The battle for art – part three: on the use in capitalist ideology for spiritual art and art education

Janis Lander: Vision Art Workshop - ‘Observing the energy body (centres and channels)/Observing thoughts and emotions/Understanding the dynamic interaction of colours and “sacred geometry” in the making of an image’

Janis Lander: Vision Art Workshop – ‘Observing the energy body (centres and channels)/Observing thoughts and emotions/Understanding the dynamic interaction of colours and “sacred geometry” in the making of an image’

Schiller was confident that men in the contemporary world could develop new types of harmony and new types of community predicated upon new connections between the powers of the mind. This could not, however, be developed by ignoring the enormous changes which had overtaken society since the decline of the Greek city state. Schiller saw the long-term solution to the problem in terms of a programme of aesthetic education which, by uniting facets of personal experience, would lead eventually to the development of harmonious social experience. Schiller’s typology of human development was, in a sense, therefore, triadic. It presupposed at the beginning of the historical world an undifferentiated society peopled by whole men whose capacities and powers had not been fragmented by the division of labour – such a society reached its zenith with the Greeks and has since declined as a result of the growth of science and the division of labour. These factors had led to the fragmentation of the community and of the person. The third stage of this process, which has yet to arrive in Schiller’s view, was to be induced by aesthetic education, which would procure a regeneration of both the community and the individual personality appropriate to this change in the human condition.

Raymond Plant, Hegel, An Introduction, Basil Blackwell, Oxford, 1983, 74

Part three/to be continued…

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The battle for art – part five: the bourgeois art gallery, capital’s House of the Lord

UM, Weisman Art Museum | Minneapolis, MN | Frank Gehry with MS&R

Symbols for the two great approaches to God the Self:

  • floors of lacquered woodgrain – the pathway of contemplative (Romantic) spiritual activity
  • walls of pure white – the surrounds of contemplative spiritual stillness

Lighting from the ceiling accentuates and unites floor, walls and artworks to form a spiritual whole – for Plotinus, the greatest contemplative activity in the greatest contemplative stillness.1

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1. Think this a bit far-fetched? In the Roman banquet room the ceiling and floor were also significant – the ceiling symbolised the universe and the floor symbolised the earth.

And remember, art galleries and the layout of everything in them (including the cafeteria) are designed by people educated in both the theory and practice of art.

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First proposal for a course on mysticism and art theory at the WEA, Sydney, 2009

Auguste Rodin, ’Le Penseur’, 1904, bronze, Musée Rodin, Paris. A testament to mystical ‘reason’.

Auguste Rodin, ’Le Penseur’, 1904, bronze, Musée Rodin, Paris. A testament to mystical ‘reason’.

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First proposal for a course on the impact of mysticism on art and art theory at the WEA, Sydney, 2009

17.02.09 I took my proposal for my course ‘Cubism and its Mystical Heritage’ to the WEA (Workers’ Educational Association) in Sydney.

30.09.09 In reply to my query, I received an email from the WEA thanking me for my application and stating that they would be in touch later in the year.

I never heard from the WEA regarding my course proposal again.

My proposal is below

*   *   *

‘Cubism and its Mystical Heritage’

Outline

Through an extended lecture focusing on a period in visual art history, I would deal with a theological/mystical current of the greatest significance running through Western culture that has been ‘ignored’, ‘forgotten’.

My primary intent would be to explicate the philosophy of Plotinus and exemplify his significance and impact through an analysis of a pivotal moment in Western art. My secondary intent would be to stimulate those attending to think not only about this, about the concepts used and their significance in our culture, but about some of the ramifications of that current, in particular:

– the relations between this current and dominant classes and their ideologies

– the relevance of this current to the full potential of the brain – towards a better understanding and positioning of ‘reason’ in relation to ‘lesser’ brain functions (e.g. ‘the emotions’).

There is a ‘lost’ or more precisely, ‘buried’ theological tradition in Western culture – of most interest to me, in its philosophy and visual arts – running from, to take a useful cut-off point, Plato to the present. It is identified by what god is not – ‘the ineffable’, ‘the inexpressible’ – ‘the rhetoric of purity’, ‘the rhetoric of silence’.

In philosophy the key figures for my purpose are Plato, Plotinus, Nietzsche and Bergson. But there are many others – including Hegel, Heidegger, Derrida and other postmodernists (this tradition overhung Lyn Gallacher’s talk on postmodernism on Radio National’s ‘Artworks’ 06.07.08).

In the visual arts Plotinus’ philosophy and particularly his immensely significant simile of the sculptor labouring at his material finds expression, for example, in the work of Michelangelo and Rodin, in Gerome’s ‘Pygmalion and Galatea’ and in twentieth-century Modernism.

Since my primary philosophical focus is the philosophy of Plotinus, I would begin with his inspiration – the philosophical theologian Plato. I would substantiate and expand on this assertion through reference to his dialogues – particularly their mystical elements.

I would then spend some time on The Enneads because:

– Plotinus, in terms of his influence, is one of the most significant philosophers of the West – his importance is certainly comparable to that of Plato. That he has been ‘overlooked’ is the most extraordinary failure by academic philosophers and this ‘overlooking’ has not been accidental – it goes to the heart of a ‘patriarchal’, one-sided understanding of ‘reason’ – something that feminist philosophy has to some degree addressed.

