Art in theory

And so I began my art classes and I must say, they are the best classes I have been enrolled onto in a long time (at University of Oslo). We have best lecturers here with their philosophy and their thoughts that I can definitely relate to. Through art, we are given a possibility to get a better perspective on this world' events, and life in general. How does art relate to the sociatal structure of our world, even to political events perhaps. I can greatly appreciate it especially, taken all my previous experiences with people who had more materialistic view of art. I do not deny that art can be also materialistic and practical.

But I am more interested in its cultural aspect, how it unites people, ideas, how it can change our perspective on things, and, most importantly, the power of it, how it helped and helps to shape and change history. And these are topics that are being discussed!

Couple of further posts will be extracts from my current readings, and notes from lectures and seminars, so stay tuned if you are interested in the topic!

Art in Theory

Habermas, Jürgen: “Modernity” - An Incomplete Project” (1980) in Art in Theory 1900-1990 An Anthology of Changing Ideas, Ed. Charles Harrison & Paul Wood, Blackwell Publishers 1992, pp. 1000-1008

p.1004

Max Weber characterized cultural modernity as the separation of the substantive reason expressed in religion and metaphysics into three autonomous spheres. They are: science, morality, and art. These came to be differentiated because the unified world-views of religion and metaphysics fell apart. Since the 18C, the problems inherited from these older world-views could be arranged so as to fall under specific aspects of validity: truth, normative rightness, authenticity and beauty. They could be handled as questions of knowledge, or of justice and morality, or of taste. They could then be handled as questions of knowledge, or of justice and morality, or of taste. Scientific discourse, theories of morality, jurisprudence, and the production and criticism of art could in turn be institutionalised. [...]

Enlightenment thinkers of the cast of mind of Condorcet still had the extravagant expectation that the arts and sciences would promote not only the control of natural forces but also understanding of the world and of the self, moral progress, the justice of institutions and even the happiness of human beings. The 20C has shattered this optimism. The differentiation of science, morality and art has come to mean the autonomy of the segments treated by the specialist and their separation from the hermeneutics of everyday communication. This  splitting off is the problem that has given rise to efforts to 'negate' the culture of expertise. But the problem won't go away: should we try to hold on to the intentions of the Enlightenment, feeble as they may be, or should we declare the entire project of modernity a lost cause? I now want to return to the problem of artistic culture [...]  

Snow

Stopping By Woods on a Snowy Evening

Whose woods these are I think I know.

His house is in the village though;

He will not see me stopping here

To watch his woods fill up with snow.

My little horse must think it queer

To stop without a farmhouse near

Between the woods and frozen lake

The darkest evening of the year.

He gives his harness bells a shake

To ask if there is some mistake.

The only other sound's the sweep

Of easy wind and downy flake.

The woods are lovely, dark and deep.

But I have promises to keep,

And miles to go before I sleep,

And miles to go before I sleep.

Robert Frost

New Hampshire

1923

Wisdoms from Will Smith

“Being realistic is the most common path to mediocrity.” 

“Never underestimate the pain of a person, because in all honesty, everyone is struggling. Some people are just better at hiding it than others.” 

“Throughout life people will make you mad, disrespect you and treat you bad. Let God deal with the things they do, cause hate in your heart will consume you too.” 

“You can't be scared to die for the truth. The truth is the only thing that is ever going to be constant.” 

“Because thats what people do... they leap and hope to God they can fly! Because otherwise, we just drop like a rock... wondering the whole way down..."why in the hell did I jump?" But here I am Sarah, falling. And there's only one person that makes me feel like I can fly... That's you.” 

“There are so many people who have lived_ and died before you. You will never have a new problem; you're not going to ever have a new problem. Somebody wrote the answer down in a book somewhere.” 

“Too many people spend money they haven't earned, to buy things they don't want, to impress people they don't like” 

“Basic principles: no matter what, no matter when, no matter who... any man has a chance to sweep any woman off her feet. He just needs the right broom.” 

