| The Art of Reflection (2) |
|
I'd be mortified if the previous edition of the Weekly (no. 80) had left you with the lasting impression that I consider myself to be on a par with the recently deceased art historian, Sir Ernst Gombrich, or with his opposite number, Erwin Panofsky. Or take Goethe, for that matter: last year I found myself staring at a schedule he had drawn up in which he had unravelled the artistic phenomenon in minute detail. Although the mere sight of it sent shivers up my spine and I demonstratively declined to actually study it, it was my profound respect for the tenacity with which these authors attempt to chart the artistic domain that overcame my sense of defeat. Not that I wish to bring up notions such as "veracity" or "harvest", but if there ever was an example of the human penchant for persistent exploration, surely this must be it.
This ode is not without hazard. Those of you who have a less than trusting nature and find my ambivalence to have an unnerving effect on them will have no choice but to read on to the bitter end, as I put my foot down at putting in footnotes. Although I could think of better things to do than spend what little leisure time I have reading these authors' works - I'm almost ashamed to admit that I'd rather devote what few nocturnal hours I have to myself to writing my own stuff -, even I am keen to find out more about their observations. To this end I occasionally consult a splendid bimonthly publication on newsprint whose texts challenge the very boundaries of what I would refer to as "word exploitation". It's nothing short of marvellous to witness the distinguished enthusiasm with which the authors dive head first into a cultural history plot to recreate the philosophical legacy of their illustrious predecessors as well as transforming yours into a metaphysical allegory. This is something that fills me with a feeling of genuine awe. But that's not all it does. Just over a year ago, having digested a couple of paragraphs from an article entitled "Fundamentalism as the Middle Road between High and Low Culture" *), I jotted down the following: "The theoretical foundation underpinning the notion of avant-garde is the transformation from a feeble notion to a radical departure from the familiar. You are wondering about the mystery of the attraction? There is something rewarding in the ability to use inscrutable things to set oneself apart - indeed, in much the same way as with any religion." I must admit to being slightly shocked myself at having so effortlessly achieved footnote heaven. *) Boris Groys, "Fundamentalism as the Middle Road between High and Low Culture", De Witte Raaf no. 87, September-October 2000. I also encountered Goethe's schedule in one of the issues of this journal (www.dewitteraaf.be). |