As to the weirdness of environmental anti-humanism; the kinds of unwell desperation one can witness during public during religious revivals, activist gatherings, occasional town-hall meetings and PTA board discussions.
‘What’s wrong with that lady?‘
‘Ohhhhhhh. That guy’s crazy.’
Such is the stuff of human nature, but maybe we don’t need these ideas guiding policy and law.
—
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Along paths in the modern wood, one can find much rewarding literature and poetry, spanning centuries and civilizations.
One can also find this recent piece reviewed by the New Yorker:
At the Human Pagoda Community Theater, Zoe Satchel’s ‘Nature’s Way’ reimagines the pain of childbirth as Gaia’s punishment for our industrial and technological plunder. Spirit, Master, Mystery. Smash the fun.
I see institutions and publications as dynamic things, serving many needs. Inflow channels containing radical political doctrines, however, all spiraling towards the center of a publication’s core mission, certainly interfere with the purpose of broadening one’s mind.
Alas.
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As found on the Youtubes, a Dalrymple piece read with a Scottish accent:
‘Another of my very favourite TD essays, this one compares two 19th Century thinkers – Karl Marx and Ivan Turgenev. I believe that the observations, the wisdom, and the thorough takedown of Marx as a human being, are of great value.‘
~30 minutes. I think that bit about the dog actually made me tear-up.
Jordan Peterson deploys Jungian metaphysics, downstream of Nietzsche, to make knowledge claims which challenge Blackmore’s reasonably pedestrian modern materialism and atheism.
In other words, Peterson’s defense of Jungian archetypes, including those potentially found in the Bible (and viewed from the depths of Nietzsche’s nihilism), might connect with biology more profoundly than Blackmore’s psychological materialism might have been able to address.
Nihilism is an interesting epistemological ground out of which to make knowledge claims of transcendant objects, or at least, out of which to synthesize biological knowledge and possibly knowledge claims which align within the burgeoning field of neuroscience.
The desire each of us seems to have for transcendence, wisdom and stories (especially kids) within the subjectivity of our own lived experiences, the deeper hopes and beliefs which seem ever-present (if not consciously realized) in our waking lives, the relationships with loved ones which inform, and probably ought to inform our moral judgments and moral thinking, might align with Jungian archetypes, Greek myths and the King James Bible, and thus some sort of Nietzschen nihilist denial of objective reality or the structure of the material world explored by the sciences…or…they might not.
As posted: John Gray challenged Steven Pinker’s knowledge claims for the measurable material progress going on around the globe with a heavy Nietzschean and nihilist influence. In other words, things in ethics and politics get learned, but don’t stay learned, and the actual progress and the doctrines of progress may be two different things.
On such thinking, there is a spiritual crisis going on in the Western World as important as the post-Enlightenment advancements in the sciences, and the postmodern nihilist reactions against the natural sciences.
‘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 this generation’s 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.
Earthlings were visited, many times this past century, by beings from the planet Utopia. Little is known about these curious creatures, but they were advanced, and went about vigorously erecting structures across our planetary surface.
What were they trying to tell us?
Concrete, as a material, was used, presumably because it was so common and functioned as our ‘lingua franca’ (so hard to use well). Shapes were decided upon that might please and delight us (flowers, blocks, dodecahedrons), but also shapes that could disconsole, consigning some souls to work and live in an eternal present, possible futures winking upon the horizon.
Dear Reader, rumor has it these beings whispered in Esperanto, but only into the ears of those most ready to receive such comprehensive knowledge and advanced understanding; humans beings closer to knowledge of Universal Shapes and Human Destinies.
Personally, I like to think some of these humans being reside at the BBC.
‘At the exhibition, I fell to talking with two elegantly coiffed ladies of the kind who spend their afternoons in exhibitions. “Marvelous, don’t you think?” one said to me, to which I replied: “Monstrous.” Both opened their eyes wide, as if I had denied Allah’s existence in Mecca. If most architects revered Le Corbusier, who were we laymen, the mere human backdrop to his buildings, who know nothing of the problems of building construction, to criticize him? Warming to my theme, I spoke of the horrors of Le Corbusier’s favorite material, reinforced concrete, which does not age gracefully but instead crumbles, stains, and decays. A single one of his buildings, or one inspired by him, could ruin the harmony of an entire townscape, I insisted. A Corbusian building is incompatible with anything except itself.’
