‘Computational criminology seeks to address criminological problems through the use of applied mathematics, computer science and criminology. Methods include algorithms, data mining, data structures and software development.’
Limited Resources + Potentially Imminent Risk/Harm + Repeat Offenders/Learned Skills + Violence + Lots Of Room For Error = Too Much Practical Upside To Not Adopt Additional Means Of Fighting Crime.
Serra is a quite accomplished modern artist and sculptor often working in the ‘land-art,’ category, or site-specific pieces interacting with the viewer and the natural surroundings. Check out Hyperallergic’s visit to ‘Shift,’ a series of concrete forms he left in an Ontario field.
Here he is discussing a piece of his at 21 West Gagosian, or a densely-packed, carefully measured series of metal forms in a room. What does the viewer experience in this space?:
The complaints come first, the questionable art second, then the entrenched and endless complaints, sometimes becoming violent.
The world we’re building isn’t the one on the horizon, it’s the one right here in the museum lobby and street corner.
‘Tate Modern, one of the most important and influential modern art galleries in the world, is expressing its commitment to public engagement by inviting people to complain. In the echoey space, plastered with Guerrilla Girls’ agitprop posters, members of the public are invited to sit at a table filled with coloured paper and pens, scribble out their complaints and pin them to one of the boards around the room. After a couple of days, the boards were full of complaints about everything from elitist art collectors to low wages for cleaners, from the lack of affordable housing to the misuse of the apostrophe. The boards created a silent, confused, colourful cacophony of grumbling.
Are we supposed to take this seriously? I would say so. The Guerrilla Girls, an activist collective of female artists based in New York, has been complaining for over 30 years.’
This stuff trickles down, you know…
Damien Hirst’s Diamond Skull here, which is entitled ‘For The Love Of God.‘
As found yesterday, November 13th, 2016…in a Seattle Eastside Supermarket.
It’s worth thinking about Western culture and the travels of the individual artist through romanticism, modernism and post-modernism and to wherever it is some of those artists are headed now. As for Damien Hirst, it was probably inevitable that someone who couldn’t draw all that well, and didn’t have many of the basics down, would rocket in and out of the spotlight, capturing the moment.
‘Damien Hirst’s output between 2005 and 2008 – the period of his greatest success – has subsequently resold at an average of thirty per cent less than its original purchase price. Moreover, a third of the almost 1700 Hirst pieces that have gone to auction since 2009 have failed to sell at all. Most recently, in November, his gloss-and-butterfly collage Sanctimony failed to reach its lowest pre-sale estimate at a Sotheby’s auction’
A longer-term, skeptical position held by this blog: Attaching one’s sentiments and beliefs to certain ideological doctrines (Marxism, Socialism, Communism), leads toward violent revolution.
Many (H)istorical truth and knowledge claims, with an Enlightened elite claiming to possess knowledge of (M)an’s ends, have proven disastrous.
Attaching one’s sentiments and beliefs to socially liberal political ideals, claiming the mantle of moral progress (environmentalism, feminism, identitarianism, racism/non-racism), leads toward competing political factions. Politics is, by its nature, coalitional and factional.
Universal truth and knowledge claims, coming from the (S)ciences and Social (S)ciences, or simply from many political idealists, unite some and divide others.
This can often lead to pretty bad outcomes for poor folks.
Dear Reader, what am I missing?
Here’s Theodore Dalrymple on using the social sciences as imprimatur, turning George Floyd into something like a grafitti saint. There’s always an ‘expert’ to be found, ready to justify the activist cause as virtuous and ‘normative’, reagrdless of the actual person and events.
‘Blood does not boil without moral judgment, whether right or wrong. In other words, the passage I have quoted about prejudice and stigma is at best self-delusion; the author, unintentionally no doubt, for he is probably a kindly and well-intentioned man, is a corrupter of morals.
