A thought

rosecolorglass1

…the great current running through all human history – the relationship between the needs of the human spirit and its tendency to idealise.

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Reply to Jason – what is idealism? 2

Pieter Claesz, Still Life, 1643, oil on panel, Saint Louis Art Museum

Pieter Claesz, Still Life, 1643, oil on panel, Saint Louis Art Museum

Hi Jason,

You have motivated me to reconsider my definition of ‘idealism’.

By ‘inspiration’ I refer to a heightened emotional state that is conducive to creative activity in some way.

If I was lying in bed and heard something on the radio that motivated me to get out of bed (an ethical speech, music I think uplifting…), it would be to get up and do something productive – to ‘get on with the day’, to ‘get things done’.

Inspiration is an intensification of that feeling, hence the urge to productivity becomes more concentrated, more creative – I might start on that painting I had been thinking about or enrol in a photography course…

Idealism, as well as having a spiritual focus (a focus on ‘connectedness’, however one thinks of that – it may be to one’s team, to ‘God’, to the flag, to nature, to one’s community, to the world community…) is an orientation and commitment to a prolonged state of creative potential, realised to whatever degree.

The expression ‘felt to be “higher than”’ does two things – it points to and emphasises the emotional nature of what idealism is and leaves the manifestation of idealism open – it specifically avoids the containment of what idealism is by linguistic thought.

That linguistic thought both gives it direction and, in the case of philosophical idealism, appropriates it through definition, is secondary to this.

An improved definition of ‘idealism’ would then be that it is ‘the inspiration to that which is felt to be “higher than,” manifest as a prolonged and creative emotional state with a spiritual focus’.

Definitions, while most important in philosophical discussion are deceptive. Cusanus believed that our ‘minds’ (try defining ‘mind’ – after you’ve defined ‘reason’!) are the image of Divine Mind, that how the latter functions is modelled by ours.

He believed that just as we can never fully know the Divine Word and embody a complete knowledge of it in our ‘mental’ words, because the Divine Word is infinite while we are finite and therefore limited to perspectives, so too the words of the sensory world cannot fully ‘know’ and express the words of our ‘mental’ world.

And in the latter part of this, having been ‘stood on its feet’, he has a very good point.

I can give you a ‘working’ definition of any word, but there will always be much more in our thought (including memory) regarding what that word symbolises for you and me, which completes our perspectival definition of the word.

Of ‘cat’ I can say that it is ‘a small domesticated carnivorous mammal with soft fur, a short snout, and retractile claws.’ But my experience of cats inevitably completes my perspectival definition of the word.

Words dealing with the emotions further complicate the issue. Exploring what lies beyond a ‘working definition’ of words and how those perspectival ‘definitions’ inter-relate is fundamental to poetry, just as exploring what ‘lay beyond’ the material reality of a madeleine had so much potential for Proust.

Logical atomism took the drive to define and control in philosophy to a ridiculous extreme (for which Wittgenstein was well-suited).

Donald Phillip Verene countered this:

‘…we have so little experience in taking metaphorical speech seriously as a carrier of philosophical meaning that we read right past it. …we have become so accustomed to the monotone hum of the abstract concept and the category, the fluorescent buzz of the argument, that we have lost track of the dimensions of philosophical language. We have forgotten its secrets and cannot recollect its manner of eating bread and drinking wine.’ (Donald Phillip Verene, Hegel’s Recollection: A Study of Images in The Phenomenology of Spirit, State University of New York Press, Albany, New York, 1985, 34-35)

Regards,

Phil

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Reply to Jason – what is idealism? 1

Adolf Hitler makes keynote address at Reichstag session, Kroll Opera House, Berlin, 1939

Hi Jason,

thank you for your interest. I define ‘idealism’ as ‘the inspiration to that which is felt to be “higher than”.’

My definition places emphasis on the emotions and brain functions ‘below’ (possibly more primitive than) conscious thought because I think of idealism as an emotional orientation (‘Sarah is an idealistic girl’) or potential (just as we can love or hate), without a specific focus.

That focus is given to it – it could be spiritual, religious (organised spirituality), political or in a personal relationship (‘I love you absolutely’).

The Nazis (German capitalism in extremis) exploited it with skill (appealing to a primal mythology) as other governments aspire to do and those who achieve power.

The manipulation of idealism is essential to the practice of power.

In the US, developing on Winthrop’s ‘We shall be as a city upon a hill’ speech, idealism came to be focused on the flag. In Australia, because of the convict origin of white domination (Phillip’s words after landing reportedly included the instruction that ‘Men are not to go into the womens’ tents at night’) it has been very difficult for the bourgeoisie to find that focus, as they search and stumble from one symbol of loss, failure and defeat to another.