I noticed a mini-brutalist revival there for a minute.
[Readers of this blog will know that the idea there exists comprehensive knowledge of ‘reason’, or the idea that political science will arrive at solutions to all previous political problems, or the idea that modern doctrines can provide ‘systemic’ blueprints for either buildings or political systems are all ideas viewed very skepticallyhere.]
You’ve got to be careful where you go looking for what’s good, true and beautiful.
As for Boston City Hall, it was built in ’69 and aims to be open, accessible, and [to] connect with Boston’s past:
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.’
Some buildings mentioned: 375 Pearl Street is being worked on. The ‘Krull‘ Long Lines building is not for use.
Well, at least it isn’t Buzludzha, The Communist Spaceship plopped down as though from a world of Pure Ideology, Nature properly subdued:
‘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.
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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!
Rasta Dale gave a sermon last night. I don’t quote exactly: ‘A garden in each living unit…prevents ransacking by the EPA, corporate raiders, and fallen community members…foul, filthy despoilers shall not weaken our resolve as Gaia’s chosen children.’ Starchild wept.
Of course Dr. Seuss should get political! Make everything political!
Dr. Seuss's political cartoons have been finding a new audience among those opposed to the “America First” policies of President Trump, writes Sophie Gilbert https://t.co/oh0vw5O57Gpic.twitter.com/kAhyBpn8o8
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:’
Here's advice from one family who significantly cut back on food waste for three months: ▪️ Plan out meals for the week to reduce excess food purchases ▪️ Know when food is actually spoiled ▪️ Stray from recipes ▪️ Study personal food wastehttps://t.co/fFNB0OzV7o
‘Hou[e]llebecq has been accused of being a nihilist and cynic, but far from that, his work is an extended protest against nihilism and cynicism. It is true that he offers no solution to the problem, but it is not the purpose of novels, but rather of tracts, to offer solutions to such problems. For him to tell his readers to take up basket-weaving or some such as the answer to existential emptiness would in fact be an instance of that very existential emptiness.’
Here’s a brief Houellebecq interview on Tocqueville (I too was bored when I first read Tocqueville, but I hadn’t realized how deep and accurate so many of his observations were):
As previously posted:
Interview sent in by a reader with Houellebecq on his ‘Soumission,’ which, in his fictional world, imagined a soon-to-be Muslim candidate defeating a French nationalist candidate, followed by an ultimate submission of French society to Islamic law and political leadership.
Interesting discussion at the link (including a deflation of (R)acism as critical theory).
‘But now you’re asking words to mean something they don’t. Racism is simply when you don’t like somebody because he belongs to another race, because he hasn’t got the same color skin that you do, or the same features, et cetera. You can’t stretch the word to give it some higher meaning.’
On some of Houellebecq’s thinking behind the creative work:
‘Yes. It has to happen sometime and it might as well be now. In this sense, too, I am a Comtean. We are in what he calls the metaphysical stage, which began in the Middle Ages and whose whole point was to destroy the phase that preceded it. In itself, it can produce nothing, just emptiness and unhappiness. So yes, I am hostile to Enlightenment philosophy, I need to make that perfectly clear. ‘
Whoa, at least he’s relatively up front about that.
Isn’t it possible to reject Houellebecq’s modernity-is-dead worldview AND also put the universal claims of progressive, collectivist, ideological, postmodern, multicultural feminist discontents into their proper perspective? Perhaps without suggesting the end of the modern world and some presumed next stage to be reached?
And as for discussions of art: Is the book worth a read?
From the comments:
‘Those of you regarding e.g. feminism as somehow an antidote to the patriarchal impulses in enlightenment thinking or Islam, or in broader terms postmodern political and social movements as offering a ‘third way’, something totally new and immune from this dynamic of competitive decay and decline, forget the fact that these movements are themselves the most recent outgrowths of the emancipative instinct, one of the core features deeply rooted in Western thought ever since the renaissance, as Barzun described. As an Asian living in the West myself, I have to tell you that this instinct is simply not present as a core element in other civilisations, and is indeed distinctive about the West. That Japan and Korea, and for that matter every non-western nation, modernised without a countercultural ‘values’ rebellion is indicative in this regard. The west is going to be without allies as it goes with a whimper.
