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Decay of Culture?

 
  

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some guy
18:41 / 04.11.02
the point is that one would have to work quite hard to make a convincing case that art is currently in decline.

One would have to work equally hard to make a case that it isn't, of course. It's not like one side gets the argument-free rejoinder, after all.
 
 
The Falcon
01:19 / 05.11.02
But, Laurence, if you don't like it, then you must be out of touch (with the omnipresent 'it').

I don't like most culture; I think it's rubbish, which is why I try not to add to the steaming pile. However, to return to my initial point, I will (hopefully) always try seeking out something new, because it will have been made in a time and situation which I can appraise and relate to (man...) better. Music analogy: given the choice between the Beatles and Stones, I'd go for Romanthony. Because I don't really care about the Beatles and Stones - it sounds old. It's my dad's music. Which is why I'm not overly enamoured of this 'The [insert twattish name]'* trend; it's tremendously backward.

So the contemporary should, in short, be more relevant to you, as you are (I assume) currently alive. As for crap ratios, how precisely do we intend to measure them?

*Except The Streets, who are really nothing to do with he rest of them lot, and are quite non-traditional.
 
 
some guy
01:54 / 05.11.02
Oh, I think everything's fine. I'm just playing Devil's Advocate, because it's always possible that cultures do experience cyclical rises and slumps in art. I think we could make a fairly convincing case that pop culture decays during prosperity and rises in adversity - look at the birth of rock, punk etc.

On the music tip - lots of music fans are constantly finding new music and, looking back, we can chart creative boom and bust periods. I find it a little odd that some people seem to be insisting that the good:crap ratio isn't constantly in flux but some sort of cultural constant.
 
 
Pepsi Max
11:08 / 05.11.02
LL> LL> I think we could make a fairly convincing case that pop culture decays during prosperity and rises in adversity - look at the birth of rock, punk etc.

I've actually wondered about this for a long time. And I've finally got round to running the numbers and comparing them to musical trends during these periods. And the results are inconclusive.

A key indicator of prosperity would be personal/household disposable income per capita % change inflation adjusted (i.e. how wealthy Ms. Average was feeling).

Now in the US, the latter booms in the mid-50s (around the time that Elvis becomes big and rock'n'roll takes off), dips and then remains positive throughout the 60s (the golden days of rock and soul and the first flourish of funk) through until 1974 (er, the rise of prog rock). It then booms again in the late-70s (disco, punk and new wave).

After that, it crashes in the early-80s (birth of hiphop) then rises in the late-80s (AOR and hair metal) before plummeting in the early 90s (grunge). It's then weakly positive until the present day (or 2001 at least).

I only have data for the UK from 1971, but the pattern is the opposite. The early years of punk (1974-77) show largely neagtive growth in household disposable incomes per capita. 78-80 (the exceptional creativity of post-punk) show growth. Then a trough in 81-82 (New Romanticism). Then after 83, it's growth until 98. Interestingly, the years when acid house makes its first inroads into the UK are the years of highest growth for household income.

What all this shows (if anything), is that your statement is overly simplistic. What I think may be interesting is the way in which economic factors shape the emergent culture (both 'high' and 'low') in a variety of ways (ala yer classical Marxist base-superstructure model).

And of course, this crude analysis takes no account of the relative fortunes of different groups within society.

If anyone really wants the data I can send it to them.
 
 
some guy
12:26 / 05.11.02
What all this shows (if anything), is that your statement is overly simplistic.

Of course, though I think you're also taking too narrow an approach regarding prosperity/adversity, which I would widen to include that cultural je ne sais quoi. Perhaps better terms would be cultural stability/turmoil, with the "quality" or "creativeness" of art rising in times of adversity/turmoil (late 1960s) and falling during times of prosperity/stability (late 1990s). I expect that perception of prosperity/adversity is key, rather than the actual economic data, because it's that perception that drives art. But this is just an unresearched gut feeling.

Does anyone want to argue that the good:crap ratio for art is one of the few universal constants rather than constantly in flux? I'd be interested to see the reasoning...
 
 
Pepsi Max
13:05 / 05.11.02
Perhaps better terms would be cultural stability/turmoil, with the "quality" or "creativeness" of art rising in times of adversity/turmoil (late 1960s) and falling during times of prosperity/stability (late 1990s).

