Posts Tagged ‘art’
“God has no religion”*…
For the last 15 years, the Public Religion Research Institute (PRRI) has done quantitative and qualitative research on religious values in the U.S. A recent study has generated a number of headlines, most focusing on a single issue– a good example: “People say they’re leaving religion due to anti-LGBTQ teachings and sexual abuse“… which is in fact a significant finding, but only one finding in a wide range of other interesting– and important– observations that emerge…
America encompasses a rich diversity of faith traditions, and “religious churning” is very common. In 2023, PRRI surveyed more than 5,600 adults across the United States about their experiences with religion. This report examines how well major faith traditions retain their members, the reasons people disaffiliate, and the reasons people attend religious services. Additionally, this report considers how atheists and agnostics differ from those who say they are “nothing in particular.” Finally, it analyzes the prevalence of charismatic elements as well as prophecy and prosperity theology in American churches and the role of charismatic Christianity in today’s Republican Party…
[Among the major areas explored…]
- “Unaffiliated” is the only major religious category experiencing growth…
- Catholic loss continues to be highest among major religious groups; white Evangelical retention rate has improved since 2016…
- While most disaffiliate because they stop believing, religious teachings on the LGBTQ community and clergy sexual abuse now play a more prominent role…
- The religiously unaffiliated are not a monolith…
- Most unaffiliated Americans are not looking for a religious or spiritual home…
- Church attendance among Americans is down and fewer Americans say religion is important; most Americans who attend religious services do so to feel closer to God…
- Exploring the prevalence of charismatic elements in American churches…
- Prophetic and Prosperity theological beliefs are more common among Republicans and African Americans…
- Religion and the MAGA Movement: The Role of Charismatic Christianity and Prophecy/Prophetic Beliefs in the Republican Party…
The state of faith in the U. S. and what it can tell us about our society: “Religious Change in America” from @PRRIpoll.
Apposite: “Ufologists, Unite!“– Nathaniel Rich‘s review of two books by D.W. Pasulka, a professor of religious studies at the University of North Carolina Wilmington who (to oversimplify only slightly) sees the growing devotion to UFOs/UAPs as a new religious movement… one not considered in the PRRI study.
* Gandhi
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As we contemplate celestial conviction, we might recall that it was on this date in 1506 that the cornerstone of the current St. Peter’s Basilica was laid. (It was completed in 1626.) Located in Vatican City, an independent microstate enclaved within the city of Rome, it was initially planned in the 15th century by Pope Nicholas V and then Pope Julius II to replace the ageing Old St. Peter’s Basilica, which was built in the fourth century by Roman emperor Constantine the Great.
Designed principally by Donato Bramante, Michelangelo, and Carlo Maderno, with piazza and fittings by Gian Lorenzo Bernini, St. Peter’s is one of the most renowned works of the Italian High Renaissance. It is the largest church in the world (by interior measure). And while it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome (these equivalent titles being held by the Archbasilica of Saint John Lateran in Rome), St. Peter’s is regarded as one of the holiest Catholic shrines. The pope presides at a number of liturgies throughout the year both within the basilica or the adjoining St. Peter’s Square, liturgies that draw audiences numbering from 15,000 to over 80,000 people.
“Man’s first expression, like his first dream, was an aesthetic one”*…
From the new series, “Conjectures,” in the invaluable Public Domain Review, a piece by Octavian Esanu…
What do we want from “school”? Knowledge, surely. But other things too. Experience, perhaps? — the vibrating sense of having been present as new thinking happened, of having been affected by an encounter with ideas? Certain kinds of teaching and learning, anyway, privilege that vaunted nexus of knowing and being. Early in the first session of his seminar on Theodor Adorno’s Aesthetic Theory, the American Marxist literary scholar Fredric Jameson asserts, here below, that “aesthetics” can be thought of as precisely a project that lies “halfway between the cognitive and the artistic” — which is to say, it is the enterprise of trying to understand (conceptually) that which seems to elude reduction to concepts (because we are, somehow, there in aesthetic experiences; and we are not conceptual!). By meticulously translating his recordings of Jameson’s seminars into the theatrical idiom of the stage script, the artist and scholar (and former Jameson student) Octavian Esanu doubles down, playfully and tenderly, on this deep problem. Pedagogy as performance? Teaching and learning, about art — as a work of art?
Series editor D. Graham Burnett‘s introduction
An experiment with historical form and method: “[Door creaks open. Footsteps]: Fredric Jameson’s Seminar on Aesthetic Theory,” from @PublicDomainRev.
