Throw something at it and see if it sticks. I like Helen Vendler’s interpretation….
What do you do with an uncivilized, wild land? Import European learning and literature “atop” it?
The nature/culture divide? Nature is wonderful but it is to culture where we must return. If you are an artist, you turn towards direct experience in this land, but…you also turn to that which inspires you…European learning and thought….the products of other cultures.
Is it necessary to reclaim secular idealism from many secular idealists? Or at least, might it be necessary to provide an alternative to much unthinking liberal idealism which has come to govern many of our institutions?
Blond has ideas for conservatism in Great Britain, anyways:
‘Among the ideas that compete to determine the world’s future, one can count Catholicism, Islam, and (until recently) Marxism. But only one is dominant, hegemonic, and all-pervasive—liberalism.’
Blond’s apparent challenge to this form of liberalism is a return to the Catholic Church (if it ain’t exactly a neoclassical return to Platonic idealism):
Hmmmm….:
‘The Catholic Church must reenter the political fray, not as a chaplain to left or right but as the herald of a new order.’
As an American, let me offer a brief family anecdote: I was raised by lapsed Catholics (Irish-Catholics mostly, thoroughly American, a little cynical, often skeptical and suspicious of authority). In that spirit, perhaps the below offers some insight into why many Boomers might have drifted away from the Catholic Church if not always towards secular humanist ideals:
There’s a Catholic girls’ high-school weekend retreat with the nuns, and the girls and the nuns are having a decent time of it. One of the girls is epileptic and starts to have seizures. The situation gets pretty serious, and, unfortunately, the nuns don’t handle it too well. In the telling, there’s much fear and diddling-around. Confusion sets-in. Time passes. The girl with epilepsy is halfway-abandoned for a bit. Although the poor girl eventually recovers, there’s a deeper suspicion of medical advancements lurking somewhere in the background. The nuns manage to impress a parochial mediocrity; a lack of calm, actionable knowledge and understanding.
Frankly, many people are happy to hit young girls in the knuckles in order to reinforce metaphysical ideas and correct behavior, the truth or falsehood of the ideas long ago internalized and no longer questioned. As long as many people get some kind of standing, purpose and security in the world, they’re happy to pay it forward.
As for me, I can’t say I don’t see a lot of parochial mediocrity and a lack of calm and knowledge in many federal bureaucracies these days (people with real power and authority over our lives, supposedly well-meaning). This is to say nothing of corporate HR departments and amongst many academics and the media. Pay insufficient tribute to the latest moral idea, and become a member of a clear minority. Refuse to gather around the high ideals and the increasingly complex rules that come with them (climate change, multiculturalism, diversity, human rights etc.) and be seen as morally suspect.
———–
This is why I tend to welcome critiques of liberalism, but also continued satire when it comes to the Catholic Church, too (it’d sure be nice to have equal application and some backbone when it comes to Islam, especially when cartoonists get murdered for cartoons).
That’s what satire is for.
It doesn’t seem like much has changed regarding human nature, either, least of all within the Church (nor the increasingly predictable, increasingly pathetic Boomer vilification of the Church). Perhaps ‘love’ isn’t all you need.
Imagine critizing the radical discontents of the Left, which often drive the latest moral ideas within high-liberal thought; standing-up to some obviously contradictory and true-believing rightesousness?
***Beyond ‘strategic’ politics and philosophy, there are plenty of reasons like the rapid technological advancements and change going-on in our lives (genuine progress and a lot of choice in matters we haven’t always had). There are many downward pressures from global marketplaces, supply chains and mobile labor, too. Perhaps it’s harder to be local these days, and decent and derive the meaning one needs from friends, neighbors, and the kinds of constraints and rewards one has while living in the same place.
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Possibly related on this site:
Ken Minogue framed it thusly, and he believes there’s going to be some authority in your life, but you’ve got be particularly careful about which kind, and which rules govern that relationship with authority:
‘Olympianism is the characteristic belief system of today’s secularist, and it has itself many of the features of a religion. For one thing, the fusion of political conviction and moral superiority into a single package resembles the way in which religions (outside liberal states) constitute comprehensive ways of life supplying all that is necessary (in the eyes of believers) for salvation. Again, the religions with which we are familiar are monotheistic and refer everything to a single center. In traditional religions, this is usually God; with Olympianism, it is society, understood ultimately as including the whole of humanity. And Olympianism, like many religions, is keen to proselytize. Its characteristic mode of missionary activity is journalism and the media.’