Under such a depressing worldview, hope is provided for by religion and mysticism, a return to medievalism. It is sad, because the West will truly die as it numbs its own most deeply embedded instincts in the process of conversion, but the mysticism is a form of hope for the masses, who never particularly cared for high ideals anyway.
Houellebecq seems to channel Spengler, who hardly anybody reads nowadays. But that such an interesting thinker is hardly glanced at today is an indictment of us, not of him.’
Also, from the comments. Hubristic, but there’s something to deflated nihilism:
‘This is why I love French writers and thinkers. Fascinating to read even if they are always wrong.’
As much as I’m hoping for a break-up of Islamist ideology, I suppose I’m hoping for some light into these dark, post-Enlightenment corners as well. Something other than the existential void and the ideas and ideologies which so often rush in.
I have to give Hollebecq credit, too, for as he points out, the major religions have been dealing with questions of purpose, suffering, telos, why, what, when, and the stuff human nature for a lot longer time.
Roger Sandall, Australian critic of romantic primitivism and the Western’s Left’s penchant for the Noble Savage: His home page where his essays can be found. Here’s “The Rise Of The Anthropologues“
Robert Hughes, Australian and often fierce critic of modernism and post-modernism.
***I should add that Werner Herzog’s ‘Into The Abyss‘ was worth my time. Herzog is probably not a proponent of the death penalty, but I thought he left me to decide what I thought, and he didn’t flinch from the crime, the tragedy and the loss.
‘Oakeshott connected his perceptive account of tacit knowledge with a larger conception of modally distinct worlds of discourse, and, in this way, his account differed from Ryle’s. However, both thinkers contributed to the re-emergence of a kind of traditionalist and pluralist epistemology which rejects the reductionism of scientism and acknowledges the multitudinous ways in which human beings know things. For both writers, authentic knowledge always involves a capacity which cannot be reduced to articulable explicit propositions. Knowledge depends upon being capable of using it in some way.’
‘Modes, then, are provisionally coherent and distinguishable kinds or categories of understanding and inquiry. In Experience and Its Modes, Oakeshott aims to identify the presuppositions in terms of which a mode can be made coherent and distinguished from other modes. In philosophy, categorial distinctions are distinctions of kind rather than degree and what are called categories are often thought of as the most fundamental classes to which things can belong. But philosophers differ on whether the identified kinds are natural or real (ontological) or conceptual (epistemological). The former are categories of being (Aristotle), the latter categories of understanding (Kant). Philosophers also disagree about whether a categorial scheme must be exhaustive and fixed or, alternatively, can be open and mutable. The modes that Oakeshott identifies in Experience and Its Modes—history, science, and practice, to which he later added “poetry” (art)—are epistemological categories, not ontological ones. And although the modes are mutually exclusive, they do not form a closed set. They are constructions that have emerged over time in human experience. They could change or even disappear and other modes might yet appear.’
and:
‘The idea of a hierarchy of modes is not particular to Idealism. Where there are different understandings, it can occur to someone interested in reconciling them to imagine that they represent different levels of understanding. In contrast to unifying philosophies, including philosophical Idealism, Oakeshott’s position is pluralist and anti-hierarchical. In this respect he has more in common with Wilhelm Dilthey, who struggled with the issue of relativity in metaphysics and how to distinguish the human from the natural sciences, than with the British Idealists—Bradley, Bosanquet, and McTaggart among others—with whom he is often associated (Boucher 2012). For Oakeshott, all knowledge is tentative and conditional. Theorizing is “an engagement of arrivals and departures” in which “the notion of an unconditional or definitive understanding may hover in the background, but … has no part in the adventure” (OHC 2–3). In attempting to construct a coherent view of the world the philosopher “puts out to sea” (OHC 40) and is perpetually en voyage: there are no “final solutions” in philosophy any more than in practical affairs.’
I’m guessing Oakeshott would NOT have taken the case of monarchy up, nor the divine right of kings via Robert Filmer. Nor, likely, would he have taken up Thomas Hobbes’s case for the Leviathan based on a synthesis of the burgeoning practice of the natural sciences of the time. This isn’t an empiricist account of the world either (all knowledge arises in experience, sensation is separated from its object).
An Oakeshotian might see technical manuals everywhere, and few practitioners. He might see a lot of category errors, especially amongst those who mistake their own brilliance, method and scope as being enough to design political systems, laws and rules for the rest of us. Especially when such folks have little to no experience of those political systems, laws and rules.