He presents himself as a man free of prejudice, but no one is, could or should be, free of prejudice. He clearly has a prejudice himself against prejudice and stigma, as if these were wholly bad and never good; but surely the most cursory self-examination would demonstrate to him that this is not so. One of the reasons one tries to be good, for example, is to avoid the stigma of being bad, and one avoids such stigma because man is a social creature. No one is a Kantian saint, pursuing the good only for its own sake, and if we met such a saint, he would not be very attractive. It is unexamined and rigid prejudice and stigma, impermeable to all evidence and human feeling, that are bad.’
Apparently graffiti art does have a price, and it may be much more than $$$:
Ruling that graffiti — a typically transient form of art — was of sufficient stature to be protected by the law, a federal judge in Brooklyn awarded a judgment of $6.7 million on Monday to 21 graffiti artists whose works were destroyed in 2013 at the 5Pointz complex in Long Island City, Queens.
Would you be willing to undermine property-rights and the rule-of-law?
A NY Times beat reporter shared in the suffering of those graffiti artists whose 5pointz canvas was whitewashed in preparation for demolition by owner Jerry Wolkoff.
‘One street artist, who would give his name only as Just, had at least two works painted over. He spent hours early Tuesday gazing at the whitewashed buildings, leaning against a red-brick wall across the street. Then he bought himself a tall glass of beer, which he sipped slowly from a brown paper bag.
“Heartbreaking,” he said. “This is not just about graffiti — it’s about the unity of people who met here from all over the world.” He paused and took a drink. “That’s what really hurts.”
Once the real-estate market began heating-up in NYC, Wolkoff decided to whitewash his building overnight..
Every bit of graffiti scrawled there over 40-years was at his discretion.
Personally, I don’t take pleasure in the erasing of people’s hard work and creativity, nor in the breaking-up of a graffiti-collective which traveled far and wide to get to 5pointz, nor even in the iconic stature they gave the place, but David Thompson sums it up pretty well:
‘The moral of the story, gentlemen, is buy your own canvas’
The pathos in the Times article stops short of a familiar ‘art will unite all races, classes, & genders,’ type of Leftist political ideology.
I”m getting a sense that even should graffiti become a longer-lasting vehicle for artistic expression, beyond the street, it likely began for many non-taggers possibly in affect, driven by ideology, or the boredom and rebellion of the suburbs and people looking for some meaning in their lives.
What are they overlooking? What are they looking for? What do the people looking at the work might think they’re looking at?
Or perhaps it would have been better to celebrate the way street-culture and graffiti has interacted with money and market forces through tourism. 5pointz arguably was a tourism draw.
From The Times piece:
‘Though street art is meant to be temporary, 5Pointz became known as a graffiti museum. And the medium itself, once considered a symbol of urban unraveling, became a sought after gallery-worthy commodity, with work from street artists like Banksy commanding millions of dollars. Which is one of the reasons the whitewashing of 5Pointz’s walls was greeted with such vociferous dismay. “What?! What did they do?!” cried a tour guide named Hans Von Rittern, as he raced out of a tour bus early Tuesday, his arms wide, his face crumpling as soon as he caught sight of Ms. Flaguel. They embraced tightly and wept.’
I can think of some possible messages being sent by the law:
–You don’t have to work and own something to have ownership in it (normalizing a collectivism which rejects the property-rights of others…thus your property rights as well…for what’s to stop the next guy from tagging over your tag?). Someone else owns all this building anyways, so screw him, and screw the guy who came before me too.
–The value of artistic creation is yet again associated with money in the modern world (partially out of guilt, I suspect), and not so much with self-expression, technique, craft, freedom, and moments which can elevate and expand, offering meaning within a process.
–The criminality associated with graffiti is also tactily rewarded/overlooked by a court of law (there are real victims to the kinds of activity that can accompany tagging). I would much rather have lawmakers and law enforcers hold a simple line, rather than set the wrong incentives.
It can’t have been a good day for those who lost something. It’s hard out there.
Here’s a video:
More broadly, romanticizing the logic of the street, and taggers, comes with its own risks. Celebrate the spirit of creative lawlessness and turf warfare with the full acceptance that there ain’t much law involved. I’m sure 5pointz served as an escape, and a positive environment for many, but all the other things going on in these neighborhoods aren’t so uplifting, hence, it’s importance.