– key concepts of his philosophy will be central to my argument. Their echo and specific recurrence in the work of later philosophers, particularly and most importantly for my argument, in that of Nietzsche and Bergson has, again, been misunderstood.

I would then look at the mysticism at the core of Nietzsche’s philosophy – what, e.g., links The Birth of Tragedy to The Anti-Christ:

– his aesthetics of life was directly based on that same simile of Plotinus’ which is almost literally repeated in the Birth of Tragedy.

– it is commonly understood that Nietzsche, by writing that we have ‘killed’ god, argued for the end of god. This, again, is a great error which has had great consequences, most important and profitable to consider. Nietzsche in fact argued for the opposite – another god, ‘Dionysus’.

The last philosopher I would look at would be Bergson whose philosophy is saturated with Neoplatonism. The ‘life’, ‘vision’, ‘duration’ and ‘movement’ etc. of which he wrote did not refer to this world but directly, through the use of those same concepts in The Enneads, to ‘another world’ at the core of which was god the self.

I would then move to ‘the pivotal moment’ of Modernism – Cubism – and argue that its concern is not with this material world but with the expression in art, through particularly the influence of the philosophies of Nietzsche and Bergson, of Neoplatonism, of the philosophy of Plotinus.

Cubism is the attempted evocation of a particular reading of god, not of the material world.

I would argue, through the analysis of form and content of examples, that the purpose of that art was not for the viewer to better aesthetically ‘grasp’ people and objects in this world, but in ‘another’ and by so doing, to engage us with this mystical tradition which has ‘god’ as self at its heart.

Suggested reading

Plato, The Republic, Trans. D. Lee. Harmondsworth, Penguin, 1984

Plotinus, The Enneads, Trans. S. MacKenna. London, Penguin, 1991

F. Nietzsche, The Birth of Tragedy, Trans. S. Whiteside, London, Penguin, 2003

F. Nietzsche, The Anti-Christ, Trans. R. J. Hollingdale, London, Penguin 2003

H. Bergson, Creative Evolution, Trans. A. Mitchell, Lanham, 1983

Planned Learning Outcomes

Through a focus on a ‘pivotal moment’ in Western culture, attendees would become aware of a theological/mystical current running through our culture to the present, and of its significance. They would become aware of the tremendous importance not only to the work of philosophers and artists who came after him of the ignored philosophy of Plotinus and question both its significance and its ‘forgetting’, but in so doing question, towards a more rounded understanding of the concept, their understanding of ‘reason’ itself.

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First proposal for a course on the impact of mysticism on art and art theory at the Centre for Continuing Education, the University of Sydney, 1999

Second proposal for a course on the impact of mysticism on art and art theory at the Centre for Continuing Education, the University of Sydney, 2008

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Second proposal for a course on mysticism and art theory at the Centre for Continuing Education, the University of Sydney, 2008

Michelangelo, ‘The Atlas Slave’, marble, c. 1530, Galleria dell’Accademia di Firenze, Florence

Michelangelo, ‘The Atlas Slave’, marble, c. 1530, Galleria dell’Accademia di Firenze, Florence

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Second proposal for a course on the impact of mysticism on art and art theory at the Centre for Continuing Education, the University of Sydney, 2008 

30.07.08 Sent course proposal titled ‘Cubism and its Mystical Heritage’ to CCE by registered mail and by email

10.11.08 Between these dates I made several calls to the CCE to find out what was happening with my proposal. I was eventually told that both copies had been lost so I re-sent my proposal by email and took two hard-copies to the CCE, giving one to the woman at reception and she signed each page of the copy I kept.

19.12.08/7.45pm. Was rung and asked about my teaching experience. When I replied that I have not taught this course before, I was told ‘don’t ring us, we’ll ring you’ and I never heard from the CCE again regarding my proposal.

17.02.09 Took proposal to the WEA (Workers’ Educational Association) in Sydney. I never received a final reply.

My second proposal is below

*   *   *

‘Cubism and its Mystical Heritage’

Please describe any other information about yourself that you think is relevant to the course proposal

The subject has been a focus of mine for many years and through my degrees.

Course outline

Through an extended lecture focusing on a period in visual art history I would deal with a theological/mystical current of the greatest significance running through Western culture that has been ‘ignored’, ‘forgotten’.

My primary intent would be to explicate this current and exemplify its significance and impact through an analysis of a pivotal moment in Western art.

My secondary intent would be to stimulate those attending to think not only about this, about the concepts used and their significance in our culture, but about some of the ramifications of that current, in particular:

– the relations between this current and dominant classes and their ideologies

– the relevance of this current to the full potential of the brain – towards a better understanding and positioning of ‘reason’ in relation to ‘lesser’ brain functions (e.g. ‘the emotions’)

Format

The format would be an extended lecture/discussion using slides, with break, over 3 hours

Strategy for learning and teaching

The strategy would be to make what was delivered as relevant and interesting as possible to those attending. Discussion and the input of those attending would be most important.

Outline

There is a ‘lost’ or more precisely, ‘buried’ mystical tradition in Western culture – of most interest to me, in its philosophy and visual arts – running from, to take a useful cut-off point, Plato to the present. It is identified by what god is not – ‘the ineffable’, ‘the inexpressible’ – ‘the rhetoric of purity’, ‘the rhetoric of silence’.

