Now live: my interview with Canadian filmmaker J. F. Martel, author of the just-published — and thoroughly wonderful — Reclaiming Art in the Age of Artifice, which should be of interest to all Teeming Brainers since it comes with glowing blurb recommendations from the likes of Daniel Pinchbeck, Patrick Harpur, Erik Davis, and yours truly.
Here’s a taste of J. F.’s and my conversation:
MATT CARDIN: How would you describe Reclaiming Art in the Age of Artifice to the uninitiated, to someone who comes to it cold and has no idea what it’s about?
J. F. MARTEL: The book is an attempt to defend art against the onslaught of the cultural industries, which today seek to reduce art to a mindless form of entertainment or, at best, a communication tool. In Reclaiming Art I argue that great works of art constitute an expressive response to the radical mystery of existence. They are therefore inherently strange, troubling, and impossible to reduce to a single meaning or message. Much of contemporary culture is organized in such a way as to push this kind of art to the margins while celebrating works that reaffirm prevailing ideologies. In contrast, real works of art are machines for destroying ideologies, first and foremost the ideologies in which they were created.
MC: What exactly do you mean? How do real works of art serve this subversive function?
JFM: A great art work, be it a movie, a novel, a film, or a dance piece, presents the entire world aesthetically — meaning, as a play of forces that have no inherent moral value. Even the personal convictions of the author, however implicit they may be in the work itself, are given over to the aesthetic. By becoming part of an aesthetic universe, they relinquish the claims to truth that they may hold in the author’s mind in the everyday. This, I think, is how a Christian author like Dostoyevsky can write such agnostic novels, and how an atheistic author like Thomas Ligotti can create fictional worlds imbued with a sense of the sacred, however dark or malignant. Nietzsche said that the world can only be justified aesthetically, that is, beyond the good-and-evil binary trap of ideological thinking. The reason for this is that when we tune in to the aesthetic frequency, we see that the forces that make up the world exceed our “human, all too human” conceptualizations.
FULL INTERVIEW: “Reclaiming Art in the Age of Artifice“
The editors of the always-valuable n+1 have published a penetrating and damning assessment of what’s wrong with the craze for credentials that marks the American economic and educational landscape right now. It’s all the more valuable for putting the whole thing in long-historical perspective.
For the contemporary bachelor or master or doctor of this or that, as for the Ming-era scholar-bureaucrat or the medieval European guildsman, income and social position are acquired through affiliation with a cartel. Those who want to join have to pay to play, and many never recover from the entry fee.
…Over the last thirty years, the university has replaced the labor union as the most important institution, after the corporation, in American political and economic life. As union jobs have disappeared, participation in the labor force, the political system, and cultural affairs is increasingly regulated by professional guilds that require their members to spend the best years of life paying exorbitant tolls and kissing patrician rings. Whatever modest benefits accreditation offers in signaling attainment of skills, as a ranking mechanism it’s zero-sum: the result is to enrich the accreditors and to discredit those who lack equivalent credentials.
Jean Baudrillard once suggested an important correction to classical Marxism: exchange value is not, as Marx had it, a distortion of a commodity’s underlying use value; use value, instead, is a fiction created by exchange value. In the same way, systems of accreditation do not assess merit; merit is a fiction created by systems of accreditation. Like the market for skin care products, the market for credentials is inexhaustible: as the bachelor’s degree becomes democratized, the master’s degree becomes mandatory for advancement. Our elaborate, expensive system of higher education is first and foremost a system of stratification, and only secondly – and very dimly — a system for imparting knowledge.
— “Death by Degrees,” n+1, June 19, 2012