Yeah but how do you define these in ways that aren't circular? How do you define "cultural stability/turmoil" without recourse to comments such as "lots of new cultural ideas appearing"?

And why is increasing prosperity equated with stability? Societies that become wealthy quickly are often unstable - as such wealth may not be equally distributed.

which I would widen to include that cultural je ne sais quoi.

Ah, the fiddle factor.
 
 
some guy
13:49 / 05.11.02
And why is increasing prosperity equated with stability? Societies that become wealthy quickly are often unstable - as such wealth may not be equally distributed.

I agree, but I think that the terms are probably better used in a quadrant chart approach than an either/or thing. The birth of art forms - in music think jazz, rock, rap - may be linked to negative regions of such a quadrant, while their low points - think the US music scene in the late 1980s and late 1990s - may be linked to positive regions (perceived prosperity/stability). Again, an off-the-cuff proposal. I think perception is the key criteria rather than actual economic/social data (and we see the divergence between perception and reality in the current US domestic situation, so it obviously happens). This perception is, as you say, the fiddle factor. But I suspect perceived adversity makes for great art.
 
 
silpulsar
04:35 / 06.11.02
perhaps the reason some think that art is going downhill now is because while we have been exposed to "important" art movements through historical perspective, the "jackass"/freakshows have not been as spotlighted because of their perceived "unimportance"?

the ratio throughout the last few decades could be the same as it is now, but because we are seeing it from the INSIDE, we now see all the gory details, while most of those same details are omitted from historical accounts of our "culture".
 
 
Pepsi Max
00:44 / 07.11.02
But I suspect perceived adversity makes for great art.

Isn't this just drawing on the familiar "starving artist in the garret" cliche? This is wrong - or at the very least highly incomplete. Art requires nuturing, support, even the confidence of prosperity. 60s Rock and Acid House were both driven by the kinds of optimism that could only come from prosperity.

(and we see the divergence between perception and reality in the current US domestic situation, so it obviously happens)

Well, in that case you could use consumer confidence surveys. That's exactly what they track. I can't be arsed to dig out the data tho.

I think you're just trying to wriggle off the hook.
 
 
some guy
11:46 / 07.11.02
But I suspect perceived adversity makes for great art.
Isn't this just drawing on the familiar "starving artist in the garret" cliche?


Sure - but I suspect it's a cliche because it's true. Art is about communication, and sponsored religious figures aside, it's those without official channels that need to express themselves through art the most. Hence jazz, punk, rap etc.

Art requires nuturing, support, even the confidence of prosperity.

Evidence? Reasoning?

60s Rock and Acid House were both driven by the kinds of optimism that could only come from prosperity.

I'd say that they both sprang from political adversity, actually. 1960s rock is the voice of a generation without access to official channels (and therefore a natural focal point for counter-cultural expression), while acid house may originally have been a reaction to the cultural conformity of the repressive Thatcher years, if only subconsciously.

Well, in that case you could use consumer confidence surveys. That's exactly what they track.

Depends on who's being surveyed, and where the creative surge is occurring, obviously. Consumer confidence among middle-class Californians of the time isn't going to have much bearing on the Harlem renaissance.

I think you're just trying to wriggle off the hook.

Considering I admitted this is an off-the-cuff observation that requires research, I don't see how there is a hook to wriggle off of. I still find it stunning that people would argue that quality of art, alone among thousands of years of cultural flux, is a constant ratio.
 
 
diz
14:09 / 07.11.02
Art requires nuturing, support, even the confidence of prosperity.

Evidence? Reasoning?


the Renaissance was entirely fueled by the prosperity of the Italian banking families. New York's rise to the top of the visual arts world coincided neatly with America's postwar rise to global superpower status. the incredible pace of development in any number of popular music forms (especially hip-hop and electronic dance music) is a product of consumer affluence.

money pays for innovation. art is in many ways a luxury, and artists live off the excess of affluent cultures.

none of what i'm saying precisely invalidates any of the counter-examples you could make about the roots of many art forms in poverty or marginal societal status. however, i would argue that any totalizing argument on the relationship of wealth to art, where all art (or all "quality" art, as if quality were something we could discuss in absolutes) comes from poverty, or vice versa, is reductionist and incomplete. the relationship between wealth and art is complicated and varies wildly according to historical and social context, and any attempt to make simplistic arguments about it betrays a certain intellectual laziness, at least in my book.

