{"id":2358,"date":"2022-12-23T01:15:12","date_gmt":"2022-12-23T01:15:12","guid":{"rendered":"https:\/\/renaissancenow-cai.org\/youarehere\/?p=2358"},"modified":"2022-12-23T01:34:45","modified_gmt":"2022-12-23T01:34:45","slug":"cases-for-culture-a-concept-coined","status":"publish","type":"post","link":"https:\/\/renaissancenow-cai.org\/youarehere\/2022\/12\/23\/cases-for-culture-a-concept-coined\/","title":{"rendered":"Cases for Culture: A Concept Coined"},"content":{"rendered":"\t\t
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\u00a0 \u00a0 \u00a0The arts ignite social change.<\/em> During the Cases for Culture<\/em> conference hosted by Cultural Agents at Harvard University, participants put a recurring experience into simple words.<\/p>

\u00a0 \u00a0 \u00a0The unapologetic concept of art as a social resource had gestated throughout the Covid-19 lockdown during conversations among heterogenous academics and practitioners who gathered on zoom and decided to launch Renaissance Now<\/em>. The plague gave us time to think, and we thought about the urgent challenges of social inequity and environmental degradation. Remembering Europe\u2019s medieval plague and Italy\u2019s response as the pandemic waned, when artists and intellectuals left the cloisters to engage with bankers and princes, we worried that today disciplinary silos often keep us from risking necessary collaborations. Renaissance businessmen and politicians risked money and prestige to work with creative artists and thinkers to reshape devastated societies. Later and elsewhere in Europe, the Renaissance would be associated with conquest and slavery. But not in the admirable early period which thrived on private spending for the public good by leading citizens who flouted their prosperity and taste to beautify cities and build institutions. This collaboration between creativity and power is a legacy and a practical lesson for human survival. The future depends on crossing barriers between institutional and artistic structures. Inside the silos change is literally unthinkable. Without curing an aversion to risk, and short of recognizing the arts as agents of change, disciplines will continue to be cautious and to cramp\u00a0 developments in the theory of change.<\/p>

\u00a0 \u00a0 \u00a0Cautiously, commentators of even spectacular cases of arts as agency hardly dignify creativity as a resource for policy making. Consider the revival of Bogota, Colombia, when Mayor Mockus dared to \u201cbring out the clowns\u201d as a traffic intervention, before he targeted drug traffickers and reduced homicides by 70%. Consider too how Edi Rama\u2019s public painting projects revitalized Albania\u2019s capital Tirana and led to his election as prime minister. Citizens and observers do not doubt the impact of art in these and other cases. Yet the cases seem charming, or curious, rather than models of administration. Almost grudgingly, economists have by now recognized the commercial value of art festivals and markets. But their celebration of the orange economy seldom factors in added social values of participatory arts: violence prevention, improved mental and physical health, reduction of dropout rates and teen pregnancies. By dismissing art as an engine for change, we waste this renewable resource for making policy. To misconstrue models as mere oddities is to disable the process of turning experience into knowledge. Our conference helped to take that turn and to ground a collective hunch into a usable concept.<\/p>

\u00a0 \u00a0 \u00a0Through research and practice in politics, health, education, law, and entrepreneurship, contributors to the conference demonstrated how the arts emerge as game-changers — even when institutions are slow to include art-making and interpretation among available resources for human development and wellbeing. Presentations converged to suggest that a stigma against the arts — and against the corollary pleasures that art enables — guards the gates of scientific discourse. The stigma is felt with every denial of the evident energy that art can channel toward
personal, public, and planetary care. Art works to change collective perceptions. In a phrase that Raymond Williams offered, art produces a \u201cstructure of feeling.\u201d This refers to a still unnamed sensitivity that can be communicated through literature and other creative practices and that generates the need to coin a new concept. \u201cStructure of feeling\u201d is an updated version of Kant\u2019s reluctant respect for the arts. He acknowledged that art can communicate pre-conceptual feelings and reflections, but Kant worried about the process, precisely because it was unpredictable, potentially ungovernable, and unfairly gifted to talented people. Few can make art, but we can all judge it. Kant\u2019s disciple Schiller disagreed and didn\u2019t worry. Facing real terror in the French Revolution, Schiller promoted art as an alternative to violence. Unlike his master who considered artists to be rare birds, Schiller identified a talent for artmaking in everyone. Our innate \u201cplaydrive\u201d<\/em> can channel possibly violent passions toward beautiful new creations, for ourselves and for society. \u201cSymbolic violence\u201d was the therapeutic name for artmaking proposed by child psychoanalyst D.D. Winnicott in the 1960s. Creative play develops personal autonomy and self-expression, he explained. It enables us to take pleasure in the world, to deflect destructive resentment into healthy engagement.<\/p>