And:
‘Progress, Communism, and Olympianism: these are three versions of the grand Western project. The first rumbles along in the background of our thought, the second is obviously a complete failure, but Olympianism is not only alive but a positively vibrant force in the way we think now. Above all, it determines the Western moral posture towards the rest of the world. It affirms democracy as an ideal, but carefully manipulates attitudes in a nervous attempt to control opinions hostile to Olympianism, such as beliefs in capital or corporal punishment, racial, and otherforms of prejudice, national self-assertion—and indeed, religion.‘
From Fellini’s ‘Roma.’ Fellini presents a kind of sinister and surreal Papal fashion show.
At least it isn’t a ‘bunga-bunga‘ party (maybe don’t leave models of governance to modern Italy?).
“Blond argues that over the past generation we have witnessed two revolutions, both of which liberated the individual and decimated local associations. First, there was a revolution from the left: a cultural revolution that displaced traditional manners and mores; a legal revolution that emphasized individual rights instead of responsibilities; a welfare revolution in which social workers displaced mutual aid societies and self-organized associations.
Then there was the market revolution from the right. In the age of deregulation, giant chains like Wal-Mart decimated local shop owners. Global financial markets took over small banks, so that the local knowledge of a town banker was replaced by a manic herd of traders thousands of miles away. Unions withered.”
Are we really in a Platonic decline, the kind of which required The Republic?: Are you a gold, silver or bronze medalist?
“The Peloponennisian War created the sorts of tension in Athens that would appear to support Thucydides’ analysis. Obligations to the community required greater sacrifice and presented a clearer conflict with the self-seeking “Homeric” pursuit of one’s status, power and pleasure. In political terms, people had to decide whether or not to plot against the democracy to bring off an Olgarchic coup. In moral terms they had to decide whether or not to ignore the demands of the community, summed up in the requirements of “justice,” in favor of their own honor, status, power, and in general their perceived interest. Plato was familiar with people who preferred self-interest over other-regarding obligation; his own relatives, Critias and Charmides, made these choices when they joined the Thirty Tyrants.
Arguments from natural philosophy did not restrain people like Critias and Charmides. Democritus argues unconvincingly that the requirements of justice and the demands of nature, as understood by Atomism, can be expected to coincide. Protogoras rejects the view that moral beliefs are true and well grounded only if they correspond to some reality independent of believers; admittedly they are matters of convention, but so are all other beliefs about the world. This line or argument removes any ground for preferring nature over convention, but at the same time seems to remove any rational ground for preferring one convention over another.”
Brutalistarchitecture flourished from the 1950s to the mid-1970s, having descended from the modernist architectural movement of the early 20th century. The term originates from the French word for “raw”, as Le Corbusier described his choice of material béton brut, meaning raw concrete in French.’
Our local host and local guest pick favorite (unfavorite) examples of ‘raw concrete’ buildings in NYC and alternately discuss some facts about each one.
Some buildings mentioned: 375 Pearl Street is being worked on. The ‘Krull‘ Long Lines building is not for use.
—
As posted
Some people who commissioned Boston’s City Hall were probably thinking they were bringing something new and wonderful into the world: Inspiring, modern, transformative.
The folks at bureaucratic levels up-top would steer this concrete ship, scanning the Horizon for The Future. The People down below, justly and benevolently guided, would feel welcome and do people-y, citizen-y things as though in a terrarium.
Maybe that’s why it’s not so popular.
Well, at least it isn’t Buzludzha, The Communist Spaceship plopped down as though from a world of Pure Ideology, Nature properly subdued:
As previously posted:
–Visit Lileks.com. A fine humorist with a sharp pen and a keen eye.
Here’s Australian art critic Robert Hughes discussing the Albany plaza, and almost hyperbolically criticizing the aims of modernist architecture.
***Fun fact, he pronounces the “Boogie Woogie” the “Boo-gie Woo-gie.”
‘The real feat achieved by Gropius and his cohorts was to have recognized and exposed the sociopolitical and moral power of architecture and design. They wanted to exert “effective influence” on “general conditions,” fashion a more just world and turn all of this into a “vital concern of the entire people.”‘
See Also: They designed a city in the heart of Brazil that really doesn’t work for people: Brasilia: A Planned City
‘The minor vogue and rapid extinction of Imagism, a movement whose influence we still feel, has been hashed over by literary critics for a century. Its rehearsal here is merely to bring the poem into focus within the slow progress toward the densities of language, the images like copperplate engraving, that made Pound Pound’
Thorough and well done.