In philosophy the key figures for my purpose are Plato, Plotinus, Nietzsche and Bergson. But there are many others – including Hegel, Heidegger, Derrida and other postmodernists (this tradition overhung Lyn Gallacher’s recent and good talk on postmodernism on Radio National’s Artworks).

In the visual arts Plotinus’s philosophy and particularly his immensely significant simile of the sculptor labouring at his material finds expression, for example, in the work of Michelangelo and Rodin, in Gérôme’s ‘Pygmalion and Galatea’ and in twentieth-century Modernism.

Since my primary philosophical focus is the philosophy of Plotinus, I would begin with his inspiration – the philosophical theologian Plato. I would substantiate and expand on this assertion through reference to his dialogues – particularly their mystical elements.

I would then spend some time on The Enneads because:

– Plotinus, in terms of his influence, is one of the most significant philosophers of the West. His importance is certainly comparable to that of Plato. That he has been ‘overlooked’ is the most extraordinary failure by academic philosophers and this ‘overlooking’ has not been accidental – it goes to the heart of a ‘patriarchal’, one-sided understanding of ‘reason’ – something that feminist philosophy has to some degree addressed.

– key concepts of his philosophy will be central to my argument. Their echo and specific recurrence in the work of later philosophers, particularly and most importantly for my argument, in that of Nietzsche and Bergson has, again, been misunderstood.

I would then look at the mysticism at the core of Nietzsche’s philosophy – what, e.g., links The Birth of Tragedy to The Anti-Christ:

– his aesthetics of life was directly based on that same simile of Plotinus’s which is almost literally repeated in the Birth of Tragedy.

– it is commonly understood that Nietzsche, by writing that we have ‘killed’ god, argued for the end of god. This, again, is a great error which has had great consequences, most important and profitable to consider. Nietzsche in fact argued for the opposite – another god, ‘Dionysus’.

The last philosopher I would look at would be Bergson whose philosophy is saturated with Neoplatonism. The ‘life’, ‘vision’, ‘duration’ and ‘movement’ etc. of which he wrote did not refer to this world but directly, through the use of those same concepts in The Enneads, to ‘another world’ at the core of which was god the self.

I would then move to ‘the pivotal moment’ of Modernism – Cubism – and argue that its concern is not with this material world but with the expression in art, through particularly the influence of the philosophies of Nietzsche and Bergson, of Neoplatonism, of the philosophy of Plotinus.

Cubism is the attempted evocation of a particular reading of ‘god’, not of the material world.

I would argue, through the analysis of form and content of examples, that the purpose of that art was not for the viewer to better aesthetically ‘grasp’ people and objects in this world, but in ‘another’ and by so doing, to engage us with this mystical tradition which has ‘god’ as self at its heart.

Reading:

Plato, The Republic, Trans. D. Lee. Harmondsworth, Penguin, 1984

Plotinus, The Enneads, Trans. S. MacKenna. London, Penguin, 1991

F.Nietzsche, The Birth of Tragedy, Trans. S. Whiteside, London, Penguin, 2003

F. Nietzsche, The Anti-Christ, Trans. R. J. Hollingdale, London, Penguin 2003

H. Bergson, Creative Evolution, Trans. A. Mitchell, Lanham, 1983

Learning outcome

Through a focus on a ‘pivotal moment’ in Western culture, attendees would become aware of a theological/mystical current running through our culture to the present, and of its significance. They would become aware of the tremendous importance not only to the work of philosophers who came after him of the ignored philosophy of Plotinus and question both its significance and its ‘forgetting’, but in so doing question, towards a more rounded understanding of the concept, their understanding of ‘reason’ itself.

Evaluation

I would refine my presentation of the subject matter to make it as attractive and significant as possible to those who were interested in it. An expansion of the presentation would be one way to do this. The provision of processed material might be another.

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First proposal for a course on the impact of mysticism on art and art theory at the Centre for Continuing Education, the University of Sydney, 1999

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First proposal for a course on mysticism and art theory at the Centre for Continuing Education, the University of Sydney, 1999

Plotinus (204/5-270), Anonymous, white marble, Ostiense Museum, Ostia Antica, Rome

Plotinus (204/5-270), Anonymous, white marble, Ostiense Museum, Ostia Antica, Rome

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First proposal for a course on the impact of mysticism on art and art theory at the Centre for Continuing Education, the University of Sydney, 1999 

In 1999 I submitted a proposal to teach a course titled ‘Art and Ideology through Modernism’ to the Centre for Continuing Education at the University of Sydney. My referees were a professor in the department of fine arts at the university and a prominent Australian art writer.

After numerous phone calls to the CCE because I had received neither decision nor even communication from them, I rang and asked the woman who answered the phone if they had made a decision.

She asked me my name. She had a look, came back to the phone and said that it appeared my proposal had been lost. She then asked me the name of my proposed course. When I told this provincial fool, she said, as though my proposal was a joke, ‘That course wouldn’t suit our demographic’ and hung up.

My proposal was also rejected at the same time on a similarly myopic basis at the equivalent section of the University of NSW. At first the person who recommended the courses was very keen but when I told her I had terminated my enrolment in disgust at the College of Fine Arts (now known as UNSW Art & Design), that was the end of the matter.