\u00a0 \u00a0 \u00a0But an unhealthy aversion to pleasure contracts the heart of capitalist culture, according to Max Weber. Over a century ago, he warned that modernity\u2019s Calvinist stigma against pleasure would snuff out our human capacities for sociability and our care for the world. Note that \u201cto care for\u201d means both to love and to serve. Through a careless and self-serving misinterpretation, The Protestant Ethic and the Spirit of Capitalism<\/em> (1905) has been read more as a manual for heartless accumulation and modernization than as a caution against anhedonic duty. At the Cases for Culture conference, this perverse misstep from Weber\u2019s defense of feeling to dutiful capitalist lockstep came to mind during the morning presentation by James Robinson, an undisputed master of political and economic thought today. Quite boldly, he pointed to a fault-line in the social sciences, namely the inability to account for social change. A culture of capitalism demands to see the numbers but does not tarry at human dynamics which might distract attention from quantifiable evidence. Political science and economics can, for example, document the rise of democratic societies from the 18th century to the present in detailed statistics and attention grabbing graphs. But they do not explain how or why the numbers move from one value to another. There seems to be a hole in the heart of social science.<\/p>

\u00a0 \u00a0 \u00a0At this opening, Robinson introduced Jose Falconi, professor of literature and visual arts, who suggested that aesthetics may be the missing piece. Falconi illustrated how the surprise effect of an artwork \u2013 the \u201cpow\u201d of a film, or a museum visit, or a poem — breaks through the lethargy sedimented by habit to deaden human associations. The excitement and confusion sparked by art\u2019s novelty enliven dialogue and stimulate collective conversations. People are eager to talk with one another, to interpret and to speculate, once they experience works of art or beauty in nature. They feel and think differently on hearing others speak freely and imagine new engagements. By the afternoon, when economist Pier Luigi Sacco spoke about today\u2019s Culture 3.0 \u2013 in which anyone can produce as well as consume art \u2013 Schiller\u2019s universally available playdrive was in full gear and urgently required to address otherwise stagnant structures.<\/p>

\u00a0 \u00a0 \u00a0 \u00a0Renaissance Now<\/em> had already noted the longstanding alliance between art and social development. In fact, they are coeval and codependent. In the middle of the 18 th Century, modern democracies and the new philosophy of aesthetics were born together, in symbiosis. Self- governing societies depend on an innate faculty of disinterested judgment, and free judgment depends on the autonomy granted by democratic societies. To follow Kant, aesthetics is the cognitive pleasure of judging, not the initial thrill of perceiving beauty or the sublime. For Kant, the excitement sparked by natural or artistic beauty does not count as aesthetic pleasure. The emotional rush is an entry point, an interruption of routine that triggers a personal reflection which can lead to collective aesthetic judgment, necessarily collective for Kant. The faculty to judge is innate and universal. We can all judge freely — without economic, moral, or intellectual
investments \u2013 but this mental muscle had atrophied over centuries of censure in monarchies and churches. Schiller agreed, but he added that art was a better trigger than nature. It is more reliable. Art is intentional and doesn\u2019t depend on seasons or situations. It is a ubiquitous resource to generate curiosity and the desire to talk with others. For both Kant and his spirited disciple, beauty and the sublime lead to reflection and sociability. In other words, art triggers processes that can change political opinions and behaviors.<\/p>

\u00a0 \u00a0 \u00a0Highlights of the stellar contributions shared in Cases for Culture<\/em> \u00a0<\/a>can be appreciated in the recorded talks that will soon be available on our website. See the program to appreciate the range and stature of the participants. Please prepare to write your own Case for our collection in Renaissance Now<\/a>. Professor Rob Austin, formerly at the Harvard Business School and currently at the Ivey School of Business will host a training session for us in the New Year. Stay tuned!<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

The arts ignite social change. 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