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Art is Dangerous

 
  

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StarWhisper
16:58 / 19.09.06
Who or what is the dangerous art threatening or what is it arousing in the individual or society? As a part of Batailles accursed share of which I know little, I beleive all art has its pitfalls.
As a form of communication without an audience is impotent, I beleive also that some art is gratutious.
Can art which is affirmative of the status quo or the social and political current of an era be vastly more dangerous than art which challenges it? Are the paralleles I want to draw from asking that in terms of art in Soviet Russia justified or was it only propaganda? Is that painting hanging in the coffee house, or homeware store a work of art, is it safe, or at least what is it for? Does art as an expression of a mode of being ever have an intention? Can legitamate art ever really challenge the status quo or does much of shock-art play on social mores with an authoritative reference to notions of a taboo which doesn't really exist?
 
 
HCE
02:19 / 20.09.06
Could you clarify what you mean by As a part of Batailles accursed share of which I know little,? I didn't understand what you were trying to say with that part of your post. Will think a bit about your other questions.
 
 
StarWhisper
08:09 / 20.09.06
Thankyou for thinking about those questions. I find it hard to come up with answers when it comes to art.

The accursed share as I understand it is an avenue of consumption through which societies resources are squandered as opposed to used constructively. The arts is said to be a flamboyant waste of capital in the same sense as television, or war.
 
 
ONLY NICE THINGS
09:08 / 20.09.06
Well, define "constructively" - the accursed share is indeed wasted, either in spectacle or in war, but its waste is both a consequence of and a way of dealing with the superabundance of energy or (non-use)value in the system - in this case the system of the human worker. So, by that logic, the creation adn consumption of art might be seen as a direct alternative to making war, and so art itself might be not dangerous but a dangerous thing not to have in a society.
 
 
Saturn's nod
09:29 / 20.09.06
Is it true that, to be good, art should be somehow challenging? threatening? dangerous, even?

eirdandfracar wrote: Can art which is affirmative of the status quo or the social and political current of an era be vastly more dangerous than art which challenges it? Are the paralleles I want to draw from asking that in terms of art in Soviet Russia justified or was it only propaganda? Is that painting hanging in the coffee house, or homeware store a work of art, is it safe, or at least what is it for? Does art as an expression of a mode of being ever have an intention? Can legitamate art ever really challenge the status quo or does much of shock-art play on social mores with an authoritative reference to notions of a taboo which doesn't really exist?

The control of art under Soviet Socialism is what springs to mind for me as well: it certainly was considered dangerous.

Haus wrote: the creation [and] consumption of art might be seen as a direct alternative to making war, and so art itself might be not dangerous but a dangerous thing not to have in a society.

I think both of these are true. I see art as soul therapy (Shaun McNiff & others: Art therapy movement) and can see why as such there were/are such strong attempts to control under Soviet & other regimes. I think good art is dangerous to domination systems because when people recognise and use their creative powers they are not so much trapped by 'the global capitalist media culture'. Art-making leads towards recognising oneself as valuable from the authenticity of one's experience: this attacks the basis of consumer-compulsion the impression that one is only valuable by access to certain properties/possessions. I hope that when people are alive and responsive, experiencing themselves as creators, they increasingly know they are powerful: art is dangerous because it propels people towards valuing their experiences and can be a way of recruiting the intuitive mind towards emerging critical consciousness. I think this represents the best hope for peace.
 
 
StarWhisper
19:27 / 20.09.06
I am not sure that art can ever challenge anything in a post modern climate. At least not given the most typical paradox of modernity, and therefore not for very long. Every artist and artwork is still (for the most part) an element of the 'global capitalist media culture' from which it originated. The experience of being a consumer in a consumer society is not inauthentic it is merely a different kind of experience.
This interests me. Maybe looking for the propety of being an artist and creating art is part of that same compulsion. Maybe it does propel people towards valuing their experiences, but who decides the value, or how do you decide the value of an experience- does it matter what experience?
Maybe I don't understand what what you mean. I don't know what critical conciousness is. Please explain?
I think good art is (conceptual sometimes)art which plays on the metaphysical interplay between objects, words, titles and images but I don't think this art is always dangerous. I guess that something doesn't have to be challenging or create conflict to be dangerous.
Please excuse any bad spelling. I really appreciate your optimism.
 