My reasons for terminating my enrolment at COFA (the title of my thesis was ‘Neoplatonism and the Cubist Aesthetic’) included the breaking of the agreement I had made with the head of the college – which was the basis of my accepting their offer of a place in their Masters by research program – that I be allowed to complete a performance piece I had worked on for three years during my BA there, together with my thesis; that for two and a half years, in fundamental breach of the university’s regulations, no-one would supervise me, rejecting me as a philosophical novice and ‘auto-didact’, while they all waited for me to drop off and go away, and the refusal to allow me to upgrade to a PhD – i.e. to process a full thesis – when all the evidence could not have been stronger in support of my wish to do so (including my doing subjects I was not required to do), after years of effort during the heyday and decline of that stage of capitalist ideology known as ‘modernism’ and the rise and fall of the subsequent fashion – ‘postmodernism’, to develop the basis for nothing less than an entire cultural re-reading, an honest and necessary cultural re-reading exposing the functioning of class and class ideology – a spiritual re-reading’ of which is now being taught at the CCE by a later graduate of the same college, which ‘spiritual re-reading’ the CCE refers to on its website as ‘ground-breaking’.

I never received any written communication or email from either section of both universities declining my offer and thanking me for having put my proposal to them – both rejections only occurred as a result of my phone calls to them.

My proposal is below

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Philip Stanfield

9.8.1999

The University of Sydney

The Centre for Continuing Education

Proposal for course – Summer 2000

‘Art and Ideology through Modernism’

The course over six weeks of one-hourly papers and discussions will entail an investigation of the relationship between art and ideology focusing on Modernism. Because of both the need to establish the philosophical basis of my argument and the significance of that basis, the first four weeks will be spent on four key philosophers and the last two on Cubism, pivotal to Modernism (itself a period of capitalist visual ideology). I will use images to illustrate my argument and to facilitate discussion.

Through papers on the four philosophers, it is my intention to set out a current both philosophical and ideological which is fundamental to Modernism and to identify key elements in that current. I will then apply this theorising to an analysis of Cubism. I will use Cubism (in one sense, literally) to illustrate my argument. I will argue that Cubism was pivotal to Modernism because it enabled the maintenance of a particular visual ideology. I will question the failure of art theoreticians to recognise and address this philosophical and ideological content of Modernism.

Week 1: Introduction and Plato

Identification of course purpose. Why I have chosen these four philosophers – what are those elements they have in common on which I intend to concentrate? In what ways is this philosophical current ideological? How is this current related to Modernism? Why have I chosen to discuss Modernism through Cubism? Plato’s theorising as it bears on art.

Suggested Reading: Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1984.

Week 2: Plotinus

It has been argued that through his mysticism, Plotinus may have been an even greater influence on Western thought than Plato. I will discuss his philosophy based on the three hypostases in detail, with the aim of giving some indication of how much can be gained from a thorough study of the system of this ‘forgotten’ philosopher, particularly in relation to Western art and Modernism.

Suggested Reading: Plotinus. The Enneads. Third ed. Abridged. Trans. S. MacKenna. London: Penguin, 1991.

Week 3: Nietzsche

Nietzsche is recognised as an important figure in the history of Modernism. An exploration of differences between the form of Nietzsche’s thought and its content, and of common misunderstandings of his philosophy as they bear on my argument regarding Modernism – e.g. that in asserting that God is dead, Nietzsche argued for the death of God. Nietzsche’s aesthetics of self.

Suggested Reading: F. Nietzsche. The Birth of Tragedy. 1872. in The Birth of Tragedy and The Case of Wagner. Trans. W. Kaufmann. New York: Vintage, 1967.

Week 4: Bergson

Henri Bergson had an enormous influence on the development of Western culture at the turn of the twentieth century. His philosophy is generally misunderstood as an attempt to enable a deeper understanding of the physical world in accordance with scientific developments at the time rather than having, as it did, a spiritual purpose which gives meaning to terms central to his philosophy such as ‘life’, ‘vision’, and ‘movement’. How Bergson ties in with the current I am arguing for and how his philosophy bears on Modernism.

Suggested Reading: H. Bergson. Creative Evolution. 1907. Trans. A. Mitchell. Lanham, 1983.

Week 5: Cubism

Having identified and addressed the elements of and developments in a current connecting the above four philosophers I will move through the development of Cubism by Picasso and Braque, arguing that this art, as with Modernism as a whole, cannot be understood without an understanding of this philosophical current. With the assistance of slides, a number of works by Picasso and Braque will be discussed. Why is Cubism generally and correctly believed to be pivotal to Modernism in the visual arts? Developments in form become developments in content. If ideology is a system of beliefs delimited by interests (Morawski), what are the beliefs implicit in Cubism and whose interests are represented by this art? How has this been achieved? Patrons and buyers of Cubism.

Suggested Reading: N. Hadjinicolaou. Art History and the Class Struggle. London: Pluto, 1978.

Week 6: Cubism and conclusion

Concluding analysis and discussion of Cubism and of the ways in which Cubism maintained and facilitated the maintenance of the visual ideology of capitalism.  The relationship between Cubism and the later development of Modernism will be discussed and exemplified.