The military disaster at Gallipoli in the first world war – in a far-away country and in the service of the dominant power has finally been turned into some success, ideologically. The requisite amount of gore should silence all criticism.

Idealism is the source of an immense and immensely creative energy (Plato and Plotinus fully understood this) and large amounts of it (together with many of those who embody it) are consumed in every revolution, after which there is the slow but inevitable re-accumulation of its depleted reserves as idealism, having attained far short of perfection, goes into retreat to lick its wounds and prepare to dare again.

And this is my point – we are animals, and idealism is an expression of our animality.

Philosophical idealism’, beloved of cobweb-spinning academics, is the appropriation of idealism by and to linguistic thought (what is known simplistically in academic philosophy as ‘reason’) – ‘philosophical idealism is the belief that…’ It is the harnessing of, the attempt to control and constrain, the horse drawing the chariot.

Philosophical idealism is not simply the placing of consciousness and its products before objective reality – one never has to go looking too far in its manifestation before one comes upon ‘God’ or another expression for ‘higher than’.

What are your thoughts on the subject?

Best regards,

Phil

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Art and social life: the Russian Revolution and the creative power of idealism 13

Sergei Chekhonin, The Union of Art Workers Aids the Starving. Poster, 1921. ‘In 1921 the Volga region was hit by a terrible famine - the result of an unprecedented drought. Posters, slogans, and newspaper articles called on people to help the starving and to share their last crust of bread with them. People did everything they could and more.’

Sergei Chekhonin, The Union of Art Workers Aids the Starving. Poster, 1921. ‘In 1921 the Volga region was hit by a terrible famine – the result of an unprecedented drought. Posters, slogans, and newspaper articles called on people to help the starving and to share their last crust of bread with them. People did everything they could and more.’

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Image: Art of the October Revolution, Compiler, Mikhail Guerman, Trans., W.Freeman, D.Saunders, C.Binns, Aurora Art Publishers, Leningrad, 1986

Lenin: the recent revolution in natural science, and philosophical idealism – part five

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“Matter has disappeared” (continued)

Materialism and idealism differ in their answers to the question of the source of our knowledge and of the relation of knowledge (and of the “mental” in general) to the physical world; while the question of the structure of matter, of atoms and electrons, is a question that concerns only this “physical world”. When the physicists say “matter disappears” they mean that hitherto science reduced its investigations of the physical world to three ultimate concepts: matter, electricity and ether; now only the two latter remain. For it has become possible to reduce matter to electricity; the atom can be explained as resembling an infinitely small solar system, within which negative electrons move around a positive electron with a definite (and, as we have seen, enormously large) velocity. It is consequently possible to reduce the physical world from scores of elements to two or three elements (inasmuch as positive and negative electrons constitute “two essentially distinct kinds of matter”, as the physicist Pellat says – Rey, op. cit., pp. 294-95). Hence, natural science leads to the “unity of matter” (ibid.) – such is the real meaning of the statement about the disappearance of matter, its replacement by electricity, etc., which is leading so many people astray. “Matter disappears” means that the limit within which we have hitherto known matter disappears and that our knowledge is penetrating deeper; properties of matter are likewise disappearing which formerly seemed absolute, immutable, and primary (impenetrability, inertia, mass, etc.) and which are now revealed to be relative and characteristic only of certain states of matter. For the sole “property” of matter with whose recognition philosophical materialism is bound up is the property of being an objective reality, of existing outside the mind.

V.I.Lenin, Materialism and Empirio-criticism: Critical Comments on a Reactionary Philosophy, Progress Publishers, Moscow, 1975, 240-241

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Part five/to be continued…

Full text at Marxists Internet Archive

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Art and social life: the Russian Revolution and the creative power of idealism 14

Ignaty Nivinsky. Cover of the journal Tvorchestvo (Creative Work), 1920, Nos 5-6. The text states 'Journal of literature, art, science and life.'

Ignaty Nivinsky. Cover of the journal Tvorchestvo (Creative Work), 1920, Nos 5-6. The text states ‘Journal of literature, art, science and life.’

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Art and social life: the Russian Revolution and the creative power of idealism 12

Vladimir Tatlin. Maquette of Tower or Monument to the Third International, 1919-1920

Vladimir Tatlin. Maquette of Tower or Monument to the Third International, 1919-1920

We are the wonder makers.

The sunbeams we shall tie

in radiant brooms, and sweep

the clouds from the sky

with electricity.

We shall make honey-sweet the rivers of the world.

The streets of earth we’ll pave with radiant stars…

Vladimir Mayakovsky, Mystery-Bouffe, 1918

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Tatlin's tower from The guardian.com 2

‘…the spiral is the line of movement of mankind liberated. The spiral is the ideal expression of liberation. With its heel set against the ground, it escapes from the ground and becomes a sign of the renunciation of all animal, earthly and low ambitions.’

