Category: ideas

Andrew Motion, the poet laureate, recently attacked the way English is taught in schools. He attacked the “educational rat wheel” that taught young people to read set texts and pass exams, but did not teach them to love literature, and gave a list of classics his students did not know. But maybe instead of leaning great literature by rote, today’s students are better, not less, equipped to read. Perhaps “it is unrealistic to expect A-level students to have read great swaths of English literature.” Maybe “schools can only give them their bearings and an ability to read the compass if they want to make the journey later. It’s making it accessible and saying ‘you have got the skills to go away and read anything – and you will cope with it, you will make sense of it, you will enjoy it’.”

“In contemporary culture, the idea that the practice of art making is inherently beneficial to the human psyche is a surprisingly controversial one. It is only slightly less verboten in the mental-health professions, where it is grudgingly accorded a support role to more serious verbal or pharmaceutical therapies, with the caveat that if things get too touchy-feely, it’s back to kindergarten with the finger paints and the modeling clay. Nevertheless, due to its repeatedly demonstrated effectiveness, art therapy has managed to adapt itself to every corner of the mental-health profession.”

There was a time when tragedy meant something. Now it describes missteps of the most trivial nature. On the other hand – have critics elevated notions of classic tragedy too high? “It is the critics who have disdained modern life’s suitability for the tragic mode, and have made an aesthetic virtue out of suffering in the past, persuading themselves that what was horrible then can be metaphysically pleasing now and that present-day suffering is undignified and uninteresting. Past pain is thus sanitised while that of the present is dismissed as beneath attention – a useful strategy for those who have lived through the bloodiest century in human history and would prefer not to look at it too closely.”

“For the past decade, the New York art world seemed to have retreated into an exceptionally apolitical version of postmodernism, convinced by a combination of theory and action movies that a digitally enhanced future would favor spectacle over reality. Now, with the advent of an all-too-real war presented as mere spectacle by television, artists are suddenly faced with the very surrealistic task of making reality real. So it’s not surprising to see—both in works on view at galleries and in the strategies of the burgeoning anti-war activists — a reprisal of the imagery and the sincerity of earlier periods of art history.”

Of what are artistic fortunes made? Why do some artists’ reputations move up, while others fall? “Beethoven has definitely slumped as Mozart has soared. Is this because we prefer humane elegance to transcendental striving – or is the potent myth-making of Peter Shaffer’s Amadeus to blame? When I was a student 25 years ago, E M Forster was considered among the most profound and influential of 20th-century novelists. Now that homosexuality is no longer much of a battleground, his liberal humanism holds little appeal, and we have become mesmerised by the more aggressive complexities of Kipling instead.”

“Just how far have industrial sponsors actually gone in seeking to use higher-education institutions and professors for their own commercial ends? How willing have universities been to accept money at the cost of compromising values central to the academic enterprise? Now more than ever, they [universities] have become the principal source of the three most important ingredients of progress in a modern, industrial society: expert knowledge, highly educated people, and scientific discoveries. At the same time – in a depressed economy, with the federal budget heavily in deficit and state governments cutting investments in higher education – campus officials are confronting a chronic shortage of money to satisfy the demands of students, faculty members, and other constituencies.”

So now there’s evidence that modern art was used as a torture device in Spain during the Civil War. John Rockwell ponders the ability of art to provoke a strong reaction. “A subcurrent of shock and provocation has always lurked within avant-garde art, which deliberately sets out to challenge bourgeois convention and to elicit a strong response. My own experience has been that opponents of new art are much too quick to presume provocation, let alone provocation intended literally to torture. Still, there can be no doubt that outrage was and is a goal of some artists.”

You might think – given the youth-obsession of marketers, that music buyers are almost all in their 20s. Far from it. “The most powerful record buying bloc in America is made up of people over 40. And they’re buying a wide variety of music – from newcomers such as Norah Jones and John Mayer, to new work by veteran artists such as James Taylor and Bruce Springsteen. There’s more to the story than Baby Boomers flexing their demographic muscles yet again, though America’s 81 million 35-to-54-year-olds do outnumber the country’s 75 million 15-to-34-year-olds, according to 2000 Census figures. Boomers not only have the critical mass and the cash, they also have an entirely different relationship to music than young people do.”

When it comes top journalism, facts are not just facts. A case in point – Americans are fascinated by pictures of the war, yet, “difficult” images of the war – dead bodies, for example – aren’t being shown, as they are elsewhere. “At issue are several questions central to reporting and consuming news in the era of 24-hour television coverage and the burgeoning independent news media on the World Wide Web: Are images facts or illustrations? If a fact is ugly, should it be kept at a distance from readers and viewers? And what do news organizations do with the simple fact that there is both an eager appetite for, and a sincere disgust with, graphic images?”