Dr Great Art Podcast Episode 36: Paintings and Novels are Quintessentially Antithetical

The newest Dr Great Art Podcast. Episode 36: Paintings and Novels are Quintessentially Antithetical.
Paintings and novels, far from being hidebound, as is often squawked, are quintessentially antithetical: excellent disciplines for new metaphoric thought. They are ideally adversarial. They incorporate, use and criticize. They have achieved a condition of being perpetually "genres undermined." They have been in a permanent state of crisis for a minimum of several hundred years. What more could one ask for as a difficult, challenging and rewarding fray?
http://drgreatart.libsyn.com/episode-36-paintings-and-novel…
#arthistory #painting #novel
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Dr Great Art Podcast 36 36

Paintings and Novels are Quintessentially Antithetical

Paintings and Novels are Quintessentially Antithetical: Excellent Disciplines for New Metaphoric Thought

Hi this is Mark Staff Brandl, with the 36th "Dr Great Art" brief podcast.

My artecdote this time concerns how paintings and novels, far from being hidebound, as is often squawked, are quintessentially antithetical: excellent disciplines for new metaphoric thought.

First a quick quotation:
"A culture of experience, of thinking, of consciousness. Correspondingly, the progress of humanity can only be achieved through progressive thinking, anticipatory thinking, imaginative thinking and an alteration of behavior –…– only as the result of a change of consciousness. The famous "do-able" or "make-able" — we must transfer this from the technological dimension into the cerebral dimension.)" --- by Christian Doelker, from his book Kulturtechnik Fernsehen — Analyse eines Mediens, translation from German by me.

Eine Kultur der Erfahrung, des Denkens, des Bewusstseins. Entsprechend sind Fortschritte des Menschen nur zu erzielen durch ein fortschreitendes Denken, ein antizipierendes Denken, ein imaginatives Denken und eine Veränderung des Verhaltens –…– nur als Folge eines Bewusstseinswandels. Das berühmte “Machbare” — wir müssen es aus der technologischen Dimension in die geistige Dimension verlegen.



Painting and the Novel: Antithesis



Whereas both media theorist Christian Doelker and I have been known to claim that new media "demand" a certain learnedness, this is exaggeration. Rather, they offer opportunities. 'Demand' makes these technological developments sound all-important and dictatorial. Such language is symptomatic of a common affliction: the adoration of new media, new technology, new toys. We must stop worshiping or reproaching our tools and begin to use them. Their importance is in their application — the philosophies and expressions they embody. Significance can often be better thought through in conditions of self-imposed circumscription, testing and transgressing the boundaries of received deliberation. In this light the so-called traditional media of painting and the novel are the major league of discourse in many ways.

There are numerous other reasons to choose to work in or study these two, painting and the novel, here are a few:

- slightly more resistance than newer forms to the vagaries of trendiness,
- self-reliance in production,
- proven philosophical openness,
- sheer presence,
- anti-Puritanical sensuality,
- a tradition of shedding the skin of tradition itself,
- a confidence in redefinition rather than cultural amnesia and ignorance.

As I discovered after moving to Switzerland from the US, one reason often cited in Europe for painting or writing novels, or alternately for not doing so, is simply stated as "tradition." I fervently take exception with this. "Tradition" used so abstractly has no identity other than that of a bothersome insect. The standard street myth is that Europeans are borne down creatively by their (wonderful) tradition, while Americans are freed to be so creative by their total lack of one. This is self-imposed self-aggrandizement by both continental groups. Citizens of the New World have tradition — many traditions, almost all European ones and more. They are the descendants of the Old World, not from another planet. If Europeans have it, so do they. PLUS, African traditions, Asian ones, Native American ones and more.

Additionally, North America is concomitantly not "freer," no matter how frequently they assert that. For most minor artists and authors I have met on both these continents tradition today, this seems to mean only a feeling of a burden, loaded with little actual historical knowledge at all. What is needed is knowledge without a debilitating sense of a weight — dialogue with and against tradition, as I have discussed previously and often. And one major reason for my teaching of Art History and for the whole Dr Great Art project.

Painting and the novel offer good conditions for this in the sheer opposition they present to the creator.