The result would echo back to the States years later:
This blog tends to look cautiously at many of the ideas of the Romantic poets, and the break to modernism, but not necessarily the poems themselves. The echo ripples outwards:
…
Mid-August at Sourdough Mountain Lookout
Down valley a smoke haze
Three days heat, after five days rain
Pitch glows on the fir-cones
Across rocks and meadows
Swarms of new flies.
I cannot remember things I once read
A few friends, but they are in cities.
Drinking cold snow-water from a tin cup
Looking down for miles
Through high still air.
Once we start arriving at ‘ecological’ appreciations of nature, and the postmodern, confessional altar of Self and the turn inwards to the Self a subject for the art, and the desperate search for meaning, I get more and more turned off, for my own reasons. Such good poems will carry on.
When I was about nineteen, or twenty, there was a farmhouse nearby that had been sitting vacant for a few years, ready to be demolished. It had been lived-in and seemed decently kept for most of my life, and was still sitting there in my mind, where I had left it, but that was a different farmhouse, one I’d been in only briefly.
The farmhouse I entered, one spring day, with the thrill of trespass, boarded-up and shuttered, was in shockingly bad shape: I remember sunken floors in most of the rooms and wallpaper peeling off most of the walls. A great bloom of mold traced a crack in one bulging wall, in particular, where the spring melt was still re-freezing and tearing things apart at night. There were broken windows in every room, where I remember a few birds, beating their wings in and out.
There was a lot of silence. After just a few years, things had fallen apart in an unsettling, pretty unforgiving way.
Maybe that’s why I’m linking to these things.
As posted previously:
-Photographer Ben Marcin has a series called ‘Last House Standing.’ Solitary row-homes…the only ones left on the block.
-Check out Buzludzha, the abandoned communist monument in Bulgaria’s Balkan mountains, which still draws up to 50,000 Bulgarian Socialists for a yearly pilgrimage. Human Planet’s Timothy Allen visited the structure in the snow and took some haunting photos. You will think you’ve stepped into a Bond film and one of Blofeld’s modernist lairs, but with somewhat Eastern Orthodox tile frescos of Lenin and Marx gazing out at you, abandoned to time, the elements and to nature.
‘If you’re ever wondering what the War Room of “Dr. Strangelove” would look like if the movie had been directed by Prince, here you go.’
————————-
Pastoral
When I was younger
it was plain to me
I must make something of myself.
Older now
I walk back streets
admiring the houses
of the very poor:
roof out of line with sides
the yards cluttered
with old chicken wire, ashes,
furniture gone wrong;
the fences and outhouses
built of barrel staves
and parts of boxes, all,
if I am fortunate,
smeared a bluish green
that properly weathered
pleases me best of all colors.
No one
will believe this
of vast import to the nation
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. View one hillock from another. Walk back over to the first hillock and look from whence you came. The view is never quite what you were imagining.
Clap inside of Serra’s ‘Vortex:’
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…
Via Mick Hartley (a Brit in Britain): Photo set and link here. Eric Tabuchi homepage here.
Clearly there are many ideas in the modern world deeply idealistic and utopian, which even officialdom can take up by way of architecture and the arts: Some people who commissioned Boston’s City Hall were probably thinking they were bringing something new and wonderful into the world: Inspiring, modern, transformative.
The folks at bureaucratic levels up-top would steer this concrete ship, scanning the Horizon for The Future. The People down below, justly and benevolently guided, would feel welcome and do people-y, citizen-y things as though in a terrarium.
Maybe that’s why it’s not so popular.
Well, at least it isn’t Buzludzha, The Communist Spaceship plopped down as though from a world of Pure Ideology, Nature properly subdued:
As previously posted:
–Visit Lileks.com. A fine humorist with a sharp pen and a keen eye (American in America).
Here’s Australian art critic Robert Hughes (Aussie in America) discussing the Albany plaza, and almost hyperbolically criticizing the aims of modernist architecture.
***Fun fact, he pronounces the “Boogie Woogie” the “Boo-gie Woo-gie.”
‘The real feat achieved by Gropius and his cohorts was to have recognized and exposed the sociopolitical and moral power of architecture and design. They wanted to exert “effective influence” on “general conditions,” fashion a more just world and turn all of this into a “vital concern of the entire people.”‘
I don’t know, Picasso was pretty good, man:
See Also: They designed a city in the heart of Brazil that really doesn’t work for people: Brasilia: A Planned City
—The Avenger--The brother of an American killed in the 1988 Pan-Am Lockerbie terrorist bombing goes on a decades long quest to uncover the truth. Robert Nozick is mentioned.