Suggested Reading: V. Kandinsky. Concerning the Spiritual in Art. (1911) New York: Dover, 1977; The Spiritual in Art: Abstract Painting 1890-1985. Exhibition Catalogue, Los Angeles County Museum of Art, New York: Abbeville Press, 1986.red-star

Second proposal for a course on the impact of mysticism on art and art theory at the Centre for Continuing Education, the University of Sydney, 2008

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Plato and Aristotle on emotional release – the philosophy and art of social control

Rock band SCREAM ARENA

Plato believed that in the poet’s presentation, what is at third remove from reality, he appeals not to (linguistic) reason – the highest part of the soul (and the reason of patriarchy) – but to the lowest, seeking to provoke the non-rational emotions. In so doing he undermines and corrupts character.

When citizens enter into the emotions expressed by a character on stage their reason is obstructed by their own emotional arousal and they will carry this arousal from the theatre into their daily lives. Since emotions struggle against their control by reason, they are dangerous for the polis. For this reason, the poet should be banished from the commonwealth.

Contrary to Plato’s rigid opposition between (linguistic) reason and the emotions, but with equal though far more nuanced recognition of the relation between art, emotion, society and control, Aristotle’s theory of art in his Poetics is built on an understanding of the emotions which considers them not only bound, appropriately, to the functioning of reason (evocative of the Ethics, there is a ‘right’ emotion for a particular circumstance) but essential to the life of the citizen.

Where for Plato art is the poorest imitation of the Forms, for Aristotle, although he agreed that art is intentional, representational and that it appeals to the emotions, it imitates human interactivity by means of universals (kinds of people) and the possible consequences. We enjoy and learn by mimesis – art is educational, with nature as the teacher of practical not theoretical knowledge.

Aristotle defined tragedy as ‘the imitation of an action that is serious…in language with pleasurable accessories (my italics)…in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions’.

Through the arousal of fear we identify with the tragic hero, burdened by a fatal flaw (‘The best-laid plans of mice and men…’); through that of pity (for the hero’s suffering) we distance ourselves from him.

The tragedy brings about a catharsis or therapeutic purging of those emotions, with the spectator leaving the theatre emptied of them. It could be argued that the tragedy simply serves a pedagogical purpose provoking insights into the human condition without endangering society – ‘you don’t leave the theatre wanting to burn chariots’.

But Aristotle’s purpose was not merely pedagogical – his writing is too comprehensive, too considered, too hard for that interpretation alone.

Neither Plato nor Aristotle were ‘men of the people’. Both weighed their philosophising in relation to the practice and maintenance of power. Aristotle’s dry and formal language in the Poetics conveys an understanding which is anything but dry and formal.

He chose the most powerful art form in his society to conduct a study of how two of the most powerful emotions can be used – socially, pedagogically and for the maintenance of power (compare with the Ethics – while the ‘common man’ can gain a lot from reading it, it was not primarily intended for him – rather it is a guide to the perfection of self for the self-focused ‘man of substance’, culminating in the philosopher).

Not only did Aristotle choose tragedy (the most concentrated and powerful presentation of life – more so than the epic), employing chorus, song, stage-setting and acting, he analysed every possible element and means to maximally concentrate its potential for the arousal and purging of fear and pity – wrapped in pleasure: plot, characterisation, diction, thought, spectacle, melody, that the tragedian must be as realistic as possible, must develop, like Homer, an aspect rather than a whole, should not speak in his own person, should use a convincing impossibility rather than an unconvincing possibility, should employ consequential surprise.

Maximum realism (with which the audience can most immediately and powerfully relate) with optimal sensory engagement to most powerfully draw out and release two particular emotions. Why? And why fear and pity?

At a social level, arousal and purging are facilitated by the pleasure of tragedy both as theatre and illusion and through the experience of fear and pity as an audience member (symbolic of one’s larger society), thereby allowing both identification and distancing from the emotions because they are shared.

At a pedagogical level, in experiencing fear and pity ‘safely’ and in the most concentrated way, one can later reflect on these two emotions that are both ‘unhealthy’ (consider Epicurus on fear) and would be best purged from our lives.

At the level of control, ‘catharsis’ can be understood both as ‘purification’ – getting rid of the ‘baser’ (more primal, less ‘decent’, less ‘nice’) aspects of one’s character, symbolised by fear and pity and, through that experience, as ‘safety valve’.

As the bourgeoisie leave their operatic and symphonic performances, the working class leave their rock concerts…

Rock concert audience

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Plotinus and Thoreau: the spiritual sculpting of Self – a crystal lake of light within

Morning at Walden Pond

Morning at Walden Pond

‘But how are you to see into a virtuous Soul and know its loveliness? Withdraw into yourself and look. And if you do not find yourself beautiful yet, act as does the creator of a statue that is to be made beautiful: he cuts away here, he smoothes there, he makes this line lighter, this other purer, until a lovely face has grown upon his work. So do you also: cut away all that is excessive, straighten all that is crooked, bring light to all that is overcast, labour to make all one glow of beauty and never cease chiselling your statue, until there shall shine out on you from it the godlike splendour of virtue, until you shall see the perfect goodness surely established in the stainless shrine.’

The Enneads I.6.9

‘Every man is the builder of a temple, called his body, to the god he worships, after a style purely his own, nor can he get off by hammering marble instead. We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins at once to refine a man’s features, any meanness or sensuality to imbrute them.