True, earlier in the century there was too much emphasis placed on these two media and this was exploited to be dismissive of many others. Yet, as noted, there is an equally counter-productive inversion at work now. Early photographers, e.g., honored painting to an extreme. The best found their way out of this. Peter Halter describes the solution to this problem for photographer Paul Strand.

"In regard to painting this meant that as a photographer one should learn from it rather than try to imitate it, as was common…at the time…."

Now "new" media — anything new — may be glorified merely for the fact of technological newness. We in the art and literary worlds have too often only memorized the idea of a "burden," creating for it an illusory existence.

Paintings and novels are quintessentially antithetical. Ideally adversarial. They incorporate, use and criticize. They have achieved a condition of being perpetually "genres undermined."

Painting and the novel are artistic disciplines and forms which have a history of sabotaging themselves. They are in a constant state of crisis. This makes them fertile ground for the application of my metaphor(m) theory and for testing the broadness of the extended text concept. One self-critique: I have stated this in the odd passive construction so common to art critics, speaking of what "painting" or "the novel" does, when clearly that is a metonymy — it is painters and authors who do things, which then exist embodied in paintings and novels. Painters and novelists are deeply involved in a dialogue with and against the past. Let me cite Harold Bloom:

"…I cite again the Emersonian difference, which is to say, the American difference: a diachronic rhetoric, set not only against past tropes, as in Nietzsche, but against the pastness of trope itself, and so against the limitations of traditional rhetoric."

I would purport that in our period this is the condition of the awake perceiver everywhere. Bloom's insight is deep, and it is Emersonian, but by no means is this limited to one country as he presumes. The pastness of trope must be wrestled with and overcome. Each painter and novelist must struggle with his or her daemon, who is the angel, who is the attendant spirit (from Latin, genius), perhaps even genie: the precursor, god and self. Space is fought for and won with blood, not avoided with new toys incorporating dead ideas. This ineffable spar is the only way to occupy the holy ground of the other, finally creating one's own sacred space. As I have discussed in a previous podcast, Nr 34, I believe this struggle should now be reinterpreted, away from Bloom's oedipal, joust-like view and be visualized as a critical public dialogue, modeled on call-and-response. All the same, the necessary exertion remains.

New media are important, nevertheless! Do not get me wrong --- especially as they can create opportunities for new philosophical and formal inventiveness (e.g. sequentiality in comics, public immersion in interactive media). Traditional forms and formats now have aspects of new media and vice versa. Notions are best transported to other realms in order to facilitate the greatest concentration: in other formats, within contrasting aesthetic objects and in surprising relationships.

One such new conception, in many ways stimulated by the presence in our lives nowadays of a vast array of media and approaches, often simultaneously, is my notion of "Mongrel Art." Mongrel art antipuristically, syncretistically unifies varieties of artforms, disciplines, tendencies and philosophies into imaginative wholes. Like healthy dogs of mixed, indeterminant breeds. Or to jumpcut to another metaphor, the opposite of the "hothouse flowers" that so much Late Modern and Postmodern artworks are.

Rudolph Arnheim has shown that the forces of composition themselves, especially as gestalts, have psychological force, hence convey meaning. Structure itself can embody disparate, complicated, even contradictory meanings. Cognitive science and metaphor theory have expanded and grounded Arnheim's insight.

Painting and the novel have been in a permanent state of crisis for a minimum of several hundred years. What more could one ask for as a difficult, challenging and rewarding fray?

Thanks for listening. Podcast number 36.
Paintings and Novels are Quintessentially Antithetical

If you enjoy my podcasts, please go to Apple podcasts and give me 5 stars and a recommendation! It helps others find this podcast. Additionally, if you have any questions or requests for topics, please feel free to contact me with them! I'd truly enjoy covering them!

If you wish to hear more cool, exciting and hopefully inspiring stuff about art history and art, come back for more. Also, I, Dr Mark Staff Brandl, artist and art historian, am available for live custom Performance-Lectures. In English und auf Deutsch.

I take viewers inside visual art and art history. Entertainingly, yet educationally and aesthetically, I analyze, underline, and discuss the reasons why a work of art is remarkable, or I go through entire eras, or indeed through the entirety of art history, or look at your desired theme through the lens of art history. The lectures often take place with painted background screens and even in my room-filling painting-installations with accompanying paintings.