Guilt and shame are the primary teaching tools of the old religion and the new, woke religion. If you don’t care, no one can make you care. This leaves many sociopaths with competitive advantage. For the rest of us, being an asshole to the ones you love and with whom you deal isn’t a laudable goal. As much as this is true, decent people have to strike a balance. Sometimes, when you think you have the truth, you must speak that truth, even to loved ones and even when it hurts.
You also need to hear the truth. This hurts, too. It’s really one of the only ways to make your life better and deal with the problems you have. Growth isn’t possible without it.
In the public square, I believe it’s necessary to fight against the true-belief of zealots and fools, while doing my best not to become either of these things myself. What truth I might have to tell, should be told. This [often] puts me on the side of religious liberty and tradition in the good old U.S. of A.
Sometimes it puts me on the side of (S)cience and (R)eason.
Such skepticism also recognizes the danger of bad ideas. A lot of people will find the framework of radical resentment to be sufficient in their lives.
Guilt and shame are also how ideologues make headway. This has consequences for all of us:
Below is a poem by Wendell Berry. Berry is chiefly agrarian, anti-technology and pro-environmental in his outlook. He’s also a traditionalist, who believes family and local associations come first.
For Berry, (M)an must return to family, traditional values and to the Earth. Technology corrupts and while business might scale, both create alienation and unrooted individuals.
Of course, a return to (Man) and (N)ature is not an uncommon view amongst poets, especially since the Romantic Poets in England. Around that time, (M)an, instead of God, became one of the highest things around. Serving the poor and dispossessed is the work of those who care about (H)umankind. Oh, how some people care. Man, did mad, bad Byron care.
It’s a mixed bag.
Here is a tweet by a MoMA curator of Architecture & Design. I mean, she’s Italian and likely has fellow-feeling for the guy, and he probably saved a lot of lives under rough circumstances, but….you know.
I worry about ‘maestros of humanity,’ because the same old human nature and reality await. In the meantime, what kind of world we live in has a lot to do with how well our maps of human nature and reality align with….human nature and reality.
Beneath Humanism and the sentiment now being extended to all living things (except the bugs we’ll all eat while singing Kum-ba-ya), are a lot of unsavory characters, ideologues, and future politicians.
To my mind, making heroes out of men, necessary though it is, often leads to disappointment; a reasonable part of life. Making something like a religion out of (H)umanism seems to be a permanent feature of ‘modern’ life, and a much deeper problem.
One thing Berry seems to be saying: A route to truth lies in overcoming shame.
Do Not Be Ashamed
You will be walking some night in the comfortable dark of your yard and suddenly a great light will shine round about you, and behind you will be a wall you never saw before. It will be clear to you suddenly that you were about to escape, and that you are guilty: you misread the complex instructions, you are not a member, you lost your card or never had one. And you will know that they have been there all along, their eyes on your letters and books, their hands in your pockets, their ears wired to your bed. Though you have done nothing shameful, they will want you to be ashamed. They will want you to kneel and weep and say you should have been like them. And once you say you are ashamed, reading the page they hold out to you, then such light as you have made in your history will leave you. They will no longer need to pursue you. You will pursue them, begging forgiveness, and they will not forgive you. There is no power against them. It is only candor that is aloof from them, only an inward clarity, unashamed, that they cannot reach. Be ready. When their light has picked you out and their questions are asked, say to them: “I am not ashamed.” A sure horizon will come around you. The heron will rise in his evening flight from the hilltop.
On that note, I am pretty pro-technology and science. While I have no particular quarrel with neuroscience on its own, pop-neuroscience is often a repository for the modern search for legitimate experiences and theories of the Self. In some quarters, this becomes the window-dressing to sell discredited ideologies.
Readers often come for the anti-woke sentiment, and stay for the personal charm and winning personality (kidding). I get complaints that I am too anti-woke. Or that I’m not anti-religious enough. Or that I’m too pro-religious.