‘The “hidden spring” of rationalism, as Oakeshott explains, is a belief in technical knowledge–which, by its very nature, is “susceptible of precise formulation”–as the sufficient or even the sole form of knowledge. This goes with a ‘preoccupation with certainty’ and an obsession with method, of the sort that can be expounded in a book; what it excludes is the kind of practical knowledge that is acquired only through prolonged contact with an experienced practitioner (RP, 11-17). Here one is reminded of Hobbes’s frequent insistence that true “science,” which yields certain knowledge, is different from “prudence,” which merely extracts probabilities from experience. Hobbes believed that geometry was the prototype of a true science, and that his own civil science was modeled on it;…’
And now for something mildly different:
During my humanities education, I developed an increasing suspicion of the postmodern rejection of tradition, rules, laws, rituals and beliefs, at least with regard to reading, writing and thinking. In engaging with some dull, and other absolutely mesmerizing, works of the creative imagination, I realized many of my own rituals and beliefs were being challenged. There are many experiences, and views, and ways to understand both myself and the world.
This is a good reason to get a good education!
It also slowly dawned on me that the lack of pedagogy, endless deconstructionist academic discussions, canon-less syllabi and increasing identitarian drift (is this person a professor because he/she’s the best poet/teacher or because he/she’s black/female or some mix of both?) were taking up valuable time.
I aimed to be open-minded, but not so much as to notice my brains falling out.
Honestly, I didn’t come across too many radicals and wasn’t particularly radical myself, though I went deep enough to see how people can become animated by some cause or injustice, often deep within their own lives (a bad childhood, homosexuality, social isolation, legal injustice, rejected prodigal talent etc).
It’s tough to say what conspires to make great artists and observers of life and their own experiences; but maybe it’s a little less tough to understand how some people forego the difficulty of creation in favor of political activism, religious certainty and belief, ideological certainty and second-rate moral scolding.
Oh, there are reasons.
Maybe I was just aging out or wasn’t so creative myself, anyways.
It looks like the ‘International Power Style’ of the 50’s and 60’s landed its mothership in downtown Albany. I appreciate Robert Hughes’ near hyperbole in describing the Empire State Plaza:
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What if there was a Wisconsin motor court/supper club with global ambitions? What if you fused a local motel with the U.N. internationalist style, you ask?
After taking the photo tour, I remain convinced that ‘The Gobbler’ exists in its own realm of awesome badness. Such a shag-covered, abandoned love-child of the late 60′s and early 70′s is challenging just what I thought I knew about American culture.
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Donald Pittenger, at Art Contrarian, and formerly of 2 Blowhards, has been looking at modernism. From the banner of his blog:
‘The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished — just put in its proper, diminished place’
They designed a city in the heart of Brazil that really doesn’t work for people: Brasilia: A Planned City
In working towards a theme, 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.
In criticizing the woke, social justice true-believers trying to impose their ideas of ‘cultural appropriation’ upon fiction writers like Lionel Shriver (You can’t write black characters. We will colonize language! We will colonize the imagination!), a reader points out the following:
First, I wrote, in shared criticism of such people:
‘If you’re looking to art for moral instruction, or for canned lines to solidify group membership, political affiliation and/or ideological identification, you’re probably doing dirt on the arts and life.’
Anonymous wrote back:
‘Check out Kanye:’
Dear Reader, can you tell the dancer from the dance?
Going to church is probably as much about scents and sounds, chanted words and ritual performace as much it is about doctrine for a lot of people, a lot of the time. Here, a lot of hearts and minds can be changed.
Maybe the church and its doctrines proscribe limits which also harm the creative artist, just as do so many social justice ideologues, intersectionalists and radicals colonizing many university studies and HR departments.
Given other failures in American civic culture lately, including the more obvious ones within the entertainment and popular music industries, it’s not surprising the same channels are now used for religious conversion.
In fact, I’ve kind been waiting for the other shoe to drop.
There’s something very funny to me about the Quakers trying to stay hip with social-justice appeal:
It’d be nice if many secularists and political liberals said something like the following: If we continue to secularize society, we will entrench many postmoderns, activists, radicals, people steeped in resentment, and narrow socialist ideologues, but the gains in liberty will be worth it.
We might even inspire a return to old-timey religion. If this happens, we will freak-out about this turn of events.
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.
Did the Unitarian Universalists get there first, with a mishmash of faith and secular humanism?