“The keys to life are running and reading. When you're running, there's a little person that talks to you and says, "Oh I'm tired. My lung's about to pop. I'm so hurt. There's no way I can possibly continue." You want to quit. If you learn how to defeat that person when you're running. You will how to not quit when things get hard in your life. For reading: there have been gazillions of people that have lived before all of us. There's no new problem you could have--with your parents, with school, with a bully. There's no new problem that someone hasn't already had and written about it in a book.” 

Beautiful quote from a beautiful movie

“I have always believed in numbers. In the equations and logics that lead to reason. But after a lifetime of such pursuits, I ask what truly is logic? Who decides reason? My quest has taken me through the physical, the metaphysical, the delusional, and back. And I have made the most important discovery of my career. The most important discovery of my life. It is only in the mysterious equations of love, that any logical reasons can be found. I’m only here tonight because of you. You are the reason I am. You are all my reasons. Thank you.” - A Beautiful Mind. 

The importance of going abroad to study/work

The students who travel abroad to learn a new language and new culture, this deprivation and/or alteration of the self comes as with the shock of using the second language. The learner’s self becomes trapped behind the communication barrier that results, and only an altered picture of the self, one filtered through this new, incomplete language, is projected by the learner. Moreover, the cultural frame of the new environment causes the presented self to be reinterpreted through yet another filter of meaning. Learners become disadvantaged in their ability to assimilate new information, develop their social networks and present their self, when their own frame of reference becomes marginalized by the prominent frame of the new culture.

From Pellegrino Aveni, V (2005) Study Abroad and Second language Use Cambridge: Cambridge University Press, pp 9-16

In Intercultural Communication: Identity by Holliday A, Hyde M and Kullman J, p.121

Are we all in pursue to acquire high statuses, to impress people around ourselves and to self advertising when we travel through cultures and religions of the world?

"Despite these structures, there is often the effort to bring into one's social world what Pierre Bourdieu terms 'cultural capital': knowledge from the cultural supermarket that one can display to one's social credit, justifying and bolstering one's social position. One's interest, at least within some segments of American society, in Indian ragas as apposed to top 40 hits, or in Tibetian Buddhist writings as opposed to evangelical Christian tracts, is a way of advertising cosmopolitan discernment: my far-flung tastes may well be the servant of my local strategy of impressing the people around me. The matter of what from the cultural supermarket can provide status in a given social milieu is highly complex. Each social milieu has its rating system for information and identities from the cultural supermarket; individuals seek to attain maximum credit and credibility, not only through consumption within the existing cultural rating system, but also through bringing in new information and identities, whose high status they seek to establish. The criteria for the establishment of such status are thus highly specific and flexible. Individuals play the game with an extraordinary acute sense of its implicit rules and strategies.

But all this is not to claim that there is absolutely no room for individual choice from the cultural supermarket. Why does one person thrill to Bach, another to juju? Why does one person become a Christian, another a Buddhist? Why does one person revel in their ethnicity, while another spurns that ethnicity? Why does one person travel the world while another stays at home? Much can be predicted about our choices by considering such factors as social class, educational level, income, gender, and age, as well as personal histories, but not everything can be predicted. We are not slaves to the world around us, but have (in a social if not philosophical sense) a certain degree of freedom in choosing who we are. This freedom may be highly limited, but it cannot be altogether denied.

From Intercultural Communication: Identity by Holliday A, Hyde M and Kullman J, p.99

Horizon of expectations

In the speech, Khruschev once claimed that communism was already visible on the horizon. When a listener asked, 'Comrade Khruschev, what does "horizon" mean?', the leader advised him to consult a dictionary. There, the listener found the following entry: 'Horizon, an apparent line that separates the earth from the sky and disappears as you approach it.'

The 'horizon of expectations' is only partly structured by experience; events do not always coincide with expectations, although those expectations are, of course, strongly influenced by their prehistory in the 'space of experience.' In the modern world, this tension between experience and expectation evokes a different experience of history. Partly because of the disintegration of the Christian concept of the Judgement Day, the 'horizon of expectation' moves up, and the future becomes 'less attached' to the past. At the same time, an eventual improvement of one's fate is less likely 'in the hereafter' and more likely 'in the present,' an experience that manifests itself in the emerging use of the concept of 'progress'.

From Art in Progress by Maarten Doorman p.24