A while ago, I wrote about Jeff Koons, and the removal of religious guilt and shame as a central idea in his work. I also frequently write about Marxism and neo-Marxism as relying on both liberation and revolutionary praxis for their survival. Such doctrines get nature and human nature horrifically wrong, but they get enough of both right, it seems.
Robert Hughes wasn’t a big fan of Koons, and looked at him with a skeptical, suspicious eye:
Celebrity, money, art and fame are mixed in a big bowl:
As posted, I think this except highlights the idea of liberating one’s Self from not only guilt and shame, but judgment. Artists and the avant-garde thrive in such space, but so do ideologues and the worst kinds of people, and a lot of what’s bad in people.
Many avant-garde have become avant-huitard.
Jeff Koons’ Made In Heaven blurred the line between art and porn, private experience and public show, innocence (so easily corrupted) and naive, narcissistic indulgence.
‘BC:What do you make of political correctness? There are those who would argue it’s a thing of the past. Frankly, I don’t see how that’s possible. It seems to me that cultural Marxism is more regnant than ever, would you agree?
KM: In my time, a great deal of what used to be intuitive and instinctive (such as good manners) has been replaced by the rule-bound and rationalised. Political correctness is a politicised version of good manners offering power to the kind of meddlesome people who want to tell others how to behave. As to Marxism, it was merely one more illusion that purported to be the key to life. It is significant in that it reveals one of the dominant passions still at work in our civilisation – the passion to create happiness by technology in the hands of a supposedly enlightened elite.‘
From Mike Nayna’s Youtube channel: Radical students and some of their thought-leading administrators have a talk at Middlebury:
There’s something almost religious about the way some people go about pursuing their non-religious ideas.
Minogue framed it thusly:
‘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.’
‘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‘
As previously posted, Minogue discussed ideology (Marxist ideology in particular), and modern promises of radical and revolutionary freedom: To go deeper and replace Science and Religion, Economics and Politics, on the way to some knowable end-point to human affairs.
As previously posted:
Perhaps the flip-side to liberal secular humanist faith is a lack of faith. Surely some deep, liberal thinker out there has become thoroughly convinced that people are no good, after all, and can’t be trusted with their freedoms apart from his/her thinking or ideological commitments. Perhaps there’s a secular humanist political leader somewhere thoroughly sick of humanity for the time being, simply accruing more political power and influence because they can.
As far as satire or mockery goes, they would be just as worthy, no?
Those who rebel against authority, mindlessly, are more likely to embody a new authority.
Recently, British popular thinker Alain De Botton floated the idea of building an ‘atheist temple’ in the heart of London. He recommends combing through religious practices for useful organizing principles in response to the New Atheists. You can read more about it here, which includes a radio interview/podcast.
Towards a theme: Perhaps you’ve also heard of the Rothko chapel, in Houston, Texas:
‘The Rothko Chapel, founded by Houston philanthropists John and Dominique de Menil, was dedicated in 1971 as an intimate sanctuary available to people of every belief. A tranquil meditative environment inspired by the mural canvases of Russian born American painter Mark Rothko (1903-1970), the Chapel welcomes over 60,000 visitors each year, people of every faith and from all parts of the world.’
There’s even a suite of music by Morton Feldman, entitled ‘Rothko Chapel’
“‘…a morally concerned style of intellectual atheism openly avowed by only a small minority of individuals (for example, those who are members of the British Humanist Association) but tacitly accepted by a wide spectrum of educated people in all parts of the Western world.”
Having a little extra time some Sundays ago, I’d taken Edward Feser’s thinking from his post The Socialist State as an Occasionalist God and added a few links to dictionary definitions of the terms to help myself understand his reasoning (perhaps I’ll be accused of ‘Jesus-smuggling’).
As a layman predisposed to philosophical skepticism, I’m sympathetic to the idea of well, examining ideas with skepticism. I wouldn’t call myself a believer, really. I tend to see myself as walking around the edges of secular humanism, liberal idealism and American pragmatism. Additionally, I’m trying to put the current American political landscape into some context, as well as the unfolding logic found within much Romantic, Modern, & Postmodern schools of thought.