 
Saturn's nod
09:07 / 22.09.06
I googled critical consciousness and found this summary of Freire in large friendly letters. I'm writing a bit more about what I meant here, but please will you all treat it somewhat gently? I am choosing the option of writing and publishing this in a raw state, because the other option would be to leave it without a reply and I don't want to do that. But I am somewhat grief-ridden and not at my best this week.

The emergence from post-modernism is very relevant, and I like the essay alas links to in eirdandfracar's HeadShop thread. A quote from that article: "My inability to come up with a true account was not the product of being situated nowhere; it was the product of certitude that existed somewhere else, namely, in contemporary literary theory. Hence, the level at which my indecision came into play was a function of particular beliefs I held. I was never in a position of epistemological indeterminacy, I was never en abyme. The idea that all accounts are perspectival seemed to me a superior standpoint from which to view all the versions of "what happened," and to regard with sympathetic condescension any person so old-fashioned and benighted as to believe that there really was some way of arriving at the truth. But this skeptical standpoint was just as firm as any other. The fact that it was also seriously disabling--it prevented me from coming to any conclusion about what I had read--did not render it any less definite."

As I understand it critical consciousness is the emergence (from postmodernism? Or perhaps from modernism? But then Latour says that in a sense 'we have never been modern') into a sense of how to engage with the rest of the world: a conscious political stance and methods aiming at creating a more just, peaceful and sustainable world. Critical thinking is powerful: I see it as the valuable "empirical testing" part of the intuitive and wholistic creative processes we engage in as writing humans. Creative emergence through writing, through art, through critical thinking, works towards setting up human beings who are conscious of their situation in the world. My impression is that the better people understand and communicate their own situation, the more able they are to hear about the perspectives of others. Through understanding our own situations we are able to hear better the similarities and differences between us. I think it makes us able to create more robust collective accounts, because we can incorporate more of the richness of diverse human understandings from our differences rather than obscuring them. I beleive that the current crisis in the world needs everyone's creativity. I understand critical thinking as part of the holy because it (like the divine) brings the mighty low and raises up those who have been downtrodden.

I guess I could list some ways I find to discriminate between possible approaches is by their motivation and by how overt the political stance within them. I can ask, is this intended towards healing the world into an outbreak of peace and justice? Is it consciously moving toward sustainable human life? Does it declare its motivation and stance clearly or does it attempt to hide it? Does it seem to be accountable to a community, grounded and situated in a way that makes it robust?

One impression I have of the 'postmodern' is that it's a bullshit power game by privileged white men to undermine the authority of experience of people who are being held down by racist and sexist oppression. Whilst the white men play at being oh so flexible and unsituated, they perpetuate white/male domination of valuable cultural spaces and obscure the voices of those who have been trained to not to take their access to voice and the right to shape the future for granted. But then another account of the postmodern as I understand it is about seizing the power to define: I don't think that worked, does it have more use as a definition in another sense?

Yes, in one sense everything produced by humans is produced inside the global capitalist media culture / white supremacy, but not everything produced reproduces that domination culture. Some works seem to me to provide larger toolkits for constructing identities: some encourage more self-reflection, some make people better able to speak their understandings and shape the world in ways which dismantle oppression. I value highly cultural tools which help people become more conscious, responsible, connected, creative, active in shaping the future. I think whatever is created inside alternate modes begins to perpetuate the alternative mode: like Kuhn's paradigm shifts or the hundreth monkey thing.
 
 
StarWhisper
14:22 / 01.10.06
Truly dangerous art then, is it art that breaks the mould, so to speak.
I'm still working on a coherent reply to what you have said here. It interests me, and I want you to know that I haven't forgotten about it.
 
  

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