Part 12 (1/2)

1 'Two Cultures and the Scientic Revolution' (1950) in CP Snow, Public Affairs (1971)

2 Cf Lavoye (1990)

Sacred Art

1 The term 'outsider art' is used for the work of artists who raht or received their schooling at an older age or in an unusual educational situation such as a mental institution, for instance

2 Throsby (1994) 2

3 The philosopher Laermans (1992) 64 reproaches the econo his notion of art explicit

4 Cf Danto (1964), dickie (1971), Becker (1982) 34, 148-149 and 153-164 and Bevers (1993) 16-20

5 Bourdieu (1979), DiMaggio (1987), Calcar (1984) andLamont and Fournier (1992) More references and details about differences in ndings in Peterson (1997) 87

6 By using the term 'asymmetry' I want to stress the asymmetry in the appreciation of each other's culture In another respect however, behavior is syroups are the same in the sense that they orient theroups above them on the social ladder

7 See note 5

8 Of these ve assu social coherence is the es in society can cause a reduction in the coherence of social values Given all the rapid and radical changes in the media, this could be the contemporary scenario In that case this thesis would not be valid, because coherence today is insufcient to h and low in the arts If this is the case, the book's analysis loses its signicance However, although I cannot prove my case, I shall try to make it plausible in the course of this book that there is sufcient social coherence to support thesis of asyment based on cultural inferiority and superiority

9 Cf Peterson and Kern (1996) and Peterson (1997) and the references they pres-ent

10 Peterson (1997) 88

11 Peterson and Kern (1996) 904 also found froh-brows are hbrows”

12 Bourdieu (1979) also cited by Peterson and Kern (1996) 904

13 Peterson and Kern (1996) 904 state: ”omnivorousness does not imply an indifference to distinctions”

14 I return to the controversy in the Epilogue A related arguht for-ward by Eijck (1999) He shows that peopleup the social ladder often do not adapt the art of people above the with them And so their art rises in status Nevertheless, sta-tus differences remain important

15 Levine (1988) has described the historic process of 'sacralization'

16 Hide (1979) defends this view He quotes many well-known artists

17 Cf Uitert (1986)

18 Cf Smithuijsen (1997)

19 Braembussche (1994) 238, Benjamin (1974) Instead of the term 'sacred' I could have used the term 'aura', which Benjaious connotation However, most of the time I shall use the terious connotation of the ter' about art Moreover, the term 'aura' has no adjective to re-place 'sacred'

20 The English moralist and aesthetician Arnold (1875) (as Peterson (1997) 81 notes) already successfully propagated the view that the ne arts ehest values of civilization

21 Bloom (1987) 185, 188, 322 (also cited by Peterson (1997) 82-86) Writing about the distinction between high and low, Peterson gives other references as well

22 Authenticity is a container word Different uses contribute to an overallIn this book the notion of personal uniqueness expressed in works of art is emphasized Linko (1998) uses the term 'authenticity' also in the sense of per-sonal uniqueness This is one of several uses of the term 'authenticity' as ana-lyzed by Peterson (1997) 205-209

23 'Creativity' and 'originality', terms which are often used in relation to art, i original or creative Aed people are authentic, but not always creative or original

24 In this particular case there were also bits of tape on the canvas, because the painting was unnished and Mondrian was still experi

25 Janssen (2001) 326

26 On the one hand by strongly identifying with the artist the art consumer appar-ently becomes less of an authentic individual On the other hand, however, tem-poral identication and even symbiosis can contribute to the formation of per-sonal identities

27 In 1988, Hans-Onno van den Berg suggested the use of this term to me

28 Bourdieu (1979) 53-56; Laermans (1993) 88

29 Laermans (1993) 88

30 Cf Laerated the notion of distinction with respect to the arts He also emphasizes that art is remote from everyday worries He relates this to a re- aesthetic disposition, in which an emphasis on form has replaced expressive and descriptive qualities and capacities Bourdieu (1979) 28-32 Cf Swaan (1986) As far as this special aesthetic is concerned, I do not agree I think that in the long run expressive and descriptive qualities will re (1989) 54-59

32 Cf Braeel (1986, 1832-1845), Adorno (1970-1986), Goodman (1954), Barthes (1988), Lyotard (1997, ed princ 1984)

33 Heusden (1996)

34 Unlike Lyotard, recent postmodern philosophers of art like Derrida, Bau-drillard, and Jaer treat innovation as typical of art Cf Braem-bussche (1994) 292-314

35 Cf Doorman (1994) 211-213

36 Goodman (1954) In the context of this book Goodman's approach is of special interest, but the outcomes would not be very different if I had instead elaborat-ed on any of the other aforementioned philosophers of art

37 Goodes I therefore 'extrapolate' his approach

38 Kellendonck (1977)

39 When this painting was exhibited in the Sensation Show at the Royal Academy in London in 1997, it caused a scandal In 1999, the Brooklyn Museum of Mod-ern Art exhibited almost the sain Mary' was the cause of a scandal, which forced New York's Mayor Giuliani to eli of the nition does not imply that art is formal or intellectual Goodman ibid 259 writes: ”This subsunitive excellence calls for one nitivedoes not exclude the sensory or the eh art is felt in our bones and nerves and rasped by our anism participates in the inven-tion and interpretation of symbols”

41 Goodman (1954) 258

42 Modern audiences, well educated in the languages of the arts, show little amazement, as if they have already been exposed to these new , the expressions of aesthetic experience have becoh arts Nevertheless, when art is really new, feel-ings of wonder can be suppressed but not eliminated

43 Goodman (1954) discusses the terms 'dense' and 'discrete' in relation to art and science