I prefer conservation and slow change as regards many current legal and social battles (closer to Constitutionalism), but am a pretty live-and-let-live guy.
Here’s Feser logic as best as I’ve understood it in about an hour or so (I’m bound to get some things wrong).
The linked parts are what I’ve filled in, coming directly from dictionary definitions, and the rest comes from Feser’s post. I basically just swapped out ‘God’ for ‘The State’ to extend Feser’s analogy in the bottom portion:
Now Feser applies these concepts to certain political orders (more or less, swapping out ((God(s))) for ((The State)) or ((God)) for ((Modern Concepts of Political Order)), to extend his analogy.
Totalitarian Socialism: The belief that reality is identical with Statism, or that all-things compose an all-encompassing, transcendent State. Totalitarian socialist belief would not recognize a distinct personal State.
Occasionalism (Socialism): The State alone has causal efficacy, and the apparent causal power of created things is illusory.
Concurrentism (Natural Law): The State not only conserves things in existence, but also must concur or cooperate with (individuals’, things’?) activity if it is to have any efficacy.
Conservationism (Libertarianism): Created things (individuals?) not only have causal power, but exercise it completely independently of The State.
Anarcho-Capitalism: Anarcho-capitalism is, in the broadest sense, an absence of belief in the existence of States. Less broadly, anarcho-capitalism is a rejection of the belief that any States exist. In an even narrower sense, anarcho-capitalism is specifically the position that there are no States.
Let me know what I may have gotten wrong, or what you think Feser may be getting wrong.
Please be advised that what follows is a rat’s maze of gathered links and thoughts. Enter at your own risk.
This morning I had the thought that the minimalist/deflationist response might be:
Simon Blackburn, discusses getting at the truth:
From a previous video:
‘Along comes someone like Pilate, Pontius Pilate, and says something like: ‘What is truth?’ and everybody goes sort of dizzy, and you look to the philosopher to provide a suitably abstract and highfalutin answer. The minimalist says you shouldn’t answer Pilate, or rather, if you answer Pilate, you answer should take the form of a question…which is “What are you interested in?’
So basically, you throw the question ‘What is truth?’ back until the person who’s interlocuting you… gives you an example and says ‘Well, I’m interested in whether penguins fly’ and you say ‘Okay well the truth there…the truth would consist in penguins flying…’
From Kelley Ross, who takes a step back from moral relativism and good ‘ol American Pragmatism:
‘It is characteristic of all forms of relativism that they wish to preserve for themselves the very principles that they seek to deny to others. Thus, relativism basically presents itself as a true doctrine, which means that it will logically exclude its opposites (absolutism or objectivism), but what it actually says is that no doctrines can logically exclude their opposites. It wants for itself the very thing (objectivity) that it denies exists. Logically this is called “self-referential inconsistency,” which means that you are inconsistent when it comes to considering what you are actually doing yourself. More familiarly, that is called wanting to “have your cake and eat it too.” Someone who advocates relativism, then, may just have a problem recognizing how their doctrine applies to themselves’
‘Pragmatism is really just a kind of relativism; and, as with Protagoras’s own strategy, it is a smoke screen for the questions that ultimately must be asked about what it means that something is “better,” or now that something “works.” Something “works,” indeed, if it gets us what we want — or what Richard Rorty wants. But why should we want that? Again, the smoke screen puts off the fatal moment when we have to consider what is true about what is actually good, desirable, worthy, beneficial, etc. All these responses are diversions that attempt to obscure and prevent the examination of the assumptions that stand behind the views of people like Rorty. It is easier to believe what you believe if it is never even called into question, and that is just as true of academic philosophers like Rorty as it is for anybody else. Being intelligent or well educated does not mean that you are necessarily more aware of yourself, what you do, or the implications of what you believe. That is why the Delphic Precept, “Know Thyself” (Gnôthi seautón) is just as important now as ever.’
‘Quit talking bad about women, homosexuals, and preferred social minorities, and you can say anything you want about people who haven’t been to college, manual workers, country people, peasants, religious people, unmodern people, old people, and so on.’
‘Liberals engage the right mood by contemplating the experiences of those they take to be oppressed, in what I have called “suffering situations.” You might think this an admirable altruism amid the selfish indifference of the mass of mankind, and there is no doubt that it has often been sincere and that it could at times mitigate some real evils. But the crucial word here is “abstract.” The emotions are elicited by an image, as in the craft of advertising. The people who cultivate these feelings are usually not those who actually devote their time and energies to helping the needy around them, but rather a class of person—liberal journalists, politicians, social workers, academics, charity bureaucrats, administrators, etc.—who focus on the global picture.’
I would add that while I have my doubts about the religious true-believer and salvationist, I have particular doubts about the Neo-Romantic Environmentalist, the secular, progressive do-gooder, and the high liberal globalist shuttling between academy and government.
‘The centerpiece of Miller’s argument is the making and appreciating of art. Miller’s idea of art, as we might expect, is wide-ranging and popular, drawn more from everywhere in culture: dancing, body-decoration, clothing, jewellery, hair-styling, architecture, furniture, gardens, cars, images such as calendars and paintings, creative uses of language, popular entertainments from religious festivals to TV soaps, music of all kinds, and on and on. Miller’s discussion is less focused on the high-art culture of modernism and postmodernism, since it anyway distinguishes itself against popular taste.‘
Of course, there will be all manner of reductionism (art=sex) and popularized idiocy (Bach + brain-scan = pop-neuroscience) to follow.
There’s something about both our cultural tilt towards (S)cience-ifying every aspect of life (stretching out these new fields of knowledge) as well as the popularized explanatory journalism (Jesus Christ not another think-piece) which are worth thinking about.
Witnessing the outcomes and consequences of such truth and knowledge claims downstream, some quite possibly more true than others, invites skepticism.
‘…aesthetics is going to replace ethics, art is going to replace religion, as the means through which educated people express their spiritual worthiness…‘
Don’t worry, ‘ethics’ on the fly, in universities and in journalism is everywhere these days, and beneath that, some crazy new true-believers.
As posted, please check out Jeff Koons (if you thought the celebrification of politics was striking, culturally, this happened quite before with the celebribrification of art):
There’s always been a bit of the showman about Jeff Koons; the kind of young man who could put on a bow tie and try to give many museum-goers their time/money/aspirations’ worth at the membership desk.
This blog forgives people trying to explain what their art ‘means,’ exactly, but confesses to pleasure in seeing Koons put on the spot under the suspicious eye of an ornery old Robert Hughes.
I don’t fault Koons for finding himself firmly within modernism, searching for universal forms and broader historical context within those confines, but I admit it’s nice to see him held to account for his bullshit, and perhaps the broader, deeper bullshit he shares with many modern and postmodern artists: Pursuing novelty and recognition and thus making art into a business and often commercializing it, aiming for celebrity while offering meta-critiques on celebrity, making the personal and private very public (masturbation into social commentary, sex into meta-critques of religious shame, ‘culture’ and pornography).
Two quotes by Hughes that stood out:
‘Religion is diminished into celebrity..a kind of reverse apotheosis.‘
‘This alienation of the work from the common viewer is actually a form of spiritual vandalism.’
It’s tough to say that art is really about religion (though much clearly is), but rather more about an experience Hughes wants as many people as possible to have, and that such experiences can elevate and expand.
Aside from the above, there’s something that strikes me as not just late 20th century-modern about Koons, but also very American
The black and white was made in 1924, and is probably most evocative of noir.
I think Raymond Chandler’s High Window is the best of the detective novel.
Here are some quotations of his, if you’re interested.
“Los Angeles was just a big dry sunny place with ugly homes and no style, but good-hearted and peaceful. It had the climate they yap about now. People used to sleep out on porches. Little groups who thought they were intellectual used to call it the Athens of America.”