John Farmer sat at his door one September evening, after a hard day’s work, his mind still running on his labour more or less. Having bathed he sat down to recreate his intellectual man. It was a rather cool evening, and some of his neighbours were apprehending a frost. He had not attended to the train of his thoughts long when he heard someone playing on a flute, and that sound harmonised with his mood. Still he thought of his work; but the burden of his thought was, that though this kept running in his head, and he found himself planning and contriving it against his will, yet it concerned him very little. It was no more than the scurf of his skin, which was constantly shuffled off. But the notes of the flute came home to his ears out of a different sphere from that he worked in, and suggested work for certain faculties which slumbered in him. They gently did away with the street, and the village, and the state in which he lived. A voice said to him, Why do you stay here and live this mean moiling life, when a glorious existence is possible for you? Those same stars twinkle over other fields than these. But how to come out of this condition and actually migrate thither? All that he could think of was to practice some new austerity, to let his mind descend into his body and redeem it, and treat himself with ever increasing respect.’

Henry David Thoreau, Walden (1854), The Portable Thoreau, Ed., Carl Bode, Viking Penguin, New York, 1982, 468-469

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The Mystical Hero of Nietzsche and Weber

The Sermon on the Mount Carl Bloch, 1890

‘Ye shall know them by their fruits. Do men gather grapes of thorns, or figs of thistles?’

In The Genealogy of Morals Nietzsche sliced and diced priestly asceticism. In The Protestant Ethic and the “Spirit” of Capitalism Weber asserted that it is a ‘purely historical study’1 of the impact of Protestant asceticism. In his writing he argued for a resolute facing of the facts, yet the true attitudes of these two hard men towards ‘priest’ and ‘Protestant’, indicatively stated by them in those books is conveyed by Nietzsche’s ‘ascetic ideal’ and in Weber’s concept with double meanings of ‘innerworldly’, superficially distinct from the ‘otherworldly’ asceticism of monastic life. Despite the forceful and bitter rhetoric of Nietzsche and the more scholarly (until criticised, as in his rejoinders) tenor of Weber’s writing, their critiques of asceticism, built on its mystical essence, embody a defence of that essence and are calls for its centrality to modern life.

Nietzsche believed that the focus of asceticism – from the origins of Christianity through the Enlightenment to his time – and what has undermined Christianity – modern science – is the ‘ascetic ideal’ – ‘with its sublime moral cult, with its brilliant and irresponsible use of the emotions for holy purposes’.2 This ideal, expressed in different forms such as God or knowledge, is ‘truth’ – the goal of a deluded faith in reason. While asceticism can benefit the philosopher’s and scholar’s intellectual work, it is none the less excessively repressive, world and life-denying.

The ascetic ideal is held by the virtuoso of guilt the priest above the herd, his sick patients, as symbol and proof of their guilt. The ascetic ideal is an artifice for the preservation of life, because it gives meaning to what is otherwise without meaning. Yet although it is generated by the instinct of self-preservation, its banner is ‘triumph in agony’.3 Nietzsche wrote that the ascetic ideal is the greatest disaster in the history of European health. With the ‘death of God’ his bourgeois society was free – to live well, to be selfish, secure, passive and mediocre. He thought his society’s cultural condition was meaningless exhaustion – nihilist. But this same climate offered a potential for renewal for those with the strength and capacity to live without illusions.

Weber believed he had made a discovery in the relationship between Protestantism and capitalism that could be traced to Luther’s spiritual revolution – his liberation of everyman from the priest – to become his own ‘priest’, and his notion of a secular ‘calling’ (Beruf) which gave religious and moral dignity to activity in the world. Weber argued that Calvin developed on this, and the elements and asceticism of Calvinist doctrines (and their offshoots in other churches), particularly predestination with the possibility of grace through works or the sanction of damnation took priority in his argument.

Since the eternal fate of the believer was unknown and, fearing damnation, he should live as if he were one of the elect by enhancing God’s glory and enriching His world through work and enterprise. He should not do so for the sake of idle pleasure or greed – he should live as an ‘(inner)worldly ascetic’, channelling his disciplined and concentrated energy into economic activity. He should contain uninhibited emotion, avoiding erotic pleasure and the instinctive enjoyment of life. He should avoid displays of wealth. Living simply, rationally, with order and method, he should accumulate the profits from his enterprise and re-employ them, building on what he had created, thereby enhancing the possibility of his grace. Seeking salvation through immersion in his vocation, he imbues the world with religious significance. Economic success was a sign of God’s blessing. Not only did this success result in the accumulation of capital which became the engine for the growth of capitalism, more importantly for Weber was the development of a bourgeois economic ethic – the ‘spirit of capitalism’ – which developed from the ascetic rationalism of the early Protestants to the rationalisation of economic and political life today.

Under the burden of predestination and a severe ethics, ‘innerworldly’ asceticism and the ‘spirit of capitalism’ progressed together but by the late nineteenth century, as concern with salvation and Christianity itself had declined, and rationalisation had advanced in science, technology, bureaucracy and law, there was left a society suffused with a disciplined work-focused inner orientation suited to the nature of capitalism but without the religious foundation. People suffered disenchantment and a loss of freedom and meaning. What had been a ‘light cloak’ for the religious had become a ‘steel shell’ (stahlhartes Gehause) for the modern. To counter this, Weber argued that individuals should find a Beruf or ‘calling’ in a value sphere (art, science, politics, religion) and to practice that calling with ‘passionate devotion’. His focus became the heroic individual who might be a model for others, one whose fearless life echoed the same principled asceticism of the earlier Calvinists.