Nikolai Punin, 1920

Vladimir Tatlin. Letatlin, 1930-32

Vladimir Tatlin. Letatlin, 1930-1933

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Image sources: First/Second/Third/Fourth

Art and social life: the Russian Revolution and the creative power of idealism 11

Fiodor Fiodorovsky. Decor design for Bizet's opera Carmen, 1922. Gouache, lead white and varnish. Museum of the Bolshoi Theatre, Moscow

Fiodor Fiodorovsky. Decor design for Bizet’s opera Carmen, 1922. Gouache, lead white and varnish. Museum of the Bolshoi Theatre, Moscow

Isaac Rabinovich. Set for Aristophanes' comedy Lysistrata, 1923. Bakhrushin Theatre Museum, Moscow

Isaac Rabinovich. Set for Aristophanes’ comedy Lysistrata, 1923. Bakhrushin Theatre Museum, Moscow

Ignaty Nivinsky. Decor design for Gozzi's play Princess Turandot, 1922. Watercolour on paper. Bakhrushin Theatre Museum, Moscow

Ignaty Nivinsky. Decor design for Gozzi’s play Princess Turandot, 1922. Watercolour on paper. Bakhrushin Theatre Museum, Moscow

Liubov Popova. Set for Crommelynck's farce The Magnanimous Cuckold, 1922. Bakhrushin Theatre Museum, Moscow

Liubov Popova. Set for Crommelynck’s farce The Magnanimous Cuckold, 1922. Bakhrushin Theatre Museum, Moscow

Varvara Stepanova. Photograph of performance of Tarelkin's Death, 1922.

Varvara Stepanova’s set design. Photograph of performance of Tarelkin’s Death, 1922.

Top four images: Art of the October Revolution, Compiler, Mikhail Guerman, Trans., W.Freeman, D.Saunders, C.Binns, Aurora Art Publishers, Leningrad, 1986

Bottom image: The Avant-Garde in Russia, 1910-1930: New Perspectives, Eds., Stephanie Barron and Maurice Tuchman, Los Angeles County Museum of Art, MIT Press, Cambridge, Massachusetts, 1980

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Art and social life: the Russian Revolution and the creative power of idealism 10

Pupils of children's communes taking part in a mass spectacle in Palace Square, Petrograd, 1918

Pupils of children’s communes taking part in a mass spectacle in Palace Square, Petrograd, 1918

 ‘We Russians are living through an epoch which has few equals in epic scale…

An artist’s job, an artist’s obligation is to see what is conceived, to hear that music with which ‘the air torn up by the wind’ resounds…

What then is conceived?

To redo everything. To arrange things so that everything becomes new; so that the false, dirty, dull, ugly life which is ours becomes a just life, pure, gay, beautiful…

‘Peace and the brotherhood of nations’ – that is the banner beneath which the Russian revolution is taking place. For this its torrent thunders on. This is the music which they who have ears to hear must hear…

With all your body, all your heart, and all your mind, listen to the Revolution.’

Alexander Blok, from the article ‘The Intelligentsia and the Revolution’ 1918

Art of the October Revolution, Compiler, Mikhail Guerman, Trans., W.Freeman, D.Saunders, C.Binns, Aurora Art Publishers, Leningrad, 1986

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Art and social life: the Russian Revolution and the creative power of idealism 9

Nathan Altman, Design for Alexander Column celebrating the Red Army's 1st Anniversary, Petrograd, 1919

Natan Altman, Design for Alexander Column celebrating the Red Army’s first anniversary, Petrograd, 1919

Natan Altman. Decoration for the Winter Palace, 1918. Collage and watercolour, Russian Museum, Leningrad

Natan Altman. Decoration for the Winter Palace, 1918. Collage and watercolour, Russian Museum, Leningrad

Nathan Altman, The Alexander Column Lit Up at Night, Crayons and chalk on paper, The Tretyakov Gallery, Moscow

Natan Altman, The Alexander Column Lit Up at Night, Crayons and chalk on paper, The Tretyakov Gallery, Moscow

Top: The Avant-Garde in Russia, 1910-1930: New Perspectives, Eds., Stephanie Barron and Maurice Tuchman, Los Angeles County Museum of Art, MIT Press, Cambridge, Massachusetts, 1980

Middle: The Shock of the New: Art and the Century of Change, Robert Hughes, British Broadcasting Corporation, London, 1980

Bottom: Art of the October Revolution, Compiler, Mikhail Guerman, Trans., W.Freeman, D.Saunders, C.Binns, Aurora Art Publishers, Leningrad, 1986

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