***Because you didn’t ask-The New Yorker is where I go for high-quality writing, excellent reportage and eclectic editorial choices, though I stay for the frequently stale humor, dreary secular sermonizing, and polished cosmo-modern New York City brownstone activist enviro-evo-pop-neuro-social-science-secular-creative-writing-postmodern establishmentarianism.
Unlike NPR, in whose broadcasts can be heard the constant far-off, folksy hum of ‘This Land Is Your Land’ keeping the collective time, the New Yorker reminds me of a tone-poem spoken by a rather accomplished poet over a be-bop beat, with an NYU faculty member sitting-in on drums for an exploration of the latest word on the street, Daddy-O.
Other excellent pieces published in the New Yorker on Islamic terrorism:
The Man Behind Bin Laden by Lawrence Wright, a deeply researched piece.
–The election of Jeremy Corbyn (Labour opposition leader in the British Parliament) may have actually caused a man to utter these words:
‘Left-wing thought has shifted towards movements it would once have denounced as racist, imperialist and fascistic. It is insupportable.’
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John Gray loves to take on post-Enlightenment hubris of a certain sort:
‘If The Evolution of Everything has any value, it’s as a demonstration that, outside of science, there isn’t much progress – even of the vaguer sort – in the history of thought. Bad ideas aren’t defeated by falsification, and they don’t fade away. As Ridley’s book shows, they simply recur, quite often in increasingly primitive and incoherent forms.’
Addition: Ridley and Gray have butted heads before regarding Ridley’s last book:
‘John Gray, in his review of my book The Rational Optimist accuses me of being an apologist for social Darwinism. This vile accusation could not be farther from the truth. I have resolutely criticised both eugenics and social Darwinism in several of my books. I have consistently argued that both policies are morally wrong, politically authoritarian and practically foolish. In my new book I make a wholly different and more interesting argument, namely that if evolution occurs among ideas, then it is ideas, not people, that struggle, compete and die.’
‘As America went abstract, the museum also never lost its taste for the real, a fact reflected in the strengths and weaknesses of its permanent collection now on display. This explains its abundance of American Scene hokum and WPA art as well as the artists who have defined the museum’s self-image, in particular Edward Hopper.
But it also explains its appetite for art that is strident, narrow, and of the moment, demonstrating a taste that has only become more bitter with age.’
‘For many years, the French writer Guy de Maupassant insisted on eating lunch every day at the restaurant in the Eiffel Tower. The reason, he explained, was simple: the restaurant offered the only spot in Paris where he could look out and not have to see the Eiffel Tower.’
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How about popular culture from 30 years ago? Now, this is important. This blog is still looking for 80’s awesome badness, for nothing can predict the cultural trends of today like the lyrics of ‘Angel Of The City,’ the theme from Sylvester Stallone’s 1986 ‘Cobra.’
Succumb to the power of 80’s rock ballad poetry.
‘The streets they scream….with desire…the air is thick with dreams on fire:’====================
Modern to postmodern objets d’art (you can already imagine the blurbs) and mass-produced market items have been dovetailing recently, two once separate activities increasingly becoming one.
Yes, you too can pay hundreds of dollars for a pair of shoes that merely appear to be old and worn.
Frankly, I’m too ignorant to offer much insight, dear reader, but maybe one can trace a line from Marcel Duchamp’s readymades to the current fad of ‘distressed’ items.
Everyone’s a Self, you see, and every Self deeply wants fame and recognition, or at least to be fresh, new and ahead of the curve in the marketplace.
Or do you?
Here you are, just a chump watching another more famous chump eating some Burger King. It’s important and it isn’t. Give it the meaning you think it deserves. You’ll get your 15 minutes one day. Or not.
Don’t set your sights too high, this pickled basketball seems to be saying, for your aspirations, too, may be empty as the liquid void in which this Spalding hovers. Gaze upon your hoop dreams within the silence of the ideal… hallowed as you temporarily are within this modern secular temple called…MoMA.
The marketplace delivers us that which we want, enriching our lives and fulfilling our desires but that’s not really what we want, is it?
Or it is. Ho-hum.
We all know clothes decay while trends come and go. Beauty fades, and people live in houses built with real materials which fall apart.
Ah, well. Buy some music, celebrate Art and be a Self.
Addition-Let’s say that both modern art and the market may be done a disservice, here:
