a film like Glengarry in order to admire and approve of the representation itself.’
‘You call yourself a salesman you son-of-a-bitch?:’
For those who’ve ever had a real job, and seen people at their best and worst, or been reasonably honest about their own motivations and willingness to be do right by others under duress, well, there’s a lot of truth to be found in this particular work of art.
Like boxing gyms and MMA matches, or call-centers full of debt collectors, or daily life on public city buses, the stuff of humanity is pretty much the same as anywhere else, just more raw and closer to the surface.
On fuller display, perhaps.
Feser provides some reasonable context, here, the kind that forms the backbone of a good Catholic education, and which this blog considers to have enriched the debate.
For those who didn’t ask!:
As this blog sees things, the modernist project is not explicitly ideological, but it is extremely ambitious: Make it new. Start from the ground up, or go back to the foundations and take a really good look, and have the individual genius start building his own, new foundations (alone or in contact with others, such as the Bloomsbury Group).
It takes really talentedindividuals to pull this off; often individuals with previous exposure to tradition; young practitioners with enough talent and perseverance, as well as enough of a pedagogy to inherit and rebel against should they choose.
As this blog has noted, it’s not hard to witness a string of causation between high modernist aims and a lot of the modern and postmodern aimlessness we see all around us. There sure are a lot of poseurs and would-be artists bobbing in the postmodern stew, left to sort out the entire world and their relation to it alone, or upon a stage (as alone and not alone as one can be).
They write these f**king art blurbs before they have any art! What the f**k is this lady doing?:
‘The most useful definition of modernist fiction I’ve encountered comes from Brian McHale’s Postmodernist Fiction. He says modernist fiction tends to “foreground epistemological questions” such as “How can I interpret the world I’m part of? What is there to be known? Who knows it? What are the limits of that knowledge?” In contrast, postmodernist fiction tends to “foreground ontological questions” such as “What is a world? What kinds of worlds are there and how are they constituted? What happens when…boundaries between worlds are violated?’
The above can invite all manner of despair and isolation, and perhaps a deeper cynicism we see in upcoming generations’ rather pervasive desire for fame and recognition.
The above can also exacerbate the spiritual and meaning-making demands individuals place upon the Marketplace, the Church, and in The Media and The Academy (where an authoritarian/totalitarian radical Left seeks to control institutions, institutions where a kind of Western secular humanism and standard-issue political idealism often dominates).
As I see it, I cannot call myself a believer in the questions the Catholic Church claims to to be able to answer, but many modern political and politico-philsophical movements are incomplete at best, and dangerously wrong at worst.
Ah well…there’s my two cents.
There’s good art to be found, of course, but like most well-made things, good art is relatively rare, its ultimate value and quality endlessly disputed, but perhaps, enduring.
–Born and raised in Chicago, Mamet seems pretty old-school and pretty tough. He reminds me a bit of Norman Mailer, verbally pugilistic and combative, though unlike Mailer he’s taken a different turn into ju-jitsu, instead of boxing, as well as into a different set of motivating principles. Alec Baldwin’s Death-Of-A-Salesman-on-steroids speech from Glengarry Glen Ross is a well-known example of Mamet’s work (demonstrating the kind of balls-out truth-telling dialogue from which Baldwin has possibly not recovered). I’m guessing Mamet grew-up back before anti-bullying campaigns and excessive political correctness became the norm.
***As I understand it, Thomas Sowell, after becoming a young Marxist eventually became a young ex-Marxist, embracing a hard-bitten empiricism regarding outcomes and results, not the intentions, of economic and social policies. See him discuss his later vision of human nature and political organization in a Conflict Of Visions.
–Mamet cites the Bible, but mainly the Talmud as a source of wisdom and knowledge to draw upon as a guide for flawed human nature. Jewish folks in the U.S. have traditionally formed a reliably liberal/Democratic voting bloc, so unlike many Christian religious conservatives, they aren’t necessarily voting Republican. There are no doubt many reasons for this, but to be sure, there are also many tales of neoconservatives ‘mugged’ out of the social sciences and policy-making halls of the liberal establishment into doubt and skepticism, some chased away by the New Left. There is also a conservative Christian/Jewish pro-Israel alliance which has traditionally been strong on national defense (some fundamentals of that American/Israeli relationship may be changing).
Religious belief can ground one in a kind of traditional and tragic view of human nature. This, say, as opposed to human nature understood as simply a blank slate or existentialist absurdity, or by some political movements as human clay to be molded with the right knowledge and right people in charge of our social institutions (they always seem to nominate themselves). As Mamet discusses in the video, there are distinctions to be made between Talmudic justice and social justice.
I’m guessing he might agree there are distinctions to be made between abstract equality and equality under the law (the exception of Civil Rights and black folks held under the civil laws is discussed). I’m also guessing he’d argue there are distinctions to be made between life, liberty, and the pursuit of happiness on one hand, and liberation theology and/or individual freedom granted by a rights-based cohort in charge of government on the other.
–Mamet also touches on the fact that the arts aren’t a political endeavor. If writing a play is simply a didactic enterprise and/or a vehicle for deploying a political philosophy (Ayn Rand?), then I think the artist has probably failed in some fundamental way to show the audience/reader a unique truth which only that work of art has to show. Didactic art can come across as clunky at best, pure propaganda at worst.
Personally, I tend to believe that politics, religion, convention and popular thinking all have trouble with the arts.
Anyways, this is just a brief summary. Any thoughts or comments are welcome.