I still find it stunning that people would argue that quality of art, alone among thousands of years of cultural flux, is a constant ratio.

i still find it stunning that people seriously argue about the quality of art, which is really pointless since measures of quality are necessarily subjective.
 
 
some guy
15:13 / 07.11.02
the Renaissance was entirely fueled by the prosperity of the Italian banking families.

Yep - I said as much above.

i would argue that any totalizing argument on the relationship of wealth to art, where all art (or all "quality" art, as if quality were something we could discuss in absolutes) comes from poverty, or vice versa, is reductionist and incomplete.

Oh, absolutely. I don't think anyone here's tried to do that, though.
 
 
Pepsi Max
01:46 / 08.11.02
Sure - but I suspect it's a cliche because it's true. Art is about communication, and sponsored religious figures aside, it's those without official channels that need to express themselves through art the most. Hence jazz, punk, rap etc.

Except that not all the stars of these movements were "from the ghetto". Joe Strummer was the son of a senior civil servant. Guru from GangStarr was the son of an eminent member of the black middle class. Ice Cube was a college graduate.

60s Rock and Acid House were both driven by the kinds of optimism that could only come from prosperity.

I'd say that they both sprang from political adversity, actually. 1960s rock is the voice of a generation without access to official channels (and therefore a natural focal point for counter-cultural expression), while acid house may originally have been a reaction to the cultural conformity of the repressive Thatcher years, if only subconsciously.


Acid House may have been a subconscious response to Thatcherism BUT many of those involved in it (from record production to rave promotion) saw themselves as upwardly-mobile entrepreneurs. They wanted "in".

Many of those involved in the 'counterculture' scene were from prosperous middle class families who could afford college educations for their children. The counterculture took place on college campuses rather than in blue collar union halls. The 'safe space' for the counterculture (academia and bohemia) were funded by the prosperity of the 50s and 60s.

Art requires nuturing, support, even the confidence of prosperity.

Evidence? Reasoning?


Well, I've just supplied you with some above. Yes the Renaissance is a classic example (for which for some reason you seem to have disallowed).

In terms of reasoning, I would say that your model (the struggling artist) tends to focus on the individual too much. The creation of cultural products (music, fine art, literature) takes place in a context. Most creators require funding, encouragement, patronage, etc. If they don't have that then the odds are they will go under. And most creative costs money to produce. Music requires funding for studio time and equipment. Film is obvious. Literature is the cheapest but arguably it requires sources (academia, publishing, indirect state support) that will fund the author. And we haven't even begun to talk about distribution and audiences yet.

i would argue that any totalizing argument on the relationship of wealth to art, where all art (or all "quality" art, as if quality were something we could discuss in absolutes) comes from poverty, or vice versa, is reductionist and incomplete.

Oh, absolutely. I don't think anyone here's tried to do that, though.


Oh, I think that's exactly what you've just tried to do. N.B. I am not making the opposite argument (that adversity has no role to play). I think it does, and in some of the ways you outline.
 
 
some guy
11:28 / 08.11.02
Except that not all the stars of these movements were "from the ghetto".

Of course, we will be able to find exceptions to every analysis. But are you seriously going to argue that the rock explosion of the late 1960s wasn't linked to counter-cultural expression, or that early rap was the domain of the middle class?

The counterculture took place on college campuses rather than in blue collar union halls. The 'safe space' for the counterculture (academia and bohemia) were funded by the prosperity of the 50s and 60s.

Except of course that we learned there was no safe space - not least on campus. The counterculture extended well beyond college students (at least in the US).

The creation of cultural products (music, fine art, literature) takes place in a context. Most creators require funding, encouragement, patronage, etc.

This just isn't true, unless we're talking about distribution models for commercialization of that art. Certainly rap wasn't born out of funding and patronage. We appear to be talking cross purposes, because I haven't brought up distribution at all. I agree it takes funding to bring most art into the mainstream.

i would argue that any totalizing argument on the relationship of wealth to art, where all art (or all "quality" art, as if quality were something we could discuss in absolutes) comes from poverty, or vice versa, is reductionist and incomplete.

Oh, absolutely. I don't think anyone here's tried to do that, though.

Oh, I think that's exactly what you've just tried to do.