Some recent ones were on the entire history of Postmodernist Art from 1979 through today and on Mongrel Art. Once again, I'd like to thank Chloe Orwell, Brad Elvis, and the rock band the Handcuffs for composing, performing and recording my theme song, "Shut Up and Paint," a tiny portion of which begins and ends every Dr Great Art Podcast.

You can find or contact me at

www.drgreatart.com/ (spell)

book me at www.mirjamhadorn.com (spell)

or find me on Facebook, Twitter, Instagram, all as Dr Great Art.

Dr Great Art Episode 35: Lakoff; Art and Cognitive, Embodied Metaphor Theory

The newest Dr Great Art Podcast. "Episode 35: Lakoff, Art and Cognitive Metaphor"
Metaphor is the basis of thought, which importantly arises from bodily, cultural and environmental experience. It is embodied in the body, in the world and in the expressions of it, such as visual art. Metaphors we live and create by. George Lakoff and Cognitive, Embodied Metaphor Theory for Art.
http://drgreatart.libsyn.com/episode-35-lakoff-art-and-cogn…
#metaphor #arthistory #lakoff
Mark G. Taber, George Lakoff

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Dr Great Art Podcast 35

Lakoff; Art and Cognitive, Embodied Metaphor Theory

Hi this is Mark Staff Brandl, with the 35th "Dr Great Art" brief podcast.

This episode is another more theoretical one. My artecdote this time concerns A Little About George Lakoff and Cognitive, Embodied Metaphor Theory.

George Lakoff has retired as Distinguished Professor of Cognitive Science and Linguistics at the University of California at Berkeley. He is now Director of the Center for the Neural Mind & Society. Lakoff is an American cognitive linguist and philosopher, known for his thesis that lives of individuals are significantly influenced by the cognitive, embodied metaphors they use to explain their lives to themselves. This conceptual metaphor thesis, was introduced in his and Mark Johnson's 1980 book Metaphors We Live By.

As Lakoff has written: "Theories are constructed objects. 'They assembled a theory.'

Lakoff, who began as a student of Noam Chomsky, initiated research which led to the creation of an important interdisciplinary study of metaphor, now generally called cognitive linguistics. Such cognitive linguistics, especially the subdivision called cognitive metaphor, is largely based on the ground-breaking work of George Lakoff and his two collaborators, Mark Turner and Mark Johnson. Theorists involved in this approach, including me, advance the hypotheses that metaphor is the foundation of all thought, that linguistic elements are conceptually processed and that language is chiefly determined by bodily and environmental experiences. Metaphor as a thought process, with language being only one result of that. Art being another.

Although first appearing in the late 80’s, cognitive metaphor and embodied mind theory took until the turn of the millennium to begin affecting the practice and understanding of creators and scholars.

Mark G. Taber and I in out Metaphor and Art website (www.metaphorandart.com) try in our own small way in this website to help spread the word, as it were. I wrote my PhD dissertation using my version of this theory as applied to art and art history, and am writing a book of aesthetic philosophy at the moment for Bloomsbury Press, also based in this reasoning.

Cognitive Metaphor is still far too little known by visual artists, curators and critics. The desire for an imminent fundamental change linked to a new understanding of trope is indeed in the air, not only for me; ever more frequently, artists and authors have begun to refer to metaphor and cognitive metaphor theory.

Cognitive linguistics and Harold Bloom's revisionism were a revelation to me. I found Bloom’s notion of agon to supplement Lakoffian conceptions splendidly. Bloom sees the primal activity of the creative life as one of struggling with and overcoming one’s influences by revisionistically, willfully and yet imaginatively misunderstanding them. In cognitive linguistics and agonistic revisionism, I discovered theories which read true to my experiences and additionally offered openings to the world, criticizing the solipsism and sophistry of much other current literary theory by, among other strengths, subsuming their rivals’ insights. I discussed my adaptation of Bloom’s theory in my last podcast, number 34, titled "Artistic Agon: Eshu not Oedipus."