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.”
I can’t get much more unpopular myself: If you’re looking to art for moral instruction, or for canned lines to solidify group membership, political affiliation and/or ideological identification, you’re probably doing dirt on the arts and life.
Such a brave stance to take: Six writers apparently know what is acceptable speech and what isn’t, and thus didn’t think the folks at Charlie Hebdo engaged in acceptable speech.
Well, it’s not a photograph quite abstract enough to get to mid-century American abstract expressionism, anyways.
Where did poems and paintings go, exactly, within the imaginations of many in this past generation now passing away?
Why I Am Not A Painter
I am not a painter, I am a poet. Why? I think I would rather be a painter, but I am not. Well,
for instance, Mike Goldberg is starting a painting. I drop in. “Sit down and have a drink” he says. I drink; we drink. I look up. “You have SARDINES in it.” “Yes, it needed something there.” “Oh.” I go and the days go by and I drop in again. The painting is going on, and I go, and the days go by. I drop in. The painting is finished. “Where’s SARDINES?” All that’s left is just letters, “It was too much,” Mike says.
But me? One day I am thinking of a color: orange. I write a line about orange. Pretty soon it is a whole page of words, not lines. Then another page. There should be so much more, not of orange, of words, of how terrible orange is and life. Days go by. It is even in prose, I am a real poet. My poem is finished and I haven’t mentioned orange yet. It’s twelve poems, I call it ORANGES. And one day in a gallery I see Mike’s painting, called SARDINES.
Poems require your mouth and mind to come alive. But aren’t there real things, to which these words refer within our visual memories, out in the world?
Are you lost within the peaks and valleys of the sounds, mesmerized by the singer and the song (poet and poem), as well as the underlying patterns, working upon your mind?
What are you doing with your visual imagination?
If you’re like me, maybe you just want a few minutes of pleasure; a return to when your mind (if you’re getting older) encoded sounds into a map within, during times of impressionable openness.
Strange how they stick around:
As posted: Let’s go further back, now, to a place and time which we’ve never experienced, but live partially within:
Maybe it’s Pilgrim’s pride, or perhaps the Puritan pursuit of image-less purity, or the Colonialists ecumenical style, or maybe even some Shaker weirdness that finds itself up for analysis.
Perhaps somewhere there’s a spare, Yankee work ethic resting on a simple, wooden shelf in the ‘American mind.’
Could such a thing be discovered within mid 20th-century modernism?
Robert Hughes takes a look at Donald Judd’s ‘Temple Of Aesthetic Fanaticism,’ and Richard Serra’s nod to Jackson Pollack and abstract expressionism in the rawness of material sculpture. You know, making stuff (a potentially sensitive subject with so many technological changes going on right now).
(link may not last):
As for Land Art, Michael Heizer’s life’s-work land-art project is apparently complete, if such a thing can be complete:
Apparently, Heizer’s been working since 1972 on this sculpture in the Eastern Nevada desert, which was originally called ‘Complex One.’ It’s morphed into his life’s work, called City. It’s very large. It can’t be moved. You can’t reproduce it. It represents a break from traditional sculpture. It can’t be put in a museum and it’s not clear that it has a function.
In Brasil, they just started from the top-down and built a city that doesn’t work that well for people: Brasilia: A Planned City
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I have to confess that seeing that structure upon the wide open emptiness of Eastern Nevada is comforting for the familiarity it brings. It’s a little bit of order upon the unknown, and the design, or lack thereof (about which a man may wonder), within Nature herself. I think this is why a military installation out in the desert can captivate the imagination as it’s been known to in Hollywood and in the public mind (dreaming of aliens and conspiracies).
To expand on that theme, Wallace Stevens might shed some light. He was an American poet on the hinge between Romanticism and Modernism:
Anecdote of the Jar
I placed a jar in Tennessee,
And round it was, upon a hill.
It made the slovenly wilderness
Surround that hill.
The wilderness rose up to it,
And sprawled around, no longer wild.
The jar was round upon the ground
And tall and of a port in air.
It took dominion every where.
The jar was gray and bare.
It did not give of bird or bush,
Like nothing else in Tennessee.
What do you do with an uncivilized, wild land? Import European learning and literature “atop” it? Christian tradition and the Natural Law? Import the triumph of the Western mathematical sciences and technology? Import its movements of the arts and the individual artist?