Claiming that I suspect great art comes from adversity and proposing a creative surge/lull cycle linked to perceived economic/cultural adversity doesn't equate to presenting a "totalizing argument on the relationship of wealth to art, where all art ... comes from poverty." Again, I haven't tried to do that, and I don't think anyone else has, either. You're stretching.
 
 
autopilot disengaged
18:35 / 08.11.02
a couple of (non-totalizing) points:

firstly, i don't really see how people can really assess the relative health of the culture around them - comparisons with the (canonical) past are all well and good, but if we're products of our time, how do we see beyond that? literary history teaches us again and again that an artist's succes during their own lifetime is no real indication of their longevity or 'genuine' worth. parsing art from fashion is easier when the trend's long passed...

and, even in this, i'm aware i'm exchanging one method of valuation (popularity) for another (critical analysis). i tend to think the latter is more trustworthy when it comes to dealing with 'classics', but often awkward and unwieldy if used to unpick perceived meanings, mould movements - as they're actually happening...

aesthetics is always going to be subjective - unless you subscribe to some wannabe 'science of art'. even the canon is not necessarily correct. there is no 'correct'. there is no reason that what our age regards as the great art of the past can't be completely rewritten by future generations whose criteria differ in whatever way.

maybe the original question should have been phrased more along these lines - that the kind of art you personally like/value - is waning right now. which could mean that tastes are shifting away, that values are being reassessed, that people are no longer finding a particular type of art as relevant to their lives...

art is sprawling right now, is going thru another massively interesting technological jump - as we pitch into the information age(C). fragmentation has been an early consequence of postmodernism, increased education, the rise of the culture industry, the cult movie, the niche market... it's also (hopefully) begun an unstoppable process of decentralization. the monolithic high/pop art split seems like extremism nowadays. most of the fun stuff are mongrels, are hybrids, unstable systems, experimental sketches and super-intelligent cartoons.

seriously. we're lucky. we're living thru amaaaazing times....
 
 
Jack Fear
18:52 / 08.11.02
Well, yeah... if you like that kind of thing.

Which is, of course, the whole point.
 
 
Scrambled Password Bogus Email
19:29 / 10.11.02
Ground control to Robert Pirsig...

Please define 'quality'...

The best (attributed to the latterly mentioned) I know is 'What you like'

Any takers?
 
 
some guy
00:22 / 11.11.02
"Quality" is a sticky, nebulous thing that has one leg firmly planted in "what I like" territory. But does it, at least in part, include some degree of objectivity? And if so, what would those objective criteria be?

There are some, of course, who will shout loudly that there is no objective component of quality, just as there are others who will insist that everything can be perfectly regimented. I think that the truth lies somewhere in the middle - that there is an objective element of craft when it comes to quality, however small. Hence the general agreement among various disciplines as to the relative positions of A and B on the scale of quality, be it McDonald's versus Spago's or Eisner versus Liefeld. Few people would argue that McG is a director of higher quality than Paul Thomas Anderson, even though he may have a higher "what I like" factor among moviegoers (based on box office).

But how do we break this down, especially if we assume that craft must necessarily co-exist with the subjectivity of "I know what I like?" Are there specific objective and subjective components of an object that contribute to its level of quality? If so, what are those objective components?

I think that originality is one indicator - both in terms of concept and/or presentation. Another might be internal integrity of the piece, be it a house or a narrative.

Just thoughts...
 
 
ONLY NICE THINGS
10:01 / 12.11.02
Hmmm.

But "craft" means something specific, doesn't it? That is, artifice, a knowledge of and facility for the tools of whatever the artifact being produced is.

So, Thomas Harris might be considered a great craftsman, as he knows precisely how to write a best-selling crime novel, while at the same time being an atrocious writer. Or, to look at it from another angle, John Keats' craft can be identified by his mastery of various forms of rhythm, metre and rhyme, and that mastery could perhaps be demonstrated to be better than the mastery of, say, Robert Southey. But how about if I argue that his craft in these areas is also better than the craft of William Shakespeare, can that claim be verified without appealing to individual taste? And if it can, who does that make the better poet?

Which leads on to the infinite regress of the Weak Objective principle, which is that surely pretty much anything can be attributed to craft, or some other form of objective distinctor, according to subjective reasoning. For example, integrity. Is this the basis of an objective mesurement of quality, or is it just something an individual might like in their art?
 
 
some guy
11:16 / 12.11.02
So, Thomas Harris might be considered a great craftsman, as he knows precisely how to write a best-selling crime novel, while at the same time being an atrocious writer.