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As we investigate the ineffable, we might send absolutist birthday greetings to Thomas Hobbes of Malmesbury; he was born on this date in 1588. A father of political philosophy and political science, Hobbes developed some of the fundamentals of European liberal thought: the right of the individual; the natural equality of all men; the artificial character of the political order (which led to the later distinction between civil society and the state); the view that all legitimate political power must be “representative” and based on the consent of the people; and a liberal interpretation of law which leaves people free to do whatever the law does not explicitly forbid– all this, though Hobbes was, on rational grounds, a champion of absolutism for the sovereign. It was that, Hobbes reasoned, or the bloody chaos of a “war of all against all.” His 1651 book Leviathan established social contract theory, the foundation of most later Western political philosophy.
Indeed, it was in some large measure Hobbes (and his legacy) that Adorno’s Frankfurt School colleagues Max Horkheimer, Erich Fromm, Herbert Marcuse (et al.) were working to revise.
“Is life worth living? It all depends on the liver.”*…
These days, we tend to believe that the heart and the brain are the crucial human organs. It wasn’t always so– in medicine nor, as this article in Hepatology Communications explains, in literature and the arts…
Hepatocentrism was a medical doctrine that considered the liver the center of the whole human being. It originated in ancient populations (Mesopotamic civilization) and persisted in Western countries until the seventeenth century. Hidden references to hepatocentrism may be found in artistic representations and literary works, from the myth of Prometheus in the Greco‐Roman world to the crucifixion iconography throughout the Middle Ages. In the mid‐1600s, fundamental discoveries irrefutably demonstrated the central role of the heart in human physiology, which laid the foundations for creating cardiocentrism, shifting the life’s center from the liver to the heart. The advent of cardiocentrism immediately restricted the importance given to the liver, favoring the heart in the fine arts. Nevertheless, the liver maintained its importance in literature and popular belief as is evidenced by the widely acclaimed literary texts “Snow White” by the Brothers Grimm, “Moby Dick” by Herman Melville, and “Ode to the Liver” by Pablo Neruda. Our aim is to analyze the most significant artistic representations and literary works that contain references to hepatocentrism, evaluating the changing ideas and beliefs regarding the role and function of the liver throughout history. We want to underline the tight relationship between art and medicine; fine art and literature could be a valuable source for understanding the history of hepatology…
Fascinating: “‘I Miss My Liver.’ Nonmedical Sources in the History of Hepatocentrism,” from @HepCommJournal. (via Robin Sloan)
(Image above: source)
* William James
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As we analyze anatomical art, we might send well-seasoned birthday greetings to Cat Cora; she was born on this date in 1967. A chef, restaurateur, television personality, and cookbook author, she made television history in 2005 as the first female Iron Chef, joining Bobby Flay, Mario Batali and Masaharu Morimoto on the first season of Food Network’s Iron Chef America, ultimately spending 10 seasons on the show.
She sautes a mean liver.
“Now there is music from which a man can learn something”*…
As Sienna Linton reports, mathematicians have analysed hundreds of Bach’s works, from toccatas to preludes, cantatas and chorales, and discovered his music may be even more impressive than we realized…
It’s no secret that J.S. Bach is one of the greatest composers of all time. Father of the fugue and organ music master, he was an immensely prolific musician, writing more than 1100 pieces in his lifetime.
Bach’s intricate and detailed approach to melody and harmony inspired generations of composers that followed. His compositional technique continues to form the musical foundation for budding musicians around the world, of all genres.
The composer himself had an intensely mathematical brain. He would sign his name in music, and would even hide little references to the numbers 14 and 41, which acted as his numerical signature, in his works.
Now, a mathematical study has revealed that Bach’s music may be even more intricate than we thought.
Researchers from the University of Pennsylvania have analysed hundreds of pieces of Bach’s music to investigate how well these works can convey information – and the results are fascinating for both the mathematically and musically inclined…
Fascinating: “Bach’s true mathematical genius has been revealed in new study,” from @ClassicFM.
See also: “Is Bach best?” and of course, Gödel, Escher, Bach.
* W. A. Mozart, on hearing Bach motets in Leipzig
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As we glorify the GOAT, we might send him transcendent birthday greetings: Johann Sebastian Bach was born on this date in 1685 (at least according to the O.S. calendar by which he lived; his birthday is May 31 according to our calendar). Where to start? Well, there’s his orchestral music such as the Brandenburg Concertos; solo instrumental works such as the cello suites and sonatas and partitas for solo violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schubler Chorales and the Toccata and Fugue in D minor; and choral works such as the St Matthew Passion and the Mass in B minor.
Here’s the Netherlands Bach Society for All of Bach. As their name implies, there’s much more where this comes from…
“Nothing is poorer than a truth expressed as it was thought”*…
Many bemoan the experiential art that has taken over our galleries and screens, but is, Róisín Lanigan asks, it a populist fad or a way to make art more accessible?…
You don’t have to be a historian or a creative to notice it: art just isn’t what it used to be. Or at least, the act of experiencing art in public isn’t what it used to be. Whereas once we paid to go to galleries to silently view paint behind plexiglass, a new wave of curators and creators have decided that for art to be truly appreciated, we must be completely immersed in the audio, visual and experiential world it inhabits. From London’s Outernet to Yayoi Kusama’s Infinity Mirrors and Vegas’s controversial The Sphere, it’s never been clearer that we’re living in the midst of the immersive art boom.
