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Clayton Lord on new art and new audiences

Avoiding the Great Amputation

May 2, 2011 by Clayton Lord

More Uncanny Piles of Discarded Prosthetics by Nadya Peek from Flickr. Used under Creative Commons license.

David Brooks, primarily a political columnist and commentator, has written a book attempting to understand some of what makes us function as human beings, and as a collaborative society.  He discussed the book, The Social Animal, in a recent TED Talk of the same name. He says:

“For centuries, we have inherited a view of human nature based on the notion that we are divided selves.  Reason is separated from the emotions, and society progresses to the extent that reason can suppress the passions…This has produced a great amputation, a shallow view of human nature.  We’re really good at talking about material things, but we’re really bad at talking about emotions.”

Later, he says:

“When we think about human capital, we think about things we can measure easily.  Things like grades, SATs, the number of years in schooling.  What it really takes to do well and live a meaningful life are things that are deeper, things that we don’t really even have words for.”

I’m admittedly biased, but it seems to me that art, and the larger thread of creativity, sit at the core of the development of this new social animal, which Brooks believes (and I agree) is at the heart of successful society.  And to be honest, it’s sort of stunning to me that (at least in the talk—I’m 518th on the list to get the book out of our library) he doesn’t mention art once as a tool for developing this new social muscle.  This is especially surprising, I think, because his six basic constructs for creating a successful social animal interlock perfectly with the consumption of art:

  • Mindsight: “the ability to enter into other people’s minds and learn what they have to offer.” 
  • Equipoise: “the ability to have the serenity to read the biases and failures in your own mind.”  “Epistemological modesty.”
  • Metis: “street smarts…a sensitivity to the physical environment.”
  • Sympathy: “the ability to work within groups.”
  • Blending: the ability to integrate disparate concepts.
  • Limerence: A drive and a motivation to find those “moments of transcendence when the skull line disappears and we are lost in a challenge or a task.”

These jive very nicely with what art does to audiences.  It teaches empathy, it teaches distance and self-awareness, it teaches an understanding of the world.  It is a social enterprise, behind the fourth wall or in front, and the creation and consumption of art is collaborative and complex in a way that few things in the world are.  As far as limerence, I think an easier word is Alan Brown’s concept of captivation, which is directly linked to the concept of flow—essentially, then, that a human being is at his or her most contented when he or she is completely enraptured in the activity at hand.

At the core, Brooks’ argument is that we are not separated individuals as much as we are a humming hive.  To function well, to govern well, to do business well, to educate our young (and to have our young understand and relate to each other), we must create a world that encourages them to grow as social animals.  We do not want this “great amputation,” and we all have the tools right in front of us to keep it from happening.  They are the art we do, the work we make, and the places that people can come to consume it.  Someday, hopefully, people will look to art and its place in our communities when they start talking about how collaborative and intertwined we all have to be to succeed—adopting language that encourages that connection is the first step.

Filed Under: Language, Main

About Clayton Lord

Clayton Lord is the Vice President of Local Arts Advancement for Americans for the Arts, the nation’s leading nonprofit organization for advancing the arts and arts education. He holds a B.A. from Georgetown University in English and Psychology. Read More…

About New Beans

I believe that art makes better humans, but that that can only happen when the line from art to audience is as taut, clean and consistent as possible.  The interplay between artmakers and audience members is central to what we do and vital to the success of the enterprise.  That crackle across the wire, that static in the air at a live event, is good.  It makes your ears hum, your hair stand on end--it's what connects people in a room behind and in front of the fourth wall.  As Tom … [Read More...]

Disclaimer

The views on New Beans are Clay Lord's own, and do not necessarily reflect the views of his employer, Americans for the Arts, or any clients or affiliates.  Please email Clay at claytonlord@gmail.com with any questions.

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