Lakoffian cognitive metaphor theory asserts that metaphor is a matter of thought and not only, indeed only secondarily, of language. Trope, --- the actual general term for all forms of metaphor, --- trope is the basis of thought, thus language, which importantly arises from bodily, cultural and environmental experience It is embodied in the body, in the world and in the expressions of it, visual or other forms.

Metaphor, as Lakoff and Johnson explained, is a fundamental mechanism of thought, one that allows us to use physical and social experience to understand other objects and events. Such metaphors therefore structure our most crucial understandings of our experience, they are "metaphors we live by, " often shaping our perceptions and actions without our ever noticing them. However, we can concentrate on them, notice them, and actively seek to improve our understanding through them. This occurs usually through the arts, wherein we discover new vantage points on our experiences.

What is important here is the free play of tropes. The fascination and excitement of encountering and applying new conceptual systems can lead to productive discoveries, both in the hands of creators and of scholars, whatever their final political status becomes. Applying novel theories can produce new discernments into literature and art contemporary with a given philosophy, but also into aspects of the nature of creativity across a broader time span.

Lakoffian theory offers, at this time, an atypical model, in that it acknowledges agency, that is, it recognizes the individuals who make art experiences. This renders a chance to investigate and speculate on the nuts-and-bolts of creation. The cognitive theory of metaphor is also unusual in that it is a linguistic theory more concerned with concepts than with words alone, thus fostering application to a wide range of art forms. An important facet of cognitive linguistic theory is that metaphors are embodied, that is, that mental concepts are constructed tropaically out of bodily experiences. These foundational perceptions can furthermore lead to what he terms "image schemas," which can then be used to structure somewhat less physical events. This has potentially significant implications for the poet, the painter, the novelist, the critic and the scholar. It is indeed one of the main tools I have chosen to employ in my theories. In my dissertation and in my articles and my podcasts here, Lakoffian theory was and will be applied to the competitive discovery of trope within aspects of form in visual art.

Lakoff believes that a proper appreciation for metaphor cuts through the perpetual clash between the so-called "objective" view of trope (that it is purely literary, almost decorative) and the so-called "subjective" view (that it has no direct tie to experience). He promotes an alternative that stresses the centrality of metaphor to our thinking processes, and thereby to our language and other actions. Hence, I see cognitive metaphor theory similarly offering an alternative to Formalism and Poststructuralism by subsuming them both. Thus, my theory of metaphor(m), or central trope in art, to also be discussed in depth in a future podcast, is derived from cognitive linguistics as a method of augmenting the range of poststructural thought and revivifying appreciation of the formal discoveries of authors and artists.

What we can learn from Lakoff. Metaphor is a thought process above all. Tropes of all forms are embodied, cognitive and based on a small number of foundational tropes arising out of lived experience. Metaphors are essential, not decorative. Metaphors can be limiting, freeing, and even consciously changed, assumed, or abandoned. New ones can and must be created especially in artworks.

Thanks for listening. Podcast number 35.
A Little About Lakoff; Art and Cognitive, Embodied Metaphor Theory

If you enjoy my podcasts, please go to Apple podcasts and give me 5 stars and a recommendation! It helps others find this podcast. Additionally, if you have any questions or requests for topics, please feel free to contact me with them! I'd truly enjoy covering them!

If you wish to hear more cool, exciting and hopefully inspiring stuff about art history and art, come back for more. Also, I, Dr Mark Staff Brandl, artist and art historian, am available for live custom Performance-Lectures. In English und auf Deutsch.

I take viewers inside visual art and art history. Entertainingly, yet educationally and aesthetically, I analyze, underline, and discuss the reasons why a work of art is remarkable, or I go through entire eras, or indeed through the entirety of art history, or look at your desired theme through the lens of art history. The lectures often take place with painted background screens and even in my room-filling painting-installations with accompanying paintings.

Some recent ones were on the entire history of Postmodernist Art from 1979 through today and on Mongrel Art. Once again, I'd like to thank Chloe Orwell, Brad Elvis, and the rock band the Handcuffs for composing, performing and recording my theme song, "Shut Up and Paint," a tiny portion of which begins and ends every Dr Great Art Podcast.

You can find or contact me at

www.drgreatart.com/ (spell)

book me at www.mirjamhadorn.com (spell)

or find me on Facebook, Twitter, Instagram, all as Dr Great Art.