Numerous differences can be found between Nietzsche and Weber regarding their positions on the effects of asceticism – Christianity, which Nietzsche hated and regarded as a millennial catastrophe that had promoted the decadence of modern man but which, in Protestantism, Weber thought had given an ethical core to capitalism; Christian guilt, which Nietzsche saw as the priest’s means of crippling humanity but which, as it operated with the requirement of proof as a sanction through predestination, Weber thought was his great discovery to understanding the origins of the ‘spirit of capitalism’; science, which Nietzsche regarded as ultimately a delusion but which Weber was committed to and democracy which, echoing equality before God was for Nietzsche another execrable continuation of ascetic Christianity but which Weber believed was necessary for a society’s health. Where Nietzsche hated modernity and the reduction of life to quantitative measures, Weber argued that modernity had liberating potential and that Protestant asceticism was fundamental to the efficiencies of rationalised modern life.

But the differences begin to blur on closer inspection: the approaches by both Nietzsche and Weber to asceticism (despite Weber’s assertion to the  contrary) are psychological. Weber believed that rationalisation together with bureaucratisation had resulted in ‘warring’ autonomous spheres of activity in which people worked as functionaries, disenchanted and deprived of meaning and freedom. He also thought that the conditions that had sustained liberal democracy had been undercut by modernity and came to focus his hopes on plebiscitary democracy and charismatic leadership as a counter to rationalisation and bureaucratisation.

Nietzsche’s propensity for the most freewheeling hypocrisy is well exemplified by ‘I have great respect for the ascetic ideal so long as it really believes in itself and is not merely a masquerade.’4 And this is the point with both Nietzsche and Weber – it is necessary to push through their words, through their surface arguments, to their deeper purpose – one which arose among intellectuals in response to the increasing pressure on belief in God and its overt acknowledgement by the rise of science, by the rise of our objective knowledge of the world that Nietzsche was in turn so critical of and denied and that Weber expressed commitment to – the defence of Neoplatonic mysticism – the major mystical current in the West, which suffuses philosophy, which philosophers are so afraid to address for fear of what doing so will expose in the achievements of ‘rigorous philosophic reason’, and the influence of which is throughout our culture.5

From the Dionysiac ineffability in The Birth of Tragedy to the final synoptic ‘aphorism’ in The Will to Power, Nietzsche was a post-Christian Neoplatonist. Why is this not commonly stated? No modern philosopher has been more committed to the ‘ascetic ideal’, to a life of religious asceticism than Nietzsche. His rage and bitterness are those of a man who had been conditioned in Christianity, who understood and hated its hostility to life but who, unable to release its ideal, knew his time had passed. With God in heaven now dead, the stage was cleared for his appearance on earth in Nietzsche’s response to late nineteenth century capitalism – Dionysus as the overman.

And this overman, this sculptor and perfecter of self, this rejecter of the (modern) world can be traced to Plotinus’ resonant sculptor around whom The Enneads are written. Weber shared Nietzsche’s romantic mourning.6 His solution to ‘the crisis of modernity’, within modernity – the exemplary individual devoted to his Beruf – a solution more scholarly, more sociable through service, less aggressive in depiction, less colourful and bilious, (his success in life – compared with Nietzsche’s failures – no doubt bore on this) drew on Nietzsche’s writing and the Neoplatonic tradition.

Weber’s use of Beruf derives from Luther7 whose believer, seeking unio mystica with God practised his calling in the world, thereby giving his worldly activity a religious significance. Weber’s exemplary individual, in a world where meaning had been destroyed by rationalisation and the loss of an over-riding salvific religious belief, with equal devotional self-sacrifice, seeks to re-establish harmonious meaning within himself. In so doing, he ‘rationally’ shapes himself.8 As with the subscriber to Nietzsche’s ascetic ideal, he ‘subordinates “mere” life to a value or purpose “out-side” and above life as it is. (He) interprets and values life as a bridge to a higher form of existence’9

With his hair-splitting concept of ‘innerworldly’ asceticism, Weber emphasised the ‘hard’, rational and ethical asceticism practised in the world by Calvinists and distinguished it from the ‘otherworldly’ asceticism of the contemplative Catholic. Yet he wrote ‘It is evident that mystical contemplation and rational asceticism in the calling are not mutually exclusive (Weber’s emphasis).’10 Weber’s blending of Lutheranism and Calvinism in his concept of ‘innerworldly’ asceticism is most interesting. According to Weber, in both Lutheranism and Calvinism faith must be proven in its effects, but the former enables union with God in this world, the latter is oriented to that with God in the next. Where Weber concentrated in The Protestant Ethic on the influence of Calvinism, the mystical element in Lutheranism sustains his argument in that book and in his other thought on these matters. It is as if the body of Calvinism conveys the spirit of Lutheranism.11

Weber indicates his heritage and summarises his underlying argument in the following words from The Protestant Ethic: ‘Christian asceticism, which was originally a flight from the world into solitude, had already once dominated the world on behalf of the Church from the monastery, by renouncing the world. In doing this, however, it had, on the whole, left the natural, spontaneous character of secular everyday life unaffected. Now it would enter the market place of life, slamming the doors of the monastery behind it, and set about permeating precisely this secular everyday life with its methodical approach, turning it toward a rational life in the world, but neither of this world nor for it.’12