In a sense, but I don't think it gets as murky as you make out, because the craft of writing a novel and the craft of creating a best-selling story are two different crafts. Harris is obviously skilled at creating blockbuster stories. He is demonstrably a poor writer when it comes to craft (unless something has changed and it's suddenly grammatically correct to repeatedly use multiple tenses within the same paragraph). Your Keats/Shakespeare example is similarly flawed - I don't think anyone's trying to establish a completely objective hierarchy of quality. If anything, the subjective component far outweighs the objective. But I believe there may be some objective element to quality, however small.

A well-made chair is plainly distinguishable from a poorly made chair. But two well-made chairs? Whether one is better than another is subjective.

For example, integrity. Is this the basis of an objective mesurement of quality, or is it just something an individual might like in their art?

That is an interesting question. I would argue that integrity is nearly universally considered an element of quality, in that it's difficult to find people who would claim that a chair with weak structural integrity is a nice one. This would appear to extend somewhat to stories, with critical groaning at the appearance of a deus ex machina or random plot holes.

But I think there's something to what you ask, especially if we expand it to groups of people. There is quite clearly a craft in writing screenplays, for example, and experienced readers and writers can detect deficiencies in this craft to an almost subliminal degree. But is this craft a natural extension of the art of writing screenplays, or the tacit agreement of the subjective tastes of hundreds of thousands of people? I don't know. And so perhaps we might say it is probably impossible to objectively discuss "objective quality" but it is possible to objectively discuss "subjective quality," taking the rules of the craft as our ring, and admitting that the tradition of the craft itself could merely be a subjective appreciation shared by a significant group.

What about quality of clothing, divorced from trend and style? Are fabrics and cut and stitching purely subjective, or does there appear to be a universal appreciation for a well-cut suit? Are there universal constants in the craft of writing (e.g. internal consistancy, integrity of structure)?
 
 
Jack The Bodiless
11:10 / 16.11.02
I think Jack, and others, have ignored what Tez has since qualified/clarified (not exactly helped by his tone in the first few posts, admittedly - and the Chesterton quote, by the way, is out of context, especially with Gilbert's own views on 'the proles'... he considered himself one of them, for a start).

'Vulgar' is an emotive word, and badly chosen, as Tez admitted. It also has a far greater span of meaning than that so baldly stated by El Fear earlier on... his definition completely ignores any colloquial meaning or context, a context which is perfectly exemplified by the kneejerk responses to the word itself in this thread, which Jack is also guilty of. 'Vulgar' is usually taken to mean that which is beneath the educated audience, hence the vitriol... it's used to denote overuse of swearing, for example (frequent cursing is a sign of an underdeveloped vocabulary, dontcha know, you fucking turdbaskets).

Firstly, Tez is concerned with getting his first novel published, a novel which is by no means elitist or avant garde in the way I would consider those qualities - it's actually very readable and relatively well-paced, with some genuinely horrific elements which made my spine go creepity creep. Of course, as an intelligent writer hoping to have his slightly offbeat work published, he's faced with the current realities of the marketplace, which is a major frustration if you're not Stephen King or John Grisham. I can understand his concerns, as they relate directly to his life... I'm not entirely sure he's phrased the opening posts in a manner that would enable the broad discussion he's after, probably partly because he was venting at the time.

And yes, the 'quality in art' debate is one we've had before - doesn't mean it's not worth having again. We get different viewpoints, rationales, ethos and justifications every time someone new puts their twenty million yen into the discussion. Of course, a search on the board might mean that new posters could read previous threads on the subject, but that's a matter for the individual poster, I think.

But it's ad reductio in the extreme to boil it down to "it only matters what you like." It's not the whole point. If it was, we wouldn't still be having this argument. Go on, try and compare artistic merit in Victoria Beckham's 'autobiography' and The Brothers Karamazov. Is the former even meant to be considered 'art'? According to the press release, probably. But we modern readers of texts are supposed to ignore authorial intent, right? Or not?

I don't think the art debate is quite the one Tez was referring to in the content of his first post, though it's certainly the subject raised by the abstract. I'm gratified that the conversation has moved on to be one worth having - however, I'd expect a better class of initial response in the Head Shop, to be honest, and I'm a little disappointed in Jack Fear. Even if Tez wasn't a mate, I'd have been able to sift the Nirvana from the Nickelback from what he said to respond constructively. But that's just me... Libra, the scales...
 
  

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