Essay on the True Art of Playing Keyboard Instruments by C.P.E
Nevertheless, if the masses were conceivably to ask for avant-gardeart and literature, Hitler, Mussolini and Stalin would not hesitatelong in attempting to satisfy such a demand. Hitler is a bitterenemy of the avant-garde, both on doctrinal and personal grounds,yet this did not prevent Goebbels in 1932-1933 from strenuouslycourting avant-garde artists and writers. When Gottfried Benn,an Expressionist poet, came over to the Nazis he was welcomedwith a great fanfare, although at that very moment Hitler wasdenouncing Expressionism as . This wasat a time when the Nazis felt that the prestige which the avant-gardeenjoyed among the cultivated German public could be of advantageto them, and practical considerations of this nature, the Nazisbeing skillful politicians, have always taken precedence overHitler's personal inclinations. Later the Nazis realized thatit was more practical to accede to the wishes of the masses inmatters of culture than to those of their paymasters; the latter,when it came to a question of preserving power, were as willingto sacrifice their culture as they were their moral principles;while the former, precisely because power was being withheld fromthem, had to be cozened in every other way possible. It was necessaryto promote on a much more grandiose style than in the democraciesthe illusion that the masses actually rule. The literature andart they enjoy and understand were to be proclaimed the only trueart and literature and any other kind was to be suppressed. Underthese circumstances people like Gottfried Benn, no matter howardently they support Hitler, become a liability; and we hearno more of them in Nazi Germany.
Essay on the true art of playing keyboard ..
The precondition for kitsch, a condition without which kitschwould be impossible, is the availability close at hand of a fullymatured cultural tradition, whose discoveries, acquisitions, andperfected self-consciousness kitsch can take advantage of forits own ends. It borrows from it devices, tricks, stratagems,rules of thumb, themes, converts them into a system, and discardsthe rest. It draws its life blood, so to speak, from this reservoirof accumulated experience. This is what is really meant when itis said that the popular art and literature of today were oncethe daring, esoteric art and literature of yesterday. Of course,no such thing is true. What is meant is that when enough timehas elapsed the new is looted for new "twists," whichare then watered down and served up as kitsch. Self-evidently,all kitsch is academic; and conversely, all that's academic iskitsch. For what is called the academic as such no longer hasan independent existence, but has become the stuffed-shirt "front"for kitsch. The methods of industrialism displace the handicrafts.
Returning to our Russian peasant for the moment, let us supposethat after he has chosen Repin in preference to Picasso, the state'seducational apparatus comes along and tells him that he is wrong,that he should have chosen Picasso -- and shows him why. It isquite possible for the Soviet state to do this. But things beingas they are in Russia -- and everywhere else -- the peasant soonfinds the necessity of working hard all day for his living andthe rude, uncomfortable circumstances in which he lives do notallow him enough leisure, energy and comfort to train for theenjoyment of Picasso. This needs, after all, a considerable amountof "conditioning." Superior culture is one of the mostartificial of all human creations, and the peasant finds no "natural"urgency within himself that will drive him toward Picasso in spiteof all difficulties. In the end the peasant will go back to kitschwhen he feels like looking at pictures, for he can enjoy kitschwithout effort. The state is helpless in this matter and remainsso as long as the problems of production have not been solvedin a socialist sense. The same holds true, of course, for capitalistcountries and makes all talk of art for the masses there nothingbut demagogy.
The True Value of Street Art Essay - 1924 Words | Bartleby
Because it can be turned out mechanically, kitsch has becomean integral part of our productive system in a way in which trueculture could never be, except accidentally. It has been capitalizedat a tremendous investment which must show commensurate returns;it is compelled to extend as well as to keep its markets. Whileit is essentially its own salesman, a great sales apparatus hasnevertheless been created for it, which brings pressure to bearon every member of society. Traps are laid even in those areas,so to speak, that are the preserves of genuine culture. It isnot enough today, in a country like ours, to have an inclinationtowards the latter; one must have a true passion for it that willgive him the power to resist the faked article that surroundsand presses in on him from the moment he is old enough to lookat the funny papers. Kitsch is deceptive. It has many differentlevels, and some of them are high enough to be dangerous to thenaive seeker of true light. A magazine like the ,which is fundamentally high-class kitsch for the luxury trade,converts and waters down a great deal of avant-garde materialfor its own uses. Nor is every single item of kitsch altogetherworthless. Now and then it produces something of merit, somethingthat has an authentic folk flavor; and these accidental and isolatedinstances have fooled people who should know better.
Essay on the True Art of Playing Keyboard Instruments - …
Yet it is true that once the avant-garde had succeeded in "detaching"itself from society, it proceeded to turn around and repudiaterevolutionary as well as bourgeois politics. The revolution wasleft inside society, a part of that welter of ideological strugglewhich art and poetry find so unpropitious as soon as it beginsto involve those "precious" axiomatic beliefs upon whichculture thus far has had to rest. Hence it developed that thetrue and most important function of the avant-garde was not to"experiment," but to find a path along which it wouldbe possible to keep culture moving in the midst of ideologicalconfusion and violence. Retiring from public altogether, the avant-gardepoet or artist sought to maintain the high level of his art byboth narrowing and raising it to the expression of an absolutein which all relativities and contradictions would be either resolvedor beside the point. "Art for art's sake" and "purepoetry" appear, and subject matter or content becomes somethingto be avoided like a plague.