The ‘flight from the world into solitude’ are the concluding words of The Enneads.13 The wish of both Weber and Nietzsche was that the ascetic who was no longer, could be no longer Christian, an overt believer in God, now with his religious beliefs concealed, as a subscriber to the ‘ineffable’, would leave the monastery of faith and enter the Nietzschean marketplace of modernity and live ‘God in heaven is dead, but creates on earth as me’. Nietzsche’s version as Dionysiac overman, as true Redeemer,14 was more deeply romantic, Weber’s man of the Beruf more consonant with modernity, less noisily integrating mysticism with capitalism – methodical and rationalising. Both figures were to heal the ‘dissolution of spiritual unity’15 in late nineteenth century capitalist society. Nietzsche damned religion and pointed the way forward through mysticism. Weber advocated mysticism but allowed that the embrace of religion was there for those not up to his mystical challenge.

Nietzsche’s overman and Weber’s man of the ‘calling’ have a common heritage in Plotinus’ sculptor. While, of the three, Weber’s model is most comfortable within his society, even there Weber had built a wall between the everyday and the value-spheres. His proscription of the mixing of the calling with ‘everyday’ life, as if the latter were something less than, is evidence of the striving for transcendent spiritual purity which is in all three models. All three face away from this world. The story of the impact of Neoplatonism on our culture is the great hidden, little explored and told story.

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Notes

1. Max Weber, The Protestant Ethic and the “Spirit” of Capitalism and Other Writings, trans. Peter Baehr and Gordon Wells, Penguin 2002, 121

2. Friedrich Nietzsche, The Birth of Tragedy and The Genealogy of Morals, trans. Francis Golffing, Doubleday, New York, 1956, 280

3. Ibid., 254

4. F. Nietzsche, The Birth of Tragedy and The Genealogy of Morals, op. cit., 294 These words, amongst his railing against ‘rotten armchairs’, ‘prurient eunuchdom’ and ‘coquettish dung beetles’, not to mention the basis of his argument through the entire text of The Genealogy of Morals and other writing, are at the end of The Genealogy of Morals.

5. William Franke’s groundbreaking two volume anthology On What Cannot Be Said, University of Notre Dame Press, Indiana, 2007 traces the history of apophaticism in the West through the writing of its greats in philosophy, religion, literature and the arts. Mark Cheetham has written on its impact in the visual arts. M. Cheetham, The Rhetoric of Purity, Essentialist Theory and the Advent of Abstract Painting, Cambridge, Cambridge University Press, 1991.

6. In Nietzschean language he wrote ‘In (the Puritan) Baxter’s view, concern for outward possessions should sit lightly on the shoulders of his saints “like a thin cloak which can be thrown off at any time.” But fate decreed that the cloak should become a shell as hard as steel. As asceticism began to change the world and endeavoured to exercise its influence over it, the outward goods of this world gained increasing and finally inescapable power over men, as never before in history. Today its spirit has fled from this shell – whether for all time, who knows? … No one yet knows who will live in that shell in the future. Perhaps new prophets will emerge, or powerful old ideas and ideals will be reborn at the end of this monstrous development. Or perhaps … it might truly be said of the “last men” in this cultural development: “specialists without spirit, hedonists without a heart, these nonentities imagine they have attained a stage of humankind never before reached.”’ The Protestant Ethic and the “Spirit” of Capitalism and Other Writings, op. cit., 121

7. ‘the German mystics did a great deal of preparatory work on the idea of the calling in the Lutheran sense.’ The Protestant Ethic and the “Spirit” of Capitalism and Other Writings, op. cit., 32

8. ‘The ascetic style of life … meant a rational shaping of one’s whole existence in obedience to God’s will.’ Ibid., 104

9. Harvey Goldman, Politics, Death, and the Devil, University of California Press, Berkeley, 1992, 264

10. The Protestant Ethic and the “Spirit” of Capitalism and Other Writings, op. cit., 141

11. The impact of Lutheranism and its ministers in his family on Nietzsche is well known.

12. Ibid., 104-105

13. ‘This is the life of gods and of the godlike and blessed among men, liberation from the alien that besets us here, a life taking no pleasure in the things of earth, the passing of solitary to solitary.’ Plotinus, The Enneads trans. Stephen MacKenna, Penguin, London, 1991, VI 9, 549. Armstrong translated this as the ‘flight of the alone to the Alone’ Plotinus Enneads trans. A.H. Armstrong, William Heinemann, London, 1966-1988. vol. VII, 345. In Thus Spoke Zarathustra Nietzsche wrote ‘Thus they came to a cross-road: there Zarathustra told them that from then on he wanted to go alone: for he was a friend of going alone.’ F. Nietzsche, Thus Spoke Zarathustra – A Book for Everyone and No One, trans. R.J. Hollingdale, Penguin, 2003, 99-100

14. The Birth of Tragedy and The Genealogy of Morals, op. cit., 229. Weber’s figure was no less self-redemptive.

15. ‘In the present, where we operate so much with the concept of “life,” “experience,” etc., as a specific value, the inner dissolution of that unity, the contempt for the “man of the calling” (cf. ‘the man of the cloth’) is tangible.’ The Protestant Ethic and the “Spirit” of Capitalism and Other Writings, op. cit., 313

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