Even if you’ve never been to one of these spaces – all immersive art exhibitions exist as ‘spaces’; ‘gallery’ is increasingly an archaic term – you’ll be cognisant of their existence. Because they don’t just live in the real world, they live on your screen too. Social media is awash with immersive exhibition selfies, with videos recommending the top ten best immersive art events to see for free in most big cities. The hashtag ‘immersive art’ clocks in at over 99 million views on TikTok and nearly half a million on Instagram (where in all fairness millennials are less amenable to the transformative power of the hashtag than the algorithmically attuned TikTok zoomers).
Outernet, based in Soho, sees around 1.5 million to their ‘district’ on a monthly basis, and say they’re on track to hit 6.8 million visitors this year alone, which would put them on track to be one of the most visited destinations in the UK, just one year after opening. The Smithsonian says that Kusama’s roving Infinity Mirrors exhibition has reached 330 million people across Twitter and other platforms. It’s not a leap to say we’re reaching, if we haven’t already, peak immersive art. But is that a bad thing? And if we’re already at the apex, where do we go from here?
It’s easy to take up the mantle that immersive-mania is, of course, wholly bad. The arguments for this always follow common throughlines; it’s common, it’s populist, it’s diluting the experience of what true art really is. In a recent scathing example, a Vulture review of Refik Anadol’s Unsupervised at Moma called the immersive exhibition “a glorified lava lamp” and accused it of being nothing more than “crowd-pleasing, like-generating mediocrity”.
But who decides what that experience is, what it looks like? The art world, much like the fashion and film industries, has undergone much-needed transformations in recent years to get rid of those antiquated ideals and cultural gatekeepers. Slowly but surely, it’s become more diverse, younger, more experimental and in the process, more accessible. For every charge that immersive events are diluting our experience of artistry, there’s a counterpoint to be made that it’s opening that experience out to people who might not normally gravitate towards it…
[But, she reports, there’s a snake in the garden…]
There is, though, for all the accessibility that immersive exhibitions offer, something antithetical to the experience of being moved by a piece of art when in the back of our minds we’re thinking about how many likes we might get for it on social media. Immersive events which actively encourage selfies and photo opportunities risk detracting from the art itself; a depressing natural end-point to queues to take photos in front of the Mona Lisa and cameras being banned from Basquiat’s recent exhibition in London. Although cameras could never be conceivably banned from the grid-ready world of immersive art, it’s a fine line to treat between posting too much too; leaving your exhibition open to an ‘Instagram vs Reality’ takedown, or revealing spoilers. In the case of Sphere, organisers briefly considered asking guests to put stickers over their phone cameras before realising that their footage is as much promotion as it is a leak…
… There are so many immersive pop-ups that even the gallerists and producers themselves are getting sick of it. Lizzie Pocock tells me almost every brief she’s received for the past five years has used the word “immersive”, a term she now calls “overused”. “I don’t want to sort of be disrespectful, but so many things that get called immersive, you still sort of just go and watch,” she says. “You don’t feel like you’re in them, or you’re affected by them. It’s almost a bit of a lazy word, a buzzword, isn’t it? It’s like, let’s do something that’s immersive. It’s perhaps an excuse to not really delve into sort of the deeper experience and the deeper reason for why you’re putting it live.”
If the people behind the immersive shows are getting sick of them, then perhaps we finally have reached peak immersive. Now we just have to wait for audiences to catch up, for the algorithm to get bored, and for the art world to determine what their next lucrative buzzword will be. Personally, my money’s on AI…
“Have we reached peak immersive art?,” from @rosielanners in @itsnicethat.
See also: “The Rise of ‘Immersive’ Art” and “Ready to plunge in? The rise and rise of immersive art.”
* “Nothing is poorer than a truth expressed as it was thought. Committed to writing in such cases, it is not even a bad photograph. Truth wants to be startled abruptly, at one stroke, from her self-immersion, whether by uproar, music or cries for help.” – Walter Benjamin
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As we dive in, we might spare a thought for Michelangelo di Lodovico Buonarroti Simoni; he died on this date in 1564. A sculptor, painter, architect, poet, and engineer in the High Renaissance, Michelangelo was considered one of the greatest artists of his time. And given his profound influence on the development of Western art, he has subsequently been considered one of the greatest artists of all time. Indeed, he is widely held to be (with Leonardo da Vinci) the archetypal Renaissance man.
Further to the item above, we might also note that, via his painting on the ceiling of the Sistine Chapel in Rome, he was a pioneer of immersive art.
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