Here is the link. It’s been a long time since they just reviewed the book and not the author.
The poem that most came to mind:
Acquainted with the Night
I have been one acquainted with the night. I have walked out in rain—and back in rain. I have outwalked the furthest city light.
I have looked down the saddest city lane. I have passed by the watchman on his beat And dropped my eyes, unwilling to explain.
I have stood still and stopped the sound of feet When far away an interrupted cry Came over houses from another street,
But not to call me back or say good-bye; And further still at an unearthly height, One luminary clock against the sky
Proclaimed the time was neither wrong nor right. I have been one acquainted with the night.
A man holding a narrower, classical definition of art will also hold some bias towards those who don’t (many moderns and post-moderns). Hughes’ harsh eye passes over landscapes full of landscapes discussing the Self-as-Landscape.
‘To most of the people who have heard of him, he is a name handed down from a distant museum-culture, stuck to a memorable face: a cashiered Latin teacher in a pale fiber wig, the guy who paints soup cans and knows all the movie stars.‘
I look forward to seeing you at my upcomingOne-Man-Show: You will be free to make eye-contact as you process around me. I will be sitting Native-American-style, half-nude on the floor of MoMA, with industrially-made glassware suctioned over my mouth.
Scorn me. Censure me. Make love to me with your gaze.
As I babble incoherently into the vacuum, losing consciousness, I will also regress into the empathetic purity of childhood.
Should you lift my body up the weight of (H)istory becomes clear.
Should you leave me passed-out on the barren, linoleum floor, the shame of inaction implicates you in Oppression.
‘Its silver-papered walls were a toy theater in which one aspect of the sixties in America, the infantile hope of imposing oneself on the world by terminal self-revelation, was played out. It had a nasty edge, which forced the paranoia of marginal souls into some semblance of style, a reminiscence of art.‘
As someone often looking to take a classical, or ‘outside-the-modern’ perspective, such goring-of-the-sacred-60’s-oxen is refreshing. The pursuit of (S)elf is long-past tiresome. The pose of the too-Self-aware-nihilist haunts many a coffee shop these days.
‘Become an empty vessel, mass-produced on a shelf. Let fame pass through you, empty as the wind itself.’
Maybe the 60’s generation was as much a walling-off from the past, as it was a fruitful opening inwards towards (S)elf-Actualization.
Perish the thought.
In looking for some criticism of Hughes’ on Warhol, unsurprisingly, I found Google’s algorithm suggesting the following piece at the top of the list (freedom is next):
‘The problem is that authentic modern art – of which Warhol is unarguably one of the greatest practitioners, even if you don’t much care for his work – operates according to non-aesthetic narrative principles, and is therefore headed in a quite different direction from the quest for classical, museum-quality ‘beauty’. Modern art is about connecting with the experiential landscapes which some artists are able to conjure up through their artworks, and this connectivity functions according to theatrical and narrative principles rather than aesthetic ones. Modern artists are revealing to the viewer worlds they have discovered, and then, using their artworks and artforms, inviting you to experience them as your own. A Warhol ‘Marilyn’ is not an ersatz Velasquez – even if Andy thought it was, and wanted it to be: a ‘Marilyn’ – like any or all of his other works – is an invitation to a theatrical extravaganza of transgendered and drug-addled camp nihilism, spiked with glitz and glamour and celebrity, and dialogue reduced to a cultivated vacuity. This performative inversion of normative values – Warhol’s real theatrical ‘art’, in words, pictures and behaviour – is quite other than the kind of cognitive deficiency Hughes though he was dealing with. Truth be told it is Hughes who turned out to the stupid one, wholly unable to recognise the transgressive artistry all around him, and wholly unable to make the transition from an orthodox classicism – the type of lumpen conception of pictorial art any bonehead can come up with – to the new world order.‘
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?
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?
Do you long for the days of unabashed American consumerism? Are you nostalgic for nights lit only by a soft, neon glow on the underbellies of clouds? Return to a time when America broadcast its brash, unironic call to the heavens.